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Full text of "Motion Picture Classic (Jan-Dec 1920)"

^7^/ /:/ 4'; \ 



SCANNED FROM THE COLLECTIONS OF 

PFA Library and Film Study Center, 

University of California, Berkeley Art Museum & Pacific Film Archiv 

bampfa.berkeley.edu 



Coordinated by the 

Media History Digital 
Library 

www.mediahistoryproject.org 



Funded by an anonymous donation 
in memor>' of Carolyn Ilauer 



Digitized by the Internet Archive 

in 2009 with funding from 

IVIedia History Digital Library 



http://www.archive.org/details/motionpicturecla1920broo 



ACTION PICTVDE 




JANUARY 



MARION DAVIE5 ' 




r^" 



-•? \' 



A Startling Memory Feat 
That^u GanDo 



How I lesu-ned the secret in one 
evening. It has helped me erery day 



WHEN my old friend Faulkner invited 
me to a dinner part}' at his house. 1 
little thought it would be the direct 
means of getting me a one-hundred-and-fifty 
per cent, increase in salar>'. Yet it was, and 
here is the way it all came about. 

Toward the close of the evening things began 
to drag a bit. as they often do at parties. Fi- 
nally some one suggested the old idea of having 
everyone do a "sttmt." Some sang, others 
forced weird sounds out of the piano, recited, 
told stories, and so on. 

Then it came to Macdonald's turn. He ^vas 
a quiet sort of chap, with an air about him that 
reminded one of the old sa)ing that "still waters 
run deep." He said he had a simple "stunt" 
which he hoped we would like. He selected me 
to assist him. First he asked to be blindfolded 
securely to prove there was no trickery in it. 
Those present were to call out twenty-five 
numbers of three figures each, such as 161. 249. 
and so on. He asked me to write down the num- 
bers as they were called. 

This was done. Macdonald then astounded 
everyone by repeating the entire list of twenty- 
five numbers backwards and forwards. Then 
he asked people to request numbers by posi- 
tions, such as the eighth number called, the 
fourUj number, and so on. Instantly he repeated 
back the exact number in the position called. 
He did this with the entire list — over and over 
again, without making a single mistake. 

Then Macdonald asked that a deck of cards 
be shuffled and called oijt to him in their order. 
This was done. Still blindfolded, he instantly 
named the cards in their order backwards and 
forwards. And then to further amaze us, he 
gave us the number of any card counting from 
3ie top, or the card for 
any number. 

You may well imagine 
our amazement at Mac- 
donald's remarkable feat. 
You naturally expect to 
see a thing of this sort 
on the stage, and even 
then you look upon it as 
a trick. But to see it 
done by an evervday 
business man. in plain 
view of everyone, blind- 
folded and under con- 
ditions which make trick- 
ery impossible, is aston- 
ishing, to say the least. 

ON the way home 
that night I asked 
Macdonald how it was 
done. He said there 
was really nothing to it 
— simply a memory 
feat, the key to which 
anyone could easily learn m one evemng. Ihen 
he told me that the reason most people have bad 
memories is because they leave memory develop- 
ment to chance. Anyone could do what he had 
done, and develop a good memory, he ^id, by 
following a few simple rules. 
told me exactly how to do it. 





'Our president compliment 
to tell him instantly fac 



And then he 
At the time I 



Bttle thought that evenmg """'f. P™;!* •" °*u°'\' 
of the most eventful in my life, but such tt 

"'what'^Iacdonald told me I took }o^"'^ 
In one evemng I made remarkable stndes t<^ 
ward improving my memory and it was but a 
miestion of da* before I learned to do exacth^ 
what he had done. At first I «n»*edmyself 
with my new-found ability by amazing people at 

(Three) 



parties, ^f^ "memorv- 
feat." as my frieiuU 
called it, snrel)' made 
a hit. Every one was 
talking about it. and 1 
was showered with in- 
vitations for all sorts 
of affairs. If anyone 
were to ask me how 
quickly to develop so- 
cial popularity, I would 
tell him to leam my 
memory "feat" — but 
that is apart from what 
I want to tell you. 

The most gratifying thing 
about the improvement of 
my memory was the re- 
markable way it helped me 
in business. Much to my 
surprise I discovered that 
my memory training had 
literally put a razor edge 
on my brain. My brain 
had become clearer, quick- 
er, keener, 1 felt that I 
was fast acquiring that 
mental grasp and alertness 
I had so often admired in 
men who were spoken of as 
"wonders" and "geniuses." 

The next thing I noticed 
was a marked improvement 
in my conversational pow- 
ers. Formerly my talk was . , ,^„ |,is „,„, Sashes to my mind, together with a 
halting and disconnected. I never '°"''' '"'""."j string of facts about him. 1 always NkeS to read hot 
things to say until the conversation »>" ""V; /*"„^ „,„all, forget most of it. Now I find it easy to recall 
then, when it was too late. I .•»"!'' /'"^''(..'^'""buI what I have read. Another surprising thing is that 1 
apt and sinking thing. I . ""C'"^",' ,~ talking I <:»n now master a subject in considerably less Ume than 
now I can think like > fl»«b When I am "'""^K ' ^^,„„ p^ce Usts. market qnoUtions. data of all kinds, 
never have to hesitate for the "«•" ,»'°'°- '"h,?*"! I can recall in detail almost at will. I rarely inake a 
expression or the ngbt thing to say. It seems ">» »" mistake 

I have to do is to start to talk and ■"'"""i' j", ,h° My vocabulary, too. has increased wonderfully. When- 

myself saying the very thing I want to say lo ma»e ^^^^ I see a striking word or expression. I memoriae it 

urealest impression on people. ,i:,:,, ,„ remem- and use it irt m. diclalion or conversation. This has 

It wasn-t long before my newfound =>'"'■"', '° '""X put a remarknbk sparkle and puHin, power into my coo 

•"^ii-.^rSl ,T,he riiht Hine versation and business leUers. And the remarkable part 

".£V,i^ fhe a tentVon of o"r "f it all is that I can now do my day's work quicker and 

!3h.S?i He go" in °he with much less effort, simply because my mind .orb 

GbTtS calling me in when- like a f!a=h and I do not have to keep stopping to l«.k 

fhe" biLi^JL'"' ir^e'l"' All'thi^is extremely satisfying to me. of course. But 

the busioes^ ,'" °'..y„u ,he best part of it all is that since my memory power 

pressed himself •» ■".'■ »°," g„, ^itracted the attention of our president, my salary 

T., I Jam o know while hos steadily been increased." Today it is many bme. 

Thl^otheT fellows annoy me greater than it was the day Macdonald got me ..u,e«ed 

by dodging out of the office m improving my memory. 

?*jM .^^Hk. and saying 'I'll look it up.' " '".*.'... ^ , ■ 

■^^ ^^^^^ ' . . . ^ I THAT Macdonald told me that erenffnl erernng 

Ipni-Nn that m» ability VV «" <^"' "''" '*" R""" Memory Course." I did. 

,o remembe? h^'Jd n,e ' * That is how I learned to do all the remarkable 

wondeTfi^lv in ^ling thing, I have told you about. The publishers of the 

.iT !^rhJr neoolT mVHcu- Kofh Memor. Course-lhe Independent Corporapon-are 

with .°'h" 1P~P''- J!"^^^" „ confident that it will also show you how lo develon a 

Ivi'en'a d1"u«!oS "A». S remarkable memory that the, will gladly send the Coar« 

'L'l ^"nU^SckW '".rX '': '"Vr ne'edTo?:^' a single penny un.il vou ha,e ex_ 

'^^r of de^nUe fact, and amined .he Course and found that it full, bves up to al 

fiJi^f, usnaflv dom nllJ, the the claims made for it. Send no money. Merely ma.1 

^ T^e .nSHme^nin ihc couoon or write a letter, and the complete CourK 

oUiers. Time and lime agmn lue . instantlv. all charge, prepaid. If 

L^'of "hinkiSr^^^pTy T- ;7ter e«mi\iat°or"ou deciiS; l^t yordS n"^ wan. 

' I ™;winl.:.nM; recall to keep the Course, then return it and you will owe 

?'T „.Sfiile, While l"m nothing. On the other hand, if you find, as thousand. 

„f„,;d;?f^ triumphs in 'f others have found, that the Roth Memory Course wiU 

.. • u. Ku resnecr I often fee" do wonders for you, then merely send five dollars in 

ed me on altvays bong able this f/spect. 1 olten leei m 

,. he u^anted to *.««-." '?X Xr „'" wh'^S YoS^tove always -anted •» good memory. No- yoo 

of the other men wno <»"»»■ . ■ Remember, you pay no money unbl yoa 

hold an their end in the argument becauje •>•" canno '^'^.^^i:^,^ that"™ C^irl: -Si benefit you. You ha« 

recall facts instantly. It seems as 'h?""* ' "J^'T. ""' evervtbing to gain and nothing lo lose by taking imme- 

get anything. Every '»« .J. ";°" P." ^2 iTonS U -e?e diate arton So mail the coupon NOW before thi. 

clear and as easy to recall ■?«;""'"'??"«'' " "" hheral offer is withdrawn. 

teriK^v Wfore mr in plain black and wdhc. , . , „ „.„„ 

wVallTeai a lot about the importance of sound jud*- FRKK EXAMINATION COrPON^^^_^^ 

».*«» Pmnlc who ouaht to know say that a man cannot «••« — ■. — — ---<•-- — -- 

^% tr^jircs^ s^ufd judgment until he is forty to INDEPENDENT CORPORATION 

fifty years of age But I have duP'or;?^ >» «»t 1 r,bll.l,OT .f Tk. I>d«pradr»t W»*It 

have found that sound judgment i, "o">'°# "JTS '".S Uepl. K-S71. Il» Wert Wth Slre»«. !««» ¥«fc. 

'*'eh"S'V,Si1,rv'?s're'^Li''o"«uid7udSeo"t° 'l Please send me the Roth Memory Course of seven 

each """V,;. "!^° but many times I have been compli les«,ns. I will either remail the Course to you within 

m°^^rf^? Sl'vi^g Ihe ird|^er;t of a man of forty five. fi„ ,|,y, after it, rcceio. or send you $S in full pa.vmen. 

?"ke no p^^l creditor thi»-it is all due to the „f the Course. 

way I trained my memory. .. ,_, 

' »•••••• natmr 

TuE-QF irf ooW a few of the hundred* of way* I 
ha^Vofited by Hiy'^ned memory. «»•»»«''*. Address 
I sufle- the humiliation of meeting ■»»» ' '"'•"•"f M. P Clasnc 1-20 

not being able to reeaU their namev fh. moment I Ke 




-^and they both 

show the same pictures f 

WHETHER you attend a million-dollar palace of the 
screen in the hig dty, or a tiny hall in a backwoods 
hamlet, you will find that it is always the best and most 
prosperous theatre in the communi^ that is exhibiting 
Paramount Artcraft Pictures. 

It does not matter whether you arrive in a limousine, a jitney, 
on trolley or afoot, you are immediately taken out of yourself 
by these great pictures which delight so many thousands of 
audiences every day in the week. 

Human nature has deep-down similarities wherever you find 
it, and Famous Players-Lasky Corporation has made the 
bigger and better theatres possible by supplying a great 
variety of photo-plays which touch the roots of human nature 
with absolute certaint>'. 

A theatre cannot be better than the pictures it shows. Good 
music, wide aisles, luxurious seating and fine presentation 
have all naturally followed as the appropriate setting for 
Paramount Artcraft Pictures. 

Find the theatre or theatres in any town that show 
Paramount Artcraft Pictures, and you have found the spots 
where time flies. 

paramount Cuicrcdt 

Jiotion pictures 

Tbcse two trade-marks are the sure way of ideuUfying 
raramoutUAncraft Pictures— and the theatres that show them. 



Latest Paramount 
Artcraft Pictures 

BUlie Burke in 

"WANm> A HUSBAITD** 

Btfad Clayton sm 

*^OKE Deaely Than the Malm." 
Mmrzaentc Clark in 

**A Giu. Named MAmr" 
Irene Castlem 

*nrHE Invisible Bond" 
Cecil B. DcMiUe's Productioii 

**Maix and Female" 
"Everywoman** Whfa All Star Cast 
Elaie Ferfoson m 

**Coo kte«feit" 
Dorothy GUh in 

•TumKiNG THE Tables" 
D. W. Griffith Production 

"ScAJULBT Days" 
Wm. S. Hart t» 

"Saicd" 
Hondini in 

"The Geim Game" 
Vivian Martin in 

'*His Official Fiancee" 
Wallace Reid in 

"Hawthokne of the U. S. A," 
Haurice Toameur*s Production 

"Victory" 
Georee Loane Tucker's Production 

"The Mimacle Man" 
Robert Warwick in 

"An Adventitke in Heakts" 
Biyant Waihbum tM 

**It Pays to Advertise" 
'The Teeth of the Titer** 

With a Star Cast 
•Tlie Miracle erf Love** 

A Cosmopolitan Production^ 
**The Cinema Murder" 

A Cosmopolitan Production 



pMwIw cft 



Thomam H. in 

Kiid Bennett in 

••What Evehy Woman Leakhs" 
Dorothy Dalton m 

"His Wife's JF«iekd" 
"2Z% Hours' Leave- 
Douglas MacLean & Doris May 
Charles Ray »h 

"Ceooked Stkaight" 

P^tratnount Comcdie* 

Paramount-Arbuckle Comedies 

one every other month 
Paramonnt-Msck Sennett Comedies 

tmo each month 
Paramount-Al St. John Comedies 

one each month 
Paramount-Ernest Truex Comedies 

one each month 

Panauoani Short S a^ifa 

Paramonnt MaEaztne issued weekly 
Paramoimt-Post Nature IHctures 

issued every other week 
Paramount-Burton Hohncs Travel 

Pictures one each week 




EMbfOQS FLAarERS-LASrar OQRFCXBAIION 





(Four) 



Write the Words 
For a Song 

Write the words for a song. We revise 
song-poems, compose music for them, and 
guarantee to secure publication on a 
royalty basis by a New York music pub- 
lisher. Our Lyric Editor and Chief Com- 
poser is a song-writer of national reputa- 
tion and has written many big song-hits. 
Mail your song-poem on love, peace, vic- 
tory or any other subject to us today. 
Poems submitted are examined free. 

BROADWAY COMPOSING STUDIOS 

H7-ERvnU tt^^tnmiwmr aarHM>S«nn. NEW TOU 



Vi.I. IX 



JANUARY, 1920 



KTATEMENT OT THE OWNEKSinP MaNACKUKNT. flll- 
Cm-ATION. ETC-. REQUIRED BY THE AlT <1K rONUJUlittr 
&r AUCCBT 24. 191X «« MOTION I'HTUKE t L-VSSU: puli 
UMbtd MONTHLT at 175 DCEFIELD «T.. BKOOKLYX. X. T.. 
ror OCTOBER 1. 1«5L SUte of NEW YORK, rnoiitT of KIX*;». 
Bffon me, m. NOTARY PUBLIC in mml for Uu- Mtate ■ml' 
cooBtr afonsaM. pnsaaaOr AptH-aml ECUENE V. BREWSTER, 
wto. h ■¥»■*> been duly nrani acccnUnc to law. tlepotM^ au<l Baj» 
that, he is Ui» rREEEDENT of ihf 3J0TION PlCTl^KE CLASSIC 
•mi that the foUtMriac is. to tht best cf his knovlctlce and 
brtkf. a trot 5tatwr«M of Ute ownrrahip. managwnrat (and U « 
daily paiwr. the drmJatlon). ete., trf the iforesaid publiratkn 
f(V the date sbbwti in the alxne caption, rrquimi by tbc Act of 
Aiwwl a. 1912. atfbofhcd tn section 443, Postal Laws uid Rccu- 
I M***** , prilled on the reversp oT lbt« fonn. to wit: L That the 
iiafi md addreaan «C the pnUislier, nittor. -'■'■-^'"g «tiilar, 
and hvinoa manners «c: PobtLibn-. THE M. P. PUBLISH- 
ING COl. 175 DuflMd St., BrmUju. N. T.. ICditor. EUCSXE 
r. BREWSTKR. 175 Dafflrid St.. BrDoUyn. N. T.. 3fanasfaw 
EOiKv FREDERICK J. SMRII. 175 Xtaffletd St.. BrooUjm. N. T.. 
Bnatecn BCanaccr. GUT U HARRINGTON. ITTi Dafflrid St.. 
Brookljn. K. T.. 2. That the ovum ur: (Gir<f> namrs and 
addrcavrs of indiildaal owners, or if a conioralion. cive its nama 
and the maaMS and addrewn at itoridiolden o»nto c or h oMing 
1 per ctnt or move of tlw total aBoant t£ Moefc) EU GENE T. 
BREWSTER. 175 DafBtid St.. Bmidni. N. T.. EDWDC M, 
LA ROCHE. 175 Ditfeld SL, Bnvoklyn. X. T.. ALBERT E. 
SMITH. E. 15Ui St.. and Loraat Awe., ^ooUrn. NL T.. EUZA- 
BKTTH'M. HEIXEMA NN. 175 Duffletd St.. BRMkljn. JX. T.. 
ELEANOR V. BREWSTER. 175 DnSeld St., BMoUyn. K. T.„ 
WM. ROCK. K. ISth St., SMl Lonnt Ave., Bmhlim. K. T., 
GASTOX MELI^. 32S Lexincton Ave.. New Tork Citr. 3. 
That Ibe known baBdholder&. BDrtcasrts. and other semiitT 
halders ewninK w hofcHng I |per ecnx or aaorv of total anoont 
bond». ■oetcn^it or other seraiities atv: flf there an none, 
an Male) NONE. 4. That the two paracrapba next abow, ctrinc 
the names of the awneni, storkhoMevn, and aecoritj bolden. tf 
tma. eootaln not onlj the iKt <J stockholders and aeranty holden 
■K they avpear upon the books of the eompanj. bat abo in caaea 
wheie the stockholdas or aecoritT holdos appear upon the books 
of Oie company as tzvstee or in anr other OdndarT relation, the 
name of tlw pcraon or cmpuratfon for whom sorh tmatee is setinc' 
ia siren: abn thai the said two paracrsphs cootain Btatcments 
ew he ait pg ananfs fnJI knowledce and belief aa to the ctonna- 
ataners and eondltiaas ander which <itorUiolder<i and secvrtty 
botders who do not appear opon the books of the company as 
tnatees. hohl atork and aemrlties In a rapacity other than that 
of a bona tide onmer; and this ailiaDt has no reason to bellenf 
thM anr other iiersoh. aasoriatloa. or cnrporaliou bas any in- 
terest cUrect or indirect in the said Btork. hoods, or other aeenr- 
fttes than as so statevl by bfm. 5, That the areracc nwnber «f 
e e|d< s of eneii tmne of this poMScatioD mid nr <ILitrilMiled throuch 
the mails or otherwfae. to paid subscriber* diuiac the all moaitln 
imudlut the date shown aboR' ia^fTTiU informtfon to re- 
unbed from daOy pnbUcatiana otdy). EircEXE T. BREWSTER. 
(Slsnataiv of editor. pnUtsher, bostnesa ntanacrr, or owner). 
Sworn to and nhocTibed ttefore me this 29tb da* of September. 
1»19. K M. HEINEMANN. iXj comntisaion expirvs Uarcb 
3». 1919.) 



llfllllllllllilliliW 



Tdephone 5499 Bfain 



cfhe 



IDm. q. tietuitt 
r— Press "•■" —i 



PRINTERS 

and 

BINDERS 



Sfarty-ooe to Sixty-seven Navy St. 
BrocAlyn, N.Y. 





20 
22 



24 



28 



THE GIRL ON THE COVER 

(Painled by Leo Strike, Jr., from a photograph by Campbell 
Sludioi.) 
Probably no player who has yet graced the silversheet has 
ever received the vast publicity campaign accorded Marion 
Davies, the star of International pictures. 

Miss Davies, it will be recalled, was very well known on 
the musical comedy stage before she invaded the celluloid 
world with "Runaway Romany." Widely known as a footlight beauty. Miss 
Davies proved to be a remarkable Camera beauty, as welL She has been 
steadily developing in the 61ms. 
Photogravure Gallery of Players. Full page studies of" Pace 

Lou-Tellegen. Mary Miles Minter, Corinne Griffith, 

May Allison 'and June Caprice 11-15 

Bartfaelmcss: The Boy. A composite study of the beloved 

Yellow Man of "Broken Blossoms" Frederick James Smttk lo 

The Youngest of the House o' H a i n s t em. Elaine is the 

junior of a famous family C. BIythe Sherwood IB 

The Owner of the "Uncaa." No other than John Bowers, 

who is one of our few seagoing leading men. . EHaibeth Peltret 

The Amazing Interview. An infomuU littltv chat with the 

real Norma Talmadge Failh Service 

An OU-Fashioned GirL The happy life of Mary Maclvor 

and her hubbv. William Desmond FrUzi Remont 

The Holidays in the Theaters. The footlight successes at 

Christmas time '■■' 26 

On Vamps and VanqMng. Dorothy Green tells what she 

thinks of the screen adventuress Ethel Rosemon 

If I Were King. WiUiarti Famum's newest romantic pho- 
toplay told in interesting fiction form OSve Carerv 25 

Krich Von Strobeim and the Miracle. The story of the 
man who a short time ago was a life-saver on Lake 

Tahoe Maude S. Cheatham 34 

The Director-Diplomat. Edward Jose, master statesman 

of the studio Mary Keene 36 

The Cinema Comes to Carleton. A breezy chat with 

William, Jr.. Elsie Ferguson's leading man Harrirlte Vnderhill 31 

The Gorgeoos (Horia 38 

Victory. Short story based upon the silverscreen version 

of Joseph Conrad's famous novel Faith Servtce 39 

At the World's Foremost Screen Theater. Interesting 

scenes at the New York Capitol Theater 44 

The Hidden Egyptian. The vivid Edith Storey and her 

return to the world of motion pictures Elizabeth Peltret 

Marie: the Mystic Marie Walcamp and her odd vein of 

mysticism Fritxi Remoni 

The Girl From Ont Yonder. Fictionized version of Olive 

Thomas' newest screen vehicle Dorothy Domnell 

Double Exposures Conducted by F. J. S. 

The Cellnloid Critic The newest photoplays in review. . 

Frederick James Smith 

Filming Treasure Islatid 

The Riddle Man. Meaning William Russell Pearl Mahem 

An Earle and His- Dixnain. Mr. Williams in Snnny Cali- 
fornia 

Look for the Last Minute Features in the Advertising Section. 

Subscription. $2.50 a yrar. in advaocr, indndtar postaiEC in the U. S., Cuba, Mexico, and 
Philippfnes^ in Canada, $3.00 a year; in foreign co witrica , $3.50. Single cOfMcs. 25 cents, postage 
prepaid. One- and two-cent stamps accepted. Sabscriliers ranst notify ns at once ot aMj change 
of address, giring both old and new address. 

Entered at the Brooklra. N. Y_ Poat OCce a< Seomd.cIaaa Matter. 
CopTright, 1919, br the M. P. PnbEskiiig Co., in tke Dniled Slates and Great Britain, a New York 
corporation, with its princmal oSces at ^yshore^ N. Y. Eogene V. Brewster, President; J. Stnart 
RUil.ton, Vice-President; Gay 1.. Harrington, Vice-President; E. M. Hcineamm, Sccrctarr; ElcaBor 
V. V. Brewster, Treasorer. " 

STAFF FOB THE CLASSIC: ' 

■Ttinli ▼. Brewitar. WIl.i 

F»«<Mh> I- n»lll. Maai^ctaw EdH«^ 

Dorothy Donnell, Robert J. Shores, Friizi Renoot Associate Editors 

Gay L. Harrington Business Manager 

Duncan A. Dobie, Jr Dtrcctor of Advertising 

Rufns French, Inc . Eastern Manager 

.Archer A. King, Inc Western Manager 

Mriz B. Hayes \rw Enfland Manafer 



46 

48 

50 

55 

56 
38 
59 

60 




m 



(rite) 



Thj^ Buca^nv, pablisiied monthly, comes o«t on the 15th. Its cMcr sastcr, the MonOM PicnniK Macazibk, 
ciMBcs out'oD the first of ctct7 month. Swabowluiv appears oo the 23tA ot each mfth. 



tntnung^/Tiitiiorshtp 

^^"^"^ ftjWteWrftie.WlurftoWrile. 
and Where io sell. 




CiAnUe yov •muL DnUop 
yowr wktr^ry nfts. Notawr the 
«vt of a^-ci^mtfsion. Moks 
IKMT «pat« Hna* pro^^ddble. 
Ivm ycvr id#a< mlo 3oILn«. 
Coursea in Short -Story Writ- 
iocVeraiBcation, Joumabsm, 
Play Writing, Photoplay 
Writing etc, taufbt pcnoa- 

Dr.E5«nWein al»y by Dr. J. Bert E«=nwein. 

lar many y«ar* etfitor of Lippincott'i Mae^xine, and 

■ ataff of h t er ^r y experts. Coostructrre critiasm. 

Frank, honest, helpful mAvicc. /fc^ tcMJiing. 




%0ritimg mtamw. 

. otfacT loatitubaB or atB^BCy doinc ao mocb for 

[ or old. The tsuv^raitia reoocnuc thim. for over 

laba-i oi tbc ^''^g*^* CToitira al tucbcT Bubto- 

c umiy g^ IB Ota- Utcnry DcpT ti nent- Tbc editors 

c it.(ar they ■«< 




Xfif Home Cbrrespoiuknce Sdiool 

Dcpt. 1 1 2. SpringfieLd, MoAS. 



fflMIMIWffrMITW- 




PAINTING 



AND 



SKETCHING 




CELECT your own 

^ subject — love, patriotism 

— write what the heart dictate^ 

then submit yoor poem to us. 

We write tbe mcomic and wamrmattee: pwbliefc- 



Our 



compoeer ■ 



Mr. Leo Friedman 

one erf A]Berica*B wcO^known mu ti ci a t i*. die aathor 
al ouoT •OBC «uixij » L» . audi as "Mmt M4t TomgU 
m l>F»i»ili *.- "Ul Ut CmU Yam SmtHmml." 
'Whtm I Dnmm t<OU EHm," and othen the niei 

ml wtlt^ tmm itm mi «t CTi»»«i 

■■ r«B wMl »Mi*t o»tov. Ova ■ 



Stage Plays That Are Worth While 

(Readers in distant towns will do well to preser\e this list for reference when these 
spoken plays appear in their vicinity.) 



TRK Imm Ulnd Sctool of An offen cxCfOcal 
CiaMaB !• a^Mtnui and mn atDiloits. Our oitcai 
iBMJUMkn HtMlnale* tht tlBV^«ani 
r Io niiiiiumi I la luidjrapr pslm- 
Ms. PVOi w laatrwd IB a uctmlqiM bom nited 
to tkHr liM>inw in and ■Ulltj. « iTAfvi wUdI 
wlU i^Htv ^n III, an all year armscti allow tba 
■ ■■hall to bcKlB tb«lr coarse at ajij Umt. Ow dtr 
■■MIM Bi« alwaja oven to our pupUa li* crlUdak 
«i. aailmta wbhtnc to Bl«r ax our U 1- atudloa for 
A* MMI^KV. wtu find ezcellou tioardlrK ixar-lv- 
rnwiH* aotlal affair* will Ivinc tlica In pef^aoal 
iiaail wlKk ^nj cT «v aaat favaM sftlila. Addna 

LONG ISLAND SCHOOL Or AR.T 

I7SJ7 5-177 I>uffl«U St. Bnkoklrn. N.Y. 



I ^jfor. — Fay Bainter in "East U West." The 
I story of a quaint little Chinese maid who falls 
in love with a 30ung American. Racial bar- 
riers seem insurmountable, but there is a hap- 
I py and surprising ending. Has all the ingredi- 
I cnts of popular drama. Miss Bainter is pic- 
I turesqucly pleasing. 

I Century. — "Aphrodite." Highly colored and 
lavish presentation of a drama based upon 
Pierre Louys' exotic novel of ancient Alexan- 
dria. Superbly staged adaptation of the play 
[ that cau.sed a sensation in Paris. Dorothy 
I Dalton, the screen star, returns to the sUge in 
I the principal role of the Galilean courtesan. 
I Chrvsis. and scores. McKay Morris is ad- 
! mirable in the principal male role. The ballet, 
directed by Michel Fokine, is spirited and 
colorful. 

Cohan and Harris.— "The Royal Vagabond " 
A Cohanizrd opera comique in every sense of 
the words. A tuneful operetta pins Cohan 
?peed. pep and brash American humor. .\lso 
tinkling music And a corking cast, with Grace 
llsher, Tessa Kosta, John Goldsworthy and 
Frederick Santley. 

Cosmo.— "The Little WTiopper." Lively and 
amusing musical comedv with tuneful score by 
Rudolf Friml. Vi^enne Segal pleasantly 
heads the cast, which also numbers Harry C. 
Browne, who does excellent work, Mildred 
Richardson, and W. J. Ferguson. 

Comedy.— "Uy Lady Friends." Highly 
amusing entertainment adopted from a Conti- 
nental farce. Much of the humor is due to the 
able work of Qifton Crawford in the role o£ 
a guileless young manufacturer of Bibles 
whose efforts to spend money get him into all 
sorts of difficulties. June Walker scores in 
Mr. Crawford's support 

Eltingc— "The Girl in the Limousine." A 
daring, boudoir farce, by Wilson CoUison and 
Avery Hopkins, centering about a bed, which 
is invaded by every member of the cast during 
the evening. John Cumberland is very amus- 
ing, and prett>' Doris Kenyon, fresh from the 
screen, lends every aid. 

George M. Colian's. — Elsie Janis and her 
gang. Lively entertainment built about the 
experiences of the A. E. F. on the other side. 
Well put together by Miss Janis, who shines 
with decided brightness. A pleasant entertain- 
ment. 

Clobe. — "Apple Blossoms." The ambitious 
and much heralded operetU of Fritz Kreisler 
and Victor Jacobi, plus colorful Joseph Urban 
settings. An offering far above the musical 
average. John Charles Thomas sings admira- 
bly. Wilda Bennett is an attractive heroine 
and Florence Shirley lends a piquant person- 
ality to the proceedings. 

Hippodrome. — "Happy Days." Big and spec- 
tacular production t>-p<cal of the Hippodrome. 
The diving girls are again a feature, disporting 
in the huge "Hip" tank. 

//•«<xoii.— "Clarence " Booth Taddngton's 
delightful comedy, built about the way a re- 
turned soldier reunited a disturbed but typic- 
ally American household. Superb perform- 
ances by Alfred Lunt, Glenn Hunter and 
Helen Hayes give the comedy a fine verve. 

//ofTii. -"Wedding Bells." A light and 
highly amusing comedy by Salisbury Field. 
\dmirahly written and charmingly played by 
Margaret Lawrence and Wallace Eddinger. 
One of the things you should see. 

Henry Miller's. — "Moonlight and Honey- 
suckle." Ruth Chatterton in a charming 
comedy that might have been a big hit had the 
playwright taken full advantage of some Splen- 
did situations in the last act. As it is, it starts 
like a hare and ends like a tortoise. 

Maiine Ellioll's. — "The Unknown WoniaiL" 
.\ very emotional melodrama with Marjorie 
Rambcau in Bendel gowns and tears. Jean 
Robertson contributes a vivid bit as a "dope." 

Morcsco. — "Civilian Oothes." A delightful 
comedy to please evcr\-body. Brand new idea 
and cle\'erl}' worked out. Thurston Hall in 



the title role shares the honors with beautiful 
Olive Tell. Suppc.rt excellent. 

P/oy/iOujc— "Palmy Day>." A picturesque 
drama by Augustus Thomas, in which Milton 
Lackaye does the finest work of his career 
since "Jim the Penman." 

Plyiiioiilh.~"The Jest," Arthur Hopkins 
production of Sem Benelli's colorful and grip- 
ping Florentine drama. John and Lionel Bar- 
rymore arc again seen in their original roles. 
An admirable cast and Robert Edmund Jones' 
settings lend splendid aid. 

Princess. — "Nightie Night." Described by 
the program as a "wide awake farce," "Nightie 
Night" lives up to its billing. It has plenty 
of verve, ginger, and some daring. There are 
scores of laughs. Heading the very adequate 
cast are Francis Byrne, Suzanne Willa, Mal- 
colm Duncan and Dorothy Mortimer. 

Shuberi. — ^"The Magic Melody." A "roman- 
tic musical play" with a tuneful score and a 
picturesque Willy Pogany setting. Charles 
Purcell, Fay Marbe, Julia Dean, Earl Ben- 
ham and Carmel Meyers, the last two well 
known to the screen, head the cast. 

Tliirly-ninth .Street Theater.— "'Scandsi," 
Cosmo Hamilton's daring drama which Con- 
stance Talmadge played on the screen. Fran- 
cine Larrimore and Charles Cherry have the 
leading r6!es in the excellent footlight produc- 
tion. 

ON TOLIR 

"Ah Exchange of Wives." Another Cosmo 
Hamilton comedy which, however, never at- 
tains the spontaneity or piquancy of "Scan- 
dal." The chief blush-inducer is a scene on a 
sleeping porch. , 

"See-Saw." — A pleasant musical entertain- 
ment. The delightful Elizabeth Hines stands 
out and Dorothy Mackaye is pleasantly cast. 

"She Would and She Did." Grace George 
in a light (very light) comedy founded on a 
little hole in the golf links which Grace angrily 
made, resulting in her suspension from the -club 
for two months. Society and golf folks will 
probably find this an entertaining little play. 

E. H. Sothcm and Julia Marlowe in 
Shakespearean repertoire. These artists rep- 
resent the best traditions of our theater and 
their revivals of "Twelfth Night," "Hamlet," 
and "The Taming of the Shrew," are distin- 
guished in every sense of the word. 

"The Better 'Olc." The Cxibum production 
of the musical comedy based upon Bruce 
Baimsfather's new immortal cartoon creation. 
Old Bill Mr. Cobum's characterization of Bill 
is still as remarkable as e\Tr. 

"A Lonely Romeo," with Lew Fields. A 
lii^t show running in the usual groove. 
Frances Cameron, who is developing remarka- 
bly, is the bright figure of "A Lonely Romeo." 
while Mr. Fields is hisJuunorous self. There's 
a decidedly funny scene in a men's hat shop. 

"Chn Chin Chow." An opulent and beautiful 
musical extrax-aganza based upon the Arabian 
Nights tale of Ali Baba and the Forty Thieves. 
Dazzling series of sensuous stage pictures. 
"Oiu CMn Chow" is presented this year with 
an entirely new edition and new costumes. 
Marjorie Wood makes a colorful desert 
woman, Lionel Braham is very effective as the 
robber sheik and Eugene (Towles makes the 
role of steward stand out. George Rosely plays 
the young lover admirably. 

"La La Lucille." Musical comedy built 
around the efforts of a loving couple to ar- 
range a divorce in order to live up to the 
lerms of a millionaire aunt's will. A co- 
respondent is engaged and troubles begin. John 
E. Hazzard and Janet Velie play the would-be 
divorcees, while Marjorie Bentley and Helen 
Oark give able assistance. Light sonuner en- 
tertainment 

The Shuberi Gaieties of igig. A lively revue 
/with scores of statuesque girls and sttmning 
frocks. A decidedly attractive entertainment. 



MOTION PICTURE CLASSIC 

"John Ferguson." A straight drama ihat 
compares favorably with anything of the kind 
that New York has seen for years. Beauti- 
fully staged and acted. Masterpieces of tliis 
kind should be liberally patronized to encour- 
age others. 

George White's "Scandals of 1919." All 
sorts and \^riations of dancing make up for a 
lack of story or humor. The real star is 
piquant little Ann Pennington — as seductive a 
little iazzer as ever shimmied on Broadway. 
Then there's the lively dancing of Mr. White 
himself. 

"Friendly Enetmes." This is the record- 
breaking comedy drama of last se^ott, with 
Louis Mann in his original role. 

"At 9:45" An absorbing melodrama by 
Owen Davis. One of those thrillers in which 
every one in the cast is suspected of murder 
until the hiial curtain. Marie Goff proves to 
be a genuine discovery as the heroiue, and an 
excellent emotional performance is given by 
Edith Sha>'ne. 

"Three Wise Fools." Austin Strong's hu- 
man little drama of three crusty old bachelors 
who are bequeathed a young woman and who 
are subsequently rejuvenated. Melodrama 
with a heart throb. Helen Menken gives a 
striking performance of the nerve-racked hero- 
ine, while Claude Gillingwater is a delightfully 
testy old Teddy Findl'-v. 

"She's a Good Fellow." A light but pleasant 
musical comedy built about the efforts of old 
folks to break up a marriage between a loving 
3'oung couple. Joseph Santley is a likeable 
lover-husband, masquerading in skirts for a 
whole act Iv>' Sawyer, the very pleasing Ann 
Orr and Scott Welsh lend delightful assist- 
ance. 

"Listen, Lester" Lively, dancy show with 
considerable humor. Cast includes Gertrude 
Vianderbilt, Clifton Webb. Ada Lewis, Ada 
Mae Weeks and E^die Garvie. 

"39 East" A charming comedy founded on 
a boarding school romance in which many in- 
teresting characters make love-making difiicult 
for a pair of j'oung lovers. 

. "Up in Mabel's Room." Piquant, daring but 
decidedly amusing farce built about the pursuit 
of a dainty pink undergarment which bears the 
same name as a recent jazz dance. Admirable 
cast, including the radiant Hazel Dawn. "Up 
in Mabel's Room*' is an admirable example of 
well-knit farce. 

"The Unknown Purple." Interesting and 
well sustained thriller. The story of a convict 
who discovers a way to make himself invisible, 
transforming into a purple ray, and who starts 
out to get revenge- The invisible man steals 
necklaces, opens safes and passes thru doors. 
Richard Bennett gives a vigorous performance 
of the human ray. 

"Take It From Me" A comedy with music, 
in which a sporty young man falls heir to a 
department store and runs it according to the 
latest musical comedy methods. 

"Three Faces East." Another Secret Ser- 
vice-German spy drarti^ this one by Anthony 
Paul Kelly, one of our most successful photo- 
playwrights. The principal charm of this play 
is in trying to guess who are the German spies 
and who arc the Allies, just as we were puzzled 
in ''Cheating Cheaters" to know who were 
burglars and who were not. 

LEADING PICTURE THEATERS. 

Loew's N. V. and Loew's American Roof. — 
Photoplays; first runs. Daily program. 

Loea/s Metropolitan . Brooklyn. — Feature 
photoplays and vaudeville. 

Riz'oli. — ^De luxe photoplays with full sym- 
phony orchestra- Weekly program. 

Rialto. — Photoplays supreme. Program 
changes every week. 

Strand. — Select first-run photoplays. Pro- 
gram changes even,' week. 

Capitol. — Special screen prtKluctions phis a 
de luxe "demi-tasse" revue. An extraor- 
dinarily beautiful playhouse. 

(Seven) 



AN APOLOGY AND 
AN EXPLANATION 

On October ist, 1919, practically all of the printers and type- 
setters in and around New York went out on strike, including 
those who print this magazine. Without going into the merits 
of the controversy between the employers and the employees, we 
will simply say that we had no voice in the matter one way or 
the other. Several labor unions had differences among them- 
selves, and these differences caused the Publishers' Association 
to refuse to comply with the demands of certain labor unions. 
We do not belong to the Publishers' Association. That body 
conducted all the negotiations. When the printers and com- 
positors walked out, it was not in our power to make them walk 
back, even if we had been willing to give them everything they 
asked. Had we terms with one union, another union would 
have refused to handle our paper, and another union would 
have refused to make the plates which are necessary for us to 
have. In other words, our hands were tied. We were helpless. 
Some publications were fortunate enough to have some of their 
printing done for them in distant cities, some had it done by some 
other process (such as typewriting photographed) and some 
could not have their work done at all. The strike did not end 
until the latter part of November, having lasted nearly two 
months. 

During this time we did everything possible to supply our 
readers with this, their favorite magazine, on time and in good 
condition, but such was not possible. We left no stone unturned 
and were willing to go to any expense, but in spite of every effort, 
we were unable to meet the schedule, hence we were late. 
Furthermore, the magazine that you received was not the one 
we intended to give you. When the strike came on, this magazine 
was partly made up and partly printed, but we were unable to 
move either the type or the parts that had been printed. We 
managed to get out a MAGAZINE, but it was not the kind of 
magazine we wanted, it was the best we could. We could not 
even print an explanation and an apology, hence this one. We 
hoped, and still believe, that all of our esteemed readers, even 
those in distant parts, had heard of the great tie-up strike and 
that they would patiently wait. Some of our contemporaries took 
advantage of our extremities by issuing extra large editions on 
an advanced date, hoping thereby to secure some of our readers, 
instead of extending us the brotherly hand and saying, "Is there 
anything we can do for you in your distress?" We hope that 
they have largely profited by their business sagacity, but we be- 
lieve that we have not lost a single reader. Once a reader always 
a reader. 

We are now fully recovered from the disaster and from now 
on our readers may expect the finest magazine possible We 
have done this for ten years and we can do it now. WATCH US. 

THE M. P. PUBLISHING CO. 






Why Do People Like 

AV^Uiam S. Hart and 
Dorothy Dalton 




WHY is Dorotfav Dalton so well loved by 
her follower? Why does William S. 
Han attract and hold the admiration 
of almost every one? They both know the 
secret of nuking people Ukc them. 

If DoToth) Dalton and William S. Hart can 
do the thing that makes themselves liked by 
ihe most cosmopolitan audience in the world — 
people the>- never see — think how much easier 
it will be for yon to master this ability — win 
the confidence and liking of the people with 
whom yoo come in ccmtict. 

You too can have the power of making 
people like yoo. For by the same method used 
by Dr. Illackford in analyzing Miss Dalton and 
Mr. Hart, yoo can, at a glance, tell the char- 
acteristics of any man, woman or child^ell 
instantb their likes and dislikes, and YOU 
CA.\ M.\KE PEOPLE LIKE YOU. Here is 
how n :s done. 

Everyone you know can be placed in one of 
two general types— blond or bmnet. There is 
jts big a difference between the characteristics 
of a blnnd and those of a bnmet as there is 
between night and day. You persuade a blond 
in one way a hmnct in another. Klonds en- 
joy one phase of Ufe- bnmets another. Blends 
make good in one kind of job — bruncts in oae 
entirely dilTerenL 

To know these differences scientifically is 
^e first step in judging men and women; in 
getting: on with them; imtstering their minds; 
in making thenf like you; m winning their 
respect, admiration, kive and friendship. 

And when yon have learned these differ- 
eiicr»— when yon an tell at a glance just what 
to do and say to make any man or woman 
Hkc yju, yoor success in life is assured. 



What Dr. Blackford Says 

{Partial OMOlysit tmade frorm Photog rapks\ 

Miss Dalton has'a particDlarly fine physical iirganization. She belongs to 
the vital-motiTe trpc. Note the roundness of her features and tlic fullness of 
her figure. Tlie motive qualities show in Uie squareness of her face in full 
front view, and in the graceful poses and movements of her body. She lias 
splendid recuperative power. This gives vivacity, responsive energies, warmth 
and enthusiasm of nature. 

Miss Dalton is distinctly feminine in type. Note the slightly concave nose, 
tilted up at the end, the soft cnrves of her face and body, and the cnpid^low 
lips. Feminine characteristics are further shown in her lar^e, soulful eyes, 
her long, curling lashes, and the subtle humor and coquetry m her facial ex- 
pressioo. 

Miss Dalton belongs to the convex type, with the exception of the nose, 
which is plane tending to concave. Convexity of features indicates keeilness, 
quick responses, quickness in action and directness in speech. These qualities 
Miss Dalton manifests in her quick responsiveness to conditions of environ- 
ment, in her quick comprehension of artistic values and her readiness to iKake 
the most of a dtamatic situaticm. 

She is very emotional and strongly sentimental, and appeals to- these 
qualities in her audience. One loves Dorothy Dalton because she has the alt 
of winning yooT affecticm through her heart appeaL 



Paul Graham was a blond, and not until He 
had learned that Ihere was all the difference 
in the worM between the characteristics of a 
blond and those of a bnmet did he discover 
the secret of making people like him. 

Paul had been keeping books for years for 
a large corporation which had branches all 
over tlie country. It was generally thought 
by his associates that he would never rise 
above that iob. He had a tremendous ability 
with figures — could wind them around his little 
finger — but he did not have the ability to mix 
with big men ; did not know how to make 
people like him. 




What Miss Dalton's Manacer Says: 



Then one day the impossible happened. Paul 
Graham became popular. Business'men of im- 
portance who had formerly given him only a 
passing ncd of acquaintance suddenly showed 
a desire for his friendship. People — even 
strangers — actually went out of their way to 
do things for him. Even he was astoimdcd 
at his new power over men and women. Not 
only conid he get them to do what he wanted 
them to do, bat they actually anticipated his 
wishes and seemed eager to please him. 

From the day the change took place, he 
began to go up in business. Now he is the 
Head Anditor for his corporation at an im- 
mense increase in salary. And all this came to 
him simply because be learned the secret of 
making people like him. 

Another example — the case of a large maim- 
facturing concern. Trouble sprang up at one 
of the factories. The men taSced strike. 
Things looked ugly. Harry Winslow was sent 
to straighten it out. On the eve of a general 
walkout, he pacified the men and headoi off 
the strike. And not only this, but ever since 
then, that factory has led all the others for 
prodoction. He was able to do this, because 
he knew bow to make these men like him and 
to do what he wanted them to do. 

Another case, entirely different, is that of 
Henry Peters. Because of his ability to make 
people like him — his faculty for "getting under 
the skin" and making people think his way, 
he was given the position of Assistant to the 
President of a large firm. Two other men, 
both well liked by their fellow employees, 
had each expected to get the job. So when 
the outside man. Peters, came in, he was 
looked upon by everyone as an interloper and 
was openly disliked by every person in the 
office. 

Peters was handicapped in every way. But 
in spite of that in three weeks he had made 
fast friends of cvcrytme in the house and had 
even won over the two men who had been 
.most bitter against him. The whole secret is 
that he could tell in an instant how to appeal 
to any man and make himself well Hked. 

(Kigkt) 



A certein woman who had this ability 
moved with her family to another town. As 
IS often the case, it was a very difficult thing 
for any woman to break into the chill circle 
of society in this town if she was not known. 
But her ability to make people like her soon 
won for her the close friendship of many of 
the "best families" in the town. Some people 
wonder how she did it It was simply the 
secret af work — ^the secret of judging people's 
characters and making them like you. 

You realize of course that just knowing the 
difference between a blond and a brunet could 
not accomplish all these wonderful things. 
There are other things to be taken into ac- 
count. But here is the whole secret. 

You know everyone does not think alike. 
What one likes another dislikes. And what 
offends one pleases another. Well, there is 
your cue. You can make an instant "hit" 
with anyone if you say the things they want 
TOU to say and act the way they wani'you to 
- act Do this and they will surely like you and 
believe in you and go miles out of their wav 
to PLEASE YOU. 

You can do this easily by knowing certain 
simple signs. In addition to the difference in 
complexion eveo' man, woman and child has 
written on them signs as distinct as though 
ihey were in letters a foot high, which show 
yon from one qnick glance exactly what to 
say and to do to please them — to get them to 
believe — ^to think as you think — ^to do exactly 
what yon want them to do. 

As tmerringly as Dr. Blackford has told the 
characteristics of Miss Dalton and Mr. Hart 
yon can tell the weak and strong points of 
character in everyone you meet. 

Ill knowing these .'•imple signs is the whole 
secret of getting what you want out of lifc-r 
making friends of business and social advani. 
tage. Every great leader uses this method- 
That is why he IS a leader. Use it yourself 
and you will quickly become a leader — noth- 
ing can stop yoiL 

You have heard before of Dr. Blackford 
•he Charaaer Analyst Dr. Blackford's de- 
velopment and application of the science of 
Character Analy^sis has been built «on a sohd 
foundation of direct professional study of all 
kinds of men and women. After years of ex- 
ten.sive consulting work among business con- 
cerns, merchants, manufacturers. Chambers of 
Commerce, and trade associations. Dr. Black- 
ford made a trip around the world, observing 
widely different races, comparing notes with 
leading specialists of forty nations, comparing 
theories with such famous authorities as Al- 
fred Haddon, Metchnikoff and Giuseppe Sergi, 
and studying the exhaustive records of Ber- 
tillon. So Dr. Blackford's store of ideas in 
the realm of human relations has become 
probably the most carefully arranged exhibit 
of facts on cliaracter stndv in the United 
States. " . 

It is not surprising, therefore, that many 
concerns will not employ a man without first 
getting Dr. Blackford to pass on hmi. Con- 
cerns such as Westinghouse Electric and 
Manufacturing- Company. Baker- Vawter Com- 
pany, the Lanrentide Company, Ltd., and 
many others^ pay Dr. Blackford large annual 
lees for advice on dealing with human nature. 

So great was the demand foi- these service*, 
that Dr. Blackford could not even begin to 
fill an the engagements. So Dr. Blackford 
has explained the method in a simple se»'en- 
•eson coarse, entitled, "Reading Character at 
Sight" Even a half hour's reading of this 
wonderful course will give you an insight- 
mto human natiue, and a pow-er over people 
which will surprise yoa. 

Such confidence have the pubUshers in Dr. 
".•"cfcford's Coiu-se, "Reading Character at 
Sight," that they will gladly .send it to you on 
approval, all charges prepaid. Look it over 
thoroughly. See if it Kves up to all the claims 
made for it If >-ou do not want to keep it, 
then rctam it and the transaction is closed. 
And if you decide to keep it— as you surely 




What Dr. 
Blackford Says 

[Partiaf analysis tuade 
from Photographs] 

Mr. William S. Hart is a 
fine c&amplc of a ketn intel- 
lect, dominating and direct- 
ing both the activities of his 
muscles and the play of .his 
emotions. This characteris- 
tic enables its possessor con- 
sciotisly and uncrringlr to 
express in the finest shad- 
ings of posture, gesture, 
walk, and features, just the 
meaning he wishes to con- 
vey. 

This is shown first, by the height, breadth and depth of his forehead and the keenne« nf hi. 
fl!- "^■*^''"^ intellectual power ol penetration ; second bv the length an"firm^« of hie ?. J^L 
p£;3S*iTc"^tir''"' "' cmotion-and the length and fineness of Si? chil. tTa^ng c'o^trTTf 

Keen observation is shown in the fine development of the lower oart of th*. inr-h^ i _^--». - 

aliiO as 1 basis for jtidKineDt as to what will plijast thtm in the pictures. sjrmpatlues, bat 

One of the most marked traits about Mr. Hart is his determination which is d»>-_ ^ .1,- 

n.s.r^'^^st^.i'^'-n^i^^^^^^^^s^'t:^ ^d^'f's'f'eh^^ '■•« -■"•^-o 



hjs ^^r-.^ L™ws "ETw f^^i^-s. "J^ssi'^nf i^~^,rr;;faAre.n^-in"^ 

5SfeVd^•^B^'ti"'an7•SSlc',es.*"™-' ""^ *'^' "■" '^' ''"^^^tion tVU^'plSTlhS. "^ 



. .J^'^ "* I"*!""" «•"<* liTK^Iy eipUm Mr. Hart's stu»~ss in motion nictnm ht h, ,AA. 
to them an miusoal capaoty for concentration. He not oniT starts, bu. ^o ^.^fTu^' ^ ^. 

and difficult the job, J.e sticks and he finishes. ^ ° """" '""• 'b««r«»»>fc 




will— then merely remit five dollars in fnU 
payment 

Remember, yon take no risk, vou assume no 
obligahon to buy. The entire "course goes to 
jou on approval You have everything to 

^. '■??"' *^"' ''°* *° ""^f: people like you. 
whde this remarkable offer is still on. 



Indq>endent Corpcx-atkm 

Publishers of the Independent Weeklv 
DfVt- B-S7I. 119 West 40th St. Nei' York. 

You may send roe Dr. Blackford's Course 
of seven^ lessons entitled "Reading Oiaracter 
at Sight" I -will either remail the course to 
you wthin five days after its receipt or send 
you $5 in full paj-mcnt of the Coiu-se. 



Name 



Wliat Mr. Hart's Manaccr Siqrs: 



Address 



M. P. CiMrtc l-M 



If you loDg for more color 

Csr tku immtotu tre*tmtnt 
for rounuf slugg%sk sk%m 

lost before rctirittf. »***» TO"*" 
Ucc »nd neck wilh plrnly o* Wood 
btU7** Kacial Soap xnA warm water. 
I( your »kin ha* been badly neg 
Icctrd, rob a genfroo* lather thor- 
Ottshly into the pores, mm% an up- 
ward and outward motion. Oo 
llm tintil the »kin (eels somewhat 
■rnvtive. Rinse well m wami 
water, then in coW. Whenever 
pc«siblc. rub your skin (or five min- 
utes with a piece ol ice and dry 
carefuny. 



For pale, sallow skins 

grealer stimntation. 



requinnc 
the nrw 

treatment. You will find it 

.J the booklet wrapped around every 
cake o( Woodbmr'* Facial Soap. 





To make your skin 

noticeably lovely - Give it the reguW care it had 
when you were a baby 



When you were a baby, your 
skin was exquisitely soft — clear, 
delicate — daintily rose-pink and 
white. 

People loved to touch your rose- 
petal cheeks, your soft smooth 
little hands. 

Do you ever stop to think what 
kept your skin so fine and soft? 
What is keeping it now from be- 
ing as fine and soft as it can be? 
No matter how you have neg- 
lected your skin, you can make 
it exquisite in texture. You can 
have the glorious color of youth. 
You must begin at once to give 
. your skin the tender, regular 
care it received when you were a 
baby. 

Every night Ijefore retiring, 
cleanse it thoroughly — just as 
thoroughly as a baby's skin is 
cleansed every night. If your 
skin has lost its delicacy and 
clearness, use the particular 



Woodbury treatment indicated 
for its needs. 

Do you want more color? Are 
vour pores enlarged ? Have you 
disfiguring blemishes or black- 
heads ? These conditions are the 
result of neglect and the constant 
exposure to which your skin is 
subjected. The right Woodbury 
treatment, used nightly, will cor- 
rect them. 

Get a cake of Woodbury's Facial 
Soap and have your first treat- 
ment tonight. The feeling the 
first two or three treatments 
leave on your skin will tell you 
how much good its regular use 
is going to do you. In a week or 
ten davs vou will begin to notice 



a decided improvement — the 
greater clearness, smoothness, 
fineness and color you long foi 

Woodbury's is for sale at drug 
stores and toilet goods counters 
throughout the United States 
and Canada. A 25 cent cake 
will last a month or si.x weeks. 

Sample cake of soap, booklet of 
famous treatments, samples of 
Woodbury's Facial Powder, 
Facial Cream and Cold Cream, 
sent to you for 15 cents. 

For 6 cents we will send you a trial size 
cake (enough for a week or ten days of any 
Woodbury facial treatment) together with 
the booklet of treatments, "A Skin Vou Love 
To Touch". Or for 15 cents we will send 
you the treatment booklet and samples of 
Woodbury's Facial Soap. Facial Powder, 
Facial Cream and Cold Cream. Address the 
Andrew Jergens Co.. 901 Spring GrOTC 
Avenue, Cincinnati. Ohio. 







Wrapped around every 
cake of Woodbury's Fa- 
cial Soap is the booklet, 
"A Skiu You Love To 
ToL'ch." It contaims set- 
cmtific adz-ice ok the skim 
and scalp, and fnil di- 
rections for alt the fa- 
mous Woodbury treat- 
ments. 



(Ten) 




LOU-TELLECEN. 




loTicssr 




Fhotocraph hj De Meyw 



liA.eCIC 




Photograph © by Alfred Chcnty JohnilM 



MARY MILES MINTER 

A IxMiisiuu (irl, little Miss Minter, 
then known as Juliet Shelby, served a 
lone stage apprenticeship as a child. 
Her real hit came in the girl in "The 
Littlest Rebel" with the Famums. "The 
Fairy and the WaiT' shortly after marked 
her silTersbeet ithat 




Photograph @ by Alfavd Cheney Johnston 



CORINNE GKIFFTTH 

Miss Griffith is nniversalljr recofnixsd 
as one of screenland's beauties. Bom 
in Texas, Miss Griffith started with 
Western Vitasraph — and she has since 
continued with that orfanization; altho 
society drama, nther than rugged 
frontier stories now serre as her Tehides 




MAY ALLISON 

May Allison is now accepted as one 
of our foremost comMiennes. Miss 
Allison is a Dixie girl and a member of 
the famous Wise family of old Georgia. 
The stage served as a stepping stone to 
the screen, where she first attracted 
attention as a leading woman for the late 
Harold Lockwood 



Photograph by Evans, L. A, 



§ 







natetnsh bj Caapbdl Stndioi 



JUNE CAPRICB 

Miss Caprice is a Boston eirl- She made 
her film dibut as a star with William 
Fox in "Caprice of the Mountains" and 
a star she has been ever since. Jnst now 
she is under the Caprllani banner 




THIS is no conventional chat- 
for-an-hour interview — this 
composite view of Dick Bar- 
thelmess. For it is the product 
of many hours together ; in the 
country, in the city, under vary- 
ing conditions. 

I would shudder to write my 
impressions of Barthelmcss after 
seeing him once. He is too elu- 
sive, too much within himself. 
He sits half broodingly, saying 
ery little, laughing now and then 
ith typical boyish high spirits, tempered by an odd 
mi-worldliness. But to paint a word picture of 
im after one meeting would be impossible. 

I know that now I have not wholly found the 
real Barthelmess. But here and there in our con- 
versation flashe.s have revealed something of this boy 
who became famous over night for his Yellow Man 
in "Broken Blossoms." 

We first met after the premiere of the Griffith pro- 
duction He had everj- reason to have lost his head 
in the avalanche of praise. But he hadn't. A sin- 
gular mental balance is his. 

Indeed, he is the most nniisnal young actor I ever 



Barthelmess: the Boy 



met. Because be isn't the least like a player. None of the 
things we call temperament are there, just a down-right, 
reguhu', breath-taking boyishness. Not a slam-bang, certaiu- 
of-himself bojrishness either, but a quiet, introspective sort 

Just before this "interview" was written we went to a 
musical comedy together. Barthelmess didn't lan^ at the 
cheap humor of it. Neither did he assume a high-brow air 
in commenting upon its banality. But he was frankly — and 
boyishly — interested in the girls. 

Some one interviewed Barthelmess on the coast and pro- 
nounced him a shrinking lad who loved books. They dtdt^t 
see him as I saw him. 

Yet Barthelmess does lo-'e good books. He reads a great 
deal One night he dropped a volume of Blasco Ibanez 
to have dinner with me. 

But Barthelmess is many sided. 

He loves the feminine note in life. 

His ideal type of girl ? "Rather tall and slender," he said, 
(and I know he will shudder to read this), "she needn't 
necessarily be either blonde or brtmette, but she must be 
attractive." 

"What about brains?" we parried. 

Barthelmess paused. "I was thinking of an ideal dancing 
partner. Of course, I hope some day to meet a combination 
of beauty and brains. Possibly I have met them but they 
have not been able to see me for dirt." No coiKeit there. 

Yes, Barthelmess loves to dance. Cabarets appeal to him. 

But he confessed: "After two or three weeks of New 
York night life — with theaters and midnight dancing — I 
feel as if I were wasting myself. Sort of as tho I needed 
a mental bath." 

Then — odd as you may think — Barthelmess goes away 
into the country, near his home in Connecticut. 

"I have a quaint old room in a quaint old farmhouse," hf 
relates, "I sleep in a four-poster and I sleep. I 
read a lot and I dream. Somehow. I guess I like 



Dick Barthelmess -isn't the least like > 
pb^er. None of the things we call tem- 
pcrunent are there, just a down-right, 
regalar, breath-taking boyishness. Not 
a slam-bang, certain-of-himself boyish- 
ness, but a quiet, introspective sort 



that best of all." Did I .say 
Barthelmess is many sided? 

No, Barthelmess is not "tem- 
peramental" as the word is used 
in screen circles. Not that he 
lacks ambition. He has fought 
every inch of his way. 

His mother an actress. Bar- 
thelmess came from collie to 
try his luck on the screen. The 
role of the younger brother in 
Herbert Brenon's "War Brides" 
with Alia Nazimova, gave him 
his surt. But it by no means 
made him. He drifted, not quite 
able to do anything big anywhere. 

"I almost starved before my 
opportutiity with Griffith came.' 
he told me laconically, "really al 
most starved." 

Naturally Barthelmess looks 

(avteen) 



A Composite Study 

By Frederick James Smith 



npon Griffith with eyes of genuine worship. "He 
is more like a father than an emplojrer or the 
master the world sees," the young actor says. 
"Gee, 111 be glad when he comes easl I always 
feel that I can tell him all my troubles and atways 
be told just how to solve things?" 

That was before Griffith brought his studio 
staff eiist and b^;an producing in Westchester. 
(Right here let me add that the producer re- 
mailcs anent' Barthelmess and Bobbie Harron: 
"No cleaner minded boys ever lived.") 

Of course, Barthelmess just a bit envies the 
young stars of the celluloid drama who have 
every means, particularly financial, to advance 
themselves. "I wish I had money to buy plays 
and books now and lay them aside for a future 
day, when I shall have learned enough and made 
enough friends everywhere to be a star — that is, 
if that day comes." 

His favorite role? Not the Yellow Man but 
the lover with Marguerite Oarke in "Three Men 
«nd a Girl." He likes that sort of light romantic 
character best. Probably, "111 Get Him Yet" is 
his next choice. 

The Mexican vagabond hero of "Scarlet Days" 
interested •Barthelmess a great deal. "It was 
different, at least, to ride a mustang and wear 
a mustadie," he laughs. Critics have said that 
it was a boyish Walthall come to the screen, this 
stesitive, glamorous, dashing desperado with the 
haunting vein of humor and sadness. ^ 

Barthelmess has been playing a beachcomber m 



Bartfaelmeas loves mo«t of all to May 
at his old home in Connecticiit. 
"I have a <iiuunt old room in a quaint 
old fannhoose," he lays, "I deep in 
a foor-poiter and I aleep. I read a 
lot and I dream." Two viewa of 
BrthflmfM in "Scarlet Days" are 
iriiown on dieac pacea 





a forthcoming Griffith story of the South 
Seas. This will be his latest contribution 
to the screen — and a fascinating one it 
should be, with. Barthelmess plajring 
opposite Clarine Seymour, the famous 
"cutie beautiful.'' Miss Seymour por- 
trays a hula hula maid — and does it viv- 
idly, judging from our studio glimpses. 

But to return to Barthelmess. 

There is no question but that Dick 
holds a place all his own on the screen. 
Comparisons have been made with Charles 
Ray, but the two young men are poles 
apart. Youth alone makes them com- 
parable. Ray is the film's foremost ex- 
ponent of the genre school — Barthelmess 
of the humanely romantic school. 

The silversheet has needed just this 
touch. It has been missing since Wal- 
thall contributed his "little Colonel" to 
"The Birth of a Nation." The Yellow 
Man was the first idealistic touch of poet- 
ry since that lovable character. 

There is one vivid thingin Barthelmess' 
character that I haven't touched upon. 
{Cotttinued on page 74) 



(Senenleeiti 




The Youngest of the 
House o' Hammer- 
stein 

to be {Jaced, we didn't actually get started until 
three this morning, and mother and I didn't get 
home until five, and— O, well, the world's going 
around just the same." 

She laughed and curled up in a brocaded chair. 
I was glad it was near the window, because every 
now and then, as she turned, the light reflected 
the moist greynesS of her eyes, and from the twin- 
kle they flung out I knew I liked her right away— 
that she was the sort everybody liked— enor- 
mously^right away. She was so vibrant, so full 
of fun. . . _ 

"Yes, the suburbs of Phfladelphta. They were 
my background until I was seventeen," b^;an 
Miss Hammerstein. "I was brought up at a per- 
fectly dear seminary called 'The Armitage.' If it 
wasn't for 'The A r- 
The sut)urb« of PhiladelphU milage,' I suppose I'd 
were Elaine Hammerstein's (,£ a musical comedy 
background .inta she was seven- gtar today. So— thank 
teen. She was brought up m ■ »"■ ,^ t„, 'Th^ Ar. 
seminary caUed The Armitage.' the Lord for Ihe Ar- 
Across the page is a glimpse of milage'." 
Elaine and Myron Selznick, her Then she jovially 

manager ^Q^^ ^^ „£ jhe sum- 



rwas the first taste of November. Rak 
shot thru the air and there was suffi- 
cient chill to warrant furs and a wrap. 
Brrxl 

The soap-scented elevator lifted me to im- 
4neasurable heights, where I got out amongst 
the clouds at the — th floor, and sailed in 
upon a soft atmosphere of blueness that was 
— heavenly. A maid told me to wait. (There 
are maids in these places.) And from my 
glory of azure velvet, underneath a lamp of 
golden tints, nooked out on the drizzle — 
doubting its reality. 

Elaine came into the room, and I saw the 
purple of her kimona, the grey of her eyes, 
and the tiniest auburn veil that glimpses 
thru her hair — and I knew movies were 
never like this! 

"Good morning," said Miss Hammer- 
stein. My maledictions on November 
changed instantly to enthusiasm for the sea- 
son. "Good morning. It's funny how I can 
say 'Good morning,' isn't it, when I thought 
a few hours ago that everything in the uni- 
verse was changed. You see, all day yester- 
day I was working on 'The Country Cousin' 
at Glen Cove. Last night we were called up- 
on to go to Scarborough to take some scenes 
of a garden fete, and, due to the many lights 
that had to be used, and the extras that had 




(SigM»tit) 



f^a 



By G. Biythe Sherwood 



mer she was vacationing in Canada. 
Elaine loves the outdoors. She is crazy 
about swimming, riding, paddling, and 
keeping generally fit for sportsmanship. 
Along towards the end of a glorious Au- 
gust came a note from her father which 
read, "Come home. I have had a part 
written for you in 'High Jinks'." Elaine's 
father is Arthur, and Arthur's father was 
Oscar — the late Oscar Hammerstein. The 
one. 

Elaine went. She rehearsed. And had 
a violent time with the make-up. For 
"The Armitage" even powder had been 
forbidden. And the day after the pre- 
miere at the Casino Theater in New York, 
Elaine — by the critics and by the public — 
was acclaimed a hit I Everyone went wild 
over the freshness and piquancy of Mr. 
Hammerstein's young, beautiful daugh- 
ter. They thought she 
had the most delight- 
ful, natural way. But 
no one, except Elaine 
and her mother and 





(Nineteen) 



Elaine Hammerstein loves tlie outdoors. 
She is crazy about swunming, riding, 
and boating. Indeed, she went on the 
stage in her father's "High Jinks" after 
a summer in the Canadian wilds 

her father, knew that she had never sung 
or danced before in her life! 

Miss Hammerstein laughed so deliciously 
as she confided all this to me now, but a 
moment later she sobered, when she recalled 
the nights thaf followed nights with her pic- 
tures in the papers — and how it hurt her — 
along with the way the people of the com- 
pany felt towards her because of that pub- 
licity. 

"I didn't care a bit for the old clippings, 
and worse than that, I couldn't stand the 
footlights, and the necessity of having to 
work on Wednesdays and Saturdays — when 
tITe sun was out — and on evenings when 
there was another play I wanted to see, or 
a party of my friends who were going off to 
dance or skate. It was a miserable time for 
me. The only nights that were happy ones 
were when the boys and girls from school 
would come and sit ip a box, and wave to 
me. And I'd return the salutations and 
forget the play — and father would send 
{Continued on page 78) 




JOHN BowEKS, leading man 
of many pictures, has just 
signed a contract for an- 
other year of work with Gold- 
wyn ; a year which — who 
knows? — may end with his 
becoming a star. 

He is very handsome, is John Bow- 
ers — but this could hardly be called 
news — at least six feet in height and 
athletic looking with dark eyes and 
chestnut brown curly hair. 

He tells a pathetic story about those 
curls which is worth repeating here in 
order to have it over with.. It seems 
that recently, when he went to see one 
of his own pkrtures run oflF at a local 
theater, he heard a violent argument 
between two women about his hair. 
One insisted that "no hair could curl 
naturally like that" and offered to bet 
the other "every cent she had in the 
worW" that it was marcelled. Let me 
say right here that he was more in- 
dignant than amused; he has done 
everything possible to keep it plastered 
down ever since. 

But to get to my interview : 

The fact that he is a good actor and 
handsome are not his only claims to 
distinction. Along the water front 
many people entirely unfamiliar with 
the famous ones of the stage and screen 



The Owner of the 
"Uncas" 



"When the northwest wind is blowing hard. 

And blue and while is the sky. 
And the sharp-cut waves are streaked and scarred. 

Where the darting squalls race by; 
When the leeward shrouds are whelmed in green 

And the leeward deck's a foam, 
\^nd a dancing wake all "white is seen 

Back toward the shores of home — 
OP,, that is the day mv heart would choose 

For setting sail on an Augtist cruise." 

—At. A. Dellolfe Howe. 



recognize the name of John Bowers just as soon as it is spoken. 
"Who, him?" one of these will say, "Why, sure! I know who he is! 
He's the owner of the Uncas, a racing yacht with just about the classi- 
est li'l record you ever saw ; bought her some little time ago — " 
It is this yacht that John Bowers thinks of as home. 
This doesn't mean that he has no love for the little white bungalow 
just two blocks from the Goldwyn studio, where he and Mrs. 
Bowers play at keeping house. He couldn't help being fond 
of it, the place is so pretty. And, too, "We have lived so 
long in hotels and apartments," he said, "that life in a real 
house seems like a game." But "a man's home is where his 
heart is," and on the day I saw John Bowers his heart was 
away off with the Uncas on the Hudson River. He was, I 
think, the most homesick young man in the world. It was 
a warm day in early August and a light breeze blew in from 

the Pacific, reminding one that 
Venice (and solid comfort in 
a bathing suit) was only about 
twenty minutes away. He was 
playing the part of a photog- 
rapher. He stood on a London 
roof at the Goldwyn studio ; a 
nice, solid, realistic roof about 
twenty feet from the ground 
with no house underneath, 
and under Frank Lloyd's 
direction, photographed 
the funniest family group I 
have ever seen. Director and 



John Bowers loves 
his yacht, the "Un- 
cas," nore than 
most anything else 
in the world. The 
* Uncas" is a $25,000 
schooner yacht — a 
70-f ooter — built on 
long, graceful lines, 
painted white and 
with fittings of ma- 
hogany 




fTtoenty) 




By ELIZABETH 
PELTRET 



cameraman were precar- 
iously perched on a mov- 
able platform opposite, 
which rocked lightly at 
their least energetic 
movement while an or- 
chestra, there for "at- 
mospheric" purposes, 
played teasingly a f e w 
bars from "Rocked in the 
Cradle of the Deep." 

"The Uncas is really 
doming," John Bowers 
said, joining me when 
the scene was over. "I've 
made definite arrange- 
ments at last. Hal and 
Doc Wilson (shipbuild- 
ers of Balboa, a sea-side 
resort near Los Angeles, 
and his inseparable com- 
panions on many a 
cruise) are going to 
oiake up a party of seven 
or eight people and bring 
her around thru the 
canal. I almost think I'd 
like to sleep until she gets 
here, the waiting will be 
so long ! Talk about your 
passionate love scenes — 
I'm going to stage one 
when that boat arrives." 
He was speaking lightly 
and whimsically but with 
an undertone of serious- 
ness. "I'm going to wade 
out into the Pacific to 
meet her and kiss her 
right on the bow-sprit !" 

He laughed at the idea 
but he was more than 
half in earnest. Anyone 
who has ever owned any 
sort of a boat knows that 
it may seem as vivid and 
living a thing as one's 
dearest friend and as full 
of unaccountable moods 
and actions. And when, 
in addition to this, she is 
a beautiful boat and fa- 
mous — well, one could 
not ask for more. And 
the Uncas is both beau- 
tiful and famous ; she has 
a raring record known 
among yachtsmen everywhere. 

She is a $25,000 schooner yacht — a seventy- footer — ^built on 
long graceful lines, painted white and with fittings of rta- 
hogany. Her staterooms are large and comfortably furnished. 
He could take nine guests for a thirty-one day cruise without 
their missing any necessities or luxuries. One does not won- 
der that her young owner speaks of her with all the warm en- 
thusiasm of a young man describing his sweetheart as "the 
only girL" John Bowers has been interested in boats ever 
since he can remember, he told me. The first one he owned 
was a twenty-one footer and he built her himself when he was 
still in his 'teens. He used to sail her around Lake Wawasee, 

(Iwtnt]i-&iit) 



John Bowers has a broad and 
characteristic philosophy — a 
belief that everything moves in 
cycles and that individuals re- 
turn again and again, each time 
OA a higher pliuie, until they 
reach perfection 



Indiana, and he grew so expert in handling Eer that the only 
"way he could get any excitement was by purposely "turning 
turtle" when he knew his parents were watching him, frighten- 
ing them almost to death and getting a lot of fun out of the 
many attempts to rescue h'm. He is, by the way, one of a 
{Continued on page 79) 





veasted in lien 



Photograph b; Puffer, N. \\ 



THIS is an amazing interview 
because, (this will require 
elucidation), it is not amaz- 
ing at all; that is, save as an 
interview. It is with Norma 
Talmadge, and the day I sallied 
forth to "get" her, I sallied pre- 
pared to be amazed. "Of course," 
I thought, subwaying jerkily 
along, "of course . . . young, 
very young, really . . . the ex- 
traordinary and undeniable touch of a 
real genius . . . widely acclaimed . . . 
at the top of the ladder, so to speak . . . 
things are bound to have happened in her 
as it were . . . sybaritic, perhaps . . . some distni;^iishmjf 
eccentricity . . . couldn't be helped ... I dont know just 
what . . . bat so met hint/ ..." 

Nothing at all. The girl who, admittedly, stared, some years 
,igo, at the .screen and murmured to her mother, in the .sur- 
roundins; darkness, "That's what / want to do . . . be a movie 
actress," who, afterward, wandered solitarily about the \'ita- 
graph studio until she was given a chance — that self same 
girl talked with mc in her own stmlio, the Norma Tahuadgc 
Film Corporation, the other day. Talked tii//i me. not to me. 
I say that advisedly. 

In one preconceived particular I was right. She is young. 
Marvellously young. More as to viewpoint and general man- 
nerism, or rather, total lack of conscious mannerism, than cither 
line or tint. She is possessed of that sophistication which ap- 
pears to be unconscious of itself. She has ideals and does not 
attempt to conceal them. There is no thinly applied veneer 
of cvTiicism, nor, on the other han<l, is there the sugar-coated 
b.^by-staring of the curly ingenue. .'>he is just a girl with a 
soice of the divil in her and a belief in things . . . probablv 
Santa Claus and fairies. She appears to be quite unconcerned 
about herself, the eminence she has achieved, the altitude 
from which she could look down upon the lesser lights. 

A (if not the) consuming passion with her is her work. It is 



The Amazing 

By FAITH 

interesting to know that she really and absorbedly loves it ; not 
he resuhf only, generally she feels a dissatisfaction with them, 
but wth the work itself, the details of it, the everyday, all- 
night details. "I took a three months' vacation th>s ™e; 
she said, "or tried to and after about one ™"th "early 
went mad. 'Phoned the studio every day and finally cut it 
; month short and got back imo harness 1 -ould never 
stand the gentle art of doing nothing. That would be too 

strenuous for me!" •Ronlah 

We had a plain chummy sort of an afternoon, B^ulah 
Livingstone, who does all of Norma's publicity and also that 
of wf sister, Constance. Norma and I. There was only one 
tentatively uneasy person present. That person was Beulah 
Livingstone. She had "arranged" the mtervievv and she 
was immensely anxious that the mterviewee and likewise 
the interviewer should, as it were, come up to scratch, buch 
did not seem to her to be the case. What possible press- 
value could result from two giggling people who seemed to 
be saying nothing more pertinent than admissions of jond- 
ness for the same brand of cigaret, for "hen parties and 
for certain unimportant persons having nothing to do with 
the intensive field of interviewing? U' hat mdeed 
thought Miss-Livingstone, prodding first Noniia and 



Norma Talmadge is young. 
Marvellously young. More 
as to viewpoint and general 
mannerism, or rather, total 
lack of conscious mannerism- 
She has ideals and does not 
attempt to conceal them. 
There is no thinly applied 
veneer of cynicism' not any- 
thing of the baby-staring of 
the ingenue. Center, Miss 
Talmadge and W y n d h a m 
Standing at Miami, Fla. 

Photograph by Puffer, N. V. 




(Tuenlii two) 



Interview 



SERVICE 



then myself, furtively and occasionally, in the 
vain hope of turning the talk into publishable 
channels. Eventually, be it said, she, too, 
succumbed and we smoked and gossiped and 
laughed a perfectly good interview away. 
Also, this is probably more important to 
me than to anybody, else, we spent. Norma 
and I, several more of the precious inter- 
rogative moments in comparing palms, both 
hers and mine being equally wrinkled, lined 
and then crosslined. "My child," said Norma, 
with sagacity, "you're going to have a fear- 
ful life, all .sorts of weird and interesting 
things. That is what everybody tells me." 
We were holding this frivolous session, 
be it said, in Norma's (I am a realist, so it 
has to be Norma . . . that is, she is going 
to censor this interview, so it may NOT be 
Norma, in whicji event you will know that 
she has blue-pencilled it, which I lay an 





Norma Talmidee ii a "regu- 
lar person." She ii essen- 
tially human. She is nothing 
of the snob, nothing of the 
highbrow. She detests the 
easily and prudishly shocked. 
She is free - and easy and 
talk to-able and at-able 



even wager with you she will not) as I was saying 
when I interrupted myself, the wholly desirable "hen 
party" was held in Norma's private apartment built for 
her and by her in the Talmadge studio. I believe it is 
the only thing of its kind in studioivity. I may be 
mistaken, in which event there will be more blue-pen- 
cilling done. This relieves me of all strain. The apart- 
ment is delicious, compact and complete, aside from 
being an innovation. You step from the hammering 
and shifting and shouting and general activity of the 
studio into quite another world, quiet, tasteful, apart. 
There is a tiny entrance hall. There is a large sort of a 
main room, part living room, part dressing room, which 
is, of course, its .chief use. The walls are a soft cream 
effect and the high windows are hung in some sort of 
effective cretonne. There is a mammoth black wicker 
dressing table topped by an oval mirror framed in black 
wicker. There is a comfy black wicker chaise-longue, 
occupied that afternoon by a diminutive and much- 
beloved "Pom." There are one or two made-to-be-sat- 
in black wicker chairs. A broad window-seat, uphol- 
stered, runs beneath the cretonned windows. There are 
two capacious clothes closets containing sundry cos- 
tumes. Aside from all this, there is a complete little 
(Continued on page 87) 




\ An 

Old-Fashioned 

Girl 



of nventj-fiv-e doUars a month denved 

frotn some prop«rt>- ot her ovrn. The 
br^e V^g mother did the thmg she 
S best how to do She raised blooded 
stock and pedigreed hunting dogs. Her 
f^°^ts caK live with her and a new 

■'''%UrMacIvor was a deUcate child. 
^bVw'as unable to attend school regu- 

•";-;v and was taught by her mother at 
•:-V~;e Her maternal grandparents were 
Scholarly people, and Mao'^s first recol- 
■e-°ons are ot the poems her grand- 
t::lr ,..ed ro recite. His collection of 
-:,s ;.s her playground^^ She^began 

early and 
whiled away 
the hours 
curled up in 
an armchair, 
either read- 
ing to herself 
or listening 
to her grand- 
father. 
Mary's first 



L«ft. William .Des- 
mond, hnrtrnd ot the 
"old-fashioned gin 
and, below, the^ De*- 
mosds at breaiiast m 
their HoUywood bun- 
gilow. Miss Maelvor 
is ii:8t past e:«ateen 
and' looks Uie a mere 
schoolgir'.. raOier thyi 
a leadLng lady and wiie 
o! a star 



naiorn^ b«:cw by S-.ifJ 



W« WiHr Wintao ri»s thra *25^ 
L,>tair» mi" Aoaaatam in ba B«btSoaa; 
Peerin' m th' window. 
Cryw- at th' loA— 
'Are th" haims a' in bed? Noo, ifs ten 
o'clodc." 

THAT was one of linle Mary Mac- 
Ivor's favorite nursen.- rhj-mes^ 
Her ancestors on both sides of 
the family were Scotch, and tradition 
has it that ti>e wotnen of her clan are 
small, the men tall and handsome — 
true 'defenders of their kith and kin. 

Mary never saw her father, but 

she \tms to hear how splendid and 

how good he wa* and to look at his 

pictures. VMien her brother had 

passed his ninth birthday, the young 

fytty r dMd of doable pnetunonia. 

and the shock of hw death caused the 

premature birth of the child, .^fter 

his death there were money worries. 

and when all the debts had been paid, 

the great farm sold and the little 

family forced to leave the beautiful 

old house for a smaller place m the 

mountains of Virginia, Mary's mother 

had nothing to Stan on but an income 




rrK«i««*7o»rJ 



By FRITZl REMONT 



great grief came with the death of the only real "cjaddy" she 
had ever known. 

As she grew up and became stronger, Mar>- was taught to 
ride the fine horses her mother bred. She was afraid to take 
the high jump, but she would ner\e herself for it whispering 
her mother's instructions, "Give him his head when he goes 
down, pull him up as he lands." 

Mary Maclvor is an old-fashioned girl, rich in the tradi- 
tions of the South. She knows how to do fine hand-sewing 
and can dam a hole in such a way that it improves a frock. 
On certain days o'f the week, her mother used to have Mary 
prepare the luncheon and taught her how it should be served. 
At such times Mary put on a tiny cap and apron and waited 
on the table with great formality. It was a game, but it pre- 
pared the girl for the home she manages so gracefully now. 

"We had the prettiest wedding ! An old friend of ours, in 
Pasadena, has a rare collection of Chinese works of art. She 
insisted that we should be married at her home, and we were. 
We were married 
in a Chinese room, 
with a low seat, 
covered with hand- 
somely embroid- 
ered draperies 
serving as a 
prayer-bench with 
canopies overhead 
of the same rich 
materials. At our 
engagement din- 
ner, given by Mr. 
Desmond, every 
one had place cards 
of Kewpies sa\e 
Little Mar>-. Mr. 
Desmond turned 
to the guests and 
announced the fact 
that 'Mary gets an 
Irishman!'" She 





CUmpiet of the 
Desnionds at home 
and motormg. Mn. opened a Chi- 

cal Dixie gizl »nd "«*« °°^ *°" 

related to the Bu- took out a 

chanan» and other funny little 

Southern lamiUe. -^^^^ ^f ^ . 

Irishman. 
That Chinese box is a veritable 
treasure house. It contains miniature 
Buddha^, temples, sombreros, furni- 
ture, dishes, holy-water fonts, dice 
that are almost too small to be seen 
with the naked eye and hand-carved 
ivories. Nothing is more than an inch 
long and most of the treasures are a 
good deal smaller. They have been 
sent to Mary from her admirers all 
over the world who know her fad. 

Mary's biggest hobby is — bottles ! 
WTien she told me about that. I said, 
"Beer bottles?" Laughingly she an- 
swered, "They're almost rare enough 
now to be saved as souvenirs of the' 
twentieth century, aren't they? But 
no, my bottles are of all sizes, shapes 
and nationalities." 

.She owns a whiskey flask used by high-bred 
women of the Gvil \\'ar period, camouflaged 
in a peculiar manner. It's of china^ colored 
and built like a small prayer book, with a hole 
at the top for a tiny cork. .\ "lady" of that 
period could carry this spiritual volume in her 
muff without exciting suspicion. It was the 
fashion to faint in 1865 and old Bourbon was 
much in demand. 

Miss Maclvor is related to the Buchanans 
and many other famous Southern families. 
(Continued on fage 90) 



(TKenty-five) 




PbotOfftph (loi)) by Whit*. Both photogriphi below by Abbe. 



(Xmenty-iiJiJ 



The 

Holidays 

In the Theaters 



Below, a lively moment 
in "Ni(fhty Night," the 
rollicking farce at the 
Princess Theater. Left 
to right, Francis Byrne, 
Su2anne W i 1 1 a and 
Dorothy Mortimer 




(Twenty-seven) 



Photograph by While 



On Vamps 
and Ingenues 

By Ethel Rosemon 



" T^ROM the inginue with the 
P golden curls, the floppy 
hols, the short -laaisted 
frocks and — and everything; 
from the vamp with the heavy 
eyes, the carmined lips, the snake 
glide, the Oriental jewelry and— 
and nothing, ye gods of the 
screen, deliver us." 

Dorothy Green sat on the edge 
of the bed, swung one shppered 
foot in midair, ran the comb 
thru her bobbed curls and dis- 
cussed the vamp "on and ott. 
There was nothing of the picture 
star about her, everything of the 
typical young American, mental- 
ly keen, phvsically fit to cope with 
life The white shoulders that 
fairly gleamed thru the sheer 
negligee, the rounded arms, the 





jfi.'.y'j.tro y^.iafewsatac- 



Pholo»T»ph © by Lumlere 



clear gray-green eyes, the 
peculiar luster of the dark 
hair bespoke joyous, vibrant 
health. Keeping the ma- 
chinery of mind and body 
in perfect order is her main 
object in life, for with it, 
she declares, you can ac- 
complish everything, with- 
out it, nothing. 

Dorothy started life— her 
moving picture life — as a 
vamp, but she was never tne type of vamp from 
which she prays to be delivered. In her opinion 
there is no state of society in which he shadow 
conception can hope to fulfill her^destined end. 
(^Continued on page /o) 



"Deliver me from the 
ingfcnue with golden 
curls and the vamp with 
heavy eyes," says Dor- 
othy Green. Miss Green 
is a healthy type of 
young woman. She ra- 
diates joyous, vibrant 
health 



If I Were King 

Fictionized from the William Farnum Photoplay 
By OLIVE CAREW 

'• A ND you should have the sun and moon to wear — 

ZA if I were king — " 

^ The pen was rusty, the ink vile, the man who 
bent over the rude deal table a scarecrow figure in a 
velvet doublet so bepatched it was hard to say what its 
original color had been. His hair, dark, long and un- 
kempt, fell about unshaven cheeks on which a week's 
beard blurred the lines of expression, a battered cap, 
adorned with a draggled cock's feather lay on the 
bench beside. 

"If I were king — ah, love, if I were king — " he read 
aloud and his voice shook oddly in the reading, and 
the wild, bright eyes, deep-sunken and surrounded with 
the fine lines that told a sorry tale in Life's handwrit- 
ing were actually filmed with strange drops. For the 
nonce, Master Francois Villon, of unsavory name, pick- 
pocket, rhymster, marauder, sometime jail-bird, emp- 
ty of stomach, emptier of purse, was transported to 
that seventh Heaven of the poet — Inspiration. 

The Fircone Tavern on the afternoon of a warm 
June day in the middle Fourteen Hundreds was hardly 
such a place as would beget thoughts of love and royalty. 
Rather would one expect its smoke-stained walls, its 
atmosphere of stale wine and mouldy cheese and un- 
washed humanity to spawn a litter of evil deeds, of foul 
oaths and deformed fancies, but the crew gathered be- 
fore the wide hearth, tatterdemalions, rogues, girls of 
the oldest profession in the world, merry vagabonds, 
all seemed happy and at home as they clattered 
mugs and cans of ale to the accompaniment of 
brisk tongue wagging. 

"Come, Francois ! Art dry as that vile 
stuf! Master Robin here serves us for 
bread," slim Rene de Montigny 
called to the silent figure in the 

For the nonce, Maiter 
Francois VUlon, of un>- 
• •vory name, wis 
transplanted to that 
seventh heaven of the 
poet^Inspiration 



\ 




>** 



^ 



A, 



^k<'jmtw 



corner, "canst moisten your gullet with 
ink, lad ? Be not so chary of your sweet 
company !" 

"Leave him be," said one of the girls, 
a slip of a lass in boy's habit, who looked 
despite it no more a boy than stout Colin 
Cayeux, sprawling on the floor at her 
feet looked a woman ; "he wants none of 
our company, being in love with his own. 
Look !" she wagged a derisive hand. 
"Canst not see he has a goodly crowd 
about him? There is Sir Villon, poet of 
Paris, and one Francois, gentleman ad- 
venturer come upon evil days ; then there 
is Francois Villon. King of the Cockle- 
shells and Rogue V^illon, known indiffer- 
ent well to the keepers of His Majesty's 
gaol, and there is Villon the sot. N'illon the 
huckster of rhymes, Villmi 
who has betimes an itch of 
the dagger and Villon — " 



(Twenty-nine) 



MOTION PICTURE 



"The lover!" tittered a full-bosomed wench who seemed 
bursting with ripeness tliru the straining sheath of her bodice; 
"forget not his best role. Abbess! Js no other i' all of France 
can match him at sweethearting!" 

Tigerishly the girl sitting on the table's edge, swmging one 
shapely green clad leg, twisted her lithe body upon the speaker. 
"Have you been making eyes at my man, minx? I'll teach you 
to meddle — " 

"Come, come," interposed the swinish landlord, thrusting 
his fat body between, "no hair-pulling! Settle your differences 
outside, and," significantly looking about the circle of emptied 
mugs, "settle your scores here ! No excuses, mind, in the stead 
of coins or you'll find a leak i' the bottom of your glasses 
hereafter!" 

The crew of ragamuflfins looked askance at one another, 
and Jehan. the Wolf, slapped a lean pocket forlornly. "Have 
none" of you the wherewithal to appease this grasping ale- 
draper?" he whined; "if we would keep up the dear habit 
of eating and the dearer habit of drinking we must find some 
good burgher whose purse suffers from a plethora and needs 
bleeding." 

Rene de Montigny thrust his hatchet face' mysteriously for- 




ward. "Know you any of you, Thibault D'Aussigney, the 
Grand Constable?" he hissed. "Ods blood, if 'tis not he who 
has just entered — the fellow in the black cloak yonder in the 
corner, I'll dine on my doublet! There's no hiding that beak — 
but what can the Constable of France be looking for in the 
Fircone Tavern?" 

"Shall we stick him?" queried an ill-favored Cockleshell, 
jerking a dirty thumb, "my dagger has no objections to spilling 
blue blood as well as red." 

"Let's ask Francoi-s," Rene suggested, and approached the 
figure sprawled over his writing, shaking him boisterously. 
"Come! Enough of rhyming — can you fill your belly with 
rhymes ? We are hungry, and an ill world demands vile silver 
in return for food. Poems are good but fat capon, cheese, meat 
pies, pink ham and brown ale are better !" and the rogue's eyes 
glistened and he licked his lips. 

The figure' at the table unhooked itself and rose with a ges- 
ture of brushing away cobwebs. Francois 'Villon looked dazed- 
ly about him, at the sanded floor, the guttering candles and the 
motley assemblage turned toward him, looking in the flaring 
and uneasy light like so many hobgoblins, and the light went 
out of his face as tho extinguished by a cold gust of mem- 
ory. Then, drawing back his lips, he began 
to laugh with no mirth in the sound. 

"Welladay, lads and lassies, so ye are hun- 
gry !" He struck a fantastic pose, tattered 
cloak fiung back, palms on hips showing the 
dagger and the vellum book that kept strange 
company in his leather belt, "that is a fash- 
ion all Paris will soon follow unless our 
straw King finds himself the guts of a man 
ere long !" 

He would have thrust the paper he held 
into his doublet but the Abbess, leaping for- 
ward like a tigress, snatched it away. "Let's 
see to what mistress he writes now !" she 
snarled, "of love that ever finds your face 
more fair" — bah ! should I be jealous of a 
paper wooing — I know better ways of love 
than that — eh Francois? Eh, my little mon- 
key?" 

Francois 'Villon unwound the arms she 
flung about his neck and put her aside gent- 
ly, with a curious look of pity. "If I can- 
not fill your stomachs I can fill your ears 
with a well-seasoned tale," he promised, as 
he took his place, back to the fire, the leap- 
ing flames making him a still wilder and 
more grotesque figure, a knight of the gut- 
ter, a gallant of the gibbet. "Hark then to 
the story of how one Master Villon met with 
the One Woman in the World." 

The Abbess gave a sound of rage, but 
Villon shook his head. " 'Tis the tale of 
the moth that scorched his wings at a star, 
Hugette !" he comforted her. " 'Tis not love 
as you understaiid it but rather something 
else that only the good God understands, the 
mystery of the ages, the riddle of the Sphinx. 
Know, then, that on Wednesday last as I 
was strolling — for my health alone! — near 
the Church of Notre Dame, watching the 
good folk enter, suddenly, I felt myself 
caught up to Heaven, and I saw — the love- 
liest she alive beneath the sun. She saw 
me no more than the pave aneath her little 
foot, but I saw her, and I see her now, and 
I shall see her in all the dreams I dream till 
it comes my time to die ! It was not that 



"I was atandinK near the church of Notre 

Dame when auddenly I felt myself caught 

up to heaven and I saw — the loveliest she 

alive beneath the sun." 



(Thirty) 



CLASSIC 



her hair was so much brighter than the sun, 
or that her eyes were bluer than the blue 
overhead, or that her little mouth was red- 
der_ than the roses in the King's garden ; it 
was something else — a soul that peeped 
from her eyes, a God-knows-what that made 
her the queen among women. The sight of 
her beauty hurt my eyes, the taste of her 
beauty burnt my lips, and the ache of her 
beauty troubled my heart, and she passed 
me by, unseeing and entered the church, 
and I stumbled away drunk with a headier 
wine than you have in your rotting bins. 
Master Robin. And," he groaned, and 
mocked the groan with a jangle of laughter, 
"I think I shall be drunken with her all njy 
days." 

"Why didn't you follow her into church 
and get near her in the crowd and pinch 
her?" queried Colin, sleepily; "I like not 
your tale, Francois. It has an ill sound in 
ears that ring with hunger. Love! Balder- 
dash ! Oh, for a roll of sausage — " and he 
looked greedily toward the cloaked figure 
drinking a sedate noggin in the corner. 

At that moment, as tho summoned, 
the figure rose and moved toward them. 
"Is there among you a braggadocio ruffian, a 
loose-tongued fellow known as Francois Vil- 
lon ?" asked a voice from under the conceal- 
ing hat brim, "if so I have a word for him." 

"At your service, good Cuffin!" bowed 
Villon, airily. "Your description fits me an 
ill cloak, and I like not the cut of it, but 
never mind. Has your word the ring of 
metal ?" 

The stranger glanced about ths circle o 
wolfish faces, and apparently decided they 
were birds of a feather. "It has," he an- 
swered surlily, "the sound of a thousand 
francs to one who can do a simple errand." 

"For a thousand francs," smirked Villon, 
"I would carry a message to the devil him- 
self. Out with it, friend! What's to do?" 

"Only this," said the newcomer, lowering 
his voice, "as you know, the Duke of Bur- 
gundy besieges Paris and King Louis Do- 
Nothing sits idly by, willing his people 
should starve. But some there are of us this 
likes not, and we want a trusty messenger 
to carry word," he regarded Villon watch- 
fully, to Burgundy that the defence of the 
city is a pitiful myth, that there is no wall 
but may be carried, that the army dices, and 
the Court dances and there is nothing in the way of his enter- 
ing whenever he wills !" 

"Ouch !" Villon gave a sudden cry as if of pain and clapped 
his hand to his side; "I have a cramp — in my sword I It needs 
exercise!" He drew it, and flourished it fantastically above 
his ragged head. "It is a French blade, fellow, and thirsty to 
"drink the blood of a traitor!" 

Like a frightened hen, the man in the cloak scuttled across 
the room, and the door- erased him. A murmur of discontent 
rose among the fellows of the Cockleshell. "You fling away a 
thousand francs glibly, Francois," grumbled Rene, "who'd have 
suspected you of such a tender conscience? And what differ- 
ence does it make to you who sits on the throne of France?" 

Villon sheathed his sword. " 'Tis a whim of mine," he con- 
fessed, half ashamedly, "to be loyal. There's no accounting for 
whims, but I'll not let mine rob you of your supper. Come! 
The good moon has drawn a curtain across her window like a 
tidy housewife and the world's adark. I know a church chest 
waits us, bursting with spoils pilfered from the pockets of the 
•poor. Let's be gone, what say you. Hearts of Gold?" 

It was a windy night, the gusts rushing down the little 
crooked lanes, setting i le shop signs creaking, and the lanterns 

(Thirtyone) 




IHitt" wiTcd VUlon, "one 
Cornell" 



flaring overhead. The Fellows of 
the Cockleshells slunk along the 
streets like shadows cast by the 
moon, and without accident elud- 
ing the watch, arrived at length 
at the church. "Ods blood I" then swore Rene de Montigny, 
softly,* "but the fellow's brought us to the chapel of His Ma- 
jesty!" 

"Who better?" whispered Villon, gaily ; "one goes for riches 
where riches are. Does o.ne seek poultry in a draper's? To 
work !" 

A hasp on a window at the side was loose and Colin, who 
despite his flabbiness, could twist a bar of iron as it had been 
cheese, snapped it in two. Pell-mell into the dark interior 
hurtled the pilferers with as much ^clat as tho thievery 
were not a hanging matter, and Villon followed them. The 
chest was soon located, its contents distributed among the sev- 
eral jerkins which closed over the yellow meul cosily. Then, 
as they were about to leave, Villon held up a warnmg hand. 
"Hist!" he muttered, "one comes!" 

A gleam of a torch pricked the darkness of the chancel. The 
intruders shrank into the shadows as a woman's figure rayed 



MOTION PICTURE 




Louis turned to. Villon, 
"After such a conqueit 
m e t h i n k I Burgundy 
should be easy for you, 
my Lord Constable, *" 
sneered 



he 



about witli a nimbus of liglit paused at the altar and motioned 
the attendant with the torch iiway. "Wait me outside," said 
a voice. Iil<e the deep tones of a bell, and hearing it, Villon 
gave a great start, and forgetful of caution leaned to look down 
at her. "God in Heaven!" he muttered, " 'tis she!" 

There in the darkness the five rogues listened to a woman's 
prayer, a prayer for the safety of France whicli was dearer to 
her than her heart's blood, a prayer that a weak King might be 
given strength — or "that a man should come to court" and rouse 
the painted pujijicts to be men. Only one of the eavesdroppers 
gave the words inuch liecd. chafing to b<v gone and taste the 
sweet fruits of their thievery. When at last the white figure 
had trailed down the iiisle. Rene de Montigny prodded Villon's 
side. 

"Come, let's be off I'' he nuitlcrcd. "before anotlicr wench 
comes a-prayingi" 

A ray of the moon, pryin'.,' t''iu a shutter, fell across 
Villon's face, showing it aflame! Ills fellows stared curiously, 
as tho they hardly knew him, but Villon gave them no heed. 
"A man woulrl come to court!" echoed N'illon. with a great 
loni;ing shaking liis voice into ra^'s and tatlers of soimd. "Now 
if there be a God. how Me must be I;iu<;liingl .\ nincompoop 
upon the throne, nnd a .ijiitter rat with the s])irit of a king! If I 
were the king of France—" His head rocked liack on his 
shoulders, he spi^kc as one inspired in his beloved rhyme — 

"We want a chief to bear the l)rand — 

And bid ilie damned Biirguiidians dance — 
God I Where the oriflamme should stand 
If Villon were the King of France — " 

In flaming measures he poured his heart into the words. 
the wild, untamed. Hcnrt of \illon the rascal, beating beneath 
the rags of shame ami terrified by the sound of approaching 
feet his friends fled from liini, Oiving from the windows with 
their spoils, bent on iaving their skin whole. In the vestibule. 
a small crooked frgurc in a velvet doublet, with silken hose 
sheathing his lean shanks liste-icd. and smiled with wry. thin 



lips. "A braggart, mouthing easy nothings!" Louis of France 
murmured to his entourage, "still — the fellow has fire in him. 
Get him, and bring hiin to me!" 

Dazed, Villon saw himself suddenly surrounded with pikes 
and the flash of steel, he whipped out his poor blade but too 
late. 

Louis looked down at the wretched huddle of limbs they 
brought him, and laughed softly. "An ill-looking bird, but he 
croaks like an eagle. Thibault has gone over to Burgundy and 
the post of the Grand Constable is empty — take him in, 'wash 
and dress him in fme linen and lay him on Thibault's bed. 
When he comes to himself address him as Grand Constable! 
We shall see whether he has aught can match his bravery of 
tongue I" 

And so it happed that on the morrow, Francois Villon opened 
his eyes upon purple draperies and tapestried walls, upon servile 
faces bowing about his bed. upon gold lace and velvet and 
plumed hat laid by ready for his donning. " 'Tis a monstrous 
fine dream, at any rate," he murmured, as he was helped to 
dress, "if I might dream a few gold pieces in my pocket now — " 

He thrust his fingers into the wallet at his belt arid drew them 
out full of coins. He raised his eyes and beheld in the mirror 
before him not the scarecrow figure of yesterday, but a gallant 
gentleman, barbered, freshly shaven, carrying his fine plumage 
easily and well. 

"His Gracious Majesty the King to speak with the Grand 
Constable on affairs of state," intoned a voice at the door. The 
small, crooked figure in black velvet waved his attendants 
away. He regarded the transformed thief, and sniggered. 
"Welladay. my good Constable!" shrilled Louis, "I trust you 
have found all to your taste? We are but humble folk at 
\aucelles: you must overlook our failings." 

Villon fell upon shakine knees and touched his lips to the 
hem of the black robe. "Sire !" he choked, "Sire. I know not 
what to say !" .^ 

"Yet last night you were at no loss," chirped the king; "you 
Ind a mouthful of fine words and boasts as to what you would 

(Thirty-two) 



ClAbSlC 



do if you were France's king!" 
His tone grew sharp, his smile 
more malign; "I have decided 
to give you an opportunity to 
make good your words — if you 
can. For one week you shall be 
the Grand Constable of France 
in very sooth. You shall do as 
you will and drive Burgundy 
from our gates if you can. Af- 
terwards," the thin lips sneered, 
the small cold eyes twinkled up 
at him, "afterwards your final 
act as Grand Constable will be 
to pronounce sentence of death 
upon one Master Francois Vil- 
lon, scapegrace and ne'er-do- 
well, provided that in that week 
you have not made good your 
words and won the heart of the 
Lady Katherine of Vaucelles, 
proudest lady of the court, and 
hardest to win !" The wry smile 
became a cackling laugh. "Egad, 
it would serve Katherine well 
to have flouted me and to pin 
her faith to this thing of ra^s 
anil tatters I'' chuckled Louis. 

Villon was very white, but his 
eyes glowed. "Is that the only 
choice. Sire?" 

"Louis made a contemptuous 
gesture. "Oh, no, you may don 
your vile rags and go back to 
your gutter this moment if you 
choose a longer lifetime of lying 
in the mud rather than a week 
of sitting among the stars." 

Villon bent his head. The 
sunshine was pure gold across 
the floor at his feet, the air was 
soft with roses. Life was very 
sweet even to a poor rogue of a 
rhymster — yet, to play a man's 
part for a week — to be near his 
Lady, to speak with her as an 
equal, to woo her perhaps — 

He bowed low. "I have chos- 
en the week, Sire," he said 
quietly, "if I cannot make good 
use of it I would rather die than 
live longer to hate myself." 

Of the strange, wondrous 
days that followed, there is no 
space to tell. Francois Villon, 

Francois Villon caught the 

slim white hands with a 

great cry. "You would do 

that for me?" he asked 




'gutter-born, found himself at no loss 
among the great lords and ladies of the 
court. F,ven when Katherine of Vau- 
celles bent her shining head to him and 
spoke in the tone she used toward the 
king himself, his lips fell into the courtly 
phrases of compliment anil badinage, 
tho his heart beat to sufTocation with 
great joy and great pain. And the hours 
sped across tlic sundial in the castle gar- 
den, and still Burgundy crouched with- 
out tile gates. 

Then came a herald, bearing insolent 
word<. "Surrender Pnris or taste of our 



guns!" Louis tlie King listened, small, 
weazened face inscrutable, while the court 
chafed under tlie insult of tlie message 
and the messenger's bearing. "My Grand 
Constable will give you our answer," said 
the King, calmly. "He krtovvs our heart, 
ant! our will." 

Francois N'ilion rose to his feet, in his 
soul a great humbleness, in his eyes a 
flame. He had dreamed always of great 
deeds that he would do. and now great 
deeds were possilile to him. He .spoke 
with his lips to the herald, with his heart 
to Katlierine. "Go back to your master!" 



he bade the messenger, "and take him 
this word from the lips of France Her- 
self. Defiance for defiance, menace for 
menace, blow for blow I This is our an- 
swer" — and he drew his sword and flashed 
it aloft, "God and Saint Denis for the 
King of France !" 

Up sprang the perfuined courtiers, 
dragging their sleeping blades from silk- 
en sheaths, the air was full of their flash- 
ing and the sound of cheers. His words 
had burned away the painted threads of 
lassitude that had enmeshed iheir nian- 
(Continued on page 68) 



(Thirty three) 




i 



««fT is like a miracle! I can hardly yet believe it. 

I After so many struggles with heavy odds against 

me, to have at last become a director — well, as I 

say, it is like a miracle !" And while Erich von Stro- 

heim smiled, the eyes remained serious. The memory 

of those struggles is not readily effaced. 

There is a saying about the motion picture studios 
that in every life there is at least one good scenario. 
If this be true, Mr. von Stroheim has a dozen stowed 
away behind those serious eyes, for during his 32 
years he has touched the dramatic contrasts of life 
that develops the emotional powers and he has — lived! 

Before meeting him I had been told that he was 
by birth Count von Strolieim. of the Austrian nobility, 
his father having been a colonel in the Austrian army, 
and he himself a graduate from the War College of 
that country in 1905. 

When I asked Mr, von Stroheim about these early 
years he shook his head, saying, "Titles mean noth- 
'"g" } gave up mine for I am an American citizen. 

"This .American citizen had a hard time during the 
war, however," he continued, as we lingered over our 
sandwiches in the little cafe at the Universal City 
studios. It was long p.-ist the usual lunch hour and the 
room was deserted. 

"My name, my face, in fact, my whole Austrian 
make up was against me. I was shunned and disliked. 
At one time I was even under observation, but about 
six weeks before the armistice was signed I was of- 
fered a commission in the Intelligence Department of 
the United States Government. I had served four 
years in the U. S. .\rmy when I first came over ten 
years ago." 



Erich Von Stroheim 
and the Miracle 



"Perhaps it was your splendid acting in the 
role of the hated German officer in various pic- 
tures that helped prejudice the public," I re-- 
marked. "I confess that your subtleties made me 
long to see your punishment several times." 

"What could I do?" he replied. "The moment 
a director saw me I was immediately cast in that 
role. I played it in 'The Unbeliever,' 'For 
France,' 'Hearts of the World,' "The Hun 
Within,' and in 'The Heart of Humanity.' Prob- 
ably I could never have given such a villainous 
characterization in the latter picture had I not 
been conscious of the hatred which every mem- 
ber of the cast felt for me. I sensed their an- 
tipathy so distinctly that it was reflected in my 
acting and I put into the role just what they 
were thinking of me. 

"It was after a disa- 
greeable affair t h a t m y 
father thought the Amer- 
ican climate w o u 1 d b e 
good for me and he sent 
me over for five years, I 
doubt if I shall ever go 
back. 
"During the y e a r s of 



Erich Von Stroheim 
went thru painful 
privation when he firBt 
came to America from 
Austria. In those days 
of frayed collars and 
run-down heels he en- 
gaged in every possible 
occupation, except bar- 
tender and waiter 




(Tliirtiifour) 



By Maude S. Cheatham 



run-down heels and frayed collar bands I en- 
gaged in every possible occupation, except 
bartender and waiter, to keep from starving. 
Oh, yes, I was often hungry. I recall that once 
in New York I didn't have one cent and was 
miles from my lodging in Brooklyn. I stood by 
a subway entrance determined to ask some- 
one for a nickel ; I had frequently helped 
others, but I didn't have the nerve and walked 
home after all. 

"Struggles are all right to look back upon. 
but so far I derive little pleasure in contem- 
plating mine, they are still too recent to have 
gained any glamour. I came from a fighting 
family, however, and I fought my way thru 
every inch." 

Whatever the bat- 
tles, Mr. von Stro- 
h e i m has finally 
emerged not only as 
an actor of subtle 
force, displaying 
the rare ability to 
sink one's personal- 
ity into the role he 
is playing, but he 



Once on the coast. Von 
Stroheim found the 
screen no easy goal. He 
was a life saver on 
Lake Tahoe, with the 
unlucky number of 313, 
before he succeeded in 
breaking into pictures 



Y 




has achieved a signal success as a director, for his first 
picture, "Blind Husl)ands." places this young man among 
the foremost directors of the day. This may well be 
termed a personal triumph for not only did he direct the 
production but he wrote the story, under title of "The 
Pinnacle." and acted one of the i)rominent roles. 

"It was Mr. I.acmmle who gave me my chance," Mr. 
von Stroheim replied, when 1 congratulated him. "He 
came west just as we were finishing 'The Heart of Hu- 
manity.' Meeting him, I told him what I wanted to do and 
he said to go ahead. 1 still feel it is a miracle, four 
months ago I little dreamed my chance was so near." 

It was after a series of hard.ships during which he had 
tried everything, from writing a vaudeville sketch and 
playing it on the Orpheum Circuit, to being Life Saver 
at Lake Tahoe I with the unlucky number of 313) that 
he broke into pictures. 

Being down and out but still determined, he walked 
over to the Griffith studio in Hollywood every day for 
two months and waited around the outside, hoping to at- 
tract .someone's attention. 

One day John Kmerson, who was playing a riMe in Ib- 
sen's "Ghosts." stepped out of the studio in his evening 
clothes with a ribbon across his breast. "For the first 
time in my life I was nervy," observed Mr. von .'^trohcim. 
"I stepped up. told him my name and asked if he was 
playing comedy or drama. \\'hen he said drama, and that 
the ribbon was a badge or decoration of a Chamberlain. 
I told him it was not correct. 'What do you know abniu 
it ?' he asked. I replied that it was too long a story to tell 
(Continued nn pof/c 69) 



(TMHy-fve') 



The 

Director- Diplomatic 

By WARY KEENE 

. the usual rest of il. 

I saw Edward Jose d'ff"f""/„f „^ _,is,ion had I been 



vith the intent 



iiin, a director. I can hardly say why. 

I found him as diplomatic 
as his appearance conjec- 
tured. Quite charmingly so. 
He has a fine discrimination in 
giving his point of view and 
in keeping it. He is a man 
pre-eminently fitted to direct 
because there is always a 
deep reserve fund within 
himself of power, of thought, 
of feeling. 

He is wholly void of per- 
sonal egotism. So much so 
that I found it very hard to 
keep him to the topic of the 
hour — himself. He talked 
readily and engrossingly on 
many things— on the absurd- 
•ity, for instance, of the indi- 
vidual pitting himself or her- 
self against tradition ; against 
world-old laws and orders. 
"It is inevitable destruction," 
he said. "Take marriage, for 
example. The scenario I 
am doing now deals with the 
revolt of a woman against 

st rerth"ruouUf"o^rse. What does. one case of unhappiness 
or two or three, or as many dozen, prove? What have you and I 
to do with what has been ordained from the begintiing? 

I had come however, to hear him talk about htrruself, and if it had 
no Jeen foMhe gentle interpolations of Mrs. Jose who sat sewing m 
"he adjoining room, I should certainly have gone away wUh the 
charm of his indubitable personality about me, but wholly, too, without 

^°jSras"'aSiner 1 asked him what he considered the requisite of 
a truly great director. It is the prize question. 

He shrugged his shoulders, elevated his bro,ys, threw up his hand 
and took a few steps about the room in what I discovered to be a char- 

acteristic way. . , r ' . j St 

"H I -^ay." he said finally, "people will think I speak of. or A.w. 

from, or about myself. It will sound too . . . well, too 
egotistic. It is better that I do not say at all. ' 

{Continued on page 80) 




Edward Jo»6 with lu» 
wife and child and, 'be- 
low, on location wlw 
the Norma Talmadge 
company 



(ThiriU'*'} 



The Cinema Comes to Carleton ' 



W 



By HARRIETTE UNDERHILL 

ULIAM Carleton, Jr., laid the corn muffin which he was buttering 
down on his plate, looked at us seriously and said. "You are rieht— 
there is I" ' • 6 

Now William, Jr., is a mild-mannered man and he is particularly fond oi 
corn muffins, so we knew something untoward was egging him on to this 
display of fierceness and this renunciation of his beloved viands. 

"You are right, there is a fly in the ointment. I dont like cinema field 
days — community acting, if you know what I mean." 

"But we dont know," we murmured, outwardly timid, but secretly exult- 
ant, because we sensed a story. "What is community acting ? Something to 
inspire good fellowship, like community singing?" 

' Yes," answered Mr. Carleton, still gloomily regarding his neglected muf- 
fin; "something like community singing, only not so sweet and I cant say 
that it is particularly conducive to good fellowship — in me, at any rate." 

"And what are cinema field days?" 

"The same, only more protracted." 

And all this because we had inadvertently asked Mr. Carleton if there was 
not a single fly in his syrup of contentment. 

"Never mind," w. soothed, "you needn't tell us what community acting is 
, and we can live if we dont know what cinema field days are. Dont excite 
yourself and we'll talk about birds and flowers." 

"No we wont ; we'll talk about cinema field days," for William Carleton, 
Jr., can be a "majerful" man when he wishes, ''if it wasn't for them, life 
in front of the camera would be one sweet song. But people never can be 
induced to believe that we make motion pictures because it is our profession. 
They firmly believe that we do it for their delecta- ~~ 

tion. Have you ever made exteriors in a popular sum- 
mer resort? No, of course you haven't — I forgot." 

"Well, you needn't be so superior," we replied. "We 
have had three oflers, but we dont like to work so 
hard." 

"Well, community acting is when the whole <;om- 
munity decides to take part in the picture. Cinema field 
days are those awful days when mothers gather on the 
site which has been selected for the exteriors for your 
new picture, bringing with them numerous little Cuth- 
berts and Cedrics who, they fondly hope, will be the 
picture heroes of the next generation. 

"You select a nice secluded spot back of a stone wall 
for your dressing room. You find a hollow tree evi- 
dently placed there by providence to be your make-up 
table. You work for an hour in the sun. Then the 
director will say, 'AH ready for this scene ! Carleton, 
your nose is shiny. Better touch up your make-up !' 
and you rush away to your nice secluded dressing 
room to find an angel-faced, flaxen-haired child dig- 
ging in your box of powder with a stick. His face 
is daubed with your grease paint. Mamma sits nearby 
reading. You take your cherished possessions away 
from him, get out your mirror preparatory to holding 
it up to nature and proceed to touch up your make-up. 
Cuthbert stands wild-eyed. 'Mamma,' he shouts, 
'come and see the man putting powder on his nose just 
like you do !' or, if you carry your make-up with you 
and hide it under a stone, when you return you'll sure- 
ly find some coy belle of '84 in a picture hat using your 
powder puff and mirror. It never fails." 

"Poor dear," we murmured, "the subject is evidently 
a painful one. Tell us some more." 

"Well, there isn't going to be any community acting 
in 'The Copperhead.' That is the picture I am work- 
ing in now with Lionel Efarrymore. Charlie Maigne 
has made me a deputy shcrifT and I am going to wear a 
'tin star' and everything just like a regular one. So 
when the people gather on the field for the ceremonies, 
as they surely will — 10,000 strong, I suppose, to see a 
real Barrymore, I can order them back and flash my 
badge and be real impressive," 

"Did Mr. Maigne select you as a minion of the law 
because you are six feet two?" we asked. "And im- 
portant-looking." (Continued on page 70) 

(TMrtyieven) 





A study of WillUm Carle- 
ton, Jr., and two viewi of 
him on the acreen with 
Elsie Ferguson. "I love 
cinema work," says Carle- 
ton, "if it wasn't for com- 
munity acting." 



The 

Gorgeous 

Gloria 




Ttiis unique b«thiii([-BUit is in- 
troduced in CecU B. De MUle » 
"Why Change Your Wite? 
While we rather doubt its sea- 
going qualities, we frankly ad- 
mit Its effectiveness. H it isn t 
aquatic, it Is optical 



(TMrtij-cighl) 




Fictionized from the Maurice Tourneur Photoplay 

By FAITH SERVICE 



Just now. rankling virulently, was 
the girl in the Zangiciamo orches- 
tra, lately arrived from Eastern 
ports and stopping a few weeks at 
the hotel en route for California 



IN his very early days Baron Heyst had been badly battered been vague persons . . . even his father with his detached 
and mauled by life . . . there had been a great many things bitterness, so detached, indeed, as not to be bitterness at all, but 
... it had not seemed able to let him be. With the passing only a wraith of other days, still shrouded. There had been 
of his youth passed, too, his faith. He drew, as it were, an vague events . . . and many books . . . and travels . . . 
envelo])ing cape about him and stood aloof, mocking tliru seen, as it were, thru a haze, darkly . . . nothing had been 
badly twisted lips. real, ever. Nothing had given any stabbing joy. Nothing had 

'"Jhe thing to do,'' he told, his son, shortly before he came to given any drivep pain. There had been no palpable sense of 
die, "is to do nothing. Only by establishing an absolute nega- discomfort, nor yet the glow of any substantial comfort, 
tion of attitude are you safe. Do not attempt, either, to be After his father's death, Axe! Heyst left London. He had 
.anything. Be //; the world, because read of the South Seas and they 

to remove yourself from it involves called to him. There, he thought, 

an infringement of negation, of all on those deep lulling waters, among 

infringements die greatest . . . but VICTORY those drugging scents and thick 

be not of it. Stand apart. Live apart. Fictioniml by special permi..sion from the see- strong .sounds, one might, like 

Say little and condemn, mevitably, ,,^^;^ ^j Stephen Fox, based upon Joseph Con- maiiimoth lazy birds, wheel away 

all that you hear said. If you evolve ^.^^.^ ,,^^^, ^j „,^ ^^^^ ^^„,^ pubhshed by o"^ s time, su.spended between, 

philosophies, the rabble, swine all of Ooubledav, Page & Company. Produced by literally and figuratively, earth and 

them, will still go nosing for truf- Maurice Tourneur and released by Famous hea\-en. 

Hes. If you ponder the philosophies piavers-Lasky Corporation. The cast; One could readily establish nega- 

of others you will become evolved. ' t i, « i ''°" ^^' ''^^ natives. There could 

Establisli an absolute negation." '^'"^' f^^*^-'" J'"^'' "°" be no possible other stand. There 

To establish a negation was not Alma Scena Owen would be no intrusions.- Things 

peculiarly hard for Axel Heyst. Cu- Rlcardo I.on Clianey woukl not happen. There would be 

riously, he had never believed very Schomberg Wallace Reerv no women. Not that .Axel thought 

vitally in his own identity, in his Ben Deciy of women m the way of intruders. 

own essential existence. He had „ ' ^°'\ , ,„r, wi.,«„„ Actually he did not think of them 

been, to himself, a shade 'walking ^^''- Schomberg • Laura Winston ^ 3,, He knew that part of his 

among shades ... he had estab- fedro Bull Monuma father's philosophy had had to do 

lished no contacts . . . there had Captain Davison Georce NichoU* with woman's component part in the 

(Thirty-nine) 



MOllON PICTURK 




She made a difference m 

the bungalow on the 

island. Heyst admitted 

that almost at once 



cosmos. And then, with the 

hejiinning of the bitterness. 

woman's part had been ruled out 

of the i>liiloso|ihy and P.aron_ 

Hevst had ex|iatriatecl himself • 

fro'm his native Sweden and 

M.me sort of a cliapter had been shuf down, a seal affixed. 

Nsel Hevst roamed five years amonf,' the islands ot the 

South Seas,' druKCinjr himself with a sweet narcotism, not so 

mnch wakinu' as sleei-ini,'. There had been no mtn.sions . 

There had been passing dusky faces . barbanc sot nds 

aiKl smells . . . lagoons like fluid souls . . . endless bine 
waters endless gold shores . . . endless sailings . . . 

coming and goings . . . nowhere . . . to no purpose . . ^ 
the world did- not knock at his door ... He might have been 
his father, entombed, for all life had of him. or he of he . . 
Then as abruptly as poetrv might turn to prose and almost 
as shockinglv, he fell in u ith .Morrison. Morrison was mere 
man. He didn't know anvihing about negations You couUhi t 
have established the abstract fact of negation in his head by any 
sort of means. He was utterly the positivist. He had a iias- 
sion too. .\ ruling one. .\ii overruling one It was tor lis 
trading brig, the "Capricorn." Morrison had been born on the 
Capricorn. He had grown up on her. with her, body and soul 
lie had got his life and his livelihood from her. She was 
living tisMie to him. He had a tremendous sentiment for her 
a f.^eling composed of tissue and blood He had sailed the 
lava sen on her and now, it seemed, in the port of Timor, be- 
cause he had no cash, some irregular had been found in his 
oaper. and the I'ortugueM- otficials were going to impose a hue 
he couldn't pav on him. arrest his brig and, at the expiration of 
the week, knowing the fine was beyon<l him, sell her at auction. 
Sell the Capricorn ... It was like the sacrilegious sale, the 
sacril ;8i VIS public sale of some beloved woman • ■ ■ 

MorriBon was in the throes when he ran into Heyst. fie was 
loo le'-rijly in the throes to take notice of anytlnng different 



about ?Icyst. He was just someone to pour out his heart to 
. his 'big heart, which was breaking. 
It was a sort of a vandalism, after a fashion. Morrison 
was a sort of a, no. distinctly, a vandal of dreams. He thrust 
his lieavy. hob-nailed boot into the delicate aloofness of Heyst's 
absolntci negation. He showed him a bare heart, a rugged 
])iece of suffering, easily averted. 

Heyst was shocked. Of course, he felt at once, the Capri- 
corn could not be sold at auction. He sensed tbe tragedy there, 
immediately. Sensed, too, somehow, remotely, the clamor of 
resistance Morrison was making. 

Consummately and very delicately, he made it possible for 
Morrison to pay his fine and assure the safety of the Capricorn. 
He turned away before the sight of the big man's heaving ]oy. 
It was somehow cataclysmic. The primitive forces in the man 
slei)t, or dozed, so close to the surface that one felt the sense 
of ari upheaval of nature in his emotions, forces • • • 

"I'll tell you what," said Morrison, after he had released 
Heyst's sensitive fingers from his blunted ones; "I cant do 
enough for you. I cant, for a fact. I ... but what I can do 
. I'll let you in . . . there's coal on the island of Samburan. 
i happen to know ... come closer . . . hearkye . . -that's 
how I know. I've been waiting ... for the right man. You re 
him, Mr. Heyst. You're him. You are, for a fact. There s a 
fortune. A fortune. There is, for a fact. Here's the de- 
tails. ..." , , u 

Three hours later, Heyst said all right. He didn t know why 
he had said all right ; why he had agreed. It wasn't in accord- 
ance—it wasn't in accordance at all with the utter detachedness 
preached him by his father. He couldn't see why this huge 
crude man should break thru the delicate, impalpable, yet 
very potent doorway between himself and the rest of the world. 
His had been a huge fist knocking . . . knocking smashing 
sorts of blows ... he had, it seemed, battened things down. 
Heyst was conscious of a tingling in his veins. After all, per- 
haps, outside the thick blue haze shot thru with dreamy 

(Forty) 



CLASSIC 



gold in which he had lived and had his separate heinfj after all 
there were men who weiif immense tears over the threatened 
loss of a grubby trading schooner; to whom these staple things 
of hfc meant breathing and being. Odd sort of a surmise 
but probably true after a limited fashion 

And then, it had occurred, even to Heyst,' that to dream 
one must have money. Dreams, even, are quite costly One 
must pay, it .seemed, to float about on the South Seas watch- 
mg the curious native life thru half-closed eyes. This coal 
mine of Morrison's . .it could be got thru with and 
then he. Heyst, amply supplied for endless dreaming could 
go back ... M 

But one doesn't go back, it seems . 

Morris^on went to London to float the company and in Lon- 
don he died. There was too much fog there perhaps— the 
details were never made very explicit. But he died And 
\vhen Heyst heard of the big man's death he felt precisely as 
tho someone had given him a crude rent with a knife A 
most unthinkable thing. 

Before he died, however, it seemed that Morrison had. been 
successful in forming the company. Heyst found himself 
nominated manager and with the mushroom growth of such 
enterprises coolies were imported, engineers arrived from Lon- 
don, bungalows sprang up, a gallery was driven into the pro- 
ductive hill.side and coal in vast ([uantities was taken out 
Heyst had felt quite excited up to the actual time of the min- 
ing. There was something, he thought, in the nature of a 
gigantic dream about it all. He felt detached from it, in- 
terested, immensely interested, but as a spectator. He missed 
Morrison. Morrison had a fresh salt tang. There had been 
an invigoration to Morrison powerful enough to pierce the veil 
of Heyst's dreaming. Now Morrison was gone and the old 
lethargy was creeping about him again. His father had been 
right . . . detachedness ... all this . . . what did it amount to? 
Shortly thereafter the company went into liquidation and 



Heyst was left alone on Samburan with his chinaman Wang 
1 le was content to slay. He had his pipe and the biiii-.-ilow 
had been fixed to suit him. He rather thought he woufd stay 
on indefinitely ... he was at peace. On the other islands, 

When he had gone to and from while the mining was on active 
process, there had been nast'y talk back and forth. Schom- 
berg the big Cerman who kept the hotel on Sourabaya seemed 
absolutely to hate him. This seemed absurd to Ilevst who 
had never hated as he had never loved, a living soul. ' Schom- 
berg, It seemed, accused him, with equal absurdity of an 
absurd thing. He had used Morrison, Schomberg alleged had 
even been responsible in some occult way for Morrison's death 
I here had been mysterious dealings . . . hidden wealth . 
Heyst laughed at it, silently, after his fashion, yet it was he 
thought as tho something gaseous, no.xious alloyed un-" 
pleasantly, a trade wind from the south, spiced and aromatic 
t ■ K !i'^''' certainly negative on Samburan. He was forgot- 
teri by the world. In his turn, he too, forgot 

When, finally, therq came an occasion for him to go to Soura- 
baya on some sort of a final transaction for the liquidated com- 
pany ho had forgotten along with other things, the dead Morris- 
son and his own brief days of activity, the hatred of Schomberg 
He remembered it when the bearded German glared at him 
and spat a reluctant consent to his registration at Schomberg^ 
of It, k' ^"g''^hman with the woman's eyes didn't know 
of Schomberg's hatred . . . Schomberg himself was rather 
indefinite as to the original source . . . he only knew that he 
had a deep antipathy for Heyst . . . that his fingers twitched 
£em4"htTnfiiJr."'°" ' ^'■'^'^^' '" '=°"'^'"P'^tion of cruelties 

Heyst's odd presence inflamed the 
hatred. Schomberg wanted to talk 
about it, wanted to plot and plan 
about it, wanted to allay, it. He had 
wandered on this desert of his de- 



And always Ricardo 
followed Alma, beg- 
ging her favors, making 
rove to her, threatenine 
her 




(Vorty-ont) 



MOTION PICTURE 




Alma in the power of 
Pedro 



testation long enough. He was 
parched. 

He couldn't talk to Mrs. Schom- 
berg. The woman had sympathies, 
despicable trait. Her sympathies, tho, were never for him, 
for Schomberg. For him she entertained some sort of a 
primitive passion which did nothing save preclude him from 
such other, infrequent and diverse pleasures as might chance 
his way. An occasional native, now . . . Mrs. Schomberg had 
no sympathies for him . . . 

Just now, rankling virulently, was the girl in the Zangiciamo 
Orchestra, lately arrived from Eastern ports and stopping a 
few weeks at the hotel en route for California. 

The girl was different from most people, from almost all 
the women who came to Sourabaya. She was white, that was 
one thing, dead white. She was whiter than the whitest flower 
ever stjincd with native blood. And her hair was like gold, 
like the sun that pours like heavy brass, all liquid, over Soura- 
baya. Her eyes, now, they were blue, sea-blue and sky-blue. 
She wore a blue uniform, too. Schomberg had a passion, 
probably Prussian, for uniforms. This one was a particularly 
taking blue uniform and it matched her eyes. It was adorned 
with copious brass buttons and considerable gold braid. It 
fitted her trimly and gave evidence, delicately, of soft, very 
young lines. She moved gently, too, and rarely spoke. 

It was horrible to have the automatic, seldom sympathetic 
Mrs. Schomberg perpetually between them. It was maddening, 
like a red banner waved eternally before an inflamed bull. 
There were so many ways of disposing of automatons on 
Sourabaya . . . 

When Heyst came he listened, tfie first night, to the Zangi- 
ciamo Orchestra. He didn't know why he went in, and once 
in, he knew still less why he stayed in. The discord, of course, 
was quite obvious, and outside the sea was murmuring, almost 
restfully . . . and there was a low sky, all weighted down with 
depending stars . . . there was a trade wind . . . thickly spiced 
. . . Heyst had felt a little dizzy . . . 



After the Zangiciamo Orchestra had done he knew why he 
stayed. He stayed because the very white girl in the impos- 
sible uniform stayed, solitarily, on the platform, immediately 
abandoned by the other members of the Lady Orchestra and 
by Zangiciamo himsetf. She seemed to Heyst to be shrinking, 
up there on the platform. She wasn't looking at him, either. 
On the contrary she seemed to be trying very hard not to look 
at anybody at all, as tho .she were fearful to. 

Of course, following the absolute negation, Heyst knew that 
he should go out at once,' lose himself in the night, let it con- 
sume him. But he had noticed her as the Lady Orchestra 
played, vaguely, but still . . . she had had a luminous quality 
. . . she had seemed to shine softly, faintly, like some fragment 
of a fallen, drifted moon ... It occurred to Heyst that she 
was the loneliest thing he had ever seen. He had always, here- 
tofore, thought that of himself, thought that indigenous to 
himself. It was a new thought, wholly new. Just as Morrison 
had been a new thought, Morrison who could weep and wring 
tremendous hands over the loss of a sailing brig, run with 
rats and smelling of rope and tar. 

Heyst approached the girl and from behind the bar Schom- 
berg glared and chewed his beard, his mustache, his chin itself. 

Schomberg had had three new guests the day before and 
until this instant he had felt .some sort of a clammy fear of 
them. One gets fears of that nature on the South Sea Islands. 
One of the guests had registered himself as Mr. Jones. That 
was simple and unfearful enough, certainly, but Mr. Jones 
belied his name. He had a horrible air of a recent gravel. 
Schomberg swore to his wife, pinching her the while he 
mouthed his fears, that there was the smell of grave-mould 
on this Jones. Ghouls had disinterred him, avowed Schomberg 
in part, and he had drifted here. The ghouls, he thought, were 
his two companions, Ricardo, an ex-seaman with a smell of 
fresh blood about him, and Pedro, their Venezuelan servant 
with fifty devils in his eyes and a smile cruel enough to congeal 
the blood Ricardo might well be expected to spill. 

Tonight, tho, Schomberg saw the three horrors he was 

fForty-two) 



housing in a different light. That they were bent on human 
death he was convinced. Plain Mr. Jones had been unearthed 
fron:i some unholy grave and now he. in his turn, was about 
to destroy and to raise up. Suppose that Schomberg told them 
about Heyst, over on Samburan. and about the death of Mor- 
rison and the hidden treasure. Suppose they left his hotel. 
these somehow terrible three, and went to seek out Heyst 
Schomberg crept up to the corridor where the three occupied 
three lordly rooms. He whisi>eied tn' them thru the evil 
hours until the dawn, sickly, turned to bannered splendor. 
Now and again he rubbed his hands violently together and 
mopped his brow. The pale proximity of the* plain' Mr. (ones 
beaded him with agues of cold sweat. 

The second night, too. Heyst waited for the white girl, who 
waited, too. On the second night she talked to him. Oddly. 
he had the dawning feeling that a human being was talking to 
another human being. Always, before this, he had thought a 
human being was talking to a shade, soon would sense this to 
be so, soon would chill and draw away. 

Toiiight, with this girl, it was different; how he could not 
say, did not want to say. She did not draw away, either. They 
walked on the curving half moon of the white beach along 
the edge of a lagoon within whose calm transparent breast a 
single star shivered, yet remained . . . 

She told him about herself. Her mother, who wore a great 
deal of jewelry and then was kind, or who wore none and was 
rather terribly cruel, who spent a great deal of time out, grew 
very tired of walking . . . pavements being hard ... Of her 
father whose name her mother was vague on and so, in conse- 
quence, was she. He had been a gentleman she said, her 
mother had told her she was certain of that, as certain as cer- 
tain . . . a gentleman, she could bank on that . . . that nebulous 
fact, it seemed, was alone substantial in an insubstantial world 
thru which this child had drifted, white like a fragment of 
a moon . . . Her mother had died, after coughing a great deal 
... somehow she had got this job with Zangiciamo . . . and 
she was here and she was very much afraid . . . Zangiciamo 
and .Schomberg were like two maddened dogs, it seemed ; she 



the pitiful bleached small bone between the pair of them . 
She didn't know . , . 

On the third night he waited on the curve of the beach for 
her. When she came, she came flying. "Oh. Jake me away 
with vou !" she begged, her breast' torn like the wings of a 
bird, "take me away. Take me away! I'll work' for you. I'll 
live for you and die for vou. I wont ever bother you, anv. 
I wont ... I wont ..." ' 

It was like, even tho unlike. Morrison attain . . . some- 
thing battening . . . this time .something soft ... it occurred 
to Heyst freshly that he was a man . . . that the world about 
liim was made up of two component parts . . . man and 
woman . . . fundamentally, inescapably . . . and that he was, 
he. Axel Heyst, was the man and this white girl clinging to 
him, was the woman . . . 

He took her with him to Samburan, escaping that night, with 
the help of Mrs. Schomberg, only too glad to be rid of her, 
and Davidson who passed to and fro on his schooner and had 
done sundry small services for Heyst in the past. 

She made a difference in the bungakjw on the island. Heyst 
admitted that almost at once. It seemed to him, unobtru- 
sively, as tho the house were flower-filled, even while he 
knew that it was not. Everything seemed softer and, at the 
same time, sharper.. He, himself, seemed to be somehow quick- 
ened. Things were more acute, possessed more significance; 
daily things such as the eatingof meals, thedrinkingof tea before 
dusk, dinner by candle light. Heretofore they had been things 
to be got thru with, generally with a newspaper propped 
before his plate. Now . . . now he liked to linger over each 
detail of each one of them . . . there were her hands to watch, 
daily miracles, her eyes catching, holding, giving forth to him, 
again and again, new and amazing lights. Her talk ... all to 
him. Suppose she should ever talk in the same way to any 
other person, to any other 

man. He knew, with his new- Alma made the next sudden 

ly awakening self, that he move— a knife flashed thru 

wouldn't like that. And then, the air — Ricardo toppled over 

(Continued on page 81) 




(Forty-three) 



Helen Lee Worthing, one of tne 
honor leaders in our Fame and 
Fortune Contest, has an important 
role in Ned Weyburn's revue at 
the Capitol Theater. She may be 
observed at the left assisting the 
Capitol constructors 




(Forty-four) 



At The 

World's 

Foremost 

Screen 

Theater 



Broadway's newest home of 
the photoplay, the Capitol 
Theater, is now open. This 
de luxe film institution fea- 
tures an elaborate musical 
revue, in which Lauretta 
Harris, at the right, and 
Helen Herendeen, below, 
have leading roles 




(forty- five) 



/ 




The Hidden Egyptian 

Exclusive Photographs by NELSON EVANS 

Clothes, and, if he happens to be in "the speakies/' it even influences 
his diction If the truth were recognized, it would be seen that men- 
tally, at least, he frequently goes on playing it forever.) 

-Think over all the players, both of the stage and screen, whose work 
you have followed and see if you can pick out the character or scene 
ihat they love the best. Frequently, you will find it very easy. You 
Lst use your detective powers, however. No true artist ever repeats 
a favorite scene or a favorite character in all o its details. But 
will creep out; as is the case with all true love they cannot help but 
sliow it Even the very versatile Edith Storey has a love of this kind 
liidden behind her many distinct and perfect characterizations. If you 
watch her closely, you niay see it there; a persistent suggestion of the 
Egyptian, in her clothes, her dry quiet humor her enigma .c ^^'e^ Her 
favorite part was in "Dust of Egypt," a comedy made by the Vitagraph 
Company about four years ago. 

"It was so entirely different from anything I have ever done that 
eve y moment of it was a pleasure," she sa id (she had on a dres of 
every muinc t- ,^^^,,^5^^ striped organdie at the time. 

Later when the photographer saw her, 
she had on a different dress but it was , 
striped, just the same). 

"In the beginning of the picture, I 
was an Egyptian princess. Nothing 
could stand in the way of my getting 
anything I wanted. I could take it or 
liave it brought to me. My will was 
hw absolute. And then this Princess 
died and her mummy came to life in 
the present century. (In the end it 



The most noticeable thing 
about Edith Storey is her sin- 
cerity. She has the most ex- 
quisite sense of humor and 
her viewpoint on life is a very 
lovely one, indeed. "I am a 
regular tomboy," she ex- 
plains. "My brother and 1 
are the best pals in the 
world'' 



HAVE you ever 
stopped to think 
how many dif- 
ferent kinds of love 
affairs there a re ? 
But of course you 
have; everyone does 
at some time or oth- 
er I There is, fpr in- 
stance, puppy love 
that doesn't last, and 
Indian summer love, 
that doesn't last eith- 
er. There is the love 
of the leading man 
for the leading wo- 
man (on the screen) 
— ^and the love of the 
leading woman for 
the leading man 
(who is usually a 
member of some oth- 
er company) ofT of 
it and this last s — 
sometimes. But there 
is one love that lasts 
thru life and be- 
yond, and that is the 
love of a player for 
his, or her, favorite 
part. 

(It influences his 
mannerisms, h i s 




By Elizabeth Peltret 

turns out that she was the crea- 
ture of a dream). 

"Her su'-rounclit)gs were no 
longer regal, but the princess 
had not changed in the least. 
She wants to use a certain 
table as a couch. It is loaded 
with beautiful things, but she 
just brushes them off — (Miss 
Storey illustrated with & non- 
chalant gesture) — and orders 
a bear rug that she fancies 
brought to her. 

"The sub-titles were so 
good, too. 

"Without being in the least 
conscious that she is saying 
anything unusual, the Princess 
remarks to her host, speaking 
of his wife, 'The Woman is 
old and ugly ; why dont you 
send her away and get a 
younger one?' A man inter- 
feres with some little thing her 
Highness wants done and she 
deliberately attempts to stab 
him . . . But always she 
is possessed of a deep inward 
sense of her dignity as a prin- 
cess . . . ." 

Perhaps the most noticeable 
thing about Edith Storey is 
heri sincerity. She has a dry, 
quiet way of talking, her 
voice is low, rather "husky" 
perhaps, and even in tone, but 
never monotonous. She has 
brown hair, with the prettiest 
possible little wave in it, and 
large oval-shaped brown eyes. 

The first thing you notice about 
Edith Storey is her deep humani- 
ty. She has a gift of fitting in 
any scene or becoming one of 
any group of people in any walk 
of life. The scenes on these 
two pages show Miss Storey at 
her California home 





She has the most exqui.sitc sense of 
luiiiior and her viewpoint on life 
is a very lovely one indeed, 

"I'm not looking very far ahead, 
towards any wiilc or distant hori- 
zon." she said; "1 like to do the 
tliini; tlial is with me now. in the 
licst possible manner. I like to keep 
busy. 1 dont even like to sit still 
and read unless I am doing it for 
some definite purpose. I would 
much rather be outdoors. I l('\e 
nieehanics ; T can do almost any- 
thing about an automobile down to 
taking it apart and putting it to- 
gether again. 1 am a regular tom- 
boy ; my brother and I are the best 
pals in the world." 

He is three years younj;er than 
his famous sister and enlisted in the 
navy immeiliately after the declara- 
tion of war. Edith Storey enlisicd 
{Conthntcd on f^ni/c 7.^'> 



/ 




Marie: The Mystic 



M' 



Three glimpses of 
Marie Walcamp at 
home and motoring. 
Miss Walcamp, be- 
fore she gained her 
success on the screen 
as a daring cinema 
serial belle, was a 
show girl in musical 
comedy 




By FRITZI REMONT 



ARiF. Walcami' will do any sort of stunt so long as 
she has faith in her director. 

And let me whisper: Marie is so sensitive to 
thought transference that nobody working near her dares 
think anything that Marie isn't supposed to know. 

Now isn't that sensitiveness queer in a girl who is a 
death-defying, gymnastic wonder? 

Miss Walcamp's eye.s. change color while you talk to 
her — from grey to hazel, from hazel to grey. Everything 
about Marie suggests mysticism. Her smile is inscru- 
table. No two people know her in the same way. In- 
wardly, she is perfectly sincere, but outwardly she is as 
changeable as a chameleon. 

She may be happy one moment and somberly reflective 
the next. She isn't just exactly beautiful, but her great 
individuality marks her as one having a beautiful soul. 
She is reserved and likes to spend odd rr.oments in reading 
and study. At night she usually reads herself into a 
sleepy mood, then tucks the book away under her pillow 
so that it can easily be drawn forth the first thii:<r in the 
morning. 

Miss Walcamp has a great deal of humor. You need 
watch her smile but a moment to be convinced of that. 
She has a large mouth, with perfect white teeth, slightly 
overlapping on the upper row, and that is why Marie wont 
smile often before the camera. Meeting her occasionally, 
one would not even notice the slight irregularity unless 
Miss Walcamp mentioned it, for her teeth give one only 
the impression of wonderful strength, resistance and per- 
fect health. However, serial pictures never require 
smiles, so perhaps that's why the girl changed from 
comedy to stunts, 

"Did you ever attend a seance?" I asked. I hadn't 
known about the Anna Eva Fay business up to that 
time, but Marie's mystic eyes — eyes which make one 
think of looking thru seven veils and trying to pierce 
an inner shrine — had given me courage to accuse 
her of being a psychic. 

"Yes. just once. It was in a town far away from 
here when I was about twelve years old. .Mother 
heard of a spiritualists' meeting and decided that it 
would be interesting for us to go and get a 'message.' 
if possible. I had always a.stonished her by my sud- 
den hunches, and .she was more or less interested in 
psychic phenomena anyway, so she mustered up 
courage enough to take me. It was her first expe- 
rience also. 

"We sat in a darkened room. I felt delicious thrills of 
expectancy and just a little shiver of fear. After a silence, 
the medium said — and oh, oh, he was so funny, with an im- 
pediment in his speech — well, he said, 'Thumbuddy kicked my 
calvthes awful hard just then. Does anybody here weck- 
onize that spthirit?' 

"I forgot all about thrills, fear, spirits and good 
behavior, because the idea of being kicked on the 
shins was so irresistibly funny. I laughed and 
laughed until I almost rolled off my chair, and 
then it struck mother, too, and she began to 
suppress giggles, and a man asked us to leave — 
and we did! So my first and last seance was a' 
real failure and. I never tried it again. I 
told mother I was sorry we hadn't behaved 
well, for I did want to see a spirit that had 
gumption enough to announce its 
presence in such a forcible way. 
I always did admire people who 
had the courage of their con- 
victions, no matter what 
form they took." 

(Forty-eight) 




Miss Walcamp's first 
Blm work was in a 
Lee and Moran com- 
edy at Universal. 
Her first real chance 
came in the serial, 
"Patria," with Irene 
Castle. After that 
she did "Liberty" for 
Universal 



"Do you have liunclies 
about getting hurt when 
you do stunts ?" 

"Oh, often. Last week, when Mr. Mac- 
Gowan was going to throw that block of 
wood at me, of course, aiming to avoid 
actually hitting me, I said, 'You are going 
to bit my head with it.' He said he would 
aim low and never get near my head. A 
few minutes later I was almost knocked 
out by the block ! I guess that ought to be 
the other way around, tho." Again the 
alluring smile brightened Marie Walcamp's 
hazel-grey eyes. 

"Did you ever play anything along 
occult lines?" 

"Well, you know my coming into the 
picture? M'as rather strange. I'll tell you just how I happened to be 
cast for Bob Leonard's 'The Evil Power,' which was a hypnotic play 
with a very powerful part in it for nie. I certainly loved doing it. 

"I was a showgirl with Kolb and Dill and had a great admiration 
for Laura Oakley, who was their leading woman. Every night I'd 
go to her dressing-room and watch her make up, glad to get any 
advice from her as to acting and the show business, or ready to sit 
quietly by and study her if she reheansed anything. At that time 
she was working in pictures as well as with the comedians on the 
stage. 

"One night she suddenly turned to me and said, 'Marie, why dont 
you try for the pictures? I think you'd make good. You have ex- 
cellent features for the business.' I said, 'Oh, I dont know ; I hardly 
think I'd have a chance, do you?' She replied, 'Well, nothing like 
trying. Come out to Univer.sal witn me tomorrow and I'll introduce 
you.' 

"Next day I accompanied her early in the morning and was put 
right into a comedy with Lee and Moran ; then I had a chance to 
work for Mr. Leonard in the occult play; then two pictures with 
Daddy Turner and 'The Village Blacksmith' with Harry Pollard. 
I did a great many dramatic leads after that with Otis T'lrner and 
Mr. Pollard. 

"The first two weeks I worked I earned ninety dollars a week. I 
simply couldn't believe it. You know what the life of a showgirl 
means hardly a cent left for necessaries, so much goes for board 
(Continued on paije 72) 

(Fnrty-nine) 

/ 




The Girl from Out Yonder 

Fictionized from the Selznick-Olive Thomas Photoplay 

By Dorothy Donnell 



"X/OL- lo^^t some of vour hair, and all of your complexion 

Y and one sandal," itemized Flotsam, dispassionately. 1 

gues^ that's all. Luckily I happened to be out with the 

lobster pots." She lifted one foot and scratched the ankle ot 

the other with a bare pink toe in a carefree manner. Like that 

king of France who replied to a 

courtier venturing to criticize one of 

his acts, "I am the State!" Flotsam 

might have said "Convention? I am 

Convention !" 

Mrs. Reggie Elmer, who had spent 
a very bad five minutes clinging to 
an unstable lobster pot and wishing 
fervently that she had been a bet- 
ter woman, giggled hysterically and 
made a futile attempt to wring a 
considerable portion of the Atlantic 
Ocean out of her salmon colored 
hair. "If you hadn't come along 
when you did — " she chattered, "my 
friends would have been saying, 
'how natural she looks' in a day or 
so ! I suppose I am a perfect sight — 
you haven't a powder puflf about 
you. have you?" 

The young person in the baggy 

corduroy breeches shook her curly 

brown head. "N o p e. I 

wanted to send for one 




out of a Sears Roebuck catalog but Fardie wouldn t let me. 
If you come up to the house you canhave some tlour, tho. 
.\re you a w:ck-ender or a permanent?" _ 

Mrs Elmer seemed tn be staring thru a lorgnette. Us 
all very well to Ir.ve vour life saved, and all that but it does 
put one under obligation to such odd people 1 'I beg your par- 
don?" she queried, frostily, "if you mean am I summer board- 
er at the Point, no. That is my yacht off the Reef. 

Flotsam was serenely unconscious of bemg snubbed 1 
thought I hadn't seen you at the Light," she rejoined, pulling 
the fjreat oars thru the water with magnificent sweeps of her 
strong young arms, "we're one of the sights, you know. All 
the summer folks come out to the Reef in Abe Barrow s motor 
boat and .squeal when ihcy climb up the stairs, and say how 
pictures-yiif' and 'I suppose its frightfully lonesome winters, 
and buy souvenir postcards." 

On the rocky ledge they were approaching two figures stood 
looking out into the dazzle of blue and gold. The one, sinewy, 
sliehtly stooping, with grizzled grey showing beneath the oil- 
skin hat, waved his hand as the dory swept about the ledge. 
"Thar they be!" he beamed, "I told ye my gal 'ud find her. 
She's the greatest hand to be pickin' up queer things out of the 
water, once 'twas a turtle, and once a devil fish and now your 

Ma!" ,. . , u 

"Aunt " corrected his companion with a slight cough. He 
was a handsome, well-tailored young fellow whom Captain Joe 
Barton had classified already as "a city toff." Just now his 
expression was oddiv compounded of anxiety, amusement and 
boredom. Edward Elmer was usually bored. He found thi 
flavor of Life insipid to his tongue, as is usually the plight o! 
those who have never wanted anything they could not have. 

"Oh Eddie !" chattered his aunt, hysterically as she tottereo 
over the side of the boat. "Oh, Eddie, it's a miracle I'm not 
lying at the bottom of the Atlantic! And after all those ex- 
pensive swimming lessons I took too! But this water was wetter, 
or at least it seemed so— it behaved so oddly— and I got a punc- 
ture in one of mv water wings— oh, Eddie, I have a feeling that 
when I get around to it I'm going to have hysterics — 
"There, there, Tootles!" her nephew soothed her 
perfunctorily, patting her upon the back— the i-'ifalh- 
ble masculine remedy for all feminine ills whether of 
body or soul. But his eyes strayed undutifuUy from 
the sod'cn salmon tinted head upon his .shoulder to the 
quaint little figure dragging the dory up beyond the 
water line. 

Flotsam was small, but her sturdy boy s attire gave 
her a look anything hut frail. She had crisp bronze hair, 
an audacious tip-tilted nose, a mouth, just a .shade 
too large for classic perfection, not a whit too large 
for charm, and eyes that, from long gazing had caught 
■,c color of the sea. blue and gold, darkening into slate 



grey when there 
was a storm brew- 
ing. She gazed di- 
rectly and honestly 
at Edward Elmer 
without a trace of 
t h e sex-conscious- 
ness which a pretty 
girl usually shows 
when meeting a 
good-looking man. 
Gasping and gig- 
gling, Mrs. Elmer 
chattered out an in- 
troduction and fled 
up the rocks to the 
shelter of the light- 
house for her bath- 
ing suit was of the 
kind that is intend- 
ed for beach bath- 
ing, and likely t o 
dissolve embarrass- 
ingly when in con- 
tact with water. 
Captain Barton fol- 
lowed, leaving t h e 
two young people 
alone. Flotsam 
stood poised on a 
peak of granite, 
humming a little 
song, apparently 
quite unaware that 
Convention expect- 
ed her to make con- 
versation when she 
had nothing to say. 
There was nothing 
uneasy about her si- 
lence ; it was that 
of the sea itself, 
brooding without 
revealing its s o u 1. 

Edward, who was used to girls that chattered, girls that tit- 
tered, girls that flirted, girls that gossiped, but not to girls who 
said nothing at all, found himself suddenly desirous of hear- 
ing her speak. 

"It was certainly deuced lucky you were out this morning." 
he began, with a smile intended to put her quite at her ease, 
a smile that seemed to say, "Dont be abashed by my grandeur, 
little girl. I'm awfully democratic and all that!" 

"Wasn't it?" rejoined Flotsam, continuing to gaze out to 
sea with unflattering interest in the fleet of fishing boats just 
jutting out from harbor. Devil take it, but she was really ex- 
traordinarily pretty — rigged out in one of Clarice's gowns she'd 
be a winner. His tone lost a trifle of its patronage and ac- 
quired deference. 

"Tootles ought not to go swimming in anything deeper than 
a bathtub," he confided, "she loses her head too easily ! So you 
live out here on the Reef, do you? I suppose you must — " 

"Xo," replied Flotsam, coolly, "I dont get lonesome winters 
at all. Yes, indeed. I love the ocean. No, I've never been to 
Xew York. Yes, I'd like to. I'm not your baby doll, thank 
you, and I dont care to row over to the mainland some day 
and take a little ride in your car." 

Edward F.lmer stared at the mutinous little face blankly a 
moment then burst into a roar of laughter. "So that's what 
they say to you, is it? Then I wont say it. We'll talk about 
anything you choose, only do let me stay and talk. I'd like to 
awfully well, honestly!" 

Unexpectedly the stormy face opposite broke into dimples. 
Flotsam sat down on the roc!<s beside him with as much grace, 
in spite of her salt-stained corduroys and clumsy shoes, as 
tho she wore organdie and patent leather pumps. "Then 
tell me," she begged him. hungrily, "every single thing you 
know about rlollu-s" Her tone quickened, her eyes held 

(Fifliioiu) 




And so began, on the 
rocks beside the morning 
sea, the stsry that was to 
lead to other, stranger 
chapters 



a light almost holy. "Are 
they still wearing narrow 
skirts?" breathed Flotsam, 
"and tight sleeves, and are 
the hats turned up or 
down?" 

And so began, on the 
rocks beside the morning sea, the story that was to lead to 
oiher, stranger chapters, as the sea has other, somberer 
phases. It was the first of many talks they had, Edward 
doiiT? most of the talking, while Flotsam .sat enthralled, 
listening to the tale of a world as remote from her ken as 
Fairyland. 

"Why you allow it!" marvelled Clarice Stapleton. with 
the edge of spite in her voice, "that common little thing 
knows well enough who he is and how much money he has! 
Of course, I dont mean to imply that Eddie could be so 
ridiculous as to think of marrying her, but that sort is danger- 
ous. Marriage isn't the only way to get hold of a rich man's 

money ' 

Mrs.' Elmer looked shrewdly at the speaker. Morning was 
always unbecoming to Clarice, tho she was still able to shine 
under electricity. In the full, hard light her face showed every 
one of the thirty-two years — she only confessed to twenty- 
eight — of struggle and disappointment. Clarice had tried 
(lesjierately to marry alnrost every eligible young man she had 
inet since her debut, and the campaigns had left their traces in 
fine lines about her rather pale eyes, in a certain acidity of 
vievnoint, and drawn expression about lips that art rendered a 
vivid Vermillion. 

"She's young and pretty, you must retnember," she remarT<ed 
sweetly, and apparently without guile, "even in those outrag- 
eous togs slit wears she manages to look like a little soubrette 



in ,. mu>-.cai comedy, and withal she's as utterly natural ad 
unaffected as a wild rose." It was not that Mrs. Elmer really 
approved of Flotsam as a prospective niece-m-law, but— as any 
feminine reader will uiulcrstand— she took tli.stinct pleasure 
in making Clarice writhe. 

There were others than those on the yacht who regarded 
with alarm the friendship of Edward Elmer, clubman, million- 
aire first-nighter of all musical shows and Flotsam— the Oirl 
( )ut' Yonder, the village called her. Of these, one, Joey Clarke, 
heavy of hand and feature, with hair burned a strange, tawny 
rc<l by long davs of fishing under the blazing sun, was the bit- 
terest'. Twenty-nine was Joey, a hard man, his fellows called 
him— a dangerous man. He could drink any other fisherman 
on the coast under the table without anything to show for it 
outwarilly save a tendency to smile and talk more than when 
he was sober. He could strike with his tarry fist a blow like 
that of a sledge hammer. He could hate faithfully— could love 
bitterly. .\nd he loved Flotsam Barton. There was a burn- 
ing in his eyes when he looked at her, a thickness on his tongue 
when he spoke to h' . , ,, 

"Cioing to let the city dude cut you out, Joey." his fellow 
fishermen jibed as the dory with Elmer and Flotsam put out 
from the Reef, "I hear they're as good as promised a'ready. 
What gal who c'n have silk gownds and a fine house in the city 
is going to choose a fisherman's shack?" 

To none of (heir jeers did Joe Clarke reply but his jaw had 
an ugly set, and his eyes, under scowling brows smouldered. 
Alone in his three-roomed shanty he considered possibilities. 
She had liked him well enough before that damned dude with 
his silk socks and silkier words had come. She would like him 
—well enough, if he should go. .\nd he should go. 

"I could kill him," Joey muttered, and played with the 
thought for a moment, but in the end relinquished it. "But 
I'm not going to. I'm not hankering to spend the rest Of my 
years in jail — or mebbe get kicked out o' life with a dose of 
iectricity. But if he stays much longer it'll be too" late — he's 
I'ot to go, but how — " 

His great fist came crashing down on the pine table, setting 



MOTION PICTURE 

the dishes chaflering with nervousness. His lips drew nack. 
"Why didn't I think of that afore?" he blazed, "if that dont 
.send h'im kiting nothing will !" 

Edward Elmer was surprised the next morning, to see the 
sliaggy head and lowering face of the most unprepossessing 
fisherman on the Cape rise over the edge of the yacht to be 
followed by six foot two of oilskins smelling vilely of fish long 
defunct. "I beg your pardon. Mister," Joey Clarke said sur- 
lily, ''but might it be as how I could speak with ye, a moment ?" 
But when the desired permission was given he seemed at a 
loss how to begin. His great hands, shaggy with black hair 
twisted his greasy cap, his eyes were fixed upon the far-away 
ledge of the (ireat Reef Light. When he did speak the words 
seemed somehow wrimg out of himself. "It's about Flot.sam 
Barton. I've heard you're sweet on her — is that so?" 

[•Ilmer's eyes flashed dangerously, but his tone was level ! 
"I'dont recognize your right to ask such a question. However, 
if it is the least interest to you I am quite willing to tell you 
that I intend to marry Flotsam. And now — if that was quite 
all — " he gestured suggestively toward the gangway, "it would 
be a pity to lose a morning's fishing — " 

Joey Clarke's great hands worked silently with the hat, a 
slov,-, dreadful twisting movement as tho he were strangling 
something. "You cant marry her," he said, "you cant marry 
her. It isn't safe — she comes from a bad stock — " 

Edward Elmer laughed scornfully, then, little by little the 
hiugh became mechanical and forced as his eyes studied the 
other's face. "Just what" — he wet his lips — "just what do 
you mean?" 

"I mean," Joey Clarke said heavily, with monotonous inflec- 
tion, "that she's the daughter of a murderer! And what's 
more Barton killed his own father. That's why he's tending 
the loneliest light on the coast — to keep out of the way o' the 
Law !"' 

"You're crazy," stammered Elmer, ashy of face, "stark 
crazy !" 

"You dont believe it?" Joey pointed toward the Reef, wtiite 
in the sunlight. "Ask him then! He knows I know it — 'twas 
me as found the old man with his head beat in and him lying 
in a drunk alongside with his hands — red — " 

Captain Barton 
touched the great brass 
reflector with his cham- 
ois as a mother touches 
the cheek of a new-born 
child. Next to Flotsam, 
singing below over her 
housework he adored his 
Light. It was somehow 
a symbol to him, those 
clear white rays brush- 




V< 



/ 



\ ^, 



(Fifty two) 



CLASSIC 



ing the darkness triumphantly 
away — 

"Captain Barton !" He turned, 
startled, then extended a hear- 
ty hand. 

"Mister Elmer ! I didn't hear 
ye, ain't you a mite early this 
mornin? Flotsam's down- 
stairs — " 

"I didn't come to see Flotsam," 
the boy said tragically. The agony 
in the young eyes searching the 
tanned weatherbeaten face be- 
fore him drove the smile from 
the lighthouse keeper's lips. "I 
came to see you. To ask you — 
this man Clarke here says that 
you — Oh, I cant say it ! He 
must be lying — he is lying, isn't 
he. Captain?" 

The strength seemed to go 
from the gaunt figure before 
them. All at once he was an old 
broken man, an old frightened 
man with quivering lips that 
worked loosely and cheeks that 
twitched. His eyes roved dully 
from Elmer's tense face to Joey 
Clarke's implacable one. "So he's 
told ye?" he wheezed, "I've been 
payin' him for fifteen year to 
keep shet o' it. But — it's true — 
leastwise I s'pose it's true — " 

"You suppose it's true?" the 
boy snapped furiously, "dont you 
know?" 

"I was drunk," Captain Bar- 
ton said, heavily, "I used to go 
on sprees — those days. A n d 1 
come out o' one of them with Joey 
here, shaking me, and hollerin' — 
and there was Pap — andmyclo'es 
all over blood — " 

"God !" said F.lmer, and shrank away shuddermg. Below 
stairs came the sound of a brisk broom and ihe lilt of a clear 
soprano. "I have heard the mavis singing, her love song to 
the morn — " 

"She dont know," the father cried, as tho in answer to 
some unspoken argument. "What makes you look so queer like? 
It ain't her fault! She ain't done nothin'," he plucked feverish- 
ly at the boy's sleeve, "what you turnin' away like that for? 
You aint — going — to leave her 'count — of me — " 

"I've got to!" In the face of Life's realities all the affecta- 
tions and artificialities dropped away from Edward l''lnier, and 
he spoke with his soul to the ear,-, of the other's soul. "I love 
Flotsam — but I'd be afraid, afraid hideously, of the taint in 
her, afraid of what — my son would be and do — " 

"She's good!" babbled the old man. "I wont never see her 
again —if you'll take her away — I'll promise you vou wont 
never hear of me! I'll give myself up, and tell 'em Pap didn't 
fall onto the cellar floor like they thought. I'll — I'll do any- 
thin' you say. on'y dont break my baby's heart, dont — " 

"I'm breaking my heart, too." But he was turning away, 
young shoulders sagging, young lips stubborn. "Tell her good- 
bye for me. I — couldn't bear — I'll have .\unty leave before 
another morning — oh, Flotsam — " 

Moments, hours passed, and the old man in the Light tower 
stood motionless, then he lifted his face to the great blind blue 
that showed thru the glass dome overhead. "Help me t' 
lie. God!" Captain Barton praved. "help me t' have my little 
gal." 

Flotsam gave a cry at the sight of the face he turned toward 
her, but he stilled her terrified questioning with a gesture. "I 
got to tell you something that breaks my heart, baby," he said, 
thru stiff lips that smiled dreadfully, "but it's the on'y way. 
I'm not — not yore pappy, not by blood — " 

Hours later. Captain Barton climbed the stairs that led to 

(Fifty-three) 




And he loved Flotsam 
Barton. There was a 
burning in his eyes 
when he looked at her, 
a thickness on his 
tongue when he spoke 
to her 



the Light, holding desper- 
ately to the iron rail. H i s 
knees shook beneath him, 
his head felt oddly dizzy 
and confused, incapable of 
thinking of anything but his 
duty — the Light that he 
must send out into the swift 
autumn darkness, the Light 
that must not fail whether hearts broke or no. 

"First o' all that." nuuiibled he, as he dragged himself up 
stair by stair, "and after — I'll think o' Flotsam — an' the rest — " 

Out somewhere in the dusk he had left her, palmer's arm 
about her. with her face, half frightened, half sorry, yet some- 
how wholly glad, turned to him as he waved her good-bye and 
dropped over the rail. The ethics of what he had done did 
not occur to him. He had denied his fatherhood to save her 
happiness, that was all of it, no more, no less. He had told his 
lie so well that it had pa.-ised as truth, and he thanked God. 
Somewhere out there — he looked down upon the dark heaving 
water.s — the yacht was lifting anchor to take his little girl away 
from him. out into the world where even his thoughts would 
get lost in trying to follow — 

"Th' Light— it's pitchy dark a'ready." He was working 
feverishly now. "Supposin' it shouldn't be lighted and the boat 
should go on the rocks! Where'cl I leave them matches— (/"orf"' 

For his hand, groping in the thick darkness had touched 
another hand. Joey Clarke's voice leaped upon his ears like 
some sava?e animal. "No you dont! The Liijht aint going to 
be lighted to-night. Get me? It ain't (joing to be lighted" 

For a moment Barton did not understand. He even tried 
to laugh in a forlorn, helpless way. "V'hat do you rnean. Joey? 
You're jokin'! I got to hurry becaubc the yacht 
and it's dark — " 



leavin' — 



the 



i^ 



•it"s not leavin !" Dreadful mirth shook tlie great body be- 
side him. "at least— not far. Send Flotsam away, would you? 
She was mme. 1 lell you-.iim.-.' .\nd she aint goin' to be any- 
body else's I" 

There was niadne>s in the wild words, in the gleam of the eye- 
balls in the darkncsv. madness in the clutch of the great, hairy 
hand>. "(iit out o' here, Marton ! I'll tend the Light to-nighl ! 
Git out o' here afore I serve you as 1 served your rai)|>y 
fifteen year ago — 

It was not until the door crashed behind him that Ca|ilniii 
Uarton realized the meaning of the last words. He heat the 
paiiel> with imi>otciit hands, hut the stout ash mocked his 
efforts. He >houted. begged, prayed, and listened to the walls 
Kiss hi- own crie> back u|Min him. From w ithin the Light tower 
was awful silence. He slid to his knees and 
peered thni the keyhole— darkness, utter, merci- 
les>. and— out there, helpless in the night 
yacht driving on the rocks — Flotsam — 

.Somehow he had staggered down the stairs 
and into the kitchen, found matches, a can of oil. 
"Ju>t a minute, dearie, I-'ardie's comin'!" the 
oid man groaned. He lifted a wooden chair, 
brought it down upon the stove with ter- 
rific force that nearly tore his arms from 
their sm-kets. I'everishly he poured oil on 
the splinters .Vnother chair — another — 
cla-ping the bundle of faggots in his 
arm. he -taggered out into the windy 
dark, and felt hi> way down the 
rocks. F.ven by daylight it was a 
hard path lo negotiate, steep, with 
unexpcctc<l pit- 
falls and ti--ures, 
but he panted on. 
falling, crawling 
on his hands and 
knee- Below 
him, and strange- 
ly near, sounded 
the hiss of t h e 
water on the 
pointed rocks. 
He strained h i s 
eyes and thought 
he saw lights 
moving thru 
the darkness — 
"Just a min- 
ute, d e a r i e," 
moaned F 1 o t- 
.sam's father, and 
touched a match 
to the oil-soaked 

w-ood. The flames streamed on the wind like wild locks of a 
Valkyrie's hair. Above him from the darkened tower came a 
«hout of fury. then, sickeningly the sound of a body hurled 
from a great height upon the rocks— afterward silence. 

The torch flared higher, casting wild shadows. In the red 
light of it the old man's face was hallowed with prayer. "Keep 
her safe— please Cxi ! My baby-keep her safe, please God !" 
"Fardie!" Light footsteps ran across the rocks, and Flotsam 
w^s beside him. straining him to her with strong voung arms 
Fardie! What are you doing' Dont look so. Fardie; it's me 
Flotsam! I've come back, and I'm never 
again !" 

He conTmued to wave the torch, staring down at her stupidly 
Bu.-youcant! You're going to be a lady-" His knees weak- 



MOTION PICTURE CLASSIC 

ened. She pushed him gently down and took the torch from 
him, holding it steadily. 

"I'd rather be just Flotsam. To-night — when I saw them 
dancing — the fine ladies, in their fine dresses — I knew that 
you'd lied, and that I was truly your girl, and didn't want to be 
anything else — " her voice broke, denying her brave words, 
but she went on. "He told me. Edward — everything. And so 
1 came back to tell you it dichi't make any difference and I 
loveil you. 1 rowed away while they were dancing. They'll 
never miss me, Fardie — 1 didn't belong there; I belonged here 
on tile (ireat Keef — Out Yonder; I belong to the Light, Fardie, 
and to you '." 

".\iid tome. I'lotsam!'' .said a new voice in from the shadow. 
Tall and handsome in his evening clothes. Edward I'.lmer 
stepped into the golden ring of light, hands outlield. "You 
didn't suppose you could run away from jiie, did you. dear!' 
They had both forgotten the silent figure of the old 
man, crouched among his rocks, and, looking from 
young face to young face shining with a light that 
was not from the dying torch, Captain Barton rose 
softly and stole away. Later there would be things to 
be told, later he might free his name from the 
taint that Joey Clarke, lying somewhere stark- 
'y on the rocks had fastened upon it fif- 
teen years ago. Later he miglit 
reclaim the fathership he had 
denied. He sprang 




Out somewhere 
in the dusk he 
had left her, El- 
mer's arms about 
her, with her face 
half frightened, 
half sorry, yet 
somehow wholly 
glad, turned to 
him as he waved 
her good-bye and 
dropped over the 
rail 



up the steep ledge, into the tower and up the stairs to where 
the door swung open at the top. A scratch of the match, a 
flicker of a wick — and the Light shone out, splendid, .serene, 
over the dark fields of the sea. 

He held out his hands to the rays of it, ecstatic. "The 
Light — is stronger than tlie darkness — " cried Captain Barton, 
triumphantly, "what's there for us to be afraid of. God?" 



going to leave vou 



THE EXCEF'TiON 
By ll'altcr Puliht-r 
There's chani;o in evcrvthinc, alas' except a fcliow'.s pocket! 
This world is full uf chances; there's nothing liere aliiding ; 
All ihinRS are evanescent, flectiiijj. transitory, glifiinp. 
Tlic rartli, the sea. the .sky, the stars — where'er the fancy ranges. 
The tooth of Time forever mars — all life is full of ehan^jes. 
Like 'anrls upon the ocean's shore that are forever drifting. 
So all the fading sreiics ,if earth incrssaiitl\' arc shifting. 
Change rules the nii^?,hty uni\crse — there is no power to block it. 

< Fifliifimrj 



Double Exposures 

Conducted by F. J. S. 



TiiF. waif and her pitiful little pet ge- 
ranium are always with us. Witness 
the opening scenes of De Mille's 
"Male and Female" and of Toumeur's 
"The Life Line." 



A company has been formed out 
in Los Angeles to film the Bible 
in 204 reels. Some directors we 
know 
can 
ha r dly 

g e t a n '~ 

ordinary 
s t,o r y 
into that 
length. 




Recently we presented our com- 
posite feminine star of the films. 
This month we offer our ideal screen 
male star with : 

Lloyd Hamilton's hair. 

Ben Turpin's eyes. 

Bull Montana's ears. 

Chester Conklin's mouth. 

Ford Sterling's chin. 

"Fatty" Arbuckle's torso. 

Charlie Chaplin's legs. 



One of the New York newspapers has 
been listing the most popular lines of the 
spoken drama. We submit the following 
three subtitles to represent the photo- 
drama : 

"A lily growing in the mire." 

"Poor but honest." 

"The dawn of a new day." 




upon the cold-blooded and 
brainless way producers 
twist titles about. Incident- 
ally, Mr. Stroheim notes thaf 
Carl 
Laemmle, 
president 
3f U., de- 
ends his 
c h a n gr 
by saying 
that "there are 
more blind 
husbands in the world 
than pinnacles" and 
that, therefore, more people would go to 
see the re-titled picture. Which, we sub- 
mit, is considerable reasoning! 



V 



Our all feminine football team for the 
season of 1919-1920: 

Gloria Swanson Left End 

Dorothy Gish Left Tackle 

Wanda Hawley Left Guard 

Louise Fazepda Center 

Corinne Griffith .' , Right Guard 

Kebe Daniels. .....: Right Tackle 

May Allison Right End 

Theda Bara Quarterback 

Lillian Gish Left Halfback 

Katherine MacDonald. .Right Halfback 
Elsie Ferguson Fullback 



"Syd Chaplin Finds Europe Is Un- 
settled" is the heading of The Motion 
Picture News story of the come- 
dian's attempt to produce on the 
other side. Something of a dis- 
covery, we'll say. 



Big Screen Moment of the Month 
Bebe Daniels in the allegory of "Male 
and Female." 



Courtesy Mack Sennett Comedies 



The British are protesting about 
American bathing girl comedies. 
Why ? The bathing girl is the screen 
prototype of the stage chorus girl. 
There is no other way to logically 
introduce the flapper except as an 
aquatic charmer, hence the bathing 
girl farce. Why permit the real 
thing behind the footlights and pro- 
test at an animated photograph of it i 

Erich Stroheim has been pur- 
chasing pages in the trade papers to 
complain about the way Universal 
shifted the title of "The Pinnacle." 
which he wrote and directed, to 
"Blind Husbands." It's about time 
some one took a determined stand 

(Fifty-fne) 



LILLIAN GISH 
By Chaplotte Becker 

A fairy's gifts were on her cradle shed — 
This Pierrette of the screen, whose happy wit 
And dainty store of fancy exquisite. 

Seems fragrant of old gardens, quaintly spread 

With tangled blooms of roses, white and red: 
As with swift gleams of joy or sadness lit 
Her winsome, little, wistful gestures flit 

Thru pictures hy lier grace dream-garlanded 

Sparkling with youth, her charm, shy, whim- 
sical, 
Enchanled-wise sets memory astir 
Unto the tunc of some forgotten dance. 
And leads, altho the leaves of autumn fall. 
Thru paths of rosemary and lavender, 
Back to that far-olT country of romance. 



"Aye, there's the rub," com- 
ments some one on noting that Chris 
Rub has been signed as comedian by 
Universal. 



How impressive are statistics! 
Mary Pickford's tabulator states 
that Little Mary will make 15 miles 
of drama in 1920 and that 100,000,- 
000 people will crowd theaters in 
every land to see her. The subtitles 
of her plays will be translated into 
seven languages, including Chinese 
and Japanese. We'd like to see 
"Pollyanna" in Swedish. 



".•\merican films are stimulating a 

desire among Brazilians to learn the 

English language," says The London 

Kinematoyraph. "Perhaps the pres- 

{Continued on page 83) 




Above. Sylvia Breamer, in 
"Dawn"; right. Geraldine Farrar 
and Lou-Tellegen in "Flame of 
the Desert"; below. Douglas Mac- 
Lean and Doris May in "23V: 
Hours Leave" 



The Celluloid Critic 

The Month's Photoplays in Review 



Two absolutely unheralded photoplays stand out of our month in the screen 
theater. One takes its place as a veritable celluloid cameo — and easily one 
(if the best pictures of the year. 

riiis silverscrccn gem is "The Gay Old Dog," (Pathe), based upon an Edna 
Ferber story. It was adapted — and admirably adapted — to the films by Mrs. 
.Sidney Drew and produced by Hobart Henley. Since we have long recognized 
Mrs. Drew's ability to sound the human note and Mr. Henley has heretofore 
been a director of no particular distinction, we give the major share of the credit 
to the former. Possibly we are wrong. Anyway, there is honor enough 
for both. 

Now "The Gay (M Dog." isn't dramatic, hasn't the so-called "punch'' ; indeed, 
it violates most all of what producers have deemed to be photoplay essentials. 
It is just a slice of life. It moves lei.surely, without forcing, to its logical con- 
clusion. Its story? The bitter fate of one Jimmy Dodd, who, weighted down 
by his dvinf mother's request that he "look out" for his three sisters, sacrifices 
his own love and hopes for his family. Then, as the years pass, he finds himself 
alone and loveless and he tries to be a "gay old dog." But he just cant — and so 
the picture ends wit!; the "gay old dog"' just a "tired, lonely old man in a ridicu- 
lous rose- room gone suddenly drab." 

This brief summary does not begin to reveal the direct humanness with which 
Mr. Henley and Mrs. Drew have unfolded Miss Ferber's tale. If "The Gay 
Old Dog" doesn't reach your heart — well, something is the matter with your 
heart. The tear is there, the tear of a vital heart-throb. We beg of you to see 
it, if only to observe the way thought can be put across on the screen. 

John Cumberland, "the gay old dog," has been playing so 
long before the footlights in risque boudoir farces 
that we had come to think him just an average 
comedian. But his playing in "The Gay Old 
Dog" is superb in its sublety. The remainder 
of the cast is well chosen. Indeed, "The 
Gay Old Dog" is well nigh faultless. The 
subtitles, for instance, are gems of fine 
screen expression, so rare these days. 
The other pleasant surprise of the month 
was "23p2 Hours Leave," (Para- 
mount), an adapted Mary Roberts 
Rinehart story, which introduces a new 
juvenile team, Douglas MacLean and 
Doris May, to the films. This is a de- 
lightful comedy revolving around a 
nervy young rookie's love for the daugh- 
ter of the commanding officer of his 
camp. There is a delightful 
freshness to the handling and 
scores of unforced laughs. 
Young MacLean proves to be 
a very pleasant young come- 
dian of whom we expect a 
great deal. .\nd let us not for- 
get the director in giving credit 
where credit is due. 

.Since David Griffith gave us 
his epic, "Broken Blossoms." 
we again look forward to new 
productions emanating from his 
studios with something of the 
expectation we once awaited 
his old-time Biographs. Mr. 
Griffith'.s latest, "Scarlet Days," 
(Paramount), is a tale of the 
mining camps of '49, built 
around a young outlaw, Alva- 
rez, said to have been a real 
character of California hi.story. 
There is nothing particular 
about Mr. Griffith's melodra- 
matic opus, altho Mr. Griffith, 
by a multitude of tiny touches, 
gets a little closer to what the 

(Fifty-six) 




By FREDERICK JAMES SMITH 



real pioneers and dance-hall favorites must have hccn. lUit ".Scar- 
let Days" is distinctive in at least one item: Kichard Harthelnicss' 
portrayal of Alvarez, a sensitive, finely attuned romantic perform- 
ance. Little Clarine Seymour makes a Mexican spitfire stand out 
and Kugenic P.esserer j^ives a \erv rommendahlc presentation of a 
grey-haired mining camp hellc. 

That high-spirited little comedienne, Dorothy (iish, is mil happy 
in "Turning the Tahles," (Paramount), a farce constructed ahout 
the effort of an unscru])ul(ius aunt to put a young woman in a sani- 
tarium in order to get control of her money. Miss (iish has licr 
moments, but the comedy itself is lame stuff. So is the direction. 

More of Norma Talmadge is revealed in "The Isle of Con<|uest." 
(Select), than in any vehicle ue have yet glimpsed. For in it Miss 
Talmadge plays an unhappily married young wife cast ashore in 
abbreviated masquerade costume U|)ou a desert island with a dash- 
ing stevedore. Of course, she comes to lo\e him. belicvin.g luiliby 
dead, and they are about to 
peiform a marriage cere- 
mony of their own, that 
they may become man and 
wife, when a steamer a]i- 
pears on the horizon. 
Friend husband is on 
board, but he prom])tly dies 
of heart trouble and things 
end happily for the .sailor 
and the widow. Miss Tal- 
madge is ade(|uate enough, 
aside from being optically 
interesting, but "The Isle 
of Cont|uest'' is just con- 
ventional screen drama. 

"His Majesty, the .\mer- 
ican," (United Artists), is 
another routine Douglas 
Fairbanks celluline cyclone. 
Doug gymnastics as a 
young Xew Yorker who 
gets involved in a middle 
Europe revolution and 
turns out to be the heir 
apparent to the throne. 

The star dashes from mantel to balcony and from housetop to 
window-ledge with his customary dramatic power. In other 
w-ords, "His Majesty, the American" is just another Fairbanks 
comedy of the usual sort. 

Geraldine Farrar's newest. "Flame of the Desert." ((ioldwyn), 
does not impress us. Miss Farrar has the role of a British girl 
in Cairo during a threatened revolution of natives. She loses her 
heart to an .Arab leader who turns out to be a British officer on 
secret service. Lou-Tellegen is the Arab-Iinglishman. "Flame 
of the Desert" is a machine-made vehicle and nothing more. It 
has all the careful photography aftd direction of (loldwyn produc- 
tions—and all their lack of heart and imagination. 

Dolores Cas.sinelli's "The Right to Lie," (Pathe), is hectic, 
unreal stuff. Miss Cassinelli is seen as the daughter of an Ameri- 
can who has innocently been guilty of bigamy. He cannot reveal 
h.is first marriage, but'does his best to right matters, making the 
child his ward. Every one suspects a sordid relationship and 
there are reels of tears and emotionalism. 

Constance Talmadge's "A Virtuous Vamp," (First National), 
is, despite the cheapness of its title, a bit more amusing than Miss 
Talmadge's recent vehicles. An artless young British society 
belle, under an assumed nanie. invades the .\merican business 
world and just cant help vamping every man in sight, thereby 
upsetting business organization with every flash of her smiling 
eyes. It is adapted from Ch'de Fitch's "The Bachelor," the 
whole comedy being ruthlessly shifted from masculine to feminine 
(Continued on pai/c ^9) 

(F..iftyseven) 





John Cumber- 
land, above, in 
"The Gay Old 
Dog"; left, Clar- 
ine Seymour and 
Richard Barthel- 
mess in "Scarlet 
Days"; below, 
Dorothy Gish in 
"Turning the Ta- 
bles" 




Filming 
"Treasure 
Island 




(Fifty-eight) 



The Riddle Man 



By PEARL MALVERN 



WHEN I went to "get" William Russell I went to the Victor 
Studios somewhere on llth Avenue and I French-heeled 
shakily over cobblestones and slunk into weird arched door- 
ways and around somehow sinister corners. There was the rankly 
humid smell of docks and of salt water against the docks, and I 
felt that I might be in "Limehouse" rather than on an interview. 
There was something distinctly "dififerent" about it all. 

However, I thought, w^hen I get into the star's dressing-room I 
shall be in atmosphere again. He will run true to form, some 
form or other. Perhaps he will be tailored, and correct and, to 
the eyes, an "objet d'art," and we will discuss his fans and his 
hobbies and I will kiioiv that I am on an interview. 

Which only goes to prove one dare not think in tracks on any 
man. 

I found Bill' Russell to be quite in atmosphere. Oh, quite — 
in Limehouse and the cobblestones. He was tiotliinq if not in 
atmosphere. Besides being Gargantuan in build, which is not 
his fault but quite to his attraction-credit, he was attired in a 
flannel shirt open at the throat, nondescript and very utilitarian 
There was a tie bound round about his brow and 
he talked with great difficulty, having to hold in 
two recently displaced teeth besides the little 
matter of enunciating. 

The two teeth, one of which fell out upon the 
floor with quite a thud during the course of the 
subsequent conversation — I tell you this to kill 
suspense — I wish mine might have been as briefly 
killed — the two teeth, I say, had been removed 
from their moorings during a "scene" taken some 
fifteen minutes or more, or less, before my tooth- 
some arrival. Which is a rather conclusive proof 
that when Bill Russell is before the camera he 
is not merely posturing. He fights his fights as 
literally as he would fight them were he in the 
Klondike or the Northwest, or Limehouse or an> 
section where gentlemen with giant builds make 
pleasant havocs of their fellowmcn. 

There is none of the obvious about Rill Russell. 
He gets you guessing. You dont know whether 
you're going to like him, or whether you're not. 
You dont know whether he's .going to let you 
like him. He doesn't gush. He doesn't pose 
He doesn't attitudiiiizc. There is none of the 

mummer. He has the air of reflecting quite 

outside of your being there at all. He talks ^"^^^^^^^^^^^^^^^^^^ 
quietly and it takes hnn some time to warm up 
to his subject. He weighs things. He does not 

speak lightly or glibly. Just in the beginning you begin to despair of him as 
"copy." You dont (|uite know whnt to make of it, of him. You fidget and 
begin to believe that you had better go. Then yon find that he is saying things 
here and there that are immensely worth while. He is saying them in a manner 
of spe:iking as tho he were alone and musing aloud. You realize with some- 
thing of a shock that he had no formula ready to spring on you. He is just 
talking — is just himself. He may and may not have said these same things 
before. If he has. he doesn't know it. It is the thing ]ie is thinking of at 
the moment. Yon have tho impression of something deep and primitive 
of .some miglity force leashed up. of something barely stark and ele- 
mental. It conies to you that the confines of llie drc>siiig-room are far 
too small. There is a need of space and then more space. 

He talks with a few wide gestures, with every so often a piercing 
look from his eyes which are decp-.set and grey. He talks sparsely, 
but one g-pts big canvases of thought . . . impressions . . . 

He is tired of stage life, he says. He wants to travel the great 
world over. Roam the seas and blaze strange trails and climb 
peaks that ravage the skies. Tie wants a gootl comr.-ide by his 
side— a woman "That would be more than half the joy of it." 
he said. (Coiithutcd nn pat/c 74) 

( Fiftif-iutte) 





"Men want good women," 
says William Russell, in 
discussing marriage, 
"wholesome women — 
strong, sanely balanced 
women. Women who are, 
primarily, good comrades'* 




An Earle and His Domain 




At the left is a glimpse of 
Mr. and Mrs. Earle 
Williams with the Wil- 
liams bungalow 
background 



(Sixty) 



THE RIGHT WAY TO 
KEEP YOUR NAILS 

ALWAYS PERFECTLY 
MANICURED 



Just a little regular care makes 
your' hands beautiful 





NAILS like rosy pearl inlaid in a del- 
icate setting — a setting of smooth 
unbroken cuticle, a perfect curve 
which repeats the curve of the nail tips. 

It is easy for anyone nowadays to have 
this alluring grace of perfect, nails and 
cuticle — so easy that people no longer 
excuse the lack of it. 




The sensitive nail root is only 
one-twelfth inch below the cn- 
ticte. When yon look through 
a magnifying glass yon sec the 
unpleasant results of cuticle cut- 
ting. 



Today ill kept nails are as unpardonable 
as ill kept teeth. For it takes but a few 
minutes of regular care each week to 
keep your finger nails always perfect, 
your cuticle smooth, thin, unbroken. 

Make some day of the week your regu- 
lar day for manicuring. Then regularly 
on this day give your nails the care they 
need. 

Do not forget that the most important 
item in the appearance of one's nails is 
the care of the -cuticle. Broken cuticle 
is like a broken setting to a jewel. Coarse 
overgrown cuticle is equally unsuitable. 



Yet many people ruin the cuticle through 
ignorance of the proper method of car- 
ing for it. Nn'er cut it. This is ruinous. 
The nail root is only 1/12 of an inch 
below the cuticle. When the cuticle is 
cut, it is next to impossible to avoid ex- 
posing the nail root at the corners or in 
some other little place. The root of the 
nail is so sensitive that Nature will not 
permit it to remain uncovered. The 
moment a tiny bit is exposed, new skin 
grows very quickly in that place to cover 
it. It grows much more rapidly than the 
rest of the cuticle. This spoils the sym- 
metry of the curve at the base of the 
nails. It causes uneven cuticle and hang 
nails. It gives a coarse ragged appear 
ance to the border of your nails. 

Realizing this, an expert set himself to 
the task of discovering a safe, effective 
way to remove overgrown cuticle. After 
years of study he worked out the for- 
mula of a liquid, which gently, harmlessly 
softens and removes the surplus cuticle. 
This he called Cutex. 

Wrap a little cotton around the end of 
an orange stick (both come in the Cutex 
package), dip it into the bottle of Cutex 
and work it around the base of the nails, 
gently pushing back the cuticle. Instant- 
ly the dry cuticle is softened. Wash the 
hands, pushing back the cuticle with a 
towel. The surplus cuticle will disap- 
pear, leaving a firm, even, slender nail 
base. 

If you like snowy white nail tips apply 
a little Cutex Nail White underneath the 
nails directly from its convenient tube. 
Finish your manicure with Cutex Nail 
Polish. For an especially brilliant last- 



ing polish, use Cutex Paste Polish first, 
then the Cutex Cake or Powder Polish. 

If your cuticle has a tendency to dry and 
grow coarse, apply a bit of Cutex Cold 
Cream each night. This cream was es- 
pecially prepared to keep the hands and 
cuticle soft and fine. 

It takes only about fifteen minutes a 
week to give your nails this complete 
manicure. Do this regularly and your 
hands will always have that peculiar at- 
tractiveness which adds a subtle appeal 
to one's whole appearance. 




To keep yot.r cuticle a perfect jrame for your 
nails, you must use the right softening method. 

A complete manicure set 
for only 20 cents 

Mail this coupon (below) with 20 cents and 
we will send you a complete Midget Manicure 
Set, which contains enough of each of the 
Cutex products to give you at least six mani- 
cures. Send for it today. Address Northam 
Warren. Dept. 901, 114 West 17th St., New 
York City. 

// yo'i live in Canniia, address Northam U'ar- 
rrn, Def'l. got, 3<vi Mountain Street, Montreal. 



M.\IL THIS COUPON WITH TWO DIMES 
TQD.'VY. 




NORTHAM WARREN 
Dept. 901, 114 West 17th St., 
New York City. 

Name 

Street 

Ci(y 

Stale 



(Sixty-one) 



^aiaBBBS£Wgi'<sag^!S3S^r'aife ■ 



A 

Sennett 
Salome 




(Sixty-two) 





What Does Your 
Mirror Reflect? 

Are ijou proud and satiS" 
fled because it reflects a 
skin that ishealthi), glov- 
ing and altogether charm- 
ing? 

Or are qou discouraged 
because (jou haue tried so roani] 
recommended treatments and still 
tjour skin loolcs muddq. oilq and 
colorless ? 

Qiue Resiaol Soap a trial 

Its soothinq. refreshing lather, 
searches euerij pore, and helps to 
cleanse them from the impurities 
ujhich haue lodged there, qiuinq 
the skin a chance to breathe. 

SOLD BY ALL DRUGGISTS AND 
DEALERS IN TOILET GOODS 

Resinol Shaving Stidt delighlJuUy 
ioolhing to men with tender /aces. 



Alia in India 



St 




Mme. Neizimjova in 
her forthcoming 
Anglo-India drama, 
" Strong er Than 
Death," released by 
Metro. "Stronger 
Than Death" has its 
basis in I. A. R. 
Wylie's novel, "The 
Hermit Doctor of 
Gaya" 



PnoiosTiphi courtcijr Metro Coiporation. 



(li'util four) 



Myrtle Stedman 
In "The 

Silver Horde ' 



As star in the screen presentation 
of Rex Beach's world-famous 
story of the great north, "The 
Silver Horde". Miss Stedman has 
enhanced her popularity. Note 
the "twelve pound look" Myrtle's 
beautiful back is receiving. 

Goldwyn Picture 



May I speak a good word in behalf 
of Ingram's Milkweed Cream? It 
"plays opposite me" daily— on my 
dressing table, and I'm sure I do 
not know what I would do with- 
out its aid. 




Ingrtim's 

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Cfearil 

You may have noticed how we emphasize the therapeutic 
property of Ingram's Milkweed Cream. As we have said 
before, it is exclusive to Ingram's Milkweed Cream. 

We lay stress upon this therapeutic quality because it does actually 
"tone up" the skin tissues and keep them in healthful condition. 
Ingram's Milkweed Cream is a wonderfully softening and cleansing 
emollient with this specific therapeutic quality that is so wonder- 
fully helpful to the skin. 

Buy it in either 50c or $1.00 Size 



Ingratn*s 

^veola 
^Souveratne 

FACE POWDER 

Acomplexion powder especially distinguish- 
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Q powder of unexcelled delicacy of texture 
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ItigfawLS 
fRouge 



"Just to show a proper glow" use a touch 
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Wimlsnr, (Int.. 
Canada 



FREDERICK F. INGRAM CO. 

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DKiKOlT. L'. S. A. 



Foreign Distributor* 

Africa, South, C. A. Boiua 

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Trmidad: L.C. Wharton 
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Coupon *^*2* 

(Look for proper address at left! 

I enclose 6 two cent stamps in return for 
which send me your Guest Room Package 
containing Ingram's Milkweed Cream, 
Rouge, Face Powder. Zodenta Tooth Pow- 
der and Ingram's Perfume in Guest Room 



(Sixty-five) 



Fishing 
Tackle 

and 

Lip 
Sticks 




Herewith the Al Christie 
comedy girls-r-unfortunately 
nameless — demonstrate the 
relative value of a fishing 
pole and that first aid to 
femininity, the lip stick. 
Personally, we pin our faith 
to the last named article 



fV >'i<^A- -■■■ >* 




(Sixty six) 







"The Proudest Moment of 

Our Lives Had Come!" 

"We sat before the fire place, Mary and I, with Betty perched on the arm of the big chair. It 
was our first evening in our own home! There were two glistening tears in Mary's eyes, yet a 
smile was on her lips. I knew what she was thinking. 

"Five years before we had started bravely out together! The first month had taught us the old, 
old lesson that two cannot live as cheaply as one. I had left school in the grades to go to work 
and my all too thin pay envelope was a weekly reminder of my lack of training. In a year Betty 
came — three mouths to feed now. Meanwhile living costs were soaring. Only my salary and I 
were standing still. 

"Then one night Mary came to me. 'Jim', she said, 'why don't you go to school again — right here at home? 
You can put in an hour or two after supper each night while. I sew, Learn to do some one thing. You'll make 
good — I know you will.' 

"Well, we talked it over and that very night I wrote to Scranton. A few days later I had taken up a course in 
the work I was in. It was surprising how rapidly the mysteries of our business became clear to me — took on a 



new fascination. In a little while an openmy came. I was ready for 
it and was promoted — with an increase. Then I was advanced again. 
There was money enough to even lay a little aside. So it went. 

*'And now the fondest dream of all has come true. We have a real home of 
our own with the little comforts and luxuries Mary had always longed for, a 
little place, as she says, that 'Betty can be proud to grow up in.' 

"I look back now in pity at those first blind stumbling years. Each evening 
after supper the doors of opportunity had swung wide and I had passed them 
by. How grateful 1 am that Mary helped me to see that night the golden 
hours that lay within." 

In city, town and country all over America there are men with happy fami- 
lies and prosperous homes because they let the International Correspondence 
Schools come to them in the hours after supper and prepare them for bigger work 
at better pay. More than two million men and women in the last 28 years have 
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You, too, can have the position you want in the work you like best. You 
Can have a salary that will give your family the kind of a home, the comforts, 
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All we ask is the chance to prove it. That's fair, isn't it? Then mark and mail 
this coupon. Thare't no obligation and not a penny of cost. But it may be the 
most important step you ever took in your life. Cutout and mail the coupon motv. 



n 



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. lout obhgatlns me, how I can ■ 

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ttrlnR I^Spaal* 
TL'KK in Vr»n*t 
«UlDg |~ lullaa 



Preient 

Occupation- 



(Sixty-seven) 



/Mi 




Get 
Drop on 
that 



Cou^ 



TXnNTER— draft — 

'cold. Take care 

— prepare! To ward off 

th« alTicI of wcl fiet and ex- 
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D«an Medidne Compuijr 
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Mentholated 



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la, ■ii<<ili, C«Ml, Taaar Isijt « laajs 



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u«untemi(rnne,iai. Ssi.n enciM, 



Bowlegged Men 



Your legs will appear straight 
when you wear 

Straightleg Garters 

RanvkAbl* tnTmUoD— CombintUon haa»- 
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hv«M4 er »Etf4*d r»n««; Juit tn InimJout 
vvdti ft/l«r fop bowltertd mrti— ImprwT,* 
\XK>»*tUit» wond'rfullj. Bowlmtx) mm 



MOTION PIC'IURK 



If I Were King (Conlinued from page 33) 




••li> 



la ilila 



tattle aa- 

S-L GARTER CO. 
7H Tnaet C«. BUs.. DAYTON, OHIO 



hood, and where there had been a hundred 
coxcombs, stood now a hundred soldiers 
eager to tight for lionor and country and 
king. Kathcrinc Vaucellcs came swiftly 
up the steps of the dais and flung herself 
on her knees before Villon, taking a rib- 
band from her hair, still warm. 

"You will wear my colors, my lord 
Constable?" she asked with a wonder- 
ful blush, "and until you come back I 
shall pray for you !" 

Louis looked down at her, smiling evilly, 
then turned to Villon, ".\fter such a con- 
quest methinks Burgundy should be easy 
for you, my lord Constable !" he sneered. 
"It is easier to win a woman under a 
borrowed name tlian wearing one's own ! 
I wonder how the lady would answer the 
love-making of one Master Francois Vil- 
lon?" 

The Grand Constable stood motionless, 
staring blankly down at the mocking 
smile of the King, then suddenly he 
groaned as tho the words had been 
daggers piercing his heart. "I have been 
living in a fool's paradise !" quoth Fran- 
cois Villon, "but I'll not die with a lie on 
my lips. Katherine !" he turned to the girl, 
standing wonderingly at his side; "Kate! 
Listen to me, and loathe me! You have 
known me one week as the Grand Consta- 
ble of France, a very gallant nobleman, 
who loves you — better than aught else un- 
der the sky." His voice shook, but he 
forced it on. "Yet the name is not mine, 
this fine suit — borrowed, my position here 
at court a whim of the King. Only my 
love is no sham, but purest gold. Lady — 
Lady! Aside from that — " he drew his 
great figure proudly up, facing the court, 
"I am a pitiful impostor, a pasteboard 
nobleman, known better as one Francois 
Villon, wine-bibber, wastrel — and worse 
a sottish fellow unworthy of any woman's 
love, least of all of yours, Sweetest of 
Women !" 

Katherine Vaucelles did not cry out, 
nor shrink away. But in her eyes he read 
the horror of him, and turned away, try- 
ing to smile. "At least I shall hope to 
crown a shameful life with a good death, 
Sire," Villon said quietly, "if Heaven is 
kind I shall never see tomorrow's sun !" 
In the great court of the palace on the 
morrow workmen were raising a stark 
structure, a tree of evil fruit, the gibbet 
that loomed, a thing of dread in the 
sweet yellow morning air. From the ter- 
race the King looked down at it smiling 
ironically at his secret thoughts. Present- 
ly he turned to Katherine Vaucelles, who 
with the other women of the court stood 
beside him, and his tone mocked her 
white silence. 

"It is a pity — is it not, Kate, that our 
patchwork Constable did not get his wish 
for an honorable death? But no doubt 
you will be glad to see him dangling from 
yonder gibbet who dared make a mock 
of winning a great lady's love!" 

The girl did not answer. She stood mo- 
tionless as the court gradually filled with 
a rabble, eager to welcome the liberators 



of Paris back again. Even when the fan- 
fare of trumpets heralded the victorious 
troops and with Villon riding at their 
head as they entered the square, she did 
not lift the heavy lashes that hid her eyes. 
Very tall, very straight, Francois Villon 
mounted the steps of the terrace and knelt 
to lay the torn battle flags of Burgundy 
at the feet of the King; then rising he 
lifted his hand for silence. 

".And now the Grand Constable of 
France has one more duty to perform," 
said Francois, in a ringing voice, "and 
that is to decree that Master Villon shall 
be hanged from yonder gallows until he 
is dead, for the many sins that he has 
sinned." 

A great cry rose from the crowd, which 
surged forward threateningly, but Louis, 
the King merely smiled his twisted smile. 
"Which of you will die in Master Villon's 
stead?" he asked them, "and thus save 
the life you seem to prize?" 

The murmur (lied. Men shrank back, 
looking whitely into one another's faces. 
Then, clear and high came a woman's 
voice across the sullen silence, and Kath- 
erine Vaucelles moved down the steps un- 
til she stood at Francois Villon's side. 
"I will die for him. Sire," she said glad- 
ly, "for that I could not live without 
him—" 

Francois Villon caught the slim white 
hands with a great cry. ".\nd is that so, 
oh my dear Love?" he asked her, "you 
would do that for me?" He lifted his 
face to the sky. "Now I thank thee, God 
in Heaven, that this thing has come to 
me !" He touched his lips to the slender 
fingers reverently. "And now. Brave 
Heart," he told her, "leave me, for a little 
while, I think that we shall meet again, 
Kate — beyond the stars." 

"If you go. I go also," said Katherine, 
lifting the crimson flower of her lips to 
his, "but first, give me my betrothal kiss, 
Francois — '' 

Again the multitude moved forward, 
again the voice of Louis, nasal, faintly 
amused halted them. 

"I have made a great discovery, 
friends — I have found one man whose 
heart is pure gold, one woman whose 
soul is all angel. I give the man his life, 
the woman her lover. True man and true 
woman — to each other's arms !" 

And who would venture to disobey a 
king? 

The Answer Man 

Pearl White Fan.— Study hard. You'll 
get there some day. Knowledge comes, but 
wisdom lingers. Fay Tinclier is with World. 
Marion Davies is with r elect. What do you 
mean when you say that that player is 
"tough" ? 

Oriental Thfada.— Why not? Poetic tal- 
ent is given as well to the peasant as to the 
knight. Florence Turner isn't located perma- 
nently. All in care of Fox. 

Bobby Links.— I'm pretty sure it was James 
Bryce who said "America should be particu- 
larly thankful for its remoteness from Euro- 
pean quarrels and menaces," but that was 
several years ago and he could not say that 
now. Very few players have time to write 
personal letters. 

fSxxty-eight) 



CLASSIC 

Erich Von Stroheim and the 
Miracle 

(Continued from payc 35) 
him there, hut tliat I did know, for I had 
worn such a rihbon myself. 'All right,' 
he said, 'go ahead and get me the real 
thing.' 

"ijorrowing three dollars from my 
landlady, Lord knows how much I al- 
ready owed her, I bought the ribbon and 
iho in the meantime Mr. luuerson 
had given up the part, Henry Walthall 
wore it. Later, Mr. Emerson asked me 
if I had ever read 'Old Heidelberg.' I 
told him I had seen its first performance 
ill Vienna and knew much of it by heart. 
I nearly fell over when he told me he was 
going to film it and that I was to be his 
assistant director as he wished the details 
to be correct. I had been starving and 
the $18 per week seemed a fortune. 

"Then, one day he asked me how long 
it would take for me to get ready to go 
to New York with him. Thinking of my 
limited wardrobe of a couple pair extra 
hose, a shirt or two and a few stray col- 
lars, I replied that about seven minutes 
would do. Then, like a flash I remem- 
bered the many debts I owed — who would 
pay them? I told Mr. Emerson about 
them and jumping into a car he drove 
around with me and paid them all. Great, 
wasn't it? 

"Now, someone had borrowed my only 
satchel, so wrapping my few clothes in 
a newspaper I started for New York! 
I stayed three years, returning for 
'Hearts of the World.' 

"My opportunity really came becaijse 
of my understanding of detail — and I 
am a crank about this. Detail is the un- j 
mistakable atmosphere that places the 
story and there are always many specta- 
tors who know what is correct, we must 
not forget this.',' 

Returning to the big stage where Mr. 
von Stroheim is directing another pic- 
ture, we forget all about the Past and 
spent several hours in a very vital Pres- 
ent. 

After calling the company together and 
discussing a few points, the work began. 
"His Great Success'' is a big story con- 
taining an after-the-war problem and laid 
in Paris at the present time. With the 
orchestra playing the dreamy "Je 
T'Aime Waltz," over and over, while an 
intense scene between Clyde Fillmore and 
Una Trevelyn was being directed, I grew 
deeply interested in watching Mr. Von, 
(as he is afl^ectionately addressed by his 
company), for he acted out the entire 
scene in detail for each one, rehearsing 
several times until it was .satisfactory. 
He knew exactly what he wanted por- 
trayed — subtle touches, mere suggestions 
— which carry such weight in the psy- 
chology of a picture. 

"Here is a play," said Mr. Von Stro- 
heim, when the scene was over, "with all 
the allure, the vivacity and the lightness 
of Parisian life, with a tragedy, and it 
must be handled very carefully to express 
the meaning desired. I try to have the 
scenes taken con.secutively, w-henever pos- 
( Continued on page 98) 

(Sixty-nine) 



Prettier Teeth 

Safer Teeth— Without a Film 

All Statements Approved by High Dental Authorities 




It Is Film That Mars 
and Ruins 

It is known today that the 
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It holds the acid in contact with 
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Millions of germs breed in it. 
They, with tartar, are the chief 
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The film is clinging. It enters 
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brush does not end it. The ordi- 
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it. So millions find that well- 
brushed teeth discolor and decay. 



Dental science, after years of 
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The Cinema Comes to Carleton— (Continued fro 

Ho .elected me because I feel so look seventy-one all right, bi.t how about 

the twenty,' I answered. 

"You know the advertisement, 'Is she 
twenty or eighty?' Why didn't you con- 
sult them ?" we asked. 

■■Dont be tlippant. It is a serious sub- 
ject. .\ man who was the original 'Shade 
of the Sheltering I'alm' man in 'Flora- 
dora' doesn't look twenty. You know 
that. But I got busy and worked with 
spirit gum and juvenile powder until I 
had done mv darndest and when I went 
down they all agreed that angels could 
do no more. So I went back and tried 
the old man and for my pattern I used a 
picture of mv revered grandfather. He 
was a kindly' soul and his make-up was 
not difficult to copy. I found it far easier 
than the other. My efforts met with equal 
success, too, and Mr. Maigne said 'The 
part is yours,' just as tho I had been 
begging for it.'" 

"An incident that occurred in the stu- 
dio made me think that perhaps I pos- 
sessed latent powers of make-up which I 
never suspected. On my way to the dress- 
ing room I asked one of the men in the 
studio if Mr. Barrymore had come in yet. 
He hadn't so I went upstairs to experi- 
ment with my juvenile make-up. When I 
came down I asked again and he said 
'Xo, he isn't in. Your father was looking 
for him awhile ago.' Later, after I had 
]>ut on the old man's make-up, I stood 
talking to Lionel Barrymore and the man 
saw me and said, 'They have got the 
whole family in this picture, haven't 
they?' " 

"How many pictures have you made?" 
we asked. 

"Only a half dozen — no, not that, only 
five." 

"How does it happen that you have 
waited so long to get into pictures? You 
have been such a success and it might 
have happened long ago." 

"I wasn't ready," answered Mr. Carle- 
ton. "I wanted to sing." 

"But, look at Caruso and Mary Gar- 
den and — and Geraldine Farrar !" we add- 
ed, hastily, as being, perhaps, a happier 
illustration. 

"Yes, I know, but I had inherited the 
Carleton voice, they said, and I was sort 
of expected to sing. Had been doing it 
ever since I was a choir boy at the age 
of ten. And then, you know, I was in 
Boston most of the time and in Europe 
part of the time and to tell the truth I 
never had any particularly brilliant offer 
made me." 

"But you certainly are a good actor on 
the screen and you have that peculiar 
something which has nothing to do with 
beauty and which is, to us, at least, far 
more essential, ^^iss Ferguson has it, too. 
That is why you arc so delightful oppos- 
ite her. That 'peculiar something' is what 
some people call 'class,' which would be 
a very good word if it were not such an 
overworked one." 

"Thank you for them kind words. Par- 
ticularly for 'class.' The word does not 



"No 

strongly on the subject." 

Here Rubv de Kcnier stopped at the ta- 
ble and we presented Mr. Carleton. "Meet 
Miss de Kemer." we murmured, just like 
a movie title. One of our friends said 
that nobody ever introduced anyone that 
way in real' life and we are going to prove 
to him that he is wrong. We do. That's 
how devoted we are to the cause. I f the 
movies do not talk like real people, let 
real people talk like the movies. The ef- 
fect will be the same. 

Miss de Kemer joined a party at an- 
other table and the waiter brought some 
hot com muffins but it seemed as tho 
evervone we knew was at the Knicker- 
bocker that day. As they say in the mov- 
ies "came Robert Warwick" and "came 
Edward Earle" and "came Percy >rar- 
niont" and to each we said boldly. "Meet 
Mr. Carleton." 

"You know them all, donl yuu," he 
said, when we had returned to our muf- 
fins. 

"Oh, yes I" we assured, "and it is fas- 
cinating to go around with them and have 
people stare at you. One day when we 
stopped to talk to .Mice Joyce in front of 
Claridge's the crowd got so thick we had 
to call a traffic policeman to get us 
thru." 

"You don't see any such demonstra- 
tion over me, do you? I haven't made 
enough pictures yet to become interna- 
tionally famous." 

"Dont worry; anyone who saw you in 
•The Society Exile' with Elsie Ferguson, 
isn't likely to forget you. But the trou- 
ble with you is no one would recognize 
you. We were all prepared for a dark 
man with a moustache, wearing a uni- 
form, and here you are — " 

"Dressed in tweeds with a smooth 
face and also red-headed. But, you know, 
red hair takes black on the screen." 

"YoUjand Petrova," we said musingly. 
"But you do look, oh, so different in real 
life." 

"So it seems. I went over to the stu- 
dio on Fifty-sixth Street the other day 
and the boy at the door held me up. 'What 
do you want?' he said. 'I want to go to 
work.' 1 answered. 'We ain't doing any 
casting today. Come in Monday.' But 
wait until you see me in 'The Copper- 
head !' I have to portray a boy of twenty 
and an old man of seventy-one. When 
they were casting the i)lay they told me 
of their quandary and asked me to look 
around for a good actor who could look 
twenty and make up to look seventy- 
one." 
".\ good actor?" we said. 
"Yes," answered William, Jr., "and, of 
course, that let me out. But 1 scoured the 
country and couldn't find anyone who 
wished to undertake the job. When I re- 
ported this to Charlie Maigne. he placed 
both hands on my shoulders, looked me 
straight in the eye and said, 'William, 
you and I have been friends for a good 
many years ; you must play it I' 'I can 



m paije 37) 

offend my aesthetic soul in the least, and 
if one must earn his living (and one 
must) there is no more congenial way of 
doing it than by working in front of the 
camera. I love the work." 

"If it weren't for the cinema field 
days," said we, "and the community act- 
ing," said he. 



THE SCREEN MOxVTH IN REVIEW 

Juniiita Hansen is being starred in tlie Pnthc 
serial, '"The Red Snows." Kathleen Clifford is 
pla\'in(; opposite Douglas Fairbanks in his 
latest picture. 

Macklyn Arbuckle has returned to the 
screen, with the San .\ntonio Picture Corpora- 
tion. Alan Forrest, long Mary Miles Minter's 
lead, is plavint; opposite May Allison in "The 
Walk Offs." 

l.ieut. I'rank C. Badgley has brought suit for 
divorce, in the New York Supreme Court, 
against June Elvidge. 

Bessie Love's Vitagraph contract has ex- 
pired. 

Lew Cody is now making his own pictures 
at the Astra studios in Glendale, Cal. Noah 
Beery and Mabel Julienne Scott have the leads 
in the forthcoming Paramount revival of 
"The Sea Wolf," being directed by George 
Mel ford. 

King Vidor has severed his connection with 
Brentwood and will produce for himself, fea- 
turing his wife, Florence Vidor. The Vidors 
were recent visitors in New York. 

Bernard Burning, in private Ufe Mr. Shirley 
Mason, made his screen debut in "When Bear- 
cat Went Dry." Now he's under a long term 
contract with the C. R. Macauley Photoplays, 
Inc. Miss Mason is the featured player in 
Maurice Tourneur's forthcoming visualization 
of "Treasure Island." 

Edgar Lewis productions are to be released 
thru Pathe. The first will be Andrew Soutar's 
"Other Men's Shoes." 

Pauline Frederick has been visiting in New 
York. Also another Goldwynner, Tom Moore. 
F.arle \Mlliams is producing for Vitagraph 
in the East. He will make "The Fortune 
Hunter'' and two others at the Flatbush 
studios. 

Harold Lloyd is rapidly recovering from in- 
juries sustained, on Aug. 24, in an accidental 
bomb explosion. Jay Dwiggins, long a 
Famous Players-Lasky character actor, died 
on Sept. 8 in Hollywood. 

Kay Laurel heads her own film company, 
with J. M. Shear as executive head of the 
organization. Jack O'Brien will direct. 
Syd Chaplin has returned from Europe. 
Marshall Nielan has purchased Booth Tark- 
ington's Penrod stories and will present 
Wesley Barry as the boy hero of the tales. 

David Griffith is now producing in the East. 
He arrived with his staff early in October and 
has recently been in Florida. 

E-ugene O'Brien has recovered from a severe 
illness and is busily engaged on "The Broken 
Melody." The Carter de Havens have been 
signed by the Famous Players-Lasky, going 
over to that organization, in November. 



DEATH OF BILLY PARSONS. 

"Smiling Billy" Parsons died at his home, in 
Los Angeles, on September 28. Mr. Parsons 
was founder and president of the National 
Film Corporation, the maker and star of his 
own comedies and long an active figure in 
the film world. 

Before invading the- screen, Mr. Parsons 
was highly successful in the life insurance 
business. It was after fourteen years of suc- 
cess in that field that Mr. Parsons turned to 
pictures. His first picture, "Tarzan of the 
Apes," was a big money maker, definitely 
deciding him to take up the screen in earnest. 

Mr. Parsons was 41 years old. He was 
recently married to Billie Rhodes. 

(Seventy) 




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Marie: The Mystic 

(Continued from page 49) 
and ordinary expenses and the salaries 
arc so small. I had hardly known 
when I went into pictures that there 
was so much salary in the whole world. 
It made me dizzy and I hoped and 
prayed it would continue. They signed 
me up when the two weeks were over 
and I gladly turned my back on 
musical comedy, one-night stands and 
general discomforts. 

"I finished the last five episodes of 
'Patria' with Irene Castle. I wasn't 
in any of the swimming or diving pic- 
tures. That was out of the question 
then, because I hadn't learned to swim. 
My real advertising came with Mrs. 
Castle because the film was so much 
discussed before it was suppressed. I 
consider that my real chance. I did 
'Liberty' also." 

"When did you take' up swimming?" 
"We went to Hawaii to shoot some 
scenes and there I met the Duke Ka- 
hanamoku — the famous swimmer of 
Honolulu, who personally instructecj 
me. When I left, he gave me a beauti- 
ful ukulele which he had made himself 
— one of my treasured mementoes of 
a ha]ipy holiday." 

"Miss Walcamp, did you ever call 
the Duke by his WHOLE name?" I 
had been watching her spell it to me— 
spellbound, as it were. 

"Why, of course I did. Just like this 

" What I heard sounded 

like a muffled alarm clock trying to 
tell the hour. Marie has a deep con- 
tralto voice, gaified by much shouting 
over the hills of the U's big "Back 
Ranch." She had a shrill soprano at 
one time, but while the contralto some- 
times breaks "on her," Marie consid- 
ers that it is generally reliable for 
classification in the "female baritone" 
class. She seldom sings now — the seri- 
ous business of acting has taken up all 
her powers of concentration. 

"Isn't it queer how many players arc 
doing serials just now and making 
good?'' said Miss Walcamp, suddenly 
taking charge of the interview. "I 
believe the serial is the savior of the 
motion picture business. An exhibitor 
as well as the producer has something 
to fall back on — it's a sure bet. The 
serials are making money everywhere. 
Anne Luther and Herb Rawlinson are 
doing splendid stories and there are 
many others who are beginning to see 
the advantage of holding public atten- 
tion. Of course, it's always the same 
old thing, I get chased, abused, nearly 
killed, rescued in the nick of time, 
loved, hated — and finally there's a 
happy forever after! The stories are 
much alike in that respect, but the 
pleasure to the actress is in the many 
new locations — just think, next I'm 
going to Japan to work on a serial — the 
ingenious devices used and the unex- 
pected situations which are quite as 
entertaining to her as to any audience. 
I can hardly imagine myself out of 
{Continued on page 85) 

(Seventy-two ) 



CLASSIC 



The Hidden Egyptian 

(Continued from ftagc 47) 



in the service of lier country, too. She 
drove an amhulance in New Ycjrk, 
meeting the ships as they came in and 
carrying woumled to various debarkation 
hospitals. And, slie will tell you, there 
was nothing in the least depressing about 
it. The most tragic things someliow be- 
■ came beautiful. 

"That wa.s when we were all excited, 
of course. When there was no call for 
the ambulance, I used to go to the hos- 
pitals and talk with the boys there. I 
dont think that they realized what it 
would mean to be crippled for life. There 
was one little Irishman, for instance, who 
had lost both his legs. He never grum- 
bled about that, but he used to make a 
fuss about the most ridiculously little 
things — things you would wonder he 
would even think of in the face of his 
big tragedy. Yes, he was a giant in big 
things, this Irishman, but he was a baby 
in small ones. He used to hate the hoy 
in the cot next to him. This boy had 
twenty-seven wounds all from shrapnel 
and had won the Croix de Guerre and 
he always insisted on havii.g his coat 
hanging on the back of a chair near his 
bed so that everyone could see the Croix. 
He was kiddish, too, this boy and I sup- 
pose that that is what got on the nerves 
of the Irishman — " she smiled remin- 
iscently, a smile that grew into a laugh 
and then she explained. It seemed that 
the Irishman had a habit of talking about 
battles he had never been in at all, tho 
he never said a word about the one in 
which he had lost his legs. 

"And now it is all over and we must 
all begin living in prose again. I hope 
I get some really big and cheerful stories, 
You dont know how ditificult it is ! Near- 
ly every scenario we get has the same 
old 'wronged woman' in it somewhere." 

The first thing you notice about Edith 
Storey is Iier deep humanity. She has 
a gift for fitting into any scene, or be- 
coming one of any group of people in 
any walk of life, that is far beyond or- 
dinary adaptability. It is as tho she 
had, herself, belonged to every nation- 
ahty and lived thru every possible ex- 
perience in the world. 

Edith Storey, a New Yorker by birth, 
went on the stage when she was eight 
years old. She appeared in "Audrey" 
with Eleanor Robson, in "The Little 
Princess" and in "Mrs. Wiggs of the 
Cabbage Patch." She joined the Vita- 
graph Film Company when she was about 
thirteen. 

"That was at the time when J. Stuart 
Blackfon u.sed to direct and Albert Smith, 
the present head of the company, cranked 
the camera. When the men finished act- 
ing they used to don overalls and build 
the set they were to work in next day. 
I remember that Maurice Costello was 
the first actor we had who refused to 
wield a hammer. He insisted that he was 
an actor, not a carpenter, and soon the 

'Seventy-three) 



others followed suit and the profession 
gained new dignity." 

In addition to doing child roles and 
"pages" she was the official "stunt" ac- 
tress. She could swim, ride, fall or climb 
to any director's satisfaction and so she 
was frecjuently called on to do all of 
them — ("Once, when I was about four- 
teen years old," she said, "they needed 
an old lady to fall off a bridge. With 
the aid of a grey wig, I was the old 
lady!") 

She is quite as athletic now as she was 
when a little girl and, incidentally, she 
hates to cook, cant cook, and wont cook. 

She likes to live rather on the edge 
of things. Her Long Island home is some 
miles from anywhere, and when I saw 
her recently in Los Angeles she had just 
rented a bungalow within a block or two 
of the city limits — some miles from any- 
where, too. It is a pretty place, how- 
ever, with big high ceilinged rooms, 
plenty of windows and a low, broad ce- 
ment porch. I found her cutting dead 
leaves from a fern. 

Sooner, her favorite dog, was there 
too ; a cuddly white ball curled up on 
the porch sound asleep. Sooner had 
just given her quite a fright, she told me. 
It seems that she had left the hotel and 
rented a hou.se especially for Sooner 
and then, on the first day they moved 
in — (her mother and brother are both 
with hfcr now) — Sooner disappeared. 

"I was afraid he had gotten lost and 
would never find his way back," she said. 
"I went all over the neighborliood calling 
him." Instead of a whistle, her call for 
Sooner is a short, shrill rolling note blown 
thru her puffed lips— ("Hl-bl-bl Bl- 
bl-bl") — 

"I walked blocks bl-bl-bl-ing at every 
step, but still, no Sooner. I suppose the 
neighbors think that I'm crazy — " 

He showed up all right but not until 
evening and he had another dog with 
him. It seetns that the first thing Sooner 
does in a new neighborhood is to make 
friends. 

You see, then, that Edith Storey's 
home atmosphere is simple and whole- 
some ; no "dust of Egypt" about it any- 
where but just a little touch of the exotic 
in her own personality to lend additional 
charm and mystery. 

The Answer Man 

I^uviE. — Of course th.Tt's my picture at tile 
top. Yoii ask if I liavc the five wits — 
common wit, imafiination, fantasy, estimation 
and memory. I have the latter, for I remem- 
ber yon. Clara Young is out West. 

Bn.i.iE n. — The more, the merrier! Yes, 
write to him. That's right, art is long, why 
not hair? Thomas Chatlerton is on the stage 
in San Francisco. 

Bi.viEY UY Herself. — Dont think it was Betty 
Ulvthe; pel haps Ruby de Remer. 

F, I.. H.— No. Richard Barthelmess did not 
play in "Experience" nor "The Man Who 
Came Back. ' 

Berenice. — An interview with "' "lllam Des- 
mond? Yes, in J.anuary, 1919. 




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We 

did. 



talked about women — or he 
We also talked about mar- 
riage. He said he believed in, longed for 
it. He thinks there is one love, one love 
only and many counterfeits. He thinks 
we believe in the counterfeits because we 
so greatly want to, need to. He talked 
with something of a sympathetic sadness 
of a certain type of girl of today— girls 
who tlegrade their youth by painting their 
faces and smoking cigarets and sitting 
in the vitiated air of cabarets. It is a 
mistake, he says, to believe that men, 
worth-while men, want that. 

"You women want good men, dont 
you?" he asked; "good men? Well, we 
men want good ^voineii. Wholesome 
women. Strong, sanely balanced women. 
Women who are, primarily, good com- 
rades." 

He told me of his home in California 
and the sweep of land and sea and sky it 
had and the free, out-of-door life he led 
there. He told me, too, in relevance to 
our talk of women and men, that no 
woman was permitted to smoke in his 
home nor to touch wine. "They may do 
it where they will," he said, "I dont 
doubt but what some of them did, but I 
dont want- to have to see it, and I have 
a right to preserve my ideals in my own 
home, haven't I ?" 

I asked him if he thought many people 
had ideals, consciously. He said he 
thought they did. He has never, he says, 
lost his simple first faith in human na- 
ture. Never swerved in his empedestal- 
ling of women. Never relinquished the 
belief that the great and good life, the 
secret of lasting happiness, the alchemy 
of deep content is the simple life, the 
quiet life in the country with little of the 
fever of ambition, with books and a few 
friends and the woman one loves. 
"Love is the greatest thing in life, of 
course," he said. 

"I couldn't stand New York," he went 
on — "the elevated over my head ; the sub- 
ways underneath ine ; the look on the 
faces of most of the people I see; the 
strain and push and sweat and grind. I'm 
going back to California where, if any- 
where, people really live 

"I was born and brought up in New 
York City, but that doesn't make me love 
it. I was born and brought up in a 
theatrical family. That doesn't make me 
love the theatrical, either. 

"I have come thru to a lot of beliefs 
I didn't have, of course, say ten years 
ago. I have not always had this phil- 
osophy or this way of looking at things. 
I'm a Christian Scientist and that has 
solved a lot for me, given me light. And 
then, too, I have gone down and lived in 
the very depth of things, not because I 
was ever so unfortunate as to have to, 
but because I wanted to, for the experi- 
ence. I wanted to test out the theory 
that environment will make or break a 



MOTION PICTURE CLASSIC 

The Riddle Man 

{Continued from page 59) 

man. 7/ will not. It is the man every 
time. A man can keep intact his im- 
mortal soul as well in a dive as in a man- 
sion. No person or no place or no cir- 
cumstance has power over him. His is 
the power. His alone. Man cannot blame 
his state on circumstance, since he moulds 
circumstance — or could." 

We talked a while of books. Bill Rus- 
sell likes to read biographies and auto- 
biographies — because they're real 

We talked of hobbies and the pursuit 
of pleasure — and he has his pipe — not 
cigarets ; and he likes to take his car and 
ride about the Westchester hills — when 
he is in the East — and feel the freedom of 
the winds he loves sweep past him as he 
goes. 

He likes to dream as men dreamed 
long ago when the world was new — and 
he has built about him a shield of idealism 
that these dreams be not destroyed. 

A Man-Person. A flash-back to Adam, 
the first man, when he walked in the 
cool of the first morning. 



Barthelmess: The Boy 

{Continued from page 17) 

It is his mother love. Now mother love, 
I am afraid, is a thing that may become 
destructive, foolish, a figurative ball-and- 
chain. Not with Barthelmess and his 
mother. Between them there is compan- 
ionship, pal-dom, love. 

Before our interview his mother had 
been ill, confined in a Long Island sani- 
tarium for weeks. Barthelmess spent 
every week-end with her. 

"Mother does not want it," he told 
me when I heard him turn down an in- 
vitation to a house party, "but I know 
her heart — and I am not going to disap- 
point her." 

Her recovery was slow but finally she 
has been able to join her son in New 
York. Once again Barthelmess has the 
companionship he longs for, and when 
time permits — (the Griffith players fre- 
quently work far into the night) — he 
does the theaters with his mother 

"The two pals," they call them. And 
well they may. 



Py 



ANNETTE 
La Touche Hancock 



Your eyes were blue. 
When first we met; 

I thought you true, 
Annette! Annette! 

But with your eyes 
A snare you set ; 

They were hut lies — 
You were a — net I 

For candy yet 
I owe a debt; 

Oh I how you 'et, 
An"et, an"ct! 



(Seventy-fourJ 




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SINGING D STAMMERING D 
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Age- 



Name 

Address 



(Seventy-five) 



k.. 



wmimmimiea 



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Here you will see Beauties from 
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MOTION PICTURE 

On Vamps and Ingenues 

{Continued from page 28) 
"What men are worth vamping?" she 
askecl, with the seriousness one should 
give to sucli a weighty question. "The 
men whose brains have raised them above 
tlie mass of their fellows. Now when the 
generally accepted type of vamp knocks 
at the door of these same brains, the man 
is ]mt on his guard at once. He looks at 
the curve of the lips, the slant of the 
eyes, the cut of the black gown artd knows 
liiat the lady has but one purpose in view, 
to vamp him. If he is wise — or even if 
he but thinks he is wise — he turns from 
her at once. Then comes the sweet, child- 
like, wonder-eyed girl, the girl vi^ho looks 
as if she were born to pick daisies, to 
chase butterflies, to coo sweet lullabies at 
twilight, and, lo, you find him hanging a 
diamond — or a limousine — on each curly 
eyelash. That vamp is the real actress. 
Behind the baby stare may be a mind 
plotting to overthrow a throne: the girl- 
ish giggle may be more deadly than a si- 
ren's song, but the man never guesses it 
and therein lies the great secret of suc- 
cess. 

"And the .screen vamp has set the ex- 
ample for the vamp in real life. Have you 
ever noticed young girls who are blessed 
— or is it cursed? — with the innate desire 
to lure fashioning their dress, their ac- 
tions on the model of some famous screen 
vamp? The latter's method of luring 
must be the correct one or why has it 
succeeded with so many men thru so 
many reels of so many features?* They 
dont seem to realize that vamping tal- 
ents come from within, that a girl cant 
don the generally accepted gown and ac- 
cessories of a vamp and be lYiiraculously 
endowed with the capacity to vamp. She 
must first have the feeling^-and, I may 
add, the brains — for it, and then the prop- 
er setting will come as a matter of course. 

"And the ingenue ! As soon as one star, 
by her personality, won the heart of the 
screen public, her type became the accept- 
ed one for the ingenue. If a girl in any 
way resembling her crossed the path of a 
picture director she was at once hailed 
as a "find." while hundreds of others 
just as truly typical of the young Ameri- 
can girl knocked vainly at the screen door. 
I like ingenuesi I enjoy playing them 
much more than I do vamps, but the one 
that appeals to me is the girl who requires 
characterization, not the one who is sim- 
ply "sweet," and is content to let it go 
at that." 

Dorothy Green is sure that to be per- 
fectly normal one must be a "nut" on 
some subject and she is a nut on sanita- 
tion. She took me thru her doll-house 
apartment, just a stone's throw from the 
theatrical district, but far enough away to 
forget if need be the noise, the bustle, the 
White Lights, and exhibited its spotless- 
ness ; that, too, upon the eve of forsaking 
it for a new home further uptown. 

^lost of the star's friends are girls in 
other professions. 

"I am just as interested in their lines of 

fSi;vcntii-six> 



CLASSIC 

work as lliey are in mine," she said. "It 
keeps me from Ijccoming narrow, from 
viewing life from the sole point of view 
of a moving picture actress," 

At that very instant the V'lo'ie rang. 
It was one of Dorothy's business chums 
with her own particular problem to solve, 
and Dorothy gave her advice just as wise- 
ly as if she had been sitting behind an 
ofifice desk for years. 

"Dont ever bob your hair," she warned 
me as she stopped for a moment with the 
comb suspended above the fluffy mass, 
"If you have two inches, nurse them care- 
fully and pray fervently that at each har- 
vest time, another tjuartcr of an inch will 
be added." 

"How did you ever have the courage 
to do it?" I inquired, recalling the heavy 
dark braids coiled at each side of the head 
that were part of the Dorothy drcen I 
had known. 

"Why, it's just like falling in love," she 
answered thoughtfidly. "One doesn't need 
courage; just an idle moment. One does 
it and then spends hours wondering why." 

"And regretting?" 

"Sotnetimes." 

Dorolliy admits two hobbies beside 
sanitation : jazz music and sheer hosiery. 
To her mind the success of the Pied Piper 
is easily explained. He was a jazz artist 
and she is sure that, had the Garden of 
Eden been hung with sheer hosiery in- 
stead of prosaic ajiples. Eve, not Adam, 
would have had the tag line of the play. 

Of course, the' liioon for which the 
baby Dorothy cried was a stage career. 
Her childish dreams were woven about 
great actresses whose glories would some 
day descend upon her young shoulders. 
Then came tliat operation on her throat 
that marked on tlie stage door, "No Ad- 
mittance." But fortunately for Dorothy 
and the public, pictures were beginning 
to come into tlieir own. 

It was in Mr. Lasky's "The Country 
Boy" — playing the chorus girl — that she 
laid the foundation of her career as a 
vamp. She continued to "vamp" for Will- 
iam Fo.x, the World Film, and then she 
decided to turn over a new leaf and be an 
ingenue, not any kind of ingenue, but one 
permitting characterization. 

.\iu\ what if there had been no silent 
ilrama? Then Dorothy would have in- 
vented some method of giving expression 
to her dramatic talent. For she has origi- 
nality — the originality that laughingly dis- 
cards the ladder with the broken rungs 
and makes for itself a new one. 

The Answer Man 

Bi-tiKiiiKii. — So glad to hear from you. 
Haven't lier age. You think Douglas Mc- 
Lean resenililes Marjorie Daw. Cant see it. 
He's an actor. You want a list of all the 
players' liirthdays? Now, cant you think of 
something more I can do for you? 

H. M. D. D.— But the present is never a 
happy slate to any human befng. Leo Delaney 
is 34 years old. Ves, I have a hard time man- 
agiTig with the high cost of sodas. 

IsAiiF.i. C. — Glad to hear from you. Remem- 
ber, what is said for effect will soon have no 
effect. Owen Moore is not dead. Marie Doro 
is in,, Europe. Pearl White continues to act 
in seVials. Come again, 1 implore you. 

(Seventi^-ffvcn} 




Pretty May Allison, 
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Mary Pickford 
Mir|ucrite Clark 
Douglaa Fairbanka 
Charlie Chaplin 
William S. Hart 
Wallace Rcid 
Pearl White 
Anita Stewart 



UST OF SUBJECTS 

Theda Bara 
Francis X. Buahman 
Earle Williams 
William Farnum 
Charles Ray 
Norma Talmadge 
Constance Talmadge 
Mary Miles Minter 



Clara Kimball Young 
Alice Joyce 
Vivian Martin 
Pauline Frederick 
Billie Burke 
Madge Kennedy 
Elsie Ferguson 
Tom Moore 



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MOTION PICTURE 

The Youngest of the House 
o' Hcimmerstein 

{Conl'mucd from page 19) 
back word, 'You're ruining my show!' 

"I had to remain with 'High Jinks,' be- 
cause that is the only way I knew I 
could .satisfy dad — to get it over with." 

That was all musical ciimedy had of 
Miss Hammerstein. In the few years that 
have followed, the cinema has fared far 
luckier. And yet, managers are still 
clamoring fur her in their stellar roles. 
That is why she calls the Selznicks the 
best friends she has in the world. "Myron 
is my boss, you know, and he refuses to 
let me play any theatrical engagements 
while he's starring me on the screen." 
She laughs over the titles of her produc- 
tions. "The Argyle Case," "The Madcap 
Lover," ".'\n Accidental Honeymoon." A 
few months ago she was billed all over 
the country as "Elaine Hammerstein — 
'Wanted for Murder'," and this, her first 
Selznick jncture — "I'^laine Hammerstein 
ill 'The Country Cousin.' " Her second 
stellar piece is called "Love," and her 
mother, who had just entered the room, 
said she hoped it wouldn't be advertised 
as "l'",laiiie Hammerstein in Love." 

A Fillum Fatality 

liy Waltkr E. Ma IK 

"C), why should the spirit of mortal be 
])roud?" 
.■^ub-titled the star as he mourned 
'neath a willow. 
Hut straightway on payday he bought 
him a loud 
And lu.xtirious necktie as large as a 
pillow. 

lie bought him five shirts of the cost- 
liest weave, 
He benight a blue diamond to add to 
his splendor, 
Then, nicely, iirecisely, from out of his 
sleeve 
He drew forth a roll for ye touring- 
car vendor. 

He bought him a jihoney Los .Angeles 
farm. 
And stocked it with high-balls and 
white leghorn chickens; 
The latter, I flatter him, did him no 
harm. 
Being not of the species that raiseth 
the dickens. 

He bought and he bought; did this 
film Galahad sad, 
■Who so nobly declaimed, with such 
sotilfulness utter, '■ 

Till i)l;iy-<lay, not iiay-day, was all that 
he had ; 
His credit — his job— took a spin to 
the gutter. 

"O, why should the spirit of mortal be 
proud?" 
l^lc has married an extra-girl — Garlic- 
tooth Rhoda. 
'Tho he walks and he talks with his 
bead in a cloud. 
He is back at his old twenty-per, 
jerking soda. 

fUeveniyeight) 



CLASSIC 

The Owner of the "Uncas" 

(Continued from page 21) 

family of three and his brother and sister 
— non-professional, both of them — have 
never taken the shghtest interest in the 
sport that interests him so greatly. He 
has a broad and characteristic philoso- 
phy; a behef that everything moves in 
cycles and that individuals, like events, 
return again and again, each time on a 
higher plane, until they reach perfection. 

He does not like detail. Perhaps the 
most noticeably characteristic thing about 
him is his love of dashing thru things ; 
his impatience of any restraint. He looks 
to be about twenty-seven years old. 

His stage and screen career is so young 
and so much has been said about it re- 
cently, that it does not need recounting 
here ; enough that it, too, has moved quick- 
ly. He began in amateur theatricals in 
Indiana. From that to professional work 
was just a step, and two years after he 
went on the stage he landed on Broad- 
way, New York. He has been on the 
screen for two years, his first moving pic- 
ture work being with World. 

Five o'clock came — "at last !" He 
drove me back to Los Angeles. His mo- 
tor car is painted green. On the way, 
we talked of the Uncas, moving pictures, 
real estate, money and the Uncas again. 

"I wish I could be with the Wilson 
boys when they make that trip," he said. 
"Doc Wilson told me that they'll be sixty 
days on the way, stopping, of course, 
at all the interesting ports." He cut a cor- 
ner sharply. "Do you know," he went 
on, "I'd like to have money enough to be 
absolutely free. Not rich, you understand, 
there is no freedom in that — ^but, say, 
an independent income of a hundred dol- 
lars a day. If I had such an income, I 
dont believe I'd work any more" — re- 
member this was said at the close of a 
busy .\ugust day — "or, if I did work, I'd 
like to do something else. I think I'd like 
to be a recognized writer. Those chaps 
can go anywhere, any time they want to. 
I knew one, a writer of advertisements, 
who had his yacht next to mine in the 
Hudson. He was always going off .some- 
where because that was his whim and 
there was nothing to stop him." 

By which you may see that the owner 
of the Uncas was homesick for a long 
cruise and, anyhow, it is characteristic of 
August that no matter where one is he 
sits down and wi.shes himself elsewhere. 



THE SILENT DRAMA 
By Clarence E. Flynn 
Out of the silence often comes 
» A voice that breaks the stillness deep, 
And with an eloquence unheard 

Calls hidden mem'ries from their sleep. 
It carries power unknown to speech ; 

It speaks directly to the heart, 
Grown thoughtful in the silences. 

Such is the screen's appealing art. 

It calls the strong to lost resolve. 

It thrills the weak to better things. 
It touches sleeping hopes to life 

And in the songless heart it sings. 
It opens scenes of loveliness 

For eyes long used to barren spot. 
This sacred silence that is heard 

Where thought is all and voice is not. 

(Seventy-nine) 




ISfeuTlfedr 
"IfourGomplexi 



ion 



i 



"/.('If took i(/> the 
glass of time and 
turned it in his 
gloxfing ha»ds."~~ 
Tennyson. 



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ONE MILLION DOLLARS A YEAR 

is being made by several persons in the Motion Picture Industry. 

ONE HUNDRED DOLLARS A WEEK 



is being made by thousands of perso 
Hundreds of Thousands of People are 
asking every day such questions as these: 

How can I get into thp MMlon Picture businessT 

fan I Iwconie a ptiotoplayert 

HBve I auffifli-nt talent! 

Have I the iic««attry personality? 

How can I U-rome a Motion IMouiro Director T 

C'a4i 1 iR'Cume nnaiiclaJly Interwted In Motion n-lurosf 

Can I wrltf for M(*»lt>n Ptrtureaf 

H»Te I a '■Mf»tton I'lrture fat-e"? 

Can I tJaln myself for any branch n# UiB bualiieesT 

If I havp Mio talent and ability to bocomo a picture mar, 
how con I RCt a siartT 
These are questions that have long remained un- 
answered. But they can be answered. There have 
been schools that pretend to teach Motion Picture 
acting, but they are generally frowned upon by the 
profession. Personality, charm, winsomeness and 
beauty are God-given gifts. They can be cultivated 
and improved, but not created. Acting is a natural 
talent, Some have it, others acquire jt, but most 
people who haven't it never will learn "it. Grace is 
natural to some, but most people can acquire it. 
There is no rule abo'-t beauty, grace, charm, etc.. 
and some may win without any one of the sup- 
posedly necessary requirements. 

If you want to try to win a place in the great 
Motion Picture Industry, send five cents in stamps 
for this booklet, 

"Who Can and Who Cannot Get Into the 
Pictures and Why?" 

Address it to 

The National Motion Picture Institute 

173-175-177 Duffield St., Brooklyn, N. Y. 



ns in the Motion Picture hulustry. 
Here are h few very successful stars: 
Chaplin Pickford Fairbanks 



Hart 
Arbuckle 



Nazimova 
Keenan 



Drew 



How different they are! Not one of them it 
noted for grace or form, and hardly one for beauty, 
and dozens of others might be added to this list. 

And in the various other branches of the Motion 
Picture business startling deductions can be made. 
The Motion Picture Institute was organized to 
analyze the conditionu of the Motion Picture In- 
dustry, to inform the public of these conditions, and 
to show how and why some people can get in and 
why others cannot. 

A competent and experienced staff of experts have 
been secured to carry on this much needed work. 



THE NATIONAL MOTION PICTURE INSTITUTE 
I73-I75-177 Duffleld StrMt. Brooklyn. N. Y. 



I'leasc «"iiil mi' a copy vt jour tiookIt=l, 
Cannot Get Into the licturee and Why!" 
In stamps for nniUtng. 



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I^ter, I returned to the attack. His 
very reluctance was my goad. His reti- 
cence hid revelation. 

"Well," he saitl, cleverly, with a twin- 
kle in his eye : "well— let us have/xrfiV'irc, 
then. That is, surely, the indispensable 
requisite." 

.\nd he was not to be tempted farther. 

When it came to his early days he was 
more fluent, tho, always, the "1" was 
toned down, passed over, dismissed. He 
was born in Belgium, but is ".\merican 
now," he says, and he has the lingering 
of his native land in his speech. He was 
to be a musician, his father being one 
before him and when, later, he gave up 
music for the stage, Jost- pere almost dis- 
owned him, considering the step, no 
doubt, a distinct drop in caste. 

He told, too, with reminiscent amuse- 
ment tinged with the young tragedy it 
must have been to him, of playing with 
Sarali Bernhardt on an opening night in 
Paris — or. more accurately, in Sarah 
Bernhardt's company. He had a small 
part, he said, only si.x or eight lines, but 
the character, that of a young king, is 
very much discussed by the other players 
before his entrance. His arrival is her- 
alded with pomp and fanfare. "I stepped 
upon the stage." he narrated, "in full 
panoply of sword and satin, tripped upon 
the sword and measured my length upon 
the floor of the stage. .\ moment and 
the house burst into ruinous gales of 
laughter. The opening was a farce. It was 
horrible at the time. You can imagine the 
distraught state of my mind as I went to 
Bernhardt's dressing-room and tendered 
my most abjectapologies.promisingtoiact 
better the next time. '.\ct !' said Bern- 
hardt, justly enraged, 'young man, you 
will never act !' It was terrible — terrible" 
— sighed Jose, shuddering again over 
the span of years. 

He toured the provinces, then, he said, 
for some years, with his wife, playing in 
.\frica, the Far East, etc., and finally, be- 
lieving that there was little chance of big 
money for the general actor, went into 
the managerial end of it. He came to 
.America for si.x weeks' stay, I think he 
said, and things went so successfully that 
— why, that he is still here and has been 
for more years than the number of weeks 
he planned. 

He fought his way upward, starting 
with vaudeville. Always he clung to his 
artistic ideals — thru thick and thin. 

Pictures, he said, always appealed to 
him. Chiefly from the directing end. .\t 
first, however, he played in pictures for 
Pathe, also with Theda Bara in her first 
picture, ".\ Fool There Was," and he, in- 
cidentally, introduced her to the screen, 
engaging her for the part from the rank 
and file of many applicants. He said, 
with another canny wink in my direction, 
that it was a very good thing for a di- 
rector to have been an actor first — 
thru the mill, in other words — tho 
not necessarily essential, he added. 



MOTION PICTURE 

The Director Diplomatic 

{Continued from pacje 36) 

It canie out bit by bit, waived by him at 
my slightest appreciative sign, but em- 
phasized by his wife, that he not only 
reads every book that comes out, writes 
his own scripts, casts them, directs them 
but follows the raw stock of the film 
straight thru to completion, "I wish 
you 'n'ould emphasize that," said Mrs. 
Jose, who is ideally the comrade-wife ; 
"I bcheve that it is quite exceptional." 

We touched upon the controversial 
que.stion of the Screen as Art or Com- 
merciali.sm. 

Mr. Jose seemed to be momentarily 
amazed that there could be any contro- 
versy on the subject. 

"An Art, absolutely," he said; "those 
people who take the other side of the 
question do not take into consideration 
the tremendous work, the detail, the time 
and the often colossal expenditure in 
even the least picture. Only Art achieves 
such results, however short that Art may 
fall of its ultimate possibilities. All Art 
has some room for progression, for furth- 
er perfecting. High spots are not the 
everyday run. 'The Miracle Man' — and 
'Broken Blossoms' — pinnacles V 

Back of Director Jose (this is s. p. — 
Strictly Personal) there is another direc- 
or. The director behind the director ! 
A feminine person, aged three and an- 
swering to the name of Helene Jose. His 
little girl. "She is the one soft spot with 
Ted," said Mrs. Jose, smiling at him over 
the tea-cups — the director had left his 
desk and was drinking his four o'clock tea 
and having his four o'clock cigaret, a 
ceremony he never omits, even at the stu- 
dio, where Mrs. Jose is with him and 
serves it for him, as at home. 

"Well, but how can I help it?" asked 
the wee Helene's Assistant Director, with 
a smile ; "her little talk— and all, it is so 
wonderful — " He got out of his big 
chair and took a large photograph from 
the book shelves to show to me. "I saw 
her as I came in," I said; "she is ador- 
able." Mr. Jose nodded. "Yes, now, isn't 
she?" he asked, "can you blame me? And 
do you know, she has no respect for her 
father at all. She calls me 'Ted' and 
when I try, at times, to be very stern 
and very paternal, .she laughs at me. She 
takes me for a humorist. Maybe I am — 
with her." 

Mr. Jose is not, strictly, a humorist, 
unless in a very super-sense of the word. 
He is the rare bein^ who\can make an 
adaptation of life; who can live it and 
at the same time, play it. He can direct 
because he is, himself, by himself, direct- 
ed. He accepts traditions and does not 
bruise the vigor of his years battling, in- 
adequately, against them. He comes from 
the Old World and he brings .some of the 
old world's riper philosophy with him. He 
can run a gamut, which is good. He can 
be the great director (he would modestly 
eschew this) and he can be the playmate 
a tiny child calls "Ted." 



i 



(Eighty) 



CLASSIC 

Victory 

{Continued front pac/e 43) 
too, lie told her what to read, directed 
her reading, discussed the books with her 
afterward. At once, the characters 
sprang to life, lived, breathed, had vital 
sorts of beings. Everything was ani- 
mate. Her viewpoint, too, it was de- 
liciously strong and tender ... he had 
thought himself so wise, who was not 
wise at all — at best, he was wise enough 
to learn . . . 

Several weeks of this slipped by and 
then, with the same unexpectedness 
Schomberg had felt, the plain Mr. Jones 
arrived on Samburan. He had with him 
Ricardo and Pedro. 

Heyst made them comfortable in one 
of the abandoned bungalows. He had no 
reason not to. Their discomfort at his 
hospitality fired the abstract alarm the 
plain Mr. Jones gave hini. There was 
something quite horrible about Mr. 
Jones; he was so unnecessarily pallid. 
Even the spice of the trade winds gave 
him, Heyst noticed, only the unpleasant 
greenness of decay. Heyst felt him to 
be very unhealthy. Of course, appear- 
ances . . . 

He was afraid for Alma, too, as he 
had come to call the white girl. These 
men . . . their attitudes ... a woman 
alone, as Alma was . . . Suddenly Heyst 
felt himself to be very much a man and 
Alma very potently a woman, needing 
his protection, needing him . . . The blood 
so long quiescent in his veins awoke and 
pounded. How wrong his father had 
been I What a false premise his nega- 
tion had been ! Or else, how long and 
how bitterly he must have starved and 
thirsted ! That was it, perhaps, someone 
had long denied him and decried him ; 
someone very dear to him, as Alma might 
be dear . . . Heyst felt, suddenly^ none of 
his former pride in his father, cold trib- 
ute, but burningly sorry for him, bit- 
terly compassionate, yearning . . . 

It became apparent almost at once, 
certainly to Alma, that these men were 
here for a purpose. Ricardo, she soon 
learned, included her in his purpose. She 
had one desperate encounter with him 
and sent him spinning across the room, 
after which his attitude was more, rather 
than less devotional. Still later, he be- 
came consuming. He would be dan- 
gerous. Alma knew, dangerous to Heyst. 
With the cunning of a woman who loves 
Alma knew that the safe way for Heyst 
was for her to dally with Ricardo, to 
worm their motives from him, to lead 
him on. For herself . . . she was acci- 
dental, anyhow, a fragment conjured out 
of some detached nothingness ; it had 
been easy to come; so would it be easy 
to go back. But Heyst . . . Heyst was dif- 
ferent. Heyst must go on living, a god, 
apart. "The love that loves for love" 
came to the girl's mind . . . without 
thought of any other thing than that 
love's sake . . . and it came to her, too, 
that it might not be unpleasant to sleep 
on this fruitful island lullabyed by the 
seas . . dust, some day, beneath his pass- 

(Eighlyone) 



Millions ojT People Can Write 

Stories and Photoplays and 

Dorit Know It/ 



THIS is tlie startling assertion recently made 
by E. B. Davison of New York, one of tlie 
highest paid writers in the world. Is his 
astonishing statement true? Can it be pos>ible 
there arc countless thousands of people veani- 
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found it outf Well, come to think of "it, 'most 
anybody can tdi a story. \\'\\v can't 'most any- 
body urite a story? Why is writing supposed 
to be a rare gift that few possess? Isn't thi> 
only another of the Mistaken Ideas the past iias 
handed down to us? Yesterday nobodv dreamed 
man could fly. To-day he dives like "a swallow 
ten thousand feet above tlie earth and launhs 
down at the tiny mortal atoms of Iiis fellow- 
men below ! So Yesterdav's "impossibilitv" is a 
reality to-day. 

'The time will come," writes the same au- 
thority, "when millions of people will be 
writers— there will be countless thousands of 
playwrights, novelists, scenario, magazine and 
newspaper writers— they are coming, coming 
—a whole new world of them!" And d<> you 
know what these writcrs-to-be an- doing now? 
Why. they are the men — armies of tlu-n^ — 
ycung and old, now doing mere clerical work, 
in oflices, keeping books, selling mcrcliandisi-. 
or even driving trucks, running elevators, 
street cars, waiting on tables, working at l)ar- 
ber chairs, following the plow, or teaching 
schools in the rural districts; and women, 
young and old. by scores, now poun(!ing typi-- 
writcrs. or standing behind counters, or i-mi- 
ning spindles in factories, bending over sewing 
machines, or doing housework. ^■es — voit 
may laugh— but these are the Writers of To- 
morrow. 

For writing isn't only fur geniuses as must people think. 

Don't yoH believe the ercalur mivc you a storyuritivij 

faculty just as he did the gycatcst ivritcr' Only mavl/c 

; you are simply "Muffed" Ijy the thought that you "haven't 

j the gift." Many people arc simply afraid to try. Or if 

I they do try, and their first efforts don't satisfy, they simply 

five up in despair, and that ends it. They're througli. 
hey never try again. Yet if, Ly some lucky chance, tliey 
\ had first learned the simple rules of writing, and then 
given the Imagination free rein they might have astonished 
the world! 

But two things are essential in order to become a writer. 
First, to learn the ordinary principles of writing. Second, 
to learn to exercise your faculty of Thinkingf, By exer 
cising a thing you develop it. Your Imagination is some- 
thing like your right arm. The more you use it the 
stronger it gets. The principles of writing are no more 
com pie X than the principles of spelling, arithmetic or 
any other simple tiling that any hod y knows. Writers 
learn to piece together a story as easily as a child sets 
up .1 miniature house with his toy Mocks, It is amaiingly 
easy after the mind grasps ttie simple "know how." A 
littic study, a little i)atience, a little confidence, and the 
tiling that looks hard 
turns out to he iust as 
easy as il seemed aifficult. 
Thousands of people 
imagine ihey need a fine 
eilucatinii in order to 
wiite. NothiiiK is farther 
f r o m the truth. The 
greatest writers were the 
poorest scholars. People 
rarely learn to write at 
scliools. They may get 
the principles there, but 
they r,ally learn to 7Vritf 
from the great, wide, 
open, boundless Book 
ol Humanity! Yes, 
seething all around you, 
Cjvery day. every hour, 
every minute, in the 
whirling vortex — the 
flotsam and jetsam of 
Life — even in your own 
home, at work or play, 
are endless incidents for 
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it. Unconsciously you 
would describe it all 
very realistically. And 
if somebody stood by 
and wrote down exactly 
what you said, you'd be 
amazed to find your 
story would sound juat 



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.IS iineresting as many you've rea<l in magazines or seen 
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At Night 



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Mornings 



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Toasted Bubble Grains 

Here are whole grains — Puffed Wheat and Puffed Rice. Corn Puffs 
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The Quaker Q^ts Company 

Sole Makers 



MOTION PICTURE 

ing feet . . . beneath his scattered flowers 
... of course he would not forget her, 
would not be oblivious of her ... he was 
not so made. 

The climax came before a clearing of 
the situation presented itself. It was! 
all very strange. Of an evening Mr. 
Jones and Heyst would sit together and 
play backgammon, each watching the 
other with a cold intensity. Heyst felt, 
always, that some presence from a long- 
filled grave had come to dally with him 
for some weirdly pleasant hour. Mr. 
Jones did not betray what he felt, unless 
it was the faintness of a disbelief, an 
unwilling sort of a liking, chilling in the 
extreme. 

.■\nd always Ricardo followed Alma, 
begging her favors, making love to her, 
threatening her, lavishing extravagances 
of praise upon her, hinting that their pres- 
ence on Samburan had to do with treas- 
ures Heyst had stolen from dead men 
and buried there, on the wane of the 
moon. 

On one of these nights, as Ricardo was 
making his most violent assertions Alma 
looked up to see Heyst and Mr. Jones 
standing in the doorway. Mr. Jones con- 
vulsed her with sick shudders. He looked 
as a corpse might look who has been I 
rudely disturbed from his slumbers. 

"What did I tell you about women?" 
he muttered, levelling his pistol, suddenly 
drawn, at Ricardo, all his dispelled ani- 
mosity suddenly concentrated toward the 
Venezuelan ; "what did I tell you about 
women . . . about women . . . what, 
answer, rat, what?" 

Alma made the next, sudden move — 
a knife flashed thru the air — Ricardo 
toppled over at a thrust of her strong 
arm — Mr. Jones fired and when the din 
and the powder cleared away Heyst had 
Alma in his arms, over both of them her 
blood flowing, bright red and somehow 
victorious. 

"I did this to save you," she whispered 
to him. holding her throat in which the 
pulse leapt, frighteningly ; "I did this to 
save you ... I led him on ... I let him 
think . . . They would have killed us 
. . . for gold . . . they think we have 
gold . . . but now he is gone and you 
. . . oh, yon are . . . safe ..." 

The pulse in Alma's throat seemed to 
Heyst to be his own heart pumping her 
blood away . . . Negation .... how thin 
. . . how thin 1 HimselF, a shade among 
shades . .' . 

Outside the surf was pounding and 
tomorrow the hot sun would draw all 
the strong scents of the earth into its 
passionate heart and there would be a 
shimmer of hot gold over all the land, 
squandered flowers . . . natives dancing 
. . . this white woman . . . where? Where 
would she be? ... In his arms . . . close 
to his heart . . . because he knew ... he 
knew . . . the riddle of heaven and earth 
. . . the sea . . . the sky ... all living 
things and all things dead ... He loved 
her . . . 

."Xnd pressing his mouth on hers . he 
told her so . . . 

(Eighty-two) 



CLASSIC 

Double Exposures 

{Continued from page 55) 
ence of British made films in the States 
will arouse the same feelings of pardon- 
able curiosity among the Americans." 

Speaking of subtitles, why doesn't 
some company sign Daisy Ashford to 
write captions? 



Anne Luther wore 103 gowns during 
six days of the making of the serial, 
"The Lurking Peril," and wrecked them 
all doing stunts. After seeing a serial, 
we know just how a gown feels after 
participating in one. 

The British may poke fun at our 
screen methods, but their sense of humor 
stops short of reading their own film 
press material. We had to send to the 
nearest drug store for a restorative after 
our office-boy had glanced over a batch 
of recent screen press stories. Note 
these choice bits, bearing the plea "for 
the favor of insertion" : 

"Whilst riding on the Downs for a 
scene in her new production, 'The Gen- 
tleman Rider,' Miss Violet Hopson was 
thrown from her horse, and altho not 
seriously hurt, this popular star sustained 
a severe shaking. It will be remembered 
that whilst acting in the Broadwest film, 
'A Fortune at Stake,' last year. Miss 
Hopson had a bad accident in Rotten 
Row and was for some time unable to 
work owing to a severely sprained 
ankle." 
. And this: 

"If you had been privileged to look in 
at the Broadwest studio one day last 
week you would have found a very 
merry party at dinner. Somewhere be- 
hind the scenes, rag-time tunes were 
being played to 'get the atmosphere,' 
altho no piano appeared in this particu- 
lar scene. It was eflfective, however, for 
when a call of 'speed up that rag' 
spurred the musician on to syncopate the 
already raggy tune, the artistes 'got 
going' and the scene proved a huge suc- 
cess." 

German kinemas, according to film 
men just returned from BerKn, are 
against providing remarkable musical 
programs. The popular film demand 
is for detective and society dramas. 
The reported wave of immoraiity in the 
German kinemas seems to be without 
foundation. The moral level of films 
there is pronounced excellent. 

The manufacturing of German lenses 
and projectors is being taken up rapidly. 
This wUl shortly have an effect on the 
American market. 



At present -American activities on 
the other side are interesting to note. 
The Italian Kinema Union, the biggest 
film organization in Italy, has signed 
Herbert Brenon to produce a series of 
pictures starring Marie Doro. The 
first will be "The Mysterious Prin- 
cess." 




(Eighty-three) 



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Photoplay fashions change, indeed ! 

Consider the screen idol of some two 
years ago, the vampire, the be-curled 
ingenue. 

All of them are in the discard, altho 
the curly-headed flapper has fought 
hard for screen life. 

It is distinctly a man's year in the 
films. Producers declare that the 
world war has centered interest in 
masculinity. Anyway, nearly all the 
new stars on the horizon are men — 
Eugene O'Brien, Owen Moore, Lew 
Cody, David Powell and others. 



But the days of the Bushmans, the 
Wiltiamses and the other typical film 
idols have waned. 

Note what Crane Wilbur says on 
another page of this Classic. 

Photoplay followers have sickened 
of the clothing store manikin who 
personified every virtue. It's thumbs 
down for the film idol wearing an 
arrow collar and a halo. 

, Today the popular man on the screen 
must be different — and human. The 
debut of Douglas Fairbanks marked 
the dawn of this era. He did some- 
thing besides pose. 

Observe how players like Wallie 
Reid are turning to comedy, how Bert 
Lytell has switched to character stud- 
ies in "Lombardi, Ltd." 



Recently we had 'Gene O'Brien, in 
"The Perfect Lover," as a painter who 
decides to put his affairs of the heart 
behind him and settle down to domes- 
ticity. 

And now we have Lew Cody bring- 
ing another male character to the 
screen — the typical boulevardier, the 
man about town who, according to Mr. 
Cody's own announcement, is "always 
charming in manner, with a distitigite 
air and a way with women — in brief, 
a man of personality who is not dis- 
liked by men, tho they envy him his 
savoir faire and his knowledge of the 
secret of living." 

Thus the screen male who is a ming- 
ling of good and bad. Some miles 
from ,the virtuous but unsoiled black- 
smith of the pioneer film days! 



lu 



For women the steps must neces- 
sarily come slower. Yet the lady of 
dead black morals — the vamp — has 
passed. 

The guileless ingenue — of dead 
white morals — is also in oblivion. 

This year we have had our not en- 
tirely spotless but more or less human- 
ly good women of "The Woman Thou 
Gavest Me," "Kathcrine Bush," and 
other popular photodramas. 

Not to mention the sophisticated 
ladies of the Dc Mille dramas who can 
look a divorce in the face without quiv- 
ering a single beaded eyelash. 



The whole style in women folk has 
changed. We have our Nazimovas, 
our stately Kathcrine l^IacDonalds, 
our lureful Gloria Swansons and our 
beauteous Corinne Griffiths where once 
gamboled the be-curled ingenue of 
other days. We consider the very 
human frailties of our film heroines as 
calmly as once the flapper star watched 
her pet canary. 



The photoplay can be safely said to 
be advancing when it no longer de- 
mands that its characters be good or 
bad as in the old-fashioned melo- 
drama.s — white or black of heart in the 
most obvious style. 

We have discovered that there is 
something of good and something of 
bad in everyone! Which means that 
our stories are passing the kinder- 
garten stage. Does not Maugham say, 
in his "The Moon and Sixpence," "I 
did not realize how motley are the 
qualities that go to make up a human 
being? Now I am well aware that pet- 
tiness and grandeur, malice and char- 
ity, hatred and love, can find place side 
by side in the same human heart." 



The coming few months will see a 
definite stand taken against the cut- 
ting of feature plays to fit de luxe the- 
ater programs. 

Recall what David Griffith said re- 
cently in The Classic? 

Mary Pickford has just announced 
that she will not permit her future pro- 
ductions' to be cut in any way by ex- 
hibitors, either to shorten their pro- 
grams or because they do not like cer- 
tain scenes. 

This winter is going to see an inter- 
esting experiment. While American 
companies are talking of invading Eng- 
land and the Continent to produce pic- 
tures, a British film company is com- 
ing, bag and baggage, to produce in 
California. 

The organization, G. B. Samuelson's 
all-British Company, will probably pro- 
duce at Universal City. Mr. Samuel- 
son is bringing his entire companv, in- 
cluding Madge Titheradge, the well- 
known stage star, and his whole tech- 
nical staff, from directors to camera- 
men. The company arrives via Mon- 
treal, heading direct for the coast. 

Mr. Samuelson is planning to make 
at least two productions: Gertrude 
Page's "Love in the Wilderness" and 
Ridgewell Elkin's "Night Riders." 



Reports from Germany indicate that 
the late "central power" is returning 
with vigor to the making of motion pic- 
tures. An official embargo exists on all 
foreign films, but, it is said, American 
and French films are being smuggled into 
the country in large quantities and are 
being openly exhibited. The officials in 
fact are winking at the embargo. 

(Eigbti/four) 



CLASSIC 

i^ Marie: The Mystic 

"^ (Continued from page 72) 

serials; especially now that Mr. Jac- 
card has returned from France to di- 
rect me." 

"Yes, you and he have worked to- 
gether so long, it must be regular 
team-pulling now, isn't it?" 

"I've loved and respected all my di- 
rectors — few girls have had so many 
charming experiences as I have had 
under Mr. Turner, Mr. Pollard, Bob 
Leonard and Tom MacGowan. But I 
feel that the greatest laurels belong to 
Jacques Jaccard. We thoroly under- 
stand each other. You might call me 
temperamental — I dont call it that. 
But there are times when I feel cross 
or blue ; at other times, I feel exuber- 
antly happy. He knows how to handle 
me, tho no word is spoken. I get his 
moods in the same way. I have abso- 
lute confidence in him, so that when he 
says a certain dangerous trick must be 
done in this or that way, I never hesi- 
tate to do it. I know he understands 
me and understands the situation per- 
fectly and I always feel sure that I'll 
come thru all right. 

"Every night we write together. Mr. 
Jaccard has only used three stories in 
five years that were written by out- 
siders. He devises plots and thrills 
and we go over them carefully. That's 
why I dont have time for pleasure. I 
have only been to the movies twice in 
the last four months ! 

"It is usually very late when I get 
home from the studio. We use all the 
daylight possible and then comes the 
long drive back, dinner, and after that 
we're ready for the serious business of 
concocting a story that may run thru 
fifteen to seventeen weeks. Sometimes 
I jump up for a few moments and play 
the piano to relieve the tension of an 
entire day spent in work and then we 
get a fresh start, but I retire about 
ten because you see I have to be up 
very early in the morning in order to 
get made up at Universal City in time." 

"But what do you really do for 
amusement — when you do work in a 
little spare time?" 

Miss Walcamp hesitated, began, 
hesitated ag^in and said slowly. "I hale 
to tell you — it will seem silly . to an 
outsider, I'm afraid. But if I ever have 
a few days off between pictures, I 
take everything out of my bureau, 
chiffonier and closet and put the whole 
place in apple-pie order. The fact is. 
that it just rests me and is a regular 
treat to be able to clear up boxes, 
■drawers and clo.sets. Honestly, I cant 
think of anything I'd rather do than 
that, save acting. Of course, when it 
is all finished, I take account of stock, 
make a memorandum of what I need 
and go down town in my Stutz and 
shop. I'm like the rest of the girls — I 
do love clothes." 

I should say Marie does love clothes. 
Hanging in the dressing-room closet 
was a eautiful black evening gown, 
made of real Irish lace brought to her 

(Eightn-five) 




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MOTION PICTURE CLASSIC 

by — well, I promised not to tell who 
brought it, so mum's the word. It will 
be worn in "The Red Glove" which is 
being adapted from "The Fifth Ace" 
by Douglas Grant. Hope Loring is 
churning out episodes in continuity as 
fast as her nimble fingers can dash 
over the typewriter and the two girls 
hobnob in odd moments on the lot, 
discussing innovations. 

During the shooting of "The Red 
Ace" Marie Walcamp proved herself 
an uncomplaining martyr, for a sudden 
fall broke her wrist. Having learnt 
many different ways of swimming from 
the Hawaiian teacher. Miss Walcamp 
decided not to postpone work on this 
serial ; had her arm put in splints and, 
on the fourth day after the accident, 
was doing high dives and endurance 
swims in Great Bear Lake, a cold na- 
tural tank up in the mountains. 

"Oh, I didn't mind the break, but I 
was worried for a few hours lest it 
would interfere with finishing the epi- 
sode. However, I really think that 
cold water did me a lot of good. You 
see the" boards kept me from knocking 
my arm against anything. It was not 
really dangerous. After a few days, 
I felt no inconvenience whatever," said 
the intrepid lassie. 

Marie Walcamp's attitude toward 
animals is interesting. She has such 
perfect self-control that the dumb 
brutes seem to sense it. She is always 
the judge of any horses brought in for 
her to ride ; sizes up their points ; tries 
them out and teaches them tricks. 

"Baby lions are so interesting! Have 
you ever seen a lioness put her little 
ones to bed ?" 

Having lived a safe and sane apart- 
ment house existence, I hastily dis- 
claimed such knowledge. 

"Well," continued Mystic Marie, 
"the mother gathers up one cub and 
walks up and down the cage swinging 
it by the neck the way a cat carries a 
kitten. Then when it seems ready to 
doze off she puts it down, sets her foot 
on it- and, if it doesn't move, gets up 
and takes the next one and swings that 
to sleep." 

But just then props arrived with a 
boiled egg and a bit of bread, hustled 
across the fields in a U-bus, so our 
chat was interrupted for a very tiny 
luncheon on Marie's part, so tiny in 
fact that I ejaculated, "You're far 
more spiritual than material. I believe 
you live in the mental realm." 

"A-b-s-o-l-u-t-e-I-y," answered Ma- 
rie the Mystic slowly. "I dont care 
anything about material things. I like 
to spend my time thinking, trying to 
fathom things. You cant do that if 
you are wondering whether it will be 
steak and onions for dinner or sausage 
and waffles for breakfast. I want to 
spend my time on the worth-while 
things and they're absolutely mental, 
aren't they?" 

So I'm wondering if Marie is not 
protected by "presence of mind" — a 
quality she exercises constantly 

(Eighty-aix) 



CLASSIC 



The Amazing Interview — (Continued from page 2i) 



bath with a marble shower and a most 
complete little kitchen equipped, elec- 
trically, with every device known to 
culinary use. 

"I prepare my stewed fruit in there," 
said Norma, huddled at the time in one 
of the wicker chairs, hair slicked non- 
chalantly back, wearing the serge bloom- 
ers, middy and socks in which I had come 
upon her taking a scene. She told me, too, 
of the time Madame Petrova had come 
there to interview her and they had pre- 
pared tea and sent out for cakes and all 
sorts of things. Constance, she said, had 
loudly observed that there was "real 
food!" 

The Talmadges are distinctly a family 
group. -\ strong camaraderie and inter- 
est exists between the sisters, which is 
unusual and rather sweet. Norma and 
Constance see each other's pictures run, 
are critical or enthusiastic as they honest- 
ly believe the occasion demands, but al- 
ways constructive, and pleased at each 
other's triumphs and successes. Natalie, 
the third sister, was. at the time "up with 
the cows trying to get fat," as explained 
by Norma. 

Later on in the afternoon we paid a 
visit to Constance who occupies a large 
dressing room and studio on the floor 
above. We found her with golden baby 
hair and a blue dressing-gown bemoan- 
ing and bewailing over her new picture 
with Conway Tearle she had seen rim that 
morning. She appealed tragically to Nor- 
ma. "It is something awful," she de- 
clared, "aw-ful !" 

"What's wrong?" asked Norma, with 
sympathy and a wink. 

"Everything . . . story . . . lighting 
. . . me . . . most of all, ME ! Conway 
saw it and he agrees with me. Simply 
AWFUL!" 

Norma informed me on the way back 
to the cretonned sanctum that it is not 
half so bad as Constance would have it. 
I was thinking on other matters, having 
been of the opinion that it probably was 
not anywhere nearly so bad. "What," I 
demanded, "is the reason for the several 
dozen kewpie dolls I observed in Con- 
stance's room?" 

Norma laughed. "Everyone gives Con- 
stance a doll," she said; "they probably 
think she's a nut, or simple minded, or 
something." The laugh, you know, was 
an affectionate one and the explanation 
lovingly without malice 

"And the parrot?" I prompted; "I saw 
(and heard) a huge parrot in there." 

"Dick Barthelmess gave her that, out in 
California. .She named it Richard Bar- 
thelmess Talmadge . and travelled cross 
continent with it, taking endless pains. 
Lillian Gish has one, too. They brought 
them together and arrived in New York 
looking, according to themselves, like im- 
migrants." 

We found Mother Talmadge awaiting 
us below and making a great fuss over 
aforementioned Pom. "What have you 
done to your hair. Norma?" she greeted 

(Eighiy-Kven) 



her illustrious daughter; "looks different." 

"Combed it. probably," responded Nor- 
ma, genially. 

There is a nice air of being "regular 
people" about Norma which augurs, 
above all else, a sane perspective, a nice- 
Iv balanced sense of things, equipoi.se. 
There is none of the irrational about her, 
no bizarre evidences of temperament. If 
you didn't know her for a star . . . well, 
you wouldn't know her for one, if you get 
my meaning. She is with you and me 
and all the rest of us. . No doubt but what 
she gets a real enjoyment out of what she 
has done and is doing and the way in 
which it has all been received. She is es- 
sentially and quite evidently human 
enough for that. She is nothing of the 
snob, nothing of the highbrow. She de- 
tests the easily and prudishly shocked. 
She is free and easy and talk to-able and 
at-able. 

"I've always had ideals," she told Miss 
Livingstone and myself, who had doubt- 
less just denied the same; "and I still 
have 'em . . . more than ever . . . I've 
never seen any reason not to !" 

Those of us who have ideals give them 
. . . beautifully when we can and always 
and necessarily helpfully and inspiration- 
ally to the great many, many "others." 

Thus Norma Talmadge and the Art 
which is herself. 



TO A VAMPIRE 

I want to be your victim, rare, robed wrecker 
of the screen. 

I want to cringe and crawl and do 'most any- 
thing that's mean. 

I want a mustache, steely grey, a wife and 
children, too, 

That y'(U may see and sneer and snarl a.nd 
curse them, thru and thru ! 

I want to break a bank and kill the man who 

gave me fame ; 
1 want my folks to die because I've spoiled the 

family name ; 
I'd slink up to your slimy side and kneel to 

kiss your shoe. 
If I could be the victim of a vampire such as 

you ! 

I want to kiss your false, famed face; I want 

to curse and cry. 
To beat, bruise, batter, then beseech of God 

to let me die; 
To tear your ' snakelike arms away and dash, 

with bated breath. 
Down to the old canal and die a most befitting 

death! 

I want you, pampered, poison pet! Believe 

me when I say 
I'd dare death-dealing deviltry, beneath your 

vicious sway ! 
Seek what you will! Hound me with hale! 

There's not a hair-breadth scene 
That I wont do to humor you — but only on the 

screen ! 



FAN FANCIES 



Close-ups lend enchantment. 

No thin vampire no sin has. 

Go West, young fan, go West — they're all 
in 'Frisco! 

Hero — Never loo great to send — you his 
autograph. 

Heroine — A glint in the eyes is sufficient. 

Comic — A squint in the eyes is sufficient. 

No fan but would be the hero's valet. 

It's the wronged dame that gives kids 
learning ! 




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Hallam Cooley's Trail 

By JANE L. STUART 



man could enlist and, in these circumstances, Fortune 
spread her golden net before him. 

He found the Calexico army. It consisted chiefly of two 

hundred and fifty hoboes from the American side and a 

large number of Mexicans and Yaquis. There were only 

thirty-two guns for the crowd and, naturally, Cooley didn't 

get one. Instead, the generalissimo handed him a bucket 

and told him to carry water. He cooked 

his own tortillas, dished up frijoles and 

^m , ^^^^^^^^^ performed various other culinary 

^M ^^^^^^^^^^^^^ rites, but he never saw the promised 

^P^^^^^^^^^^^^^^^ five dollars a day. He saw plenty 

^^^^^^^^^^^B^^^^k o^ fighting, however, chiefly among 

f j^^^^^^^^^W^^f^^^ the tatterdemalions themselves. 

f ^^j^^^^^H^ ^^H They had an abundant supply of 

jBn^^^^^^^ ^^H whisky and tobacco, and when- 

f^\ "" '■■"'- 



(Continued on page 93) 



^^ *^^- > 



1 



Hal Coole3r's picturesque 
trail leads across nearly 
the whole expanse of 
America Not so long 
ago Hal was a waiter in a 
restaurant in Yuma, down 
in the sun-baked South- 
west Tired of that, he 
crawled upon, the top of a 
Pullman and — . But read 
his story 



HALLAM Cooley's trail begins 
at Minneapolis and zigzags 
down thru the Wisconsin 
woods to Highland Park, Illi- 
nois, where he put in laborious 
days at the Northwestern Mili- 
tary Academy. From Highland 
Park the trail runs towards the 
wild and woolly Southwest, the 
home of the sagebrush and cacti. 
Following this trail about nine 
years ago, Hal struck a town 
called Yuma — not a bad town in 
itself, but one which did not 
yearn to take him to its heart. 
He balanced trays in one of its hot 
and murky restaurants, and the 
incongruity of the task must have 
impressed any transcontinental 
traveler who happened to see him 
there. In those days, however, 
Cooley followed his star regard- 
less of consequences. He was out 
for experience ! 

When he grew weary of Yuma, 
he went down to the station and 
hopped aboard the Sunset Limited. 
Under cover of the darkness, he 
crawled on top of a Pullman and 
journeyed into Calexico. He had 
heard that the gentlemen adven- 
turers of Madero's forces were re- 
ceiving five dollars a day. that 
Calexico was the place where a 




(Eightii-ciglitj 



CLASSIC 

The Celluloid Critic 

{Continued from page 57) 

interest. Director David Kirkland has 
overemphasized his points thruout, yet 
"The Virtuous Vamp" will entertain 
you, for Miss Talmadge's singular com- 
edy sense gets much play in it. Conway 
Tearle is a good foil and Gilda Grey, the 
famous "shimmie" artist of the New 
York white light district, makes a trem- 
bling screen debut. 

Wilfred North has hit upon a singu- 
larly timely theme in his "The Undercur- 
rent," in which the pugnacious Cjuy F,m- 
pey enters civil life — on the screen. 
Empey depicts a returned soldier who, 
upon discarding his uniform, gets in- 
volved with the Bolsheviki. but recovers 
himself in time to prevent rioters from 
burning the local steel, roills. Working 
under handicaps. Mr. North deserves a 
large share of praise. 

J. Stuart Blackton's newest produc- 
tion. "Dawn," (Pathe), is a visualization 
of Eleanor Porter's story of a young 
man who goes blind and his subsequent 
regeneration into a man of vigor, despite 
his handicap. We fear Mr. Blackton has 
selected too depressing a theme for wide 
popularity. Again, we belie've Robert 
Gordon miscast in leading roles. This. 
of course, is our personal belief, but we 
think Mr. Gordon is a character player 
and that he is lost in his present type of 
work. 

A Request 

By Walter E. M.mr 

If there are visions in the solemn night 
That wait for mc with eager, 
trembling hands. 
Plucking my sleeve, and bidding me to 
write. 
Ere drift away the swiftly-spilling 
sands: 

If there are unborn truths bevond the 
veil 
That yearn to find their being in my 
pen. 
If I may voice oppression-stifled wail, 
.And champion the cause of shackled 
men : 

Say not of mc "He is a fool to cast 
"Awav the glut and glitter of his 
Art !" 
Breathe only that I held unto the last 
Love s single jewel of wonder to my 
heart. 

Tell them when I have finished. "Ay, 
he wrote 
"Becauscv he loved, nor found the 
world too kind, 
"Kxcei)t that this one splendor show ed 
no mote 
"Of tarnish, ere the Angel struck him 
blind." 

Say this, and all your little world of 
tears 
May roll its course, while I go on 
anew. 
Clasping my single jewel thruout the 
years, 
Yet knowing I have given it to you ! 

{lCif}htii'nive) 



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An Old-Fashioned Girl 

{Continued from page 25) 
She has a bottle of Hungarian glass, 
red and white, with one small wine-glass 
to match, which was used by President 
Buehanan in his own home. There are 
scent bottles, tall cut-glass bottles for the 
dresser, Chinese lacquer bottles, old 
majolica bottles — in fact, the array of 
liquid-holders is simply astounding. 
Marj' is a connoisseur who delights the 
owners of old curiosit)' shops. 

Mary Maclvor is just past eighteen 
and looks not a day over fourteen. One 
cant believe it possible that she presides 
over the lovely home at 2018 Cahtienga 
Avenue, a terraced, flowered bungalow 
in Hollywood. She wears simple frocks, 
little one-piece dresses like those of a 
small girl, and her sunshiny hair, which 
waves and curls quite naturally, is held 
back at the nape of the neck by an amber 
pin. A huge, floppy straw hat with a 
ribbon twisted around the crown and 
pulled thru the brim at the back is as 
unadorned and plain as if Mary Maclvor 
were a schoolgirl instead of a leading 
lady and the wife of a star. 

Mr. Desmond, who had been entertain- 
ing a business caller on the veranda, 
blocked the door and shook his finger 
threateningly. "Dont make this too con- 
fidential. Baby. Remember, every word 
you utter will go down in black and 
white." 

''I suppose Mr. Desmond will play 
leads with you?" we said. 

"Yes, when she gets a little older ; she 
cant make up to look old enough just 
now," he answered. 

"How did you come to pictures, and 
why ?" 

"Necessity! Need of money. There 
was no romance coimected with my first 
appearance at all. I was at a fancy 
dress ball in Culver City, had been taken 
there by friends, and Thomas Ince saw 
me. He offered me a job with fifteC^ 
dollars a week wages " 



MOTION PICTURE CLASSIC 



"Yes, once. A director swore at me. 
Men may swear before me, but not at 
me. A girl's defensive armor is her self- 
respect and 1 shall always maintain 
mine. Never did I work under that man 
again, altho he made the apologj' I de- 
manded." The pride of Scotch ancestrj- 
and Southern environment sparkled in 
Mary's wistful grey eyes. 



SHORT CUTS TO FILMDOM 

Things are not what thej' screen. 

It's a wise atrthor that knows his own scripL 

Rome can he huflt in a day — leave it to 
props ! 

Dont hitch yonr wagon tc a star — be one! 

Marry in haste, divorce at leisure. 

Dont look before you leap — it's only a 
papier-mache cliff! 

Nine tailors may make a man, but one good 
modiste can make a star. 

Sclf-p-^ssessioii is nine-tenths of the lore. 

Fortune favors film stars. 

The pay's the thing! 

A fan's a fan for a' that! 

Custard-pie covers a multitude of things. 

A, press agent at liand is worlli reams of 
gusli. 

A reel of Oiapliu makes us all akin. 

Plots — All that aren't swiped are old. 

Still drama brings sleep. 

Too many crooks foil the fan. 

A sweet ingenue is halt the plot. 

The vamp is the mother of dissension. 

Cast curls for all lines. 

Fan-cied is as fancy does. 



"Engagement, Sweetie, and one gets a 
salary in the movies, not wages!" 
groaned the Irishman from Dublin. 

"Some day Beedee, (as she calls her 
big husband), and I are going to build a 
fine house, aren't we, Beedee? A house 
with a six-foot fireplace and logs that 
bum three days, enormous chairs every- 
where, a landscape window ten feet 
wide, a private den for Beedee and a 
little room where I can write whenever 
I feel like it. Yes, I write short stories 
and poems, 'out I hate scenarios or con- 
tinuity or anything with numbers in it. 

"1 love the Bible because it contains 
all I want — poetry, history, love stories 
and battles, but I never really enjoyed 
it until I was given one without num- 
bered verses, written just like a novel. 
It used to distract me to read about 
Ruth and Naomi with those old figures 
straggling down the page — reminded me 
of a movie script: Scene I. Ruth says 
'Entreat me not to leave you.' " 

"Have you experienced anything un- 
pleasant in pictures?" 



THE SOUL OF THE SCREEN 
By Frederic T. Cardoze 
I am the voiceless soul of many a scene, 
My realm the boundless regions of the screen ; 
A million million vassals I command 
With but an idle gesture of the hand. 
I am the whole wide earth. I am the sea, 
I wing the universe on pinions free; 
I am the hill of smiles, the vale of tears, 
1 am a day, I am a thousand years, 
I am the jade Deceit, I am the truth, 
I am maturity and I am golden youth. 
And I am folly, frivolous and vain. 
Yet I am wisdom, when I will, again. 
To me there is no hidden road or path, 
I hold the keys to gladness and to wrath; 
I am the silent guide to every glade 
Where glows the sun or falls the somber 

shade. 
Today I steal a garment from the light. 
Tomorrow, from the wardrobe of the night; 
1 am a ragged beggar, bowed and grey. 
Yet I am Croesus, flinging gold away; 
I am the cold and flaunting ifistress Pride, 
And I am Modesty with Diffidence allied. 
The deeds of ages, dead and quick, I trace ; 
I barter not with time nor yet with space. 
Tho from my tightened lips there falls no 

word, 
The messages I bear are clearly heard ; 
The fair and foul things of life I glean — 
I am the soul and spirit of the screen! 



THE OUTCOME 
By Claren-ce E. Flynn 
Life's always at its best upon the screen. 

It is not perfect. Life is never so. 
There runs a struggle thru each shifting scene. 
And shadows often come, their pall to throw 
Across the landscape. Things go wrong a 
while. 
But always comes at last the shine's glow. 
And gloom is followed by the song and smile. 

In every drama wrong must have its reign. 

In every tale the villain has his day: 
Gladness we see. contrasting it with pain. 

And truth is valued but by error's sway. 
The right and wrong are alternate in power. 

The scene is now in sun, now shadow cast. 
But tho the wrong may triumph for an hour. 

The right is seated on the throne at last. 



PaOie' 

Feature Photoplays 

reveal the Progress in Motion Picture Art, 
an Art which had its Origin with Pat he. 

THE first motion picture feature, a 
scant two hundred feet in length, but 
truly picturi/jng a written story and en- 
acted by experienced actors, was made by 
Charles Pathe over twenty years ago. Never 
before had a story been put into a motion 
picture! 

The first comedy, the first drama and the 
first of the longer pictures \\ ere all made 
by Pathe. 

More than fifteen years ago Pathe was 
reproducing in picture forin the works oj 
famous novelists and • playwrights, the 
very first company to see the necessity for 
giving to the public for its entertainment 
the best work of the best minds. 

Thus each step in the evoUition of the wtll written, well 
directed and well acted feature of today was first taken l)y 
this great pioneer. And today, as yesterday. Pathe Photo- 
plays present the l)est in auth()rslii|). direction, iicting and 
prcMluction. 

Among the producers are Frank Keenan. Hohart Henley. 
Edgar Lewis, 1. Stnart Blackton. All)ert Capellani, 
Leonce Ferret, Edwin Carewe and Jesse D. Hampton. 
Man for man, measure<l hv achievement, these prothicers 
have no .superiors in the husiness. 

Ask the manager of your favorite theatre v;hen he will 
show Hohart Henley's "The Gay Old Dog", adapted 
■ from Edna Ferherls story ; Blanche Sweet in "A Woman 
of Pleasure", produced by Jesse D. Hampton and adapted 
from James Willard's famous play; Albert Capellani's 
"The Right to Lie", with Dolores Cassinelli ; and J. 
Stuart Blackton's "Dawn". They are first presented this 
month. 

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(Nimety-one) 




Comic Conkling 



By MARY McAUBREY 



pute our rancher, so let's go," bantered one. 

"Get him to tell you about his flock of bees 
he's fattening up for Christmas," called another, 
as the group vanished into the dressing-rooms. 

"Are you a rancher as well as a comedian?" I 
asked. 

"Sure," laughed Mr. Conklin. "I work at 
comedy and play at ranching. That is a fine 
balance, for you cant work at comedy all the 
time — it wears you out, and ranching is the great- 
est play there is." 

Sitting on the steps of the big yellow street 
car, marked "The Wait In Vain Transit Co.," 
which figured in the new picture, the little come- 
dian whose antics have occasioned thousands of 
laughs during his years on the screen told me all 
about his ranch, a hundred miles north of the 
city. 

There are 320 acres, with 65 in citrus fruit; 
there is a wonderful view across the desert, with 
its fascinating lights and shadows, that lures one 
into its very heart. You cant get away once you 
succumb to its spell ! There are several thou- 
sand turkeys, and then there arc the bees ! 



^t"! 



Till-: forest fires 
raging in the 
mountains back 
of Pasadena flung a 
curtain of smoke over 
tiie valley, making ex- 
terior camera work a 
difficult matter in the 
naiiy studios in Hol- 
lywood and Los An- 
geles. 

Out on the Fox stu- 
dio lot a g r o u p of 
jilayers were waiting 
for the haze to lift 
long enough to finish 
their scene. 

"I should say that 
motion pictures make 
the greatest little pa- 
tience exerciser in the 
w o r 1 d," remarked 
Chester Conklin. "You 
nuist learn not tccwor- 
ry over delays in this 
business or you would 
go crazy. There's no 
hope, boys." he con- 
tinued, with his mild 
blue eyes fastened on 
the grayish sky, 
"there'll be no more 
sunshine today." 

"No one will dis 




1^ 



We forgot all about pic 
tures and interviews and for- 
est fires and overcast skies, 
while he told me many inter- 
esting things regarding the 
habits of the little creatures, 
lie finds them an absorbing 
subject and is collecting a li- 
brary on bee culture. Recently 
he had to move his bee stands 
nearer to the honey flow — 
meaning the orchards, for in 
sea.son these tireless workers 
labor so hard that they wear 
themselves out ; in fact, they 
frequently die of exhaustion. 

Suddenly, while talking, Mr. 
Conklin took off the paint- 
brush mustache which has 
formed a veritable trade- 
mark for this comedian, and 
he was so completely changed 
that I should never have rec- 
ognized him. 

"Why," I gasped, "you 
look years younger !" 

{Continued on page 97) 



Chester Conklin works at com- 
edy and plays at ranching. He 
owns 320 acres and devotes the 
space to citrus fruit, turkeys and 
— ^bees. Honestly! 



(Ninctytwo) 




(Don't Belong 10 the Great Unlit 

You aee them on every side — men 
who don't count — men who are los- 
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success in life, some because chronic 
ailments are wastine away their 
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Fight Your Way Out 

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STRONGFORTISM 

Strcinff orl Ism Ij* the one wuy out for weak, anaemic, ail- 
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Nature meant it to b£> llred. and health,' streugth. happi- 
ness — everything worth wtUle in the worid-^l9 the In- 
evitable rc3ulL 

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healthy, able MUN. 

I GUARANTEE lo improve ycu 100 pa cent. If you will 
foUcw my dlrectlotia for a few months. It doesLj't make 
any dllTerence what ycur present ctmdltion is or what 
brought you to It. I can and I will do what I claim, and 
without patent metUcines or drugs of any kind. 
Sead for Mt free BOOK 
I bava mt the raavlts of my Utm'm work. BoUdlna Vo Man, tnt* 
"FnoiMmON and COMSCKVATIOH of HCALTMrSTMbMITII AMO 
MCNTAL EMCJKV." It tclla roa all Kboot Sltowfartisai. ItwUlaho* 
joa how TOU can r4d yvarmc'.t of roar aitesotB, build yourself op, B>ka 
yoorsrlf a well, atrou. eoaivvtic mui aaalo. Id MM lMm'W wlQr. Sand tor 
It todar. ITS FREE^-but tt'a w<vtb good amatt ta any Ruui who vanta 
to be atrony and ririif. Don't wait. FW out th« cwMMMt RIGHT MOW. 
and >«ad it to rw with tbrr* Zc atampa to cover packmK and [iiiataa» 
and I'll ntail tou a raoy at once aloria with a letter an Cha apadaJ 
points yoa ar« IntereaLnl in. 



LIONEL STRONGFORT 

Phymicat and H»atth Spiiiajimt 
1109 Straoifort bulilot« NEWARK. N. J. 



Wrestling Book FREE 

brw>n — thiiinayoarapar* linta. Tb« (took taHa too bow, lb* 
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I Mini. Oavi. 23 3M1 Opton Av«. 




iiiiiiiiiiiiiiiiiiii'" 




Hallam Cooley's Trail 

(Continued from page 88) 

they smashed one another over the heads 
with boxes of twenty-five cent cigars. 
Cigaret tobacco was so plentiful in camp 
that a whole sackful was rolled up in 
each cigaret. Nine quart bottles of Ca- 
nadian Club whisky were often traded 
for a needle and thread. 

This life, however, finally palled on 
the young adventurer. So he decided to 
"hit the trail" again, and this time he 
made for the C. M. Ranch, where Uncle 
.Sam gave him a job hauling supplies for 
the U. S. Reclamation Service. He had 
to rise at three o'clock in the morning, 
light the fire, hitch up a team of mules, 
load a wagon and set out before day- 
break to visit camps on the farther -side 
of the Colorado River. His favorite 
plan wa9 to drive to the banks of the 
stream, disrobe and wade across with the 
mules. Thousands of buzzards pursued 
him upon these excursions, waiting to 
breakfast on the scraps that might fall 
from his wagon-load. 

When he had exhausted the thrills and 
adventures of this way of living. Cooley 
worked his way westward towards the 
Pacific Ocean and finally landed in Los 
Angeles. He did not make his advent in 
hero style. He came into the City of 
Angels on foot and the Salvation Army 
befriended him. 

By hook or crook he drifted into pic- 
tures. It wasn't long before his natural 
talent for acting asserted itself. His 
good looks, his spontaneity and dash won 
him good parts and he cashed in without 
delay on the knowledge of life he had 
gained "roughing it" on the trail. He 
worked for Selig, Universal, American 
and finally for Ince. He appeared in the 
AI Woods picture "'The Guilty Man," as 
the heavy with Charles Ray in "The Girl 
Dodger" and with Enid Bennett in 
"Happy Tho Married." Later he had a 
season with another concern, playing im- 
portant roles, and he is now with Famous 
Players-Lasky. 

"I was bom in Brooklyn," he went on, 
"but I think I prefer the West to the 
East, particularly ■ since I have found 
happiness here. You know I was mar- 
ried last Christmas to Miss Elizabeth 
Bates, of Columbus, Georgia. We are 
building a house on Lanewood Avenue, 
Hollywood — just the sort of place I've 
always dreamed of — a home of the 
Pueblo sort, with a big patio and wide 
verandas. Also. I'm going to have cacti 
growing in the front yard — lots of it — 
for, despite my wild experiences in the 
>l;sert country. I learnt to love sand and 
sagebrush and cacti. There is mvstery 
and an enchantment about the desert 
that only those who have lived in it can 
know. It speaks with a voice that is 
heard by the heart — its very silence is 
full of music ! 

"Yes, I am happy ! I have found my- 
self ! I have found peace and joy in my 
work and I have discovered that home is 
where the heart is. If heaven is a state 
of mind, I am living there now !" 







The Perfect 
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PAY $100 to $150 MONTH 



U. &. GavwBoiaat Wasts— RaUway Hall Clwfca— PMt«a«* 
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TTiaotuds Maa aad W«- 

wl"cr.*?h'"''"::i^^ FRAHKLIH INSTITUTE 
eudldatea ^^^^^ "*••*■ '•™' «•«*>•««««•. H. V. 
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enlilles the .'U-nder to (1) free sample 
examloatioo queatloos; {21 a free copy of 
iHir iHwk "tJoreniment Positions and How lo 
Get Them:'" (3i free list «rf poalUona now opeo and 
(4) to con.-aderatlon for Free Coaching for the ex- 
amination here checked. 



(Ninety-three) 



CO U P 

faHMriwchtfiiCMaoi . 

iMffin CM .IIM-SIW . 



fenlMCin»..S72M2n 



■twiinmii.awnew 



■ Um ttb kafar* VM Im» M. Wrtt* PfalalyH 



Blanche 



Biograph 



K 




Remember Blanche Sweet as the 'Biograph 
blonde" of the old days ? She has long since 
established herself as one of the P«"ona''- 
ties of the silversheet. Miss Sweet b forth- 
coming releases are appearing thru Path*. 
They will be watched with unusual interest 
by fans 



(Nin>ty-t<ts) 



MOTION PICTURE CLASSIC 



Comic 

{Continued f. 

Grinning at my surprise, he replied, 
"Guess this mustache keeps me from get- 
ting mash notes. I receive lots of letters 
from all over the country telling me they 
like this or that in my pictures and even 
asking for my jihotographs, but never a 
love note. • • 

"When I was a youngster back in Os- 
kaloosa. Iowa. I knew a man with just 
such a nnistache. It always amused me 
and I used to hang around his shoj) waiting 
for him to talk so I could watch it move 
up and down. When I came to motion 
pictures and was trying to think up a fun- 
ny character to create for my comedies I 
naturally remembered that mustache." 

Armed with this make-up and adding 
those ridiculously loose and baggy clothes 
and enormous shoes (which he obtains 
from the largest policeman on the Los 
Angeles beat), Chester Conklin has suc- 
ceeded in establishing an amusing screen 
comedy character that has endeared him 
to a host of fun-lovers. 

Now, Chester's father was a contrac- 
tor and builder and he hoped the son 
would follow in his steps, but after speak- 
ing a few pieces at church festivals and 
winning an elocution prize at the age of 
12, Chester upset these plans by announc- 
ing that he intended to be an actor. 

The comedian's eyes twinkled as he re- 
called these early experiences. "Father 
urged me to stay at home and let him 
make a man of me," he began, cheerful- 
ly, "and he kept saying that he had never 
seen an actor who was worth a hill of 
beans. I guess he didn't change his mind 
about this for several years after I start- 
ed out, for I called on him repeatedly for 
money. Xow? Oh, iwa', he thinks I'm 
great I 

"I finally ran away from home and got 
a job at the Grand Theater in Des Moines 
and 1 was the happiest kid in the state. 
Sonietimes I carried a sword, sometimes 
a spear, and ■ sometimes I was lucky 
enough to have a real bit. Then followed 
a little of everything, .stock and road 
shows, several vaudeville acts, ai'id I also 
took a turn at being a circus clown. 

"When you love your work you dont 
care how hard it is. Unhappiness comes 
when people struggle along some uncon- 
genial rut to make a living while longing 
for something different all the time. 

"Xow, I'm sure I am in the greatest 
business there is and I'll be satisfied if I 
succeed in making people laugh. There are 
enough sorrows and tears in the world 
without making pictures about them. I 
never did hanker after your heavy stuff!" 

After watching a very red sun drop 
thru a haze of smoke in the western 
sky, Mr. Conklin went on. "To me the 
greatest fascination of motion pictures is 
the thought that these films we are mak- 
ing will reach the people in all countries. 
No matter who or where they are, they 
all under.stand the same fun and a laugh 
is the universal language. Often, when I 
am doing some nonsense before the cam- 
era I think of this and I'm glad, clear 

dfinetihseven ) 



Conklin 

roin page 92) 

thru, that I can help jolly the old 
world along." 

It was Charlie Ray who started Ches- 
ter Conklin on his screen career. They 
liad played together in a vaudeville act 
up and down the coast, and at the end of 
their tour Mr. Ray had ventured into 
pictures under the Thomas Ince banner, 
while Chester went back on the road with 
a circus. Drifting into Los .Angeles again 
a little later, he decided to follow Char- 
lie's suggestion that he, too, try pictures, 
and so for six years Chester Conklin 
has been one of the Sennett prize come- 
dians. A few months ago he brought his 
mustache, along with his merriment, over 
to the Fox lot to become a star of the 
Sunshine Comedies. 

"Where do we get the ideas for our 
pictures?" He repeated my question. 
"Well, I should say from everywhere, 
.lust ])luck them out of the air sometimes. 
For instance, the comedy we are now 
making was suggested by the recent street- 
car strike. We are picking i^ some lu- 
dicrous situations and makinga good two- 
reeler out of it. There are funny sides to 
every r|uestion, if we'll only see them. 

"To play before the camera one must 
keep, themselves in good physical and 
mental trim ; you cant afford to go stale. 
Your mind has to be open to all' the light 
touches, real comedy can never be 
forced." 

Chester Conklin is a quiet, diffident 
little fellow, reluctant to talk about him- 
self. He has a sane, wholesome outlook 
on life and declares that living in the at- 
mosphere of comedy clears away the 
clouds and depressions. 

"Comedy," he remarked, as we walked 
toward the gate thru the de.serted 
stages, "is nothing more than what should 
be happening all the time if we would 
only forget to worry." 

This cheerful attitude permeates his 
work on the screen and he has succeeded 
in bringing to his pictures a refreshing, 
s|)ontaneity, for many of his best efforts 
at fun-making are achieved on the spur 
of the minute, many laugh-provokers I 
living the result nf a sudden whim. 

.S(p. Chester Conklin may well be sat- 
isfied — for he is indeed "making people 
laugh 1" 

The Answer Man 

KoXHOHotiiiH ; Fi.oUHNCK p.; Mary F. ; Fairf. 
Bi.NNF.Y Fan: X.XX; Movik Fan; Connie J.; 
Ebma M.; F.VKi.YN W.; Chums; Audra; 
R. C. Z. ; Pkarl; M. M.; Acnes Mc; Uf.lla 
K.; Ruth M. ; W. S. Hart Admirkr; Ulake 
B.; L. S.— Most of your questions have been 
answered elsewhere in this department, and 
yon leave me nothing to say. S'long. 

Moi Pour Mary.— Thanks, but I dont object 
to the pniiishment. That's right. Mary; home 
is the place where we are treated best but 
grumble most. 

Charlks Bryant Admirer. — So yon think 
it's a novelty to write to a stranger, t^'mph ! 
Am I a stranger? Some of .vour letters are 
novelties, too; worth framing. My dear, 
women throw away three things— time, money 
and health. In New York, girls wear spring 
suits, pumps and straw hats in February. If 
that isn't flirting with death, I'll lie hanged, 




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A serving of bacon and eggs, at this writing, costs the housewife about 
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It supplies about 250 calories — the energy measure of food value. 

That ISc would buy about 15 dishes of Quaker Oats. And they would 
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Compare Food Values 

Quaker Oats yields 1810 calories per pound. Round steak yields 890. 
So oats are twice as nutritious as beef, measured on the calory basis. 

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ISc and 3Sc per Paekag* 

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MOTION PICTURE 

Erich Von Stroheim and 
The Miracle 

(^Continued from page 69) 

sible and the big, crashing final scene will 
be made last of all, for by that time the 
actors will fully grasp the undercurrent 
and depths of the preceding situations. 
Taken now, they would not feel the true 
values. 

"Yesterday, we had some highly emo- 
tional scenes and — " 

"You should have seen him," inter- 
rupted Una Trevelyn. "While he was 
making me cry as if my heart would 
break, I looked up and he was crying, too 
— he feels everything he is directing. He 
knows all about period furniture and dec- 
orations, and all the great paintings," 
went on Una, as we watched him arrange 
the yellow satin drape on the table in the 
foreground of the set. 

".\nd music," said Sam de Grasse ; "he 
has a thoro acquaintance with the 
musical classics and knows what should 
be played during each scene to bring out 
the best efforts. He plays the violin him- 
self." 

"He knows all literature, too," chimed 
in Clyde Fillmore. "I can't see how he 
has managed to learn so much in his few 
years, it must be the result of his conti- 
nental education." 

As I left the studio and stepped out 
into the late afternoon sunshine, with the 
haunting melody of the "Je T'Aime 
Waltz" ringing in my ears, I was still 
thinking of Erich von Stroheim's last 
words and the smile, which included the 
eyes this time, accompanying them. 

"My ambition," he said, "is to write 
and direct. To go on — on, worthy of 
what my friends believe I can do — mak- 
ing bigger and better pictures." 



WIND-IN-THE-WILLOWS 
By Lydia M. D. O'Neil 

Wind-in-the- Willows, you stand so tall — 

Slender and straight as a sapling pine ; 

Youth's in your footstep, youth's in the 

call 

Of your lifted eyes when they meet 

with mine. 

Wind-in-the-Willows, the day is glad — 
Sunny the mesa and gold the sky; 

What is it fretting me, Indian lad? 
Search you the heart of me, tell me 
why! 

Gold is the sky, but the gold will fade, 
And youth will pass Tike the fading 
light, 

Fretting in vain at the fates that made 
Your skin so tawny and mine so white. 

I am one of the dominant race ; 

I am bound by the dominant law ; 
But Wind-in-tne-Willows, youth's in 
your face, 
And I wonder, I wonder — who'll be 
your squaw? 



(trinttyHght) 



CLASSIC 

The Movie Encyclopedia 

(Continued from payc 95) 

Inquisitive Ann. — Good grief, Frank Mayo 
and Edna Mayo are no relation. Neither is 
Woodrow Wilson and Marjoric Wilson, nor 
the Answer Man and Louis Mann. Naomi 
Childers is going to play opposite Bert Lytell 
in "The Blind Man's Eyes." 

Makion F. — Never been there, but it has 
been estimated that the Roman Coliseum could 
accommodate about 87,000 spectators. But 
dont shout at mc. I cant staud it. Pleasant 
and kind words, if they be sensible and well 
meant, are cords that all men may be led by. 
\Vomen. take the cue. No, Frederick Smith 
is not past 50— he is about 29, and— period. 

West Virginia Farnum Fan. — My dear, 
give the woman credit— they'll always take it. 
Mrs. William Farnum is non-professional. 
Earic Williams is with the Western Vita- 
graph. 

Dixie Dee.— You can reach Marguerite 
Clark, Paramount Company, 485 Fifth Ave- 
nue, New York City. You say you like "Sil- 
ver Spurs." So do I. Good for you ; stick to 
it. Of course I'm happy, because I'm busy. 

CoLLV. — Your letter was a corker. Have 
.passed your idea along. Yes, it is true that 
my hours of strenuous work are very long, 
but I find time for play, to loosen the mental 
tension and so obtain perfect harmony and 
recreate power. More power to you also. 

Inquisitive Harry.— Why, Wally Van will 
direct the comedies for the Rothapfel films. 
The Bankhead girl is Goldwyn. You might 
write to Enid Bennett. Taylor Holmes, he's 
S feet iVi inches high. You didn't care for 
"Virtuous Wives" and you thought Anita over- 
acted and appeared very amateurish in the 
scene where she bids farewell to her husband 
as he departs. Witness refuses to answer on 
the ground that it might tend to incriminate 
him. 

Question Mark. — No, Theda Bara is not 
married. Yes, I am glad spring is here. You 
bet I have a new spring suit. Yep, a blue one 
and I look like a bluebird in it. The sprir,i 
brings a change of air in the studios, v ith 
dianges in the casts. Change of diet is excel- 
lent, but change of companionship and a new 
heart interest are sometimes more rejuvenat- 
ing than a tonic. 

Eddie. — Madge Evans is about ten years 
old. Yes, Sylvia Breamer has beautiful eyes. 
I always try to rebuke with soft words and 
hard arguments, and if this does not take. ? 
try a club, 

Leonard W. — Send a stamped, addressed en- 
velope for a list of the film manufacturers and 
then address the player in care of the com- 
pany. 

Sophie E.— Thanks for the thrift stamp. 
Yes, I understand. Why, the oldest lunatic 
on record is Time — out of mind. Indeed, I 
am a musician. I dont like to speak about my 
talents, but there are those who say that I 
play the pianola and jcw's-harp without creat- 
ing any hard feelings. 

Lauren G. — Glad you subscribed. Hope 
you'll always be a subscriber. Mary Pick- 
ford's salary? She's part owner in a com- 
pany now, and therefore draws dividends. 
No, just separated. 

Vernor J.— Never heard of Eva Campbell. 
Your plan sounds logical, but instead of re- 
viving the old plan of limiting the wealth of 
the rich, why not pass a law limiting the pov- 
ertv of the poor? Doris Kenyon in "Twi- 

I'K'i*" 

JiAN F.— Address Theda Bara care of Fox 
and Carlyle Blackwell care of World, both m 
New York City. You ask why docs a loaded 
car run- more easily than an empty one? Be- 
cause it's the load that makes the car go. 
Wonderful ! 

B. V. D. — It's not what you wear so much, 
for fine feathers are frenuently found on 
coarse birds. Mme. Petrova has gray-green 
eyes and a wonderful figure. Yes, Carol 
Dempster. Handed your letter to the inter- 
viewer. . . 

Manila Girl.— No, Wellington Cross is m 
vaudeville. Goldwyn released Rex Beach's 
"The Brand." Viola Dana in "Satan Junior," 
Metro. 




The old canoe; a redolent, moon- 
flecked evening; and Us Two! 

The swish of limpid waters; subdued voices; the sweet 
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seductive harmony of stringed instruments— lilting notes, 
crashing chords and syncopations. 

But listen ! It isn't the canoe — nor the moon — nor the water 
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Gibsons have played a part in hundreds of little romances — 
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BEAUTY SECRETS tncludliis l&.OO cloar Bkln recipe 
«f famouf beauty doctor for 10c. Wilt© today. An- 
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MKXICAN DIAMONDS Mash like ecnulnv, fool tixpertu, 
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mond Imptg. Co.. Box CA. Laa Cruc^i. N. Mex. 

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trade. 14.00 to t&.OO a day iteady. No experience re- 
autred : pay atarti at once. Write today. American 

ProduUa Co., 1634 American BIdg.. Cincinnati. O. 

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prevent punctures and blowouti: double tire mileage. 
Liberal proRtH. Details free." American AQceiiorlei 

Co.. Cincinnati, O hio. D ept. U7. 

TU£ POLICK KEY Is at lervlceable oa a whole bunch 
of ordinary keya; opena almost everything; every houae 
owner should have one. Sent postpaid on receipt of 20 
cents: three for 60 cents. Safety Key Holder free with 
every ke^-. Sharpe Mfg. Co., 48-64 Van Houten Street, 
Paterson. N. J. 



HELP WANTED 

XbE~Y6V~»ATISF1ED with your position and pros- 
poets? If not. whatever your occupation, Investigate 
your chance In Govt. Service, Just ask for form 
RLSOSfi. free. Eftrl Hopkins. Washington. D. C, 
DETKCTIVKS EARN big money. Great demand 
everywhere. Excellent opportunity. Travel. Experi- 
ence unnecessary. We train you. Particulars free. 
Write. American Detective System. 1968 Broadway. 

New York^, _ ^ 

ARTISTS IN GREAT DEMAND. Big salaries paid 
for full or part time. Learn Quickly at home In spare 
time. Commercial Art, Cartooning. Illustrating. De- 
signing. Outfit free to new students. Send for hand* 
some Free Book, Write Now. Washington School of 
Art, Inc.. 1462 H St.. N. W.. Washington. P. C. 



ART 



THE LONG ISLAND SCHOOL OP ART.— Individual 
Instruction In painting and sketching from nature under 
competent instructors. Studios In Brooklyn, New York 
and RoBlyn. Long Island. Open to a limited number 
of pupils for 1619 season. Address. L, I, School of Art. 
171-176-177 Duffleld Street, Brooklyn. N. Y. 

BEAUTY PREPARATIONS 



HAIR ON I'ACE, BODY OR UNDER ARMS positively 
removed with root; no electricity nor poisonous drugs; 
absolutely harmless and painless; write for particu- 
lars, or call to have free demonatrationT Mme. Berthe, 
flpeoiallst, Dept. L.ia West 40th St.. N. Y. 



BUSINESS OPPORTUNITIES 



BRANCH MANAGER WANTED by old established 
Chicago Concern. We furnish full stock of goods, 
advertising matter, and equip store completely, in good 
location, all at our expense. We allow you to draw out 
|I76 a month and will also pay you liberal share of 
the profits your store earns. Work may be started In 
spare time. No Investment or previous experience 
necessary. If you are a hustler and want an oppor- 
tunity to make (6.000 or mo]*e a year, we want you, 
and will pay you well from the start. Send your ap- 
plication today. 8. Levy, Manager, Dept. 660. 389 S. 
Franklin St.. Chicago. III. 



OLD COINS WANTED 



"OLI> MONEY WANTED." 12 to 1600 each paid for 
hundreds of coins dated before 1696. Keep all old 
money. Send 10c for new illustrated coin value book, 
slse 4x6. You may have coins worth large premiums. 
Gel poste d. Clarke Coin Co., Box 166. Le Roy, N. Y. 
OLD COINS. Large fall coin catalogue of coins for 
sale free, Catalogue quoting prices paid for coins, ten 
cents. William Hessleln, Dept. K., 101 Tremont St., 
Boston. Mass. 



FARM LANDS 

FREE BOOK OF FLORIDA FACTS. Own y&ur own 
orange grove In beautiful Frultland Park. A few cents 



a day you now waste will buy It for you. A few dollars 
a month may provide you with a life income. Schnlti- 
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thousand an acre. He saw the same opportunity that's 
offered j^ou and planted a grove. Result — he reaped a 
small fortune. You have the same chance but you must 
act now. Writft TODAY for Free Book of AcWial 
Photo^rapht. Florida Facts and the Interesting story of 
a Frultland Park Farm. Learn of crops that help you 
buy It. Address today, Lake County Land Owners' 
Association. 3H Sunset \\'ay. Frultland Park. Florlda. 



FEMALE HELP WANTED 

I.ADIKH — FnHclnatIn? home liuilneHS tintinff poBtcards, 
pictures, photo., etc., spare lime Tor profit; 15 on 100; 
no canvasBlnff; samples 10c fstamps). Particulars 
frpe. Artlnt. 10-M. Station A. nrooklyn, N. Y. 



WO.MEN WANTED to operate beauty parlor: make 
t600-(1000 monthly. We Instruct all branches derma- 
tology, hair removal, moles, etc, by electricity, Ptill 
line toilet preparations. Security required — about IB76. 
E. R. Berry Co.. 1623 Chemical, St. Louis. Mo^ 



•6-»IB A DOZ. nECORATINO PILLOW TOPS at home; 
.xperlence unnecessary; particulars for stamp. Tapestry 
Paint Co . 103 I. a Grange. Ind. 



WOMEN TO BRW. Goods sent prepaid to your door; 
plain lewlnv; steady work; no canvajsins. Bend 
stamped envelope for prices paid. Universal Co., Dept. 

22. Philadelphia. Pa. 

WANTED— S brlDht. capable ladles for Itlt, to traval, 
demonstrate and sell dealers. 130.00 to ISO. 00 per 
week. Railroad fare paid. Write at once. Goodrich 
Drug Co.. Dept. 16. Omaha. Neb. 

GAMES AND ENTERTAINMENTS 



PLAVH, VAIDEVILI.E ACTS. MONOLOO!!, DIAI.OaS, 

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HELP WANTED— MALE 



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Buffalo, H.V. 



HELP WANTED 



V. S. GOVERNMENT now needs hundreds, men, women, 
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JEWELRY, SILVERWARE BOUGHT 



HIGHEST CASH PRICES PAID for Diamonds, Bonds, 
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LADIES WANTED 

LADIES — Do photo coloring, tint postcards, etc. Spare 
time for profit. Experience unnecessary. We furnish 
Inslructlona, colors, brushes. Sample designs 10c. Art 
Photo Coloring Co.. Dept. B, Newport, Ky. 

MANUSCRIPTS 

SCENARIOS, MANL'SCRIPTS, all confidential work. 
professionally put In form and typed. We will orltlolsa 
your work free of charge. Thomson Literary Bureau, 
Station F, Box 120, New York, Murray Hill 8836. 

MISCELLANEOUS 

yOlJ >VBITE WORDS FOR A BONO— We write the 
music, publish, and secure a copyright. Submit poems 
on any subject. The Metropolitan Studios, 814 3, 

Michigan Avenue , De pt, 141, Chloag o, III. 

WRITE THE WORDS FOB A 8ON0. We revise 
poems, write music and guarantee to secure publica- 
tion. Submit poems on any subject. Broadway 
Studios. 107M. Fltlgerald BIdg.. New York. 



MOVING PIC TURE BUSINESS 

iSB.OO PROFIT NIGHTLY. Small capital starts you. 
Outfits sold on Installments. No experience needed. 
Our machines are used and endorsed by Government 
Institutions. Catalog free. Atlas Moving Picture Co., 
426 Morton BIdg., Chicago. 



MUSIC 



"LIFE'S ALL* LOVE" — our beautlfui new waits hit — 
catchy and tuneful. Postpaid 30o. Harmony Music 
Oompanv. 63 Thaver Hall, Cambridge. Mass. 



NEWS CORRESPONDENTS 



EARN »JS WEEKLY, spare time, writing for news- 
papers, magaslnes. Experience unnecessary; details 
free. Press Syndicate, 661 8t, Louis, Mo, _ 

" ~~ PATENTS 



PATENTS. Write for Free Illustrated Guide Book. 
Send model or sketch for free opinion of Its patentabla 
nature. Highest References. Prompt Attention. Rea- 
sonable Terms. Victor J. Evans A Co., 621 Ninth, 
Washington, D, C, 

PHOTOPLAYWRIGHTS 

WHITE PHOTOPLAYS 1 »60 to IJOO each for belln- 
ners. Our free plan tells you how: write for It today. 
Los Angeles Photoplay Co., 123 N. Broadway, Los An- 

gelcB, Cal. 

FREE TO WRITERS — A wonderful little book of 
money-making hints, suggestions. Ideas; the ABC 
of successful story and movie play writing. Abiolutaly 
Free. Just address Authors' Press, Dept, 14, Auburn. H.T. 

~ SHORT ST ORIES 

IS, poems for new magaijne. 
"Typed or handwritten MSB. 



WANTED— Stories, artlclei 
We pay on acceptance, 
acceptable. Send MSB. to Woman' 
sine. Desk 1054. Washington. D. C, 



National Maga- 



STORIES. POEMS, PLAYS, ETC., are wanted fcjr 
publication. Good Ideas bring big money. Submit 
IBS, or write Literary Bureau, H4, Hannibal, Me. 



WRrrERSJ Have you a son^;j>oem,_story^ photoplay 



to sell? 
Louis, 



Submit MSB now. Music Sales Co., 



SONG POEMS WANTED 



WRITE THE WORDS FOR A SONO, We rsvlM 

poems, write music and guarantee to secure publloa* 
tlon. Submit poems on any subject, Broadway StudlOi. 
107H, FItsgerald BIdg., New York. 



DO YOU WANT YOUR SONO POEMS ACCKPTBDt 

Bend your poems today for best offer. Immediate publi- 
cation and free examination. Song writing booklet on 
request. Authors A Composers Service Co., Suite (tS, 
1431 Broadway, New York. 



WRI T E T HH WORUB FOB A WHO. We revlie roami, 
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Submit poems on any subject. Broadway Studios, 

1078 Fltlgerald BIdg.. New York. 

YOU WRITE WORDS FOR A SONO. We writs the 
music, publish and secure a copyright. Submit poemi 
on any subject. The Metropolitan Studios, 814 Bo< 
Michigan Ave., Room 104. Chicago, 111, , 

SONG WRITERS 

WRITE A SONO— Love, mother, home, childhood, 
patriotic or any subject. 1 compose muslo aad guar- 
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3(8 Reaper Block, Chicago. 



MOTION PICTURE; 

CiiRYSTAL Court, — Sidney Drew and hij.j 
wife arc in "Once a Mason," released thru: 
Paramount. Zasii Pitts was not in the cast. 
Jack Miilliall was born in New York. No, I 
think once a star long absents herself or him-' 
self from the screen, they are soon forgotten. 
Yes, I have read tho.se letters. 

Wild Kitty. — Sure thing, you're welcome. 
Doubt whether that player can "come back." 
However, yeast, the compressed, will rise 
again. Better not ask me how to beconie a 
movie star. Your letter was some wild, Kitty, 
and it sure was rip-roaring comedy, 

Josephine S. — Too bad! Misfortunes never 
come singly ; they arc always married. I never 
sit up late and I advise you to quit it. Late 
suppers and late hours make men unhealthy, 
unwealthy, unwise and otherwise. 

Freckles. — Nothing doing! You must sigii 
your full name or I dont play. See? 

QuESTioNARE 14. — YouTS was quite a chatty 
little letter. Dont be haughty. Haughtincsj 
lives under the same roof with solitude, Dont 
pay to be uppish. Yes, I saw that headline, 
'Charles Bryant returns to support Mme, 
Nazimova." We hope he has been supporting 
her these last years. He's her hubby, you 
know. 

Matilda M.— Last I heard o£ Pearl White 
she was on her way to France. Crane Wil- 
bur has gone on the stage opposite Marjorie 
■ Rambeau in "Eyes of Youth. Pessimists are 
moral squinters, who. being incapable of a 
straightforward view, imagine that penetration 
is evinced by universal mistrust. Get me? 

M. V. Z. — Madge Kennedy in "Leave It to 
Susan." Bessie Love with Western Vitagraph, 
Irving Cummings playing with Ethel Clayton 
in "Men, Women and Money." Evelyn Nes- 
bitt in "My Little Sister" for Fox. Sure 
thing; drop in to see me again. 

Norma, Butte. — Beaut, or from Butte? Aim 
Littla played opposite Bill Hart in "Square- 
Deal Sanderson." Enoch Herbert Crowder, 
the "Father of the Draft," was born in Mis- 
souri, graduated from West Point', served in 
the Philippines and with the Japanese army, 
was Secretary of State in Cul«. appointed 
Judge Advocate General, directed an enroll- 
ment of 24,000,000 men between the ages of 
18 and 45 years for military service, and di- 
rected the registration of 14,000,000 men under 
an amendment to the selective service law. 
Some pedigree, eh, what? Yours was pretty 
long, but I'll excuse you this time, - 

Dreamer.— Which studio is the most beau- 
tiful? Haven't been in all of them, so would 
not venture an opinion. Sorry I cant' help 
you. Yes, Woods, Shuberts and Selwyn are 
affiliated with Goldwyn. Wheeler Oakman 
will play in "The Third Eye" for Pathi. She 
is West. 

JuDiE, — You will find "I can tell where my 
own shoe pinches me, and you must not think 
to catch old birds with chaff," in Don Quixote. 
Your letter wasn't as sweet as it might be. 
You cant catch an old bird with chaff, either, 
you know. Make the best of everything, 
think the best of everything, and hope the 
best for yourself. Harry \lorey was Chris- 
topher, Maurice Costello was Henry, Betty 
Blythe was Barbara and Robert Gailfard was 
Dempsey in "The Man Who Won," released 
in July. Story was by Cyrus Townsend 
Brady, 

Dream Girl. — Yes, Alice Brady is back in 
pictures. She is married. Dont complain. 
We did not make the world, but we may mend 
it. and must live in it. We shall find that it 
abounds with fools who are too dull to be 
employed and knaves who are too sharp to 
have to work. 

Robin. — You think I am about the size of 
William Hart, with Douglas Fairbanks' smile 
and hair like William Farnum! Oh, I'm bet- 
ter looking than that. You just ought to get 
your peepers on me once and see how beautiful 
I am. Madge Evans in "Home Wanted," pro- 
duced by Tefft Johnston. 

Beef. — Wallie Van is in Los Angeles now. 
Richard Barthelmess played with Nazimova, 
Florence Reed and Matige Kennedy before 
going with Griffith. Lillian Walker is coming 
to New York to play in a serial. Beware of 
the little green snake — it may be just as dan- 
gerous as a ripe one, 

(One hundred) 



CLASSIC 

Bandanna. — Thanks for the thrift stamp. 
No, I am neither. Of course I dance. Norma 
Talmadge is 22; Dorothy Phillips, 27; Agnes 
Ayres, 22, and Beverly Bayne, 24. Fatty 
Arbuckle remains with Paramount for three 
more years. 

Thomas R. — First you knew how Charles 
Chaplin looks human without his make-up on? 
Yes, indeed, he's quite human. No, I dont 
keep the addresses of my readers. Sorry. 
Donald Hall is playing in The Carter Case," 
released by Oliver Corp. 

Snookums. — Enjoyed reading your opinion. 
Aunt Eliza's opinion of some men is quite 
cruel. She says, "Men, fate and the pawn- 
brokers are very much alike. They find out the 
very least which you will accept, and then 
offer you just a little less." Girls, to be 
happy, put a high valuation on yourselves. 
Mary Miles Minter and Alan Forrest in 
"Social Bri.irs." 

Nutty. — So you were crowded out of the 
Magazine. Yes, I know my space has been 
cut down a lot, hence so has yours. Why. 
I. W. Johnston was Horace in "On the Quiet." 
Frances Burnham in "On the Jump." Suff-ren 
slippers, but you wont obey met 

Esther K.— You want an interview with 
little Mary Jane Irving. Perhaps later. 

Miss Vivaudou.— Yes, it is a very amusmg 
world if you do not refuse to be amused. 
Montagu Love is playing on Broadway in 
"The Net." . , 

Frank E. H.— Eternal vigilance is the price 
of keeping track of the players. Will have to 
call them shooting stars— they shoot from oni- 
place to another so much. I was all wrong 
about Doris Kenyon last month. She is with 
the Dietrich-Beck combination— I had another 
Doris in mind. Sessue Hayakawa in "The 
Man Beneath." Neva Gerber and Ben Wil- 
son are married, but not to each other. 

Eaole Rock.— I'll have you understand I am 
not an old man— only seventy-nine. Always 
respect old age— except when you get stuck 
on a pair of old spring chickens. Pauline 
Frederick in "The Peace of Roaring River. 
Tom Moore in "Lord and Lady Algy." 

Troy O.— Yes, Jim Corbett played in that 
Universal. Corinne Griffith was born in 
Texas. Yes, Douglas Fairbanks is building a 
home in Los Angeles, near the Beverly Hills 
Hotel, costing about fl75,000, with bowling 
alley, private projection room, swimming 
pool, etc., etc., but I. wouldn't trade all that 
for my ballroom. _ . , j. -j j 

Stella —Welcome ! Friends are divided 
into two great classes— those you need and 
those who need vou. You want a picture of 
Con.stance Talmadge on the cover oL the 
Magazine, and a picture of Wallace Reid on 
the cover of the Classic. .Editor, please 
note. You've got the right idea. 

Frances II-L- Home, James; home, James! 
You want me to answer your questions in the 
Boston Post. Now, if you will arrange with 
that paper to help me add to my income tax. 
I'll seriously entertain your proposition. 
You're wrong, all wrong. No, Billie West 
isn't playing now. If you dont see your an- 
swers, Francis, let me know. 

Emma May D.— The only way you can Fee 
the picture is to have your theater manager 
try to run it. Norma Talmadge's next is a 
Russian story. And then vou will see Marc 
MacDermott, Marguerite Clayton, Marguerite 
Courtot and Betty Hutchinson. 

Bob White.— Yes, but the men should work 
and think' and the women love. Monroe Salis- 
bury is with Universal. Marshall Farnum is 
not a brother to the other Farnums. 

Curiosity.— Cant tell the name of the 
second oldest brother in "The Heart of 
Humanity." Elliott Dexter is the husband of 
Marie Doro. Billy Elmer was the burglar in 
"The Dub." Light. Theda Bara's next is 
"When Men Desire." 

• Edayn M. j.— Carlyle says, "There are rem- 
edies for everything but death," so get busy 
and recover. If I were to give you the cast 
for the three plays you mention, you would 
take all the space allotted to me. Send a 
stamped, addressed envelope. 

Green-Eyed Flossie.— Cast your optics on 
the paragraph at the beginning of this depart- 
ment. 

(One hundred and one) 



"Motion Picture Writing Simplified" 



By F. McGrev) IVillli 

This amazing book on motion picture writing can 
now be secured separate from the course in photoplay 
instruction offered by The F, McGrew Willis Institute. 
"The insistent demand from newsdealers, bookstores and 
writers generally has grown so great that a limited edi- 
tion of the book has been set aside solely for this pur- 
pose. The book, aclcnowledged to be the best work on 
motion picture writing yet published, and the only one 
in the scenario departments of the studios, has becorne 
known among members of the Institute as the "magic 
book." It is the onlv one ever written by any author 
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of the big stars. /( contaitis everything that can be 
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F. McGrew Willis 



PHOTOPLAY WRITING CORRECTLY TAUGHT 



F. McGrew Willis is the only recog- 
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America heading a concern teaching mo- 
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by the leading directors of filmdom. He 
is maintaining the only FREE SALES 
BUREAU for photoplays in existence 
where the writer is given every cent 
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motion picture writing you must write 
your stories as the directors want them. 
THE DIRECT, DETAILED W.vY OF 



WRITING— rH£ WILLIS WAY -IS 
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is a golden opportunity offered people 
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you are in earnest about writing send. for 
the FREE BOOK, "The Inside Story of 
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The book is absolutely free and places 
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,\ddress 

The F. McGrew Willis Institute 

F. McGREW WILUS, Sole He.d 

418 Wright-Callendcr Building 

LOS ANGELES. CAUFORNIA 



"Teaching Photoplay Writing Correctly" 



Classified Department- Continued from pjipelOO 
SONG WRITERS 



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THEATRICAL 



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MOTION PICTURE CLASSIC 

Peccy, 20.— No, the two literary editors are 
not related, except that one is a smith and the 
other a nailer. Sounds like a blacksmith or 
carpenter shop, doesn't it? So you thought 
the two little stars on the covers stood tor 
men in service. That's a good joke on you. 
No, PegRV, tliey are private news company 
marks. Ormi Hawley was there, all right. 
Von U'low she has gotten much thinner. Ormi 
has a pretty face, but she was on the road to 
obesity for a while. 

AimiK T.— So vou have been doing your bit. 
Good ! Yes, indeed, young ladies should be 
employed in the post-office, because then they 
can manage the males. Boy, water please. 
CTurn on the hose I) 

HENRr E.,,Bf.rum, N. H.— Henry, and you 
living in Berlin? You should change the 
name to Lerbin Write Norma Talmadge at 
Talmadge Studios, 318 R. 48th St. Try Moving 
Picture World. 

LocKWOOD Fannettf..— Some day you , may 
be discovered. A motion picture director Is 
not like an astronomer— unless it is when he 
discovers a new star. 

A Woman.— But where is the rest of you— 
address, name, etc.? ^ 

loNA Ford.— Have you got it yet? Well, its 
a rattling good car. Oh, Iget $10 a week now, 
and I will be owning a Ford one of these days. 
Got a raise on the first. Yep I Now I can 
buy war saving stamps, and buttermilk, and 
chocolates, and chewing-gum, and live com- 
fortably. It is difficult for a woman to keep 
a secret, but I know more than one man who 
is a woman in that respect. 

Mountain Lassie.— Whoop-la, and a couple 
of tuts I And a hull lot of gnashing of teeth 1 
Here's a reader who dont think I get all the 
letters that are answered. .Zounds and gad- 
zooks I Ask the housekeeper who empties my 
basket. And such questions you ask! 'Do 
Alice Brady and Pearl White smoke cigareti? 
Norma Nichols was Chiquita in "The Neer- 
Do-Well," by Selig. 

RuEBiE B. — You have a great opinion of me. 
Harry Morey in "Hoarded Assets." Both 
Sessue Hayakawa and his wife, Tsuru Aoki, 
had the flu. 

Ella M. S.— You say, in putting a tax on 
rouge. Uncle Sam makes it a war-paint. To 
arms I Ella, your letter reminds that the mind 
of the idler never knows what it wishes tor. 
Pat O'Malley and Marie Walcamp are playing 
in "The Fifth Ace," directed by J. P. Mac- 
Gowan. Zoe Ray with Universal on the coast. 
LuELLA B.— You want too much informa- 
tion. See you later. 

LoviE. — A servient means a napkin in 
French. But it's not death, it is dying, rtiat 
alarms most of us. Mary Boland m The 
Prodigal Wife." Harry Hilliard and Edith 
Roberts in "Set Free." 

M. P.— You want a picture of Eugene 
O'Brien on the cover. All right, we'll think 
it over. And you want Richard Tucker in the 
gallery. All right, we'll think that over, too. 
And you want a biography of the Answer Man 
in The Classic. Not at all, and we wont think 
that over. Nothing doing! Pat OMalley 
played Tom in "She Hired a Husband." 

Mavme A.— Most of your questions have 
been answered above, God bless 'em, we 
couldn't get along without the fools. If they 
could look wise and say nothing and not write 
letters, nobody would ever take them for 
fools, and they might even be mistaken for 
philosophers. .,. ». 1 

Semper Ftdelis.— Roy Stewart was with Tri- 
angle. Dick Barthelmess is about 5 feet 7 
inches tall. Thanks for your hopes. You are 
studying to be a sculptor. Your letter is inter- 
esting. Phidias was a celebrated sculptor of 
Athens, whom Pericles appointed superinten- 
dent of all the public works, both of architec- 
ture and statuary, and I suggest that you re«d 
his biography. ... . . « .. 

Rosalind F.— Mary Pickford is about 5 feet 
tall, or rather, short. Shirley Mason 5 feet 
and Viola Dana 4 feet 11 inches. Bert Lytell 
and Mary Anderson in "The Spender. 
, Ma Chebie.— You bet I'm a jolly old cuss. 
Usually he who talks much accomplishes 
little, and that's why I am sometimes taken for 
a clam. That was Emmy Wehlen in Sylvia 
on a Spree." (ConlmHcd oh page Wi) 

(Ont hundred and tvio) 



T 



Greatest of All Popularity Contests 

Unique Competition in Which the Voters Share in the Prizes 

WHO IS THE ONE GREAT STAR OF THE SCREEN? 

Il it CHARLIE CHAPLIN or ELSIE FERGUSON? 

It it RICHARD BARTHELMESS or WILLIAM S. HART? 

Concerning this matter there is great difference of opinion. Every fan, in fact, has his own idol. The Wall 
street broker swears by MARY PICKFORD ; his wife thinks TOM MIX is the best actor the cinema has 
produced; the office boy has a "crush" on THEDA BARA and the stenographer collects photographs of 
DOUGLAS FAIRBANKS. 

What do you think? If you had a vote would you give it to NAZIMOVA or to LILLIAN GISH? Would 
you vote for a man or a woman or for little BEN ALEXANDER? 

Shadowland, Motion Picture Magazine, and Motion Picture Classic— the three great magazines of the 
Motion Picture world — have decided to refer this question to their readers by taking a popular, world- 
wide vote. In regard to matters concerning the stage and theater their audience is the most intelligent and 
discerning; the most wide-awake and well-informed in the world today. If any picture patrons can pick 
out the leading star, it will be those who read Shadowland, the Magazine and Classic. 

The coupons will show you how to enter your own name and the name of your favorite player. But you 
may vote on an ordinary sheet of paper in Class Number 2 provided you make the ballot the same size 
and follow the wording of this coupon. We prefer the printed coupons for uniformity and convenience in 
counting, 

There will be prizes for voters and prizes for stars. 

Votes registered in Class Number 1 will probably be cast by favor. Votes registered in Class Number 2 
will call for a wide knowledge of the Motion Picture business, keen powers of perception and skill at de- 
tecting the trend of popular favor. You cannot guess the winner offhand. 



RULES OF THE CONTEST 



The conteit began on Deccinl) 


cr 1, 1919, a 


30, 1920. 




There will lie srvpp ballots as 


follows; 


December 


1919 ballot 


Tnnuary 
February 


1920 ballot 


1930 ballot 


March 


1920 ballot 


April 
May 


1920 ballot 


1920 ballot 


J'lne 


1920 ballot 



1919, and will close on Jnne 



The result of each month's ballot will be published in each one of 
our magazines the second month following such ballot. 

Ko votes will be received prior to the opening date or after the 
date of closing. 

Each person entering the contest and observing the rUIcs thereof 
shall have the privilege of voting once in each class, each month, 
for each one of our magazines. You may send us one vote in 
each class for Shadowland every month, and the same for 
Motion Picture Magazine and yet again the same for Classic. 
Thus, you will have three votes in Class No. I each month, and 
three votes in Class No, 2 each month. 



Class Number 1 

Shadowland, Magagine and Claitic: 

175 Diiffiold Street, Brooklyn, N. Y. 

I consider 

tlie most popular player in tlic entire field of Motion 
Pictures. 

Name 

Street 

City 

State 

Country 

(Dated) 



Class Number 2 

Shadowland, Magazine and Classic: 

17S Duffield Street, Brooklyn, N. Y. 

I believe that 

will win the Big Three Popularity Contest with 
votes. 



Name. 



Street... 

City 

State 

Country. 
(Dated). 



Remember! This is the greatest player contest in history. 



(One hundred and three) 



Elliott Dexter Has 
Come Back 



By MAUDE YORKE 



IT was a red letter day at the Lasky studio in Holly- 
wood — Elliott Dexter had come back ! 

For six months he had been ill, at times perilously 
near the border-line, and great was the rejoicing among 
friends and associates to have him among them once 
more, well and strong. 

After the camera man had celebrated the event by 
taking several pictures of him with Cecil De Mille and 
Tommy Meighan, we found a quiet little nook to talk 
it all over. 

Mr. Dexter is thinner, both in face and body, but 
this merelv adds a new distinction to his ^ood looks 
and he is handsomer than ever, while the quiet dig;nity, 
ever one of his chief charms, is perhaps, intensified. 
His dark eyes are clear, his cheeks bronzed, for he 
has spent many of the recuperating days at the beach 
and he declares that he possesses more vigor and 
strength than ever be.fore. 

"Queer thing." he remarked, reflectively, after ask- 
ing permission to light his pipe. "But it seems as if 
we must all have a good, hard bump of some kind 
to wake us up. This is the first illness I have ever 
had and I assure you I went thru every possible 
mental state during 
those long months. 

"There was a time, 
at the very first, 
when I didn't care if 
I recovered, and all 
my old interests 
seemed to drift away. 
I didn't want to 
think of pictures or 
my career, in fact, 
nothing seemed 
worth while, but 
now," and he squared 
his broad shoulders 
and laughed, "I can 
hardly wait to begin 
my new picture. 

"Everything inter- 
ests me, I feel thor- 
oly fit, and I want 
to plunge in and 
make up for all this 
lost time. I guess a 
little introspection 

and retrospection does one good. My whole viewpoint 
seems changed, I have learnt much during the months 
while I have been absent from the world and I am 
sure I shall do better work than ever before." 

"As a star, too !" I exclaimed. 

"Yes." he laughed, boyishly, "as a star! My illness 
came just as I had reached the goal for which I had 
been working during these three and a half j^ears in 
motion pictures. I was to have played m Cecil 
De Mille's 'Male and Female,' then be starred, but— 
I took to my bed instead. Seems years since I had to 

give up. , . , • L ■ ^ 

"I am quite mad about my first picture which is to 
be 'The Prince Chap.' 

"Any part that is consistent and human, I enjoy 
playing," replied Mr. Dexter to my questipn as to his 
favorite role. "I found much satisfaction in the 
{Continued on page 108) 





Photograph above bjr Evani, L. A. 



Two KlUnptes of Elli- 
ott Dexter upon his 
return to the Liiky 
■tudio after hit teriou* 
Ulneii. The camerk 
^owf Dexter being 

Seeted by Thomat 
eighan, CecU De 
MiUe, Wallie Reid and 
Wanda Hawlejr 



Photograiih by W. R. Scolt 




(One h^inired and four) 



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THOMAS MERLIN, 269 Reaper Block, Chicafo 



HOW TO 
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-^ PHOTOS -^ 

Reproduced in half-tones 
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your favbrltes, no two 
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et«. Pine Den decorati«ns. Set 
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■aw iri Co.', lax *, Narwalk. Ct. 
("One fcundred and five) 




The Movie Encyclopedia 

(Continued from pape 102) 
Slim H.— Yes, I have noticed the tight 
skirts. How could I help it? They are de- 
creed to prevent the girls from running after 
our returned soldiers. Skirts that they cant 
run in, shoes that they cant walk in, corsets 
they cant breathe in — such is woman ! Alice 
Brady and Conrad Nagel will be seen in 
"Redhead" (Select.) 

George N. C.— Couldn't comply with your 
request, son. Join one of the clubs. 
M. A. — Donald Hall with Goldwyn last. 
Wallace Reid Fan.— They all do it sooner 
or later — Katherine Lee, age nine, and Jane, 
age six, have started their own company. 
Nothing like getting a little leeway in pictures. 
Some one told you Pearl White had no ears — 
cant you see for yourself? 'Deed she has 
ears, and they are like Pearls. 

Two Bugs. — What kind of bugs? Dont you 
think that men in general are but children of 
a larger growth? So you thought Eugene 
O'Brien and Norma 'Talmadge were ideal, and 
that when it came to kissing they were bears. 
You say, "You are old enough to know better 
than to tease your readers that way." Why, 
do you know a better way? 
Frenchy. — Dick Barthelmcss is not married. 
Prince Dantan. — Sure I would be content 
with little it nobody had any more. Thanks 
for the picture. You're not a bad-looking 
chap after all. Fairbanks twins are on the 
stage in New York. We have no photographs 
of Florence LaBadie for sale. Run in again. 
Norma Talmadge Admirer. — So this is your 
first to me. You say you had an appointment 
at the Commodore Hotel to meet Lillian Gish, 
and you pot "cold feet" and were afraid to 
meet her. Try woolen socks. 

Marc MacDermott Forever. — Last I heard 
of him he was free-lancing. Jennie Lee, of 
the old Biograph pictures, is playing in "Jim 
of the Rangers." 

Pinky Rose. — You want me to tell you how 
Gladden James ever got into pictures. Is this 
an inquiry or a stiletto thrust? 

Doris N.— Robert Louis Stevenson was the 
author of "To be honest, to be kind, to earn 
a little and spend a little liss, to make the 
world a little happier by our presence — here is 
a worthy task." We had an interview with 
Elsie Ferguson in June Classic. 

Jo Jokey. — Why, the word Czar comes from 
Caesar and became adopted thru Simeon, 
Grand Khar of Constantinople, A. D. 900. 
Caesar has become, in German, Kaiser, and 
that individual lias become obsolete. "Shad- 
ows of the Pasts" is Anita Stewart's next pic- 
ture. 

A. V. R.— Yes, I believe in prayer, but the 
best way to get a prayer answered is to pray 
hard, then get out and hustle. That's \\;hat I 
do. Sorry I haven't his name. 

House Pet^hs Fan. — Yes, everybody oirj^ht 
to read "Don Quixote." Cervantes laid many 
of the scenes in La Mancha, an old province 
of Spain, in the southern part of New Castile. 
Gail Kane is on the stage. Sure I can keep 
a secret. Age is the only secret a woman can 
keep. 

Bill Farnum Lover.— Yes, and the old fel- 
lows who used to whittle the chairs from un- 
der them now go to a movie show. William 
Farnum has been playing for about five years. 
You're excused. 

Constance M. — You say all you have to 
have to get in the movies is luck. Then all 
players must be lucky, which is not so. No, 
no, little one, you're all wrong. Yes, Charles 
Clary is married. 

Red Head. — You have been reading Darwin. 
I'll wager. Our ancestors, even tlio they were 
monkeys, weren't so ignorant as some folks 
fancy — tliey were generally educated .in the 
higher branches. Fardonnes moi. You ask 
what was my ambition when I was small — if 
it will give you any pleasure, to be a police- 
man. To be continued. 

Anna L. F., Memphis. — Send a stamped, 
addressed envelope for a list of film manufac- 
turers. The stage has had all the character- 
istics. In Greece, it was a form of religion. 
The Greek theater had all the beauties. The 
world progressed, and light always came from 
the stage. 



DON'T READ THIS 

Uoiess You Want a Genuine Bftrgaln 

BE A MOVING PICTURE STAR 

Do you know that many Mov- 
ing Picture actori and actrcBiet 
get from $500 to $5,000 a 
week? Many young ladies 
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well if they knew how. 
This book will teach you every- 
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tells how and where to apply 
for a position. Gives the an* 
dresses of all the ttudtos and 
managers and tells everything 
in detail. It it a pleasant and 
profitable profession and the 
demand exceeds the supply all 
the time. 

No other book needed — this ex* 
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100 PHOTOS OF MOVIE STARS 

reproduced in half-tones. Your 
favorites are all here — Chaplin, 
Bushman, Pickford. Bara. Pearl 
White, Joyce, Clark, etc. All the 
STARS in real classy poses. Suif 
able for framing, Set mailed for IJc. 
with catalog of other MOVIE articles. 





2 MOVIE PENNANTS 
FOR 12c 

To introduce our catalog of Movie 
- Books, etc., we are selling these pennants 
I at bargain prices. Just the tning for 
[ your Den. etc. Each pennant of a dif- 
fcferent Star, Made of Felt and come in 



Ei 
^■assorted colors. Will send two for 12c, 
I^H 12 for 50c. or 25 for on^ dollar. Order 
HPI before they are all gone. 
You can order all of the above single at prices named 
or will send the Movie Star Book. 100 photos and 2 
pennants, all for 2Sc. Order before they are all gone. 

YOUNGS PUB. CO., Boi 100, So. Norwslk, Coib. 

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i I ii I ! 1 1 PI lll| I 



SHADOWLAND 



illilllllllllllllllllllliiilllllllllililliiiilllllllliillili 

A MAGAZINE OF BEAUTY 



, . . "Thf bust in this kind are but 
Shadows and the worst no worse, 
if imagination but emend them." 

SHAKESPEARt. 

Among the hundreds of letters and 
telegrams addressed to us by 
friends of SHADOWLAND there 
were many felicitous phrases. One 
of these lingers in the mind like a 
strain of music. "SHADOW- 
LAND!" said a poet, "is the 
BROKE>f Blossoms of the magazine 
world!" This, in our opinion, is. 
about the highest praise a magazine 
can win. 

We dreamed of creating a maga- 
zine that would be useful, inspiring, 
uplifting and appreciative of all the 
arts. Beyond all this, we dreamed 
of creating a magazine that would 
be prized for sheer beauty alone — 
a magazine that would give one a 
thrill comparable to that which one 
receives from a bouquet of wild 
roses on a cottage window sill. 

If we have come so near to our 
ideal that SHADOWLAND sug- 
gests the Griffith masterpiece; if it 
is the BROKEN BLOSSOMS of 
the magazine world, or nearly, it 
has not been done in vain. Beauty, 
like a fairy godmother, will watch 
over it as it grows up and beauty 
lovers everywhere will take it to 
their hearts. 

niiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ 

SHADOWLAND 



iillllllllllllliillillllililllllliilillillili 

175 Dnffleld Street, BrooKlyn,NewYork 



Ii 


1 


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Ii 

II 


1 i 


i! 



(One hymirei and titc) 



Get the Bright Brigade' 



p 



<7 



l> 



to do your 
o 




o 




ra 




than Soap 



Lar^e Can 
lO<t 



Price 
Unchanged 



(On» hwidrtd and <«veii^ 




"Ferd,They are Playing Your Song!" 

Imagine the thrill these words gave Mr. Ferdinand Hohenhorst, of Coving- 
ton, Ky., as he stood on a crowded street, watching the great Peace Parade, 
when Meyer's Military Band came swinging along playing his song, "Uncle 
Sam, the Peaceful Fighting Man." But let him tell his story in his own 
words : 

Covington, Ky., 1941 Augustine St. 

CHESTER MUSIC COMPANY, Chicago, III. 

Gentlemen : — My song entitled "Uncle Sam, the Peaceful Fighting 
Man," that your Mr. Friedman composed and arranged for nte, is mak- 
ing a great hit. In the Peace Parade at Latonia, Ky., Meyer's Military 
Band played my song three times. We now have had it arranged for 
orchestra's and quartettes, and it is making a good impression every- 
where. The Vocalstyle Music Company, Cincinnati, O., a concern which 
manufactures music rolls for player pianos, has taken up my song, and 
already has sold over a thousand of these tolls in Cincinnati alone, and 
are placing them in their bulletin for April, which will go to all the dif- 
ferent cities. Thanking you kindly for the services you have rendered 
me, I remain, 

Yours very truly, 

(Signed) FERDINAND HOHENHORST. 

Leo Friedm£ui, Our G>mpo8er 

about whom Mr. Hohenhorst speaks so enthusiastically, is one of Am- 
erica's most gifted composers and the author of many great song hits. 
Among his great successes are "Meet Me To-night in Dreamland." the 
sales of which reached the enormous total of more than a million copies. 
Others that reached into the million class were "Let Me Call You 
Sweetheart, and "When I Dream of Old Erin." Mr. Friedman writes 
music to words that causes them to fairly throb with feeling and musi- 
cal charm. He has been styled "America's Favorite Composer," and 
properly so, for his melodies have reached the hearts of millions of the 
American people, and made them sing. 

Mr. Lm frIidMU 

ff^/iy Dont YOU Write the Words for a Song 

and Submit Your Poem to Us ? 

Wo make U" charce for examination of poems, and vou incur no obligation of any sort. 
when you send your poem in. If our Lyric Editor finds it contains a good idea for a 
song, he will tell you so. His criticism will ,^.. ..........._.. ........... 

'"^ ' j CMEBTtR MUSIC COMfANY 

I 920 Sftuth MIohlian Av»., Suite 108, Chloti«, III. 
I (Jftitlvnieii : Kiiclwvd nnd pot-ni «iitltlir(l 




be fair and verV valuable to ambitious 
song-poem writers. WHY NOT SEND 



YOUR POEM TO-DAY, AND LET US 
PASS ON IT. FREE OF ANY CHARGE 
OR OBLIGATION? Yon can never tell 
what you can do till you try. MAKE A 
START TODAY. 

CHESTER MUSIC COMPAxvY 

Suite lOK. 920 So. Michigan Ave., 

CHICAGO. III. 



I fur your Inspection. 
■ Nirae 



m. AittlreM 

n\s HtUi-. . 



MOTION PICTURE CLASSIC 

Elliott Dexter Has Come Back 

(Cniiliinted from page 104) 
'Squawman,' for he was a great char- 
acter and held my interest from first 
to last. So was my role in Mary Pick- 
ford's 'Romance of the Redwoods.' 
The man was redeemed thru a woman's 
love and this situation is always a vital 
one. 

"t believe I took a keener pleasure 
in making 'Dont Change Your Hus- 
band,' than I have in any picture. 
There 'was comedy and emotional act- 
ing, with a splendid opportunity for 
good character work which I always 
gladly welcome. It is an inspiration to 
be under De Mille's direction. He 
works much as they do on the stage, 
making the scenes as they come in the 
story, whenever possible. This keeps us 
in the spirit of the action, and when, 
at last, we gather up all the currents 
of the plot in the final scenes, we can 
give a more convincing climax. 

"Making motion pictures reminds me 
of a dress rehearsal on the stage. Every- 
thing is perfect, yet there is no respon- 
sive audience to applaud or criticise, and 
we all miss it. This is partly met 
thru the fan letters, and I assure you 
I read every one that comes to me, ap- 
preciating the words of encouragement 
and deriving some of the same thrills 
that applause would bring." 

Elliott Dexter's voice is full and deep 
and he speaks slowly, betraying his 
Southern origin, for he was born in Gal- 
veston, Texas. From his earliest child- 
hood he dreamed of a stage career and 
at the first opportunity he went to New 
York, planning to- enter a dramatic 
school, but instead joined a stock com- 
pany. 

"My first appearance was in .'The 
Great Diamond Robbery,' and, tho I 
was merely 'suping,' I was the happiest 
boy in the world," said Mr. Dexter. "I 
remember that on that very night, stand- 
ing in the wings, I solenmly determined 
to work on until I became a star. 

"This was the beginning; there were 
much hard work and many disappoint- 
ments before me, but it is wonderful 
what a tremendous force ambition is in 
our lives — the moment we attain even 
a little success, we no longer count our 
struggles." 

Mr. Dexter's stage experience in- 
cluded playing in "The Tyranny of 
Tears," with John Drew ; "The Heir of 
the Hurrah," with Guy Bates Post ; 
"Diplomacy," and with "The Lily." 

After reaching stardom on the stage 
he was wilting to experiment in pic- 
tures and played with Marguerite Clark 
in 'Helene of the North." Tho en- 
joying the work and seeing the possibili- 
ties he was not quite ready to forsake 
the spoken drama and went back for a 
season before making another picture. 
This time it was with Hazel Dawn in 
"The Masquerader." When this was 
completed he had fully succumbed to 
the lure of motion pictures, and casting 
his lot witli them he has steadily ad- 
(Coiiliiuicd on page 110) '^ 

(One hundred and eight) 



SHADOWLAND 

A Magazine for Dreamers 

cKany a man has a secret dream 

Of where his heart would be ; 
^Ine Is a low oerandahed hut 

In a tope beside the sea." 

So sang Laurence Hope and few people knew more about 
dreams and shadows than she did. Dreams were all about her 
— the pink flowering almonds of Kandahar — the hiding places 
of the blue poppy — the purple fields of peaks that stretch from 
Northem India to the snows of Thibet — the shadow of clouds 
upon fields of iris — the shadows of moonlight falling on 
mosque and tower and minaret. To read her is to see the 
Char Minar again, to feel once more the scent of the yellow 
jessamine and the champac. 

Every dreamer knows that the shadow is sometimes more than 
the substance — it was Emerson himself who said that the 
faintest reverie is divine. 

Shadowland will call your dreams to mind. Something of all 
men's dreams will come into it — the dream home and the 
dream child; dream pictures; dream plays and the players that 
haunt our dreams; poetry and those age-long dreams of the 
human race — health and happiness. 

If Laurence Hope could come back to the world she loved, we 
venture to say that she would like "Shadowland.'' 

She would say that it fits into a world where dreams are king 
— where men first dream of what they wish to do and then 
find means to make their dreams come true. 

If you are a dreamer, you belong to us. 

SHADOWLAND, 175 Duffield Street, Brooklyn, New York 



\\f^\y\rvO\ft<\\rA^^f»\Kf^^\r£i\uai\fi<\tr£<[\rAV^^ 



hif*irrirtit*ir/»^it^«iii/4\iirt(\ir/'«>irr«of/'«-\it/wit/»ii[^*iir/-«>i! 



illi?^My>WM^M Ii ni i raiWtf!Wfl ii Ht ! ;wwB^)<wMWj B^ 



(One hundred and nine) 




'^ There's Oiily One^Vay 
to secure a satin skiti '^ 

l4fi/il/ Satin, ^Idrh G^e(mi,tki2nSatinSkm,poWdey' 




MOTION PICTURE CLASSIC 

Elliott Dexter Has Come Back 

(Coiitiimed from page 108) 

vanced until now he takes his place in 
the ranks of the foremost favorites. 

Elliott Dexter has not depended on 
his charming personality and his good 
looks for popularity, but he has given us 
splendid acting that makes his finely 
drawn characters stand out as real hu- 
man beings. His work is always the 
essence of good taste and perfection of 
detail, and no less an authority than 
Cecil De Mille declares that his tech- 
nique is the most fiijished of any actor 
on the screen today. 

"Do you study the script and thus 
form the idea of your role?" I ques- 
tioned, curious as to his mode of pro- 
L-edure. 

Relighting his pipe, Mr. Dexter re- 
plied, "Usually De Mille tells us the 
story, painting it so vividly that I see 
my character, clear and distmct, as if 
it were photographed before me. I have 
always been able to do this, for even 
on the stage I visualized my role with 
the entire action, as soon as I read the 
play." 

"What a gift for directing!" I ex- 
claimed. "Will you direct — some day?" 

"I hope so," he smilingly confessed. 
"I can think of no greater satisfaction 
than to have directed a successful pic- 
ture, and seeing it on the screen know 
it will be shown all over the world, 
swaving thousands with its message." 

"It must give you a little thrill to 
know so many friends and admirers are 
welconiiiijr you back to health and the 
screen with sincere affection," I re- 
marked, after Gloria Swanson, William 
De Mille, Wanda Hawley, Wallace 
Reid, Major Robert Warwick, Raymond 
Hatton, Alvin WyckofT, and Director 
Wood had filed by joyfully extending 
their hearty greeting. 

Mr. Dexter's voice was a bit husky 
as he replied, "I can never express all 
that it means to me. Oh, I am so happy 
to be back!" And stretching out his 
arms, he took in the whole world. 

Elliott Dexter possesses a simplicity 
and a genuine modesty that are of a 
very fine quality- He has sounded a 
new depth, he has caught a new in- 
sight into emotional intensities, which 
promises an added stren^h and warmth 
in the upbuilding of his future work 
in motion pictures. 

THE WRITING FAMILY 
By La Touche Hancock 
We arc a writing family. 

We are ! We arc I We are ! 
My mother, brother, sister, 

Myself, and even pal 
Mother writes .short stories. 

Which nobody will read; 
Sister's writing play on play. 

Which never will succeed! 
I write so-called poetry, 

Which nobody will print; 
Uespite rejection notices 

I never take the hint I 
Brother writes facetious screeds, 

Which are the greatest trash. 
While pa writes checks upon his bank, 

Which nobody will cash! 
Oh I we are a writing family. 

We are! We are! We are! 

(One hunirti and tanjl 




Fame and Fortune Contest 

for 1920 

THE first Faune and Fortune Contest having come to a happy and successful end. and sereral 
pmspectiTe stars of the 'first magnitude having been selected and started on their careers, it 
is with pleasure that we announce a similar contest for the year 1980, beginning with the 
January number of 

Motion Picture Magazine, Classic 
and Shadoivland 

Once more we shaB go thru America with a fine-tooth comb, as it were, in search for 
budding beauties with Motitm Picture ambitioos. No longer can any young lady or giil say that 
she has not bad a chance We shall give them all a chance — that is, every one diat appears to have 
sufficient personality, charm, beauty and winsomeness. The first test is the photograph. If that 
gives promise, we publish it and ask for more. If the others are equally promising, we secure a per- 
sonal interview, and finally we make a "test" Moving Picture and send it broadcast thru the theaters. 
Many of the girls whose pictures appeared in the Honor Rolls of our magazines, received many 
flattering offers from producing companies, and this proves that we are doing a good tiiiiig for 
ambitious American beauties, even tho we mif^t err in our final judgment in selecting the winners. 
The Hcmor Ro}b will craitinue each month in aD of our publications, thus giving something like 
two hmmdrtd girls lumorable mention, including a published photo. One or UMne of these we 
promise wiO be made 

Stars of International Fame 

Just think of what a prise this is! The contest just closed attracted nation-wide attentiom. 
The newspapers everywhere published illustrated accounts of our final test, and several of the 
News Weeklies of Current Events showed scenes of the happy party at Boslyn, which were flashed 
on nearly every screen thruout the United States. 

What an opportunity! If it does not interest jro«, tell your nei^bor about it or your distant 
friend — they may have a daughter just looking for a chance of this kind. 

One thing we want to impress upon all aspirants — be careful in the dloice of the photo- 
graph yon submit. Postcard photos will not do. Poorly printed photos, and small ones, can- 
not be considered. We fed that many beautiful girls lost ont in the last contest just because 
th^ did not go to the trouble of consulting a good photographer. Furthermore, dcmt submit 
photo* tkmt lie! They may get you on the Honor SoU, but they will never sec yoo thru. We 
recall in the last contest several yiHuig ladies who submitted wonderful pictures, and succeeded 
in getting on the Honor Roll, but when they appeared on the scene, alas, we found that the 
emwuTU had lied. We want pictures that do you full justice, even flattering mes, but not dishonest 
ones. If yon are a giant or a midget, if yoo have an impossible profile, or an u^y nose, or some 
other defect, dont let the photographer conceal these things — it will be to your loss and disadvan- 
tage in the end. Yoor features may not be perfect, but you may win in spite of that — only, we want 
to know aD. Hence, please do not try to deceive us. Make yourself appear to the best advantage, 
but do not overdo it. 

Rules and date of Contest opening to be announced in next issue. 

Select Your Photographs Now! 




(O— 



He—») 




In lliat tense, still nwmmt at ttie cfimaz of tiie pkay — a oong^l Aoaaiyiog of 
oooise, and onneoessary. Dean's MffnttantotBit Coogfa Drops p reve nt it 

Or motoring akng some a an o oU i liigfaway — evoytliiug serene — ^bot fior dost and 
wind tfiat diy the tiiroat and mdnoe a oong^i — imless one has Dean's Mentho- 
lated Coogfa Drops. 

A pre v e nti ve vd>enti»efiBstagefat sg"Mli o n in the ttroat is fidt— **di^ core the 
tidde." A ddkaoQ s and pleasant soaroe of rdief for hai^ rasping, stubborn 
cxmi^— Deanis llenthotatrd Coof^ Drops. Good fcr the wbcHe tsanOy. 

Have a box on hand always — indoors or oat. 

DEAN MEIWaNE CCniPANT, IChvaiifcee, IXnoaMia 



X)BAiVs 








iHow We Stopped the Leaks that Kept Us Poor 



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How^ 
How^aLrd 
LrindsaLy 
^Lnd His 
Wife 

discovered <u\ 
EflLsy WolV to 
SaLve ONE- 
THIRD of 
Their Income. 
A Secret thoLt 
Applies to 
Any Income. 



By HARRISON OTIS 



WHO should walk into the room but 
Howard Lindsay! Of all men per- 
haps he was the last I had expected 
to find as the president of this great new 
company. They had toM me that Ur. Lind- 
j say, of the Consolidated, was looking for a 
fine conntry home and was interested in bay- 
ing the DoUard Place in Englewood; so as 
exccntor of the Dollard estate I had come to 
I discnss the terms with him. 

Bnt Lindsay! Surely some miracle had 
happened. For it was the very man who 
had come to me "dead broke" about four 
years back and had asked me to help him 
get a new job. 

"Yon are surprised, Mr. Otis. I can see 
Aat without your telUng me. Let that real 
estate matter rest for a moment while I tdl 
yon how the change happened. It won't take 
five minutes. It all seems simple as A B C 
as I look back on it now. 

How It AD Bcean 

"Our new life began when we discovered 
how to tavt money. That happened soon 
after I started in the new job you helped me 
secure. And it all came about right in my 
own home. Our sole source of supply was 
my salary of $3,000. That first year we didn't 
save a cent Besides that, we woke up on 
New Year's day to find a big bunch of unpaid 
bills to be taken care of somehow or other 
out of future salary checks. 

^'When I asked myself the reason for all 
this I found that I did not know the reason, 
and no more did my wife, because we hadn't 
the faintest idea what our money had been 
spent for. 

"Then we looked around among our friends 
and learned a great lesson. 

"the Weeds, I knew, were getting more 
than $5,000 a year. They lived in a modest 
apartment, did not wear fine clothes, seldom 
went to the theatre, did little entertaining, 
yet we knew they barely had enough money 
to pay current bills. 

"In the case of the Wells, I found a very 
different story and one that set me thinking 
hard. Their income was $2,000 a year, yet, 
to my amazement, they confided to us that 
they had saved $600 a year ever since they 
were married. They didn't have any grand 
opera in their program — except on their little 
Victrola— bnt they did go to the theatre 
regularly, they wore good clothes, entertained 
their friends at their home and were about 
the happiest and most contented couple of all 
our married friends. 

"TTie difference between these two families 
was that in one cas^ the expenditures were 
made without any pUn — while in the other 
the mcome was regulated on a weekly budget 
system. 

We sat down that evening and made up 
a budget for alt our expenses for the next 
Mty-two weeks. We discovered leaks galore. 
We found a hundred wavs where little 
•"nounu could be saved. 

In one short month we liad a 'strangle 



hold' on our expenses and knew just where 
we were going. In one year my wife proudly 
produced a bank book showing a tidy sav- 
ings account of $800. 

My New Giq> on Bnsiiieas 

"In the meantime an extraordinary change 
had come over me in business. 

"I didn't fully realize this until the presi- 
dent called me in one day and said, 'Lindsay, 
you have been doing exceptionally welL I 
have been studying your work for the last 
year and yon have saved the company a lot 
of money. We have decided to give you an 
interest in the business.' 

"So there you are. It is wonderful, isn't it? 
I often wish I might tell my story to the 
thousands of young married couples who are 
having the hardest time of their lives just 
when they ought to be having the best time." 

So now I have the opportunity and you are 
tacky, if only you will act on the wonderful 
message this story contains. 

HARRISON OTIS. 

The Magic Bodgct Plan 

The Ferrin Money Making Account System 
is built on the experience of Howard Lindsay. 
This system, which is simplicity itself, com- 
prises: 

The Ferr i Money Making Account Book. 

The Fei-rin Kitchen Calendar (for the 
household). 

The Ferrin Pocket Account Book. 

The Ferrin Investment and Insurance 
Register. 

The Ferrin Household Inventory and Fire 
Insurance Record. 

Compact information is given on Making 
a Budget, Keeping Expense Accounts, Mak- 
ing Safe Investments, Making an Inventory 
of Household Goods. 

There is no red tape or complicated book- 
keeping in this system — it is so simple that 
any one can keep it — so convenient that yon 
will not notice the few moments of yom' time 
required to make entries. The Pocket Ac- 
count Book (price when sold separately 50 
cents) contains frmtcd slips so that yon have 
only to jot down the amounts of i your daily 
expenditures. The Kitchen Calendar (price 
50 cents) keeps track of householn expenses. 
At the end of each week or month these 
amonnts are transferred to the Money Mak- 
-ing Account Book, which contains 112 pages, 
size 6^x10^ inches, and is bound in half blue 
Silk Cloth Back— Cadet Blue Cover, Paper 
Sides — ^Turned Edges, semi-Bcxible, stamped 
in gold on Front Cover. This book has been 
prepared by an expert to fit any salary from 
the smallest to the largest. Incorporated in 
it is a recapitulation for every month of the 
year, which shows at a glance the Budget and 
the amounts paid out during the month for 
the \arious classified items of expense. It is 
the only book to our knowledge which has a 
Budget column for every month. Special 
columns are provided for items on which an 
income tax does not have to be paid, so that 



these amonnts may be deducted at the cad 
of the year. 

One Money Saving Feature 

.A war tax is now levied on almost every 
kind of aiticle you buy. Few people know 
that the amounts so paid on daily purchases 
may properly be deducted from their income 
tax report. By keeping track of these war 
taxes on the pages for daily expenditures, and 
transferring the weekly or monthly totals to 
the Money Making Account Book, you will 
effect a saving on your income tax that will 
surprise you and that will pay the small price 
of the System many times over. 

The Ferrin Investment Insurance Register 
IS designed to keep an accurate record of 
your investments, insurance policies, etc 
Contains 32 pages, size 5x8 inches, price sep- 
arately, 50c. The Ferrin Inventory and Fire 
Insurance Record will enable you to make 
and keep a complete inventory of every room 
in the house; also provides for record of your 
fire insurance policy. It is an absolute neces- 
sity in case of a fire. It may save you many 
thousand times the cost, which is 50c when 
sold separately. 

Two Mimitf» a Day 

The Ferrin Money Making Account System 
takes only two minutes a day. Any bright 
grammar school boy or girl can keep the 
accounts. This method is not a hard task. 

Now you need not worry about the money 
you spend for clothes, food, rent or the 
tnotre. You will spend it freely be<ause you 
^rMkaov how much you can afford to spend. 

The Ferrin Money Making System is a 
most practical gift to any newly married 
couple. Many people use them for Christmas 
gifts. 

Send Mo Money 

Sd how oucidOr the Ferrin Moorr UafcinK Ac- 
count SjrstaB works, no 
matter how moch or bow 



Wc 
II 




mt In cMnc tlMn 
vloe IB nxan] to Um 
MaUns flvt of tlidr In- 
c^ne taEX fctitm %» Wm^ 
bow few had ^v latdu- 
|(Bt Mea tf tbctr liii^i 



bttle yoor tncomc 
kncfw what j o il a 
think of it when jon 
sec it. So we are will- 
ing to aend joo the com- 
plete CTStem w i t h o n t 
your scndina: as any 
mooey in advance. Jttst 
mail the conpon. and 
hack wm come the sys- 
tem bj i c tmu maiL If 
Ton feel that jrcra can 
afford not to have it. 
simplT send it back and 
yon win owe nothins- 

Bnt when 70a have 
seen what bix rctnms 
the Ferrin System will 
pay yoo, you will sonkj 
want to kc«p this won- 
derful aid to money- 
making . es pec ia l ly as we 
are now ■wlr™g a spec- 
ial, short-time offer o f 
only %i for the complete 
system- 
Yon win appreciate 
what a remarkable otfer 
this is when you con- 
sider thai cytber expense 
acconnt books are soM 
for $3 and cover a per- 
iod of only two years- 
Tlie Ferrin Money Ifak- 
in( Account Book cov- 
ers foor years, and there- 
fore has twice the value. 
$6. And in additioa yon 
get the Ferrin Kitchen CaloDdar. the Ferrin Pocket 
-^count Book, the Pcrrin Investment and Insurance 
Register, the Ferrin Hoosebold Inventory and Fire In- 
surance Record, each worth 50c, or $2.00. Von have 
*e oppui un ity, theref^lre. o< securinc »S value lor only 

But we can make this special combui.'\li<.ni offer 
only lor a limited time. We expect to place this sys 
tem in one hundred thousand bottkes this year. Wi 
want you r home to be one of them. Yon are there- 
fore UTKcd to mail tfie coupon now — to do so oasts 
nothing and does not obbcate you in anr way. ai»d it 
may be a revelation 10 you of bow mnch more yon can 
jet out of your income. 

FREE EXAMINAllON COUPON 

Independent Corporation 

f>«fWUVn of TL^ ImOrprtUnt VTnktg 
I>«P«- F-S7I2 II* W. 4«th St., M- T. 

"r-'_r«' .-" .Uie. »"wri» Uenrr UsUaa Annu<t KT,«m 
unc ratln nre l««lm) tar Vn^ Exmm^n^^o.^ L will msm] 
t™ M^ "'' """"^ ""**" ' """^ «"" ""MX- or «mn 



ILr.tlas^— l-St 




IBIcnnU D. S. BUKTON. 






II 



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>^ 



f9 



X 






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SJ20 Burlm^onsj:n 
the U. S. Navy— ^ 

83^ Buffingtons bate been sold to die men aboard die U. S. battlesbips. 

ft oicaltr cmj r m dinthe U.S. Hwy has many BM rimet" " watches aboard. Some have over lOO 

A watdl has to be made of aurdr Muff in order to "mdoe Eoof oo a man-of-war. The ooiBlaat 
vibntiaa, tke amine hot n> tbe boiler idoom, Ike cold ak air andtiie damcc of cEnate faon the Aictie to tke 
TnniJealareth eiMMti e t c wmm iaawtefc. HaMtckwRatHriapandptcaaacacniccabiaBdai 

94 -Jewel $1 
mJL Burlington 

And Tct yon may ect a 21-jewd Buifinetoa for only f3.S0 a montk. Tnily it b die master 
«n(cL 21 rally and B^kue jcwck, adjosted to dic«eGoiid> tenBuatmc, laociBmiim and pwiri i — Fined at 
Ae facixy in a cold (Uata caa^ wa i iail n l for 25 ycanu Au the neixit cnc* are jrov* to ^aoae Iram. Ton 



I cold 
fny ealy fte rack- ~ 



-poodfcly Ae enct ince that tbe wboicafe deakr mold bnc to sqi. 



^^ ^^^ ■ %• ^ A ZOQ dm K pay a cent to anybodf nntu you ace the wjIlIi* we 

^^Pif mw M^iir^t ' <^P *'" *'X<=l> to yoa ea BpproTaL Yoa m the lole jwlgc. No 
A^V V ^# A ^# w^ • flHj^fflrm to boy mcrclf became you get the watch on approval. 



Write for Booklet! 

Tat yoarnane ad addfCM in the coiqKn or ea a letter 
arpoatcaid now and ect your Bmlinetaa Watch book free 
andfRfaid. Toa wQI knoir a kunMncabootiraidi bay- 



ing iHkb r" >od ■>• 7<">t y"* *^ 

tfatkaa in inll color of an the 



eaboot wutchboy- 
'oBdmncilln- 

,„ , a from whic^ 

yoahaicloch^^ The booklet i» inc. McrelyKad 
ya« name and addiaa oa the caopo^ 

Borlinston Watch Company, 



Bvfinaitan WaSc& Ctx, Dept 1261 

19th Stwat <k Mara ha ll Bhrd, C Mw ii t VL 
Ttcmt tad Be (iridtoe* aUptiaaa and ptc|iaad) Toav 
free book on walchca with fan cxpfaintioa of yow oak oe 
$i.S$ a nooth oAtr on the Bada^stoii Watch. 



^0«« kmdred sad fottrteem} 



ssfissf^s^s* if;.:-??;": ■;;>; 



Q O LJ ^^^-^^ 






r -r: 



' i ifj^.' 






Li 


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m. 


!p^ 


1 




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V 



^asfiionab/Q ^ 

because its delightful fra- 
jrance is a mark of dis- 
tinction in fine homes. 

Send 15c to Vivaudou, Times Building, New 
York, for a sample of Lady Mary Perfume. 



us/iionaS/p 



rancQ 




I J I I ijij. I . 1 1 > I i> mi n 



FACE 

POWDER 

504 





OO A Room Full of Furniture- 



DOAVN 



Send only $1.00 and we will ship you this handsonie 6-piece library 
set. Only $1.00 down, then $2.70 a month, or only $29.90 in all. A positively 
staggering value and one of thcbiggest bargains ever offered. Look at the massive set, 
clip the coupon below and have it shipped on approval. Then see for yourself what a 
beautiful set it is. If you do not like it, return it in 30 days and we will return your money. All you 
have to do is send the coupon with $1.00. This magnificent library set is not shown in our regular catalog. 
The value is so wonderful and the demand so {jreat that there aren't enough to go around. So send today 
■ — sure. Either have library set sent for you to see, or tell us to mail the catalog. 



^Z l^-^ />^ltf^C This superb six-piece library set is made 

^^ ^ A^^ W^^^9 of selected solid oak throui^hoiil, finished in 

rich, dull uaxed, brown fumed oak. Large 
iirm roi-ktr and arm chair are 'AH inches high, seats li(xl9 inches. Seuing 
rocker and reception chair are '.i6 inches high, seats 17x17 inches. All 
four pieces are padded, seats upholstered in brown imitatioo Spanish 
leather. Library table has i?4 x ^4 inch top, nitb roomy magazine 



shelf below, and beautifully designed ends. Jardiniere stand measures 
17 inches high, with 1-2 inch top. Clip the coupon below, and send it to 
us with Sl.OO. and we will ship the entire six pieces, subject to your ap- 
proval. No C. O. D. Shipped K. U. We ship K. V. so as to save you as 
much as one-half of the freight charges. Ea^y to set up. Shipping 
weight .ibout 17,5 lbs. Money back if not pleased. Order by No. BS824A 
Send $1.00 cash with order, $2.70 monthly. Price, $29.90. No discount for cash. 



Ac tNow -While This Special Of f ei Lasts 

Diin't wait a day longer. Sit down today and send in the coupim fur this 0-piece fumed Solid Oak Library Set. For a limited time 
only are "e able to offer you this stupendous bargain. Prices, as you know, on everything are jfoin^ up. up, up. It is impossible to tell you just what 
day it will be necessary for us to increase the price of this wonderful fumed Solid Oak Library Set. So act, but act quick. Fill out the coupon 
and send it to us " ith the first small payment and we will ship you this wonderful 6-piece fumed Solid Oak Library Set Pieces not sold separately. 

Eas^T Payments 

open an account with us. We trust honest people. Xo matter «liere you live. 
Send for this wonderful bargain hlmwn ubove or choose frum our big I'stalog. 
One price to all cash or credit. No discount for cash. Not one penny c.\tr;i lor credit. Do not 
ask for a special cash price. We cannot ofTer any discouot from tlle^e sensational prices. 



Free Trial Coupon \ 

STRAUS a SCHRAM. \ 

D«pt.lSSl W( .iiihSl .Chicags 



u J3 70 mnni 
• lefaod tar I 



and •(!» frvlfhl fharfei . , 

O C-riK« lAnrr Stl. N«. BS«24A. $29.M. 



Addrrat... 



Send Coupon 

Along with $1.00 to us 

now. Have this fine hbrary 

set shipped on 30 days* trial. 

We will also send our big Bargain 

Catalog listing thousands of amaz- 

h ing bargains. Only a small first 

\ payment and balance in month- 

\ ly payments for anything you 

\ want. Send coupon today. 



30 Day's Trial 

Our guarantee protects you. If not 
perfectly satisfled. return the article 
at our expense within SO dnys and eet 
your money back — also any freipht you 
l>aul. f'oiiid any offer be fairer? 



FREE Bargain Catalog 

Send fur it. Shoves thtitisandsof bargjiins 
in furnitiite.jf Mclr,\ . carpcU. nurs. curtainc. 
silverware, stoves, porch and lawn fumHure, 
women's, men's and children's wearinp n|i- 
piircl. .Send the coupon today 



Pott OffUr _ StaU V 

If y*n OM1.V WMrt catotac P<M X In hmn b«l«w \ 

~ Ftnsttxir*. SUtc* »*i Jvwclrv % 

a NnV WoncDi asJ CkiMro'i CIvtUac C RmShi 



STRAUS & SCHRAM 



Dept. 155! , W. 35th Street, CHICAGO 



FEBRUARY 



25C 



ORIS KENYON 



"'W0'* 



M 



iways 
7rites 

/ays 



OVER scorching sands — along 
with the throat-parched trav- 
eler—the SHEAFFER Pen laughs 
at the blistering sun — and always 
writes all ways^ 

It serves in every climate — meets 
every writing need — at home — 
traveling — with your athletic rig- 
or for daily use in business. The 
SHEAFFER makes writing a joy instead 
of a job. Does not blot, leak, sweat, 
blubber or skip. 

Your SHEAFFER dealer will gladly demonstrate 
the special, patented features that tnake the 
SHEAFFER a perfect writing instrument. Sold bv 
good dealers evervwhere 

W A. SHEAFFER PEN COMPANY 

aSTSheaffer Bide.. Fort Madison. la. 

Service SUtions: New York, 440-4 Canal St.; Chieado. 

504 CoriBumers Building: KansasCity. Gateway Sta,; 



^^ 



*2.50»»^»p 

With clip -cap 
$2.75 and up. 
The pen illuetrat- 

ed IB No. 41C. 
with band and clip 
of rolled eold. 
price S6.00. Same 
pen with bandand 
clip of solid sold. 
No. 49C, price 

se,6o 



San Francisco, Monadnock Buildinii 

SHEAFFER 
Sharp- Point 
PENCIL 




>-: m 



*1.00 ""' "p 

A new ideain sim- 
plicity. Beautiful 
desifrns. The one 
illustrated is the 
I'uritan style. In 
Sterling silver. 
No. BD, Price 




m^ 







<J?«^g5i 



f- ^ 



^>? 



Was $100 

Now $57 



Only 

$3 

a Month 




u4 Fitter Typewriter 
at a Fait Price 



No money in advance. Not a cent! Simply make your 
request via the coupon below if you want this brand new 
Oliver Typewriter for five days free trial in your own home 
or office. Use this Oliver for five days as if it were your 
own. Type all your letters or any other work with it. Put 
it to every conceivable test. Compare it with any $100 type- 
writer on the market. Compare it for simplicity of construc- 
tion. For beauty of finish. For ease of operation. For 
speed. For neatness of work. Then if, after 5 days free 
trial, you do not wish to keep the typewriter for any reason 
whatsoever, simply send it back to us and you won't be 



out one cent for the free trial. If, on the other hand, you 
decide that it is the finest typewriter, and you wish to keep 
it, then pay us at the easy rate of only $3 a month. This is 
the open, free trial offer we make to you on the Oliver to 
let you see for yourself that if any typewriter is worth $100 
it is this splendid, speedy Oliver No. 9, cur latest model and 
the finest we ever built. Who could make such an offer of 
free trial and ship without money unless they had absolute 
confidence in the quality of their product proved by years of 
experience? 



Save $43 



For $57 you can now obtain the identical 
Oliver Typewriter formerly priced at $100. 
We are able to save you nearly half because 
of our radically new and economical method 
of distribution. During the war we learned 
many lessons. We found that it was unneces- 
sary to have such a vast number of traveling 
salesmen and so many expensive branch houses 
throughout the country. We were able to 
discontinue many other superfluous sales 
methods, The result is that we can afford to 
sell at $57 the very same Oliver formerly 
priced at $100. 



Mail the Coupon Now ? 

We can make immediate delivery if you act 
at once. Remember you need not send any 
money with the coupon. Check the coupon to 
get the Oliver for five days free trial in your 
own home. If you decide to keep the type- 
writer you can pay for it on terms so easy 
that you won't miss the money — only $3 a 
month. If you prefer to have further in- 
formation before ordering, fill in the coupon 
for our free catalog. By the coupon you may 
order the Oliver or the catalog just as yo\i 
wish. Clip the coupon now and mail at unc. 



IHillli llllliil JIHIIIIIII IIHIIIII 



lllllli! 



nilil 



Canadian Price $72 



THE OUVER TYPEWIUTKk COilTANY 

14J2 Oliver Tjpc-wrlter Bltlg.. Clilcago, lU. 

□ Ship mt' a new Oliver Nino for Ave day* frt* Inspection. If 
1 keep it, I will pay $57 at tht- ratt uf %'i per moulFi. 
Tlu' lllii' to nuiain In you until fully jnud lur. 



My sliliiplng point la ..,.,. 

riiis docs not place ni<' under anj tililisution lo buy. IT I choose 
lu return the Oliver. I will &hlp it bock at your expense at tbe 
iiul of Ave days. 

□ Do not send a mnrhine unttt I order it. Mail mo your 
Iwok— 'Tlie HlKli i;o3t of Typcwr I tors—The Reason and IIk- 
luiuMly." your de luxt> cutalug and funlicr lufonuatlon. 



The Oliver Typewriter Company, 1452 Oliver Typewriter Bldg., Chicago, III. 
Famous Users of the Oliver 



Among the 700,000 I'urckasers of lite OHvrr 01 e such dislinguishcd concerns as: 
Columbia Graphoohone Co. Boston Elevated Railways New York Edison Co, 

Baldwin Locomotive Works Hart, Schaffner & Marx 

National City Bank ot N. Y. U. S. Sl"l Corporation 

lllllllilllililllliillllilliiilllllllllilllllllliililllliilillliiii 



Stre«t Add reu 



American Bridge Co. 
Diamond Match Co. 121 oia 



■■III 

(Three) 



[j^ Occupation or Buslnou. . 



T 

i 

u. 
\m 






m 



Wm 



T 

R 



i 






In Ime ror 
some/Amgr ^ooa 

THE big thing that Paramount Pictures have done for you is to; 
take the gamble out of choosing motion picture entertainment. 
Time was when you took a chance every time you paid your 
money — every fan remembers it. And even now it isn't everybody who 
knows how to avoid taking chances. 

Pleasure-time is not so plentiful that it can be wasted anyhow. 
But note this: Wherever you see the name Paramount you can 
bank on a good show. 

It is not a question of taking anybody's word, it's simply a question 
of reading the announcements of the better theatres everywhere, checkmg 
up the brand names of the pictures, and choosing the Paramount Art- 
craft features. Paramount Comedies and Paramount short subjects. 
Go by the name and you're in line for something good. 

Cparamount 

^ g>ldtures 

^•MJfe FAMOUS WAYERS^IJgCTCORPORALnON fflil 




Latest Paramount Artcraft Pictures 

Released to February Int 

BiUie Burke in "Wanted a Husband'' 
Irene Castle i>i "The Invisible Bond' 
Marguerite Clark in 

"A Girl. Named Mary 
Ethel Clayton in „ 

"The Thirteenth Commandment 
"The Cinema Murder" 

A Cosmopolitan Production 
Cecil B. dcMille's Production 

"Male and Female' 
"Everywoman" With All Star Cast 
Elsie Fereruson in "Counterfeit" 

George Fitzmaurice Production 

"On With the Dance" 
Dorothy Gish in ^ 

"Marv Ellen Comes to Town" 
D. W. Griffith Production 

"Scarlet Days" 
Wm. S. Hart m ^ "^''^K', 

Houdini in "The Grim Game 

"Huckleberry Finn" With a Star Cast 
Vivian Martm in 

"His Official Fiancee" 
Wallace Reid in 

"Hawthorne of the U. S. A. 

"The Teeth of the Ticer" 

With David Powell 
Maurice Tourneur's Production 

"Victory 
George Loane Tucker's Production 

"The Miracle Man 
Robert Warwick in 

"The Tree of Knowledge 
Bryant Washburn in 

"Too Much Johnson 

Thomaa H. Ince Prodactionm 

Enid Bennett in 

"The Woman in the Suitcase 
Dorothy Dalton in 

"His Wife's Friend" 
Ince Supervised Special 

"Behind the Door 
Ince Supervised Special 

"Dangerous Hours 
DouElas MacLean & Doris May in 

"What's Your Husband Doing? 
Charles Ray in "Red Hot Dollars" 

Paramount Comeditt 
Paramount-Arbuckle Comedies 

One every other month 
Paramount-Mack Sennett Comedies 

Two each month 
Paramount-Al. St. John Comedies 

One each month 

Paramount Short Subjecta 

Paramount Magazine issued weekly 

Paramount-Burton Holmes Travel 

Pictures one each week 



Vol. IX 



FEBRUARY, 1920 



No. 6 






18 



THE GIRL ON THE COVER 

(Painted by Leo Sielke, Jr., from a photograph by Ned 
Van Buren.) 

Just now Doris Kenyon is dividing her time between the 
foothghts and the film studios. She is playing on Broadway 
in the highly successful farce, "The Girl in the Limousine." 
A native of Bridgeport, Conn., Miss Kenyon has lived in 
Brooklyn and Syracuse. She is a graduate of Packer 
Institute, Brooklyn, and of Columbia Universit}'. 

Miss Kenyon went on the stage in "Princess Pat" and was quickly 
discovered by the cinema, doing her first important role with Alice Brady in 
World's "The Rack." She has forged rapidly to the front and is now one 
screenland's favorites. 

Photogravure Gallery of Players. Full page studies of Pace 

Corinne Griffith, Wanda Hawley, Helene Chr.dwick, 

Gladys George and Helen Broneau 11-15 

The Silken Gloria. A picturesque chat with the lu.xuri- 

ous Miss Swanson Frederick James Smith lf> 

Lewis Cody, H. V. The male vampire of the screen tells 

his philosophy of life Elizabeth Peltret 

Betty Blythe: The Peacock Princess. A picturesque in- 
terview with a picturesque player Maude S. Cheatham 

Moore o' County Meade. A humorous visit to Tom of 

the illustrious Moore family Harriette Underbill 

The Boy Who Capitalized His Freckles. Otherwise 

Wesley Barry, youngest star of the films Mary Keene 

The Orchid Blooms. Naomi Childers, goddess of the 

photoplay, speaks of the old days Truman B. Handy 

The Varied LioneL The Barrymore of "The Copper- 
head" and "The Jest" 

She Loves and Lies. Short story based upon Norma 

Talmadge's latest photoplay Dorothy Doimell 

Idealist and Artist. Maurice Tourneur talks of the photo- 
play and its ideals Maude S. Cheatham 

The Kodak Girl. Edith Johnston is now one of the 

favorites of the screen serial Fritzi Remont ofi 

Understudying Mary. How a young woman was dis- 
covered who looked exactly like "Little Mary" Charles G. Rich Si 

The Broken Melody. Eugene O'Brien's latest film 

vehicle told in interesting fiction form Olive Carew 

Theodore Roberts. The silversheet's vividest character 

actor and his pets Einina-Liitdsay Squicr 

Among the Footlight Favorites. Glimpses of the new 

stage plays and pla\'ers 4^i 

The Celluloid Critic. The newest photoplays in review. . Frederick James Smith 48 

The Daring O'Dare 50 

On With the Dance. Short story based upon Mae Mur- 
ray's new photoplay Faith Service 51 

Jack's Leading Woman 56 

Look for the Last Minute Features in the Advertising Section. 

Subscription. $2.50 a year, in advance, including postage in the U. S., Cuba, Mexico, and 
Philippines: in Canada, $3.00 a year; in foreign countries, $3.50. Single copies, 25 cents, postage 
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any change 
of address, giving both old and new address. 

Entered at the Brooklyn, N. Y., Post Office as Second-class Matter, 
Copyright. 1919, by the M, P. Publishing Co.. in the United States and Great Britain, a New York 
corporation, with its principal offices at Bayshore. N. Y. Eugene V. Brewster, President: J. Stuart 
Blackton. Vice-President; Guy L. Harrington, Vice-President; E. M. Heinemann, Secretary ; Eleanor 
V. V. Brewster, Treasurer. 

.STAFF FOR THE CLASSIC: 

Eugene V. Brewster. Editor 

Frederick James Smith, Managing Bditor 

Dorothy Donnell, Robert J. Shores, Fritzi Remont Associate Editors 

Guy L. Harrington Business Manager 

Duncan A. Dobie, Jr Director of Advertising 

Ruf us French, Inc Eastern Manager 

Archer A. King. Inc Western Manager 



2» 



29 



34 



39 



44 





A Wife Too Many 

Into the hotel lobby walked a beautiful 
woman and a distinguished man. Little in- 
deed did the gay and gallant crowd know 
that around these heads there flew stories of 
terror — -of murder — -and treason — that on 
their entrance half a dozen detectives sprang 
up from different parts of the place. 

Because of them the lights of the War De- 
partment in Washington blazed far into the 
night. About their fate was wound the 
tragedy of a broken marriage, of a fortune 
lost, of a nation betrayed. 

It is a wonderful story with the kind of 
mystery that you will sit up nights trying to 
fathom. It is just one of the stories fash- 
ioned by that master of mystery 

CRAIG KENmPY 

•meAmericanSherhckHolmes- 

^ , ARTHURRREi 

ai» American ConanDoyle m^ 

He is the detective genius of our age. He 
has taken science — science that stands for 
this age — and allied it to the mystery and 
romance of detective fiction. Even 
to the smallest detail, every bit 
of the plot is worked out scien- 
tifically. 

Such plots — such suspense — 
with real, vivid people moving 
through the maelstrom of life! 
Frenchmen have mastered the 
art of terror stories. English 
■writers have thrilled whole na- 
tions by their artful heroes. But 
— all these seem old-fashioned — 
out of date — beside the infinite 
variety — the weird excitement of 
Arthur B. Reeve's tales. 



:zjm 



FREE 



POE 
10 Volumes 



To those who send the coupon prompt- 
ly, we will give FREE a set of Edgar 
Allan Poc's masterpieces in 10 volumes. 

When the police of New York failed 
I to solve one of the most fearful murder 
mysteries of the time. Edsar Allan Poe — 
far off there in Paris — found the solu- 
tion. The story is in these volumes. 

This is a wonderful combination. Here 
are two of the greatest writers of mys- 
tery and scientific detective stories. You 
can get the Reeve at a remarkably low 
price and the Poe FREE. 

HAR.PER. & BROTHERS 

Established 1817 



This magazine, published monthly, comes out on the ISth. Its elder sister, the Motion Picture Magazine, 
conies out on the first of every month. Shadowxand appears on the 23rd of each month. 

(Five) 



M.P.a-2-20 

Harper & Brothers, 8 Franklin Square, New York City. 

Send me. aJl charges prepaid, set of Arthur B. Beeve — In 12 
Tolumw, Also send rat', at:eolutely true, tin- set of Edgar Allan 
Poe — In 10 volumes. If both sets are not saliafactory I will return 
them within 5 days at your eipense. Otherwise I will send you 
SI wltbUi 5 days and S2 a month for 14 months. 

Name 

Addreea 

OocJupaUon 



txamiii^ jor /Tutliorsliip 

~ HoWtoWrite.-WhflJto Write, 

and Where to sell. 

CulWole yoiir mini DeVelop 
I yourli^erarygifVs. Master Ihc 
ori of s*?lf-eSpression.Make 
1 your spore time profitable. 
Turn your ideas into dollars. 
Courses in Short-Story Writ- 
ing, Versification, Journalism, 
Play Writing, Photoplay 
— Writing, etc, taught person- 

Df. EsenWein 'ally by Dr. J. Berg Esenwein, 
for many years editor of Lippincotfs Magazme, and 
a staff of literary experts. Constructive criticism. 
Frank, honest, helpful Bdvice. Keal teac/i/ng. 

On. poo/l ftoJ rtolvid oVer tS.OOOfor Mrleamd "',',''" 
nrryil.n moslls In 5j>or. irm«-"i.Mj bJorfc />• 'O'""- 
Another pmH rictlved oD.i- SI.OOO brfcrr compltling 
h",/lr,l °o«r«. Anolher. o bcs. Wife oni njo.ft.r. Ii 
aVratlnS over S7S a week from pftotoplas wrlllnt alone. 

There Is no other institiition or agency doing so much for 
writers young or old. The universities recognize this, foe over 
one hundred members of the English faculties of higher institu- 
tions ere studying in our Literary Department. The editors 
recognire it, for they ore constantly recoramendmg our courses.^ 



Stage Plays That Are Worth While 

(Readers in distatit towns will do well to preserve this list for referetice when these 
spoken plays appear in their vicinity.) 






kr»iy, 1) nSaam ; OmacrtpHy 



.lfr«. W..l»p' 



i SO'p aigo Ulustraled catslogue free. 

Tfie Bbitte Cofirespondcnce School , 

Dept. 112, Springfield, Mass. 

■ ST.su5-to iB^r ' i,<coiiPOu«Ti;o 1904 



OEE^ 



Write the Words 
For a Song 

Write the words for a song. We revise 
song-poems, compose music for them, and 
guarantee to secure publication on a 
rovalty basis by a New York music pub- 
lisher. Our Lyric Editor and Chief Com- 
poser is a song-writer of national reputa- 
tion and has written many big song-hits. 
Mail your song-poem on love, peace, vic- 
tory or any other subject to us today. 
Poems submitted are examined free. 
BROADWAY COMPOSING STUDIOS 

lOT-E FilxgemlJ BIJs., Bro.Jway at Time. Equjrc, NEW YORK 



*50 ^° n50 ^r^nSI^F^SI^ 

IT..1.M Arccnune. ■''"' E.^-ollal-Stod Im Sp,:rl.l Free Oiler 

NEW YORK LITERARY BUREAU 

p , B 145 West 361h St., Haw York City 




SELECT your own - 
subject — love, patriotism \ 
— write what the heart dictates, 
then submit your poem to us. 
We write the music and guarantee publish- 
er's acceptance. Our leading composer 19 

Mr. Leo Friedman 

one of America's well-known musicians, the author 
of many song successes, such as Meet Mc Tonight 
in Dreamland," "Let Me Call You Sweetheart. 
"When I Dremn of Old Erm." and others the sales 
of whirh ran info milliona of cnpiefl. Send na many poema 
n,. v,.u wish. Don't OoMv. Cot Duay-Oufck. 

CHESTER MUSIC C0."° 'Dri!^''3?o" "• ' Cliic.go. III. 



istor.—FAy Bainter in "East Is West. 
The story of a quaint little Chinese maid who 
falls in love with a young American. Racial 
barriers seem insurmountable, hut there is a 
happy and surprising ending. Has all the in- 
gredients of popular drama. Miss Baintcr is 
picturesquely pleasing. „ , . , j 

Casino —"The Little Whopper." Lively and 
amusing musical comedy with tuneful score by 
Rudolf Friml. Vivienne Segal pleasantly heads 
the cast, which also numbers Harry C. Browne, 
who docs excellent work, Mildred Richardson 
and W. J. Ferguson , „ ,. , , , „„ 

Cor/.— "Abraham Lincoln." \ou should see 
this if vou see nothing else on the New \ork 
■■tage. John Drinkwater's play is a noteworthy 
literary and dramatic achievement, for he 
makes the Great American live again. Abra- 
ham Lincoln" cannot fail to make you a better 
\mcrican. Moreover, it is absorbing as a play. 
Frank McGlyn, a discovery, is a brilliant 

Lincoln. ^ . , „ ,,. , , 

Coim'rfv. — "My Lady Friends. Highly 
amusing entertainment, adapted from a Conti- 
nental farce. Much of the humor is due to 
the able work of Clifton Crawford in the role 
of a guileless young publisher of Bibles whose 
efforts to spend money get him into all sorts 
of difficulties. June Walker scores in Mr. 
Crawford's support. „,,.,, , , , 
Ci'»/i(r.v— ".^phrodlte." Highly colored and 
lavish presentation of a drama based upon 
Pierre Louys' e.xotic novel of ancient Alexan- 
dria. Superbly staged adaptation oi the play 
that caused a sensation in Pans. Dorothy 
Dalton the screen star, returns to the stage m 
the principal role of the Galilean courtesan, 
Chrysis, and scores. McKay Morris is ad- 
mirable in the principal male role. The ballet 
directed by Michel Fokine, is spirited and 
colorful. , _, ^ , -. , ,„ 

Cohan and Harris.— "The Royal Vagabond. 
A Cohanized opera comique in every sense ot 
the words. A tuneful operetta plus Cohan 
speed pep and brash American humor Also 
tinkling music. And a corking cast, with Grace 
Fisher, Tessa Kosta, John Goldsworthy and 
Frederick Santley. „ ., „ . 

Central.— "The Little Blue Devil. .\ mu- 
sical entertainment built about the lale Clyde 
Fitch's "The Blue Mouse." Tuneful music by 
Harold Atteridge and Harry Carroll. Lilhan 
Lorraine is the "blue devil" and Bernard Gran- 
ville is co-featured. , , . ... a 
Eltingc— "The Girl in the Limousine A 
decidedly daring boudoir farce, by Wilson 
Collison and Avery Hopuood, in which a pink 
and white bed is invaded by every member ot 
the cast during the progress of the evening. 
John Cumberland is very funny and Uoris 
Kenyon, fresh from the screen, is both pretty 
and pleasing as the heroine. . „ 
Forly-fourth Street Theater.- Carnival. 
A British-made romantic drama of Venice at 
carnival time marking the first appearance of 
the English favorite, Godfrey Tearle. iVlr. 
Tearlc seems an actor of unusual attainments, 
but the drama is dreary, out-of-date stuH.^ 

George M. Co/u7H'.r.-Elsie Jams and her 
eang" Lively entertainment built about the 
experiences of the A, E. F. on the other side. 
Well put together by Miss Jams, who shines 
with decided brightness. A pleasant entertain- 

'"c/obi-.— "Apple Blossoms." The ambitious 
and much heralded operetta of Fritz Kreisler 
and Victor Jacobi plus colorful Joseph Urban 
settings. An offering far above the miisical 
average. John Charles Thomas sings admir- 
ably Wilda Bennett is an attractive heroine 
and 'Florence Shirley lends a piquant person- 
ality to the proceedings. . . . . ^ ,„j 

/ianu. -"Wedding Bells." A bnght and 
highly amusing comedy by Salisbury hield. 
Admirably written and charmingly played by 
Margaret Lawrence and Wallace Eddinger. 
One of the things you should see. 

Hi/./'orfromc'.— "Happy Days. Big and spec- 
tacular production typical of the Hippodrome. 
The diving girls are again a feature, disporting 
in the huge "Hip" tank. . t- , . . ., 

//udioii.- "Clarence," Booth Tarkington f 



delightful comedy, built about the way a re- 
turned soldier rc-united a disturbed but typi- 
cally American household. Superb perform- 
ances by .Alfred Lunt. Glenn Hunter and Helen 
Hayes give the comedy a fine verve. 

LvriV.— "The Rose of China." A pleasant 
musical comedy, in a way a sort of Chinese 
"Madam Butterfly." Clever lyrics, striking Ur- 
ban settings and a fairly adequate cast. Rather 
tuneful. 

Maxine Elliott's.— "The Unknown Woman. 
.\ very emotional melodrama with Marjoric 
Rambeau in Bendel gowns and tears. ^ Jean 
Robertson contributes a vivid bit as a "dope." 
il/orojco.— "Civilian Clothes." A delightful 
comedy to please everybody. Brand new idea 
and cfeverlv worked out. Thurston Hall in 
the title rofe shares the honors with beautiful 
Olive Tell. Support excellent. 

/'/y?iuJM//i.— "The Jest." Arthur Hopkins 
production of Sem Benelli's colorful and grip- 
ping Florentine drama. John Barrymore is 
again seen in his original role. An admirable 
cast and Robert Edmund Jones' settings lend 
splendid aid. 

/V,ik-.-jj.— "Nightie Night." Described by 
the program as a "wide awake farce," "Nightie 
Night" lives up to its billing. It has plenty of 
verve, ginger and some dancing. There are 
scores of laughs. Heading the very adequate 
cast are Francis Byrne, Suzanne WiUa, Mal- 
colm Duncan and Dorothy Mortimer. 

.Shubert.—"The Magic Melody." JK "roman- 
tic musical play" with a tuneful score and a 
picturesque Willy Pogany setting. Charles 
Purcell Fay Marbe, Julia Deane, Earl Ben- 
ham and Carmel Myers, the last two well 
known to the screen, head the cast _^ 

Thirty-ninth Street Theater.— 'Scandal, 
Cosmo 'Hamilton's daring drama which Con- 
stance Talmadge played on the screen. Fran- 
cine Larrimore and Charles Cherry have the 
leading roles in the excellent foothght produc- 
tion. „ . t-, c 

IVititer Carden.^"The Passing Show of 
1919." A typical girly garden show in which 
the famous runway gets plenty of use. The 
revue presents a number of travesties upon 
current attractions, particularly colorful being 
that of "The Jest," with George Winninger 
doing a clever burlesque of Lionel Barrymore. 



ON TOUR 



Shubert. E. H. Sothern and Julia Marlowe 
in Shakespearean repertoire. These artists 
represent the best traditions of our theater and 
their revivals of "Twelfth Night," "Hamlet, 
and "The Taming of the Shrew" are distin- 
guished in every sense of the word. 

"Palinv Da\s." A picturesque drama by 
Aneustus Thomas in which Wilton Lackaye 
doc"s the finest work of his career since Jim 
the Penman." . 

"Sce-Saw" A pleasant musical entertain- 
ment The delightful Elizabeth Hines stands 
out and Dorothy Mackaye is pleasantly cast 

"MoonVujht and Honeysuckle." Riith Chat- 
terton in a charming comedy that might have 
been a big hit had the playwright taken full 
advantage of some splendid situations in the 
last act. As it is it starts like a hare and ends 
like a tortoise. . „ . , r- 

"An Exchange of Wives." Another Cosmo 
Hamilton comedy which, however never at- 
tains the spontaneitv or piquancy of Scandal. 
The chief blush producer is a scene on a sleep- 

™^'ShrWoiild and She Did." Grace George 
in a light (very light) comedy founded on a 
little hole in the golf links which Grace angrily 
made, resulting in her suspension from /"« 
club for two months. Society and golt tolK 
will probably find this an entertaining little 

'' "r/it- Better 'Ole." The Coburn production 
of the musical comedy based upon Bruce 
Bairnsfatlier's new imTiortal cartoon creation. 
Old Bill. Mr. Coburn's characterization ot Bill 
is still as remarkable as ever. 

"A Loiielv Romeo." with Lew Fields. A 
(Continued on page 8) 

(Six) 



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FREE TO WRITERS— A '"""Jerfdl »."]» """"r "^ 

STORIES POEMS, PLAVS. ETC., are wanted tor 
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SONG POEMS 



nr. vnil WANT YOt'R SONG POEMS ACCEPTED? 

"T^"L7trei^5L'?iU^.'"s„°n%-wSi';;f!,o'o\fe"t'>^'; 
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voir WRITE WORDS FOB A SONG— We write the 
mu"c putlirh, and secure a copyright. Submit poems 
rk'ny"^ subject. The M<!'™P°''»J,",ag"<"i'^f' "* ^• 
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■«.B1TP THK WORDS FOR A SONG. We revise poems. 
WRlTb '",';. ",""Yhem and guarantee to secure pub- 
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Michigan Ave.. 

(Seven) 



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The MerropiUtan Studi:.5, 914 So. 
Dept. m. Chicago. III. 



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fSpo^lltan Itulios. 914 South Michigan Ave.. Dept. 14., 
Chicago. Illinois^ 

nulTF THE WORDS FOR A SONG. We revise poeins. 
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rr''aSle^"c7SoLrJ£a|ong w Iter of nat^^ 

'p^o^s rn'^an'"y"\u"b7e'cr S-r^dw^i^y^ Itud^ios. ICS Fit.- 
geralC B ldg.. New \ork. 

EES:'iSrii^d^?"New=^ork.-'-"- 



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mother, home, childhood, 
compose music and guar 



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269 Reaper Block. Chioaeo- 



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New York City. 



ISmrLastQiance 

ToGet 

Jack London Free 



Finish 

These Stories 
For Yourself 




Judge 




When ,\iiu sent me up for 
four year-", you called me a 
rattleSQake. Maybe I am one 
— anyhow you hear me rattling 
now. One year after I got to 
tbe pen, my daughter died 
erf — well, they said it was 
poferty and the disgrace to- 
Cetlicr. You've got a daugh- 
ter. Judge, and I am going to 
make you know how it feels to 
lose one. I'm free now, and 
I guess I've turned to rattle- 
snake all right. Look out 
when I strike. Yours respect- 
fully. RatllBSnake. 

This ia the beginning of one 
«f Uie storlea by O. HENRY. 




"A Thief— She?" 

AND YET— with a shiver she 
told him oU the sordid story I 
Tbe stage life — the nights of 
drunkenness — the days of re- 
morse for her sin — all was 
poured out In the desperate 
t«lo. Bui be loved her in spite 
of all, and— then came the 
astounding truth— tbe unex- 
pected twist— that makes O. 
Henry the most eagerly read 
of American story-tellers. 




He Dared More Than 
All His Heroes 

Two hundred miles out on 
the Padfle with a boat leak- 
ing at every seam, with every 
memt>er aboard seasick from 
tbe endless tosalng — wilh 
bands blistered from the 
ropvs — there and then. Jack 
London learned naTigstlon. 

Be buUt blmselt a cockle- 
ahrtl. and In it, with his 
wife, sailed nearly around the 
world. Go with him to the 
freeslng North. Follow him 
to tbe South St'as. Fight 
jour way with him around 
th ■ Horn. He waa more real. 
Dion primitive, than an; of 
bU heroes. Along the Ice- 
bound Yukon be had tri-kked 
witb decs and alelgha and 
bunf«r — on the coral Smith 
Be* Inland* be bad battled 
wltb typhoons and man-oatlng 
cannibals. 

READ THE STORY OF 
THAT WONDEUFin, .lOITTt- 
KEY. as bo lells U hkaaelf. 



Illi 



THE sets of Jack London which have been given 
FREE with O. Henry are handsome sets of 
books and we cannot afford to continue to give 
such books away. 

We have the choice of discontinuing the offer or 
giving you flimsier books. We prefer to stop the 
offer. 

Before doing so we wish to make this one an- 
nouncement. As long as the present edition lasts 
you can get the O. Henry at its regular price and 
the Jack London FREE. This, however, is your 
last chance. Send the coupon without money at 
once and get your O. Henry for examination and 
lack London FREE. 



O. Henry 

O. Henry has made another record. More vol- 
umes of his works have been sold than any other 
short stories in the history of the world. Lip to the 
day this page goes to press 3,784,000 volumes have 
been sold — in England and Australia, France and 
Germany — throughout the world — over two million 
in the United States alone. So many editions have 
been printed that the old plates were entirely worn 
out and we had to make brand new plates for this 
edition. So you will get the very best impression 
from these new plates — the clearest, cleanest print 
you have ever seen. 

Your Last Chance 

This is the last edition of Jack London's works 
we can get at the special price which permits of our 
giving them free with O. Henry. When this one 
edition is gone (and there are only a few hundred 
sets now left) you will be able to get Jack London's 
wonderful stories only at their regular price of $1.00 
or more a volume. 

Now, while you can, get the O. Henry at the low ^*""""~" 
price with the Jack London /ree. Dont be left * "j^io' 
out of a thing as tremendous as this. Dont f* review 
let this chance go and later pay a big price. * of reviews 

^ 30 Irvlnff PI., 

Send the Coupon Now / sr^TmJ"'!, "^ 

* / proval, charges paid 

— eet lack Liiiidon free — and join :he / by yMi, q. Henry's 

Ml- ■ L u . J I I J # works In 12 Tolumefl, 

millions who nave wepl and laughed ^ gold tops. Also the 5- 
and felt better for the reading of / ,™S!„ S..h°'wi.'ir'g'SS 
O. Henrys warm, landlj', joyous, # lopg. if i keep th^ booka. 

tntrir Kite t\f hfe. 9 I ^^^ ''emit $1.50 In 5 

tragic DltS 01 Ute. f j„s aod then S2 a month 

Remember that the end of t for lo months for the o. Hemr 

.1... ....U ;.. «* l...«.l A A^,. t "Wt only and retain the Lon- 

the sale is at hand. A day t don act mtnoul charge, other- 
lost will cost you money. / wise I win. within ten day., re- 
.' ^ t turn both seta al your expense. 

* 

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— today-at once / ^<,^„„ 

Review of / Occupation 

■p ■ c # Thii beautiful hair-leather style binding or 

reviews ^O., ^ o. Henry coets only a few cents more a 

30 Irving PI ^ volume and has prove*! a favorite. For this 

»T -v 1 ' * luxurious binding change above to $1.00 In 

Wew X Orit. # five days and then $3.00 a month for 9 montha 



MOTION PICTURE CLASSIC 

Stage Plays That Are Worth While 

(Continued from page 6) 

light show running in the usual groove. Fran- 
ces Cameron, who is developing remarkably, 
is the bright figure of ".A. Lonely Romeo," 
while Mr. Fields is his humorous self. There's 
a decidedly funny scene in a men's hat shop. 
"Cliil Chin Chow." An opulent and beauti- 
ful musical extravaganza based upon the 
.\rabian Nights tale of Ali Baba and the Forty 
Thieves. Dazzling series of sensuous stage 
pictures. "Chu Chu Chow" is presented this 
year with an entirely new edition and new cos- 
tumes. Marjorie Wood makes a colorful 
desert woman, Lionel Braham is very effective 
as the robber sheik and Eugene Cowles makes 
the role of steward stand out. George Rosely 
plays the young lover admirably. 

"La La Lucille." Musical comedy built 
around the efforts of a loving couple to arrange 
a divorce in order to live up to the terms of a 
millionaire aunt's will. A co-respondent is en- 
gaged and troubles begin. John E. Hazzard 
and Janet Velie play the wx)uld-be divorcees, 
while Marjorie Bentley and Helen Clark give 
able assistance. Light summer entertainment. 
The Shubert Gaieties of igig. A lively revue 
with scores of statuesque girls and stunning 
frocks. A decidedly attractive entertainment. 
"John Ferguson." A straight drama that 
compares favorably with anything of the kind 
that New York has seen for years. Beautifully 
staged and acted. Masterpieces of this kind 
should be liberally patronized to encourage 
others. 

George White's "Scandals of 1919." All 
sorts and variations of dancing make up for 
a lack of story or humor. The real star is 
piquant little Ann Pennington — as seductive a 
little jazzer as ever shimmied on Broadway. 
Then there's the lively dancing of Mr. White 
himself. 

"Friendly Enemies." This is the record- 
breaking comedy drama of last season, with 
Louis Mann in his original role. 

"Three Wise Fools." Austin Strong's hu- 
man little drama of three crusty old bachelors 
who are bequeathed a young woman and who 
are subsequently rejuvenated. Melodrama 
with a heart throb. Helen Menken gives a 
striking performance of the nerve-racked hero- 
ine, while Claude Gillingwater is a delightfully 
testy old Teddy Findley. 

"She's a Good Fellow." A light but pleasant 
musical comedy built about the efforts of old 
folks to break up a marriage between a loving 
young couple. Joseph Santley is a likeable 
lover-husband, masquerading in skirts for a 
whole act. Ivy Sawyer, the very pleasing Ann 
Orr and Scott Welsh lend delightful assist- 
ance. 

"jp East." A charming comedy founded on 
a boarding school romance in which many in- 
teresting characters make love-making difficult 
for a pair of j-oung lovers. 

"Up in Mabel's Room." Piquant, daring but 
decidedly amusing farce built about the pursuit 
of a dainty pink undergarment which bears the 
same name as a recent jazz dance. Admirable 
cast, including the radiant Hazel Dawn. 

"Three Faces East." .Another Secret Ser- 
vice-German spy drama, this one by Anthony 
Paul Kelly, one of our most successful photo- 
playwrights. The principal* charm of this play 
is in trying to guess who are the German spies 
and who are the Allies, just as we were puzzled 
in "Cheating Cheaters" to know who were 
burglars and who were not. 

LEADING PICTURE THEATERS. 

Loeiv's N. V. and Loew's American Roof. — 
Photoplays: first runs. Daily program, 

Loeii/s Metropolitan, Brooklyn. — Feature 
photoplays and vaudeville. 

Capitol. — Photoplay features plus a de luxe 
revue. Superb theater. 

Rivoli. — De luxe photoplays with full sym- 
phony orchestra. Weeklj^ program. 

Rialto. — Photoplays supreme. Program 
changes every week. 

Strand. — Select first-run photoplays. Pro- 
gram changes every week. 

(Eight) 







X^^-^gTviiiini 



GOLDWYN PICTV] 




CORPORATION 

SAMVEL GOLDWYN President 




(Nine) 



AT NIGHT- 

a thorough bath 
for your Face- 



If yoii want a skin that 

is clear, brilliant with 

color — let it breathe at night 




TINYinvisibledustparticles 
— always, always falling 
on your unprotected face ! 

In crowds — in shops — in theatres 
— all day long, while you are 
going unconsciously about your 
occupations — the delicate skin of 
your face is exposed to millions of 
unseen enemies. 

That is why a thorough bath 
for your skin at night is so 
important. 

During your eight hours of 
sleep the skin of your face should 
be allowed to rest — to breathe. 
The delicate pores should be 
freed from the dust and dirt that 
have accumulated during the day. 

For remember — authorities on the 
skin now agree that most of the com- 
moner skin troubles come, not from 
the blood — but from bacteria and 
parasites that are carried into the pores 
from outside, through dust and small 
particles in the air. 

If, from neglect or the wrong meth- 
od of cleansing, your skin has lost the 
flawless clearness it should have — if 
it is marred by blackheads — by dis- 
figuring little blemishes — begin tonight 
to change this condition. You can 
make your skin just what it should 
be. For every day it is changing — 
old skin dies and new skin takes its 
place. By giving the new ikin, as it 
forms, the special treatment its need 



demands, you can make it as soft, 
as clear and smooth as you would 
like to have it. 

The famous treatment for 
blackheads 

Perhaps, in your case, failure to use 
the right method of cleansing for your 
type of skin has resulted in disfigur- 
ing little blackheads. This condition 
can be overcome — and your skin can 
be smooth and clear in fiiture. 

To keep your skin free from this 
trouble, try using every night this fa- 
mous treatment: 

Apply hot cloths to the face until 
the skin is reddened. Then with a 
rough washcloth, work up a heavy 
lather of Woodbury's Facial Soap and 
rub it into the pores thoroughly, al- 
ways with an upward and outward 
motion. Rinse with clear, hot water, 
then with cold — the colder the better. 
If possible, rub your face for thirty 
seconds with a piece of ice. Dry care- 
fully. To remove the blackheads al- 
ready formed, substitute a flesh brush 
for the washcloth in the treatment 
above. Then protect the fingers with 
a handkerchief and press out the black- 
heads. 

Use this treatment regularly, and 
you will begin in a few days to notice 
the greater clearness and attractiveness 
it gives to your skin. 

The famous Woodbury treatments 
for each different skin need — for an 
oily skin, for blemishes, for conspicu- 
ous nose pores, etc. — are contained 
in the little booklet that is wrapped 



around every cake of Woodbury's 
Facial Soap. 

Find the treatment that your par- 
ticular type of skin demands — men 
use it regularly each night before re- 
tiring. You will be surprised to see 
how quickly your skin will gain in 
attractiveness — how smooth, clear and 
colorfiJ you can keep it by this care. 

Woodbury's Facial Soap is on sale 
at any drug store or toilet goods 
counter in the United States or 
Canada. Get a cake today — begin 
using it tonight. A 25 cent cake lasts 
a month or six weeks. 

We shall be glad to send you a 
trial size cake 

For 6 cents we will send you a trial 
size cake of Woodbury's Facial Soap 
(enough for a week or ten davs of any 
Woodbury facial treatment), together 
with the booklet of treatments, "A 
Skin You Love To Touch." Or for 
15 cents we will send you the treat- 
ment booklet and samples of Wood- 
bury's Facial Soap, Facial Powder, 
Facial Cream and Cold Cream. Ad- 
dress The Andrew Jergens Co., 902 
Spring Grove Ave., Cincinnati, Ohio. 

If you live in Canada, address The 
Andrew Jergens Co., Limited, 902 Sher- 
hrooke St., Verlh, Ontario. 



(Ten) 



»aiBS*> .-:^fe 




rh.,Mgia|.h I'l Alfri-a Chein-y Johnsiun 



CORINNE GRIFFITH 



Action PicTUf^E Glajsig 



WA^J'i- '\V-;--i%?^-P^'*'-"S'* • ' v'-'-^'^^'-tfi-'fiii^' 




Pholofir.-ii-U by Hoover Art Co.. I., A 



WANDA HAWLEY 

Winda wti looked upon at one of the screen "finds" 
of Uit year. Misi Hawley keept ateadily advancing since 
her first hit in "Old Wives for New." She is now at the 
very forefront of our younger actresses. 




HELENE CHADWICK 

Helene hails from a town be.ring her own cosnon^f"' 
Chadwick N Y.. being the youngest of » famoui family, 
the fi"s, achieved succe,« in Path* .eriat rrod„o.,nn, »nH 
is now with Goldwyn 




GLADYS GEORGE 

Miss George is one of the most popular players with the 
Universal forces and she has been doing some unusual 
work in several recent productions. 




\ 



I 



HELEN BRONEAU 
•^ • , Tiniuor-sal discovery. She seems to 

.e?;^mi^rto"he\^on;:TpTran%e "U^" powers-that-be 
expect great things of her. 




The 
Silken 
Gloria 



J 



Photograph © hy Allrea Lneney Johnston 



Gloria Swanson is twenty- 
one and, off the screen, 
looks like a younger sister 
of her celluloid self. The 
daughter of an army officer. 
Miss Swanson received her 
education everywhere — from 
Chicago to Porto Rico 



w 



i: reached Gloria Swan- 
son's hotel -exactly on 
time for our interview 
— 12 o'clock noon. 

"Gracious," sighed a lan- 
guid voice over the house 
'phone, "I'm just getting up — 
and I'm still half asleep. 
Please come back at one." 
.So we adjourned to the hotel lobby for rest— and medi- 
tation. We had expected Miss Swanson to be a luxurious 
young lady, but . . . 

.\t one we called her on the 'phone again. "My, my!" 
sighed Miss Swanson, "I'll be right down— in ten minutes." 

Hut her voice sounded just as sleepy as an hour before. 
Knowing something of the feminine conception of ten nn'niitcs. 



we went for a walk 
1 :30 we returned. 

The hotel clerk was 
quite sure Miss Swan- 
son hadn't come down 
yet. So we waited 
whiling away the time 
with observing the 
clerk's technique in hand- 
ling the tribulations o 
the hotel guests. 

At 2 o'clock we knew 
the clerk's first name 
was Al and why he' 
never went to the >Ieth 
odist church. 

At 2:15 o'clock we 
heard, for the nineteenth 
time, that there wasn't a 
room to be had in the 
hotel at any price. In 
fact, the waiting list 

.A.nd then Miss Swan- 
son appeared. 

Except for her silken 
sleekness, we would 
hardly have recognized 
her. The real Gloria 
Swanson looks like the 
younger sister of the 
celluloid Gloria. 

"So sorry," smiled 
Miss Swanson, "so-o-o 
sorry." Xot, of course, 
meaning a word of it. 

"\\ e're used to wait- 
ing for beautiful stars," 
we reparteed. "The 
more beautiful they are, 
the longer they make us 
wait. Just one player 
ever kept us waiting 
longer than this." 

"I wont have that," 
said Miss Swanson. 
"Try to interview me 
again tomorrow, and I'll 
break that record." 
taxi to the Hotel Astor for lunch, ?iliss 
femininity just emerging from slumber. 



Then we took ; 
Swanson, like all 
being "famished." 

On the way downtown we learnt these startling facts: 

That Miss Swanson works every second of her time in 
California and really doesn't luxuri.i'te at all. 

That she doesn't want to keep on doing the semi-vampire 
stuff of her past few pictures, but hopes to do character stuff 
such as her "Why Change Your Wife?" She will even don 
prim clothes and spectacles for art. 

That she worships Cecil De Mille. 

That she loves diamond and platinum bracelets. She wears 
three on her left wrist alone. 

That she never can button her gloves. (We know, because 
we did our best to assist her en route Z'ia taxi.) 

That she love* Xew \tirU hecniKe of itc thenters and gor- 



By HkHDtklCK 
JAMES SMITH 




yc"ii> |)laccs to (lance. 

'I'luii California be- 
ciinics dreadfully tire- 
siimc. 

Thai tears came lo 
her eyes — real tears — 
when she talked of El- 
liutt Dexter and tlie way 
his sndden illness had 
held hack his stellar ca- 
reer in the *^lms. 

Hut to interrupt our 
findings to turn to 
\\>eightier things : 

"Tell me I look 
\ijunger olif the screen," 
commanded Gloria. 

We saw our duty and 
(lid it. "Exactly how 
old am I ?" she insisted. 

We [)arried, realizing 
\\c were on e.xceedingly 
dangerous ground. Fi- 
nally, jiushed to the wall, 
we hazarded, "Twenty- 
two." 

"Twenty-one," said 
Miss Swanson, in tri- 
umph. "You just pro- 
1' -ted when I said I 

In't want to go on 
. Miiping or semi-vamp- 
iiiLjon the screen. W'hy ?" 

■' Because," said we, 
trying to take our edito- 
rial mind from Miss 
Swanson's eyes, "you're 
^o vmcannily seductive. 
Must vampires leave us 
cold, but ..." 

"Yes," aided Miss 
.S\\ anson. 

"You are exceedingly 

er--effective." 

.\t that psychological 
iiiument we arrived in 
front of the .\stor. 

We sighed with relief 

Once inside, Miss Suanson attacked a healthy-sized 

luncheon with fervor. .\ waiter attempted to remove the 

ctress' orange-juice before she had finished — and she well 

igh withered him. Right then and there we decided that Miss 

■wanson might easily speak out her mind. In fact, she did. 

Between orange-iuice and soup and chops. Miss Swanson 
■told us more of herself. The daughter of an anny officer, she 
received her education everywhere. "It was a terrible handi- 
cap." she said, "my education stretching from Chicago to 
Porto Rico. 

"I first tried pictures with Essanay in Chicago and then I 

ent to the coast. There I was with Triangle and later joined 

ack Sennelt's comedies. But I wasn't a bathing girl. I 
ever — -never — was. Please get that into your interview, wont 
lyou ?" 

We promised. 

(Seventeen) 



Photograph © by .MtroJ Cheney Johnston 



"I live for today," says 
Gloria Swanson, "anti I try 
to get every bit out of It. 
I dont believe in waitini, for 
tomorrow. Life is too short 
for that." That sums up 
her philosophy of life in 
general 



"We did a series of juve- 
nile comedies in which I had 
a leading r(ole. Then Mr. De 
Mille gave nie my chance in 
drama. That's all. As I 
never cared for comedy and 
my whole heart is in dramatic 
work, you can guess how 
hard I worked to make good 
with Mr. De Mille." 

We asked Miss Swanson to tell us her philosophy of things 
in general. 

"I live for today," she said, ''and I try to get every bit out 
of it. I dont believe in waiting for tomorrow. Life is too 
short for that." 

Then our interview drifted until, like all interviews, it came 
(Continued on page S3) 






^ 



/> ^ 








Imagine the "male 
vampire" of the screen 
being a New Eng- 
landerl A 1 1 h o of 
French descent, (his 
real name is Cote), 
Cody's home town is 
Waterville, Me., a few 
miles from the home of 
Dustin and William 
Farnum. He soon for- 
sook Maine for the 
stage 



YOL' may, perhaps, think it strange that the 
original "He Vamp" star of the screen 
should have come from New England. 
And then, again, you may not. It all depends 
on whether you have come from there your- 
self, or on whether you still live there, or on 
whether you have never been there at all. Un- 
doubtedly, there are people who are "un-pro- 
foundly" affected by their environments : for 
instance. Lew Cody. 

"Dustin Farnum used to live within a few 

miles of Waterville. Me., which is my home," 

he remarked. (We were, by the way, at 

iimcheon at the Alexandria and some moving picture notable could be seen 

at almost every table). "We often get together," he went on, "and talk 

over the scenes and people we used to know. 
Of course, we didn't live there at the same 
time and we didn't really know the same peo- 
ple, but that is a mere detail. In that neigh- 
borhood, the scenes and the people seem, 
somehow, always the same ; the same yester- 
day, today and forever!" 

There, then, you have the material for a tragedy by Ibsen. Think 
of it! Lew Cody, whose real name is Cote, a boy of French de- 
scent, living in a place where, if one can believe some of our best 
fiction, people take their sins and their virtues very seriously and 
where marriages are made in Heaven for life and for popu- 
lation! 

He could read French, too ; gracefully written tales of grace- 
ful love affairs, sincere while they lasted, lightly undertaken and 
gracefully dropped. Why, he might have committed suicide — 
or matrimony — before he was eighteen, with vine leaves in his hair 
,ind all that sort of thing. But instead of that, he did something 
that could never have occurred to a character of Ibsen ; lightly and 
without any particular brain storm, he decided to go away. 

"One afternoon, after a whole day spent reciting poetry at my- 
.self, I went to my father and told him that I was going to go on 
the stage. '.'\ll right!' my father .said. "When are you going?' Of 
course, that was all wrong. He should have objected violently. But 
he must have had too keen a sense of drama, himself, to do such 
a commonplace thing. Instead, he staked me to a wardrobe and 
I went to New York and got my start almost at once." 

This was with Mary Mannering in "The Stubborness of 
Oeraldine." Then came melodrama with .\. H. Woods: such plays 
as "Fast 1 ifc in New York" and "The Power of Money," an 

( Eighteen > 



Lewis Cody, H. V. 

By ELIZABETH PELTRET 



WHl!:. 




experience which, he says, 
he would not take any- 
thing for. And then, with 
all of his energy, he 
plunged into stock, becom- 
ing actor-manager of his 
own company, the Cody 
Players, just out of New 
York. He had four com- 
panies before that began to 
tire him and then he left 
them to shift for themselves 
while he came to the Pacific 
coast with the 
Winter Garden 
production. 

"I've been every- 
thing in the pro- 
fession except a 
clown in a circus." 
and but for its being 
such a serious job, he 
might have been that 
too. 

He fell instantly and 
intensely in love with 
Los ,-\ngeles and de- 
cided to return 
sometime and re- 
lain indefinite- 

. It was at 

is psycho- 



"Do I believe in marriage?" says 
Lew Cody. "Yes, indeed — for 
other people. I think it is a beauti- 
ful institution. But the human 
fgical moment that butterfly type— male or female— 

thomas Ince sent an should be free They cant rub up 

J ■ -.u tu / agamst the httle troubles of every- 

imissary with the ot ^^y life ^„^ ^^gp ^^e gloss on their 

ler of a screen con- wings" 

fact. 
Undoubtedly, Lew Cody's best work was done, not 
ader contract, but as a free lance, in such pictures ms the 
ois Weber productions "For Husbands Only," and 
i?orrowed Clothes" with Mrs. Chaplin. Cecil B. de 
lille'.s "Don't Change Your Husband " and "The Life 
Line," and "The I'roken P.utterfly" with Maurice 
fournier. 

When 1 saw him at the .Alexandria, he had just 
j^nished his first picture made with his own company and 
had collaborated with his director. L. Gasnier. in the 
priting of the story. His second picture, he said, is to 
"The I'Utterfly Man" from the book by George Barr 
McCutcheon. 

Lew Cody is, himself, very much of a "butterfly man." 
That is. he has the quick, volatile temperament of the ar- 
tistic b'renchman who is also a natural dilettante. 

"Until a year ago." he .said, "I never had any particular 
imbilion. 1 was conscientious enough in my work and all 

that, but " He made a gesture with the hand that held 

liis cigaret. Very quietly, in fact without attracting his attention 
|h the least, it left its holder and deposited itself on the tablecloth 
vhere it went on burning merrily. "(~)h. look!" I c.Nclainied, point- 
ng rudeh-. For a moment he was decidedly puzzled; "How did that 
feet there :" and then, with a glance at the exquisite but empty holder, 
(Cot'thntcd on f<(ifir HO) 

^yiiiftceii} 






-■' '*: 





i 



"Vv 



%r - 





VW-, 

W^^ 



Fhotogtnph Hy Alfred Cbency Johniton' 



Betty Blythe: 

The Peacock 

Princess 



"f WAS born in Los Angeles," began Betty 
i Blytbe, as she whisked a heap of pink 
chiffons from one chair and a pile of let- 
ters from another, drawing them nearer the 
window where we could watch the glorions 
view of the mountains which so entrances her. 
"After being away for nearly four years, 
it is such fun to be back. Mere in Hollywood 
there are no elevated trains, no subways, no 
crashing traffic, just peace and quiet, why, it's 
heavenly. I was so thrilled the tirst night 
after my arrival to hear a cat fight on the harl< 
fence, it sounded so rural. 

"These silver nights are wonderful, too.' 
she continued. 'I wander all over the hills. I 
walked thru the big gates into the lovely 
grounds of the Japanese place on that liill last 
night and suddenly, while enjoying the wonder I 
of the scene, I heard the strangest noises. 1 
stopped to listen and the next minute 1 saw 
there were monkeys swinging from tree to 
tree in the moonlight. 1 didn't run linnic, 
flew!" 

lietty Blythe is another of ihe bright lights i 
that the Goldwyn studios have added to their' 
splendid stock company. She has just com- 
pleted "The Silver Horde," a Rex I'each story, 
and will next appear in a Brentwood produc- 
tion under the direction of Henrx Kolker. 

"1 have played so manv vamps," said Betty, j 
"that I am glad of the opportunity to plav this 
role of a splendid woman who finds her happi- 
ness in the development of her own soul, not j 
in wealth or power. And clothexl Oh, I ami 
to wear some gorgeous things," 

Going to her closet. Miss Blythe brought \ 
out an array of ravishing costumes and spread- 
ing them on the bed we indulged in a feminine 
orgie of tulles, chiffons, lustrous satins and rich 
furs. 

"Of course, like most women," said Betty, \ 
"I have always longed for beautiful clothes and 
now that I can have them I love the planning 
and designing. I sometimes wonder if my old 
vision of realizing the poetic sense of literary i 
effort is merging into a passion for clothes. 
However, in motion pictures they play such an 
important part that I feel justified." 

"How did you discover your own particu- 
lar style?" I asked, remembering the distinc- 
tive manner in which thi,s stunning girl is al- 
ways gowned. 

"My dear," she replied solemnly, "it took 
three years and an awful waste of money to 
teach me that I must civilize my weird ideas — 
I do so love queerish styles — if they are be- 
coming. 

"I adore brilliant 
colors, they brighten 
one's mood, while 
laces .seem fl/we. Look 
at this shimmery sym- 
phony which also per- 
sists in shimmying," 
laughed fietty. hold- 
ing up a fascinating 

(TKenUi) 



Betty Blythe made 
her first appearance 
on the stage in 
vaudeville billed as 
"The Peacock Prin- 
cess." The foot- 
lights finally led to 
the screen studios — 
the Vitagraph, in 
particular 




By 

MAUDE S. 
CHEATHAM 



frock of cloth of gold 
with its bands of 
heavy silk fringe 
forming the "shim- 
mying" skirt. 

Winding herself in- 
to a luscious Moorish 
yellow crepe negli- 
gee and sweeping 
across the room, she 
remarked, "I glory in 
trains and tassels, too. 
The last time I wore 
this I killed a man — 
it photographed beau- 
tifully ! I'm going to 
have it made over. 
I'm always saving 
things, if I should 
die suddenly I would 
miss a lot of fun for 
I have such stacks of 
lovely materials wait- 
ing to be made over." 

Then, sitting on the 
edge of the bed sur- 
rounded by these lux- 
urious clothes, .she 
told me some of her 
early experiences. 

Betty Blythe made 
her first appearance 
on the stage billed as 
"The Peacock Prin- 
cess." In a sumptu- 
ous gown, made en- 
tirely of peacock 
feathers, she put on 
her own little musi- 
cal act at Pantages 
Theater, in Los An- 
geles and scored a 
success. 

"It was a beautiful 
gown," said Betty, 
"and I felt so grand 
and struttv and excit- 
ed with all those bril- Photograph by .Mfred Cheney Johns,, -„ 

liant colors flashing about me. Everything was going beauti- 
fully and 1 had dreams of being a real prima donna; you 
know, I spent two years in Paris and London studying voice 
culture. Then suddenly, my mother and a sister passed away 
and I was gripped by the old Chinese superstition of peacock 
feathers, and I wouldn't go on with the act." 

After a season with Oliver Morosco's "So Long Letty," in 
Chicago, and a summer in stock in Albany Miss Blythe had a 
chance to play on Broadway with William Elliott in 
"Experience." ' 

"With the closing of this engagement," she went on, "I 
had a taste of the fighting struggle which girls usually have 
when they buck up against New York. Out of a job, the city 
frightened me. I believe the fear of going broke frightened me 
most. 

"Every day for months I made the rounds of the theatrical 
agencies. It was heart-breaking. Only once did a ray of light 
penetrate. A Shakespearian actor took an interest in me and 

(Twenty-one) 



"I want love to 
come," says Miss< 



Blythe. ''I've 
reached the point 
where I long for a 
home and a more 
unselfish life!" 



promised I should play Ophelia in his 
company. Now, all my Hfe I had 
wanted to play Shakespeare. When I 
was only 12 my sister started me read- 
ing his works in the original and by the 
time I was 16 I had read everything he 
had written and had made up my mind 
to be a tragedy queen, a second Mar- 
lowe, so this seemed the coming true of my early dreams. 

■'After spending weeks rehearsing Ophelia, and building my 
hopes to the very sky, the venture fell thru, and I went, left 
with debts and all my illusions shattered. Really, I contem- 
plated suicide, but after all, youth and its reviving confidence 
urged me on to win in spite of obstacles. 

"One day a girl, whom I knew very slightly, asked me to 
go to the Vitagraph studio with her. I believe God sent her, 
and I went, really because she was friendly and I so needed 
(Continued on page 82) 




Photograph by Mishkin 

A SCRAP of paper it was which decided the 
destiny of Tom Moore, son of Sarah 
and Joseph and, incidentally, brother of 
Owen and Matt. It happened like this. Tom 
was born in Ireland on a farm in County 
Meade. Artistic vagueness rather than bold 
accuracy places the date of the event as the late 
'80's. Now, in those days a small Irish farmer 
had about as much chance to make money as a 
conductor on a pay-as-you-enter car, so the senior 
Moore and his better half decided to seek the city and 
open a shop of some sort. So they sold all the things on 
the farm, collected the family and put them in a jaunting 
car, and then Mrs. Moore turned to Mr. Moore and said, 
"Whither thou goest, I will go, and where thou lodgest 
I will lodge, but whither do we go and where do we 
lodge ?" 

"I never thought of that," said Moore the elder. "Now 
what do you say ?" 

"Dublin," said Mrs. Moore. 

"America !" cried little Tom. 

"We'll draw lots for it," said Moore, the elder. So 
pieces of paper, marked "Dublin" and ".America," were 
put into a hat. Little Tom put in his hand and drew out 
"America," and America it was. 

Now, we set down these facts triumphantly, and so 
would you if you had worked as hard to unearth them 
as we did. 

Once upon a time there was celebrated in song a girl 
named Annie Moore. History says little about her, save 
that she was sweet and that we'll never see her any more. 




Moore o' Count 
Meade 



To this branch of the family we are quite 
sure Tom belonged. If you ever do see him 
and have any idea that you ever will wish t(S 
interview him, "do it now," for you never 
will see him any more. 

Both Tom and Owen are coy and elusive 
as the first snowdrop, and all the time we do 
not blame them in the least for not wanting 
to be interviewed. We are quite sure that 
we should never want to be interviewed 
by us. 

About a year ago we were asked to inter-' 
view Owen Moore. He consented, but he 
still owes it to us. And then our editor gave 
us a standing order to interview Tom Moore. 
So long as he was safe and sound out on the 
Pacific Coast in the Goldwyn studio, we did 
not worry. We decided that we could not be 
expected to go as far as that, but then one 
day we heard that he was here in the East 
"on a vacation." 

The words had a portentous sound. It 
seemed such a perfectly legitimate excuse for 
not being interviewed. However, we tried 
out our luck by calling up the Gold- 
wyn office and asking for Tom . 
Moore's address. "He just 
went out of the office on his 
way to the Lambs', but i 
we are not allowed to give i 
any one his address. He | 
is on a vacation." i 

So we called up the i 



When the Moore family 
decided to migrate 
from its tiny farm 
in the County Meade, 
Ireland, the problem 
of destination arose. 
So they drew lots. 
Little Tom put in his 
hand and drew out a 
bit of paper marked 
"America" 




(Twenty-two) 



By HARRIETTE UNDERHILL 



Lambs, and tliey said, ''He has gone over to 
the studio." There didn't seem to be any way 
to get him excepting to call Central and ask 
for Fifth Avenue between the Lambs and the 
Goldwyn office, and this wasn't feasible owing 
to the present strained relation between the 
"hello" girls and the innocent bystander, so we 
decided to let nature take its course. 

The best way to do this is to walk up Fifth 
Avenue from Forty-second Street and wish. 
We hadn't been doing this more than two 
blocks when we met Tom Moore face to face. 
Now, altho we are a firm believer in this con- 
centration thing, when we met our victim we 
were so surprised that we said, right out loud, 
"Aint nature wonderful !" 

"She is," agreed Tom Moore, "but why?" 

Of course, we didn't dare tell him, because he 
would look upon us with cold disfavor and say, 
"I'm on my vacation." So instead we said, "Why, 
meeting you and everything like this, .^nd do you 
remember the time we interviewed you, over in 
Fort Lee, when you first became a (ioldwyn star, and 
the funny little place where we had luncheon and the 
woman who put the records on the graphophone, 
records that were round, tube-like things, and the 
phonograph had a horn ?" 

"Yes, a horn like a director uses," and Tom laughed 
just the way he does on the screen. He always laughs 
that way. It is one of his charms. You see him 
laughing, but you dont hear him. 

Now, all this was according to Freud, or somebody 
who has theories. We had reminded Tom Moore of 
the fact that he had once been interviewed and had 
recalled to his mind at the same time all of the pleasant 
features of the encounter, so we struck while the iron 
was hot. 

."Have you got a half-hour to spare?" we said, timidly, 
meaning to finish up with "Mayn't we walk over to the office 
with you and interview you en route?" 

"Indeed, I have," he answered, cheerfully. "Let's go in here 
and have a cup of tea." 

And as we were on the corner of Forty- fourth .Street, and 
Sherry's is no more, we knew that "here" meant Delmonico's. 
How thankful we were that we had on our imported hat with 
the red polka dots on it. tho maybe if we hadn't we shouldn't 
have received the invitation. 

"See, no belts!" said Tom, with his silent laugh, as he took 
off his overcoat. "Do you remember how you got after us 
for wearing belted coats and said that Charlie Ray was the only 
man who could wear one with impunity? I remember, altho I 
felt hurt, how I trembled when I realized that I was wearing a 
belt on my coat that day you came over to Fort Lee to see me." 

"Aren't you glad you're on your vacation?" we asked, a little 
less cautious now that the orange pekoe was between us and 
our victim and there was no chance for him to escape. 

"Yes. I suppose I needed a rest, only New York is such a 
funny place to rest in. You dont do it." 

"Have you been working hard?" we asked, trying to put a 
lot of sympathy in our voice, so as not to make it sound like a 
leading question." 

"Working hard? Rather! I've made nine pictures this year 
with Harry Beaumont. In a couple of weeks, when I go back, 
I am going to have a new director, Tom Mills. Know him?" 

We shook our head, and there the conversation switched to 
California — California climate. California roads, California 
hospitality. Why, one would think Tom Moore was a native. 
They always talk like that. 

"Were you born in California?" which was an innocent 




After the Moores came 
to America, little Tom 
ran away to New York 
and lived there a whole 
year. Then he went 
home — and to school. 
His stage "debut" was 
in l*^e mob scene of 
"Parsifal" 



enough question that any one might 
have asked. It had marvelous re- 
.sults, too, far beyond our fondest 
hopes, for Tom Moore told us all about being born in Ireland 
and just how he drew the scrap of paper out of the hat and 
came to America. But when Tom got as far as New York he 
stopped, at least he stopped in his narrative, but as a matter of 
fact, he went on to Toledo, because he had some cousins living 
there. 

"Had you thought of going on the stage at that time '" we 
asked, trying to give the question the proper amount of insou- 
ciance as coming from a layman and not from an interviewer. 
"No, indeed," he answered, laughing. "You should have 
seen me then. I was such a funny-looking little shaver. They 
sent me to school, but the wanderlust was in my veins, and I ran 
away with just enough money to get me to Jer.sey City. I didn't 
have a nickel to get over to Manhattan, but — well. I eventually 
got there. My lack of money worried me not in the least, and 
I hung around and enjoyed myself between the Battery and 
Fourteenth Street for nearly a year. Then I had some prompt- 
ings from my conscience and I returned home. They sent me 
back to school, but I ran away again — " 

"And went to dramatic school," we interrupted. Tom Moore 
gave us a scornful glance and, if he had been that sort of per- 
son, he would probably have said, "How do you get that way ' " 
(Continued on page 79) 



!:&iiiiiaaaa0&^-^ 




The Boy Who 



You remember 
Wes' Barry as the 
remarkable freckled 
youngster of "Daddy 
Long Legs" and 
"The Unpardonable 
Sin." The lad is 
now fast en route 
to stardom with 
Micky Neilan, play- 
ing the boy hero of 
Booth Tarkington's 
"Penrod" «tories 



By MARY S. 

WHY, they're real!" 1 exclaimed. 
"The freckles? Sure, they're real," and Wesley Barry 
rubbed his brown hands vigorously across his cheeks to 
convince ine the speckles would not come off. 

"Lots of people seem to think they are part of my make-up 
for the pictures," he went on. "If they could see my red hair 
they would know the freckles belonged to me. I used to hate 
them, but they've brought me a lot of luck and I dont know 
what would happen if they went away now." And the funny 
"ittle smile that has endeared this twelve-year-old lad to film 
fans thruout the country spread over his small face. 

"Then, you'll never be tempted by the promises of freckle 
cream?" 1 asked. 

"I should say not," came the emphatic reply in true mascu- 
ine scorn for such methods. "Anyway," he added, "it would 
take bushels and bushels to take them ofif. But — looky — my 
warts are going away," and he held out his hands for my in- 
spection. 

"A lady in Boston read that I had warts 
and she sent me a pin, telling me to bury it in 
the garden and the warts would disappear. 
.And, sure 'nufi, they're all gone except this 
teeny one and it's going." And again the 
"Wes" Barry smile lighted up the sensitive 
face. 

Tho Marshall Neilan discovered this lad 
several years ago and has 
given him bits in a number 
of pictures, it was not until 
"The Unpardonable Sin" 
flashed on the screen that 
his unusual qualities were 
fully recognized. 

This was shortly fol- 
owed by his splendid work 
with Mary Pickford in 
"Daddy Long Legs," and 
his clever^ acting thruout the or- 
phanage scenes — especially in imbibing 
the hard cider — will not soon be for- 
gotten. 

Now, fame and stardom have cap- 
tured this little freckle-faced boy, for 
he has recently been signed up by Mar- 
shall Neilan to create the screen role 
of "Penrod," in a series of pictures de- 
picting this adorable character in his 
boyhood adventures. 
Wesley is refreshingly natural and absolutely un- 
spoiled and he is taking his good fortune very mod- 
e.stly. The best description one can give is that he 
is every minute — just real boy! 

Since he is under contract and working steadily 
he has a private teacher, studying between scenes 
at the studio, instead of attending school. He is in 
the 8th grade and will be ready for high school 
next year. 

He told me all about his studies as we sat in an 
old swing in the Neilan studio garden iii Holly- 
wood. "I like arithmetic and geography, but English 
is so hard it makes me mad. I like mechanical 
drawing, too, but I am not good at free hand. I've 
always wanted to be an electrical engineer, but, since 
I'm doing so well in pictures, guess I'll stick to them. 
"We had the best fun making 'Daddy Long 
Legs'," went on Wesley. "It was mostly on location 
and was just like a picnic, for we went out in trucks 
and had our lunch out of doors. Those were real 
chicken sandwiches we ate in that orphanage scene. 
They were a part of Miss Pickford's own lunch and 

(Twenty-four) 



Capitalized His Freckles 

KEENE 

^lie s.iid, 'C'liildren, I never can eat all these sandwiches, so we'll 
use them in this scene.' Gee, they were good. -She used to give 
ine some of her hot cliocolate every afternoon, too, for we would 
-ct sn liiiiii/ry.' 

"Do you remcmljer the circus in 'Rebecca of Sunnybrook Farm?' 
I was tlic ring master. I'll never forget, there was one kid who was so 
scared when he had to slide down the chute that we laughed at him. The 
most fun was at the barn dance, for there was real ice cream and cake 
and we boys would slip around to that corner every chance. Good? Well, 
rather: 1 cant say as much for the lemonade, it was positively on the 
bunk, one trip was enough for that. 

"I was the only funny one in 'The Unpardonable Sin' and whenever it 
iLjnt too serious I would come in with some foolishness and jolly everyone 
np. 1 did have a big crying scene, tho," he recalled. 

"Was it hard to cry?" I asked. 

"( )h, no. Mr. Xeilan told me all about it and it was so sad that I 
couldn't help crying, that's all." 

.\\\<\ just that easily did this little actor dispose of one of the most affect- 
ing moments in that tragic picture. 

"I like to go and see comedies — I laugh and laugh," and Wesley snick- 
ered in true boy fashion, "but I dont like to play in them, for it is a 
running and rough stuff. Mr, Neilan jokes with me wdiile we are working 
and makes me laugh all the time. Do you know," and the small figure sat 
up straight, "I can tell just exactly how he is feeling by his whistle. He 
whistles such jolly tunes when he's hajipy, but when he is thinking out some 
scene he whistles — oh, you know, that way 
up, heavy music. You ought to hear him 
play the piano, he can make me cry when 
he plays those sad pieces. He can play any 
thing'." It is quite certain that here is a 
director who is the idol of his own star. 

"Which baseball team do you want to win 
the pennant?" Wesley asked, suddenly, after 
talking of manv things. 

"\'ernon," I replied promptly. 

"Good, shake!" and he grabbed my hand 
in his firm hold, and we fell into a discussion 
of the relative strength of the Los Angeles 
and \'ernon teams which are battling for the 
Coast League pennant. 

"You see," said this little enthusiast, "this 
is the first season that Fatty Arbuckle has 
owned the \'ernon team and I am afraid he 
might be discouraged if he lost the pennant 
when he is so near it. that's why I want it to 
win. Oh, it's just potta to win," he added, 
loyally. 

"We're getting ready for a big western 
picture," said Wesley, "and every morning I 
go out to the Lasky ranch and practice 
rough riding stunts on a big black horse. At 
first he was awfully frisky and tried to buck 
me ot¥, but I hung on. I have the swellest 
cowboy suit. It cost $200! Want me to put it on so you (an see it?" 

So, hand in hand, we raced over to his dressing room where we solved 
the problem of straps and buckles as he arrayed himself in a regular 
"Bill" Hart western costume. "Look at this belt, isn't it a peach?" 
he cried, holding up a broad leather belt. "It is to wear when bucking 
to keep from getting all jarred up." 

"Let's have your picture taken in all this finery," I suggested, as he 
turned about for my approval. 

"Oh, I cant," he wailed, "my sombrero isn't here. It is a beauty, 
big — you know — and makes me look fierce." Then noting my disap- 
pointment, he added, "If you think nobody will notice that I haven't it 
on, w-e'll take it." 

"Cowboys dont usually live among palms," commented the camera- 
man, a few moments later, as Wesley took his place before a huge palm. 

"Oh, well," replied the boy, easily, "this isn't the real thing anyway, 
for I haven't my sombrero." 

VVesley's mother told me that he was a very welcome baby and was 

(T)rn)tti-itvp) 




♦^' 




Photngrapha by Hartsook, L. A. 



On these two pages 
are glimpses of Wes- 
ley Barry in his "swell" 
cowboy suit, which cost 
exactly $200. Which, af- 
ter all, isn't expensive 
for a high-priced star — 
if he is only twelve 
years old 



bom with a smile on 
his face and has al- 
ways been happy and 
contented. Two older 
brothers, aged eigh- 
teen and fourteen, 
were given the privi- 
lege of selecting h i s 
name and they spent 
several weeks search- 
ing for a suitable one, 
finally christening the 
baby, Wesley. 

Already this name 
is becoming widely 
known as Wesley Bar- 
ry, aged twelve, takes 
his place among the 
stars of f\lm-land. 



The Orchid 



By TRUMAN B. 




Photographs by Clarence Bui 

"So Stands the stalne that enchants the 

world, 
So bending, veils the mingled beauties 

of exulting Greece." 



PRRiiAPS the poet would have written 
his verse to Naomi Childers were he 
here to have viewed her. Perhaps he 
would have put into couplets her moon-like 
radiance that is shed thruout Culver City, 
California; her elan, which is that of a New 
York dehutante, and her thoughts, which are 
those of the futurists in art. 

Which latter sentiment she brought to light by 
insisting upon having art for luncheon, in the 
form of a lavender room with light-grey furni- 
ture and Erte drawings in frames upon the 
walls, and vivid cretonne at the windows 
It's so much nicer, she remarked, to dine 
in a place where you needn't swat the 
proverbial fly and partake of nourish 
ment from inch-thick near-china. 

Art, it has been said, is an aux- 
iliary to happiness. Art, Miss 
Childers, avowed, is a necessity 
and, when you glimpse her in the 
flesh, you're certain to agree with 
her. But, in the flesh she is ex- 
actly the same as she is on the 
screen, a Broadway Lady Algy, 
with her soft, semi - Southern 
drawl, her gracile bearing, her ta- 
pered fingers and her cameo-like 
Grecian nose. 

It just happened that, as 
the statue said, .Mlah pro- 
\-kjeJ this interview. Al- 
I.lh always provides: 
h« has come to 




Miss Childers' aid at various moments when the 
clouds have been tinged with grey. He put her 
onto the stage, and she will emphatically tell you 
that he will some day put her back there. She 
was about to say more aMhut her Allah, but the 
waiter appeared. Tea and cakes, two lumps in 
the tea and a dash of lemon. 

In anticipation of the gastronomic revel. Miss 
Childers glanced about her. The little Bakst 
lunchroom seemed the rendezvous of numerous 
photofamous. John Bowers, after bowing him- 
self in, sat in a corner and commenced to sing 
something about Kentucky and the angels to his 
own mandolin accompaniment. Madge Kennedy 
read a letter. Enid Bennett and her husband. 
Fred Niblo, chatted volubly with Geraldine Far- 
rar, whose French maid, nearby, was watching 
her with hawk-like intensity. Tom Moore pala- 
.vered with Charles Ray and his wife, 
and Mabel Normand was going 
into ecstasies over a new con- 
signment of photographs 
received by Pauline 
Frederick. Miss 
Childers put her 
chin in her 
hands and 
looked wist- 
fully thru 
a pair of 
violet - grey 
eyes. 

Any stranger 
who'd ever 
seen her in the 
Goldwyns o r 
the old-time Vi- 
tagraphs, would 
have recognized 
her, a 1 1 h o her 
manner, semi-cold, 
semi - disinterested, 
would not have 
spurred him on to ap- 
proaching her without 
due formality. 

Pictures, the willowy 
Naomi will tell you, have 
not changed greatly — at 
least from the actor's 
standpoint — in the inter- 
val of the present and 
when she played with 
Vitagraph, perhaps some 
two or three years. 

"Oh, we have hot and 
cold running water in our 
dressing rooms now, and 
perhaps a bit of cretonne 



Naomi Childers is a 
Broadway Lady Algy, 
with her soft Southern 
drawl, her gracile bear- 
ing, her tapered fingers 
and her cameo-like Gre- 
cian nose. Herewith are 
three snaps of Miss Child- 
ers in the Goldwyn stu- 
dio yard at Culver City, 
Cal. 



^m 



T '^^vSr^^ 







(Twenty-six) 



Blooms 



HANDY 



and a picture or two," she drawled. "Otli- 
crwise, it's the same. But the directors 
(iiint seem to swear so much, and the 
continuity we work from is more com- 
plete." 

I asked her how she felt the first time 
she stepped before a camera. Was she 
frightened; did she faint? 

"No." she purred, "I wasn't frightened, 
and 1 was too inexperienced to know how 
to faint gracefully. We all felt rather fun- 
ny, thn — Mdith Storey and Rose Tap- 
ley and Harry Morey and the rest of us 
at \'itagraph. They tell me they all ex- 
perienced the same sensation that I felt, a 
sort of daze like when you're awakened 

I in the morning by the ringing of a bell 
and you dont know whether it's the tele- 

l phone or the alarm clock." 

f The Childers reminiscences, witli their 
colorful narrative, delivered with a smile 
and with, the eyes half closed — provoke 
the risibilities of even Tom Moore, who 
has heard them told before by others. 
."Vud the orchid-girl speaks feelingly of 
Edith Storey, who she says is "the clev- 
erest woman on the screen," in addition 
to being one of the most heroic women of 
the countrv. 





Two views of Miss 
Childers in Tom 
Moore productions. 
Most of all Naomi 
craves: "Three pic- 
tures a year, a 
house at Newport 
with a real collec- 
tion of genuine 
paintings, some 
good-looking gowns 
and large quantities 
of French novels" 



fTirfiittfsevenl 



"She could always do 
everything none of the rest 
of us could do," she said. 
"She could ride and swim 
and look beautiful when she 
was dead tired. .\nd act! 
There was no chance for 
anyone else when she was 
on the lot." 

And changing the topic to 
contemporary pictures, my 
subject impresses one with 
having given considerable 
* thought to the art. She 

asked me if I'd ever read Vachel Ij'ndscy. I had? Then, per- 
haps, I might in a measure understand what she thinks — main- 
ly, that being a star isn't the greatest thing in the life of a cina- 
mese. 

Nor will pictures ever progress until one Mr. Griffith gets 
a new idea and infuses it into the shadow-play. 

"Why.-" she asked and explained. "Because he seems to be 

the only man wliom people have consistently followed and to 

whom people look for something hitherto undone to be done. 

And one of the main reasons for his success hinges upon th'' 

(Continued on page 76) 




Lionel Barrymore is dividing his 
time between the {ootlights and the 
films. His remarkable stage per- 
formance in "The Jest" is in 
marked contrast with his celluloid 
creation in Famous Players-Art- 
craft's "The Copperhead." At the 
upper right is a glimpse _of Mr. 
Barrymore in "The Jest." The 
other two pictures are from "The 
Copperhead" 



(Ttntnty-eight) 



She Loves and Lies 

Fictlonized from the Norma Talmadge Photoplay 
By DOROTHY DONNELL 



MAKii; Calli;nder was waking up luxuriously. The process 
was a very becoming one, involving many dainty yawns, 
much stretching of round, dimpled arms and rubbing of 
velvety brown eyes. For two weeks she had enjoyed this por- 
tion of the day with a passionate delight such as can only be 
experienced by those who have been accustomed to being 
awakened by the raucous voice of a tin alarm clock to the 
smell of frying boarding-house onions and a battle of wits 
for the pos.session of the bathroom. 

It was a wonderful sensation to be able to turn over on one's 

pillows in defiance of the 
sunlight pointing an ac- 
cusing finger thru the 
drawn dimity curtains, to 
sleep and wake again, and 
half sleep and drowse. 
and at last to sit up among 
one's tossed linen and silk 
covers — so, and reach out 
a pink finger-tip — so, to 
the bell that will .summon 
deferential maid and a 



■■■Si,''; 




silver and fragrant breakfast tray. Marie's finger fell 
abruptly. She shook the last traces of sleep from her with a 
single jerk of her dark curls, drew her knees up to her chest 
and encircled them with her arms. 

"Oh, darn!" she sighed. "What a silly world this is any- 
how !" 

Surely an ungrateful remark from one who in the last fort- 
night had taken the step from poverty to riches with a single 
bound, but there was the crumpled newspaper on the floor, 
where the eyes of her extremely active imagination could read 
the words that provoked the remark. "Young Ship-Builder 
Threatened with Bankruptcy. Ernest Lismore .Said to Be in 
Xeed of Large Sums to Defeat the Conspiracy of the Stock- 
holders '' 

"I wonder,' mused Marie, "what 'large sums' means? I've 
seen the time wlien a five-dollar bill looked like all the money 
in the world. .\nd he has such ducky eyes, and such a per- 
fectly sweet chin ! It's simply wicked that he should have to 
fail when I've got a million or two that he could have just as 
well as not, and all because of the perfectly stupid things 
people would say !" 

With Marie thought and action were practically synonymous. 
She reached for the telephone, disguised as a Dresden shep- 
herdess, on the stand by the bedside and called a number. After 
a season of energetic waiting — Marie was always energetic — a 
protesting voice answered, evidently around a cigaret. "If it's 
the landlord, all I've got to say is that you'll have to wait — 
and serve you right, too ! The roof leaked last night and 
turned a perfectly good clay model of 'The Naked Truth' into 
mud — positively mud! It's the worst attic in the Village, and, 

believe me, if you think " 

"Polly!" — Marie shook the telephone irritably — "for 
heaven's sake quit it ! I'm in terrible trouble, and you've got 
to help me ! 
Trouble ? You ! What trou- 
ble can a girl with a million 
i dollars have?'' Polly's 

amazement evidently dis- 
placed the cigaret. 
"Lord, child, you 
;.„ _ dont know what 

''"'^''^i'.. the word 

rfi ■:.,. means — 



Marie shook the 
last trace of sleep 
from her with a 
single jerk of her 
dark curls, drew her 
knees up to her 
chest and encircled 
them with her 
arms 



ItweMtiinxne) 



MOTKIN PICTURE 




Ernest tried to drink 
his frosted tea cake and 
to crumble his cup. 
His handsome young 
face was dully crim- 
son 



look it up in the dictionary." 
"It isn't money," Marie wailed, 
"but — well, the fact is — I'm in love ! 
What's that ? So long as I'm not 
married, that's not a trouble? But 
you dont understand. I dont even 
know him, and now on account o£ 
this darned money, I never shall ! You see, he lived next door 
to Mr. Goldsmith when auntie and I were there last June, and 
when the fire happened, he rescued me, and so — well, of 
course, I fell in love with him, but poor William was so jealous 
he wouldn't introduce me. and now he's going to fail in busi- 
ness and I cant do anything! How can I go to him and say 
'Take my money ! I've fallen in love with your eyes !' Oh, 
he'd despise me ; he'd think I was hold and brazen and un- 
feminine — what's that ?" 

For a long time the other end of the wire hummed, and 
Marie's expressions ran the gamut of emotions from doubt, 
disapproval, to final enthusiasm. "Polly, you bobbed-haired 
Solomon ! Vou Socrates in smocks ! I believe to my soul 
you've hit it ! A girl that can out-Eddie Foy ought to be able to 
—I knew there was some reason why I kept my make-up box 
and props ! Oh, boy ! Wait till you see !" and she kist the 
telephone ardently. "Good-by, darling! You certainly have 
got brains, even if you do live in Greenwich Village!" 

Ernest Lismore was a man without discernment, which is 
really tautological. No man is discerning, but he had even less 
than the others of the bifurcated sex. Still, let us give him his 
due. Marie Callender had not been Marie Max of the two-a- 



day for ten years without result, and, moreover, the piece oi 
work she did now was the best she had ever accomplished. 
There was in the dainty, dignified little old lady of sixty-odd 
who sat serenely pouring tea with little, delicately withered 
hands, not the the faintest trace of the lovely little plotter of 
the morning. From iron-grey, high- piled hair to the tips of 
her cloth-gaitered boots, she was perfect, and her voice carried 
out the illusion with its tiny suggestion of a quaver, its precise 
enunciation. 

"My dear boy, there is nothing in the least odd in what I'm 
suggesting," she assured the perturbed and visibly embarrassed 
young man before her; "it's simply that I'm interested in you, 
as a grandmother lady is privileged to be interested in one who 
might have been" — she sighed artistically — "should have been 
lier own kith and kin if there had not been a miserable boy- 
and-girl misunderstanding half a century ago!" 

Ernest made a ghastly pretense of laughing lightly. To find 
a might-have-been grandmother, and to have her propose to 
one all in the course of fifteen minutes, w upsetting, and several 
nights of insomniac wori-y had already weakened his consti- 
tution. "It's awfully kind of you — awfully good and all that," 
he choked, "but really. I dont see " 

"You dont have to see," this amazing old lady smiled, and 
he noticed, with a sinking of the heart, that despite the network 
of fine lines in her cheeks, her chin was really terrifyingly 
determined. "Of course, marriage with me would be a mere 
matter of form in order to enable me to get possession of my 
money. I have already explained the terms of the will — the 
princijial comes into my possession only when I marry 'from 

(Thirty) 



CLASSIC 



choice.' Vou take tlie money, save your business, and return 
it, and whenever you wish I will free you. Perfectly simple, 
per-lecl-ly — a mere business proposition." 

F.rnest tried to drink his frosted tea-cake and to crumble his 
cup. His handsome young face was dully crimson, his young 
hands shook, his young voice also. "I — of course, it's impos- 
sible to take advantage of your kindness, but I'm no end grate- 
ful ! I'll make out to weather this storm somehow, and if I 
dont — well" — he stretched out his big, lean hands — "I've got 
these left." 

"Nonsense!" said the little old lady, vigorously. When she 
was aroused, her voice seemed to lose its quaver of age. "Be a 
sensible boy. I'd adopt you if I could get around that idiotic 
will, but as I cant, I'm going to marry you. Tltat's settled. 
.\nd now have another cup of tea and let's talk about politics 
or something!" 

It was her matter-of-factness that won out in tlie end. She 
actually made the incredible thing sound plausible, even sen- 
sible. He went away from the grey-shadowed room, with its 
.subdued lights and cosy tea-table, with the feeling of a sore- 
hearted youngster who has been comforted. It seemed as if a 
load had been taken bodily off his shoulders, and tho he called 
himself "cad" and "contemptible cur" and other hard names, 
he found himself actually whistling as he strode up the avenue. 
The shipyards would be saved, tlien, and he would have a 
wife — a dear little, grey little grandmother- wife who would pet 
liim and bully him and iiour out tea from a squatty silver pot. 

"Of cour.se," Ernest Lismore assured himself, "it isn't true 
— any of it! And she least of all! Yet I couldn't have 
dreamed her possibly. And of course, I'm not going to do it:" 

But he knew quite well that he was going to do it. And he 
did. He was very silent on the ride back from the church, 
where the ceremony had been privately performed, so silent 
that the small grey person beside him was secretly rather dis- 
mayed. But once in her sitting-room, he spoke with stern lips. 
"I am ashamed of myself for saving my business in this way. 
I didn't realize what I was doing until the minister said those 
words. .My ( ^od ! Why, I 
ought to be horsewhi|)ped for 
letting your divine kindness of 
heart make me fall so low ! 
But I'll try to make the best 
amends I can, and that means, 
first of all, I'll save my shipyards 
and pay you back, and after 
that '-" 

He did not finish, but alone 
in her own room later, Marie 
finished for him. "After- 
wards, my dear," she 
said to the little grey 
person in the glass be- 
fore her, "after- 
wards he is going 
to throw us over. 
Oh, very nicely, 
and very graceful- 
ly, and all that, 
but that's what he 
means." Her lips 
took on naughty 



Of the ensuing 
hours he had only 
a vague recollection 
... of one lady . . . 
who finally insisted 
in sitting upon his 
knee 



and most ungrandniotherly curves. "He's certain to fall in 
love," she mused, "and I wonder — I wonder who's going to be 
the girl? As his wife I surely have the right of picking out 
my successor, at least. Yes ! I think Polly can be useful 
again!' 

For .some weeks the marital life of Ernest Lismore ran 
smoothly, being confined chiefly to breakfasting across the 
table from a dainty little lavender figine, all rufifles and rib- 
bons and old-fashioned gilt-gold brooches, who saw to it that 
his toast was soft and his egg hard and his coffee exactly the 
right shade. Behind the disfiguring spectacles his wife's sur- 
prisingly young eyes rested on the handsome head behind the 
morning newspaper with anything but a maternal expression, 
had he either seen it or been able to interpret it, but his atti- 
tude toward her was one of distant respect. He was some- 
times garrulous, sometimes pettish, sometimes sidky, some- 
times gay, but he was never affectionate. 

"It's high time," decided Marie's alert brain, under the grey- 
waved wig, "that he had a love affair." 

The next morning she looked across the table casually. 
"Oh, Ernie-Boy," she said, briskly, "I see in die paper that 
there is to be an exhibition of modernist paintings in the 
Dawn galleries this afternoon. Now, heaven knows where 
that is, but you could find out, couldn't you, and go down and 
glance over the pictures for me ? I'm looking for a wedding- 
present for a young couple I know." 

The Dawn galleries appeared to be two rooms, so dark that 
they had to be lighted by gas-jets 
and painted a startling shade of 
orange-yellow. Paper lanterns added 
a festive 
touch, and 
wooden kitch- 
en chairs of 
purple, picked 
out with pink 
cabbage-roses. 




(Thirtxjone) 



A\0T10N PICTL'RK 



lined the walls. Several people with prominent souls and re- 
ceding chins were moving about the rooms, saying vagfue, wise 
things about the exhibit. Ernest, after a single hasty glance 
about the walls, began to sneak toward the doors. He did not 
care for the exploded-egg school of painting ; he was not at- 
tracted to young women who wore their hair short and their 
finger-nails long. But before he could escape, a hand fell upon 
his arm, pinioning him. 

"Oh, Mis-ter Lismore !" gurgled a feminine voice. "Who- 
ever would think we should have the pleasure of seeing you 
down here! Dont tell me you have gone in for art? Is it 
interior decorating? Or the one-act play? And do let me in- 
troduce you to Miss Daye — June dear, this is Mis-ter Lis- 
more!" 

A glance at the speaker, who had fan teeth, wore a dirty 
smock of a sickly green and carried a cigaret, opened Ernest's 
lips for a denial of acquaintanceship. Wherever she had 
picked up his name he had never, to his knowledge, met this 
creature before. But with the words upon his lips, he paused. 
Beside the weird lady of the pale green draperies stood an- 
other, as different as the dawn is different from gas-light, as 
the art of Pericles differs from the nrt of Greenwich Village. 

June Daye was slim and small ; she w-as dark, with golden 
gleams about her ; she was lovely. This much he saw with 
the first glance, and seeing. Wisdom nudged him with horny 
forefinger, prompting him to flee, while Desire whispered 

seductively to him to stay. 
He stayed. 

Before Wisdom was 
finally able to drag him 
away, he had spent four 
hours in the dim, aesthetic 
light of the Dawn gal- 
leries, discussing modern- 
ist art with the passionate 
zeal of a devotee, admir- 
ing the picture of the nude 
negress seated upon the 



top of a cone-shaped mountain, clutching a basket of carrots 
and pineapples and signifying the vvhichness of the whither, or 
some such thing, as Polly suggested. He was reeling with 
drunken sunsets, shrapnel moonrises and geometrical pictures 
that resembled the view thru a kaleidoscope when he finally 
turned his steps homeward, but it was not of the pictures he 
was thinking, but rather of a vivid little face, glowing under 
great masses of warm, dark, fragrant hair. Not until his feet 
halted on the very threshold of his home did remembrance 
flood icily over him — his wife! He was married! He, a mar- 
ried man, had actually promised to return to the Village the 
following afternoon to drink tea — dare-devil function ! — in 
Polly's studio, where the charming June also dwelt ! 

When, over the coffee the next morning, Marie spoke of the 
exhibit, he replied morosely that it had been "tommyrot" and 
he had stayed only a moment. "However," he added, with an 
effort at nonchalance, "I heard of an artist who does good 
work, and I'm going to — hm — run up to her — to his .studio 
this afternoon, if I get time." 

He had the grace to blush outrageously at this, and departed 
hastily, leaving the little lavender lady smiling demurely to 
herself over nothing at all. "I shall soon have cause for jeal- 
ousy, I fear," she murmured, "now I know how poor, dear old 
William felt!" 

Thus disrespectfully did she speak of (her elderly fiance, 
William Goldsmith, whose opportune death on the very out- 
skirts of matrimony had left her the enviable perquisite of 
getting up at whatever shameless hour she chose. 

Polly's studio proved even more impossible than Ernest had 
feared. It was very dirty, very, very embarrassingly feminine, 
with its intimate garments hanging from the corners of the 
furniture, and hairpins, cigaret ashes and powder scattered 
over everything. It contained broken chairs, tables with un- 
washed dishes, a model throne, several sticky clay statues — 
and June, June, looking more adorable than ever in a loose 
smock of a flaring pink that lighted twin flames in her soft 
cheeks as she smiled shyly up into his eyes. 

Of the ensuing hours he had only a vague recollection after- 
ward. He knew hazily that 
there had been other people, 
awful people who tittered 
shrilly, and smoked like fur- 



He saw Marie lean 
forward and just 
brush the hair of the 
handsome y. f. with 
a kiss 




(TMrt^-tviOj 




naces and struck posterish attitudes. He knew that there had 
been one ktdy arrayed airily in a sheet, and bare as to feet, 
who did a dance which slie entitled "Psyche, the Soul," with 
much elbow mntinn. and who finally insi.sted, to his horror, 
in sitting upon his knee and doing things to his hair while he 
writhed in agony. 

He knew that there was a blessed interval when he was 
alone with June, -\fterwards, in the middle of the night, he 
awoke in a cold sweat trying to determine what he had said to 
her. and only after great mental strain being able to assure 
himself that he had spoken merely of .Art with a capital "A." 
"I wont go back to that 
damned place !" he cried out 
loud, blushing chastely in the 
darkness at the memory of the 
barefoot lady. "Hang it all, 
I'm a married man " 

But — "Married your grand- 
mother!" jeered his baser self, 
startlingly apt. "Think of 
that girl, man ; think of her 
hair, think of her eyes, and 
the way her face crinkles up 
when she smiles." 

For several days Ernest 
managed to withstand tempta- 
tion, much to the unwifely 
chagrin of Marie Max, nt-c 

(Thirty-three) 



SHE LOVES AND LIES 

Fi-jtii'iiizcd from the Norma Talmadgc screen pro- 
diictiaii. adapted by Grant Carpenter from Wilkie 
Collins' story. Directed by Chester VVithey. Tlie 
cast: 

Marie Callender 1 

Marie Max v Norma Talmadge 

June Dayc ) 

Ernest l-ismore Conway Tearle 

Polly Poplar Octavia Broske 

Bob Bruniniel Phillips Tead 

Carrie Cliishohn Ida Darling 



I allender and. more lately, Lismore, J^^ ^'.^'' ^*"J 

, , . u iU ' c Ernest Lismore and 

who also went by the cognomen of j,j 5^;^ jf jjIj^ ^ 

June Daye. "He doesn't love me, prayer 

after all, Polly!" she moped, poking 

disconsolately about the studio. "I 

dont know the first thing about vamping, evidently." 

"He's afraid," the canny Polly opined. "Scared to death". 

I've noticed it myself. Men always run away from me for 

fear they'll fall in love with me." 

But if Ernest did not come. Bob Brummel, an old flame 

of the period of the two-a-day, did. A slapstick comedian, 

Bob, who had originated 
an act called "A Half- 
Hour with an Umbrella," 
which, according to his tale, 
had brought 'em down from 
good ol' Peru, Maine, to the 
well-known Los Angeles. It 
was good to hear the almost 
forgotten patter of the stage, 
and Marie forgot, for the time 
being, her marital, and love 
tangle. But Bob soon brought it 
to the fore by attempting a kiss. 
"You mustn't!" Marie cried, 
in a panic of propriety. "I'm 
— I'm married now!" 

(Continued n>i page 86) 




Photograph l.y Hartsook 



BKFORF. me sat the Idealist of 
the screen, Maurice Tourneur! 
Leaning back in my chair I 
studied the man who has made 
fairy-tales, visions, and poems 
live and breathe before the 
camera. 

Mr. Tourneur is somewhat 
larger than the average 
Frenchman, and indeed, looks 
more like a husky athlete than 
an artist and poet, yet the mo- 
ment he spoke I felt as if I 
were in the audience chamber 
of an Oracle, for every word 
he utters is heavy with mean- 
ing and significant of deep 
thought. 

"Life is so beautiful 
we should not wish to 
change it, yet that is 
what we endeavor to 
accomplish in motion 
pictures," began Mr. 
Tourneur, gazing 
thoughtfully thru the open 
windows of his study at the Goldwyn 
studio in Culver City, where he is making 
his pictures. ' 

"On the screen the lovers always 
plight their troth in moonlit gardens 
where birds are singing and roses bloom- 
ing, while in reality, love comes quietly, 
mvsteriouslv, anywhere, everywhere— 



Idealist and Artist 



in the noisy thorofare, in the shabby cottage, in 
the \ illage street — it awaits not for the proper 'set.' 
"We must learn to find romance and beauty in 
eyeryday life, among everyday people. This is 
the appeal of O. Henry, he found love, adventure, 
romance, in every moment of life. 

"Oh, for a new director, a young revolutionist I 
One who will come into the field and, flinging open 
the windows and doors, sweep aside the old con- 
\entional methods. It is the obvious that holds us 
manacled to the old systems. 

'Think of the relief it would be to show the bad 
man of the play doing a good turn for once; to 
allow the hero to slip occasionalh- ; to permit the 
vampire to forget her eternal cigaret and give alms 
to a poor beggar! 

"Think of the sensation it would cause if that 
young director of the future — the one who is going 
to make every one of us gasp — will not take his 
scenes in the best of conditions, with a perfect 
backlighting beautifully reflected by silver screens, 
but instead, take them as they really are, in the 
morning with long shadows, in the sadness of dull, 
grey weather, perhaps even in the rain. With 
the.se snatches of life, seen thru an artist's eyes, 
he will have a magic garment which will prove 
astonishingly beautiful and delightfully realistic — 
life itself!"' 

"And 'Treasure Island,' why did you select it for 
a picture'" I questioned, breaking upon his reverie. 
"Chiefly because everyone loves the story," came 
Mr. Tourneur's prompt reply. "There was one 
thing, however, that worried me — the lack of ro- 
mance, I mean, the lack of se.x appeal romance. 
I had the choice of changing it into 
a conventional love story, and I 
would rather have died than do 
such a thing, or of putting a girl 
into the cast in the role of Jim 



Hawkins. 
Mason 
plays 
this role. 



I put the girl in. Shirley 



"Oh, for a new direc- 
tor, a young Revolu- 
tionist!" says Maurice 
■Tourneur. "One who 
will come into the field 
and, flinging open the 
windows and doors, 
sweep aside the old 
conventional methods. 
It is the obvious that 
holds us manacled to 
the old systems" 




(Thirtufour) 



By MAUDE S. CHEATHAM 



She is the size of an eighteen-year-old lad and is 
an excellent actress. Oh, I have already been criti- 
cised for doing this but it seemed the better plan 
to me. 

"There is plenty of romance of the sea in 'Treas- 
ure Island.' You remember the pirates? I made 
them prominent, and what a time I had with those 
pirates. At first they acted like a Sunday school 
class at a picnic or a lot of ma.squeraders strutting 
around the plaza on a holiday parade. Toward the 
end, iiowever, they became very clever. Mj' God, 
how they learnt to swear ! I blushed while I took 
the scenes. They were dirty, too, and enjoyed it 
after true pirate fashion. 

"We hear much about the American audience not 
caring for fairy-tales, that they are too practical to 
find enjoyment in such wild, imaginary stories, and 
when presented as fairy-tales this is only too true, but 
in the present-day motion pictures we must admit that 
the characters are just the same as in the fairy-tales. 

"To be sure the handsome hero wears a frock coat 
or sport flannels rather than the feathered cap and 
velvet mantle of the days of yore ; the lovely 
princess is attired in mod- 



ish frocks rather than m 
the cloth of gold woven by 
the Queen of the Fairies. 
"The story is the same, 
for the good fairies are 
always more powerful 
than the wicked, the 
monstrous dragon, or vil- 
lain, is always vanquished, 
virtue triumphs over 
evil, the lovers marry and 
live happily ever after. 



"Motion Pictures must 
move onward to the 
place where life seen 
thru an artist's mind 
will find expression on 
the screen," says Mr. 
Tourneur. "Suggestion 
must take the place of 
exact delineation, im- 
pressionism in place of 
the literal transcription, 
alike in motive and 
execution" 




^^^iPT 





"This only shows that audiences do not always 
know what they want. The artist, the musician, do 
not ask their patrons what they want, they give them 
what they themselves mish to give them. The mo- 
distes do not ask their customers what the styles shall 
be. Oh, no, they get together and decide that next year 
the women shall dress to look like mushrooms, and be- 
hold, next year thev all look like mushrooms, and they 
like it!" 

Maurice Tourneur's life has been most eventful and 
colorful. He was born in France in 1878, graduating 
from Lycee Condorcet at the age of eighteen. His first 
step in the artistic w-orld was as a designer and interior 
decorator. He illustrated everything, designed fabrics, 
lace curtains and stage settings. He became associated 
with Rodin, and later assisted the great artist, Puvis de 
Chavannes, in designing the decoration for the Boston 
Public Library. Then came three years in the French 
Army as an officer of artillery. 

When his period of military service expired he turned 

to the stage and his rise in this profession was rapid. 

His first engagement was with a road show giving four one-act plays 

on one-night stands, and Mr. Tourneur laughingly recalled in those 

four plays he acted nine parts. 

This was followed by a world tour with Mme. Rejane, which in- 
cluded England, Portugal, Italy, Spain, Africa, and South America. 
It was about this time that motion pictures began to take their 
place in the amusement world and he became associated with Emile 
Chautard, director general of the Compagnie Eclair, the leading 
film company of Paris. After a short experience in acting and 
directing, he was sent to .Africa to produce war pictures and with 
the entire French Army at his command, he made a number of 
notable productions. 

{Conlinued on page 81) 



(Thirty-flve) 



• iMUtt 




Photograph right © by Evans. L, A 
Photograph below Dy Hartsook, L. - 



A Rochester girl, 
Edith Johnson, became 
known the world over 
as "the Kodak eirL" 
Miss Johnson posed for 
Eastman Kodak adver- 
tising pictures from the 
time she was fourteen. 
She started her screen 
career with Lubin 



THE distinction 
of being one of 
the most-plioto- 
graphed and adver- 
tised girls in the 
world belongs to 
Edith Johnson. Not 
that she achieved this 

result thru her short career in motion pictures. 
It was because the Eastman Kodak Company 
selected her from a number of aspirants to pose 
for their advertisements. 

You have seen Edith Johnson in every sort of 
kodak pose from the time she was fourteen years 
old, even tho she "made up" to add a few years. 
She was born in Rochester — perhaps that is why 
the Eastman people thought home talent should 
have first chance. Thru her earnings. Miss 
Johnson was able to take a college course, and 
because of her much-photographed beauty, a 
small part was offered her with the Lubin Com- 
pany, in Philadelphia. 

However, William Duncan's leading lady states 
emphatically that her r^^/ life only began when she 
entered his company to do serials. While she had 
studied make-up and action with other compa- 
nies, her opportunities were decidedly limited. 
Yet it was because Mr. Duncan chanced to enter 
a theater where the feature showed Edith Johnson 
playing leads, that she received a telephone invi- 
tation to come to the Vitagraph lot and talk over 



The Kodak Girl 



"a little business proposition." The first days 
talk covered Edith's screen experience and 
sounded her on the question of playing serials. 
No mention of salary had been made by Mr. 
Duncan, and contracts were not even referred 
to. The star and the girl who had played op- 
posite Tyrone Power in several production.-- 
parted pleasantly, but without even a "see you 
again soon" expression. 

Within the second setting of the sun, the 
telephone summoned Miss Johnson again to the 
Vitagraph, and this time she was offered a 
salary much in advance of her previous earn- 
ings and asked to do one picture. She's doing 
the third serial with the Scotch star now, the 
first having been "The Fight for Millions.'' 
This was succeeded by "The Man of Might" 
and now "Smashing Barriers" is nearing com- 
pletion. 

Edith Johnson has been described as a blonde. 
That's because she wears a golden wig defying 
detection. In repose, she is almost a twin to 
Beverly Bayne — and the girls were born in the 
same year, 1895. Miss Johnson is two inches 
taller than Mrs. Bushman, but of the same 
delicately rounded build. She has tenderly 
feminine brown eyes — eyes not to be associated 
with death-defying stunts. 

Miss Johnson is blest with strong individu- 
ality, makes intimacies slowly and yet is charm- 
ingly entertaining on first acquaintance. She 




(Thirty-six) 



By FRITZI REMONT 



dresses far more like an Easterner than a Cali- 
fornia girl, always choosing grey, white or black 
frocks. We of the West, so accustomed to 
ruby lips and tinted cheeks on the streets, with 
frocks outbidding the flowers in brilliancy, find 
the quiet costuming and creamy pallor of Edith 
Johnson a distinct oddity. But if her furbelows 
are modest and almost colorless, the jewels of 
Edith Johnson reveal regal splendor. They are 
many and priceless. 

"Did you ride before you went into pictures ?" 
I asked, as we sat in her second-floor dressing- 
room. The little chamber assigned to Miss 
Johnson is made habitable by wall drapes of 
blue and white silkoline, the dressing-table and 
bo.xes being covered with the same material. 
.-\t Vitagraph, the dressing-rooms were hur- 
riedly put up, sans plaster and presenting a 
very uninviting appearance, so Edith got busy 
with tacks and hammer and has a sky-blue cage 
with three windows and to which very few are 
admitted ; in fact 

"You see, I chose this end room because I 
can hear any one come up the stairs and walk 
along the dressing-room row — and they're not 
admitted if I hear them coming first!" Miss 
Johnson laughed merrily. "One has so little 
time, and it is very disturbing to entertain vis- 
itors. The colored maid asked me today why I 



Photographs © by Evans, L. A 





William Duncan, the 
Vitagraph serial star, 
saw Miss Johnson in 
the films playing with 
Tyrone Power. He im- 
mediately engaged her. 
Result — Miss Johnson 
is one of the best 
known of screen 
players 



(Thirty-seven) 



didn't take the room 
next to mine, for- 
merly occupied by 
Bessie Love. It's 
much larger and has 
a better lighting sys- 
tem, but I know I 
should not be nearly 
so safe, and I would 
miss the view of the 
liills and sunsets possible to these end windows. 
"Oh, yes, you were asking about my riding? I 
never had been on a horse before I went into 
serials. The first day I rode I was not even 
given a chance to practice, but just sent off on 
what seemed a fiery steed to me. We rushed 
down a hillside until I hadn't a hairpin left, but 
I clung on and made it safely. When I was to 
alight my knees shook so and I was so fright- 
ened they had to lift me off. But noiv! You 
should see me. I'm not afraid to take anything 
— broad jumps, streams, chasms or anything the 
picture requires. 

"There is only one stunt in which I use a 
double — the swimming scene. I have a terrible 
fear of the water. Yes, I can swim, but the 
moment I find myself in water above the chest I 
almost lose consciousness with fear, so I know 
it would not be safe for me to attempt water 
stunts." 

"Did you ever have a real scare — something 
that would put crimps into your hair for a week ?" 
"^'es, 1 had a horrid experience with a linn in 
(Continued on pane 7S) 



Understudying Mary 



By CHARLES G. RICH 



0\'i;k all the surface of the world — wherever motion pictures are 
shown — and that means everywhere except on the deserts, in 
the mountain fastne.sses, the forests and the jungle — little girls 
and big girls too, with curly blonde hair and girls with hair that is 
neither blonde nor curly— have stood long and often before their 
mirrors and have tried to find in the reflection something that re- 
sembled the great Mary Pickford. 

Curls have been pinned on — heads have been tilted and mouths 
lave been pouted — and sometimes when the looking glass caught 








Photograph above by 
llarUook, L. A. 



Upper right, 
Mary herself; 
while, above 
and at the 
right, is Louise 
Du Pre, Miss 
P i c k f o r d's 
double 




a fleeting expression that is peculiar to the big star, the 
ioy of the poser has known no bounds. 

And with what a dizzying thrill of pleasure, has the 
small girl with the blonde curls heard someone say : 
"She looks just like Mary Pickford." For days there- 
after, the little girl thus complimented has lived in a sort 
of fairyland and dreamed dreams that someday — 
perhaps — ? 

Dreams do come true — sometimes — and the little 
girls with the curly blonde hair and the other girls with 
neither the blonde hair nor the curls, are now to learn 
that the joyous dream of looking, and actually acting, 
"just like Mary Pickford," has come true for one little 
lady, vi'hose name is Louise Du Pre. 

Louise Du Pre is "just like Mary Pickford," or as 
nearly so as nature ever cast two human beings. Miss 
Pickford, herself, discovered this fact and when she 
started the production of "Pollvanna" she engaged Miss 
Du Pre as her understudy. The first understudy to a 
screen star in the historv of mo- 
tion pictures. 

All of the big stars on the 
speaking stage have understudies, 
but Louise Du Pre is the first 
legitimate understudy to a screen 
star. How many other motion 
picture stars will follow Miss 
Pickford's lead will depend upon 
the difficult task of finding talent, 
plus perfect resemblance ; be- 
cause the stage star needs only 
dramatic ability in her under- 
study while the screen star must 
find one that duplicates her in 
appearance. 

"When Miss Pickford sent for 
me and offered me the position 
as her understudy," says Miss 
Du I-^re, "I realized that the 
honor was one that millions of 
{Continued on pac/e 84) 

rTlnrty-eirjht) 




Stuart, lifting the can- 
vas from the easel to 
the light, tried to look 
doubtful and critical, 
instead of proud 



The Broken Melody 

Fictionized from the Eugene O'Biien-Sel/nick Plictoplay 

By OLIVE CAREW 



STUART (liiAXi' lived in a studio in Bohemia. Now Bo- 
hemia has been said by some sage souls to be merely a 
state of mind, and by other scoffers, who get their notions 
iii the world out of their morning's newspaper, to be ab- 
-(ilutely non-existent. It has even been unkindly called a 
!"i,e. 

i'.ut we know better, wc who have lived in Bohemia. ha\e 
L.iien in its tiny, smoky cellars 
— or not at all, have wrangled' 
delicionsly long hours with i 
'"ongenial spirits over a straw- 
rnvered bottle of Joe's acid 
FLil claret, have hoped, and 
hungered, played and toiled 
wiih youth that makes all 
hardships jokes, with joy that 
ilresses poverty in the motley 
of light-heartedness. And, by 
tlie bye, it is as well to say 
lure that our Bohemia is not 
related to that commercial, 
^i! [-conscious, imitation thing 
'•1 gift shops and smocks. Mad 
Matter tea rooms, artists' 

'Tliirtu nine) 



THK BROKKX MKLOm' 

Told in story foru^ iroui Ouida Bcrgere's storv 
produced by Sclzuick Pictures. Starring f.ugciu- 
O'Brien. Dirt-clod hy William P. S. l^arle. The cast: 

Stuart Grant Eugene O'Brien 

Hedda Dana Lucy Cotton 

Mrs. Drexel Trask Coriiine Barker 

Howard Tliornjjy.. ..Donald Hall 

Le Roy Clciuon-; ,,. Ivan Dawson 

Mu.sician •'■us Woiubcri; 



balls, freak hair-dressing and sight-seers, which is some- 
times called by that name. 

We who love liohemia jealously guard its exact geographi- 
cal location. Definiteness would let the world into our 
secret. "Take the b'ifth Avenue bus. then turn West from 
the Square — " that is enough for Philistines to know. They 
wiiuld call nur old lottering brick houses "picturesque," 

and — ])rivate!y — ■'teneineiity,' 
they would rave over our 
"i work (and we know how bad 

j il is, how far short it falls of 
the (llory), they would mess 
thru our brave, jM o t h e r 
Mui)ljardy cupboanls, they 
would trail in gaping groups 
up and down our stairs, in 
and .out of our courtyards, 
into our attics, trample over 
our hopes, and our beliefs 
and our youngnes.ses. 

So we will say simply that 
Stuart (~iranl lived in Bo- 
hemia, (b'ind the place if you 
can!) .More definitely he lived 




.9 nt gj f» n- 



^^^ 



MOTION PICTURE 

magnificently witli the 
proceeds of a painting 
— his own or one of his 
friends'. He took it for 
granted that he should 
fall in love frequently 
with some beautiful 
lady — perhaps in a 
passing limousine, or it 
may be the little black- 
eyed waitress at Joe's, 
and should be loved in 
return, and should fall 
out of love as harmless- 
ly and gaily. He took 
it also for granted that 
he should rap on the 
door across the hail 
every morning at nine, 
and be told to enter 
upon a gay little attic 
corner, all bright with 
yellow tarlton and paint 
and fragrant with the 
smell of frying sausages, 
with Hedda 

We will come to 
Hedda presenth-. 

The power to take all 
these things for granted 
is only possessed by 
[)htlosophers, and young 
and artistic people un- 
der thirty. So you know 
now something of 
Stuart's age. P.ut you 
do not know that he 
had an exceeding whole- 
some, clean young body, 
curly black hair, too 
long — not because he 
wanted to look artistic 
but because it was less 
expensive so, and gay. 
clear blue eyes that met 
the world trustfully, 
.•ind branded him at 
once as a .son of that 
merry, simple, firey race 
who still 
fairies. 

It was 
had nick 
'i'addie," 
strain in 



b e 1 i e \' c 

Hedda who 
named him 
for Ibis same 
him. an<l as 



At the third sitting she 
told Stuart he was a 
great artist and wast- 
ing his time In prosaic 
and stolid America 



under the exceeding sloping roof 
of a brick dwelling thai was old 
when Washington stood on the 
steps of the City Hall, two miles 
away, and took command of his 
army. The plumbing was not of 
the most modern, to speak euphuistically, and in winter there 
was no getting away from the fact that the attic let in as 
much cold as in summer it let in the sun. But Stuart took 
these things for granted. He took il for granted that he 
shotdd often not have enough in hi" pocket to satisfy his 
healthv \rniiii7 .ipprlile, and llial at times he should frnsi 



I'addie the whole Quar- 
ter knew hint, and loved 
him for his sins and his 
virtues and the light 
that came into his Irish 
eyes when the moon lay 
over the .\rch. or the 
sun was like copper 
upon the old Italian 
beggar woman's shawl 
Hedda was the other occupant of the attic lloor. Site was 
very small anfl incredibly slender and flower-dainly, and she 
was going to be a great singer by and by. She was going 
to wear Marguerite's grey robe, and sit spinning in a painted 
orchard at the Metropolitan and the whole world «as to be 
at her small feet, which —to tell the truth were very shabbily 
shod at present, with a great palih over one >ilim instep, but 
that is a mere detail. 

She was singing the role now, perche<l on the rickety old 
bureau Ml .'^tiiarl'-i --tudid. while old Iv.tu, ibe cello pl.Tvev 

(!■■•; hi) 



_l ASSIC 



(In-u- ll>r i.liui(l> nf the Jewel ^I'li'' fruiii lii> l)uw, and 
Stuart's brush fairly ilaneed over his e<mvas lo the gu>h of 
silvery song. When the last of tlieni winged into silence he 
flung down his brush, laughing. 

"S'ou sing thai, lledda.'' he taxed her, "al)solutel\ shanie- 
les'^ly ! You sing it tircciiily — as if you reall> did long for 
iliamonds and rubies and |)earls!" 

.She flushed. laughed lazily, not quite meeting his eyes. 
"Moi, je suis artiste, Monsieur!" she defended herself, "an 
artist must be able to pretend all the feelings in the world!" 

"No. You are wrong," Ivan said suddenly from his cor 
ner, >peaking crossly as he always did. " .\n .-irtist must have 
/('// all the feelings in the world." 

"W'cjuld you liave Hedda turn murderer, then, (jr go mail 
in order lo sing Lucia?" asked Stuart, indignantly. "Must 
the poor girl break her heart for love, be rent with the pangs 
of jealousy, tattered with revenge, poisoned with hate ? \on- 
sense. Ivan— look at the way Hedda just sung 'ni belle, ni 
demoiselle'— she couldn't have put more heart-break into it 
if she'd been head-over-heels in love!" 

The old cello player looked ileliberately at the girl, perched 
on the bureau. Stuart's broad, uncon.scious back was toward 
them and he did not see the confessing crimson sweep the 
delicate hollows of her beauty under the hard, searching old 
eyes that seemed to say to her, "You da know " Wm could 
not sing that way if you did not know love." 

There was a piteous entreaty in the look she cast at him. 
and he only said, dryly, "Humph!" and fell to scraping at 
his instrument. .An old man, Ivan, with the juices of life 
dried out of him fill he seemed to rustle like a dried mullen 
stalk when he moved. He lived in a tin> room below the 
attic floor, played in an orchestra of a motion picture house, 
and what he thought, no one had ever been able to discover, 
but he watclied over the two young people on the top floor 
zealously, and they accepted him as one of the n,-ilural facts 
of the world without cpiestion. 

Hedda sprang down from her bureau and samnered .o\er ti 
the easel, and then she gave a little cry. "Oh, 
F'addie !" she gasped, "Oh, Paddie, it's beautiful! 
I'm afraid you're going to get There first." 

There was. of course. Success. Hut Sluari, 
lifting the canvas from tlie easel to the light, tried 
t(j look doubtfid and critical, instead of proud. 
1 1 was a very crude little sketch— a corner of 
;m old Dutch garden with splashy hollyhock.^ ant 
larksi)ur. and a 
girl rocking a 
wooden cradle, 
the sun across 
her quaint white 
head-gear and 
her nuising face, 
but it was done 
ideally, with a 
britsli dipped 
into dreams. 
" 1 ' r e 1 1 y poor 



At the fourth sit- 
ting she suggest- 
ed, quite casually, 
that he should go 
• to Paris 



>liil1." lie guidged U. shaking lli^ head, "the laic isn I b.n; 
tlio. 1 ought to chuck trying to |)aint veal pictures and gn in 
for portraits- pretty ladies with diamond tiaras on, or ma :;i 
zine covers — " 

"The very idea!" cried Hedda, shocked by such profanaliov. 
"vou wait, you just wait ! Some day somebody will di.fcovci 
von, I'addie. and they'll hang you in the Metropolitan and 
they'll write books about you, and I shall be so ptoud U) re 
memlier that I used to know you — " 

"Vsed to:" Stuart iiujuired. "What's the big idea? .\rt 
you going to cut my acquaintance as soon as I get success- 
ful? I'ecanse if that's the way you feel about it, I'm jusi 
not gtiing to be at home w hen Fame comes knocking !" 

.'\nd at that moniein Fame came knocking. The man \\\v 
stood on the threshold was very much out of place there 
He was all shiny broadcloth, and patent leather shoes, and 
silk hat, what of him was not pink flesh and pomaded 
black hair and smallish, knowing eyes. He had the ettec 
of making the whole attic look rather wretched and shabb\ . 
Instead of romantic. Stuart Grant did n<jt like the w;'\ In 
glanced from him to Hedda either. It made him feel i . ■ 
all over, he did not know just why. 

"Miss l.)ana?" the man asked- .Siuart fell .111 inqiuKe 
knock him over for the way he 
said Hedda's name. "Hm I I'm 
Leroy Clemons. Maybe you've 
heard of me, eh? .Manager of 
the b'rivols! Somebody ti|)ped 
nic off you ccjuld sing, eli ?" 







(t'orlj) una) 



MOTION I'ICTURE 



■' .'» n m m mmttummitimf!' 




Stuart gripped his brush fiercely and painted 
with set jaw for many moments, quite ruining 
the canvas, and trying not to hsten to Hedda's 
silver voice parading itself in the little room 
across the hall for Lcroy Clemon|. For he too 
had heard of demons, knew that he was a 
Power in the musical world, albeit it was in light 
shows in which a slim ankle was as neces- 
sary a qualification as a voice, knew that 
if he decided to take up Hedda and ex- 
ploit her she woidd not have to live in gar- 
rets any longer — 

"Danm! Oh damn!" he burst out suddenly, 
and flung his brush in a splotch of ochre upon 
the floor. "I thought — I wanted — " 

Old Ivan, forgotten till now, crept out of his 
corner, thrusting his dry old face close. "You 
thought you Were in love with her?" he asked. 
"You wanted to marry her perhaps?" 

Stuart Grant stared at him w-onderingly. 
"Why," he stammered, "I — believe — I believe to 
my soul that's exactly what I did want, tho 
I never realized it I" 

l.ose Hedda? Xot hear her voice (that was 
like a flute in the sunshine ) calling at his door, 
not have a little yellow-shabby room with 
sausages sizzling to turn to in the mornings — 
Preposterous. Why she was a part of Life — 
she was a iiart of liim. 

B.ut old Ivan was jiersistent. "You haven't 
told her?" there was an.xiety in his parchment 
face. .Actually, thought .Stuart resentfully, he 
was afraid he would marry Hedda ! It coiddn't 
he jealousy — what could it be? He was soon to 
learn. \~ov in the uninflectional voice of sixty 
old Ivan proceeded to tell him what marriage 
would mean to Hedda — for "I'm not denying," 
said he, "that she'd marry you. Women are all. 
fools!" — he painted the future before her, the 
wonderful opportunities, the success waiting for 
her. He made Stuart .see her apjilauded, beau- 
tiful surro\mded with the luxury that was her 
due, a great singer with the world for her au- 
dience — Italy, Paris, England — and as against 
that brilliant picture he made him see the re- 
verse side of the canvas, the dinginess of life 
as the wife of a struggling painter, living al- 
ways among the poor, tawdry makeshifts that 
would not seem funny or romantic as they grew 
older. 

"Do you dare to tie a woman like that to 
vour poverty — to wash your chipped crocker\ 
for you and cook your squalid meals? What 
chance would Love have to live in such an at- 
mosphere? You would see her look growing 
hard, and turning to indifi^erence and then scorn, 
and then — hate! I know. Oh, yes," and he 
laughed cacklingly, "I know !" 

Stuart Grant was stricken dumb. It was as 
iho he saw himself and his garret and the 
I'uture in new guise. His eyes were dark with 
I he bitterness of looking on their stark naked- 
ness. He spoke slowly, because he did not want 
to cry. "I — see. I'm a failure, and failures 
nuistn't marry. It's perfectly simple. Oh, 
i|uite." 

Old Ivan was pitiless; he finally extracted a 
promise from Stuart that he would not tell 
Hedda that he loved her — "if he could help it." 
When she came in, trcnudous with the great news 
ihat Leroy Clemens had actually offered her 
a part in his new musical 
show, she was puzzled and 
a trifle hurt at Stuart's 
silence. "Of course," she 

(FortytwoJ 



•It is I, Hedda," 
Stuart whispered 



CLASSIC 




said apologetically, "I know it 
isn't much, but it's a beginning, 
Padflie ! And everyone has to 
begin." 

"You'll be getting your dia- 
monds and rubies and pearls af- 
ter all," he laughed, but the sound 
hurt her edgily ; "well, this re- 
quires celebration I How about 
:i party at Joe's tonight, with the 
gang all there ? And perhaps we 

can persuade Joe to forget about prohiliUion for once, beef- 
steak, too !" He was reckless, tho she guessed that his 
uatch would be missing the next day. His gaiety rang 
hollow like a drum, but slie was a good sport, was Hedda. 
She fastened a smile before her hurt, donned the Pierrette 
guise of mockery and went to his party, star-eyed. 

It was a very gay party indeed. Perhaps the contents of 
the tea cups that Joe kept filled was partly responsible. All 
of the guests were young, and shabby. Some of them 
laughed because they were happy, some of them because 
they were sad. The whitewash of the dingy rooms flared 
with fantastic shadows, toasting a shadow ladv who sat upon 
a dais at the head of the long bare tables. Stuart, seeing 
them, was seized with an idea. He leaped from his seat to 
the fireplace and found a char of wood. With this he began 
to sketch roughly upon the wall where Hedda's pure profile 
was cut in shadow like a cameo. 

He was so engrossed that he didn't notice that their se- 
clusion had been invaded by a squad of "trippers" doing the 
Village, uptown women with crisp, carefully dressed hair 
and fragile draperies, who stared at the feasters, and whispered 
together and laughed stridently. Vroni the table on the bal- 
cony where they sat one of these women could look down 
upon Stuart, at his fantastic work Gracia Trask was one 
of those women in the twilight zone of society. She had been, 
a trifle too much married for entire — well, respectability, and 
yet she had enough money, almost, to cover all her sins, and 
she was undeniably lovely in a finished and calculated fashion. 
The men of society liked Mrs. Trask, the women sniffed at 
her, avoided her — and invited her to their big affairs. 

She had been good for a long time, nearly eleven months 
to be exact, and she was horribly bored. Women of her type 
cannot live without the appcrtif of love-making. She saw 

(FoTtythree) 



Stuart Grant as .soon as she entered "H«dd», you shall 

the room, and under her .shaven brows *"** j^"""" J.*,**'' 

her eyes watched him with a glint in * 

them as a tiger watches his victim 
before he springs. 

Joe touched the artist on the shoulder, apologetically. "Ze 
lady would spik to Monsieur — ze one with ze so-red hair — " 

Gracia Trask smiled charmingly up into Stuart's politely 
questioning face. "I suppose you think I am mad !" she said, 
"but I am so much interested with the picture you have just 
made! It is really wonderful — I wonder — " she leaned 
forward, holding his eyes with hers, which w^ere green and 
gold, like topaz — "I wonder whether you wouldn't paint my 
portrait. I'm frightfully vain, you know — and I want an ar- 
tist who can make me perfectly beautiful!" 

Stuart opened his lips to refuse, as his Artist Soul bade 
him. then hesitated. He thought of Hedda. He thought 
of Ivan, and he laughed out, harshly. What did it matter 
what he painted — who was there to care? "I shall be glad 
to paint you, Madame," he bowed. 

And so Hedda .sang her role, and Stuart, in the pale putty- 
and-grey apartment, smothery with patchouli, sickly with 
mauve draperies, painted Gracia Trask's beautiful bare bosom, 
and insinuating smile, and old Ivan scraped at his cello in 
the motion i)icturc house. And the world wagged unfeel- 
ingly on. 

.\t the first sitting Mrs. Trask was disarmingly girlish and 
confiding. At the second she discovered, without a word from 
Stuart, all about Hedda and was more alluring and charming 
than was quite fair. .\t the third sitting she told Stuart that 
he was a great artist, and wasting his time in prosaic and 
stolid America. "You should be in belle Paris; ah, that is 
(Coiiliuucd on page 70) 



^;*i-.x'.-'-t ■■.(' 







)B Theodore Roberts 



By EMMA LINDSAY-SQUIER 



I mentally tore up the outline and went out with 
him into the back yard. How can one talk art to a 
man who wont wear a collar and who looks like a 
sea-captain on shore leave .'' 

"I'm just getting the yard fixed up," he told me, 
pointing out the Japanese sunken garden, with trick 
bridges and weepmg willows and things. "I'm 
going to have .some kennels for my Airedales — I 
raise them, you know, as a hobby — and over here 
will be an aviary for my prize pigeons and tame sea- 
gulls — birds are a hobby with me, too — and over 
there will be a concrete swimming pool where Mrs. 
Roberts and I can take a daily plunge." 

"Is that a hobby, too?" I broke in, facetiously, 
but he answered, in all seriousness, "Indeed, it is. 
I need rigorous exercise to keep me in trim for my 
work at the studio." 

Since he had mentioned studio, I felt that it 
wouldn't be inapropos to say something about pic- 
tures, so I told him that he was reported to hold 
the championship in the movie world for versatility 
and for having more roles to his credit than any 
other actor on the screen. He nodded, rather ab- 
sent-mindedly, keeping an eye on the man who was 
hauling dirt from the swimming pool excavation. 

"Yes, I've played a great many roles, both in the 
legitimate and the movies," he acknowledged. "My 
stage, career commenced in 1880, and I played 
everything from Shylock to Simon Legree, and ran 
the gamut of dramatic characterizations from .Sven 



Theodore Roberti be- 

fan hli ttige career In 
B80 md he pUy^d 
everythina; from Sny- 
' ■ Sir 



lock to Simon Legree, 

from Svengtli to Ring 

Lear. Five yeari ago 

he went into picture! 



IHAO intended to 
talk to Theodore 
Roberts about pic- 
tures exclusively. 
They told me at the 
Lasky studio that he 
had more roles to his 
credit than any other 
actor on the screen, 

besides a multitude of Thespiati interpretations 
given in his forty years on the legitimate and 
vaudeville stages. So, as I walked up the hill 
that leads to his Hollywood castle, I planned a 
perfectly splendid conversational outline, com- 
mencing with how did he like motion pictures 
and ending with what did he think of the future 
of the cinema. 

But — you know about the best laid plans of 
mice and interviewers. As I waited in the cool 
dimness of a Jacobean period library, I heard 
his wife calling to him in the back yard. Then 
I heard her say something about putting on a 
collar, and there was a murmur of conversation 
I couldn't catch. And when he came in to greet 
me, he didn't have a collar on, and I could nave 
hugged him. He didn't even apologize for it, 
ju'l said that he was busy working in the yard, 
and wouldn't I like to rnme nut and see his 
animals and his trees. 




rPnTt^-fmit) 



Man of a Thousand Roles - 
and Hobbies 



({all and King l.ear tu lighter loles sikIi as 
the County Chairman in the play of that iiaine 
and FalstafF in "The Merry Wives of Wind- 
sor." Then I toured the country in my own 
vaudeville sketch and, five years ago, went into 
pictures. Since then I've averaged one role a 
month, sometimes more, so you can figure out 
how many parts that is — -and that will he 
enough shop talk, wont it?" He broke off 
abruptly, turning his keen, humorous grey 
eyes on me, 

I said it would, because I did want to see 
his Airedale dogs, which were woofing at the 
top of their lungs to attract his attention, and 
his lame sea-gulls, which were with the pigeons 
in the flying pen, screaming to the high 
heavens that they wanted food immediately if 
not sooner. So we inspected the kennels, and 
I was sniffed at by "Boy Seoul" and "Friar 
Tuck," and had my face licked affectionately 
by "Lady." Then we went over to the flying 
pens, where his prize pigeons, enormous 
Runts, were strutting and cooing, and the 
tame sea-gulls, "Pete" and "Repeat," flew on 
his shoulders and hands. 

"I'm particularly fond of sea-gulls," Mr. 
Roberts told me, as "Pete" snapped at his 
meerschaum cigar-holder. "You know, it is 
practically impossible to tame them, but I got 
these fellows when they were just fledglings 





Roberts ralie* Aire- 
dalei ai ■ hobby. He 
keepi an avUry of 



prUe pigaoni and tame 
iea-(uUi. He palnta, 
drawa and "aculpa," 
collects paintings and 
furniture — and acu, of 
courst, in odd mo- 
menti 



It was on the Santa Cruz 
Islands, where the Cecil 
De Mille company was 
making the shipwreck 
scenes for 'Male and Fe- 
male.' I took the part of 
Lord Loam, and one of the 
carpenters brought me 
these birds, just hatched. 
We all took a hand at 
raising them, and when we left the islands, I brought 
them back with me. When the aviary is finished 
they'll have a miniature lake to swim around in — it's 
a hobby of mine to provide natural surroundings as 
nearly as possible (or all my pets." 

"How aid you enjoy the strenuous scenes in 'Male 
and Female' ? I asked. When we sat down — on a saw- 
horse — to watch the pigeons. 

"They were — well, interesting," affirmed the veteran 
character actor. "The days on the island were strenu- 
ous ones. I was dressed in pajamas and it never oc- 
curred to me that I would suffer from sunburn, but 
my ankles were exposed, and they were fairly baked 
in two days. I had to hobble around on improvised 
crutches except when I was working in the picture. 

"The role I like best ?" he echoed, in response to my 
question. "Oh, that's hard to say. I rather enjoyed 
Wealth in Everywoman,' but for real artistic value, I 
liked the part of the old rounder in 'Old Wives for 
New' — you remember, the old fellow who is shot by 
{Continued on page 74) 



(Forty-five) 



Among the 
Footlight 
Favorites 



Photograph by Abbt 




Above, ina Claire, who has just scored a 
hit in David Belasco's production of the 
comedy of chorus girl life, "The Gold 
Diggers." Miss Claire will be seen all 
season at the Lyceum Theater 

Right. Donald Brian, Peggy Wood and 

Roland Young in the pleasant comedy 

with music, Buddies," at the Selwyn 

Theater 



(Fortytix) 



John Charles Thomas and 
Wilda Bennett have the lead- 
ing roles in the Fritz Kreisler 
operetta, "Apple Blossoms," 
now current at the Globe 
Theater 




Lenore Ulrich and Edmond 
Lowe in the picturesque 
Chinese drama, "The Son- 
Daughter," which David Be- 
lasco is presenting at the 
Belasco Theater 



Photograph by White 



(Forty-seven) 




Above, Lucy Cotton and 
Wvndham Standlni in "The 
Miracle of Love"; right, Tom 
Moore in "Toby*! Bow", be- 
low, Lon' Cheney and Seena. 
Owen in "Victory" 




The Celluloid Critic 

The Newest Photoplays in Review ; 



BY all odds the most significant photoplay of our screen month wj 
David Wark Griffith's "The Clreat Question," (First National 
Not because it is a good screen drama. It isn't. But it has 
tremendous idea buried beneath its melodrama. 

A wave of interest in spiritualism has been sweeping the world sini 
the days of the great war. Does after life exist? Can dear on( 
across the Great Beyond exert an influence over earthly destiniefj 
What is the answer to the eternal problem of death ? Griffith had a 
these questions in mind when he started to screen "The Grei' 
Question." ' 

Then something happened. The exhibitor — that monster reared I 
producers themselves — stood menacingly upon the horizon. Wou! 
the exhibitor accept a stern and grim drama dealing with death and tl 
spirit world? We can imagine Griffith meditating — and then givif 
way to the exhibitor and his beloved melodrama. 

So the vital theme of "The Great Questioi 
was carefully buried beneath "action" at 
"punch." It became the story of a little wa 
in the hands of a murderously brutal farmi 
couple, her love for a neighboring boy and tl 
subsequent finding of oil — with its attendai 
avalanche of wealth. The whole is gild( 
with the philosophy that a simple faith mee 
and overcomes all obstacles. 

Griffith came nearer giving the world ai 
other "Broken Blossoms" in "The Great Que 
tion" than in anything he has done since thi 
epic of Limehouse. "The Great Questior 
might easily have been a notable contributic 
to screen thought. There is one big seen 
where the .spirit of a young sailor, lost from 
submarine, comes home to his aged parents. 
Lillian Gish and Bobbie Harron are tl 
bucolic lovers, but the best work is done 
Eugenie Besserer as the bereaved mother ar 
Tom Wilson as a lazy negro servitor. 

Technically, Erich Von Stroheim's phot( 
drama, "Blind Husbands," (Universal), is 
flashing thing — but it lacks soul and spir 
Von Stroheim will 
remembered as t' 
Hun villain of 
number of wartin 
films. "Blind Hu 
bands," his own sto 
produced by himse 
relates the triangle 
three people in 
snow-capped Alps ; 
self-absorbed Amei 
can doctor, his heai 
lonely young w i : 
and a young Au,strii 
officer on sick leav 
The dashing Austrii 
tries all his Cont 
nental wiles upon tl 
American girl, but ' 
finally meets retrib 
tion in a fall dow 
the snowy precipic 
of the Alps. Vc 
Stroheim has told h 
story with remarkab 
directorial dexterity- 
but, in the end, it 
just an adroitly pr 
sented silvershef 
melodrama. V' 




tl 



(Forty-eight) 



\ 



By 
iEDERICK JAMES SMITH 

JrawliiK by NORMAN JACOBSfiN 



.•inylliiiiK Imt 



ilicim's rlinraclers !M slinn 
ju' bi'ealh of realism, despite 

(rcniail<al)le superficial excel- 
:e of his (lireotidti. He has, 
B instance, attained his Alpine 
'Cts in striUinj; fashion. 
F.verywotnan," ( I\Traniount- 
craft), turned out to be 
en reels nf pa])ier-niachc 
titiides. Huilt upon Walter 
iwne's inffcnions and ingenu- 
^iiorality drama depicting 
adventures of iuerywoman 
her search for Love, accom- 
lied by Youth, Beauty and 
idcsty, "ICverywoman" was a 
y to a])|)eal to the guileless, 
iwbeit, it possessed a certain 
llflll turn of simple philo- 
ihic dialog. 'I'hese merits are 
gely lost on the screen and 
verywoman" becomes cjbvious 
ff; i.e. a conventional story 
fering only in that the chaf- 
ers bear such names as \'icc. 
eallli, I'assion, and .so on. We 
not look upon (icorge Mel- 
•d's direction as particularly 
pircd anywhere. \or do we rale the actm 
'diocre. "l'",very woman" drags fearfully. 
'Toby's I'ovv," ((ioldwyn), has a certain ]ileasant warmth 
it, altho it is conventional plus as to story. John 'Tainlor 
lote's successful novelist hero, Tom I'lake, goes incognito as 
boarder to a jioor but proud Southern family, help.s the 
stty daughter write a jiopular novel and — presto! — love and 
ppiness come upon tliem. Toby is the old negro .servant 
lose family bow is finally won by young Blake. We like 
ini Moore belter in "Toby's Bow'' than in any vehicle he ha.s 
t had, despite the trite direction. It is an ingratiating bit 
work. 

That rare cliaracter comedian. Will Rogers, is advancing 
ith tiemendous strides. Rogers is going to be one of the 
eat favorites of the screen, or we miss our guess. In 
ubilo." ((ioldwyn), Rogers is a lazy, roving hobo who 
counters a rancher's pretty daughter and reforms, slowly, 
y n 1 u 1 1 y , but com- 
etcly. Rogers is Jubijo 

the life, no mere <»_r 

feen idol niasiiuerad- TUfc 

g ill torn breeches, hut 

wanderer of homely liumanncss. .Moreover, the i)erform- 
ice is rife with a splendid sincerity. Josie .Sedgwick lends 
1st the right note to the girl. 

Despite its episodic nature, "\ Day's I'leasure," ( I'irst 
ntional), gave us i)lenty of Chaplinesciue amusement. This 
3US from tlie comedian's studio depicts the experiences of 
If. and Mrs, Charlie and Charlie, Jr., upon an excursion boat 
id in a I'ord. The bufToonery upon seasickness rather de- 
ressed us, but Charlie's combat with a folding steamer chair 
id the encounter of the flivver with the load of tar are classic 
ts. ".\ Day's Pleasure" is far better than ".Sunnyside," but 
liles behind that comic masterpiece, "Shoulder Arms." 
"Victory," (Paramount), Maurice Tourneur's silvershect 
iaplation ni Josejih Conrad's vibrant story of the .South Seas. 
a series of beautifully photographed scenes of unusual 
tmospherc in themselves. But the fabric as a whole is 
ot Conrad. The ]iower. the color and the lure arc all 
lissiiig. Mr. Tourneur has shifted the story about, 
I C'liitiiincil nil f'flijc 04) 







Above. Marguerite 
Clark and Charles Mer- 
edith in "Luck in 
Pawn"; and, left. Nor- 
man Jacobsen's con- 
ception of Mary Pick- 
ford in "Heart o' the 
Hills" 




fiiM^ 



The Daring O'DareP 



Peggy O'Dare is making the step from 
screen farces to thrills in Universal's serial, 
"The Thirteenth Hour," in which Eddie 
Polo stars. Miss O'Dare is Danish, altho 
born on Staten Island. She is a daring 
diver and swimmer, an expert on snowshoes 
and skis and an enthusiastic motorist-^ill 
important histrionic requirements for serials 




(Fifty) 




By FAITH SERVICE 



is a tale of passions and despairs, of hates and loves, of 
ranquillities and distortions, of men . . . and women . . . 
ind life . . . and death . . . 

t might not have happened, that is, just as it did, if Dimitrl 
rinofT had not had rebellious blood in his veins, adven- 
ings in his bones and love and knowledge of books in his 
in, so that, after his wife died and his life in the small 
ssian village dwindled to scant proportions of interest, he 
larted for Am- 
:a to seek work 
3ng the books 
' loved. He left 
|iind him his 
iill daughter, 
lia, very small 
the time, with 
nense eyes, un- 
ipt hair and 

stuflf of her 
ler's blood and 
le transmitted 
lier own. The 

e of books 

ne was not 
re. On the vil- 

ffifty-one) 



"ON WITH THE DANCE" 
Fictionized by permission from the scenario of Ouida Bergere, based on the 
play of Michael Morton. Produced by Paramount-Artcraft, starring Mae 
Murray. Directed by George Fitzmaurice. The cast: 

Sonia VarinofT Mae Murray 

Peter Derw.ynt David Powell 

Lady Joan Tremely n Alma Tell 

Schuyler Van Vechtan John E. Miltern 

Jimmie Sutherland Robert Schable 

Countess of Raystone Ida Waterman 



lage streets her small feet twinkled to more rapid melodies. 

There were strains of music in her head, wanton and wild and 

rather marvelous. 
Her father's going meant nothing to her at the time of his 

departure. At the time, the village and its adulation were 

sufficient. Later she reached out for wider horizons and 

she followed her father to America. 

Schuyler Van Vechtan, to whose extensive and ex- 
quisite library 
Dmitri Varinof f 
was reverential 
apostle, was one of 
the last of an old 
order. He iiad 
traditions in his 
soul. He had be- 
liefs. Lurkingly, 
but very convinc- 
ingly, he had ideals. 
An ideal. That he 
had gone for forty 
years with lost 
dreams seeking 
harbors and eager 
ideals laid away in 



M01I0N HICl 



reminiscent lavender did not, somelinw. rust away the belief 
still straight and shining somewhere in the ungrown-up depths 
of him. His aristocracy was in his long, sensitized hands, 
too, and in his voice with certain modulations, time-mellowed. 

The day Sonia Varinoff came into his study, tucked oddly 
away on the tiptop of one of the many skyscrapers his business 
ingenuity had placed in his possession, something happened to 
him. 

It was just at twilight. Dmitri was copying something or 
other under one of the tall windows, hung in sullen red. 
Schuyler was meditating as to where he should dine, and with 
whom. It occurred to him that he was lonely. Often he had 
thought so before, but this evening, in this particular twilight, 
tinted mauve, it came to him with something of sick oppres- 
sion. It seemed curious to him that al this time .Sonia should 
make her vivid entrance into his study at the top of the world, 
into his life . . . 

Of course, he saw at once, while she stood talking to her 
father, with many gestures and nnich play of very potent 
hands, that she was not in keeping with the old Van N'ecluan 
order of things, but he knew that old orders have nothing to 
do with a man when a wcjman comes into the twilight of his 
life, lighting it . . . 

Here was a per.sonality. He knew that. It nnistn't get 
mi.\ed up with the flotsam and jetsam, tict confused, the 
brilliant edges rubbed away with contacts, unnecessary con- 
tacts. 

He had a long talk with Dmitri after she had gone into a 

small guest chamber he kept reserved for the very occasional 

and very favored passer-by, and loUl the old man to keep her 

there, to encourage her to study her music, to give 

her opportunities, at his expense. 

Dmitri Varinoff was a canny old man ; books had 
made him so. He had polished his wits to a pow- 
dery fineness by much bibliophiling. He knew that 



( 



the satyr was nonexistent in Schuyler Van Vechtan. Me 
a seeker of fine things, of rare things; he was an ejiicur 
personalities. It was clear that he had seen something p 
table in his little girl. .\nd old Dmitri fell very glad. 

There was one disturbed (lerson when the new arranges 
was made clear. That person was Peter Derwynt, secret 
to Van Vechtan and chief high a<lviscr in all business tri 
actions and the like of that. He was largely disturbed beci 
Van Vechtan informed him that he was lo be Sonia's prac'l 
guardian and general adviser and conductor. 

"You know, Peter," Van Vechtan e.\]ilained, late into 
following night, "the girl has some sort of a tremendou 
Of that I am quite certain. .She has the touch seldom felt 
want her to see the life of New York, the artistic life, 
night life. 1 want her to see it safely and sanely. I havi 
the time. You have, or you can make it. Logically, you. 
Sonia's guardian." 

Peter remained unenlhusiastic. What Van Vechtan 
had a habit of being done, and he supposed the personal f 
veillance of this Russian person would be done, too, but he' 
utterly cool to it all. lie thought perhaps he had better 
\'an Vechtan a few things. He didn't want the good old c 
to think him a clam, but continued escorting of a young S 
sian person, not to .say i)ersonality, doubtless entailed s( 
outlay of something or other not precisely compatible \ 
lo\e. deep and rather difficult, for another person. 

"I think you ought to know," he found himself saying, w 
the smoke of their two cigars made grey fantasies around 
somber red hangings. "I'm in love, you know; have been 
a great while, with Lady Joan Tremelyn. We met in Lon 
two years ago. It's been going on ever since. It — it will 
tinue to go on. It's — it's like that with both of us. 
mother, of course — her mother has plans. You know the k 
There mu,st be money. They have the title — it needs si 

backing. They've 

come over, she and 

mother, and the Coi 

ess is angling 

Jimmie Sutherla 

You know Sutl 

land. Youd 

know L( 

Joan. If 



He got Sonia a music 
master and, every twi- 
light, with her father, 
listened to her play, 
was critical, helpful, 
advisory, as he felt and 
thought 




I 



(Fifty-two)\ 



SSIC 

Van Vechtan" — the young man's voice rough- 
1 — "if you did," he said, "you"d see — the hell 

I" 

an Vechtan saw the dream of it and the truth 

he dream. He liked to help that sort of thing 

ig. There had been love in young Derwynt's 

e and a pain his own heart made quick answer 
He had known heartbreak like that once, 

[ ago. It made him sensitive for Peter. 

Help me with .Sonia, like a good fellow," he 

A-ered, "and I'll fi.x it uj) .so that you draw up 

plans for the new terminal. If you do and 
go thru, you ought to be able to run a 

:ty fair competition even with the lobster- 
James .Sutherland " 

'eter was quite human and very much 

ised and hurt over his enforced aloofness 

n Joan, whom he loved, where 

! springs, deepest, sweetest. He 
human enough to be rather 

ligle when, introduced to Sonia 
next day, she grasped his 

d in two very warm and pal 

.ting palms and cried out 

i-h-h, what a very pretty 

i!" 

t was a fool remark, of 

rse. Peter blushed un- 

ifortably and thought that. 

t like a foreigner, a Rus- 

1 . . . Joan would abhor 

hing like that . . . still 
. the warm pressure of 

se eager |)alnis and the rich 

•m note in that young voice . . . 
was awfully lonely . . . 

n so far remote . . . and it was 
fng \ an Vechtan a favor. Peter 
lUld have gone to almost any 
llfths for Van Vechtan. He felt, 

him, an almost desperate a 
lance. There was something in 
n Vechtan one could fasten onto, 
e firm hold of, know. 
Ae got Sonia a music master and, 
ry twilight, with her father, lis- 
■ed to her play, was critical, help- 
, advisory, as he felt and thought, 
lia, he grew to know, was still con- 
erably the child who, in bright 
Ms and outlandish hair, had 
iced on the streets of her native 
age. There were in her the mixed 
Tedients of the gamin and the 
gedienne, the sated woman and 
: grasping child. 

rie didn't love Sonia. All the love 
it it was possible for him to know 
i gone, irrevocably, to Joan, but 
i was a vivid interest. She 
rmed him and quickened him, 
1, later on, she loved him. 
Van Vechtan told him this. "You 
DW, I suppose," he said, one tvvi- 
!it~ -Van Vechtan always 
Me to speak of intimate 
•t of things in the twi- 
ht — "you know, I sup- 
le, Peter, that Sonia has 
He to love you." 
Pete 
Sn af 

Ih nic there's nobody but Joan. 
"I'm sorry for Sonia," was all that Van Vechtan said. Peter 
ted that, in the twilight, in this i)articular twilight, Van 

( Fiflii-tlirer) 




er was essentially straightforward and simple. "I 
if raid so," he said. He added, "Of course, as you 1 



have 

know, 



Vechtan looked weary and drawn. 
Behind the careful screening of 
his asceticism stared for an in- 
stant, odd, desperate, bafiled sort 
of dreams . . . 

Quite .soon after all this old 



Peter created a acene, 
juatiliably enough, and 
only Sonia'i really des- 
perate pleading laved 
the studio from being 
the scene of God knows 
what a horror 



MOTION PICTUR^ c 




The maid helped him 
and he made her com- 
fortable. He eased her 
tired body and her tired 
soul and quelled the 
sorry fluttering of her 
heart 



Dmitri was killed crossing a street 
before the traffic was halted. He 
had come unexpectedly across a 
rare edition and, in his eagerness to 
bear it back to tht tower rooms, 
met his death. He looked quite 
peaceful when they brought him 
in, the rare edition still fast in his 
stiffened arm. It was, Van Vechtan told the sobbing, dis- 
traught Sonia, a wonderful moment for him to meet his death, 
exultant as he must have been, momentarily fulfilled. "All his 
blood," said Van Vechtan, with a wonderful tenderness in his 
manner, "had gone into his care and seeking of books. He is 
quite happy and at rest, I know. Dont be sorry, my child." 

Joan was sorry, too. Prior to Dmitri's dfeath Sonia had 
been something of a thorn in her flesh, on the infrequent 
occasions of her having tea in the tower with the little group. 
It had seemed to her almost like waving a red flag — this Sonia 
so near to Peter. Sonia's love of litm, too, quite naturally 
tormented her. It was frank and unconcealed, and it was 
violently appealing. Joan knew that Peter loved her. She 
knew, too, however, that he was wearing him.self out with 
wanting her, with waiting, and there are so many infusions in 
the blood, so many complexities, so many shif tings . . . she 
had been afraid . . . 

After Dmitri's death her fear changed to a warmer feeling. 
sympathy. She couldn't feel otherwise. Sonia was a de-;- 



V 



.■V 



perate little figure, seductive even in her darkened draperie 
with the shadows under her wonderful eyes and the disarraj 
of her entangling hair. 

It wasn't very long after Dmitri's death that — well, it was^ t 
this way. Joan came to the tower quite unexpectedly one late^ 
afternoon. Somehow she had managed, at a last moment, to 
escape the machinations of her maternal parent and the in- 
sistencies of the pork-packing Jimmie Sutherland, .^he had' 
wanted, especially, to see Peter. It wasn't, she well knew, 
quite the thing. Still, what did "the thing" matter when an 
urge, beyond good and evil, got a grip? 

She went, almost blindly, to the tower rooms. 

It was immediately after Sonia's practice hour. She had 
been playing very wonderfully and getting up, in between bits, 
to execute or to better interpret with snatches of erotic 
dancing. She had felt very much in love with Peter. She felt, 
too, rather badly treated. She couldn't quite see Peter's point 
of view, or rather, lack of it. Of course, Joan was dear, 
lovely and goddess-like, but Peter — Peter and she were vital 
and living and near to each other. Sonia believed in proximity 
and the thoro reasonableness of the immediate hour. 

When Joan came in, quietly, to charmingly surprise a lonely 
Peter, she saw .Sonia on the arm of his chair, her bare arm 
about his non-resistant shoulders, her thick, arresting voice 
saying, "Dont you love me, Peter . . . just a little . . . just 
a little ..." 

J(>an waited, a shade, in the dim shadows. 

f Fiftif-foitr ) 



CLASSIC 



Peter said, "Ves, but " and Joan 

did not see that Sonia saw her there 
and swiftly stifled Peter's "but" with 
her hand. She saw, only, Sonia bend 
to him, touch his mouth with hers, 
lightly, then more closely, and seeing 
nothing more, blanclied, like a sorry 
ghost who has walked, forgotten, 
among the loved living, crept away. 

It was a long while after the Lady 
Joan's brilliant, immediate marriage 
to James Sutherland before Peter 
Derwynt saw her. and still longer be- 
fore he in any sense understood the 
hurt she had. with seeming ground- 
lessness, dealt him. 

In that interim, bereft and with the 
feeling of one left naked, exposed to 
biting winds, he turned to Sonia, tried 
in lose himself in her warm witch- 
eries, married her. 

It was like, he often thought, hav- 
ing been acolyte to some passionless 
lily, having worshiped the lily, 
having spilled the last chalice of 
his soul into the chaste cup and then, 
.nt length, turned utterly away, to seek 
and find — he admitted the finding — a 
riotous fragrance of consolation in 
some scarlet, delirious rose. 

.Sonia was like that to him . . . 
scarlet and delirious . . . but never, 
never in their most ultimate moments, 
was she Joan ... He knew that, 
and she knew it, too. 

Her knowing, her knowledge of it. 
had something to do with her mounting 
zest for dancing, for gowns and jewels 
and furs, the bedeckings of the town. 

Peter was unable to do these things 
for her. Schuyler Van \'echtan was, 
she thought, uninterested aside from 
the income he gave her, methodically 
and silent, from month to month. He 
seemed to her, more than ever of late, 
just a part of the twilight detached, 
cjuietly observant. 

Still, it was to Van Vechtan she 
fiwed her meeting with Jimmie .Suth- 
erland. 

Van Vechtan had dined one evening 
v\ith the Sutherlands. He had been touched by 
the stilled suffering on Joan's face. All at once 
the error of the whole thing assailed him. Peter, 
tormented, even tho deliriously, by .Sonia, not 
understanding her, not able to get the thread of 
her being, the thread of gold Van Vechtan knew 
to be there, ready for unraveling . . . and Joan, 
writhing under Sutherland's well-meant tender- 
nesses . . . bondages. Van Vechtan thought 
. . . only contacts, deliberate contacts could 
effect liberations. Van Vechtan believed in 
liberations. 

He gave a dinner party and bade the Sutherlands and the 
Derwynts to attend. There would be makings or breakings. 
Van Vechtan believed either one or the other to be preferable 
to this galling, this fettering, this outraging of sensibilities. 

Jimmie liked Sonia. He understood the part of her that was 
still the dancing village child, the part of her that wanted, now, 
the trappings of the city where the lights shone, gold and rose. 
Sonia liked Jimmie, too. He was another child to take hands 
with her and play . . . 

They took to meeting and dancing a great deal together. 
Sonia became confidential. She admitted to Jimmie that she 
and Peter had words over bills. She wished, she said, she 

(Fifty-five) 




could obviate all that. She ought to be Sonia in her boudoir 

able to. Something in her, sne felt, 
was going to waste . . . 

Jimmie suggested a plan, a humdinger, as he termed it. 
Sonia should dance. He could get her "in." She should 
appear en masque, create a mystery, as 'twere. Broadway, he 
said, ate mysteries alive and then hollered for more. Sonia, 
with her strange grace, her abandon, her paradoxical reserve, 
her mystic feet, could be a super-mystery. 

The suggestion suited Sonia. And Jimmie, time heavy on 
his hands, his wife cold to him, his lady love, Fay Desmond, 
(Continued on page 90) 








Jack's 

Leading 

Woman 



Clara Marie Horton ia Jack Pick- 
ford'i neweat leading woman. Sh* 
la playing with him in "The Little 
Shepherd of Kingdom Come." 
This is really Miaa Horton'a fourth 
rdle oppoiite the youngeat of the 
Pickford family. She wai with 
Jack in "Tom Sawyer," "The Fur- 
ther Adventurea of Tom Sawyer" 
and "In Wrong." Clara, bv the 
way, ia a Brooklyn girl 



(Fifty-*H:) 







**- 



w 



Jne appeal a^ Leauiy 

HAT person lives who is not attracted 
by beauty— beauty of face, beauty of 
voice, beauty of complexion ? 



Not all can have beautiful features, nor can all have beautiful voices, 

but a beautiful complexion depends largely upon the care that is given to it. 

Don't neglect those ugly little blemishes, that excessive oiliness, those 
enlarged pores. Resinol Soap contains just the necessary requisites to aid in 
overcoming these defects. It is pure, mila and cleansing, 

Compounded with the greatest care, it cannot harm the most delicate 
skin, yet it usually gets right at the root of the compcxion trouble, and aids in 
obtaining the desired beauty of skin. 

Resinol Soap for the hair helps to give it 
luster, and to promote the health of the scalp. 




ResinQlSoap 



lWMIiinilliP'>i>"li»lii«HHII1ililliillll»l:/i 



RESINOL SHAVING STICK gives lo 
men a real pleasure in ihe daily shave 

=ia ^| ....h. Ji | ...,im. | i . 

''■II" fc' '■' 



( Fiftyteven) 




Taking Paynes 



Here are two piquant glimpsei of Mar- 
jorie Payne, one of the features of the 
Christie screen comedy forces, at home 
and — er — abroad. Miss Payne's optically 
pleasing fireside friend in the above pic- 
ture is Lillian Bison. At the right is a 
view of Miss Payne after what her press 
agent terms "a strenuous day in the 
open." Note the ducks after you con- 
chide looking at Miss Payne 



(Fifty-eight) 



Ca fuv simple rules that bring Xbveliness 



Occasionally you meet girls who are beautiful without effort; but 
most lovely people are lovely because they know the rules. Here 
are a few simple ones, approved by skin specialists, which every 
woman would do well to follow. 




DO you want to know why your skin is 
not always clear? Look at the cloth 
after cleansing your face with a cream pre- 
pared especially for cleansing. The dust will 
make you realize that a dull looking skin is 
often nothing more or less than a skin not 
thoroughly cleansed. 

The only means of keeping the skin clear 
of the dust that gets lodged deep within its 
pores is the cold cream bath. For this, Van- 
ishing Cream will not do, for Vanishing 
Cream has no oil. At night cleanse the skin 
with Pond's Cold Cream. The formula for 
this cream was especially worked out to 
supply just the amount of oil to give it the 
highest cleansing power. 



Free sample tubes— mail this coupon 



Pond'B Extract Co., 137-L Hudion St., N.Y. 
Please send me,/r«j the items checked: 

Sample of Pond's Vanishing Cream. 

Sample of Pond's Cold Cream. 

Instead of the free samples, I desire the 
larger samples checked below, for which 
I enclose the required amount: 
A 5c sample of Pond's Vanishing Cream. 
A 5c Sample of Pond's Cold Cream. 

Name 

Street „ ^ ~ 

City „ State 



\T17HEN you powder, do it to last. 
'' ' Powdering in public is an ad- 
mission that you are uneasy about 
your appearance. 

The only way to make powder stay 
on is — not to put on an excessive 
amount — but to begin with the right 
powder base. 

Never use a cold cream for a powder 
base. It is too oily. The right powder 
base is a greaseless, disappearing 
cream. Take just a little Pond's Van- 
ishing Cream on your finger tips. 
Rub it lightly into your face. Instant- 
ly it disappears, leaving your skin 
smoother. Now powder as usual. 
Notice how smoothly the powder goes 
on — how natural it looks. You 
will find that it will stay on two 
or three times as long as ever 
before. You need never again 
fear a shiny face. 





CHAPPING is a sign of carelessness. So is 
roughness. You can keep your skin as 
smooth as rose leaves all winter long. Always, 
before going out, smooth a little Pond's Vanish- 
ing Cream into your face and hands. It softens 
the skin instantly, so that the cold cannot do 
it the least harm. It is a good idea to carry a 
tube of it right in your hand bag so that immedi- 
ately before and after skating or motoring you 
can soften your hands and face with it. Ip 
this way the delicate texture of the finest skin 
will never suffer from exposure. 



JVhy your skin 

needs two creams 

/^\NE without any oil, for daytime and 
^^ evening needs — Pond's yanishing 
Cream. It will not reappear in a shine. 

One vHth an oil base, for cleansing and 
massage — Pond's CoW Cream. It has just 
the amount of oil that the skin needs. 

Neither of these creams will encourage 
the growth of hair on the face. 

Get ajar or tubeofeach cream today at 
any drug or department store. You will 
realize for the first time how lovely your 
skin can be. 



Catch the little lines 

before they grow big 

YOU can keep your face free of the 
wretched little lines that will keep 
starting. Once a week iron out these 
lines. Massage from the center of the face 
outwards and upwards with Pond's Cold 
Cream. If your skin has a tendency to 
be rough and dry, leave a little of the 
cream on your face over night. Pond's 
Cold Cream has just the smoothness and 
body required for a perfect massage 
cream. 

POND'S 

Cbid Crecun <£r^ 
^anis/iino Cream 

One with an oil base and one wilhout any oil 




(Fifty-nine) 



,i^?^^^.< 



rWi; 



\., ... 



Photograph by Hartsook, L. A. 

Clifford of the 
Cinema 






Kathleen Clifford is well known to the 
photoplay, but her latest appearance — as 
leadine woman for Doug Fairbanks— gives 
her unusual Interest at the present time. 
Here is a recent view of Miss Clifford, 
alonit with brand new snaps of her in her 
library and near the sad sea waves 



k/K' 



(Bixtv) 



Real, Honest 

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i6 inches high. 
Every inch solid, 
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grade Chrome 
ran leather 



Now 
% 




Elmer Richards 

Celebrated 
Solid Leather 

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Men's High Cut Shoe 



$2.30 a month — six months to 
pay. Total, $14.65. Shipped on 
a MONEY -BACK guarantee. 

Not a penny charge for creHil. 
No discount for cash 



NOW 



Send only $1.00 and we will send you 
this splendid shoe bargain on approval. 
You can't imagine what this shoe is until 
you see it and feel what wonderful qual- 
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wait. The stock is limited. Order now. 

Chrom* Tan Solid Leather Throughout 

It) Inrhcii t«U, Rvery Inch xeloctt-d , fir>rtc«t. pUEil>li>, 
tough, slorm-proDf, aolld, dwk Climmo luii leatltpr. 
The l>eiil wouHni tp«thei4lii the worlil antl at tho ume 
tlniP roinfortil'fp ■mi Piwy im the fet-l Full oik 
luinpd. double soleiL Boltd ip&thtT he<-K. Hpllovn 
tongue. uLtnn superb iiUKllty tan leUhiT Fiill vamp, 
runs sU tlio way unucr toe rap. IxBther rount<>ni. 
Ix'athcr Umoles. Back Deanis rcliifnrcefl. Twn ntrap* 
and buckler Poaltlvely the hftil ahov In Hip wrt-ld for 
work nr huntltiA, 

SItai 6 to 1 1 . Ordar by Na. A-7. Bt lura to give yAur 
Ilia. 11.00 oaah. 12.30 mafitttly. Total $14.65. 

Elmer Richards Co. 



Order Now! / Money-Back Coupon I 



People all over the country will rush 
their orders for these shoes, so don't 
delay. There is only a limited quan- 
tity of leather like this to he had , 
in the whole United States. Thi*: 4 
offer is open only for a limiterl j. 
timr. Send the coupon todnv * 
with a $l.f)0 P.O. order or :i / 
dollar hill. Don't wait a miit ^' 

lUr. Ri'iiK'inbrr ynu take n^ / 

ri.sk. Moiiry haik if yon say " - f Nairn 

St-tul tliis f'liip'iii rifiht n'^-' ' 

Dept. 1552, W. 35lh St. / A.Mr^ 
CHICAGO. ILLINOIS / 



' Elmer Richards Co* 

Dept. 1552, Weil 35th Street, Chlcifo. 111. 

I fflclpw $1 00. Rend Men's 16 huh Ulgh Tut Wioe 

SIM .. No. A-7. If 1 lun not «atls(l«l when I 

rfwiTe thflao ahoes, I can return them and g* toy 

11, nn buck with charp« Othorwiw 1 will pa,v adtef 

l^«t tprwB nr 12 30 a mnnlh T.rtnl prt.*- J 14 An 



f ^h'fu rtup] 



The 

Celluloid 

Captures 

Carroll 




Above, Thomas Meighan 
is showing Miss Mc- 
Comas about the Fa- 
mous "lot" and, right, she 
is investigating the stu- 
dio switchboard 



Carroll McComas is the 
newest Famous Players- 
Lasky leading womah, 
playing opposite Major 
Robert Warwick in "Jack 
Straw." MisB McComas 
but recently returned 
from overseas, where, for 
eight months, she enter- 
tained our soldiers. War- 
wick himself was with the 
headquarters staff. So 
they should make an ex- 
cellent fighting team 



(Sixti/ Iwn) 



PARIS viVAUDOU 



NEWYORK 






m 



^. 



FACE POWDER 

PERFUME 

ROUGE 

TALC 

Irresistible! 



ifi'v: 



S^<c^^ 






W»S »tf»lb- -- 



C^TVIAVIS is preferred! 

Mavis Face Powder is 
more delicate and it stays 
on better. 

Mavis Rouge blends 
perfectly with your com- 
plexion. 

Mavis Talc is the largest 
selling talc in the world! 

Mavis Perfume, Toilet 
Water, Sachet, Soap — 
all the Mavis preparations 
—with their wonderfully 
delightful fragrance— com- 
bine to make you, truly 

IRRESISTIBLE! 



^frt^ 



Send 1 5c to Vivaudou, Times 
Building, New YorV. for a 
generous sample of Mavis per- 
fume—or better still, ask for 
any one of the delightful Mavis 
preparations at any toilet goods 
counter. 



(Sixty-three) 



Mary at the 
Beach 




(Siety-fo^y 



Philipsborns BGOutiM Book 
of ChstlQ Approved Stylos 



By a happv coincidence, Philipsborns iOth Anmvemiryum-k^iht 
completion of our new Million Dollar Bvuld.ng. Jo celebrate these 
notable events, we present to you-with our Birthday C.reeungs 
_Lo„,- niost exquisite Style Book for Spring and Sum- 
mer The cover design by "Coles Phillips ' presents 
IRENE CASTLE — Philipsborns style authority— 
- in one of her charming poses. There are 264 pages 
of tlie season's very latest and loveliest styles, all offered 
at Special Auniversary Prices. 

our ambition to add ONE MILLION NEW CUSTOMERS. THIS 
X^■^K To do this, we have made our Anniversary offerings arrests - 
ihh'aliraclivc Send postal for beautiful Style Hook and s,c lor yourself. 

GRAND OPENING 

of Million DollEir Building, 

evv Pliilipsborn Building 




(Sixty-five) 



Stage Child 
to Screen 
Favorite 



i 



k 




Starting as a child be- 
hind the footlights, Ethel 
Grey Terry has been on 
the stage all her life, save 
for seven years at Notre 
Dame Convent in Rox- 
bury, Mass. Her first im- 
portant stage role was in 
David Belasco's produc- 
tion of "The Lily." Miss 
Terry's most recent film 
appearance was in Gold- 
wyn's "Going Some" 



(Sixty-six) 




WurUtter Saxophane Outfit 




WmHUtr VtoHn Outfit 




ANEW plan. Wurlitzer, the largest general music house in the 
world, is offering the finest musical instruments with complete 
outfits at factory price. With each instrument comes a harjd- 
some carrying case, all attachments and extra parts, music rack, In- 
s°™ctionboJk and book of mutical selections. This new plan gives 
you at a tremendous saving all the things that [otherwise you would 
have to buy separately at regular prices. 

Complete 
Musical Outfits 

Sent On Trial 

Any Wurlitzer Complete Musical Outfit will be sent for a full week's 
free trial in your own home. Play the instrument as if it were your 
own. At the end of the week return the instrument and outfit at our 
expense if you wish. 

Convenient Monthly Payments 

If you decide to keep the instrument, you may pay the direct-from- 
manufacturer price in small monthly sums. A few cents a day will 
make one of these beautiful instruments and outfits your own. 
These Complete Outfits are ready. Send for one on free trial. 
Violin Mellophone Flute Mandolin Banjo-Ukelele Hawaiian 

Cornet Trap Drum bugle Tenor Banjo Banjo Guitar 

Saxophone Clarionet Fife Banjo- Banjo-Guitar Viola 

Trombone Piccolo Guitar Mandolin Ukelele Cello 

Send for Catalog 

The instrument of your choice and everything in the 
complete outfit fully illustrated and described, with 
full details of the free trial and easy payment plan. 
We are manufacturers of all musical instruments. This 
wonderful catalog is a veritable musical encyclopedia. 
We will send it to you free and without obligation. 
Mention the musical instrument in which you are 
interested. Mail the coupon now. 

The Rudolph Wurlitzer Co., Dept. 1552, , 

117 E. 4ch St., Cincinnati, 0.-J29 S. Wabash Ave., Chjcauo, 111. 

The Rudolph Wurlitzer Co., Dept. 1552, 

117 E. 4th St.. Cincinnati, O.— 329 S. Wabash Ave., Chicago. 111. 
Send me your new catalog with illustrations in color 
and full description of the Wurlitzer ComrleteOutfits 
and details of the free trial and easy payment offer. 



felH** 



Name . .. 
Address . 



(.Uksicj/ imliumenl in which /am apiciully interested} 



(Sixty-scrn' ) 



Cinema Chivalry 



Lucy Cotton and Wyndham Standing 
may be glimpsed below in the "when- 
knlghthood-was-in-flower" pose, caught 
in a forthcoming International produc- 
tion. In the upper left is the Lucy 
Cotton of 1920 




(Sixty-tight) 



What 

Sousa 

Sai^s 




7 fakt- this occasion to tell yott of the flc'tuinc pleasure and perfect 
.tutisfaction vovr New lyonder Model lustruments, used by the iiiembcis 
of jny Band, hazr ffiven me. 

In our extended eugageiucnt at the New Vork Hippodrotiic your 
iustrtiments ha:e had a splviidtd opportutiily to display thetr luerils. Tliry ltd: e 
fully demonstrated their worthinrss of the Crand Price aud Gold Medal of tlantt 
gil'en tkem hv the Jury of Amatds at the Panama-Pacific International fixpositiou. 

Durinu our pleasant enpaoements at the llxpostlton I had occasion to note the 
various ba'ids and oniiestrai there enqaiied and the Conn lustruments seamed 
to he in et-idence everywhere. Particularly was this the case nhere High Grade 
Musicians were engaged. 

I still mtiiiifain thc.f the new model Conn Instruments enhances the niustcal 
'.alue of any organisation to a marked degree and the nietvbers of wy organisation 
fullyaccora u\th me. , , ,, , 

The Conn. Ltd.. has created a high standard of e.xcetlence Jo 
Instruments, a standard worihv of emulation, if possible, by other waker. 
I'crv sincerely, 

JOHN PHILIP SOUSA 







Boiiif 



^ yv 



i?^: 



'% 







The Famous Jackie Band, U. S. Naval Training Station, Great Lakes, III. 

Lt. John Philip Sousa. Conductor 



one nf tilt! moHt rcmark;iblc of Lieut, Sousa's 
many of them wholly unfamiliar with music and 



JOHN PHILIP SOUSA 

From ■ recent photo 



The organisation and sufccBgfuI training of tlie "Jackie Band 

achievements. Its mcmhcrs were recruited from all walks of life— .. _. .. ...._... _ 

inusicul instruments.— and yet in a few short months. Lieut. Soiisa *v;is able to develop them into a world-renowned 
organization. The Jackie Band of over 120(1 merabera was equipped throughout with Conn Instruments— a moit 
Hignificant fact when one remembers the succeaa achieved. Aiul yet. good music ii> no niytc - * ■- 
IprcBsion nf skill in both the aitial and the make 



It is the ex- 



ilic instiiiment. 



MUSIC IN OTHER ORGANIZATIONS 



The power ut music to inspire and hind together waa well 

^ illustrated in the Jackie Band. Hundreds of orQaniiationo 

A' and institutions are recogniiing the same (act and are using 

it to the mutual advantage and the profit of their memberh. 

Large manufacturing induBtries, rire and Police Deoan 

mcnts. Boy Scout Organizations, Schools, Colleges, l^odgeii. 

Churches, etc.. are all beneficiaries of the bond of music. 

Many remarkable Bands and Orchestras have been devel 

oped among the members of such organizations with the 

aid of Conn Instruments. 

Unusual benefits of no small proportions await other simi 
lar organisations who are interested in the creation i>iid 
development of a spirit of harmony in thought and action 
within their orgaiiizatiun, 

ESSENTIAL TONAL QUALITIES 

A Ch»r*ct*rutle of CONN lMtniin«nts 

The test of an instrument is its tonal quah 
ties- its perfect intonation -its symmetry of 
proportion — its proper balance — its embwli- 
ment of Art and Science as expressed in ap- 
pearance and performance. 

Conn Instruments are the product of a pat- 
ented method impossible of attainment else- 
where. An intimate, scientific knowledge of 
requirements, plus a mechanical tikill in pro- 
duction that approaches the Artistic and Ideal, 
gives a guarantee of quality and uniformity in 
tonal elements that is unsurpassed. The uni- 
versal recognition of this superiority af Conn 
Instruments by all great Band Leaners of In- 
ternational Fame is the best possible guide 
and assurance for the beginner or the veteran 
purthaser of band instru^nents. 

l^et lis send in- 
formation aboat 
forming a band 
in your organi- 
zation. If you 
are a player or 
beginner. ask 
for information 
concerning the 
instrument i n 
which you a'r 
interested. 

YOVR. BEST GUARANTEE 

of • good Band or Orchestra Inttrutnent ia to see that it bears this mark- 





Ralph Dunbar'* White Hussars have become so enthusiastic 
i>ver thcii Conn Instruments that they both play and sing their 
praise. Those who have lieard the \vhite Hussars in Lyceum. 
Chautaiiqiia and Vaudeville work know the quality of their work 
and also appreciate the .significance of their enthusiasm for 
Inst; I'menls 

THE SCHUSTER 
FAMILY 

.M.Miv brothers and sis* 
ler- might well emulate 
he murtica] activities of 
the S c li u a t e r 
Family Saxophone 
I >uintette which 
nas earned an en- 
viable reputation 
« s entertainers. 
The degree of 
harmony 



Teased 




^ittle familv is 
Jtruly wonaerful. 
— but then, they 
use Conn Instru- 




322 CONN BUILDING 
ELKHART, IND. 

LftrfCit And most thoroughly equipped Band Instrument Factory In the World. 




this 



THE DARLING 

SAXOPHONE 

FOUR 

i& all that the 
name implies. 
Four charming 
ind capable young 
ladies who are 
meeting unit ual succesi 
as musical entertainers 
in high cl.iss vaudeville. 
They, too. place their de- 
pendence in Conn In 
struraents. The result? 
Kxactly what you would 
expect, — the best ever. 



(Siatynine) 



MOTION PIClURh CLASSIC 



The Broken Melody — (Continued from page 43) 



where (hey woukl appreciate you I" she 
lold him. "It is wicked lor you to hide 
your genius in a wretched garret in the 
slums among all sorts of common, 
coarse creatures who dont under- 
stand " 

She used that word a great deal, and 
the inference was that out of everyone 
he knew, Gracia Trask alone really un- 
derstood him. Stuart hegan to feel 
abu.ied, and to look ahout his studio 
with dissatisfied eyes that saw for the 
first time the bare boards, the poor 
pinched, bravery of furnishing. 

At the fourth sitting she suggested, 
(|uite casually, that he should go to Paris. 
She watered the seed thus planted at the 
fifth sitting by telling him that she would 
lake him with her as her secretary, 
courier — or "what he pleased." But it 
was not luitil the seventh and last sitting 
that he consented to go. He told Ivan 
that evening, and was rewarded by the 
pale flicker of relief in the watery old 
eyes. It was the cello player who took 
Hedda the news. 

"It is well," Ivan .said, not appearing 
to notice the quiver of the red lips, the 
agony of the hurt brown e_\es before 
him; "he is a great artist, and like all 
true artists he tieeds the right environ- 
ment. Here — " his gestiu'e took in the 
gay tarlton curtains, the painted pine 
furniture and made them ridiculous, 
"here he would stifle ! His Art would 
either die or become prostitute to con- 
venience. It is very well that he goes. 
and all his friends should rejoice that 
this chance has come, eh, Hedda ?" 

The girl sat quite still for a long mo- 
ment. When she spoke her voice was 
composed, "Vou have known — I think 
almost before I knew, how I felt toward 
Stuart," she said quietly ; "rather than 
stand in the way of his good I would 
go away myself and never see him again. 
That is what will hajipen now. He will 
go, and I shall never .see him again." 
The pure girlish face quivered whitely 
into a selfless smile. "Do not be afraid. 
my kind friend, that I shall try to keep 
him — or thai I would let him stay even 
if he wished." 

They were very gay at the ])arting. 
Stuart, with his shabby portmanteau and 
his painting outfit, came to her door to 
say gnod-bye, and they both made 
prodigious efforts to pass the dangerous 
nionient over lightly. They joked lame- 
ly about the I'ame that was soon to come 
to each of them, the.\ s])oke casually of 
nuiUial friends of Joe's, they talked des- 
perately of the voyage, and his chances 
of cscajjing seasickness. Then came a 
panicky moment when they could 
neither of them think of anything safe 
to say, because of the multitude of im- 
safe things that struggled to be out, 

"Oh, Hedda !" Stuart said suddenly, 
with a great, thick sob, "Hedda — dear — 
tell me to stay ! 1 cant go — and leave 
you — I cont ■ 

Then 1 ledda lold her glorious lie, and 
her (iuardian Angel hesitated o\er His 



ledger, not knowing which page to place 
it on, "I cant tell you to stay, Stuart," 
she smiled — "because I dont expect lo 
l)e here long myself, demons tells me 
that if I make good he will give me a 
hundred a week, at first, then much 
more. .\nd I've got to succeed, Stuart! 
I wani success so — more than — than 
anytliing in the world. I want money, 
and beautiful clothes and praise — " She 
forced herself to go on, tho the 
words choked her. "Do you remember 
the time you reproached me with want- 
ing Marguerite's jewels? Well, you 
were right, Stuart — I do want them, and 
I'm going to have them!" 

"Then that is how I shall remember 
you," he said, smiling with stiff lips, 
"covered with jewels " 

"He despises me," she whispered, 
when long after he had gone, striding 
erectly away down the crooked stairs, 
she lifted her swollen face from the sod- 
den pillows of her couch bed. "I've cut 
the last strand that might hold him back 
— oh, God, take care of him!" 

Gracia Trask was grievously disap- 
pointed with her new toy. It is difficult 
to feed neurotic fancy upon either grati- 
tude or remote respect, which were the 
only two emotions Stuart Grant dis- 
played to her. He was very silent on 
the trip over, tho he attended faithfully 
to her Pekingese, her rugs, her books 
and cushions, her steamer chair and 
wraps. Once in Paris he stubbornly re- 
fused to allow her to establish him in 
an expensive and charmingly decorated 
studio as she had fondly planned. More- 
over, he would not dress in velveteen 
jackets and slouch hats, he would not 
drink absinth?, he would not — he simply 
TCDiild not make love to her. 

How he managed to live she could 
not discover, for he was decidedly un- 
comnnmicative about his doings when 
he was away from her. Three nights a 
week he presented himself at the door 
of her pink-silk upholstered apartment 
on the Hlois, impeccably shaven, amaz- 
ingly clean and very much a man in spite 
of his out-of-date and shabby old even- 
ing suit. They would go out and dine, 
then perhaps to the theater or opera, or 
now and again to a reception, for the 
fair Gracia was almost as well known 
in Paris as in her native New York; 
afterward a grave good-night at the 
foolish ivory door with its bird-of-para- 
dise knocker. No wonder the clever 
and accomplished Mrs. Trask was 
baffled. 

She tried strategy. In some way she 
managed to learn the address of his 
rooms and appeared there late one after- 
noon, unannounced, having put the pro- 
testing concierge in his place. She found 
Stuart at his easel, so absorbed that even 
when she stood beside him, looking over 
his shoulder, he was unaware of her. 
She saw the canvas. She recognized the 
face. It was that which he had been 
limning months ago on the whitewashed 



wall of the restaurant in Bohemja — 
Hedila's face, painted as only Love can 
liainl, 

I'lUl she tried again. She was not 
one to give up anything she had set her 
heart upon lightly. And she was not 
choice of her methods. She look Stuart 
(irant to a reception at the house of a 
friend of hers and arranged that in his 
hearing her name should be slightingly 
mentioned with hers. She was waiting 
in an anteroom when he came, very 
pale, with thunderous brows, to find her. 

"'V'ou must let me take you home," he 
told her briefly, "there has been — un- 
pleasantness. I was obliged to knock a 
man down." 

And he told her what he had over- 
heard. She looked at him softly, even 
tenderly, for he was a man born to be 
loved of women, and, as much as she 
was capable, she loved him. "Well ?" she 
asked. "Well? And what shall we do ?," 

If she had expected that he would 
perforce ask her then and there to marry 
him she was mistaken. He stared 
straight before him somberly. "I have 
been a cad," he said, loathing himself ; 
"I have accepted your favors, and I 
have placed you in a position where peo- 
ple dare say wretched things, and worst 
of all I have profaned myself. I would 
be still more of a cad if I did not ask 
you to marry me, but before I do so I 
must tell you that there is a girl, back 
there in New York whom 1 love as a 
man loves only one woman in his life. 
I have tried to do without her, but it is 
like doing without part of myself. I 
cannot paint, I cannot even want to paint 
without her " 

Gracia Trask put out her hand and 
took his. In that moment she stepped 
out of herself. "Then go back to her," 
she said wearily, "if you feel that way 
— go back to her, and tell her to try to 
forgixe me for taking you away . . ." 

It was a fortnight later that Stuart 
I Grant pushed ojien the door of his attic 
in P>ohemia with a warm rush of hap- 
piness in his heart, as he looked about at 
the blessed familiar shabbiness that 
spelled home. Then he saw that it was 
freshly swept and dusted, that his easel 
stood ready, with a canvas on it — that 
there were even asters in that old blue 
jug on the dresser 

I'oot.steps on the stairs brought him 
about with a cry, but it was only Ivan 
who stood before him, gaping, rustling 
with every movement, as he reached 
out and touched his sleeve with bony 
fingers. Then — "Thank the good God !" 
Ivan said hoarsely, "you've come back 
in time to save her from breaking her 
heart." 

"Her!" Stuart cried, not daring to be- 
lieve, "not — Hedda?" 

"Hedda." Ivan nodded, and groaned 

very bitterly. "I was wrong, I tried 

to separate you, thinking Art was 

enough, but it is not so. She stopped 

(Continued on page 80) 

(Seventy) 



Ilpllli 



iiiiiiiiiiiiiiiiiiniiiiiBiiniiiiiPP 



Shadowland 
for February 



Shadowland for February! 
As three words, more or less 
unarresting, this announce- 
ment might not seem to mean 
so very much, but it is, as a 
matter of fact, an illustration 
par excellence of the exceeding 
potency of mere words, the un- 
derlying current of all words, 
the shades of meaning behind 
the obvious meaning. 

Shadowland for February 
means that your intelligence is 
going to receive direct appeals. 
You are going to think, which 
is, to state it mildly, never un- 
desirable. 

Shadow I. \\n for Fubkuary 
means that your imagination is 
going to be touched, possibly 
fired. l)y delicately beautiful 
pictures, by colors, by words 
with rliythm, by the depart- 
ments — eacji one bearing a 
message, ^'ou are going io be 
impelled to dreaming . . . 

Shadowland for Febkuarv 
means that your news sense is 
going to be amplified. The 
plays and the players you are 
curious ;d)ciut, interested in, 
fond of, desirous of knowing 
better — you are going to know 
better, by the power of bru.sh 
and bv the power of the pen. 

Sil\do\vland for February 
means that your sense of 
beauty is going to be — well, at 
least, we think, stimulated. 

Shadowland for February 
is going to spell laughter . . . 
and dreams . . . reasoning and 
thought . . . profundity and 
witticism . . . color and gravity. 
It is going to try to be a mes- 
sage vari-hued and vari-toned. 
It is going to try to be still 
more ... a promise ... an 
omen. 

(l^cventtjQine) 



The Man Who Wouldnt 
Stay Down 







" TiAII OUT MIBf- 






INTERNATIONAL CORRESPONDENCE SCHOOLS 

BOX 67 70, SCRANTON. PA. 

Explain, wilhoul oblleatlne me, how I can quality for Ibe P(Ml- 
tlon, or in the subject, he/art which I mark X. 



He wai) putting in long hours at monotonous unskilled work. His small pay 
scarcely lasted from one week to the next. Pleasures were few and far between 
and he couldn't save a cent. 

He was down — but be icouldn't stay there.' He saw other men promoted, and he made 
up his mind that what they could do he could do. Then he found the reason they were 
promoted was because they had special training — an expert knowledge of some one line. 
So he made up his mind that he would get that kind of training. 

He marked and mailed to Scranton a coupon like the one below. That was his first step 
upward. It brought him just the information he was looking for. He found he could get 
the training he needed right at home in the hours after supper. From that time on he 
spent part of his spare time studying. 

The first reward was not long in coming — 
an increase in salary. Then came another. 
Then he was made Foreman. Now he is Su- 
perintendent with an income that means inde- 
pendence and all the comforts and pleasures 
that make life worth living. 

It just shows what a man with ambition 
can do. And this man is only one out of hun- 
dreds of thousands who have climbed the 
same steps to success with the help of the In- 
ternational Correspondence Schools. 

What about you ? 

Are you satisfied merely to hang on where 
you are or would yon, too. like to have a real 
job and real money? It's entirely up to you. 
\'fn\ don't have to stay down. You can climb 
to the position you want in the work you like 
best. Yes, you can! The I. C. S. is ready and 
auNious to come to you. wherever you are, 
with the very help you need. 

Surt-ly when you tK;ve an opportunity tliat means eo 
much, yon ran't affortl to let another priceless hour pas* 
without at least finding out about it, And the way to 
do that is easy— without cost, without obligating your- 
self ill iiny way, mark .imi mail this coupon 



ELECTKirAL KNGINbKK 

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Electric WirinB 

Telegraph Engineer 

Telephooe Work 
_ flECIU.Ml'il. LMUNEER 
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^ Machine Shop Practlcf 
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Gsa Enslne Operilloe 

OITIL ENOINEEIt 

Surveying and Mapplns 

■ INB I^OKEIIlN OR ENtilNEKR 

STlTIONiRT ENeiNEKH 

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Ship Drafiamao 

ARCHITECT 

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Architectural DraflMnan 

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^ Textile Ov«r*«cr or Supt. 

CHEMIST 

NtTlffttlOQ 



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lADVERllSING 
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ILLUSTRATING 

CorroonloB 

Private Secretary 
HOOKKEEPEK 



Itraffic manager 

IRallway Accountant 
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Preaenl 

Occupation— 



SanHavy 




Metal Holder Leepa Robber CIm>. 



I noltfer keepa Kabber LH 

Finn aad KecB-edied. 

Work* Better - Laits Lonser 



TwaRubbri 



nglhe 



th* 



•■jffsk Vmit Sr^tto^r 



Holder 

lor Penr,!. By alithl prvatur*. 

?Iean Ruhboria fad dcwnaa u**d. 

Price ISc »ch: FvUtraSc each. GOe 

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Molirr.Dt Waihh'.rn*'! "OK" 

Pi>l.«r t-aiianrt* A Laltcr Opvnrri. 



Learn How to Write 
Short Stories J 



iarn h 
. Be 



here fi a big ' 

mand for short 
riea, photo* 



If plays and feature artickB You can learn how to write at home ia 
r vour ■[.■r« timr Jeck London eatr" - "* ... 

[ b IV* eridornrd our noma atudr coaraa. 



aj>d otbar great wrliaro 



I Writ* for fr** book B';;7.,1,ra;i.V,''dfJ3?" VbTI 

I offer tallmllrd. No obllraUona. Write tooay. 

[ H— »lf IwMtuta, Ihert Story ttmo*. •%S7 rt.Wgyw, |pd. 



■Made The Sleeveless Gown Fbssible— i 

■ 

■ 

Famous French ■ 

DepilatoiyPdwdei' : 

FOR REMOVING HAIR m 

SuccMjful lor over 80 yean. Rcinovn hau the dainty way— quick aoij certain. Leaver tkin white and imooth. For annpib face • 

limbi and armi—does not cowaen later growth. A lil«-ral quantity ol tde powdet and eomolcte outti includinj handy milioi cup and neai a 

liom ipatula. Wc at ail dealCTi o» mailed duect. Satirfaction guaranteed or money refunded. Price out ol U. S. 75c. B 

Sp*ci«l booklet •od ■•Daroiu unple aent for 3c. HALL & KUCKEL, Inc.. 377 Wuhington St., N.w York ■ 





■V 





l.^boraioritf 

"t take grrat pleat' 

urtinrffommending 

'Ldsb-Brow-Irte ' ai d ' 

malt beneficial prepa- 
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4nd promoting the 

Jirawth of the Eye- 
4thes Jrtrf Eyebrowi 
Yuurf uncerely. 







■lIu-LASItmrniNI' CM. 



^'t \^% Viola Dcma Star m Mctio Pictures 



?> ^ 'tj 



-sr" 







Haven't You Always Admired 

Viola Dana's Lovely Eyelashes? 

How wonderfully they bring out that deep, soulful exprewion of her eyes ! 
You, too,can have lovely Eyeluhes and well-formea Eyebrows.if you will do whit w many itan 
of the auge and icteen, ai well as women everywhere prominent in society are doing, apply » ht«e 

,o your EH"h«.ndEr.br<.w. nightly RmuIu wJU .m«. " w.ll „ d.light you 2LtM"h^m°^«''^iU.'y 
Jl I pur., d.lic.t.ly scnlod cr..m. which noun.hrj and promo>« ch.,r P""!;; '"'''"« i'""'?! .!W!"*'^ 
•nd ru.un.nt thui mvina charm, baauty and loulfijl eiprafion to the ay.., which ara truly the (fmrfow 
" ,*i S " Hunfridl of tho^and. hay. b^n d.li»ht«l with th. r«ult. obt.,n«l by tt. ma, .*, nor ,0.? 

SATISFACTION ASSURED OR MONEY REFUNDED 

GeiuTOKJ JI--.J sue. At your dealer, or ivut dxrcci, rrafaid «po« rccaftof prict 

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..me a, .hown in .mall oy.l « th. right, which adorn, .very bo. of th. g.nuin.. 

MAYBELL LABORATORIES 

430J-73 Grand Blvd., CHICAGO 



*>.■» 




Yt-j 



I 




(Seveiity-t'io', 



I lOTION PIC 1 UKt (.i-ft.isiv- 

' The Movie Kiss 

Ily Tom Masso.n 

As far BS we can judge by history, the kiss 
1 19 been practlcert in all ages. It varies in its 
iiecci and hur-e-power, according to age. race 
I id previous condition of domestic servitude. 
! ,'hilc it is a purely local affair, it has a con- 
I derablc ran»;c of activity. As a rule, it is 
/Uclusivcly confined to two, but it is occasion- 
' Ily conveyed by hand from one person to a 
roup of o'thcrs. A kiss thus blown niay reach 
•vcral parties for whom it is not intended. 
. i'hile apparently nc"cral in its nature, It may 
e intended for only one. 
There are several kinds of kisses. There is 
8' It common or domesticated matrimonial kiss, 
' i lat works automatically and frequently be- 
rimes rustv and stalls upon critical occa.iions. 
I 'here is tiic short-lived, or honeymoon kiss, 
ihose age varies from six months to two 
I ears, accordlntr to climate and financial condi- 
ion. There is the lover's kiss, that, frequently 
ttains a cloud hcipht of 22,(10(1 feet and is ac- 
nnipanied by explosions. .\nd there Is the 
;i»s of seasoned ladies, with an aurora borc- 
Jis exterior, which often drops internally to 
00 below rcro. KissiuR is also practiced by 
'renchincn when confcrrinp decorations upon 

Sine another or upon tlie suflfcrcrs holouRini; to 
■thor nations. 
But the movie or screen kiss is compara- 
iveiv new to the world. It Is usually some- 
Jiat dilatorv in its habits, and takes place "the 
lifflit after'' or "the next niorninR." It may, 
lowever. occur anywhere alonR the line of 
narch— between recently wedded Inisbaiias 
iiul wives, partinc lovers, ir when bendinp 
)ver cribs, hospital beds or sofas. Thomas 
itlison (lid not imciil it, but he is more or 
es< responsible for it. 

There is one peculiarity about the screen 
iiss that m.-ikes it not only dirierent from any 
jthcr, but which shows that the kiss in Reneral 
i a tliins in itself and not dependent upon 
ime or materials. For wlun we see it on ihc 
irreen, altho we know that it has actually 
;akcn place in the past and is now well over 
.vith. we think 'if it only as a present alTair. 
A'e actually delude ourselves into thlnkinu it is 
low going on. We roll up rnir sleeves, smack 
)lir lips and take p:n't in it ourselves when. 
It a matter of fact, it was probably created 
fame months before in l.os Ant-'clcs or Jrrsej 
City. Thus a kiss which in its execution 
(akes only a fraction of a miiuite, becomes a 
permanent affair, ll travels all over the world. 
I'he movie, therefore, oiTers domestic possi- 
liilities of Rreat interest. A newly married 
man may kiss his bride in the most complete 
and satisfactory manner. Ha\ iuR arrived at 
the liiRhcst point of skill and workmanship, 
lie ran have a film taken, which his wife can 
thereafter turn on for her own benefit every 
mornint: and eveniiiR, while the husband, re- 
lieved of this manual labor, can devote him- 
self more ccmiplctely to the business of keep- 
I ipK together his bodv and what soul he may 
c have left over. 

' But this is not all, for the screen kiss con- 
, tains a value still more hiterestinR and impor- 
tant. Heretofore, people have bad to get alonpc 
; and learn how to kiss by themselves, without 
i any accredited model. They have had, so to 
I speak, to grope in the dark, and assiste<l only 
I by each other, have learned by severe prac- 
' tice. The only object lessons they have had 
h?ve been furnished by amatetirs like tliem- 
Ives. or by more or less offensive relatives 
railroad stations. Now, however, they can 
1 out almost any night and see skilled work- 
en and women do it as it ought to be done, 
'th .1 minimum loss of energy. Thus the art 
oscMlation is getting on its feet and becoin- 
T standardized. If any young woman views 
-r lover with suspicion because there is no 
st motion in the way he grabs her and 
esses his lips to hers, and if she declares that 
must have learned it somewhere else, he 
simply refrr her to the osrulatory ediica- 
ional film that has bfcn running in the loral 
lp.ll ce for the past ibme nights, a'^ ronvinrini; 
'eM lence of his per^on;il iimorencr 




yaleniine 
upreme 



"Lovt't light burns un- 
dimmed in Beauty's rtaltH, 
whitt your fair charms entrdttct 
ev'ry thought." 

— VKOM AN OLD VALENTINB 



It's your charm of face — your lovely complexion — that brings 
you the Valentines of love and admiration. And to win supremacy 
in the courts where many vie for beauty, you have but to use 

DAGGETT»RANSDELLS 

PERFEa COLD CREAM 

" TAa Kind Thai K,e«p« 

Indoors and out-of-dooi's, at tetes and under jjuIiIk yaze, your 
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apply D & R Perfect Cold Cream daily. It's the cream supreme 
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Babies are kept happy by its use. You will enjoy its home 
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Poudre Amourette — Tlie face powder of 

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white, brunette, 
.^Oc. of your deal- 
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Digietl&RamideU 

bept. isos 
DtRBMcNewYerk 



use. You Will enjoy its he 
In tubes and jars, 10c to $1. 



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You Mty 

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FREE 

Kree trlnl aim- 
plos of pprfert 
Cold (*rr«ni aiifi 
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BEGIN 
TO-DAY 




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tiyite to-iiayfor BookUt "M.C" 



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Inpftmtnt Saturiilf 
Cor. Broadway and Wall St., New YorJk City 



GIVEN TO YOU, 

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Mall coapaa to ocirflit addrtu ■ 



Name 





air Was 

uUe Gray^ 

"It was falling out, getting brit- 
tle and stringy. My scalp was filled 

withdandruffand itched almost con ttantly. 

"A few applications of Kolor-Bak pro- 
duced a wonderful improvement. The 
itcblnff Btopped instantly. There was no 
more dandruff. And— marvel of marvela 
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not a sray hair Bhows anywherel " 

Kolor-Bak i* not a dye oritain. It Ii eolor- 
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Send for our apedal trial offer; also Frc« 
Book oci Hair which explaing how Kolor>Bak 
I gray hair to ltd original color. 



HYGIENIC LABORATORIES 
NW.WuUwtuStntt, Dvyyy.. _CUc«* 




Hermo "Hair-Lustr" 

(Keeps the Hair Dressed) 

FOR MEN AND WOMEN 

The hair willatay dre««ed after Hermo "HAIR- 
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tidy loolting hair. Adds a ch;irmint{ sheen and 
luster. inaurinK the life of the hair, as well as it3 
beauty. Dress it in any of the prevailins styles, 
and it will stay that way. Gives the hair that 
soft, glossy, well Kroomed appearance so becom- 
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Tu)o Sizes — 50c and $2 

U site llirte ihiif^the qiiantitv ol fOct,l«c. SEN1> FOR 
lARTOUAV. K^inlt in coin, money order, or U. S. stamps, 
.ind we ^illnend Henno "HAlR-l.tJSTR," nnti the Hetiici 
Booklet, "r.iiiilc to Beauty." prepaid, under plaiti cover, 
;il once. Uie It five days nitrt it not entirely s.itisl.ictory. 
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I HEBMO CO.. S42 E. 63rd SI.. Dcpl. 32. CHICAGO 




i»«r V«nltstaa1i 

~ ly facUl blaiB. 

Slonahauaa. 



VANITA 

Makes Beauty 

\'iinH«, the newest, mcial Jcllght- 
•iil preparation, lianlshea wrinkle., 

llmlnBica blemlahr., tlTei a 
^1orloii!( now eompleilon anj 
liaiidtonifl flaure. Endor.*(l Ijy 
.loEent of reflued ladle.. A arml- 
• r>lltl cream tnt tnaaaax. uid 

.laliily iiv. rosTS BUT T5o a 
iiinnlh. Send fi.r a ntoiith'* supply 
..r frei; (Hrnilar. 

C. PARK HUMPHREYS 
4865 H«zel A>., Philadalphia 



Theodore Roberts 

(Coitliiiiicil /r.7i,; ['a;/c 4?) 

the girl he snubbed. And on the legiti- 
mate stage," he went on, reminiscently, 
"I enjoyed doing Shylock better than any 
other character. Yon see so few con- 
vincing portrayals of that character. He 
is depicted mostly as a scurrilous Jew 
with an enormous lust for gold and a 
vicious spirit thai is .satisfied only with 
blood, while as a matter of fact, .Shake- 
.speare has given him no speeches that 
are not full of dignity and forcefulness, 
while his whole personality is that of a' 
leader, not a mongrel money-lending 
foreigner. I tried to make him the rep- 
resentative of a race — and a human 
being." 

I found myself tliinking that it zvas 
possible to talk art without a collar, but 
.\lr. Roberts was thru for the time being. 

"Come see my trees," he invited. 
"Trees are a hobby of mine and I have 
a few rare ones in the yard." 

The one he pointed out looked like a 
live oak, but it was a cork tree, he told 
me. My idea of corks has always been 
vague ; I rather thought they grew in 
bottles, but it seems not. Mr. Roberts cut 
a slice of the bark for me, and it was 
cork, just the same as you'd see in a 
bottle of — er — catsup, and he told me 
that he could have made a fortune off his 
tree in pre-prohibition days, but that he 
had bought it too late. Then there was a 
"butterfly" tree, witli flowers of flaming 
orange and leaves that looked like butter- 
fly wings and that fold together at night. 
They, too, are very rare, and will not 
grow where there is frost ; and. Mr. Rob- 
erts told me, impressively, his house was 
just two blocks beyond the frost belt in 
Hollywood — otherwise he couldn't have 
a butterfly-tree. 

When he had shown me his shrubbery, 
I asked iioint-hlank how many other hob- 
bies he had, and he laughed, showing 
wlu'te teeth and crinkly wrinkles around 
his eyes. 

"Quite a few," he confessed. "In the 
first place, there's art — you see, I come 
from a family of artists. My father 
painted very well indeed, and so does my 
sister. ' I was told, when young, by a fa- 
mous artist that I ought to follow that 
career, but I inclined towards the stage. 
However, I paint, draw and 'sculp,' col- 
lect ])aintings and furniture and — oh, 
yes," he interrupted himself again in his 
abrupt fashion, "I mustn't forget my 
hobby of correct make-up — that is a very 
important one." He led the way to the 
Jajianese gardens and we sat beside the 
tiny lily pond while he talked about this 
most "im]iortant" hobby of his. 

"I have always given tlic most careful 
study to making up for a character," he 
said. "You might say that I stop at 
nothing to get the result I want. I'm 
wearing a mustache just now, hut I will 
shave it off for my next character bit 
with Mary Miles Minter in 'Judy of 
Rogue's Harbor.' I've let my hair get 
long and unkempt, I've allowed my beard 
to grow — I even shaved my eyebrows 
(Conliuncd oh page 76) 




their MUP<'rb KlorJ- 



Their Iridescent 



I. truly 
beauty 



«^ 



Send Only $1.89 



and ddtal 

tliit:4 hamirrnlH' with nniootli, Hhlte threats as do few otM 
OcniilUL* i>earlK scllliiir fur fabulous auma enhancs the bcn 

1111 niort- thaJi do tht'w? lovely I'oarls of AymliR. 
They will oharm you. Vou will alory In their beautiful, 

t'linrni, Tlioy will attrart tin* admiration of your moat fantll 

a(.'aual>ilaiii'(^ or frlwuls everyivliere you so- 

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hunt iMiffih, splendidly sriuluatea from n/lC Inch to o»er 1/8 

and fltti'd wllli o rial, guarantek'd, nolld golU clasp? 

ajul they will come tsl 
all tholr glory tvlta^ 
I'rlTllege of pxanilnatloi 
tmv you pay a alnnle ci-iit of the balan(.>e of $3,00. 

InsiMCt them oarefuHy Ix-foie you buy. Itcmember. theml 
real impoiteil pi'tu'h, pioilucts of faiiioua lapldarlcH, croati'd f 
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supply at tills time Is ut llniltfd Ihat It 1* a. qup'ttlon \r\m. 
you will be alilo to buy Ihi-m at this rrmarkiible price In^ 
fulurn. ^ 

}-1r.st lie fluro you ar* fully salisfied with their excej 
value ajid llicu pay tliL- baluiici.' of only $8.00, or return them^ 
get your $1.S1) haok. ' 

Don't delay and let othert net ahead of you. Send 1M 

and oommence to enjoy the exqulslto beauty of thai* i 

Send for our booklet, and catalog, "Surtasstno Nat^ 

AYE8HA. INC.. 220 W. 42d STREET, I02.A, NEW Y0I|| 



ti 



DON'T SHOUT" 




'I hear you. I can hear now ai welt 
at anybody, 'HoW>' With 

THE MORLEY PHONE. 
I've a pair in my eari now, but 
they ate invitibte. I would not know 
I had them in. mytctf, only that I 
'lear all rignt. 

"The Morltty PKone for the 



DEAF 




ii to the can what gltuee are 
to the eyet. Inviiible. com- 
fortable. Weightleii and hami- , 
leu. Anyone can adjuit it." ._. 
Over one hundred ihouund told. Write for booklet and leilimoaitU^ 
THE MORLEY CO., Dapt. 792, 29 S. 16th Straat, PU 



Gray Hair Disappears 

la From 4 to 8 Days 

Scicnco has discovered tlio way for restorlns hair to it* 
natural color. It is olTcrcd to women In Mary T. Ooldman's 
Kclcntinc Hair Color A«storer. lo from 4 to B days It will 
«nd cvory gray hair. 



Scientific Hair Color RestoT*er 

1711 17ir Send today for a trial bottle and our apeclal 
*■ X\.lJ/l> comb. Be sure and Rive the exact color of 
your hair. Try It on a look of hnlr. Compare the reiultt, 
and the plooaure of uninR, with thu old way. 

You'll not havoKfay hairs once you have tried thle scien- 
tific hair color restorer. Write now. 

AIARY T. OOI.DMAN 

153S Goldman Bldg., Mt. Pkul, Minn. 

Acvfpt 1IO ImUatlotti—Sitlii by Druggittt BveryvBhtre 



Freckle 



ar*"asaoIoud twfore ths sun." hiding 
yourbriBhtnesiiyourbenuty. Why not 
remove tbemT Don't delay. Use 

STILLMAN'SPrVa^m"^ 

Msde especially to romoT* freckles, 
r .!._ -1.1 — 1 — -iBooth r--* —'•'•- 

Hon*)' rafiiodsd 
(r not MtlafutorT. 60o P*r Jv- Writ* 
lofUy for partlculu-s «nd tf boohiat — 

'WoaldttTlioaBaFair?" 

CooUlnl IDimj b*«ufr hlnM, 
lad dMfTlbM * numlm of lie 
|»ot pr»p4r»tlonl lndilp«nKbl( 
I'llbdutlit. Snidbti aUtlr-ofgiUI 

8TILLMAN CREAM CO. 

Dapt. 3 Aurora, ^^ 





(Seventy four) 



Frances Mann 

in "The Isle 

of Jewels" 

What would you do in Frankie'3 
place? It looks as though any 
move she makes will be disastrous 
to that handsome hero. Let's hope 
that her well-known resourceful- 
ness will save the day and the 
jewels. 



New York City, N. Y. 

Sept. 9, 1919 
F. F. INGRAM CO. 

I am glad to commend Ingram's 
Rouge, for it is of daily service to 
me. It has its own particular spot 
on my dressing table. The soft, 
natural tint it bestows never runs 
or streaks, even in warm weather. 




II 



yvo'UyccJ n/a-w-<.^ 



Ittgt&tn's ^w 
Rouge 

Pallor places almost any woman at a disadvantage. To ap- 
pear at her very best, she needs a finishing touch of color; a 
soft, natural, girlish tint, such as Ingram's Rouge imparts. 

Ingram's Rouge is excellent in every way, and unusual in 
some ways. It will not run; it will not streak; it is not 
affected by perspiration; nor will it harm the skin, for its 
color is not absorbed. Prepared in daintily scented cakes, 
which are less wasteful than loose powder, it is sold in three 
perfect shades. Light, Medium and Dark. Price 50 cents. 



Itigrata*s 

' /clveola, 
'Souveratne 



FACE POWDER 

A complexion powder especially distinguish- 
ed by tile fact that it atays on. Furthermore 
a powder of unexcelled delicacy of texture 
and refinement of perfume. Four tints- 
White, Pink, Flesh and Brunette— SOc. 



Itigt&m's 
Ct^tn 

"There is beautv in every jar." It clears clog- 
ged pores, banishes slight imperfections, 
soothes away redness and roughness, and 
keeps the delicate ttxture of the skin soft 
and smooth. Its exclusive therapeutic prop- 
erties keep the complexion toned up and 
healthy all the time. Two sizes, SOc and $1.00. 



FREDERICK F. INGRAM CO. ^3 t.„.. s.. 

Windsor, Ont., Canada Established 1885 DETROIT, U. S. A. 



Philippines: F. A. Thompson 

Commercial Co., Inc. 
La CampanaBlde. , Manila 
Australia: T. W. Cotton, Pty.. Ltd. 
Melbourne 



Foreign Diatributora 

Africa, South: C. A. Bolus 

Steytlera Bldg., Johannesbarfr 



Trinidad: L. C. Wharton 
San Fernando 



Africa, British East: A. Ambrose Smith China: Mustard & Co. 

Standard BIdgs., Nairobi Shanghai 

Canary Islands: Mendez Bros., Veira y Clavijo 25 Laa Palmas, Santa Croa dela Palma 



Coupon 

(Look for proper address at left) 

I enclose 6 two cent stamps in return for 
which send me your Guest Room Package 
containing Ingram's Milkweed Cream, 
Rouge, Face Powder, Zodenta Tooth Pow- 
der and Ingram's Perfume in Guest Room 



(Seventu-Uve) 



."^c.^ 

K- 



Armand 

COMPLEXION POWDER, 




TTHERE'S one way and only 
•*■ one, for you to know that 
Armand Complexion Powder is 
as wonderful as we claim — and 
that is to try it 

Go to any of the better shops 
and buy a box of Armand. 
Armand Bouquet is a fairly 
dense powder, and Armand Cold 
Cream Powderis very dense and 
different from any other face 
powder made. The Bouquet 
comes in a square box at 50c and 
theColdCreamPowderinamini- 
aturehatboxat$l. If you prefer, 
send 15c and your dealer's name 
for three samples. Address 

ARMAND, Des Moines 

In Canada — Armand, St Thomas, OnL 




I'ASiii^WAUM 



YOUR HAIR 



Naturally wavy hair is within 
the reach of every woman. 

Water-Maid Wavers 

(Patented) 
Will produce a natural beautiful 
ripiile wave that will remain id the 
sixaiRhtest hair a week or longer, 
even in damp weather or when per- 
Efiiring. If £air is fluffy only use the 
wavers once after every shampoo. 
Send for the Water Wavers today and stop burning 
your hair with hot irons or ti^-isung with curlers 
which tends to break the hair. Absolutely sanitary. 
Put up six individual wavers to a set. and sent by 
mail to any address in the U- S., with full directions 
upon receipt of 53 oo. Order today. 

WATER-MAID WAVER CO. 
132 West 7th Street - Cincinnati. Ohio 




j)CARMEN| 

/ Complexion 

Po^Mfder 



Gives the daintiest 
tint— the most youthful, 
atural texture— and 
stays on. 

Whlk, Pink. Flah, Cream 
1 and the new 

f Carmen-Brunette Shade 
50c Everywhere 



MOTION PICTURE CLASSIC 



The Orchid Blooms 

(Continued from page 27) 



fact that he takes both time and footage 
to make a production and doesn't iUu- 
mine Broadway with the name of any 
particular twinkler." 

Rushing to the defense of some of my 
friends in the industry, I demanded to 
know just why Miss Childers is "down 
on" the star system. And thus did she 
elucidate. 

"Why not feature the story? There is 
no story, except, perhaps, that of Adam, 
that was ever written for one individual. 
A lot of people like Norma Talmadge or 
Elsie Fergtison or Clara Kimball Young, 
but they can see that very personality in 
a play where the story's the thing — where 
they wont have to sit thru some un- 
told million close-ups of Miss A's gowns 
or Mr. B's waxed mustache." 

Tho thruout the luncheon Miss Child- 
ers was garbed as a Russian princess 
and wore a black-net evening gown, I 
had seen her before at the studio in the 
rags of a screen charwoman — her fea- 
tures distorted with make-up. 

"Just so long as the clothes aren't dir- 
ty, it's all right," she explained. 

Once, Miss Childers avers, she had 
hopes of being a fortune-teller or a clair- 
voyant, but, having a penchant for the 
luxuries of this transitory life she elected 
the stage as a profession. 

And again, she would have been a stu- 
dent in an art school had not Fate put in 
an oar. As it is, her Hollywood apart- 
ment is replete with sketches and pastels 
bearing her signature in the lower right- 
hand corner, and the orchidaceous lady 
will confess to designing all of her own — - 
and sometimes, other people's — gowns. 

It was just before she was to register 
at a certain academy of fine arts in St. 
Louis that a stage manager, who met 
Miss Childers socially, offered to cast her 
as Beauty in "Everywoman." She didn't 
take the part, however, because she was 
afraid of its bigness, but rather, became 
a French maid in another production, 
and retired serenely into the background. 

One day (and this is the manner in 
which she reminisces) — she found herself 
becoming ambitious, and burning with the 
fever of supposed genius, she approached 
Henry Kolker, whose French maid she 
was in "The Great Name," and asked 
him to allow her to make a spectacular 
entrance. 

At the suggestion of such an entrance 
Mr, Kolker was observed to succumb to 
gales of laughter, and finally to bid the 
sixteen-year-old Naomi to remain content 
with her the - carriage - waits - without 
speech. 

During the last week of "The Great 
Name's" run, however, the actorine who 
played the fat German cook of the pro- 
duction, disappeared, and the heroine of 
"The Spirit in the Clay" and "Lord and 
Lady Alg)'," hurriedly became a corpu- 
lent frau from Hamburg. She with her 
imperturbable calm and her tapering fin- 
gers! 



.^nd, even tho I knew that the 
price of print paper is ever soaring high- 
er, I feel called upon to enumerate the 
remainder of the Childers' career. Thusly. 
In productions of Henry W. Savage and 
H. H. Frazee, followed by terms with 
Vitagraph in "The Writing on the Wall," 
"The Turn of the Road," "The Spirit in 
the Clay," "The Devil's Prize," et al.; 
Metro in "The Yellow Dove" and "The 
Blindness of Love," in which she was 
playing with Harold Lockwood when he 
was stricken with the influenza which 
caused his death ; and at Goldwyn, where 
she created on the screen the famous Lady 
Algy opposite Tom Moore, and appeared 
as a lady passionately loved by Lou-Tel- 
legen in "The \\'orld and Its Woman." 

"And after all this," I ventured, "what 
do you crave?" 

"Oh, three pictures a year," she an- 
swered, nonchalantly, "a house at New- 
port with a neat collection of genuine 
paintings, some good-looking gowns, and 
large quantities of French novels." 

Exactly what I thought. Lots of mag- 
nificence. Orchids — Riverside Drive on 
Sunday afternoon — the front box at the 
Metropolitan — Tiffany's window in col- 
lision with the Empire State Express. 

Theodore Roberts 

{Continued from page 74) 

once. Not only that, but I give close 
attention to grease-paint and putty. I 
have some materials on my dressing- 
table at the studio that you will not find 
elsewhere, because I have them made up 
especially for me. When I am assigned 
a part, I immediately begin to study it. 
What would this man look like ? Is he a 
grouch? Very well, then, hard lines 
about the mouth and nostrils. Is he a 
miser? Close, furtive eyes, then, and 
thin lips ; an open-hearted, careless old 
fellow, he must have ruddy cheeks and 
well-groomed features. 

"The other day I was made up as an 
old miner, with long white beard and 
weather-beaten countenance. I was com- 
ing back from lunch and saw a group of 
my friends outside the studio. I hailed 
them, not thinking of my make-up, and 
they stared at me blankly for an instant. 
Then they burst into laughter as they told 
me how one of them had just remarked, 
as I approached. 'Look at that old fel- 
low — he's a wonderful type — he ought to 
register for a job !' " 

All of which is interesting comment 
upon the vividness of Roberts' make-up. 

A voice from the house told "Theo- 
dore" that lunch was ready, and I rose to 
go, tho hospitably urged to remain. But 
I was obdurate. 

"Your hobbies are wonderful !" I told 
him, as he accompanied me to the steps. 

"Yes, I collect almost everything," he 
laughed. 

"Except collars," I reminded him, 
wickedly. 

"Yes, except collars !" he admitted, 
without a trace of shame. 



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(Seventy-seven) 




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MOTION PICTURE 

The Kodak Girl 

{Continued from page 37) 

the second serial. I was supposed to be 
in a cave with this beast and, while there 
were two trainers, and outside some men 
with iron bars, and lights were placed in 
front of the camera to confuse the ani- 
mal, an unexpected danger arose. I was 
waiting for them to get it all ready for 
action — was sitting with a bit of em- 
broidery in the back of the cave. They 
had wire fencing between the camera- 
men and the lion, and the trainer was , 
endeavoring to make him go thru cer- j 
tain tricks, for this was not one of the j 
old Selig lions usually hired by producing 
companies, but a wild one which proved 
to be very stubborn and excited to boot. 
"Suddenly there was a roar— and I 
just looked up in time to see the lion 
leaping. Whatever made me act so 
quickly, I could not tell you, but I ducked 
and put my head between my knees, and 
as the lion took the entire cave-length in 
one leap, I narrowly escaped having my 
head or shoulders badly clawed. Every- 
body was so frightened. The wire sup- 
ports were torn down. Mr. Duncan had a 
piece of crooked pipe which he was trying 
to manipulate to keep the lion back, and 
finally the forest king made one big jump 
over a high obstruction and got out, fol- 
■ lowed by the trainers, who finally sub- 
dued him. 

"But that was only the beginning of a 
bad day. I was supposed to face a snake 
as soon as I got to another end of the 
cave. For some reason, as I was led to 
turn around, and v/hile the men were 
busy, I saw this snake right in front of 
me. He had his fangs, for the man who 
owned him said he was the only one of 
his snakes who could feed himself and 
he refused to take out the poison sacs. 

"I hardly know what did happen, but 
Mr. Duncan was shouting orders to me, 
and I simply obeyed what he told me to 
do — and somehow he managed to grasp 
that hissing serpent by the neck, as he 
had been told to do by its owner, and I 
escaped snake-bite from a mad rattler. 
I cant see anything pleasant in acting 
with animals, but I dont mind being sus- 
pended over cliffs or rescued from al- 
most impossible positions ; in fact, I think 
serials are lots of fun," finished Miss 
Johnson, very vivaciously. 

Miss Johnson's mother and her brother, 
Donaldj aged seventeen, live with her in 
California. She is determined to put 
Donald thru college and is giving him 
every educational advantage even now. 
At present the little family is merely 
"existing" in an apartment, while house- 
hunting goes on merrily. There is a 
shortage in dwellings here, and Edith 
Johnson thinks she will be forced to buy, 
as "For Rent" signs are scarcer than 
oranges in the .Arctic zone. 

But meantime, she just "loves" house- 
work, and when the housekeeper goes 
out. Edith swirls a broom happily and 
says it the best sort of exercise. Her 
greatest sorrow is that being a motion 
picture actress prevents her from cook- 
ing and cleaning. She loves to do the 

(Seventy-eight) 



CLASSIC 

tilings many other women despise, thinks 
dishwashing is a rare treat after cavort- 
ing about on a horse all day and just 
wishes she could be a housewife. 

But before such dreams come true, if 
ever they do, Edith Johnson is to do 
some straight dramas with William Dun- 
can, for the Yitagraph Company has 
promised to give the star and his lovely 
lady an opportunity to show their talents 
in an entirely different line of work when 
they are thru "Smashing Barriers," in 
stories probably written by James Oliver 
Curwood. 

Moore o' County Meade 

{Continued from page 23) 

As it was, he said, "No, I went in a 
mob scene in 'Parsifal.' However, my 
hfe-long (not so long) ambition was 
realized — I was on the stage. Owen 
was with me this time. Yes, he ran 
away, too, the same time that I did. We 
earned $5 a week. But even this enor- 
mous sum failed to appease my ambition 
and I got a chance to play the lead with 
a number five road company of 'Lena 
Rivers,' I think it was. The people 
wouldn't come to see us. They had more 
sense than I had. But anyway, I was 
stranded in a small Canadian town. 
Were you ever stranded in a small Cana- 
dian town ?" 

"No, but we have been stranded in 
Troy, with a number five company of 
'Bluebird.' It isn't any fun, is it?" 

"Say, do 3'ou know, I stranded so 
many companies that season, that they 
wouldn't take me in any more, so I joined 
a stock company, and one day a man 
from the Kalem Company offered me a 
job to work in moving pictures. I 
scorned it — all 'legitimate' actors did 
then ; but the magnificent salary of $40.50 
finally tempted me and I fell. I was only 
earning $25 in stock. I never did know 
what the 50 cents was for." 

"It's like our own salary," we an- 
swered. "For five years there has been 
a 3 tacked on the end of it and every time 
we get a ten-dollar raise the $3 remains 
just the same. The next time we shall 
ijeg for a $7 raise to make it come out 
even." 

"Well, my first raise was $9.50. At 
last, my ambition was realized. I was 
making $50 a week," 

"And did you stay in pictures then?" 
we asked, reckless, now that we had our 
story. 

"Did any actor from the stage ever go 
in pictures and stay in them at first ? No, 
I made frequent trips into stock, but 
every time I went back to the stage my 
salary was cut and every time I returned 
to the screen it was boosted, so finally 
I stayed." 

"And now you're a star!" 

"Yes, and that is the only thing about 
the whole affair that surprises me up to 
date. How did I get to be a star ?" And 
paraphrasing, we answered, "The fault, 
dear Brutus, is in ourselves if we are 
not stars. You earned it, that's how. 
Or if you dont understand it, ask Sam 
Goldwyn. He knows!" 

(Seventy-nine) 




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MOTION PICTURE 



Lewis Cody, H. V. 

(Continued from page 19) 



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"Oh, yes," he said, and laughing put the 
cigaret in its place again. 

"I'm a great believer in leaving things 
to chance ; that is. little things," he re- 
marked. "I never have a good time 
when I plan on it very far ahead. I've 
generally found that the best way for 
me to enjoy myself is to start out alone 
feeling grumpy and dull. Pretty soon I 
am likely to meet some friend who feels 
very much the same way. 'Where are 
you going?' he asks 'Nowhere,' I an- 
swer. 'Suppose we go together?' he 
suggests, and the result is one glad 
time !" 

"And the big things in life?" 
"Oh, chance usually takes care of 
them, anyhow. How many people in 
this room knew where they were going 
when they started out, do you think? 
Look at all the biggest names on the 
screen ; did Chaplin think that he would 
be great for his comedy when all of his 
plans w-ere serious ones? And Doug 
Fairbanks, too ; wasn't it chance that 
showed him the thing he could do best? 
I believe it always happens like that: 
You start out to do one thing and end 
up by doing something entirely dif- 
ferent." 

Lew Cody, by the way, had to be 
argued into playing just about every 
good part he ever had. He did not 
want to get a reputation as a "heavy," 
which goes to show how very much 
there is in a name : a "heavy" could 
hardly hope to be a star, while a "he 
vamp" is a different proposition. He 
got the "he vamp" reputation because 
of his part in "For Husbands Only." 

"Do I believe in marriage?" he re- 
peated my question. "Yes, indeed I do 
— for other people. I think that it is a 
beautiful institution. But the vamp, the 
human butterfly type, either in man or 
woman, should be free, as free as pos- 
sible. They simply cant rub up against 
the little troubles of everyday life and 
keep the gloss on their wings. They 
make perfect lovers, but impossible hus- 
bands and wives. 

"For instance," he went on, "take 
the character I played in 'Dont Change 
Your Husband.' He wasn't insincere. 
On the contrary, he was really in love 
and he didn't make love to the woman 
in her husband's house, either. In fact, 
there was nothing really bad about him. 
He was just weak and couldn't stand 
up against everyday things. The very 
sense of irresponsibility that made him 
fall in love made him fall out of love 
again. And if, by some miracle, it were 
possible to make such a person sober and 
practical, he would probably lose all of 
his charm for the world." 

"You think that people admire a lit- 
tle wickedness in their heroes?" 

"I do, indeed! And in their heroines, 
too, so long as it isn't ugly. You know 
the admonition of a French mother to 
her child is never 'Be good,' but always 
'Be pretty.' Wickedness, in the strict 
meaning of the word, is never pretty, so 



perhaps it would be more correct to 
say that what people want is humanity 
with a little dash of fun, so that they 
can laugh at their own faults and at the 
faults of others. 

"That is what I hope to do with my 
'vamp' stuff : I never want to lose the 
light, graceful tone. And that is not 
easy." 

"Then you are working harder than 
you ever did?" 

"N-n-o. All work and no play makes 
Jack a dull boy; I hate dull people and 
I'd hate to hate myself. Anyhow — (he 
was more than half in earnest) — I 
think that a player should to some ex- 
tent, at least, live the character he is 
playing, in order to keep in the spirit 
of it. So I ne\er want to become too 
serious." 



The Broken Melody 

(Contiimed from page 70) 

singing, as tho the spring of melody 

within her were broken " he pointed 

at the door across the hall, "yonder she 
grieves, lad. Go to her " 

And Stuart waited no longer, but 
obeyed. As he stood upon her threshold 
the girl outflung on the couch sat up, 
stared, and her hands crept to her low 
girl breast. "It isn't you, of course," she 
said in a small, shaken voice. "It 
couldn't be you. You are in Paris, you 
know." 

"It is I, Hedda," Stuart whispered, for 
he had come close to her now, and his 
arms were around her hungrily. "I cant 
paint pictures without you — I cant even 
live without you. There's just one thing 
that matters in the whole world, and 
that is — will you let me stay, sweet- 
heart ?" 

"But your work " she was still 

afraid to believe in her joy. 

"We will work together, Hedda," 
Stuart told her, "you are my work — 
you complete me. And perhaps — some 
day — if I work well enough, Hedda, you 
shall have your jewels after all !" 

Her face was lighted with a solemn 
light. She seemed to be looking ahead, 
far ahead of them— "Yes, Paddie," 
Hedda nodded quietly, "I think — I shall 
— have my jewels " 



CAMEO 
By Faith Service 
In each breeze, low-murmuring. 
Whispering, "Earth, rejoice!" 
In each matin of the larl<. 
Your voice. 

In each April shower. 
Crystal— clear and brief — 
Spanned by arching rainbow, 
Your grief. 

In each glancing sun-ray 
On a flower awhile. 
Fleeting, transient, subtle, 
Your smile. 

In your heart, soft-beating, 
Tender as a dove. 
Fluttering, prisoned in my heart, 
Your love. 



(Mighty) 



CLASSIC 

Idealist and Artist 

(Continued from page 35) 

In 1914, Mr. Tourneur was sent to this 
country as a producer for the Americnn 
branch of the Eclair Company. 

"Will you ever make another 'Blue 
Bird' or 'Prunella'? I asked, recalling 
those exquisite fabrics of dreams. 

"I hope so — some day — I hope so ! You 
know, dont )0U, that they were not what 
we call successful ? Oh, I would be will- 
ing to suffer poor financial returns if such 
beautiful pictures would only reach the 
people, but they dont, for they think they 
do not like them. 

"I left painting because it gave me 
more pain 'than enjoyment. So much 
beauty was lost between the brain, which 
conceived the idea of the picture, and the 
fingers which portrayed it. Just so in mo- 
tion pictures, some day I will leave them 
because they, too, are painful. So much 
is lost in every picture. I find a story, 1 
am enthusiastic. Then, there is a little 
lost in making the script, a little more in 
acting, a little in the photography, a little 
in my directing, and when it is all com- 
pleted it is not the beautiful thing 1 had 
conceived. Human workmen can never 
come up to the mental pictorial perfec- 
tion." 

Presently he continued, "Motion pic- 
tures must move onward to the place 
where life seen thru an artist's mind 
will find expression on the screen. Sug- 
gestion must take the place of exact de- 
lineation, impressionism in place of the 
literal transcription, alike in motive and 
execution. An artist looking at a land- 
scape does not give us an exact repro- 
duction on his canvas, for instance, such 
as photography affords, but he repre- 
sents it as he felt and saw it." 

Suddenly wheeling around in his chair, 
Mr. Tourneur pointed to a picture above 
his desk, "This Whistler canvas does 
not look like nature nor is it the real 
thing, but it gives the impression of low 
tide, twilight depths, shadows cast by 
the old bridge across the Thaines. It is 
as it looked to Whistler. The reality 
passed thru the artist's mind and he 
gives us the picture as it impressed him " 

Earnestly, he continued. "One might 
look at this chair in many ways. Were I 
weary it would suggest a haven of rest, 
but were I searching for art, it would 
be an object of conteiupt. So all of life 
and its action can be looked at from 
various angles, and the picture director 
must be an idealist and an artist." 

"The function of the film today?" I 
prompted, speaking .softly, for the late 
afternoon stillness had crept into the 
room while we talked. 

"Motion pictures must always have a 
theme that will make the audience laugh 
or cry ; it may be comedy or drama, but 
it must never bore!" 

Like all great idealists, Maurice Tour- 
neur feels the magic waves of discontent 
that spurs the artist on to greater tasks. 
Following his own visions, he longs to 
share them with the whole world — if it 
will but see! 

(Eighty-one) 




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MOTION PICTURE 

Betty Blythe: The Peacock 
Princess 

{Continued from page 21) 

friends. Well, the minute tlie director 
saw me, he asked what I could do. 
Knowing- that my very meals depended 
on my answer, I repHed, airily, 'Oh, any- 
thing!' just as if I knew all about acting 
before the camera, and because he needed 
my t}pe he put me to work right away 
with Harry Morey in 'His Own People.' 
Isn't it funny how things work out ? Here 
I had lived in Los Angeles, the very 
heart of motion pictures, but had scorned 
them as a career." 

After playing with Harry Morey in a 
number of pictures, and also with Earle 
Williams, she did a couple of O. Henry 
stories, then went with Guy Empey where 
as Madame Arnot, in "Over the Top," 
she did such excellent work that she at- 
tracted the attention of all lovers of the 
screen. 

"It was a great role," Miss Blythe de- 
clared, enthusiastically, "I felt I had 
created something really worth while. 
To me, Madame Arnot was symbolical of 
the women of France during the war, of 
their nobility in suffering and sacrificing 
everything for their beloved cause. I al- 
so made 'The Undercurrent,' with Mr. 
Empey. 

"The greatest thrill of my life cameone 
morning when the New York Telegraph 
had a full page picture of me. There it 
was staring up from every newsstand 
and street corner. Can you imagine what 
that meant to me after all my disappoint- 
ments ? 

"Now that they are over, I'm glad to 
have had them. We gain very little 
except thru struggle. All history 
teaches that every step of advancement 
is the result of turmoil. I often wonder 
what upheaval accounted for Schubert's 
glorious melodies." 

Betty Blythe had some serious ambi- 
tions for her future on the screen. Pos- 
sessing a striking beauty and being able 
10 wear her clothes to splendid advantage 
lias caused her to be cast in many society 
rules. Not caring for this type in real 
life she finds it hard to visualize her on 
the screen and hopes to have the oppoi'- 
tunity of portraying the real woman, the 
one who stands for the best in all 
womanly qualities. 

"Careers are all very well," I re- 
marked, glancing at the various mascu- 
line photographs adorning Betty's bou- 
doir, "but suppose love should come." 

"I want it to come !" came the quick 
response. "I've reached the point where 
I long for a home and a more unselfish 
lite," and a new warmth crept into the 
large, dark e)'es as they lingered on one 
picture. 

Betty laughed. "Let's go and have an 
ice cream soda!" she said. 



TnoRNi.Ess Rose. — What did you do with 
the thorns? Thanks for your pood advice 
about not marrying so the girl will get all my 
money. I'll take good care of that. You're 
rlRlit ahout Pearl White. If we cant make 
money honestly, let's make it as honestly as 
we can. 

(Eighty-two) 



CLASSIC 

The Silken Gloria 

(Co)itinued from page 17) 

up against the subject of marriage and 
divorce, tliose Gold Dust twins of dis- 
cussion. 

Miss Swanson believes thoroly in mar- 
riage. Indeed, we strongly suspect she 
is about to try the problem personally. 

"One of the biggest fallacies of mar- 
riage," philosophized Miss Swanson, "is 
the idea that a couple should be of op- 
posite temperaments. In reality, they 
must have similar interests, desires and 
hopes. 

"Ea«h must give and take. 

"There must be a basis of companion- 
ship when the glamor begins to wear 
thin. 

"Each must allow the other plenty of 
leeway. 

"Those are my ideas today. Of course, 
I revise my ideas daily. Indeed, I might 
have entirely different ones if you inter- 
viewed me tomorrow. You never can 
tell about me," admitted Miss Swanson. 

All of which goes to prove that she is 
typically feminine above all else — femi- 
nine from the tips of her dainty slippers 
to the glistening hat setting at just the 
proper angle of effectiveness. Woman is 
woman — and Gloria is Gloria. 



MINSTREL'S LAY 
By Walter E. Mair 



Sing mc a song of the high road. 

And the best road to go. 
From the town with its empty laughter 

To the land that I used to know; 
To the land full of sun, where the meadow- 
lark's call 
Like to silver-sweet rain on my heart used 
to fall. 

Sing me a song of the far road, 

And the road fair to see, 
From the place of unending striving 
To the haunts of the droning bee; 
To the vale where the autumn gold gleams in 
the sun. 
And the twilight brings peace when the 
day's work is done. 

Sing me a song of the old road. 

And the one road I know, 
Where every traveler's a comrade, 

And the goal of his path is the glow 
Of home-keeping hearts that are waiting to 
give 
Their love to his longing, to help him to 
live! 

Aye, sing me a song of the high road. 
And the best road to go. 



HIS HERO 
By Minna Irving 

Our Buddy-boy is ten years old. 

His hero used to be 
A private w-ith a big black flag 

Who sailed the stormy sea, 
And made his captives walk the plank. 

And scuttled ships, I trow. 
But Buddy's changed ideals — it 

Is Charlie Chaplin now. 

He thought a bold bad bandit's life 

Was something very fine ; 
I took him to a movie show — 

This little chap of mine. 
With smudges on his tiny lip, 

A derby o'er his brow. 
He imitates his hero — it 

Is Charlie Chaplin now. 

/T'.inlii.ii-ihri'p 1 



Millions oP People C3an Write 

Stories and Photoplays and 

Dorit Know It/ 



THIS is the startling assertion recently made 
by E. B. Davison of New York, one of the 
highest paid writers in the world. Is hir; 
astonishing statement true? Can it be possible 
there are countless thousands of people yearn- 
ing to write, who really can and simply haven't 
found it out? Well, come to think of it, 'most 
anybody can tell a story. Why can't 'most any- 
body write a story? Why is writing supposed 
lo be a rare gift that few possess? Isn't this 
only another of the Mistaken Ideas the past has 
handed down to us? Yesterday nobody dreamed 
man could ^y. To-day he dives like a swallow 
ten thousand feet above the earth and laughs 
down at the tiny mortal atoms of his fellow- 
men below ! So Yesterday's "impossibility" is a 
reality to-day. 

"The time will come," writes the same au- 
thority, "when millions of people will be 
writers — there will be countless thousands of 
playwrights, novelists, scenario, magazine and 
newspaper writers — they are coming, coming 
— a whole new world of them!" And do you 
know what these writcrs-to-be arc doing now? 
Why, they are the men — armies of them — 
ycung and old, now doing mere clerical work, 
in ofilices, keeping books, selling merchandise, 
or even driving trucks, running elevators, 
street cars, waiting on tables, working at bar- 
ber chairs, following the plow, or teaching 
schools in the rural districts; and women, 
young and old, by scores, now pounding type- 
writers, or standing behind counters, or run- 
ning spindles in factories, bending over sewing 
machines, or doing housework. Yes — you 
may laugh — but these are the Writers of To- 
morrow. 

For writing isn't only for geniuses as most people think. 
Don't you believe the creator gave yoti a story -writing 
faculty just as he did the greatest u*ritcrT Only maybe 
you are simply "bluffed" by the thought that you "haven't 
the gift," many people arc simply afraid to try. Or if 
they do try, and their first efforts don't satisfy, they simply 
give up in despair, and that ends it. They're through. 
Thfy never try again. Yet if, by some lucky chance, they 
had first learned the Bimple rules of writing, and then 
given the Imagination free rein they might have astonished 
the world! 

But two things are essential in order to become a writer. 
First, to learn the ordinary principles of writing. Second, 
to learn to exercise your faculty of Thinking. By exer- 
cising a thing you develop it. Your Imagination is some- 
thing like your right arm. The more you use it the 
stronger it gets. The principles of writing are no more 
complex than the principles of spelling. arithmetiC( or 
any other simple thing that anybody knows. Writers 
learn to piece together a story as easily as a child sets 
up a miniature house with his toy blocks. It is amazingly 
easy after the mind grasps the simple "know how." A 
little study, a little patience, a little confidence, and the 
thing that looks hard 
turns out to be just as 
easy as it seemed difHcult. 
Thousands of people 
imagine they need a fine 
education in order to 
write. Nothing is farther 
from the truth. The 
greatest writers were the 
poorest scholars. People 
rarely learn to write at 
schools. They may get 
the principles there, but 
they really learn to write 
from the great, wide, 
open, boundless Book 
of Humanity! Yes, 
seething all around you, 
every day. every hour, 
every minute, in the 
whirling vortex — the 
flotsam and jetsam of 
Life — even in your own 
home, at work or play, 
are endless incidents for 
stories and plays — a 
wealth of material, a 
world of things happen- 
ing. Every one of these 
has the seed of a story 
or play in it. Think! If 
you went to a fire, or 
saw an accident, you 
could come home and 
tell the folks a 1 I about 
it. Unconsciously you 
would describe it all 
very realistically. And 
if somebody stood by 
and wrote down exactly 
what you said, you'd be 
amazed to find your 
story would sound jus; 



LETTERS LIKE THIS 
ARE POURING IN! 
"With this volume before him, 
Uio vtTiest novict) should bo alilo 
to tnilJd Btoriee or pholoplaj'a that 
will OdiI a ready market. Ttie best 
treatise of its kind 1 have «u- 
countered in 2A yean of news- 
paper and literary work."^U. 

FIKRCB W E L L B B, JlANAGIN^i 

Eijitok.TueBinijhamton I'iiKsa, 

"I sold my first play In less than 

three weeks a/ter setting your 

book." — T H E L M A A L M Bit, 

Helena, Mont. 

"Mr. Irving has so simplified 
story and photoplay writing that 
anyone with ordmajy intelligence 
ouglit to master it Quickly I am 
having no trouble In selling my 
atoriea ajid plays now." — B, M. 
James, Dallas. Texas. 

"I have already sold a synopsis 
—written according to Mr. Irv- 
tng'fl InstrucUons— for f5nn oo, 
and some short sketches for smal- 
ler siuna" — David Clahk, Port- 
land, Orb. 

"Tour book opened* my eyes to 
great possibiUtiL-s. I recoiviid my 
first check t o - d a y— $175.00." 
— H, Barlow, Lodisvillb, Ky, 

"It Is the most complete and 
practical book ever v^rilien on 
the subject of writing." — HaRky 
ScHTLTZ, Kitchen ED, Ont. 

"Th© book Is all, and more, 
than you claim It to be."— W. T 
Watson. Whitehall, N. Y. 

"1 am delighted vHlh the book 
bpyond the power of words to 
express." — Lade a Davis, Wkn- 
atchkb. Wash. 




Copyright, Lumlere 



Miss ITelena Chadwlck, versatile screen star, now 
leading lady for Tom Moora of Goldwyn Film 

Compajiy, says: 



Method of Hi 
plays with ea 



as interesting as many you've read in magazines or seen 
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New Method Makes Music 

Amazingly Easy to Learn 



Learn to Play or Sing— Every Step Made 
Simple as A B C 

TRY IT ON APPROVAL 

Entire Cost Only a Few Cents a Lesson — 

and Nothing Unless Satisfied 
How often have you wished that you knew how 
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\ j How many an evening's 
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my method is a revolutionary improvement over 
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of teaching music. But my method is thoroughly time 
tried and proven. Over 225,000 successful pupils — from 
boys and girls of 7 to 8 to men and women of 70 — are 
the proof. Largely through the recommen- 
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Ahe largest school of music in the world. 

To prove what I say, you can take any 
course on trial — singing or any instrument 
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MOTION PICTURE 

Understudying Mary 

{Continued from page 38) 

girls would 'go mad' over. I also recog- 
nized the great opportunity it offered to 
further my knowledge of the dramatic 
art and it was with the happiest little 
thrill, that I signed my name to the con- 
tract. 

"That little thrill of happiness," states 
Miss Du Pre, "has constantly grown in 
intensity because the work with Miss 
Pickford has been glorious. I have 
learnt more about the ways of children 
from Miss Pickford, in watching her 
portray them and in emulating her por- 
trayals, than I ever could have learnt in 
a lifetime from watching real children in 
real life." 

Speaking of her remarkable similarity 
to Miss Pickford, Miss Du Pre said: 
"Our resemblance is almost uncanny. 
Not only in general outward appearance 
but in most every detail of form and fig- 
ure. One day Miss Pickford and I stood 
before a mirror and made minute com- 
parisons. We compared our height, the 
length and shape of our arms, legs and 
feet, and all of our measurements are 
identical. There is a difference in cer- 
tain small lines and in certain lights, but 
they are of little moment and I guess that 
I am, as I have been so often told. Miss 
Pickford's 'double' in real life as well as 
professionally." 

Even without make-up and the char- 
acteristic curls. Miss Du Pre's resem- 
blance is remarkable and when made up 
and dressed as Miss Pickford, the illusion 
is astounding. So much so, in fact, that 
on the first day that the cast was called 
for a dress rehearsal of "Pollyanna" and 
before Miss Du Pre had been officially in- 
troduced to all of Miss Pickford's com- 
pany, a lady appeared on the "set" and 
placing her arms about Miss Du Pre's 
shoulders, started to discuss a private 
Pickford matter. When Miss Du Pre 
halted the speaker and referred her to the 
real Miss Pickford, the lady stepped back 
confused and wild-eyed, and then stam- 
mered in her amazement. "Why!" she 
gasped, "Mar}' and I are cousins, I have 
lived with her constantly' for the past ten 
years — and I thought you were she." 
Then the speaker. Miss Benson, rubbed 
her eves and just stared — first at Miss Du 
Pre and then at Miss Pickford, who sat a 
few feet away laughing at her cousin's 
confusion. 

With "two" Mary Pickfords at the stu- 
dio, things began to happen even before 
the production of "Pollyanna" was actu- 
ally started. The first incident occurred 
on the very first day of her engagement 
and it reminded Miss Du Pre of the story 
of "The Prince and the Pauper." 

She had been called to the pretty little 
bungalow, that Miss Pickford uses as a 
dressing-room, for the purpose of trying 
on Miss Pickford's clothes and there with 
the shades drawn, she arrayed herself in 
the wardrobe of the star, as Miss Pick- 
ford, disrobing in the bathroom, handed 
eacli garment thru the partly opened 
door. 

When fully dressed, even to stockings 



CLASSIC 

and shoes, the shades were lifted and 
star and understudy stood marveling at 
the perfect fit. 

At that moment, Paul Powell, Miss 
Pickford's director, passed by the bunga- 
low and seeing thru the open window 
what he supposed to be the person of his 
star, he stopped and called in — "Good 
morning, Miss Pickford" — The startled 
look of amazement that spread over the 
director's face, as his greeting was 
answered — from the depths of the bath- 
room — and not from the person before 
him, was a comical but eloquent compli- 
ment to Miss Pickford's selection of an 
understudy. 

Then the thought came to Miss Du 
Pre, that here in real life was the theme 
of "The Prince and the Pauper," staged 
in a bungalow instead of a palace, but 
just as alluring in its fanciful possibili- 
ties. Dressed in these "magic" clothes 
and standing in the lucky shoes of the 
great star, she seemed enchanted and in 
imagination she conjured the adventure 
that would befall them, if she retained 
the wardrobe and assumed the identity 
of the famous star, and Miss Pickford 
went off into the world carrying the rai- 
ment and the name of her newly acquired 
understudy. 

After this incidents of mistaken iden- 
tity followed thick and fast. Each day 
had its complement of humorous situa- 
tions. Visitors to the studio approached 
Miss Du Pre with expressions of pleasure 
at the supposed honor of meeting "the 
star" — and on "locations" in and about 
Los Angeles, where the exterior scenes 
were made, spectators bowed and spoke 
to her, fully confident that they were ad- 
dressing Miss Pickford. 

Out in the little town of Norwalk, Cali- 
fornia, where several scenes were made. 
Miss Du Pre arrived in her car consider- 
ably ahead of Miss Pickford — and as she 
waited, a crowd of several hundred chil- 
dren gathered and stood wide-eyed — as 
they nudged each other and whispered — 
"That's Mary Pickford." Then several 
of them got together, held a whispered 
conference and scampered off. Soon 
they returned carrying an old and badly 
soiled candy box containing some candy, 
purchased by their contribution of sev- 
eral cents, and this they presented to Miss 
Du Pre with the statement : "Please take 
this. Miss Pickford, because we like 
you." 

The incident was "so cute" and "so 
pathetically sincere," said Miss Du Pre, 
that she refrained from disillusioning the 
children and was greatly relieved when 
they went off to school before the arrival 
of Miss Pickford. 

Even the old station master at the 
Santa Fe Depot at South Pasadena 
came in for his share of wonderment. 
This venerable railroader, who has stu- 
died the faces of hosts of travelers, was 
nonplussed. A scene was made on the 
station platform and while waiting for 
things to be made ready, Miss Pickford 
and her understudy perched themselves 
on a big shipping case and sat there in 
animated conversation. 

{Continued on page 93) 
(Eighty-five) 



You Can't Teach Piano by 

Correspondence, Dr. Quinn 




Many people told me this, when I first started 
OVER TWENTY-FIVE YEARS AGO. 

But now, after more than a quarter century of 
steady growth, and with my successful graduates 
scattered all over the world, this "old-fogy" prejudice 
against learning by mail has nearly vanished. 

I now have far more students than were ever before 

taught by one man. There isn't a State in the Union that 

doesn't contain a score or more skilled players of 

piano or organ who obtained their i-iitirc training from 

me. "They learned m quarter the usual time and at 

quarter the usual cost. I will gladly refer you to any 

number who will soon convince you 

^^^==1=^ of the excellent resuUs they gained 

^^^r^^JP i from my instruction. My free book- 

W^^^KK ' 1^'. "How to Learn Piano or Organ," 

^^BHL jj will interest and inform you. But 

'■^(■Pl^i.ij don't send for it it you're afraid of 

J'-.^^^^ -^ Icing convinced. 

My way of teaching piano or organ 
is entirely different from all others. 
Out of every four hours of study, 
one hour is spent entirely azvay from 
llie keyboard — learning something 
about tfarmony and The Laws of 
Music. This is an awful shock to 
most teachers of the "old school," 
who still think that learning piano is 
solely a problem of finger gj'mnastics. 
When you do go to the keyboard, 
you accomplish twice as much, be- 
cause you uyiderstand what you. are 
doing. Within four lessons I enable 
you to play an interesting piece not 
only in the original key, but in all 
other keys as well. 

I make use of every possible scien- 
tific help — many of which are entirely 
unknown to the average teacher. My 
patented invention, the COLORO- 
TONE, sweeps away playing difficul- 
ties that have troubled students for 
generations. By its use, Transposi- 
tion—usually a "night-mare" to stu- 
dents — becomes easy and fascinating. 
AVith my fifth lesson I introduce an- 
other important and exclusive inven- 
tion, QUINN-DEX. Quinn-Dex is a 
simple hand-operated moving picture 
device, which enables you to see. 
right before your eyes, every move- 
ment of my hands at the keyboard. 
You actually see the fingers move. 
Instead of having to reproduce your 
teacher's finger movements from 
MEMORY — which cannot be always 
accurate — you have the correct mod- 
els before you during every minute 
of practice. The COLOROTONE 
and QUINN-DEX save you months 
and years of wasted effort. They can 

Marcus Lucius Quinn Conservatory of Music 

Studio KB, Social Union Bailding, BOSTON, MASS. 






& 








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Dr.QUINN A T H7A' I'tANO —From tlie famous sketch 
by Schneider, exhibited at the St. Louis Ej^position. 

be obtained only from me and there is noth- 
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Men and women who have failed by all other 
methods have quickly and easily attained suc- 
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lessons cost you only 43 cents each — and they 
include all the many recent developments in 
scientific teaching. For the student of moderate 
means, this method of studying is far sit{^erior 
to all others, and even for the wealthiest student, 
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My Course is endorsed by distinguished musi- 
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the best. It is for beginners or experienced 
players, old or young. You advance as rapidly 
or as slowly as you wish. All necessary music 
is supplied without extra charge. A diploma 
is granted. Write today, without cost or obliga- 
tion, for 64-page free booklet, "How to Leara 
Piano or Organ." 




■ ■■•■-FREE BOOK COCPON ,«._.«. 

QUINN CONSERVATORY. Studio KB. 

Social Unlan BIdg., Boston, Mass. 

Please send me, witliouL cost or obUgalion, your 

free booklet, "How to Learn Piano or Organ," and 

full particulars of your Course and special reduced 

Tuition offer. 

Name 

Address 



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Odd FcUows Temple, J> 



AWTION PICTURE CLASSIC 



She Loves and Lies 

{Continued from page 33) 



"Married !" Bob was plainly hurt. 
"My Gawd, Marie, how'd it happen? 
You know I always sort of meant to 
marry' you m3'self. Who's the lucky 
stiff that came under the wire ahead ? Is 
it Ted O'Keefe, that used to do the song- 
and-dance with you, or Rufus?" 

Marie saw that she had said consid- 
erably more than enough. She changed 
the subject to vaudeville again, and Bob, 
knowing that matrimony is a dangerous 
and sore subject with most of its vic- 
tims, considerately did not follow it up. 
But he did not forget. And when, the 
very next afternoon, he pushed open the 
door of Polly's studio and therein beheld 
Marie and a handsome young fellow in 
close juxtaposition before an easel upon 
which stood a painting which in nowise 
seemed to justify their interest, and 
when, moreover, he saw Marie lean for- 
ward and just brush the hair of the 
handsome young fellow with a kiss, and 
when, lastly and likewise, he had seen the 
young fellow turn ardently and seize her 
hand and draw her down to him, he 
leaped to a naive conclusion. 

"Give us a knockdown to your hubby, 
Marie!" he demanded, jovially, and then, 
to the purpling Ernest, "I'd ought to be 
sore at you, Bo, but take it from me, 
you've picked a peach ! When Marie 
told me yesterday that she was married, 
believe me, it give lil' ol' John W. Me a 
jolt right where he lived, but I " 

Then he paused, for the first time 
realizing the chill and rarefied atmos- 
phere of silence that surrounded him. 
Marie's face was scarlet, Ernest's very 
white. Bob was not subtle, but some- 
thing seemed to whisper to him that he 
had blundered. 

He took his exit as gracefully as pos- 
sible, leaving two who regarded one 
another coldly. "And so," said Ernest, 
rather tremendously, "and so you, a mar- 
ried woman, have allowed another man 
to make love to you I" 

Marie blazed forth at this. "And you," 
she asked, "had you the right to inake 
love to me? Why, for all that I know, 
you may be married, too !" 

He wilted like a punctured balloon, all 
his rage oozing from him. He stam- 
mered piteously, but she was merciless. 
Writhing, he confessed. "I've been a 
brute — a cad I Why did I ever come to 
this accursed part of town, where people 
wear loose clothes and loose morals ? 
i\nd she's so sweet — so good " 

Marie thrust her vivid young face 
close, daring him. The fragrance of her 
was warm in his nostrils, the golden 
gleams dazzled his eyes. "Tell me," she 
whispered, "is she young — and pretty? 
Look at me, Ernest — and tell me." 

He wrenched his gaze from her ef- 
fortfully. "She is good — and I — I love 
her !" he said doggedly, and got to his 
feet, defying her, tho unconsciously his 
arms went out hungrily to the youth of 
her, the splendid, quick young loveli- 
ness. "I'm going back to my wife — I 
shall never see you again ! Good-by I" 



But still she had no mercy. "Tell me 
— before you go," she dared him, "tell 
me that you never want to see me again." 

He tried to say the words, but his dry 
lips refused to shape them. In his gaze 
was confession, but he was still man 
enough to go, and the door closed behind 
the tragic young figure. Marie laughed 
shakily. The sound stumbled over a sob. 
"He's splendid and I'm a wicked 
woman." She sprang across to Polly's 
clothes-press, disguised meagerly with 
cubist cretonne, and rummaged. Among 
the bedraggled smocks, the smeary batik, 
the wool-embroidered, the stenciled, she 
found one comparatively new white one, 
dragged it down and began to tear at the 
fastenings of her own. 

"I've got to look pretty — enough to 
make him forgive me," she sobbed, as she 
worked. "Oh, I'm afraid — afraid !" 

To Ernest Lismore, sitting dully in his 
study, staring at broken pictures in the 
mocking flames, came the sound of littie, 
light feet that he had learnt to know. He 
looked up guihily as his old little wife 
came into the room and stood by his 
chair, patting his rough, dark head gently. 
"Boy," she said, "boy, I've been thinking, 
wondering. Perhaps it's time for me to 
free you, Ernie. I've thought that you 
looked troubled lately. Tell me, boy, are 
you in love ? Remember I'm your grand- 
mother and tell me all about her." 

"Oh, you're wonderful !" choked Er- 
nest, and caught at the kind little hand. 
"You know everything! I didn't mean 
to, honest ! It just happened — she's 
little, like you, and she has hair like a 
dark spring night trimmed with stars !" 

And he went on in breathless, stum- 
bling words, in flaming young phrases, 
foolish young similes, to tell of his love 
for the paint-smeared little artist he had 
met in the Dawn galleries. When, a long 
time after he had begun speaking, he 
stopped abruptly, there was a space of 
silence. "I — suppose you can never — 
forgive me," Ernest faltered. 

"Forgive you !" a voice echoed in his 
ear, throbbing, beating like a heart. 

Amazed, he looked down at the little 
white-clad figure that had slipped to the 
floor at his feet, and suddenly he cried 
out, unbelievingly, "You! Not — you? 
Was it — you, all the time?" for she had 
lifted the piled grey hair with a revealing 
gesture and flung it from her own. 

"It was I — all the time," Marie an- 
swered, and suddenly her look quickened 
to that of some prophetess. "Ernest, it 
wasn't all acting. When a woman loves 
a man, she loves him because he's her 
hero, and because he's her protector, and 
because he's her lover — and, most of all, 
because he's really her little boy, Ernie. 
Still" — her lips grew mischievous — "still, 
sir, if you're dissatisfied with your wife, 
of course I'll stick to my agreement " 

"My wife!" said Ernest Lismore, and 
he said it like a prayer. "My wife," and 
this time it was like a poem. "My wife!" 
and he stooped to sweep her up in his 
strong, hungry arms. 

(Sighty-sise) 



AN APOLOGY AND 
AN EXPLANATION 

On October ist, 1919, practically all of the printers and type- 
setters in and around New York went out on strike, including 
those who print this magazine. Without going into the merits 
of the controversy between the employers and the employees, we 
will simply say that we had no voice in the matter one way or 
the other. Several labor unions had differences among them- 
selves, and these differences caused the Publishers' Association 
to refuse to comply with the demands of certain labor unions. 
We do not belong to the Publishers' Association. That body 
conducted all the negotiations. When the printers and com- 
positors walked out, it was not in our power to make them walk 
back, even if we had been willing to give them everything they 
asked. Had we terms with one union, another union would 
have refused to handle our paper, and another union would 
have refused to make the plates which are necessary for us to 
have. In other words, our hands were tied. We were helpless. 
Some publications were fortunate enough to have some of their 
printing done for them in distant cities, some had it done by some 
other process (such as typewriting photographed) and some 
could not have their work done at all. The strike did not end 
until the latter part of November, having lasted nearly two 
months. 

During this time we did everything possible to supply our 
readers with this, their favorite magazine, on time and in good 
condition, but such was not possible. We left no stone unturned 
and were willing to go to any expense, but in spite of every effort, 
we were unable to meet the schedule, hence we were late. 
Furthermore, the magazine that you received was not the one 
we intended to give you. When the strike came on, this magazine 
was partly made up and partly printed, but we were unable to 
move either the type or the parts that had been printed. We 
managed to get out a MAGAZINE, but it was not the kind of 
magazine we wanted, it was the best we could. We could not 
even print an explanation and an apology, hence this one. We 
hoped, and still believe, that all of our esteemed readers, even 
those in distant parts, had heard of the great tie-up strike and 
that they would patiently wait. Some of our contemporaries took 
advantage of our extremities by issuing extra large editions on 
an advanced date, hoping thereby to secure some of our readers, 
instead of extending us the brotherly hand and saying, "Is there 
anything we can do for you in your distress?" We hope that 
they have largely profited by their business sagacity, but we be- 
lieve that we have not lost a single reader. Once a reader always 
a reader. 

We are now fully recovered from the disaster and from now 
on our readers may expect the finest magazine possible. We 
have done this for ten years and we can do it now. WATCH US. 

THE M. P. PUBLISHING CO. 




STRONGFORT 
The Perfect Man 



Get THe JO^ Out 
OP Llf^B 



What's the good of liv- 
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Dyspepsia, indigestion, biliousness, constipation, nerv- 
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You can do it, if you will only make up your mind 
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I liare spent my life etudylnff Nature's methods of building 
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motion and Conservation of Health. Strength and Mental 
Energy." It will tell you what Strnngforlipm will do for 
\0V. if you will devote fifteen or twenty minutes a day to It. 
in the privacy of your oivn chamber, if you like. Don't put 
off sending lor It. IT'S FRKE, but it's worth good money 
to you, as you will see when you have read it. Fill out the 
coupon below and enclose it with three 2c stamps to cover 
packing and postage and I wilt mail you a special letter 
ivlth the book, on the subject you are most interested In. 

LIONEL STRONGFORT 

Fhnsic'it'and Health Specialist 
1150 Stronefort Institute, Newark, N.J. 

■)■««■ CUT OUT AND MAIL THIS COUPON. ..__ 

Jlr. Lionel StronRfnrt, Newark, N. J — Please 
send me your book "PROMOTION AND CONSER- 
VATION OF HEALTH. STRENGTH AND MEN- 
TAL ENERGY." for puatak-e of which I enclose 
three 2c stamps. I ha\e marked (X) before the 
subject in which I am interested, (1150J 



..Cold! 


. .Intomnia 




■Catarrh 


..Heart Weakness 


..Poor Circulation 


. .Asthma 


..Short Wind 


..Youthful Errors 


. Obesity 


.-Flat Feet 




. .Headacho 


. -Constipation 


..Vital Losses 


. .ThlnnasB 


. .Biliousness 


. -Skin Disorders 


. . Rupture 


..Torpid LIvor 


. .Despondency 




.-Indigestion 




. .Neuralgia 


. -Nervousness 




..Flat Chest 
. -Deformity 


..Poor Memory 


..Increuod Height 


Name .... 






Age 






Street .... 






City 


State 



(Eighty-seven) 



Q 



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■Even/ 
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KODAKERS 



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This department is for information of general interest only. Those who desire answers by mail, or 
a list of the film manufacturers, with addresses, must enclose a stamped, addressed envelope. Address 
all_ inquiries to The Answer Man, using separate sheets for matters intended for other departments of 
this magazine. Each inquiry must contain the correct name and address of the inquirer at the end 
of the letter, which will not be printed. At the top of the letter write the name you wish to appear. 
Those desiring immediate replies or information requiring research, should enclose additional stamp or 
other small fee; otherwise all inquiries must await their turn. 



Oi'AL B.— A little Into, but better late than 
never. Those striking printers certainly did 
play havoc with our schedule. Never mind, we 
expect to be out on time with the next issue. 
Be patient. I haven't the boy's name in "The 
Delicious Little Devil." 

Talmadge Fan. — My thanks, you flatter me. 
My wit might be more appealing but that 
Shakespeare, Butler and Bacon have rendered 
it extremely difficult for all who come after 
ihem to be sublime, witty or profound. How- 
ever, I'll do my best. Write to our Sales De- 
partment, and not to me, please, about all 
matters concerning back copies, subscriptions, 
etc. 

From Mt. Pleasant. — Oh, how do you do! 
Yes. I have just had a birthday, but I hope to 
advise you during 1920 — never too old to be 
an Answer Man. I rarch' look back, but 
always keep looking ahead. Some people 
spend their lives in reasoning on the past, in 
complaining of the present, and in trembling 
for the future. Ruth Roland in "Hands Up," 
and Jean Sothern in "The Mysteries of Mira." 

C. R.\Y. — Fiat lii.v means "Let there be 
light." Mae Murray is playing in "The ABC 
of Love," released thru Pathe. Corinne Griffith 
is playing in "The Tower of Jewels." Why, I 
very seldom get down to Vitagraph. Ah ha, 
so you like little Marguerite de la Motte, and 
think she is a "pippin." I think so too, but I 
confess I dont know what a pippin is. So 
you like the Magazine better than the Classic. 

Dixie Dee. — Sure I have w-hiskers like a 
Turkish pasha, but I never wear a muffler in 
the winter time, nor do I carry a muff, nor do 
I ice-skate to and from the office. Dorothy 
Gish in "Betty of Greystone" opposite Owen 
Moore. You say you know something about 
the markets and the way of the dollar, but all 
1 know about women is that they are good to 
have. And you come along and say that Wal- 
lace Reid is the handsomest man in the world. 
Have you seen them all? Come in again and 
see me. 

Coming Author. — Well now, come right 
along. There's room for one more. You say 
A'ou have written a scenario and ask how much 
it is worth. That's not the question. It is, 
How much will it bring? Take what you can 
pet and be thankful. Write for a list of the 
manufacturers. 

MiMi B. — Well, there is one thing that 
people bring to the table, and cut, but do not 
eat, and which should never be brought to the 
table at all — a pack of cards. Card-playing is 
a terrible waste of time and brings no benefits. 
Jifarjorie Wilson plaved in "Mountain Dew" 
and William Elliott' in "When We Were 
Twentv-one." And now Lillian Walker will 
play in "$1,000,000 Reward," a serial, produced 
by Grossman Pictures, Inc., Ithaca. 

Minnie F. L., Auburn. — Oh, you have 
Auburn hair? I am always glad to hear froin 
architects. I am one myself. I am the archi- 
tect of my own fortune, but I confess that I 
have made a bad job of it so far. But what 
can one do on nine dollars a week? I went 
into this business nine years ago without a 
cent in my pocket and I've got it yet. Oh, how 
could I forget you, Minnie I 



G. E. W. — Why, turning a woman's head is 
as easy as missing a train if you know how. 
Is Conway Tearle married? Witness prefers 
not to answer on the ground that he is not 
sure about it this minute. Mississippi was the 
first, Virginia second, Kentucky third. South 
Carolina fourth to ratify the amendment for 
prohibition. Even Kentucky,'! 

Peggy Adair. — I thank you. fair lady, for 
the cigars, but with all due respect and grati- 
tude. I must inform you thai I knew they were 
purchased by a woman. You say they had 
Connecticut w^rappers? I believe you; they 
tasted like some kind o£ rags. An artist tells 
me that old wrappers make excellent rags. 
No, Mrs. Adolph Zukor is not a player. She's 
a producer's wife. Write to me again. 

M. T. — Of course I eat fish. If I have 
plenty of mackerel for breakfast, I can usually 
make the other two meals out of cold water. 
Virginia Brown, one of the winners in the 
Fame and Fortune Contest, has changed her 
name to Virginia Faire, and has signed a five 
vears' contract with Universal, involving some 
$85,000. Pretty good start, eh? Antonio 
Moreno in his new serial, "Smashing Bar- 
riers." 

Lily B. — My dear, no human creature gives 
his admiration for nothing; either the eye 
must be charmed, or the understanding grati- 
fied. And that is the way of the world. Yes, 
Elmo Lincoln in "Tarzan." Why, haven't you 
heard of a varnish tree? There is the black 
varnish tree and the Japan varnish tree. 

Miss Manda — You question my statement 
that I am a self-made man, because if 1 had 
made myself I would have put more hair on 
my head. Well, I put it on my chin instead. 
Be off with you. Alice Brady's latest picture 
is "The Fear Market," which was produced a 
couple of years ago on Broadway. 

Helen. — Yes. Alice Joyce was in New 
Orleans taking "The Sporting Duchess." Ben 
Wilson and Neva Gerber are producing a sec- 
ond serial, "The Screaming Shadow." Some- 
body must like these serials. Of course I lie 
down to sleep, do you think I am a horse? 
Speaking of horses, they show their angsr by 
retracting their ears. Did you notice mine 
retract? 

George L. — If j'ou want your letters an- 
swered in the Classic, please be sure to put 
"Classic" at the top of vour letter. Dolores 
Cassinelli is playing in "The Web of Deceit." 
Herbert Rawlinson is starring in 8 two-reel 
detective features. J. Warren Kerrigan in 
"The Lord Loves the Irish," and I guess He 
does, or He wouldn't have made so many of 
them. So you want to see Anna Little on the 
cover and an interview with Clara Williams. 

Marjorie M. — Chickens, no, no, the incu- 
bator w^as known to China and Eg>-pt first—in 
the very early period. The smallest British 
possession is Gibraltar, and the largest _ is 
Canada. You know there must be a begin- 
ning. Dont know why you are afraid to write 
to me. I wont hurt you. The more the mer- 
rier. Yes, Frankie Lee is a bright child. Billie 
Burke did not play in her stage play on Christ- 
mas Day. She spent the day with Patricia. 
(Continited on page 96) 

(Eighty-eight) 



This Coupon is NOT an Aladdin's Lamp 



* Palmer Photoplay Corp. 

J 742 I. W. Hellman Bide., 
J Los Anecles. CaUfornia. 

• Please send me. without obliEatioti. your new booklet. 'T'h" 
' Secret oi Successful Photoplay Wntme. 



Also — Special Sup- 
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J St. and No 



City and State. 



but it IS the Doorway to 
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If you have normal intelligence 
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If vou have story ideas and want money, the richest market in the world 

"'^itt^S'TLtrnd .cod photoplays this minute at from $200 to 
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^tem^thrSthe SZXln^lL. of thein^n fhe much tougher school of^ 

''''''The'palmer Plan teaches the technique of photoplay writing. You can 
study the Palmer Plan in your spare time at home. 

If you want endorsements of the Palmer Plan, we can show you enough 
letters from successful Palmer students to amaze you. c • u ^ >!, 

Rut that is not the point. The point is that when you have fimshed with 
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The coupon at the top of this page is not 
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Cecil B. DeM'lle Director ijeneraiLiv Weber America's greatest woman 

LJtnr aititodL^'r! I^rwlg^Te" n^lef ^cree^Tuthority and special Saturday Evening 

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Contributors 

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PALMER PHOTOPLAY CORPORATION 

I Department of Education 

742 L W. HELLMAN BUILDING LOS ANGELES, CAL. 



1 

isn't reckless advertising talk; it is a con- 
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Send coupon to us. It will bring you a 
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KILLTHE HAIR ROOT 



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We do not teach "movie" acting. Roy Sheldon, 
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It also contains endorsements of our service froin 
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If yon are nnt sincere in your desire to gei in the 
tnoz-ies. please do not send for this printed guide. 



SCREEN CASTING DIRECTORS SERVICE 

Dept- H, Wilmington, Delaware 

Please send me your printed guide as described above 
for which I enclose ten cents. 



Name. . . 
Addresi. 



(Eighty-nine) 






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MOTION PICTURE 






On With the Dance 

(Contitnted from page SS) 

staling on him, opened a dancing palace 
and sent the masked dancer off to a sen- 
sational success. 

Sonia loved it, especially at first. She 
feasted upon the adulation, personal, 
press and otherwise. She rioted in furs 
and jewels and the things she had hun- 
gered for since she had danced, half- 
naked, on her native steppes. It was all 
rich food to a part of her long lean with 
deprivation. 

Other things, of course, were more 
involved. Van Vechtan, incidentally, ac- 
quired two deep lines on his brow where 
lines had not been before. Peter grew 
more silent and more morose, retired 
more than ever to himself. He was out 
a great deal of the time with Joan, doing 
settlement work and reading things 
Sonia did not nor would not understand. 
When he was at home he was utterly 
abstracted, felt utterly stifled. Joan was 
the air he needed to breathe in order to 
live. Sonia and her heavy atmospheres 
stifled him. He grew to know how bit- 
terly a man sins against himself when 
he does not play true with himself, with 
the greatest urge within him. 

Under a surface all roses and smiles 
and discreetness and silences and abstrac- 
tions, something ugly and sinister rankled 
and grew apace. Peter became insistent 
as to the source of Soma's plutocratic 
apparel. He knew it did not come from 
him, even tho his income from the ter- 
minal plans had become a solid one. He 
knew that Van Vechtan was simply 
making her the simple allowance he had 
given her when she first came to her 
father and to him, adequate only for her 
studies and simple attire. Because he 
honestly did not very much care in any 
essential sense he did not press the mat- 
ter for a while. Van Vechtan did, and 
Sonia, curled up on a couch, told him 
all about it. "It's gorgeous fun," she 
said, in conclusion. 

Van Vechtan sighed. The sigh came 
from his traditions and his dreams, never 
quite the same, always a bit disturbed 
since this girl had come over the waters, 
bringing with her new flavors, a hint of 
new desires. 

"You are a mystery as you are, So- 
nia," he told her. "Why try to exploit 
it all — for the mob? Reserve is the last 
of the arts, and the finest. Why not 
live more for Peter, more for the things 
you can take with you into the softer 
years? The adulation of the mob — they 
are a wolf-pack, snarling for fresh meat. 
They will reject you and cast you out. 
They will forget you." 

"I will reject them and cast them out, 
too," Sonia said ; "they are a toy to 
me, also. I will forget them. Anyway, 
what does' tomorrow matter? Or yes- 
terday? It is the present that matters. 
It is today. Death and forgetfulness 
make mockeries of past and future." 

"You are imbibing," sighed Van Vech- 
tan, "the tin-pan philosophy of Jimmie 

(Ninety) 



LASSIC 

Sutherland. I suppose you've got to 
i ;arn. What a weary cycle it all is !" 

Of course, sensationalism stepped in 
nd smashed the whole rotting structure 
3 the mud, from which, only with great 
•ain and labor, anything whole and ade- 
uate was made again. 

Peter came home one night, straight 

rom foan, to find .Sonia dancing an 

.bandoned sort of a thing for Jimmie 

Sutherland. All the satyr in Sutherland 

vas on the surface. It was repellent. 

'eter created a scene, justifiably enough, 

jind only Sonia's really desperate plead- 

ng saved the studio from being the scene 

! )£ God knows what horror. 

I After it was over, Sonia packed her 

)ags and departed. "I dont know what 

t's all about," she said, "but I know that 

[ cant stand it, any of it. You've never 

:oved me, Peter. I think some of the 

:ause is in that." 

A week later Peter followed her to the 
dancing palace, and so did Jimmie Suth- 
jrland's discarded Fay Desmond. The 
oapers had the whole thing in detail the 
next morning. Fay Desmond tore the 
mask from the masked dancer, de- 
nouncing her, Sutherland leaped to the 
rescue and then, clean as a lance, past the 
lot of them, a slender man, white and 
murderous, cleaved thru the crowd — and 
limmie Sutherland lay under a smoking 
gun held by Peter Derwynt. 

It was an equally sensational trial. 
The component parts were splendid as 
copy — the famous masked dancer; 
Schuyler Van Vechtan, unapproachable 
in the assault of all approaches ; Peter, 
an odd murderer in his remote and white 
asceticism ; the desperate-looking Fay 
Desmond, with the odd air about her of 
petrified vitality, almost as tho frozen ; 
the name of the wealthy Jimmie Suther- 
land, whom wealth had turned, it 
seemed, from a ruddy, honest pork- 
packer into a satyr, horridly stalking. 

The trial reached its climax when 
Sonia, slender and vastly different, all 
in black and utterly composed, took the 
stand. She told the jury, very simply, 
without any sort of affectation or apol- 
ogy or ostentation, that she had been 
Jimmie Sutherland's mistress because she 
craved the luxuries of life and her hus- 
band could not give them to her. "He 
found it out," she said, in conclusion, "so 
he killed him." 

Peter was acquitted. He had done, of 
course, the justifiable thing. He had 
merely killed the thing rotting the decent 
foundation of his home. One could do 
no more, it seemed ; no less. 

He went to Sonia and thanked her — 
for telling the truth. 

"Naturally," Sonia said to him, her 
small hand, a frozen thing, stiff in his 
formal touch, "naturally. Peter, I would 
— tell the truth. I've always done that — 
at least." 

"It was a hard truth to tell," Peter 
said, "but it was big, Sonia. You might 
have done much less." 

(Ninety-one) 




Surprises 

You Can Serve With Bubble Grains 



Some morning serve Puffed Rice or Com 
Puffs in this way : 

After crisping, douse with melted butter. 
Then add your cream and sugar. 

It will taste like a dish of confections. And 
m e n enjoy it 
just as much as 
children. 



Add Puft'ed Rice to your fruit dish — any 
fruit. Fruit tastes best with some flimsy crust. 
That's why we have pies, tarts and short- 
cakes. 

These fragile, nut-like bubbles add that crust. 
After a test you will never omit them. 



For supper, float rml'ed Wheat in milk. 
These are whole-wheat bubbles toasted. They 
are four times as porous as bread. 

Children need whole wheat. They need the 
minerals in the outer coats. Served in this way 
they will revel in it. 



After school surprise 
the children with these 
tidbits: 



Dou>t- i ■Mil I'uffs or Pufifed Rice with melted 
butter. Let them eat like popcorn. Children 
can eat these grain dainties to their hearts' con- 
tent — they so easily digest. 

Scatter Puffed Rice or Corn Puffs like nut-meats on ice cream. A 
famous restaurant in Chicago first suggested this. 

Puft'ed Rice is also used like nut-meats in home candy making— to make 
the candy porous, light and nutty. 






Puffed 
Wheat 



Puffed 
Rice 



Corn 
Puffs 



Also Puffed Rice Pancake Flour 



All steam exploded— puffed to eight times normal size. Every food 
cell blasted by Professor Anderson's process, so digestion is easy and 
complete. 

These are the greatest grain foods in existence and you should know 
them all. 

, Like Pancakes Made 

WithtJuts 

Now we make a pancake flour containins 
ground Puffed Rice. It makes the pancakes fluffy 
and gives a nut-like flavor. The flour is self- 
raising, so you simply add milk or water. You 
never tasted pancakes such as folks make with 
Puffed Rice Pancake Flour. 

The Quaker Qhts (pmpany 

Sole MeJcert 




iyr -^ 



m^ 



'\ 



4 



Ad 



Thereof only one way 



Wf 



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Sold at leading toilet counters 

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MOTION PICTURi 

"I agree with you there," she said 
Peter felt, curiously, that she wa 
flame grown ice. It was somehow tragic 
It made of Sonia something he had no 
suspected. Vaguely he felt uncomfort- 
able. He knew that he was in the facq 
of unshrouded pain. 

Later he went away with Joan t< 
await the time when the peace they ha< 
all but lost could come to them, too wi; 
now to let it evade them, however a: 
whatever the price they might have 
give. 

Sonia left the courtroom alone. S 
walked. She walked a long way, towan 
the river. She remembered hearing thai 
a lot of "crazy foreigners" went thai 
way when the things of life became tOG 
much for them. She laughed aloud, but 
not bitterly. She was too tired for bit 
terness, too tired for anything save reliel 
that she was alone and that there re- 
mained so simple a solution as slipping 
her dreary body into enveloping waterSi 
lapping ever so gently against the gree 
docks. Of course, it was very cold, shi 
supposed, and very dirty. But then si 
was she cold, terribly cold and dirty, too] 
she thought, all stained and scarred . 

She had only wanted to live, toi 
There had been no evil intent in hei 
heart, not any more than there had beei 
when she had wanted, so vividly, t( 
dance, back in her native village. Am 
she had danced. She had danced hen 
too. She had danced her soul into flamei 
and her body into the river. It was all 
very odd. Very inexplicable. Thin 
one could not understand invariably hu: 
one. It was a blunting, blowing sensi 
One groped, sly, too, who had so great! 
loved the dear ozone, the winged ethe^ 
the altitudes where one could see fai 
horizons with an untrararaeled vision. 

All at once something took hold of her, 
Something warm. A human hand. She 
had never expected to feel warm again, 
Some one drew her very close and, as ii 
knowing her to be cold despite her own 
furs, enveloped her in a great coat he was 
wearing himself. It was Van Vechtan. 
"My child," he was murmuring, ever 
so tenderly, "my child . . . my child . . ." 
Sonia found herself crying againsi 
him, against the beating of his heart, his 
true heart. He had, it seemed to her, 
walked suddenly from out of the twilight 
and was standing, fully, in the sun. 
"Come home, my love," he said. 
The maid helped him and he made her 
comfortable. He eased her tired body 
and her tired soul and quelled the sorry 
fluttering of her heart. He bade her' 
know that love might be a torch held 
high against the heavens, unquenchable,] 
eternal. He took her in his arms andf 
rocked her to and fro. He taught her a 
new lesson, a new faith. Once, half 
wakeful, she whispered to him, "Of' 
course, I lied ... to Peter . . . about 
Jimmie ..." 

"Of course," he whispered back. 
Still later she crept closer to him. Her 
lips, white petals now, moved, tonelessly. 
He bent closer to catch what she said. 

"I have come hom*^, my love," was 
what he heard. 

(Ninety-two) 



CLASSIC 

Understudying Mary 

(Continued from page 85) 

The old station master knew that Miss 
Pickford and her company were cominp 
there that morning and he was all expec- 
tation. His expectations were more than 
realized when he came ovit of his little 
office and beheld "two" Mary Pickfords 
instead of one. 

He circled about the pair and surveyed 
them in every detail — from curl-bedecked 
heads to identical ''Pollyanna" homespun 
short frock, plain cotton stockings and 
tiny well-worn shoes. He took distance 
views from the front, rear and sides. 
Then he tightened the circle and looked 
his fill at close range and punctuated his 
glances from each angle, with a perplexed 
scratch of his head. 

Then he waited his opportunity and 
when the "two" Pickfords separated for 
a moment, he hurried over to Miss Du 
Pre and plied her with a "million" ques- 
tions. He asked where she had been 
bom and where Miss Pickford hailed 
from, and if there existed any relation- 
ship between them. But the answers onlv 
perplexed him the more and learning 
that Miss Du Pre came from Atlanta, 
Georgia, while Miss Pickford came from 
Toronto, Canada, he gave up the effort 
to solve the "mystery" and resumed his 
work with the remark — typical of a rail- 
road man — "cant understand how two 
people can come from such widely separ- 
ated points and look alike." 

Then to the studio came such celebri- 
ties as Mrs. Mc.\doo and Mrs. William 
Randolph Hearst, where they met Miss 
Du Pre and were amazed at the duplica- 
tion of the little "Queens of the Screen." 
And the furore she created in the studio 
extended even to the wise ones of the 
profession, to those men and women 
long associated with the business of mak- 
ing motion pictures and used to the sur- 
prises of the motion picture stage. 

There was Tom Gerrity, the scenario 
writer and veteran motion picture man, 
when he beheld star and understudy to- 
gether, for the first time, he looked, 
rubbed his eyes, and looked again and 
then pleaded : "Tell me quick — which is 
which — or send for a doctor." 

And all thru the excitement, Miss 
Du Pre has retained her usual poise, 
with not the slightest sign of being spoiled 
by the flattery and the official appoint- 
ment of being "just like Mary." "Of 
course, it is very wonderful to be asso- 
ciated with Miss Pickford," she said, "but 
I detest imitators and I have no desire to 
imitate Miss Pickford in any way, other 
than as her understudy. Miss Pickford 
is a master of the art of silent expression 
and in my present position I feel like a 
student taking a post-graduate course." 
Louise Du Pre has played on the stage 
for several years, but has always played 
dramatic-ingenue roles — parts far re- 
moved from the "child" characters es- 
sayed by Miss Pickford. She is a South- 
ern girl with a convent education, and 
altho only five feet in height, she likes 
to dress her hair back and appear 
"grown up." 

(Nmety-three) 




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The Celluloid Critic 

{Continued from paijc 49) 

incidentally giving it a happy ending. 
Conrad's tale of the exile, Axel Heyst, 
and the girl from a wandering tropical 
orchestra upon the lonely Paciiic isle is 
touclied here and there by Mr. Tour- 
netir's camera, but not by the scenario. 
"\'ictory" singularly disappointed us, for 
we suggested the tragic tale to Mr. 
Tourneur some two years ago, and we 
looked forward to its screening with 
genuine interest. The dapper Jack Holt 
is not the Axel of Conrad and Seena 
Owen is too much the ingenue to ever 
be the picturesque Alma. The only ap- 
proach to Conrad is Lon Cheney, who 
was the Frog of "The Miracle Man," as 
tliat merciless vulture of the South Seas, 
Riccardo. 

"Soldiers of Fortune," (Realart), 
Allan Dwan's celluloiding of the late 
Richard Harding Davis' pleasant ro- 
mance of South American revolutions in 
tlie merry days before the poison gas and 
modern mechanism took the gayety out 
of warfare, is done in a big way. but it 
never once makes a direct personal ap- 
peal. Dwan is more fitted for s*"cries of 
the inner soul than these pageants of 
supers. Here his cast does not in any 
way distinguish itself. There is one re- 
markable long shot, a vista of the ani- 
mated roj'al parade ground, which will 
not soon be forgotten by fans who see 
"Soldiers of Fortune." 

JMary Pickford contributes a mellower 
and more legitimate characterization in 
"Heart o' the Hills," (First National), 
adapted from a tale of the moonshine 
mountain folk by the late John Fox, Jr., 
than in any of her vehicles for some 
months. Here she has a role slightly 
more mature than has been her wont re- 
cently, the character of a fiery, untamed 
girl of the Kentucky hills. And Miss 
Pickford plays it with an infinite va- 
riev}' of shadings and nuances, despite 
the triteness of the romance. Harold 
(joodwin does the mountain boy lover 
admirably. 

"For Old Kentucky," fFirst National), 
is still another story of the moonshiners, 
Kentucky colonels, and so on. For years 
a barnstorming stage melodrama, it has 
been adapted to Anita Stewart's film 
needs. It is the most obvious sort of 
cheap melodrama. Marshall Neilan has 
(lone all in his power to camouflage the 
; tory, but the screen is mercilessly reveal- 
ing, we fear. Miss Stewart shows no 
advance in this picture, we regret to 
report. 

Mary Miles Minter's "Anne of Green 
Gables," ("Realart), belongs to the sugar- 
coated Pollyanna school of realistic lit- 
erature. Miss Minter portrays a young 
orphan who, adopted by an aged couple, 
softens their hearts and eventually wins 
her own happiness. Miss Minter is a 
pleasant little person, but of limited tech- 
nical equipment. Hence "Anne of Green 
Gables," centered wholly upon her, moves 
along a monotonous level of conven- 
tionalit}'. 

Only a season or so ago Mrs. Fiske 
played a stage version of Helen R. Mar- 
(Continued on pane 96) 



Ll \\.i 




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soft, pure cotton, neatly scalloped. Conies 
in an assortment of Ijeautiful geometrical 
patterns. Natural white color. Launders 
beautifully. Sizes about 72 x Si inches. 

2 Lace Curtain Sets 
Newest colonial design. Combines the finest 
urade of materials with the most modem 
curtain workmanship. Madi' from aji_ ex- 
cellent scrim; cluney lace trimming, (.enter 
niece of fillet lace" with fine American woven 
llgurcs. Designed to be used one curtain to 
a window, the double effect answering the 
inirpose of two curtaina Comes in wh-te 
only. Size 83 inches long and 49 inches wiue 
:; sets with each outfit. 

2 Bed Sheets 
These seamed sheets are extra lienvy. 
l.leached to snowj- whiteness, nicely hem- 
med and beautifully finished. Size about 
*to X 72 incheg. Two sheets are furnished 
with each outfit. 

2 Pillow Case* 
These are made of the same quality as the 
Bhoets. blHsched to pure snowflalfe white. 
nicely made and beautifully hemmed- Wl i 
give unquestionably long .service and will 
launder perfectly. Sizo 
about 4:i.v3t; inches, 
2 pillow caw>s 
funilahed. 



Wonderful bargain ! A complete outfit of bed equipment-^ 
,,,pf,>l nieces— sent to you for only $1.00 down! Use them as 

"SetUl pieces sent to y" J^ ,2.60 a monlh until you have paid 

^fiQO ^i in Thnrof tKrvlue! If you were to buy these singly they would cost 

=iSs;Lp|ip=£strf HirS;;s ; s 

quality You ean use the <»■•«« ,30 iays^ Then if y°",^<l°„"°^Vd f^'' /„<;fp<'„^' S $1.00 
v/e wi! return your money. All that yon nave to uu '^ '" ='; „„„.i, Prirp $26 90 
now Order by No. C5969A ; $1.00 with coupon. $2.60 a month. Price $Zb.9U. 
(Pieces not sold serarately.) 

Open an 
account 
^ with us. 

We trust honest people no matter where they live. Send 
for this wonderful bargain shown above or choose from 
our bargain catalog. One price to all, Cash or credit^ 
Do not ask for a special cash price. We cannot offer 
any discount from these sensational prices. No I/. U. u. 



Easy Payments S?^} 30 Days' Trial 

V .^ .„. .1 — 11..^ G«n,i Our Pii:irantee nrotects YOU. It not 



Guarantee protects you. If not 

perfeclly satisfied, return the article at 
our expense within 30 days and get your 
money back, also ajiy freight you pay. 
Could anything be fairer? ^ 



Have this wonderful 9 piece 

Take advantage of this 



along with $1.00 to us now. 

lK-dri)om outrit sliippcd on 30 da. _ 

opportunity to make a big saving on bed room equipment by getting 
this complete comblnalion outfit at a big reduction in price. Send 
now, while the offer lasts. 



Dci>tl552 V.SSlkSL ^^ 



Strau8&Schram,<'(!i:!;L'^l^„^' 

Catalog Free w«.*iu..-nd onr hi„pTu^ 



^' Strnt 

^^ A Scbram 

„ Dtpt 15S2 
W. 35tli Strttt, 
Chictfo, Illinoif 

*^ Gentlemen: Khipspecial 

— • advertised bedroom outfit. 

# Enclosed you mil flnii $1.00. 

/ I am to have 30 days' trial. 

_ If I keep the outfit I will pay 

# talance at $2.60 per month. If not 

^ satisfied I will return this outfit 

within 30 davs and you are to return 

niy money and any freight chargea I pay. 

□ 9-Plece Bed Room Outfit, 
No. C5969A, $26.90. 



caUloff tiBtinn tbooMDda o{ 
■mattrn' burUDI io furaltare, l«wetrr. boaMb«lil_rooal* 




,^ R. F. D, 

or Box No.. 
Shipping 
Point , 



rwt Office s^^^ 

If you ONLY want catalog put X In proper box below 
[] Fiirnlture. Stoves and Jewelry 



[] Men's. Women's and Children's Clothing 



(Ninety-fiv4) 




Your Hair Needs Danderine 

Save your hair and double its beauty. You can have lots of 
long, thick, strong, lustrous hair. Don't let it stay lifeless, 
thin, scraggly or fading. Bring back its color, vigor and vitality. 
Get a 35-cent bottle of delightful "Danderine" at any drug or 
toilet counter to freshen your scalp; check dandruff and falling 
hair. Your hair needs stimulating, beautifying "Danderine" 
to restore its life, color, brightness, abundance. Hurry, Girls! 



■I x\lLbu Write the 
/ theMusic! 



You, yesi you, write the words for a 
song and submit to me. If I find the 
subject or idea suitable for use in a song, 
will agree to give your poem a musical setting 
and have the complete tonE printed accord- 
ing to tile plan of the 

Metropolitan Studios 

You Can Succeed --^^ICt 

that! You maybe interested in knowing 
that I received my musical education at the 
Moscow Royal Conservatory of Music, Moscow, 
Russia, and later became the royal court pianist. 
I have appeared in concerts in all the leading 
cities of Europe and this country. Among mjj 
greatest song successes are:— "If I were a Rose, 
of which a million copies have been sold, and 
the national hymn, * America, My Country." 
Do not let another day go by without •ubmit- 
ting • poem to me. Who knowt— you may be 
the long writer of tomorrow. 

Address me as follows: 

Edouard Hesselberg 

METROPOUTAN STUDIOS 

914 S. Michigan Ave.. Suite 1 38 Chicago. Hh 

Learn to Dance! 

Tou can lesm Fox-Trot, One-Step, Two-StcpJ 
Walts and latest "op-to-the-minotfi" society 
daoc«8 in your oicn home by the wonderful 
Peak Systein of Mail Inatruction. 

NewDtoCTom Method. Easily learned; 
DO miude DMaed: tboasaDd* tausbC •ncceeaftilly. 

Write (or Special Terms. Send todau 
tat FREE lof onnntioD kod aurpriainBly low odor. -■ 

WILUAM CHAHDIXn PEAK. M. B. ,„ 
■MM 4Slr e81CrM««BtrtoM-Cblca|o.tll> 




I Publishes 
* cash art as* 

H)^^p\^Bi1 eignmcnts, 

[TMAGAZlNfi lessoni and 

articles on 

Cartooning:, Designing, 111 us- 

tratins, Letterlne and Cbalk-TaUcin;. 

Ctitldscs amateurs* work. Pull of In- 

fonnatioQ for anists and art itudcnti. 

aory or money refunded. 20c a copr, tl ■ year. 

Send$f NOW. ThriftSiamps Taken 

G. H. LOCKWOOD, Editor,Dept.597. KaUnuoo.Micb. 






f\T\ 



LearnVaudevilleActin^ 



Staga Work and Cabarot Entartalnlng success- 

^tullytaughtbymalL Your opportunity to enter fasclna- 

tlng, money -making profession— to travel — eee the world 

\ —aa vaudeville actoror actress. My Blmple. easy, complete 

r- - Ct ProleBslonal Course — only one of Its kind— COVERS ALL 

(rfe^L BRANCHES. Develops Personality. Conndenc*. Skill, and 

J8 .. ■ tells you just how to eet on tbetitage. Bend Ccpostaeo for 

ey ^Z^ blebooklet,"AII*b0UtVlDlIlllll«." Give age and occupation. 

'^ ifi^ Frederic LaDelle.Sta. 286. Jaokson, Michigan 



Be a "Movie" 
Photographer 

Eini$50to$Z00wuUr 

Fascinating worlt tnkins you to all porta 

E. BRUNEl" COLLEGE 
of PHOTOGRAPHY 

rHo connecOoo wltb\ 
V any other echool / 

1269 Broadway, New York 

PhOtOBraphyon^Motion'p^ctures oporadne BjlBlandardcamertta. Ewer 
InfltuclorB InatDllmonU taken. Emlle Brunei operatca 20 atudloa 1q Nei 
YoJkrChl^o,C3^n. Philadelphia. DclJoi^Pitt|.b^ 
ioi«. v-ii.tuB , ^^11 ^^ send today tor Booklet S. 





FREE 



1HIS BEAUTIFUl BOOK-FORM 
CARD CASE. 10 IN- 
TRODUCE OUR PROCESS EN- 
CRAVING WE Will GIVE rOU THIS HANDY CARD CASE 
EBEE WITH AN ORDER OF CARDS. 100 EN- 
GRAVED CARDS WITH NAME AND ADDRESS 
$1.00. I BOX OF STATIONERY, ANY COLOR. WITH 



MONOERAH, $1.00. ADDIIIONAl 100 CARDS OR BOX STATIONERY, SO cu. 
PROCESS ENGRAVING CO., 



CHICAGO, ILL. 




msiESsmsi^si 




CLARE BRIGGS, the man who draws "When a Fellow Needs a Friend," 
receives more than $100 a day. There are many other cartoonists 
whose income would look good to a bank president. 

IF you have ideas and like to draw, you may have in you the making of 
riarn Brif «ra. .dr. w^ a s^eat cartoonist. 

!,"P.'.it'°'-''" 



V. vol . . 

Developing naluraj ability iaJtSc surest road lo^Buccess. 



Through the "Federal School o( Applied Cartooning, the 30 most 
famouscartoonistsof America teach you. What 
thiaschooiwilldoforyoubymailinyour spate 
lime is told in the 32 page book. 'A Road to 
Bigger Things." It contains studio picture; ot 
Btiggs, McCutcheon.Sid Smith, Fontaine Fox 
and the other stars on the Federal Slafi. Write 
(otyout FREE COPY today. Juil tear out 
this advertisement, put your name and address 
in the margin and mail it now. 

Write for ttiis eoolt Toijay 




MOTION PICTURE CLASSIC 

The Celluloid Critic 

(Continued from page 94) 
tin's stories of the DEitch folk of Penn- 
sylvania called "Erstwhile Susan," build- 
ing the play about the eccentric teacher 
of elocution who weds into a stolid 
fai'iiier family. In adapting "Erstwhile 
Susan" to the films for Constance Bin- 
ney's use, Realart has shifted the interest 
from the wife to the brow-beaten young- 
est daughter of the Dreary domicile. 
"Erstwhile Susan" is loose and slow- 
moving of continuity and direction. 
John S. Robertson's direction is but fair, 
but Miss Binney reveals certain distinct 
possibilities as the drudge, Barnabetta. 
She makes a genuine effort at characteri- 
zation. The photoplay has been cut to 
accent Barnabetta, with the result that 
the odd character of the step-mother, 
altho well played by Maiy Alden, will be 
puzzling to the average celluloid audience. 

Billie Burke's piquancy is very much 
soft-pedaled in "Wanted — A Husband," 
(Paramount). Herein she plays a 
dowdy young girl who, stung by the 
comments of her friends, announces 
a hastily selected photograph as that of 
her lover. She puts herself thru a train- 
ing with modistes and hairdressers just 
as the imaginary lover turns out to be 
the real thing. There are all sorts of 
complications, of course. "Wanted — A 
Husband" is very slow-moving. We do 
not care personally particularly for 
James L. Crane as the lover who comes 
true. 

Very frothy is "Luck in Pawn." 
(Paramount), a Marvin Taylor stor\' in 
which Marguerite Clai'k lends her petite 
charms. Miss Clark plays a little coun- 
try girl who tries to be a painter, meets 
a bored young millionaire and, after 
arousing him, finds ultimate happiness. 
Walter Edwards has fearfully over- 
drawn many of his incidents. No such 
society folk ever existed on land or sea. 
Miss Clark is pleasant, but the comedy 
itself is pretty fragile stuff. 



The Movie Encyclopsedia 

(Continued from page 88) 

Utah's Daughter. — Why, Juanita Hansen 
isn't missing. ^ She was playing in "The Lost 
City," presenting Selig's Wild Animals. Lois 
Weber in "Forced to Wed." Think of such a 
thing! I am told that brown eyes usually 
photograph better than blue ones. Yes, Mar- 
guerite Clark is married. Dont believe all you 
hear, and only half of what you see. 

P. C. M., Manila. — Last I heard of her she 
was on her way to France. Can you think of 
a more gruesome title than "The Cinema Mur- 
der" with Marion Davies iu the lead! Think 
of it, written by Frances Marion, and directed 
by George D. Baker, two of the best in the 
business, with a title like that. I wonder who 
murdered the cinema. Let me hear from you 
ag.iin. 

J. F. M. — Well, I cant tell you offhand how 
many distributing associations there are in the 
U. S., but there are at least 10 organized ex- 
changes with branches thruout the country, 
altho there are only about five important film 
exchange systems. 

R. E. N. — Yes, I know they follow our style, 
but you know that imitation is the sincerest 
form of flattery. Why, the Pacific Ocean is 
the deepest of the oceans of the world. Its 
greatest known depth is 2L500 fathonis. I 
understand they are going to have bars in the 
ocean now. Y'es, Dorothy Green is playing — 
she just finished "The Wild Fawn." 

(Ninety^six) 




Or is honor a 

trait of man 

only'? 



Katherine MacDonald 



The American Beauty 

will tell you what one woman did when another's 
good name depended on a silence that cast 
suspicion on herself, in the powerful drama, 

"The Turning Point 



Watch for it at Tour Theatre! 



j> 




Third 



Fourth Prize 





Second Prize 



Popularity Contest 



'HE new Popu- 
larity Contest, 
unusual and en- 
tertaining, is already 
the object of great 
interest — unfailing 
and rife. If you 
have entered it or 
have read the announcements 
which have appeared, and will ap- 
pear, from time to time, containing 
the rules and regulations, you 
know it is actually a double con- 
test — a contest in which both the 
public and players are equally in- 
terested. 

The prizes depicted above and 
below were selected after much 
careful thought and attention and 
each one is destined to make some 
one happier, from the beautiful 
Crescent phonograph which sug- 
gests a twilight hour with the 
gems musical genii have given to 
the world, to the Marble nickel- 
plated axe which brings to mind 
a jolly time in some invitingly 
green woodland. 

Perhaps you have not yet de- 
cided to enter the contest — if not 
do so now. Dont lose an oppor- 
tunity of enjoying the unique en- 
tertainment it affords or of captur- 
ing one of the lovely and useful 
awards. 



Awards 



FIRST PRIZE 

Crescent Phonograph, piano mahogany finish 
(value $160). Plays all makes of disc records: 
Victor, Columbia, Pathe, Edison, Emerson, etc., 
without the use of extra attachments or intricate 
adjustments; a simple turn of the sound-box is 
all that is necessary in changing from a lateral 
cut record to playing a hill and dale cut record. 
A Crescent owner can enjoy a repertoire of 
the greatest opera singers, popular songs, dance 
music or anything that is turned out of the 
disc record. The tone of the Crescent is full, 
round, deep and mellow. It has a large com- 
partment for records. 




-First 




SECOND PRIZE 

Movette Camera and 
three packages of films 

(value $65). Compact, 
light, efficient, easily op- 
erated. Think _ of the 
possibilities during your 
vacation trip — your 
canoe trip — in pictures 

— pictures of your family or friends — living pic- 
tures that you can project at any time in your 
home, A priceless record of your life. 

THIRD PRIZE 

Corona Typewriter with case (value $50) ; an 
all-round portable typewriter, light enough and 
small enough to be carried anywhere, and strong 
enough to stand any possible condition of travel. 
It is trim and symmetrical and does not give 
one's study the atmosphere of a business office. 
Fold it up and take it with you anywhere. 

FOURTH PRIZE 

Sheaffcr "Giftie" Combination Set, consisting 
of a Sheaffer Fountain Pen and a Sheaffer 
Sharp-Point Pencil, in a handsome plush-lined 
box. Gold filled, warranted twenty years. Can- ' 
not blot or leak. A beautiful and perfect writ- 
ing instrument. 

FIFTH PRIZE 

Bristol steel Casting Rod agate guide, cork 
grip, strong and durable. Packed in linen case. 
Can be easily put in traveling bag. 

SIXTH PRIZE 

Loughlin Safety Self -Filling Fountain Pen. 
No extensions to remember, no locks to forget. 

SEVENTH PRIZE 

Star Vibrator, handsomely finished in r^Jckel 
plate with three attachments. Alternating cur- 
rent. Excellent for massage. Use it in your 
own home. 



EIGHTH PRIZE 

Same as Seventh Prize. 



NINTH PRIZE 

Marble nickel-plated pocket axe of tool steel, 
carefully tempered and sharpened. Indispens- 
able in camp or woods. 



(Ninety eight) 




DON'T READ THIS 

Unless You Want a Genuine Bargain 
BE A MOVING PICTURE STAR 

Dn you know that many Mov- 
iiit,' Picture actors and actresses 
K-et from $500 to $5,000 a 
week? Many young ladies 
;iiiil young men working lor 
small wages could do just as 
well if they knew how. 
This book will teach you every- 
thing from start to finish. Also 
tells how and where to apply 
for a position. Gives tlie ad- 
dresses of all the studios and 
managers and tells everything 
in detail. It is a pleasant and 
profitable profession and the 
demand exceeds the supply all 
the time. 

No other book needed — this ex- 
plains everything. Book mailed for 10c. 

100 PHOTOS OF MOVIE STARS 

reproduced in half-tones. Your 
favorites are all here — Chaplin, 
Bushman, Pickford, Bara, Pearl 
White. Joyce, Clark, etc. All the 
STARS in real classy poses. Suit- 
able for framing. Set mailed for 12c. 
with catalog of other MOVIE articles. 



2 MOVIE PENNANTS 
FOR 12c 

To introduce our catalog of Movie 
Books, etc., we are selling these pennants 
at bargain prices. Just the tning for 
your Den, etc. Each pennant of a dif- 
ferent Star. Made of Felt and come in 
assorted colors. Will send two for 12c, 
12 fop 50c. or 25 for one dollar. Order 
before they are all gone. 
You can order all of the above single at prices named 
or will send the Movie Star Book, 100 photos and 2 
pennants, all for 25c. Order before they are all gone. 

YOUNGS PUB. CO., Box 100, So. Norwallc, Conn. 



Dye Old, Faded 
Dress Material 





"Diamond Dyes" Make Shabby Apparel 
Stylish and New — So Easy Too. 



Don't worry about perfect results. Use 
"Diamond Dyes," guaranteed to give a 
new, rich, fadeless color to any fabric, 
whether wool, silk, linen, cotton or mixed 
goods. — dresses, blouses, stockings, skirts, 
children's coats, draperies, — everything! 

A Direction Book is in package. 

To match any material, have dealer 
show you ''Diamond Dye" Color Card. 
Wells and Richardson Co., Burlington, \ t. 



LEARN 

Movie Acting 

A fascinating profesalon that pays big. Would 
you like to know if you are adapted to this work? 
Bend 10c for our Twelve-Hour Talent-Tester or 
Key to Movie Acting: Aptitude, and find whether 
or not you are suited to take up Movie Acting-. 
A novel, instructive and valuable work. Send 
dime or stamps today. A larpe, interesting. Illus- 
trated Booklet on Movie Acting included FREE! 
ILM INFORMATION BUREAU, Sta. N., Jackson. Mich. 



Write the Words 
For a Song 

Write the words for a song. We revise 
song-poems, compose music for them, and 
guarantee to secure publication on a 
royalty basis by a New York music pub- 
lisher. _ Our Lyric Editor and Chief Com- 
poser is a song-writer of national reputa- 
tion and has written many big song-hits. 
Mail your song-poem on love, peace, vic- 
tory or any other subject to us today. 
Poems submitted are examined free. 

BROADWAY COMPOSING STUDIOS 

107-F FHxg«ra]<l His.. Broadwar *truDei Sqaare, NEW YORK 







When the Lights 
Are Low 

and all within is snug and cozy despite the howling wind 
and drifting snow without — when sparkliiig eyes reflect the 
firelight's glow, and the lilt of melody tingles through our 
veins — then do we know the sweet thrill of real companion- 
ship, when soul meets soul on ihat blessed plane of mutual 
under.'itanding to which music opens the way. 

And of all music, there is none so intimately, humanly 
appealing as the silvery voices of 



^iim 



Instruments 



Really, a GIBSON is more than a mere instrument. 
1 1 is a pal ; an understanding friend ; comforting, 
cheering; always ready to sing our heart thoughts; 
exquisite in design, finish and tone — truly a GIBSON 
is a "joy forever." 

And, too, the GIBSON is easy to play — and easy to pay 
r. A few short, interesting lessons, and the joys of 
usic-caressed companionship are yours. 

li'e tell more about GIBSONS in the GIBSON book. 
and in some intimate bits of GIBSON romance, "which 

a postal iv^ll bring you. 

GIBSON MANDOLIN-GUITAR CO. 

602 Parsons Street Kalamazoo, Mich. 

Oldest and largeet exclusive manufacturers of hlgh-Rrade fretted 

instrument 9. Developers of Mandolin Orchestras. Teaolier 

Salesmen — men or women — wanted everywhere. 



ui jMyiiii 



mo^^^^t^^ 



M'AaXuyia 



SUBMIT YOUR SONG POEMS ON ANY SUBJECT 
FOR MY PERSONAL CRITICISM AND ADVICE. 
ACCEPTABLE WORDS WILL BE REVISED. FURNISHED 
WITH APPROPRIATE MUSICCOPYRIGHTED AND 
tXPLOITED UNDER MY ORIGINAL METHODS FOR 
FACILITATING THE PUBLICATION OR OUTRIGHT 
SALE OP SONGS. VALUABLE BOOMET ON SONS 
WRITING 3fNURE£J!ti RWUE5TVRITET0METIMW 



I OOWN-'DOWT fOflOrr OLD CUl"lBl-*f«D" AND OTMEfla,* 
laoAltTV TMtATne O LD. N EW TTOHn. 



R^moh Gems 



I Look and wear lik* diamonds. BrilHanc? 
I Euaranteed forever. Stand file, acid and fire 
I liite diamonds. Have no paste, foil or back- 
\ ing. Set only in 14 liarat solid gold mount- 
ings. About l-30th tiiepnceof diamonds. A 
\ murvulDUH synthetic sem— wilJ cot ?laas. Guaran- 
1 t«*d not an Imitation, and to contain no (■•••. Sent 
' ".D, Bubject to examination. WriU: Um1»v for 
itlustrated catalog. It'a free. 
I Hemob Jowelnr Co.. 632 WitbioalaD Ave., St Unii. Mi. 



MUSIC 



TAUG HT 

iN YOUR HOME 



FREE 



^}oo C4n Moml 7Uu«A« ItAttfu quuJl^'* 
Plaao. OrffAD, Violin, Mandolin, Gnltar, Banjo, etc. 

BeKinn«rH or odvunccd plnyera. One lesion weekly. IllaBtratlona makeoTery- 
thlnKplnfn. Only oxncnsp about 2e per dny to cover cost of poBtOKe and muaic 
uaed. Write f..r FREE bookli't whii^h explaina everythiae In full. 
AMERICAN SCHOOL OFMUSIC. 70 Lakesido Buildinit:. CHICACO 

-ehe POLICE KEY 

is as serviceable as a whole bunch of ordinary 
keys; opens almost everything; every house- 
owner should have one. Sent postpaid 
on leceipt of 20 cents ; three for 50 cents. 
Safety Key Holder free with every key. 

SHARPE MFG. CO., Paterson, N.J. 




'/2 Price $2.50 

SEND NO MONEY 

IF You CanTcll itFromii 

GENUINE DIANONDScnditbxk 



To prove that onr blae-white MEXICAN DIAMOND closely 
reeemblefl the finest geDoine Sonth African Diamond (cort- 
ioB50 tiraefl aa ronch), with same DAZZLING RAINBOW- 
FIRE, (Goaranteed 20 yTS.)wewinBeDd this Ladies Solitaire 
Ring with one carat Rem, (Catalocroe price (4,98) for Hall 
Price lo Inirodues, SZ.60, plaa War Tax 13c. Same thinv 
hot Cents. Hea\'yToothBelcher Ring, (CataloKepnce $6.26) 
for J3.10, ptoB WnrTa:cl5c. Moantinpa areoar fine8tl2 karat 
Bold filled. Mexican Diamonda are GUARANTEED FOR 20 
YEARS. SEND ON MONEV. Just mail postcard or this ad., 
Btate size and we w:iJ mail at once C. O, D. If Dot fallr 
pleased, return in 2 dava for MONEY BACK, lesB handhng 
chariteB. Act qaick; offer limited; only one to a customer. 
Write Xor FREE Catalog. AGENTS WANTED. 
MEXICAN DIAMOND IMPORTINQ CO. 
Dcpt. CAS Lo9 Cmcea, N. Mei. 

f^atefutffs eontrollera Mexican Diamondt) 



Get Well— Grow Tall— Stay Young 




This Univeraity discovery ia the leading health invention of the tst>. 
I'lTfecta the human IxMly. Energizes entire syslem. Improves blood 
and nervf.s. Corrects crooked spines and limba 33 p. book free, 
THE PANDICULATOR CO.. 1516 Prospect Ave.. Clenland, 0. 




Bring Out the Hidden Beauty 

Roneath the soiled, discolored, faded or aged complexion la 
one fair to Itvik upon. Mcrcollzcd Wax gradually, gently ab- 
sorbs the de?ita!lzi>d surface akin, revenllnff ihi.' yoiiriR. Iri'sh, 
beaulITul skin undomeath. Used by rcQju-d women who prefer 
complexions of truo naLurolnL-aa. Have you trintd It? 

M#»rrr»Iiy#»fl Wair ^" ^^^ ounce package, with dlrec- 
iTaci v.vii^cM TT ajfc IJ0D3 Tor use, sold by aU drugglala. 




You Have a Beautiful Face 



I 



BUT YOUR NOSE? 

N this day and age attention to your appearance is an absolute necessity if you 
expect to make tb " most out of life. Not only should you wish to appear as 
attractive as possible for your own self-satisfaction, which is alone well worth 
your efforts, but you will find the world in general judging you greatly, if not 
wholly, by your "looks." therefore it pavs to "look vour best" at all times PER- 
MIT NO ONE TO SEE YOU LOOKING OTHERWISE; it will injure vour wel- 
fare! Upon the impression you constantly make rests the failure or success of 
your life. Which is to be your ultimate destiny? My new nose-shaper "Trados" 
(Model 24) corrects now ill-shaped noses without operation quickly, safely and per- 
manently. Is pleasant and does not interfere with one's daily occupation, being 
worn at night. 

Write today for free booklet, which tells you how to correct Ill-Shaped 
Noses without cost if not satisfactory, 
M. TRILETY. Face Specialist. 1039 Ackerman Bldg., Blnghamton. N. Y. 



(Niiiety-mne) 



Fame and Fortune Contest 

for 1920 



t; 



IHF first Fame and Fortune Contest having come to a happy and successful end and severa 
"!spe ctheTar of the first magnitude having been selected and started on the. careers . 
r^^ a r that we announce a similar contest for the year 1920, begnnung w.th the 



January number of 

Motion Picture Magazine, Classic 
and Shadowland 

»P <=hAll ffo thru America with a fine-tooth comb, as it were, in search for 
.adl^rie^^-tflSL^c^re ambition. ^ long.^-^^ ^ ^ii^: - 
she has not had a chance. We shall g>ve them all a ^^^^^JT'^^I'^^^^I' ^^^ photograph. If that 
sufficient Pe-onality charm, beaut a^^^^^^ ^^ ^ur, , ,„. 

gives prom.se, we ^;'''''\;' ^ite^Zlr Moving Picture and send it broadcast thru the theater., 
sonal interview, and finally we make a test ^"^ § magazines, received many 

Many of the girls whose pictures appeared '"t^;^ . """"^f "J^ °' \,^ ^L^ ^' ood thing for 

2o hSm girls konoraUe mention, including a published photo. One or more of these we 
promise will be made 

Stars of International Fame 

Just think of what a prize this is! The contest i-f^/l^l/raft'srardttarof *; 
V^-S::.'^^^rS^^^^ rhiVpa^^ SoIU w^ch were fiashed 
on nearly every screen thruout the United States. 

Whit an opportunity! If it does not interest ,o. tell yo- neighbor about .t or your d.stant 
friend-they ma'y have a daughter just looking for a chance of this kmd. 

One thing we want to impress upon :;U ^pi^ants be eareful in^t^ f^f^aU tes^tt 
graph you submit. Postcard photos ^''^ "°^. .^^^ . i°°i„^t ^ ^t i„ the last contest just because 
not be considered. We feel that many beautiful girls 1°^' °"* Furthermore, dont submit 

they did not go to the trouble of -"^.^^'"g^^^fXirbut thty will never see you thru. We 
pmos that lie! They may get you on he Honor RoU but Y^^^^^^ ^^^^^^^^ ^^^ ^^^^^^^^^ 
recall in the last contest several young ladies wno sunmii e r ^^^ 

ir getting on the Honor Roll, but -^^^'^^^/PPfi'^^^ii^e *e„ I^^^^^^^ 
camera had lied. We want P-'"-; *^ /° ^^^Jf .^il'p.sTbk profile, or an ugly nose, or some 

[-kJrarHen^e-pltTd: n^f t-^^oTeSfu^ rUe^^ourself ap^pear to the best advantage, 
but do not overdo it. 

Rules and date of Contest opening to be announced in next issue. 



Select Your Photographs Now! 




(One hundred) 



Lift Corns out 
with Fingers 

A few drops of Freezone loosen 
corns so they peel off 




Apply a few drops of Freezone upon 
a tender, aching corn or a callus. The 
soreness stops and shortly the entire 
corn or callus loosens and can be lifted 
off without a twinge of pain. 

Freefone removes hard corns, soft 
corns, also corns between the toes and 
hardened calluses. Freezone does not 
irritate the surrounding skin. You feel 
no pain when applying it or afterward. 

A small bottle of Freezone costs but 
a few cents at drug stores anywhere. 

The Edward Wesley Co.. Cincinnati, O. 

i^.emember': 

cAll advertisements in cTWotion 
Picture Classic are guaranteed 
by the Publisher. 



I Motion 

I Picture 

I Magazine | 



ASPIRIN 

Name "Bayer" identifies gen- 
uine Aspirin introduced in 1900 




Insist on unbroken packages 

BAYER-TABLETS 
«f ASPIRIN 

Boxes of 12 tablets 

Bottles of 25 and 100 

Also capsules 



Alpitin i) the trade mark of Bayer Manufacture ol 
Monoaceticacidesle' of Saiicylicacid 

(One hundred and one) 



m FEBR VARY NUMBER 



I All in all it's a delightful 

I solution for your winter eve- 

I ning reading, beautifully il- 

I lustrated and brimful of 

I the latest news of filmdom. 

I Ruth Stonehouse, the lit- 

i tie wisp of a girl, who won 

I success with the Essanay, 

i has been interviewed in her 

1 pretty mountain home in 

i Hollywood • — Betsy Bruce 

I has written all about her in 

a an intimate chat. 

S There are novelizations of 

1 the most interesting feature 

■ plays — plays boasting some 
a of the most popular stars. 

H Doris Delvigne has talked 

I with Al St. John — and he's 

J every bit as funny as he is 

I on the screen. 

S It is really unusually at- 

3 tractive, presenting well- 

■ known stars in vivid inter- 
s views and personality stories g 
H and the latest productions in B 
H absorbing novelizations. a 

I DO NT MISS IT ! | 



SOBMIT YOUR SONG-POEm ON AfJY SUBJECT FOR OUR ADVU-^^^M ;^P 

We revise poems, cohpose ttisic or wr kescrip-^,^.^^ 'AP'^U 
mn SECURE coPffiiGUT A«o Enptor mantL^f^r^ WP*^ co«tains 

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iW^eoa 



THE FAVORITE OF STAGE PEOPLE 

" Evenbetterthan I get in Paris," 
Is what the beautiful actress Anna Held 
wrote of Magda Cream. Stage foll(S 
know the advantage of using Magda 
before applying powder.and for rubbing 
out incipient wrinkles in the nightly 
BaBBSKe. MuBidans use It to lieep tlieir tian^fl 
60(t and pliable. 

Tnj JtRr the Nightly Massaqi 




LcarM- 



1 » l^^^^^iiT fie]d--on-M 
^ limited poBsibilitiM— /P 

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Destroy Hair on Face 

Body or Under Arm 




UCtSIZHEi) U,& ME I 

iMM irS OFF ^wryv^* 't« fltiT u^ii 

The scientifically correct method of permanently 
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to have free demonstration. 

MADAME BERTHE, SpecialUt Dept. 21 
12 West 40th St., New York City, N. Y. 




Perfect hearing is nowbemg restored, to 
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hearing from causes such aa 
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WILttOH EAR DRUM CO., Ineorporstsd 
34S Intar-aouthsm Building LOUISVILLE, KV. 




BowlGoged Mgh 



Your legs will appear straight 
when you wear 

Straightleg Garters 

Remarkable Invention — Combination hoBs- 
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envelope. 

S-L GARTER CO. 
765 Trust Co. Bids., DAYTON. OHIO 




BoysaiflirisfC 
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A Month 

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Think of the high grade, guaranteed watch 
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rate of $3.50 a month. Indeed, the days of ex- 
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cent to anybody 

until you see the watch. You don't buy a Burlington 

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shaped — aristocratic in every line. Then look at the works. There you will see the masterpiece of the 

watch makers' skill, a perfect timepiece adjusted to positions, temperature and isochronism. 

Practically every vessel in the U. S. Navy has many Burlington watches aboard. Some have over 100 Burling- 
tons. The victory of the Burlington among the men in the U. S. Navy is testimony of Burlington superiority. 



See It First 



Burlington Watch Co. \ 

19th Street and Marshall Boulevard ^ 
Dcpt. 1272 Chicago, III. \ 

Pleaae send me (without obiieraiions \ 
and prepaid > you' free book on ' 
watches with full explanation of your 
cash or $3.M i month offer on the Bur- 
lington Watch. 



Address ... 



SendVourlMameonTMs 

Fm'^%^% M^dmKMH%£^am ^^t th^ Eurlington 

\ rrCC M^UUpvn WatchBookbysend- 

\ ing this coupon now. You will know a lot more about watch 

\ buying when you read it. You will be able to "steer clear" 

\ of over-priced watches which are no better. Send the 

\ coupon today for the watch book and our offer. 

- \ Burlington Watch Comoany 

\ 19th street and Marshall Blyd^ Dept. 1272 Chicago, III. 



Canadian Offices: 



1272 
355 PortaEa Ave., Winnlpas, Man. 



(One hundred and two) 



FACE 
CREP)MS 





, i^ -^ ^ 



3 




^'f^ep tlie roses 
in L/unr chee/is 
^Use 

Colgate's Charmis Cold Cream 
for cleanliness, comfort. charm. 
Whether out in the nipping 
cold of Placid, or under Palm 
Beach's sunny skies, your 
complexion can weather tlie 
weather with the help of 
Colgate's Cold CreanT. 






^ 



There are two Colgate's Face Creams sold everywhere — Charmis Cold 
Cream to use at night and Mirage Vanishing Cream for day-time. Most 
skins need both. A trial tube of either sent for 4c or of both for 6c. 



COLGATE Qc CO. 



Dept. 15 



NEW YORK 




^ 



Culex coma in 35c and 
65c hottks drug and 
departmenl stores 



e new way 
to manicure 




does away with ruinous cutting 
which makes the cuticle grow tough 
and thick, which causes hangnails 
and ruins the appearance of your 
whole hand. 

Start today to have lovely nails. No matter 
how unattractive cuticle-cutting may have 
made your nails, Cutex will really transform 
them. Cutex completely does away with the 
necessity of cutting or trimming the cuticle. 
It is absolutely harmless. The moment you 
use it, you will be enthusiastic about the way 
it softens surplus cuticle the way over- 
grown cuticle, ragged edges, hangnails 
vanish \ 



Have your first Cutex manicure today. Then 
examine your nails! They will look so shape- 
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admiring them every little while. 

A complete manicure «et for 20c 

Mail the coupon today with 20c and we will 
send you the complete manicure set shown 
below, which will give you at least six 
"manicures." Send for it today Address 
Northam Warren, Dept. 902, 114 West 17th 
Street, New York City. 



If tjo" K" <" CamJa. adjrcas Norlhcm 
W"rrtn. D^pl- 902. 200 Maintain 
Stttcl. Montreal. 



Olttex 



Mail this coupon 
with 20c today 





NORTHAM WARREN, 
Dept. 902, 114 West 17th Street, 
New York City. 



Name . 
Street 
City . 



State. 



ASSIC 



MARCH 



25 ck 




■ ^dBfe^"**'" 



Paris VIVAU D O U ^^^^^ 



"»-_«? 



# 




J 



^^ 



V^:^ 



^asnionaO/p 

because its delightful fra- 
grance is a mark of dis- 
tinction in fine homes. 

Send 15c to Vivaudou, Times Building, New 
York, for a sample of Lady Mary Perfume. 



^sfiionaB/e 



rancG' 



k^*''«S 



■ !^))i i i[:»itaw.;, t .i,;ir.i:>jji i. : ii i)^ < j, i . i 



cm 




^ 



■fe^- 







M GOLDWYN PIGTVRE: 



CORPORATION 

SAMVEL GOLDWYN President 



"«r'^*-5?TPC*T-S5r5Jr" 



(%■ 



(hj'iij? „V 



i^' 



(Three) 








"/y like to see it 

right over again 



f> 



O MAKE you say that it's got 
to be a pretty good picture. But 
these pictures are not so rare 
as they used to be. You've 
noticed that. 

More and more often you run 
across them. Genuine portrayals of human 
virtues and ventures and folhes and perils that 
are all the more fascinating and thrilling be- 
cause so clipped-from-life as it were. 

The kind of motion picture that carries 
you off like an aeroplane — and you've no de- 



sire to get back to earth till the journey's end. 

The kind — as you've probably noticed 
also — that bears the brand name Paramount. 

In every Paramount Artcraft Feature, 
Famous Players-Lasky Corporation recognizes 
no limits on the scenes but the earth. No 
limits on the machinery but machinery. No 
limits on the cost but money. No limits on 
the cast but artists. No limits on the plot 
but clean, new and thrilling. 

And that's what brings the encores from you! 




Cparamouivt ^Lcture^ 

Latest Paramount Artcraft Features — Released to March 1st 



Bllllc Burke in "WaNTBp— a Hr.'fiiANn" 

Irene Cattle i>i "Thr Amatki'i: Wikk" 

Marguerite Clark hi "All ay a Srm<i:s CKMiY" 
Ethfl Clayton m 'YofN.; Mi;s. Wimpiiioi-" 

■Thu CoDPerhead'- Willi Llmui ltiinyMi..ii- 

Conmopolit^n Production "Tin-: CtNCMA Mi'uncit" 
■The Cost" WHIi Vlulet IleiiiliiK 

Cecil 8. De Mine's Production 

"M.*LB AND PBMALB" 
Cecil B. Dc Mine's Production 

"Wiiv (HAMJK Yom WickT" 
"Evcrywcmar" Willi All Slar ('n*t 

Elsie Forouson in "IIih llnrsH IN OitDKii" 

Georgp FItimauHce's Production 

"On With toe Danpr" 
Dorottiy GIsh m "Maui Hi.len Cc»hK8 to Town" 
D. W. Grimth'j Production "Scarlbt Hays" 

Vim. S. Hart .n "Sand" 

Houdlnl III "TEituoB Island" 



WHIlam D. Taylor's Production 

"llT-i-KLKBHRUT FINN" 
Vivian Martin ui "11:3 OKt:ciAL Fianceb" 

Wallace Reld in "Docr.LK Si-beu" 

"The Teeth ol the Tiger" Willi Duvld Powell 

Maurice Tourncur's Production "TruasCHK Island" 
Maurice Tourncur's Production "Victokv" 

George H. Molford's Production "The Ska Wolp" 
Gi-argo Loatie Tucker's Production 

■TiiK MiUACLH Man" 



f. R^OUS PLAYERS-LASKY CORPORATION l 



Robert Warwick In ".Iatk Straw*' 

Bryant Washburn in "TnH Six Bkst CELLAHa" 

Thomas H. Ince Productions 

Enid Bennett ir. ' Tm-: Wuman in Tin: Spitcase" 
Dordhy Dalton m "Mlai-k i.s White" 

Ince Supervised Special "I!i:hinii the Doob" 

Douglas MacLean ami Doris May in 

"Mahy's Ankle" 
Charles Ray in "Alaicm Clock Andy" 

Paramount Comedies 

Paramount-Arbuckle Comedies 
Paramount-Mack Scnnett Comedies 
Paramount-AI St. John Comedies 

Paramount Short Subjects 
Paramount Magazine h^iir 

Paramount-Burton Holmes Travel Pictures 



;»« 



Wectciv 
}Vccklu 



if^^^Mm^^?^^ 



(Four) 



Vol. X 



MARCH, 1920 



No. 1 






THE GIRL ON THE COVER 

(Pdintcd by Leo Siclkc, Jr. Based upon a pliiilogra/'h by the 
Hoover Art Company.) 

Since vivacious; little Clarine Seymour stepped into 
prominence in David Griffitli's "The Girl Who Staved at 
Home," playing the cabaret girl, she has been strongly 
in cinema interest. Little Miss Seymour has previously 
had considerable experience in film farce. 

Since her first hit. Miss Seymour has again scored in Mr. Griffith's 

".Scarlet Days" and her forthcoming silvershcet ajjpearanccs are being 

awaited with interest. It is clear that the screen has no prettier or more piquant 

comedienne than little Miss Seymour. 

Photogravure Gallery of Players. Full-page studies of P.ici: 

Eugene O'Brien, Elaine Hammerstein, Alice Lake, 

Antonio Moreno and Lew Cody ll-l.i 

Mae, Mary and Matrimony. The new Mae Marsh talks 

of her daughter and her dreams for the future Frederick James Suiith 

"Dear Tommie." .\\\ interview "close-up" of the real 

and \ery human — Thomas Meighan Faith Serviee 

Marjorie Daw: A Real Girl. You will be interested in 

meeting quaint little Miss Daw Maude .9. Cheatham 

Scotch and Seltzer. A liquid sounding title for a lively 

chat with Korman B. Kerry Truman B. Handy 

A Doll's Apartment. At home "with piquant OIi\e 

Thomas Pearl Malvern 

An Aphrodite of the Screen 

If . . . When the news came that David Griffith might 

be lost at sea Frederick James Smith 

Human Hobart Henley. .\u interesting talk with the 

man who created "The tiay Old Dog" Olga Shaw 

The Little Shepherd of Kingdom Come. Jack Pick- 
ford's newest photoplay told in story form Dorothy Donnell 

The Farce University. Why farce stars are stepping to 

screen drama with such success Harrison Haskins 

The Midnight Margarita. Some piquant glimpses of 

Marg.irita Fisher in her boudoir .M 

Pell of Pell Manor. In which you are introduced to 

Poll Trenton, leading man extraordinary Emma-Lindsay Sqnier 

Meet the Frog. The picturesque story of Lon Chaney, 

who scored in "The Miracle Man" Maude S. Chealliam 

Jack Straw. Short story based upon Robert Warwick's 

latest screen vehicle Faith Service 

Personalities in the Theater 

Juanita Rising from the Sea 

Zena's Zenith. Little Zena Keefe at last reaches stardom . .C Blythe Sherwood 
The Celluloid Critic. The newest photoplays in r^Mitvi. Frederick James Smith 
The Fortune Hunter. Earlc Williams' new photo- 
comedy presented in fiction form Ale.rander Lozcell 

The Ambitious Miss Eddy. Being the story of Helen 

Jerome Eddy Elizabeth Peltret 

THE FAME AND FORTUNE CONTEST OF 1920. 
An Announcement of Tremendous Interest to 
Our Readers 



1,^ 



20 



Snliscription. $2. .SO a year, in advance, including postage in tlie U. S., Cuba, Mexico, and 
Pliilippines: in Canada, $3.00 a year; in foreign countries, $3.50. Single copies, 25 cents, postage 
prepaid. One- and two-cent stamps accepted. Subscribers must notify us at once of any cliange 
of address, giving botll old and new address. 

Entered at the Brooklyn, N. Y.. Post Office as Second-class Matter, 
Copyright. 1920, by the M. P. Publishing Co., in the United States and Great Britain, a New York 
corporation, with its principal offices at Bayshore, N, Y. Eugene V. Brewster, President: J. Stuart 
Blarkton, Vice-President: Guy L. Harrington, Vice-President; K. M. Heinemann, Secretary: Eleanor 
\' V. Brewster. Treasurer. 

STAFF FOR THE CLASSIC: 

Eugrene V. Brewster, Editor 

Frederick James Smitb, Manasing Editor 

Dorothy Donnell, Robert J. Shores, Fritzi Remont Associate Editors 

Guy L. Harrington Business Manager 

Duncan A. Dobie, Jr Director of Advertising 

Rufus French, Inc ^ Eastern Manager 





New Easy Way 
To Learn Drawing 

How yoH can earn big money in Commercial Art, 
llhistratinq, DesiQuing, or Cirtoon'.r.p.nnthout being 
a "genius," and regardless of your present abiiity. 

Never ■was there such a need for artists as today I 
Business, revitalized, needs thousands. Illustrated cata- 
logs, advertisements, posters, circulars, trade-marks de- 
signs — countless pieces of art work are needed by the 
busy business world. 48,868 periodicals are published in 
America — every one of them needs the services of at least 
two artists for each issue. Viju can't begin to rcahze the 
gigantic amiiunt of art work that must be done — and the 
demand is increasing daily. Big money is gladly paid — 
and big money is waiting for anyone with foresight 
enough to prepare for this pleasant profession. Thru our 
new easy method of teaching. VOU can earn $40 to $100 
a week as an artist, regardless of your present ability. 

Learn in Spare Time 

This new mellitxl is like a faseinuling game. No matter ho» 
little you may kiimv ahoul (bawiiiE, no mattur whctiipr people ti-ll 
you, "you have rii> taifiil." no maKtr what your present ability 
may be — tf you can writ* we can teach you to draw. The ntw 
method simpliHes i vt.'r>'lhing— all the n.-il-tape. ""art fur art's saJtt;" 
teaching, and supiTfluous Ihenrj' is takem out and In its place is 
put dfftiiite, prattn-aj instruction so that you will make money in 
the art game. Tlitt course is tht* work cf an expert — Will II. 
L'hai.dlce, an artist of over 35 years' prattical experience. And 
ail j'inir iiistrui'tiun is under ihe personal supervisiun i\f Mr. 
I'handlee. 

Write for Interesting Free Book 

An interestliie and handsomely illustrated booklet, "How to 
Itei'onie an Artist," has hi en prepared and will ho sent to you 
wtihout cost if you mail the coupon belmv. JIail coupon NoW 
li.r tills attract jvi\ free hook and tuM details aliout our FKKE 
ARTIST'S Ol'TFlT UI-'PEU. No olilicalion \vhatevt:r. Address, 

WASHINGTON SCHOOL OF ART 
1143 H St.. N. W., - - , . Washington, D. C. 

WASHINGTON SCHOOL OF ART Inc. 
1 143 H St., N. W., - - - Washington, D. C. 

Pl'-i!s,' send nil' witliout ohligation. fn^e hiHjk "llo\v to Beenme 
;in Artist" togetluT with full paniL-uiurs of Free Artist's Outfit 
ijiftr. 




This magazine, published monthly, comes out on the ISth. Its elder sister, the Motion Picture Magazine, 
comes out on the first of every month. Shadowland appears on the 23rd of each month. 

(Five) 



llolln, Hawaiian Guilar, ltkurel^^ 

Guitar, Mandolin, Cornet, Tenor Banjo or Banjo 

Wondcrrul now ayatcm of tca.hlnET nolo n,u«ic by mr.n. To firet 
?,"■.■",, 'V?"^ locality, wo e'vo a S2U suporb Violin. Mnndolin. 
Uknlelo. Gn>^r. Hnwaiip Goltar. Com<,t, Tenor Cmjo or Banjo absol 
lutely free. Vory small choTKc for tcaaoaa only. Wo Riiaraatco boc- 
cesa or no chartto. Complete ouUit free, WrltoDOW. No obligation. 

SlINGEBUND SCHOOl OF MUSIC. !nc. Dept.2B CHIMGO, lU 



THERE'S ONLY ONE 

WAY TO SECURE 

A SATIN SKIN 

APPLY SATIN SKIN CREAM, 
THEN SATIN SKIN POWDER 




zwrHxMzMmBitrliizuzlirH-iiruzw 



HoW to Wrile, What to Write, 
and Where to sell . 

CulWale your mind. Dc\Vlop 
I yorrhterary j)ifts. Master the 
I crtof sclf-eSpriJSsion.Make 
your spare Hmo profitable. 
Turn your ideas into dolUirs. 
Courses in Short-Story Writ- 
ing, Versification, Journalism, 
Play Writing, Photoplay 
-. , Writing:, etc, taught person-" 

Dr.ESGnwein ally by Dr. J. Berg Esenwein. 
for many years editor of Lippincott's Magazine, and 
a staff of literary experts. Constructive criticism. 
Frank, honest, helpful 3.Av'\cq. /ieal teaching. 

One papil has received oVer S5.000 for stories and articles 
Written mostly In spare time — "play tSork," he calls It. 
Another papil received ot'er SI.OOO before completing 
her first coarse. Another, a hasp Wife and mother, is 
averaging oVer $75 a bieek from photoplay Writing atone. 

Thtre is no other institution or agency doing so much for 
ttxitcrs, young or old. The universities recognize this, for over 
one hundred members of the English faculties of higher institu- 
tions are stud>'ing in our Literary Department. ' The editors 
recognize it, for they arc constantly recommending our courses. 

W.poblltft T»t»Vnf#r'.t.*if«Fy.llTo1omM; a— e[1pli"b<x41»t (r«. W> >1k publUh 
nbKiipaoD tZ-Oli. BmJii onr IMihlnt timu. v> attti ■ mutucnpl cnlKxm Hivln. 

|150>page Illustrated calalogue free. 
Fltoir eddrtit — , 

I T&e Home Correspondence School i^T^ 

Dep't. H2. Sprin^cld,Mass. 



:llc=Ul=U-McaiEH=!K:W=I«-«IIN 



Write the Words 
For a Song 

Write the words for a song. We revise 
song-poems, compose music for them, and 
guarantee to secure publication on a 
royalty basis by a New York music pub- 
lisher. Our Lyric Editor and Chief Com- 
poser is a song-writer of national reputa- 
tion and has written many big song-hits. 
Mail \'Our song-poem on love, peace, vic- 
tory or any other subject to us today. 
Poems submitted are examined free. 

BROADWAY COMPOSING STUDIOS 

107-E Fitzserald Bld^., Broadway at TmieB Square, NEW YORK 



61> mettiou la thd onJy May lo preveot tDu hair Trum growing 

AgaJn. Ea.<7 painless, harmless. No soars- \* Booklet free. 

Write today, enclosing three stampi Wo teacb beauty culture. 

0. i. Mah'er. 403-P; Mahler Park. ProvldenM. R. I. 



Wkv 









ym-^ 



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CELECT your own 

^ subject — love, patriotism^-j] 

— write what the heart dictates, 
then submit your poem to us. 
We ^Tite the music and guarantee publish- 
er's acceptance. Our leading coniposer is 

Mi\ Leo FPi€cima» 

one cf America's well-known musicians, the nuthr.r 
of many song successes, Fuch as "Meet Me Touiglil 
in Dreamlf'v.d," " [.ft Afe Call You Stvcrlheart. " 
" Wiien J Drf/im of Old Erin." and others the sales 
of which T»n inin millions of cfpi^s. Scnrt b3 many poems 
osyouv^ish. Don't Delay, wet Outy— Quick. 



CHESTEh MUSIC CO. 



Dcpl. 330 



•»•■■ Chicago, III. 



Stage Plays That Are Worth While 

(Readers in dt^litnt tozi'iis i^'ill do well to preserve this list for refcrenee zuhen these sl^tken 
plays appear in their vicinity.) 



Astor. — Fay Bainter in "East Is West." 
The story of a quaint little Chinese maid who 
falls in love with a young American. Racial 
barriers seem insurmountable, but there is a 
happy and surprising ending. Has all the in- 
gredients of popular drama. Miss Bainter is 
picturesquely pleasing. 

Booth. — "The Purple Mask," with Leo Dit- 
richstein. A stirring, romantic melodrama of 
the days of the First Consulate in France; 
tfuse, colorful and hiprhb' interesting. One of 
the best evening's entertainment in New York. 
Mr. Ditrichsteiii is delightful as the ro\'alist 
brigand, the Purple Mask; Brandon Tynan is 
admirable as the republican police agent, Bris- 
quet ; Lily Cahill is a charming heroine, and 
Boots Wooster makes her bit of a peasant girl 
stand out. 

Broadhnrst. — "Smilin' Through," with Jane 
Cowl. An odd, but effective, drama which pur- 
ports to show how those who have gone before 
inlluence and watch over our lives. Miss Cowl 
is exceedingly good as a piquant Irish girl and 
aho as a spirit maid whose death occurred 
fifty years before. "Smilin' Through" will 
evoke your smiles and tears. 

Casino. — "The Little Whopper." Lively and 
amusing musical comedy with tuneful score by 
Rudolf Friml. Vivienne Segal pleasantly heads 
the cast, which also numbers Harry C. Browne, 
who does excellent work. Mildred Richardson 
and W. J. Ferguson. 

Cort. — "Abraham Lincoln." You should see 
this if you see nothing else on the New York 
stage. John Drinkwater's play is a noteworthy 
literary and dramatic achievement, for he 
makes the Great American live again. "Abra- 
ham Lincoln" cannot fail to make you a better 
American. Moreover, it is absorbing as a play. 
Frank McGlyn, a discovery, is a brilliant 
Lincoln. 

Comedy. — "My Lady Friends." Highly 
amusing entertainment, adapted from a Conti- 
nental farce. Much of the humor is due to 
the able work of Clifton Crawford in the role 
of a guileless young publisher of Bibles whose 
efforts to spend money get him into all sorts 
of difficulties. June Walker scores in Mr. 
Crawford's support. 

Century. — ".Aphrodite." Highly colored and 
lavish presentation of a drama based upon 
Pierre Louys' e.xotic novel of ancient Alexan- 
dria. Superbly staged adaptation of the play 
that caused a sensation in Paris. Dorothy 
Dalton, the screen star, returns to the stage in 
the principal role of the Galilean courtesan, 
Chrysis, and scores. McKay Morris is ad- 
mirable In the principal male role. The ballet, 
directed by ilichel Fokine, is spirited and 
colorful. 

Forty-fourth Street Theater. — G. M. 
(Broncho Billy) Anderson's girl revue, "'The 
Frivolities of 1920." Lively, speedy musical 
show with a large measure of vulgarity, but 
many pretty girls. The cast includes the Kouns 
Sisters, Doraldina, Henry Lewis and the beau- 
tiful Doris Lloyd. 

Eltinge. — "The Girl in the Limousine." A 
decidedly daring boudoir farce, by Wilson 
Collison and Avery Hopwood, in which a pink 
and white bed is invaded by every member of 
the cast during the progress of the evening. 
John Cumberland is very funny and Doris 
Kenyon, fresh from the screen, is both pretty 
and pleasing as the heroine. 

Globe. — "Apple Blossoms." The ambitious 
and much heralded operetta of Fritz Kreisler 
and Victor Jacobi plus colorful Joseph Urban 
settings. An offering above the musical aver- 
age. John Charles Thomas sings admirably. 
Wilda Bennett is an attractive heroine and 
Florence Shirley lends a piquant personality 
to the proceedings. 

//(irnY— "Wedding Bells." A tright and 
highly amusing comedy by Salisbury Field. 
Admirably written and charmingly played by 
Margaret Lawrence and Wallace Eddinger. 
One of the things you should see. 

//i7'/>orfro))ic.— "Happy Days." Big and spec- 
tacular production typical of the Hippodrome. 
The diving girls are again a feature, disporting 
in the huge "Hip" tank. 

//«</.!0)t.— "Clarence," Booth Tarkington's 



delightful comedy, built about the way a re- 
turned soldier re-united a disturbed but typi- 
cally American household. Superb perform- 
ances by Alfred Lunt, Glenn Hunter and 
Helen Ha>'es give the comedy a fine verve. 

Lyrie. — "The Light of the World." A pic- 
turesque stor_\' of the passion players, showing 
the effect of a modern Christus upon life in 
1920. Pedro de Cordoba is excellent as the 
wood-carver who plays Christ in the passion 
play, Clara Joel is effective as a village girl, 
and the remainder of tHe cast is adequate. 
"The Light of the World" is impressive. 

Plymotah. — "The Jest." Arthur Hopkins' 
production of Sem Bcnelli's colorful and grip- 
ping Florentine drama. John Barrymore is 
seen in his original role. An admirable cast 
ard Robert Edmund Jones' settings lend splen- 
did aid. 

Prineess. — "Nightie Night." Described by 
the program as a "wide awake farce," "Nightie 
Night" lives up to its billing. It has plenty of 
A'crve and ginger. There are scores of laughs. 
Heading the very adequate cast are Francis 
Byrne. Suzanne Willa, ilalcolm Duncan and 
Dorothy Mortimer. 

Sehvyn. — "Buddies." Amusing comedy- 
drama with music of the after-armistice days 
of our boys in France. Roland Y^oung, Peggy 
Wood and Donald Brian head the cast. - 

Shubert. — "The Magic Melody." A "roman- 
tic musical play'' with a tuneful score and a 
picturesque Willy Pogany setting. Charles 
Furcell, Julia Deane, Earl Benham and Car- 
mel Myers, the last two well known on the 
screen, head the cast. 

Thirty-ninth Street Theater. — "Scandal," 
Cosmo Hamilton's daring drama which Con- 
stance Talmadge played on the screen. Fran- 
cine Larrimore and Charles Cherry have the 
leading roles in the excellent footlight produc- 
tion. 

Winter Garden. — "The Passing Show of 
1919." A tj-pical girly garden show in which 
the famous runway gets plenty of use. The 
revue presents a number of travesties upon 
current attractions, particularly colorful being 
that of "The Jest," v\ith Charles Winninger 
doing a clever burlesque of Lionel Barrymore- 



ON TOUR 

"T/(C Royal J^agabond." A Cohanized opera 
comique in every sense of the words. A tune- 
ful operetta plus Cohan speed, pep and brash 
American humor. Also tinkling music. And 
a corking cast, with Grace Fisher, Tessa Kosta, 
John Goldsworthy and Frederick Santley. 

"The Little Blue Devil." A musical enter- 
tainment built about the late Clyde Fitch's 
"The Blue Mouse." Tuneful music by Harold 
Atteridge and Harry Carroll. Lillian Lorraine 
is the "blue devil" and Bernard Granville is 
co-featured. 

"Civilian Clothes." A delightful comedy to 
please everybody. Brand new idea and cleverly 
worked out. Thurston Hall in the title role 
shares the honors with beautiful Olive Tell. 
Support excellent. 

Elsie Janis and "her gang." Lively enter- 
tainment built about the experiences of the 
.\. E. F. on the other side. Well put together 
by Miss Janis, who shines w'ith decided bright- 
ness. A pleasant entertainment. 

Shubert. E. H. Sothern and Julia Marlowe 
in Shakespearean repertoire. These artists 
represent the best traditions of our theater and 
their revivals of "Twelfth Night." "Hamlel," 
and "The Taming ot the Shrew" are distin- 
guished in every sense of the word. 

"See-Sa7!.i" A pleasant musical entertain- 
ment. The delightful Elizabeth Hines stands 
out and Dorothy itackaye is pleasantly cast. 

"Moonlight and Honeysuekle." Ruth Chat- 
terton in a charming comedy that might have 
been a big hit had the playwright taken full 
advantage of some splendid situations in the 
last act. As it is it starts like a hare and ends 
like a tortoise. 

"An E.\-change of Wives." Another Cosmo 
Hamilton comedy which, however, never at- 
tains the spontaneity or piquancy of "Scandal." 
(Continued on page 8) 

(Six) 



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MANUSCRIPTS TYPED 



ATTENTION WRITERS! Get your manuscripts type- 
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MISCELLANEOUS 



YOr WRITE WORDS FOR A SONG. We write the 
music, publish and secure a copyright. Submit poems 
on any subject. The Metropolitan Studios, 914 So 
Michigan Ave.. Dept. 141, Chicago. III. 



WRITE THE \YORDS FOR A SONG. We revise 

poems, write music and guarantee to secure publica- 
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MOVING PICTURE BUSINESS 



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NEWS CORRESPONDENTS 

EARN ?3."i WEEKLY, spnre time, writing for news- 
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PATENTS 

PATENTS. Write for Free Illustrated Guido Book. 
Send model or sketch for free opinion of its patentable 
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Washington. D. C. 



PHOTOPLAYS 



WRITE MOTION PICTURE PLAYS. Our book con- 
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LEARN TO WRITE PHOTOPLAYS. My bonk tells 
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PHOTOPLAYWRIGHTS 



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SHORT STORIES 



WANTI'iI> — Stories, Articles, Poems for new magazine. 
"We pay on acceptance. Typed or handwritten MSS. 
acceptable. Send MSS. to Woman's National Magazine. 
Desk 12S, Washington. D. C. 



STORIES. POEMS, PLAYS. ETC., are wanted for 
publication. Good ideas bring big money. Submit 
MSS. or write Literary Bureau, 134. Hannibal. Mo. 



WRITERS! Have you a song-poem, story, photoplay 
to sell? Submit MSS. now. Music Sales Co., 42. St. 

Louis. 



SONG POEMS 



SONG-WRITERS' MANCAI> AND Gl'lDE sent free) 
Contains valuable instructions and advice. Submit 
song- poems for e.\ami nation. We will furnish music, 
copvright and facilitate publication or sale. Knicker- 
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WRITE THE WORDS FOR A SONG. We write music 
and guarantee publisher's acceptance on a royalty 
basis. Mr. Leo Friedman. THE COMPOSER TO THE 
AMERICAN PEOPLE, is our leading composer. Among 
his well-known hits are such songs a.s "Meet Me To- 
night in Dreamland" and "When I Dream of Old 
Erin." Submit poems on patriotism, love or any sub- 
ject. Chester Music Company, Dept. 324, D20 South 
Michigan Ave,, Chicago, HI. 

WRITE THE WORDS FOR A SONG. We revise 
poems, write music and guarantee to secure publica- 
tion. Submit poems on any subject. Broadway Studios, 
107H, Fitzgerald Bldg.. New York. 

DO YOU WANT YOUR SONG POEMS ACCEPTED? 

Send your poems today for best offer, immediate publi- 
cation and free examination. Song writing booklet on 
request. Authors & Composers Service Co., Suite 52.j, 
J 4 31 Broadway. New York. 

WRITE THE WORDS FOR A SONG. We revise poems, 
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Our Chief Composer is a song-writer of national repu- 
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Tioems on any subject. Broadway Studios, IOTA Fitz- 
gerald Bldg.. New York, 

YOU WRITE WORDS FOR A SONG- We write the 
music, publish, and secure a copyright. Submit poems 
on any subject. The Metropolitan Studios, . 914 S. 
Michigan Avenue, Room 104. Chicago, 111. 



SONG WRITERS 



WRITE A SONG — Love, mother, home, childhood, 
patriotic or any subject. I compose music and guar- 
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YOU WRITE THE WORDS FOR A SONG. We will 
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WRITE THE WORD.S FOR A SONG. We revise poems, 
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THOMAS MERLIN, 269 Reaper Block, Chicago 



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WANTKD — Stories, Artirles. Poems for new magazine. 
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NERVE 
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STRONG 
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Studio 136: 110 West 40th Street, NEW YORK 



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Stage Plays That Are Worth While 

(.Continued from page 6) 

The chief blush producer is a scene on a sleep- 
ing pnrcli. 

"The Better 'Ole.'* The Coburn production 
of the tuusical comedy based upon Bruce 
Hairnsfatlicr's now immortal cartoon creation, 
Old Bill. Mr. Coburn's characterization of Bill 
is still as remarkable as ever. 

"A Lonely Ronien," with Lew Fields. A i 
light show running in the usual groove. Fran- 
ces Cameron, who is developing remarkably, 
is the bright figure of "A Lonely Romeo," 
while Mr. Fields is his humorous self. There's 
a decidedly funny scene in a men's hat shop. 

"Chu Chiiu Ctww." An opulent and beauti- 
ful musical extravaganza based upon the 
.Arabian Nights tale of .Mi Baba and the Forty 
Thieves. Dazzling series of sensuous stage 
pictures. "Chu Chu Chow" is presented this 
year with an entirely new edititm and new cos- 
tumes. Marjorie Wood makes a colorful 
desert woman, Lionel Brahain is very effervi\*e 
as the robber sheik and Eugene Cowles makes 
the role of steward stand iDut. George Rosely 
plays the young lover admirably. 

"La La Lueille." Musical comedy built 
around the efforts of a loving couple to arrange 
a divorce in order to live up to the terms of a 
millionaire aunt's will. A co-respondent is en- 
gaged and troubles begin. 

The Shubert Gaieties of igig. A lively revue 
with scores of statuesque girls and stunning 
frocks. A decidedly attractive entertainment. 

"John Ferguson." A vigorous drama that 
compares favorably with anything of the kind 
that New York has seen for years. Beautifiilly 
staged and acted. Masterpieces of this kind 
should be liberally patronized to encourage 
others. 

George White's "Seandals of 1919. All 
sorts and variations of dancing make up ior 
a lack of story or humor. The real star is 
piquant little Ann Pennington— as seductive a 
little jazzer as ever shimmied on Broadiv.ay. 
Then there's the lively dancing of Mr. White 
himself. 

"Friendiv Enemies." This is the record- 
breaking comedy drama of last season, with 
Louis Mann in his original role. 

-Three ll'ise Fools." .Austin Strongs hu- 
man little drama of three crusty old bachelors 
who are bequeathed a joung woman and who 
are subsequently rejuvenated. Melodrama 
with a heart throb. Helen Menken gives a 
striking performance of the nerve-racked hero- 
ine, while Claude Gillingwater is a delightfully 
testy old Teddv Findley. 

"Site's a Good Fcllozi:" A light but pleasant 
musical comedy built about the efforts of old 
folks to break up a marriage between a loving 
young couple. Joseph Santley is a likeable 
iover-husband. masquerading in skirts for a 
whole act. Ivy Sawver, the very pleasing Ann 
Orr and Scott Welsh lend delightful assist- 

"i9 East." A charrmng comedy founded on 
a boarding school romance in which many in- 
teresting characters make love-making difticult 
for a pair of young lovers. . 

"['/' ill Ii[ahel's Room." Piquant, daring biit 
decidedly amusing farce built about the pursuit 
of a daiiitv pink undergarment which bears the 
same name as a recent jazz dance. Admirable 
cast including the radiant Hazel Dawn. 

"Three Faees East." Another Secret Ser- 
vice-German spy drama, this one by Anthony 
Paul Kelly, one' of our most successful photo- 
playwrights. The principal charm of this play 
is in trying to guess who are the German spies 
and wlio are the Allies, just as we were puzzlctl 
in "Cheating Cheaters" to know who were 
burglars and who were not. 

LEADING PICTURE THEATERS. 

Loew's N. Y. and Loev/s American Roof.— 
Photoplays ; first runs. Daily program. 

Loezi^s' Metro/'olitan. Brooklyn.— Feature- 
photoplays and vaudeville. 

Ca/ti'fo/.— Photoplay features plus a de lu.xe 
revue. Superb theater. 

Rizvli.—De luxe photoplays with full sym- 
phony orchestra. Weekly program. 

7j;u/,o._Photoplays supreme. Program 
changes every w'eek. 

^(riiiii/.— Select first-run photoplays, fro- 
trram changes every week. 



Hear, Hear! 

The world is so full of a number 
of things, but — nothing more 
important to the readers of The 
Motion Picturi; Magazine 
than the following announcement 
— delivered in our best oratori- 
cal manner, and with gestures: 

Ladies and Geiitlettten: 

Owing to the congested condi- 
tion at the printers' — occasioned 
by their recent strike — and in an 
endeavor to catch up with our 
customary schedule, we regret to 
announce that there will be no 
.ipril issue of that most welcome 
of visitors, The Motion Pic- 
ture Magazine. 

But 



We also wish to announce that 
we will issue on the First Day of 
Jpril, 1920 {mark the date 
with red ink on your calendar) , 
a unique feature in the magazine 
world — to be known as The 
April-May Issue of The Mo- 
tion Picture Magazine! 

This will be a two-in-one maga- 
zine, and the subscribers of The 
Motion Picture Magazine 
will have no reason to regret the 
missing one, when this one will 
be released. 

we beg your indulgence 
M. p. Publishing Co. 

1 75 Duffield Street, Brooklyn, N. Y. 



(Eight) 




HELENt CHADWICK - CLARA WILLIAMS - LOUISE FAIENDA^ • RUTH ROLAND - RUTH STONEHOUSE • MAY ALLISON,- 



/); "77(i- Wonder Hook for Writers." u'liirh ^vc i^'ill xciid U> you AliSOLUTEI.Y FREE, llicsc fainuus Moxic 
Stars point out the easiest zieay to turn your iileas into stories and photoplays and become a successful writer. 

Millions of People Can Write 
Stories and Photoplays and 

Don t Know It / 



THIS is ihe startling assertion recciitly 
made by E. H. Davison of New York, 
one of the highest paid writers in the 
world. Is his astonishing statement 
true? Can it be possible there are countless 
thousands of people yearning to write, who 
really cnn and simply haven't found it out? 
Well, come to think of it, most anybody can tcU 
a story. Why can't most anybody ivrite a story? 
W'hy is writing supposed to be a rare gift that 
few possess? Isn't this only another of the 
Mistaken Ideas the past has handed down to 
lis? Yesterday nobody dreamed man could fly. 
To-day he dives like a swallow ten thousand 
feet above the e^irth and laughs down at the 



LETTERS LIKE THIS 
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aulhors."— HAZEL .SIMPSON 
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Motion Pictcrb Magazine. 

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Irving System."— HELEN KIN- 
DON, Atlantic City, .N. J. 



tiny mortal atoms 
of his fcllow-men 
below ! So Yester- 
day's " impossibilr 
it}^" is a reality to- 
day. 

"The time will 
come," writes the 
same authority, 
"when millions of 
people will be writ- 
ers — there Avill be 
countless thousands 
of playwright s, 
novelists, scenario, 
magazine and news- 
paper writers — they 
are coming, coming 
— a whole new wcjrld 
of them !" And do 
you know what these 
writers- to-be are 
doing now? Why, 
they are the yiu-n — 
armies of them — 
young and old. now 
doing mere clerical 
work, in offices, 
keeping hooks, sell- 
ing merchandise, or 
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running elevators, 
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tricts; and women, 
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scores, now pound- 
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counters, or running spindles in factories, bend- 
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Yes — you may laugh — but these are The 
Writers of Tomorrow. 

For writing isn't only for geniuses as most 
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gm'c you. a story-ivritiug faculty just as He did 
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Or if they do try, and their first efforts don't 
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first learned the simple rules of_ writing, and 
then given the imagination free rein, they might 
have astonished tlie world ! 



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(Vine) 



Begin tonight 
to win the charm 
of "A Skirt you Love 
to Touch'' 



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jThovsands will want 

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ifRiTi; FOR YorR copy 

TOD.-IY 



(Ten) 







IMiittuKiapli Ijy Alibc 



EUGENE O'BRIEN 
Selznick star. 




r ''''^-'-''''^r'-:^''','f'Wn-WifVf''Vf(i!^^^ ■ 



IMiiitograph by Alfred Cheney Johnston 



ELAINE HAMMERSTEIN 



Elaine started by being merely the granddaughter of the famous Oscar, and daughter 

of the stage producer, Arthur Hammerstein. But she has established 

herself as a star on her own merits in Selznick Pictures. 




ALICE LAKE 



Photograph by Evans, L. A. 



Miss Lake is a Brooklyn girl and she made her dihwt at Vitagraph. Then came several 

years in screen farce — with "Fatty" Arbuckle and the Christie 

forces — after which she returned to film drama at Metro. 




ANTONIO MORENO 



Photograph by Ilartflook, L. A. 



We hear that Tony is soon to be transferred by Vitagraph from serials to features. 

For which we say, "Praise be I" For there is no mwe picturesque 

or colorful young actor than Tony Moreno. 



:Zi^¥':^j 




LEW CODY 

"The male vampire of the screen," they call Lew Cody, now a star in his own name. 

Cody brings a new personality to the films, a boulevardier of the 

Continental capitals — an Anatol of the cinema. 






■v'-f 



I'liuuigraph by Jock Freulich 




Mae, Mary and 
Matrimony * 



MARY had just been put to bed. 
We sat at the dining-room table — I.Iae Marsh 
Arms, her husband, little Mary's nurse and I. 
Quaint candles illuminated the room with flickering, 
home-like gleams. 

Across the table we caught the glow in Mrs. 
Marsh Arms' eyes. We had interviewed the Mae 
Marsh of picturedom at least several times before, 
but this was a new Mae Marsh. 

Where once flashed a rollicking glow of mischief 
now burned a new and steady light. And we 
listened ; , , 

"Mary is wonderful !" exclaimed Mamma Marsh. 

"Yes, indeed," echoed Papa Marsh. 

"Did nurse tell you how splendid she was today?" 
said mamma, turning to papa. 

Papa shook his head enthusiastically. "You bet !" 

"She just loves strangers " began mamma. 

"Not a bit like most whiney kids," interrupted 
papa. 

Every one says she's awfully different," smiled 
mamma, proudly. 

"Yes, indeed," echoed papa. 

We caught our breath. A year or so had certainly 
transformed the hc^denish Mae. Plumper, more 
rounded, there was a new dignity here. And that 
wonderful light in her eyes ! 

We asked the once-so-wistful star of the screen 
how she liked married life. 

"Great!" she exclaimed. "I simply cant under- 



Photograpli above by Mislikin Studio 
Photograph right by C. Smith -Gardner 



Two interestine home 
glimpses of the new 
Mae Marsh and little 
Mary Marsh Arms, 
aged six months. "I 
love married life — and 
Mary — more than all 
the world put to- 
gether," says Mamma 
Marsh 



(Sixteen) 



By 

FREDERICK 

JAMES 

SMITH 



stand why every one isn't mar- 
ried. I love it — and Mary — 
more than all the world put 
together." 

"And you wouldn't change — " 

"Not for millions," she an- 
swered, fairly aghast. "Of 
course, I am returning to the 
screen, but I am taking Mary 
along with me. All the photo- 
plays in the world couldn't 
separate us. 

"I believe all this happiness 
— and Mary — have made me a 
better actress. They couldn't 
fail to do that. Why, I didn't 
begin to know the depths and 
the heights of life before Mary 
came. Now it is as if a curtain 
had been drawn aside and all 
life's possibilities lay before 
me. 

"I may never again be suc- 
cessful on the screen from the 
standpoints of appeal and per- 
sonality, but I cannot fail to be 
just a bit belter actress. For I 
understand a little of life now." 

"Ethel Barrymore once said 
something like that," we re- 
minded. 

"And it is true. Life was a 
thing of pleasures and whims — 
to be tasted as "pleasant pr un- 
pleasant, and passed on. But — 
think of it — Mary is upstairs 
asleei) — my own little Mary — 
my husband is here and I am 
infinitely happy. 

"I am going to do my best 
to he successful in the films 
upon my return. I know I 
shall, if I can only make a frac- 
tion of my happiness shine out 
of my work." 

Little Mary is jflst six 
months old. We asked her 
mother if she wanted Mary to 
be an actress. Papa Arms, 
who is a newspaper man, 
smiled. 

"If she wants to be an ac- 
tress, of course, I shall help 
her," mamma answered. 

"I think ahe is going to be a 
writer," said papa, proudly. 
"When I sit down at night 
with her in my arms and open 
a nevs's[)aper, Mary's joy is complete 
I can tell you." 

The Marsh-Arms have been spending the past summer at For- 
ist Hills. There Mae Marsh has been resting. No pictures did 
she see all thru the year, of course. "I'm having a perfect orgy 
of picture-going now,- and I'm hunting everywhere to see 
'Broken Blossoms,' 'The Miracle Man' and all the other big 
things I have missed. I simply must see them all." 

At this writing Mamma Marsh, plus papa and Mary, are 




il 



Photograph by C. bmitfa Gardner 



She chuckles with glee. 



about to start for the coast, where Mae 
will again return to the Cooper-Hewitts. 

"We haven't found exactly the right 
story yet," said papa. Just then a sound 
came from the upper regions of the 
.\rms' mansion. Mamma and nurs.e 
dashed Mary-ward. 

"She's laughing in her sleep." ex- 
iCouthmcd on patjc 60) 



The very first 
close-up of little 
Mary Marsh 
Arms. Note the 
inginue tenden- 
cies that already 
reveal themselves 
— the coy fingers 
to the lips. Yet 
Papa Arms thinks 
Mary is going to 
be a writer 



ISTRODUCiNG THE REAL TOMMIE: 

Thomas MeighaH is 0"'"9 lo •"<"■ shortly, the Tommic you 
have come lo love in "The Miracle Man," "Mole and female" 
and other photodramas. That alone isn't farlicularly startling. 
But the fact thai Tominie has reached stardom — and retained 
his human vietvpoini — is. Thus it is that we lake unusual 
pleasure in saying: 

"Mr., Mrs., and Miss Classic Reader, meet Mr. Tommie 
Meighan." 



THE quote marks are discreetly placed to the fore and aft 
of the title lest the stigma of an undue familiarity be 
ascribed to the wholly humble and well-meaning scrivener 
thereof. At any rate and all rates, the quotes belong, 
because . . . 

I took tea with Thomas Meighan at the Claridge, late one 
afternoon, lately. During the Course of the chicken sand- 
wiches and the conversation we touched upon the oft-discussed 
fact that simplicity is the outward and visible sign of all true 
greatness. Thomas had with him a letter from a very well- 
known editor of this city. It began "Dear Tommie," and I 
thought, "How fitting." It contained, too, a pithy paragraph 
anent our subject of greatness ; i.e., simplicity, and it went on 
to say that in some few years "Dear Tommie" hadn't changed 
a jot. It said it much more cleverly than that, you under- 
stand. It was more to the point and it didn't use the word 
"jot," but the gist of it was the abiding simplicity of Tommie 
with the necessarily accompanying innuendo. It occurred 
to me, still further, that, ten years or more from now, there 
will perhaps be another letter, other letters, and that they will 
say "Dear Tommie, you haven't changed a bit." 

The boy, Tommie, is very illy concealed by the man, 
Thoma^. 

And, still rnore pertinent, Tommie has an abounding sense 
of humor. It is a powei'fiiH lens, a sense of humor, and it 
does hot permit the greatest of us to be set very high in our 
own esteem. 

Tommie has been married, he told me, for ten 



"Dear Tommie" 



did not ask me to censor the statement in my written word, 
either. The ten years, happy years, I take it, from the twinkle 
in his eye, have been dedicated to Frances Ring. "She's got 
something up here," he told me, touching his forehead. I 
asked him, awed by the ten years, what he thought the secret 
of marital success really was— or is. I felt that the decade 
entitled him to some ripe philosophizing. He answered me, 
"A sense of humor." He went on to say that he considered it 
the really vital thing. He said that it must exist if the matri- 
monial ship is to escape the reefs and shoals. One doesn't 
fight, he said, when one can laugh. It makes for true cama- 
raderie. It removes all stings. It is the real solvent. 

I asked him what he thought his own success was due to, 
what intrinsic thing within himself. 

He waved a pro- 
testing hand when I 
articulated the word 
success, but I was well 
fortified with chicken 
sandwiches and con- 
siderable orange pe- 
koe, and I persisted. I 
was there to push my 

?uestions,and I believe 
can say, modestly, 
XhAtl pushed. I had to, 
with "Dear 
Tommie," 
He has a 
habit of 
running off 
the track 





Tommie Meighan haa been 
married ten years; Francea Ring 
being Mra. Meighan. Regard- 
ing tile aecret of marital suc- 
ceai, Tommie Answers: "A sense 
of humor." Moreover, he calls 
it the one vital thing to mar- 
riage. It makes for true cama- 
raderie, It removes all stings. 
It is the real solvent. Adjoin- 
ing are glimpses of Mr. 
Meighan in recent De Mille 
productions 



and discoursing 
upon sonjebody 
else, volubly and 
witli interest. As 
. monologist on him- 
self he is a good 
Mi racle Man, 
However, as I say, 
I did persist , . . 

After a tentative waiv- 
ing of the word success, 
he said, "Such as it is — to my 
mother and father^' 

I asked him why. What 
particular thing or things they 
had done for him. "Just be- 
cause they were what they 
were," he answered, "right- 
thinking, clean-living, regular 
people. Being with them was 
enough." 

We paid the small tribute 

of a momentary silence to the 

memory of his mother, who 

had died six weeks before, 

I wanted to know whether 

(EighUen) 



By FATTH SERVICE 



he really loved the work he was doing, and what he hopes to do 
in the future, along what line or lines and, particularly, whether 
he has any aspirations along the directorial line. 

He is, you know, a very pleasant sort of person, with a light- 
some smile and an easy manner, or he might have gently evicted 
me from the further consumption of food and time as a human 
interrogation and therefore not accountable. Instead of which 
he was smilingly informative. 

He hadn't cared much about his 
work, he admitted frankly, until 
quite recently. Hadn't, at all 
events, taken the same deep interest 
in it he takes now, felt the same 





^-Ji 



Meighan says he owes all his suc- 
cess to his mother and father. 
"Just because they were what they 
were," he says, "right-thinking, 
dean-living, regular people. Being 
with them was enough." As re- 
gards success, Meighan remarks: 
"a well-known person can never 
go out and have a thoroly good 
time, when and where and with 
whom he pleases" 



impelling charm. Then, 
too, so many and such 
limitless possibilities 
have opened up to him 
recently. "The Miracle 
Man," he said, is the 
type of work he wants 
to do, his line ... He 
has no desire to go back 
to the stage, very much 
contrariwise. He'd have 
stage-fright, he declared. 
Facing an audience — 
whew ' After working in 
the rather clubby fash- 
ion of the studios. As 
for being a director . . . 
"To my mind," he said, "there are three absolutely essential 
factors in the make-up of a really great director. The first is 
imaginalion. The second is concentration. The third is appli- 
cation. I haven't any one of the three. I guess that lets 
me out." 

"I dont believe you haven't any one of them," I said; "the 
first, now ..." 
"Oh, well," he said, with a smile, "I'm Irish ..." 
The Little Pejple have flocked for too many idyllic centu- 
ries over Ireland . . . too many banshees have wailed on too 
many moon-white nights . . . legends with thrills and throbs 
of a wild beauty have been too rife for one of Ireland's sons 
to disclaim imagination now. 
"Well, then," I prompted. 
"Well, the other two — the majority, you know — applicatioti 

(Nineteen) 



and concentration, I haven't a vestige of either 
one of them. Besides, I haven't, honestly, the 

^^^ - desire. I'm content to leave the directing to 

iS^^ others — Griffith and De Mille and George Loane 

t^fr Tucker, and men like them." 

.^fffr I asked him, while we were sky-rocketing with 

^▼* the subject of success, whether he thought a high 

price of some sort or other was necessarily 

attached thereto. 

"I do," he said; "for one thing, the loss of personal liberiy. 
Imagine, for instance, coming here for tea with Charlie 
Chaplin. You'd be mobbed in a great many places ; in almost 
all places you'd be so whispered about and nudged about 
and openly and overtly stared at that you'd have acute in- 
digestion before you got hold of the tea-card. A person 
with all that success can never go out and have a thoroly 
good time, when and where and with whom he pleases. 
There's a sort of barrier built and there's no getting past 
it. It's distinctly a limited sphere while seeming to be with- 
out limit." 

Then, too, a certain loss, I think, of perspective. 

Rose-colored glasses, in a sense, even tho we may be wholly 
unaware that we are wearing them, or that they have been 
placed upon the bridge of our, so to speak, nose. 

We gaze, at times, from a figurative Woolworth and the 
good substantial horses and drays and other matter-of-fact- 
nesses seem lost in a sort of blur. 

Tommie has not lost his. There is no blur, of rose or other- 
wise, upon his figurative glasses. 

"Dear Tommie" is going to star this coming year. He be- 
lieves, he says, that starring will show a considerable change 
in his work. "A great many of the best bits of the cast are 
often and necessarily cut out for the fuller benefit of the star," 
he explained, "and, quite often, work I have done has seemed 
stolid for that very reason. When I am doing my own starring 
such will not be the case, so I'm hoping." 

Tommie will be interesting to watch, but what is more and 
better, I believe, with the well-known editor, that he will 
always be just about the same to know . . . essentially, 
come what may come, "Dear Tommie — You haven't changed 
a bit!" 




"I've always wanted to 
work for Micky Nei- 
lan," says M a r j o r i e 
Daw. So her present 
engagement means that 
her dreams have come 
true. "I nearly died 
with joy when it all 
really happened," she 
admits 



MARjORit; Daw isn't 
her real name at 
all! Cecil De 
Mille gave it to her 
several years ago when 
she first came to the 
Lasky studio. With 
his prophetic eye, he 
probably saw that it 
would look better in 

electric lights when she grew up and became a 
star, than her own, which is much longer. Any- 
way, this sweet little name just suits her, and 
tho it has not vet flashed in electrics, it has ap- 
l)eared in very black type on many programs, for 
her career has progressed by leaps and bounds 
and she has played with many of the best known 
film stars of the day. 

Great things are predicted for this young girl, 
whose spontaneity makes her characters live and 
breathe upon the screen, bringing youthful ro- 
mance vividly before our e^es. 

"Isn't it wonderful?" questioned Marjorie, 
dancing about in girlish enthusiasm. 

I agreed with fervor, even while I secretly won- 
dered if she referred to the very .smart frock she 
was wearing, an adoi'able navy tricotine, which was 
one of her purchases during a recent trip to New 
York, or the artistic dressing-room, newly deco- 
rated especially for her at Marshall Neilan's quaint 
little studio in Hollywood, or, indeed, her splendid 



Marjorie Da'w: 
A Real Girl 



contract in which she is to appear in this young 
producer's pictures. 

"It is so cheerful," she continued, as her 
eyes swept the large, sunny room, with its 
wicker furniture and gay cretonnes, while thru 
the open ■ windows could be seen rows of 
flaming dahlias and lovely lawns. "I adore 
colors. They spur me on, and these ducky 
yellow lights are warm and cozy. Oh, but just 
look here; this is the very best of all," and, 
dashing to a door, she led me into the most 
perfectly equipped little kitchen imaginable. 
"I've never had time to learn to cook, but now 
I am so enthused that I want to learn every- 
thing all at once so I can invite my friends in 
to a studio luncheon. Micky thinks this is a 
huge joke, but I'll show him. 

"Always," Marjorie went on, seriously, 
after we had returned to the dressing-room, 
"I have wanted to be in Micky Neilan's com- 
pany. I remember, *vhen I was just a little 
girl at the Lasky studio, how I would slip 
around and watch him directing Mary Pick- 
ford, just hoping and hoping that some day I, 
too, could be under his direction. I nearly 
died of joy when it all really happened. 

Pbotosraph at left by Alfred Cheney Johniton 
Photograph below by Evani, L. A. 



(Tu>«)vtVJ 



By MAUDE S. CHEATHAM 



"We're making a greai picture 
nov/, 'The River's End,' " she rattled 
on, with her contagious enthusiasm, 
"and my role is light comedy. I'm 
an English girl, and everybody loves 
me down to the Chinese cook. I 
wear pretty clothes and have a beau- 
tiful time. Why, I even ride horse- 
back — in a stilfl" and she laughed 
gaily. 

"Our whole company is wonder- 
ful, all working together like one big 
family, and even the camera-man, 
who is a dear, tells me when to put 
more soul into my eyes. 

"Micky is so boyish, with a reg^ular 
Peter Pan sense of youth, and he is 
always joking : id 'kidding.' He sees 
life at its best, and one of his rules 
is never to lose his temper while 
working, and he lives up to this 
faithfully." 

"The trip to New York — was it all 
you had anticipated?'" I asked. 

"IVas it?" jumping to her feet to 
give added emphasis. "It was won- 
derfull I went and went, and saw 
ana saiv, and everything was so ex- 
citing," and Marjorie dropped back 
into her chair, subsiding for a mo- 
ment after this ecstatic explosion. 

Then followed an animated ac- 
count of the shops and the styles, the 
new plays and the interesting people 
she had met, all from a girlish view- 
point so refreshing that it seemed to 
sweep everything old and sordid 
from the map. 

She confessed that she found her- 
self judging those splendid Gotham 
hotels and cafes by the quality of 
their ice-cream, this being her fad of 
the moment. 

"Down in Greenwich Village," she 
told me, eagerly, "I found a new 
kind, queerish and delicious, made 
by a secret process or something, 
and I couldn't describe it in a hun- 
dred years, so it is just a memory to 
dream about," 



and again came 
the gay laugh. 
"My first 
and only char- 
acter role was 
Emmy Jane 
Perkins in 'Re- 
becca of Sun- 
n y b r k 
Farm,'" said 
Marjorie, set- 
tling down to 
the demands 
for an interview 
embarrassed to death with 
{Continued on page 65) 



Marjorie Daw's 
reminiscences are 
necessarily limit- 
ed since she is 
but 18. Colorado 
Springs, CoL, is 
her birthplace. 
She journeyed to 
California at the 
age of eight and 
she has been 
there ever since 



"I was 



Photograph by Alfred Cheney Johnston 

(Twenty-one) 





Scotch and Seltzer 



TEN o'clock in the morning, and the maid said he hadn't 
as yet wakened. A half-hour's wait, and at length a 
sleepy-eyed young gentleman clad for tennis, and be- 
moaning the fact that three old-fashioned, very rare, hand- 
blown glass bottles, sent him by express from the East, 
were broken in transit. 

"I'm all disheartened," quoth the insouciant Mr. Kerry. 
"I cant replace 'em." 

"Oh, yes, you can," I replied. "The Olde Curiositie 
Shoppe on Sixth Street has a couple just like them. Four 
dollars apiece, but I imagine you can 'Jew 'em down.' " 
"Righto !" 

And the insouciantly broken-hearted Mr. Kerry became 
happy again. You see, I didn't have to go thru the formal- 
ity of an introduction. Norman and I have been friends 
for some time. In fact, I quite well remember the time that 
he sang a sobby song to me at my table in a Los Angeles 
cafe. That's how I met him. He thought I was some one 
else, and when I told him I wasn't, he said he didn't give 
a whoop; we were friends anyhow. 

Being of the sex that wears sox and a mustache, I was 
at once enjoined to languish in his chambre A coucher, 
where he keeps his art treasures and which looks like a 
cross between the peacock-room of the late Empress of 
China and the studio of a Bolshevik 
artist. Purple and grey hangings on the 
four windows, funny little doo-dabs, that 
Norm told me are i<cry valuable, on the 
tabouret which stands at the head of his 
bed. I thought that probably they'd 
contain incense, or something like that, 
but I found they held cigarets. And — 
keep this quiet, mates — there's a table 
which looks like an escritoire standing 
along one of the walls which caches 
what, in these Saharaesque days, is 
mintly — a cut-glass carafe filled with 
spirituous liquor. 

"Have a drink?" His forethought 
was really remarkable. Personally, I 
am never known to refuse. Neither is 
Norman. We both of us are Scotch, and 
Scotch always finds itself in seltzer. 

"And now, what do you know about 
women ?" 

I knew it would get him started. He 
has every feminine heart in Hollywood 
fluttering when he makes his appearance 
at the hotel dances or dines publicly. 
And the high school sub-debs blush and cast their eyes 
to the ground with what authors are prone to call maid- 
enly ingenuousness when he passes them on the street, 
and I've heard 'em sigh over him. Gosh, girls, it's 
awful! 

"The dear things!" 

"Well, what about 'em ?" quoth I, interviewally. 
"I love them all. Except the vampires ; they're too 
obvious. The girl to vamp me is the baby blonde. Then 
I know I'm getting vamped, and I enjoy it." 

What is a vamp? Kipling calls her the rag-bone- 
hank. Gautier refers to her as a disappointed mis- 
tress. Kerry to the fore, thusly: 

Vampire — Thisbe minus the hole in the wall ; 

Melisande without her Pelleas. In other 

words, an unnecessary female, who 

makes life more 

unpleasant for 

■■■,''•■' herself than for 

those whom she'd 

like to "wreck." 

And with this 

(Xwentn-tvio) 






By TRUMAN B. HANDY 



'■ high-;nincled ideal, perhaps you may draw the conclusion 
; I that Mr. Kerry is in the matrimonial market, or that his 
I "Wanted — A wife" ad appears in the daily papers. Huh-uh I 
Kerry is more or less "afraid of women. He says so him- 
self; also, that he likes his liberty. 

"For that simple reason I've never been married. I may, 
and I may not be, but if I were, I'd bow to my superior. 

"I hate that word 'superior,' and personally, I fail to 
recognize any of this so-called 'superiority' in the oppo- 
■ site sex. In California, where women vote, they're quite 
I an equal, but superior — huh !" 
I "But are they superior?" I back-fired. 
I "Certainly — if you love them. I mean, a man's wife is 
I always his superior, for the reason that he wouldn't have 
married her if he didn't recognize in her qualities which he 
fails to possess and wishes to acquire. And then, too, 
(jrandes passions are as rare as masterpieces, and very 
few men are geniuses." 
"And what about the cave-man? Like to be one?" 
"Hot doggie! If I were married, there would be only 
one pair of trousers in the house, and I'd be in 'em. A 
man is born to be a soldier, as lie is to be the head of his 
house. If he gives up his life for his 
country, he's bound to do so for- his 
marriage, and, according to I'.merson, 
everything has its comjiensation — eVen, 
in this case, if it's only paying the 
checks. And that's why I'm single. 
I've nevtr wanted to s|)oil a woman's 
illusions." 

As Kerry and I discussed pro and 
con the woman question, Norm skimmed 
thru a few dozen fan letters. At one 
of them he laughed. Handing it to 
me, I read that a shop girl in .St. Louis 
would like to marry him. In fact, she 
openly stated that she idolizes him. 
Another heartachel' 

"Doesn't it give you a thrill to be 
idolized ?" 

"Huh-uh. Lions are good for only one 
season. ,\s soon as their manes are cut 
they are the dulk'st creatures extant." 
"Rut why keep the fair sex in sus- 
pense?" 

"That's just why I'm telling you all 
this. I'm not. No man wants to make 

a woman impatient. Women consider themselves a flower to 
he plucked before the boll gets into the bud. Rut the projier 
basis for marriage is a mutual understanding. Kind of hard 
to get nowadays, isn't it, when in so many cases they've made 
a deletion in the 
marriage cere- 
mony?" 

Kerry is a strong 
romanticist, as Os- 
car VV i 1 d e 
says, "very 
punctual and 
with a pas- 
sion for col- 
lecting curi- 
o s i t i e s . 
Cireat aver- 
sion to cats 
and bores." 

His art collec- 

lection ranges 

from an age-old 

(Continued on 

^age 68) 

(Twenty-three) 





Photograph by Evons 

"Women are superior — if you 
love them," says Kerry. "A 
man's wife is always his supe- 
rior, for the reason that he 
wouldn't have married her if he 
didn't recoenize in her qualities 
which he fails to possess and 
wishes to acquire." 









A Doll's- 
Apartment 



matters of profession and general at- 
mosphere 

Also, she is too happy and too hard- 
worl<ing and too busy having fun. 

Then, there is the matter of her 
looks . . . tawny-colored hair massed 
on her head, bright eyes, fresh color- 
ing, a springy sort of a walk and 
rounded lines. No, there is no sug- 
gestion in Olive Thomas of "going 
out into the night'" to find herself. 
She appears to be quite completely 
found, between the pictures and her 
new and fascinating occupation of 
decorating and buying for her new 
apartment and being Mrs. Jack Pick- 
ford, at which estate she is quite evi- 
dently pleased, save for the long dis- 
tance and the long times that elapse 
betweei. their 



Olive Thomas is 
too happy, h6rd- 
working and too 
busy having fun to 
ever be morbid. 
Indeed, she is too 
youthful and 
healthy — too es- 
sentially a product 
of Pittsburgh in 
nativity and New 
York and Califor- 
nia in profession 
and general atmo- 
sphere 



meetings. Said 
Olive, with 
naivete, "I call 
Jack my 'long- 
distance 
lover.' " 

Considering' 
the newness of 
her apartment, 
a charming 
place overlook- 
ing the Park in 
the Fifties, we 



TiricRK is to be 
nothing Ibsen- 
fsque about this 
interview saving the 
rather obvious play 
on a famous Ibsen 
title — not that the 
scrivener thereof 
wouldn't like to at- 
tempt an emulation, 
but that there is noth- 
ing of the morbid 
Scandinavian and his 
equally morbid and 
highly introspective 
heroines to ^ he de- 
duced from the May- 
tiniish Olive Thomas'. 
Olive could never 
have posed for Ibsen. 
She is quite youth- 
fully and healthfully 
an antithesis. Too 
essentially a product 
of — well, Pittsburgh 
in the matter of nativ- 
ity and New York 
and California in the 




(Tvienty-four) 



By FAITH SERVICE 



did much discussing of interior decorating. 
Olive has opinions and tastes, discrininiating 
ones and enthusiasms tempered with a reallv 
good sense of color effects and general 
schemes. She knows what slie wants and how 
she wants it, and also how to go ahout ac- 
quiring what she wants. There is a certain 
directness ahout her despite her most pal- 
pable youth, which gives the impression of a 
small child in a mammoth toy shop, given, 
suddenly, carte blanche. 

Her long, .spacious living-room, with win- 
dows across the entire front of it, overlooks 
the park. It is carpeted in a soft French gray 
and Olive told me, with asperity, that she was 
at the studio when the carpet was laid and 
the men had neglected to lay titling under- 
neath it. "If," said the small matron, "I am 
to pay for good stuff, I e.xpect to get it. and 
good workmanship into the bargain. I am 
going to have them take the whole thing up 
again and lay it i.roi-erly. I believe in vahie 
received." Which 
shows, in a very 
young person with 
a not inconsidera- 
ble salary, a cer- 
tain sense of eco- 
nomics. 

The apartment, 
she told me, was 



Olive Thomas calls her 
husband. Jack Pick- 
ford, her "long dis- 
tance lover." She wants 
to return to the stage, 
but for the next two 
years, or so, she is go- 
ing on with her screen 
work 





to be well on 
its way to com- 
pletion before 
the arrival of 
the "long-dis- 
tance lover" 
for Christmas. 
It was going to 
be, she said, 
with anticipa- 
tion, the best 
Christmas they 
have ever had. 
Their first was 
spent in Pitts- 
burgh in the 
hospital with 
Olive's mother, 
who was very 
ill. Last Christ- 
mas Olive was 
here in the East 
in the hospital 
herself, with 
influenza, and 
quite alone, 
and so this 
third Christmas 
(Continued on 
paf)c 62) 



(Twenty-five) 



An 
Aphrodite 
From the 
Screen 



Dorothy Dalton has tempora- 
rily deserted the silversheet to 
play the leading rdle in the |or- 
geouB Century Theater produc- 
tion, "Aphrodite," the highly 
colored drama of ancient Alex- 
andria which has set Broad- 
way gasping. Here are two 
glimpses of Miss Dalton as the 
Galilean courtesan, Chrysis, and 
a single — but compelling — one of 
McKay Morris as the sculptor- 
lover 




(Twenty-iix) 





By FREDERICK 
JAMES SMITH 



shal of the film. So the world of the cinema 
realized in a flash that December morning. 

But, after drifting for four days, the Griffith 
party made port. The photoplay sphere 
settled back — but we trust not to forget fulness. It is natural 
for those close ta greatness not to observe the light, but the 
honor that alone is Griffith's must be accorded. No other one 
man has done a fraction of service to the silent play performed 
by Griffith. 

May he long retain the leadership! May he go on 
experimenting and trying, for few others have his cour- 
age and resourcefulness! To be sure there are many 
promising figures upon the horizon — none more notably 
so, for instance, than the youthful King Vidor or Mrs. 
Sidney Drew — but there is but one Griffith. 

Let us recognize this Moses of the motion play, this 
Columbus of the cinema! Let us remember that grim 
December morning — and give all honor where honor is 
due — now. 




Richard Barthelmess had gone 
on to the Bahamas ahead of 
the Griffith party. When news, 
reached him that the Griffith 
steamer was missing he char- 
tered the "Berry Islands" and 
started out in search. Here 
are views of Barthehness and 
his mother on the searching 
tiiti. Below is a recent study 
of Griffith 



THE world of motion pic- 
tures drew a startled 
breath and paused to 
think one recent December 
morning when the newspa- 
pers of the land carried the 
story that David Wark Griffith and his party 
had been "lost at sea" off the Bahama Islands. 

It is human to take a f)erson or thing for 
granted — to accept unthinkingly. So Griffith, 
standing at the very forefront of the photo- 
play's march, had been accepted. But the news 
that Griffith might be adrift in the lonely Span- 
ish Main — dead or dying — startled the film 
world and set it thinking. 

Quickly it took stock of just what it owed 
this genius of the silent drama — for Griffith, with all his faults, is 
the one genius of the photoplay. From the flickering first days he 
has proudly held the standard upright. From the moment when he 
stepped from crude one-reel melodrama to such brief celluloid bits of 
brilliancy as "The Blot in the 'Scutcheon," "Enoch, Arden," and 
scores of others, down thru the avenue of progress marked by the 
fade-out, the close-up, the dissolve, and a multitude of now accepted 
technical devices, to the present of that lyric tragedy, "Broken Blos- 
soms," Griffith had led the way — and led in every sense of the 
word. 

Other excellent and in many ways brilliant division commanders 
have appeared — De Mille, Ince, Toumeur, Tucker and Dwan among 
these potential leaders — but Griffith is still essentially the field-mar- 

(Twenty-aeven) 




II H— H H ! 

Human Hobart Henley 



"1T-H-H" sounds '.ike tlie Crown Prince, 
J~l but it is not, however topical at 
the date of writing. It is about 
Hobart Henley, who has the humanizing 
touch. He has it in his pictures, "The Gay 
Old Dog" to wit, and he has it in his per- 
sonality, which is even more, because, sooner 
or later, the personalit)' of the man is bound 
to seep into the personality of his pictures, 
his work whatever form it may take. A man 
cannot give greater than he is. 

I dont believe that Mr. Henley is conscious 
of the human touch he has in any delib- 
erate sort of way. He is so very much and 
so very naturally a homey sort of person, with 
a rich sort of speaking voice, Kentuckian and 
rather slow, and a smile that gives you a com- 
fortable glow in the cardiac regions and — he 
would blue-pencil this, I know, if I gave him 
half a chance, which I shant — romantic eyes 
and hair and general aspect. 

He adores his mother, viich means more 
than the face value of the assertion. The 
adoration is mutual. Originally a Kentuckian, 
as I said, he brought his mother here to make 
a home for him and in that home he abides. 
He is a believer in the home. He gave me a 
sketchy idea of his idea of happiness, and it 
was to get up in the morning on your ovim 
place in the country, the country of course, he 
said, and jump on your horse and take a 
good gallop before breakfast, tlien back to 
steaming coflee and eggs and things, a la 
anglaise, as it were, then dalliance in the sun- 
shine, browsing among your books, thinking, 
planning, dreaming . . . 

"Of course," said Mr. Henley, "to be happy 
and normal there must be work, interest of 



By OLGA SHAW 



some constructive nature. Ever>' individual craves self-expres- 
sion in one form or another. It is as essential as any other 
one thing, and more. But it should be work that can be done 
when the spirit of it moves the actiz'ities. .\n artist, and fun- 
damentally, a director should be an artist — an artist cannot 
work by clock, on schedule, according to rote. Theoretically, 
it would be very fine if it were possible and best. But it is not 
possible. The creative impulse is bound to be more or less 
sporadic Some training can, of course, be brought to bear, 
but efficiency — horrible word! — will grind out inspiration if 
one is not careful. And it is in inspiration that the great things 

of living, in so far as the 

arts are concerned, are 

achieved." 

Speaking of art, I un- 
earthed the hoan,- ques- 
tion of whether he 
thought the film 
business an art, etc., 
etc. — you knowem. 
He said he 
thought the art of 
the screen certain- 
ly was an art. The 
business end of it 
— no. 

{C onfiuucd on 
page 93) 



Three glimpses of 
Hobart Henley 
adorn this page. In 
the center he ap- 
pears with John 
Cumberland and, ber 
low, with members 
of his company 






-,;p»jp*«PW^- 



The Little Shepherd of Kingdom Come 

Told in Story Form from the Jack Pickford-GoMwyn Photoplay 

By DOROTHY DON NELL 



" A IR they places bigger'n the Junction — bigger'n Lexing- 
J-\ ton?" Melissa's eyes were round with awe. "Hit dont 
seem likely, Chad! 'Pears like they couldn't be." 

The boy laughed with masculine superiority, flinging his fine 
head back in a gesture characteristic of him. "Pooh ! M'liss, 
they're grander than anything we ever saw ! They've got 
shining streets and white castles that reach up and up, and 
towers where you can see the whole world from. They've 
got many mansions. M'liss — grand mansions " 

Caleb Hess, schoolmaster, smiled a very little at the boyish 
rhapsody, with its odd mingling of the Arabian Nights and 
the New Testament, but it was an infinitely tender smile. 
Twelve patient years in the Cumberlands, dealing with soggy 
minds, dulled with generations of pork and pone eating, with 
the sullen, the dull, the vicious, had not quite extinguished the 
flame that had burned, altar-like, in his soul when he came 
up into the mountains to teach the mountain young of the 
beauty and the wonder that is in the world. 

"Ah, but you must build your castles, Chad boy," he said 
gently; "you must work for your towers, earn your mansions. 
There is no virtue in easy things. It is you and you alone who 
make your life what it will be." 

Trite words, old, frayed truths, but to the boy the sayings 
of an oracle. His dark eyes, under the 
ragged fringe of uncut hair, glowed like 
smouldering coals in a fanning wind. "I 
can do anything — I want to," cried Chad 

(Twenty-nine) 




own. 
can 



Buford. The last name was 
problematical, a thingof tra- 
dition, for the boy was 
a waif of the wilds, 
without parents or 
kin, or even graves 
that held 
his 
"I 

do any- 
thing I 
choose to 
do — any- 
thing! I 
can get 
learning, 
I can bf 
a gent' 
man- 



MOTION PICTURE 



The didactic voice of the schoolmaster sounded soothingly. 
"A gentleman isn't the best thing to be, Chad boy. If you're 
honest and brave and kind you'll be a man, and that's better. 
A king who controls a million meii is no greater than a man 
who controls himself." 

"Chad could be a king," Melissa cried, jealously, with a look 
that yearned toward the long, lank boy-figure huddled before 
the fire ; "Chad could be a king easy. He aint like the res' of 
us, somehow, 'pears like. He's like somebody — somebody in 
that book you-all read t'other day at school, "bout toumyments 
and round-tables." 

If Chad had lifted his eyes to the girl's face as she turned it 
tcvfiird him with the age-old mothering in it, he would have 
known what few people guessed — ^that Melissa Turner, daugh- 
ter of his employer, was beautiful. But Chad's gaze \<'as. in 
the dancing flames, where his fancy pictured the strange, fluid, 
changing shapes of the future, and his thoughts were leagues 
away from the ding)', log-cabin room. Caleb saw, however, 
and winced. It was a pity that there could be no beauty, no 
grace in the world without bringing suffering with it, as the 
sunshine brings shadows. 

"But tlie boy must not be fettered. He must be free, and he 
will go far," he thought. "Melissa is right. He is not like 
these dull-souled mountain folk. There is blood in him some- 
where, race. Look at the height of that forehead, the shape of 
that chin! But he must go away quickly before harm can 
come. He is young, and youth's wants are dangerous." 

Aloud he spoke in his accustomed drawl. "How would you 



like to go to Lexington, Chad ? Or, better still, how woidd you 
like to go up North to school ?" 

"Oh, sir !" Chad gasped, and could say no more. His sensi- 
tive lips were quivering, his long, lean hands, which all the 
rough work of shepherding could not make like the thick-set 
paws of the mountain boys, clenched together on his knee with 
a grip that turned the fingers white. Neither he nor Caleb, 
absorbed in the plans of the moment, heard the strange little 
cry the prl gave from her shadows, a hurt cry, like a little wild 
animal wounded, nor saw the whitening of the long, pointed 
face between the fans of wild tangled brown. 

They were still talking eagerly, making plans for the journey 
that was to set Chad's impatient feet on the pathway to the 
world, when she slipped out into the cool Cumberland night, 
lucent with the cold clearness of the stars. She lifted her face 
toward them, marked with strange woman lines of pain in its 
girlishness. Melissa was fifteen, but she was very old tonight, 
old as the travail of her soul, old as .the brave, sweet heart of 
her that now rose above its pain to pray for him. 

"I've lost him, but hit's best. On'y, God, take keer o' him. 
If they's any hurtin' to be done, hurt me instead," Melissa 
begged. "That's what womenfolks was made for, I reckon, 
to git hurt 'stead of they men." 

The next week Chad Buford, with all his worldly posses- 
sions, a f)oor calico shirt, two pairs of white socks and a 
thumbed, dog-eared copy of "The Knights of the Table 
Round" rolled into a bundle under his arm, started out afoot 
down the mountains, with Caleb Hess beside him, and only the 
half-jeering commentaries of the loafers outside the tiny gen- 
eral store as farewell. 

"Spect you'll be 'lected President one o' these days, Chad!" 

"Dont I'am too much — 'taint healthy, I reckon. Knowed a 
man onct went thru the 'rithmetic and took with a fever 'n' 
died." 

To each other, after the two 
figures had disappeared down "How would you like to 

go to Lexington, Chad? 

or, better still, how would 

you like to go up North 

to school?" 




(Thirty) 



CLASSIC 

the trail, they 
spoke with coarse 
freedom of the 
boy's dubious pa- 
rentage. "A 
bound boy, wi^ 
no pappy and no 
mom as anybody 
knows on," they 
sneered, "set tin' 
hisself up to be 
somebody — it's 
'nough to make a 
hawg laff. He'd 
'a' done better to 
have stayed and 
minded Jeff Tur- 
ner's sheep, and 
kept his belly 
full." 

Only one per- 
son watched 
Chad set out, and 
sent a gentle 
thought with him, 
a prayer that he 
might find what 
he went to seek 
for — happiness 
and success. Me- 
lissa, hidden be- 
hind the great 
tree at the bend 
of the trail, heard 
their voices com- 
ing closer, pass- 
ing, then dared to look out from her 
leafy covert for one last glimpse of 
the dark head, held so high in its 
rough fur cap, the straight shoulders 
in their sheepskin covering, the very 
way he walked — as if, she thought, 
he already had his white castles, his 
towers. She closed the memory of 

this last glimpse of him away in her heart sacredly, to be taken 
out when she was alone sometimes, looked at, dreamed over. 
"I'll never see him again," said Melissa, but she did not know. 

A week later Caleb Hess returned. It got about, after a 
while, thru assiduous questioning, that he had not taken Chad 
up North after all, but left him in Lexington with a Major 
Rufus Buford, who had taken a fancy to the boy and promised 
to care for him and give him an education. The name re- 
awakened old rumors. What if Chad should have a right to 
the half-jesting patronymic he had always borne? What if 
this major should be kin of his? 

"Always said the boy had something to him," the moun- 
taineers told each other. "Reckon M'W be moughty proud, now 
he's got fine friends, an' fergit aU we've done fer him !" 

Life went on, thru the cold winter days, the .sheep, huddled 
in their folds, bleating plaintively. The women shuffled about 
the dark cabins from greasy skillet to the cradles of their ailing 
babes. Caleb, in the frigid log schoolhouse, labored patiently, 
but without inspiration, to plant a small seed of beauty in the 
unfertile minds before him, and M'liss dreamed in the red 
dusks of a tall, erect figure, panoplied like a knight, striding 
down the shining street of a great city. 

And then one night, as the Turners sat about their eternal 
sow-bdly and beans, and the cabin swam in the sooty, greasy 
light of oil lamps, the door opened and Chad stood on the 
threshold, looking at them with a set, white face and eyes cold 
and empty, hke dead>brands when the flame is gone. 

The elder Turner brought his knife handle down on the table 
with a hoarse cackle of delight. "Haw, haw I Come back, eh ? 
Fine friends turn you out and you come crawlin' back to fill 
your crop." 

(Thirty-one) 




"You've been 
moughty good to 
me, Mliss ; I reck- 
on I wont for- 
get it, ever," he 
said 



Dan and Jake, the boys, echoed their 
father's hateful hilarity, Mrs. Turner gave 
a spiritless glance at the silent figure, 
then shuffled to the stove to pile another 
plate with food, but Melissa sprang to 
her feet and ran to Chad, clutching his 
hands in her hard, calloused ones. 

"Chad boy ! Oh, mebbe it's wicked to be glad, but I am — I 
am !" Melissa sobbed. Then, vaguely terrified by the stillness 
of him, she stood on tiptoe, thrusting her face close to his. 
And the set despair she read there brought a cry to her lips. 
"Chad! What's happened? Tell me. Oh, Chad, the fire — 
the fire in your eyes is out ! What have they city folk done t' 
you ?" 

But the boy merely .shook her off, not unkindly, and went to 
the table. "I've come back — if you'll keep nle," he said, with 
set lips. "I kin take care of the sheep for my keep. I found" 
— he drew a deep breath, and his face went white — "I found I 
belonged up here " 

And that was all he would say, tho he pushed the plate of 
repulsive food away and sat silent, staring down at his lax 
hands till all but Melissa had yawned themselves away to bed- 
Like a little, grey shadow, Melissa slipped closer, laid her hand 
tremblingly on his knee. "Now, Chad, tell me," she whispered. 
"I reckon 'tisn't an y ti ling that cant be mended. What did they- 
all do to you — down thar?" 

Chad drew a sharp breath, laughed terribly. He was very 
tragic, as is youth's way, for his pride had been hurt almost to 
death and his heart was sick. "Kin you mend bad stock? 
Kin you find me a mammy and a pappy — kin you give me the 
right to be homed at all ?" Unconsciously, his tongue fell into 



MOTION PICTURE CLASSIC 




1 



**What docs it say 
in the Scriptures," 
Margaret m u r- 
m n r e d, "what 
does it s a y — 
about 1 o V i u g — 
your enemies?" 



mountain rudenesses, which told her more 
plainlj' than anytliing else of his utter 
recklessness. "No, M'liss ! I was wrong 
— I kaint ever — be — a — gentleman " 



Then, in a tumbled flood of words, it 
was all out. The major had been kind, 
wonderful kind. He had treated him like 
kinfolk and told him he should have his 
chance for all the book learning he wanted. He had seemed 
to — to like him, somehow. Oh, and it was a grand place 
where he lived — fifteen rooms, each one bigger than the cabin, 
and black servants, and horses — they were moughty nice, the 
horses. Then there had been the folks next door — Dean, their 
name was, a terrible fancy man and woman, and two boys his 

age, and — and 

Chad's face grew scarlet in the firelight, and she saw that 
his u.inds were trembling. 

"They was a girl, too — her name was Margaret," he 
stumbled. "She had awful pretty hair, light and sort of soft 
and the color of sunshine at high noon — a real lady she was, 
but. she — she was pov/erful pleasant to me, and made me for- 
get I wasn't anything but a mountain critter. We — went 
riding in the park — once or twice. Then they found out" — his 
voice brooded — "about me being a nobody, having no pappy 
that I knowed on. They'd thought I was some blood kin of the 
major — an' when they found I wasn't, they told me" — he 
choked, fought wrathfully with unmanly tears — "they done told 
me not to come to they house no more — not to speak to — to 
^largaret " 



Melissa had 
dr?. wn away 
from him. She 
did not want 
him to feel the 
shaking of her 
meager body. 
Her voice was 
dry and expres- 
sionless. "So 
your major 
friend sent you 
away?" 

"No !" Chad said, violently. "No ! He didn't know I was 
coming, but I couldn't stay an' be a burden — be looked down 
on. It hurt me — in here!" He struck his chest cruelly, vio- 
lently, like a bitter man; then, like a disappointed boy, he 
began to sob, his forehead resting on Melissa's shoulder for 
comforting. "Oh, M'liss! I'll never find the white towers — 
and the many mansions. I wish I was dead ! I wish I'd never 
been bom !" 

Melissa patted the rough head pitifully. "Dont fret, boy," 
she whispered; "dont fret." But her brain was already busy 
{Continued on page 72) 



THE LITTLE SHEPHERD OF KINGDOM COME 

Fictionized from the scenario based upon the late John Fox, 
Jr.'s, novel. Produced by Goldwyn, starring Jack Pickford. 
Directed by Wallace Worsley. The cast: 

Chad Jack Pickford 

Margaret. . Clara Horton 

Melissa Pauline Starke 

Dan Dean J. Park Jones 

Harry Dean Clark Marshall 

Mrs. Dean Edythe Chapman 

Major Buford James NeiU 

General R. D. McLean 

Schoolmaster Dwight Crittenden 

Cousin Lucy Aileen Manning 



(Thirty-two) 




Above, Betty Compson in 
"The Miracle Man," and, 
right, in an old Arbuckle 
comedy. Below, the new dra- 
matic Bebe Daniels and, lower 
right, the Gloria Swanson of 
Sennett days 



The Farce University 

By HARRISON HASKINS 



THE celluloid farce comedy seems to be the training 
school of the film star. "The farce university," 
the}' call it in picturedoni. 
Consider Gloria Swanson, Clarine Seymour, Betty 
Compson, Alice Lake, Bebe Daniels and Mar)- Thurman. 
All graduated with honors from fast and furious farces. 
\Vc asked one of the biggest directors in the country to 
account for this seeming phenomena. 

'Phenomena— nothing!" he exclaimed. "In farce 
comedy you are taught to put over your points with a 
baiig — to accentuate with speed — to retain your poise 
while tons of water swee]) by and a brick house tumbles 
about you. In a sentence, to have poise with pies." 

Which, if we may further pun, 
seems to hit it. 

W'e jnit ttie same question to 
Gloria Swanson herself. She said 
almost the same thing. 

"Acting in farce teaches you to 
slightly over-exaggerate to drive 
home things with a smash," re- 
marked Miss Swanson. "When 
the dramatic director gets you, he 
merely has to tone you down. 
-\nd it is much easier to tone 
down than to tone up some one 
who doesn't know how to make 
his or her points. That is why 
you can more or less suc- 
cessfully step from film 
farce to film 
drama." 

Which ex- 

-Miss 

only a 

e ago 

ayer in 

nnett 



(Thirty-three) 



The 
Midnight 
Margarita 



Margarita Fisher 
may be glimpsed 
at the left in 
what our fashion 
editor declares 
to be a substance 
of wash satin of 
a p e a c h-b low 
shade, inset and 
edged with 
cream-c o 1 o r e d 
lace and boasting 
a plentiful accom^ 
paniment of bows, 
loops — and things 




(Tkirty-fovr) 




t 



Miss Fisher is 
observing h e r- 
s e 1 f — (can you 
blame her?) — in 
a dreamy robe 
de nuit of pink 
and blue georg- 
ette crepe with 
addenda of laces, 
ribbons £md satin 
— er — budlets 




The negligee just above 
is of blue and orchid 
georgette with a lacy 
over-drape patterned 
in creamy-tinted fleurs- 
de-lis. The slippers 
are of pink satin, em- 
broidered in silver Ce- 
cil Brunner roses and 
forget-me-nots 



If die bsfakm editor 
hadn*t come to our 
rescue, words would 
have failed us in de- 
scribing Miss Fisher 
in a combination of 
pink and blue chiffon, 
daintily dotted, embroi- 
dered, tucked and 
frilled. And — ^but here 
we pause 






/T^i^4.. •£ t 





Photograph by Evans, L. A. 



Pell Trenton started 
out to be a lawyer, but 
changed his mind. He 
made his debut doing a 
"bit" with Julia Mcir- 
lowe in "The Goddess 
of Reason." At the 
right is a glimpse of 
him in the garden set 
of "The Willow Tree" 




Pell of 
Pell Manor 



TIM. first thing I asked Pell 
Trenton was the whyfore 
of his first name. l?y 
rights, I should have quizzed 
him concerning his stage and 
screen career, but when a man 
has a name that sounds as if it 
might be an abbreviation for 
"Pellingham" or '".Pellerford," 
or something e([ually romantic, 
to say nothing of its being a 
great deal like "']>al" and a hit 
like "pill." he may e.xjiect to be 
asked for an explanation, even 
tho names are strictly personal 
affairs and as such are su]iposed 
to be exempt from cross-exami- 
nation. And he wasn't the least 
bit offended. Indeed, he seemed 
pleased to talk about it. 

"I've wondered why no iiiter- 
vi'?wer ever asked me that-," he 
beamed upon me. "Rvery one 
else does as soon as the law al- 
lows. I'm proud of it for va- 
rious reasons, and it is my 
'monicker' and not a stage name, 
as every one seems to think. 

"I am a descendant of the 
first Lord Pell, who came over 
from England in 1600 and was 
given a grant of land in Xevv 
York in what is now West- 
chester County. The eldest son 
has borne the name all down 
along the line — hence the cogno- 
men for me." 

They had told me at the Metro 
that I _>vould find Mr. Trenton 
somewhere on the lot, wearing a 
kimono and a classic hair-cut, 
which was their more or less 
subtle way of telling me that he 
was playing in 
"The Willow 
Tree," an adapta- 
tion of an old Jap- 
anese legend, and 
that he made a ro- 
m antic-looking 
hero. 

When I first 
glimpsed him, he 
was wearing a gor- 
geous black ki- 
mono with gold 
dots, and he was 
standing n ear a 
half-moon bridge 
in a perfect Jap- 
anese garden — 
made for tlje occa- 
sion out of the 
prosaic Metro lot. 
While waiting for 
the camera-men to 
adjust reflecting 
screens and mir- 
rors, he was en- 

(Thirtysix) 



By EMMA-LINDSAY SQUIER 



gaged in the somewhat startling occupa- 
tion of ])ovvdering his nose in public, 

while Viola Dana, metamorphosed into a 

daint)' Nipponese maid with tinseled black 

wig and butterfly kimono, was doing like- 
wise. They scenied quite oblivious of 

each other's proximity until Director 

Otto shouted, ".\ction!" when thej' hastilj' 

put away their make-up boxes and stood 

ver\' close to each other in the time- 
honored position for those in love. 

"Camera !" called the director. "Run 

across the bridge, Vi — right after her. 

Pell — call to her, 'I'll catch you!' Run 

off after her — cut !" 

Little Miss Dana hurried away to 

change her costume, and it was a rather 

wear)' bi't intensely romantic-looking 

Pell who led me over to the steps of the 

tea-house set for a chat between scenes. 
"I didn't know whether I was going to 

get a minute ofif or not," he .said, dabbing 

his face carefully with a handkerchief. "I 

am playing opposite Miss Dana in this 

picture, and man)- of the scenes are taken 

in this garden. There are only a few 

hours a day when the sun is right for 

shooting, .so we have to take advantage 

of everj' minute when the light is good.'' 
He has a deep, rich voice — baritone, I 

suppose you would call it, with that inflec- 
tion which betokens at once a New 

Yorker and an actor. He has grey eyes 

that regard you alternately with twinkling 

humor and flattering sincerity, and his 

forehead is of that classic variety that in a 

mid-Victorian novel would be teniied 

"brow," possibly with the adjec- 
tive of "lofty" or "noble" before 

it. His hair is brown and has a 

slight wave that becomes a posi- 
tive crinkle over the ears, and 

the I'm sure he wQnt own up to 

this, the fact remains that he has 

a romantic face. You could 

visualize him as Launcelot or 

Francois Villon, or as the first 

Lord Pell of Pell Manor, in 

powdered wig ard satin waist- 
coat. 

"I enjoy working in 'The Wil- 
, low Tree' immensely," he told 

ine, when we got around to talk- 
ing pictures instead of Pells. "It 

is an adaptation of the play that 

made such a success in New 

York, and I take the part of the English sculptor who falls in love witli 

the little Japanese girl who pretends that she is the willow-tree image 

come to life. 

"Let me show you thru the garden," he invited. "It is a real achieve- 
ment — perfect in every detail." 

He helped me across a narrow little bridge that spanned an artificial 
canal, and we stopped a moment to watch the white ducks sunning them- 
selves on the banks. 

".^t first the stream was full of gold-fish," he .said, "but ducks are no 
respecters of movie props, and they ate them all the first day."' 

The garden was indeed a miracle of realism, car[)eted with soft green 
grass, filled with transplanted willow trees, cherry trees in full artificial 
{Conlinued on faijc 78) 





Photograph b.v Evans, L. A. 



Trenton .enlisted when 
America went into the 
war. He was at an of- 
ficers' training camp at 
Palo Alto when the 
war ended. Pell con- 
sidered it rotten luck, 
since he comes of a 
military family. At the 
left is a snap of Tren- 
ton in the act of being 
interviewed 




Meet "The Frog" r 



By MAUDE S. CHEATHAM 



TiosK who saw Lon Chaney's remarkable character study 
ot The Frog in (^orge Loane Tucker's great play, '"The 
Miracle Man," will not soon forget it. 

All thai the horror of the early scenes, where as an under- 
world derelict preying upon the sympathies of the slum sight- 
seekers with his faked paralysis, to his inspiring regeneration, 
not one false note was struck, and it remains as a unique study 
in sharp contrasts. 

I was quite convinced that he must be a contortionist, and this' 
was the first question that 1 asked him. 

"l should .say not." laughed Mr. Chaney, amused at the 
thought. "I am not even double-jointed. I figured it out that to 
throw the body back into position after twisting it as a paralytic, 
the first movements would be slow — and painful — with a quick 
jerk at the last, and with practice I mastered the trick. 

"I'll confess that, with all my knowledge of make-up — and I 
have been character actor both in musical comedy and on the 
screen during my entire professional career — I had some diffi- 
culty in deciding just what to use for The Frog. In 
the first place, I planned to be a cripple, have a with- 
ered hand and a hump on my back, but when I dis- 
covered that I had to unfold tTvice before the camera, 
these three infirmities were, of course, impossible. 

"Finalh, after several sleepless nights and a number 
of experiments, I decided on — paralysis! I let my 
beard grew, and altogether I worked out a con- 
vincing make-up, horrible as it was. 

"W'e spent twelve weeks making 'The Miracle 
Man,' and it was a wonderful experience, for Mr. 
Tucker was certainly inspired, and he inspired us 
until we were all living our parts every minute of 
the time. He works very quietly, directing every 
scene himself, and he went thru those underworld 
scenes relentlessly, with set jaw and cold 
eyes, while in the emotional moments he 
cried as hard as the rest of us. 

"Character work is always interesting," 
continued Mr. Oianey. "In my last picture, 
'Victory,' under Maurice Toumeu'-'s direc- 
tion, my role called for pockmarks, and t 
followed a Mexican, who was badly marked, 
all about the Plaza in Old Town for hours 
one hot afternoon. I wanted to see how they 
appeared on his face. Then I hunted 
up another Mexican to study the cut 
of his mustache. 

"Recently, I played two totally 
different roles in Toumeur's produc- 
tion of 'Treasure Island.' One was 
a bloodthirsty pirate, the other Pew, 
the blind man. In every picture I 
learn a little more about human na- 
ture, for preparing a character role 
means studymg people. I am ever 
on the watch for characteristics and 
peculiarities that I can use in my 
work." 

Lon Chaney was bom in Colorado 
Springs, Colorado. Both his parents 
are deaf and dumb, his mother from 
birth, his father since he was three. 
This is without doubt the secret of 
his remarkably expressive face, which 
mirrors every fleeting thought, for, 
of necessity, he early mastered the 
art of pantomime. 

His maternal grandmother's four 
children being mutes, she founded 
" (Continued oh page 81) 




fThirty-eight) 



Jack Straw 

Told in Story Form from the Paramount-Robert Warwick 
Photoplay 

By FAITH SERVICE 



IMMKDiATi:i.v upon their arrival in California the Jennings he- 
came the Parker-Jennings. This was but the beginning, but a 

very real beginning, of a series of satisfactions to Mrs. Jennings 
— er — /'oryter- Jennings. It was the only sort of satisfaction 
she had ever craved. The lack, heretofore, of the.se satisfac- 
tions had put the fretted lines about her mouth and the petu- 
lance in her eyes, which might, devoid of it, have been pretty. 
Once, they had been. 

Money and the lack of money had been the scales on which 
Mrs. Jennings had weighed her hapi)iness and her unhappiness, 
and, since up to the time of the oil findings, there had been 
rather a bad lack of it, the scales had weighed decidedly for un- 
happiness. .She hadn't been able to find it in any other way. 
Her husband didn't give it to her. She felt that he had failed 
her. It was the only sort of failing she would have considered 
as such. His petty clerkship, his i)etty salary, the inevitable 
scrimping and scraping and jiiecing and patching, all had been 
irritants for which she had no counter and no inner resources 
to tap for her consoling. 

Nor had her daughter been of much avail to her. Ethel 
was too different to be in any sense availing. She was too 
happy in the srriall things. She had too deep and serene a 
spirit of content. She loved too greatly and was too well 
satisfied with the jietty clerkship and the correspondingly petty 
.salary of her father. When things pinched too hard, as they 
did during her junior year at college, she left college and all 
the hopes it held forth to her and the friends she had made 
and the atmosphere she had worn with a high pride as a sort 
of garment and stayed at home and went to work in the town 
bank. More, she avowed her happiness in so doing. She was 
quite beyond her querulous mother and not at all comforting 
in her aloofness, or what her mother felt hef aloofness. There 
was no kinship of spirit between the two. 

When the miracle happened, when the California oil wells 
in which Mr. Jennings had once, long ago, foolishly, so they 
told him, invested, and which had, ever since, lain 
foolishly fallow, when they, all at once, gushed rivers 
of oil and, simultaneously, rivers of dollars into the 
stunned coffers of the impecunious Jenningses, the 
reactions were dissimilar 
and not without farce value. 
Not, either, without an ele- 
ment of pathos. 

Mr. Jennings, worn 
his petty clerkship, by 
the fretting of his 
petty salary, by the 
small recriminations 
and piled-up barbs 
and stings of the 
piled-up years, simply 
relapsed and asked to 
rest. 'What initiative 
he may once have 
sessed, which had 
adequate, at least to the 
retaining of the clerkship, 
dropped from him. A 

chair in the sun, skimming the morning papers, an 
occasional light novel of the summer reading' variety, 
the society and tender attentions of his daughter, who 
bolstered him up bv frequent references to his fore- 
sight in the purcha-.e of the oil wells, these were the 
things his millions brought to him. 

To Ethel it meant simply a sort of surcease for her 
father. She took a deep and gratifying pleasure in 

(Thirty-nine) 



watching him lie back and relax. For the 
rest, of course, it was a good deal to hear 
Mrs. Jennings change the tone of her com- 
plaints, but the complaints remained, only 
that they took, now, the form of aspirations 





MOTION PlCTURli 




Things conspire. Mrs. 
Parker-Jennings' snob- 
bery. Ambrose Hol- 
land's love of Mrs. 
Wanley, the clean-cut 
good looks of Jack 
Straw, all these things 
conspired together 
with the result that 
Ambrose Holland ap- 
proached Jack Straw 
with a proposition. 



Iinibably impossible of achievement. 
She wanted, virulently, to break 
into society. I"or herself, Ethel 
had taken a sort of enjoyment in 
the stnigfjle. She liked construc- 
tion and she felt, when she left col- 
le),'e and went to work, that she had 
done, in the way of character build- 
ing, a constructive thing. Then, 
the way she had been managing 
things, the .small income and all. 
It had been a game, jjlayed with 
realities, by an earnest gamester. It had had its value and 
also its fascination. The frills of life meant nothing to Kthel. 
To -Mrs. Jennings, as has been said, it meant being Mrs. 
Parker-]tnn\ng^. 

It meant that as an outer symbol to cover multifarious other 
details, such as the buying, for instance, of exorbitant dia- 
monds, unsuitable gowns and furs. It meant the trip de luxe 
to California, where the family had, perforce, to live in close 
proximity to the gushing oil wells and the operating company. 
It meant the leasing and furnishing and exceeding interior 
decorating of the most ornate mansion to be had. It meant, 
too, the oi)portunity to be a snob, altho, of course, Mrs. 
Parker-Jennings would not so have termed it. 

She was one, however. Successfully, to her mind; disas- 
trously in the eventuality, as such codes of conduct generally 
are. Mrs. Parker-Jennings had, herself, been snubbed. The 
■ -ting memories of the snubs had remained. Rerriained, too, 



the reluctant admiration for the persons so fortunately placed 
as to be able to indulge in snubbcry. One of her first ambi- 
tions was to do to some other what had been done unto her. 
The victim was more or less non-important. 

The victim happened, however, to be important to other 
minds if not to that of Mrs. Parker- Jennings. She was a 
young widow, Mrs. Wanley by name, with an adopted daugh- 
ter and enough attractiveness to warrant her male support 
from some quarter or other. Probably rather arduous sup- 
l)ort. It came, in this instance, from one Ambro.se Holland, 
who had one ambit!>j,i in life, and that was to be the successor 
to the late lamented Wanley. What was resentful to Mrs. 



JACK STRAW. 
Fictiuniie.l from the scenario of Olga Printzlau and Elmer 
Harris based upon the stage comedy of W. S. Maugham. 
Produced by Paramrjuut-Artcraft, starring Robert Warwick. 
Directed by Williani C DeMille. The cast: 

Parker Jennings Charles Ogle 

Mrs. Jennings Sylvia A^hton 

Jack Straw Robert Warwick 

Ethel Jennings Carroll McComas 

5^r]o Lucian Littlefield 

Ambrose Holland J- M. Dumont 

Mrs. Wanley Helene Sullivan 



(Forty) 



CLASSIC 

Waiiley was restiitful, in triplicate essence, to Holland, and 
he had the means and the ])o\ver of retaliation. When Mrs. 
Parker- leiniings ^ave it forth that her dauj;litcr. I'.tliel, was 
lint to associate with such penniless nobodies as the Wanleys, 
HolJaiKl swore revenue. That luhel herself moaned o\er this 
crudity in secret was not known to Mrs. W'anley. Which 
brings us to Jack Straw. .\lso. back to New York, briefly. 

Jack ."straw was an iceman, and this is a romance, despite 
the seeniini,' disparity. He was an iceman, that is, at the time 
he tir.st saw label Jennings singing while she kneaded dough. 
There was no ostensible reason why Jack Straw, who had 
roved the world in one ca]iacity or another and had been an<' 
done many things, should fall, for the first time, in love with 
a young girl kneading dough and singing a popular song. Yet 
such is love. He did fall in love with her. Rather b;ully, even 
painfully. /\nd he remained in love. H the oil wells bad not 
j'ushed at an unpropitious moment, he would have revealed bis 
identity and bis amour at one and the same time, but to the 
heiress of the Parker-Jenningses such an avowal would have 
seemed rather prejiosterous. Jack .Straw knew that the mil- 
lions would make no fundamental ditifcrence in lubel. She 
was too firmly grounded and too finely poised. But be loved 
her, and be wanted her to have her chance. She hadn't really 
seen the world, .save from her college dormitory and her 
kitchen window, and such views were, of necessity, limited. 
If she should see the world thru a mist of gold and still, some 
day, be able to turn to Jack Straw, such a gifting would be 
for time immeasurable. 

So Jack Straw, with an aching heart, watched the Parker- 
Jenningses depart, and, a month later, covered the same 
ground himself. P.efore label's de|)arture, however, be per- 
mitted himself the daring to leave a note on the kitchen table 
asking her not to fall in love with any one in California until 
he could meet her there. He signed it Jack Straw. He 
counted on the essential romance singing in her heart. All nice 
girls had romance in their hearts. They wouldn't be nice if 
they didn't have. It was jiart of a nice girl's birthright, and 
dreams, too . . . 

Of course, label did dream, ."-ibe dreamed a great deal. 
She liked the name. Jack Straw, and the handwriting and the 
spirit he gave to it all. She decided that it would not be very 
hard to wait. p)ull hours were lightened by the funny little, 
appealing little thought of Jack .Straw. How would he come 
to her? In what array' In shining jianoply, or tattered 
rags? And would be bring love with him? .\nd who was 
he, after all ? 

.\fter all. and just at the time of label's wondering. Jack 
Straw had become a waiter in a hotel nearby the Parker- 
Jennings' mansion. The Parker-Jenningses dined there quite 
frequently, being usually, owing to Mrs. Parker-Jennings, 
without a cook. No doubt Jack Straw had bad wind of tliis 
before he acce]ited and capably conducted bis profession as 
waiter. It was something to be able to gaze u])on label, 
dining. To be able, now and again, ecstatically to serve her. 
It gave them, even tho she was serenely unaware, a bond. It 
gave him, too, the thrilling assurance that his note bad struck 
a res|)onse. label was waiting 
and watching for Jack Straw. 
Rut the time. Jack Straw be- 
lieved, had not yet come. In 
the meantime, the greatest part 
of love IS service . . . 

Things conspire. Mrs. Parker- 
Jennings' snobbery, Ambrose 
Holland's love of Mrs. Waidey, 
the clean-cut good looks of Jack 
Straw — all these things consjiired together 
with the result that .\mbrose Holland ap- 
proached Jack Straw with a projiosition. 
It was to ini|iersonate some titled person 
and allow himself to be introduced into the 
Parker- Jennings family. 
"The old bird,'' in- 
formed Holland, "will 
fall for it like a duck. 

(fortn-fine) 



She will literally hurl herself upon you. You can fall for the 
daughter . . . you .sec?" 

"1 see," said Jack Straw, and was speculative. He added, 
"It's not a question of money, with me, of course." 

"Of course not,'' said Holland, hastily, recognizing a sensi- 
bility and, evidently, the spirit of the adventurer for adven- 
ture's sake, since be could not know of Jack Straw's love for 
ICtbel, nor yet that Jack Straw bad seen, too frequently, Serlo, 
ilie free versifier, at the Parker-Jennings' table, reading bis fre 
verse to label and expounding, no doubt with 
dire intent, his theories of free love. It was to 
circumvent Serlo that causeil Jack Straw to adopt 
the pretentious title of the Archduke Sebastian 
and be thus i>resented 
to the Parker-Jen- 
ningses, to the enrai)- .^'^ 
tured Parker-Jen- ' ' 
ningses as represent- 
ed by Mrs. P.-J. and. 




After that, for minutes 
without end, the world 
swirled by in flower 
scents and moon radi- 
ance and the star- 
streyn sky and kisses 
and low words. Love 




The papers car- 
ried gallant tales 
of him — the way 
he had hurled the 
poet, Serlo, into 
the lake .... 



later 



a littl 
Kthel. 

T!ie causes of 
emotion were, as 
usual with this 
mother and daugh- 
ter, largely variant. 
To Mrs. Parker- Jennings the Archduke 
was the thing. To Ethel Jennings the 
man was the thing. Out of a world of 
men he came, quite .suddenly, and there 
was no other man save him. .Singularly 
uninvolved where her emotions were con- 
cerned, Kthel knew, without compromise, that she loved him. 
Sensing, with the same delicate perceptiveness, his response, 
she knew that he loved her. This, then, was the reason of 
her being. It became, with the advent of this love, a paradise 
of a world to live in, riotous, yet serene, with flowers and the 
sound of music, with color and rhythm and unimagined 
dreamings ... a wonder-place! 

One little rift in the clear lute of all this happiness was 
the recurrence of the note she had had before she left New 
York, signed, even as th.ii first one. Jack Straw. She did not 
want to make this unknown person unhappy. Out of her 
own largesse she wanted to give, even as she was receiving. 

On the night of the large reception Mrs. Parker-Jennings 
gave the Archduke Sebastian, Ethel met the guest of honor 



MOTION PICTURE 

in the con- 
servatory. 
He gave 
her, with 
his whim- 
sical smile, 
a little note, a 
rejilica of the 
other three. 
Ethel read it, 
only half com- 
prehending. Then she 
sought the eyes, the sud- 
dculy-groun-tcndcr eyes 
of tile .\rchduke Sebas- 
tian. She was silent. 
Ko word had as yet 
been spoken. .She w;is 
delicate of the first one. 
Then came his voice, 
unlike, yet deeply like. "Have 
you waited ?'' he asked. 

Ethel felt the need of a 

great simplicity. "You know 

I have," she said. 

After that, for minutes without end, tlie 

world swirled by in flower scents and 

moon radiance and the star-strewn sky 

and kisses and low words. Love. 

Ethel's joy shone about her, a halo, 
when she returned to her mother and the 
reception committee. She couldn't keep 
her joy confined. Her tolerance embraced 
even her mother, who would see, as cause 
for joy, only the fact of the .\rchdukery. 
Xexertheless, she told her, and, breathless 
with this latest stroke of a kindly fate, -Mrs. 
Parker-J. planned to announce the tremendous 
news. This, she said, was pre-eminently the 
time. It was striking while the iron was, so to speak, 
hot. label, heedless of the world knowing or not know- 
ing, gave her half-dazed assent. Nothing of all this 
made very much difference. .She had come, with rev- 
erence and joy, into the High Courts of Love. She 
was remote. 
Mrs. Wanley and .\mbrose Holland, arriving on the outer 
edge and hearing of the proposed announcement, saw the 
thing as a practical joke gone decidedly wrong. This, they 
felt, would involve too much for the joyous fillip of humil- 
iating the impossible Mrs. P. -J. This would involve too much 
responsibility for the gratification of an, after all, unimpor- 
tant vengeance. They decided to appeal to the pseudo Arch- 
duke, and, appealing, found him adamant. 

"The thing is precipitated now." he said ; "the kindest thing 
to do is to let this affair go ofT, just for tonight. Afterward, 
let her down. She will be able to bear it better after her 
triumphal hour. Anyway, you are responsible for the hoa.x, 
neither the Jenningses nor I. They will, therefore, be ab- 
solved and you yourselves will harbor what blame there will 
be. I thjnk you will both deserve it for not recognizing in 
Mrs. Parker-Jennings a spoiled and fretted woman taking out 
her, after all, childish, silly spites. I think it is all up to you, 
both of you." 

Panicky, Ambrose Holland confes.sed to the Parker- 
Jenningses. Confessed the hoa.x which had made of the 
waiter, Jack Straw, the Archduke, Sebastian. It was a con- 
fession with horrible results. Mrs. Parker-Jennings dropped 
from her, as one drops a flimsy cape, the aristocracy of her 
millions. She ranted and raged and all but gnashed her teeth. 
She had been on the very threshold of a supreme achievement, 
and lo! it was snatched from her and she was given a cup of 
the bitterest gall. .Society, all but her own, was once again 
unattainable. She wept until her lashined eyes were red- 
rimmed, even as they had been in the days when she bent 
over her kitchen range to test her homely breads and pies. 

(Forty-twn) 



CLASSIC 



1 1 was, after all, Jack Straw who saved her immediate skin. 
ile persisted in his original idea of going thru with the 
reception and announcement as had been planned. The glory 
of it all, he maintained, would remain firmly in the thoughts 
of assembled society. The divulging of the hoax would come 
more easily afterward. In the meantime, something would 
have been established. There would be a comprehensive pity 
for Mrs. Parker-Jennings, not unnii.xed with awe at her splen- 
did hostess-ship. Society was accustomed to being hoaxed. 
She would not be. because of this, beyond the pale. Mrs. 
Parker- Jennings, all but lost in her own esteem, seized, none 
tlie less, at this granted reprieve. 

The evening and Jack Straw were successful. .Society 
seemed captivated, by the entertainment, by the Archduke and 
also by his prospective bride. They went away imbued with 
the charm, wit and gallantry of the man. The papers carried 
gallant tales of him : how he had written anonymously to 
Etliel Jennings for some months; the way he had hurled the 
poet, Scrlo, into the lake because he had expressed sentiments 
to F.thcl which the Archduke considered inexpressible; the 
home he was going to give her; the almo.st- royalty of it all ; the 
way the Archduke had disappeared some time ago from his 
kingdom and had thus arid in this |)lace revealed himself. It 
was a charming romance. 

label Jennings read it and was able to %mile over it. Was 
even glad that she had been, as .she was, tested. .She loved 
him. She knew that now. That he was "just Jack .Straw" 
made, miraculously even to her, no kind of conceivable dif- 
ference. He was the man for whom she had been waiting, 
the man who liad kist her into an acceptance of life and living, 
there in the conservatory, the radiant being who had led her 
into the High Court of Love. The mere matter of who he 
was was no matter at all. 

The matter of who he was seemed, however, to admit of 
various doubts and comjilications. One of the features of 
tlie reception, indeed, had been the arrival of the Ambassador 
of Pokerania, native kingdom of the supposed Archduke. 



Those in the secret supposed that it was the short-sightedness 
of the Ambassador which caused him to, apparently, acknowl- 
edge the Archduke Sebastian. 

When, on the following morning, he called upon the Arch- 
duke at the Jennings home, he found the luggage of that young 
nrian being hurled upon the front lawns, to the complete demoli- 
tion of the flower-beds, and the young man himself in the 
extreme eventuality of following said luggage. He was in- 
formed by an irate Mrs. P.-J. that this was no Archduke, but 
a waiter in the hotel nearby, an impostor and the cause of her 
immediate downfall, just when victory had been so near. 

The Ambassador amazed them all. He pooh-poohed her 
statement with some show of outraged dignity himself. The 
young man, he claimed, was indeed the missing Archduke who, 
some years before, had been very ill and had evidently wan- 
dered away while suffering from some sort of amnesia. The 
Ambassador had proofs of identification, many photographs and 
other things, the surveying of which brought back to Jack 
Straw that man he had been when, fifteen years before, he had 
set surreptitiously forth upon his wanderings. 

Mrs. Parker-Jennings knew, in that moment, what it was 
to faint from joy. She took pleasure in the faint. 

Ethel knew, still again, what it means to love. The outer 
manifestations of the state in life of Jack Straw passed over 
her, wholly non-essential. She told him that she had quite lost 
track of which of the two he might be. Jack Straw or the Arch- 
duke Sebastian. He said, loving her, that it didn't matter. 
Xnd she agreed with him. 

"There's only one identity worth while for me," he told her, 
and she, within his arms, whispered, "And what is that?" 

''The man you love," he said, "the man . . . you . . . love." 



'There's only one 
identity worth 
while for me," he 
told her, "the 
man you love " 




/rn^t„.ll.^^^ I 




Personalities 



A delightful and thrilling ro- 
mantic melodrama is "The 
Purple Mask," now at the 
Booth Theater. Leo Ditrich- 
stein is the picturesque star, 
playing a ro-yalist brigand of 
the Napoleonic days, while 
Lily Cahill is a charming 
heroine 



Left. Doris Fer- 
guson, one of 
stageland's beau- 
ties, now appear- 
ing in "As You 
Were" 



Ralph Herz and 
Ann Seymour are 
principals in the 
new Hammer- 
stein musical 
comedy. "Always 
You" 




(Forty four) 



in the Theater 



At the right is a charm- 
ing moment of Jane 
Cowl's quaint play, 
"S mil in' Through." 
Henry Stephenson ap- 
pears opposite Miss 
Cowl 




Above are Otis Skinner and Ruth 

Rose in Mr. Skinner's new play, 

"Pietro," running at the Criterion 

Theater 



(Forty -five) 




Juanita Hansen, Pathe serial 
star, is one of screenland's 
mermaids. Juanita doesn't 
merely pose along the sands. 
She swims with the best of 
them 



(Fortijsix) 



Juanita 

Rising from 

the Sea 



At the left Juanita is doing 
her best to out Mack Sen- 
nett, the famous Sennett 
beauties of the California 
coast. And Juanita is doing 
very well, thank you 







It's a sad, sad tale, mates. 
Miss Hansen is showing just 
how emotional and prayer- 
ful she can be, upon occasion 



(Forlii-i'ei-''"> 



Zena's Zenith 



By C. BLYTHE SHERWOOD 



"O Av ! How do ye get that way?" 

j3 '• ^^'T^ <'" "rticer wlio growled tlie 

antlioiii. As Anthony Paul iKelly was so 

t'ond of describing his naiuical rank -and a])- 

pearance last year — a C-O-F, who tlniswise 

addressed Zcna and nie. 

"Why, Mr. Policeman, " ]ioutc<l /ena. dcbn- 
lanting. "u hat do yon mean :" 

"What do I iiiraii.'" He dranialic.illy swept 
his clnb along the landscajie of \cx\ lersey. 
"Tlitre ! Wliat (l(i xnii mean;" 

Zena and I peered thru the glass of tlie 
coupe. .\ line of thirty or forty machines 
purred imp.itiently and were honk-konking 
their temperament. Thirty or forty ma- 
chines — and Zena, who had arrived in the 
little brand new Hudson hut a moment before, 
headed the pageant! 

"( )b. Mr. Policeman," continued Zena the 



debutante, "I'm so tired. I've been working 
at the studio all day. .\nd I do uant to 
get home." Tears glistened. Ingenue 
disconsolance prevailed. 



@. 





I'l.ul ,K-,|,|| 1,, 



. J.l.. 



Zena Keefe comes 
from San Fran- 
cisco. She was a 
vaudeville artist 
to begin with. 
Then Mamma 
Keefe and little 
Zena headed for 
New York — and 
fame 



Konie has fallen. So has Sennetl. .\nd 
I'.nright's bluccoats are not impervious to 
charm. ".Ml right, then, ^'ou can light with 
the others on tlie ferry." 

Zena threw her in first. ,'-^hc crushed the 
cl.'iNon and laughed into the tliirty or forty 
claxons shrieking behind, and jirepared to lead 
the file aboard. "Dear Mr, Pohceman. thank 
you so nuich I" she hade him an rexoir. 

"There aim much nourishment in ih.il," he 
groaned, but Zena and I had already settled in front of the Fori I.cc. 
"I absolutely could not have waited muil all those other cars got 
aboard," Zena si.ghed. Relief and wafted suspense illuniin.ated her 
eyes. "I'm .going to the theater tonight and I'll die if 1 miss that 
show." 

"W'litch show ?" 

"I dont know e.sactly which, but I told mother to get tickets for 
'The Crimson .\libi.' '.Vt 'l:4.s,' '.\ \'oice in the l')ark' or 'Tho.se 
Who Walk in Darkness.' I'll enjoy ;my of them, sn it doesn't make 
much difference. I'm crazy about mystely plays." 

"\'ou dont get much lime for the theater, the, do you?" 
"I shfiuld say 1 dont. W eve had lo work late so often on 'Picca- 
dilly Jim' that by the time I did gel home I was afraid to t.ake a 
tubbing for fear i'd fall aslee]i therein. Put one thing nice .about 
being with the people of 'Piccadilly' is that we are all as young and as 
strong for boliday^j as for work! t)wen Mooi'e made it a rule that 
we would never have to keep sho|) on ."Saturday night, and Wesley 
\ugt;tes. a peach, tho a director, was only happy, too, lo pass.'' 

.Manhattan slowly shifted its skyline as we sailed nearer. Man- 
hattan is mar\elous at all limes, but es))eci;illy eN(|uisiic under ihe 
( Coiiliinird dii piUjc dO) 

(Forty-eight) 



The Celluloid Critic 

The Newest Photoplays in Review 

By FREDERICK JAMES SMITH 

Pe.i Impressions by NORMAN JACOBSEN 



OUT of a (lull month in the cinema stands Irvin Willat's visualization 
of the Gouvenieur Morris .Uory, ''Behind the Door." We say this not 
from approval of the thesis of Mr. Morris' tale, but from appreciation 
of a well-knit scenario, skillfully directed and played with a fine vigor. 

"Behind the Door," (Paramount), is an opus in brutality — an inter- 
mezzo in gory revenge. Mr. Morris asks: What would you do if you saw 
your wife taken prisoner by a bestial captain of a German submarine who 
left you adrift in the open sea' Mr. Morris' hero, being a taxidermist, 
pleasantly decides to skin the Hun officer alive and, when chance later 
throws the U-boat in the path of his scout ship, he carries out his revenge, 
at least in part. But not quite, for the ex-taxidermist sighs, "I swore 1 
would skin him alive, but he died on me — damn him!" 

It isn't an appealing tale, this filming of brutal vengeance. There is too 
much of the material side of life in every photoplay, too little of the sweet- 
nesses, the sacrifices, the really heroic things of the every day. "Behind 
the Door" is a ghastly ejiic in war hysteria, but it is admirably done. 

Mr. WiUat has sujierbly handled a number of difficult moments, notably 
the shelling and sinking of the submarine. He has evolved a.iother re- 
markably powerful scene, wherein the American wrings the 
sordid story from the Cierman officer. Hobart Bosworth 
is decid^'dlv stiong in this role, over-playing but occasion- 
ally a role that would be maudlin in most any othe/ 
hands. Jane Novak is excellent as the wife sacrificed to 
war. Let us pause to note the uniformly human playing 





of Miss Novak in all her roles, but par- 
ticularly in this. Wallace Beery, too, is 
striking as the U-boat commander. 

Again is Alia Nazimova's vivid art 
submerged in "Stronger Than Death," 
(Metro), an adaptation of I. A. R. 
VVylie's novel of India, "The Hermit 
Doctor of Gaya." . We do not know the 
merit of the original, but "Stronger 
Than Death" is draggy, labored and con- 
ventional. Nazimova plays an English 
dancer in the East, a young woman told 
by her physicians that another dance will 
mean death. But she meets the hermit 
doctor, who, single-handed, is fighting 
cholera, and, imbued with his sacrifice 
and in order to gain time that a 
native uprising may be forestalled, 
poses as a reincarnated vestal — 
and dances. The doctors are 
wrong, of course, for th^ dancer 
lives to gain happiness with her 
lover. 

We do not know just who is to 
blame, but both the continuity and 
the direction shift the interest 
from Nazimova to Charles Bry- 
ant, who plays the self-sacrificing 
hermit physician. "Stronger Than 
Death" is but fair in the matter 
of Herbert Blache's direction and 
is too long and wandering -in its 
telling. Mme. Nazimova's oppor- 
tunities are slight. 

Norma Talmadge appeared in' 



(Forty-nine) 




Above is Constance 
Talmadge in her new- 
est vehicle, "Two 
Weeks," at the right is 
Mr. Jacobsen's idea o( 
Charlie Ray in "Red 
Hot Dollars," and, be- 
low, are Norma Tal- 
ma d g e and Conway 
Tearle in "She Loves 
and Lies" 



MOTION PICTURE CLASSIC 

luo contrasting photoplays : one a delightful but slight comedy, 
tlu- other a vague and badly built melodrama. 

"She Loves and Lies," (Select), isa light little tale — of a 
vivacious girl who poses as an elderly woman of wealth in 
order that she may marry the man of her choice. Then, as her 
veal self, she actually wins his heart. When divorce seems to 
face the worried husband, she throws disguises aside —and he 
linds that he has fallen in love with his wife. The comedy is 
<lone with nice spontaneity by Director Chet VVithey. Miss 
Talmadge is charming as the much-di.sguised heroine and 
Conway Tearle is a delightful foil. 

On the other hand. Miss Talmadge's "A Daughter of Two 
Worlds," (First National), is far-fetched and impossible stuff, 
badly told in continuity and direction and but indifferently 
acted. This deals with the efforts of a girl of the underworld 
to find happiness in a higher strata of society. James Young, 
the director, has failed to clearly place his characters, has been 
inexpert in many of his scenes and, on the whole, has turned 
out an inferior and slow-moving melodrama. True, we doubt 
i f any director could have done much with it. 

Doug Fairbanks' latest, "When the Clouds Roll By," (United 
.\rti.sts), is at least n little different. Doug plays a supersti- 
tious chap who falls 
under the persuasions 
of a mysterious 
stranger — a man who 
turns out to be an es- 
caped lunatic. Doug 
overcomes all ob.stacles, 
including a real flood. 
The climax finds Doug 
in a tree in the midst 
of the inundation. A 
house, with the heroine 
clinging to the roof, 
floats by. Splash ! — 
and Doug is beside her. 
Then a church, with a 
parson astride the 
steeple, comes drifting 
by. The young couple 
succeed in maneuvering 
their house alongside 
the church — and the 
{Continued on page 103) 








tt — 


m 


^^^ f UfSk -f 


•\ 




1 ^ # 







(Fifty) 



ly 



^ 



Told in Story Form from the Vitagraph-Earle Williams Photoplay 

By ALEXANDER LOWELL 



Hi;.\KY Ki:i.i,oi;i; was flushed by the wine of the grape anil 
the headier wine of success. He could afford to he ex- 
pansive, and he was. He eyed his friend and the sharer 
of his Park .\vcnue bed and board with a speculative as well 
as a kindly eye. I'inally he said. ''Dont be desixmdent, old man. 
You'\e always been successful in one line, at least." 

Xalhaniel Duncan didn't raise his head nor cease his nerv- 
ous tiddlin(; with a macerated cigaret. Hut he said, color- 
les.sly, "What line?" 

"Women," said Kellog;,' and shot him a glance. 

"Oh, that ..." 

"It could be remunerative, v'know. I've a (ilan." 

"Shoot." 

"Dont be so lifeless. One thing you've got to have is pep 
. . . your old-time pep. It's your asset. Your stock in trade. 
All you've got to do is be yourself." 

"I cant cash in on that. You know tliat." 

"No, I dont. The point is, that you have never been your- 
self. S'ou've tried to b.e everybody but yourself, every kind 
of type. That's why you haven't succeeded. You need the 
chance of self-development. You can get that by . . ." 

"By . . . ?" 

"Hy marriage. ' 

"I'm damned if I do! I cant support myself. What th' hell 
d'you mean coming in here with a line of jibber like this? 
Cant you see I'm on my ui)pers for fair? Down and out? I'm 
in no mood for your l)ibulous mirth. You've had a big suc- 
cess. I can see that. I can even be glad. But dont stand on 
the pinnacle of it and throw your fool cabbage-roses down at 
me. They . . . tonight they hurt." 

Henry Kellogg shook his head. "You've got me as wrong 
as I've got you light, old man," he said; "actually, I'm in ear- 
nest. Here you are, college-bred, the son of a millionaire who, 
kindly enough, he thought, robbed you of incentive and con- 
se(|uently of initiative. Result, failure and discouragement. 
What he didn't lob you of, however, is your appearance, your 
charm foi' women — oh, a decent enough charm, I know that ; 
in short, your personality. My plan is for you to go to some 
.small town a safe distance from any city. The sort of town 
vhere a man like you would be Prince Charming come to flesh 

(Fiftil-one) 



and blood, set all the hearts a-flutter, a thing of fairyland, you 
know ... all that . . . I'll slake you to all exjienses and a 
wardrobe fit to knock the eyes out of lifty local belles, .ind all 
you have to do is . . . to marry tlie town heiress. There's 
always a town heiress. . /// you need to do, say, is . . . to be 
your father's son." 

Nathaniel Duncan had one faculty. He realized a limit 
when a limit liad been reached. Today he knew 
that he had reached one. He had had dreams, 
perhaps oddly. He had had ideals. He had 
even mused on love and the |)a t it would play 
in his life; on marriage and the, building u[) of 
a home. Oi course, it would take love to do 
that. The ]ilan Kellogg suggested jilaced the 
limit on that. He could marry the town heiress 
and lie could bid farewell to his 
dreams of conlcur dc rose. 

Well . . . 



and choos- 
ers ... he 
knew that 
old adage. 
And he 
knew that 
he was beg- 
gared. In 
all things 
save acqui- 
e s c e n c e 
which took, 
tonight, the 
form of 
obedience 
to the man 
in evening 








It was an unforgettable 
supper. Bread and 
cheese, and the thought 
at least of kisses, old 
Sam Graham talking 
inventive possibilities 
and speaking with 
gentle whimsy of the 
drug-shop 



clothes, redolent of the success 
stocks and bonds and certified 
checks can bring. He gave Kel- 
logg his word, which, at least, he 
had maintained and made good, 
and they shook on it. 

Two weeks later beheld him 

alighting at the rather impoverished 

appearing station of Radville, O. 

Radville, O., station or otherwise, seldom if ever had seen 

anvtiiing resembling Xathaniel Duncan alight. He was, so 

to speak, an innovation. A breath-taking one. To a man, it 

sat up and tocjk notice. 

Xathaniel had a charming way. He had the priceless knack 
of making friends. He could talk. He went to Radville de- 
termined to like Radville, and ecpially determined to make 
Radville like him. ?Ie began with Hetty Carpenter, the vil- 
lage gossip, to whose domicile he was directed for bed and 
board. Rather different, he reflected, ruefully, as its spare 
clapboards, thinly jiainted. dawned upon him, from Park 
Avenue and the opulent Kellogg. Still . . . 

He unpacked his "props" quite ostentatiously before the 
trained eyes of Hetty Carpenter. Hetty had little enough on 
which to feed her one acute sense, the gossip sense, in Rad- 
ville, and she made the most of her lean opportunities. This 
one, she felt, howevt r, to be other than lean. The young man, 
besides a magazine cover appearance, had the gossip material 
of a Rible, apparently fervently thumbed, dog-eared student 
books and a goodly roll of the green bills of the realm. Here, 
indeed, was material and to spare. By nightfall every person 
in Radville knew of the arrival of the miraculous young man 
and each minutest particular thereof. Also, by the same 
token. Xathaniel knew each minutest particular of each in- 
habitant of Radville. He knew, pertinently, that Josie Lock- 
wood was the town heiress, considerably an heiress, what was 
more, and that her father was an old skinflint and that he 
owned the bank wherein worked one Roland Rarnett, who 
had long had the same Josie as the object of his clerkship. 



MOTION PICTURE 

He knew, too, that the 
town paupers were Sam 
(iraham and his daugh- 
ter, Betty. That Sam 
was a pauper because 
his pockets had always 
leaked and his heart had 
overgrown, and that 
Betty was the cuddliest 
lamb this side of the 
paved streets and loved 
nearly to the death in 
.si)ite of her jioverty 
by Radville. Contrari- 
wise, Xathaniel felt a 
glow when he heard of 
the impecunious Betty 
and her dad, and a cold, 
frigid little feeling when 
he heard the descri])tion 
of the gilded Josie. But 
that, he thought, was 
just him, his mulish na- 
ture. 

He thought rather dif- 
ferently, tho, after he 
had met the heiress and 
likewise the grey-eyed, 
starry- faced pauper. He 
felt that his instincts had 
been right. He met 
them both in church, 
whence he was conduct- 
ed, as a matter of course, 
by Hetty Carpenter, not 
without, on her jiart, an 
air of triumph. Kellogg 
had warned him that church would be ]iart of the game in a 
small town, and he had rehearsed sanctimonious expressions 
which, he felt, he successfully executed, .\fter all, there was 
a sort of glow to it. These simple folk, each one a part and 
parcel of the other's life, participant in their births, jiartici- 
pant, too, in their deaths, offering their sini]ile joint worshi|) 
to an indisputable God. Things felt clearer, somehow. 

After worship Hetty Carpenter, with the air of a convoy, 
]iresented him to Josie Lockwood. His heart sank, even while 
he knew it had no obvious reason for so doing. Josie was 
tall and slenderly made and golden-haired and with a certain 
sort of manner. She quite evidently knew her position and 
]irestige in Radville, and just as evidently was deliberately nol 
making use of it. There was a beyond-Radville cleverness to 
Josie. And yet .... and yet . . . the chill, the frigidity, 
grew . . . X^athaniel could not seem to picture the stately 
Josie rearing up the edifices of his trample'd little dreams . . . 
Betty Graham, the town pauper, had a difference. He 
didn't know what it was, but he knew that it was. She wasn't 
so much of a "looker" ; she didn't have airs and graces, her 
hair was blowing about under her wide straw hat, an old hat, 
but her mouth was frank, like a child's, and her eyes were 
frank, too, like early dew, and eager and expectant, and her 
little hand was warm and even eager. .She invited Xathaniel 
home for sujiper, adding that there wouldn't be "much," and 
so did Josie Lockwood, adding no such thing, and Xathaniel 
went home with Betty Graham. Inwardly he groaned while 
something in his cardiac region sang, and was vindicated. It 
was, he knew, his lack of business acumen again attacking 
and conquering him. 

It was an unforgettable supper. Bread and cheese, and the 
thought, at least, of kisses. Old Sam Graham talking inven- 
tive possibilities and speaking with gentle whimsy of the 
drug-shop. Betty hovering over them both, making the insuffi- 
cient food manna to one of them at least. 

"Rot!" said Nathaniel to himself, and gave himself a shake, 
but sotnething within him denied the allegation and persisted in 
singing fantastic little tunes, all glad, all free, all promise-fidl. 

(Fiftiftwa) 



CLASSIC 



Lots of things came from that first little svipjier. Nathaniel 
took a fancy, not only to Betty, but to Sam as well, with his 
dreaming iin|)iacticability, the broken hopes he had strewn all 
along his way, the thing he might liave been and the thing he 
was. There was a bond. 

Also, the drug-store promised things Nathaniel felt that 
with these gentle, im[)overished visionaries and his five hun- 
dred dollars something could be made of the store. Then, 
too, girls jiatronize soda fountains, particularly and especially 
when a tall young man with a pleasing i^ersonality dispenses 
the frappes, the vanilla and the nut sundaes. The drug-store 
might be made to jiay in moie ways than one. 

It did. Nathaniel bought syrups, bought fi.xlures, paid off 
old credits and stood, himself, behind the polished and n>-uly 
ornamented fountain. 

In the evenings, he and Sam worked over Sam's automatic 
.soda fountain. He found a great deal that was good in it; 
found, as was the case with most of Sam's dreams and jilans, 
that it had not been marketed properly and at once had found 
obscurity. He wrote to Kellogg about it, wlio was ever on 
the lookout for the new and the jiossible. He wrote, too, that 
he had an interest in the invention, that he believed in it and 
that he wished that Kellogg* would "let him off." He insinu- 
ated that he didn't care an awful lot for the town heiress, who 
was "a good sort, biU " 

Kellogg wired back, "Nothing doing." 

That same night Nathaniel escorted Josie home from the 
prayer meeting he made a habit of attending. On Josie's other 
side walked the all but dis])laced Roland, who Iiad, before the 
advent of Nathaniel, been considered, and considered himself, 
the flashiest boy in town. To Roland, who really nurtured a 
passion for the stately Josie aside entirely from his mutilated 
pride, the presence of Nathaniel was insup|iortable. Before 
they reached the Lockwood mansion the thin skin of Roland 
Barnett was insufficient protection for the primitive passions 
always so near to the surface. He fell upon the surprised 
Nathaniel and they "had" it. Nathaniel conquered. He never 
knew w'hy, unless it was because he had had such bully training 
at college and was, at the assault, red mad. Anyway, Josie 
sereamed and the sheriff intervened, and when it was all over 
the conquering hero escorted Josie home and something — it 
may have been his turbulent blood, of which she had been the 
really unwitting cause, 
or it may have been 
hunger for some soft 
touch, or the moon, or 
sheer madness — anyway, 
he kist her at her gate- 
way, and [Hit the fatal 
query and was affirma- 
tively answered, and it 
wasn't until he reached 
home — home being, by 
this time, the (irahams' 
— that he knew that he 
loved Betty. 

He knew when she 
met him at the gate, with 
her face coming out of 
the du.sk like a little, 
bruised white flower, 
and her starry eyes all 
dimmed and her clear 
voice all trembly because 
she'd heard he "had got 
hurt." He knew poign- 
antly, sharply, painfully, 
sweetly, unforgettably 
and for all time. .\n(l 
because it was so true 
and so strong and came 
upon h i m with such 
breath-taking sweetness 
and force he didn't have 
time to collect all the 

fFifliithrer) 



emotions that rushed in upon him, and he had her against his 
heart and was kissing her. .\nd then it occurred to him that 
lie had just kist Josie Lockwood, and was pledged to her, and 
he dropped down on his knees with a groan and' kist, not (jnce, 
hut many times, the frayed hem of her little cotton gown. He 
said that he was not worthy of her and many things along the 
same line, but love had made wise the heart of little Betty 
( irahani, and she knew that men say such things in such an 
hour, and she smiled while the tears of her love glistened on 
his hair and caught the vagrant star gleams and held them . . . 

It was very sweet . . . 

The next day Nathaniel told Betty of his enforced engage- 
ment to Josie. He told her all about Kellogg, and how he. 
Nathaniel, bad tried to beg off, and how Kellogg had refuseil 
him his i)lea and so he had had to go thru with it. Betty said 
her heart was broken and her tears came again, from the 
broken depths of her tenderness, and Nathaniel said his was, 
too, and tliey stared with the uncompromising eyes of' youth 
into what they deemed to be uncomjiromising tragedy. 

Dispensing sodas, sundaes and other frivolities that after- 
noon, Nathaniel felt as tho he nnist be giving wormwood and 
gall in the glass receptacles. His soda fountain popularity cost 
him dearly that day. His smiles, he felt, were so many self- 
\ ictories achieved f lom the very spirit of bitterness. 

The following day dropped the Damoclean sword, .so to 
speak. Henry Kellogg arrived in town, having received from 
Nathaniel a sketch of .Sam Graham's invention. He was. he 
said, interested. Nathaniel presented Betty, .\fter a bit, when 
they were alone, Kellogg gave Nathaniel a quick look. "Betty 
is the reason, yes?" he asked. 

"Reason for what?" asked Nathaniel, dourly. 

"For your — let I'.s call it begging off." 

"^'es. Yes, j-ou may as well know it, 1 love her." 

"Really?" 

"Really and truly." 

"What makes you so certain?" 

"You are certain when love conies, 
^'ou just know-. I cant explain." 

"You dont need to. Nat. I do release In the evenings 

y(ju. 1 think I understand." he and Sam 

"You '" worked over 

,,., V.' ■, . , , ■ ,, Sam's automatic 

1 ve seen Betty. She s real, .\wlully soda fountain 




A\(ril()N PICTl Rli CLASSIC 



THE FOKTUXE HUNTER 

I'"ii'li(»ni/c(I from tlic scctijirin of (iraluun Unkcr. based upon 
\\ inchcll Stnitli's cunicJy drama. T'ruduced In- \'ita}irapli, star- 
riiiL- Kaile Williams, liiriitid liy Tom Tcrriss. The cast: 

.\.-itliaiiiel Dmiraii Earle Williams 

Belly (iraliam Jcaii Paige 

jo>ie Lorkwood ■ Nancy Lee 

Sam (traliam \'an I)\kc lirookc 

Hanker l.ockwoiid William Holden 

Harr> Kelloj:;^ Charles Trowbridge 

SlierifT fete \\ illinu Krank Ncn-cri>ss 

U'jland lianietl Earle Metcalfe 

Traeey Hilly Hoover 

Anuie i.onise Lee 



real. 1 can iniajfine. She would Ineak youv Iieart. Also, 
she'll make yuii. more, even, than the heiress. And yoii do 
love her. P.ettv is real. Go lo it." 

Occasionally the law int-ervenes in a sense of liberation. It 
did. as it ha])|ioned, for Nathaniel Duncan. He had been wan- 
derin;; about Kadville, the day after his talk with KellojjR, too 
dispirited to go to the store, too dispirited to seek out Josie 
and put it u]i to her, not daring to face the soft, the terrible 
temptation of I'.etty. Some one, he feared, was going to get 
hint in this mLx-u)), and he didn't want anyone to. Xot Josie. 
will) was, after all, a good enough 
sort according to her lights, and 
not, oh. not Hetty ... 
In stepped the law. 
Back, it seemed, in the place in 
Xew York last graced by Nathan- 
iel's presence in the capacity of a 
clerk, money had been missing. 



Dispensing sodas, sun- 
daes and other frivoli- 
ties that afternoon 
Nathaniel felt as tho he 
must be giving worm- 
wood and gall in the 
glass receptacles 



The thief had escaped, not « itliout, however, being seen and 
a description given. The man described had boarded a 
train going in the direction of Radville. The police had 
picked up the clues and the thievery was traced to the amazed 
Nathaniel. 

An hour iir two or three before he was aware of the fact, 
all of Radville knew that .\athaniel Duncan was a plain, ordi- 
nary thief, who had stolen from his employer and had fled 
to hide his crime and himself in poor, innocent Radville. 

Nathaniel himself, however, confronted suddenly, by Josie 
Lockwood, her father, the winking sheriff, who, loathing the 
bonds of matrimony, thouglit this an opportunity to release 
Nathaniel, did not deny the allegation. He admitted, quite 
solemnly, to being a thief. He (lidn't say of what. He ex- 
pressed no surprise. He had understood the sheriff, h'or- 
mally, then and there, Josie released him. or rather, dismissed 
him with hauteur and scorn. She was last seen by Nathaniel 
sobbing away her outrage in the consolatory arms of Roland. 

In the (jrahanis' back yard that night, or that twilight, 
.Xathaniel sought out lietty and told her the whole truth. 
"It was a ruse, dear heart," he said, "and of cour.se, Josie will 
know that it was when she learns that the real thief has been 
caught; but it did give her a chance to prove whether. or no 
her heart was involved, and you see it wasn't. H it had been 
. . . well, she would have stuck anyway, wouldn't she, I'letty?" 

"Yes," said r>etty. 

"Love is like that, isn't it!'" went on Nathaniel. "d\eal lo\e, 
you know : it persists, anyway, all the time, doesn't it ?" 

"Oh, yes." whispered Betty. 

"Then everything's all right," said Nathaniel, coming clo.ser; 
"the invention is going to go . . . Kellogg, God love him, will 
make it, and there will be money and the store will thrive and 
you and I . . . and I and you ... I love to say it, darling, 
you and I . . . " 

But lietty was in his arms and he could not speak for the 
kis.ses on his mouth. 




(Fi fill- four) 



The Ambitious 
Miss Eddy 

By ELIZABETH PELTRET 

"iVi: plavcd dozens of love scenes," said Helen 
i Eddy, whose work with George Beban, with 
Sessue Hayakawa and more recently in the 
King Vidor production, "The Turn of the Road,'' 
has given her a place in screen circles peculiarly 
her own, "but." she went on. "I've never had a 
real love affair in my life." Probably it is this 
that makes Helen F.ddy so different from other 
young girls of her age. 

The game of hearts that interests them more 
than an>-thing else has no interest for her at all. 
She doesn't talk about it with the keen relish 
most girls do. She regards love as an important 
ingredient in the making of a play, .she said. We 
had been discussing the necessity, or lack of 
necessity, of an actress having some basis of 
actual experience as a foundation for her char- 
acterizations. "But I dont think it is at all im- 
portant for any player to experience any emo- 
tion of a part in reality. Of course, you have to 
realize these emotions in your imagination, and 
that would argue some basis of experience — at 
some time." 
"Then vou believe in reincarnation ?" 
"Yes; it seems to me the best explanation of 




Shortly after Helen 
Jerome Eddy left a 
dramatic school in Los 
Angeles she met a Lu- 
bin director. At that 
time, she wanted to be 
a scenario writer. The 
director didn't buy her 
script — but he did en- 
gage her as an actress 



everything. After all, 
isn't it not only pos- 
sible but probable 
that I have taken up 
the broken thread of 
an interrupted work, 
that I have had much 
of the experience nec- 
essary for this work 
and that it alone will 
be sufficient for me now '' 

We were sitting in the front room of Iier home 
on \ an X'ess -Vvenue in Hollywood, where she 
lives with her father and mother. (Other mem- 
bers of the family are three very lively and very 
affectionate jnippies.) 

One's first impression of Helen Eddy is of 
surprise — that she should be so much taller than 
she appears on the screen. Her brown eyes are 
rather round in sliape and have in them sgnie- 
tliing of the fatalism of the Oriental. .She is an 
indefatigable worker. When she is not at the 
studio she is usually studying or rehearsing a 
part in some production of the Hollywood Com- 
munity Players. Her voice is deep, well culti- 
vated and of splendid scope and power. Her 
hair is a glossy black. She was. you will re- 
member, a remarkable Italian in her work with 
George Beban. It is interesting to note that in a 
recent jiicture with .Sessue- Ha\'akawa she 
appears just as characteristically Chinese. 

Helen Eddy is a fatalist, i^he feels that in 
training herself to become an actress she is 
(Coiitiitiied I'll paijc S6) 



(Fiftufiie) 



The Fame and Fortune Contest for 1920 



Wi were. Ici ^a\ the least, ileliglited witli the results of the 
I'llO l-aiiie and Kortune Contest. Thereby we veritied 
our theory that the world in general, and .\nierica in 
l)articular, are still well su|i|)lied with cinema possibilities, both 
optically and dramatically. ()nr two-reel feature, "A Dream 
of I'air Women," which is now being shown thriiout the 
country, presenting the winners and honor roll beauties, is 
))roof of our success. The flattering offers received by win- 
ners and honor roll girls alike show how highlv producers 
regard the opinion of our judges. Hence we take great pleas- 
>ire in presenting our bigger and better I'ame and Fortune 
Contest for 1920. 

In comiection with the contest now in progress we shall pro- 
duce a /■nT-Rfi'l l-cutiirc drama for the honor roll beauties, 
w ork upon « hich" is already under way. The story has been 
.selected, and it is strong, picturesque, unique and original, pre- 
senting unusual opportunities for many ]>layers of various 
types. To the members of its cast who measure up to possi- 
bilities, this production will give unusual publicity and proini- 
nence, since the drama, aside from being a product of the 
greatest campaign of its 
kind, would stand well-nigh 
alone upon its own histrionic 
merits. 

Those contestants whose pic- 
tures appear promising will be 
communicated with at once, 
and they may — depending upon 
ability — be offered a part in 
this tive-part play immediately. 
While we are now starting 
production, the play will not 
be completed till the late fall, 
since as a special feature it is 
to contain the test scenes taken 
of the honor roll girls at 
Roslyn, N. V. 

This opportunity is not lim- 
ited to youth and beauty alone, 
for there are several character 
types needed, both male and 
female, some of whom are to 
play big parts. We suggest 
that any contestant wishing to 
apply for one of these parts 

so state on the entrance 

coupon, as well as by letter 
accompanying photos. 

There are several points to be considered in the choice of 
photographs. First, do not submit photos that lie. Choose 
an artistic portrait that shows you up to the best advantage, 
hut never one that conceals really visible defects. A false 
photo may win a place on the honor roll, but a feat so accom- 
plished will only make keener your disappointment at rejec- 
tion when you in i)erson apjiear before the judges. So be per- 
fectly honest with your picture ; it will pay in the long run. 
Furthermore, we must have at least one straight photograph. 
There is no objection to an e.xtra tinted photo, but our main 
concern is how you will show up on the screen, whose sole 
colors are black and white. Then, too, if you .should win a 
place on the honor roll a tinted picture could not be repro- 
duced. There is no limit to the number of pictures that may 
be .sent in ; in fact, if you fail to .succeed at the first attempt, 
it might be well to recall that anything worth while is worth 
repeated efforts. 

It will be well to here review the salient features of the rules 
and regulations governing the contest. In the first place, we 
Hii»,t/ have regular photographs, not sna])shots or post-cards ; 
and be certain that the necessary entrance coupon is pasted 
upon the back of each picture. Bear in mind when entering 
the contest that under no conditions will any photo be returned. 
.\nother important |x>int, while a little previous stage or screen 



FIVE-REEL FEATURE 

Havine successfully produced the two-reel feature, 
"A Dream of Fair Women," which is now being 
shown thruout the country, presenting the honor roll 
beauties and winners of die 1919 Fame and Fortune 
Contest, we now take pleasure in announcing our 
plans for the 1920 contest. We shall produce a 
FIVE-REEL FEATURE drama for the honor roll 
contestants, and we shall start on this immediately. 
The story has already been selected, and it is a strong, 
unique, original and picturesque one, affording fine 
opportunities for many players of different types. 

Those contestants whose pictures appear to us to 
be very promising will be communicated with at once, 
and they may be offered parts in this unusual play im- 
mediately. While we are now starting production, 
the play will not be completed until late in the fall, 
and it will include the test scenes of the honor roll 
beauties which will be taken at Roslyn. In this pic- 
ture we can use a few persons other than young and 
pretty girls, for we shall need several character 
types both male and female. All contestants who 
wish to apply for one of these parts will kindly so 
state on their entrance coupon, or in a letter accom- 
panying photo. 



experience is allowable, no one may enter who has already 
played prominent parts; this contest is for amateurs only, 
lioth se.xes and all nationalities are eligible and there is no age 
limit ; in short, any one other than well-known actors and 
actresses may comjiete. 

.\ll four winners in the 1019 contest were girls, simply 
because the latent Romeos of the screen were so utterly indif- 
ferent. There is just as great demand in jiictures for men as 
there is for women, and this demand ranges from the "hand- 
some and dashing" juvenile to the character parts. ^o, men 
of .\merica, rouse yourselves, and show to the "femal of the 
species" that you are as deadly as she when it comes to silver- 
sheet possibilities. 

.\nd, finally, we eannot answer any letters in regard to this 
contest. C'bviously, it would be utterly impossible to answer 
oil of the hundreds that pour in daily ; hence we will answer 
none. The announcements in the Motion Pictvrk Mac.a- 
zim:, Classic and Siiadowland will cover every phase of 
the rules and regulations governing the contest. We sh-" also 
|iublish special articles on the subject from time to time. 

Remember, this is the op- 
portunity of a lifetime; I'or to 
the winner or winners, as the 
case may be, we give invalu- 
able aid in winning a place 
among the bright lights of the 
.shadow stage. We guarantee 
an engagerfient and will give 
to each of the winners two 
years' publicity. This will 
consist of cover portraits, pic- 
tures in the gallery, spe ial 
articles and interviews y 
prominent writers — publicity 
that cannot be bought at aj.y i 
price! Hence we can promise ! 
that at the end of two years I 
the winners will — to a degree ■ 
dejiending upon the artistry , 
of their work — be known thru- 
out the civilized world. In 
other words, we can, thru the 
power of publicity, place an 
amateur possessing unusual 
screen possibilities in a posi- 
tion of prominence such as 
could not be attained thru 
single-handed efforts except 
after a long and arduous struggle. This we guarantee. 

This feature of the contest is invaluable to the winners. 
True, we have artists of the screen who began at the bottom 
and worked up step by step — and we admire them all the more 
for it — but it took yeafs of struggling against fearful odds. 
On the other hand, think of what we are offering you. Thru 
our three magazines we bridge this great gap of obscurity 
and insignificance and immediately place you in the position 
which your abilities demand. Why linger at the foot of the 
ladder indefinitely if you have within your power the means 
of covering many unessential rtmgs at a single bound? 

So here's to Fame and Fortune! We shall put over the 
contest and its resulting feature production with characteristic 
energy and e;;thusiasm. Your success is now up to you. 
Meet us half-way in the beginning, and if you possess suffi- 
cient screen |>ossibilities we can give you the opportunity to 
make a place among the great artists of the silversheet. 

In connection with the showing of "A Dream of Fair 
Women," local theaters will conduct contests under the patron- 
age of our magazines, the winners in which will be placed on 
our honor roll. If your manager has not heard about this, tell 
him to write to Murra)' W. Garsson, Foundation Film Corpo- 
ration, 1600 Broadway, New York City, for details and litera- 
ture. .\nnouncements also in current issues of our publications. 

(Fifty-tis) 



' ■<-rt-'i^%^BM>i; 




Have they the beauty they so easily can gain? 



"t lOVV beautifully turned out, how 
j I correct," you thought — until you 



caught a glimpse of her nails. 



Then, 
yourself. 



"Shocking!" you said to 



And that one glimpse of her care- 
lessly groomed hands left an impres- 
sion that you never forgot. 



This method is Ike 
xecrt't of the per- 
fect, even ciit'cle 
of many fashion- 
able women. 




Do \ou realize how easy it is to 
keep your nails lovely — so lovely that 
they lend you that assurance which 
comes from the knowledge that even 
the most critical eye can find nothing 
but immaculate perfection? 

The secret of beautiful nails 
lies in the care of the cuticle. 
This is the most important 
part of a manicure. The more 
you cut the cuticle the faster 
it grows. It becomes tough, 
thick, and hangnails appear. 

You can keep your nails 
lovely without injuring the 
cuticle. 



Cutex is a harmk?;s cuticle re- 
mover. .Applied to the cuticle, it 
keeps the base of the nail smooth, 
firm, crescent-like. 

Wrap a little cotton around the 
end of an orange stick (both come in 
the Cutex package), dip it into the 
bottle of Cutex and work it around 
the base of the nails, gently pushing 
back <+ie cuticle. Instantly the dry 
cuticle is softened. Wash the hands, 
pushing back the cuticle with a towel. 
The surplus cuticle will disappear, 
leaving a firm, even, slender nail base. 

If >ou like snowy white nail tips 
apply a little Cutex Xail White under- 
neath the nails directly from the tube. 
Finish your manicure with Cutex Xail 
Polish. For an especially brilliant, last- 
ing polish, use Cutex Paste Polish 
first, then the Cutex Cake or Powder 
polish. 

If your cuticle has a tendency to 
dry and grow coarse, apply a bit of 
Cutex Cold Cream each night. This 
cream was especially prepared to keep 
the hands and cuticle soft and fine. 

Give yourself this manicure regu- 



larly. Make it as much of a habit as 
keeping your shoes shined. It is true 
that one Cutex manicure makes your 
nails look lovely ; but you cannot keep 
them well groomed by irregular care. 
Ciive your nails a Cutex manicure 
rrgiilarty. 

Cutex Cuticle Remover, Nail White, 
Xail Polish and Cold Cream are 35 
cents. The Cuticle Remover comes 
also in 65 cent bottles. You can get 
Cutex in any drug or department 
store in the United States, Canada 
and in any chemist shop in England. 



. / iiiaiiiciirc jet for 20 cents 

I'or twenty cents we will send you 
the Midget Manicure Set containing 
enough of the Cutex preparations for 
at least six manicures. Use the cou- 
pon below, .'\ddress Northam War- 
ren, 114 West 17th St., New York 
City. 

If \ou live in Canada, address 
Xorth'am IVarren, Dcpl. 903. 200 
Mountain Street, Montreal, Canada. 



Mail tills coupon with 


two dimes 


toda\ J 


XORTHAM WARREN- 








\ 


Dtpt. 903. n4 West 17th Street. 


New 


York 


City 


i 


Name 








} 


Street and Number 


City and State 






•^ 




Conducted by F. J. S. 



TIM' goal of all screen 
producers — having 
a '"two-page spread" 
advertisement in The 
Saturday Eveniny Post. 



Now that Metro is 
doing Ibanez's "The 
Four Horsemen of the 
Apocalypse," some one 
suggests that the title 
roles ought to be plaved 
by Rill Hart, Tom Alix, 
Harrj- Carey and Texas 
Guinan. 



Olr Maki rs' Dozr.x 
Picking the twelve 
directorial leaders is 
no easy task. Rut 
here is Double Ex- 
posure's list: 

David Griffith 

Cecil De .Mille 

Thomas I nee 

Mack Sennett 

King \'idor 

George Loane Tucker 



ouble. 
porxire 




Marshall Neilan 
George Fitzmaurice 
Maurice Tourneur 
Allan Dwan 
Mrs. Sidney Drew 



Cotirtcsj- Vilagraph i'oiitfilii-s 

When "Yankee Doodle in Berlin" crossed to England it 
became "Tommy .\tkins in Berlin. ' .\nd the British advts. 
comment upon "the bonny battling belles" and that the police 
have "plenty to do controlling the queues." 



-and Hobart Henley if he makes another "Gay Old Dog.' 



CoNSl'RVATlON OF SuPERLATIVli NoTi: 

Sel/.nick announces the acquisition of that Pollyanna phil 
o.<opher, Herbert Kaufman, as "the greatest mind on earth.' 



Publicity suggestions — Why doesn't Thomas Ince pose for a 
photograiili while shaking hands with some notable studio visitor r 

Isn't man e\er satisfied ? Here is Mary Thurman being sued 
for divorce? (Coiitimicd on faije 89) 




Th« Classic conserves. — Everybody is saving something these days, and The Classic feels 
that it is necessary to cut down on — ^bathing girls 



(Fifty-eight) 




Down Brings This 



Ladies' 3 -Piece Outfit 



» 




L>ce TruBBed 
Voile Waist 



FImkcJ Pcttkatl 



Sourt 
Serge Sldrt 

This useful, fashionable ladies' outfit 

s^nt to you on approval for only $1.U0 
down. If you decide to keep it, pa.y in 
small monthly sums. If, for any reason 
H-hatever, you decide to send the outfit 
back your money will be returned 
immediately. To fret this bargain you 
must act at unce. The offer is limited. 

CI.2— f Fin« qaalit; wool mixed Serve, both attrae. 

vKin tlve and aerviceable. The novel ihsped belt 

as well ai the anique pocketa are trimmed with braid 

and button! Entire lower half o( shirt ia enlivened 

with rowa of pin tacka. while the baclt ia fortbermora 

finiahed with a full length tailored fold and battona. 

Colora— Navy Blae or Black. Belt 2Zto3Q. leoiftb 

34 to 40. 



waiat-front enlivened witli iaaertiaaa 
of laee aud dainty embroidery. Pull lenfth 
aleevec and pretty, dainty coff effect. Color— 
yVhite only Buat aisea 34 to 44. 



P^ftf;^*!,** Black SaUett, 
rettlCOat enlivened wit 



When ordering: be sure to five «»!• 

or of tkirt wanted, also bust. t>elt, 

hip and length meaiurementa. 

OrrfM-brMa.S-aa. TarwMSI.eo 
writb coHpM, S2.00 iMwtMr, 
t*tirf S12.M. 



Write for our 
Free Catalog 
of Men's, 
Women's and 
Children's 
clothing on 
small month- 
ly payments. 



Months 
to Pay 

Open a charge account. Order now on our liberal credit terms. We 
eive you tlie iate^it styles, splen^lid quatitiet and amazing valuet in anything you want 
to wear. We trust lionest people no matter where they live. Not a penny char^ 
for the credit. No discount for cash. All business men use their credit. Use your*. 
Order this bargain today. 

Order Now 

Send thiscoiipon. All clothinK material ii very scarce. We have only a limited quantity 
of these outHts. Don't be too hite. Mail the coupon today with a <l.00 P.O. order or a 
dollar bill. Kemerat>er, you take no riak. Send coupon now 

Elmer Richards Co. 

Dept. 1553 — W. 35th Street, CHICAGO I 

Elmer Richards Co. JJtrMl'i.. Chicago 

I enetose Si.OO. Pleaae send the Ladiea' 3 Piece Outfit No. S-33. 

Color Skirt »ites Bast aise 

of Skirt eelt Hip Lensth for Waiat 

If for anv reason I wlali to return tr<e ootfit after exarainiition I may do so and every cent I have paid will be 
returned instantly ■withoot qoeation. Otherwise, 1 will pay the advertised pnce,S12.95. on r«or tcms of n.M 
with coupon, balance t2.00 monthly 



Sent On Approval 



(Fifty-nine) 



INTTi 



IINTw 

GravHaip 

^PURSELPN 
Y AT HOME 

A T forty or fifty a woman 
■* may still not feel more 
than twenty-five years old. But 
no mailer how well preserved 
her skin may be, how clear the 
sparkle of her eyes or how 
painstaking she may be in other 
details of her toilette — in the 
end she will be judged by the 
appearance of her hair. 

For there is no longer any excuse 
for permiltiig the hair to remain 
gray, faded and streaked. In one s 
own home, with no otfier help than 
a botde of BROWNATONE, ail 
its original color and beauty can be 
instandy restored — any shade from 
light to medium brown,dark brown or 
black — making it even more glorious 
and attractive than it was in youth. 
Hundreds of thousands of women 
use and all leading druggis'.s recom- 
mend this safe and harmless hair 
tinting preparation. 

BROWNATONE 

I Sehdllcenfs /or 

7J73/Soff/e 

and valuable booklet 
0.1 the care of the hair. 

"Cwo colors: "Light to 
Medium Brown" and 
' 'Dark Bmwn to Black. 
Tno sizes: 35c and $1.15. 
InCanada, 50candSI .50. 



.MOVIE MISFITS 
By Ethei. M. Feulrlicht 
Charlie Chaplin as Hamlet 
Mary Pickford as Cleopatra 
Theda Bara as Rebecca of Sunnybrook Farm 
Fatty Arbucklc as Romeo 
Fay Tincher as Juliet 
Pauline Frederick as the Ugly Duckling 
Jack Pickford as Othello 
Charles Ray as lago 

Douglas Fairbanks as the Little Lame Prince 
Dorothy Gish as Alice Sit-by-thc-tire 
William S. Hart as Prince Charming 
Eugene O'Brien as Old Scrooge 
Olga Petrova as Cinderella 
Nazimova as the Quaker Girl 
Mary Miles Minter as Kathcrine the Shrew 
Kitty Gordon as the Brat 
Marion Davies as Topsy 
Lillian Gish as Thais 
Marguerite Clark as Salome 
And uv dare any one of Ihein lo try it! 



EMPTINESS 
By Barbara Mollis 
My soul went out to the soul of the moon, 
As she rode thru her studded sky ; 
There was no one else in the earth or air — 
There were- only the moon and I. 

I traveled far in that mystic land. 
Out oyer the Bridge of Years. 
That crosses the River of Time and Space 
With its, ripples of smiles and tears. 

I passed the Gateway of Hopes Long Dead. 
With the Arch that is built out of Dreams ; 
And walked thru the Valley of Things undone 
By the mortals who basked in her beams. 

I. too. felt the spell of her magic rays, 
But the joy from my heart had fled; 
.\nd I turned away with a bitter sigh — 
For the soul of the moon was dead. 




MR. BROWN QUALIFIES 

By W.M.TER E. M\1R 

James De Lancey Sterling Brown 
(Classic mug but hopeless bean!) 

Dreamed that Fate had writ him down 
For a future on the screen. 

So he journeyed to the Coast. 

(Rather logical at that!) 
But he dwindled to a ghost. 

Looking 'round for "something fat." 

Desperate at length he grew — 
(.Ah. Los .'\ngeles was cruel!) 

For our J. D. L. S. knew 
Fate was smiling as the mule 

Smiles upon its incubus : 

( Pause we now to drop a tear ! ) 
Phmged he 'neath a jitney-bus. 

Broke a nose, tore off an ear. 



Later on. that visage rare 

(Ah. the murderous extra-line!) 

He displayed ; someone yelled "There 
"Is the type we're after: fine!" 

Steady work from that day on ! 

(Viva, J. D. L. S. Brown!) 
Crooked-nosed, with beauty gone, 

.As a bum he scooped the town. 

.Miinil. friend.' H'eH. Ii'ni. lei's .u-e— 
(Moral market's mighty slack!) 

lyity. iili, yes. — it seems lo he: 
".ilzivys keefi on coming bock!" 



A HOPELESS CASE 
By Vara Macpf.th Jones 
Brown wished to be very emphatic 
When he spoke of a friend quite erratic, 
Wlio spent all his days 
;\t the movie-plays; 
So he called him a hopeless FANatic! 



MOTION PICTURE CLASSIC 

Zena's Zenith 

(Continued from pai/e 48) 

iridescence of sunset. The west was 
aglow, and the windows we approached 
gleamed Hke orange lanterns behind a 
veil of rose chiffon. I looked at Miss 
Keefe, in her black velvet toque, and her 
squirrel-tn'mmed suit. Orchids lent an 
extra tint to the picture that I sensed she 
so completely harmonized. 

Manhattsn spells expectation. .And 
Manhattan at twilight spells fulfillment. 
Zena Keefe, sitting beside me, vibrant, 
alive to influence, keen to interest, spelled 
expectation . . . and fulfillment . . . 
and expectation all over again. 

Zena comes from ,San Francisco, 
where at an early age she became a 
vaudeville artist. Mrs. Keefe recognized 
that the only way to.gain development is 
to go after it. So Mother Keefe and 
Baby Keefe rolled up their tent-flaps and 
went on circuit tour. 

Zena laughs now. "At every diflFerent 
town we visited, I was enrolled in a new 
school. I'm not the least bit sorry that I 
didn't get the academic training in one 
particular school, because, now that I 
look back'' — which isn't so awfully, 
awfully far — "I think the course laid out 
for me did much more good. The rules 
were few. Tersely, I believe I was drilled 
to work and play, as much at one as at 
the other and — enjoy both." 

The primer of "Never to Be Bored" is 
as innate in Zena Keefe as A-B-C. She 
claims that working as .she did when a 
child has not taken away her youth but, 
if anything, has shot it out ahead, pre- 
ceding her. All the work that she did 
then has been balanced by all the play 
she can aflord today. She says this, but 
Zena makes me feel sure that when she 
slept, even, she giggled, and when she 
wept, if ever — she is not the weeping- 
willow sort — she'd jazz her sobs into 
oblivion. Zena may some day catch ufi 
to her kidhood, but she will, never en- 
tirely grasp it so that it can absorb. 

Zena may be of the footlights, but. like 
all compensations that run true to Emer- 
son, Zena is essentially an outdoor girl. 
When she told me that skiing and riding 
and skating were her middle names, and 
I found it a happy surprise, Zena smiled, 
"Yes, indeedy I I may look fragile, but 
if I bend over I wont break my back." 
The one expectation of her heart not yet 
fulfilled is to— fly ! 

Zena let 'er out again, and this time 
whizzed past the freshmen. "I wish some 
kind fan would give me an aeroplane 
for Christmas," she whispered to the 
wind. 



Mae, Mary and Matrimony 

(Continued from page 17) 

plained papa, with super-fatherly calm. 
"Never- cries — never. It's all the way 
you bring them up. Start them right 
and they go right." 

Which we jotted down in our note- 
book for possible future reference. 

(Sixty) 




JhmQusltMeftars 
MeeptheirHair^a 




NORMA TALMADGE 
"You majr use my testimonial I 
to the value of Watkins MULSI- 
FIED COCOAHIJT OH SHAMPOO.' 



'i: 




(Sixty. one) 



Cherish 
yourbeauig^ 

at all 
Seasons 

THERE is nothing wc cherish so 
deeply as llic persistent prefer- 
ence that American women of 
tlircc generations have expressed for 
D&R Perfect Cold Cream. The 
fact that old admirers continue to use 
this dcpendalile and tested toilet ne- 
cessity, year in and year out. while 
the younger generation keeps swelling 
the ranks of satisfied patrons, is the 
Honor on every package of 




final proof of superiority. The Red Band of 



DAGGETT'^RANSDELLS 

PERFEa COLD CREAM 

TJi^ KUkJ Thai Kec-p^ 

is put there as our pledge to you of unquestioned quality and purity and for your 
protection against su^istitution. The daily use o£ D & R Perfect Cold Cream will add 
charm to your complexion, cherish its heauty in all seasons and keep your skin clear 

and soft. It has many us-s in the home and nursciy. In tubes and jars, 10 cents to $1.50. 



P«udra An*ur«tte: Tlie furwiiig faw ixuv-lfr 
llial stay-; on utiil i1'>«iiys Ifuvkn natural. Klc-'li 



Send For 

Free Trial 

Samples 

Sam Dies 
■ •r D & B PerfMt 
Colli Cream and 
I'nu'Ire Amour- 
.11.- wiTl he sent 
Tree nn reaaest. 




'Tf in ine Leaf 

A MATCHLESS PREPARATION FOR OB- 
TAINING AND PRESERVING THE BEAUTV 
OF THE COMPLEXION. 

"Nacarine" clears the skin thoroughly, removes 
tan and freckles, whitens and softens the hands. 
By mvl $1.00. 
THE NACARINE CO.. £21 Wert 135ih Street. N.T. 



Keeps Skin Smooth, Firm, Fresh 
— Youthful Looking 

To dispe! the tell-tale lines of 
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contoar — there is oothicg qaite M 
good as plain 

Powdered SAXOirTE 

Effective for wrinkles, erowsfeet. 

enlarzed pores, etc., becmose it 

"tightens" and tones the ekin and 

onderlyiri^ tissue. No harm to ten- 

- derest skin. Get sn ounce packaire. 

I follow the simple directions — see what just one appU^ 

I cation win do. Sold at all drqg atores. 




Si. 




How to Obtain Beautiful, Rich, 
Long, Eyelashes and Broivs! 

EVERY WOMAN should be the rightful owner of beautiful eyes, the essentials of 
which are. First: Long, rich eyelashes; and Second: Well-cared-for eyebrows. No 
matter what color your eyes may be, — gray, brown or blue. — if they arc shaded 
by thick, silky lashes, and well-shaped brows, their charm is greatly accentuated. 

Nowadays, no one needs to be the dissatisfied possessor of short, thin, uneven brows 
and lashes: you can greatly assist Nature by limply applying a little of M. T.'s Eyelash 
and Eyebrow Beautifier at night. This scientific preparation nourishes the eyebrows and 
eyelashes, causing them to become gradually thick and lustrous, imparting sparkling ex- 
pression to the eyes, and added charm to the face. 

M. T.'s Eyelash and Eyebrow Beautifier, which has been successfully used by thous- 
ands, is guaranteed absolutely harmless; it is not a ereasy. sticky salve, but a clean, 
nicely-perfumed iiquid, in a cut glass bottle with glass stopper and applicator. The cut 
represents actual size of bottle. The active principle of this valuable article is a rare and 
expensive organic concentration which is unequalled for the purpose of stimulating and 
strengthening the particular follicles which produce rich, dark eyelashes. 

MONEY REFUNDED IF NOT SATISFACTORY 
Upon receipt of 75c in stamps, coin or Money Order. I will send you postpaid, in plain 
wrapper, a bottle of M. T.'s Eyelash and Eyebrow Beautifier together with my copyrighted 
booklet on Beauty Hints. 
The following preparations are of highest standard and well recommended: 

M. T.'s Nature's Beauty Cream, a wrinkle eradicator % .75 

M. T.'i A. B. A. Lotion, for Pimples and Blackheads * .75 

M. T.'s Depilatory to remove superfluous hair % .50 

M. T.'s Freckle Cream, for stubborn freckles and tan..... SLOO 

M. T.'s Minerated Quinol, "The Incomparable Vanishing Cream" $.75 

M. TRILETY, ;:r..H>. Dept. 30, Binghamton, N. Y. 



MOTION PICTURE CLASSIC 

A Doll's Apartment 

(Coi'tintied from page 25) 

must do a great deal of atoning. Also, 
they have a kiddie with them. Six years 
old. Of the masculine gender. 

I inquired. 

The kiddie is Olive's brother's boy. |l|' 
I jst summer the mother died and Oliye ^i ' 
ado[)ted the small nephew. Just at pres- 
ent he is going to school in Tarrytow.n. 
.At the date of my talk with Olive she 
was expecting him the following day to 
come to \ew York, while she bought 
for him a velvet 5uit and a fur overcoat. 

"He wants an aeroplane for Christmas," 
she informed me, witli seriousness at the 
behest; "the only thing that bothers him 
is how it is going to manage to get thru 
these windows. I explained to him that 
Santa will manage it somehow, that he 
is quite marvelous as a rianager. I dont 
know just what I can get by way of an 
aeroplane, but of course I shall get some 
sort of a thing that flie^." 

All told, the \oung Jack Pickfords 
were going to make a high and festive 
occasion of Yuletide. That very morn- 
ing Olive had been buying Jack's gift, 
consisting of a set of black pearls for 
evening wear, at Tiflfany's, and there was 
also a resplendent lounging robe of 
sumptuous silk. ;md then it was only the 
first part of December. I should think 
the aeroplane not the only unlikely thing 
to wedge into one apartment. Olive 
laughingly remarked that her mother 
says she and Jack spend all their salaries 
giving one another presents. 

"He's always sending me something 
and then I .send him something back," 
Olive said. "You see, we have to bridge 
the distance in some way. At first I just 
couldn't get used to the idea of living 
this way, but I suppose one gets used to 
anything, given time. W hen we were to- 
gether we used to use up the time fight- 
ing over things. I'd say, 'You were out 
with this person or that person,' and he'd 
come back at me in the same way, and 
we'd have a lively time of it, but we're 
over that now. \\'e know that we cant 
sit home by the fireside all the time just 
because we cannot be together.'! 

She went on to observe that there was 
not. in screen work, however, much of 
any time to sit by tlie fireside or else- 
where. She worked, she said, with a 
pretty little air of distraction, night and 
day, and when she was supposed to have 
a week off to attend to such necessaries 
as shopping for household and for 
Christmas, there were all sorts of retakes 
and other summoning things. 

She would /orr, she said, to go on the 
stage, but for the next two years or more 
she will do as she is doing now . . . for 
the pre.sent . . . Thus is it gorgeous to 
be gorgeoush' young and be able thus to 
dicker with the passing of the young 
years . . . 

.\s I was leaving she showed me thru 
the whole of the apartment and told me. 
with the pretty pride of possession, of 
what she was doing, intended to do, with 
every nook and corner. One feature of 
(Continued on pa<ie 101) 

(Sixty-two) 




ie4 KMBBOIDIIBEOGEORGETTe *■« nC 
TAPffTTA COMBINATION 10.93 



FINE ALL WOOL * a'* t\C 
H SERGE I5UIT 4J."»3 



16.95 



Fifth Avenue Styles — Direct from the Maker — Saves $5 to $10! 
Send Today For Your Free Copy of 

THE HAMILTON CATALOG FOR SPRING 1920 



The Newest Fifth Avenue Styles! 
These are not the usual "mail-order styles." They are the 
very same garments we are showing in our five-story Fifth 
Avenue building — the same frocks the best-dressed women \t\ 
New York are buying by hundreds. Every one is new, smart, 
and distinccivc —just the sort of garment you've longed for. 

Actual Photographs From Life! 

Andeverycoat.every dress, every blouse is shown as it actually 
looks when worn — not as an artist hopes it will look. It is pho- 
tographed from a living model, and the camera never ii'es.' Over 
300 of these photographs are reproduced by Roto- 
gravure in the Spring catalog. Be sure to see them ! 



Little More Than Wholesale Prices! 

With prices still going up, a saving of $5 to $10 on every 
garment is certainly worth while. By buying from us — the 
manufacturers — you save the middleman's profit. 200,000 
pleased customers are nowmaking this great saving. Couldn't 
you use the extra money too? 

Our More Than Liberal Guarantee! 

You cannot lose by buying from us. If a garment is unsatis- 
factory in any way, return it at our expense. We guarantee 
everything — even the fit. You can exchange it for another gar- 
ment or have your money refunded without ques- 
A trial costs nothing — Postage is prepaid ! 




(Sixtytkree) 




(Hixty-four) 



MOTION PICTURE CLASSIC 

Marjorie Daw: A Real Girl 

{Continued from paijc 21) 

my make-up, for every one teased me 
about my fat legs. You see, I wore 
woolen stockings and flat-heeled sandals, 
and 1 guess they did look big. 

"I played with Sessue Hayakavva m 
'The Jaguar's Claws,' and it was while 
making this picture up in Montana that 
I learnt to ride horseback. I had the 
wildest time on that trip, for it was my 
first experience going away on location, 
and there were cowboys and Indians, and 
I was thrilled every minute. 

"Then 1 was Betty Warren in 'The 
Warrens of Virginia,' and fell madly in 
love w ith Blanche Sweet, w ith her charm 
and lovely poise. 

".\t the time Geraldine Farrar made 
'Joan the Woman' I was studying geog- 
raphy and history, and was so thrilled to 
be a part of that fascinating period of 
French history that I read book after 
book on the subject and became a walk- 
ing encyclopedia on Jeanne d'Arc. 

"My first grown-up part was in 'The 
Chorus Lady,' with Wallace Reid. I 
wore my hair up, and I know I aged 
years trying to be emotional at the right 
time, for I didn't know what it was all 
about. After this I was glad enough to 
be a little girl again with Charlotte 
Walker in 'Out of Darkness.' I remem- 
ber what a blow it was, tho, when she 
told me that I must wait until I had lived 
before I could hope to play tragedy, for 
I was just beginning to feel the urge 
toward heavy stuff.' Then, when Theda 
Bara came along, I decided I must be a 
vamp, the greatest of them all, and now 
I want to be a good comedienne. I abso- 
lutely refuse to be called an ingenue. I'm 
not one!" And Marjorie's big eyes 
flashed a bit of defiance at this much 
overworked term. 

"Perhaps it was during my two years 
with Douglas Fairbanks as his leading 
woman that I learnt the real power of 
comedy. He has a tremendous vitality 
and so much pep, thoroly enjoying his 
work. One important thing I learnt 
from him was never to go on a set in a 
listless mood, no matter how one may 
feel. He puts his whole heart into every 
scene, and it makes me a little homesick 
to think there is another girl in my place, 
for I loved to work with Douglas." 

Marjorie's reminiscences are neces- 
sarily rather limited, for it was only 
eighteen years ago that she was born in 
Colorado Springs, Colorado. 

When she was eight she came to Cali- 
fornia with her mother and brother. 
Chandler, who is three years her junior. 
Marjorie and Chandler are all alone 
in the world now, for the little mother 
passed away two years ago, and the ab- 
solute devotion and remarkable "chum- 
miness" existing between brother and 
sister is a favorite topic among their 
friends. With an older girl friend they 
play at housekeeping in a pretty little 
bungalow in Hollywood. 

Tho Chandler had gained some promi- 
nence in the picture world, they have 
{Continued on page 101) 

(8ixt]f-iive) 




"$1,000 Saved!" 

"Last night I came liume \\ith yreat iu:\\s! Our saviiiys IkkI passed the $1,(HM) mark! 

"I remember reading one time that your first thousand saved is the most important money 
you will ever have, for in saving it you have laid a true foimdation for success in life. And 
I remember how remote and impossil'ile it seemed then to have sudi a sum of money. 

"I was making $15 a week and every piiun of it was ueeded just to keep us going. It went 
on that way for several vears. Then one day I woke up' 1 found I was not gettnii; ahead 
.impiv he--ansc I had never learned to do anything in particidar. As a result whenever an 
important promotion was to be made. 1 was passed by. I made up my mind right then to ni- 
vc^t an hour after supper each night in my own future, so I wrote to Scranton and arranged 
for a course that would gi\e me special training for our business. 



•I can't uiitUr^ 
was tlif lliiiiK to <■' 
vlsii 



wliy I liHil i»\rr n-alia-'l l>if(in> Unit Uiis 

Why. ill a fi-w moiiUis I liml a «ln.lt lu'w 

'lie jti-mral maiiaKir m»s al«'iit Iln- t\\M I" 

lole till- rliaiig^ -Vii i>|u-iiiiig lailK aii.l lir (£'»<• ""■ mv t\r*\ n*! 

.|(iiiu'i— hIMi ail iiiiT.as,-. A liltlt lal<-r aiii.n.ir ]>r<iui<i1 aiiu- 

LVitli tiiminh iiiiuiw m ■•avi- ?-''. a iiioiuli. Thi-ii ninitl