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Scanned  from  the  collection  of 

Richard  Koszarski 


Coordinated  by  the 

Media  History  Digital  Library 
www.mediahistoryproject.org 


Funded  by  a  donation  from 
David  Sorochty 


il 


'•M  OT I  O  N PPTCtU  R  E 


The  complete 
guide-book 

If  you've  been  a  tourist  in  foreign  lands,  you've  prob- 
ably come  to  have  a  high  regard  for  one  or  another  of 
the  standard  guide-books.  Surrounded  by  strange  scenes, 
strange  names,  and  with  your  time  limited,  you  have 
turned  with  relief  to  any  volume  which  tells  you  on  good 
authority  where  to  go  and  what  to  do. 

Consider  your  ordinary  shopping  tours  in  the  same 
light.  Without  an  up-to-date  guide-book  of  merchan- 
dise appearing  within  the  pages  of  this  magazine,  your 
most  casual  trip  to  the  stores  would  be  more  or  less  like 
a  ramble  in  foreign  countries. 

We're  speaking  of  the  advertisements,  of  course.  If 
it  weren't  for  the  advertisements  you  would  be  a  stranger 
in  the  market,  surrounded  by  strange  names,  strange 
brands.  Buying  would  be  guessing,  unless  you  tested 
every  article  you  wanted  before  you  bought  it. 

As  it  is,  you  can  make  up  your  shopping  list  in  a  few 
minutes,  and  buy  with  confidence  instead  of  suspicion 
— knowing  what  you're  getting — knowing  that  consis- 
tently advertised  goods  must  maintain  standard  quality. 


Take  full  advantage  of  the  great 
guide-book  of  this  modern  age  .  .  .  read  the 
advertisements  every  day 


The  screen's  most 
lovable  bandit 
continues  his 
adventures 

IN  OLD  ^ 
ARIZONA^ 


IN 


THIS 
GREAT 


V  OUTDOOR 
MOVIETONE 
ROMANCE 


theArizomKid^ 


Warner  Baxter 

AND  MONA  Maris 


Greater  than  "In  Old  Arizona"  and 
"Romance  of  the  Rio  Grande"  —  two 
pictures  that  established  Warner  Baxter 
as  the  supreme  lover  in  outdoor  roles. 

An  SANTEl.L  production 


Free  Beauty  AnalysisSO Days  Only 

By  the  World's  Most  Famous  Beauty  Authority 


Now  all  my  personal  clientele,  every  woman  I 
jcc  at  my  Salon,  has  her  beauty  needs  analyzed 
ic/ore  anything  else  is  done.  And  when  this  is 
done,  my  clients  invariably  realize  that  I  can 
do  tremendously  more  for  them  than  they  ex- 
pected. The  result  is  enthusiasm  such  as  they 
never  knew  before.  It  is  all  so  different,  so 
sane,  so  sure.  It  is  a  new  i!/«u;poin/.  The  view- 
point of  doing  all  that  can  be  done,  instead  of 
just  some  one  thing  that  the  mind  has  exag- 
gerated— wrinkles,  or  bad  complexion  perhaps. 

Tell  Me  About  Yourself.    I'll  Tell 
You  What  Can  Be  Done 

You,  whoever  you  are,  whatever  your  age.  no 
matter  what  the  extent  of  your  beauty  prob- 
lems of  face  and  figure  can  be  given  new  beauty 
that  will  astound  you,  and  everyone  who  sees 
you.  And  you  will  be  told  how  absolutely  free, 
entirely  without  obligation.  All  you  need  do  is 
give  me  the  information  upon  which  I  can  give 
you  a  full,  correct,  scientific  beauty  analysis. 

No  Trouble  to  Fill  in  The  Chart 

Just  notice  that  while  the  Analysis  Chart  in  this 
advertisement  asks  many  questions,  it  can  be 
filled  in  by  merely  checking  questions  that  apply 
to  you.  But  answer  all  the  questions  you  can. 
They  are  based  on  my  more  than  fifteen  years 
experience  and  will  give  me  just  the  information 
I  need  to  advise  you  so  that  your  utmost  desire 
for  beauty  can  be  fulfilled. 

Important!    Send  TODAY! 

In  order  that  I  may  personally  answer  the  many 
women  who  will  take  advantage  of  this  highly  unusual 
opportunity,  I  have  had  to  make  special  arrangements 
to  delegate  my  regular  work  in  my  Beauty  Salon  to 
my  assistants.  Therefore  kindly  fill  in  the  Analysis 
Chart  on  this  page  and  send  it  in  promptly.  You  will 
then  be  sure  to  receive  it  back  without  delay. 

A  Warning  to  Every  Woman 

My  Analysis  TODAY  may  save  you  loss  of  beauty  pre- 
maturely— of  face  and  figure.  Know  your  true  condition 
and  how  to  remedy  it  NOW.  Don't  wait  —  get  all  the 
facts.  Stay  young — or  regain  youthful,  wonderful  good 
looks.  Neglect  is  fatal  to  beauty.  Time's  ageing  effect 
must  be  Jought.  My  expert,  personal  advice  costs  you 
nothing — not  one  penny  if  you  send  the  Analysis  Chart 
Today.  No  obligation — everything  to  gain — nothing  to 
lose.  So  act! 

LUCILLE  YOUNG 


For  the  next  30  days  I  am  going  to  give,  free,  to  every  woman  who  writes  me,  a  professional  beauty  analysis.  By 
this  offer  I  hope  to  save  thousands  of  women  the  wasted  effort  of  trying  to  correct  beauty  defects  without  really  knowing 
how.  This  isn't  a  reflection  upon  your  intelligence.  Many,  many  beauty  nostrums  are  so  convincingly  described  that 
it  really  takes  an  expert  to  see  how  they  are  skilfully  worked  to  deceive.  The  result  is  that  women  spend  actually 
millions  of  dollars  for  beauty  aids  that  I  l^now  to  be  utterly  useless. 

Another  important  point  is  the  incompleteness  of  undirected  beauty  effort.  In  my  famous  beauty  salon  we  completely 
beautify,  correct  every  defect,  bring  out  hidden  beauty.  The  results  are  actually  amazing.  I  take  women  who  are  dull, 
drab,  lacking  distinction  and  make  them  vivacious,  sparkling,  gloriously  attractive  beings.  And  my  clientele  includes 
all  the  way  from  young  girls  to  women  of  mature  age.  There  are  those  who  are  pretty,  or  even  beautiful,  but  who  want 
to  add  just  that  marvelous  something  that  supremely  beautiful  women  possess.  Famous  screen  celebrities  are  an  example. 
On  the  other  hand  I  have  women  come  to  me  who  are  ridden  by  the  most  terrible  fear  in  the  world — the  insidious. 

Lucille  Young  has  B-«"^t 
S„„e  Famous  Beau<.e.«homUc^ 


IUU^»        Dorothy  Mock" 'I-  Vnivcsal  /\T     \    I     P  N  I 

r''  ^   .  ■  T.--.  Todav     positively  r 


SKIN-.  Oily 
COMPLEXION: 


Bla*;-//-,„.,  spot.- 
Modditiess  "  pj^^tj  

MUSCLES:        »— S^^^— ^''^rn 

_\SEIGHT    .Normal  

 .  v,+  underweig"^- — 

Overweignt    Bulging  

Thin  ^°''^r;T;;E  WHERE: 

Arms  L^S^^r-^vfaist  Mea^^^!—  fcliing  

Bust  Measure---«a_i^,itable___A^^^^ 


HEIGHT- 
BODY  : 


disposition:  lH^-re. 

Active_-OptimisUo__-^^^^^^^^_ 

.KE  YOU  ^.-TVoi:^^^^^^^^^ 


_,orried_----._____^^^,,,y 


Insomnia- 


ThicK  


HAIR 

QHALP-  OilV 
fuPEKFLUOUS_HAIR 


.Thin- 


Dry 


Roughened 


On  Face 
__Red  Dry—- 


.Moist  


.Thin- 


HANDS 

ARMS  and  LEl^^- 
ARE  VOU  social 


Shapely- 


_Thin- 

_Retiring- 


rat  Flabby  

'^^^'^Self-cons=^°''^ 

DO  You  Want   to    hcne  Dchoy.  \ 

^    ■  Musical  Comtdy  Star 


FREE 


$qOO  BEAUTY 
ANALYSIS 

SEND  TODAY! 


LUCILLE  YOUNG.  515  Lucille  Young  Building.  Chicago,  lUinof 

Miss  Young:  I  want  to  take  advantage  of  your  remarks 
offer.  1  understand  that  there  is  absolutely  no  charge  or  ob'l 
gation  of  any  kind. 


Na 


ot.  /\aaress._ 
Citv 

 State 

4 


MOT  0  ON     P  i  CT  9J  RE 

CLASSIC 


Vol.  XXXI 


JULY.  1930 


No.  5 


Notable  Features  in  This  Issue: 

The  Changing  Movie  Audience    Dorothy  Calhoun 

The  Most  Romantic  Moment  of  My  Life  4s  ToUl  hy  John  Boles  to  W  alter  Ramsey 

Hollywood  Sol)  Stories,  No.  VII  Dorothy  Manners 

Classic  Holds  Open  Court — Case  III     Charleson  Gray 

Service  With  A  Snicker   Cedric  Belfra&e 


■2\ 
•lb 

56 


The  Classic  Gallery  Helen  Ttvelvetrees.  Lila  Lee,  Xancy  Carroll.  Conrad  .\a gel  19- 

Classic  Talks  Ceorge  Kent  Shuler 

Evelyn  Lave — picture  page     . 

Is  The  Devil  A  Woman?   Prvnr 

Bone  Voyage — picture  page,  John  Barrymore  

The  Flirt's  In — picture  page,  Clara  Boav  

Sports  of  the  Stars,  VII  As  Told  by  Ken  Maynard  la  Cedric  Belfrage 

Peter  Pocahontas — picture  pages,  Lorf.tta  Young  . 

The  Things  Vt  ives  Hate  

Home  (booking — picture  page,  Blanche  Sweet  and  (>hori.s. 

(TCtting  (lulled  Names  

Beauty  and  the  Bust— picture  pages. 
The  Nightmares  of  a  Peanut  

Shy  High — picture  page,  Irene  Delroy  

One-  Vrin  Lunch — picture  page.  Jkwette  Loff  and  Pai  l  Vi  hite>i\n 

Psyching  The  Hollywood  lilondc  ,  

In  Priyate.  a  Bhiehird  

They  Brought  Back  the  Proof  . 
One  Star  Reyival — picture  page,  Ber>u:e  Clairk. 

He  Dares  To  Be  Himself  

As  The  Studio  VI Orkers  See  the  Stars. 

Keep  Klean  for  the  Kiddies   .  .Helen  Louise  II  alker 

Puttin"  The  Question — picture  pages,  Bi'DDY  Rogers  and  Kxthryn  CfiwyFORn  

The  Inside  Story  Roltert  Fender 

Court  Of  Appeals — picture  page,  George  Barrai  d  and  Mildred  Van  Dorn  

\n  Kye-Opener  ).  .  .  ff  alter  Ramsey 

The  Cold  Swimmin'  Hole — picture  page,  Merna  Kennedy.  .   


Gladys  Hall 
Herbert  Cruikshank 
Diirolhv  Manners 


Citlric  Bel f rage 
l.lisaheth  (roldbeck 
I Irrhrrt  (.ru ikshank 

Gladys  Hall 


Last-Minute  News. 
From  Where  I  Sit — Explosives,  High  and  Low, 

Mv  Neighhors  in  HoIIvwcmxI  

Classic's  Family  Mhum — picture  |»age,  Marie  Prevost  . 

Just  Off  l  he  Boulevard    

Looking  Them  Over  Out  Hollywood  Way — .Vpir.<!y  Close-Vps  

Our  Own  News  Camera — The  Screen  iT  orld  in  Pictures  

The  Celluloid  Critic — Some  Current  Films  in  Review  

The  Answer  .Man   

Cover  Draiving  of  Billif  Doi<e  by  Eleanor  Jnlinsuu 


.  .  Cedric  Bel f rage 
K.C.B. 

.  Walter  Ramsey 
Dorothy  Manners 

Laurence  Reid 


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08 
TO 
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Tlie  Classics  Famous  Departments 

Black  ami  \^  hile — Read  and  Write  (Letters)   6 


8 
10 
12 
14 
16 
42 
53 
60 
76 


L.\URENCE  Reid.  Editor 

Colin  J.  Criticksliank,  Art  Director 

Classic  comes  out  on  the  12th  of  every  Month.  Motion  Picture  the  28th 


M  'li  'N   I'll  u  KK  c  i.A5.sic  li  publtshfJ  monlhly  al  ,ijo  li.  2;nii  Si..  C  AiiU<o.  III.,  hy  MoTlos"  Picture  Pubhc.\TION8,  Inc.    E<Uf>tJ  js  Si\\><id  class 
■'.<}:!■■'   \iigusl  jisl,  IV2S,  al  Ihf  Post  Oficr  al  Chitaeo,  Illinois,  undfr  Iht  .id  of  Slarch  j,  1870:  printnl  in  V.  S.  .4.  liditoriat  and  Ii.\f,  iilirf  O^i  fs.  I'limmoNUI 
'  siilittng,  ijoi  Broadway,  Sru>  York  City,  .V.  1'..  Cofyrighl  lojo  by  Motion  Picture  Publications.  Inc.  Singlt  copy  ly.  Subscriptions  lor  I'.  S.,  its  pos- 
'ions,  and  Mexico  $2.00  a  ytar,  Canada  $2.fo.  Foreign  Countries,  f  j.oo.   European  Aiients,  .illas  Publishing  Company.  iS  Hride  Lane,  London,  E.  C.  4. 
George  Kent  Shuler,  Pres.  and  Treas.,  Duncan  .1.  Pobie,  Jr.,  \'ice  Pres.,  Murray  C.  iiernays,  Srry. 


I 


Tell  Us  All  About  It 


$20.00  LETTER 
War  On  Trailers 

New  York,  N.  Y. 

One  would  think  the  movies  didn't  al- 
ready have  enough  bad  habits,  the  way  the 
movie  moguls  think  up  new  ones.  The  lat- 
est annoyance  the  screen  has  acquired  is  the 
showing  of  Trailers  to  advertise  forthcom- 
ing productions. 

The  purpose  of  these  Trailers  is  to  get  you 
interested  in  the  coming  attractions  so  that 
you  will  be  anxious  to  see  the  film  when  it  is 
featured.  However,  this  is  what  really  hap- 
pens. The  Trailer  shows  you  all  the  high 
lights  and  exciting  scenes  of  the  film  and, 
true  enough,  the  scenes  shown  in  the  Trailer 
are  excellent.  They  are  so  good  that  you  do 
come  back  to  see  the  picture  it  advertises, 
but  to  your  disappointment,  you  find  that 
the  Trailer  has  been  more  than  generous. 
It  gave  you  all  the  important  scenes  of  the 
picture.  As  a  matter  of  fact,  the  only  big 
scenes  in  the  whole  film  are  the  ones  you  saw 
in  the  Trailer.  The  result  is  that  after  this 
happens  to  you  two  or  three  times,  you 
don't  go  back  to  see  the  film,  you  avoid  it 
instead,  feeling  you've  already  seen  all 
that's  worth  seeing  of  that  particular  film. 

I  must  be  a  bear  for  punishment,  for  I've 
been  foolish  enough  to  fall  for  this  Trailer 
business  more  than  once,  but  the  last  one 
cured  me.  It  was  the  Trailer  which  heralded 
the  coming  of  the  Lupe  \"elez  picture,  "  Hell 
Harbor."  The  scenes  shown  in  the  Trailer 
were  excellent,  but  there  was  nothing  worth 
while  left  of  the  picture  after  deducting  the 
scenes  I  already  saw.  In  fact,  this  particular 
instance  is  better  explained  in  this  way — 
the  Trailer  showed  the  "Hell"  raised  in  the 
picture  and  the  rest  of  the  film  showed  only 
some  picturesque  scenes  of  the  "  Harbor." 

Now  I  ask  you,  Mr.  Reid,  don't  you  think 
the  filmoguls  are  doing  us  a  great  injustice? 
Do  you  think  they'll  catch  wise  one  of  these 
days.  Let's  offer  up  our  prayers. 

Edward  Mills 


$10.00  LETTER 
Ao  Kirk  At  All 

Providence,  R.  I. 

It  is  going  to  be  a  rather  difficult  thing  for 
me  to  write  a  letter  inasmuch  as  I  have  no 
kick  against  the  movies  at  all,  and  I  ha\e 
noticed  that  most  letters  are  more  or  less 
complaining  ones. 

I  can't  for  the  life  of  me  under- 
stand how  the  fans  can  find  so  much 
fault  with  the  players  and  pictures. 
So  far  as  I'm  concerned,  I'm  content 
with  the  mo\ie  industry  as  it  is 
today  and,  tomorrow,  when  more  im- 
provements are  made,  I'll  be  happy 
too.  And  as  for  making  this  a  letter 
of  praise  for  any  one  particular  pic- 
ture or  player,  it  is  impossible,  because 
I  like  them  all.  I  can  make  that  even 
stronger-  I  love  them  all. 

I  went  to  the  movies  when  they 
were  silent,  I  kept  going  when  they 
began  to  talk  and  sing,  and  now  that 
tlifv  are  colored  I'm  still  to  Ix-  found 


among  those  present  in  the  movie  houses. 

And  why  shouldn't  I?  Aren't  the  pictures 
my  chief  source  of  recreation?  I  ask  for  no 
more  in  my  otherwise  hum-drum  daily 
existence  than  always  to  be  able  to  have  the 
time  and  cash  (and  this  is  important)  to  be 
able  to  attend  at  least  two  movie  shows  each 
week,  be  they  talking  or  silent,  colored, 
good,  bad  or  indifferent,  I  enjoy  them  all. 

Now  that  I've  read  this  over,  I'm  begin- 
ning to  think  you'll  get  the  wrong  impres- 
sion of  me.  Do  I  sound  like  a  Pollyanna? 

A  .  M.  M orris 


$5.00  LETTER 
What  A  Break  For  the  Men 

Akron,  O. 

W  ell,  Well,  Well,  it  is  no  longer  low  brow 
to  see  a  good  "Western,"  for  they  are  coming 
into  their  own  in  such  pictures  as  "Light  of 
the  Western  Stars"  and  "The  X'irginian." 
And  with  such  handsome  actors  as  Richard 
Arlen  and  Gary  Cooper  portraying  the  big 
out-door  men,  even  the  ladies  are  going 
primiti\  e.  We  can  now  leave  our  offices  and 
can  literally  live  for  an  hour  or  so  in  the  wide 
open  spaces  where  men  are  men  and  women 
are  not  the  whole  show. 

What's  more  real  than  a  tremendous  wild 
horse  stampede  with  the  very  sound  of  hoofs 
in  our  ears?  What's  more  thrilling  than  gun- 
men doing  their  stufT?  Fighting — out-loud! 
What's  more  human  than  justice  dealt  out 
by  big  hearts!  Skilfully  directed?  Artisti- 
cally acted  I  Enjoyed  by  all ! 

And  there  are  Richard  Dix  and  Jack 
Oakie  in  their  baseball  pictures  that  make 
us  think  that  we  are  in  the  big  league  our- 
selves. Exciting!  Real!  Humorous!  A 
universal  interest  of  the  day.  No  matter  of 
what  period — ^On  with  the  action ! 

Dr.  T.  C.  Pennington 

$1.00  LETTERS 
Are  Talkies  Unromantic? 

San  Francisco,  Cal. 
A  terrible  thing  has  happened.  The 
"talkies"  are  destroying  romance!  When 
that  exquisite  moment  arrived  for  the  hero 
to  clasp  the  lovely  heroine  to  his  manly 
chest,  gaze  into  her  beautiful  orbs  and 
w  hisper:  "  I  love  you,"  we  held  our  breaths, 
while  the  palpitation  of  our  hearts  nearly 
strangled  us.  Now,  when  the  hero,  no  longer 


silent,  declares  his  love,  the  audience  shouts 
with  laughter. 

When  little  Annie  wept  real  salty  tears 
because  her  lover  deserted  her,  we  sniffed, 
blew  our  noses  to  hide  our  embarrassment 
and  took  Annie's  grief  to  heart.  Now  her 
audible  moans  and  gulping  sobs  fill  the 
theater  with  snickers. 

When  we  see  these  emotions,  they  are 
pathetic;  when  we  hear  them,  they  are 
ludicrous.  Apparently  there  is  nothing 
wrong  with  our  sight,  but  there  must  be 
something  radically  wrong  with  our  hear- 
ing! What  is  it? 

Bernice  Bowne 


Make  Your  Selections 

Greene,  N.  Y. 

On"ce  in  a  while  I  hear  comments  by  occa- 
sional movie-goers,  who  seem  to  feel  that  a 
show  they  have  seen  was  not  worth  seeing; 
or  perhaps  that  it  was  too  gruesome  for 
children  to  see;  or  that  parts  of  it  were 
objectionable.  Again,  I  heard  a  friend  state 
with  regret  that  she  did  not  see  "Dawn" 
because  the  title  gave  no  idea  that  it  was  a 
portrayal  of  Edith  Cavell's  work. 

After  all,  does  a  book  by  its  title  always 
give  us  an  inkling  of  its  contents?  Because 
one  book  is  not  worth  reading,  do  we  con- 
demn all  books?  If  a  story  is  too  gruesome 
or  ghostly  for  children,  do  we  hand  them 
the  book  just  the  same? 

Mo\-ies  are  stories  portrayed.  If  we  choose 
our  books  promiscuously,  we  read  all  kinds 
and  types  of  stories.  If  we  keep  posted  on 
the  publications,  we  can  make  selections  and 
choose  only  those  which  we  prefer.  The 
same  is  true  of  choosing  the  movies  we 
intend  to  see.  H.  T.  S. 


You  may  have  S.A.,  but  do  you  have  S.E.?  Motion  Picture 
CLASSIC  wants  to  know.  We  want  you  to  join  our  free 
clinic.  If  the  tests  show  that  you  have  a  superior  kind  of 
S.  E..  you  stand  in  line  for  one  of  three  first  prizes:  $20  for 
first,  $10  for  second.  $5  for  third  and  $1  for  every  other  letter 
published. 

To  join  the  clinic  all  you  have  to  do  is  to  write  a  letter  of, 
say,  200  to  250  words,  about  some  phase  of  the  movies,  ad- 
vancing an  idea,  an  appreciation,  or  a  criticism,  without 
becoming  ga  ga  or  vituperative.  Sign  your  full  name  and 
address,  and  mail  the  letter  to:  Laurence  Reid,  Editor.Motion 
Picture  CLASSIC,  Paramount  Building,  1501  Broadway, 
New  York  City.  No  letters  can  be  returned,  and  we  reserve 
the  right  to  print  any  or  all  that  we  like. 

Having  done  this  much,  you  will  perhaps  be  conscious, 
without  our  telling  you,  that  you  have  S.  E.  But  if  you  win  a 
prize,  or  your  letter  is  printed,  there  can  be  no  doubt  about 
It;  you  have  Self  Expression. 


And  She's  Ao  Prude 

Los  Angeles,  California 
Seeing  that  all  the  world  has  become  ac- 
customed to  the  sight  of  legs,  fat  legs,  thin 
legs,  straight  and  crooked,  I  do  not  need 
to  say  my  complaint  is  in  any  sense  actuat 
ed  by  prudery,  but  truth  to  tell  I'm  sick  of 
the  sight  of  so  many  legs.    Before  a  peri 
formance,  after  a  performance,  there  come 
on  the  stage  a  troupe  of  girls,  all  showinj 
their  legs. 

Where  there  is  so  much  to  admire  and  to 
enjoy  I  dislrke  to  find  fault,  being  a  very 
good  theater  fan,  but  I'm  terribly 
A  good  clean  picket 
be    interesting  as 


tired  of  legs, 
fence  would 
change. 


Mrs.  Trunian  TvrreJ 


Action  Better  Than  W ords 

Fresno,  California 
There  certainly  was  a  great  im 
provement  made  when  the  picture 
producers  introduced  the  "Talkies" 
to  screenland.  Hut  I  have  a  plea  tc 
make.  It  is  for  more  action !  A  greal 
deal  of  the  expression  that  was  pul 
into  the  silent  pictures  has  been  cul 
(Cotitintied  on  page  lOf  ' 


VnAPHOI 

JOINS     TWO     JOYOUS     STARS     IN     ONE     GREAT     COMEDY  SPECIAL 


jLA^^TT  MINUTE 


DOUGLAS  FAIRBANKS  has  that  traveling  urge  again.  This 
time  he  sailed  to  Europe  to  follow  the  golfers  around  and  see 
who  will  bring  home  the  Walker  cup — and  yes,  there  is  that  ofificial 
business  into  Germany  for  his  pictures,  too.  .  .  Corinne  Griffith 
has  said  good-bye  to  Hollywood  for  a  whole  year.  She  will  be  gone 
that  long,  abroad,  studying  \oice.  .  .  .  Lena  Malena  came 
east,  so  they  say,  to  replace  Lily  Damita  in  "Sons  O'Guns".  .  . 
"Buddy"  Rogers  is  among  those  now  present  out  at  the  Long 
Island  studios  making  "Heads  Up".  .  .  Paul  Whiteman  is  back 
in  New  York  again  a'partying  all  the  time  between  five  person- 
al appearances  a  day.  And  then,  too,  he  is  scheduled  to  lend 
rhythm  to  a  Westchester  roadhouse  some  time  in  the  near  future. 

NEW  YORK  has  been 
flying  the  W;el- 
come  banners  this  spring- 
time  for  almost  all  of 
Hollywood.  .  .  Pauline 
Starke  and  her  husband, 
Jack  White,  stopped  off 
for  a  little  \  isit  before  sail- 
ing on  the  Bremen  for 
a  European  rendez\-ous 
with  friends.  .  .  Helen 
Twelvetrees  tried  the 
airplane  hop  all  the  way 
from  Hollywood  to  Col- 
umbus,  O.,  and  then 
finished  up  by  train  into 
Manhattan.  Helen  did 
not  stay  IJong,  but 
had  to  hurry  west  to  make 
a  few  more  talkies.  .  . 
Laura  La  Plante  was 
another  eastern  visitor 
seeing  things  o'nights  as 
well  as  trying  out  Fifty- 
Seventh  Street  shops  for 
new  things  to  wear.  .  . 
Margaret  Livingston, 
too,  is  in  New  York,  going 
places  and  seeing  things. 


P.  &'  A. 

Making  things  move  at  RKO:  Sally  Blane  on  her  bike,  June  Clyde  on  her 
trike,  and  Helen  Kaiser  and  Roberta  Gale  on  their  kiddie  kars,  all  have 
hopes  of  getting  somewhere 


THERE  are  just  a  few  folks  going  west.  .  .  George  Arliss  is 
among  them.  He's  out  in  Hollywood  to  do  "Old  English".  .  . 
Florenz  Ziegfeld  has  rented  out  at  Malibu  Beach  while  he  is  there 
glorifying  the  American  girl — again.  .  .  And  Marilyn  Miller  took 
the  long  train  ride  to  make  her  second  picture,  "Sweetheart".  .  . 
"The  Gypsy  Love  Song"  has  recalled  John  Boles  from  his 
pleasures  along  Broadway.  He,  too,  can  be  seen  along  Hollywood 
Boulevard  any  day.  .  .  And  of  course,  there's  Amos  'n'  Andy  to 
lend  color  to  the  scene. 

ATLANTIC  CITY  is  attracting  the  mighty  these  days.  .  .  Jack 
.  Warner  left  Hollywood  to  pay  his  respects  to  the  Jersey  resort. 
.  .  Young  Laemmle,  too,  has  been  seen  taking  the  air  in  a  wheel 
chair.  .  .  .And  that  isn't  all,  for  that  ole  debbil  sea  is  calling  Marion 
Davies  East  before  she  sails  for  Europe  for  the  summer  months. 
.  .  Ronald  Colman,  another  eastern  visitor,  is  due  in  London- 
town  this  spring. 

VILMA  BANKY  has  given  up  the  screen  to  settle  down  to  a 
tranf|uil  matrimonial  career  because  it  is  so  difficult  to  master 
I  hat  English  language.  .  .  Bert  Lytell  and  his  bride,  Grace 
Menken,  are  going  to  finish  their  honeymoon  in  Hollywood  be- 
<  ;iusc  "Brothers"  is  about  to  be  started  and  Bert  has  the  leading 
role  in  that  talkie.  .Much  excitement  took  place  in  Santa  Monica 
uhcn  Irene  Mayer  and  David  Selznick  were  married  for  e\er, 
(•ver  after.  .  .  And  mentioning  weddings,  what  of  the  report  that 
Lewis  Milestone  and  Agnes  Ayres  were  soon  to  become  Mr.  and 
Mrs? 

POLA  NEGRI  and  her  Prince,  Serge  M'Divani,  are  now  very 
frequently  being  seen  places  together  in  Paris  and  that  romance 
blooming  all  over  again — a  sort  of  pleasant  second  honeymoon. 
.  .  But  Colleen  Moore  and  her  husband  John  McCormick  have 
decided  definitely  to  take  separate  paths  and  ha\e  in  fact  effected 
a  property  settlement,  and  there  are  many  current  rumors  of  a  dix'orce 
action  b>  Miss  Moore.  .  .  Lola  Lane's  sister,  Leota,  i.s  seeking 


her  happiness  via  the  divorce  courts  and  plans  to  enter  pictures 
when  she  is  no  longer  Mrs.  Picard.  .  .  All's  well,  however,  in  the 
Sue  Carol-Nick  Stuart  menage  and  Sue  is  e\en  growing  very 
domestic  buying  things  for  their  new  Normandy  home.  .  . 
Elinor  P.  Ince,  widow  of  Thomas  Ince,  has  found  sweet  romance 
around  the  corner  and  it  is  said  that  she  will  soon  marry  Holmes 
Herbert. 

PHILO  VANCE  simply  will  not  be  retired  from  the  screen. 
Therefore  S.  S.  Van  Dine  has  been  commissioned  to  do  another 
mystery.  It  will  be  "The  Scarab  Murder  Case,"  and  of  course 
William  Powell  will  be  the  ingenious  detective,  Philo  Vance. 

Murder  and  crime  are 
reaping  a  golden  harvest 
on  the  screen  right  now. 
"Handful  of  Cloud"— 
a  gangster  movie — is  get- 
ting under  way,  with 
James  Cageney  seen  as 
the  chief  underworld  char- 
acter. .  .  And  soon  there 
will  be  "The  Criminal 
Code"  in  the  talkies. 

JOAN  CRAWFORD  is 
going  to  see  what  she 
can  do  in  the  way  of 
singing  and  dancing  and 
will  make  her  first  musi- 
cal picture,  "Great  Day" 
.  .  .  Claudia  Dell  is  one 
of  the  latest  names  men- 
tioned in  connection  with 
"Big  Boy."  Claudia 
will  play  opposite  Al 
Jolson.  .  .  'Tis  said  here 
and  there  that  "Dia- 
mond Lil"  herself  may 
come  to  the  screen  if 
Mae  West  and  Colum- 
bia come  to  terms.  Seems 
as  though  Diamond  Lil 
would  ha\e  to  be  re- 
to  the  gaiet>'  of,  well,  Cali- 
Their  first 


strained  somewhat.  .  .  And.  to  add 
fornia,  anyway,  the  Tiller  girls  came  to  Hollywood 
picture  will  be  "Half  Shot  at  Sunrise." 


FIFI  DORSAY  and  Victor  McLaglen  were  just  made  for  each 
other — in  pictures  at  least.  They  started  being  f  unn\ — and  in  lox-e 
together,  in  "Hot  for  Paris,"  kept  it  up  in  "On  the  Level,"  and 
they  will  try  out  the  partnership  in  "The  Painted  Woman".  .  .If 
Alice  White  can  be  released  from  her  present  contracts.  Earl 
Carroll  will  feature  her  in  his  "Vanities".  .  .  Elizabeth  For- 
rester, who  played  in  "Holiday"  on  the  stage,  will  make  her 
screen  debut  i^n  the  same  pla\-.  .  .  Paramount's  Long  Island 
studio  is  pretty  much  in  an  uproar  again.  The  Four  Marx 
Brothers  are  making  "Animal  Crackers"  there.  .  .  Dolores 
Del  Rio  is  trying  out  new  characterizations.  Her  latest  will  1 
"The  Dove,"  which  Norma  Talmadge  did  as  a  silent  picture. 

HONOLULU  is  coming  right  along.  Now  it's  going  to  be  shown  in  . 
all  its  native  glory  in,  why  "Aloha,"  of  course.  Joseph 
Schildkraut  will  ha\'e  the  leading  role.  Joseph,  you  recall,  last 
received  mention  when  Elise  Bartlett  di\orced  him.  .  .  Harold 
Lloyd,  too,  got  that  Honolulu  urge  and  took  his  "Feet  First" 
company  for  a  fortnight  aboard  the  Malolo.  .  .  Ann  Harding 
is  going  to  be  "Borrowed"  by  Radio  to  play  opposite  Richard 
Dix  in  "Cimarron".  .  .  Mary  Lawlor,  too,  will  be  loaned  for 
"Present  Arms".  .  .  Monta  Bell  also  joined  the  Honolulu- 
bound  passengers  and  will  remain  there  on  that  beach  of  Waikiki  | 
to  recover  from  his  recent  ill  health.  .  .  Rin-Tin-Tin  has  taken  ' 
to  the  air-flies  to  his  personal  appearances  these  dog  days.  .  . 
Edwin  Bartlett  is  the  latest  to  leap  into  headlines.  He  has  beep 
handed  a  contract  by  Fox,  which  is  said  to  give  him  $1,000  a  week. 
He's  a  Princeton  boy  and  has  never  appeared  on  the  professiona" 
stage  but  has  studied  for  grand  opera.  .  .  John  Drinkwater,  tht 
English  poet  and  playwright,  is  to  do  a  biograph\- — ^in  prose — of 
Carl  Laemmle  (Sr.).  .  .  It  is  rumored  that  there  is  to  be  a  sequel 
to  "All  Quiet  on  the  Western  Front."  And  that,  if  true,  is  news 


8 


Her  bridegroom's  life,  or 
her  own  disgrace  —  tvhich 
should  she  choose? 

Torn  from  her  royal  hus- 
band on  her  wedding  day, 
must  she  give  her  FIRST 
KISS  to  the  handsome 
rogue  who  held  her  bride- 
groom captive? 

N'ou'll  find  an  amazing 
answer  in  this  glory  of  the 
strangest  wedding  night  any 
bride  has  ever  known  I 

All-Star,  All-Color,  AII-I.uxuHona, 
prrpare  for  entrrtaiDiuent  extra«>r- 
ilinarv  when  lh<;  nign  on  yf>ur  theatre 
»av«,  "Here  ei>inei.  the  IIKIDE  OF 
THE  REGIMEN 


Stars  for 
the  price  of  one! 


VIVIENNE  SEGAL 

ALLAN  PRIOR 
WALTER  PIDGEON 
LOUISE  FAZENDA 
FORD  STERLING 
MYRNA  LOY 
LUPINO  LANE 


A  John  Fraocis  Dillon  production* 
baM-(l  on  the  operelto«  '"1  lit*  l^ciy  in 
RrniiDC'^  by  Rudolph  Srhuuzcr  aud 
Krnr?»t  \\eIiHcli.  ''\ilaphone"  is 
tbc  rr ^i^itTf'd  Iradmiark.  of  I'lio 
\'itapbunc  <'.orporulitin. 


A  FIRST  NATIONAL  &  VITAPHONE  PICTURE 

WITH  100%  TECHNICOLOR 


Explosives,  High  And  Low 

By    CEDRIC  BELFRAGE 


c 


ABLING  rapturously  from  London,  Madame  Elinor 
Glyn  tells  the  house  of  Fox  that  she  is  unable  to 

  clothe  in  suitable 

words  her  feelings 
on  seeing  the 
movie  of  her  story, 
"Such  Men  Are 
Dangerous."  It  is 
so  like  her  story 
that  she  might 
have  directed  it, 
herself,  coos  Ma- 
dame, so  far  as  it 
is  possible  to  coo 
at  eight  cents  a 
word.  Just  as  "Such  Men  Are  Dangerous"  is  unwinding 
itself  at  a  I^os  Angeles  theater,  tidings  reach  me  from  Lon- 
don about  the  talkie  called  "Knowing  Men,"  which  Her 
Excellency  has  just  finished  supervising  over  there. 

Everybody  hold  his  seat  while  I  disclose  the  plot  of 
"Knowing  Men."  Here  goes:  A  rich  girl  is  engaged  to  a 
poor  man.  She  doesn't  know  whether  it's  her  money  or 
herself  he  loves.  To  test  his  affection  she  pretends  to  be 
poor.   A  swell  idea!  Love  triumphs — and  then  fade-out. 

Now  that  we 
have  all  been 
brought  back  to 
consciousness,  I 
shall  resume. 

The  above  plot 
is  called  "  Knowing 
Men."  Does  this 
mean  that  Her  Ex- 
cellency knows 
men,  by  any 
chance.'  I  only 
ask  because  I 
begin  to  wonder  whether  Her  Excellency  is  spoofing.  I  am 
completely  mystified.  The  only  thing  we  know  is  that  she 
is  succeeding. 

There  is  one  thing  however,  that  somewhat  inclines  me 
to  believe  her  humor  is  deliberate.  That  is  a  brief 
remark  which  she  wrote,  early  last  year,  to  a  fellow-scribe 
who  had  done  an  interview  with  her:  "I  have  never 
consciously  tried  to  get  publicity  for  myself." 

That  Far-Away  Look 

THE  blue,  blue  eyes  of  Mary 
Nolan  are  filled  with  tears.  Her 
troubles  started  because  she  wasn't 
getting  enough  close-ups.  She  com- 
plained to  her  overlords,  the  Laemmle 
family,  about  it;  and  next  day  fV)und 
herself  barred  from  the  set.  So  she 
marched  away,  vowing  never  again  to 
.set  foot  on  the  Universal  lot.  They 
put  Pauline  Starke  into  her  part  in 
"What  Men  Want" — which,  I  hasten 

10 


to  say,  is  not  by  Her  Excellency,  the  Comtessa  di  Glvn. 

Thev  do  say  that  Howard  Hughes  has  not  only  finished 
"Hell's  Angels" 
(for  the  eighth  or 
ninth  time),  but 
has  decided  to 
leave  well  enough 
alone  this  time 
and  show  the 
world  the  result 
of  his  efforts.  This 
may  be  true. 

The  proposed 
opening  of  "  Hell's 
Angels"  at  Grau- 
man's  Chinese  theater  will,  Howard  says,  be  the  most  gor- 
geous social  event  ever  seen  in  Hollywood.  Be  this  as  it 
may,  it  will  certainly  be  noteworthy  in  that  more  bad 
jokes  will  be  made  by  more  painful  humorists  over  bigger, 
radio  networks  than  ever  before.  Will  Rogers,  in  his 
homespun  way,  will  probably  'low  that  Howard  should 
ought  to  get  his  face  lifted — a  sally  which  will  be  greeted 
by  roars  of  mirth.  The  ingenues  will  be  able  to  vary  their  " 
formula  a  little  by  explaining  they  are  "so  glad  to  be 

th  ere  "  because 
they  feared  they 
might  die  first. 
Even  when  Cecil 
De  Mille  makes 
his  invariable  re- 
mark about  it  be- 
ing "a  privilege 
to  be  invited  to 
see  this  wonder- 
ful production, 
my  friends," 
everyone  will 

think  he  is  trying  to  be  funny,  and  hold  sides  from  laughing. 
The  Canceled  Entry 

GI.ORIA  SWANSON'S  entry  for  the  production-cost 
stakes,  it  would  appear,  has  been  scratched.  "Queen 
Kelly  "  is  to  be  allowed  to  rest  her  weary  old  bones  in  peace, 
and  Joseph  Kennedy  will  take  the  entire  million-dollar  loss 
with  as  brave  a  smile  as  he  can  summon  up. 


Miracles  to  Come 


ll 

THE  most  important  news  of  alii 
is    that     Aimee  McPherson'sl 
talkie  is  well  on  the  way.  Aimee  and' 
her  "flock"  are  already  in  the  Holy 
Land,  where  it  is  said  the  final  fade- 
out  is  to  be  filmed;  and  the  rest  of 
"Clay  in  the  Hands  of  the  Potter." 
as  the  picture  is  to  be  called,  will  be^ 
filmed  the  moment  she  arrives  homej 
in  June. 

{Continued  on  page  8j) 


il 


9^ 


The  Perfect  Comedy  Team 

Marie  DRESSIER 

and  Polly  MORANm 

AUCHT 


with 

ANITA 
PAGE 


HORT 


From  wash-boards  to  Wall  Street  —  from 
cleaning  up  in  the  kitchen  to  cleaning  up 
in  the  stock  market!  What  a  riot — what  a 
scream — what  a  panic  of  laughs — are  these 
two  rollicking  comedians  as  they  romp  their 
way  through  the  merriest,  maddest  picture 
you  ever  saw.  How  they  put  on  the  ritr 


Adaptation  and 
Dialogue  bv 

wiLLARD  MACK   while  the  money  rolls  in!  Then  came  the 

Directed  by 

CHARLES  F.      dawn  —  and  back  to  the  soap  suds  with 

R I E  S  N*  E  R 

SuKKCftcd  by  Marie  and  Polly.  Don't,  don't,  DON'T 
CANTOR'S       miss  seeing  "Caught  Short". 

book. 


MoTi- N(<ir>  nuMi  r/uTi"  Ari  in  Nrut t n 


11 


My  Ne/ghb 


in  Ho 


OrS  By 

ood  K.C.B. 


HERE  I  am. 

FAR  UP  on  the  hills. 

WHERE  MARK  Twain  cabined. 

IN  HIS  mining  days. 

AND  BRET  Harte  roamed. 

AND  GATHERe'd  things. 

TO  BE  put  in  books. 

FOR  THE  world'to  read. 

AND  I  come  here. 

JUST  TO  get  away. 

FOR  A  little  while. 

FROM  MY  neighbor  folk. 

DOWN  IN  HOLLYWOOD. 

AND  WHAT  do  I  find. 

BUT  A  couple  of  troupes. 

OF  PICTURE  actors. 

WITH  THEIR  big  sound  trucks. 

AND  EVERYTHING. 

AND  I  beat  it  higher. 

UP  INTO  the  hil'ls." 

AND  AS  I  flee. 

ON  MY  upward  way. 

THE  ONLY  person. 

1  RECOGNIZE.  ' 

IS  NORMAN  Kerry. 

ALL  DRESSED  I'p. 

• 

LIKE  A  mountaineer. 
AND  I  yell  at  him. 
AND  HURRY  on. 
AND  AS  I  go 
1  FIND  myself. 
CHOOSING  LOCATIONS. 
FOR  PICTURE  scenes. 
A  MOUNTAIN  meadow. 

12 


WITH  A  purple  mat. 
OF  SPRINGtime  flowers. 
FOR  BILLIE  DoCe. 
IN  A  purple  hat. 
TO  WANDER  through. 
AND  FARTHER*on. 
A  CRAGGY  point. 
FOR  GEORGE  O'Brien. 
IN  A  silhouette. 
AGAINST  THE  sky. 
WATCHING  FOR  rangers. 
WHO  ARE  chasing  him. 
AND  ANOTHER  point. 
WHERE  LARRY*  Tibbett. 
COULD  SING  hi's  head  ofl^. 
IF  HE  wanted  to. 
AND  THEN  a  spot. 
FOR  WALLY  Beery. 
AND  MAYBE  Ote  Harlan. 
AND  ERNEST  Torrence. 
WITH  A  week  of  whiskers. 
AND  A  mulligan. 
STEWING  AND*steaming. 
FOR  THEIR  midday  meal. 
AND  THEN  a  cottage. 
AGAINST  THE  hill. 
WHERE  ONCE  on  a  time. 
A  MINER  dwelt* 
AND  A  rose  bush  planted. 
AND  THE  cottage  hidden. 
BY  A  blaze  of  pink. 
AND  JANET  Gaynor. 
WISTFULLY  WATCHING. 
FOR  WHOMSOEVER. 


SHE  WAS  expecting. 
AND  THEN  a  village. 
OF  THE  mining  days. 
AND  LIFE  still  in  it. 
AND  ITS  one  main  street.  ■ 
NOT  YET  knowing. 

OF  prohibitio'n. 

AND  THE  Volstead  act. 

AND  A  cloud  of  dust. 

AND  AN  old  stage  coach. 

AND  WILLIAM*PoweII. 

STEPPING  OUT'of  it. 

AND  YOU  know  very  well. 

HE  IS  a  detective. 

• 

OR  A  wicked  man 

COME  TO  do  dirt. 

AND  SO  we  drive  on. 

PICKING  OUT*  places. 

THE  BOY  and  I  * 

FOR  OUR  Hollywood  neighbors. 

TO  DO  their  stuff. 

AND  RIGHT  on*the  road. 

UP  AHEAD  of  us. 

WE  SEE  a  bear.  * 

AND  THE  boy  grows  excited. 

AND  THE  bear  disappears. 

AND  THEN  the  boy  figures. 

IT  WOULD  have* been  fine. 

IF  THE  bear  had  attacked  us. 

AND  ALL  of  a  sudden. 

BILL  HART  would  have  come. 

AND  SHOT  it  to* death. 

OR  MAYBE  have  choked  it. 

WITH  HIS  two  big  hands. 

I  THANK  you' 


tick  to  singing/  ||5| 

fnet/  saic/ 

as  I  offered  to  play... 


lull   I   gavi"   them    the  surprise 
of  their  lives 

WHAT  S  the  big  idea  of  leaving  us  flat. 
Bob — now  what's  my  party  going  to 
do  for  music?  " 

"Sorrj-,  Madge,  I  hate  to  go  .  .  .  but  busi- 
ness before  pleasure  this  time.  If  I  don't 
make  tonight's  10  o'clock  train  for  the 
West  I  may  as  well  look  for  a  new  job.  So 
long,  gang — see  you  all  in  a  couple  of  weeks." 

ISo  Music — ISo  Fun 

"  I  suppose  you're  glad,  Larry,"  said 
^T  I'lifc  turning  to  me.  "  Now  you  won't  have 
Is'.    Bob  is  such  mar\  clous  company, 
.^h,  it's  a  shame  he  had  to  go.  And  of 
.  <jurse  our  radio  would  develop  a  bad  case 
if  'staticitis'  at  the  wrong  time.  Well, 
\ho'd  like  to  hear  me  murder  the  piano?" 
"Nothing  doing — you'll  drive  the  guests 
,  "  broke  in  her  brother.   "I-et's  play 
■  instead.  Too  bad,  tkough,  I  was  all 
L'd  up  to  hear  Larry  sing  a  few  num- 
)r  us,  and  believe  it  or  not  it  took  me 
Hours  to  polish  this  floor  for  dancing." 
"That 's  a  shame,"  I  said  pretending  to  be 
•'■■■y.    "How  would  it  strike  you  folks  if  I 
A  my  own  accompaniment  and  then 
1 .1  off  a  few  dance  tunes?" 
"Strike  us,"  they  roared,  "why,  Larry,  it 
uould   knock  us  right  over.    Vou  can't 
l)l\i!'t  us  into  thinking  you  can  play  the 
pia.io." 

"Well  you  never  can  tell,"  I  said  edging 
closer  to  the  piano. 

"Stick  to  singing!"  chirped  a  chorus  of 
voices. 

By  this  time  I  was  sitting  at  the  piano  .  .  . 
IrKjking  over  the  sheet  music  .  .  .  itching 


'Ves,  for  goodness  sakes,  stick  to 
singing,"  jibed  my  pal  George.  "If 
you're  a  piano  player — I  'ma  toe  dancer. 

"Well,  get  ready  to  dance  then  boy." 
And  much  to  his  mortification  and  amaze- 
ment, I  played  the  sprightly  "Glow  Worm" 
half  way  through  and  then  with  a  simple 
motlulation  I  swung  into  one  of  the  latest 
Broadway  dance  hits. 

In  an  instant  the  crowd  had  regained  their 
pep.  'Great!"  "More!"  "Don't  stop!" 
they  cried. 

The  Third  De  firee  Starts 

Then  curiosity  got  the  best  of  them.  A 
cloudburst  of  questions  broke  loose.  To 
their  "hows,"  "whens,"  and  "wheres" 
there  was  only  one  answer.  "I  learned  to 
play  by  mail." 

"\Miat,  without  a  teacher?"  "Impossi- 
ble!" 

"Not  in  the  least,"  I  assurc<l  them.  "Vou 
don't  need  a  teacher  when  you  learn  the 
I'.  S.  5k:hool  of  Music  way — the  lessons  are 
sent  right  to  your  home." 

Then  I  told  them  all  about  this  famous 
course — how  I  set  m\'  own  study  period  and 
played  real  tunes  by  note  right  from  the 
ver>-  start — how  the  clear  and  simple  print 
and  picture  instructions  kept  me  from  mak- 
ing mistakes  and  hastenefl  my  progress — 
why,  in  almost  no  time,  I  could  play  any 
kind  of  selections — jazz  or  classical. 

.  .  .  and  then  they  kept  me  busy  at  the 
piano  until  the  wee  hours  of  the  morning. 


This  story  is  typical.  The  sooner  you  get 
started  musically,  the  sooner  you'll  be 
popular.   Decide  now  to  learn  to  play  your 


Play  by  Note 


Piano 
Organ 
Violin 
Piccolo 
Clarinet 
Flute 
Harp 
•Cello 
Guitar 


Hawaiian 
Guitar 
Drums  and 

Traps 
Mandolin 
Sight 

Sing  inc 
Ukulele 
Tronribone 


Saxophone  Cornet 
Voice  and  Speech 

Culture 
Automatic  Finger 
Control 
Harmony 
and  Composition 
Piano  Accordion 
Banjo.  'Plectrum,  5- 

String  or  Tenor 
Italian  and  German 
Accordion 


favorite  instrument  the  I',  S.  .S:Iuh)I  way. 
Don't  let  money  hold  you  back.  For,  no 
matter  which  instrument  you  select,  the 
cost  of  learning  averages  just  a  few  cents  a 
day.  Previous  musical  talent  or  knowledge 
is  never  required.  We'\e  alread\-  proved 
that  to  half-a-million  people. 


-         .  ,  violin,  \ello.  organ, 

f  ucnl,  you'll  find  that 

c\  l;r.>nv  i«  explained  in 

dru....     Ar.i  l.u  -  fraclical. 

Little  thcor>- — pK  That's 
wh\  <tiidei!t3  of  ti.  .<•  at  fa^t 

—  jj/a.i/  -.1?  \\:..>  old  time. 

I  vhIs. 

i     ■  •       !  Fr-.-  I!  .       ■■■  '  ■    P.  ". 

slr.ition 
mcll'.cxl.  The 

amazing  ncv.  _1       '  .      ,      .  i 

want  to  learn  lo  play — lake  this  opiK>riiinily  to  make 
your  dreams  come  true.  Sign  the  coupon  below. 
Instruments  supplied  when  needed,  cash  or  credit, 
f.  S.  School  of  Music.  607  Brunswick  Bids..  New 
Vork  Citv. 


(J.  S.  School  of  Music 

607  Brunswick  Bldg.,  New  York  City 

Please  send  me  >t)ur  free  book,  "Music  Lessons 
in  Your  Own  Home.  '  with  introductim  by  Dr. 
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Have  You 
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\,irn.- 


City. 


IS 


And  this  is  L'il  Marie  Prevost  Bo-Peep,  who  had  a  flock  of  admirers,  and  knew 
just  where  to  find  them — namely,  in  the  nickelodeons.  For  even  in  1918  she  was 
sitting  pretty  in  Hollywood's  Green  Pastures,  wondering  if  her  future  as  a  Mack 
Sennett  girl  would  be  a  gambol.  (Verily,  as  Mother  Goose  never  said,  the  years 
come  back  with  their  tales  behind  them.) 


14 


Blonde,  Brunette,  Redhead, 

^orBrownette! 

Do  Tou  Know 

Your  Color 
Harmony 

in 


Make-Up 

as  all  Hollywood  Screen  Stars  Do? 


Universal  Star — Blonde 


Sally  O'Neill 
R-K-0  Star 
Brunette 


Myrna  Lay 
IVamer  Bros.  Star 
Redhead 


Permit  Fi/mland' s  Make-Up  GcniuSy 
Max  Factory  to  Reveal  to  You  Holly' 
wood's  Make-  Up  Secret  .  .  .  the  One 
Way  to  Double  Your  Beauty  and 
Vividly  Emphasize   Your  Personality. 

IN  HOLLYWOOD,  to  please  the  screen  stars, 
a  new  kind  of  make-up  has  been  perfected 
for  day  and  evening  use.  A  new  magic  to  em- 
phasize beauty,  allure  and  personality. 
And  now  it  is  offered  to  you. 
A  Society  make-up... powder,  rouge,  lipstick 
and  other  essentials,  created  in  varied  color  har- 
monies to  blend  perfectly  with  every  variation  of 
complexion  coloring. 

Now,  like  the  screen  stars,  you  may  emphasize 
your  own  personality  and  individuality  by  having 
your  own  color  harmony  in  make-up  .  .  .  and  Ma.\ 
Factor,  Hollywood's  King  of  Makc-Up,  will 
analyze  your  comple.vion  and  chart  your  make-up 
color  harmony  .  .  .  free. 

yln  Amazing  Discovery 
In  his  Studio  work,  under  the  blazing  "Kleig" 
^^1^^    lights,  Ma\  Factor  discovered 
^^^^^^^^  the  secret  of  perfect  make-up. 
^^^Hpi^^    Cosmetics  must  be  in  perfect 
^^Hjp^  color  harmony,  otherwise 


odd,  grotesque  effects  result .  .  . 
and  beauty  is  marred.  So  today, 
in  all  the  motion  picture  produc- 
tions, faultless  beauty  is  insured  by 
Ma.\  Factor's  Make-Up. 

Rased  on  this  same  principle 
of  cosmetic  color  harmony.  Max 
Factor  produced  Society  Makc-Up 
for  day  and  evening  wear.  Powders, 
rouges,  lipsticks  and  other  essent- 
ials in  correct  color  harmonies  for 
every  variation  of  type  in  blonde, 
brunette,  redhead  and  brownette. 
Society  Make-Up  created  a  sensation  in  Holly- 
\\ood.  Almost  instantaneously  leading  stars  and 
thousands  of  other  beautiful  women  adopted  it. 

Learn  Hollywood' s  Make-Up  Secret 
Now  you  may  learn  what  Hollywood  knows 
about  make-up.  Ma.\  Factor  will  reveal  to  you 
this  new  secret  of  beauty.  He  will  analyze  your 
complexion  and  suggest  the  one  color  harmony 
in  make-up  that  will  magically  emphasize  your 
beauty,  charm  and  personality.  To  gain  the  greatest 
beauty,  you  must  individualize  your  make-up. 
Even  similar  types  ...  for  example,  Dorothy 
Mackaill  and  Phyllis  Haver,  both  blondes,  re- 
quire slight  changes  in  make-up  color  harmony. 

What  a  wonderful  opportunity!  ...  to  secure 
personally  from  Filmland's  genius  of  make-up, 
a  beauty  secret  prized  by  stars  of  the  screen.  Now 
it  is  yours.  Free  .  .  .  and  you  will  also  receive  a 
complimentary  copy  of  Max  Factor's  book,  "The 
New  Art  of  Society 

Joan  Bennett,  United  Artists  star, 
and  Max  Factor,  Hollywood' s  Make- 
Up  King  approving  the  correct  color 
harmony  tone  in  Max  Factor's  lipstick. 


Make-Up".  Fill  in 
coupon,  mail  today. 


Sue  Carol 
Fox  Film  Star 
Brownette 

Not  Every  Blonde  . .  . 

should  use  the  same  color  har- 
mony in  make-up. 

JVoe  Every  Brunette  . . . 

should  use  the  same  colors  in 
rouge,  powder  and  lipstick. 

JVot  Every  Redhead . . . 

should  risk  beauty  tohap-hazard 
selection  of  colors  in  cosmetics. 

JVot  Every  Broxvnette  .  . . 

should  dare  to  use  the  rouge  and 
powder  of  her  blonde  sister. 


'mail  for  your  complexion  analysis  ~1 

Max  Faaor— Max  Faaor  Studios,  Hollp^ood,  Calif.  2-7-24 
Dear  Sir;  Send  me  a  complimentary  copy  of  your  4&-page  book,  "TV  Nf*  /Irt 
t  of  So<ifty  Make-Up",  penonal  complexion  analysis  and  malce-up  color  harmony 
I  chart.   I  encloie  lo  cents  to  cover  cost 
I  o(  postage  and  handling. 


UJrf 


COMPLEXION 

COLOR  EVES 

LIPS 

L|hi 

Fw 

COLOR  LASHES 

Or, 

SKIN 

COLOR  HAIR 

OJy 

Duk 

Of, 

StDew 

AOE  1 

04..t 

Awor  •ah  Check  Mark 

Max  FACTOR'S  Society  MAKE-UP' 

"Cosmetics  of  the  Stars"*.  . .  HOLLYWOOD 

'^()"'r  of  all  makc-iip  u-^cd  by  Hollywood  Screen  Stars  and  Studios  is  Max  Factor's.  fLos  Angeles  Chamber  of  Commerce  Slalistics\ 


Just  Off  the  Boulevard 

Side-Street    Slants  On 
A      Main-Street  To^vn 


B  ^-    ^\^\  L  T  E  R    R  A  M  S  E  Y 


DURING  the  time  when  Lew  Cody  was  so  ill.  and 
1  even  before  that — when  the  working  days  were 
'  few  and  far  between,  the  exchequer  of  the  Cody 
family  sank  quite  low.  It  was  one  of  these  times 
that  his  faithful  old  valet  came  to  him  with  the  suggestion 
that  he  would  like  to  cut  his  own  salary  until  Mistah 
Codie  was  aworkin'  once  again.  Lew  wouldn't  hear  of  it 
but  the  colored  man  de- 
manded the  sacrifice.  He 
cut  his  own  salary  $40.00 
a  month. 

But  whatever  Lew  has 
lost  in  the  way  of  luck  and 
health,  he  has  always 
made  up  for  in  fineness 
and  generosity.  And  so, 
after  the  money  situation 
untangled  itself,  he  wanted 
to  put  the  negro  back  on 
his  old  pay,  or  even  a  bit 
more.  The  valet  vetoed 
the  idea.  Absolutely  re- 
fused— said  he  had  enough 
to  spend — just  wanted  to 
be  able  to  work  for  Lew, 
that  was  his  aim  in  life. 

So  it  was  up  to  Lew  to 
find  some  way  in  which  to 
make  the  servant  take  the 
money.  While  playing 
pool  one  night  at  the 
•Athletic  Club,  he  con- 
ceived the  brilliant  idea. 
The  next  day  he  had  a 
table  moved  out  to  the 
house.  Now  he  plays  the 
valet  once  a  week  for  an 
hour  or  so.  Colored  boys 
play  pool  as  pool  should 
he  played.  Lew  plays  him 
for  five  dollars  a  game  and 
the  boy  always  wins! 

With  everyone  in  the  world  crazy  about  the  talkies,  it 
takes  a  lot  of  whole-hearted  denial  on  the  part  of  Charlie 
Chaplin  to  keep  up  the  illusion  that  he  dislikes  them. 
But  he  has  succeeded  in  hating  them  in  public  to  the 
extent  that  all  believe.  Y  esterday  I  saw  him  standing  in 
front  of  Henry's  Grill  talking  to  the  deaf  and  dumb  news- 
boy. It  must  have  taken  him  quite  some  time  to  become 
so  proficient  in  the  art  of  talking  with  the  hands — but  he 
certainly  does  it  like  a  master.  Isn't  it  funny  how  far  a 
prejudice  will  drive  a  genius.^ 

Street  Scene 

A LITTLE  old  lady  has  been  playing  the  role  of  "sob- 
bing old  woman"  for  the  screen  for  a  number  of 
years.  She  is  perfection  in  that  particular  part  because  of 
her  looks — and  lately  because  of  her  voice.  A  whining 
sort  of  voice.  But  there  isn't  a  great  amount  of  work 
for  her  to  do — never  more  than  two  or  three  days  a  month. 


De  Fresh  Air  Taxicab  Comp'ny,  inco'pulated,  have  moved  f'om 
Hahlem  tuh  HoUawood,  'n'  Amos  (Freeman  F.  Gosden'  am  sittin' 
p'etty,  'n'  Andy  (Charles  J.  Correll)  don'  mean  it  when  he  say, 
"  Ah's  regusted" 


She  must  eat.  She  is,  therefore,  the  only  motion  picture 
player  who  carries  a  character  into  everj^day  life. 

When  she  isn't  engaged  in  the  studios,  one  may  often 
find  her  on  the  by  ways  of  Hollywood — playing  her  same 
part.  She  carries  a  large  market  basket  under  her  arm  for 
"atmosphere"  and  uses  make-up  to  make  her  appear 
more  forlorn.   Her  game  is  to  accost  a  person  who  looks 

like  a  little  "ready 
money"  with  something 
like  this: 

"Oh,  sir  .  .  ."  (motion 
of  daubing  the  eyes  with 
a  frayed  handkerchief) 
"I've  lost  my  purse  and 
have  no  way  to  get 
home  .  .  .  Could  you  let 
me  have  enough  to  pay 
my  car  fare.?  Oh,  sir,  I 
didn't  mean  a  dollar! 
But  thank  you — God 
bless  you,  sir,  for  helping 
an  old  woman." 

As  you  have  no  doubt 
guessed,  she  doesn't  often 
receive  a  five-cent  piece 
for  car  fare.  Most  often, 
at  least  a  dollar  bill 
finds  its  way  into  her 
well-filled  pocketbook — 
hidden  in  the  bottom  of 
the  basket.  She  may  get 
$15.00  a  day  for  her 
camera  work — but  I'll 
bet  she  loses  money  while 
she's  doing  it.  Her  in- 
come in  two  blocks,  while 
I  was  an  interested  on- 
looker, was  no  less  than 
$10.00  and  it  only  took 
her  twenty  minutes  to 
consummate  the  deals! 


Unlucky  in  Love 

SOME  fellows  have  all  the  luck.  Raoul  Walsh  not  only 
has  had  a  great  deal  of  luck  making  pictures  that  the 
public  enjoy,  but  he  has  been  very  fortunate  in  a  lot  of 
other  ways.  For  a  long  time  Walsh  has  been  an  enthusiast 
of  Agua  Caliente  and  the  ponies.  A  few  days  ago  he  pur- 
chased a  horse  of  his  own  for  the  sum  of  $17,000.  It  was  a 
known  fact  that  it  hadn't  won  a  race  for  a  long  time — 
still,  the  same  day  he  became  the  owner,  the  horse  won  a 
handicap  that  paid  the  owner  $30,000  in  cash. 

Two  )'ears  ago  on  his  honeymoon  Walsh  won  $35,000 
over  the  roulette  tables  in  Caliente. 

When  a  Hollywood  director  turns  "yes-man"  it  is 
worthy  of  a  story.  William  de  ^Mille,  brother  of  the  Bath- 
tub King,  is  the  megaphone  wielder  of  whom  I  speak.  It 
was  one  evening  out  at  Bebe  Daniels'  place.  The  guests 
had  all  enjoyed  a  very  hearty  dinner  and  the  dessert  was 
{Continued  on  page  pj) 


dAs  told  to 

Princess  Evt 

by 

10,000  Men 


Women  Use 
Too  Much  Kouge' 


rTHE  MEN  ,  poor 
dears,  are  not 
'rfFJ^BL.  quite  correct.  They 
^ ^^mtSM  judge  by  appear- 
ances solely.  What 
they  really  protest 
is  the  "painted 
look" — and  "too 
much  rouge"  is  not 
really  a  question  of 
quantity.  It  is  a 
matter  of  kind;  for  even  the  tiniest  bit 
of  usual  rouge  does  look  unreal. 

Women  have  startling  proof  of  differ- 
ence in  rouges  once  they  try  Princess 
Put.  Have  you  sometimes  watched 
ficjcv  clouds  at  sunset  shade  from 
deepest  rose  to  faintest  pink,  every 
tone  pure  and  luminous?  So  it  is  with 
Princess  Pat  rouge.  Every  tone  is  pure 
and  luminous,  seeming  to  lie  beneath 
the  skin  and  not  upon  it.  You  obtain 
more,  or  less,  color  by  using  freely  or 
sparingly.  But  there  is  never  a  ques- 
tion of  too  much,  never  the  unlovely 
"painted  look"  to  which  men  object. 

Purity,  delicacy,  the  most  costly  color 
tints,  and  a  secret  formula  combine  to 
make  Princess  Pat  the  most  natural 
rouze  in  the  iiorld.  And  whether  blonde 
or  brunette,  you  can  use  any  and  all  of 
the  six  Princess  Pat  shades  with  perfect 
effect — instead  of  being  limited  to  one 
as  with  usual  rouges. 

Velvet  Your  Skin  tvith  Princess  Pat 
Almond  Base  Face  Powder 

Velvet  is  just  the  word;  for  the  soft, 
soothing  Almond   Base  imparts  to 

Princess  E\t 

PRINCESS  PAT  LTD.  CHICAGO,  ILLINOIS 

rAVADIAV  AODHF.fW,  93  CHtTBCH  ST.,  TOROVTO 


Princess  Pat  an  entirely  new  "feel," 
makes  its  application  a  veritable  ca- 
ress. Most  powders  contain  starch  as 
a  base — hence  their  drying  effect.  The 
Almond  in  Princess  Pat  definitely 
helps  the  skin,  assists  it  to  remain 
pliant  and  fine  of  texture.  And  there 
has  never  been  a  powder  to  go  on  so 
smoothly,  or  cling  so  long — never  be- 
cause only  in  Princess  Pat  do  you  find 
the  soft,  naturally  adherent  Almond 
Base — instead  of  starch. 

Princess  Pat  Almond  Base  face  powder 
now  comes  in  two  weights.  Medium 
weight  in  the  familiar  oblong  box — 
lighter  weight  in  the  new  round  box. 
It  has  been  possible  because  of  the  Al- 
mond Base  to  make  the  lighter  weight 
powder  just  as  clinging  as  the  medium. 


Wonderful  New  Color  for  Lips 

Just  what  you've  wanted — lip  rouge 
that  colors  the  visible  part  of  the  lips 
and  that  also  adheres  to  and  colors  the 
inside,  moist  surface.  Thus,  parted 
lips  show  beautiful  color  all  the  way 
back — no  unlovely  "rim"  of  color  as 
with  usual  lipsticks. 

Try  the  Seven  Famous  Aids-to-Beauty  in 
Princess  Pat  Week  End  Set 


SOS 

1, 

Get  This 
Week  End  Set 
-SPECIAL 


This  is  really  an  "acquaintance"  set — 
enough  of  each  preparation  for  a  thor- 
ough trial — enough  for  two  weeks. 
And  the  beauty  book  sent  with  set 
contains  information  on  skin  care  of 
real  value — besides  artful  secrets  of 
make-up  which  vastly  enhance  re- 
sults from  rouge, 
powder  and  lip  rouge. 
You  will  be  delighted 
with  the  set. 


The  very  popular  Princess  Pat 
Week-End  Het  is  offered  for  a 
limited  time /or  THistoupON  oriii 
2Sc  (coin I.  Only  one  to  a  cus- 
tomer. Besides  Rouge,  set  contains  easily  a  month's 
supply  of  Almond  Base  Powder  and  HIX  other  Prin- 
cess Pat  preparations.  Packed  in  a  beautifully  decorate 
ed  boudoir  box.  Please  act  promptly. 


riaNCESS  PAT  LTD  Dept.  A-1015 
2  709  S.  Wells  Sl.,Chicago 

Enclosed  find  2Sc  for  which  send  me  the 
Princess  Pat  Week-End  Set. 

Name  [print]  .  . 

Street  

( 

City  and  Slate  


17 

 I 


Beauty 
that  is 
envied 
everywhere 


In  dieting  for  the  fashionable  figure,  be  sure  your  diet  is  u'ell  balanced  with  a  regular  supply  of  roughage 


LoRETTA  Young 
First  j^atwnal  Pictures,  Inc. 


Strikingly  smart  sports  costumes,  trail- 
ing evening  gowns  so  alluringly  feminine 
— such  fashions  as  these  were  made  for 
beautiful  women.  For  women  who  pos- 
sess that  much-to-be-desired  "rounded 
tlimness"  of  youth. 

Today,  graceful  curves  and  the  radi- 
ant glow  of  health  are  necessary  to  look 
well  in  the  nevy  modes. 

And  most  women  can  achieve  this 
fashionable  figure  by  wise  dieting.  .  .  . 

But  avoid  strenuous,  starvation  menus. 
They  often  destroy  beauty.  No  doubt  you 
know  girls  who  complain  of  dizziness  while 
dieting.  Of  headaches,  of  listlessness.  Often 
they  lose  their  color,  the  complexion  be- 
comes sallow  and  tiny  lines  of  age  appear. 

The  reason  for  this  is  that  most  reducing 
diets  lack  roughage.  Without  roughage,  the 
symptoms  and  evils  of  im' 
proper  elimination  are 
inevitable. 

Yet  they  arc  easy  to  avoid. 
Just  add  two  tablcspoonfuls 
of  Kcllogg's  All-Bran  to  the 
diet  daily.  It  is  not  fattening 
— yet  it  is  guaranteed  to  re 
lieve  and  to  prevent  all  danger 
of  improper  elimination. 

In  addition,  Kellogg's  All- 
Bran  helps  prevent  dietary 
;  ncmia.  It  contains  iron.  This 


RELIEVES  CONSTIPATION 

ALL-BRAN 


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.1- 


y{ame. 


_It 

s 


Pi 


hii^rcss. 


IS 


Velvet  isonly  a  wig,  but  a  big.  success  is  Helen 

•oothingivetrees,  who,  despite  the  misleading  LJIh  T  Th  "\T  T^\A/Th  T  \7^Th  TT?  Th  Th  ^ 

ume,  is  one  of  Hollywood's  leading  in-  ril-'i--l-^i\|  1  W  J-i-L  V        i  XvJjyllO 
L/|- mes,  now  being  ingenuous  for  "Her  Man  " 


fhonii 


19 


Sh  irnbaum 


Richee 


NANCY  CARROLL 

A  golfer — and  a  musicomedienne — above  par  is  Nancy  Carroll  in 
"Fpllow  Thru. "  And  now  she  becomes  serious — for  there  is  Satan 
to  pay  in  "The  Devil's  Holiday" 

21 


a  d  a 


sine 


Q  U  ill       i  Ji  e        (3^  e  !  ■  s  o  n  a  I  i  i 


MOT  DON     P  D  CT  OJ  [RE 

CLASSIC 


Talks 


By  GEORGE  KENT  SHULER,  Publisher 


'•His  Glorious  Night"  was  John  Gilbert's  first 
talking  picture.  There  were  rumors  at  the  time — so 
disastrous  was  its  effect  on  his  previous  public — 
that  it  would  be  his  last.  But  now  he  is  seen  and 
heard  again  in  "Redemption,"  and  in  this  com- 
plicated, worn-out  story  again  there  is  cause  to 
wonder;  where,  oh  where,  has  our  former  John  gone? 

He  is,  it  seems  to  us,  the  most  self-conscious  actor 
on  the  talking  screen.  And  this,  we  believe,  with 
reason.  No  other  major  actor  of  the  old  silent  days 
has  had  such  insipid  stories,  such  poor  hnes,  as  has 
the  unfortunate  John.  Give  him  a  strong  story,  with 
good  lines,  and  once  more  the  carping  critics  would 
be  eating  their  words. 


The  happiest  part  of  this  unhappy  picture  is  the 

sight  of  Renee  Adoree  before  the  camera  once  more. 
She  has  been  before  it  all  too  seldom  of  late. 

No  one  who  saw  "The  Big  Parade"  can  forget 
Renee  Adoree,  or  believe  that  the  waning  of  her 
stardom  has  been  any  fault  of  her  acting.  She  also  is  an 
illustration  of  what  poor  stories  can  do  to  a  talented 
player.  But,  like  Gilbert,  she  still  is  popular.  And, 
like  him,  she  deserves  a  break. 


The  most  sensational  development  of  the  census 

returns  is  the  possibility  that  Los  Angeles  is  now 
the  third  largest  city  in  the  United  States.  This 
only  goes  to  show  what  talking  pictures  and  talking 
chambers  of  commerce  can  do  for  a  climate.  The 
comment  of  San  Franciscans  is,  of  course,  that  there 
is  room  for  improvement  in  Southern  California. 


When  Douglas  Fairbanks  sailed  for  England 
recently,  it  was  with  the  two  announced  intentions 
of  seeing  the  races  and  of  interviewing  Eisenstein, 
the  Soviet  director — in  the  hope  of  persuading  the 
Russian  to  work  with  him.  A  radical  idea,  perhaps, 


but  all  the  recent  developments  in  the  movies  have 
been  radical. 

Eisenstein  is  an  experimenter,  a  man  with  no 
responsibility  to  tradition,  who  has  the  courage  of 
his  convictions.  He  has  new  ideas,  he  gets  new 
effects.  He  should  be  a  healthy  influence  in  Holly- 
wood— if,  unlike  most  directors  there,  he  can  do 
things  in  his  own  way. 


Many  have  lost  plenty  in  Hollywood  but  the 
largest  individual  loser  to  date  is,  undoubtedly, 
Paul  Whiteman,  who  recently  evaporated  from 
around  three  hundred  pounds  to  approximately  two 
hundred.  His  "King  of  Jazz"  also  is  something 
worth  mentioning — although  it  is  an  example  of 
splendor,  rather  than  brilliance.  His  music  is  a 
treat,  and  most  of  the  settings  are  dazzling,  but 
Paul  himself  is  the  show.  He  turns  out  to  be  a  natural 
comedian,  with  considerable  potentialities. 


Causes  for  hope  in  the  talkies: 

A  police  detective  does  not  wear  his  hat  in  the 
house — the  character  being  Inspector  Nayland  Smith 
and  the  picture,  "The  New  Adventures  of  Dr.  Fu 
Manchu." 

A  newspaper  man  is  not  a  flashy  wisecracker — the 
character  being  Toby  McLean  and  the  picture, 
"Young  Man  of  Manhattan." 


Causes  for  gloom : 

The  title  of  Ferenc  Molnar's  delightful  play, 
"The  Swan,"  in  which  Lillian  Gish  triumphantly 
returns  to  the  screen,  is  changed  to  "One  Romantic 
Night." 

La  Gish  herself  has  returned  to  the  Broadway 
stage,  is  making  a  hit  in  the  Chekhov  play,  "Uncle 
Vanya,"  and  is  scheduled  to  go  on  tour  in  it.  when 
— in  the  far  future — it  quits  Broadway. 


23 


IN  19 10,  narrow,  dirty  store- 
room "houses"  with  wooden 
kitchen  chairs,  occupied  by  an 
audience  whose  appearance 
may  be  imagined  by  the  fact  that 
every  hour  or  so  an  usher  passed 
up  and  down  the  aisles,  squirting 
a  sickeningly  sweet  perfume  to 
make  the  atmosphere  humanly 
bearable. 

In  1930,  magnificent  picture  pal- 
aces with  uniformed  majordomos 
helping  patrons  from  the  contin-. 
uous  procession  of  limousines  and 
taxicabs  that  stop  before  them. 
The  present  movie  audience  num- 
bers one  hundred  and  fifteen  mil- 
lion a  week — fifteen  million  new 
movie  fans  this  last  year! 

Once  movie  houses  were  known 
as  nickelodeons  and  attracted  the 
children  with  a  few  moist  pennies 
of  spending  money,  and  the  work- 
ing people  who  could  not  afford  to 
pay  much  for  their  good  times.  Now 
motion  pictures  at  the  same  prices 
as  legitimate  stage  shows  often  en- 
joy longer  runs  than  their  com- 
petitors of  the  legit.  Once,  smiles 
Sid  Grauman,  veteran  picture  show- 
man, an  auto-bus  stopping  in  front 
of  one  of  his  movie  houses  to  let  off 
patrons  was  an  event.   Now  auto- 
mobile parking  is  a  serious  problem 

At  top,  the  Roxy  Theater,  New  York  City, 
whose  weekly  earnings  average  about 
$100,000;  center,  S.  L.  Rothafel  ("Roxy"), 
who  sells  movies  and  music  together; 
right,  a  pretentious  movie  theater  of 
bygone  days 

Swing  OalJoway 

24 


Lhe  Changing 


Pictures  And  Public 


By  DOROTHY  CALHOUN 


to  all  movie  theater  owners,  and  most  large  picture 
houses  have  installed  a  system  of  electric  numbers  which 
signal  the  chauffeurs  after  the  show. 

"The  film  audience  to-day,"  says  Grauman,  "is 
largely  made  up  of  the  people  who  used  to  spend  their 
amusement  money  at  the  legitimate  theater  exclusively 
before  the  pictures  attained  their  present  popularity. 
The  higher  standards  of  the  films  themselves  have  im- 
proved the  tastes  of  their  fans  and 
attracted  more  intelligent  patrons 
who,  a  few  years  ago,  were  inclined 
to  sneer  at  the  movies  as  the  enter- 
tainment of  morons." 

Theater  Emigres 

FIFTEEN  million  new  movie  fans 
weekly  this  year!  What  do  they 
look  like,-  these  fifteen  million,  how 
do  they  dress,  how  do  they  think, 
how  much  money  have  they  to 
spehd,  and  where  do  they  come  from? 

From  the  orchestra  rows  of  legiti- 
mate theaters,  for  one  place!  In 
1929  the  stage  has  had  a  discourag- 
ing time.  On  Broadway,  last  strong- 
hold of  the  spoken  drama,  a  dozen 
legitimate  houses  have  found  it  good 
business  to  "go  rnovie."  All  over 
the  United  States  stock  company 
theaters  have  closed  their  doors,  un- 
able to  compete  with  the  talkies.  In 
Des  Moines,  the  local  stock  sent  far 
and  wide  for  the  best  players  avail- 
able, but  finally  gave  up  the  strug- 
gle. It  seems  safe  to  con- 

White 


Movie  Audience 


Have   Both   Grown  Up 


elude  that  former  patrons  of  the  legitimate  theater  are  now  to 
be  found  among  the  fifteen  million  new  talkie  fans. 

The  other  evening  in  Hollywood  a  critic  dining  at  a  restau- 
rant near  the  Chinese  Theater  noticed  a  number  of  new  faces 
in  the  before-the-theater  crowd,  faces  he  recognized  as  being 
always  present  in  the  symphony  audiences,  and  among  the  box- 
holders  when  the  opera  comes  to  town.  From  other  snatches  of 
conversation  he  learned  that  it  was  the  first  visit  of  many  of 
them  to  a  motion  picture  house.  Among  these  new  weekly 
fifteen  million  movie  fans  we  may  number  many  people  with 
a  passion  for  the  opera,  trained  voices  and  an  understanding 
of  musical  technique.  "People  who  have  been  willing  to  pay 
six  to  ten  dollars  a  seat  to  hear  Lawrence  Tibbett,  Mar>'  Lewis, 


or  John  McCormack,  will  surely  pay  six- 
ty-five cents  to  hear  them  in  the  talkies," 
says  C.  Graham  Baker,  First  National 
executive. 

High-Toned  Music 

ERNO  RAPEE  fifteen  years  a^o  was 
hired  as  conductor  of  the  Rivoli  Thea- 
ter orchestra  by  S.  L.  Rothafel,  or  "Roxy," 
ashe  is  more  affectionately  known.  "Roxy," 
even  then,  was  looking  beyond  the  tink- 
ling piano  of  the  nickelodeon,  to  a  film 
future  when  picture  patrons  would  be  of 
the  sort  to  appreciate  the  finest  music 
that  the  finest  orchestra  could  give  them. 

"Every  time  I  entered  the  pit  to  con- 
duct an  overture,"  says  Rapee,  "I  had  in 
mind  the  belief  that  my  audience — the 
movie  audience  that  had  always  been 
considered  the  least  receptive  to  genuine 
music — would  some  da^  be  eager  for  the 
best  I  could  give  them.'  For  many  years, 
while  other  picture  houses  were  still  feed- 
ing their  public  with  popular  and  trashy 
tunes,  the  Rivoli  patiently  taught  its  pa- 


Archer 


1 


0 


P.g-A. 

trons  to  understand  and  like  more  clas- 
sical music.  At  the  same  time  the 
character  of  the  movie  audience  itself 
was  changing,  growing  more  critical  of 
its  entertainment.  For  the  last  four 
years  Rapee  and  his  symphony  orches- 
tra of  one  hundred  and  ten  musicians 
have  been  able  to  give  a  motion  picture 
audience  the  finest  music  ever  written, 
music  which  ordinarily  would  never 
have  been  heard  outside  of  the  concert 
hall  or  opera  house! 

In  1910,  a  raucous  soprano  bawling 
{Continued  on  page  j8) 

At  top,  Sid  Grauman,  who,  like  "Roxy,"  hat 
helped  movie  audiences  to  change;  center,  a 
typical  movie  theater  exterior  before  the  era 
of  stars;  left,  the  interior  of  Warners'  new 
Hollywood  Theater,  New  York  City 

25 


The  Most  Romantic 


.  0d 


Spurr 

THE  most  romantic  moment  of  my 
life  came  after  I  was  married — and 
it  was  not  with  my  wife. 
You  see,  I  was  in  love  with  my 
wife.  In  love  with  her  in  a  very  practical, 
workable  way.  Our  love  was  a  real  thing — 
something  strong  and  heavy,  upon  which 
one  could  lean.  But  romance  was  the  small- 
est part  of  our  love.  I  mean  the  thing  we 
call  "romance" — that  intangible,  gossamer, 
fragile  spark  that  leaps  up  unexpectedly 
with  a  quick  flame,  only  to  flicker  out  at 
the  first  breath  of  reality  .  .  . 

I  had  fallen  in  love  with  the  girl  I  was  to 
marry  while  I  was  still  very  young.  Our 
love  developed  in  the  most  natural  way. 

e  were  a  boy  and  a  girl  in  a  little  Southern 
town — school-day  sweethearts,  engaged 
"folks,"  and  then  married  in  the  accepted 
custom.  In  fact,  there  was  nothing  out  of 
the  ordinary  at  all  about  our  love.  We  were 
just  like  many  another  young  couple  south 
of  the  Mason-Dixon  Line.  Hut  my  romance 

was  not  ordinary.   No  true  romance  could   

be  anything  but  extraordinary — because 
there  are   so  few  of  them  in  real  life. 

Their  Meeting 

MY  romance  started  aboard  a  trans-Atlantic  steamship. 
The  girl's  last  name  I  never  knew.    And  she 
never  knew  mine. 

How  we  came  to  know  one  another  has  always  been  a 

26 


As  Told  Bj  ]ohn  Boles 

To    WALTER  RAMSEY 


puzzle  to  me.  It  seems  to  occur  to  me,  though, 
that  we  were  introduced  to  each  other  the  second 
night  out.  I  have  a  vague  recollection  of  watching 
the  captain  lead  a  demure  slip  of  a  girl  up  to  my 
table  and  leave  her.  He  made  some  explanation  to 
the  efl^ect  that  her  mother  was  indisposed — and 
would  I  take  care  of  her.'  That  is^he  best  I  can  do 
with  the  beginning.  It's  all  very  hazy. 

I  can't  remember  what  we  ate  or  what  we  said  at 
the  table.  I  don't  recall  leaving  the  dinner  salon  or 
stepping  out  on  deck.  My  story  starts  later  in  the 
evening,  when  I  suddenly  found  myself  wandering 
very  slowly  outside  the  dancing  salon.  Someone 
was  tugging  lightly  at  my  arm.  She  was  there. 

That  little  tug  on  the  arm  was  the  beginning  of 
my  romance.  From  that  moment,  until  the  last 
glimpse  I  had  of  her  under  the  new  sticky  green  of 
the  chestnut  trees  in  Paris,  I  find  every  minute 
detail  indelibly  printed  on  my  memory.  I  remember 
that  she  was  a  very  naive,  old-fashioned  little  lady. 

It  was  his  smile,  perhaps,  that  attracted  Marilynne — for  it 
implies  romance.  Below,  a  romantic  moment  with  Donal 
Blossom  in  one  of  his  first  pictures,  "Bride  of  the  Colorado" 


nidi 
Jo 


Her  name  was  Marilynne — and  she  looked  rather  like 
her  name:  petite,  auburn-haired,  smiling  and  sweet. 
She  must  have  been  in  her  early  teens,  because  although  I 
was  only  twenty-two  at  the  time,  she  seemed  to  regard 
me  as  quite  a  man. 

After  watching  through  the  salon  wi"ndows  at  thedanc- 


Moment  of  My  Life 


One  Afternoon  In  Paris 
John  Boles  Lived  The 
Story    Of  "Louise 


for  a  few  minutes,  and  listening  to  the  dreamy 
ilrz  the  orchestra  was  playing,  we  decided  to  take 
turn  about  the  deck  in  the  moonlight.  Yes,  there 
.as  even  the  stage  setting  of  a  slim  spring 
loon.  It  may  have  been  her  first  romantic 
xperience  with  life.  She  acted  as  though  it 
.ere.    Holding  my  arm  tightly  and  gazing 
ip  into  my  eyes  as  we  walked,  she  seemed 
11  but  consurried  by  the  newness  and  glam- 
'ur  of  the  situation.   And  perhaps  I  also 
s  as  discovering  something  for  the  first  time. 
True,  I  was  married.   But  mine  was  a  mar- 
iage  of  camaraderie  and  deep  affection — 
not  romance. 

As  we  walked  along  arm-in-arm,  I  made 
|wo  decisions.  The  first:  that  love  is  a  much 
reater  thing  than  romance — but  that  one 
Lcht  be  experienced  without  the  other. 
'  second:  that  I  would  make  no  mention 
liaving  been  married.  I  was  sure  that  I 
iild  enjoy  this  bit  of  a  new  feeling  that 
d  started  to  develop  in  my  heart. 
And  so  it  was  that  we  came  to  know  one 


Above,  as  the  lover  of  Bebe 
Daniels  in  "Rio  Rita," 
which  established  him  as 
"the  screen's  most  roman- 
tic actor;"  left,  as  he  ap- 
peared in  his  early  screen 
days;  lower  left,  the  lover 
of  song 


another  as  Marilynne 
and  John — never  any- 
thing more.    We  were 
more  like  two  spirits, 
sailing  on  the  same  boat 
to   heaven,   than  two 
ways  to  Paris.  And  after 
much  of  the  time.  Her 
atch  the  moon  or  the  stars 
-tetes  were  easily  arranged 
eling  alone.  I  had  left  my 
to  study  music. 


Freulich 

very-alive  youngsters  on  their  separate 
that  first  meeting,  we  were  together 
mother  was  strict,  but  we  managed  to  w 
for  a  while  every  evening.  These  tcte-d 
to  her  convenience — because  I  was  trav 
wife  in  the  States,  while  I  went  abroad 

Making  Plans 

XHE  fact  that  I  had  already  experienced  love  made  this  sweet- 
girl  romance  a  bit  hard  to  understand  at  first.  Not  so  with 
ilynne,  however.  She  was  just  on  the  threshold  of  everything 
that  life  affords  a  woman — and  she  seemed  sure  that  she  had 
found  the  thing  she  had  been  dreaming  about  during  her  girlhood. 
We  spent  many  hours  sitting  in  deck-chairs,  bundled  up  in  heavy 
robes,  talking  of  the  future  and  my  singing.  She  told  me  of  her 
plans  to  study  languages  in  Paris  for  six  months  and  then  to 
return  to  her  home  in  South  Carolina.  Oh,  how  she  had  longed 
Rmy  /ones  {Continued  on  page  86) 


when  Evelyn  Laye 
appeared  on  Broad- 
way this  past  sea- 
son  in    the  Noel 


Coward  musical,  (  ? 

"Bitter     Sweet,"  |  i 

the    critics    all    but  | 
wrote    poetry    in  . 
praise  of  her.  They 

ran    out    of   adjec-  ji 

tives,   describing  n 

her    dancing,    her  I 

singing,  her  beauty.  1  j 

At  this  phenome-  H 

non,  the  Powers  of  | 

i 

Hollywood    came  •] 
rushing  to  see  and  , 
hear — and  in  Holly-  j 
wood    she    will  be 
this    summer,  after 
a  short  vacation  in 
her  native  England. 


^    Edward  Thayer  Monroe 

I 

i 
i 


Hollywood  Sob -Stories 


^Lina  Basquette  Has 
Known  Every  Kind 
Of  Adversity 
Hollyw^ood  Has 
To  Offer 

By    DOROTHY  MANNERS 


HOLLWOOD,  for  all  her  bountiful 
gifts  of  fame  and  wealth,  can  be 
unnecessarily  cruel,  until,  at  times, 
the  unfortunate  victim  of  her  jibes 
and  gossip  seems  pursued  by  a  personal  jinx 
that  touches  each  climax  of  life. 

It  must  seem  that  way  to  Lina  Basquette. 
Hollywood  has  never  been  kind  to  Lina, 
even  in  her  influential  days  as  the  wife  of 
Sam  Warner.  Even  in  the  days  when  she 
was  the  potentially  sensational  candidate  for 
the  glory  that  Cecil  de  Mille  can  build.  And 
certainly  not  now — though  Lina  is  person- 
ally happy,  for  the  first  time  in  her  Holly- 
wood life,  as  the  wife  of  Peverell  Marley.  It 
is  a  happiness  she  has  grasped  in  spite  of 
Hollywood  whisperings,  and  held  to  .  .  . 
firm  in  the  conviction  that  she  was  right. 
Strangely  enough,  she  is  not  embittered. 
To  even  this  last  dreadful  thing,  the  attempt 
to  take  her  baby  away  from  her,  she  merely 
shrugs  her  trim  shoulders.  "They  don't 
understand,"  she  explained  simply.  "They  couldn't — or 
it  could  not  have  been  like  this  all  along." 

It  all  started  five  years  ago  .  .  .  almost  from  the  time  of 
her  arrival  in  the  colony  as  the  wife  of  Sam  Warner.  She 
was  a  vivid  person,  intensely  colorful — and  young.  Too 
vivid,  too  young,  some  people  said,  to  fit  into  the  grooves 
so  smugly  occupied  by  other  wives  of  producers  and  Holly- 
wood executives.  Obviously,  the  seventeen-year-old 
Follies  danseuse  was  not  for  the  bridge  luncheons,  the 
tally-card  friendships,  or  the  discreet  dinner  parties  given 
only  by  and  for  the  "right  people"  (whoever  they  are). 

Young  and  Idle 

HEIGH-HO,  sighed  Hollywood,  but  this  was  a  strange 
marriage!  Twenty-two  years  difference  in  their 
ages.  "Money"  played  an  important  part  in  the  musings 
at  the  discrepancy.  liut  even  tne  most  malicious  could  not 
deny  that  Sam  Warner  adored  the  ground  his  vivid 
dancer-wife  walked  upon. 

For  the  most  part,  Lina  went  her  own  way.  The  few 
friends  she  made  were  of  her  own  age,  girls  connected  with 
picture  work,  girls  still  in  the  excitement  of  doing  things. 
Sam  Warner  had  not  wanted  her  to  continue  her  profes- 


Rusaell  Ball 

sional  work  after  marriage,  but  the 

love  of  it  was  still  in  her  blood.  One  does  not  retire  from 
ambitions  at  seventeen. 

Idleness  bored  her.  Particularly  the  brand  of  Holly- 
wood idleness  that  is  not  idleness  at  all,  but  an  aimless 
marathon  of  hurrying  from  one  place  to  the  other  at  the 
correct  time.  It  wasn't  until  Lina  knew  she  was  going  to 
be  a  mother  that  she  compromised  with  her  leisure.  Even 
then  she  promised  herself  that  after  the  baby  came,  she 
would  broach  the  subject  of  her  work  to  Sam  again — try  to 
make  him  see  how  unhappy  she  was  with  no  work  to  do. 

Fighting  the  Enemy 

THE  daughter  of  Sam  Warner  and  Lina  Basquette  is  an 
exquisite  child.  Almost  from  the  cradle  she  manifested 
the  little  charms  of  personality  which  are  making  her  now 
the  pivotal  point  in  an  adoption  case.  But  there  were 
nurses  for  little  Lina,  there  was  "the  family,"  there 
were  innumerable  hands  to  do  the  things  that  might  have 
kept  Lina  occupied  with  her  own  child.  There  were  so 
many  that  she  eventually  found  herself  confronted  by  her 
old  enemy  .  .  .  nothing-to-do.  The  baby  was  growing 
{Continued  on  page  So) 


29 


Ij-  the  Dev/l 


ADAM    was    the    first    man  to 
/\     rumor  that  the  Devil  might  be 
a  woman,  when  he  cried  out  in 
JL.         explanation  of  that  apple  af- 
fair, "The  woman  tempted  me!"  But 
he  was  not  the  last.    The  suspicion 
has  come  down  through  the  ages.  It 
must  have  played  in  the  back  of  the 
mind  of  Menelaus  as  he  listened  to 
Helen  lisp  her  apology  for  her  part 
in  the  Trojan  War,  and  something 
along  that  line  might  have  occurred 
to  John  the  Baptist  a  moment  or 
two  before  his  head  was  served  to 
Salome.  Cecil  de  Mille  believes  there 
is  enough  foundation  in  the  idea  to 
title  his  new  talking  picture  after 
a  "Madame  Satan."  And  I  my 
self  should   not  be 
prised  if  such  were 
the  case,  though  it 
may  sound  traitorous 
to  our  sex. 


Oman: 


Yes — And   A  Thoroughl)' 
''Good"    One,  Thinks 
Kay  Johnson 


A  «  Interview  By 

NANCY  PRYOR 


But  of  this  I  am  convinced,  .  .  .  that  if  the  devil 
is  a  woman,  she  is  not  wicked  and  bad — but  a  good 
zvoman  who  is  thoroughly  idle,  mischievous  rather 
than  malicious,  more  blundering  than  wicked, 
and  more  stupid  than  evil.    For  from  such 
women  all  the  troubles  of  the  world  are  spread. 
A  bad  woman  would  be  too  obvious  a  mask 
for  the  Devil,  who  is  insidious.  We  are  on  our 
guard  against  bad  women  who  are  obviously 
such — the  siren  with  her  painted  sneer,  the 
flirt  with  her  shallow  mind,  the  parasite  with 
her  empty  heart.   As  for  women  the  world 
considers  morally  bad,  they  are  too  apt  to 
be  hidmg  a  heart  of  gold  under  a  sequin 
evening  gown  with  darts  of  flame  like 
^\      the  Devil's  own  masquerade.  And 
I  do  not  believe  that  is  the  costume 
of  the  real  Lady  Devil. 

A  Demon  About  the  House 

IF  such  there  be,  mark  my  words,  she  is 
wearing  apron  strings — with  the  hap- 
piness of  some  struggling,  nagged  male 
dangling  from  the  ends.  Of  the  vices  she 
has  none  of  the  little  ones  and  all  of  the  big  ones. 
No  sleeping  until  mid-day  for  her.   It  curtails  her 
time  to  gossip,  to  set  her  house  running  in  madden- 
ing efficiency,  to  fill  her  mind  with  trivial,  unim- 
portant flaws  in  the  character  of  her  friends  and 
her  husband.   For  the  Devil  is  not  a  lady  of  free- 
love.  She  is  not  that  generous. 
This  Woman-Devil  is  an  immaculate  housekeeper, 
{Continued  on  page  84) 


She  knows:  Kay  John- 
son, at  top,  is  the  Ma- 
dame in  "Madame  Sa- 
tan." Left,  a  design  by 
Adrian  of  a  costume  she 
wears  in  the  picture 


•    Bone  Voyage 

Sad,  but  true,  is  "Bum,"  despite  the  fact  that  Cap' n  Ahab  Barry- 
more — searching  once  more  for  that  ol'  davil  whale,  Moby  Dick 
(once  known  as  "The  Sea  Beast") — has  just  told  him  that  he  can 
have  no  whalebones.  And  despite  the  discovery  that  the  captain's 

not  a  mate  Irving  Llppman 


31 


I'i- 


The  Vlirt's  I 


n 


32 


In  the  studio  she  may  be  just  a  sailor's  sweetheart  (have  you  seen  her 
"True  To  The  Navy"?),  but  down  at  the  beach  she  keeps  away  from  the 
whitecaps.  For  some  girls  are  eye-openers,  but  Clara  is  the  other  kind. 
And  some  may  use  just  a  smile  for  an  umbrella,  but  Clara  is  not  stingy. 


otto  Dy»t 


sports  Of  The  Stars 


VII 


As  Told  BjK 
Ken    M.  a  y  n  a  r  d 

TO 

C  E  D  R  I  C 
BELFRAGE 


WELL,  you  sure 
picked  on 
the  wrong 
party  to 
talk  'bout  huntin'. 
Huntin'   is  a  pretty 
tame  proposition  any- 
how, the  way  I  figure  it. 
I've  hunted  pretty  near  every 
thing  on  two  legs  or  four,  and 
after  all's  done  there's  only 
one  thine  as  gives  me  a  real 
thrill:  that's  shootin'  at 
coyotes  from  my  air- 
plane. When  I  want  a 
real  thrill,  I  go  out  to- 
ward   the    desert  a 
ways,  crack  the  'plane 
up  to  'bout  140  miles 
an  hour,  spot  coyotes 
and  dive  to  'bout  ten 
feet  from  the  ground 
to  take  shots  at  'em. 
They   run   and  then 
stop  to  look  back  at 
you,    I  never  hit  one 
yet.    Prob'ly  have  to 


go  after  'em  with  a  machine-gun  to  make  a  kiilin'.  And 
then  the  one  you'd  kill  'd  be  yourself,  tryin'  to  look  after 
the  gun  and  the  controls  at  the  same  time. 

I  still  go  out  huntin'  bear,  sometimes.  But  it  ain't  for 
any  thrill  there  is  in  it.  I  go  because  I  like  the  trip,  the 
campin',  the  companionship  and  the  open  air.  Also 
because  I  like  bear  meat.  There's  some  fight  in  a  bear, 
but  nothin'  much.  The  only  thing  that  makes  it  sport  is 
the  brush  country,  where  he  has  a  chance  of  gettin' 
away.  The  grizzly  is  one  of  the  very  few  animals  that 
actually  will  charge  you — but  even  ne  will  always  run 
if  he  can.  I  haven't  seen  one  that  won't  run  unless  per- 
haps he's  mighty  hungry. 

Hardly  "Sport" 

BUT  the  poor  little  brown  bear!  Anybody  can  kill 
'em — it's  not  heroic.  And  to  kill  'em  for  "sport"  I 
can't  see.  Now  if  they  had  a  gun,  I'd  think  it  was  sport. 
The  man  has  a  high-powered  rifle;  the  bear  has  nothin' 
but  his  legs.  But  I'm  crazy  about  bear  meat,  and  when 
I  want  some,  I  sometimes  go  out  after  'em. 

If  there's  any  sense  in  killin'  something  just  to  pose 
alongside  of  your  car  with  it — well,  you  can't  jnake  me 
see  it. 

The  same  thine  goes  for  every  other  animal  you  can 
hunt,  the  way  I  figure.  There  isn't  nothin'  goin'  to  attack 


Huntin'  Big  Game, 
Ken  Maynard 
Prefers  Huntin' 
To  Shootin 


a  man  unless  he's  hungry,  you  bcl. 
Buffalo.^      You    simply  ride 
alongside  with  a  .30-. 30 
and    let    'em    have  it. 
Deer.'     Now  there's  a 
pathetic    little  thing. 
You  know  where  they 
are  and  go  and  get  'em. 
Bear    and    deer — you 
always  know  just  where 
to  find  em  at  any  particular 
time.  They're  not  quick 
gettin'  away;  they 
look  you  over  first. 
You   just   sight  'em 
and   there   you  are. 
Anybody  but  a  blind 
man  could  kill  'em. 

Seems  to  me  it's 
more  sportin'  by  long 
chalks  to  shoot  quail 
or  something  that  has 
a  better  chance. 
There's  a  certain 
amount  of  risk  to 
huntin'  mountain-lion 
in  New  Mexico,  of 


course,  but  I  still  put  it  in  the  category  of  simple  sports. 
There's  more  sport  trappin'  wild  horses  than  there  is  in 
any  big  game  huntin'. 

Ropin'  Is  Real  Sport 

THE  real  sport  is  ropin*,  not  shootin*.  I've  heard  all 
about  the  big  game  huntin*  in  Africa,  and  Td  imagine 
it's  much  exaggerated.  I've  all  the  intention  in  the  world 
of  goin'  to  Africa  myself.  It  won't  be  long  before  I'll  be 
lightin'  out  for  there — I've  a  standin'  invitation  from 
Colonel  Rice  to  visit  him  at  his  hunting-lodge  in  Uganda. 
But  I  don't  intend  to  spend  my  time  killin*  poor  little 
lions  with  a  gun. 

Vm  goin'  after  *em  with  a  rope — everything  up  to  the 
rhinoceros.  Maybe  it  hasn't  ever  been  done  oefore,  but 
it's  my  idea  of  sport  with  a  real  thrill.  We'll  flush  'em 
out  of  the  brush,  and  away  we'll  go  after  'em.  Rhino! 
Now,  he's  a  tough  baby — he'd  fight  you.  My  idea  is  to 
have  five  good  cowboys  all  rope  nim  at  once,  then  keep 

fettin'  bigger  and  bigger  ropes  on  him  and  hold  him. 
le'll  duck  and  dodge  and  twist,  but  five  good  cowboys 
could  hold  him.  But  rope  him.'  Easy!  And  lion'd  be  even 
easier.  The  thrill  comes  when  he  starts  goin'  and  you've 
got  to  hang  on. 

I've  roped  mountain-lion  myself,  so  I  know  somethin' 
{Continued  on  page  Qi) 

33 


In  private  life  she  might  be  Mrs.  Withers,  but  to  her  public  she 
wanted  to  be  forever  Young.  So  one  day  she  ran  away — from 
Hollywood  to  the  Big  Woods  -and  lost  herself.  And,  as  Peter  Pan, 
she  found  that  a  tree  lends  support  to  a  day-dream  —that  getting 
up  is  no  effort — and  that  bedrock  is  conducive  to  slumber 


Using  All 
Lore  tta  Young 
Other 


34 


Pocahontas 

Her   Woodcraf  t, 
Becomes  Two 
People 


i 


But  as  young  Mr.  Pan,  she  decided,  she  would  never  know  much 
romance.  So  she  acquired  some  braids,  and  hied  herself  away  to  an 
Indian  summer  resort,  there  to  dream  of  the  brave  who  deserved 
the  fair  young  squaw — and  would  make  her  keep  the  home  fires 
burning — and  never  allow  her  to  paddle  her  own  canoe 


35 


C  L  A  S  S  I  CI 


Case 


CHARLESON  GRAY,  Court  Reporter 


Editor's  Note. — The  docket  of  CLASSIC'S  Open 
Court  is  full,  and  you,  Ladies  and  Gentlemen  of  the 
Jury,  can  expect  some  of  the  most  interesting  cases 
that  have  ever  found  their  way  into  print.  You 
have  heard  to  date  the  testimony,  under  cross- 
examination,  of  Mr.  Cecil  B.  De  Mille  and  Mr.  Eric 
von  Stroheim,  taking  the  stand  in  their  own  de- 
fense. The  July  term  of  court  finds  another  interest- 
ing case  before  us — with  a  unique  defendant  in  the 
dock.  No  less  a  gentleman  than  Mary  Dugan's 
lawyer  is  trying  the  case,  and  the  charge  is  no  less 
than  murder.  It  is  a  serious  charge.  Pay  close 
attention.  Ladies  and  Gentlemen  of  the  Jury,  to 
what  he  has  to  say — for  you  are  the  ones  who  will 
decide  the  merits  of  his  case. — 

MORGAN  FARLEY,  Special  Prosecutor,  comes 
forward  to  present  his  side  of  the  case:  Ladies 
and  Gentlemen  of  the  Jury.  Before  the  court 
we  now  have  a  most  interesting  defendant. 
Unlike  the  previous  cases,  those  of  Mr.  De  Mille  and  Mr. 
von  Stroheim,  this  time  we  do  not  have  an  individual  on 
trial.  Rather,  it  is  a  place — Hollywood. 

Looking  at  it  as  it  reclines  there  in  all  the  gorgeous 
wealth  of  its  physical  perfection,  I  grant  that  it  may  be 
difficult  for  me  to  convmce  you  of  the  harsh  charge  which 
I  am  preferring  against  it.  Realizing  this,  I  feel  that  it  is 
my  duty  to  warn  you  against  the  blandishments  of  this 
murderer.  Hollywood  has  tricked  and  sirened  many 
people  before,  and  will  fool  many  again.  So  beware — for 
It  is  written  that  its  clever  ways,  charming  as  they  first 
may  seem,  invariably  lead  to  artistic  death! 

Lest  there  be  some  question  as  to  the  fitness  of  so  young 
a  man  as  myself  to  try  so  experienced  a  defendant,  I  also 

36 


I  )art  ot 
iiroddl 
dl,  3t  ; 

feel  that  I  should  inform  you  that  I  am  the  attorney  wF  id.  Jii 
so  successfully  handled  the  case  of  my  sister  in  the  famoiur 
London  "Trial  of  Mary  Dugan."  Too,  I  gained  invalipi' 
able  experience  in  court  procedure  during  the  celebratai't p»v 
"American  Tragedy"  of  one  Clyde  Griffiths.   And  thdioii:  ] 
I  certainly  learned  about  seducers  from  the  peer  of  theieinsu 
all  in  that  famous  affair,  "Fata  Morgana.'    Thus  it  j' 
evident  that  my  dramatic  background  enables  me  to  pr< 
secute  this  fair  scoundrel  to  the  full  extent  of  the  lav! 

Women  in  the  Case  P 

A  ND  now  to  begin.  As  this  trial  is  being  held  in  jots 
jTY  community  which  respects  womanhood  and  how,  jentsi 
shall  call  as  my  first  witness  Miss  Lilyan  Tashman.  Mian  Vec 
Tashman,  will  you  take  the  stand  I  might  add  that  yojnde 
had  better  take  that  chinchilla  coat  with  you — you  kno|Ti(" 
how  these  courtrooms  are.  Miss  Tashman,  I  believe  yc 
are  the  author  of  an  oft-quoted  figure  of  speech  concernirteime:- 
the  respective  merits  of  Hollywood  and  New  York.  Wiaiaj 
you  kindly  repeat  it  for  the  benefit  of  the  court?  m^to 

Miss  Tashman:    I  said  that  whereas  New  York  pitai 
champagne,  Hollywood  is  gin — and  bad  gin,  at  thai 
However,  since  the  talking  pictures — 

Prosecutor:  That  will  be  all,  Miss  Tashman.  Mii 
Constance  Bennett,  will  you  kindly  take  the  stanc 
Thank  you.  And  now.  Miss  Bennett,  what  is  your  opiil 
ion  of  Hollywood  f 

Miss  Bennett:  Will  what  I  say  be  used  against  me? 

Court  scribe:  Anything  you  don't  want  m  the  recoi 
sweetheart — 

Prosecutor:  Order  in  the  court!  Please  speak  as  free| 
as  you  can. 

Miss  Bennett  (yawning):  Hollywood  is  an  awful  plac< 
Not  anything  to  talk  about  but  pictures,  not  anybody  t^ 


^olds  Open  Court 


he  Charge:  Murder,  First  Degree 

he  Accused:  Hollywood 

he  Prosecutor:  Morgan  Farley 


to  but  picturie  people,  not 
place  to  go   but  picture 
jherings.    Very  dull.  Heigh- 
Very  dull. 

Unprintable  Testimony 


PROSECUTOR:     Thank  you, 
Miss  Bennett.    You  will  observe, 
dies  and  Gentlenien  of  the  Jury,  that 
se  two  young  women  are  successful  in 
Uywood.  Their  attitude  is  decorated  by  no  sour-erape 
tif.    I  now  will  call  upon  a  man  equally  upsydaisy. 
arles  Bickford,  will  you  please  take  the  stand.'  Mr. 
:kford,  what  is  your  opinion  of  Hollywood.' 
\lr.  Bickford:   (Note  by  Scribe:  Mr.  Bickford's  testi- 
ny  is  deleted  by  order  of  the  court  as  unprintable.) 
'Prosecutor:  Thank  you,  Mr.  Bickford.  And  I  wonder 
)art  of  your  annoyance  is  colored  by  the  fact  that  your 
r  oddly  turned  red  under  the  movie  sun-arcs.'  No.' 
11,  at  all  events  I  now  will  call  on  an  authentic  red- 
id. Jim  Tully,  will  you  take  the  stand,  bo.' 
i\lr.  Tully:  Sure  I  will!  But  what  I  say  will  cost  you  a 
i^cV  a  word.    Kipling  gets  it,  why  shouldn't  I.'  You 
•fji't  pay  it.'  Well,  it's  good  publicity  anyway  .  .  .  HoUy- 
leiod.'  Jeeze!  Ernest  Hemingway  asked  me  now  I  could 
we  in  such  a  place.   It's  easy.   Don't  pay  any  attention 
•fir,  or  any  of  the  (another  deletion)  people  in  it! 

Beer  Indictment 

')ROSECUTOR:   Mr.  Tully,  is  your  attitude  toward 
the  town  fairly  representative  of  that  of  the  other  big 
3ts  of  contemporary  literature.'    I  refer  to  state 
;nts  by  such  men  as  Dreiser,  Aldous  Huxley,  Carl 
\fiiin  Vechten,  Hergesheimer  and  Mencken — to  the 
•  ;^neral  effect  that  the  place  is  a  bucket  of  ashes. 
Tully:  Don't  call  that  cream-puff  Van  Vechten  a 
_  shot,  the  pink-tea-splasher!  And,  as  for  Herge- 
eimer — well,  did  you  read  "Tampico".'  Dreiser 
IS  a  good  boy  once,  but  we  younger  guys  are  coming 
>ng  too  fast  for  him.  Hank  Mencken  doesn't 
e  It  anywhere  where  the  beer  is  bad. 
AProsecutor:  As  it  is  here  ? 

jri/Z/y.'  As  it  is  here!  You  said  it.  No  need  to  rub  it  in. 
UProsecutor  (sadly):  Aye,  as  it  is  here.  Thank  you,  Mr. 
illlly.   And  say!   Are  these  actors  ever  going  to  learn 
Sver  to  lead  with  a  right.'  (Turns  to  jury)  And  those, 
^dies  and  Gentlemen,  are  but  a  few  of  the  many  witnesses 
I  my  disposal,  who  are  ready  to  testify  to  Hollywood's 
'neral  banality.  I  have  selected  them  carefully,  as  being 
resentative  of  the  film  colony's  best  along  social, 

Itistic,  dramatic  and  literary  lines.   You  will  note  that 
it  one  of  them  is  fooled  by  the  town's  false  glamour. 
Hollywood,  we  are  informed  passionately,  is  peerless  at 
^^erytning.    Peerless  climate,  peerless  salaries,  peerless 
■sessions,  peerless  people.  Yet  to  a  not  inconsiderable 


percentage  of  its  population,  it  is  not  quite  so  peerless  at 
anything  else  as  it  is  at  being  peerlessly  painful. 

True,  in  the  interests  of  the  justice  and  truth  for  which 
this  court  stands,  one  must  admit  that  the  group  which, 
if  I  may  say  so,  gives  the  celluloid  city  the  bird,  are  not 
notoriously  well-satisfied  with  anything  in  particular. 
They  have,  if  I  make  myself  clear,  well-developed  critical 
faculties. 

They  are  critical — but,  damme,  they  also  are  interest- 
ing, intelligent  and  alive!  The  kind  of  people  whose  slight- 
est good  word  is  of  more  value  than  a  whole  chorus  of  the 
type  whose  conversation  is  summed  up  in  the  word  "yes.' 
{Continued  on  page  Sj) 

37 


The  Thing: 

Some  Ladies  To  Fea  Q 
Feminin  § 


Lilyan  Tashman 
(left):  "Wives 
hate  women  who 
are  gracious  to 
their  husbands— 
who  get  so  little 
graciousness  at 
home."  Hedda 
Hopper  (right  ) : 
"Most  wives 
hate  and  fear  the 
wrong  type  of 
Other  Woman" 


Ball 


B 


y 


GLADYS  HALL 


THE  idea  for  this  trenchant,  timely  and  topical  tale  came 
direct  from  Hedda  Hopper.  Hedda  ought  to  know.  She 
should  be  the  type  that  all  wives  hate  and  fear  and  lock  their 
husbands  away  from.  That  Hedda  has  as  many  women 
friends  as  men  friends  and  a  legion  of  both  is  a  tribute  royal  to  the 
one  hundred  per  cent,  sportsmanship  of  Hedda.  For  if  she  would 
she  could,  if  you  know  what  I  mean,  Little  Women! 

For  Hedda  is  suave  and  svelte  and  subtle.  Hedda  is  slender  and 
wand-like.  Hedda  speaks  with  the  tongue  of  angels  and  demons. 
Hedda  wears  clothes  like  a  million.  She  has  a  provocative  face  and 
a  provocative  mind.  She  is  of  the  most  mondainish  mondaine  and 
bakes  her  own  bran  muffins.  She  is  a  weaver  of  spells;  screens  with 
a  feline  ferocity  under  silken  scarves;  and  is  the  mother  of  a  son. 
She  is  in  demand  everywhere.  On  the  Metro  lot  no  picture  seems 
to  be  complete  without  Hedda  to  be  a  cause  celebre,  catty  or  cloying. 
In  the  drawing-room  of  all  the  Four  Hundreds  of  the  four  great 
cities  of  the  world.  In  the  drawing-rooms  of  doctors  and  lawyers 
and  preachers  and  scholars.  On  the  polo  field.  On  the  beaches.  At 
the  bridge  table.  Over  a  dish  of  gossip.  Wherever  the  smart,  the 
intriguing,  the  eminent  people  of  the  world  she  moves  in  are  gathered 
together,  there  Hedda  is  also.  And  holding  the  supreme  authority 
is  a  sound  sense  of  the  practical  side  of  life  and  a  thorough  knowledge 
of  what  makes  this  world  go  round. 

A  Wife  Who  Knows 

NOT  to  mention  the  fact  that  Hedda  was  once  married  to  De 
Wolf  of  the  same  name.  De  Wolf,  whose  acquiring  and  train- 
ing of  wives  is  international  newspaper  copy. 

We  were  talking,  Hedda  and  I,  on  the  Metro  lot.  On  the  set  of 
"Let  Us  Be  Gay,"  Norma  Shearer's  last  picture  before  the  Blessed 
Event.  Hedda  said,  pointing  to  the  dark  and  violet-sweet  Norma, 
"There  is  the  cleverest  girl  in  Hollywood!"  She  went  on  to  dis- 
course on  diet  and  Swedish  massage.  She  goes  in  for  both.  She 
goes  m  for  everything  that  contributes  to  sheer  perfection  of  mind 
and  body.  She  told  of  a  party  she  had  recently  attended  at  Marion 
Davies'  little  beach  shanty.  She  described  her  own  en- 
trance with  the  detachment  of  an  amused  spectator,      h.  Louist 

38 


iWives  Hate 

3-ive  Away  Some 


Secrets 


Natalie  Moor- 
head  ( r  i  g  h  1 1 : 
"The  woman 
wives  should 
hate  is  some 
other  wife  who 
is  a  mother  as 
well  as  a  wife." 
Evelyn  Brent 
(left'i :  "There 
are  things  wives 
hate  far  more 
than  they  hate 
other  women" 


7 


Fri-er 


The  successful  new  gown.  The  successfully  swedished  figure.  The 
grouping  of  watchful  wives  who.  foolishly  secure,  had  "let  them- 
selves go."   She  laughed  and  said,  "xMy  dear,  hozv  the  wives  haled 

me.'" 

And  we  went  on  from  there:  The  Things  Wives  Hate.  Deadly 
and  dangerous  women.  Youth.  Clothes.  Charm  some  have  for- 
gotten or  never  had  .  .  . 

Blonde  Yankee  Dangers 

HEDDA  said,  "The  most  dangerous  and  devastating  woman  in 
the  world  is  the  pale  New  England  Blonde.  She  is  as  cold  as 
a  Y  ankee  winter  and  as  tenacious.  She  looks  immaculate,  and 
hasn't  a  scruple  to  her  name.  No  woman  suspects  her,  and  all  men 
desire  her. 

"Most  wives  fear  and  hate  the  wrong  type  of  Other  VVoman. 
They  fear  actresses  because  of  the  legendary  belief  in  the  evil  ways 
and  wiles  of  us  painted  women.  They  are  too  obtuse  or  too  unob- 
serving  to  see  that  all  actresses  are  far  more  interested  in  themselves 
(which  means:  in  their  work)  than  they  are  in  any  husband  alive. 

"They  fear  the  obvious  siren.  The  Barbara  La  Marr— Pola  Negri 
type  of  woman.  They  shouldn't.  I  have  never  known  a  woman  of 
this  kind  who  wasn't  a  first-rate  sport.  A  darned  ^ood  sport. 

"The  really  dangerous  woman  is  the  little  ingenue,  the  World's 
Sweetheart  variety,  who  has  round  eyes,  a  baby  stare,  a  smell  of 
lilac  and  a  lisp.  The  sort  who  says  to  Any  Husband,  '  Won't  oo 
pease  help  me  wif  my  Bank  Account.'  I  just  tant  add!'  And  Any 
Husband  helps  her  with  the  bank  account  and — usually — adds  to  it. 

"This  innocuous,  lilac  type  is  the  very  one  a  trusting  wife  will 
invite  to  spend  the  year  with  her.  She  spends  the  year  and  when 
she  leaves — hubby  leaves  with  her. 

Helpless  Home-Wreckers 

"HPHE  type  wives  should  hate  is  the  helpless  one  who  makes 
J_  it  her  business  to  invite  protection.  All  men  love  to  feel  that 
they  are  strong,  that  they  are  necessary.  The  woman  who  can  most 
successfully  make  them  feel  just  that  is  the  very  one  to  whom  Every 
Wife  should  give  '  Rough-on-Rats.'  She  shouldn't  be  allowed  to 
die  in  the  house,  let  alone  live. 

{Continued  on  page  S^) 

39 


Ball 


he 


Home  Cooking 


I 


Blanche  Sweet  is  an  ardent 
exponent  of  daylight  saving. 
Why  go  down  to  the  seas 
again,  when  you  can  get  the 
same  effects  up  on  the  roof? 
At  the  top,  you  see  her  dream- 
ing of  turning  her  back,  and, 
right,  rising  to  state  that  she 
is  blanched  no  longer 


40 


Ki' 


i 


Hollywood  is  now  locally 
known  as  the  back  country. 
All  the  girls  are  going  in  for 
high  coloring.  Above,  you 
see  ten  little  back  numbers 
from  Pearl  Eaton's  chorus, 
getting  some  heavier  coats  up 
on  the  roof  of  Radio  Pic- 
tures' administration  building 


Bml! 


Zjetting  Called  Names 


How  Players  Have  (Or  May) 
Become    Popular  Overnight 


[N  Hollywood's  civic  cen-  By  HERBERT 
ters  of  art  and  culture 
two  cardinal  principles  stand  like  twin  obelisks. 
Both  are  inviolable  as  the  Vestal  Virgins  .  .  .  who, 
leing  human,  may  have  slipped  occasionally.  One  is 
olier  even  than  II  Duce  Hays's  prodigiously  promulgated, 
ad  much  mooted,  Code  of  Ethics.  It  is  fundamentally 
»ciomatic.  Not  in  so  many  words,  of  course.  But  then 
ou  get  the  idea.  Or  do  you.' 

The  one  of  these  commandments  to  which  strictest 
dherence  is  essential  may  be  set  down  as  The  Rule  of 
light  and  Pursuit.  Without  its  rigid  observance  no  Epic 
lay  hope  to  be  a  real  Supreme  Achievement  of  the  Screen, 
iberally  translated,  Tne  Rule  of  Flight  and  Pursuit 
leans  that  ya  gotta  have  a  chase.  And  ya  gotta  have  a 
hase  in  every  moom  pitcher.  Whether  it's  Lil  Gish  chas- 
ig  through  fields  of  daisies,  or  Laurel  'n'  Hardy  chasing 
Trough  a  Grandeur  Screenful  of  custard  pies  and  falling 
■ousers. 

There  has  never  been  a  Super-Special  without  a  chase, 
lot  in  all  that  proud  panoplied  pageant  from  "The 
lirth  of  a  Nation"  to  "The  Patriot" — from  "The 
ingin'  Fool"  to  "The  King  of  Kings,"  has  there  been  an 
'.p\c  without  a  chase.  There  never  will  be  one.  For  if 
ne  Bard  himself  arrived  in  Hollywood  via  the  Styx  & 
tratford  Air  Line,  the  first  warnings  of  the  Great  Minds 
'ould  be: 

"Remember,  Mister — er — Shakespeare,  ya  gotta  have 
chase!" 

The  Second  Sacred  Precept 

rHE  fullest  consummation  of  the  second  sacred  precept 
is  not  yet  attained,  although  devoutly  to  be  wished, 
t  is  the  re-christening  of  every  star  with  one  of  those 
ndearing  cognomens,  like  "Buddy."  Without  it  no  satel- 
te  may  attain  real  stellar  magnitude.  As  every  picture 
lust  have  a  chase — so  every  star  must  have  a  nickname. 

For  this  there  is  sound  precedent.  Whom  the  people 
)ve,  they  re-christen  in  popular  fancy.  Or,  perhaps  it's 


CRUIK  SHANK      truer  t'other  way  'round— 

who  are  re-named  to  meet 
popular  approval  become  the  darlings  of  the  populace. 
Consider,  for  instance,  "Honest  Abe,"  "Big  Six,"  "Silent 
Cal,"  "The  Manassa  Mauler,"  "America's  Boy  Friend," 
"Scarface  Al." 

Look  at  it,  for  an  instant,  from  an  angle  somewhat  re- 
moved from  pictures  and  players.  Concentrate  upon  the 
case  of  the  good  Signor,  Alphonse  Capone.  Under  his 
natal  name  he  could  never  have  made  his  daily  doings  the 
subject  of  breakfast,  luncheon  and  dinner  talk.  There  are 
those  who  easily  equal  him  in  his  own  sphere  of  activity — 
Mr.  Frank  McErlane  and  Mr.  Edward  O'Donnell,  just  to 
mention  two  of  the  Cook  County  hunting  set.  But  these 
sportsmen  fail  to  figure  in  the  press  because  their  names 
lack  the  popular  appeal  of  Mr.  Capone's  "Scarface  Al" 
and  "The  Big  Feller." 

Mr.  McErlane  is  doubtless  familiar  to  the  cognoscenti. 
But  he  cannot  vie  for  public  interest  in  cornpetition  with 
more  picturesquely  titled  contemporaries.  That  is,  they 
are  contemporaries  at  the  moment.  Perhaps  by  publ  ca- 
tion time  it  will  be  ethical  to  prefix  "the  late"  to  the 
names  of  Mr.  "Mojjs"  Volpa,  Mr.  "Three-Fingered" 
White  and  Mr.  "Fur  '  Sammons. 

Underworld-Wide  Fame 

QNLY  one  of  Mr.  Capone's  little  world  has  shown  real 
showmanship  in  the  matter  of  names.  This  is  Mr. 
Demore.  Mr.  Demore's  press  notices  wouldn't  have 
filled  an  extra-girl's  scrapbook  before  he  made  his  bid  for 
a  place  in  the  popular  consciousness.  But  when  he  became 
inspired  to  alter  his  cognomen  to  "Machine-Gun  Jack 
McGurn,"  his  clippings  eclipsed  those  of  "Big  Bill,  the 
Builder."  Bill  should  really  engage  Jack's  Counsel  of 
Public  Relations. 

So,  you  see,  there's  plenty  in  a  name,  after  all.  What 
fame  equals  that  of  "Two-Gun  Bill"  Hart.''    Who  can 
estimate  the  enthusiasm  aroused  for  young  Mr.  Rogers 
{Continued  on  page  lo^) 


41 


LOOKING! 


Close-Ups  From 


Coast 


Otto  Dyar 

M-G-M  is  rumored  to  have  offered  Sylvia,  the 
Swedish  lady  masseuse  who  bears  the  fat 
from  Hollywood  silhouettes,  seven  hundred 
and  fifty  dollars  per  week  to  come  over  to  their  studio 
from  Pathe  where  she  is  drawing  down  four  hundred  per. 
Sylvia  bluntly  refused.  "There  are  a  couple  of  girls  over 
there  I  don't  like  and  while  it  would  be  great  fun  to  beat 
it  off  'em,  I  think  I'll  stay  here  where  I  don't  have  to  put 
my  heart  in  my  work." 


SYLVIA  has  a  great  job.  She  doesn't  have  to  massage 
anyone  she  doesn't  like.  It's  in  her  contract.  They 
tell  the  story  of  the  very  ritzy  English  actress  who  came 
to  the  ruthless  little  czarina  of  the  massage  table  for  a 
treatment.  "Stand  up,"  commanded  Sylvia,  "and  turn 
around."  There  was  a  rather  prolonged  silence  while  she 
looked  the  candidate  over. 

"Now  there,"  she  said,  "is  what  I  call  a  broad  beam!" 


Mortenaen 

Four  million  dollars  and  two  years  were  spent  on 
"Hell's  Angels,"  a  war  film  with  a  novel  ending — 
a  happy  one.    And  at  last  the  world  sees  Jean 
Harlow  (above),  whose  future  now  begins 


Another  red-head  is  happy  (and  happily)  in  Holly- 
wood: Zelma  O'Neal  (left),  who  plays  golf  with  a 
musical  score  in  "Follow  Thru,"  finds  a  sprat  where 
there  is  some  comedy  relief 


CONSTANCE  BENNETT  being   interviewed   in  a 
beauty  parlor. 

John  Boles  getting  the  biggest  hand'  of  them  all  for  his 
"Song  of  the  Dawn"  in  the  "King  of  Jazz." 

Janet  Gaynor  and  Lydell  Peck  in  the  preview  audience  oj 
Nancy  Carroll's  newest  picture. 

Jeanette  Loff  and  Walter  O'Keefe  dining  together — iCs 
almost  a  habit. 


CONSTANCE  BENNETT  wields  more  power  and 
authority  at  the  studios  than  any  unstarred  player 
who  ever  hit  Hollywood.  The  beautiful  Ex  of  Phil  Plant 
is  having  her  O.  K.  and  0.  Nay  on  stories,  directors,  and 
even  her  supporting  cast.  i 
She  is  under  contract  to  Pathe,  but  her  authority  holdis 
equally  good  on  other  lots.  The  final  decision  as  to  whm 
was  to  support  her  in  Warner  Brother's  "Office  Wife'j' 
rested  with  Constance.  . 


42 


Them  Over 


By    DOROTHY  MANNERS 


A  Southern  girl  who  went  not  only  West,  but 
Western:  Lucille  Powers  (above)  gets  her  first  big 
Hollywood  break — being  the  woman  in  the  case  of 
"Billy,  The  Kid"  (John  Mack  Brown) 


Tired:   the  show  went  on  for  Mary  Astor  (right) 
after  the  tragic  death  of  her  husband,  Kenneth 
Hawks,  and  she  completed  "Ladies  Love  Brutes" 
and  "Woman  Hunt"  before  a  breakdown  came 


When  she  was  making  "Common  Clay,"  her  personal 
press-agent  called  at  the  studio  with  some  photographs  for 
her  approval.  "  But  we  don't  under  any  circumstances 
ow  any  business  transacted  on  the  sets,"  he  was  told 
by  the  Boy-Who-Lets-Them-Know-Where-To-Head-In 
at  the  Fox  studio.  Which  was  all  true  and  very  well 
until  Constance  got  wind  of  what  had  happened.  Then 
they  quietly  changed  their  rule. 


WALLACE  BEERY  and  his  wife,  and  Leila  Hyams 
and  her  husband  dining  together  at  the  Montmartre 
Sunday  evenings. 

Lon  Chaney  telling  Hedda  Hopper  she  is  his  secret 
rrotv.  Just  for  fun,  of  course.  Nothing  for  Mrs.  Chaney 
g,et  excited  about. 

Sue  Carol  and  Nick  Stuart  buying  rugs  and  kitchen 
^ockery  for  their  new  house.   This  one  is  English — so  they 
couldn't  use  the  Spanish  stuff. 


Otto  Dyar 

Jack  Holt  and  Dorothy  Sebastian  lunching  at  Henry's 
between  scenes. 


JOHN  GILBERT  has  gone  just  a  little  hay-wire  in  re- 
fusing to  see  the  press  just  at  a  time  when  he  needs 
their  good  will  as  he  never  needed  it  before.  He  has  not 
granted  an  interview,  or  posed  for  a  set  of  new  pictures 
since  before  his  trip  to  Europe.    It  is  all  right  for  Greta 

Garbo  to  hide  out  in  seclusion.  But  

Anyway,  so  rabid  is  Jack  on  the  subject  of  press  men 
that  he  arrived,  turned  on  his  heel  and  walked  out  on  a 
stag  dinner  party  given  by  one  of  his  most  intimate  friends, 
when  he  caught  sight  of  a  local  newspaper  man  who  was 
also  a  guest. 

On  the  other  hand,  of  course,  what  this  forever-talking 
town  takes  for  high-hat  aversion  may,  on  investigation, 
turn  out  to  be  an  effort  to  bend  backwards  and  not  solicit 
favorable  notices  on  his  "comeback." 

43 


News    And   Views  Oi 


SALLY  EILERS  and  Hoot  Gibson  and  their  engage- 
ment ring,  all  three,  present  at  Marion  Douglas  Rogell's 
birthday  party. 

Joan  Crawford  in  a  Ford  with  a  girlfriend. 
Helen  Tu-elvetrees  in  a  bright  red  dress  on  her  way  to  a 
studio  preview  at  San  Bernardino,  fifty  miles  from  Hollywood. 

Director  out  at  Pathe  wondering  if  Joseph  Schildkraut 
would  play  a  "heavy"  in  an  Eddie  Quillan  story.  He  found 
out!!! 


CLAUDIA  DELL,  the  new  Warner  Brothers'  best 
bet,  "a  Follies  girl  with  a  Jeanette  MacDonald 
voice,"  was  invited  to  sing  at  a  private  dinner  party  of 
studio  executives.  Claudia  was  properly  thrilled  by  her 
distinctive  audience,  which  included  Joseph  Schenck, 
Will  Hays,  B.  P.  Schulberg,  the  Warners  and  others. 
But  there  was  one  she  couldn't  place.   So  she  inquired. 

"Oh,  him,"  whispered  back  a  secretary  ot  the  occasion, 
who  was  escorting  Claudia  back  to  her  car.  "That  was 
Calvin  Coolidge." 


MARIAN   NIXON  Hillman  and  her  millionaire  hu. 
band  and  Jean  Harlow  dining  at  the  Embassy. 
Kathryn  Crawford  unnecessarily  disguised  in  blac 
goggles  on  Hollywood  boulevard. 

June  Colly er  all  dressed  tip  in  pink,  with  a  sore  throat. 
Mary  Brian  in  the  audience  of  Lenore  Ulricas  rathe 
naughty  show. 

William  Haines  speaking  cordially  to  a  critic  who  panneA 
his  last  picture. 

Cecil  De  Mille  going  "lower  case" — that  is,  de  Mille\ 
Tired  of  being  "called  a  big  D." 

Women  leaving  during  some  of  the  trench  scenes  of  "Al 
Quiet."   (P.  S.  They  came  back.) 


JOHN  FORD,  the  well-known  director,  autographed  *| 
picture  to  a  friend  like  this:  "Portrait  of  John  Ford] 
(with  hair.)" 

There's  a  tip!  Why  not — "Nancy  Carroll  (with  tempera- 
ment)," "Greta  Garbo  (in  solitude)"  or  "Joseph  Schild- 
kraut (with  feeling)"? 


THE  most  temperamental  player  in  Hollywood  is  not 
Jetta  Goudal. 

According  to  his  producers,  Jimmy  Hall  has  a  couple 
of  idiosyncrasies  that  have  been  too  long  overlooked. 

Jimniy  has  a  gift  for  breaking  appointments — showing 
up  on  the  set  late — not  showing  up  on  the  set  at  all — and 
running  up  the  heaviest  charge  accounts  in  Hollywood. 

In  spite  of  it  all,  Jimmy  is  a  good  guy.  He  always  ends 
by  promising  the  offense  will  never  happen  again — and  it 
doesn't — until  the  next  time. 


WOULD  you  think  there  was  anybody  in  the  world* 
who  hadn't  heard  of  the  old  song,  "Frankie  andj 
Johnny"  ?  But  Pathe  has  changed  the  title  of  their  picture j 
from  "Frankie  and  Johnny"  to  "Her  Man,"  because  they| 
were  afraid  it  was  too  obscure  in  meaning. 

In  order  to  test  the  idea,  a  poll  was  taken  among  the 
studio  carpenters,  props  and  electricians  as  to  what  the 
title  suggested  to  them.    The  consensus  of  opinion  was! 
that  "Frankie  and  Johnny  "  were  a  couple  of  buddies  Over ! 
There  during  the  war. 


Hurrell 


Even  Gavin  Gordon  (above)  had  to  smile  at  Fate's  sense  of 
humor — giving  him  the  coveted  rdle  of  leading  man  opposite 
Greta  Garbo  in  "Romance,"  and  then  breaking  his  arm 


Zerrenner 


Thinking  things  over — wondering  if  she  wants  to  be  a  come- 
dienne or  be  serious — is  Roberta  Robinson  (above),  who  makes 
her  first  appearance  on  any  stage  in  "  Dangerous  Nan  McGrew  " 


44 


p Hollywood 

-'rEANETTE  LOFF  delighting  the  Universal  studio  with 
I   her  charming  singing  voice. 

Mary  Pickford  having  her  hair  waved  at  Jim's  and  lunch- 
ng  at  the  Brown  Derby,  all  in  one  day. 
Bebe  Daniels  advising  a  newspaper  man  to  learn  contract 
Viiridge  and  quit  working  for  a  living. 

•  •  • 

THE  faux  pas  interview  of  the  month  concerns  a  re- 
porter who  went  to  interview  John  McCormack. 
"\Miat  do  you  think  of  John  Boles's  voice,  Mr.  McCor- 
fttmack?" 

The  genial  Irish  tenor  replied  that  he  thought  Mr.  Boles's 
jvoice  was  delightful. 

i"And  Laurence  Tibbett.'"  pried  on  the  reporter. 
Another  compliment  from  McCormack. 
.    On  and  on  went  the  reporter,  mentioning  ever>'  singer 
oi  the  screen.    "Listen,"  interrupted  the  great  concert 
tsinger  after  about  an  hour  of  this,  "did  you  ever  hear  of 
iHjohn  McCormack.^  I  think  he's  pretty  good,  too." 

•  •  • 

A COUPLE  of  film  newlyweds  were  stopped  on  the 
Boulevard  by  our  leading  hand-kissing  sheik,  who 
i  spent  the  best  part  of  the  ten-minute  chat  rolling  his  eyes 
tat  the  pretty  bride  and  telling  her  how  charming  she  was. 
y  The  husband  stood  on  one  foot  and  then  the  other.  But 

the  little  bride  rather  liked  it. 
he    As  the  dashing  Lothario  finally  tipped  his  hat  and  moved 
»on  his  way,  the  young  bride  said:   "Oh,  I  like  him  so 
vmuch.  He  says  the  nicest  things." 

•f    "The  nicest  thing  he  said,"  grunted  the  groom,  "was 
'good-bye.'" 


Pred  Archer 


Kitty-\ti\:  from  Mr.  Ziegfeld'i  Hall  of  Fame  steps  Claudia  Dell 
(above),  whose  eyes  and  whose  ways  are  the  current  attraction 
of  Hollywood — and  of  "Sweet  Kitty  Bellain" 


Today 

LILY  AN  TASHMAN  in  vivid  cerise  at  the  premiere  of 
^  "Song  of  My  Heart." 

Charles  Farrell  with  a  small,  but  decorative,  mustache. 

Eddie  Lowe  was  billed  as  master  of  ceremonies  for  this  one 
but  he  didn't  get  a  chance  to  do  his  stuff — there  weren't  any 
ceremonies. 

Sid  Grauman  reported  slated  for  management  of  Roxy 
(Fox)  Theater,  New  York,  if — or  when — Roxy  goes  with 
RKO  and  affiliated  radio  companies. 

•  •  • 

BETTY  COMPSON  has  actually  filed  divorce  pro- 
ceedings against  James  Cruze.  This  is  their  second  sep- 
aration for  apparently  the  same  reason — too  many  Holly- 
wood parties. 

Betty's  first  rebellion  took  place  about  a  year  ago  when 
she  moved  out  of  Jim's  Flintridge  home,  taking  her  elabo- 
rate bedroom  suite  with  her.  When  she  and  Jim  eventually 
patched  things  up,  Betty  moved  back;  but  she  didn't  bring 
the  bedroom  suite.  She  must  have  had  her  doubts  all 
along  about  Jim's  reform  as  a  host. 

Now  it's  definite.  Jim  will  continue  to  give  his  parties, 
but  Betty  and  the  bedroom  suite  won't  be  there. 

•  •  • 

JOHN  GILBERT  wanted  very  much  to  play  the  title 
r6le  in  "Billy,  The  Kid,"  but  for  some  reason  or  other 
the  studio  saw  fit  to  give  the  part  to  Johnny  Mack 
Brown. 

No  longer  are  the  studios  under  the  sway  of  the  star 
reign.  With  the  advent  of  the  talkies,  stars,  no  matter 
how  starry,  are  just  actors  to  their  home  teams. 

{Continued  on  page  lOi) 


Nightmares  Of  a  Peanut 

At  Eight  Every  Night,  Marjorie  White 
Has  A  Guilty  Feeling 

By  DOROTHY  MANNERS 

WHEN  Marjorie  White  is  nor  busy  being  a  wow  in  such  Fox  revues  as 
"Happy  Days,"  "Sunny  Side  Up,"  and  the  new  "Follies,"  she  is 
equally  occupied  having  nightmares  about  returning  to  Inter-State 
Vaudeville,  from  whence  she  came.  Even  the  glowing  assurances  of 
critics,  and  a  two-year  contract  even  more  glowing,  hasn't  quite  sold  her  on  the  idea 
that  she  is  wholly  set. 

"Every  time  I  see  a  new  girl  on  the  lot  from  New  York,  I  jus'  know  she's  slated 
to  take  my  place.  'What  have  I  got I  ask  myself, 'What  have  I  got.?'  Seems  like 
each  one  that  comes  out  is  just  a  little  more  beautiful  than  the  other.  An '  as  long  as 
they  stay  beautiful,  it's  a  little  consoling.  I  figure  it's  harder  to  get  shrimps  like  me 
for  pictures  than  it  is  to  get  the  real  beauties.  I  guess  I 'm  fairly  safe,"  she  gasped  in 
childish  breathlessness,  "until  another  peanut  shows  up." 

In  all  justice  to  Marjorie,  she  is  not  so  "shrimpy"  as  just  plain  juvenile 
chubby.  Even  out  of  the  reach  of  the  mike  she  continues  to  talk  like  a 
fifth-grade  contender  for  the  elocution  medal.    Without  ever  quite 
achieving  a  lisp,  she  is  always  on  the  verge  of  it.  The  rest  of  her  is  made 
up  of  an  enormous  pair  of  China-blue  eyes,  that  stare  out  on  the  world 
in  utter  bewilderment  that  it  could  be  so  grown  up.  On  this  occasion 
the  expression  of  bafflement  was  further  enhanced  by  a  woolly  white  tam, 
set  so  far  back  on  her  blonde  head  that  it  fairly  clutched  at  her  bob  for 
place  and  position. 


Not  Yet  Convinced 


IT  would  be  a  mean  trick  if  I  should  get  un-renewed  just  as 
r 


m  beginning  to  be  so  crazy  about  it  out  here,  wouldn't 
it.?"  she  inquired  plaintively,  on  the  outskirts  of  a  pout.  And 
it  wasn't  until  I  agreed  that  it  would,  that  she  brightened 
perceptibly. 

"I've  got  a  regular  Hollywood  house  up  on  top  of 
a  hill  .  .  .  that  is,  it  dangles  there,  all  sur- 
rounded by  flowers  and  plants  and  things 
An'  I've  even  bought  myself  a  Ford  which  { 
drive  very  well,  though  no  one  thinks  (  d 
except  myself.  Gee,  sometimes  I  wake  I 
in  the  middle  of  the  night  and  just  gr^  j/t 
hold  of  my  bed,  because  it's  permanent 
on  the  floor  and  won't  fold  up  on  me. 
After  you've  lived  a  disappearing  life 
in  four-a-day  and  slept  in  beds  tha  i 
fold  up  on  you,  as  long  as  I  have,  yo^*V.ii 
begin    to    appreciate    those    Httlt , ,  • 
details. 

"I  haven't  got  myself  fully  con- 
vinced yet  that  when  I  come 
home  to  dinner  at  night  I'can 
{Continued  on  page  q6) 


\ 


48 


s 


h 


y 


H 


1 


g 


h 


She  may  be  high  volt- 
age, and  she  may 
stand  alone,  but  Irene 
Delroy  still  is  camera 
shy.  For  Klieg  lights 
are  brighter  than  the 
bright  lights  of  Broad- 
way— which  she  has 
electrified  for  years, 
and  now  leaves 
gloomy  to  light  up  the 
cinema  version  of 
"See  Naples  and  Die" 


49 


One-Arm  Lunch 

Now  that  Paul  Whiteman  has  become  a  movie  actor,  he  has  discovered  that  in 
Hollywood  a  man  must  love  to  eat — and  that  being  the  case,  he  prefers  puppy 
love  (country  style)  with  lady  fingers  for  a  diet.  And  with  Jeanette  Loff  lending 
him  a  hand  (even  as  she  does  in  "The  King  of  Jazz")  he  makes  a  big  impression 


Raatetl  Ball 


50 


rsyching  the  Wollywood  'blonde 


The  woman  questioned — and  the  questioner:  June  Clyde,  as  analyzed  by  Mrs. 
Leila  Castberg  (right),  turns  out  to  be  not  a  typicsd  Hollywood  blonde 


By 


C  E  D  R  I  C 


BELFRAGE 


THE  thought 
had  come  to 
me  that  some- 
body ought  to 
psycho-analyze  the 
motion  picture 
blonde.  Here  was  a 
unique  zoological 
oddity,  to  be  found 
nowhere  else  on  the 
surface  of  the  earth, 
but  roving  freely  in 
our  own  little  dis- 
trict. You  could 
catch  a  marvelous 
specimen,  almost 
tame,  any  day  on  the  Boulevard;  yet,  with  the  world's 
attention  riveted  on  this  odd  creature,  nobody  had  ever 
given  her  a  scientific  exammation  which  would  account 
for  her  existence  and  her  peculiarities. 

"Somebody,"  I  said  out  loud,  "ought  to  psycho- 
analyze the  motion  picture  blonde." 

"Ah,"- said  everybody  in  chorus.  "Ah,  but  ..." 
"But  what.'"  I  countered,  not  to  be  so  easily  floored. 
"For  one  thing,  nobody  can  psycho-analyze  a  vacuum," 
said  a  voice,  and  snickered.   I  ordered  its  owner  straight 
out  of  the  room  for  unseemly  and  misplaced  levity. 

"For  another,"  piped  a  second  voice,  "how  are  you 
going  to  find  a  typical  specimen  of  the  breed.'  And  if  you 
do,  will  she  want  to  be  ps^cho-ed.'" 
"Ah,"  I   said.   "True,"  I  said. 

And  true  it  was,  up  to  a  point.  June  Clyde  was  the  one 
who  finally  undertook  to  be  the  subject  for  my  little 
experiment.  And  June  went  through  it  like  a  heroine, 
and  came  out  with  flying  colors.  Her  complexes  and 
fixations  proved  to  be  entirely  under  control.  Nor  did 
she  show  herself  to  be  even  fourth  cousin  to  a  vacuum,  for 
she  answered  every  question  directly  and  straightfor- 
wardly. 

Not  The,  But  A 

JUNE'S  showing  made  it  quite  clear  that  she  is  not 
typically  the  Hollywood  blonde.  If  she  had  been — as 
voice  Number  2  pointed  out — she  would  probably  not 
have  gone  through  the  ordeal. 

However,  June  is  a  Hollywood  blonde,  and  for  that 
reason  she  is  profoundly  interesting  to  the  world.  So, 
with  your  permission,  we  shall  proceed  with  the  report  on 
my  experiment. 

First,  let  me  introduce  Mrs.  Leila  Castberg,  the  lady  of 
extraordinary  penetrativeness  and  profound  insight  who 
did  all  the  work.  All  I  did  was  sit  next  to  her  and  take 
notes.   But  I  call  it  my  experiment  because  I  was  the  one 


A  Few 
Simple 
Questions, 

And 
June  Clyde 
Is  Ta  k  e  n 


A 


P  a 


r  t 


who  said,  "But 
what.-"'  a  little  fur- 
ther back  in  the 
story,  and  if  I  had 
not  said,  "But 
what.'"  the  experiment  would  never  have  been  made. 

Leila  Castberg,  let  me  say  en  passant,  does  not  call 
herself  "exactly"  a  psycho-analyst.  She  lectures  on  fixa- 
tions and  complexes  to  vast  audiences  in  Los  Angeles, 
but  does  not  give  private  consultations  as  a  rule.  How- 
ever, of  the  fact  that  she  knows  her  wares  let  me  assure 
you.  She  told  me  more  about  myself  in  the  five  minutes 
of  waiting  for  Miss  Clyde  than  it  would  normally  be 
pleasant  to  hear  if  spaced  over  a  five-year  period. 

The  Truth  Will  Out 

SHE  fixed  June  with  a  firm  gaze  as  the  starlet  entered 
the  cafe,  where  we  were  waiting  for  her — and  lunch. 
June  was  really  petrified  with  terror,  but  didn't  show  it. 

"Now,"  Mrs.  Castberg  said,  "Miss  Clyde,  do  you 
want  to  be  psycho-analyzed.'" 

"Ye-es,"  said  June,  with  a  slight  quaver.  I  wept 
inwardly  for  the  poor  girl.  Her  press-agent  gave  her  a 
kick  in  the  shins  to  make  her  answer  correctly.  It  was 
just  like  one  of  those  shotgun  marriages  you  hear  about. 

"I  ask,"  Mrs.  Castberg  went  on,  "because  nobody  has 
any  right  to  probe  into  your  mind  without  your  consent, 
and  if  this  is  to  be  any  use  at  all,  you  must  promise  to 
answer  my  questions  absolutely  truthfully." 
"I  will,"  said  June. 

Mrs.  Castberg  already  knew  more  about  June  than 
June's  own  mother  could  know. 

"Miss  Clyde  is  not  mental  at  all,"  she  said,  turning  to 
me.  "She  is  the  direct,  simple  type.  That  doesn't  mean 
she  has  no  sense;  she  has  instinct,  the  best  kind  of  sense. 
Usually  she  has  wanted  the  best  kind  of  things,  and 
occasionally  she  has  been  spoiled. 

"She  is  not  sophisticated  at  all,  but  she  is  simple,  with 
an  organized  simplicity.  She  is  poised,  but  she  has 
bought  her  poise  at  a  price.  Some  of  it  is  assumed,  some 
is  natural" 

{Continued  on  page  82) 

51 


Charley  Mack,  Publicly  a  Crow, 
Has    His    Own    Private  Bulldog 


THOSE  who  wish  to  observe 
a  black  crow  in  his  native 
habitat  may  read  this  story  to  some  purpose.  It's 
an  idyllic  tale.  Charley  Mack  may  be  a  black  crow 
in  professional  life,  but  he's  practically  a  bluebird  in  his 
own  home.  In  his  own  indolent  fashion,  against  a  back- 
ground of  palm  trees  and  peacocks,  Mr.  Mack  is  sitting 
back  and  relishing  the  fruits  of  his  enormous  success. 

I  found  him  sitting  on  his  wide  back  porch,  which  is, 
practically  speaking,  the  living-room  of  the  Mack  estate  in 
Beverly  Hills.  The  house  is  conveniently  built  around  it, 
in  such  a  way  that  when  Mr.  Mack  wants  something,  all 
he  has  to  do  is  call  one  of  his  menials  in  a  loud  voice. 

"And  then,"  he  says,  "they  come  when  they  want  to." 
The  Mack  household  is  immensely  leisurely  and  casual,  in 
accordance  with  its  master's  philosophy  of  life.  He  isn't 
so  very  far  removed  in  spirit  from  the  Mack  of  black-face 
fame.  Mr.  Mack  is  mild,  kindly,  and  slightly  rotund.  He 
has  a  dry  humor,  detected  less  in  what  he  says  than  in 
that  lazy  voice — a  modification  of  the  weary  tones  of  the 
Black  Crow.  He's  not  so  tired  of  it  all — in  fact,  he  surveys 
the  world  with  a  very  pleased  air,  but  with  a  continuous 
unworried  and  unruffled  calm. 

He  was  sitting  with  his  parrot  and  his  architect,  examin- 
ing some  blueprints  of  a  town  he  is  building  twenty-six 
miles  from  Hollywood. 

"We're  calling  it  Crowtown,"  he  said.  "That's  all 
they're  going  to  know  about  us  up  there,  but  I  think  it's 
kind  of  a  cute  name." 


By  ELISABETH  GOLDBECK 


Experience  has  taught  Mr 
Mack  not  to  let  the  residents  know 
too  much  about  him.  For  years  he's  been  building  houses, 
in  various  towns.  In  most  of  them  he  has  a  house  of  his 
own.  "And  it's  a  funny  thing," he  said.  "People  buy  the 
houses  because  they  know  I  live  there.  So  I  nave  to  go 
every  so  often  and  appear  on  the  porch  to  satisfy  the 
residents." 

As  he  has  real  estate  developments  scattered  all  over 
the  country,  it  keeps  him  pretty  busy  traveling  from  porch 
to  porch. 

The  parrot  was  getting  bored  with  blueprints. 

"Mr.  Mack!  Mr.  Mack!"  he  screamed,  hoping  to  get 
some  attention. 

"Pretty  little  baby!"  Mr.  Mack  replied  gallantly. 

"He  can  say  'Why  bring  that  up.^'  too,  '  he  explained. 
"Of  course,  I  want  him  to  keep  saying  it  all  the  time,  but 
he  only  says  it  about  once  a  month." 

Mr.  Mack's  eyes  have  an  amused  light  in  them  almost 
continually.  It  may  be  just  a  sort  of  stock  twinkle,  to 
protect  him  from  the  charges  of  excessive  egotism  that 
nave  often  been  hurled  at  him.  But  I  would  swear  it's 
genuine.  He  is  an  egotist,  beyond  a  doubt.  He  has  a 
tremendous,  and  pardonable,  pride  in  his  own  achieve- 
ments and  the  things  they've  brought  him.  He'll  tell  you 
about  his  business  acumen.  He'll  tell  you  that  Moran 
and  Mack  are  the  only  dialect  black-face  comedians  who 
were  ever  able  to  make  New  York  laugh. 

{Continued  on  page  92) 


52 


ews 


The  dog  days  are  here  at 
last,  and  many  a  mutt  is 
up  in  arms.  But  "Yip- 
pee" apparently  does  not 
appreciate  that  Frances 
Lee  (above)  can  make  a 
dog's  life  an  enviable  one 


She  may  be  bunking 
in  a  bunker,  but 
Thelma  Todd 
(below),  the  female 
menace  in  "Follow 
Thru" — who  ought 
to  be  in  stripes,  and 
IS  in  stripes — is  wide 
awake,  for  there's  a 
game  two  can  play 
by  moonlight 


amera 


A  piano  player  makes  a 
merry  widow  of  a  screen 
player:  Vincent  Youmans 
plays  for  Gloria  Swanson 
(abovei  his  compositions  for 
her  latest  happy  venttire, 
"What  A  Widow" 


Richee 


Someone  convinced 
Eddie  Quillan  (left) 
that  the  way  to  get 
along  in  Hollywood  is 
to  blow  your  own 
horn.  So  he  bought  a 
saxophone,  and  be- 
came unpopular  over- 
night, hunting  for  the 
lost  discord 


Result:  to  keep 
peace  in  that  Big 
Happy  Family  known 
as  Hollywood,  they 
put  Eddie  behind 
the  bars  ( right 
and  not  bars  of  music 
either.  And  there  he 
is  going  to  play  by 
himself  a  long  time 


Thommt 


S3 


CINEMA    SHOTS   FROM    COAST  TO 


A  Hollywoodsman :  an  English 
woodsman  of  the  days  when  men 
wore  but  one  "clothe"  stands  re- 
vealed at  the  masked  ball  in 
"Madame  Satan"  as  none  other  than 
Reginald  Denny  (above) 


54 


OAST  AND  BACK  TO  COAST  AGAIN 


A  man  of  two  rackets:  Sidney 
Blackmer  (above),  who  indulges  in 
both  stage  and  screen  activity, 
discovers  in  Hollywood  that  a  man 
must  play  if  he  would  work 


P.  *•  i4 


55 


Service  With 


By 

CEDRIC  BELFRAGE 

Illustrations  y 
E  I  d  0  n   K  e  I  I  e  y  . 


HOLLV^yOOD— the  domestic 
servant's  paradise. 
Why  work  harder  for  less? 
Come  to  Hollywood,  ye  Marthas 
and  Janes  and  Lizzies,  ye  Rastuses  and 
Chin  Lees,  and  work  for  a  movie  star  .  .  . 
call  your  employer  by  his  first  name  .  .  . 
make  yourself  thoroughly  at  home  .  .  . 
act  just  like  one  of  the  family.  Earn  big 
money  this  easy  way! 

Is  it  just  the  spirit  of  healthy  American 
democracy  that  creates  the  friendly, 
almost  intimate  relationship  between 
masters  and  servants  in  our  glorious  film 
capital?  One  would  like  to  think  that  it 
was.  For  in  truth,  there  is  often  a  very  defi- 
nite charm  in  the  sheer  naivete  of  that  rela- 
tionship. I  know  of  no  other  place  on  earth 
where  such  a  strange  atmosphere  is  to  be 
found,  an  atmosphere  in  which  Above  and 
Below  Stairs  are  merged  in  a  hearty, 
romping  good-fellowship.  Hollywood  do- 
mestics sometimes  consent  to  wear  the 
appropriate  costume  of  their  trade;  but 
were  it  not  for  that,  it  would  frequently 
be  difficult  to  distinguish  them  from  their 
employers  and  from  the  guests  in  the 
house. 

But — ah,  how  always  there  is  a  but! — 
I  am  afraid  that  healthy  American  democ- 
racy has  very  little  to  do  with  it.    I  am 
afraid  that  most  of  the  equalizing  move- 
ment is  from  Below  Stairs  up,  rather  than  from  Above 
down.  It  is  true  that  there  are  one  or  two  stars  of  a  truly 
democratic  turn  of  mind,  who  encourage  their  servants 
to  eschew  servility  simply  because  they  dislike  any  sort 
of  starchy  atmosphere  in  the  home.  The  large  majority, 
however,  get  freshness  from  their  domestics  only  because 
they  do  not  know  how  to  get  respect.  To  such  a  state  of 
affairs,  I  must  gravely  and  dutifully  announce,  do  most 
of  the  signs  point. 

Service  with  a  smile  is  doubtless  a  good  idea,  but  when 


Their  grins  are  faintly  obscene 


Hollywood  domestics  sometimes  consent  to  wear  the  appropriate  costume  of  their 
trade — the  only  way,  sometimes,  that  guests  can  distinguish  them  from  the  hosts 

the  smile  spreads  into  a  faintly  obscene  grin  and  service 
fades  into  the  background,  it  begins  to  look  as  if  some- 
thing is  wrong.  Domestic  servants,  as  everybody  knows, 
are  as  a  class  the  worst  snobs  in  the  world.  Although 
most  of  them  would  strenuously  deny  it,  nothing  pleases 
thf'm  more  than  to  preserve  the  virginity  of  Above  and 
Below  Stairs  distinctions — provided  the  inhabitants  of 
the  higher  regions  can  convince  them  that  those  distinctions 
are  based  on  a  solid  foundation  of  superiority.    Make  a 
domestic  believe  you  are  a  better  man  than  he  is,  and  he 
will  give  you  service;  fail  to  do  so,  and  he  will  give  you  a 
smile.    Really  to  get  both,  one  would  have  to  be  a 
genius.  And  Hollywood,  in  spite  of  all  press-agentry  to 
the  contrary,  is  not  highly  stocked  with  geniuses. 

From  my  observations  in  dozens  of  stars'  homes,  I 
should  hazard  that  the  number  of  those  Fortunate 
Beings  who  get  genuine  service  from  their  domestic 
entourage  could  easily  be  counted  on  the  fingers  of  a 
hand.  They  do  not  pay  any  higher  wages,  for  cash  will 
not  buy  service  from  a  domestic.  No  .  .  .  they  are 
merely  the  happy  few  who  are  able  to  command  respect 
from  those  who  minister  unto  them,  either  by  constant 


56 


i  c  k  e  r 


In  Hollywood 
Servants  Insist 
Upon  Sharing 
In    The  Fun 


In  Hollywocxl,  servants  aren't  proud.  They're  not  above  mixing 
sharing  the  cocktails  and  cigarettes,  and  calling  you  by  your 

proof  that  they  are  better  men,  or  else  by  showing  a  really 

f;enuine  desire  for  that  democratic  atmosphere  which  is 
ound  in  practically  every  celluloid  home. 

Two  Hollywood  Rarities 

T  WILL  mention  in  this  connection  the  young  English 
I  girl  who  waits  upon  Gloria  Swanson  as  personal  maid. 
This  remarkable  creature  conceived  such  a  violent  respect 
for  Gloria  through  her  pictures  that  she  saved  enough 
money  over  a  long  period  to  come  from  England  to 
Hollywood  where  sne  presented  herself  at  her  goddess' 
door  and  insisted  on  being  engaged  as  a  maid.  She  wanted 
no  salary,  only  her  keep  and  the  privilege  of  calling  her 
miitress  "Gloria."    This  was  three  years  ago.    She  is 
still  in  Gloria's  service,  waiting  on  her  hand  and  foot  like 
a  slave,  receiving  nothing  in  return  but  the  priceless 
privilege  of  addressing  her  by  her  first  name. 

Her  respect  for  Gloria  has  quite  evidently  been  height- 
ened by  contact  with  her.  Gloria,  you  see,  although  in 
former  days  she  collected  an  unequalled  reputation  for 
Lofty  Chapeaux,  is  now  an  example  of  that  almost  unique 
specimen  in  Hollywood,  the  genuinely  democratic  person. 


By  this  I  don't  mean  that  she  bandies 
racy  persiflage  with  electricians  on  the 
set,  and  so  forth;  not,  in  brief,  that  she 
has  bad  manners  for  everybody,  but  that 
she  has  good  manners  for  everybody. 

The  heroine  of  this  little  history  un- 
doubtedly started  out  on  her  pilgrimage 
with  only  the  awe  of  the  Swanson  name 
to  inspire  her.  But  names  do  not  last 
long  when  one  is  brought  in  intimate 
contact  with  their  proprietors;  and  her 
loyalty  can  only  have  been  due  to  the 
more  solid  cause  of  respect  for  Gloria  as  a 
person. 

No  Heroes  At  Home 

ENERALLY  speaking,  Hollywood 
  domestics  are  peculiarly  unim- 
pressed by  the  fame  of  their  employers 
and  the  world-circling  glamour  of  their 
names.  Like  all  domestics  anywhere,  it 
does  not  take  them  long  to  get  an 
uncannily  exact  estimate  of  the  real 
worth  of  those  Above  Stairs  ...  as 
people,  and  not  as  shadowy  figures  on  a 
screen.  And  then,  according  to  the 
verdict  arrived  at,  fun  of  a  variety  of 
kinds  is  apt  to  begin. 

Many  are  the  diflPerent  sorts  of  shocks 
awaiting  the  innocent  visitor  to  a  star's 
home.  The  air  of  good-natured  camara- 
derie, not  to  say  diablerie,  which  the 
domestics  adopt  toward  master  and  guests  alike  is  at 
first  a  little  alarming. 

On  one  occasion  I  arrived  at  a  party  and  was  met  at 
the  door  by  the  friendliest  of  butlers.  "I  do  hope  you'll 
like  the  party,"  he  said.  "  It  sure  looks  like  a  swell  crowd." 
This  is  an  accepted  form  of  greeting  in  the  Beverly  Hills 
area,  if  similar  reports  from  my  acquaintances  can  be 
believed. 

One  leading  woman  arrived  home  from  a  week-end  trip 

(Contitiued  on  page  pj) 


with  the  guests, 
first  name 


Service  with  a  wry  smile 


57 


^ ,  They  brought 
Back 

The 

^  Proof 

f,  -Luck  Was  With  Van  Der  Veec 

And  Rucker,  Byrd's  Cameramen 


By  HERBERT  CRUIKSHANK 


FOR  four  hundred  years  mighty  men  from  many 
lands  have  sought  to  solve  the  sombre  mysteries  of 
world's  end.  Brave  hearts  remain  forever  frozen  in 
the  glacial  wilderness  of  ice  that  caps  the  sphere's 
extremities.  Those  who  have  returned  from  the  sinister 
glades  of  Death,  have  brought  with  them  only  tales  of 
failure. 

"We  couldn't  find  the  Pole  because  the  barber'd  moved 
away,"  laughed  one  of  yesteryear's  lyrics.  But  Americans, 
who  make  a  habit  of  greeting  grimmest  Fate  with  levity, 
have  at  last  accomplished  the  impossible.  The  Stars  and 
Stripes  are  nailed  securely  to  the 
South  Pole.  And  the  last  land 
this  side  of  Hades  is  forever 
christened  "Little  America." 

Not  only  may  you  see  by  the 
early  light  of  the  Antarctic  dawn 
that  the  flag  still  waves — but  the 
boys  have  brought  back  motion 
pictures  of  the  very  Pole  itself. 
The  boys  are  Joe  Rucker  and 
Bill  Van  der  Veer,  movie  camera- 
men of  the  perilous  expedition 
commanded  by  Admiral  Richard 
Byrd.  Their  accomplishment  is 
unparalleled  in  history,  and  their 
tali  true  tales  eclipse  with  fact 
the  fiction  of  a  Munchausen. 

Thousands  of  tons  of  ice,  thrust 
toward  the  Antarctic  sky  to  the 
height  of  New  York's  topless 
towers  by  the  frigid  fingers  of  an 
unseen  Titan.  Ripping  polar 
winds,  devastating  in  their  hun- 
dred-mile-an-hour  velocity.  A 
temperature  attaining  to  seventy 
degrees  below  zero.  Never-end- 
ing nights.  Flesh  frozen  to  cam- 
era metal.  Wolf-dogs  for  pets. 
Birds  that  walk  like.men.  Whales 
with  halitosis.  Two  years  of 
these  things.  The  chill  breath 
of  Death  always  on  their  necks. 


At  top,  Joseph  Rucker  (left)  and  Willard  Van  Der 
Veer,  as  they  looked  when  icebergs  nearly  ended 
two  good  careers ;  above,  safe  in  a  studio 


A  Tilt  With  Nature 

I MANAGED  to  hoist  my  seventy-five  pound  earner 
outfit  onto  a  high  plateau  of  ice,"  says  Willard  Va 
der  Veer,  "and  just  about  got  set  to  shoot,  when  the  entir 
table-top,  weighing  a  dozen  tons,  tilted,  and  began  slidin 
— with  me  sprawled  on  it.  You  see,  the  plateau  was  badl 
undercut  and  finely  balanced.  My  weight  was  just  enoug 
to  throw  it  off." 

"Yes,"  cuts  in  Joseph  Rucker,  "I  sort  of  figured  tha 
was  the  blow-ofF  for  Van.  The  plateau  coasted  down  with 
KH^^^BMMBKMBB       an  ca t-spH tt ing  crash,  and  he 

was  buried  in  ice  and  snow." 

"But,"  continues  Van  der 
Veer,  "for  some  fool  reason  I 
wasn't  scratched.  But,  Joe 
here, — ha-ha — Joe  came  run- 
ning to  help,  and  tumbled  into 
a  crevasse.  Gee,  I  thought  it 
was  curtains  that  time.  It  was 
a  tough  job  to  dig  him  out." 

"Then  there  were  those  times 
when  we  went  to  shoot  out  in 
the  Bay  ice  just  as  it  was  break- 
ing up — and  do  you  remember 
Braathen  and  that  big  crab- 
eater  seal.''  That  was  funny." 

"Yeah,  that  was  funny,"  says 
the  other.  "We  were  lying  out 
in  the  slush  ice  around  the  seal 
holes,  waiting  to  see  what  we 
could  shoot.  Braathen  was 
peering  down  into  one,  when  a 
big  crab-eater  pops  up  right  in 
his  face.  The  two  of 'em  rubbed 
noses  like  a  couple  of  Eskimo 
lovers!" 

"Van  had  a  pet  whale,  too. 
A  school  of  'em  had  worked 
through  the  ice  into  a  small  ex- 
panse of  clear  water.  It  was 
so  small  that  they  were  forced 
(Continued  on  page  94) 


58 


One  Star  Revival 

At  the  same  old  stand  as  ten  years  ago — when  she  was  the  leading 
lady  of  the  Oakland,  Cal.,  High  School— Bernice  Claire,  now  a  lead- 
ing light  of  Hollywood,  again  plays  the  drum  and  the  drummer  in 
"Mile.  Modiste."  And  who  can  say  there  is  no  comparison  between 
a  professional  and  an  amateur? 


59 


Laurence  Reid 
Reviews 
The  New 
Photoplays 


Above  is  Nancy  Car- 
roll and  one  of  the 
ensembles  from 
"Paramount  on  Pa- 
rade." On  the  right 
Charles  Farrell  looks 
longingly  and  lov- 
ingly into  the  eyes 
of  Janet  Gaynor  in 
"High  Society 
Blues."  Below,  one 
of  the  graphic  mo- 
ments with  Louis 
Wolheim  and  his 
boys  in  "All  Quiet 
On  The  Western 
Front" 


> 


■  / 


The  Biggest  Parade 

IN  "Paramount  on  Parade"  the  producers- 
the  artists — have  succeeded  in  estabUshing  t 
intimate  touch  so  greatly  desired  in  the  revue  type 
entertainment.    People  like  Maurice  Chevalier,  Jj  : 
Oakie,  William  Powell,  Clive  Brook  and  countl  ^ 
others   from   Paramount's  lengthy   roster  someh 
establish  an  entente  cordiale  with  the  audience,  see 
ing  to  wink  and  smile  at  each  individual  as  though  t 
fun  was  meant  especially  for  that  particular  custom( 
Chevalier  is  the  bright  particular  star  of  the  revi 
and  gives  his  talent  lavishly  by  appearing  in  a  genero 
number  of  songs  and  sketches.  Jack  Oakie  is  Mast 
of  Ceremonies;  Clara  Bow  and  Nancy  Carroll  ring  t  | 
entertainment  bell  in  respective  spots.  The  outstandiijl 
features  are  a  park  bench  scene  featuring  Chevalier  ar 
a  hot  boudoir  number  starring  him  and  Evelyn  Bren 


The  Gaynor-Farrell  Blues 

NOW  in  all  truth  there  isn't  anything  ver 
great  or  novel  in  "High  Society  Blues. 
In  fact,  it  is  a  pretty  infantile  piece  of  pictui 
work.  But  Janet  Gaynor  sings.  So  dot 
Charlie  Farrell — who  plays  the  ukulele  aswel 
Lucien  Littlefield  and  Louise  Fazenda  poke  in 
lot  of  fun — and  at  the  end  there's  a  good  tini 
been  had  by  all. 

The  plot  is  a  re-vamp  of  Shakespeare' 
"Romeo  and  Juliet"  brought  down  to  thes* 
days  of  sound  business  and  Wall  street  crashes 
There  is  a  feud  between  two  families,  and  tht 
son  of  one  loves  the  daughter  of  the  other.  It 
all  ends  quite  merrily  with  everybody  friends 
Meantime  Janet  and  Charlie  go  into  a  clinch  at 
the  end  of  every  reel.  And  they  seem  to  enjoN 
it  as  much  as  the  paying-guests. 

Both  of  the  stars  nave  improved  since  their 
initial  ventures  upon  the  song-screen,  and  each 
is  sure  to  win  greater  popularity  than  ever  in 
this  type  of  thing. 

The  Late  War— with  a  Vengeance 

AN  amazing  work  of  blood  and  steel  has  been  ham- 
mered out  at  the  film  forges  of  Hollywood  in 
"All  Quiet  on  the  Western  Front."  Those  who  dare 
face  the  facts  of  war  must  acclaim  it  a  masterpiece. 
But  this  is  no  opera  houffe,  and  the  truth  about  the 
trenches  is  far  from  film  fare  for  a  happy  holiday. 

Here  is  gaunt  death — unglorified.  Death  in  the 
muck  and  stench  of  the  front  line.  And  the  soul- 
shattering  fear  of  it  that  reduces  fun-loving  boys  to 
gibbering,  raw-nerved,  unhuman  things. 

The  drama  is  superbly  staged,  and  nobly  enacted. 
It  brings  a  new  star  to  the  screen  in  Lewis  Ayres,  the 
former  Hollywood  bandsman,  who  has  the  leading  role. 
And  it  adds  a  cinema  croix  de  guerre  to  those  already 
won  by  Louis  Wolheim,  Raymond  Griffith,  (who  gives 
tremendous  feeling  in  an  unforgettable  dugout  scene), 
Russell  Gleason,  William  Bakewell  and  the  rest. 


60 


Twice  Told  Tales 

OLD  friends,  old  books,  old  wood  and  old  wine  may 
be  best.  But  old  musical  comedies  don't  follow  in 
I  {their  category.  In  its  hey-day,  two  seasons  ago,  "Hold 
■'^Everything"  was  a  very  fair  stage  show,  boasting 
I  several  song  hits  that  enjoyed  a  brief  popularity. 

In  the  film  version,  however,  "You're  the  Cream  in 
'jMy  Coflfee,"sung,  incidentally,  by  thatgreat  troubadour 
'of  the  prize-ring,  Georges  Carpentier,  proves  only  sadly 
'^reminiscent.  And  the  laughs  provided  come  merely  as 
^echoes  down  time's  canyons. 

J Joe  E.  Brown  is  funniest  in  a  moderately  good  por- 
trayal of  Bert  Lahr.   Winnie  Lightner  does  her  stuff. 
And  not  much  of  anything  may  be  sard  about  Sally 
"lO'Neil.  It  is  really  Monsieur  Carpentier  who  saves  the 
^day,  after  all.  For  the  "Orchid  of  France"  puts  on  the 
best  pugilistic  sequence  seen  in  lYiany  a  squared  circle. 


whic 


A  Big  Fiddler's  Debut 

AUL  WHITEMAN'S  personality  beams 
benignly  down  upon  "The  King  of  Jazz," 
ich  happens  to  be  just  about  the  most 
lavishly  staged  musical  extravaganza  brought 
to  the  screen  since  the  talkie  found  its  tongue. 
Whiteman  seems  destined  for  heavy  film 
honors — and  the  "heavy"  has  nothing  to  do 
with  his  avoirdupois. 

On  the  credit  side  of  "The  King  of  Jazz" 
there  must  be  recorded  elaborate  spectacle, 
beautiful  pictorial  and  color  composition,  ex- 
cellent music  and  great  artistry  in  John  Mur- 
ray Anderson's  presentation.  The  picture  pro- 
vides much  heretofore  available  to  the  public 
only  in  the  metropolitan  theater.  On  the  debit 
side  stand  the  undeniable  facts  that  much  of 
the  material  is  far  from  fresh;  that  there  is  a 
dearth  of  comedy  and  that  there  is  far  too  little 
of  Paul  Whiteman. 

Players  who  score  most  are  John  Boles,  Jac- 
ques Cartier,  Nell  O'Day  and  Jeanette  Loff. 


Singin'  on  the  Steppes 

A SWAGGERING,  tuneful  operetta  of  the  Russian 
Revolution  reaches  the  song-screen  in  "Song  of 
the  Flame,"  which  in  its  film  form  is  a  vast  improve- 
ment over  the  stage  presentation. 

The  plot,  as  in  all  such  vehicles,  is  subordinated  to 
the  vocalizing  of  the  leading  characters  and  choral 
effects.  There  is  a  vast  aggregation  of  voices,  and  the 
song  of  the  Revolution  is  especially  thrilling. 

To  the  surprise  of  many,  Noah  Beery  holds  his  own 
in  this  operatic  company  with  a  booming  baritone  that 
makes  his  drinking  song  memorable.  Others  in  the  cast 
are  Bernice  Claire,  Alexander  Gray  and  Alice  Gentle. 
The  voices  are  all  excellent,  but  the  acting  leaves 
something  to  be  desired  from  a  movie  view  point. 

The  mob  movements  in  those  sequences  depicting 
the  rousing  of  the  populace  and  the  storming  of  the 
palace  are  more  than  usually  impressive. 


c 


THIS  MONTH 

Song  of  The  Flame 
Paramount  On  Parade 
Hold  Everything 
High  Society  Blues 
The  King  of  Jazz 
All  Quiet  On  The  Western  Front 


Above,-  Joe  Brown 
and  Winnie  Lightner 
don't  take  their  golf 
too  seriously  in 
"Hold  Everything." 
On  the  left,  Paul 
Whiteman  and  the 
Sisters  "G"  in  a 
scene  from  "The 
King  of  Jazz,"  which 
marks  the  big  fid- 
dler's debut  on  the 
screen.  Below,  Ber- 
nice Claire,  Noah 
Beery  and  Alexander 
Gray  in  "Song  of  the 
Flame" 


61 


^ettu  Qompson 

registers  delight  in  her  new  modern  silver- 
ivare  with  vr  AM)E  Knives  and  VIANDE  Forks. 


\ 


On  the  screen  a  (lushing  revne  dancer  in 
"The  Great  Gabho."  a  demnre  peasant  vio- 
linist in  "The  Street  GirP'  .  .  .  Hut  a  very 
modern  young  hostess  in  her  cvvn  charming 
home.- 

Very  gay,  and  modern,  and  up-to-<late.  that 
home  .  .  .  an<l  naturally  the  silver  service 
doesn't  lag  behind. 

The  new  Viandk  Knives  and  Via.M)K  Forks 
I'ound  immediate  and  eager  welcome  on 
Betty  Gompson's  table. 

The  long-handled,  sliort-bladed  knives,  the 
forks  with  their  long  handles  and  short 
tines  cast  a  glow  of  modernity  over  Betty 
Compson's  entire  silver  service  .  .  .  even  to 
the  tea  and  dinnerware.  Matched  in  mo- 
dernity her  new  china,  linens,  and  crystal. 
Matched  in  modernity  the  young  lady  herself. 

Naturally  it  is  1847  Rogers  Bros.,  the  orig- 
inal, the  finest  of  all  silverplate  .  .  . 
America's  oldest  company  in  point  of  years 
.  .  .  newest  in  freshness  of  style. 

Covers  for  Six,  26  pieces,  $38.00.  "Pieces 
of  8"  (trade  mark  registered).  34  pieces, 
S49.50.  Patterns  .  .  .  Silhouette,  Legacy, 
Argosy.  Ancestral,  Anniversary.  Am- 
bassador, and  Heraldic.  Regular  shape 
knives  and  forks  are  offered,  as  well  as  the 
VlANDE  shape,  if  you  prefer. 

Write  for  booklet  U-.S7,  "What  the  well- 
dressed  table  will  wear  in  silverware." 
Address  letters  to  Department  E.  Interna- 
tional Silver  Company,  Meriden,  Connecticut. 


^-Pr.  'IVo  Srt,         Tmv,  125.  Aiiibaf*«ador. 


Annivrr9ary,Anceiitr«l,l^|Eacy.Argo»y,Hrraldic,Silhouenr.  \^  j  ^  |yj  DE      I^NIFE      <S(      P         R  K 

IHADt    MABkI  fpA'     *PP  fdl 

Vt  \M)t:  KtiivM.tIS  .6  ForVs,  18.25.  AmbasmdorPunfm. 

1847  ROGERS  BROS- 


62 


He  Dares  to 
Be  Himself 

William  Boyd  Does 
Things  That  Just  Aren't 
Done  In  Hollywood 


By    GLADYS  HALL 


THERE  is  one  man  in  Hollywood  who  dares  to  be  him- 
self. And  is. 
He  leads  his  own  life,  in  the  way  he  likes  to  lead  it, 
and  lets  the  rest  of  the  world  go  bye-bye. 
He  doesn't  care  what  people  say,  or  think,  or  do,  or  do  not 

He  never  does  anything  because  it  is  "being  done." 
He  is  himself  in  his  personal — very  personal — life,  and  he  is 
himself  in  the  studio  and  on  the  screen. 

He  doesn't  give  a  rap  for  publicity  of  any  kind,  and  has  to 
be  bound  and  gagged  before  he'll  give  an  hour  to  it  now  and 
then.  He's  completely  un-self-conscious  about  it  all.  He 
doesn't  give  his  life  or  his  habits  of  living  any  label  or  handle, 
and  he  doesn't  thank  anyone  else  for  doing  it  for  him. 

There  are  other  actors  in  Hollywood  who  profess  to  eschew 
publicity  and  who  do  eschew  it,  literally.  Yet,  as  in  the  cases 
of  Lon  Chaney  and  Greta  Garbo,  the  very  shunning  is  the 
cleverest  publicity  of  all.  "There  IS  no  Lon  Chaney." 
Garbo,  the  Mystery  Woman,  the  Enigma,  the  Crossword 
Puzzle — what  genius  of  exploitation  could  do  more  or  better.? 

He  says,  "I  am  a  man,  not 
an  actor."  And  he  persists  in 
being  a  man  and  not  an  actor, 
no  matter  how  out  of  date  being 
a  man  in  Hollywood  may  be. 


C.  B.'s  Choice 

E  once  said  just  that  to  the 
great  C.  B.,  when  the  great 
was  riding  him  rough-shod 
and  with  bloody  spurs.  He  told 
the  Great  One  then  and  there  that 
he  could  take  his  choice — a  man 
or  some  other  actor.  As  one  of 
many  proofs  that  the  Great  One 
is  great,  indeed,  he  chose — the 
man. 

The  name  of  this  man  who 
dares  to  be  himself  is — lest  the 
suspense  kill  you — Bill  Boyd. 
Familiarly  known  as  Big  Bill 
Boyd. 

Bill  never  goes  to  movie  par- 
ties. He  occasionally  gives  a 
party  of  his  own  and  has  a  swell 
time  doing  it.  But  he  has  to  be 


Ruaaell  Ball 

the  host.  He  never  goes  to  pre- 
views or  openings,  not  even  to  his 
own. 

When  he  goes  back  to  the  old 
home-town,  and  the  boys  he  used 
to  "can  the  cat  with"  sit  and  gape 
at  him,  open  mouthed,  across  a 
chasm,  he  is  desperate.  He  wrig- 
gles and  cusses  and  finally  says — 
well,  what  he  says  serves  to  bridge 
the  chasm  and  make  them  all  boys 
together  again. 

He  lived  in  Beverly  Hills  for 
some  years,  when  he  was  married 
{Continued  on  page  go) 


Above,  William  Boyd  laughing  at  the 
Hollywood  game  of  politics;  left,  in  his 
Malibu  Beach   home,  where   he  lives 
restfully  alone 


63 


AS      THE      STUDI   O  WORKERS 


SEE     THE  STARS 


THE    VIEW    OF    THE    MAKE-UP  MAN 


To  Max  Factor  even  the  fair  Dorothy  Mackaill  is  just  a  face — a  face  whose  every  feature  is  magnified — a  background 
for  powder  and  paint  .  .  .  He  goes  to  see  them  on  the  screen,  and  thinks  anxiously,  "  So-and-So  is  getting  lines  around 
the  eyes.  I'll  try  a  heavier  powder  base"  ...  or  "He's  taking  on  weight.  I'll  have  to  use  more  red  under  the  chin" 

Bert  Loniwotth 


64 


f 


^eep  Y^lean 

for  the 

Kiddies 


Believe  It  Or  Not-This  Is 
The  Motto  Of  Joe  E.  Brown 


J 


By  HELEN  LOUISE  WALKER 

OE — you  know  Joe,  of  the  ample  mouth  and  the  hys- 
terical feet — well,  they're  making  him  a  star.  Almost 
any  minute  now,  the  signs  in  front  of  the  theaters  will 
be  changed  from  "'Such-and-Such,'  with  Joe  E. 
Brown"  to  "Joe  E.  Brown  in  'Such-and-Such."'  Which 
may  not  look  so  different  to  you.  But  it  looks  ever  so  differ- 
ent to  Joe.  And  you  should  see  what  it  does  to  his  pay  check ! 

Moreover,  it  means  that  he  is  allowed  to  eat  in  the  red 
plush  dining-room,  sacred  to  executives  and  tip-top  players, 
and  pay  for  everybody's  lunch  every  so  often,  which  is  com- 
ing up  in  the  world,  if  you  know  your  Hollywood. 

Such  a  position  of  prominence  and  affluence  has  its  re- 
sponsibilities, as  Joe  will  tell  you.  There  are,  for  instance, 
the  Kiddies.  They  look  up  to  a  motion  picture  actor,  they 
do,  and  it's  up  to  him  to  see  that  he  deports  himself  in  such 
a  manner  that  they  will  not  be  corrupted  by  such  con- 
templation. ^,  .  »  , 
"KEEP  KLEAN  FOR  THE  KIDDIES!"  That's  Joe's 

slogan. 

He  has  kiddies  of  his  own — two  little  boys,  aged  eleven 
and  thirteen — and  he  knows.  You  have  to  give  them  some- 
thing to  admire. 

His  Young  Audience 

THE  subject  of  proper  idols  for  the  little  ones  came  up 
during  lunch  at  the  Embassy  Club.  Joe  was  discussing 
the  technique  of  being  funny  and  telling  me  how  low  comedy 
may  be  art  when  a  little  girl  of  about  five  or  six,  clutching  a 
resplendent  doll,  came  in  with  her  mother.  She  saw  the 
comedian,  started,  nudged  her  mother  excitedly  and  be- 
came so  absorbed  in  gazing  at  him  that  she  had  some  diffi- 
culty in  getting  into  her  chair.  There  were  other,  more 
decorative  stars  in  the  room,  but  the 
tot  saw  no  one  but  Joe. 

Mr.  Brown  was  enchanted.  He 
made  funny  faces  at  her.  He  wig- 
gled his  finders.  He  played  peek-a- 
boo.  He  flirted  with  her  outrage- 
ously and  forgot  to  eat  his  lunch. 
Also,  he  forgot  to  discuss  the  tech- 
nique of  comedy  any  more.  Finally, 
when  the  child's  mother  became 
really  firm  with  her  about  spinach 
and  a  glass  of  milk,  Joe  sighed  deeply 
and  turned  back  to  me. 

"Ah!"  he  said.   "Ah!  Those  are 
the  ones  we  must  consider.  The 
{Continued  on  page  q8) 


65 


ullin 


i 


Buddy 
A  Game 


Buddy:  (lower  left)  "Love 
is  my  game — do  you  play, 
Madame?"  (left)  "I  feel 
like  courting  chance."  (lower 
right)  "Give  me  a  sporting 
chance,"  and  (upper  left) 
"Your  form  is  marvelous." 
Kathryn:  (above)  "You 
have  a  good  approach — ^was 
Peggy  Joyce  your  coach?" 
(right)  "My  heart's  my 
handicap — it  keeps  me  un- 
steady," and  (upper  right) 
"Love  is  my  game — do  you 
play,  young  man?" 


ih 


Qu 


eslion 


Rogers  Plays 
With 

Kathryn  Crawford 


Do  You  Play,  Madame?' 

Love  is  my  game — do  you  play, 
Madame? 

I'd  like  to  challenge  you  some  summer 
day,  Madame. 

Your  form  is  marvelous.  I'm  just  a 
beginner, 

But  beginner's  luck  may  make  me  the 
winner. 

Love  is  my  game — do  you  play, 
Madame? 

With  rising  temp'rature  I  rise  to  say, 
Madame, 

I  feel  like  courting  chance.  Give  me  a 
sporting  chance. 

Love  is  my  game — do  you  play, 
Madame? 

•Song  from  Paramount't  "Safety  In  Number*" 

67 


The  Inside 

A  Handy  Guide 


Here  is  a  unique  article.  For  the  first  time  in 
history  the  reader  is  taken  into  the  studios  to  wit- 
ness the  actual  making  of  a  motion  picture.  Read 
it  carefully.   It  is  Hollytvood. — Editor's  Note. 

WE,  you  and  I,  are  standing  on  a  high  hill  above 
Hollywood.  Beneath  us  lie  the  busy  studios. 
How  would  you  like  to  descend  and  see,  with 
your  very  own  eyes,  how  a  motion  picture  is 
made?  You  wouldn't?  Very  well.  We'll  start  right  away. 

We  are  going  to  begin  at  the  beginning  and  go  from  de- 
partment to  department.  We  will  spend  just  enough  time 
m  each  department  to  see  and  hear  what  the  men  are 
doing,  to  discover  how  they  go  about  their  work. 

First  of  all,  we  must  visit  the  story  department,  for  with- 
out the  story,  no  movie  could  be  made.  We  enter  a  low 
building  and  see  many  young  men  seated  before  type- 
writers. These  are  writers — high-salaried  artists,  who 
work  unceasingly  at  turning  out  brilliant  word  pictures. 
You  will  find  no  harder  workers  under  the  studio  roof 
than  these  fellows.  Two  of  them  are  talking  over  a  story 
now.  Let's  listen: 

" — yeah,  just  come  as  you  are.  Elsie  and  Mack  are  bring- 
ing the  gin  an  I  just  had  the  valves  ground,  so  we  oughta 
make  the  border  by  midnight  easy,  an  we  can  watch  the  races 
an  start  back  Sunday  night  an' — " 

Making  Talkie 

A  FTER  the  story  is  written,  it  is  adapted  for  film  pur- 
J~\_  poses.  No  one  is  exactly  sure  what  takes  place  during 
an  adaptation,  but  every  studio  has  adapters  who  are  busy 
eight  hours  a  day  at  adapting,  so  it  is  worth  our  time, 
surely,  to  find  out.  The  work  is  said  to  be  the  most  exact- 
ing and  specialized  of  any  in  the  film  industry.  All  of  those 
men  in  the  left  corner  of  the  room  are  adapters.  Let's 
surprise  them  at  work  and  hear  how  it's  done: 

" — me,  I'm  gain'  to  Tia  Juana  an  play  the  ponies.  Why 
don't  you  and  Lil  try  to  make  it?  I  figured  we  could  stay  in 
San  Diego  tomorrow  night  an'  go  over  when  the  patrol  opens 
at  nine — " 

After  the  adaptation,  the  story  is  made  into  a  scenario 
by  scenario  writers.  These  are  hard-working,  happy  people 
who  often  slave  at  their  jobs  until  they  actually  drop.  The 
way  in  which  they  labor  should  be  an  inspiration  to  every 
rnan,  woman,  and  child  in  the  country.  Suppose  we  just 
tiptoe  up  behind  a  couple  of  them  and  see  how  they  do 
what  they  do,  and  what  they  are  being  paid  fifteen  hun- 


BY  ROBERT 


dred  smackers  a  week  for  doing.  Listen 
closely: 

" — you're  darned  right  I'm  gonna 
wear  a  hat.  Last  time  I  was  in  Tia. 
fuana  I  didn't  have  no  hat  and  they 
said  I  was  stewed  at  the  border  an'  made 
me  walk  a  line  and  I  thought  the  gang 
— i^^— —  would  die  laffin'.  Now  get  this  straight 
— /'//  come  by  for  you  at  ten  an'  then  we 
can  pick  up  the  bims  an  go  straight  through — " 

The  Right  Direction 

WHEN  completed,  the  scenario  goes  to  the  director 
and  his  staff  for  study  before  the  picture  is  begun. 
This,  of  course,  is  where  the  real  brain  work  comes  in. 
Naturally  then,  only  those  with  the  greatest  amount  of 
gray  matter  and  powers  of  concentration  are  entrusted 
with  the  job.  That  director  over  there,  for  instance  (the 
one  to  whom  we're  going  to  listen),  is  the  greatest  mental 
giant  in  Hollywood.  What  he  says  counts.  Let's  hear 
what  he  says: 

" — not  for  me,  boy.  I'll  take  no  auto  down  there  in  all  that 
traffic  with  every  jay  cop  laying  for  me,  when  I  can  get  on  the 
Tia  fuana  Special  and  play  rummy  all  the  way  down.  Last 
time  I  took  the  car  I  got  bumped  by  eighteen  drunk  drivers  and 
I  told  Gertrude  then — " 

After  the  finished  scenario  is  whipped  into  workable 
shape  by  the  director  and  shooting  schedule  established, 
the  players  are  given  their  parts  to  learn.  Such  drudgery! 
Memorizing  lines  is  a  Herculean  task,  requiring  the  utmost 


At  top,  an  exterior  view  of  the  busy  studio,  where  the  busy  workers 
earn  their  chili  con  came;  above,  interior  view  of  the  busy  studio, 
revealing  the  busy  workers 


68 


TOR 


Studio  Life 


'ENDER 


1  concentration  and  nerve  control.  To 
?t  an  idea  of  how  hard  it  is,  you  really 
lould  step  over  here  where  a  troupe  is 
fhearsing.  But  quietly — 

* — Listen,  dearie,  you  cant  tell  me 
\ose  tables  aren't  fixed!  Pete  lost  a  thou- 
\nd  berries  in  less  than  ten  minutes  last 

le  at  chemin  de  fer.  But  I  got  a  system  

roulette.  I'll  show  you  if  you'll  lemme 
ive  that  script  to  write  on — " 

Public  Relations 

ITH  the  picture  actually  in  production,  it  is  neces- 
sary that  the  world  should  know  about  it  in  order 
lat  the  finished  film  does  not  play  to  empty  houses.  Such 
iterest  is  created  by  publicity  men,  demons  for  work,  and 
ossessors  of  the  soundest  minds  in  the  business.  These 
re  the  ones  who  conduct  a  research  of  every  phase  of  the 
Im  and  players  in  order  that  you  may  read  interesting 
dbits  about  them  in  the  newspapers.  No  one  can  get  a 
osition  as  publicity  man  by  shirking  work;  just  as  no  pub- 
city  man  who  shirks  work  can  long  hold  his  job.  It's 
oric,  work,  work  for  these  men.  Here  are  some  now.  The 
ublicity  chief  is  making  an  announcement.  Listen: 

— an'  we  only  need  ten  more  signatures  to  get  a  private  car 
n  the  Borderline  Special.  ./Anybody  who's  going  to  Caliente 
lis  week-end  and  hasn't  signed  the  list,  I  advise  'em  to  sign 
ight  away  so  we  can  all  be  together  an  shoot  a  little  poker  on 
le  way  down — " 

Of  course,  every  picture  must  have  special  "sets"  con- 


top,  another  view  of  the  studio,  and  after  you  read  the  ttory  you 
m\\\  know  where  all  the  buiy  workers  are;  above,  a  bird's-eye  view 
of  a  Hollywood  ant  hill 


structed.  For  instance,  if  it  is  a  movie  about  Ireland,  the 
scenes  must  all  look  Irish.  That  sounds  simple  enough,  but 
in  reality  you  will  find  the  work  of  planning  and  building 
the  sets  to  be  most  complicated.  The  men  whose  work  it 
is  have  to  be  the  best  practical  artists  in  the  country.  It 
is  only  after  a  long  and  expensive  period  of  training  that 
they  are  entrusted  with  the  work.  Serious  fellows  they 
are,  who  work  away  with  a  fine  disregard  of  the  time  clock. 
We  really  should  spend  just  a  second  listening  in  on  them: 
" — it's  all  right  to  drink  their  beer  down  there,  but  take  my 
advice  an  lay  off  a  that  Tia  J  nana  Tequila.  Boy,  that  stuff'U 
lay  you  out  so  quick  that  after  two  glasses  of  it  you'll  be  askin 
what  happened — " 

Money-Maker 

BUT  probably  the  busiest  of  all  men  on  a  studio  lot  is 
the  supervisor.  And  why  not?  For  the  supervisor  is 
engaged  for  the  single  purpose  of  killing  waste  and  doing 
away  with  idleness.  He  is  the  efficiency  expert  of  the 
movies.  If  you  are  working  in  the  studios,  be  awfully  sure 
that  you  are  working  when  he  comes  around,  else  your 
name  will  go  down  in  his  notebook  and  the  following  day 
you  will  get  a  little  pink  slip  which  begins,  "We  regret — .  * 
Only  men  with  a  fine  business  sense  and  infinite  capacity 
for  work  become  supervisors.  They  must  set  an  example, 
by  the  way  in  which  they  do  their  work,  for  the  entire 
studio  to  follow.  Watch  that  supervisor  there — see  how 
he's  going  from  one  man  to  another  to  stimulate  interest 
in  the  work.  Shall  we  hear  how  he  does  it.' 

" — any  of  you  guys  got  e::tra  cash  you  want  to  place  on  the 
ponies  Saturday?  I'm  takin'  a  studio  pool  and  puttin  it  all 
on  Bromo  Seltzer  II  at  five  to  one.  Now  if  you  birds  can't 
actually  get  to  Tia  Juana  next  Saturday,  that  don't  mean  you 
have  to  miss  out  on  the  races  because  I'm  takin  this  dough 
down,  see,  and  Bromo's  a  cinch  to  win  an — " 

Sound  Business  Men 

MOST  important  of  all  to  the  film  industry  to-day  are 
the  sound  experts.  No  haphazard  profession  this, 
and  no  haphazard  men  will  you  find  in  the  work.  The  suc- 
cess or  failure  of  the  films  you  see  every  day  depends  upon 
these  research  engineers.  The  knowledge  they  bring  to  the 
industry  is  highly  specialized  and  intricate.  There  is  more 
of  downT-ight  hard  work  and  less  lost  motion  in  their  branch 
of  the  business  than  you  will  find,  probably,  in  any  other. 
How  interesting  it  would  be,  then,  to  pause  near  one  of 
{Continued  on  page  joj) 


69 


Kn  Eye-Opener 


Things  Happen 
To  People 
Who  Meet 
A  n  d  Ta  1  k 
To 

Dorothy  Lee 


'T  all  occurred  to  me 
rather  in   a  hurry. 


T 

I    Somewhat    like  an- 
JL  other  earthquake. 
Here  I  had  been  in  Holly- 
wood for  years — meeting  and 
knowing  actresses,  having  dinner  and 
dancing  with  front-page  evening  gowns 
wearing  orchids — and  had  never  seen 
one  that  I  could  fall  for  in  a  big  way. 
That  was  yesterday! 
To-day  1  met  the  cutest  little  gal  in 
town,  Dorothy  Lee  (pronounced  Dor- 
othy Lee),  and  that's  when  it  all 
occurred  to  me. 

And  if  you'll  think  back  over  her 
swell  scenes  in  "Rio  Rita,"  you'll 
get  what  I  mean.  Remember  when 
she  fell  backwards  over  a  wall  into 
the  water.''   Remember  when  she 
sang  "Sweetheart,  We  Need  Each 
Other".?     That's  Dorothy  Lee. 
No  one  else  could  do  it  quite  so 
well  or  half  so  convincingly.  One 
couldn't  imagine  Corinne  Grif- 
fith doing  a  back-somersault,  or 
even  singing  "Sweetheart,  We 
Need  Each  Other" — but  it's 
easy  to  imagine  Dorothy  doing 
both  and  loving  it.  After 
you've  seen  her  and  talked  to 
her,  you  no  longer  have  to 
imagine   her   doing  them 
— she  does  them  all 

and  more.   " 

It  was  yesterday  that 
her  wee,  small  knock  came  at  my  office  door.    After  a 
number  of  loud  "Come  Ins,"  a  tiny,  animated,  brown- 
eyed  and  smiling  parcel  of  pep  floated  in  on  four-inch  heels. 
■  "Hello,"  I  said. 

One  Thing  After  Another 

HELLO  yourself,"  she  snapped  back,  with  the  small- 
editioned  tone  of  a  football  player  in  a  locker-room 
just  before  the  big  game.  "I'm  ten  minutes  early!  No 
one  is  ever  going  to  be  able  to  say  that  Lee  wasn't  on 
time.   Gee,  what  a  cute  divan!   Whose  picture  is  that.? 


By 

WALTE  R 
RAMSEY 


Did  you  frame  it  your- 
self.?   I  think  I'll  take 
off  my  coat,  it's  hot  in 
here.   Why  don't  you  go 
down  to  the  beach  for  a 
swim  on  an  afternoon  like 
this.?  Mind  if  I  take  off^ 
this  shoe.?  My  foot  hurts. 
Have  you  read  'Young 
Man  of  Manhattan'.?  Let's 
go  over  to  the  hamburger 
shop  and  talk — I'm  hungry." 
Well,  yes — and  then  again,  some- 
times no — I  answered.    Let's  sit 
down  and  talk  things  over.  So 
she  sat  down.  I  just  caved  in. 
"We  had  the  swellest  time 
last  week-end — down  at  Palm 
Springs — you    should  have 
been  alpng,"  began  the  voice 
from  way  down  deep  in 
the  clever  sports  dress. 
"We  just  played  games 
and  more  games 
%        \   *    'til  everyone 
almost  died — all 
except   me.  I 
never  get  tired. 
The  longer  I 
play,  the  better  I 
like  it.    Mamma  said  I  could 
invite  my  new  boy-friend,  if 
he  wanted  to  come  along — and 
he  did.    He's  a  man,  though. 
Gee,  I  certainly  wore  him  out. 
Know  what.?  We  played  eighteen 
holes  of  golf  in  the  morning, 
besides  three  sets  of  tennis. 
Then  we  had  lunch  and  after 
that  we  played  ping- 

  pong  for  an  hour  or  so 

and  I  wanted  to  go 


swimming — so  we  did.  And  then.  .  .  ." 

One  And  The  Same 

IS  this  the  same  little  girl  I've  seen  over  at  the  Brown 
Derby,  all  dressed  up  like  a  lady  and  looking  very 
sophisticated?  Why,  I  always  thought  she  was  about 
twenty-two — and  here  she  says  she  is  barely  eighteen. 
See  that  natural  twinkle  around  her  eye?  That  wasn't 
there  the  day  at  the  Derby.  Maybe  she  was  trying  to 
put  on  an  act — probably  she's  scared  people  will  think 
{Continued  on  page  89) 

71 


Lhe  Cold  Swmmm^  Hole 


"PalmoHve  is  the  soap  which 
thoroughly  cleanses  the  skin 


.  .  .  and  at  the  same  time 
reveals  natural  loveliness" 

says  the  celebrated 

LEON  DESFOSSE 

— one  of  the  best  known  of  all 
Parisian  beauty  specialists 


Dtsfossi  hits  a  most  unusual saluii  in  P^ris 
.  .  .  mosaic  floors,  marble  u  alls,  lend  an 
elegance  of  background  women  delight  in. 


Retail 
Price 


"PnlmoUic  is  so  rffertive 
fn'cause  of  palm  and  olive 
oils  which  cleanse  and  soothe 
the  complexion,  and  at  the 
same  time  bring  out  natural 
color." 


IF  you've  been  to  Paris  ...  if  your 
friends  have  been  to  Paris  .  .  you 
probably  know  of  the  chic  beauty  salon 
of  Desfosse  on  the  Rue  St.  Honore.  The 
establishment  Desfosse  has  been  a  train- 
ing school  for  many  of  the  now  famous 
French  specialists,  including  Emilc 
Mass^  of  the  Rue  Daunou. 

This  expert  of  international  pro- 
fessional importance  urges  you  to  use 
Palmolive  Soap.  He  says:  "I  always  ad- 
vise my  clients  to  wash  with  Palmolive 
Soap  and  warm  water,  making  first  a 
lather  with  both  hands,  then  thoroughly 
rinsing  with  warm  water  and  with  cold, 
thus  toning  up  the  complexion." 

Desfosse  is  not  alone  in  his  opinion 
of  the  tonic  effects  of  palm  ana  olive 
oils  in  soap.   Today,  a  tremendously 


impre.ssive  group  of  more  than  22,800 
beauty  specialists — throughout  the 
world — advise  Palmolive. 

Ordinary  soaps  won't  do 

Beware  of  using  crude  soaps,  soaps 
made  of  undesirable  fats,  soaps  artifi- 
cially colored  or  highly  perfumed.  They 
may  be  harmless.  But  to  experiment  is 
dangerous.  Palmolive  is  made  of  no 
other  oils  but  tho.se  of  palm  and  olives. 
It  is  these  oils  which  give  ic  Nature's 
own  green  color.  They  make  unneces- 
.sary  the  addition  of  heavy  perfumes. 

"The  .skin  must  be  thoroughly  washed, 
but  care  taken  to  employ  only  the  soap 
which  gives  the  greatest  benefits  with 
the  least  inconvenience,  "  the  great  Des- 
fosse warns  you.  So  many  soaps  are 
irritating. 

You  should  not  experiment  when  it 
is  so  easy  to  buy  Palmolive.  Millions 
use  it  for  the  bath  as  well  as  the  face. 
Try  it  and  you  will  understand  why. 


I'ALMOLIVE  RADIO  HOUR-Bto»dci«  every  Wednoday  night-from  9  30  to  10:30  p.m..  Easiern  time; 
8:30  tit  9:30  p.  m.,  Central  time;  7:30  to  8:30  p.  m  . Mountain  time;  6:30  to  7:^0  p  m.,  Pacific  Coait  limc— over 

WEAF  and  39  xations  associated  with  The  National  BroadcasiinK  Company.  r>24X  A 


73 


ou  can  keep  your  skin  lovely  just 


JoA.v  Crawford,  lovely 
M.G.M.  star:  "Lux  Toilet 
Soap  is  a  joy." 


SiE  Carol,  vivacious  Fox 
Films'  star:  "I  always  use 
Lux  Toilet  Soap." 


Betty  Compson,  charming 
Radio  Pictures*  star:  "Lux 
Toilet  Soap  is  wonderful 
for  smooth  skin." 


98%  of  the  lovely  complexions 

cared  for  with 

No  SINGLE  BEAUTY  touches  hearts  as  a 
petal-smooth  skin  does.  People  are  subtly 
drawn  to  the  girl  who  has  it . . .  cluster  about  her 
admiringly. 

Nobody  knows  this  better  than  do  the  girls 
who  have  won  the  hearts  of  millions  ...  on  the 
screen.  For  Hollywood  directors  found  out  long 
ago  that  unless  a  girl  has  the  smoothest  of  skin 
for  the  all -important  close-up,  she  can  never 
hold  her  public. 

As  Raoul  Walsh,  famous  Fox  director,  puts  it: 
"Smooth,  beautiful  skin  is  the  most  potent  charm 
a  girl  can  have  .  .  .  and  an  absolute  essential  for 
stardom  on  the  screen." 

And  you  can  keep  jo«rskin  just  as  lovely  as  the 
screen  stars  do!  Of  the  521  important  actresses 
in  Hollywood,  including  all  stars,  511  use  Lux 
Toilet  Soap.  First,  five  or  six  of  them  began  to 
use  it  .  .  .  found  out  how  perfectly  smooth  and 
soft  it  keeps  the  skin  .  .  .  and  it  wasn't  long  be- 
fore 9  out  of  10  famous  stars  were  using  this  de- 
lightfully fragrant  white  soap. 


Mary  Astor,  charming  star: 
"Lux  Toilet  Soap  is  so  sooth- 
ing to  the  skin." 


above  Billie  Dove,  lovaWe 
First  National  star. 

rij^hi  Bebe  Daniels,  beau- 
tiful Railio  Pictures' star. 


74 


'\\^\  Mc.Avov,  charmingly 
petite  star:  "Lux  Toilet  Soap 
is  so  refreshing." 


Lux  Toilet  iSoap 


as 


511  HoIlywooJ  Addresses  do  . . 


you  see  on  the  screen  are 
Lux  Toilet  Soap  .  .  . 


And,  under  the  glaring  lights  of  the  close-up, 
only  the  slightest  amount  of  make-up  can  be 
used . . .  the  skin  of  the  stars  must  be  naturally 
lovely. 

9  out  of  10  lovely  stars  use  it 

Not  only  in  their  own  luxurious  bathrooms  do 
they  use  it,  but  on  location.  For  at  the  actresses' 
request  all  the  great  film  studios  have  made  it 
the  official  soap  in  their  dressing  rooms. 

The  loveliest  Broadway  stage  stars,  too,  are 
enthusiastic  about  the  way  Lux  Toilet  Soap 
cares  for  their  skin  .  .  .  and  oh,  so  grateful  to  it 
since  so  many  of  them  have  successfully  passed 
the  screen  test  for  talking  pictures! 

And  the  European  stars  are  now  using  it!  In 
France  ...  in  Germany  ...  in  England. 

\{ you  aren't  one  of  the  millions  of  women  who 
are  already  devoted  to  this  dainty  soap,  order 
several  cakes  today.  You  will  be  delighted  with 
the  way  it  cares  for  your  skin. 


Dorothy  Mackaill,  en- 
ch;inting  st.ir:  "It's  certain- 
ly a  wonderful  soap." 


Marion  Nixon,  Warner 
Brothers'  exquisite  star:  "As 
marvelous  as  French  soaps." 


First  sweeping  Hollywood— then  Broadway 
—'and  now  the  European  capitals 


Marios  Davies,  charming 
M.G.M  star:"l  am  delighted 
with  Lux  Toilet  Soap." 


KvELYN  Brent,  fascinating 
star:  "I.ux  Toilet  Soap  is 
pleasing  and  soothing." 


Janet  (iaynor,  Fox  Films' 
adorable  little  star:  "I.ux 
Toilet  Soap  has  the  caressing 
quality  of  rine  French  soaps." 


Fj.eanor  Boaru.man,  ap- 
pealing beautiful  star:  "Lux 
Toilet  Soap  is  excellent." 


Ci.ARA  Bow,  Paramount's 
scintillating  star. 

Mary  Brian,  ever  beloved 
Paramount  star. 


10^ 


75 


The  Answer  Man  will  gladly  answer  your  questions  about  pictures  and 
players,  in  these  columns,  as  space  permits,  and  the  rest  by  personal  letter. 
Casts  and  addresses  given  by  mail  only.  Give  your  name  and  address  and 
enclose  stamped  addressed  envelope  for  reply.  Write  to  The  Answer  Man, 
MOTION  PICTURE  CLASSIC,  1501  Broadway,  New  York  City 


GERRY.— Marian  Nixon  and  Eddie 
Quillan  appeared  in  "Geraldine."  Alice 
White  did  not  play  in  this  production. 
Miss  White  was  born  in  Paterson,  N.  J. 
Received  her  education  in  Roanoke  Col- 
lege, Roanoke,  Va.  Coming  to  California 
she  took  a  secretarial  course  at  Hollywood 
High  School.  Then  came  her  opportunity 
to  become  a  script  clerk  and  this  work  she 
followed  for  about  two  years.  Finally  came 
the  chance  to  act — and  she  accepted  it 
gratefully.  Studied  dancing  and  singing, 
but  haven't  her  tutor's  name. 

CHARLES  FARRELL  FAN. 
— Charles  was  born  in  East 
Walpole,  Mass.,  Aug.  9,  1905. 
You  bet  he  did  his  own  singing 
in  "Sunnyside  Up"  and  "High 
Society  Blues."  I  can  supply 
you  with  three  poses  of  Charles, 
these  are  sold  for  twenty-five 
cents  each.  Rose  Hobart, 
Estelle  Taylor  and  Lee  Tracy 
appear  with  Charlie  in 
"Liliom,"  Fox  Studios. 

BERYL  GIBSON.— Sorry  I 
can't  speak  Spanish,  you'll 
have  to  write  in  English  as 
usual.  Lois  Wilson  did  not  ap- 
pear in  "God  Gave  Me  Twenty 
Cents."  Gilbert  Roland's  real 
moniker  is  Luis  Antonio  Da- 
maso  de  Alonzo,  hardly  blame 
him  for  changing  it,  do  you  ? 
Anita  Page,  Pomares,  she's 
Spanish  and  French  descent. 
Barry  Norton  is  playing  in  the 
Spanish  version  of  the  "Benson 
Murder  Case." 

OUESTIONOUS.— Not  until 
we  had  read  a  half  dozen  of  these 
war  novels  did  we  realize  what  a 
good  literary  critic  General 
Sherman  waf.  Well!  this  will 
settle  Buddy's  age  for  you  and 
your  friend.  Hope  you  win  the 
bet.  Buddy  was  born  Aug-  13, 
1904.  His  next  picture  is  "Fol- 
low Thru,"  Paramount.  The 
theme  song  of  "Pointed  Heels" 
was  I  Have  to  Have  You  and 
Ain't  Cha.  That  is  Clara  Bow's  real 
name.  No  new  picture  has  been  announced 
for  Rudy  Vallee  at  this  time. 

DOROTHY  ZIPPEL.— You  neglected 
to  enclose  your  name  and  address  for  a  per- 
sonal reply.  Robert  Montgomery  is  not 
married.  Gloria  Grey  was  Diana  in 
"Blake  of  Scotland  Yard."  Frankie  Darro 
is  not  related  to  Tom  Tyler  or  John 
Darrow.  Frankie  was  born  in  Chicago, 
111.,  Dec.  22,  1918.  Real  name,  Frank 
Johnson,  Jr.  Tom  Tyler,  Port  Henry, 
N.  Y.,  twenty-seven  years  ago.  Real  name 
William  Burns.  Drop  in  again  sometime. 

SUSIE  WOOSIE.— Your  favorite  Sue 


Carol  is  playing  opposite  Arthur  Lake  in 
"She's  My  Weakruss,"  Radio  Pictures 
Studio.  Grant  Withers  was  married  to 
Loretta  Young,  Jan.  28,  1930;  their  mar- 
riage was  not  annulled.  Joan  Crawford 
was  born  Mar.  23,  1908.  Douglas  Fair- 
banks, Jr.,  Dec.  9,  1907.  Ruth  Chatter- 
ton  is  playing  in  "The  Lady  of  Scandal," 
Metro-Goldwyn-Mayer. 

HEARST  FAN.— Mabel  Normand  and 
Lew  Cody  had  the  leads  in  "Mickey." 


If  you  saw  Warner  Bcucter  in  "In  Old  Arizona"  and  "Romance 
of  the  Rio  Grande,"  you  will  surely  want  to  follow  the  further 
adventures  of  the  bold  but  lovable  bandit  in  "The  Arizona 
Kid."  He  is  shown  with  Mona  Maris,  above,  in  a  scene  from 
his  new  picture 


BOBBIE  F.— Conway  Tearle  was  bo 
in  New  York  City,  in  1880.  Receiv 
his  education  in  the  public  schools  o 
that  city,  and  later  he  matriculated  a 
Amherst  College.  His  original  intention 
were  to  become  a  lawyer,  putting  the 
suit  of  his  studies  into  actual  practice  b 
appearing  frequently  in  court  in  th 
capacity  of  counsel.  In  1910  he  harkened 
the  call- of  the  stage  and  appeared  in  seve 
minor  r61es.  He  is  very  happily  married 
plays  tennis  very  well,  swims,  is  five  fee 
ten  and  a  half  inches  tall,  weighs  16. 
pounds,  and  has  dark  brow 
hair  and  eyes. 

HULA  HULA.— The  jok 
you  told  would  never  keep  m 
guessing,  that's  an  old  one 
Jack  Oakie  (gosh!  but  he' 
popular)  was  bom  at  Sedalia, 
Mo.,  Nov.  14,  1903.'  Oaki 
graduated  from  the  La  Salle 
High  School  in  New  York 
City.  For  a  number  of  years 
he  and  Lulu  McConnell,  fa- 
mous vaudevillienne,  appeared 
together  as  a  team  in  many 
musical  comedy  successes  and 
over  the  two-a-day  circuit.  He 
is  five  feet  ten,  weighs  152 
pounds,  has  brown  hair  and 
blue  eyes.  Real  name  is  Lewis 
Offield.  Latest  picture  "The 
Sap  From  Syracuse,"  Ginger 
Rogers  plays  opposite.  Para- 
mount Studios. 


FRENCHIE.— We're  always 
glad  to  hear  from  new  readers. 
Maurice  Chevalier  is  married 
to  Yvonne  Vallee,  they  have 
no  kiddies.  James  Murray  was 
born  in  New  York  City,  Feb.  9, 
1901,  five  feet  eleven  and  a  half, 
weighs  178  pounds,  light  brown 
hair  and  green  eyes.  Married 
to  Lucille  McNames  on  Sept. 
13,  1928.  Appearing  in  "Hide- 
Out,"  Universal  Studios.  Neil 
Hamilton's  new  production  is 
"The  Widow  from  Chicago," 
starring  Alice  White. 


Marilyn  Milhr,  star  of  "Sally,"  will  be 
presented  by  First  National  in  "Sweet- 
hearts." It  will  be  all  in  Technicolor. 
Walter  Pidgeon  plays  opposite.  Marian 
Nixon,  Rex  Bell,  and  Belle  Bennett  have 
the  leads  in  "Courage." 

H.  R.  K. — Yes,  Douglas  MacLean  and 
Edith  Roberts  played  in  the  silent  version 
of  "Seven  Keys  to  Baldpate,"  which  was 
released  in  Oct.  1925.  Sally  Blane, 
Loretta  Young  and  Polly  Ann  Young  are 
sisters.  Marlon  Davles,  Lawrence  Gray 
and  Walter  Catlett  are  appearing  in 
"The  Floradora  Girl."  Lon  Chaney, 
Llla  Lee  and  Harry  Earles  in  "The  Un- 
holy Three." 


MINNEAPOLIS  FAN.— Norman  Kerry 

is  the  only  star,  so  far  as  we  know,  who  was 
born  on  June  16.  Elliott  Nugent  was 
born  at  Dover,  Ohio,  Sept.  20,  1901. 
Educated  at  Dover  High  School,  Ohio 
State  University,  Columbus,  Ohio. 
Was  assistant  editor  for  one  of  the  Dover 
newspapers,  also  a  member  of  the  Ohio 
State  track  team  when  in  college.  Has  ap- 
peared in  a  number  of  Broadway  produc- 
tions, in  addition  to  the  ones  composed  by 
his  father  and  himself.  He  is  six  feet  tall, 
weighs  155  pounds,  has  light  brown  hair 
and  gray  eyes.  Married  to  Norma  Lee, 
they  have  two  children.  Now  appearing  in 
"The  Sea  Bat." 

{^Continued  on  page  102) 


76 


Its  Bubbles  wash  Impurities  from 


Between  the  Teeth 


Colgate*s  not  only  polishes  the 
smooth  outer  surfaces . . .  but  also 
washes  out  the  tiny  crevices  where 
ordinary  brushing  cant  reach. 
Thus,  it  cleans  teeth  completely. 

MERE  surface  polishing  of  teeth  is  only  ha// 
cleansing.  Danger  lurks  in  the  spaces  between 
teeth;  in  the  tiny  fissures  where  food  particles  collect 
and  where  decay  may  begin. 

Colgate's  cleanses  these  hard-to-reach  places.  Its  bub- 
bling, sparkling  foam  penetrates  the  crevices;  softens 
the  deposits  and  flushes  them  away  in  a  hygienic  wave 
of  complete  cleanliness. 

This  Colgate  foam  is  unique.  Scientific  tests  prove  that 
it  has  the  highest  penetrating  power  of  any  of  the  lead- 
ing toothpastes.  Its  washing  action  is  amazingly  thor- 
ough. After  brushing  with  Colgate's,  your  mouth  /iee/j 
clean  .  .  .  because  it  :j  clean  .  .  .  as  no  other  tooth- 
paste can  clean. 

Colgate's  polishes  teeth  brilliantly  .  .  .  using  the  soft, 
chalk  powder  which  all  dentists  use  for  this  purpose. 
But  any  good  toothpaste  will  polish  the  teeth.  Colgate's, 
in  addition  to  polishing,  gives  the  extra  protection  of  a 
thorough  washing  action  which  makes  the  cleansing 
operation  complete. 

Superiority  in  cleansing  and  economy  have  made  Col- 
gate's the  most  popular  toothpaste  on  earth  .  .  .  used  by 
more  people  and  recommended  by  more  dentists  than 
anv  other  dentifrice  made. 


Colgate's  Ribbon  Dental  Cream  is  the 
Largest  Selling  Toothpaste  in  the  World 


//  you  prefer  powder,  ask  for 
Colgate's  Dental  Powder.  It 
has  the  same  superior  cleansing 
power  as  the  cream. 

How  Colgate's  Cleans  Crevices 
VN'here  Tooth  Decay  May  Start 


DIaarara  showina 
tiny  space*  between 
teeth.  NoU  how 
ordinary,  abin^ah 
toothpaste  (hsTing 
high  "  sorface-ten- 
•ion")  fails  to  pen- 
etrate deep  down 
where  the  eaoses  of 
decay  may  lark. 


This  diagram  showa 
howCoIgate's  active 
foam  (having  low 
"sorf  ace-tension") 
penetrates  deep 
down  into  the 
crevices,  cleansing 
them  completely 
where  the  tooth- 
brush cannot  reach. 


■P"P"C"C  COLGATE.  Dept.  M.633.  P.  O.  Box  575,  Grand  Central  Post 
r  M\E2»Cf  Office.  N.  Y,  C.    Please  send  a  free  lube  of  Colnie'i  Ribbon 

Dental  Cream,  with  booklet  "How  to  Keep  Teeth  and  Mouth 

Healthy," 


77 


The  Changing  Movie  Audience 


sentimental  ballads  of  moon  and  June  to  a 
tin-pan  piano.  Now,  1930:  Strauss.Tschai- 
kovsky,  the  most  difficult  scores  played  by 
an  immense  symphony  orchestra  to  rapt 
picture  audiences! 

Testing  Tastes 

TE  have  to-day  the  same  audience 
W  that  we  always  had,"  says  B.  P. 
Schulberg,  Famous  Players  producer,  "and 
a  ;:ew  audience  besides.  What  this  new  audi- 
ence is,  we  are  finding  out  by  experiment. 
Perhaps  this  will  tell  you  something.  We 
are  making  pictures  to-day  that  we  would 
never  have  dreamed  of 
making  two  years  ago, 
pictures  that  wouldn't  have 
been  box  office  successes 
then.  Now  there  seems  to 
be  an  audience  for  them. 
The  appeal  of  dialogue  is 
not  so  direct  as  that  of 
action  alone.  It  takes  a 
rather  more  highly  trained 
type  of  mind  to  receive  im- 
pressions from  the  spoken 
word  than  from  visual 
scenes  of  action.  We  made 
The  \  irginian'  for  our  old 
familiar  movie  friends 
whose  tastes  we  have 
learned  from  years  of  pic- 
ture making,  and  we  made 
The  Lady  Lies'  and  'The 
Laughing  Lady'  for  our  new 
friends,  our  new  audiences, 
trained  to  delight  in  the 
subtler  shades  of  human 
motives  by  books  and  stage 
plays." 

Among  the  fifteen  million 
new  patrons  of  motion  pic- 
tures, then,  there  are  so- 
phisticates, highbrows  even, 
attracted  by  the  cleverness  of  a  Ruth 
Chatterton,  the  delicate  irony  of  a  Clau- 
dette  Colbert,  the  savoir  faire  and  slightly 
risqiii  finesse  of  a  Maurice  Chevalier.  Horn- 
rimmed spectacles  are  now  prominent  in 
movie  loges. 

Movies  for  Children 

FOR  many  years  it  was  the  sneering  accu- 
sation of  critics,  admitted  by  the  more 
honest  picture  producers,  that  movies  were 
made  to  appeal  to  audiences  mentally  about 
twelve  years  old. 

"And  now,"  says  E.  B.  Derr,  who 
with  Joseph  Kennedy  directs  the  destinies 
of  Pathe,  "the  exchanges  are  begging  us  to 
make  pictures  that  will  draw  the  children 
into  the  theaters!  Instead  of  planning  all 
our  program  to  the  understanding  of  the 
adolescent  mind,  as  in  the  past,  we  must 
deliberately  give  thought  to  ways  and  means 
for  keeping  our  child  fans.  Pathe  is  making 
four  hundred  short-reel  subjects  this  year 
just  for  the  children. 

"There  are  several  reasons  for  this  situa- 
tion. Many  of  the  smaller  neighborhood 
houses  have  found  the  cost  of  wiring  for 
sound  prohibitive,  and  have  closed.  When 
the  center  of  amusement  is  downtown,  at 
some  distance  from  the  residence  districts, 
the  audiences  naturally  become  more  adult. 
Children  do  not  travel  far  to  see  pictures 
alone.  We  are  keeping  the  younger  portion 
of  our  audience  by  deliberate  effort  through 
special  pictures,  and  a  system  of  children's 


{Continued  from  page  25) 

matinees,  and  we  are  reaching  an  older, 
more  critical  audience  than  ever  before  with 
our  regular  program  pictures. 

More  Than  Talk 

THE  addition  of  talk  to  the  movies  was 
not  in  itself  instantly  and  miraculously 
successful,  as  the  general  impression  seems 
to  be.  Exhibitors  complained  bitterly,  as 
late  as  six  months  ago,  that  their  audiences 
did  not  like  talking  pictures.  That  was  be- 
cause they  were  seeing  the  same  old  movies 
they  had  grown  tired  of,  with  talk  added. 
Then  the  producers  woke  up  to  the  fact 


Children  used 
executive,  left 


to  fill  the  theaters — now  adults  do,  says  E.  B 
;  and  Erno  Rapee,  right,  has  found  audiences 
fine  music 

that  dialogue  admits  of  more  subtle  plots, 
more  intricate  play  of  human  motives  than 
silent  pictures.  We  hired  dramatists  from 
the  speaking  stage,  we  hired  the  most  fin- 
ished actors  and  actresses  we  could  find. 
Our  pictures  have  grown  up,  and  so  have 
our  audiences." 

Now  we  are  beginning  to  get  a  picture 
of  the  new  movie  audience  which  has  swelled 
the  ranks  of  picture  patrons  from  the  ten 
million  a  week  attendance  of  a  few  years  ago 
to  the  astonishing  number  of  one  hundred 
and  fifteen  million  a  week  today.  The  for- 
mer fans  are  with  us  still,  the  youngsters 
who  flock  to  see  their  idols — Doug  Fair- 
banks, Hoot  Gibson,  Ken  Maynard,  Gary 
Cooper,  Mickey  Mouse;  the  flappers  and 
their  male  prototypes  in  their  teens,  fol- 
lowers of  Alice  White,  Buddy  Rogers, 
Loretta  Young,  Clara  Bow,  Robert  Mont- 
gomery; the  family  fans  who  always  go 
when  there  is  a  Lon  Chaney  picture,  a 
Harold  Lloyd,  or  a  Ronald  Colnian,  a  Janet 
Gaynor,  or  a  Novarro  film.  And  in  addi- 
tion, we  have  the  newcomers,  drawn  to  the 
movies  by  the  new  aspects  of  the  films,  by 
the  voice  of  a  Lawrence  Tibbett,  by  the 
subtlety  of  Ann  Harding  or  Walter  Huston, 
by  the  whimsical  dialogue  of  a  Barrie,  by 
the  new  magic  of  color  and  song  and  spec- 
tacle of  screen  musical  comedies,  more  elab- 
orately costumed  and  expensively  cast  than 
any  legitimate  show  could  afford. 

These  new  movie  fans  are  theater-trained, 
music  lovers,  sophisticated,  critical,  adult. 


They  deliberately  choose  the  movies  as  en- 
tertainment, as  they  .  formerly  chose  the  J 
concert  or  theater  or  opera.  The  most  sub'il 
stantial  audience  in  the  world  has  been  won  |l 
over  to  the  most  democratic  amusement  in  i| 
the  world.  Among  them  are  business  men, 
college  professors,  millionaires  and  highbrow  1 
critics.  They  have  money  enough  to  gratify 
expensive  tastes,  but  they  have  found  that 
the  movies,  once  and  still  the  poor  man's 
entertainment,  have  something  for  them 
also. 

That  this  new  movie  audience  is  well  to 
do — an  audience  of  spenders — is  demon- 
strated by  the  testimony 
of  the  United  States  Cham- 
ber of  Commerce,  which  • 
considers  the  "animated 
catalogue"  of  products 
shown  in  motion  pictures 
the  biggest  selling  agency 
American  trade  has  to- 
day. For  every  foot  of 
American  film  exported, 
according  to  the  Depart- 
ment of  Commerce  records, 
a  dollar's  worth  of  Ameri- 
can goods  is  sold  abroad. 
In  this  country  the  movies 
continually  increase  the 
"spiral  of  demand"  for 
American  manufactured 
products,  says  Will  Hays, 
speaking  under  the  aus- 
pices of  the  Department  of 
Commerce  over  a  nation- 
wide broadcast  recently. 
They  carry  to  American 
homes  and  purchasers  the 
visual  perception  of  Ameri- 
can goods,  and  arouse  a 
desire  for  them.  They  show 
attractive  homes,  charming- 
ly furnished,  fine  automo- 
biles, modern  conveniences  of  living,  they 
set  the  styles  in  dress. 

Proof 

A PRACTICAL  proof  of  the  fact  that 
movie  audiences  are  buyers  was  shown 
in  a  recent  picture  where  Gloria  Swanson 
used  a  certain  bottle  of  perfume  on  her  dress- 
ing table  in  a  luxurious  bedroom  setting. 
This  perfume  was  a  delightful  one,  which, 
however,  for  some  reason  or  other  had  failed 
to  catch  the  fancy  of  the  public,  and  its  man- 
ufacturers were  on  the  verge  of  failure.  Its 
bottle  was  of  characteristic  shape  and  color, 
and  within  a  month  of  its  appearance  on  the 
screen  the  demand  for  the  perfume  was 
greater  than  the  manufacturers  could  ful- 
fil. It  is  one  of  the  most  successful  brands 
on  the  market  to-day. 

The  new  talkie  audience,  then,  is  a  well- 
to-do  audience  with  money  to  spend  and 
appreciation  of  fine  standards  of  living. 

The  new  talkie  audience  is  a  more  selec- 
tive audience.  It  is  composed  of  intelligent 
people  who  have  an  infinite  choice  of  amuse- 
ments— motoring,  radio,  outdoor  sports, 
good  books — and  find  mental  and  sensory 
stimulation  in  the  movies. 

The  term  "movie  fan"  has  now  become 
as  dignified  as  the  terms,  "devotee  of  ths 
opera,"  "art  patron,"  "theater-goer"  and 
"music  lover."  The  remark  which  has  come 
to  be  an  axiom  in  the  industry  is  no  longer 
true.  The  movies  are  not  in  their  infancy 
to-day.  They  have  grown  up. 


Derr,  Pathe 
to  appreciate 


115,000,000     Go    To    The     Movies     Every  Week 


78 


D 


D 


OROTHY  LyiX  dmjA 
Romance  d(mn  t  cdwam  aemcmd 


aunkant 


Dorothy  Dix,  famous  writer 
OH  romance  and  marriage 

WHY  is  it  so  many  girls 
think  romance  must  wait 
for  just  the  right  moment?  That 
moonlight,  music,  atmosphere 
are  essential? 

Romance  is  every  where  —  after- 
noons at  the  beach,  hiking  in 
the  country  —  simple  picnics  — 
all  have  their  opportunities. 

But  you  must  always  look 
your  charming  best! 

You  should  know  above  all 
the  significance  of  color  in  clothes.  For 
you  needn't  wear  expensive  things  if  you 
know  this  secret. 

Men  Love  Color 

Men  respond  quickly  to  color  —  as  the 
old  saying  goes,  "It's  color  that  takes  a 
man's  eye."  Even  on  a  picnic  where  old 
clothes  are  called  for,  at  oid faded  blouses, 
color-dimmed  prints.  For  the  loss  of 
original  color  in  a  garment  means  a  cor- 
responding loss  of  allure. 

Therefore,  let  me  give  you  two  simple 
hints  — 

FIRST:  In  even  your  simplest  frocks, 
choose  the  pretty  colors  that  are  most  be- 
coming to  you. 

THEN:  Guard  the  charm  of  color  always 
from  even  slight  fading — for  there  is  a 
magnetic  appeal  in  vibrant  fresh  color. 

When  I  say  this,  girls  often  reply  that 
frequent  washings  —  which  daintiness 


Even  picnics  hat  e  their  opportunities  —  and  simple  frocks  their  charm 


demands — too  often  take  the  loveliness 
from  colors.  If  that  is  the  case,  you  have 
probably  been  usmg  the  wrong  soap. 

Ordinary  "good  "  soaps  are  sometimes 
not  good  enough  —  and  some  of  the  color 
goes  u  ith  the  dirt. 

To  play  absolutely  safe,  use  Lux,  which 
is  made  to  safeguard  colors.  Lux  has  a 
slogan  ...  "if  it  s  safe  in  water,  it  s  safe 
in  Lux."  And  that's  true. 

AT  HOME,  TOO,  let  the  charm  of 
color  add  glamour  to  you.  Even  the  sim- 
plest home  makes  a  lovely  frame  to  your 


dainty,  feminine  self,  if  everything — from 
the  cushions  on  the  porch  swing  to  the 
curtains  in  the  living  room  —  is  kept 
colorful  as  neii  with  Lux.  Remember 
men  love  color. 

Dorothy  Dix 


THE    SECRET    OF    CLOTHES  APPE.\L 


Simple  after  12  Lux 
washinKs;  —  unfaded, 
live.  \ibran(  as  when  it 
was  bought,  magnet- 
ism of  color  retained. 


Sample  washed  1  2 
times  with  ordinary 
"good"  soap — undeni- 
ably faded,  the  allure  of 
fresh  color  lost! 


if  ifs  safe  in  uvater  .  , 
it's  safe  in  LTX 


79 


Hollywood  Sob-Stories 

(Continued  from  page  29) 


beautiful  and  healthy  without  her  constant 
care.    Idleness  was  again  a  gulf  before  her. 

Adolphe  Menjou  was  making  a  picture, 
and  there  was  a  part  Lina  could  do  if  she 
wished.  At  the  time  she  "wished"  more 
than  anything  else  in  the  world.  She  fairly 
ached  to  be  back  in  things  again,  to  be 
accomplishing  something  besides  Wednes- 
day luncheons  at  the  Mpntmartre.  Sam 
Warner  must  have  felt  sorry  for  his  very 
young  wife,  for  at  last  he  gave  his  consent. 

Lina  worked  again.  She  danced.  She  had 
a  lovely  home,  a  husband  who  adored  her,  a 
darling  baby — and  work.  For 
a  moment  it  looked  as  though 
Hollywood  had  turned  a  smil- 
ing face  on  Lina  Basquette — 
but  not  for  long. 

Tragedy  Enters 

IN  the  midst  of  the  Menjou 
picture,  Sam  Warner  was 
taken  gravely  ill.  Before  it  was 
completed — he  died. 

The  whispers  again !  Discreet 
whispers, well  back-of-the  hand. 
But  whispers  about  Lina.  She 
had  gone  ahead  and  finished 
the  picture,  for  one  thing. 
Brave,  wasn't  it?  murmured 
Hollywood,  with  a  superficial 
smirk.  Or  was  it  that  she  cared 
more  for  her  work  than  for  Sam 
Warner?  Cruel  stabbing  whis- 
pers which  Lina  felt — and 
heard. 

Lina  finished  her  work  for  one 
tremendous  reason  which  the 
world  does  not  know — 

She  needed  money,  financial 
security  for  herself  and  her 
baby. 

At  the  time  of  Sam  Warner's 
death,  Lina  had  two  hundred 
dollars  in  her  checking  account 
at  the  bank.  She  had  not  an- 
other cent  in  the  world.  The 
\'itaphone,  at  that  time,  had 
not  brought  its  thirty  millions 
into  the  Warner  Brothers'  cof- 
fers. For  years  their  organiza- 
tion had  struggled  under  a  load 
of  debts,  lack  of  cash,  lost 
prestige.  Sam  Warner's  trust 
fund  for  his  wife  and  child  was 
extremely  modest,  the  income 
amounting  to  only  eighty-five  dollars  weekly. 

Work  No  Longer  Play 

WORK,  to  Lina,  was  no  longer  a  hobby. 
It  was  her  bread  and  butter.  Luck- 
ily, things  broke  for  her,  in  the  line  of  picture 
engagements.  There  were  several  unimpor- 
tant things — and  then  her  selection  by 
Cecil  de  Mille  for  his  most  pretentious 
picture  of  the  year,  "The  Godless  Girl." 
With  the  exception  of  Lina,  who  was  over- 
joyed, there  was  scant  rejoicing  over  her 
selection  throughout  the  town.  "Now,  how 
in  the  world  did  he  happen  to  choose  her?" 
was  the  drift  of  the  grumblings.  And  all 
through  the  engagement  she  was  watched 
with  unfriendly  eyes.  "She's  getting  up- 
stage. Talks  about  herself  all  the  time. 
The  high-and-mighty  little  lady  is  due  for  a 
ride,"  are  but  a  few  of  the  general  observa- 
tions both  spoken  and  written. 

"No  one  knew,  at  that  time,"  explained 
Lina,  "that  I  felt  anything  but  high  and 
mighty.  I  was  tremendously  worried  finan- 
cially, but  I  felt  I  had  to  keep  up  a  front.  In 
Hollywood,  nothing  succeeds  like  looking 
successful — and  I  felt  my  professional  work 
would  suffer  if  I  didn't  keep  up  a  Show  of 


prestige.  Believe  me,  it  was  a  drain  on  both 
my  resources  and  my  pride  to  do  some  of  the 
things  I  did.  I  knew  I  could  not  afford  to 
keep  a  nurse  for  the  baby  at  one  hundred 
and  thirty-five  dollars  a  month — and  yet 
I  felt  I  could  not  afford  to  let  her  go.  I 
wanted  the  world  to  think  Sam  had  provided 
amply  for  us. 

The  Unseen  Reasons 

I DIDN'T  want  them  to  realize  that  his 
baby  and  his  wife  were  receiving  not 
one  cent  from  the  talking-picture  idea 


which,  by  this  time,  was  beginning  to  make 
millions  for  his  brothers.  And  the  Vita- 
phone  was  primarily  Sam 's  idea.  He  fought 
the  whole  organization  for  it — tr>'ing  to 
make  them  realize  its  value.  It  didn't  seem 
fair  that  we,  little  Lina  and  I,  should  be 
struggling.  I  didn't  want  it  known  that  we 
were.  If  I  talked  about  myself,  how  well  'I 
was  getting  along,  if  I  bragged  a  little  (as  I 
was  accused  of  doing),  it  was  to  cover  up 
something  else,  just  the  opposite,  which  I 
felt  keenly.  But  Hollywood  didn't  know 
that — and  they  talked.  I  was  in  Dutch 
again. 

"There  were  times  when  I  was  almost 
desperate.  I  don't  think  I  could  have  stood 
it  if  I  hadn't  met  Fev  just  at  that  time. 
He  was  photographing  'The  Godless  Girl' 
and,  with  us,  it  was  a  case  of  love  at 
first  sight.  I  had  loved  Sam  Warner — but 
it  was  a  love  that  was  more  the  deep  af- 
fection and  reverence  of  a  girl  married  to  a 
man  twenty-two  years  her  senior.  I  minded 
him.  I  was  just  a  baby  to  him.  With  Pev, 
it  was  the  sort  of  love  that  makes  the 
world  go  'round. 

"He  was  so  sweet  to  me.  He  seemed 
to  understand,  where  everyone  else  chose 


to  misunderstand.    One  by  one,  my  f- 
weather  friends  drifted  away.    Only  P 
was  on  hand  to  see  me  through  the 
moments." 

But  Hollywood  misunderstood  this 
mance  as  it  has  misunderstood  most  thi 
about  Lina  Basquette.  They  looked  on 
at  best  as  a  passing  flirtation.  Even  C 
de  Mille  was  irritated — until  he  reali" 
the  attachment  between  his  leading  came 
man  and  his  new  leading  lady  was  mu 
deeper  than  the  gossips  credited  it  to  !; 

Again  They  Were  Wro 

3 FT  was  a   deep  surprise 
L  Hollywood,  who  loves 
now  it  all,  when  Lina  B 
quette  and  young  Marley  w 
quietly  married,  and  soon  aft 
wards   left   on   an  extend 
vaudeville  tour.     Again  t 
gossips  guessed — and  guese 
incorrectly.    "Now  that  s' 
has  a   new    husband,  she 
turned  the  baby  over  to 
nurse  and  forgotten  all  abo' 
her.    A  fine  mother  she  is!" 

"  I  heard  what  they  were  sa 
ing,"  went  on  Lina,  "but 
couldn 't  let  it  stop  me.  Pe 
and  I  had  to  work.   My  offe 
for  picture  work  were  begi 
ning  to  come  few  and  far  b 
tween.  We  needed  the  mone 
and  when  this  attractive  off 
came    from    the  vaudevill 
people  we  snatched  it.  Nat 
urally,  I  didn 't  want  to  dra 
my  baby  around  the  count^ 
in  and  out  of  hotels,  and  b 
sides,  it  would  have  made 
big  dent  in  our  finances.    I  fig 
ured  it  would  be  much  wiser  t 
leave  her  here  in  good  hand 
where  she  would  be  comfort 
able  and  send  the  money 
would  have  spent,  taking  her 
with  me,  on  a  nice  place  f 
live  and  a  competent  nurse. 
She  was  getting  ten  dolla" 
a  week  from  her  father's  es- 
tate for  her  entire  living  expen- 
ses.   The  rest  I  was  earning. 

"For  some  time  the  Harry 
Warners  had  been  dickering 
for  her  adoption.  To  this  I 
flatly  refused.  She  was  my  baby  and  I 
wanted  her  with  me  whenever  I  felt  I  could 
have  the  time-  free.  I  agreed,  however, 
to  her  living  with  her  aunt  and  uncle,  pro- 
viding 1  might  have  her  whenever  I  wished. 
Finally,  after  a  great  deal  of  legal  bickering, 
it  was  decided  that  way,  and  there  was  to  be 
a  settlement  of  three  hundred  thousand 
dollars  on  her — and  her  alon?!  To  be  held  in 
trust  until  she  was  twenty-one.  I  was  not 
to  receive  a  dime  of  it! 

The  Final  Blow 
"  T  WAS  playing  in  the  East  when  I  read 
J.  that  the  Warners  had  announced  they 
had  adopted  my  baby  and  had  full  custody. 
I  was  frantic.  I  became  ill,  and  it  led  to  a 
nervous  breakdown.  I  never  agreed  to  give 
my  baby  away — for  adoption — for  money — 
for  any  other  reason  of  which  I  have  been 
accused. 

"I  tell  you,"  said  Lina  and  leaned 
earnestly  across  the  table,-sincerity  marking 
every  word,  "that  my  flesh  crawled  when  1 
got  back  in  Hollywood  and  found  myself 
being  cut  by  old  friends,  because  they 
believed  such  a  monstrous  thing  about  me. 
{Continued  on  page  loi) 


Another  Hot  Scene 


The  woodwinds  howl,  and  there  is  a  sound  as  of  tom-toms — the 
studio  suns  pour  down — the  shipwrecked  lovers  are  married  before 
the  censors — and  the  omnivorous  cameras  and  microphones  eat  up 
another  kiss  in  the  desert 


80 


Do  Unseen  Hands 
Keep  You  Dumb .  • 

When  You  Ought  to  Talk? 

How  often  have  you  wanted  to  talk,  but  held  back,  silent,  because  you  felt 
unequal  to  the  other  people  present?  How  many  times  have  you  passed  up, 
or  avoided  the  chance  to  talk  in  public — before  your  business  associates, 
your  club  or  lodge,  because  of  your  fear  of  stage  fright?  Are  you  afraid  of 
your  own  voice — instead  of  being  able  to  use  it  as  one  of  the  greatest  business 
and  social  assets  in  your  possession?  And  yet  you  might  be  surprised  to  hear 
that  many  of  the  most  brilliant  public  speakers  we  have  today  felt  exactly 
this  way — before  they  learned  how  to  develop  their  "hidden  knack"  of  power- 
ful speech — a  knack  which  authorities  say  seven  men  out  of  every  ten 
actually  possess.  And  the  chances  are  that  you,  too,  have  in  you  the  power 
of  effective  speech — which,  if  unloosed,  would  be  almost  priceless  to  you  in  a 
social  or  business  way.  Find  out  if  you  have  this  natural  gift — read  every 
word  of  the  message  below. 


Discover  These  Easy  Secrets 
of  Effective  Speech 


PROBABLY   you    have  never 
pictured   yourself    being  able 
to    sweep    a    giant  audience 
off  its  feet— to  win  the  applause 
of  thousands.    Yet  the  men  who 
are  doing  such  things  know  that  it 
is  all  astonishingly  easy  once  you  are  in 
possession  of  the  simple  rules  of  effective 
speech.    Before  you  learn  these  secrets 
you  may  be  appalled  at  the  thought  of 
addressing  a  small  audi- 
ence.   Still  it  all  seems 
so  ridiculously  easy  when 
you  know  how  to  banish 
stage  fright,  and  exactly 
what  to  do  and  say  to 
hold  an  audience  of  one 
or  a   thousand   in  the 
palm  of  your  hand. 

Yet  what  a  change  is 
brought  about  when  a 
man  learns  to  dominate 
others  by  the  power  of 
Effective  Speech!    Usually  it  means  a 
quick  increase   in   earnings.     It  means 
social  popularity.  You  yourself  know  how 
the  men  who  are  interesting  talkers  seem  to 
attract  whomever  they  wish  and  name 
their  own  friends — men  and  women  alike. 
There  is  no  magic,  no  trick,  no 
mystery  about  becoming  a  power- 
ful and  convincing  speaker — a  bril- 
liant,  easy,   fluent  conversa- 
tionalist.   One  of  America's 
eminent   specialists   in  effec- 
tive speech  has  developed  a 
method  that  has  already  raised 


What  20  Minutes  a  Day 
Will  Show  You 

How  to  address  bunlness  meetings. 
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thousands  from  mediocre,  narrow  ruts  to 
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minutes  a  day  in  the  privacy  of  your  own 
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progress. 

How  you  can  use  this  method,  how  you 
can  banish  stage  fright,  self-consciousness 
and  bashfulness,  quickly  shaping  your- 
self into  an  outstanding 
influential  speaker,  is 
told  in  an  interesting 
book.  How  lo  Wot\ 
Wonders  With  Words. 
Not  only  men  who  have 
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once. 


NORTH  AMERICAN 
INSTITUTE 

Dept.  233-A 

3601  Michigan  Ave.» 
Chicago,  111. 


J  NORTH  AMERICAN  INSTITUTE  j 
■  3601  Michigan  Ava.,  Dapt.  233-A  i 
J  Chicaco,  Illinois  j 

!  Please  send  me  free,  witbout  obUgatloa.  a  copy  of  ! 
g  your  Inspiring  booklet,    Hou>  to   Wort   Wonden   WUh  g 


I  WorOa,   and  full  Inlormatloo 
g  In  Effective  Speaking. 
I 
■ 

I  Name  


regardlQg  your  course  | 


FREE 

How  to  Work  Wonders 
With  Words 

xJVlail  Qoupon  ^oday  l,^;,^... ..^rr.-™ 

............................ 


Address . 


Psyching  the  Hollywood  Blonde 


This  seemed  like  a  good  start,  considering 
June  had  only  spoken  three  words.  But  I 
knew  Mrs.  Castberg  wasn  t  talking  through 
her  hat.  I  had  had  a  sample,  and  it  had 
struck  home,  .■\lready  I  was  deciding  to 
give  my  fixations  a  severe  talking  to  when 
I  got  the  chance. 

"You're  a  small-town  girl,  aren't  you, 
Miss  Clyde?  "  Mrs.  Castberg  went  on.  "I 
thought  so.  That's  a  good  beginning  for  a 
simple  type  of  girl  like  yourself.  What 
made  you  become  an  actress?" 

June  was  fairly  cool  and  collected.  'I 
went  on  the  stage  when  I  was  nine  years 
old,"  she  said.  "I  had  quite  a 
remarkable  voice,  they  thought, 
so  ...  " 

"I  can  tell  you  something 
more,"  Mrs.  Castberg  said. 
"You  can  do  anything  at  all 
you  want  to  do — but  you'll 
have  to  want  to,  deep  down. 
You  will  never  want  to  do  the 
wrong  things,  even  for  the  sake 
of  an  adventure — in  fact,  you 
don't  care  for  a  lot  of  adven- 
ture. You're  not  an  actress  for 
the  glamour  of  the  glaring 
lights,  but  because  you  have 
an  urge,  and  also  because  you 
have  to  make  money.  Other- 
wise, you'd  much  prefer  marr>-- 
ing  the  man  you  loved.  You 
wouldn't  marr>-  for  a  lot  of 
worldly  things." 

June  was  beginning  to  think 
there  was  a  trick  somewhere. 
"That's  ver>-  true — oh,  how 
true  that  is!"  she  rep)eated  as 
each  revelation  came  out. 

Mrs.  Castberg  turned  and 
spoke  confidentially  into  my  ear. 
"Miss  Clyde  is  romantic.  Is 
that  a  terrible  thing  to  say? 

"You  have  a  deep  inner  feel- 
ing that  life  is  good,  "  she  pur- 
sued, turning  back  toward  June. 
"You  don't  exactly  believe  in 
fairies,  but  you  could.  Life  is 
easy  for  you  because  of  your 
belief  in  good  angels.  Not  ex- 
actly good  angels,  but  your  guid- 
ing star,  you  might  call  it. 
You're  quite  safe  to  keep  your 
illusions  in  the  movies,  which  is 
a  good  thing  for  you. 

"Frankly,  Miss  Clyde,  I'm  glad,  sur- 
prised, to  find  you  as  you  are.  I  was 
expecting  something — well,  different — when 
they  asked  me  to  psycho-analyze  a  motion 
picture  blonde.  I  like  this  about  you,  espe- 
cially; that  unlike  most  people,  you  wouldn't 
strike  the  hand  that  helped  you  to  success, 
if  there  has  been  any  such  hand.  But  most 
of  your  success  you  have  made  yourself. 

"The  only  thing  that  will  ever  stop  you 
from  success  in  your  profession  will  be 
love. 

"Your  love  life,  I  should  say,  is  very 
simple.  You  have  not  had  any  love  affairs. 
You  have  loves,  but  not  love  afifairs.  Isn't 
that  right?" 

'Exactly,"  said' June.  "So  few  people 
interest  me  enough  to  love  them." 

"Your  loves,"  Mrs.  Castberg  pursued 
relentlessly,  "are  ideal.  You  are  in  love 
with  an  ideal  man.  Your  employers  need 
not  worr>'  about  your  breaking  the  mar- 
riage clause  in  your  contract,  I  should  say, 
because  the  chance  of  your  meeting  the 
ideal  is  remote.  But  if  you  do  meet  him, 
then  nothing  will  stand  in  the  way  of  your 
marry  ing  him,  and  ...  to  yse  the  ver- 
nacular .  .  .  your  contract  will  be  flooey." 


{Continued  from  page  jj) 

She  paused  a  moment.  Then,  "Miss 
Clyde,  did  you  ever  feel  any  difference 
between  your  lo\e  for  your  father  and  for 
your  mother?" 

"I  loved  my  mother  best,"  said  June. 

"Ah,  you  see,"  Mrs.  Castberg  exclaimed 
triumphantly;  "she  has  no  CEdipus  com- 
plex. That's  why  she  isn't  likely  to  give 
the  studio  trouble  on  the  marriage  clause. 
Those  who  have  the  father  fixation  are  the 
ones  most  likely  to  fall  for  a  man  at  any 
moment.  But  Nliss  Clyde  is  not  the  type 
who  is  crazy  to  fall  in  love.  Eventually,  if 
she  fails  to  meet  her  ideal  man,  she  will 


"They  also  serve  who  only  stand  and  wait":    a  scene  behind 
the  lines  in  any  large  theater  in  any  large  city  on  any  large 
Sunday  evening 


idealize  a  man  who  falls  short  of  the  ideal." 

"What  are  the  specifications  of  your  ideal 
man.  Miss  Clyde?"  I  put  in. 

He  Must  Be  Real 

"  T  DON'T  care  how  he  looks,"  she  replied 
X.  without  a  moment's  hesitation.  "I 
don't  care  if  he  hasn't  a  penny,  so  long  as 
he  earns  his  money  honestly.  He  would 
have  to  be  real — someone  who  wasn't  al- 
ways acting.  So  Mrs.  Castberg  is  right  in 
saying  I'm  not  very  likely  to  meet  him  just 
yet — there  aren't  many  like  that  in  Holly- 
wood." 

"As  to  money,"  Mrs.  Castberg  said,  "I 
can  see  that  Miss  Clyde  wants  it,  but  she 
is  not,  and  never  will,  be  money-mad." 

"That  is  true,"  said  June.  "I  would  like 
to  have  money  so  that  I  can  make  those  I 
love  happy.  For  myself,  I  want  only 
enough  to  live  comfortably." 

"VVhen  did  you  first  fall  in  love?"  asked 
Mrs.  Castberg.   "Schoolgirl  love,  I  mean." 

"When  I  was  fourteen,"  replied  June. 
"He  was  captain  of  the  basketball  team 
and  president  of  the  student  body.  He  was 
Very  poor,  and  worked  nights  to  pay  for  his 
schooling.   I  admired  that.   I  don't  think  I 


loved  him — I  just  admired  him  enormously. 
I  never  kissed  him  .  .  .  that  sounds  silly, 
doesn'fit?  He's  in  San  Francisco  now,  and 
I  still  see  him  whenever  I  go  there.  We're 
ver>-  good  friends." 

Mrs.  Castberg  whispered  in  my  ear: 
"I'm  going  to  see  if  she  has  a  Narcissus 
fixation. 

"Did  you  ever  sit  and  look  at  yourself 
in  the  mirror  when  you  were  a  child?"  she 
asked  June. 

June  shook  her  head.  "Only  when  I 
used  to  try  on  costumes,"  she  said.  "  I 
loved  doing  that." 

Mrs.  Castberg  looked  her 
straight  in  the  eyes  for  a  few 
moments. 

No  Narcissus 

"She  has  no  Narcissus  com- 
plex," she  said,  turning  at  last 
to  me.  "We  mean  by  that,  she 
is  not  and  never  has  been  in  love 
with  herself.  That,  you  see, 
would  have  been  one  reason  for 
her  failure  to  fall  really  in  love 
with  a  man,  for  if  you  are  in 
love  with  yourself  there's  no 
room  for  anybody  else.  When 
she  tried  costumes  on  before 
the  mirror,  it  was  her  urge  to 
act  coming  out,  and  fortunately 
the  urge  was  never  frustrated. 
There  has  been  no  inhibition 
for  her  to  overcome.  Excuse 
the  affected -sounding  phrase, 
but  in  technical  parlance  we 
would  say  there  has  been  no 
frustration  or  inhibition  in  the 
central  stream  of  her  drive. 

"Another  thing.  Miss  Clyde, 
isn't  there  a  tune  running  in 
your  head  nearly  all  the  time? 
A  sort  of  harmonic  background 
in  your  brain? " 

"Yes,  there  is,"  said  June. 
"It's  mar^'elous  that  you  could 
tell  me  that.  Nearly  always, 
except  when  I  am  asleep,  there 
is  a  tune  in  my  head." 

"I  thought  so.   Do  you  know 
what  that  means?    You  have 
intuitively  contacted  your  inner 
rhythm.    I  am  sure  your  direc- 
tors never  had  to  teach  you  to 
move  gracefully.  You  have  har- 
mony and  rhythm  in  your  head,  although, 
as  you  told  me  just  now,  there  was  not 
much  music  in  your  family. 

"  Now  about  your  dreams.  Did  you  ever 
dream  of  being  on  a  desolate  plain?" 

"No,"  answered  June.  "But  I  have 
dreamed  so  often  of  laughing  and  crying — 
just  laughing  and  crying  all  by  myself." 

"You  see,"  explained  Mrs.  Castberg, 
"her  dreams  are  emotional,  as  you  would 
expect  for  an  actress,  but  they  do  not  de- 
pend on  anyone.  She  is  self-sufficient.  She 
IS  in  touch  with  the  cosmic  emotions,  joy 
and  sorrow,  that  have  existed  since  the 
beginning  of  the  world;  but  in  her  dreams 
there  is  no  one  there  inspiring  those  emo- 
tions. Miss  Clyde  is  a  very  lucky  girl, 
because  she  is  simple,  life  to  her  is  simple, 
she  knows  what  she  wants,  and  yet  her 
instincts  are  infallibly  right. 

"Miss  Clyde,"  concluded  Mrs.  Castberg, 
"is  not  modern,  nor  is  she  mid-\'ictorian, 
nor  anything  else  of  the  kind.  She  would 
be  herself  in  any  age.  She  does  not  adapt 
herself;  she  knows  what  she  wants  out  of 
life  and  she  is  not  influenced  by  what  the 
age  thinks  she  ought  to  do,  or  by  what  any 
individual  thinks  she  ought  to  do." 


82 


jAl  Jrop  of  it...5o!  and 

ten  year5  slip  away  I 
vwyv  VIRGINIA  VALLI 

"You  re  mem  her  the  uLl  rainy  days  up 
ill  the  attic'/  Dressed  m  grown-up  clothes? 
...putting  on  grown-up  airs?  li^ ell,  I 
have  a  theory  that  we  grown-ups  like 
to  dress  up,  too...  But  we  like  to  turn 
hack  the  clock...  and  play  were  our 
younger  selves!  Hats. .  .frocks. .  .often  I 
huy  them,  to  encourage  that  mood... 
And  now. .  .And  now,  I  ve  a  perfume. . . 
an  ever  so  much  quicker  way...  A  hreatk 
of  iSEVENTEEN  upon  me... and  I  m 
joyously  m  the  role. .  .playing  Im  my 
youngest,  go^^est  me  I 


Breatli  of  tlie  jM-oJern  Spirit 

a  new  perfume... SEVENTEEN 


Young... -w  I  til  eternal  youth  ...  i3oplii.sticate<l .. . 
35  wliiipereJ  repartee  ...  Naive  ...  daring .. . 

Soul  of  tlie  modern  woman  . . .  part  of  lier  vivid 
personality  ...  Lreatk  of  lier  Jijferent  cliarin... 

Seventeen  comes  like  a  crisp,  fre.sli  Lree:e, 
after  all  tlie  cloying  perfumes  you  Iiave 
known.  Seventeen  —  like  you  —  tlares   to  lie 


li . . .  Sol)lll.stlc^ 


liferent. . .  new 


,'ill  find  it 


Xry  Seventeen  today...  you  w 

wlierever  tine  toiletries  are  sold 

Ami  Kow  (leligKtfiil  to  know  tliat  every  rite  ot  tlie 
dresiiiiig  talile  can  te  fragranced  witK  Seventeen ! 
TKe  Perfume,  in  sucU  exc|uisite  little  J  rcncli  flacuns 
...the  Powder,  so  new  and  smart  in  sKatliiigs . .  .  the 
Toilet  \i^ater,  lilve  a  caress  ...  tlie  fairy- fine  Dusting 
Powder  for  after-l>atliiiig  luxury  ...  tlie  Tii/f . . .  tlie 
Sachet ...  two  kinds  of  Brillanttne  .  . .  aud  tlie 
Compucf,  gleaming  lilack  anil  gold.. -like  no  other 
compact  you've  seen.  You  will  adore  tliem  all  ! 


83 


^/lanage 
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manage  you! 


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women  need  help  !  With  all  our  new  devices, 
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Yet  other  millions  of  wives  and  mothers 
present  such  a  different  picture.  Their  homes 
sparkle.  They  m^ke  cleaning  secin  easy.  And 
they  have,  every  day,  some  time  for  themselves. 

In  those  less  happy  homes,  something  must 
be  wrong.  Two  things,  in  fact,  we  venture  to 
guess:  First,  the  lack  of  a  definite  cleaning 
plan.  Second,  probably  an  incomplete  under- 
standing of  how  best  to  use  soap. 

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Imporlant:  Perhepi  you  alto  would  be  inlereited  in  "The  Book 
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Is  the  Devil  a  Woman? 


{Continued  from  page  jo) 


not  because  of  the  joy  of  neatness,  but  be- 
cause she  may  make  her  home  a  private 
hell  for  her  husband.  In  her  hands  the 
dust-cloth  is  a  far  more  treacherous  weapon 
than  the  pitchfork,  as  she  wipes  away  the 
casual  cigarette  ash  and  "tidies"  after  the 
comfort-seeker. 

Though  she  smiles  often,  there  is  no  real 
humor  in  her  soul.  To  her,  life  is  a  serious 
affair  of  trivialities.  Firmly  and  insistently 
she  points  out  deficiencies  in  her  husband's 
men  friends.  Charlie  is  too  fond  of  cards. 
Harry  smokes  too  much,  and  the  fumes 
stay  in  her  curtains.  As  for  that  girl  that 
Tom  goes  with,  you  can  actually  see 
through  her  bodices  and  the  body  is  an 
evil  thing.  God  made  it  for  beauty — but 
the  Lady  Devil  clothed  it.' 

Beautifying  Vice 

SHE  does  not  go  to  see  risque  shows  or 
read  improper  books,  but  she  is  fast  to 
concoct  fiction  that  will  blast  a  reputation, 
over  her  afternoon -bridge  table. 

She  is  a  hypocrite  because,  while  her 
purse  is  generous  to  her  favorite  charities, 
real  sympathy  has  no  part  in  the  giving. 

She  is  a  liar,  because  she  knows  only  the 
words  and  not  the  substance  of  truth. 

In  short,  she  is  the  Devil  because  she 
makes  X'irtue  so  hideous  and  X'ice  so  at- 
tractive. 

This  thoroughly  correct,  efficient,  so- 
called  "Good  Woman"  Devi!  has  driven 
more  men  from^the  paradise  of  happiness 
to  the  roads  of  philandering  and  drink  than 
all  the  collective  sirens  of  history. 

It  is  such  a  character  as  this  that  I 
portray  in  the  first  part  of  "Madame 
Satan."  She  is  stupid  and  uninteresting  to 
the  point  where  she  drives  her  husband 
into  the  arms  of  a  friendly  little  vamp. 
Later,  in  an  attempt  to  win  back  her  man, 
she  becomes  wicked  herself  and  she  does  a 
thoroughly  excellent  job  of  it.  Good  women 
have  so  much  more  imagination  for  evil — 
than  the  naughty  ladies.  They  can  be  ten 
times  more  shocking. 

Her  Own  Reputation 

AFTER  my  denunciation  it  will  probably 
.  amuse  you  to  know  that  I  have 
labored  through  life  under  the  title  of  a 
"good  woman."  That  is,  good  in  a  sense 
of  the  conventions;  not,  I  hope,  in  the  drab 
virtues  I  have  just  outlined  in  my  favorite 
conception  of  a  Lady  Devil.  I  was  not 
particularly  crazy  about  the  reputation,  but 
somehow  I  could  not  escape  it.  Because  I 
kept  fairly  decent  hours,  and  did  not  fall 
under  cabaret  tables  from  an  excess  of 
liquor,  because  I  married  the  man  I  loved 
in  preference  to  a  moderne  experience  with 
him,  Broadway  branded  Kay  Johnson  a 
"good  woman" — and  there  the  matter 
stood. 

It  even  affected  the  type  of  stage  rftles  I 
played.  I  was  never  more  than  politely 
indiscreet,  and  usually  1  was  an  example  of 
all  the  stage  virtues.  It  became  rather  irk- 
some. Though  no  one  else  would  believe 
it,  I  felt  in  my  heart  that  I  had  interesting 
possibilities  in  the  line  of  misconduct;  at 
least,  1  felt  I  could  successfully  portray  a 
painted  lady. 

It  is  a  strange  quirk  in  the  make-up  of 


good  women  that  they  inevitably  feell 
their  hearts  they  could  be  a  most  attracti 
influence  for  evil — if  they  cared  to.  It  ijl 
saving  grace.  Show  me  a  woman  who  f« 
that  she  could  not  break  up  some  maj 
home  if  she  cared  to — and  I  will  show  yo\( 
rarity.  She  argues  the  point  in  her  mindj 
naturally  she  would  not  stoop  that  low,  si 
tells  herself,  and  usually  she  is  quite  satJ 
fied  with  her  own  husband.  But  the  fa| 
remains  that  it  could  be  done — and  thl 
satisfies  her.  If  it  doesn't — Heaven  sax 
the  pieces!  For  there  is  nothing  mo 
dangerous  than  a  good  woman  on  a  rar 
page.  By  very  contrast  with  her  form 
virtues,  Evil  becomes  more  emphasized  a" 
apparent. 

Good  Enough  to  Be  Naughty 

I REMEMBER  a  certain  show  1  did  fc 
Al  Woods.   It  was  quite  naughty.  Th 
part  I  played  was  even  naughtier,  and 
had  won  it  only  by  prayers  and  beggin 
When  1  first  presented  myself  for  the  rSI 
Mr.  Woods  merely  shook  his  head  am 
dismissed  me  with  the  words,  "You  can' 
do  this  thing,  Kay.  You  aren't  experienced 
You're  a  good  woman."-   There  was  mj 
reputation  again  ...  a  reputation  I  hac 
been  trying  to  live  down  in  the  mind  oi 
producers  for  years!    "But  I  can,"  I  in- 
sisted.  "Really,  I  can.   Please  give  me  z 
chance  at  it." 

At  that  time,  the  part  was  being  re- 
hearsed by  a  lady  of  .  .  .  what  shall  we 
call  it?  .  .  .  experience.  Certainly  she  had 
lived,  and  the  part  she  was  studying  wai 
not  far  removed  from  her  actual  experiences. 
I  sat  in  the  darkened  theater  and  listened 
to  her  speak  the  frequently  risque  lines. 
Coming  from  her,  they  did  not  sound  par- 
ticularly startling — they  were  words  she  ' 
might  have  spoken  in  casual  conversation. 
Suddenly  I  was  struck  with  an  inspiration,' 
"That  doesn't  sound  naughty  when  she 
speaks  the  lines,"  I  whispered  in  the  ear  of 
Mr.  Woods,  "because  they  sound  too 
natural.  But  if  I  said  them  ..." 

Her  Shocking  Experience 

BY  jove,"  he  whispered  back,  slapping 
his  knees,  "  I  see  what  you  mean.  If 
you  said  them,  they  would  sound  ..." 
"Awful!"  I  finished  triumphantly. 
Which  is  exactly  what  happened.  For 
the  best  part  of  a  year  we  were  on  the 
verge  of  having  the  show  closed  because  of 
certain  speeches  of  mine.  My  mother  was 
horrified,  but  secretly  I  was  very  pleased 
with  myself.  It  rather  verified  my  private 
idea  that  I  could  be  quite  a  Devil  if  I  cared 
to  be. 

I  believe  Mr.  de  Mille  felt  somewhat  the 
same  reluctance  Mr.  Wood  experienced 
with  me.  When  he,  Mr.  de  Mille,  outlined 
the  plot  of  "  Madame  Satan  "  to  me,  he  said 
there  was  no  doubt  in  his  mind  as  to  my 
doing  the  "good  woman"  part  of  the  story 
— but  later,  when  the  character  becomes  a 
Devil — well,  he  didn't  know. 

I  am  just  waiting  to  show  him  the  fruits 
of  my  imagination  along  that  line — and  I 
will  show  him. 

He  has  yet  to  learn  what  devils  we  "good 
women"  can  be  when  we  set  our  minds  to 
it. 


Have  you  ever  thought  of  going  to  Hollywood — perhaps  going  there  to  live?  Do 
you  realize  who  your  neighbors  would  be?  K.  C.  B.  is  telling  you,  back  on  page  12, 
and,  moreover,  telling  you  in  his  own  unique  way  what  they  are  Uke.   Still  another 
new  feature  in  the  perennially  new  CLASSIC. 


84 


From  Where  I  Sit 

{Continued  from  page  lo) 

WTien  Aimee  calls  into  the  microphone, 
er  much-publicized  miracles  will  mdeed 
3me  to  pass.  People  who  have  been  deaf 
)r  years  will  sit  up  in  their  seats  as  if  they 
ad  been  hit  over  the  head  with  a  chair. 

Will  Alice  Do  It? 
ex  7"E  are  all  wondering  whether  Alice 
:  Vy  White  will  take  the  fatal  matri- 
t'-ionial  plunge  or  not.  Alice  has  everybody 
:  p  in  the  air — "all  of  a  flutter,"  as  you 
light  say — about  it.  One  day  she  says  she 
.ill;  the  next,  it  is  "perhaps"  or  "yes  and 
•  •o."    If  you  ask  her  boy-friend,  Sidney 
riartlett,  he  seems  just  as  undecided. 

They  took  a  trip  to  Chicago  to  see  Bart- 
tt's  mother,  and  it  seemed  as  though  all 
-  .  as  practically  over  but  the  throwing  of  old 
hoes.  At  every  station  alone  the  route  re- 
•)orters  questioned  them.   "We  are  not  go- 
ng to  be  married,"  they  said  to  one.  The 
aext  was  told,  "We  may  or  may  not." 
\nother,  a  few  more  hours  up  the  line,  elic- 
ited the  statement  that  "  marriage  is  a  sort 
■^f{  impulse,  isn't  it?"  That  left  it  as  much  a 
Iffnystery  as  ever.   Then,  a  few  days  later, 
Jthey  returned  to  Hollywood — still  unwed. 

All  right,  Alice,  say  I.  Take  your  time, 
t|)ld  girl.  But  don't — oh,  don't  start  doing 
•jji  Harry  Richman.  My  constitution  won't 
^itand  it  ;  and  I  am  not  the  only  one. 
r'  There's  one  thing  you  can  say  for  Alice's 
}.romance.  So  far,  she  hasn't  posed  for  any 
;it)ictures  biting  "Si's"  ear  off. 

.jj.  To  the  Music-Facers 

j|i'V  yo  longer  are  they  expecting  people  who 
work  in  picture  studios  to  get  their 
tanspiration   from   within.     Universal  has 
Atarted  a  movement,  and  other  studios  are 
following  suit,  to  placard  the  grounds  with 
illustrated  posters  bearing  messages  of  cheer 
EG  one  ancf  all.   Here,  for  example,  is  one 
thought  that  Universal  employees  are  asked 
|to  bear  in  mind: 

"Winners  never  pass  the  buck.  When 
^'ou're  right  you  expect  credit.  When  you're 
kTong,  who  should  accept  the  blame?  Face 
the  music  and  go  ahead." 

I  am  biting.  Who  should  accept  the  blame 
im  a  movie  studio?  I  have  never  heard  yet 
lof  anyone  accepting  blame  for  anything  in 
IHollywood;  and  one  thing  nobody  can  say 
(about  me  is  that  I'm  too  proud  to  learn. 

Temperament  Cure 

HOLLYWOOD  has  been  trying  for  years 
to  find  a  cure  for  that  disease  called 
I  "temperament, "  which  is  so  rampant  among 
movie  stars.  But  I  see  that  it  has  remained 
for  the  savages  of  darkest  Africa  to  show  us 
[the  first  really  effective  treatment. 

It  was  on  a  filming  expedition  to  the  Su- 
Idan,  headed  by  one  Major  Court  Treatt; 
and  the  seven  teen -year-old  star  of  the  pic- 
ture, a  native  girl  who  performed  practically 
in  her  birthday  suit,  suddenly  contracted 
the  disease.  It  developed  that  the  young 
lady  had  been  reading  the  fan  magazmes — 
and  she  had  decided  that  she  had  just  as 
much  right  to  throw  temperamental  fits  as 
Jetta  Goudal  or  anyone  else. 

Major  Treatt  was  a  man  of  action.  He 
sent  her  straight  to  the  chief  of  her  tribe, 
who  proceeded  to  spank  her  ver>'  hard  at  the 
point  where  it  would  do  the  most  good.  A 
complete  and  permanent  cure,  Major  Treatt 
announces,  was  effected  in  a  few  minutes. 

The  suggestion  is  there  for  any  director 
who  cares  to  make  use  of  it. 

Believe  It  Or  Not 

THE  story  about  how  Charlie  Farrell 
averted  a  juicy  new  Hollywood  scandal 
by  just  twelve  minutes  was  passed  off  by 
our  wiseacres  as  so  much  press-agent  blah. 
(Continued  on  page  97) 


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Address-  ■ 

86 


The  Most  Romantic  Moment 
of  My  Life 


(^Continued  from  page  27) 


to  see  Paris — just  as  I  had.  And  here  we 
were,  both  on  our  way,  and  with  each  other. 
Wasn't  life  wonderful? 

The  last  night  aboard  was  at  hand  before 
we  realized  it.  It  was  a  magnificent,  exciting 
evening  and  we  talked  of  our  plans  as  we 
walked  around  the  ship.  We  would  take 
the  same  train  to  Paris,  of  course.  Then 
we'd  spend  a  lot  of  time  together  there.  It 
would  be  marvelous! 

But  I  missed  the  train  at  Cherbourg! 

She  had  come  into  my  life  like  a  dream — 
and  when  she  was  gone  I  completely  forgot 
her.  After  I  found  that  she  was  not  aboard 
the  same  car  with  me,  she  became  a  dream 
again — gossamer.  I  began  immediately  to 
think  of  the  Paris  of  music.  I  had  lost  the 
Paris  of  romance  and  I  wasn't  mourning 
the  fact.  I  was  happy  in  the  thoughts  of  the 
girl  I  had  left  behind.  My  wife. 

Paris'  Morning  Glory 

THE  first  few  days  of  Paris  disappointed 
me  vaguely.  It  was  altogether  too  cos- 
mopolitan, too  bustling,  too  reminiscent  of 
America.  I  had  hoped  for  the  Paris  of  the 
novelists — the  city  of  a  gay  picturesque 
people.  But  it  was  a  long  time  afterwards 
that  I  realized  why  I  didn't  find  my  Paris 
the  first  days  of  my  stay.  I  had  been  tired 
with  traveling  and  consequently  had  stayed 
in  bed  until  the  sun  was  overhead  before 
venturing  out  on  the  crowded  boulevards. 
But  on  the  fourth  day  I  decided  that  I 
would  awaken  early  the  next  morning  and 
take  a  stroll  across  the  Seine  and  up  the 
crooked  old  streets  to  Montmartre.  I 
wanted  to  see  the  city  spread  out  in  the 
faint  sunlight  of  a  morning  in  Spring. 

But  I  never  got  as  far  as  Montmartre. 
Too  soon  I  was  engrossed  with  the  beauty 
of  early  morning  in  Paris.  The  dew  still 
clung  to  each  leaf  along  the  quays  and  the 
whole  city  seemed  washed  and  clean  of  its 
night  of  rioting  pleasure.  Every  odor  was 
of  fresh  flowers  or  newly  gathered  vegetables. 
Without  realizing  that  I  had  stopped  in  my 
wanderings,  I  began  to  dawdle  over  the 
little  book  stalls  along  the  way.  It  was  a 
fortunate  thing  that  Paris  booksellers  open 
their  shops  early — for  if  they  hadn't,  I 
should  have  missed  my  most  romantic 
moment. 

A  Memory  Returns 

I WAS  busily  reading  the  titles  on  some 
of  the  old  volumes,  when  all  at  once  I 
heard  a  small  voice  behind  me  say,  "Good 
morning."  It  was  the  voice  of  a  memory, 
a  memory  returned.  I  dropped  the  book  I 
had  been  holding  in  my  hand  (curiously 
enough,  it  was  the  memoirs  of  a  lovely 
courtesan  of  the  time  of  Louis  XIV)  and 
turned  sharply  around.  It  was  Marilynne, 
looking  just  as  sweet  and  romantic  as  she 
had  only  a  few  short  days  before.  Without 
any  further  words,  she  laid  her  hand  on  my 
arm  and  we  started  off  along  the  river 
toward  the  famous  Eififel  Tower,  prominent 
in  the  blue  distance. 

Romance  is  always  that  way,  I  suppose. 
It  never  begins — never  continues — and 
never  ceases.  In  those  first  few  steps,  we 
had  lost  sight  of  the  fact  that  I  had  missed 
the  train.  It  was  enough  that  we  were  in 
Paris  together,  just  as  we  had  dreamed  of 
being.  Words  weren't  necessary. 

As  we  walked,  we  watched  for  interesting 
things  to  point  out  to  one  another.  Once 
we  stopped  for  a  spray  of  powdery  yellow 
mimosa  from  the  south  of  France  at  one  of 
the  gay  little  flower  stalls.  (A  Frenchman 
can  go  without  bread,  but  not  without 


flowers.)  Once  we  were  almost  run  downl 
a  fleeting  taxi — dangerous  street  crossin 
never  entered  our  minds.  Venders  we 
calling  their  wares  with  lusty  voices  as  4 
passed,  and  their  cries  sounded  like  songaij 
us.  It  was  a  beautiful  setting  on  a  beautn 
morning.  A  setting  for  romance. 


THEN  before  our  eyes  there  suddeif 
was  a  sign — a  very  brilliant  sign — whit 
told  of  an  afternoon  performance  of"  Louis* 
at  the  Opera  Comique.    I  had  stopped  e 
suddenly  that  Marilynne  was  at  a  loss  t 
understand.    But  in  answer  to  her  mai 
questions,  I  asked  her  one:  would  she  1 
to  spend  the  afternoon  with- me?  "Louii 
— and.   She  smiled  her  reply. 

During  the  rest  of  the  morning  and  eai 
afternoon,  we  walked  into  many  strange' 
out-of-the-way  parts  of  Paris.  While  wi 
walked,  I  told  her  the  story  of  "Louise.' 
It  was  a  quaint  little  story  about  two  verj 
young  people  in  the  United  States  who  had 
always  dreamed  of  going  to  Paris.  Thej 
were  sweethearts  and  love  was  new  to  their 
and  very  romantic.  They  longed  to  sat 
Paris  together  as  sweethearts.  And  they 
got  their  wish.  They  went  to  Pfiris  whili 
they  still  were  young.  It  is  the  sweeteati 
love  story  of  all  the  light  operas.  As  I 
unfolded  the  story  to  her,  the  setting  became 
more  and  more  romantic  to  us.  She  looked' 
upon  our  meeting  as  a  sort  of  a  fate — we 
were  the  boy  and  girl  in  "Louise." 

Living  the  Story 

AT  last,  curtain  time  arrived,  and  we 
in  the  cool  darkness  of  the  theat 
There  wasn't  much  of  a  crowd.  We  were 
alone  in  our  aisle  and  the  rest  of  the  lowi 
floor  seemed  taken  up  by  other  coupl 
very  like  ourselves.  Boys  and  girls,  gatheri 
to  see  their  own  romantic  story  told  in  son] 
The  curtain  rose. 

There  before  us  stood  a  boy  and  a  gi 
There  we  stood.  And  we  sang  of  our  longin 
desire  to  see  Paris  together.    We  were  i 
another  world.  It  seemed  so  real  to  us  th 
we  both  imagined  it  was  ourselves  singin 
our  love  song  to  the  world.     A  song 
romance.   As  the  story  progressed,  the  tw( 
lovers  got  their  heart's  desire  of  seein 
Paris.    But  hadn't  we?    Here  we  were  i. 
Paris.  The  Paris  of  Romance! 

That  we  had  been  holding  hands  durini 
the  whole  performance  didn't  occur  to  ui 
until  the  finale.  But  as  the  curtain  descend 
ed  for  the  last  time,  we  suddenly  becami 
aware  that  we  had  been  carried  far  awa'^ 
from  ourselves.  That  we  had  been  on  thi 
stage — and  that  the  story  had  been  told^ 
Our  romance  had  come  and  gone.  Nothing 
was  left  for  us.  We  sat  for  some  time  in  the 
theater  after  everyone  else  had  departed^ 
Not  a  word  was  spoken.  Then  we  arose  and 
walked  slowly  out  of  the  theater. 

AS  we  said  "good-bye"  at  the  entrance, 
we  knew  tnat  we  should  never  see  one 
another  again.  We  parted  as  simply  as  two 
people  ever  said  a  last  farewell.  It  was  just 
"Good-bye,  Marilynne,"  and  "Good-bye, 
John."  And  I  stood  there  and  watched  her 
walk  away  down  the  boulevard  in  the  blue 
light  of  twilight.  Romance  had  come  to 
me,  and  now  it  was  moving  away.  That 
intangible,  fragile  spark  which  had  leapt 
into  such  a  flame  in  the  story  of  the  opera 
and  then  flickered  out  at  the  first  breath  of 
cold  disillusionment. 

And  so  ends  the  story  of  my  most  roman 
tic  moment.    It  came  like  a  dream,  and 
went  like  one. 


lit!' 


^  Classic  Holds 
H     Open  Court 

(Continued  from  page  J7) 

Then  just  what  is  it  about  Hollywood 
that  snares  and  translates  into  lamb  chops 
the  goat  of  so  many  of  its  juicy-minded 
gentry?  Why  is  it  that  big-leaguers  visit 
it  but  temporarily,  then  depart  with 
pinched  noses  and  expressions  of  disdain? 
Why  is  it  that  you  will  ever  and  anon  see 
that  familiar  gesture  ...  a  gasp,  a  lurching 
rise  from  even  the  most  comfortable  seat, 
a  stiflF-fingered  grasp  at  the  brow,  a  tortured 
voice  crying:  "This  town!  Good  God,  this 
town ! " 

Behind  the  Crime 

WELL,  Ladies  and  Gentlemen  of  the 
Jury,  a  prosecutor's  task  is  to  be 
critically  destructive,  and  not  constructive. 
But  an  inherently  kind  heart  prompts  me 
to  tell  the  gaudy  and  empty  shell  which  now 
lie«  prone  before  you,  just  what  is  the  matter 
with  it.  And  that,  I  might  point  out,  is 
something  which  the  assailants  of  Caesar 
didn't  do  for  him! 

First,  I  believe  that  the  principal  reason 
for  Hollywood's  terrible  cheapness  is  its 
utter  disregard  for  the  rich  storehouse  of 
the  past,  in  favor  of  the  lessons  brought  to 
it  by  vaudeville  players  of  questionable 
tastes.  Here  the  old,  the  fine,  is  abandoned 
in  favor  of  the  crassly  new.  Those  rows  and 
rows  of  stodgy,  newly  rich  houses,  filled 
with  yesterday's  output  at  Grand  Rapids— 
ugh !  The  mediocre  minds  which  fill  them — 
double  ueh!  They  are  Hollywood's  minor 
assassins! 

The  older  communities  of  Southern  Cali- 
fornia are  grand.  But  Hollywood  is  a 
merry-go-round,  chasing  its  tail  to  the 
encouragement  of  a  strident  tune.  Its 
sense  of  values  has  become  perverted  by  a 
too-close  adherence  to  the  dramatic  wants  of 
shop-girls  and  old  ladies  from  Oshkosh.  Its 
eyes  have  been  blinded  to  true  beauty  by 
the  dollars  which  it  uses  for  lenses  in  its 
eyeglasses.  In  the  midst  of  its  mighty 
commercial  success  it  is  sterile  and  without 
power  but  to  destroy  the  finer  sensibilities 
of  those  attracted  to  it,  youth  and  the 
bright  Medusa. 

Summation 

'T'HUS  I  call  Hollywood  a  murderer. 

I  Lacking  appreciation  of  the  brown  savor 
ofearth  and  of  the  rich  red  blood  of  life,  it 
destroys  those  appreciations  in  others.  The 
man  or  the  woman  who  would  preserve  his 
artistic  integrity  should  flee  from  it  as  from 
a  banshee.  It  is  a  vampire,  a  ghoul,  a  paste 
diamond  caught  in  the  amber  of  its  own 
hopeless  routine.  It  is  the  slayer  of  in- 
dividuality! 

I  pity  it  and  sorrow  for  it.  Pity  it,  be- 
cause of  its  failure  to  grasp  the  huge  possi- 
bilities for  good  to  which  it  has  access; 
sorrow  for  it,  because  I  fear  that,  except  for 
a  few  isolated  instances,  it  never  will  realize 
them.  Yet,  Ladies  and  Gentlemen  of  the 
Jury,  if  in  your  opinion  I  have  presented  my 
case  with  enough  force  to  arouse  Hollywood 
from  its  dormant  attitude  as  regards  true 
artistry,  I  will  ask  that  the  court  give  it  a 
f>eriod  of  probation  in  which  to  prove  itself. 
Otherwise  I  ask  that  you  sentence  it  to  its 
usual  quota  of  laughter  in  the  eyes  of  the 
cultured  world! 

The  prosecution  rests. 


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88 


The  Things  Wives  Hate 


{Continued  from  page  jp) 


"Wives  usually  hate  the  economically 
independent  woman.  Well,  in  this  partic- 
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and,  for  the  most  part,  not  a  very  good  one 
at  that.  There  is  a  less  respectable  name 
for  many  women  of  this  ilk  .  .  .  wives  who 
lie  abed  mornings,  too  headachy,  too  worn 
out  to  get  up  for  breakfast.  And  no  sooner 
is  the  sympathizing  hubby  safely  out  of  the 
house  than  they  'phone  and  make  bridge 
dates  or  shopping  dates  for  most  of  the  day 
and  night.  They  know  that  they  are  slack- 
ers and  resent  the  woman  who  isn't. 

"  If  wives  would  cast  off  the  old  shibbo- 
leths and  cease  to  waste  time  hating  and 
fearing  the  sensational  sirens  who  wreck  no 
homes  and  wouldn't  want  a  tame  husband 
for  a  house-pet,  there  would  be  fewer  Elsie 
Dinsmoies  as  instruments  of  alimony." 

Mistaken  Hates 

NATALIE  MOORHEAD  is  another 
little  lissom  lady  from  whom  all  well- 
brought-up  wives  shudder  away  in  unholy 
horror.  The  way  she  wears  clothes.  The 
way  husbands  look  when  they  gaze  on  her. 

Natalie  laughed  and  agreed  with  Hedda 
when,  a  few  days  after  the  foregoing  con- 
versation, I  lunched  with  her  at  the  Em- 
bassy. 

She  said,  in  her  forthright  way,  "Of 
course,  wives  hate  the  wrong  sort  of  women. 
They  hate  actresses  on  general  principles. 
Probably  there  is  more  than  the  potentially 
straying  husband  involved  in  this.  It  may 
be  partly  because  all  women,  wives  included, 
have  wanted  to  be  actresses  all  of  their 
lives.  I  think  there  is  no  person,  male  or 
female,  wife  or  husband,  who  hasn't  wanted 
to  be  on  the  stage  at  one  time  or  another. 
They  are  jealous,  the  wives,  of  actresses. 
For  reasons  of  self,  as  well  as  spouse. 

"Also,  they  hate  the  obvious  siren,  the 
woman  who  dresses  for  men,  who  is  physi- 
cally attractive,  who  invites  'that  sort  of 
thing.'  Equally,  of  course,  they  shouldn't. 
For  that  sort  of  woman  has  had  so  much  of 
that  sort  of  thing  she  is  probably  tired  of 
it.  She  doesn't  have  to  look  for  it  in  other 
Women's  husbands,  thereby  getting  herself 
into  a  horrid  mess.  She  is  probably  far  too 
clever  to  want  to  be  involved  in  anything 
of  the  sort.  A  woman  who  is  a  siren  to  all 
men  is  too  smart  to  be  involved  with  the 
wrong  man. 

Beware  Maternal  Tj'pes 

THE  woman  wives  should  hate  is  some 
other  wife  who  is  a  mother  as  well  as 
a  wife.  There  is  the  really  dangerous  woman. 
The  woman  who  is  a  woman. 

"Nine-and-a-half  times  out  of  ten  the  so- 
called  siren  type  of  woman  has  sporting 
blood.  And  sporting  blood  doesn't  permit 
of  illicit  affairs.  Doesn't  permit  of  causing 
rotten  unhappiness  to  other  people.  For 
the  most  part,  most  wives  attach  far  too 
much  importance  to  their  own  husbands. 
Most  wives  consider  their  legal  mates  far 
more  desirable  than  they  really  are.  They 
will  see  some  charming  woman  being  charm- 
ing to  the  hubby  and  will  never  again  invite 
her  into  their  home.  Chances  are,  the 
charming  woman  is  being  bored  to  death 
and  only  turning  on  the  works  because  it  is 
second  nature  to  her  and  a  part  of  her 
training. 

"Wives  seldom  hate  the  very  young  girl — 
and  they  shouldn't.  Unless  the  man  in 
question  is  a  confirmed  sensualist,  or  some 
sort  of  pervert,  the  adolescent  stage  will 
bore  him  to  death. 


"Undoubtedly,  the  sweet  and  simple 
type  .  .  .  not  too  much  younger  than  the 
wife  but  just  enough  ...  is  the  most  danger- 
ous of  all  women.  She  looks  beyond  suspi- 
cion. She  acts  below  the  belt  line  of 
suspicion.  She  appears  to  be  hard  to  get. 
She  is  out  for  the  things  that  drop  like  ripe 
plums  into  the  laps  of  her  more  picturesque 
sisters. 

"Most  wives  hate  all  other  women.  Every 
other  woman  is  a  potential  rival.  A  menace. 
And  most  of  this  tide  of  hatred  is  pitifully 
unnecessary.  I'd  back  a  wife  and  mother 
against  the  Other  Woman  every  day  in  the 
week.  The  Other  Woman  may  have  all  the 
outings — for  a  time.  The  wife  has  all  the 
innings — and  keeps  them," 

The  Poison  of  Charm 

1ILYAN  TASHMAN  is  the  tonsorial 
J  despair  of  even  so  over-dressed  a  place 
as  Hollywood.  Wives  throw  up  their  hands 
and  retreat  into  handy  anterooms  when 
Lil  swanks  into  any  gathering.  She  looks 
as  if  she  might  gather  husbands,  more  or 
less  helter-skelter. 

She  told  me,  "Wives  hate  gracious 
women  who  are  gracious  to  their  husbands 
.  .  .  who  get  so  little  graciousness  at  home. 

"Wives  hate  thoughtful  women.  Women 
who,  as  hostesses,  remember  what  Oscar 
liked  so  well  the  last  time  he  dined  with 
them.  Women  who  are  considerate  to 
husbands  who,  also,  get  so  little  considera- 
tion at  home. 

"Wives  hate  women  who  regard  their 
husbands  as  different,  interesting,  worth 
listening  to.  For  what  wife  plays  the  game 
of  Patience  called  'Finding  My  Husband 
Interesting'? 

"The  dangerous  woman  to  Any  Wife  is 
the  perpetually  charming  woman.  Charm 
is  more  virulent  a  home-poison  than  any 
amount  of  beauty,  fame  or  sex  appeal.  It 
combines  the  best  element  in  all  three.  And 
the  really  charming  woman  is  charming  to 
everyone  and  to  everything.  To  the  serv- 
ants in  her  house,  the  dog,  the  salad  she  is 
eating  and — other  women  s  husbands. 

"Wives  always  hate  the  very  smart 
woman.  Not  so  much,  perhaps,  because  she 
is  smart  as  because  they  know  it  is  laziness 
on  their  own  parts  not  to  be.  Laziness  and 
nothing  else.  Any  woman  can  be  smart, 
anywhere  in  the  world,  on  any  amount  of 
money,  large  or  small.  Smartness  is  not  a 
question  of  bank  account  or  of  locale.  It  is 
a  matter  of  effort,  of  keeping  up  on  things 
and  of  laboriously  acquiring  taste  if  one  i* 
not  fortunate  enough  to  be  born  with  it." 

Hateful  Husbands 

EVELYN  BRENT,  who  is  the  Dark 
Lady  of  the  Sonnets,  or  the  prototype 
of  that  poetized  person,  doesn't  think  most 
wives  fear  competition  to  any  alarming 
extent.  Most  wives,  she  says,  are  steeped 
in  a  bland  complacency.  They  have  their 
marriage  certificates  and  they  believe  every 
word  of  them.  They  have  heard  the  preacher 
say,  'Until  Death  do  us  part.'  They  have 
their  gold  or  platinum  or  diamond  bands. 
They  have  their  homes  and  their  allowances 
and  their  children.  If  they  do  hate  other 
women,  it  is  only  spasmodically.  They  hate 
other  things  far  more. 

"For  instance,"  said  the  carven  Evelyn, 
"all  wives  hate  to  be  rushed  while  dressing 
for  dinner.  There  is  more  murder  in  their 
hearts  when  a  husband  calls,  'Aren't  you 
ever  coming?  What  the — are  you  doing 
anyway?'  tnan  they  could  possibly  hate 
any  Lorelei  parked  on  any  stone. 

"All  wives  hate  to  be  told  they  are  too 
tired  to  go  out  and  do  things  when  they 
{Continued  on  page  loo) 


An  Eye-Opener 

{Continued  from  page  71) 

er  too  young.  Look  at  her  little  foot  curled 
-ound  the  leg  of  the  chair.  I'll  bet  she 
3ean't  wear  bigger  than  a  size-one  shoe, 
wonder?  .  .  .) 

".  .  .  we  went  over  to  the  playground 
here  all  the  little  kids  play,  and  we  tried 
)  do  a  lot  of  tricks  on  the  bars.  He  couldn't 
o  as  many  as  I  could,  though.  While  I  was 
oing  the  'turn-over'  and  the  'roll,'  he 
ist  sat  on  the  ground  and  rested.  Then  I 
anted  to  dance.  I  love  to  dance,  don't 
ou?  So  we  went  over  to  the  hotel  and 
anced.  Not  for  very  long,  though.  He 
iid  his  feet  hurt,  so  we  stopped  dancing, 
fter  I  let  him  rest  about  five  minutes,  I 
3ld  him  we  should  go  horseback  riding  in 
he  sunset.  It  took  me  a  long  time  to  get 
im  to  do  that,  but  after  a  while  we  went 
iding.  When  we  came  back  I  wanted  to  . . ." 

(Oh  Lord,  don't  let  her  have  any  of  those 
leas  this  afternoon — my  rheumatism'll 
ill  me.  I  wonder  why  that  song  keeps 
unning  through  my  mind?  "Sweetheart 
Ve  Need  E^ch  Other."  How  does  she  make 
hose  big  eyes  shine  like  that?  I'll  bet  her 
oy-friend  would  like  to  see  her  with  her 
hoe  off — he'd  probably  say,  '  See,  it  serves 
ou  right  for  running  me  ragged  all  over 
'aim  Springs.'  Isn't  she  cute?) 

Her  Disappearing  Act 

SAY,  can  I  use  your  telephone?  I've 
got  to  call  my  mother  and  tell  hersome- 
hmg.  You  haven't  any?  Is  there  one  across 
he  nail?  All  right,  I'll  go  over  and  use 
heirs — be  right  back  ....  Wait  for  me, 
ou  got  to  ask  me  some  questions  'fore  I 
o  home  ..." 
Then,  with  one  leap  from  the  top  of  my 
cute  divan,  "  she  skipped  to  the  door  and 
lided  through.  While  she's  gone  I'll  tell 
ou  something  funny  about  Dorothy: 
That  "Hello  Yourself"  business  isn't 
iriginal  with  Dorothy.  That  was  the  name 
(f  the  last  show  she  played  in  on  Broadway, 
t  was  while  she  was  thus  employed  that  she 
tras  "discovered"  by  a  scout  from  Holly- 
k'ood  and  beguiled  into  signing  a  contract 
o  appear  in  the  talkies.  That  s  where  the 
augn  comes  in.  Hollywood  thinks  that 
hey've  put  one  over  on  Broadway  by 
arrying  away  another  of  their  stars — but 
^ollywood  is  slightly  cock-eyed.  Dorothy 
ue  was  born  right  here  in  HoUytvood.  She 
ried  to  eet  a  chance  in  pictures  long  before 
he  finally  went  to  New  York  for  a  fling  at 
he  stage.  No  one  would  give  her  a  chance. 
The  studio  which  now  has  her  under  con- 
ract  at  a  nice  little  figure  could  have  signed 
ler  then  at  a  salary  of  one-tenth  of  what 
ihe  now  commands  as  'a  former  star  of  the 
itage."  In  other  words,  Hollywood  looks 
pon  their  very  cute  and  vivacious  little 
lewcomer  as  an  invader  from  Broadway — 
md  she  went  to  school  at  \  irgil  High ,  about 
mile  from  the  studio  where  she  now  ca- 
vorts. I'd  say  that  comes  about  as  close  to 
putting  one  over  on  the  old  home  town  as 
anything  I've  heard  of  these  many  moons. 

Ingenious  or  Ingenuous 

T3UT,  while  she  is  "just  crary  about  play- 
Ij  ing  comedienne  parts  behind  the  foot- 
lights," she  is  quite  sure  that  she  wants 
'  to  play  ingenues  on  the  screen."  Of  course, 
when  you  see  her  in  "  Radio  Revels,"  you'll 
understand  that  she  hasn't  had  her  wish 
fulfilled  as  yet.  Still  a  comedienne — and 
how.  Still  piloting  her  five-foot  self  through 
a  flock  of  footage  with  Bert  Wheeler  and 
Bob  Woolsey.  Just  one  laugh  after  an- 
other— and  the  little  gal's  heart  is  crying 
out  for  "ingenue  parts.  '  (Hold  everything, 
here  she  comes  back  from  her  telephone 
call.) 

'  Mamma  says  I  have  to  go  back  to  the 
{Continued  on  page  97) 


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89 


« 


Freckles 


skin? 


Stillman'sFreckle  Cream  bleaches  them  out  while 
you  tleep.  Leave*  the  tkin  toft  and  white  — the 
complexion  tresh,  clear  and  natural.  For  37 
year*  thou*and*  of  u*er*  have  endorsed  it.  So 
ea*y  to  u*e.  The  fir*t  iar  prove*  it*  maxic  worth. 

Hyouu.e       Bleach  Cream 

you  need  no  other  product  than  Stillman'* 
Freckle  Cream.  The  mo*t  wonderhil  Bleach 
•cience  can  produce.  At  all  drug  store*. 

^  StiUman*s 

StL>*  Freckle  Cream 

V^^r  R.EMOVIS    j|i  WHlTEtMS 

FULL  OZ.  JAB     mtCKLES    T    THE  SKIN 

STILLMAN  COMPANY,  Aurora.  lU.,  U.  S.  A. 

3  Beauty  Dept.  Send  free  booklet— Tell*  why 
you  have  freckles — how  to  remove  them. 


Name  

Addreu. 
City  


State. 


KNOW 


YOUR  FUTURE 

Business,  emploment,  health,  happl- 

nna.  protipem^.  1>otc.  coiimhtp  and  muriue. 
Home.  !«Tily.  nn.  «c.  Your  COMPLETE  Attrolociesl  foree«— wr 
LESS  THAN  as  LARGE  PAGES— month  hy  month,  civuvriul  imuttad 
oreuTTvocM.  Your  "lucky  davp."  Srnd  birthdate  and  75^.  or  leal 
C.  O.  D.  (pita  po«tw).  MO.S'EY  BACK  IF  .NOT  .MORE  THAN' 
PLEASED. 

THURSTON,  L-16,  20  W.  Jack*on  Bird.,  Chicaio. 


One  drop  per 


Pain  stops.  Corns  come  off 

/^NE  drop  of  this  amazing  liquid  and  soon 
\^  any  corn  or  callus  shrivels  up  and  loosens. 
Peel  it  off  with  your  fingers  like  dead  skin. 
Don't  risk  dangerous  paring.  Removes  the 
whole  com.  Acts  instantly,  like  a  local  anaes- 
thetic, to  stop  pain  while  it  works.  Doctors 
approve  it. 

Satisfaction  gftiaranteed.  Works  alike  on  any 
corn  or  callus — old  or  new,  hard  or  soft. 


"GETS-IT" 

90 


World'a 
Fmsteat  Way 


He  Dares  To  Be  Himself 


(Continued  from  page  63) 


to  Elinor  Faire — and  to  this  day  doesn't 
know  the  name  of  his  next-door  neighbor. 

He  has  rented  the  house  (to  Winnie 
Lightner)  and  he  lives  alone  in  a  cabin  at 
Malibu  Beach  or  near  there. 

Taking  Care  of  Himself 

HE  built  and  painted  and  window- 
sashed  and  electrified  the  place  him- 
self. He  does  his  own  cooking,  cleaning, 
darning  and  mending  and  gets,  he  says,  a 
great  satisfaction  out  of  knowing  where 
things  are.  No  one  to  mess  about. 

He  showed  me  his  pantry  shelves  and  I 
had  to  confess  that  he's  a  better  man  than 
I  am,  Gunga  Din.  Such  orderly  rows  of 
tinned  goods,  such  shining  f>ots  and  pans 
and  kettles  as  no  graduate  of  a  Domestic 
Science  Course  ever  dreamed  of!  The  very 
soups  were  arranged  in  alphabetical  order. 

He  spends  his  mornings  in  the  surf,  his 
days  in  a  bathing  suit  and  a  pair  of  duck 
pants,  and  his  evenings  reading  before  his 
open  fire. 

And  he  doesn't  thank  folks  for  dropping 
in  on  him.  "This  is  my  home,"  he  told  me, 
"and  not  a  roadhouse." 

His  real  friends  never  come,  of  course, 
unless  invited,  and  those  who  come  without 
invitations  are  not  his  friends  and,  by  the 
same  token,  not  welcome.  He  tells  them  so. 
Bill  speaks  his  mind,  no  matter  what  is  on 
his  mind  and  no  matter  to  whom.  He  re- 
cently did  that  very  thing.  A  jovial  group 
dropped  in  on  him  one  sunny  Sunday  morn- 
ing. They  were  primed  for  action  and  rarin' 
to  go— and  where  better  than  down  to  ole 
Bill's  beach  place?  Bill  told  them,  in  a  few 
short  words,  that  there  was  the  whole  long 
beach  to  make  whooptee  on — and  when  he 
wanted  to  see  them  he'd  let  them  know. 
That's  Bill.  He  says  it  gave  him  a  tough 
moment,  but  was  better  than  "suflFering  all 
day." 

He's  been  married  three  times  and  says 
he  guesses  he  doesn't  get  on  with  women. 

Bill,  The  Breadwinner 

BILL  Boyd  never  dreamed  of  being  an 
actor. 

He  never  dreamed  of  being  anything  in 
particular.  He  just  meant  to  work  for  a 
living,  as  men  do.  He  was  one  of  seven 
children  in  a  hardworking  American  family 
in  a  small  mid-Western  town  and  he  did 
plenty  of  that  folksy  thing  known  as 
"going  without."  He  has  worked  and  earned 
his  own  living  ever  since  he  was  six  years 
old.  Back  in  those  days,  he  drove  a  grocery 
wagon  and  probably  threw  stones  at  the 
neighbors'  windows  and  chased  the  cats  and 
was  a  reg'lar  feller.  Since  that  time  he  has 
been  lumberjack,  chauffeur  in  a  private 
family,  one  of  a  gang  of  orange  pickers  (eat- 
ing more  than  he  picked),  and  about  every- 
thing else  on  the  rolling  green  earth.  The 
one  thing  he  never  has  done  and  never  would 
do  is  wait  table,  that  last  resort  of  so  many 
young  down-and-outers. 

And  no  matter  what  his  occuf>ation,  no 
matter  where  he  has  been  or  with  whom  or 
why,  Bill  Boyd  has  been  the  same,  has  re- 
mained the  same,  himself.  Not  so  very  long 
ago,  he  happened  to  meet  the  woman  for 
whom  he  chaufTeured  some  years  ago.  She 
went  far  out  of  her  way  to  attract  the  atten- 
tion of  the  blond  young  movie  hero.  They 
talked  and  Bill  was  just  the  same  as  he  had 
been  when  she  said,  "Home,  William"  to 
him.  She  invited  him  to  sf)end  the  week-end 
at  their  home.  He  has  never  gone,  but  if  he 
did  go,  he  says  he  would  feel  just  the  same, 
act  just  the  same,  and  be  just  the  same  as  he 
was  then. 

Bill  Boyd  likes  the  out-of-doors.  He 
doesn't  just  talk  about  it,  he  lives  it.  He 


likes  the  sea  and  the  sun  and  the  se' 
winds  and  a  roaring  fire  and  a  book  to  n 
He's  a  home  man  more  than  he  is  a  fa: 
man.   He  has  his  own  way  of  doing  thi; 
and  likes  that  way  best.    He  may 
bachelor  by  birth. 

He  doesn't  crave  Big  Money.  He  li 
the  feeling  of  having  enough  and  the  abiHf|: 
to  forget  that  he  has  it.  He  probably  has 
He  doesn't  go  in  for  hobbies. 

We  were  talking  about  Harold  Lloyd  and 
other  Movie  Midases.  Bill  threw  his  brawny 
arms  up  over  his  massive  graying  head  and 
shouted  lustily,  "God,  I'm  glad  I'm  poor!''- 

He'd  like  to  have  some  five  hundr 
thousand  dollars  and  then  retire  to  a  ran 
Really  retire,  and  to  a  real  ranch.  Gro 
things.  Make  it  pay.  Work  with  the  sw 
of  his  brow  and  the  strength  of  his  powerf 
limbs.  Mans  work. 

He  says  the  first  day  he  ever  wore  gn 
paint  he  could  think  of  only  one  thing — t 
boys  in  the  lumber  camp  he  had  recent 
left,  and  what  they  would  have  done  to  hi 
if  they  could  have  seen  him  then. 

Millions  Not  Enough 

BILL  BOYD  knows  what  it  is  to  live  i 
the  house  with  millions.  His  first  m" 
riage  was  to  a  woman  who  had  plenty 
that  commodity.  He  loathed  it.  He  fe 
like  a  lap-dog.  He  says  he  uas  a  lap-dog.  H 
didn't  have  to  do  anything.  And  he  likes  t 
have  to  do  things.  He  used  to  come  in  fro 
the  orchards  afternoons  and  ''dress  up 
and  drink  tea  and  pass  little  cakes  to  visitin 
ladies.  He  did  it  about  twice  and  after  tha 
he  had  his  "tea"  with  the  farm-hands.  H 
only  married  millions,  he  says,  to  find  o' 
what  people  with  so  much  money  do.  H 
found  out — nothing.  He  couldn't  stand  i 
He  walked  out. 

Bill  got  into  the  movies  by  accident  an 
not  design.  The  profession  interests  hi 
so  long  as  he  can  be  himself.  It  doesn' 
suffice  him.  He  knows  he  could  never  g" 
along  with  actors.  He  isn't  actor-minded 
.^nd  so  he  doesn't  hob-nob.  He  has  r- 
mained  himself,  telling  p>eople  what  h 
thinks  of  them  whether  they  like  it  or  not. 

He  has  never  played  politics,  pet  game  o 
pictures,  in  the  studio.  He  has  never  asked 
for  a  raise.  He  has  never  discussed  money 
at  all.  When  the  time  comes  for  that  sort 
of  maneuvering  to  be  necessary,  the  time 
will  have  also  come,  he  says,  for  him  to  hike. 

He'd  like  to  be  married,  to  have  children. 
Family  life  appeals  to  him.  But  he  doesn't 
believe  it  is  for  him — not  while  he  is  on  the 
screen,  at  any  rate.  A  woman  in  the  pro- 
fession knows  too  much  about  it.  A  woman 
out  of  the  profession  suspects  too  much 
about  it.  Thus  Bill.  And  in  both  cases,  when 
you  come  home  from  the  studio,  the  partner 
of  your  joys  and  sorrows  is  sure  to  say  "  .^nd 
how  is  Miss  to-day?" 

Saving  Trouble 

THERE  probably  isn't  any  Miss  
in  the  actor's  life  or  thoughts.  But 
there  is,  Bill  says,  "a  lot  of  shenanigans" 
going  on  in  every  studio,  and  every  Holly- 
wood wife  knows  it — and  sooner  or  later 
it  is  bound  to  cause  trouble.  And  why  look 
for  trouble? 

Men  like  Bill.  He's  the  sort  of  guy  known 
as  "two-fisted."  Women  love  him — for  a 
while.  Or  so  he  explains  it.  He  says  he  has 
been  accused  of  being  too  nice  to  women. 
He  waits  on  'em.  He  can't  help  it.  He's 
that  way.  He  picks  up  things  for  em  and 
does  errands  and  buys  'em  presents  and  all 
that.  He's  affectionate  and  eager  to  those 
he  cares  about,  and  wears  his  big  heart 
right  out  on  his  big  forearm.  And  women 
(Continued  on  page  lOj) 


Sports  Of  The  Stairs 

{Continued  from  page  jj) 

al)OUt  what  it"d  be  like.  When  I  was  with 
Ringling's  Circus,  we  had  experience  ropin' 
all  sorts  of  queer  animals,  when  they  used  to 
'  get  loose  from  their  cages.  The  toughest 
baby  of  all  was  the  polar  bear.  He  fights 
you  with  his  paws,  just  like  a  man.  If  you 
rope  him,  he  reaches  up  and  slips  it  right  off 
his  neck.  Then,  too,  he  can  knock  a  horse 
clean  over.  We  had  real  thrills  when  the 
polar  bears  escaped,  I'm  tellin'  you. 
"  We  had  a  water  buffalo  in  the  circus,  and 
I  used  to  rope  him.  That  was  easy,  but  one 
time  I  thought  it'd  be  a  swell  dish  to  bull- 
dog him,  and  I  sold  the  idea  to  Mr.  Ring- 
ling.  I  guess  that  was  one  of  the  biggest 
thrills  I  e\'er  had.  It  wasn't  till  I  got  hangin' 
under  his  head  at  full  speed  ahead  that  1 
realized  his  horns  were  shaped  so's  to  make 
it  impossible  to  bring  him  down — sort  o' 
flat  back  on  his  head.  My  arm  was  wedged 
under  them  and  I  couldn't  move  him  an 
inch.  But  he  moved  me  plenty  before  we 
were  through. 

The  silliest  thing  of  all,  seems  to  me,  is  fox 
huntin',  English  style.  I  never  seen  any- 
thing that  was  an>-  sillier.  All  those  red 
coats,  and  tootin'  of  horns,  and  bayin'  of 
hounds — and  a  mob  of  big  fellers  on  horse- 
back all  goin'  after  that  poor  fox.  Of  course, 
to  everyone  his  likes  and  dislikes.  But 
where  they  get  the  sport  out  of  that  stuff 
beats  me.  Just  absolutely  silly,  I  say. 

I've  killed  e\-ery  darn  thing  there  is,  1 
should  say.  And  when  you'\  e  done  all  of  it 
that  I've  done,  you  get  kind  of  tired  of  it. 
Of  course,  there's  good  shots  and  bad  shots: 
if  you're  one  of  the  bad  ones  by  nature,  1 
suppose  you'll  always  get  sport  out  of  hunt- 
in',  because  of  all  the  times  you  miss.  Must 
make  it  seem  like  the  jK)or  beast  has  got  a 
chance,  or  somethin'. 

But  if  you  can  shoot  straight,  it's  just 
duck  soup,  at  least  as  far  as  anything  in 
this  part  of  the  world  is  concerned.  The 
only  thing  I  will  say  is  that  you  can  have 
some  of  the  best  times  in  your  life  on  those 
huntin'  expeditions,  with  two  or  three  fellers 
along  with  you.  And  bear  meat!  That's 
somethin'  worth  goin'  after,  any  day  of  the 
week.  But  call  it  bear  meat  and  not  sport 
that  you're  seekin'.  That's  my  idea. 

Ropin' — well  now,  that  is  sporty.  That 
ropin'  expedition  to  Africa  is  goin'  to  be  my 
big  moment.  I'll  take  along  a  bunch  of 
first-rate  cowboys  who  know  their  stuff,  and 
then  we'll  see  what  we  can  do  with  the  big 
game  in  those  parts.  Elephants  is  about  the 
only  thing  we  shan't  ha\e  a  go  at.  It 
wouldn't  be  much  use  ropin'  one  o'  them — 
at  least,  not  with  a  handful  of  men,  any- 
way. It  takes  an  army  to  hold  on  to  'em. 
But  we'll  certainly  try  it  on  rhino.  It'll  be  a 
thrill,  and  one  heck  of  a  novelty,  too. 
That's  why  I'ni  thinkin'  quite  seriously  of 
takin' cameras  along  and  makin' a  picture. 

Everybody's  pretty  tired  of  pictures  of 
lion  and  rhino  gettin'  shot,  and  the  proud 
gunntan  posin'  with  his  foot  on  the  animal's 
head.  But  it  ain't  so  much  to  be  proud 
about.  As  I  been  sayin',  as  long  as  you  can 
shoot  straight,  it's  easy  as  pie.  That's  how 
it  is  in  America,  and  I  figure  that's  how  it 
is  in  Africa,  too. 

If  we  can't  rope  those  rhino  good  and 
proper,  I  miss  my  guess.  And  anyhow, 
whatever  happens,  we  ought  to  get  some 
good  pictures,  not  to  mention  the  thrills 
we'll  get  and  the  good  times.  The  more  you 
shoot,  the  more  you  want  to  get  back  to 
ropin'.  Huntin'  poor  little  bears  and  lions 
is  too  easy. 

Meantime,  I  go  on  tryin'  to  hit  one  of 
those  darned  coyotes  from  my  'plane,  out 
f)ver  the  Mojave  desert.  Those  coyotes 
sure  have  got  a  good  chance — I  ain't  hit  one 
yet.  One  slip,  that  close  to  the  ground  in  a 
'plane,  and  it's  all  over. 


You  will  find 
lasting  protection 

in  the  new  fitted,  softer  Kotex 


Kotex  deodorizes;  Kotex  is 
softer,  more  absorbent,  and 
thus  adds  both  daintiness  and 
comfort  to  sanitary  protection. 


YOU  want  a  feeling  of  security  and 
safety  in  sanitary  protection.  But 
you  want  even  more  than  that,  and  Kotex 
gives  you  more. 

First  of  all,  it  deodorizes,  keeps  you 
dainty,  fresh,  immaculate  at  times  when 
that  is  doubly  important.  It  is  fashioned 
to  fit  securely.  Under  the  closest  fitting 
gown  it  is  inconspicuous  —  a  fact  that 
smart  women  are  quick  to  appreciate. 

Lasting  softness 

Kotex  stays  soft,  stays  comfortable,  after 
hours  of  wear.  It  is  made  of  a  most  un- 
usual substance,  known  as  Cellucotton 
(not  cotton)  absorbent  wadding.  This 
is  the  very  same  absorbent  used  by  857c 
of  our  great  hospitals  today.  It  is  not 
cotton,  but  a  cellulose  substance  which, 
for  sanitary  purposes,  performs  the  same 
function  as  the  softest  cotton — with  five 
times  the  absorbency. 

When  you  think  it  over,  the  fact  that 
great  hospitals  use  Kotex  is  your  most 
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personal  use.  Hospitals — with  their  high 


medical  standards  —  are  careful  to  use 
only  the  best,  the  most  comfort-giving, 
the  most  hygienic  protection  for  patients. 

And  don't  forget  that  Kotex  is  dis- 
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hygienic  habits  of  women  all  over  the 
world.  Once  you  try  it,  you,  too,  will 
change  to  this  newer,  smarter  sanitary 
method.  Kotex  Company,  Chicago,  111. 


IN  HOSPITALS 


85*  of  our  leading  hospitals  use  the  very 
same  absorbent  of  which  Kote.\  is  made. 

Kotex  is  soft .  .  .  Not  a  deceptive  soft- 
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Safe,  secure  .  .  .  keeps  your  mind  at 
ease. 

Deodorizes  .  .  .  safely,  thoroughly,  by 
a  special  process. 

Disposable,  instantly,  completely. 

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K  O  T  e  X 

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91 


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NONSPl  is  an  old.  tried  and 
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A  pool  player:  Charles  E.  Mack  of  the  Two  Black  ^Crows,  on  the  brink  of 
his  popular  private  pool — a  better  place  to  plunge,  Hollywood  avers,  than 

Wall  Street 

In  Private,  A  Bluebird 

(Continued  from  page  52) 


He's  immensely  pleased  with  himself. 
But  at  the  same  time  he  has  his  tongue  in 
his  cheek,  or  I'm  very  much  mistaken. 

And  why  shouldn't  he  be  proud?  He's  not 
only  the  author  and  Head  Man  of  the  Two 
Black  Crows.  At  Paramount  he  has  one 
of  the  shrewdest  and  most  amazing  con- 
tracts e\'er  written.  He's  a  real  estate  mag- 
nate, the  owner  of  a  prosperous  trunk  fac- 
tory, and  the  inventor  of  a  mar\'elous  paint- 
remover  that  can  clean  fourteen  yellow 
taxicabs  in  one  day,  and  verj'  likely  a  num- 
ber of  other  colors.  He  is  still  inventing,  and 
his  own  house  is  full  of  gadgets  that  he 
originated — very  smart  and  practical  ones, 
too. 

He's  inordinately  fond  of  his  house.  He 
took  me  on  a  tour  of  inspection  which 
neglected  no  nook  or  cranny.  It's  a  house 
done  in  the  modern  manner  by  Mr.  Mack's 
special  decorators.  "\'ou  know,"  he  said, 
"some  people  expected  we  were  going  to  do  it 
in  a  \'ery  extreme  style,  with  those  low  beds 
that  you  look  funny  in,  and  everything." 

In  Charley's  own  room  is  a  full-length 
mirror  equipped  with  footlights  that  you 
turn  on  with  the  toe  of  your  shoe.  There  are 
two  Schipperke  dogs  on  the  place,  and  in 
aildition  he  has  a  little  private  bulldog,  who 
li\  es  in  one  of  his  clothes-closets  and  growls 
menacingly  at  anyone  who  attempts  to 
come  near  the  .Mack  suits. 

He  Owns  His  Designs 

MR.  Mack  was  anxious  to' have  me  see 
that  everything  in  his  house  was  prac- 
tical and  meant  to  be  used.  He  only  knows 
one  piece,  but  he  played  it  on  all  the  pianos. 
He  executed  a  few  shots  on  the  billiard 
table,  turned  the  electric  lights  on  and  off, 
and  e\'ery  time  we  looked  at  a  bathroom  I 
fully  expected  him  to  take  a  shower. 

"  I  own  the  design  for  every'  piece  of  fur- 
niture in  this  house,"  he  announced  with 
childlike  pride,  and  added,  "but  anyone 
can  copy  them  just  the  same." 


Hand  in  hand,  we  descended  into  the 
bowels  of  the  swimming  pool.  It  is  deeper 
than  any  other  pool  in  Beverly,  or  the  tiles 
are  brighter,  or  the  -floodlight  is  stronger, 
or  something.  We  examined  the  designs  of 
starfish  and  dolphins  that  have  been  laid  in 
the  bottom  for  the  benefit  of  those  who  can 
keep  their  eyes  open  under  water. 

We  even  invaded  the  brightly  checkered 
kitchen,  where  Mr.  Mack's  three  shiny 
Oriental  boys  were  eating  their  lunch  with 
chopsticks.  "They're  good  boys,"  said 
Charley  benevolently. 

In  addition  to  his  boys  and  his  attractive 
secretary,  Mr.  Mack  has  in  his  emplox-  a 
doctor,  a  lawyer,  and  a  couple  of  black-face 
comedians  who  help  him  with  gags. 

"  Yes,"  he  said.  "  I  always  carry  a  doctor 
with  me.  I  hire  him  by  the  year.  The  one 
I  have  now  is  a  cancer  specialist." 

I  was  going  to  be  sympathetic  when  he 
announced  blandly,  "I've  never  been  sick 
in  my  life.  But  if  you  go  to  a  doctor  four  or 
five  times  a  year,  you  might  as  well  hire 
him  by  the  year;  it  doesn't  cost  much  more." 

The  $10,000  Lawyer 

MRS.  Mack's  health  is  just  as  perfect  as 
her  husband's.  She  is  one  of  the  decora- 
tions of  his  house.  She  is  pretty  and  blonde 
but  not  very  obtrusive. 

He  also  has  a  lawyer  by  the  year,  at 
Sio.ooo,  and  I've  no  doubt  he  engages  a 
flock  of  architects  on  the  same  basis. 

■'One  person  can  only  look  after  one 
thing  at  a  time,"  he  said  in  defense  of  his 
extravagance,  "and  if  you  can  afford  it,  you 
might  as  well  give  yourself  the  comfort  of 
having  all  those  things  done  for  you.  \ou 
can't  take  your  money  when  you  die. 

"  Vou  can  only  eat  three  meals  a  day,"  he 
said,  "and  what's  the  use  of  being  mean  with 
petty  people,  hoarding  your  money  and  not 
getting  any  pleasure  from  it.  As  I  say,  you 
only  have  one  pleased  heir,  and  that's  the 
best  you  can  expect." 


92 


r 


Service  With  a  Snicker 

(Cotilinued  from  page  57) 

to  find  the  domestic  staff  giving  itself  a 
party  on  the  best  pre-war  Bourbon,  and 
one  and  all  well  pickled.  The  same  girl 
told  me  she  used  to  ha\  e  a  Chinese  ser\  ant, 
who,  after  long  experience  with  \'arious 
stars,  thought  he  was  called  upon  to  offer 
advice  on  all  household  matters  to  his 
mistress,  "^'ou  pay  too  muchee  rent," 
he  often  \olunteered. 

The  Butler  Played  Host 

POLA  NECRI  at  the  height  of  her  fame 
had  a  very  tony  butler,  who  used  to 
give  big  dinner-parties  to  his  friends  when 
La  Negri  was  away,  using  the^  best  sih'er 
and  linen.  He  and  his  guests  all  dressed 
formally,  and  the  parties  were  said  to  be  a 
model  of  decorum. 

Ilobart  Bosworth's  Chinese  cook,  a  short 
time  ago,  was  inclined  to  spiritualism,  and 
entertained  guests  on  arrival  with  prognos- 
tications as  to  their  future  welfare.  This  act 
went  over  so  well  that  finally  the  cook  left 
to  set  up  in  business  as  a  seer. 

The  height  of  something,  of  course,  was 
the  time  many  years  ago  when  a  female 
star's  chauffeur  came  into  the  house  where 
his  employer  was  at  a  party  and  told  her  it 
was  time  to  go  home.  \\'hen  she  refused,  he 
took  out  a  gun  and  shot  the  host. 

Many  stars  are  willing  to  let  their  servants 
make  themsehes  at  home  to  an  extent 
which  they  refuse  to  allow  in  guests  who, 
they  feel,  are  slightly  below  themselves  in 
dignity,  wealth  or  importance.  One  man, 
who  married  a  famous  star,  found  that  when 
he  brought  some  of  his  old  friends  of 
bachelor  days  to  the  house,  his  wife  practi- 
cally insulted  them,  and  he  was  told  not  to 
bring  them  again.  So  he  had  the  clever 
idea  of  hiring  them  as  servants.  In  this  way 
he  had  them  with  him  all  the  time,  and  his 
wife  did  not  in  the  least  object  to  his 
fraternizing  with  them  as  much  as  he 
pleased. 

Lew  Cody's  Negro  servant  has  adopted 
the  name  of  Jim  Cody  and  is  treated  exactly 
like  an  equal.  He  invites  his  friends  to 
parties  at  the  Cody  home,  it  is  said,  telling 
them:  "We're  having  a  party  to-night." 

Embarrassing  Moments 

A SPECTACLE  that  always  remains  in  my 
_  mind  is  that  of  a  certain  leading  man 
dressing  for  dinner,  and  looking  all  o\er  the 
room  for  a  soft  shirt  that  had  buttons  on. 
Three  servants  aided  him  in  his  quest,  all 
swearing  volubly  at  once.  The  master's 
underwear  was  hurled  broadcast  about  the 
room.  The  accompanying  profanity  was  of 
a  prize  richness  that  would  have  done 
credit  to  the  upper  classes  themselves. 

There  was,  of  course,  Emil  Jannings' 
valet,  who  was  inspired  with  a  deep  and 
wholesome  respect  for  his  master,  but 
nevertheless  caught  the  prevailing  demo- 
cratic spirit  while  he  was  in  Hollywood. 
"We  are  wearing  our  gray  suit  to-day," 
he  would  say.  Or,  "We  don't  like  the  part 
wc  have  in  this  picture." 

Perhaps  the  most  embarrassing  moment 
on  record  was  when  an  innocent  lady  called 
on  Ina  Claire,  not  so  long  ago.  The  bell  was 
not  answered,  but  a  window  shot  up  some- 
where overhead  and  a  domestic's  head 
peered  out,  inquiring  what  all  the  noise  was 
about.  "What  do  you  want?"  yelled  the 
head.  The  lady  said  she  had  come  to  see 
Miss  Claire.  'Well,  you'd  better  come 
around  the  back  way,"  came  the  retort,  and 
the  window  banged  shut.  The  lady,  I  need 
hardly  add,  was  an  interviewer. 

Clara's  Conversationalists 

UNDOLBTEDLY  the  most  extraordi- 
nary domestic  menage  ever  seen  any- 
where was  that  formerly  maintained  by 
{Continued  on  page  pj) 


remove  cold  cream 
the  Kleenex  way 


Be  safe  when  you  remove  cold  cream. 
Don't  use  a  method  that  may  stretch  and 
relax  the  skin  .  .  .  like  coarse,  unabsor- 
bcnt  towels.  Don't  use  unhygienic  "cold 
cream  cloths,"  which  usually  carry  bac- 
teria into  the  pores  instead  of  lifting 
impurities  aw^y. 

Kleenex  is  safe.  Great  skin  authorities 
recommend  it,  great  beauties  use  it.  Every 
Kleenex  tissue  comes  from  the  box  pure, 
soft,  absolutely  free  from  the  germs  that 


Lovely  Helen  IF  right. 
U  n/versal' t  talented 
netr  leading  lady,  lyas 
loer  own  feminine  rea- 
sons for  removing  cos- 
metics with  Kleenex: 
"Such  lovely  tints ! 
Kleenex  not  only  re- 
moves make-up  and 
cleansing  cream  very 
thoroughly  —  it  puts 
me  in  the  right  mood 
for  a  beauty  treat- 
ment." 


are  so  dangerous  to  complexion  beauty. 

And  Kleenex  is  so  lery  absorbent. 
The  delicate  tissues  simply  blot  up  the 
surplus  cream,  along  with  lingering 
bits  of  dirt  and  cosmetics.  No  rubbing 
is  needed. 

Kleenex  tissues  are  becoming  more 
and  more  popular  for  handkerchiefs. 
They  are  so  fresh,  clean  and  soft  .  .  . 
and  do  away  with  unpleasant  hand- 
kerchief laundering. 

Doaors  advise  Kleenex  when  there's 
a  cold,  to  a%-oid  reinfection.  Think  how 
much  better  to  use  a  tissue,  then  discard 
it,  than  a  germ-filled  handkerchief. 

Ask  for  Kleenex  at  the  toilet  goods 
counter  of  any  drug  or  department  store. 
.)  (. 


Kl  eenex  CI 


isf  Ti.! 


Leenex  v^ieansing  J.  issues 

Kleenex  Company,  Lake-Michigan  Bldg., 
Chicago,  Illinois. 
Please  send  a  sample  of  Kleenex  to: 


.MPC-7 


Na 


Address.. 
City  


93 


Gray  Hair 

The  Sad  Tragedy  of 
Passing  Youth 


Now  Comb  Away  Gray 
This  Easy  Way 

WHY  tolerate  the  needless  sorrow  of  Gray  Hair? 
Now  a  simple,  easy  way  is  found.  Already 
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is  a  clean,  colorless  liquid  that  leaves  the  beautiful 
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for  blonde,  auburn,  brown  or  black. 

Accept  This  Test  Offer 

Get  Kolor-Bak  from  any  drug  or  department  store 
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younger,  your  money  will  be  refimded  any  time. 

KolorBak 

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Twin  smiles:  two  of  a  kind  are  Leila  Hyams,  the  fair,  and  Leila  (Mclntyre) 
Hyams,  the  dark.    And,  believe  it  or  not  they  are  mother  and  daughter 

They  Brought  Back  The  Proof 

{Continued  from  page  j8) 


to  stick  their  heads  straight  up;  eight  or  ten 
feet  out  of  the  water.  One  came  so  close  to 
the  camera  that  its  moist,  fishy  breath 
actually  put  a  film  on  the  lens  like  a  fog. 
And,  say,  that  whale  had  what  your  best 
friend   won't  tell  you  about!  Phew!" 

Iceberg  Antics 

THAT  was  the  same  day  we  landed  on 
the  hunk  of  drift  ice — several  times 
larger  than  a  ship.  We  were  waiting  for 
more  seals,  when  the  whole  drift  began  to 
shiver  like  Gilda  Gray.  Then  one  edge  went 
into  the  air  and  the  other  toward  the  water. 
So  we  went  sliding,  and  it  looked  as  though 
the  whole  cake  was  going  to  up-end — and 
that  would  have  been  just  too  bad.  Our 
wives  would  have  been  widows.  But  finally 
the  berg  that  -  had  drifted  under  ours 
squeezed  out,  and  dropped  us  fiat  again 
with  a  tremendous  splash." 

It  was  all  in  the  day's  work  to  these  ad- 
venturers who  had  carried  a  ton  of  movie 
equipment  into  this  frozen  inferno.  Every 
time  they  touched  camera  metal  in  a  temper- 
ature never  above  twenty  below,  a  patch  of 
skin  and  flesh  was  left  frozen  to  the  ma- 
chine. The  film  itself  was  brittle  as  a 
cookie,  and  one's  breath  froze  on  the  camera 
mechanism.  But  of  the  160,000  feet  of  film 
they  took  into  the  Antarctic,  they  brought 
back  100,000  feet  of  pictures  in  their 
precious  film  cans.  They  apologize  for  the 
rest.   Making  movies  in  the  Antarctic  is  a 


little  different  from  working  in  a  HoUj'wood 
studio,  they  explain.  In  Hollywood,  air- 
planes and  cameras  are  not  dashed  to  bits 
by  Polar  gales.  They  lost  one  camera  this 
way — and  a  'plane,  too. 

But  the  biggest  kick  during  the  two  >  ears 
of  polar  nights  were  those  provided  by  the 
touch  of  civilization,  coming  11,000  miles 
from  Times  Square  via  radio.  Then  too, 
there  were  the  mo\'ies  that  Paramount  got 
through  the  ice  to  them  this  year.  Not  just 
regular  movies,  but — well,  listen. 

Views  From  Home 

V.-W  DER  X'EER'S  youngest  youngster 
hadn't  learned  to  walk  when  he  left  for 
farthest  South.  One  picture  showed  the 
littlest  \'an  Der  \"eer  navigating  on  his  own 
sturdy  pins.  One  of  the  men,  Hansen,  had  a 
3'oungster  born  after  his  departure.  His  first 
glimpse  of  the  new  arrival  came  via  the 
movies.  And  Rucker's  boy  came  to  his  dad 
on  a  strip  of  celluloid  which  showed  the  lad 
clad  in  his  first  pair  of  "long  jeans."  The 
men  were  pretty  homesick.  These  things 
affected  them.  But  now  they're  home  with 
the  kids — and  with  the  wives  who  traveled 
half-way  down  the  world  to  herald  their 
return  from  the  end  of  the  world.  .'\nd  in  a 
dozen  cans  they've  brought  photographed 
evidence  of  history-making  exploits. 

No  further  back  than  the  days  of  our 
Revolution,  all  the  vast  territory  of  Antarc- 
{Continued  on  page  gg) 


Service  With  a  Snicker 

(Continued  from  page  gj) 

Clara  Bow.  It  consisted  of  two  plump 
(jerman  women,  who  wore  ordinary  white 
dresses  and  tennis  shoes,  seldom  washed 
their  faces  and  wandered  in  and  out  of  the 
sitting-room  to  join  in  the  conversation. 
One  of  them  had  an  Australian  wombat  for 
a  pet,  and  this  animal  slept  on  her  bed  all 
day.  They  invariably  called  their  mistress 
"Clara,"  both  to  her  face  and  in  referring 
to  her  to  other  people.  Their  views  on  the 
romantic  affairs  of  Miss  Bow  were  freely 
expressed  to  all  and  sundry,  and  were 
accompanied  by  numerous  choice  expletives. 
Their  only  drawback  was  that  they  liked 
their  little  drop.  Otherwise  they  were  dis- 
tinctly good  people  to  have  about  the  house. 
As  long  as  Clara  got  a  woman  in  every  day 
from  outside  to  clean  the  place,  everj'thing 
was  fine.  But  finally  she  decided  she  would 
rather  have  servants  who  were  servants  and 
not  conversationalists  or  wombat -fanciers. 
So  they  had  to  go. 

Calling  one's  master  or  mistress  by  the 
first  name  is  nothing  at  all  unusual  in 
movie  households.  I  have  heard  it  done 
scores  of  times.  No  one  seems  to  object,  or 
if  he  does,  he  doesn't  know  how  to  set  about 
objecting. 

Democracy  is  also  the  keynote  with  the 
waiter  fraternity  in  Hollywood.  Recently 
a  Professional  Insulter  arrived  here  whose 
principal  act  was  impersonating  a  waiter  at 
banquets  and  being  rude  to  the  guests,  the 
host  paying  him  to  do  it  as  a  practical  joke 
to  liven  up  the  evening.  The  Insulter  had 
been  in  Movieville  only  a  few  days  when  he 
realized  that  he  was  up  against  a  tough 
proposition.  He  had  to  make  his  insults 
doubly  lurid  and  deadly.  For  if  he  had  done 
his  act  as  he  did  it  in  the  East,  it  would 
never  have  occurred  to  anyone  that  he  was 
pulling  a  stunt. 


Just  Off  the  Boulevard 

(Continued  from  page  j6) 

about  to  be  served.  When  the  Daniels' 
servant  arrived  at  the  side  of  the  director, 
that  gentleman   raised   his  eyes  to  say: 

"You  may  pass  me  up  with  the  dessert — 
I  really  don't  care  for  any."  To  which  the 
menial  replied: 

"What  do  you  think  I  stayed  in  all  after- 
noon making  it  for,  if  you  aren't  going  to 
eat  it?"  And  pronto  he  set  it  down  in  front 
of  him. 

And  they  tell  me  that  the  cigar  fell  from 
the  lips  of  the  astounded  director  as  he  fell 
to  and  ATE  the  dessert  in  full! 

All  Signed  Up 

THERE  is  a  famous  star  in  Hollywood 
who    numbers    among    her  souvenirs 
several  placards  which  tell  their  own  little 
story  of  one  phase  of  her  Hollywood  experi- 
ience.  The  signs  read  : 
NO  CA.STING  TODAY. 
CLO.SING  OUT  SALE. 
NO  HELP  WANTED. 
In  the  order  named  they  are  their  own 
little  scenario. 

The  girl  had  tried  pictures — and  failed. 
She  went  to  work  as  a  saleswoman  in  a 
shop  that  went  out  of  business.  And  when 
she  went  after  another  job,  there  was  NO 
HELP  WANTED. 

Lately  she  has  added  another  placard  to 
her  collection  .  .  .THIS  PERFORMANCE 
.SOLI)  OUT. 

Now  her  name  is  three  feet  high  on  the 
billboards. 

You  might  say  that  signs  had  played  an 
important  part  in  her  life. 


"NOT  A  COUGH 
IN   A  CARLOAD" 


C  p.  Lorillard  Co. 


OLD  GOLD  cigarettes 


m  a 


stunnins[ 


velour  box  ! 


Why  shouldn't  milady's  favorite  cigarette  be  pack- 
aged as  charmingly  as  her  face  creams  ...  or  her 
personal  stationery?  No  reason  at  all.  So  OLD 
GOLD  presents  this  lovely  box  of  fifty  "O.  G.s" 
in  golden  velour  paper — Cellophane-wrapped  to 
protect  its  beauty.  To  be  passed  to  your  guests  .  .  . 
to  use  as  a  bridge  prize  ...  or  just  to  keep  on 
your  dressing  table.  At  your  nearest  dealer's. 

11  dealer  cannix  suiiplv  fend  35<  lo  P.  Lorillard  Co.,  119  W.  40th  Street,  New  York 


That's  his  signature 


YOUR  health— or  your  life — may  depend  on  the  accuracy  of  the 
prescription  the  doctor  writes  for  you.  He  makes  certain  It  is 
right  before  signing  his  name  to  it. 

But  he  does  not  check  the  prescription  more  carefully  than 
manufacturer  or  store  owner  checks  the  advertisement  appearing 
over  his  name. 

Look  at  any  one  of  the  advertisements  in  this  magazine.  Its 
sponsor  is  well  known.  That's  his  signature  in  clean,  cold  type — 
and  he  realizes  that  incorrect  statements  above  it  would  jeopardize 
the  health— the  very  existence  of  his  business. 

Continued  advertising  invariably  is  proof  of  honest  advertising 
and  honest  goods.  You  and  the  millions  of  others  who  consult 
the  advertising  before  you  buy,  have  made  advertising  one  of  the 
great  forces  of  modern  business.  You  have  made  it  important  to 
the  manufacturer,  to  the  merchant— and  to  yourself. 


Consult  the  advertising  with  confidence 


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Hard  lines:  Helen  Kane  listens  to  a  dictaphone  recording  of  Paul  Gerard  Smith's 
dialogue  for  "Dangerous  Nan  McGrew,"  while  he  and  Director  Mai  St.  Clair  (leftj 

marvel  at  her  seriousness 

The  Nightmares  Of  a  Peanut 


{Continued  from  page  48) 


really  call  it  a  day.  Every  time  the  clock 
strikes  eight  p.m.  I  get  a  guilty  feeling. 
Believe  me,  this  life  of  ease  gets  into  your 
blood.  That's  why  I  think  it  would  be  a 
shame  if  I  got  the  habit  here — an '  anything 
should  happen  to  upset  it."  The  white  tarn 
hobbled  alarmingly,  in  sympathy.  "I  don't 
want  to  talk  like  a  sissy  about  it— or  any- 
thing— or  sound  like  I  hated  my  work  before 
I  came  to  Hollywood,  because  I  was  glad 
enough  to  be  getting  along  in  vaudeville 
before  the  talkies  came  along.  It  was  the 
only  life  I 'd  ever  known  before  I  came  out 
here,  and  I  wouldn 't  have  been  happy  doing 
anything  else." 

Her  Early  Start 

VAUDE\  ILLE,  it  turns  out,  happened 
to  Marjorie  very  early  in  life.  When 
she  was  even  more  a  "peanut,  "  to  quote  her 
own  words.  Though  no  one  in  her  family 
had  ever  done  professional  work  outside  of 
lodge  benefits,  and  no  great  talent  had  been 
uncovered  even  among  those  willing  cousins 
and  uncles,  Marjorie  was  recruited  for  the 
"Winnipeg  Kiddies"  at  the  early  age  of 
seven. 

The  reason  it  was  called  the  "Winnipeg 
Kiddies"  rather  than  the  "East  Side 
Kiddies"  or  the  "Walla  Walla  Kiddies"  is 
because  all  the  Kiddies  (including  Marjorie) 
were  natives  of  Winnipeg,  Canada.  For 
several  months  the  kiddies  entertained  the 
soldiers  at  training  camps,  and  Marjorie,  in 
particular,  was  a  honey.  "I  did  everything 
quite  serious,"  she  explained,  clutching  at 
the  tam,  which  had  actually  slipped,  "but, 
somehow,  every  time  I  opened  my  mouth  it 
struck  the  soldiers  funny.  It  wasn 't  until 
years  later  that  I  realized  just  how  funny  I 
look  every  time  I  open  my  mouth." 

Allowing  for  a  sufficient  lapse  of  time  to 
get  Marjorie  safely  into  her  teens,  her  next 
professional  appearance  was  as  part  of  a 
"sister"  act,  later  known  in  the  United 
States  as  "The  White  Sisters."  The  actual 
relationship  between  the  girls  was  no 
stronger  than  a  passing  resemblance,  yet 
they  clicked  in  vaudeville  as  a  couple  of 
mean  harmonizers  and  even  pinched  for  the 
Duncan  Sisters  in  "Topsy  and  Eva." 


A  Change  In  Partners 

JUST  why  Marjorie  assumed  a  sister  is  not 
altogether  clear  even  to  this  day,  except 
that  sister  acts  were  going  fairly  well  at  the 
time,  and  the  little  White  knows  her  show 
business  well— for  a  "peanut."  Just  what 
the  "sister"  is  doing  right  now,  Marjorie  is 
not  quite  sure.  The  act  broke  up  when 
Marjorie  acquired  a  husband  in  place  of  a 
"sister"  as  her  team-mate.  Eddie  Tierney 
is  the  name. 

Marjorie  and  Eddie  made  a  nice  go  of  it 
on  the  Inter-State  circuit  as  headliners. 
They  toured  religiously  between  New  York 
and  Texas,  leading  the  same  sort  of  life  that 
has  been  so  elaborately  presented  in  our 
latest  backstage  movies.  Before  the  tour 
was  finished  they  had  rated  the  spot  right 
after  intermission,  which  is  as  good  as  you 
can  get  on  Inter-State  or  anywhere  else. 

The  reputation  of  this  chubby  little  White 
girl,  who  could  make  people  laugh  every 
time  she  opened  her  mouth,  got  circulating 
back  in  New  York  and  resulted  in  two 
musical  revues.  The  first  was  "Hello, 
Lola,"  but  the  second,  and  more  successful, 
was  "Lady  Fingers,"  in  which  Marjorie  was 
featured. 

It  was  inevitable  that  Winnie  Sheehan, 
head  of  Fox  production,  should  see  her. 
.Mr.  Sheehan  seems  to  catch  all  the  shows. 

"When  I  first  signed  the  contract  in  New 
York  I  was  interested — but  not  exactly  ex- 
cited," she  said,  describing  the  event.  "I'd 
never  thought  of  the  movies  and  myself 
in  the  same  breath.  I  liked  to  go  to  the 
movies  all  right,  and  I  thought  the  stars 
were  beautiful,  but  I  figured  that  was  some- 
thing we  didn 't  have  in  common. 

"As  I  was  telling  you  before,  it  wasn 't 
until  I  got  in  Hollywood  that  I  realized  just 
what  you  could  make  out  of  your  life  by 
being  a  movie  star.  If  you  didn 't  get  a 
check  every  week  for  more  than  you  were 
worth,  you'd  never  realize  this  was  show 
business,  at  all.  It 's  not  only  the  work — it 's 
the  life — an '  vacations.  I  used  to  spend 
my  spare  time  between  shows  rehearsing  for 
another  one.  That  is  what  Broadway 
understands  as  a  A'acation." 


96 


An  Eye-Opener 

{Conlitiued  from  page  8g) 

studio  again  to-night  and  make  those 
scenes  we  did  yesterday  all  over  again." 
stie  said  as  she  opened  the  door,  closed  it, 
walked  across  the  robtn  and  bounded  to  the 
seat  of  honor  on  the  back  of  the  divan. 
■'Gee,  somebody  in  the  cast  made  a  mistake 
and  ruined  the  whole  scene  just  as  we  had 
it  right.  I  have  to  fall  down  on  the  hard- 
wood floor  like  I'm  fainting — did  it  sixteen 
times  last  night,  and  look  at  my  arm.  And 
my  back  aches  too.  Why  can't  everybody 
do  it  right  at  the  same  time??  Now  I  ha\  e 
to  go  back  and  do  it  all  over  again.  Gee!" 

Too  Young  to  Care 

HER  left  elbow,  which  she  had  been 
holding  out  for  my  inspection  all  this 
time,  was  as  black  and  blue  as  an  ebony 
piano  with  a  blue  light  shining  on  it.  Poor 
kid.  Just  at  the  age  when  the  most  impor- 
tant thing  in  life  is  to  do  her  part  right — 
regardless  of  how  long  it  takes  or  how  much 
she  gets  banged  up.  Two  to  one  she'll  come 
on  the  set  to-night  with  a  big  smile  on  her 
pert  little  mouth  and  do  the  same  scene 
sixteen  times  again — and  her  elbow  will 
hurt  and  her  back  will  ache.  But  she 
won't  care.  She's  young.  Maybe  to- 
morrow they'll  let  her  be  an  ingenue.  Then 
she  won't  have  to  fall  on  her  elbow  any  more. 
Won't  that  be  great? 

"Guess  I'll  have  to  go  now.  Do  you  want 
to  come  out  to  my  house  some  evening  and 
ask  me  the  questions?  Guess  I'll  put  on  my 
shoe  again.  Where's  my  coat?  Oh,  there  it 
is.  Want  to  go  down  to  Palm  Springs  the 
next  time  mamma  and  I  go?  Gee,  we  had 
fun.  Some  day  I'll  tell  you  what  we  did 
and  how  I  wore  out  my  boy-friend.  Well, 
'bye,  see  you  over  at  the  Brown  Derby 
some  noon.   'Bye  .  .  ." 

And  as  the  four-inch  heels  turned  smartly 
down  the  hall,  I  heard  a  voice  singing, 
"Sweetheart,  We  Need  Each  Other  .  .  . 
Ta  ta  de  dum  ta  data." 

About  five  minutes  after  the  singing  died 
away,  I  found  myself  still  tiptoeing  around 
the  office  in  a  haze.  And  that  is  when  it  all 
occurred  to  me  rather  in  a  hurry. 


From  Where  I  Sit 

{Continued  from  page  A'j) 

It's  supposed  to  have  happened  in  San 
Francisco,  the  very  town  where,  years  ago, 
Fatty  Arbuckle   reaped    some  notoriety. 

Charlie,  it  seems,  booked  a  passage  to 
Honolulu  and,  twelve  minutes  before  sailing 
time,  discovered  that  unknown  to  him  Janet 
Gaynor  had  booked  on  the  same  boat — 
without  her  husband.  Charlie  flung  his 
clothes  back  into  his  trunks  and  rushed  ofi' 
the  boat,  just  as  Janet  was  coming  on  board. 
They  met  half-way  up  the  gangplank, 
Charlie  quickly  explained  what  had  hap- 
pened, and  Janet  sailed  away  alone. 

My  Naive  Soul 

NOBODY  that  I  know  in  Hollywood  be- 
lieves that  such  a  thing  could  really 
have  happened;  but  for  some  obscure  reason 
I  swallow  the  story  whole.  I  was  in  San 
Francisco  at  the  time,  and  when  Charlie 
told  me  the  story  "in  his  own  words,"  I 
could  not  but  believe  that  he  was  still  as  in- 
genuous and  innocent  of  guile  as  ever. 

That  is  the  way  of  things  in  the  cynical 
land  of  Hollywood.  When  there  is  a  good 
story  from  real  life  about  the  stars,  no  one 
will  believe  it.  It's  the  old  business  of  cr>'- 
ing  "wolf!" 

If,  as  I  believe,  the  story  is  true,  it  is  cer- 
tain that  one  of  the  biggest  scandals  that 
ever  painted  Hollywood  crimson  was  averted 
by   the   narrowest  margin. 


MARLBORO  has 


If  you  are  particular  about  your  lips,  try  the  new 
Ivory  Tips.  You  don't  drink  8-cent  ice  cream 
sodas.       Or  smoke  3 -cent  cigars. 

....  why  take  chances  with  cheap  cigarettes? 

For  those  who  can  afford  20  cents  for  the  best . . . 
Marlboros.  The  cigarettes  of  successful  men. 
And  smart  women. 


Plain  or  Ivory  Tipped 
So  difference  in  price 


Yon  will  like  Marlboros. 


97 


Keep  Klean  for  the  Kiddies 


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Mercolized  Wax 
Keeps  Skin  Young 

Itemove  all  bleniUhos  and  di.'«roloratioQ9  by  regiilarly  usioe 
pure  Merrolizpd  Wax.  (Jet  an  ounce,  and  u^e  us  direrled. 
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defects,  such  a?*  pimples,  liver  spots,  tan,  freckles  and  largo 
[►ores  bave  dUappeared.  Skin  is  beautifully  elear,  soft  and 
velvety,  and  fare  looks  years  younKer.  Merrolized  Wax 
hrinRs  out  t  he  biilden  beauty.  To  quickly  remove  Wrrinlt- 
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TRIhjl ETTE 


SAVES  MONEY!  , 

i:ipmlniites    ronsiant    barber  I 
expense.    Keeps  hair  always 
neally  and  evenly  trinuned 
.•^ives  time.    Dulok.easy  and 
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Ing  your  hair    Trims  back  of 
iief'k.  sides  and  front  eyeiiiy. 
Siif l\fnrrloH  Oiinrantettl  or 

llttitif'U  rffnndrd. 
■SURE-WAY  COMPANY     „  . 
Oepl.M.P..3EMl44tliSt  .  //}.^ 

New  York  City  f  '  > 

ACE  NT. S  WANTED 


Ivcpaid 


atOneShoke! 

Just  wipe  off  Freckles, 
,  5  1  Enlarged  Pores,  Skin  Blemishes 
i  J  this  AMAZING  NEW  WAY. 

AXKW  SKIN — clear,  youthful,  radiant, 
lies  just  l)encath  the  surface  of  your  oltl 
outer  skill.  Remove  your  outer  skin  mask,  with 
its  blemishes,  freckles,  large  pores,  signs  of 
coarseness  and  age — simply,  safely,  quickly — 
with  an  amazing  NEW  .\mericau  discoverv'. 
No  bother — no  fuss.  Presto — off  conies  your 
old,  faded,  worn  out,  blemished,  usiU'ss  outer 
nh'n.  Vour  dazzling  new  beauty  will  amaze 
,\ou. 

Uncover  Your  Hidden  Beauty 


little  ones!  They  make  heroes  of  us,  you 
know.  We  must  see  to  it  that  we  are 
worthy.  We  must  keep  ourselves  clean  and 
decent. 

"It's  a  small  thing  to  do — and  it  may 
mean  so  much  in  many  little  lives  .  .  . 

Other  Worshiped  Players 

TAKE  baseball  pla>ers — fellows  like 
Babe  Ruth.  Think  of  the  thousands 
of  small  boys  who  idealize  them  and  take 
them  for  their  models.  What  a  terrible 
thing  if  one  of  them  is  found  wanting  in 
decency  and  sportsmanship!  Why,  that 
baseball  scandal,  several  j'ears  ago,  was  a 
tragedy  to  untold  numbers  of  lads. 

"It's  a  good  deal  like  that  with  us.  They 
see  us  on  the  screen,  read  about  us  and 
think  we're  all  right.  We  can't  afford  to 
disappoint  them. 

"That's  wh)-  I  don't  go  out  very  much 
any  more.  I  used  to  like  to  go  to  night- 
clubs and  places  like  that.  But  sometimes 
that  is  misunderstood.  Vou  ha\e  to  be 
careful. 

"I  like  to  clown,  you  know — naturally. 
And  once  I  was  at  a  party  and  \\  as  pretend- 
ing to  be  drunk — just  fooling  and  trying  to 
be  funny.  I  never  take  a  drink,  you  know. 
Haven't  in  years. 

"But  someone  at  this  party  thought  I 
really  was  drunk  and  the  story-  went  round: 
'Brown  was  drunk!'  People  said,  'We  saw 
him  staggering  around  and  making  a  fool 
of  himself.' 

"It  was  pretty  bad.  One  of  my  friends, 
defending  me,  got  into  a  fist  fight  about  it. 
It  taught  me  a  lesson." 

It  occurred  to  me  to  wonder  what  the 
kiddies  thought  of  Mr.  Brown's  pretending 
to  be  drunk  on  the  screen. 

The  Less  Seen,  The  Better 

IT  just  shows  you  that  you  can't  be  too 
careful,"  he  continued.  "I  have  reached 
the  conclusion  that  it  is  better  and  safer  not 
to  appear  in  public  at  all,  if  you  can  help  it. 

"It  is  a  great  privilege  in  one  way  to  be  a 
comedian.  To  make  people  laugh.  To 
make  them  forget  their  troubles  for  a  little 
while.  And  especially  to  make  children 
laugh. 

"People  of  the  stage  and  screen  who  be- 
come involved  in  scandals — whose  divorces 
and  love  affairs  get  into  the  papers  in  an 
unpleasant  way — do  more  harm  than  they 
can  f)ossibly  imagine.  They  don't  realize 
the  influence  they  ha\  e.  They  don't  realize 
how  youngsters  imitate  them  and  look  up 
to  them — how  they  idealize  them.  It  isn't 
so  difficult  to  beha\-e  yourself — to  be  de- 
cent. And  it  is  our  duty." 

Lines  from  "Hold  Everything"  and  sim- 
ilar pictures  kept  popping  into  my  head. 
The  jokes  about — er — "pansies."  The  gags 
about  gentlemen  being  pinched  and  kicked 
behind.  The  sly  winks.  The  innuendos. 
Conversations  concerned  with — but,  after 
all,  this  magazine  is  also  read  by  kiddies,  and 
besides,  the  postal  authorities  just  might 
have  something  to  say  about  my  quoting 
these  things.  What,  I  wondered,  did  the 
kiddies  think  of  those  matters?  And  did 
they,  by  any  chance,  imitate  those  gags  in 
their  own  li\'ing  rooms? 

Sorry  He  Cried 
"  T  LO\'E  children,"  Mr.  Brown  rattled  on. 

A  "There  are  my  own  boys.  If  anything 
should  liap[)eii  to  them — 

"U'you  know,  once  I  did  a  terrible  thing! 
It  was  sacrilege  and  I  know  it.  I  was  mak- 
ing a  picture  at  Warners'  in  which  I  had  to 
die.  There  was  a  very  sad  scene  in  which  I 
was  supposed  to  weep.   But  I  couldn't. 

"The  director  talked  and  talked  to  me 
and  I  tried  anil  tried.  But  the  tears  wouldn't 


come.  I  was  not  in  the  mood.  Or  something 
"Finally,  in  desperation,  I  went  and  sac 
down  in  a  corner  by  myself.  I  thought  an  j 
thought.  I  pictured  to  myself  my  tun 
youngsters,  dead  and  lying  cold  and  stiti 
in  two  little  graves.  And  I  cried,  all  right !|j 
You  bet  I  cried! 

"But  it  was  a  terrible  thing  for  me  to  do 
and  I  have  regretted  it  many  and  many  a 
time.    What  if  anything  should  happen  to 
them?  How  would  I  feel?" 
I  could  only  guess. 

Fans  Who  Matter 

HE  discussed  his  fan  mail — such  of  it  as 
comes  from  children.  He  reads  it  and 
often  answers  it  himself.  But  not  unless  he 
perceives  that  the  writer  is  a  real,  honest-to- 
goodness  fan  of  his. 

"If  a  letter  just  says,  'Dear  Mr.  Brown;  [ 
enjoyed  your  work  in  "No!  No!  Nanette!  ' 
(I  wasn't  even  iti  that  picture!)  If  a  letter 
reads  like  that,  I  just  throw  it  away.  Bur 
if  they  show  that  they  really  have  followed 
my  work  and  are  interested  in  me,  I  ofteti 
write  to  them  and  send  them  pictures." 

There  was  the  little  girl  who  told  him 
that  her  Daddy  never  laughed  and  jokeil 
with  her  and  that  she  thought  it  must  be 
wonderful  to  have  a  Daddy  around  the 
house  like  Mr.  Brown.  Joe  wrote  to  her  arn! 
explained  that  maybe  Daddy  was  too  tired 
to  joke  after  a  long,  hard  day  in  the  office, 
making  money  to  buy  her  pretty  things. 
There  were  a  number  of  such  incidents. 

I  was  getting  all  befogged.  I  just  couldn't 
reconcile  all  this  purity  of  thought  and  ac- 
tion in  one's  private  life  with  the  indubitable 
suggestiveness  that  is  constantly  being  ex- 
ploited in  musical  comedies  upon  the  screen. 
I  interrupted  him  to  bring  up  the  subject 
of  popular  song  lyrics  and  asked  him  if  he 
didn't  think  some  of  them  were  pretty  awful. 

He  looked  a  little  vague.  "Like  'Turn  on 
the  Heat'  and  some  of  those — "  I  urged. 

"Say!"  he  cried,  "I  have  the  words  to  a 
couple  of  new  songs  here.  Songs  for  my 
next  picture.  I  don't  know  the  melodies 
very  well,  but  I  can  give  you  an  idea  of  how 
they  go — " 

Theme- Song  Themes 

HE  produced  a  piece  of  paper  with  some 
\-erses  on  it  and  burst  into  song — to 
the  high  edification  of  the  aforementioned 
small  miss  opposite  us — beating  time  on  the 
table,  making  more  or  less  appropriate  ges- 
tures as  he  sang. 

One  song  was  one  of  those  high-stepping 
collegiate  dance  numbers,  with  the  con\en- 
tional  suggestions  about  heightened  tem- 
peratures. The  other  was  concerned  with 
something  about,  "Whatever  I  do — when  I 
do  it  with  you — I  want  to  do  it  harder — " 
Something  like  that. 

Mr.  Brown  explained  it  to  me.   "He  is  in 
love  with  her,  you  see.    It  makes  him  feel 
intense." 
'Oh!  " 

"But  aren't  they  pips?  Cute  and  catchy 
and  peppy.    With  a  chorus  and  a  ballet, 
they'll  be  great!" 
"Mmm." 

I  went  away  presently  and  shut  myself 
in  my  room  and  concentrated  upon  these 
matters.  I  had  never  given  much  thought 
to  protecting  the  innocence  of  the  kiddies 
before.  Evidently  it  was  a  problem  to  be 
considered  at  some  length.  The  rules,  as 
quoted,  seemed  to  be  that  you  may  be  as 
suggestive  as  the  law  allows  upon  the  screen, 
in  full  view  and  hearing  of  the  little  dears, 
so  long  as  you  behave  in  the  most  exemplary 
manner  at  home  where  they  can't  see  y  ou. 

After  concentrating  upon  these  matters 
for  an  hour-and-a-half  I  was  still  con- 
fused. 


They  Brought  Back  The  Proof 


{Continued  from  page  g4) 


tica  was  a  black  blob  on  the  map.  It  was 
terra  incogitila — an  unknown  land — the  sub- 
ject of  never-ending  fantastic  speculation. 
It  was  presumed  to  be  a  vast  Southern  con- 
tinent beginning  with  Tierra  del  Fuego  and 
stretching  across  hemispheres  as  far  as  Java. 

At  a  rate  not  e.xceeding  fifteen  miles  a  day, 
the  adventurers  of  centuries  slowly  and  pain- 
fully lifted  scant  corners  of  the  veil  of  mys- 
ter\-  in  exploration.  But  the  Byrd  Expedi- 
tion, flying  at  a  hundred  miles  per  hour,  has 
reduced  the  unknown  jxjrtion  of  this  .Antarc- 
tic world  to  a  comparative  pin-p>oint.  The 
area  explored  equals  that  from  Chesapeake 
Bay  to  Lake  Michigan — beyond  Duluth — 
and  would  cover  the  X'irginias,  Ohio,  In- 
diana, Illinois  and  half  each  of  Iowa,  Wis- 
consin and  Minnesota. 

Of  this  territory'  150,000  square  miles 
were  surveyed  by  aerial  camera.  Over  7,000 
miles  were  covered  by  'plane — and  another 
,^,000  by  dog-sled.  The  expedition  sent 
.^00,000  words  of  story  back  home,  and  for 
the  first  time  news  despatches  carried  date 
lines  reading  "South  Pole."  The  total  area 
never  seen  before  measured  some  220,000 
square  miles. 

A  dramatic  contrast  between  the  old 
and  the  new  methods  of  exploration  and 
discovery  was  instanced  in  the  fact  that  the 
actual  flight  from  "Little  .America"  to 
the  South  Pole  was  made  in  nineteen  hours 
— there  and  back — a  distance  of  1 ,600  miles. 


A  vast  difference  between  the  weary-  plod- 
ding of  explorer  .Amundsen,  whose  cairn 
still  stands  and  was  seen  by  the  Byrd  party 
on  Christmas  Day — eighteen  \-ears  after  its 
erection,  following  his  return  from  the  Pole. 

One  result  of  the  e.xpedition  is  the  firm 
establishment  of  American  sovereignty  over 
a  great  territory.  The  Byrd  discoveries  give 
access  from  the  coast  to  inland  territor\- 
which  the  United  States  has  claimed. 

The  amazing  photographic  feats  of  \'an 
Der  \"eer  and  Rucker  have  made  it  p>ossible 
for  arm-chair  travelers  and  students  the 
world  over  to  \-ie\v  the  beauties  and  terrors 
of  an  unknown  that  must  have  remained 
unknown  but  for  the  mar\-els  of  motion  pic- 
tures and  the  intrepidity  of  cameramen. 
Here,  perhaps  for  the  first  time,  we  are  given 
an  easily  understandable  example  of  how 
the  younger  generation  will  learn  its  geogra- 
phy lesson.  Also  perhaps  a  lesson  in  the 
pioneer  braver%-  which  once  distinguished 
our  country,  and  is  now  in  its  renaissance 
through  the  Byrds,  the  \'an  Der  X'eers  and 
the  Ruckers — men  for  whom  there  are  al- 
ways new  worlds  to  conquer. 

In  any  event,  Rucker  and  \'an  Der  \'eer 
have  proved  without  doubt  that  "in  the 
North  Sea  lives  a  whale,  big  of  bone  and 
large  of  tail."  Moreover — that  the  part  of 
the  song  about  "and  oh,  and  oh,  the  ladies 
lo%ed  him  so"  is  a  flagrant  violation  of  fact. 
For  the  whale  has  halitosis. 


Van  Der  Veer  and  Rucker  saw  a  vast  new  world.  The  rest  of  us  look  on  at  the  same 
old  world.  But  there  are  ways  of  making  this  old  world  vastly  new,  continuously  new. 
And  CLASSIC,  delights  in  the  pastime 


by 

neglecting 
a  minute 
/or  THIS 


A  bridge  party:  Miriam  Scegar,  whose  house  is  unique  (even  for  Hollywood), 
has  made  her  home  her  castle,  with  a  drawbridge  at  the  front  door 


Often  all  the  efforts  made  to  attain  a  dainty, 
lovely  appearance  arc  undone  by  ruinous,  tell' 
tale  moisture  spots  on  a  beautiful  frock. 
It's  so  unnecessary,  too,  for  just  a  minute  dc 
voted  to  DEW  will  keep  excessive  perspira- 
tion  from  spoilmg  your  charming  ensemble. 
This  original  crystal-pure  deodorant  and  in- 
stant non-perspirant  may  be  used  often  and 
at  any  time  of  day.  DEW  will  not  irritate  the 
most  tender  skin  or  injure  the  most  fragile 
fabrics  when  the  simple  directions  are  fol- 
lowed. It  stops  perspiration  instantly.  It  is 
colorless,  and  unscented  and  in  a  beautiful 
spill-proof  flask.  DEW  instantly  and  com- 
pletely deodorizes  sanitary  pads.  At  all  drug 
and  department  stores.  Three  sizes:  25  cents, 
50  cents  and  $1.00.  Wnte  to  Lambert-Fesler. 
Inc.,  Dept.  N-14  for  a  generous,  free  sample. 

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Comedies,  illustrates  how  Occidental  curves  can  improve  an  Oriental  chair 

The  Things  Wives  Hate 


(Conti)iued  from  page  88) 

are  too  tired,  but  don't  want  to  hear  about 
it. 

"All  wives  hate  being  told  they  are  wrong 
when  they  are  wrong.  They  resent  it  less 
when,  occasionally,  they  are  not  wrong. 

"All  wives  hate  husbands  who  flatter 
other  women  with  honejed  phrases,  and 
put  the  flattery  on  ice  at  home. 

''.All  wives  hate  husbands  who  quibble 
over  bills.  Their  bills.  Which  should 
mean — but  that  is  too  gloomy  a  thought. 

".■\11  wives  hate  husbands  who  are  fussily 
considerate  of  them,  and  hate  them  more 
when  they  are  not  considerate  at  all. 

"The  hates  of  wives  are  intricate  and 
complicated  matters.  Each  wife  unto  her 
own  hate,  say  I." 


Marriage  Prisoners 

FERX  AXDRE.A  is  a  recent  importation 
from  Germany.  It  is  rumored  about 
Hollywood  that  another  wrecker  has  come 
to  town.  Like  the  other  ladies  of  light  and 
love,  Fern  has  been  married  and  knows  the 


wife  angle.  Her  husband,  a  German  baron, 
was  killed  in  the  war  two  months  after 
their  marriage.  In  two  months  Fern  acquired 
her  husband-lore. 

She  said,  "  Wives  chiefly  dislike  the  feeling 
of  possession  which  most  men  entertain 
about  them.  They  feel  constricted,  hemmed 
in,  prisoned. 

"Most  wives  hate  the  too  intimate  and 
too  constant  association  .  .  .  which  is  not 
so  much  the  fault  of  the  husband  as  the 
fault  of  marriage. 

"All  wives  resent  and  hate  the  'take  it 
for  granted'  manner  of  many  husbands  .  .  . 
husbands  who  fail  to  make  love  to  their 
wives  even  when  they  love  them.  The 
security  of  love  is  not  so  important  to  most 
women  as  the  sensationalism  of  love." 

Thus  the  home-wrecking  women  of  the 
screen.  The  Loreleis.  The  Fauslines.  The 
Eternal  Questions.  • 

If  Any  Wife  here  reading  has  a  perfectly 
bona  fide  little  pet  hate  of  her  own,  let  her 
now  speak  out  or  forever  hold  her  peace. 


Hollywood  is  a  town  of  changing  names. 
New  names  arrive  by  every  train. 
Old  familiar  names  disappear. 
And  the  producers  are  responsible. 

But  even  the  producers'  names  are  changing. 
New  Higher-Ups  are  stepping  in. 
The  old  owners  are  on  their  way  out. 
And  who  is  responsible? 

Don't  miss  "Who'll  Own  The  Movies?" 
In  the  August 

Motion  Picture  CLASSIC 


100 


Looking  Them  Over 

(Continued  from  page  4j) 

CLARA   BOW  singing  a  song  for  "Para- 
mount On  Parade." 
Alice  White  appearing  on  the  Boulevard 
minus  make-up — -ei'en  face  po'u.'der. 

Claudette  Colbert  being  muchly  admired 
on  her  first  visit  to  the  Paramount  West  Coast 
studio.  Dick  Arlen  among  the  interested  on- 
lookers. 

Florenz  Ziegfeld  declaring  that  the  ideal 
.weight  for  .\fiss  igjo  is  I2S  pounds.  Ten 
pounds  gain  over  last  year's  ideal. 

Mary  Brian  in  a  white  sport  outfit  without 
I  a  hat. 


WARM  weather  has  not  slackened 
Hollywood  social  activities  to  any 
noticeable  degree.  The  parties  continue 
along  the  elaborate  pace  set  by  the  mid- 
winter festivities. 

Following  the  opening  of  "All  Quiet  On 
The  Western  Front,"  Junior  Laemmle  in- 
vited three  hundred  guests  to  the  Embassy 
Club.  As  this  room  is  not  large,  Junior's 
party  occupied  the  entire  club. 
Among  those  who  attended  were: 
Mr.  and  Mrs.  Douglas  Fairbanks.  Messrs. 
and  Mesdames:  Jean  Hersholt,  Ernest 
Lubitsch,  B.  P.  Schulberg,  Cecil  de  Mille, 
Oskar  Straus,  Louis  Wolheim,  and  the 
debutantes  included  Clara  Bow,  Joan 
Bennett,  Bebe  Daniels,  Patsy  Ruth  Miller, 
Sue  Carol  and  Lupe  \'elez. 

•  •  • 

ANOTHER  brilliant  affair  for  one  hun- 
dred and  fifty  guests  was  given  by 
Carmel  Myers  and  her  husband  at  their 
new  home  in  Beverly  Hills.  The  affair  was 
a  inasked  ball  and  among  those  who  showed 
up  as  troubadors,  ladies  of  quality,  noted 
characters  from  plays,  etc.,  were: 

Joan  Crawford  and  Douglas  Fairbanks, 
Jr.,  Bessie  Love  and  William  Hawks, 
Harold  Lloyd,  Corinne  Griffith,  Norma 
Shearer,  Billie  Do\e.  Claudette  Colbert, 
Beatrice  Lillie,  Norma  Talmadge,  Gilbert 
Roland,  Ramon  Novarro,  Howard  Hughes, 
Edmimd  Goulding  and  Carmen  Pantages. 

•  •  • 

EDDIE  LOWE  explaining  that  the  title 
of  his  next  picture,  "Good  Intentions," 
is  based  on  the  old  saying,  "  The  'oad  to  Hell 
is  paved  with  good  intentions." 

Will  Rogers  wearing  spats  for  a  sequence 
of  "So  This  Is  London." 

Catherine  Dale  Owen  permitting  herself  a 
slight  smile  cU  Will's  spats. 

Maureen  O'Sullivan  refusing  to  talk  with 
an  Irish  brogue  even  for  publicity  purposes. 

Hollywood  Sob-Stories 

{Continued  from  page  So) 
Hollywood  has  been  cruel  to  me  before,  but 
never  this  cruel!  The  only  way  I  knew  to 
V  indicate  myself  was  to  give  my  side  of  the 
story  to  the  newspapers. 

"\Vas  it  such  a  terrible  thing  that  I 
wanted  my  daughter  to  share  in  the  large 
fortune  her  father's  efforts  had  built?  I 
don't  think  so.  I  think  in  her  later  life  she 
would  have  looked  at  me  reproachfully  if  1 
had  not  prepared  for  her  future  as  best  I 
could.  I  would  never  be  able  to  give  her  the 
things  that  the  money  which  was  rightfully 
hers  could  bring  into  her  life.  I  could  work 
from  now  until  the  grave — and  I  couldn't. 
But  even  so,  I  had  rather  deprive  her  of  her 
financial  birthright  than  to  give  her  up 
entirely  to  the  extent  that  I  could  never  see 
her  again  .  .  . 

"Unless  our  original  agreement  is  held  to, 
little  Lina  will  get  along  as  best  she  can  on 
what  her  mother  is  able  to  provide  for  her!  " 

And  the  fire  blazed  brightly  in  the  eyes  of 
the  girl  whom  Hollywood  has  never  be- 
friended— or  understood. 


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Not  at  all  asinine:  two  sure-footed  residents  of  Hollywood  don't  kick  at 
being  photographed  with  Louise  Dresser 


The  Answer  Man 

(Continued  from  page  80) 


UKULELE  LADY.— Any  relation  to 
Ukulele  Ike?    Morgan  Farley  was  Dick 

in  "Half  Marriage."  You  know  a  ticket 
speculator  is  just  a  man  who  enables  you  to 
see  one  show  for  the  price  of  three.  Don't 
believe  there  was  a  theme  song  in  the  above 
picture.  The  players  do  not  like  to  give 
their  home  addresses.  Janet  will  surely  re- 
ceive >  our  note  if  you  send  it  to  her  at  the 
Fox  Studios. 

JUST  ME. — \t  the  time  when  our 
January  issue  went  to  press  Sue  Carol  was 
not  married  to  our  knowledge.  But  have 
learnt  since  she  has  been  wed  secretly  since 
last  July.  Oh!  Kay?  Alice  White  hails 
from  Paterson,  N.  J.  She  is  five  feet  two, 
weighs  105  pounds.  Gary  Cooper  and 
Mary  Brian  had  the  leads  in  "Only  the 
Brave."  William  Boyd  and  Helen  Twelve- 
trees,  "Paris  to  Bagdad." 

L.  A.  D.— The  letters  SOS  have  no 
verbal  significance.  They  are  used  as  dis- 
tress because  they  are  easily  sent  and  readily 
understood,  represented  by  3  dots,  3  dashes, 
and  3  dots.  Frank  Richardson  is  the  chap 
who  sang  "Walki?ig  With  Susie"  in  "Fo.v 
Movietone  Follies."  He  isn't  really  a 
negro.  Ben  Alexander,  \  ou  remember  him 
in  kid  roles,  pla\ed  an  important  part  in 
"All  Quiet  on  the  Western  Front." 

DIMPLES.— You're  lucky.  Ann  Hard- 
ing was  born  in  Texas,  the  daughter  of  an 
army  officer,  and  her  early  stage  experience 
was  derived  in  the  famous  Jessie  Bonstelle 
Stock  Company  in  Detroit.  Coming  to 
New  York,  she  made  her  di'-but  at  the 
Provincetown  Playhouse.  Her  first  big 
hit  was  in  "Tarnish,"  and  she  has  com- 
manded attention  with  her  fine  work  in 
"The  Trial  of  Mary  Dugan,"  and  numer- 
ous other  stage  productions.  She  is  married 
to  Harry  Bannister. 


OLD    FAVORITES.— Pola    Negri  is 

spending  a  second  honeymoon  in  Europe  at 
this  time.  Natacha  Rambova  has  played 
in  several  films,  do  you  remember,  "Whit 
Price  Beauty"  or  "When  Love  Grows  Cold:'" 
Jean  Acker,  "Braveheart"  "The  Nest,"  and 
"Ace  of  Cads."  Barbara  La  Marr's  last 
picture  was  "Tfie  Girl  from  Montmartre .' 
Wallace  Reid  was  born  April  17,  1891, 
died  Jan.  18,  1923.  I  can  supply  \ou 
with  a  photo  of  Barbara. 

TOWSER.— Rin-Tin-Tin  is  owned  by 
Lee  Duncan.  You  can  reach  him  at  the 
Warner  Brothers  Studios.  Tom  Mix 
was  born  Jan.  6,  1879.  Not  active  in  pic- 
tures right  now.  Richard  Dix  was  born 
July  18,  1894.  Playing  at  the  Radio  Pic- 
tures Studios.  Fred  Thomson  died  Dec. 
24,  1928.  Ronald  Colman  and  Frances 
Dade  are  featured  in  "Raffles." 

BUG. — Johnny  Murray  doubled  for 
the  singing  in  "Weary  River."  Don  t 
know  where  you  can  secure  his  photo. 
Don  Alvarado  and  Ulrich  Haupt  support 
Dolores  del  Rio  in  "The  Bad  One.  ' 
Billie  Dove  and  Ralph  Forbes  had  the 
leads  in  "Lilies  of  the  Field." 

DOT.  —  Lawrence  Gray  was  born 
in  San  Francisco,  Cal.,  July  27, 
1898.  Has  brown  hair  and  green  eyes. 
Hobbies  are  riding,  music  and  literature. 
He  is  not  related  to  Gilda  Gray;  her  real 
name  is  Maryana  Michalska.  Gray's 
next  production  is  "The  Floriidnra  Girl, 
Metro-Goldwyn-Mayer  Studios. 

PAMELA  YOUNG.— Please  inform  your 
mother  it's  perfectly  O.  K.  for  you  to  re- 
ceive a  [personal  reply  from  me.  Ramon 
Novarro  is  still  single.  Ivan  Petrovich  is 
about  thirty-two  years  old.  James  Kirk- 
wood,  Feb.  22, 1883. 


1(12 


Getting  Called  Names 

(Continued  from  page  41) 

when  he  was  yclept  "The  Darling  of  the 
Debs"?  What  matter  if  Alice  White  be 
deuce  or  Duse  of  the  cinema?  .  .  .  she's 
"America's  Girl  Friend"!  Even  though 
there  seems  to  be  some  subtle  intimation 
of  difference  between  the  titles  of  "Amer- 
ica's Girl  Friend"  and  "America's  Sweet- 
heart." 

So  in  lofty  determination  to  do  our  bit  in 
advancing  the  Cause  of  nomenclature,  we 
hereby  inaugurate  a  Movement  which  we 
know  will  gather  impetus  until  every  single 
actor  on  the  screen  is  equipped  for  Success 
by  having  a  nickname  all  his  very  own. 
We  expect  no  thanks  for  the  helpful  en- 
deavor. It  will  be  sufficient  to  know  that  we 
have  led  the  cinema  a  step  in  the  right 
direction. 

George  Bancroft,  for  instance,  would  be 
aided  immeasurably  were  he  to  be  re-named 
alliteratively.  Maybe  "Big  Boy"  Bancroft 
would  do  the  trick.  Or,  perhaps  a  bit  more 
emphasis  on  the  sex  angle  would  be  better. 
How  about  "Baby  Blue  Eyes  "  Bancroft? 
Something  about  eyes  would  also  help  John 
Boles  to  further  fame.  Just  "  Roley  Bolesy 
Eyes,"  mayhap — or  the  reversal  of  an  al- 
ready well-known  name— "Rolls"  Boles. 

William  Haines  needs  a  new  name  badly. 
He  might  use  one  from  Helen  Morgan's 
song,  and  be  known  henceforth  as  "Just  My 
Bill  "  Haines.   Or  "Hey-Hey"  Haines. 

Clara  might  easily  become  more  popular 
by  being  billed  as  "Cupid's"  or  "Kewpie" 
Bow— as  "\'o-deo"  Bow — or  "Singin'  in  the 
Rain  "  Bow.  While  a  natural  for  Nancy  or 
Sue  would  be  "Christmas"  Carol.  Johnny 
Mack  Brown  would  do  better  as  Johnny  'On 
the  Spot  "  Brown.  It  would  put  him  "on 
the  spot,"  and  in  the  spotlight. 

Greta  Garbo  might  be  nicknamed  "Hot 
Feet"  because  of  her  shoe-removing  pen- 
chant. Or  as  "Tanky"  because  of  her 
favorite  line,  "I  tank  I  go  home."  Richard 
Dix  could  be  "The  Dixey  Pixey,"  or,  as  he 
has  called  himself,  "The  X'arnishing  Arme- 
nian," After  the  film  version  of  "  Hold  Every- 
thing" there's  no  better  nickname  for  Joe 
Brown  than  just  plain  "Bert  Lahr."  And 
that  famous  couple,  Eddie  Lowe  and  Lil- 
yan  Tashman  could  team  as  "Lowe and  Be- 
hold." 

They  Might  Have  Worse 

CHARLIE  FARRELL  might  be  even 
more  popular  as  "Xhe  Sunshine  of 
\  irginia."  X'irginia  X'alli,  of  course.  And 
"Ga-Ga"  would  be  more  euphonious  with 
Cia>nor  than  is  Janet.  To  avoid  confusion, 
all  the  Barrymores  could  be  known  as 
■'Ethel,"  and  all  sister  teams  could  be  com- 
bined under  the  general  heading  of  "The 
Sisters  G."  And  Joan  Crawford  could 
paraphrase  that  old  song  by  naming  herself, 
"Here  Comes  My  Dodo  Now." 

Cecil  de  Mille  could  capitalize  on  the  title 
of  that  famous  book,  "  De  Mille  on  de  Floss" 
— maybe  just  "Flossie"  as  a  contraction. 
Estelle  Taylor  could  be  '  Birdie" — a  sort  of 
reference  to  a  Taylor's  goose. 

And  so  it  goes.  Perhaps  the  nicknames 
suggested  aren't  the  best  available.  But  it 
must  be  remembered  that  a  great  many  are 
already  copyrighted.  AI  Jolson's  "  Mamnu' 
Boy/'  Paul  Whiteman's"  King  of  Jazz,"  Lew 
Cody's  "The  Butterfly  .Man,  "  X'ilma 
Banky's  "The  Hungarian  Rhapsody," 
(iibson's  "Hoot,"  all  the  "America's  This 
and  That's"  from  "Sweetheart"  to  "Pal," 
and  Ruth  Elder's  "Mrs.  Walter  Camp,  Jr." 

But  you  get  the  general  idea,  and  it'll  be 
a  big  helping  hand  to  the  stars  if  you'll  all 
pitch  in  and  dope  out  some  real  good  nick- 
names so  that  all  the  Hollywood  stars  may 
shine. 


THE  FOLLY  OF  FAT 

PROVED  FOR  22  YEARS-AND  TO  MANY 


CONSIDER  the  fact 
that  countless  people, 
for  many  years,  have 
been  fighting  fat  in  the 
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Note  the  results  you  see 
everywhere.  Slender  fig- 
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fat  is  the  exception.  New 
youth  and  beauty,  new 
health  and  vigor,  have 
come  to  multitudes  in  the 
easy,  pleasant,  right  way. 

One  great  reason  is  a 
discovery  that  science 
made  some  years  ago.  It 
was  found  that  most  fat 
people  had  an  under- 
active gland.  That  gland 
largely  controls  nutri- 
tion, and  its  weakness 
leads  to  fat. 

Modern  physicians, 
since  that  discovery,  have 
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Is  it  not  folly  to  stay 
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Marmola  prescription  tablets 
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out  by  a  figure  of  speech.  Speech  is  not  the 
thing  that  sways  the  millions  of  theater- 
goers, but  rather  the  acting.  The  expression 
in  the  eyes  and  face  alone  speak  with  more 
eloquence  than  can  e\  er  be  put  into  words. 

Is  there  not  the  expression  of  pain  or  fear, 
in  the  \-ery  attitude  of  a  dog?  Vet  has  he 
e\  er  voiced  it  with  words?  A  cringing  body 
and  eyes  filled  with  the  agony  of  pain  is  an 
emotion  far  more  expressive  than  human 
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Is  Tlie  Voice  The  Thing? 

Los  .\ngeles,  California 
Recently  Lionel  Barrymore  stated  that  an 
unusual  talking  voice  is  a  subordinate  re- 
quirement for  the  talkies.  Gray  matter  and 
an  acting  intuition  was  what  counted.  It  is 
refreshing  to  hear  this  from  a  great  actor 
and  director.  We  have  heard  so  much  about 
stars  falling  by  the  wayside  because  their 
voices  don't  click.  E\-ery  movie  sheet  and 
monthh"  contain  stories  that  would  lead  one 
to  think  that  the  "\oice  is  the  thing." 
Granted,  of  course,  that  there  is  a  require- 
ment. 

But  check  up  on  the  recent  talkie  suc- 
cesses, and  in  the  majority  of  cases  you 
remember  the  acting  and  the  actor.  To- 
gether they  make  the  ^•oice.  Now  and  then 
there's  an  exception — you  recall  the  voice 
also — as  Greta  Garbo  in  "Anna  Christie." 
Her  \  oice  lingers  because  it  is  such  a  natural 
part  of  her — not  the  studied  P's  and  Q's  of 
the  elocution  schools.  The  voice  alone  has 
been  given  such  an  exaggerated  place  that 
even  great  actors  before  the  "mike"  suffer 
with  a  kind  of  voice — apprehension — neu- 
rosis. One  feels  their  voice-consciousness. 

It  is  also  a  relief  to  note  the  trend  mani- 
fested by  directors — that  a  perfect  face  and 
figure  is  not  always  identical  with  dramatic 
skill.  John  J.  Goodman 


The  Much  Abused  Theme  Song 

Montreal,  Que.,  Can. 

I  had  always  been  more  or  less  reconciled 
to  the  sad  fact  that  I  am  totally  unable  to 
sing,  hum,  or  whistle  a  tune  for  three  bars 
without  straying  into  half  a  dozen  keys.  It 
was  incon\enient  at  times,  such  as  finding 
myself  with  three  other  fellows  at  the  stage 
of  wanting  to  sing  "Sweet  Adeline"  and 
being  incapable  of  carrying  the  tenor,  but 
one  can't  have  everything,  and  I  was 
resigned  to  my  tuneless  vocal  chords. 

.And  then  the  "talkies"  came  along,  and 
the  theme  song,  which  had  hitherto  been  at 
the  sole  mercy  of  the  theater  organist,  now 
was  warbled,  trilled,  burbled,  and  growled 
by  every  principal  in  every  picture.  And 
now  I  am  discontented.  I  think  of  the 
times  in  my  not-too-checkered  career  when 
I  was  unable  to  impress  certain  young  ladies 
with  my  pleasing  personality,  and  then  1 
meditate  upon  the  screen  singing  hero. 

The  lad\-  of  the  hero's  heart  may  be  giving 
him  the  ritz,  burying  him  under  a  verbal 
barrage,  trampling  all  over  his  sensibilities, 
handing  him  the  glacier  glare,  and  in  short, 
treating  him  pretty  darned  mean.  What 
does  the  hero  do?  Does  he  behave  in  a 
normal  manner  and  slink  away  with  his 
metaphorical  tail  figuratively  tucked  be- 
tween his  hind  legs?  He  does  not.  He  gazes 
at  the  moon  or  the  setting  sun — the  presence 
of  one  or  both  of  these  natural  phenomena  is 
essential  to  the  singing  of  the  theme  song  — 
and  lets  out  a  burst  of  what  might  be  loosely 
described  as  song. 


Well,  at  first  the  heroine  looks  at  him' 
with  utter  scorn.  But  with  the  first  line  her 
luscious  lips  part  appealingly,  and  you  can 
see  that  a  little  relenting  has  crept  into  her 
heart.  At  the  end  of  the  first  verse  she 
glances  wistfully  into  the  hero's  wide-open 
mouth,  and  her  eyes  become  bovinely  soul- 
ful. He  sings  the  refrain — and  she  edges 
shyly  up  to  him  and  twists  her  forefinger  in 
his  coat  lapel,  if  he  happens  to  be  wearing  a 
coat.  If  not,  she  twiddles  her  fingers  up  and 
down  his  manly,  vibrating  chest.  As  he 
starts  through  the  chorus  again  she  flings  all 
restraint  to  the  winds  and  joins  her  lovely 
ungreased  treble  to  his  husky  bass,  baritone, 
or  tenor,  as  the  case  may  be.  W'ith  eyes 
closed  they  dwell  lingeringly  on  the  last  long 
drawn  out  word — generally  "love" — finally 
smile  tenderly  into  each  other's  eyes,  throw 
their  arms  about  each  other's  necks,  and 
everything  is  just  dandy. 

It  happens  every  time.  I'm  enrolling  for 
a  correspondence  course  in  voice  training. 

John  S.  Hook 


Grateful  For  the  Talkies 

Jackson  Heights,  L.  I. 
\\'hat  a  blessing  the  talkies  are.  Not  for 
the  girl  whose  days  are  filled  with  shopping 
for  lovely  clothes,  tennis,  dancing,  flowers, 
parties,  one  beau  after  another,  one  "date" 
after  another,  who  sandwiches  in  a  movie 
merely  to  bridge  a  gap  in  a  series  of  exciting 
events. 

For  those  girls  like  myself,  however,  I 
repeat — what  a  blessing  the  talkies  are! 
Lonely  rooms  to  come  home  to  in  the  eve- 
ning after  a  day  of  loneliness  no  matter  if 
we  work  with  hundreds  and  come  in  contact 
with  thousands.  Lonely  dinners,  lonely 
walks,  and  lonely  nights! 

Now,  overnight  it  seems,  our  friends  have 
multiplied  fourfold.  Maurice  Chevalier 
twinkles  at  us  with  his  naughty  eyes,  singing 
his  songs  for  us  alone,  Gloria  Swanson  shows 
us  her  beautiful  gowns,  Richard  Dix  acts  as 
"big  brother,"  Paul  Whiteman's  orchestra 
sets  our  feet  tingling,  John  McCormack  setj 
our  hearts  singing — all  of  them  bringing  us 
sympathy,  friendship  and  romance.  .And 
we  leave  the  theater,  our  heads  high,  cheered 
for  the  moment  at  least,  and  believing  that 
perhaps  happiness  is  waiting  for  us  just 
around  the  corner.  B.  F. 


Need  More  Like  It 

I  recently  saw  the  talking-picture,  "Graf 
Zeppelin  .Around  the  World  Flight,"  and 
what  an  intensely  interesting  film.  Thrills 
aplenty  and  so  many  other  worthwhile 
features  included.  This  picture  ought  to  be 
a  real  harbinger  of  tolerance  and  friendliness 
towards  the  peoples  of  the  world;  and  the 
beneficial  influences  of  its  inspirational 
value,  patriotic  feeling,  educational  gain,  all 
ought  to  win  over  those  who  still  condemn 
the  motion  pictures  in  general.  There  was 
something  so  uplifting  and  wonderful  about 
this  picture. 

Talking  Picture  Epics  Company  of  N.  Y. 
is  to  be  congratulated  upon  their  oflfering 
of  this  tremendous  world  achievement 
through  the  .Aladdin-like  possibilities  of  the 
sound  screen.  Commander  Rosendahl  upon 
his  splendid  and  clear  elucidation  in  the 
talking  version  of  the  voyage,  and  the 
cameraman,  whose  unfailing  skill  recorded 
the  whole  so  well. 

1  eagerly  look  forward  to  the  next  picture 
of  this  type.  Barbara  Mueller 


10+ 


He  Dares  To  Be 
Himself 

(Continued  from  page  go) 

enow  it  and  before  very  long  they  begin  to 
spect  it — and,  /  expect,  being  a  woman,  to 
l^ke  advantage  of  it — and  right  there  Bill 
Itops.  He's  nice  to  women  so  long  as  they 
plon't  expect  it,  and  when  they  do — 

He  is  said,  in  passing,  to  be  that  way 
kbout  Dorothy  Sebastian  at  the  moment. 
5he's  painting  portraits  of  him.  I  saw  two 
|bf  them  lined  up  against  the  wall  in  Bill's 
jachelor  beach  cottage  .  .  . 

And  honest,  this  is  a  true  story.  The 
truest  ever  written,  and  in  the  best  of  faith. 
Jill  is  himself.  He  does  li\e  alone  in  a  little 
cabin  on  the  beach,  and  he  bathes  under  the 
Starlight  and  with  the  rise  of  the  sun.  He 
loesn  t  like  parties  and  many  people.  He 
^eads  by  an  open  fire.  He's  not  afraid  to  be 
limself — and  never  was — and  never  will  be. 


The  Inside  Story 

{Continued  from  page  6g) 

these  mechanical  wizards  long  enough  to 
hear,  for  just  a  second,  how  he  attacks  his 
problems.  That  one  right  over  there  is  a 
thousand-dollar-a-week  man.  He's  at  the 
top  of  his  profession  and  a  glutton  for  labor. 
Listen  to  what  he's  saying: 

■■ — you  mean  to  say  you  wasn't  in  Tia 
Juana  last  Sunday?  Boy.  Tda  swore  I  seen  you 
at  the  A  merican  Club  tossin'  off  rickies.  A  in  I 
gotta  brother,  have  yuh?  Xo?  Well,  then,  you 
sure  gotta  double  because  this  guy  looked  ex- 
actly like  yuh.  an'  I  said  to  Earl,  then,  I  said, 
'Hey  lookit.  Earl,  there's  Hen  an' — " 

Naturally  there  are  many  other  depart- 
ments, peopled  with  high-salaried,  efficient 
workers,  all  stri\ing  unceasingly  for  the 
success  of  the  picture.  But  the  little  you 
have  seen  and  heard  will  gi\e  you  an  idea 
of  what  a  veritable  bee-hive  of  industry  a 
modern  studio  is;  of  the  truly  spirit-breaking 
labor  that  goes  on  inside  a  movie  lot;  of  just 
how  studio  workers  work. 

Now  I  might  gi\  e  you  a  smattering  of  how 
we  w  ho  write  about  the  studios  do  our  work 
-of  the  continued  drudgery  and  grind  that 
make  up  our  jobs. 

I  might,  some  day — but  not  right  now. 
Because — because — well,  frankly,  I'm  off 
for  Tia  Juana. 


Caught  in  the  jam:  but  Eddie  Quillan, 
true  to  his  screen  character,  laughs  it  off. 


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■  Motion  Picture  CLASSIC 

—"It's  the  magazine  with  the  personality"— 


105 


You 

Have  it  conning 
To  you   -   -  - 

MOTION  PICTURE  MAGAZINE 

ON  THE  AIR 


Happier  quarter-hours  are  coming. 
And  no  longer  will  Fridays  be  dull. 

From  now  on  you  will  have  something  to  think  about, 

talk  about,  sing  about,  over  the  week-ends. 

For  the  best  that  Hollywood  has  to  offer  is  coming  your 

way. 

Music  and  songs  all  America  will  soon  be  playing  and 
singing. 

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.  I 


Threesome 

Perhaps  you'll  never  make  a  hole- 
in-one.  Most  golfers  don't.  (It's 
one  of  several  things  they  have  in 
common.)  But  there's  another, 
more  delightful  tie  that  binds  .  .  . 
the  universal  appreciation  of  what 
a  good  cigarette  can  add  to  the 
pleasure  and  enjoyment  of  the 
game.  Camels  are  fragrant,  refresh- 
ing, mellow  ...  a  welcome  third 
to  the  most  thrilling  twosome. 


©  1930,  R.  J.  Reynolds  Tobarro  C.,'..  Wiiolon-SaUm.  N.  C. 


ioN  Picture 

ASSIC 


Wholl  OwnTheAovies? 


Chaplin  Defends 
Silent  Pictures 

The  Boys  are  Getting  // 


The  complete 
guide-book 

If  you've  been  a  tourist  in  foreign  lands,  you've  prob- 
ably come  to  have  a  high  regard  for  one  or  another  of 
the  standard  guide-books.  Surrounded  by  strange  scenes, 
strange  names,  and  with  your  time  limited,  you  have 
turned  with  relief  to  any  volume  which  tells  you  on  good 
authority  where  to  go  and  what  to  do. 

Consider  your  ordinary  shopping  tours  in  the  same 
light.  Without  an  up-to-date  guide-book  of  merchan- 
dise appearing  within  the  pages  of  this  magazine,  your 
most  casual  trip  to  the  stores  would  be  more  or  less  like 
a  ramble  in  foreign  countries. 

We're  speaking  of  the  advertisements,  of  course.  If 
it  weren't  for  the  advertisements  you  would  be  a  stranger 
in  the  market,  surrounded  by  strange  names,  strange 
brands.  Buying  would  be  guessing,  unless  you  tested 
every  article  you  wanted  before  you  bought  it. 

As  it  is,  you  can  make  up  your  shopping  list  in  a  few 
minutes,  and  buy  with  confidence  instead  of  suspicion 
— knowing  what  you're  getting — knowing  that  consis- 
tently advertised  goods  must  maintain  standard  quality. 


Take  full  advantage  of  the  great 
guide-book  of  this  modern  age  .  .  .  read  the 
advertisements  every  day 


WILL 


Will  Rogers  seasick  on  a  liner  — 
riding  to  hounds  with  an  English  lord 
js  the  stern  parent — as  the  not-so- 
stern  parent — enough  laughs  for  a  lifetime! 
You've  read  his  stuflF  in  the  papers,  heard  him 
over  the  radio,  seen  him  on  the  stage  and  in 
that  hilarious  Fox  hit, "They  Had  to  See  Paris." 
Now  comes  the  high  spot  in  his  career. 
It's  the  funniest  role  Will  Rogers.;^ 
ever  played!  And  the  best  show  he 

was  ever  inl . . .  A  sparkling  love- 
story,  too,  with  an  exceptional 
supporting  cast  including  Irene 
Rich,  Maureen  O'Sullivan,  Lumsden  Hare, 
Bramwell  Fletcher  and  Frank  Albertson. 


J' 


FILM  CORPORATION 
Horley  L.  Clorke 
FrttidanI 


in 


so  THIS  II 
LONDON 

Adaptation  and  Dialog  by  Owen  Davis,  Sr. 
Directed  by  JOHN  BLYSTONE 


3 


GOOD  TIMES 
NEWS  FROM 
PARAMOUXT! 


[HAROLD  LLOYD 
'FEET  FinST" 


-THE  TWO  BL.t(  K  t  llOWS" 
M  O  II  A  >'  >  :<  •  >I  A  r  K 
--  A  N  V  II  O  U  V  •  S    W  A  It 


^  E 


NTERTAINMEIST  news  that 


-MONTE  f'ARLO" 


AND  THESE  GREAT 
PARAMOUNT  STARS 
IN  GREATER  NEW 
SHOW  WORLD 
PICTURES 
•  • 

Richard  Arlen 
George  Bancroft 
Clara  Bow 
Clive  Brook 
Nancy  Carroll 
Ruth  Cliatterton 
Maurice  Chevalier 
Gary  Cooper 
Jack  Oakie 
William  Powell 
Buddy  Rogers 


GREATER  New  Show  World  is 
here!  70  Paramount  Pictures 
strong!  Attuned  to  these  chang- 
ing times.  In  key  with  this  fast 
moving  world.  ^  Under  their 
spell  you're  lost  to  the  world.  Liv- 
ing the  stories.  Laughing  at  some 
plots.  Thrilled  to  the  bone  with 
others.  Charmed  with  the  tunes 
in  the  musicals.  Delighted  with 
everything!  q  It's  a  GREATER 
New  Show  World  now. 
And  Paramount  is  lead- 
ing it.  Paramount — with 
18  years  of  supremacy. 
Paramount  —  with  the 
biggest  stars.  Paramount 
— with  the  keenest  show- 
manship minds.  Para- 
mount—  with  the  great- 
est resources,  organiza- 
tion, and  man  power  in 
motion  pictures.  ^  Tell 
your  Theatre  Manager 
now  you  want  to  see  all 
these  70  GREATER  New 
Show   World  Pictures! 


Q>icture^ 

^  r.VHAMOl  NT  BUILDING,  NEW  YORK 


MOT  fl  ON    P  B  CT  QJ  IRE 

CLASSIC 


Vol.  XXXI  AUGUST,  1930  No.  6 


Notable  Features  in  This  Issue: 

Who'll  Own  The  Movies? — Wall  Street  and  Big  Business  

The  Boys  Are  Getting  It — They're  Getting  Scents  Appeal  

Classic  Holds  Open  Court — Case  IV — CHARLES  CHAPLIN  

My  Most  Deductive  Moment— WiLLLAM  POWELL  

Where  Are  They  Sundays? — What  the  Stars  Do  on  the  Sabbath. . 
My  Love  Life  And  Other  Things— As  told  by  MICKEY  MOUSE  to 


Henry  Braden  Clews  24 

.  .  .  Dorothy  Spensley  26 

 Charleson  Gray  36 

 Walter  Ramsey  38 

 Ruth  Biery  56 

 Cedric  Belfrage  68 


The  Classic  Gallery  Jeanette  MacDonald,  Dolores  Del  Rio,  Marion  Davies,  Jack  Mulhall  .19-22 


Classic  Talks — An  Editorial  George  Kent  Shuler  23 

Picture  page — GLORIA  SW ANSON  and  OWEN  MOORE   28 

Hollywood  Sob-Stories— Walter  PIDGEON  Dorothy  Manners  29 

Isn't  She  Odd?— Meaning  ZASU  PITTS  Gladys  Hall  30 

That  Big  Opening— picture  page.  Opening  of  "Hell's  Angels"   31 

How  To  Make  A  Man— picture  page,  LiLA  LeE   32 

Sports  of  the  Stars,  VIII— REGINALD  DENNY  About  Yachting  Charleson  Gray  33 

Salt  Water  Daffv — picture  pages,  Bathing  Girls   34 

Hark,  Hark,  The  Bark— picture  page,  HARRY  GRIBBON   40 

A  Blonde  Old  Fashioned?— jEANETTE  LOFF  Gladys  Hall  41 

When  Greek  Meets  Sheik— picture  pages,  PHILLIPS  HOLMES.   '   46 

His  Pace  Is  His  Fortune — EDDIE  CANTOR  Robert  Fender  48 

Rendezvous-Dee-O-Do— picture  page,  RaQUEL  TORRES   49 

Turning  On  the  Dimples — picture  page.  JUNE  COLLYER   50 

A  Young  Man  Of  Parts— KENNETH  MACKENNA  Cedric  Belfrage  51 

He  Forgot  He  Was  RONALD  COLMAN  Robert  Fender  52 

A  Murderin'  So-and-So— JOHN  MACK  BROWN  Helen  Louise  Vf  alker  58 

Picture  page— DOROTHY  REVIER   59 

Picture  page— CLAIRE  LUCE   62 

D-D-Doing  H-H-His  S-S-Stuff— JOE  FRISCO  Herbert  Cruikshank  63 

It's  The  Likes  of  You,  JOE  BROWN— picture  page    64 

Miss  Moran,  To  You,  Sir!— POLLY  MORAN  Talks  Back  .'  Dorothy  Spensley  65 

I'm  Tired  Of  My  Tired  Man— picture  pages,  EDDIE  QUILLAN  and  SALLY  STARR  '   66 

It  Was  Hollywood  Or  Else— MARY  LaWLOR  Speaks  Riglit  Out  Dorothy  Manners  70 

Picture  page— WALTER  HUSTON  ^   71 

Camera  Angling— picture  page,  LORETTA  YOUNG   72 


The  Classics  Famous  Departments 


Black  and  White — Read  and  Write  (Prize  Letters)    6 

Last-Minute  News   11 

From  Where  I  Sit — Explosives,  High  and  Low  Cedric  Belfrage  12 

My  Neighbors  In  Hollywood  K.  C.  B.  16 

Looking  Them  Over — Newsy  Close-Ups  Dorothy  Manners  42 

Our  Own  News  Camera — The  Screen  World  In  Pictures   53 

The  Celluloid  Critic — Some  Current  Films  in  Review  Laurence  Reid  60 

The  Answer  Man   76 


Cover  Drawing  of  Jean  Arthur  by  Colin  Cruickshank 


Laurence  Reid,  Editor 

Colin  J.  Cruickshank,  Art  Director 
Classic  comes  out  on  the  12th  of  every  Month,  Motion  Picture  the  28th 


MonoN  Picture  Clasmc  h  piMnhnl  monlhly  al  jso  II.  22nii  Si.,  Chuano,  III.,  hy  Motion  Picture  Publications,  Inc.  Entered  as  s<conJ  class 
mallrr  Augusl  jisl,  H)2S,  at  the  I'ost  Office  al  Chicago,  Illinois,  under  the  Act  of  March  j,  iI<7q:  printed  in  V.  S.  A.  Editorial  and  E.\ecutive  Offices,  Paramount 
Huildinii,  isoi  Broadway,  New  York  City,  .V.  Y.,  Copyright  iQjo  by  Motion  Picture  Publications.  Inc.  Single  copy  2sc,  Suhscriptions  for  U.  S.,  its  pos- 
^e^^ions,  and  .Mexico  $2.00  a  year,  Canada  $2. so.  Foreign  Countries,  $3.00.  European  Agents,  /Itlas  Publishing  Company,  18  Bride  Lane,  London,  E.  C.  .1- 
George  Kent  Shuler,  Pres.  and  Treas.,  Duncan  A.  Dobie,  Jr.,  Vice  Pres.,  Murray  C.  Bernays,  Secy. 


Tell  Us  All  About  It 


.00  LETTER 
Talkies  Don't  Know  How  to  Love 

Philadelphia,  Pa. 

It's  sad  but  true.  Too  bad,  too  bad,  the 
talkies  have  taken  away  the  thrills  we  used 
to  get  out  of  watching  love  scenes  in  the 
silent  days.  The  talkies  are  shamefully 
unromantic.  Maybe  they're  too  young  to 
know  much  about  love,  but  they  had  better 
learn  the  tricks  fast.  Love  scenes  no  longer 
seem  real  and  sincere.  This  is  truly  the  one 
and  only  tragic  feature  of  the  talkies.  They 
have  not  been  found  wanting  in  other  re- 
spects, but  they  do  lack  the  good  old  ro- 
mance stuff. 

In  the  silent  days,  the  hero  on  bended 
knees  would  look  soulfuUy  in  the  eyes  of 
his  lady  love,  kiss  her  hand,  put  his  arms 
around  her  waist  or  gently  hug  her  and 
then  they  would  both  put  a  goofy  look  on 
their  faces  and  sigh  and  we  all  thought  this 
all  beautiful  and  romantic.  But  those  days 
are  gone  forever  now  that  the  hero  has  to 
put  a  lover's  actions  into  words  that  sound 
like  this:  "I  love  you."  "I'm  mad  about 
you."  "Life  wouldn't  be  worth  living  with- 
out you."  "I  love  you,  love  you,"  etc.,  etc. 
It  sounds  ridiculous.  It's  awful.  We  just 
can't  take  it  seriously.  Everybody  titters 
and  giggles,  and  tee-hees,  and  laughs  at  the 
so-called  hot  love  scenes  and  thinks  it  all 
very  funny.   And  it  is  very,  very  funny. 

The  passionate  love  scenes  not  only 
sound  foolish  in  the  talkies,  but  if  carried 
too  far  make  us  squirm  in  our  seats  with 
embarrassment,  especially  if  we  happen  to 
be  with  a  gent  or  if  children  are  around. 

No,  we  don't  want  the  love  scenes  left 
out  altogether,  but  they  do  need  careful 
watching  so  they  don't  sound  silly.  Pre- 
cautions should  be  taken  with  films  that 
require  romantic  love  scenes.  A  very  little 
of  that  sort  of  stuff  goes  a  long  way  in  the 
talkies.  Booby  J. 


$10.00  LETTER 
Paging  Jack  London's  Stuff 

Charlotte,  N.  C. 
I  want  adventure  stories.  I  like  pictures 
of  freedom,  written  by  the  few  who  are  free 
for  the  many  who  are  not- -stories  of  the 
beings  who  inhabit  those  spaces  commonly 
referred  to  as  wide  open  —  where 
there  are  no  desks,  no  jangling  tele- 
phones, no  trial  balances. 
■  The  men  who  stride  through  the 
pictures  I  like  best  were  never  seen 
on  land  or  sea;  the  women— delight- 
ful, lovely  creatures — always  being 
plucked  out  of  snowdrifts  or  stranded 
upon  desert  islands.  That's  all  right, 
but  I'm  sick  of  reality.  Through 
adventure  stories  I  can  taste  the 
joys,  sorrows  and  thrills  that  might 
have  been  mine  and  I  can  be  weary, 
whose  shoulders  have  never  sagged 
beneath  the  weight  of  heavy  packs; 
whose  arms  have  never  swung  a 
machete  through  tangled  underbrush 


or  balanced  a  canoe.  I  can  climb  a  mountain 
in  the  glory  of  the  morning,  or  ride  a  fleet 
horse  through  a  night  of  black  darkness  and 
beating  rain.  I  can  stand  on  the  prow  of  a 
lurching  boat  and  feel  the  sting  of  salt  spray 
on  my  face.. 

Those  are  the  kinds  of  pictures  we  want 
more  of.  They  make  us  forget  our  heart- 
aches, our  bills  and  our  ills.  Let  up  on  the 
show  world  pictures  a  while  and  give  us 
more  adventure  stories.  M.  Harris 


$5.00  LETTER 
Gone  Are  The  Days 

Jersey  City,  N.  J. 

Going  to  the  movies  nowadays  has  lost 
half  the  appeal  that  it  used  to  have  before 
the  silent  screen  found  its  voice.  No  more 
can  we  go  to  the  movies  after  a  hard  day's 
work,  recline  in  one  of  those  plush  chairs, 
rest  our  jaded  nerves  and  have  the  organ 
lull  us  to  sleep.  No  more  can  we  derive 
pleasure  in  reading  sub-titles  out  loud, 
explaining  what  it  meant  to  one  another, 
and  not  being  told  to  shut  up,  for  practically 
everyone  did  it. 

No  more  can  the  kids  shout,  clap,  stamp 
their  feet,  whistle  and  otherwise  tear  the 
roof  down  when  the  hero  on  his  trusty 
steed  rides  to  the  rescue;  and  cheer  when 
their  strong,  silent  son  of  the  open  spaces 
says,  "Curses  on  you,  Jack  Dalton.  Unhand 
that  fair  Damsel!"  No  more  can  they  hiss 
and  boo  and  otherwise  give  the  Bronx 
raspberry  when  the  villain  twirls  his  waxed 
mustache  and  says,  "Aha  there  my  proud 
beauty,  'tis  I,  Jack  Dalton." 

No  more  can  we  laugh  at  Harold  Lloyd's 
gags  as  long  as  we  want  to  without  fear  of 
missing  his  others.  No  siree!  No  more. 
The  talkies  have  changed  all  that. 

Samuel  Zerinsky 


$1.00  LETTERS 
Grandma  Censures  The  Press 

Alda,  Nebr. 
I  am  a  grandmother  and  a  regular  picture 
fan.  I  enjoy  a  good  picture.  I  have  seen 
very  few  pictures  that  I  would  call  ob- 
jectionable. However,  I  consider  the  ad- 
vertising in  the  press  and  on  the  billboards 
very  misleading  and  sometimes  insulting. 


The  press  plays  up  all  the  immoral  features 
of  a  play  if  there  are  any  filthy  features  and 
invents  immoral  features  when  there  are 
none  as  in  the  picture  "They  Had  to  See 
Paris."  This  picture  was  fine  and  clean  in 
every  respect  and  just  what  we  expect  from 
Will  Rogers  but  the  advertisements  pic- 
tured him  in  a  dirty  scene  that  never  oc- 
curred in  the  picture  at  all.  The  majority 
of  movie  fans  are  attracted  by  other  things 
besides  thrills  and  sex.  What  is  the  matter 
with  the  words — fun — courage — and  humor 
— ?  Douglas  Fairbanks  and  Mary,  Will 
Rogers,  Ronald  Colman,  Ann  Harding  and 
many  others  do  not  play  in  pictures  in  which 
there  are  objectionable  features  and  the 
public  should  not  be  misled.  I  am  for 
better  and  truer  advertising.  Airs.  M.  G. 


How  Times  Have  Changed 

Cleveland,  Ohio 

I  often  think  of  the  days  of  not  very  long 
ago  and  the  way  some  of  us  used  to  sneak 
into  the  movies,  afraid  it  would  be  known 
that  we  had  such  low  tastes. 

Well  do  I  remember  how  shocked  we 
were  at  one  of  our  friends  who  went  to  one 
of  these  places  three  nights  a  week  as 
pianist.  We  all  felt  that  it  was  too  bad  that 
she  should  stoop  to  so  low  a  calling  to  sell 
her  talent  in  that  manner,  after  all  the 
money  that  had  been  spent  on  her  musical 
education.  Compare  those  days  with  today. 
Now  we.  have  some  of  the  best  of  the  oper- 
atic and  theatrical  stage  actors  to  be  seen 
and  heard  in  the  talkies. 

It  gives  me  a  great  thrill  to  remember  that 
I  have  heard  people  like  Lawrence  Tibbett 
at  prices  that  I  could  afford  to  pay  and  in 
seats  that  I  could  see  and  hear  them  with 
all  the  enjoyment  in  the  world. 

We  owe  the  men  who  have  brought  the 
motion  pictures  to  what  they  are  today,  a 
lasting  debt  of  gratitude.  They  have 
worked  untiringly  to  give  us  good  enter- 
tainment and  education,  bringing  to  us 
pictures  and  news  of  places  and  people  we 
never  would  have  seen  or  heard  but  for  the 
camera  and  screen.      Miss  M.  Stevenson 


You  may  have  S.A.,  but  do  you  have  S.E.?  Motion  Picture 
CLASSIC  wants  to  know.  We  want  you  to  join  our  free 
clinic,  ir  the  tests  show  that  you  have  a  superior  kind  of 
S.  E.,  you  stand  in  line  for  one  of  three  first  prizes;  $20  for 
first,  $10  for  second,  $5  for  third  and  $1  for  every  other  letter 
published. 

To  join  the  clinic  all  you  have  to  do  is  to  write  a  letter  of, 
say,  200  to  250  words,  about  some  phase  of  the  movies,  ad- 
vancing an  idea,  an  appreciation,  or  a  criticism,  without 
becoming  ga  ga  or  vituperative.  Sign  your  full  name  and 
address,  and  mail  the  letter  to:  Laurence  Reid.  Editor, Motion 
Picture  CLASSIC,  Paramount  Building,  1501  Broadway. 
New  York  City.  No  letters  can  be  returned,  and  we  reserve 
the  right  to  print  any  or  all  that  we  like. 

Having  done  this  much,  you  will  perhaps  be  conscious, 
without  our  telling  you,  that  you  have  S.  E.  But  if  you  win  a 
prize,  or  your  letter  is  printed,  there  can  be  no  doubt  about 
It;  you  have  Self-Expression. 


An  Appeal  For  Varied  Endings 

San  Antonio,  Tex. 
Monotony  is  awful!  It  is  not  con- 
fined to  any  special  things.  But  this 
discussion  is;  it  is  about  "mono- 
tonous screen  stories" — adaptations 
of  novels  and  other  stories,  every 
part  of  which  we  know  before  the 
picture  begins,  and  the  same  "hap- 
py ending"  stories.  Few  of  them 
seem  to  be  original  and  as  we  see  it 
in  real  life. 

One  does  not  get  nearly  as  much 
from  the  picture  when  the  plot  is 
known,  in  its  entirety,  in  advaiice. 
There  is  nothing  to  look  forward 
to.  Sustained  interest  is  almost 
{Continued  on  page  J05) 


() 


NEW  movie  season  is  almost  here  .  .  . 
Make  sure  it  brings  you  better, 
richer  talking  picture  entertainment! 

Wouldn't  you  like  to  have  a  say  in 
''booking"  attractions  for  your  local 
theatre?  Wouldn't  you  like  to  help 
pick  the  pictures  you're  going  to 
see  in  the  next  twelve  months? 

Wouldn't  you  like  to  make 
sure  of  seeing  your  favorite 
stars,  and  the  biggest  hits 
of  the  coming  season? 

There  IS  a  way  to  do  it 
—  if  you  act  now! 


RIGHT  now  your  theatre  manager  is  selecting  his  attractions 
for  the  coming  year.  He's  trying  to  choose  the  ones 
YOU'LL  like  best. 

You  can  help  him  decide  by  telling  him  YOUR  choice!  He'll  be 
GLAD  to  know  your  preference  so  that  he  can  more  closely 
accommodate  your  tastes. 

To  help  you  in  your  selection,  WARNER  BROS,  and  FIRST 
NATIONAL,  exclusive  Vitaphone  producers,  announce  here  in 
advance  their  amazing  production  programs  for  1930-31. 

Look  over  these  lists  . . .  Notice  the  wealth  of  famous  stars  . . . 
the  brilliant  stories  by  favorite  authors  .  . .  the  wonderful  enter- 
tainment values  these  titles  promise. 

Compare  them  with  any  other  group  of  pictures  announced 

for  the  coming  year  Then  use  the  ballot  on  the  second  page 

following  to  indicate  your  choice. 


{Titles  and  casts  art 
subjtct  to  cbangt  lit  a 
few  instances.) 


WARNER  BROS.  PICTURES  for  1930-1931 


JOHN  BARRYMORE 
in  "MOBY  DICK" 

Fromthe  famous  novel  by  Herman  Melville. 
With  Joan  Bennett. 

JOHN  BARRYMORE 

In  a  second  spectacular  production. 
• 

"VIENNESE  NIGHTS" 

All  in  Technicolor 

Their  first  original  romance. 
By  Sigmund  Romberg  and  Oscar 
Hommersteln  2nd. 

"CAPTAIN  APPLEJACK" 

From  the  long-run  stage  hit.    With  John 
Halliday,  Mary  Brian  and  other  stars. 

"MAYBE  IT'S  LOVE" 

With  the  All- American  Football  Team 

And  Joe  E.  Brown,  Joan  Bennett. 


GEORGE  ARLISS 
in  "OLD  ENGLISH" 

From  the  celebrated  play  by  John 
Galsworthy.  With  a  star  cost. 

"FIFTY  MILLION  FRENCHMEN" 

The  greatest  musical  comedy  in  years  in 
New  York,  filmed  entirely  in  Technicolor, 
• 

"THE  OFFICE  WIFE" 

By  Faith  Baldwin. 

"THE  LIFE  OF  THE  PARTY" 

All  in  Technicolor 

With  Winnie  Lightner,  Irene  Delroy 
and  others. 
• 

"THE  DANUBE  LOVE  SONG" 

All  in  Technicolor 

A  lavish  romance  by  famous  Oscar  Strauss. 


AL  JOLSON  in  "BIG  BOY" 

All  Laughsl 
• 

"SIT  TIGHT" 

With  Winnie  Lightner,  Joe  E.  Brown, 
Irene  Delroy. 

"RED  HOT  SINNERS" 

With  Winnie  Lightner. 

"NANCY  FROM  NAPLES" 

Irene  Delroy,  Charles  King  and  10  other 
stors  in  a  comedy  by  celebrated  Elmer  Rice. 

"CHILDREN  OF  DREAMS" 

Magnificent  romonce  by  Oscar 
Hommerstein  2nd  and  Sigmund  Romberg. 
• 

AND  MANY  OTHERS 

• 

Also"VITAPHONE  VARIETIES" 

The  finest  of  all  "Short  Subjects." 


FIRST  NATIONAL  PICTURES 
for  1930-1931 


STARS  (tVKi 
PICTURES 


^4 


RICHARD  BARTHELMESS 
in  "THE  DAWN  PATROL" 

A  vast  production  and  a  perfect 
Barthelmess  story. 
. 

RICHARD  BARTHELMESS 
in  "ADIOS" 

The  brilliant  star  in  the  kind  of  part  that 
mode  him  famous. 

"THE  GIRL 
OF  THE  GOLDEN  WEST" 

One  of  the  greatest  stage  ploys  of  all  time, 
to  be  filmed  with  Ann   Harding,  James 
Rennie  and  7  other  stars. 
• 

OTIS  SKINNER  in  "KISMET" 

With  Loretta  Young 
One  of  the  stage's  greatest  stors  in  his 
most  famous  hit. 
. 

"THE  TOAST  OF  THE  LEGION" 

All  in  Technicolor 

From  the  glorious  Victor  Herbert  hit, 
"Mile.  Modiste,"  with  a  tremendous  cast. 

"MOTHER'S  CRY" 

From  the  famous  best-selling  novel. 
• 

"TOP  SPEED" 

Joe  E.  Brown  and  Jock  Whiting  in  a  great 
Broadway  success. 

"THE  BAD  MAN" 

Walter  Huston  and  5  other  stars  in  o 
celebrated  stage  comedy. 


MARILYN  MILLER 
in  "SUNNY" 

By  Otto  Harbach  and  Oscar 
Hommerstein  2nd.  Music  by  Jerome  Kern. 

"WOMAN  HUNGRY" 

All  in  Technicolor 

With  Lilo  Lee,  Sidney  Blockmer,  Fred  Kohler 
and  5  other  stars. 

"BRIGHT  LIGHTS" 

All  in  Technicolor 

With  Dorothy  Mockoill,  Frank  Fay  and  8 
more  stars. 

"RIGHT  OF  WAY" 

From  the  famous   novel   by  Sir  Gilbert 
Parker,  with  Conrad  Nogel,  Loretta  Young 
and  others. 

"THE  CALL  OF  THE  EAST" 

First  original   screen    production   by  the 
brilliant  composer  and  author,  Jerome  Kern 
and  Otto  Harbach. 

"CAPTAIN  BLOOD" 

Glorious  sea  adventure  from   the  thrill- 
packed  pages  of  Rafael  Sabatini. 
• 

"THE  HONOR  OF  THE 
FAMILY" 

With  Walter  Huston. 

AND  MANY  OTHERS 


VM03O-I93I 


9 


Cast  your 


Vila  phone  is  the  re/,istered 
trade-mark  of  The  Vita- 
phone  Corporation.  Color 
scenes  by  the  Technicolor 
process. 


WARNER  BROS.  PICTURES,  INC.  M.P.C. 
321  West  44th  St.,  N.  Y.  C. 

I  should  like  to  see  all  of  the  Vltaphone  pictures  which  Warner 
Bros,  and  First  National  plan  to  produce  this  coming  year. 
Please  send  me  a  photograph  of 

(InMert  nam*  qI  any  BUr  mnacluaea  lo  tois  BanouneafneDt.) 

(Signed)  

(Address)  

(City  &  State)  


WAItNERBROS. 


FIRST  NATIONAL 


andVITAPHONE 


STARS  cindPICTU  RES 

M 

1  1 

YOU  have  just  read  on  the  preceding  page  the 
most  ambitious  array  of  super-productions  any 
company  has  ever  dared  to  plan! 

Entertainment  values  that  would  ordinarily  be  spread 
over  tv/o  years  or  more,  v^ill  be  concentrated  by  these 
two  famous  producers  in  o  single  season! 

Many  of  them  will  be  radiant  with  the  resplendent 
tints  of  Technicolor ...  and  ALL  v^ill  have  the  perfect 
tone  of  Vitaphone. 

If  you  enjoyed  "Disraeli",  "Gold  Diggers  of  Broadway", 
and  the  scores  of  other  great  Vitaphone  successes 
released  last  year,  you  v/ill  want  to  be  sure  to  see  the 
stars  and  new  productions  of  the  companies  that  have 
proved  theirpreeminence  by  turning  out  hits  like  these. 

To  help  bring  these  exciting  shows  to  your 
theatre,  use  the  ballot  below  NOW!  Sign 
it  and  mail  it  today  to  Warner  Brothers 
Pictures,  Inc. 

Your  choice  will  be  brought  to  the  attention  of  your 
theatre  manager,  and  you  will  receive  —  FREE  —  a 
beautiful  photograph  of  your  favorite  star. 
Also  write  or  'phone  your  theatre  manager  direct 
to  let  him  know  that  you  wish  to  see  these 
famous  stars  and  important  productions. 


10 


MINUTE 


JUNE  ROSES  did  their  best  for  the  bride  out  at  the  Gibson  ranch 
when  Sally  Eilers  said  "I  do"  to  Hoot  Gibson  on  June  27th. 
There  were  more  than  rambler  roses  to  arouse  "'ohs"  and  "ahs," 
for  weren't  Carmen  Pantages,  Jeanette  Loff,  Marian  Nixon, 
Marie  Prevost  and  Mae  Sunday  the  bridesmaids?  .  .  .  Jocelyn 
Lee  and  Luther  Reed  are  another  couple  who  are  keeping  the 
marriage  license  bureau  busy,  filing  intentions  of  their  wedding  .  .  . 
Soft  summer  breezes  are  doing  things  to  other  movie  celebrities,  too. 
Colleen  Moore  is  going  places  and  seeing  things  with  John  Con- 
sidine,  Jr.,  who  so  recently  was  among  those  present  wherever 
Joan  Bennett  was  seen  .  .  .  Constance  Bennett's  ex-husband, 
•Phil  Plant,  has  been  noticed  round  about  New  York  with  the  lovely 
Claire  Windsor  .  .  .  .'\nd  there  is  also  Gloria  Swanson  being  seen, 
(|uite  often  enough  to  arouse  comment,  with  one  Gene  Markey. 

THAT  ole  debbil  sea  is  calling  again. 
Billie  Dove  is  feeling  that  traveling 
urge  and  has  packed  se\-eral  trunks  for  a 
, .summer's  tour  of  Europe,  along  with 
Lillian  Akers,  who  was  with  her  in  the 
old  days  of  the  "Follies"  .  .  .  Doug 
Fairbanks  felt  the  pressing  call  of  big 
business  and  hurried  back  home,  cut- 
ting his  European  tour  short  .  .  .  Lily 
Damita  is  already  in  that  dear  Paris 
.  Corinne  Griffith  is  busy  getting 
settled  in  the  French  chateau  .  .  .  Joe 
Schenck  has  left  the  West  coast  for  a 
bit  of  summer  in  the  East  .  .  .  And  among 
those  who  have  crossed  the  desert  for  a 
peek  at  the  Pacific  is  Ricardo  Cortez. 
He  started  work  on  "Her  Man,"  as 
well  .  .  .  Claire  Luce,  just  back  from  old 
England,  will  go  west,  for  Fox  .  .  .  And 
just  to  be  different,  it  looks  as  though 
A!  and  Ruby  Jolson  will  have  to  giv  e  up 
a  summer's  vacation  abroad.  It  does 
seem  as  though  Ruby's  voice  test  "took" 
for  the  Irving  Berlin  picture. 

THE  Irving  Berlins,  by  the  by,  are 
nicely  settled  for  the  summer  at 
Great  Neck,  Long  Island  .  .  .  And 
Walter  Wanger,  too,  is  having  his 
home  there  put  in  order  for  a  part  of 
the  season. 

J ETTA  GOUDAL  is  recuperating  from 
a  nervous  breakdown  at  a  Los  An- 
geles sanitarium.  What  price  tempera- 
ment? .  .  .  "Why  Marry"  will  have  to 
continue  along  without  Glenn  Hunter, 
who  is  out  of  the  cast  because  of  illness. 

Jack  Oakie,  too,  is  on  the  sick  list 
and  can  work  but  four  hours  a  day  .  .  . 
Lew  Cody,  on  the  other  hand  never 
looked  better  and  is  all  ready  for  new 
rSles,  following  "Beyond  Victory." 

BILL  HART'S  ambitions  to  return 
to  the  screen  are  so  great  that  he 
is  preparing  to  finance  his  own  pictures, 
just  as  soon  as  he  is  fully  recovered  from 
his  operation  .  .  .  Owen  Moore  has  had 
another  smile  from  Dame  Fortune.  .After 
supporting  Ciloria  Swanson  in  "What 
A  Widow,"  he  plays  opposite  Mary 
Nolan  in  "Outside  the  Law."  .  .  .  Ina 
Claire  may  soon  be  East  again,  working 

in  "The  Royal   Family"   for   Paramount  .  .  .  Lois  Moran  is 

tightly  clutching  the  old  rabbit's  foot.  Hasn't  she  just  renewed 
the  Fox  contract  at  an  increase  in  salary? 


auctioned  ofT  at  the  Mayfair  party  in  Hollywood.  He,  in  turn, 
presented  Mary  Pickford  with  a  $1,000  check  for  the  Motion 
Picture  Relief  Fund  to  sort  of  even  things  up. 

NANCY  CARROLL  had  real  thrills  as  well  as  a  narrow  escape 
when  the  yacht  she  was  aboard  off  Boston  all  but  foundered 
in  a  stifT  gale.  Finally,  when  they  just  about  gave  up  hope,  the  en- 
tire party  was  rescued  by  the  good  old  fishing  schooner,  Jackson 
Arthur — and  thereby  hangs  a  tale  .  .  .  Marian  Nixon,  too,  was  in 
a  real-life  thriller  when  she  was  robbed  on  the  Santa  Fe's  "Chief," 
bringing  her  East  to  make,  strangely  enough,  "The  Romance  of 
the  Rails"!  .  .  .  And,  in  search  of  thrills  of  a  new  nature.  Warden 
Lawes  of  Sing  Sing  set  foot  for  Hollywood  to  establish  his  little 
eight-year-old  daughter,  Joan  Marie,  on  a  movie  career. 

SALLY  O'NEIL  and  Molly  O'Day 
will  have  to  trv-  their  luck  in  Holly- 
wood, back  to  the  films  where  they 
started,  as  their  vaudeville  career  is  over 
.  .  .  Nancy  Carroll's  little  sister,  Terry, 
has  gone  to  Hollywood  to  see  if  she  can 
follow  in  sister's  footsteps  .  .  .  Buddy 
Rogers,  too,  has  an  ambitious  brother  in 
Paramount  pictures  ...  .As  for  Lillian 
Roth,  well,  she  too,  has  a  sister  Ann, 
who  would  a-talkie  go. 

MARILYN  MILLER  is  all  ready  to 
make  "Sunny"  instead  of  the 
original  Herbert  Fields  story  .  .  .  Betty 
Compton  is  receiving  true  open-house 
hospitality  out  West  where  she  went  to 
make  her  first  picture.  .  .  AdolpheMen- 
jou,  it  appears,  will  have  to  make  films 
in  Paris  and  that  means  just  one  more 
trip  across  the  ocean  .  .  .  Cyril  Maude, 
finished  with  "Grumpy,"  sailed  home 
to  England  for  a  short  vacation  .  .  .  Will 
Rogers  is  all  through  his  sight-seeing  in 
pictures  and  will  settle  down  to  do 
"Lightnin'  "  for  a  change. 


ANN  HARDING  is  a  busy  lady, 
.  ma 


Dyar 

What's  in  a  name?  Buddy  Rogers'  younger 
brother  (right)  hasn't  had  any  for  twenty  years, 
being  called  simply  "Bh."  Now  he's  in  the 
movies.  Buddy  and  he  get  together  for  a  good 
laugh 


Sneil 


OLLYWOOD  is  breaking  into  art  circles  in  a  big  way.  At  the 
Claridge  Gallery  in  London  there  are  exhibited  Olive 
Snell's  portrait  drawings  of  Marion  Davies,  Joan  Crawford, 
Greta  Garbo,  Corinne  Griffith,  Gloria  Swanson,  and  other  screen 
stars  .  .  .  That  old  lady  Rumor  has  it  that  Aileen  Pringle  has 
joined  the  literati  and  will  do  a  column  of  film  chatter  .  .  .  Edwin 
Carewe  had  a  bit  of  luck  come  his  way  when  he  won  the  Cord  car 


busy 

 laking  the  film  version  of  "Jane 

Eyre"  which  is  being  called  "Take  This 
Woman" — and  there's  a  title,  friends  .  .  . 
Not  lagging  far  behind  for  an  eye-bright- 
ener  is  Elinor  Glyn's  "Just  an  Hour 
of  Love"  .  .  .  And  of  course  there  is 
Warner's  "Ex-Mistress"  to  think  of. 

POLLY  MOR.\N  and  William 
Haines  are  together  again — in  pic- 
tures. This  time  they  will  appear  in  the 
radio  picture,  "Remote  Control"  .  .  . 
Elsie  Ferguson  is  getting  ready  to  re- 
turn to  pictures  in  "Scarlet  Pages." 
.  .  .  Richard  Barthelmess  has  been 
busy  entertaining  his  mother  at  his 
home  out  West  .  .  .  Lois  Moran  and 
Victor  Fleming  both  like  to  eat  at  the 
Brown  Derby,  in  Hollywood,  and  go 
there  quite  often,  together  .  .  .  Harold 
Lloyd  lost  several  of  his  dogs,  which  were 
poisoned  at  the  dog  show  .  .  .  Otis  Skin- 
ner will  at  last  try  a  talkie — in  "Kis- 
met," which  he  appeared  in  for  so  many 
years  on  the  stage. 

AN  all-time  Hollywood  record  has  been  established  by  Charlie 
±\  Chaplin  in  making  "City  Lights."  He  is  star,  director, 
author,  scenarist,  title  writer,  cutting  editor.  Single-handedly,  with 
a  vengeance,  is  he  fighting  the  talkies  .  .  .  Bebe  Daniels  and  Ben 
Lyon  also  are  credited  with  a  Hollywood  record — their  marriage 
being  one  of  the  first,  if  not  the  first,  among  the  elite  of  Hollywood 
consummated  by  a  spinster  and  a  bachelor  .  .  .  Betty  Compson 
has  her  divorce  from  James  Cruze,  on  mental  cruelty  grounds.  Jim 
has  too  many  friends,  and  he  insisted  on' entertaining  all  of  them 
ever>'  Sunday  .  .  .  The  unemployment  among  movie  extras  is  some- 
thing scandalous. 


11 


Explosives,  High  and  Low       By  cedric  belfrage 


IT  seems  like  years  since  we  first  heard  that  Dolores 
Costello,  otherwise  Mrs.  J.  Barrymore,  was  going  to 
present  her  husband  with  a  descendant.    But  the 
event  happened  at  last,  and  Dolores  Ethel  Barry- 
more  is  with  us — a  7-lb.  ii-oz.  infant. 

John,  in  his  inimitable  way,  remarked  as  he  heard  the 
happy  news:  "I'm  the  happiest  man  in  the  world!" 

The  event, 
happening 
when  It  did, 
was  certamly 
a  curious  co- 
incidence, or 
quirk  of 
Fate,  or 
something. 
For  it  was 
Dolores 
Costello, 
of  course, 
who  married 
Barrymore 
on  the  screen 

in  the  silent  version  of  "Moby  Dick";  and  it  was  just 
as  John  was  courting  Joan  Bennett,  his  heroine  in  the 
new  talkie  version,  that  little  Dolores  came  on  the 
scene. 

Fate,  to  my  mind,  is  just  w^onderful. 

Hollywood  Hilarity 

T7N  passant,  have  you  heard  about  the  actor  who  reli- 
Ij  giously  collects  tinfoil  olF  champagne  bottles  to  send 

to  the  local  orphanage.? 

He  just  wouldn't  be  happy,  he  tells  his  friends,  unless  he 

was  doing  something  to  help  those  less  fortunate  than 

himself. 

Then,  too,  there  is  that  whimsical  little  anecdote  about 
Eddie  Cantor,  who  is  in  Hollywood  to  play  the  lead  in 
"Whoopee."  He  had  half  an  hour  with  nothing  to  do  and 
asked  an  assistant  director  what  was  doing  on  the  sets. 

"Oh,  nothing  much,"  was  the  reply  of  the  bored  assist- 
ant.   "They're  only  shooting 'Lincoln' on  Stage  Five." 

"What,  again.?"  cracked  the  ir- 
repressible Eddie. 

Oh,   yes,   of  course,  everyone 
roared. 

Luther's  a  Card 

BUT  the  most  hilarious  Holly- 
wood story  of  the  month, 
without  a  doubt,  is  this  one  from 
RKO. 

Luther  Reed,  the  director,  was 
rehearsing  a  Negro  scene  for  "Dixi- 
ana,"  it  seems.  Several  things  went 
wrong  and  he  began  to  lose  his 
temper.  After  listening  to  the  re- 
hearsal of  a  chorus  by  forty-one 
Ethiopians,  he  looked  as  if  he  was  going  to  say  things  he 
might  later  regret.    Hut  what  do  you  suppose  he  did.? 


With  consummate  aplomb,  he  folded  his  arms  over  hij 
chest  and  said:  "The  situation  is  getting  darker  an( 
darker  each  minute."  You  can  imagine  how  everyon^ 
roared. 

It's  little  sallies  like  this  that  make  the  studio  pec 
pie  one  big,  happy  family,  as  Jack  Benny  observed  i| 
"The  Hollywood  Revue,"  with  a  throat-slicing  gesture 

Apologia 

AL  L  m  y 
l\  digs  in 
the  matter  of 
Lotti  Loder's 
importation 
from  far 
Budapest 
seem  to  have 
been  quite 
uncalled-for. 

Lotti  IS  to 
play  the  lead- 
ing part  in  a 
picture  called 

"Come  Easy,"  thereby  coming  into  her  Hollywood  own- 
So  far  as  I  know,  this  is  the  first  time  in  history  that  one 
of  these  completely  unknown  and  inexperienced  "importa- 
tions" has  been  given  something  worth  while  to  do  except 
pose  for  a  few  publicity  pictures. 

I  grovel  in  abject  humiliation  at  the  feet  of  the  brother 
Warner,  whom  God  prosper! 

The  Host  Has  Tea 

SAM  GOLDWYN  threw  another  of  his  de  luxe  receptions 
in  honor  of  Florenz  Ziegfeld,  and  everyone  who  writes 
anything  was  there,  to  help  demolish  a  sumptuous  array  of 
provender.  Sam  is  the  starving  man's  friend;  and  he  does 
not  entirely  omit  to  provide  for  the  thirsting  man.  The 
net  result  is  that  all  we  pen-wigglers  vie  with  one  another 
to  find  soothing  epithets,  for  application  to  Sam,  and 
everything  that  is  his. 

Flo  Ziegfeld  looked  benignly  on  the  scene;  and  Sam,  who 
is  always  doing  something  unusual,  drank  a  cup  of  tea,  al- 
though it  was  a  tea-party.    This  is 
a  record. 

Thought  for  the  Month 


THE  American  public  is  defi- 
i'    '        '  ' 


  nitely  trade-mark  conscious,  " 

the  Metro-Goldwyn  chappies  have 
concluded  on  the  return  of  Leo, 
their  pet  lion,  from  his  tour  of  the 
country. 

Leo  drew  a  crowd  second  only  to 
that  which  turned  out  for  Cal 
Coolidge.  The  Mayor  of  Los  An- 
geles made  a  welcoming  speech  for 
the  benefit,  as  the  studio  press  gan<i 
put  it,  of  "the  street  crowd  and 
those  craning  from  skyscrapers."  There  were  loud  cheers. 
{Continued  on  page  86) 


12 


A  Hundred  Million  Eager  Hearts 
Await  Tlieir  Coming  To  The  Screen  I 


13 


LION 


ANNOUNCES    THE    CREATES  itRI 


Metro- Goldwyn-Mayer  will  again  demonstrate  that  it  is  the  greatest 
producing  organization  in  the  industry.  The  company  that  has  "more 
stars  than  there  are  in  heaven" — the  greatest  directors  —  the  most 
famous  composers — the  most  marvelous  creative  and  technical  resources 
—  pledges  itself  to  continue  producing  pictures  as  wonderful  as  THE 
BIG  PARADE,  BEN  HUR,  THE  BROADWAY  MELODY,  MADAME  X, 
HOLLYWOOD  REVUE,  OUR  DANCING  DAUGHTERS,  THE  ^ 
ROGUE  SONG,  ANNA  CHRISTIE,  THE  DIVORCEE— to  mention 
only  a  few  of  the  great  M-G-M  pictures  that  have  taken  their 
place  in  Filmdom's  Hall  of  Fame.  No  wonder  Leo  roars  his  approval  as  h( 
looks  forward  to  the  greatest  year  Metro-Goldwyn-Mayer  has  ever  had 


METRO-GOLD 

More  Stars  Than 


14 


4 


VIETRO-GOLDWYN-MAYER 


>RODUCTION   SCHEDULE  IN   ITS  HISTORY 


las  * 


19  3  0 


19  3  1 


FEATURED 
PLAYERS 

Wallace  Beery 
Charles  Bickford 
Edwina  Booth 
John  Mack  Brown 
Lenore  Bushman 
Harry  Carey 
Karl  Done 
Mary  Doran 
ClifF  Edwards 
Julia  Faye 
Gavin  Gordon 
Lawrence  Gray 
Raymond  Hackett 
Hedda  Hopper 
Lottice  Howell 
Leila  Hyams 
Kay  Johnson 
Dorothy  Jordan 
Charles  King 
Arnold  Korff 
Harriett  Lake 
Mary  Lawlor 
Gwen  Lee 
Barbara  Leonard 
Andre  Luguet 
George  F.  Marion 
Dorothy  McNuIfy 
John  Miljon 

Robert  Montgomery 
Catherine  Moylon 
Conrad  Nogel 

Edward  Nugent 

Elliott  Nugent 

J.  C.  Nugent 

Catherine  Dale  Owen 

Anita  Page 

Lucille  Powers 

Basil  Rath'bone 

Duncan  Renoldo 

Gilbert  Roland 

Benny  Rubin 

Dorothy  Sebastian 

Gus  Shy 

Lewis  Stone 

Raquel  Torres 

Ernest  Torrence 

Roland  Young 

DIRECTORS 

Lionel 
Barrymore 
Harry  Beaumont 
Charles  Brabin 
Clarence  Brown 
Jack  Conway 
Cecil  B.  DeMille 


A  few  of  the  big  pictures  to  come 


Ramon  NOVARRO 

The  Singer  of  Seville 

Greta  GARBO 

"Red  Dust" 

Marion  DAVIES 

"Rosalie" 

Joan  CRAWFORD 

"Great  Day" 

Lon  CHANEY 

"The  Bugle  Sounds" 

John  GILBERT 

"Way  for  a  Sailor" 

Lawrence  TIBBETT 

"The  New  Mooiy" 

William  HAINES 

"Remofe  Control" 

"Good  News" 
"Trader  Horn" 


"Madame  Satan" 

f Directed  by 
Cecil  B.  DeMille) 

"Billy  the  Kid" 

(Directed  by  King  Vidor) 

"The  March  of 
Time" 

(With  'more  stars  than 
there  are  in  heaven  ' ) 

"Jenny  Lind" 

with 

Grace  Moore 
"Th«  World's  Illusion" 
"Tho  Groat  Moadow" 
"Naughty  Marietta" 
"Dance,  Fool,  Dance" 

"War  Nurse" 

"The  Merry  Widow" 

Whot  Music! 


and  many,  many  more  eutstsnding  productions. 


William  DeMille 
Jacques  Feyder 
Sidney  Franklin 
Nick  Grinde 
George  Hill 
Sammy  Lee 
Robert  Z.  Leonard 
Edgar  J.  McGregor 
Fred  NIblo 
Horry  Pollard 
Charles  Riesner 
Arthur  Robinson 
Wesley  Ruggles 
Mol  St.  Clair 
Victor  Seostrom 
Edward  Sedgwick 
W.  S.  VanDyke 
King  Vidor 
Sam  Wood 


SONG  WRITERS 

Martin  Broones 
Dorothy  Fields 
Arthur  Freed 
Clifford  Grey 
Howard  Johnson 
Jimmy  McHugh 
Joseph  Meyers 
Reggie  Montgomery 
Herbert  Stothort 
Oscar  Straus 
George  Ward 
Horry  Woods 

WRITERS 

Stuart  Anthony 
Beatrice  Bonyard 
Alfred  Block 


Ai  Beasberg 
A.  Paul  Moirker 

Branden 

Neil  Brandt 
Frank  Butler 
John  Colton 
Mitzie  Cummingt 
Ruth  Cummings 
Edilh  Ellis 
Joseph  Fornham 
Edith  Fitzgerald 
Martin  Flavin 
Becky  Gardiner 
Willis  Goldbeck 
Robert  Hopkins 
Cyril  Hume 
William  Hurlburt 
John  B.  Hymer 
Marion  Jackson 
Laurence  E.  Jackson 
Eorle  C.  Kenton 
Hons  Kroly 
John  Lowson 
Philip  J.  leddy 
Charles  MocArthur 
Williord  Mock 
Frances  Marion 
Gene  Markey 
Sarah  Y.  Mason 
Edwin  j.  Mayer 
John  Meehon 
Bess  Meredyth 
James  Montgomery 
Jack  Neville 
Lucille  Newmork 
Fred  Niblo,  Jr. 
J.  C.  Nugent 
George  O'Hora 
Samuel  Ornitz 
Arthur  Richmon 
W.  L.  River 
Madeleine  Ruthven 
Don  Ryan 
Horry  Souber 
Richard  E.  Schoyer 
Zeldo  Sears 
Samuel  Shipmon 
Lawrence  Stollings 
Sylvia  Tholberg 
Wanda  Tuchock 
Jim  Tully 
Dale  Von  Every 
Claudine  West 
Crane  Wilbur 
P.  G.  Wodehouse 
Miguel  de  Zorrobo 


15 


My  Ne/gbb 


in  Yio 


ors 

d  K.C.B. 


00 


IF  I  didn't  tell  you. 

YOU  WOULDN'T  know  it. 

AND  I  want  you  to  know  it. 

AND  WHAT  it  is."  * 

•  •  • 

I  WANT  you  to  know. 

•  •  • 

IS  THAT  when  you're  a  neighbor. 
IN  HOLLYWOOD.  ' 

YOU'RE  REALLY  a  neighbor. 

•  •  • 

AND  TIMES  may  come. 

AND  YOU'LL  go'away. 

NO  MATTER  where. 

NO  MATTER  for  what. 

AND  YOU'LL  come  back  home. 

•  •  • 

AND  JUST  for  instance. 
THERE'S  BERTLytell. 
AND  HE'D  been  gone. 
FOR  A  couple  of  years. 

AND  THEN  word'came. 

•  •  • 

HE  WAS  coming  home. 

TO  PLAY  in  a  piece! 

FOR  JERRY  Duffy.  * 

AND  THEY  let  'Bert's  neighbors. 

•  •  • 

HAVE  THE  choice  of  seats. 

AND  LO  and  behold.' 

•  •  • 

IF  IT  didn't  turn  out. 

THERE  WAS  nobody  there. 

•  •  • 

ON  THE  opening  night. 
BUT  JUST  Bert's  neighbors. 
A  THEATER  crow'ded. 
WITH  BERT'S  old' friends. 
ALL  COME  to  say.  " 
HOW  GLAD  they'w'ere. 
HE  WAS  home  again. 
AND  THAT  is  the'sjjirit. . 
OF  HOLLYWOOD." 
AND  OFTENTIMES. 
IT'S  AN  elfish  thing". 
AND  playing"  p'ranks. 
AND  THEN  again.  " 
IT  JUST  runs  'round. 
AND  ENJOYS  itse'lf! 

16 


AND  THEN  sometimes. 
YOU'LL  FIND  It 'sitting. 
IN  SYMPATHY.  '  ' 
WHERE  THERE  is  grief. 
BUT  ANYWAY*  ' 
IT'S  ALWAYS  there. 
THIS  NEIGHBORLY  spirit. 
OF  HOLLYW'OOD. 
AND  ONE  of 'the  "joys. 
OF  KNOWING  k.' 
IS  THAT  always*  * 
IT'S  SO  very  glad. 
WHEN  SOME  o*ld"  timer. 
COMES  TROUPING  back. 
WHETHER  IT  i*s. " 
THAT  HE'S  been  gone. 
FROM  OUT  i"ts*m"idst. 
OR  BEEN  forgotten. 
FOR  A  little  while. 
BUT  ANYWAY*  " 
THAT'S  ENOUGH  of  that. 
AND  SOMEBODY  tells  me. 
MY  FRIEND 'Uon'Chaney. 

•     •  • 

HAS  BEEN  to  a  surgeon. 
AND  HAD  hims*el"f  cut. 
A  PIECE  of  thro'at". 
AND  IT  won't  surprise  me. 
IF  WHEN  he  is  through. 
WE'LL  FIND 'that  Lon. 
HAS  EQUIPPED  himself. 
THE  SAME  for  *so'und. 
AS  FOR  silent  pictures. 
AND  IF  somebody  wants. 
A  CALLIOPE.' 
OR  A  mocking-bird. 
OR  BAYING  'ho*unds. 
OR  WHATEVER  it  is. 
WHY,  THERE'LL  be  Lon. 
RIGHT  ON  th'e'lo't. 
AND  WHY  go  farther? 
AND  BILL  Hart*  too. 


HE'S  BEEN  to  the  doctor. 

AND  HIS  two  old  tonsils. 

HAVE  BEEN  "ta*ke'n  out. 

THE  SAME  oid*to*nsils. 

HE'S  BEEN  dragging  around. 

OVER  THE  prafries. 

AND  SAGE-brush" hills. 

FOR  YEARS  an'd  years. 

AND  IT  looks  to  me. 

LIKE  THESE  'old  timers. 

HAVE  FIGURED 'it  out. 

THAT  LIFTING  t'heir  voices. 

IS  GOING  to  "he'p. 

AND  INCIDE'nTALLY. 

I'M  HERE  to  tell  "you. 

THE  HOLLYWOOD  doctors. 

WHO  KNOW'thei'r  throats. 
•  •  • 

ARE  DOING  more  business. 
PUTTING  THExM'back. 
WHERE  THEY*us'ed  to  be. 
FOR  ONCE  in"  a* while. 
A  SHOT  of  raw  hootch. 
PLAYED  HOB  wi"th  them. 
THAN  THEY'ever  did. 
WITH  THE  fa'll'ng  faces. 
IN  THE  silent  days. 
THE  GOOD  o'ld'd'ays. 
WHEN  IT  did'n't  matter. 
IF  YOU  had  a*  throat. 
OR  A  solid  neck. 
BUT  THAT'S  "no  matter. 
AND  AT  this  writing. 
WE  ARE  all  o'f  us'well. 
IN  HOLLYWOOD. 
LIVING  IN  p^ace.' 
EACH  WITH  'the  other. 
AND  JUST  to  "prove  it. 
THERE'S  JIM'fuHy. 
PLAYING  A  part.' 
WITH  JACK  Gilbert. 
I  THANK  you'. 


I 


They  gave  a  nsiv\\\  ri 


THAT'S  WHY  THEY  COT  THERE. ...SO  QUICKLY 


"Please,  Mister,  c'n  I  fly  it  ?  " 

At  the  crack  of  dawn,  while  her 
family  still  slept,  this  15-year-old 
kid  took  forbidden  flying  lessons. 

Boys"  used  to  call  her  "the 
headless  pilot."  She  couldn't  even 
see  over  the  edge  of  the  cockpit. 


BETTER  TOBACCOS 


ELINOR  SMITH 

Eighteen  years  old  .  .  .  and  she's  risen 
higher  than  any  other  woman  in  all 
world  history.  "Bom  with  wings, "  say 
hard-boiledpilots.  "The  kid's  a'natural' 
when  you  put  her  in  a  plane. " 

But  there's  another  young  ace  with 
that  same  story. 

OLD  GOLD  hopped  off  just  three  years 
ago.  In  less  than  three  months  it 
zoomed  into  favor.  In  one  short  year 
it  had  climbed  to  the  ceiling.  Today, 
it  holds  the  coast-to-coast  record  .  .  . 
as  America's  fastest  growing  cigarette. 

For,  OLD  GOLD,  too,  is  a  natural  flyer. 
Made  of  better  tobaccos.  Endowed  by 
nature  with  a  new  taste-thrill.  Free 
from  irritants.  More  smoke  pleasure. 
Greater  throat-ease. 


OLD  GOLD,  too,  was  "born  with  wings. 


On  OCTOBER  24,  1926,  the  first  carload  of 
OLD  GOLDS  reached  the  Pacific  coast 
.  .  .  endless  trainloads  have  been  going 
westward  ho  ever  since  .  .  .  with  nary  a 
coudi  in  a  carload. 


NOT     A     COUGH     IN     A  CARLOAD 


»  9 


17 


TTiin  twcli-e-iji  :u  -old  ijirl  \cill  suffer  nrouoh  life 
because  both  her  lower  six-vcar  molars  were  lost.  Her 
teeth  came  in  crooked  and  her  lower  jaw  failed  to 
dreelop.  She  will  always  have  a  "weak  chin."  This 
could  have  so  easily  been  prevented  by  proper  care 
of  the  teeth. 


DON'T  LET  NEGLECT  OF  JUST  ONE  TOOTH 
MAR  YOUR  CHILD'S  APPEARANCE 


Did  you  know  that  around  six  years  of  age  a  child  cuts  the  one  most 
Important  tooth  of  his  life — which  directly  affects  the  shape  of  his  face? 


The  chances  are  your  parents  didn't  know  the  true 
importance  of  the  six-year  molar.  And  maybe,  by  good 
fortune,  your  appearance  didn't  suffer  as  a  result. 
But  take  no  such  chances  with  your  child. 

Actually,  there  are  four  of  the  six-year  molars.  Two 
in  the  upper  jaw  and  two  in  the  lower.  Nature  sends 
them  in  advance  of  the  rest  of  the  permanent  teeth — to 
hold  the  jaws  in  proper  re- 
lationship and  to  guide  the 
even  placing  of  the  perma- 
nent teeth. 

So,  if  any  of  the  six-year 
molars  are  lost,  your  child's 
permanent  teeth  may  come  in 
crooked,  his  jaws  develop  im- 
properly and  the  appearance 
of  the  whole  lower  half  of  his 
face  may  suffer.  The  so- 
called  "jimmy  jaw"  or  pro- 
truding jaw  is  an  example. 

All  too  often  the  six-year 
molar  is  lost  because  it  is 
thought  to  be  one  of  the  "de- 
caying baby  teeth" — and  the 
child's  face  is  affected.  Is 
not  that  too  great  a  price  to 
pay  for  neglect  of  baby  teeth  ? 
Indeed  tlicir  condition  di- 
rectly affects  the  develop- 
ment and  health  of  all  the 
permanent  teeth. 


UPPER 


I  LOWER^ 


How  to  locate  the 
six-year  molars 

There  are  ten  lower 
baby  teeth  and  ten 
upper.  The  six-year 
molarg  erupt  just 
back  of  the  baby 
teeth,  one  on  each 
side  of  the  jaws; 
they  are  shown  by 
the  dotted  lines  in 
the  chart  above. 
Count  hack  from  the 
middle  of  the  child's 
teeth  and  if  there  is 
a  si.fth  tooth,  it  will 
be  the  six-year  molar. 


Squibb's  Dental  Cream  is  a  wonderful  dentifrice  for 
children.  It  is  mild  and  safe  and  its  formula  definitely 
recognizes  the  cause  of  decay  and  the  best  ways  to 
combat  it.  Squibb's  Dental  Cream  is  made  with  50% 
Squibb's  Milk  of  Magnesia  —  plenty  of  this  safe, 
effective  antacid  to  penetrate  the  crevices  and  fissures 
of  the  teeth  and  render  harmless  the  destructive  acids 
given  off  by  germs  which  cause  tooth  decay.  It  pene- 
trates where  the  tooth-brush  fails  to  reach  —  where 
ordinary  dentifrices  are  ineffectual. 

In  addition,  Squibb's  soothes  irritation  and  so  helps 
the  gum  tissues  keep  sound  and  firm.  It  safeguards 
The  Danger  Line,  the  vital  gum  edge.  You'll  find  it 
greatly  lessens  the  pain  of  shedding  the  baby  teeth. 
See  that  your  child  uses  Squibb's  twice  each  day.  And 
you  can  be  sure  that  this  dentifrice  so  good  for  chil- 
dren is  also  safe  and  effective  for  you  —  for  all  your 
family.  E.  R.  Squibb  &  Sons,  New  York 


CopyiiKht  10  30  by 
E.  R.  Squibb  &  Suns 


18 


JEANETTE  MacDONALD 


Against  such  a  fan  background  as  she  now  has,  how  could  Jeanette  Mac- 
Donald  help  looking  up — up  to  where  the  stars  are?    Luck  being  with 
her,  she  now  is  playing  for  high  stakes  in  "Monte  Carlo" 


ll  2 


a  g  a  %  1  n  e        ^fiy  i  f 


e  r  s  o  n  a 


I; 


MOT  DON     P  D  CT  OJ  [RE 

CLASSIC 


Talks 


By  GEORGE  KENT  SHULER,  Publisher 


THE  greatest  movie  hoax,  and  the  crassest, 
is  "Ingagi,"  the  "sensational  African  scientific 
thriller,"  strenuously  advertised  as  a  true  pictorial 
record  of  jungle  life.   It  is  as  honest  as  Ananias,  as 
scientific  as  Mr.  Voliva.    It  is  as  sensational  as  a 
\endor  of  prurient  post-cards.    Its  Peeping  Tom 
rhrill  is  the  sacrifice  of  white  virgins  to  "ingagis" 
gorillas) — known   to   science    as    timid  animals. 
California  pepper  trees  are  to  be  seen  in  this  dime- 
hriller  Africa,  as  are  also  armadillos  (found  only  in 
South  America)  and  orang-utans  (found  only  in  the 
Dutch  East  Indies).  "Pigmies"  photographed  are  in 
eality  Los  Angeles  pickaninnies.    "Ingagi"  himself 
IS  confessedly  George  Camora,  well-known  Holly- 
wood "gorilla"  actor.   But  Barnum  must  have  been 
right.  The  public  has  been  eating  up  the  balderdash. 


THEY  call  him  "The  Perfect  Fool,"  and  yet  he 
won't  go  to  Hollywood.  And  that,  chortle  the 
favored  kids — both  young  and  old — of  New  York  and 
vicinity,  is  funny.  Everything  Ed  Wynn  does  is 
funny.  But  this  is  ridiculous.  He  doesn't  realize  how 
badly  we  movie-goers  need  him— need  his  simple- 
simon-pure  rionsense,  his  hilarity-provoking  lisp,  his 
goggle-eyed  mad  wagging.  We  want  Ed  Wynn.  If 
we  can't  have  him  in  feature-length  comedies,  we 
want  him  in  shorts.  As  a  short,  his  picnic  lunch  and 
love  for  the  woodth  in  "Simple  Simon"  would  split 
the  laugh-organs  of  the  nation.  We  want  some  good, 
clean  fun. 


THE  movies  have  grown  up,  but  children  still 
remain  children.  And  they  don't  have  the  simple 
fun  in  the  caves  of  darkness  that  they  used  to  have. 
But  better  times  are  coming.  Tom  Sawyer  and 
Huckleberry  Finn  are  coming  to  life  again.  Penrod 
is  to  be  thirteen  once  more.  Even  Skippy  is  to  have 
his  screen  dav- 


I ABELS  for  stars  are  seldom  forttmate.  They 
^  may  pay  for  a  time,  but  there  invariably  comes 
a  time  when  they  are  things  to  be  lived  down.  One 
of  the  most  sorely  afflicted  in  this  respect  is  Clara 
Bow.  She  had  the  misfortune  to  come  under  the 
burdensome  wing  of  Madame  Glyn  and  to  be  tagged 
"The  IT  Girl."  She  has  been  living  an  artificial, 
frustrated  screen  life  ever  since  One  of  Hollywood's 
most  vital  personalities,  with  considerably  more  to 
recommend  her  than  La  Glyn  perceived,  she  could 
do  some  real  acting,  given  half  a  chance. 


IN  no  place  in  the  world  is  it  so  difficult  to  escape 
being  a  definite  type  as  in  Hollywood.  A  "heavy" 
once,  a  "heavy"  always.  A  siren  to-day,  a  lady  of 
leisure  to-morrow.  A  flapper  once,  a  flapper  forever. 
The  exceptions  are  rare.  There  are  few  William 
Powells,  Lilyan  Tashmans,  Nancy  Carrolls. 


THERE  is  a  picture  being  produced  in  the  UFA 
studios  in  Germany  with  the  intriguing  title, 
"The  Shot  in  the  Sound  Studio."  Perhaps  one  of 
those  press-agented  studio  feuds  really  developed 
into  something.   Or  perhaps  a  fan  finally  Saw  Red. 


THE  title  of  the  stage  play  "See  Naples  and  Die  " 
has  changed  in  its  cinema  manifestation  to 
"Nancy  From  Naples."  The  film  boys  (and  this  is 
the  panic)  were  afraid  "See  Naples  and  Die"  would 
lure  wisecracks. 


FOUR  years  have  drifted  by  since  Rudolph  Valen- 
tino crossed  The  Great  Divide.  Literally  millions 
still  mourn  him,  still  bow  at  his  altar.  Four  years  is 
a  long  time— an  era,  an  eon — in  movieland.  But  no 
one  has  come  to  take  his  place. 


23 


WHO'LL  OWM 


Wall  Street  And  Thetp 
Playing  The  Old  Game  Oflj 

By  HENRY 


Left, Chase 
National 
Bank,  New 
York,  larg- 
est Amer- 
ican bank, 
new  part- 
owner  of 
the  movies 


You  read  of  the  -weekly  fortunes  paid  the  film 
famous.  You  read  of  the  fortunes  they  spend.  You 
read  of  the  cost  of  color-films  and  talkies,  as  compared 
with  the  old  grey,  silent  films.  You  wonder  where  the 
money  comes  from.  The  Dear  Old  Public  does  not 
come  across  with  millions  at  a  time.  This  article  sup- 
plies the  answer,  and  the  answei*  packs  a  wallop.— 
Editor's  Note. 

THERE  is  a  big  change  coming  over  the  motion  pic- 
ture business.  To  the  impartial  observer,  there  are 
all  the  earmarks  of  a  racial  struggle,  in  which  the 
great  New  York  money  interests  are  quietly  prepar- 
ing to  take  control  of  the  screen  away  from  the  gentlemen 
who  have  governed  it  for  eighteen  years. 

The  established  picture  barons,  undoubtedly  shrewd  and 
capable  men,  who  have  labored  industriously  to  build  up  a 
tremendous  enterprise,  are  about  to  measure  swords  with 
the  most  resourceful  group  of  financiers  in  the  world.  If 
they  can  retain  the  hilts  of  their  weapons  and  their  shirts, 
they  will  do  very  well,  indeed,  in  the  humble  opinion  of 
this  writer,  who  speaks  from  no  small  Wall  Street  experience. 

Of  course,  the  big  money  interests  pas- 
sionately deny  they  have  any  such  inten- 
tion— and  they  have  made  many  such 
denials  before,  nearly  always  with  the 
result  that  a  particular  commercial 
canary  has  found  repose  inside  an  "in- 
terests" cat.  Moreover,  the  recent  battle 
in  the  Fox  Film  Corporation  is  altogether 
too  recent  and  too  emphatically  confirm- 
atory of  our  little  opening  paragraph  to 
lend  much  weight  to  denials. 

William  Fox  has  long  been  credited 
with  an  obsession  to  keep  one  great 
American  industry  in  the  control  of  mem- 
bers of  his  own  faith.  In  all  other  basic 
enterprises — railroads,  oil,  steel,  motors, 
electricity,  public  utilities,  and  so  on — 
they  have  been  in  the  minority.  Now, 
since  pictures  rank  fourth,  it  has  been, 
in  the  opinion  of  Mr.  Fox,  quite  imper- 
ative that  he  and  his  blood-brethren 
guide  its  destinies.  For  quite  a  number 
of  reasons:  educational,  financial  and 


Above,  looking 
down  Broad 
Street  from  Wall, 
the  day  the  crash 
came.  Pillared 
building  is  Stock 
Exchange 


Left,  National 
City  Bank,  sec- 
ond  largest 
American  bank, 
playing  a  large 
part   in  talkies 


Shet  taline 


24 


The  Movies? 


Present  O'wners  Are 
The  Cat  And  The  Canaries 

B  R  A  D  L  N    C  L  E  W  S 


Kighl,  ihc 
Wall  Sii  eet 
home  of  J. 
P.  Morgan 
fls  Co.,  ex- 
perts in  the 
production 
of  money 


P.  »A. 


International 
Nawareel 


Above, the 
street  where  pro- 
ducers  find 
ready — very 
ready — cash : 
Wall  Street, 
looking  west 
from  Pine 


Right,  HarleyL. 
Clarke,  leader  of 
the  Wall  Street 
forces,  who  is 
now  at  the  helm 
of  Fox  Films 


Walinger 


<9m 


social.  Things  were  going  very  well,  indeed,  until  Fate  took 
a  hand. 

Lost:  A  Million  a  Day 

BY  the  summer  of  1925,  it  was  uncomfortably  apparent 
that  something  was  very  wrong  with  the  motion  picture 
business.  Income  was  dropping  alarmingly;  production  costs 
were  rising  rapidly;  audiences  were  falling  away  to  such  an 
extent  that  by  1927  a  million  dollars  a  day  represented  the 
losses  from  this  source  alone. 

Then  the  big  telephone  interests  announced  practical  talking 
pictures.  True,  they  had  some  difficulty  in  getting  a  company 
to  listen;  but  the  Warner  Brothers  did  listen,  rather  tremu- 
lously put  forth  an  experimental  film,  and  saw  the  public 
promptly  become  hysterical.  So  hysterical  in  fact  that  all 
other  picture  producers  had  to  follow  in  the  Warner  foot- 
steps, and  almost  overnight  millions  of  dollars  were  needed 
for  talking  picture  equipment.  Within  a  few  hours  from 
resentation  of  "The  Jazz  Singer,"  the  motion  picture 
istry  changed  from  an  entertainment  business  to  an 
neering  profession. 

he  needed  millions  were  not  in  the  coffers  of  the  pic- 
ture barons,  nor  could  they  raise  it  from 
their  own  resources.  It  had  to  come 
from  outside.  That  meant  the  big  bank- 
ing interests.  One  might  have  supposed 
that  they  would  have  applied  to  the 
money  kings  racially  sympathetic  to 
them,  but  establishments  like  August 
Belmont  &  Co.,  Kuhn,  Loeb  &  Co., 
Ladenburg,  Thalman  &  Co.  and  Gold- 
man Sachs  &  Co.  do  not  always  remain 
spiritually  orthodox  after  long  years  in 
the  money  canyon,  and  not  always  do 
they  retain  their  racial  identities.  In 
such  matters,  favors  depend  a  good  deal 
on  where  the  most  important  affiliations 
lie.  A  peep  into  the  Directory  of 
Directors  will  illuminate  this  point.  Be- 
sides, the  telephone  and  electrical  in- 
terests evinced  a  touching  willingness  to 
accept  promissory  notes — backed  with 
proper  collateral. 

As  in  many  industrial  conflicts,  the 
{Continued  on  page  88) 


25 


e  Boys  Ard 


DOROTHY  SPENSLEY 


THERE'S   rosemary,  that's  for 
remembrance  .  .  . 
Oh,  yeah  ? 
And  there  are  pansies,  that's 
for  thoughts.  .  . 

Sez  Shakespeare.  ' 
There's  fennel  for  you,  and  colum- 
bmes.  There's  rue  for  you.  .  .  . 

And  daisies  and  violets.  Ah,  violets! 
But,  in  Hollywood,  it's  all  to  the 
lilacs,  with  Nils  Asther  liking  the  citric 
odor  of  lemon  toilette  water. 

What  is  the  masculine  world  coming 

We  have  strong  silent  men  going  to 
Gerly's  to  buy  "Exquisite  Hour"  and 
"Le  Mouchoir  de  Monsieur"  to  sprinkle 
on  their  ties,  hankies  and  socks. 

We  have  them  fretting  at  Souchet- 
Shafer's,  torn  between  Canary  Island 
yellow  cravats  and  poudre  blue. 

And  rushing  to  William  Stromberg's, 
the  jeweler,  for  braided  leather  wrist 
watch  bands  like  Jack  Warner's. 

We  have  them  debating  with  Eddie 
Schmidt,  or  Otto,  the  Tailor,  whether  burgundy  vicuna  at 
thirty  a  yard  is  really  any  better  than  tan  cashmere  for  sports 
wear. 

And  surreptitiously  getting  hair  bleaches  and  permanents 
at  this  beauty  shop  and  that. 

Mutual  Admiration  Society 

WHAT  is  the  world  coming  to,  with  two-fisted  virility 
swapping  modiste's  numbers.?  With  Norman  Kerry 
asking  Larry  Gray,  at  the  Costello-Sherman  wedding,  where 
he  got  his  white  pique  waistcoat  with  matching  tie.?  With 
George  O'Brien  ordering  two-inch  additions  to  his  soft  shirt 
collar  points.?  With  Victor  McLaglen  turning  from  admira- 
tion of  Arthur  Lake's  suit  to  say,  "But  I  simply  can't  wear 
tweeds.  They  make  me  look  too  big." 

Are  our  brawn  and  muscle  boys  going  mannequin.?  What 


Hollywood 
Now  Have, 
Other 
Scents 


is  happening  to  masculin- 
ity.? Here  is  a  cologne 
billed  as  "a  delicate  de- 
odorant," and  there  are 
heliotrope  pajamas,  Rus- 
sian style,  high-necked,  with 
an  embroidered  double-eagle 
waiting  to  perch  on  some 
manly  bosom. 

I'm  going  out  and  buy  a 
pipe. 

Canary  Island  yellow  and 
Rheingold  blue,  llama  cloth 
and  crystal  cufF  links,  Eng- 
lish slacks  and  French  cra- 
vats, dyed  eyebrows  and 
mauve  powder,  pink  bath 
salts  and  scented  pomade, 
herringbone  and  sharkskin, 
chamois  and  pigskin,  lilac 


Stanley  Fields,  at  the 
top,  appears  slightly 
nauseated  by  this 
new  powder  for  men. 
He's  an  exception. 
Gilbert  Roland,  cen- 
ter, has  a  weakness 
for  gloves  and  high 
trousers.  And  Grant 
Withers,  right,  is 
showing  all  the  boys 
his  braided  leather 
wrist-watch  band 


26 


Getting 


H 


e  r  o  e  s 


Among 
Things, 
Appeal 

seemed  toilette  water. 

I'm  going  out  and  spit  a 
^urve  in  the  wind. 

William  Stromberg  in  the 
Warner  Building,  with  per- 
suasive manners  and  en- 
ameled wrist  watches. 
Souchet-Shafer,  with  soft- 
voiced  salesmen,  black- 
inustached.  Sidney,  Ltd., 
with  bright  cravats  and 
scarves.  Garwood's,  Gar- 
cia's,  Schwab's.  Otto,  the 
Tailor,  Schmidt,  the  ditto. 
Gerly's,  Max  Factor's,  the 
Harper  Beauty  Method, 
Weaver-Jackson's,  Sayde 
Nathan's,  even  Jim's,  the 
femme's  favorite  barber — 
strongholds    of    women — 


In  front  of  the  model  Hollywood  hero,  above, 
are  a  few  of  Max  Factor's  beauty  aids  for  men 


going  male,  theirsacred  precincts  invaded 
by  beautvnng  men. 

It's  enough  to  drive  us  women  to 
snuff. 

What  is  the  masculine  world  coming 
to.? 

Clothes  "Make"  The  Woman 

I  ^HE  sexual  revolution,"  commence 
I  Messrs.  James  Thruber  and  E.  B. 
White,  who  wrote  "Is  Sex  Necessary.?" 
or  "Why  You  Feel  the  Way  You  Do," 
clearing  their  throats,  "began  with 
Man's  discovery  that  he  was  not  attrac- 
tive to  Woman,  as  such.  The  lion  had 
his  mane,  the  peacock  his  gorgeous 
plumage,  but  Man  found  himself  in  a 
dark  three-button  sack  suit." 

Which  might  explain  this  wholesale 
hegira  of  Hollywood  heroes  into  fashion 
lanes.    Woman,  we  shall  say,  tittering, 
represents  Audience.     Audience  repre- 
sents Box  Office.   Box  Office — and  isn't 
this  fun.' — represents  Success.  Therefore 
the  film  boys  have  become  microphone 
mannequins  to   please  their  feminine 
followers.    They  plume  themselves  in 
llama  wool  and  poplin  to  agitate  Woman.  And  Woman  sits 
down,  bites  at  a  pencil,  and  prints  out  a  fan  letter. 
At  least  that's  one  alibi.  And  it's  as  good  as  another. 
Fashion-conscious,  that's  what  the  cinema  cavaliers  are. 
From  Otto,  the  Tailor,  comes  the  information  that  Conrad 
Nagel  and  Edmund  Lowe  are  practically  Hollywood's  most 
fastidious  dressers,  with  Eugene  Pallette,  the  Sergeant  Heath 
of  S.  S.  Van  Dine  pictures,  the  most  particular;  that  Rod 
LaRocque  has  thirty  thousand  dollars'  worth  of  clothes;  that 
the  average  actor  should  have  not  less  than  seven  suits;  that 
Eddie  Sutherland  and  Victor  Schertzinger  are  the  best-dressed 
directors  in  town;  that  Bill  Haines  likes  blue  and  white  striped 
dressing-gowns;  and  that  Richard  Barthelmess  is  growing 
increasingly  fastidious  about  clothes. 

William  Stromberg  whispers  that  Ted  Lewis  started  a  run 
on  collapsible  watches  and  he  couldn't  keep  any  in  stock  with 
{Continued  on  page  g8) 


Above,  Regis 
Toomey  implores 
Phillips  Holmes  to 
get  confidential  and 
tell  him  who  his 
tailor  is.  And  that 
movie  marine,  ssdl- 
or  and  gangster, 
,  Edmund  Lowe,  left, 
is  Hollywood 's  most 
fastidious  dresser 


The  talkies  put  them  in  the  same  boat,  and  now  Gloria 
Swanson  and  Owen  Moore  are  on  deep  water  in  "What 
A  Widow!"  It's  no  secret  that  they  are  going  far.  But 
it  is  news  that  they  are  going  together.  Which  brings 
up  the  question:  Is  the  next  stop  Paris? 

Rusaell  Ball  Photo. 


HOLLYWOOD  Sob  -  Stories 


Walter  Pidgeon 

Thought 
"The    Jig    Wa  s 

Up  And  It 

Didn't  Matter" 

By 

lH)RO  1  H  Y    MAN  N  ERS 


EKjH  I  t,t,N  inuiuhs  ago,  Walter 
Pidgeon  wai>  dying.  Not  only  had 
an  unfortunate  jinx  pursued  the 
course  of  his  career  in  silent  pic- 
tures, but  he  was  obsessed  with  the  sus- 
picion that  he  was  victim  to  a  dreadful  and 
fatal  disease  incurable  in  the  realm  of 
medicine — cancer! 

Specialist  after  specialist  had  examined 
him  to  no  avail.  He  had  made  the  long 
trek  to  the  famous  Hospital  in  Roch- 
ester, Minnesota  to  be  met  only  with  a 
shake  of  the  head.  They  could  not  (he 
believed  they  would  not)  diagnose  his  case. 
Several  years  previous,  a  friend  of  his  had 
met  with  the  same  reception  at  the  hands 
of  the  same  doctors.  He  was  a  victim  of 
cancer,  but  they  would  not  tell  him.  To 
the  discouraged  and  pain-wracked  movie 
actor  it  was  little  short  of  the  handwrit- 
ing on  the  wall.  The  world  loomed  with 
Nothingness! 

In  pictures,  his  chosen  profession,  he 
saw  only  mediocrity  in  his  future.  At 
best,  he  felt,  he  was  just  another  leading 
man,  casting  a  shadow  here  .  .  .  there  ... 
doing  nothing  that  fifty  other  handsome  and  mildly 
talented  actors  could  not  have  done  in  his  place. 

In  life  there  were  few  personal  ties  to  bind  him  to  this 
existence.  His  wife  had  died  at  the  time  of  the  birth  of 
their  daughter.  "Frankly,"  admitted  the  six-foot  hero  of 
.Marilyn  Miller's  new  musical  screen  revue,  "I  thought  the 
jig  was  up  for  me — and  it  didn't  particularly  matter. 

He  Made  His  Will 

ICAMK  back  to  Hollywood  from  Rochester,  and 
made  out  my  will,  leaving  everything  in  trust  for 
my  eight-year-old  child.  I  was  pretty  reconciled  to  the 
idea  ofdeath,  but  there  was  one  thing  I  could  not  do — and 
that  was  merely  to  quit  and  wait  for  death!  Though 
innumerable  X-ray  plates  showed  no  localized  trouble 
that  would  warrant  an  operation,  I  went  to  the  finest 


stomach  specialist  in  town  and  insisted  on  one.  I  said, 
'I'm  going  into  a  hospital  to-morrow  and  I  want  you  to  do 
the  operation.  If  you  don't — some  other  man  will.  To 
save  me  from  the  hands  of  some  quack,  you'd  better  do  it. 

"He  protested  at  first.  He  wanted  to  wait  and  take 
X-rays  and  make  a  diagnosis.  But  that  didn't  get  any- 
where with  me.  I  had  had  too  much  of  that  kind  of  treat- 
ment. There  was  something  seriously  wrong  with  me.  I 
wanted  either  to  get  at  the  trouble — or  finish  the  job! 
Strangely  enough,  the  most  interesting  offer  I  had  for  pic- 
ture work  that  year  came  the  morning  I  went  into  the 
hospital.  Warner  Brothers  wanted  me  for  a  talking,  sing- 
ing picture,  and  I  wanted  tremendously  to  do  it.  But  first, 
and  more  important,  I  wanted  to  know  whether  I  was  ever 
going  to  be  a  well  man  again." 

{Continued  on  page  gz) 

29 


I 


snt 


She  Odd? 


Btedell 

IF  you  have  ever  seen  Zasu  Pitts  on  the  screen — and,  of 
course,  you  have — you  must  have  wondered  what  she 
is  really  hke. 
You  must  have  thought  that  no  one  could  be  like 
that,  actually. 

You  must  have  puzzled  over  what  such  a  strange- 
appearing  and  strange-acting  individual  thinks  and  feels 
and  does  and  is,  ofF-screen.  How  the  curious,  slightly 
morbid  and  altogether  plaintive  "works"  that  are  Zasu 
"go  'round." 

She  isn't  like  that  inside.  She  is  like  that  outside.  A 
quaint,  forlorn  little  figure  in  a  nifty  straight  eight 
roadster. 


A  Surprise  Is  In  Store 
For  You  In  The  'R.eal 
Zasu  Pitts 

By 

GLADYS  HALL 


An  out-of-place  little  figure  in  festive 
carnival  Hollywood. 
For  Zasu  was  born  in  Parsons,  Kansas 
on  January  3,  1900. 

She  would  be  born  in  Kansas  and  in  a  tow 
by  the  name  of  Parsons.  It  fits.  No  othe 
birthplace  would  be  conceivable  for  Zasu 
She  couldn't  come  from  cosmopolitan  Nc 
York  or  intellectual  Boston  or  diploniati 
Washington. 

And  Zasu — from  the  outside — should  be 
done  by  Dreiser,  and  was  done  by  von  Stroheim. 
Zasu — from  the  outside — is  an  odd  young  person. 
She  is  like  no  one  I  have  ever  met.  She  is  like  no  one 
you  have  ever  met.  She  is  assuredly  like  no  one  else 
on  the  screen  either  to-day  or  yesterday. 

The  Unreal  Zasu 

OU  would  suppose  that  her  interests  would  be 
dark  and  fungus-like  growths.   Books  of  morbid 
psychology.  Musings  in  a  muted  room.  Supernatural 
rites.  Dark,  secretive  corners.  Tears  and  terrors.  The 
solitary  life  and  the  dim  things  of  solitude.  You  might 
imagine  that  little  children  would  cry  at  the  sight  of 
her,  animals  skulk  away,  flowers  shrink  and  shrivel. 
Not  at  all.  We'll  come  to  that  later. 
Zasu  says  of  herself,  as  regards  her  picture  career, 
"I  am  the  Help."   For  she  has,  of  late,  played  the 
roles  of  servant  girls.  She  has  served  the  finest  ladies 
and  gents  in  filmdom,  her  latest  mistress  being  the 
beautiful  Jeanette  MacDonald.   She  says  her  screen 
ladies  are  kind  to  her.  She  also  says  that  she  has 
to  keep  in  a  constant  state  of  feeling  put-upon  and 
downtrodden.    She  dares  not  let  a  little  burst  of 
gaiety  escape  her.    But  she  doesn't  mind  being  the 
Help,  if  she  can  only  give  satisfaction. 

Zasu  is  the  living  embodiment  of  the  truth  that  comedy 
and  tragedy  are  akin.  A  tragic  figure  in  "Greed,"  a  tragic- 
appearing  little  figure  in  real  life,  she  is  called  upon  to  do 
comedy  in  which  there  is,  also,  a  curiously  tragic  content. 
She  would  prefer  to  do  drama  or  tragedy,  straight.  But 
she  is  the  Help,  and  if  she  is  to  expect  good  references, 
"I  must  do  as  I  am  told." 


B 


Below  the  Surface 

ENEATH  this  elusive  and  somewhat  patheticalh 
morbid    exterior,    underneath    the  futile-seeming 
{Continued  on  page  80) 


30 


H.  Harold  Fisher 

Here  we  have  it— a  bird's-eye-ful  of  Hollywood  itself  gone  movie  mad  ...  Sid  Grauman 
putting  on  two  great  shows  at  once  ...  A  four-million-dollar  one  inside,  a  sixty- 
thousand -dollar  one  outside  .  .  .  Searchlights  burning  the  sky,  planes  roaring  and 
looping  above  the  dazed  hordes  .  .  .  Hell's  Angels! 

M 


How  T 

Make 
A  Ma 


•    •     •  In 

One  Easy 
Lesson  • 


40^ 


Before  you  can  get  your 
man,  you  have  to  know 
him.  After  you  learn  his 
tastes,  the  rest  is  simple. 
If  he  prefers  the  little 
woman — and  you  know 
your  stuff — the  trick  is  to 
look  as  Lila  Lee  does 
above:  head  uplifted,  lips 
slightly  parted,  eyes  up- 
raised dreamily.  If,  on 
the  other  hand,  he  prefers 
the  little  devil,  it  is  up  to 
you  to  make  a  change  for 
the  worse.  (See  illustra- 
tion, right.)  Note  the 
small  difference  between 
the  two  methods.  The 
head  is  slightly  higher. 
The  eyes  are  narrowed  to 
a  come-hither  look  and 
they  spell  "What's  the 
speed  limit?" 


32 


Hesaer 


sports  Of  The  Stars 


A  J    Told    hy    Reginald   T)  e  n  n  y 

To  CHARLESON  GRAY 

JL  S  I  before  his  new  steam  yacht,  the  Infanta, 
slid  off  the  ways  at  San  Pedro,  John  Barry- 
more  made  a  little  speech  to  the  effect 
that  a  launching  resembled  childbirth — one 
wouldn't  know  until  later  how  successful 
the  result  would  be. 

A  point  of  difference  he  might  have  pointed 
out  is  that  the  usual  yacht  is  destined  for  a  far 
more  glamourous  career  than  the  usual  person. 
For  while  most  of  us  are  chained  to  humdrum 
daily  jobs,  these  aristocrats  of  the  sailing 
world  are  sliding  through  pleasant  waters, 
their  equipment  burnished  to  perfection,  en- 
joying an  atmosphere  poised  equally  between 
health  and  fun. 

At  first  thought,  it  might  be  difficult  to 
understand  how  a  man  could  spend  a  half- 
million  dollars  on  a  yacht  (as  Barrymore 
has  on  the  Infanta),  and  expect  to  receive 
full  value  on  nis  investment.  But  w-hen  it 
is  pointed  out  that  yachtsmen  consider  a 
boat  capable  of  adding  from  ten  to  fifteen 
years  to  a  man's  life,  it  becomes  apparent 
that  they  are  cheap  at  the  pric|.  After 

At  top,  left,  Reginald  Denny 
on  the  Barbarene,  which 
makes  him  work  and  stay 
young;  top  right,  three  ship- 
mates: John  Mack  Brown,  a 
third  friend,  and  Ben  Hen- 
dricks; right,  Cecil  de  Mille's 
luxury,  the  Seaward 


Reginald  Denny- 
Keeps  Young  By  Yachting 

all,  none  of  us  is  growing  any  younger,  alda! 
Wealth  Not  Necessary 

I SUPPOSE  I  should  hasten  to  point  out 
that  it  is  far  from  necessary  to  laj  out  a 
sum  anywhere  in  the  neighborhood  of  a 
half-million  in  order  to  obtain  yacht- 
ing benefits.    Barrymore's  boat  is  large 
enough  for  an  extended  cruise,  but  those 
of  the  other  yachtsmen  in  the  picture 
colony  are  apt  to  be  more  on  the  order 
of  my  own  Barbarene. 

This  is  a  sturdy  thirty-five-foot 
affair,  which  is  great  sport  sailing  in 
all  but  the  extremely  rough  weather 
which  Ben  Hendricks  and  I  recently 
encountered  off  the  coast  of  Lower 
California.  For  some  time  it  looked 
as  if  the  business  was  about  to  lose 
two  ambitious  young  men;  and  I 
determined  at  that  time  that  if  I 
ever  set  foot  on  solid  land  again, 
my  next  boat  would  be  much 
larger  than  the  Barbarene. 

Just  at  present  I'm  deliberat- 
ing between  a  sixty-foot  yawl 
and  a  cabin  cruiser  equipped  with 
Diesel  engines.  What  I  should 
like,  of  course,  would  be  both 
creations — but   I'm  afraid 
{Continued  on  page  pj) 


33 


Water 


After  the  shifting  sands 
of  Hollywood,  it  seems 
good  to  Leila  Hyams 
(left)  to  get  her  feet  on 
solid  rock  at  Santa 
Monica,  and  watch 
the  sea  turn  green 
with  envy 

And  two  more  baiting 
beauties  who  aren't 
building  castles  in  the 
sand  are  Helen  Kaiser 
and  Sally  Blane  (right) , 
who,  like  their  suits, 
shrink  from  public  view 


Above,  Merna  Kennedy  brings  out  the  life 
guards  in  a  suit  which  brought  out  the  vol- 
unteer fire  department  in  Atlantic  City  in 
1842;  left,  our  dancing  daughter  and  blush- 
ing bride,  Joan  Crawford,  cools  her  tootsies 


34 


Daffy 


It  was  a  large  day  in 
Venice,  Cal.,  in  1917 
when  the  Mack  Ben- 
nett girls  across  the  top 
came  out  in  their  dam- 
age suits.  Fifth  and 
seventh  from  left,  re- 
spectively, Marie  Pre- 
vost  and  Phyllis  Haver 

Up  in  the  air :  not  that 
she  doesn't  swim,  but 
Dorothy  Jordan 
fright)  would  rather 
swing  than  be  seen  in 
the  water 


Top  left,  Zelma  O'Neal  makes  a  false  step 
high  above  the  briny;  top  right,  backsliding 
Merna  Kennedy,  Joan  Marsh  and  Helen 
Wright  are  in  for  a  ducking;  above,  Helen 
Wright  keeps  her  head  in  the  water;  and 
Clara  Bow,  right,  is  among  the  beautiful 
and  damp  at  Malibu 


35 


Case  IV 


Court  Scridf, 


CHARLESON  GRAY 


Editor's  Note — Two  years  ago  the  Talkies  were  tried, 
and  found  good.  And  now  Silent  Pictures,  once  the 
pride  of  Hollywood,  are  on  trial  for  their  life.  You 
have  heard  the  arguments  of  the  prosecution.  And 
now,  in  CLASSIC'S  Open  Court — where  he  is  sure  of 
getting  a  fair  hearing — the  silent,  but  none  the  less 
eloquent  lone  defender  of  Silent  Pictures  rises  to 
present  his  side  of  the  case.  Listen  closely  to  Mr. 
Chaplin's  arguments.  Ladies  and  Gentlemen  of  the 
Jury.  For  with  you — and  you  only — rests  the  respon- 
sibility of  deciding  whether  or  not  they  are  guilty  of 
the  charge:  They  Are  Not  Wanted. 

IADIES  and  Gentlemen  of  the  Jury:  In  the  whole 
history  of  the  theatrical  court  there  have  been  few 
cases  of  more  importance  than  the  one  now  being 
tried  before  you — the  Talkies  versus  the  Silent 
Pictures.  You  have  been  listening  to  the  opposition — in 
all  its  furious  caterwauling — and  now  I  ask  that  you  heed 
quiet  me.  Nor  will  it  be  necessary  for  you  to  strain  forward 
in  your  seats,  fearful  of  missing  my  meaning.  You  don't 
have  to  hear  me  to  know  what  I  am  talking  about.  That's 
acting. 

In  fact,  in  order  that  you  may  obtain  the  subtlest  shades 
of  my  message,  I  prefer  that  you  do  not  hear  me  speak. 
My  silence  is  more  eloquent  than  my  voice.  And  by  the 
same  token,  while  I  consider  a  good  stage  play  far  superior 
to  a  good  talking  picture,  I  consider  a  good  silent  film  of  the 
same  play  as  superior  to  either. 

This,  Ladies  and  Gentlemen  of  the  Jury,  is  because  it  is 
easier  to  watch  a  performer  than  to  listen  to  one.  The 
sound-producers  have  insisted  that  the  defect  of  the  legit- 
imate theater  is  the  inability  of  everyone  in  the  house  to 
see  and  to  understand  what  the  players  on  the  stage  are 
saying.   The  motion  picture  remedies  the  defect  as  to 


sight,  and  certainly  the  talking  devices  allow  the  charac- 
ters tc  be  heard — but  there  is  the  almost  ludicrous  habit' 
of  these  devices  of  producing  sounds  from  unexpected 
places.  For  instance,  in  some  theaters,  during  a  tense  love, 
scene,  the  dialogue  will  appear  to  be  proceeding  from  the 
characters'  feet.  In  others,  from  the  ceiling  of  the  set — 
and  in  others  from  either  to  the  players'  right  or  left. 
Rarely  do  words  ever  seem  to  be  coming  from  the  lips  of 
the  speakers  themselves. 

The  Barrier  of  Language 

THE  present  fad  of  talking  pictures  has  many  of  these 
grave  defects;  but  none  is  more  serious  than  the 
handicap  which  they  have  imposed  upon  the  industry  it- 
self. The  pantomime  which  forms  the  basis  for  the  success 
of  silent  pictures  is  universally  understood.  The  message 
is  conveyed  by  actions  and  gestures  which  are  as  old  and 
as  recognizable  as  humanity.  When,  for  the  purpose  of 
introducing  or  connecting  a  story,  a  sub-title  is  required, 
it  is  the  simplest  of  matters  to  inject  the  printed  word  of 
any  language. 

But,  Ladies  and  Gentlemen  of  the  Jury,  can  the  makers 
of  talking  pictures  rely  on  any  such  simple  procedure? 
The  answer  is  No. 

Mr.  Goldwyn,  for  instance,  makes  a  picture  called 
"Bulldog  Drummond."  This  effort  may  readily  be  re- 
leased in  England  and  America — but  how  about  Italy, 
Japan,  Sweden,  France  and  Germany?  It  is  necessary  to 
remake  the  picture,  if  each  of  those  countries  is  to  have  it, 
using  players  speaking  the  native  language — a  task  re- 
quiring four  or  five  years,  if  it  is  to  be  done  properly.  Even 
then  there  is  no  assurance  that  the  language  spoken  will  be 
correct.  It  is  apt  to  be  as  garbled  as  some  of  the  language 
that  passes  for  English  on  our  talking  screens. 

My  future  films  are  to  have  even  mote  of  a  vogue  than 


36 


Holds  Open  Court 


The  CHARGE:  -  - 
The  DEFENDANT:  - 

Defense  Attorney: 


rhose  of  the  past,  if  I  am 
to  judge  public  sentiment 
by  the  thousands  of  letters 
which  pour  into  the  studio, 
begging  that  I  remain  in  the  field  of 
silent  pictures.  Letters  from  all  over  the 
world.  One  of  these  was  in  behalf  of  one- 
and-a-quarter  million  deaf  people  in  the 
United  States,  who  claim  that  they  are 
totally  unable  to  follow  the  thread  of  a 
talking  picture.  "It  is  tragic  about  the 
movies,"  said  Mrs.  Thomas  Edison.  "We 
loved  them  so.  The  talkies  have  spoiled 
everything  for  me — because  I  am  deaf." 

Due  to  the  constant  turning  and  shifting 
of  the  positions  of  characters,  lip-reading 
is  impossible  for  these  unfortunates,  who 
depended  upon  the  films  for  so  large  a  por- 
tion of  their  entertainment.  Too,  they  are 
unable  to  grasp  the  synchronized  sounds 
which  form  the  background  of  the  usual 
talking  film — the  noise  of  a  scaffold  being 
erected  as  a  condemned  man  waits  in  his 
cell,  and  so  on.  There  are  between  twenty- 
five  and  thirty  millions  of  deaf  people  in 
rhe  world.  Even  if  my  silent  pictures  had 
ftnly  this  audience  alone,  they  would  be 
playing  toone  considerably  larger  than  any 
nther  type  of  film! 

Qualified  To  Talk 

T  has  been  suggested  that  my  failure  to 
make  talking  pictures  is  based  on  an  in- 
ability to  meet  the  requirements  of  the 
microphone.    This  is  totally  untrue.  My 
stage  d('but  was  made  as  Billy,  rhe  page- 
boy, in  "Sherlock  Holmes,"  with  William 
Gillette  at  the  Duke  of  York  Theater  in 
London,  October  17,  1905.  For  years  there- 
after I  was  in  every  form  of  audible  enter- 
tainment, and  my  first  appearance  in  this 
country,  which  resulted  in  my  entrance  into 
the  films,  was  in  a  vaudeville  sketch  called, 
"A  Night  in  an  English  Music-Hall." 

When  it  also  is  recalled  that  my  mother 
was  Lily  Harley,  the  Gilbert  and  Sullivan 
prima  donna,  and  my  father  C  harles  C  hap 
lin,  one  of  Continental  Europe's  best 
known  Protean  actors,  it  is  apparent 
that  by  inheritance,  as  well  as  by 
training,  1  am  fitted  to  engage  in 
this  field  which  I  am  avoiding.  I 


I 


They  Are  Not  Wanted 
Silent  Pictures 
Charles  Chaplin 


simply  believe  that  the  silent  pictures  are  best. 
What  would  you  have  thought  of  Rembrandt, 
Ladies  and  Gentlemen  of  the  Jury,  if  he  had 
turned  sign-painter,  merely  because  he  could  get 
more  work  ? 


Scarf-Pins  In  Portraits 

ILBERT  SELDES,  the  noted  drama  critic, 
_    made  a  shrewd  statement  upon  the  advent 
ot  synchronization.    He  said  that  "just  as  the 
movies  were  showing  promise,  they  turned  gar- 
rulous, started  talking  to  themselves."   This  is 
bitterly  true.  The  talkies  are  mechanical,  limited 
in  their  field,  and  quite  devoid  of  charm.  Dialogue 
has  no  more  place  in  the  usual  film  than  a  scarf- 
pin  has  the  right  to  be  punched  into  rhe  scarf  of 
a  portrait  by  Gainsborough,  or  a  phonograph 
inserted  in  a  bust  by  Michelangelo. 
&       My  opponents,  the  makers  of  talking  pic- 
^    tures,  have  indulged  in  heavy  advertising 
campaigns  in  order  to  foist  their  product 
upon  the  public  which  you  men  and  women 
represent.  But  despite  this  fact,  held  back 
■       as  they  are  by  monetary  considerations. 
"  the  press  of  both  England  and  America  has 
come  forth  to  declare  that  I  am  unquestionably 
right  in  the  stand  which  I  am  taking  before  you 
to-day! 

They  also  add  that  I  am  the  only  one  who 
would  dare  take  this  position,  in  that  my  pictures 
always  have  depended  upon  pantomime,  rather 
than  words.  One  observer  was  kind  enough  to 
say  that  "you  might  as  well  try  to  fit  words  to  a 
rainbow'  as  to  a  Chaplin  comedy."  A  reaction 
like  that  does  something  to  ease  my  conviction 
that  fame  is  exasperating. 

The  Lone  Defender 

PANTOMIME  is  one  of  the  greatest  forms  of 
expression.  It  is  cruel  to  see  it  given  this 
killing  blow.  And,  believing  as  I  do,  I  intend  to 
bend  all  my  efforts  toward  doing  my  part  in  keep- 
ing it  alive.  I  do  not  think  there  is  any  amount  of 
persuasion  of  money  or  influence  which  could  get 
me  to  make  a  talking  motion  picture.  I  realize  that 
I  am  alone  in  my  stand  among  producers,  but  I 
think  I  am  right  and  I. am  going  ahead  in  my  own 
way. 

This  I  am  able  to  do.    Success  has  meant  one 
thing  at  least  to  me,  for  which  I  thank  my  destiny. 
It  has  allowed  me  to  think.  I  used  to  be  afraid  of 
ideas.  That  fear  goes  with  poverty.  And  I  did  know- 
poverty  in  its  most  awful  form.    But  money  has 
given  me  faith  in  myself — and  theories  of  my  own. 
And  thus  it  is.  Ladies  and  Gentlemen  of  the  Jury. 
{Continued  on  page  Sj) 


37 


My  MosJ 


Richee 

During  the  past  year  or  so,  I  have  become  identified  with 
a  certain  role  on  the  screen — Philo  Vance,  the  ultra  con- 
noisseur and  crime  detector.  I  have  portrayed  Vance  in 
several  of  S.  S.  Van  Dine's  famous  detective  stories,  and 
each  time  Vance  has  been  able  to  deduce  the  reasons  and 
motives  behind  the  dastardly  crimes  which  have  been  com- 
mitted— and  eventually  point  out  the  guilty  party.  When 
one  has  been  so  closely  attached  to  a  character  as  to  be 
referred  to  AS  that  character,  the  great  majority  of  fans 
begin  to  wonder  if  the  actor  actually  has  the  character's 
attributes.  That  is  the  reason  why  CLASSIC  has  asked  me 
to  relate  an  incident  from  my  life  which  closely  parallels 
the  situations  on  the  screen.  In  the  ensuing  attempt  you 
will  be  the  judge  as  to  whether  I  actually  have  the  deductive 
powers  of  Philo  Vance. —  William  Powell. 

THE  screen  has  recognized  my  prowess  at  deductive  reason- 
ing from  the  first  picture  work  I  ever  tried.  In  fact,  my 
first  role  was  a  part  in  a  John  Barrymore  picture  entitled 
"Sherlock  Holmes."  My  ability  along  detective  lines  was 
what  made  the  solution  of  that  picture  possible — for,  if  you  re- 
member, I  was  the  one  who  suggested  the  essential  clue  to  Holmes. 
From  that  initial  attempt,  I  have  gained  a  reputation  that  finally 

38 


As  Told  By 
William    V  o  w  e  I  I 

'  To 

WA  LTER  RAMSEY 


led  me  to  the  characterization  of  Philo  \ 
Vance — which  is  the  ultimate  goal  of  all 
deducers. 

But  this  story  actually  starts  during  the  i 
production  of  my  second  picture,  "The 
Bright  Shawl."  I  wasn't  playing  one  of 
my  famous  detective  parts  in  that  opus, 
but  was  essaying  the  role  of  a  lighter  and 
less  brainy  individual.  During  the  making 
of  the  film,  Richard  Barthelmess,  the  star 
and  hero  of  the  story,  became  my  fast 
friend — and  I  his.  We  were  working  in 
New  York  at  the  time  and  I  made  my 
home  at  the  Lambs'  Club.  Dick  had  a 
more  permanent  residence,  so  we  saw  little 
of  each  other,  except  at  the  studio. 

One  night  about  twelve  o'clock,  I  was 
startled  out  of  a  sound  sleep  only  to  be 


Deductive  Moment 


In  True  P  hilo  V  a  nee 
Style,  William  Powell 
Solved  The  Great 
Barthelmess  Mystery 


informed  that  Mr.  Barthel- 
mess was  in  the  lobby  and 
wished  to  speak  with  me. 
After  we  had  been  connected, 
he  told  me  that  he  had  stayed 
in  town  until  too  late  to  go 
home  for  the  night  and  had 
dropped  into  the  Lambs'  for 
a  room — the  clerk  had  been 
sorry,  but  there  were  no  rooms 
available.  I  sympathized  with 
him,  of  course,  and  suggested 
that  he  come  up  and  stay  in 
my  room — an  idea  which  he 
readily  accepted  (and  which  I 
have  always  regretted). 

Seventy  Disappears 

NO  sooner  had  I  hung  up 
the  receiver  than  he 
appeared  and  undressed  for 
bed.  We  spoke  a  few  words 
and  then  decided  we  would 
have  to  get  some  sleep  for 
an  early  call  the  following 
morning.  The  fog  had  al- 
ready begun  rolling  in  at  the 
open  window  as  we  bade  each 
other  "good  night."  Fog  is  a 
mysterious  sort  of  vapor,  isn't 
it.''  Especially  fog  on  a  dark 
night. 

noth  of  us  slept  soundly,  and  awakened, 
quite  refreshed,  at  seven  in  the  morning. 
Our  early-morning  sallies  were  more  or  less 
cryptic,  but  aside  from  that,  we  were  in  the 
best  of  spirits.  Dressing  ourselves  in  bath- 
robes, we  went  to  the  general  shower-room 
which  was  located  at  the  other  end  of  the 
hall.  Returning  within  twenty  minutes, 
we  dressed  with  some  degree  of  haste. 
While  making  ourselves  ready  for  the  day's 
work,  Barthelmess  happened  to  pull- out 
his  wallet  and  look  into  it.  His  face  took  on 
an  uncanny  mask  as  he  turned  to  me  with: 

"What  does  this  mean.'  I  say,  can't  a 
fellow  spend  the  night  in  your  quarters 
without  having  himself  robbed  of  almost 
every  nickel  he  has  on  him?  This  is  a 
serious  thing.  What  have  you  to  say.'" 

I  informed  him  that  I  had  no  idea  what- 


Richee 

As  in  this  story,  William  Powell'  in  his 
screen  life  first  stands  accused — then  solves 
a  mystery.  But  whether  a  gentleman  of 
fashion  (see  opposite  page),  Philo  Vance 
(left  and  below),  or  something  else  again, 
he  is  always  studiously  smooth  (as  above  "I 


soever  what  he  was  talking 
about,  and  begged  to  be  en- 
lightened. 

"Don't  tell  me  you  don't 
know  what's  the  matter.  I've 
been  robbfed  of  seventy  dollars 
— in  Cash — and  I  want  it  re- 
turned immediately.  Come, 
this  thing  has  gone  far  enough 
already." 

A  Baffling  Mystery 

DURING  the  time  we  were 
going  through  the  rest  of 
his  pockets,  searching  the  room, 
and  calling  the  manager  on  the 
'phone,  we  kept  up  a  steady 
series  of  banterings.  Of  course, 
he  didn't  believe  that  /  had 
stolen  his  money,  but  the 
whole  situation  looked  mighty 
bad  on  the  surface.  The  man- 
ager assembled  all  the  bell- 
hops and  servants  who  had 
been  working  in  our  wing  dur- 
ing the  time  that  Dick  had 
been  in  the  room  but,  aside 
from  some  very  meager  clues 
and  suspicions,  I  was  unable 
to  cast  any  light  on  the  missing 
money.  After  an  hour  or  so  of 
{Continued  on  page  82) 

39 


1 


Portraits  exclusively  poaed 
hv  Rii'i'fll  Ball  for  Claaaic 

\       Hark,  Hark,  The  Bark 

That  eminent  base  singer,  Harry  Gribbon,  can  gargle  any  theme  song  — and  howl. 
Whether  singing  in  the  bath-tub  or  the  shower,  he  has  absolutely  no  difficulty  in 
finding  the  soap.  Just  mention  the  twclve-mile-limit  if  you  want  to  see  him  on  tl^e 
high  C's.  And  ^sk  him  if  he  knows  "Carmen"  and  he'll  want  to  know  what  you 
think  he  is  -  a  conductor? 

40 


A  Blonde 
Old 

Fashioned? 


(panette  as  her  great-grandma 
in  ante  helium  days 


B  y 

GLAD  Y  S 
HALL 


|j    TEANETTE  LOFF  is  an  old-fash- 

I      I    ioned  girl. 

Ill  don't  care  what  you  sav — she  is  an  old- 
^    fashioned  girl. 

She  hrings  to  mind  lavender  and  old  lace,  the  scenr 
>f  mignonette,  the  sense  of  a  fair  young  thing  playing  the 
spinet,  the  harp  or  the  melodeon  at  twilight  in  a  dim  room 
opening  to  a  faint  rising  moon,  the  picture  of  a  young 
mother  handling  talcum  powder  and  rose-leaf  skin  and 
woolly  shirts.  There  is  something  grave  and  quiet  ahout 
her.  A  bit  of  Nordic  sternness  in  the  profile  and  the 
definite  modeling  of  cheek  and  chin,  in  the  sweep  of  the 
pale  gold  hair. 

Jeanette  thinks  about  souls  and  things.  When  she  was  a 
very  little  girl,  up  in  Saskatchewan,  she  wanted  to  play  the 
violin,  [because,  she  says,  she  knew  that  the  violin  had  a 
soul.  Her  father,  Danish,  and  a  violinist,  refused  her  per- 
mission to  play  his  instrument.  She  is  left-handed,  and  it 
offended  him  to  watch  her  handling  of  the  how. 

What  She  Played  Then 

SHE  thought  of  the  piano,  but  the  piano  hasn't  a  soul. 
And  then,  the  organ — the  organ  has  a  vasty,  tumul- 
tuous, deep  and  velvet  soul.  She  decided  on  the  organ. 

Everyone  knows  that  she  played  the  mstrument  at 
leading  movie  houses  in  Portland,  Oregon.  She  improvised 
for  everyone  from  Mary  Pickford  to  Clara  Bow.  And  she 
used  to  stay  in  the  theater  long  after  the  fan-hungry 
crowds  had  streamed  out.  She  would  sit  alone  for  long, 
dark  and  solitary  hours,  because  she  hated  to  leave  the 
organ  and  the  music  she  brought  from  it.  Alone  with  her 
music  and,  probably,  with  her  soul. 

Her  "crush"  was  Pola  Negri,  in  those  days.  They  say, 
wisely,  no  doubt,  that  opposites  attract.  I  believe  it  must 
stop  at  attraction.    1  cannot  picture  Jeanette  and  Pola 


Jeanette  as  her  grandaunt 
of  covered  wagon  days 


If  You  Don't 
Think  It's 
Possible, 
Look  At 
Jeanette  Loff 


remaining  long  on  any  common  ground. 
She  never  dreamed  of  being  a  movie  actress 
herself.  She  thought  there  were  so  many  beautiful 
girls  in  Hollywood.  She  didn't  see  why  she  should  have 
any  particular  chance.  It  took  the  concerted  efforts  of 
other  people  to  give  her  the  idea  and  the  impetus  to  do 
something  about  it. 

Fashioning  Her  Life 

JEANETTE  is  an  old-fashioned  girl.  The  circumstances 
of  her  life  notwithstanding.  I  know  that  she  has  been 
married  and  is  married  no  longer.  I  know  that  she  is  a 
movie  actress  and,  odsbodkins,  a  blonde  one,  to  boot. 
I  know  that  she  lives  in  an  apartment,  alone,  and  doesn't 
take  her  mother  to  the  studio  with  her. 

People  say  that  "she  sacrificed  her  husband  to  her 
career."  It  may  be  that  her  husband  sacrificed  a  wife  to  a 
career.  Perhaps  if  he  hadn't  been  eager  for  her  to  come  to 
Hollywood  to  try  her  luck,  perhaps  if  he  had  refused  his 
"consent"  to  her  trying  for  the  screen — well,  perhaps  we 
should  never  have  seen  Jeanette  in  the  exquisite  Bridal 
Veil  sequence  of  Paul  Whiteman's  "  King  of  Jazz." 

All  things  work  for  the  common  good,  say  the  pro- 
fessorial Pollyannas. 

But  I  believe  we  should  have  seen  Jeanette,  or  heard 
from  her,  in  something,  in  some  way.  She  was  always 
used  to  women  doing  things.  Her  mother  was  a  pro- 
fessional designer.  Her  sister  studied  something  or  other. 
Their  household  hummed  with  music  and  sketches  and 
the  creative  impulse.  Marriage,  a  small  apartment,  tea  at 
the  leading  hotel,  bridge  and  tennis  and  country  clubs 
would  never  completely  satisfy  the  girl  who  hadn't  found 
the  proper  food  for  her  capabilities,  the  proper  setting  for 
her  beauty  or  (who  knows  ?)  the  resting  place  for  her  heart . 
{Continued  on  page  gg) 


41 


L  O  O  K  I  N  Cr 


Close  -  Ups 
From  The  Coast 


-a 


Chidnoff 

THE  first  shot  of  another  Broadway-r/. -Hollywood 
battle  was  fired  when  Bert  Lahr,  comedian  of  the 
stage  version  of  "Hold  Everything,"  threatened  to 
throw  eggs  at  the  Warner  Brothers'  screen  version 
of  the  same  play. 

And  he  didn't  make  any  secret  of  the  fact  that  his  par- 
ticular target  would  be  Joe  E.  Brown,  who  essays  his  role 
on  the  screen. 

Bert  says  Joe  copped  his  stuff.  He  further  says  that  one 
comedian's  copping  another  comedian's  "line"  is  in  the 
same  class  as  "lifting"  plots  and  melodies.  He  says  Joe 
traveled  to  New  York  to  see  his  show  and  deliberately 
made  use  of  his  personal  brand  of  humor,  which  includes, 
"  Some  fun,  some  fun,  eh,  kid  ?"  and  other  goof  expressions. 

Out  in  Hollywood,  Joe  says  "phooey,"  or  something  to 
that  effect,  and  calls  attention  to  the  fact  that  when  a  pro- 
ducer buys  the  rights  to  a  stage  play  he  is  privileged  to 
make  use  of  the  laugh  lines. 

This  thoroughly  reasonable  explanation  has  in  no  way 


Kenneth  Alexander 


No  raging  Torrence:  in  Hollywood  yes-men  may  be 
common  (catch  the  double  meaning*,  but  chess  men  are 
rare,  and  one  of  the  rarest  is  that  canny  Scot,  David 
Torrence  (above),  who  never  gives  a  game  away,  and 
has  a  good  time  playing  in  "Raffles" 


No,  Alice  Joyce  is  not  sitting  on  the  disguised  radiator 
(left)  because  she  has  been  out  in  th ;  cold.  She  hasn't 
been  there  since  the  talkies  came  in.  She  is  merely 
warming  up  for  some  bigger  and  better  opportunities 


appeased  the  enraged  Mr.  Lahr.  He's  out  gunning  with 
eggs! 


PAULINE  FREDERICK  being  waved  in  Jim's  Beauty 
Parlor,  while  her  new  husband  reads  a  stage  play 
near-by. 

Sally  Eilers,  delighted,  but  surprised  at  being  chosen  by 
Ziegfeld  as  the  most  beautiful  girl  in  Hollywood. 

Bebe  Daniels,  in  brown  and  white,  on  the  back  seat  of  a 
gray  Rolls-Royce. 

Norma  Shearer's  "  The  Divorcee"  breaking  Greta  Garbo's 
"Anna  Christie"  records  at  the  Criterion  Theatre. 

Greta  Garbo,  driving  her  own  car,  feeing  from  a  newspaper 
reporter  down  Beverly  Boulevard. 

Lilyan  Tashman  deciding  to  go  to  New  York  with  Eddie 
Lowe,  her  husband,  two  hours  before  train-time. 

Hays  office  barring  four  Broadway  plays:  "It's  A  Wise 
Child,"  "The  Last  Mile,"  "Lost  Sheep,"  and  "Lily  JVhit^r 


42 


Them  Over 


By  DOROTHY 
MANNERS 


He  has  been  having  a  swell  time  again:  to  some, camera 
work  gives  inflated  craniums,  but  not  Ma  urice  Chevalier. 
You  can  see  above  what  "The  Love  Parade"  and  "The 
Big  Pond  "  have  done  for  him.  And  the  more  he  works, 
the  bigger  hands  he  gets 


She  ponders  her  risibilities:  Sally  Eilers  (right) — the 
girl  Florenz  Ziegfeld  picked  as  the  pick  of  Hollywood — 
is  all  set  for  some  high  flying,  as  Buster  Keaton's  leading 
lady  in  what  they  say  will  be  a  high  comedy  of  war 


THE  cameraman  on  Richard  Dix's  picture  receives 
daily  letters  and  telegrams  from  a  woman  in  the 
East,  demanding  that  he  keep  an  eye  on  Richard  and  re- 
port to  her  what  he  is  doing.  The  lady  contends  that  she 
and  Rich  are  "soul-mates."  One  frantic  air-mail,  special- 
delivery  letter  wanted  to  know  if  he  had  seemed  absent- 
minded  and  rather  sad  at  the  exact  hour  of  2:15  p.m.  on  the 
previous  Wednesday.  It  seems  that  the  lady  herself  had 
been  weeping  about  that  time,  and  she  craved  to  know  if 
Richard  was  equally  affected. 

Just  another  one  of  those  things  with  which  movie 
actors  have  to  contend. 


JOAN  CRAWFORD  entertaining  her  family  and  young 
Doug's  mother  at  a  family-group  dinner  at  the  Roosevelt. 
Winnie  Lightner  falling  do'um  the  steps  on  a  Warner 
Brothers  set  and  tearing  the  skin  off  both  knee-caps. 

Florenz   7Jegfeld  and  Samuel  Goldn-yn   escorting  the 


Hurrell 


wealthy  Baron  de  Rothschild  about  the  United  Artists  lot. 

William  Haines  snatching  a  hamburger  between  scenes  and 
calling  it  lunch. 

Betty  Compson  and  Glenn  Hunter  suspected  as  our 
newest  romance. 


SAID  a  perfectly  strange  young  man,  walking  up  to 
Irene  Delroy,  as  she  finished  a  scene: 
"Pardon  me,  but  are  you  the  Irene  Delroy  who  had  an 
affair  with  my  cousin  back  in  Kansas  City.?" 

"Good  Heavens,  no!"  gasped  Irene,  nearly  bowled  over, 
and  all  agog. 

"Well,  I  just  wanted  to  be  sure,"  politely  explained  the 
stranger.  "He's  looking  for  that  girl.  He  wants  to  marry 
her  and  do  right  by  her.  I  thought  if  you  were  the  one.  you 
might  be  interested." 

And  with  that,  he  graciously  walked  away. 

Honesty  is  the  pest  policy. 

43 


JOHN  HOLLAND,  who  came  up  over  the  horizon  in 
"Hell  Harbor,"  has  just  inherited  a  fortune  and  wants 
to  keep  it  a  secret.  So  far  as  money  goes,  John  need  never 
work  another  day  of  his  life.  But  the  joke  of  it  is — he 
wants  to  work. 

Perhaps  he  is  wise  in  advising  his  press-agent  to  go  easy 
on  "  the  rich  young  man  "  angle.  The  scions  of  the  wealthy 
have  never  made  any  noticeable  mark  on  the  screen.  Re- 
member Jerry  Miley  and  young  Michael  Cudahy? 


MARIAN  NIXON  and  Jeanette  Loff  lunching  at  the 
new  Dominoes  Club. 
Lupe  Felez  singing  with  a  Spanish  orchestra  at  a  dinner 
party  in  her  new  home. 

Walter  Pidgeon  inviting  three  other  good  bridge  players  to 
a  game  of  stiff  "  contract." 

Alice  Lake,  of  old  Metro  stardom  fame,  lunching  in  the 
First  National  cafe. 


THE  pre-nuptial  showers  for  Bebe  Daniels  started  six 
or  eight  weeks  before  the  ceremony,  which  took  place 
June  14  at  the  Beverly  Wilshire  Hotel.  All  of  her  friends 
(and  they  comprise  practically  all  of  the  Blue  Book  of 
Hollywood)  tried  to  outdo  each  other  in  doing  nice  things 
for  Bebe. 

At  a  perfume  and  handkerchief  shower  given  by  Mrs. 
William  K.  Howard,  and  Bebe's  girlhood  chum,  Marie 
Mosquini,  the  gifts  were  elaborate  to  the  gasping  point. 
Betty  Compson  brought  a  bottle  of  perfume,  whose  cost 
is  up  in  the  three-figure  division,  and  two  dozen  imported 
handkerchiefs.  Mildred  Davis  Lloyd's  gift  was  an  equally 
elaborate  bottle  of  perfume  and  a  costly  atomizer. 

The  following  day,  Constance  Talmadge,  one  of  the 
bridal  attendants,  entertained  at  luncheon  for  thirty  of 


Bebe's  close  girl-friends.  Other  parties  included  a  dim 
dance,  a  Mayfair  supper,  and  five  other  showers. 

In  order  to  avoid  a  rush  through  the  sidewalk  cro'\  ' 
Bebe  arrived  at  the  Hotel  at  an  inconspicuous  hour  in  ■ 
afternoon,  and  thus  the  curious  onlookers  who  love  to  ti^ 
the  bride's  bouquet  apart  for  a  souvenir,  were  cheatedj 
even  a  glimpse  of  Ben  Lyon's  choice.  One  hundred  guel 
attended  the  ceremony  and  two  hundred  were  bidden 
the  reception  immediately  following. 


r 


CONSTANCE  BENNETT  dancing  with  Lew  Ayres  \ 
the  Ambassador. 
John  Farrow  and  Dolores  Del  Rio  equally  occupied 
each  other  at  the  same  party. 

Conrad  Nagel  trying  to  find  a  quiet  corner  to  study  hi 
lines  for  his  new  picture. 

Sue  Carol  blending  maroon  and  green  color-schemes  for  h\ 
new  living  room. 

In  IQ24  Rudolph  Valentino  made  a  record  in  Spanish  o| 
a  small  self-recording  device.  The  disc,  just  discovered, yk 
to  have  one  million  copies.  ^\ 


ILL' 


WHAT  looks  (on  the  surface)  like  the  prize  publicitj^ 
gag  of  the  month,  is  the  announcement  that  Jin 
Tully  has  accepted  a  role  in  John  Gilbert's  new  picturfil 
"Way  For  A  Sailor."   Jim,  you  may  remember,  is  t\ 
promising  pugilist  who  rocked  Jack  to  sleep,  following  a|j 
little  argument  one  evening  in  The  Brown  Derby. 

Since,  then,  the  boys  have  shaken  hands  and  made  upi 
and  something  tells  me  that  some  bright  lad  at  M-G-l*l 
saw  a  swell  chance  to  capitalize  on  the  brawl  and  ofFere^fl 
Mr.  Tully  a  part  in  John's  picture.  Well,  possibly  there! 
are  some  fans  who  would  pay  money  to  see  the  boy  who{ 
said  "No"  to  a  Hollywood  idol.  I  dunno. 


llltC! 

Ik's  SI 


Looking  for  Tom,  Dick  and  Harry  rich  men:  temporarily 
deserting  the  Navy,  Clara  Bow  is  now  keeping  one  eye  open 
in  "Love  Among  the  Millionaires" 


He'll  write  a  theme  song  yet:  Gary  Cooper  finds  a  new  way  to 
kill  time    not  to  mention  harmony  -  hunting  for  that  key  he 
got  off  several  years  ago 


DOROTHY  KNAPP  under  strenuous  reducing  treat- 
ments for  her  "bareback"  scene  in  "Whoopee." 
Madge  Bellamy  dining  alone  in  the  Knickerbocker  Tea 
nam. 

Madge  Kennedy  in  Hollywood  for  picture  engagements. 
Lowell  Sherman  and  Roscoe  Arbuckle  lunching  together 
X  the  R.  K.  0.  lot. 


[^OLLY  MORAN  in  her  customary  "servant  girl" 
togs,  just  off  the  set,  was  asked  to  pose  for  some  pub- 
jity  pictures. 

"Are  you  going  to  wear  those  clothes,  or  your  own?" 
iquired  one  of  the  boys. 

"I  might  as  well  wear  these,"  sighed  Polly.  "My  own 
m't  look  any  better." 

•  •  • 

\ /TARCELITE   BOLES,    the    little  eight-year-old 
.^yJL  daughter  of  John  Boles,  was  attending  an  afternoon 
erformance  of  "The  Bishop  Murder  Case"  with  an 
lually  youthful  friend,  Rebecca.  As  the  action  grew  more 
!id  more  mysterious,  the  two  began  to  whisper. 
"Who  do  you  think  is  the  murderer?"  asked  Marcelite. 
"I  think  it's  Alec  Francis,"  whispered  her  companion, 
ferring  to  the  character  being  portrayed  by  that  sterling 
^ror. 

"Oh,  no,"  gasped  Marcelite,  "it  couldn't  be  Mr. 
rancis.  Daddy  introduced  me  to  him  at  the  studio,  and 
e's  such  a  charming  man!" 

•  •  • 

'^HESTER  MORRIS  and  his  wife  in  the  audience  of 
^  Bert  Lytell's" Brothers." 

Marian  Nixon  being  fitted  in  a  flesh-colored  lace  gown. 

Jim  Tully  lunching  at  the  Embassy  Club  in  shirt-sleeves. 


Don  Englian 


"It's  child's  play,"  says  MitziGreen,  imitating  a  pianist,  and 
rehearsing  some  musical  comedy  before  she  plays  in  "Love 
Among  the  Millionaires" 


Lenore  Bushman,  daughter  of  Francis  X.,  on  the  set  oj 
"Madame  Satan." 

Kay  Johnson  on  the  verge  of  tears  after  a  temperamental 
outburst  from  Cecil  de  Mille. 

•       •  • 

FLORENZ  ZIEGFELD  is  planning  to  return  immedi- 
ately to  New  York,  where  he  will  put  a  new  stage 
show  into  immediate  production.  "Ziggy"  isn't  afraid  of 
the  talkies  and- soundies.  "I  think  they  are  the  best  thing 
that  ever  happened,"  he  smiled," — to  run  people  back 
into  the  theaters.  The  talkies  will  never  be  a  serious 
menace  to  musical  comedy  so  long  as  they  cont;inue  to 
copy  it.  The  only  originally  handled  revue  number  I  have 
see  in  any  screen  musical  comedy  is  that  melting-igloo 
number  of  the  Eskimo  girls  in  '  Sunny  Side  Up.' " 

So  far  as  the  HollyAvood  beauties  go,  Ziegfeld  feels  that 
the  producers  overlook  some  of  their  best  numbers. 
His  personal  preference  has  already  gone  on  record. 
He  also  believes  that  Lois  Moran  has  a  splendid  stage 
presence. 

•       •  • 

HELL'S  ANGELS"  opened  with  a  gigantic  splurge 
at  Grauman's  Chinese,  with  all  the  trimmings  and 
flipperies.  So  spotlighted  and  radio-announced  was  this 
premiere  that  it  reminded  natives  of  the  good  old  days 
when  everybody  turned  out  for  openings.  The  price  of  the 
premiere  night  tickets  was  eleven  dollars  per — which  led 
a  couple  of  the  wags  to  believe  that  Howard  Hughes  must 
be  bent  on  getting  back  that  four  million  in  one  swoop. 

The  cost  of  this  production  has  been  a  big  feature  in  the 
advertising  and  publicity. 

One  Los  Angeles  billboard  carries  the  simple  legend, 
"$4,000,000."  That's  all,  but  it's  enough. 

{Continued  on  page  pj) 


Hurrell 


He  keeps  his  grip:  Rod  La  Rocque,  still  seated  on  Hollywood's 
Mt.  Olympus,  is  in  an  even  more  comfortable  position  to-day 
than  in  the  old  silent  days 


45 


1 


When  Greek 


He  Becomes 
Phillips  Holmes 
And  Plays  Apollo 
And  Five 


Other  Fellows 


Being  lold  that  he  was  the  classic  Greek 
type,  he  decided  to  become  a  marble 
player,  and  defend  himself  in  classic 
style  upper  leftt,  and  throw  things 
such  as  a  javelin  deft',  and  a  discus 
I  above  i 


46 


Meets  Sheik 


And.  shades  of  ihe  Greeks,  is 
thai  Apollo  above?  And  that 
list  fighter  at  upper  right  an 
early  Jack  Dempscy?  And 
that  runner  at  the  right  a 
prehistoric  Charlie  Paddock? 
No,  by  Homer's  beard.  It 
may  be  Greek  to  some  people, 
but  to  us  it 's  Phillips  Holmes 


His  Pace  Is  His  Fortun 


Eddie  Cantc 
Moves  Fast 
Talks  Fast 
And  Work 
In  The 
Daytime 

BY 

ROBERT  FENDER 


Alexander 


THERE  is  a  temptation,  in  writing  of  Eddie  Cantor, 
to  rnake  it  sobby  ...  a  story  to  sniffle  over.  For 
Eddie,  like  so  many  of  his  tribe,  fought  long  and 
hard  and  courageously  for  success.  The  fact  that 
neither  he  nor  his  good  wife  lost  faith  in  the  no-cash-to- 
carry  days  would  make  possible  a  pretty  little  idyl  of  the 
Courage  and  JVill-to-Win  variety.  But  the  first  glance  at 
Eddie  puts  to  rout  such  an  idea.  One  would  rather  write 
of  him  as  he  is  to-day,  very  much  alive  and  active,  than 
delve  into  how  he  got  that  way. 

Eddie  Cantor  is  downright  electric.  Maybe  everyone  is 
48 


that  way  in  the  East,  scurrying  this  way  and  that  with 
pep  messages  all  around.  Perhaps  we're  a  lazy  tribe  out 
here,  doing  just  enough  work  to  get  by  and  retiring  as 
quickly  as  possible  for  a  snooze  in  the  shade.  At  any  rate, 
Eddie  was  the  one  person  on  the  "Whoopee"  set  who 
looked  as  if  he'd  been  out  of  bed  for  at  least  an  hour.  His 
very  activity  made  him  conspicuous.  One  isn't  supposed 
to  work  out  here,  especially  during  working  hours.  It's 
only  after  cocktails  and  a  good  dinner  that  most  of  us 
open  our  eyes. 

Insight  Into  Interviews 

BUT  if  Eddie  presented  an  alarming  sight  at  work,  he 
became  doubly  upsetting  when  it  came  time  to  inter- 
view him.  And  now  is  as  good  a  time  as  any  to  let  a  little 
light  in  on  this  interviewing  business.  First  of  all,  it's  a 
downright  snap.  Going  out  on  an  interview  means  any- 
thing but  going  to  work.  You  arrive  at  the  victim's  house, 
find  out  what  he  has  on  ice,  make  away  with  his  better 
groceries,  swap  a  few  stories  about  the  good  old  times  and 
eventually  get  driven  home  in  a  lavender  Rolls-Royce.  If 
it's  a  hot  day  and  he  has  a  loggia,  you're  even  apt  to  toss 
off  a  few  hours'  sleep.  As  for  the  interview,  well- — very  few 
actors  have  anything  to  say.  And  even  if  they  did,  one  is 
apt  to  doze  off  in  the  middle  of  it.  It  must  be  dat  ol'  devil 
Southern  California  sun. 

Sympathize,  then,  with  me  when  I  learned  that  Eddie 
Cantor  had  an  opinion  on  every  subject  imaginable  and. 
what's  more,  he  intended  to  see  that  I  got  it  all  down 
straight.  Shed  a  tear,  then,  for  one  who  was  about  to  be 
forced  to  work  .  .  .  one  who  never  never  works  until  the 
proper  incentive  comes  along,  an  incentive  such  as  an 
eighteen-year-old  blonde  with  blue  eyes  and  things. 
{Continued  on  page  go) 


Rendezvous  -  Dee  -  O  -  Do 


Stock  markets  are  better  left  alone,  but  curb  exchanges — now  they're 
something  else  again.  And  Raquel  Torres,  a  self-made  man  if  there  ever 
was  one,  isn't  going  to  be  left  at  the  post.  M-G-M's  hat  is  oflf  to  her  after 
"The  Sea  Bat,"  and  now  she  is  going  to  step,  look  and  listen  in  "Never 
The  Twain  Shall  Meet" 

Hurrell 


49 


Turning 


50 


There  are  dimples — and 
dimples.  And  they  have 
their  uses,  believe  June 
Collyer.  Above,  she  turns 
on  the  kind  the  boys  write 
home  about  and  the  other 
girls  get  green  about — 
and  the  kind  that  comes 
in  handy  when  you  trump 
your  partner's  ace.  In 
the  center,  the  shy  kind 
that  turneth  away  anger 
and  traffic  cops'  sum- 
monses 


Btj^Ven  dimpled  darlings 
hawr  their  troubles,  be- 
lieve it  or  not.  And 
dimples  can  be  used  in 
ngry  moments,  as  well  as 
any  other  time,  says  June, 
turning  on  the  I  'd-like-to- 
tell-you-something  kind 
(left) 


Rich  ee 


A  Young  Man  of  Parts 


Kenneth  MacKenna, 
Tired  Of  Being 
A  Leading  Man, 
Wan  ts  C  haracter 
Roles 

By 

CEDRIC  BELFRAGE 


KENNETH  MacKENNA  is 
your  de  luxe  model,  super- 
heterodyne-performance 
talking  picture  hero.  He 
has  everyone  else  in  the  field  out- 
classed.  And  there  is  nothing  that 
^an  stop  him  in  Hollywood. 

The  producers  prayed  to  the  God 
Broadway,  when  talkies  hit  them, 
to  send  young  men  and  women  who 
could  really  do  things — not  just 
wield  a  profile.  And  Kenneth  was 
one-half  of  the  answer  to  their 
prayers.  He  has  so  much  on  the  ball, 
as  the  quaint  saying  is,  that  life  in 
Hollywood  opens  out  as  just  a  path 
of  primroses  and  buttercups  for  the 
term  of  his  natural  life.  He  has  the 
prospect  before  him  of  garnering  in 
the  mazuma,  week  by  week,  so  un- 
interruptedly that  in  the  end  he  will 

be  stifling  a  yawn  at  the  sight  of  a  thousand-dollar  bill  and 
lighting  his  cigarette  with  it.  And  eventually  he  will  wave 
good-bye  to  enormous  contracts  and  set  sail,  rather  bored 
with  it  all,  back  to  civilization,  whence  he  came. 

Hollywood  has  always  been  a  place  of  queer  happen- 
ings, of  preposterous  contrasts  and  ironical  twists  of  fate, 
liut  never  before  has  life  been  quite  such  a  bed  of  roses 
for  a  few,  and  quite  such  a  bed  of  brambles  for  the  herd, 
as  it  is  to-day,  under  the  scepter  of  King  Talkie.  The 
studios  need  really  sound  talent  desperately,  in  every 
branch  of  the  work.  How  much  really  sound  talent  lies 
undiscovered  in  the  herd,  nobody  is,  or  ever  will  be  able 
to  say.  But  for  anybody  who  has  had  the  "breaks" — the 
opportunity  to  display  talent — and  has  displayed  it,  there 
need  never  be  any  such  thing  as  worry  so  long  as  Holly- 
wood stands. 

He  Speaks  the  Languages 

THINGS  broke  right  for  Kenneth  MacKenna.  The  ar- 
rival of  talkies  found  him  a  leading  man  of  several 
years'  standing  on  Broadway.  He  had  been  blessed  by  a 
kmdly  Providence  with  a  chance  to  display  his  talent  in 
all  its  branches,  and  the  number  of  those  branches  had 


increased  with  the  passage  of  time,  by  reason  of  his  hard 
work.  He  had  fulfilled  the  office  of  leading  man  to  a  dozen 
stars  and  in  about  as  many  shades  of  dialect.  English 
plays,  Scotch  plays,  American  plays,  French  plays,  Ger- 
man plays — he  had  been  in  them  all.  And  he  had  become 
a  specialist  in  dialect  and  in  all  obscure  stage  uses  of  the 
voice.  When  talkies  started,  he  was  just  a  cinch  for  one 
of  the  fat  contracts. 

He  is  probably  as  versatile  with  his  voice  as  Lon  Chaney 
is  with  his  face.  And  his  various  European  dialects  carry 
conviction;  for  Kenneth  MacKenna  spent  his  early  years 
in  Paris,  and  spoke  French  before  he  spoke  his  native 
language.  Then  he  was  educated  in  England.  And  now, 
to  all  outward  appearances,  he  is  an  Englishman  of  the 
particularly  well-traveled  sort.  Actually,  though,  it  is  the 
Stars  and  Stripes  to  which  he  pays  homage. 

It  is  his  ability  to  switch  on  a  genuine  English  or  Amer- 
ican accent  at  will  that  makes  him  the  valuable  acquisition 
he  is  to  the  talkies.  His  European  dialects  will  stand  him 
in  good  stead;  but  this  business  of  English  vs.  American 
pronunciation  of  the  language  of  Shakespeare  and  ex- 
Governor  Smith  is  something  more  serious  altogether.  An 
{Continued  on  page  78) 

51 


H^"  Forgq 
He  Was 

Ronali 
Colmar 


Found  At  Last 
A  Place  Where  N 
One  Cared  W  h 
He  Was 

By    ROBERT  FENDE 


I RECENTLY  had  the  good  \m 
to  study  Ronald  Cohnan  at  tlos 
but  not  too  close,  range.  Now 
can  feel  with  Mr.  and  Mr 
Martin  Johnson,  when  they  retur 
from  the  tropic  fastnesses  with  a  secre 
or  two  about  the  wild  things.  M 
eyes  still  shine  with  the  wonder  I  hav 
witnessed.  I  am  still  impressed  wit 
the  honor  unsuspectingly  visited  upo 
me.  I  continue  to  tremble,  although  i 
has  been  over  these  many  days.  L 
me  tell  you  about  it. 

There  is  a  little  inn  on  the  Californi 
coast  half-way  between  San  Franciscc 
and  Los  Angeles,  which  was  mad 
especially  for  the  world-weary.  Celeb 
rities  go  there  to  get  away  from  thei 
celebrity,  for  in  that  country  no  one 
knows  or  cares  whether  you  are  ex 
President  Coolidge  or  the  Great  Horn 
Spoon.   Besides  these,  others  like  my 
self,  who  like  breakfast  in  bed,  luncheon 
beside  the  Pacific,  and  dinner  before 
open  pine  fires,  also  go  there.  We  are 
not   supposed   to   get   excited  when 
seated  at  the  same  table  with  the  gods. 
But  some  of  us  do. 

One  morning — I  think  it  was  right 
after  old  Mr.  Weeks  had  taken  the 
only  newspaper  with  him  to  his  room, 
leaving  the  rest  of  us  stranded — a  dark 
young  somebody,  wearing  a  cap  and 
trench  coat,  registered  and  was  shown 
{Continued  on  page  85) 


52 


amera 


Tidal  wave:  Corinnc  Griffith,  who  has  gone  down  to  the  seas 
again  to  park  in  her  bungalow  at  Malibu  Beach,  calls  a  friend  by 
the  semaphore  system.  Telephones  are  as  scarce  as  poor  people 


Where  a  man  can  be  free  and  easy:  William  Boyd  also  is  one  of 
those  who  gets  Away  From  It  All  by  resorting  to  his  hermitage  at 
Malibu  Beach,  where  he  is  his  own  cook  and  bottle-washer 


53 


CINEMA    SHOTS    FROM    COAST  T 


The  girl  said 
"Neigh":  going 
Western  in  "  Billy, 
The  Kid,"  Lucille 
Powers  (right)  as- 
serts that  it's  a  turf 
life,  but  proves  that 
when  it  comes  to 
riding  horses  she  can 
hold  her  own 


Dyar 

The  lengths  to  which  some  stars  go  to  be  in 
style:  Jean  Arthur  (above)  went  ransacking 
in  the  Paramount  wardrobe,  resurrected 
these  two  dresses,  made  in  1917,  and  was 
almost  up  to- date 


When  girls  had  yards  and  yards  to  play  in: 
Dorothy  Lee  (right),  all  ruffled  and  ready  to 
be  a  hoopee  girl  in  "Dixiana,"  wonders  what 
she  would  ever  do  if  she  had  to  sit  out  a 
cotillion 


High  comedienne:  some  are  low 
comediennes,  but  not  Beatrice 
Lillie  (right),  who  was  up  against 
a  stone  wall  in  the  movies  until 
she  could  be  heard  as  well  as 
seen,  as  she  will  be  in  "Are 
You  There?" 


This  business  of  making  comedies  is  sometimes  child's  play,  but 
Thelma  Todd  (above)  apparently  slipped  up  (or,  if  you  prefer, 
down)  and  landed  where  a  comedy-maker  seldom  does-  on  her 

face 


Bending  backwards  in  their  efforts  to  please  the  cameraman,  ten 
tanned  members  of  Pearl  Eaton's  chorus  (right)  give  away  a 
secret — revealing  to  a  palpitant  world  how  they  get  waves  in 
their  hair 

International 


54 


COAST   AND    BACK    TO    COAST  AGAIN 


Vaulting  ambitions:  that  high-voltage,  high- 
stepping  blues  singer,  Lillian  Roth  (above), 
is  in  a  position  to  go  over  again  and  get 
past  the  last  bar  which  stands  between  her 
and  stardom 


Will  pulls  another  one:  Oklahoma's  Senator- 
at-Large,  Will  Rogers  (left)  apologetically 
reckons  as  how  he's  a  boy  again,  in  his  latest 
reason  for  American  hysteria,  "So  This  Is 
London" 


A  better  man  than  you  are, 
Gunga  Din:  Fifi  Dorsay 
(left)  raises  zee  cane  so 
well  that  they  told  her  she 
could  put  on  zee  high  hat, 
if  she  would  be  a  tip-topper 
Autrey  in  "She  Wears  The  Pants" 


■Ik. 


What's  all  the  shooting  for?    Bill  Hart  has  come  down  out 
of  them  thsu-  hills  and  retirement,  and  allows  as  how  John 
Mack  Brown  needs  some  two-gun  teachin'  for  "Billy,  The 
Kid" 


Four  and  one  to  carry:   parrots  aren't  j)opular  these  days, 
but  Leila  Hyams   upholds  a  quartette   that   appear  in 
"The  Unholy  Three"  and  proves  that  four  out  of  five 
don't  have  it 


55 


Wh 


ere 


By 

RUTH  BIERY 


WHEN  you  conic  to  Hollywood,  you  will  had 
Sunday  a  difficult  day  for  star-gazing  unless 
you  heed  these  directions  which  we  have  so 
carefully  prepared  for  you. 
Did    I    hear   someone   murmur   something  about 
Church"?  Ah,  it  would  be  easy  if  we,  who  try  so  hard 
to  guide  you,  free  of  charge,  to  the  haunts  of  the 
famous  and  near-famous,  could  only  draw  a 
map  showing  the  locations  of  our  temples. 
But  it  would  be  just  so  much  time  wasted. 
The  Hollywood  stars  do  not  spend  the 
seventh  day  in  temples. 

It  isn't  that  they  are  not  religious  or 
serious  minded  or  don't  believe  in  the  Sun- 
day morning  appearance.    My  dears,  if 
they  were  not  reverent  (which  they  are), 
they  would  still  follow  the  instructions  of 
their  worthy  grandparents  and  appear 
on  each  seventh  morn  at  the  House  of 
Worship  if  there  were  possible  time 
for  it.  To  be  seen  walking  down  the 
main  aisle  between  the  crowded 
pews  in  their  latest  Greer  crea- 
tions, perhaps  among  those  who 
never  have  the  opportunity  to 
see  them  at  openings — would 
any  woman  in  Hollywood 
miss  such  a  platinum  op- 
portunity.?  Would  her 
press-agent  let  her.'' 
But  it  cannot   be,  no 
matter  how  much  we 
crave  the  chance  so 
innocently  offered. 
It  cannot   be  for 
those  who  sincere- 
ly  covet  the 
peace  and  quiet 
which  Ch u rch 
would   bring  to 


\ 


Lon  Chaney  goes  in  for  Sunday  movies,  taking  his  own  pro- 
ductions with  one  of  the  amateur  devices.  His  small  grandson  | 
is  invariably  starred 

them.  Even  Conrad  Nagel  has  been  forced  to  forego  hiijl 
Sunday  morning  ushering,  they  tell  me.  | 

Opportunity  Day 

YOU  have  read  before  that  the  demands  of  our  Holly-I 
wood   profession  are  more  strenuous,  more  nervej] 
racking,  more  unrelenting  than  those  of  other  occupa- 
tions.   People  in  other  worlds  do  have  their  nights  andji 
their  Saturday  afternoons  and  their  lunch  hours  and  early 
mornings  and — well,  they  do  have  time  for  washing  their  I 
hair  and  manicuring  their  nails  and  seeing  their  husband&J 
and  wives  and  aging  mothers. 

But  here — do  you  know  that  it  is  an  actual  fact  thati 
sometimes  Joan  Crawford  and  Douglas  Fairbanks,  Jr., 
scarcely  see  each  other  from  one  Sunday  to  another.''  Also 
Lilyan  Tashman  and  Edmund  Lowe,  Vilma  Banky  and 
Rod  La  Rocque,  Sue  Carol  and  Nick  Stuart — but  name 
over  the  happily  married  couples!  ("Perhaps  that's  the 
reason  they're  happy.?" — Shame  on  you!) 

Just  imagine  for  a  moment  that  you  are  Joan  Crawford. 
You  are  working  days  at  M-G-M  and  Doug  is  working 
nights  at  First  National.   You  leave  at  seven 
in  the  morning  so  you  may  have  plenty  of  time 
for  make-up  and  arrival  on  the  set  by  nine. 
Your  company  finishes  at  six  or  seven  or  eight 
in  the  evening.  He  leaves  at  five  in  the  after- 
noon so  he  may  be  on  his  set  by  seven.  He 
works  until  seven  in  the  morning.  Your 

To  locate  Greta  Garbo:  discover  the 
hottest  place  under  the  sun  in  Holly- 
wood, and  seek  the  spot.  There  you 
will  find  the  mysterious  one,  sun 
bathing 


TOT 


Sundays? 


Ken  Maynard  doesn't  get  enough  cowboy  exercise  week-days. 
He  holds  calf-roping  contests  Sundays,  and  will  be  glad  to  have 
you  try  your  hand 

cars  must  go  in  opposite  directions,  so  you  can't  even  pass 
each  other  to  wave  good  morning! 

Or,  suppose  you  both  work  in  the  daytime.  Hour  after 
hour  before  the  camera;  hour  after  hour  of  repeating  the 
same  scene  over  and  over.  Hour  after  hour  of  gruehng 
sun  arcs,  misunderstandmg  microphones,  determined  di- 
rectors, exasperating  supervisors.  What  would  you  do  in 
the  evenings.'  Sleep!  And  Sundays?  Get  acquamted  with 
each  other,  spoon  a  little!  And  if  one  is  working  and  the 
other  is  between  pictures.'  Practically  the  same  story. 
There's  scarcely  a  time  when  neither  is  working.  If  it 
should  happen — you'd  find  both  out  of  the  city. 

They  Go  Places,  Do  Things 

A GUI  DE-BOOK  of  the  churches  wouldn't  help  a  bit 
your  Sunday  search  for  Ramon  Novarro,  who  places 
his  Church  above  his  profession.  Or  for  Anthony  Bushell, 
who  trained  to  be  a  minister. 

But  we  want  you  to  spend  your  Sundays  to  advantage 
when  you  visit  our  city,  so  here  are  a  few  sign-post  tips 
which  should  be  of  inesti'mable  value. 

To  locate  Greta  Garbo,  take  out  your  binoculars  and 
study  the  sun.  Discover  the  hottest  ray,  locate  where  it 
strikes  Hollywood  and  with  the  aid  of  your  compass  seek 
the  spot.  There  you  will  find  the  mysterious  one,  sun 
bathing.  She  never  misses,  so  you  will  not  have  wasted  a 
minute. 

Rise  early  to  catch  up  with  Cecil  de  Mille.  He  has  one 
of  the  largest  Biblical  libraries  in  the  country,  and  reading 
it  has  taught  him  that  one  of  the  best  agencies  for  getting 
close  to  your  Maker  is  Nature.  So  he  spends  his  Sundays 
in  the  great  open  spaces:  the  ocean  (on  his  yacht)  in  the 
summer;  the  mountains  (at  his  ranch)  in  the  winters.  He 
leaves  early  and  stays  late.  He  takes  few  people  with  him 
— only  those  who  also  enjoy  communion  with 
Nature.  There  are  huge  gates  at  the  ranch  which 
are  all-exclusive.  Don't  try  to 
climb  the  fence.  It's  wired! 


A  Handy  Guide  To 
Where  You  Can  Find 


Your  Film  Favorites 


\  ilnia  Banky  has  hair  which  is  famous  for  its  high- 
lights. They  photograph,  too.  If  this  hair  isn't  kept 
clean,  it's  just  another  loss  of  film  footage.  She  washes 
it  herself,  as  a  matter  of  protection.  Sunday  is  the  only 
time  that  she  has  for  the  ablution.  If  you'll  drive  down 
Lanewood  in  the  morning  (Lanewood  is  one  block  long 
and  runs  off  La  Brea),  you  may  see  a  golden  avalanche 
streaming  from  the  second-story  window  of  a  white 
Colonial  house.  I  shouldn't  advise  you  to  go  in,  as  Vilma 
is  one  of  the  happily  married  and,  after  Rod  rises, 
their  actions  are  likely  to  be  strictly 
private. 

Sunday  Movies 

rON  CH.ANEY  is  another  who 
_j  will  require  early  rising. 
He  quits  work  every  after- 
noon at  five  o'clock,  even 
though  he's  in  the 
middle  ot  a  close-up. 
(Which  may  be  ex- 
plained by  the  fact  he 
doesn't  use  his  own 
face  in  a  picture.)  He 
gets  plenty  of  sleep 
regularly,  so  his  bed 
doesn't   tempt  him. 
But  Lon  is  a  movie 
addict.    He  special- 
izes in  taking  his  own 
productions  with 
one  of  the  amateur 
devices.   He's  off 
{Continued  on 
pagf  84) 


Climbing  the  patio  wall 
of  Bebe  Daniels'  house, 
you  will  see  at  least 
twenty  celebrities  at 
cards.  It  will  make 
your  mouth  water  to 
see  so  much  money, 
even  on  Sunday 


-a 


lerin 


o^an 


c 


By 

HELEN 
LOUISE  WALKER 


BILLY,  the  Kid,  lives  again! 
The  suave,  dapper,  hand- 
I  some,  soft-spoken  youth 
who  lived  and  killed  in  the 
days  of  our  grandfathers'  boyhood. 
The  lad  who  had  murdered  twenty- 
one  white  men  and  innumerable 
Mexicans  and  Indians  ("who  didn't 
count!")  before  he  died  a  violent 
death  upon  his  twenty-first  birth- 
day. 

Legend  made  him  a  sort  of  Ameri- 
can Robin  Hood,  back  in  those  days 
when   little   boys   carried  "penny 
thrillers"  to  school  inside  the  covers 
of  their  geography  books.  Legend 
said  that  he  robbed  the  wicked  rich 
to  give  to  the  virtuous  and  deserving 
poor,  and  that  he  never  killed  a  man 
without  a  good  and  sufficient,  not  to 
say  a  noble,  motive! 

Tales  of  his  winning  smile,  his 
gallantry  to  women,  his  generosity 
to  the  downtrodden  and  his  kindness 
"to  the  little  ones"  endeared  him  to 
that  sentimental  generation.  His 
skill  with  guns  and  with  horses, 
and  the  neatness  with  which  he 
foiled  his  pursuers  fed  the  imagi 
nations  of  adventure-hungry  little  boys 

Johnny   Mack   Brown  is   portraying  this 
strange  character  in  a  big,  "super-special"  production 
for  M-G-M.    King  Vidor  is  directing  and  months  have 
already  been  spent  in  shooting  "on  location"  in  the  very 
spots  where  Billy,  the  Kid,  was  wont  to  roam  and  steal 
and  kill. 

His  Gun  Barks  Again 

AND  here  is  a  thrill  for  the  youngsters:  Johnny  is 
^  using  the  very  same  gun  which  Billy  carried!  Bill 
Hart  lent  it  to  him  and  Bill  declares  it  was  bequeathed  to 
him  by  the  sheriff  who  shot  the  Kid  to  death  in  that  last, 
fatal  fight! 

"Even  the  officer  who  killed  him  liked  him,"  Johnny 
says.  "He  regretted,  all  his  life,  that  he  had  to  be  the 
one  to  do  it. 

"It  was  very,  very  strange — the  charm  that  fellow  had 
for  the  folks  who  knew  him.  Because,  really,  you  know — 
he  was  a  no-'count,  murderin'  villain!  I  don't  care  what 
they  say.  That's  what  he  was." 


Johnny  Mack  Brown 
Takes  A  Shot 
Or  Two  At  Billy, 
The  Kid 


Johnny  has  read  all  the  existing 
records  of  the  Kid's  career  of 
crime,  in  preparation  for  the  r6le. 

"Why,  when  we  were  in  Gallup, 
New  Mexico,  on  location,  we 
found  some  old  folks  who  actually 
knew  him.  I  went  down  to  talk 
to  them,  and  when  I  said  sonie- 
thmg  about  what  a  thoroughly 
bad  sort  he  was — they  were  ready 
to  fight  me!  They  were  that 
mad ! 

"  But  he  was  a  cattle-rustlin' 
horse-stealin',    murderin'  so- 
and-so.   He'd  kill  a  man  for  a 
meal.    He  robbed  and  mur- 
dered poor  Mexicans  and  Indians 
wherever   he   found   'em,    and  I 
reckon  no  one'll  ever  know,  ac- 
tually, how  many  white  folks  he 
killed. 


He's  a  Good  Bad  Man 


B 


UT  because  he  had  a  nice 


gallant  gestures,  they  make  a  hero  of  him. 
We've  cleaned  him  up  some  for  the  picture,  of 
course.  We  had  to." 
Johnny  looked  pretty  dashing,  himself,  with  his  thick 
dark  hair  all  tumbled,  a  heavy,  dark  make-up  on  and  a 
blue  flannel  blouse,  buttoned  rakishly  under  his  chin — the 
sleeve  torn,  as  if  in  a  recent  battle. 

"That  bird  just  plumb  had  a  screw  loose  somewhere," 
he  went  on,  in  a  tone  of  pained  protest.  "I  reckon  there 
was  a  little  excuse  for  him,  though — his  childhood  being 
what  'it  was. 

"You  know,  he  was  born  on  the  East  Side  in  New  York. 
His  father  died  while  he  was  still  a  little  shaver  and  his 
mother  took  him  out  to  some  little  town  in  Montana, 
where  she  started  some  sort  of  a  boarding  house  or  hotel. 

"The  Kid  used  to  see  two-gun  men  and  gamblers 
around  all  the  time  and,  like  lots  of  small  boys  without 
much  judgment,  he  thought  it  would  be  fine  to  be  like 
that.  Wild  Bill  Hickok — and  birds  of  that  feather,  you 
know. 

{Continued  on  page  gg) 


58 


f 


William  A.  Fraker 


No  snake  in  the  grass  is  Dorothy  Revier,  but  just  a  little 
blue  grass  girl  faced  with  a  clothes  problem.  For  how  could 
any  man  be  good  when  she  looks  like  that?  And  how 
could  Walter  Huston  help  being  what  he  is  in  "The 
Bad  Man"? 


59 


iififrm'  it  n 


Laurence  Reid 
Reviews 
The  New 
Photoplays 


1 


( 1 )  Above,  Maurice 
Chevalier  contributes 
his  Gallic  talent  with 
the  aid  of  Claudette 
Colbert  in  "The  Big 
Pond."  At  the  right, 
Vivienne  Segal  and 
Allan  Prior  lend  their 
voices  toward  making 
"Bride  of  the  Regi- 
ment" appealing.  Be- 
low, Clara  Bow  is  back 
with  part  of  the  fleet 
in  "True  to  the  Navy" 


Chevalier  Chews  Chicle 

MAURICE,  the  Paris  Personality  Boy,  is  what  th^ 
doctor  ordered  for  the  film  fans,  whether  he  porV 
tray  prince  or  pauper.  No  matter  what  the  vehicle,  Chev- 
alier and  his  old  straw  hat  make  an  unbeatable 
team.  In  "The  Big  Pond"  he  forsakes  the  musicals 
to  play  almost  straight  in  an  amusing  little  corned 
heavy  laden  with  hokum. 

Discovered  as  a  "Frenchie,"  Maurice  is  brought  to 
God's  Country  and  put  to  work  in  a  chewing-gum  i 
factory.  It's  all  a  conspiracy  to  show  the  girl  that  these 
here,  now,  foreigners  can't  hold  a  candle  to  our  one  or  ; 
two-hundred-percent  Amurricans.   But  Chewy  laughs  i 
last,  winning  the  girl  and  the  plaudits  of  the  audience  by 
inventing  a  rum-flavored  cud  that  flaunts  Volstead. 

With  all  this  delightful  nonsense  the  star  adds  an- 
other feature  to  those  ornamenting  his  bonnet  of  popu-  , 
iarity.  And  Claudette  Colbert,  who  has  her  own  stellait  j 
rights,  offers  an  agreeable  foretaste  of  what  may 
be  expected  of  her  in  better  roles. 

Rendered  Tunefully 

WAR  may  be  all  wrong  to  some  folks,  but 
to  "The  Bride  of  the  Regiment,"  it's  just , 
a  chance  to  give  in  gracefully.  The  picture  is  a** 
singing-cinema  version  of  that  operetta  from 
which  "The  Lady  in  Ermine  "  was  evolved  for  the 
silent  screen.  This  time  Vivienne  Segal  is  the 
semi-nude  descending  a  staircase.  Walter  Pidg- 
eon  is  the  amorous  huzzar  who  sleeps  so  inoppor- 
tunely, and  Allan  Prior,  the  bridegroom,  who  is 
on  the  outside  looking  in. 

The  music  has  been  subordinated  to  the  story, 
a  decidedly  risque  fragment  which  calls  forth 
embarrassed  laughter  from  the  audience  during 
its  more  intimate  moments.  The  plot,  you  know, 
is  about  the  girl  who  must  make  the  supreme 
sacrifice  in  order  to  save  her  brand-new  hubby 
from  the  villain's  firing  squad.  And,  gosh,  how 
she  hates  to.  But,  war  is  war.  Although  if  you 
believe  in  Santa  Claus,  maybe  you'll  agree  that 
it  was  all  a  dream.  The  few  songs  are  well  done. 

Neatly  Nautical 

TRUE  TO  THE  NAVY"  is  carefully  cut  to  cling 
form  fittingly  to  the  figure  of  Clara  Bow.  It  is  a 
slimmer  and  better  figure,  if  you  must  know.  And 
in  relegating  pounds,  Hollywood's  hot-haired  hoyden 
has  regained  pep.  If  not  an  outstanding  achievement, 
this  latest  film  is  at  least  better  than  several  recent  pred- 
ecessors. And  Clara's  obvious  effort  to  please  the  cus- 
tomers is  not  unavailing. 

Three  guesses  as  to  the  fable!  Yes,  that's  right  the 
first  time.  Clara  has  a  sweetheart  on  every  ship,  and 
when  they  all  reach  port  together.  Bow  takes  a  reef  in 
her  stern  sheets  and  flies  before  the  storm.  But  there's  a 
gunner  who  hits  the  bull's-eye  of  her  heart.  And  true  love 
triumphs.  Not,  however,  until  the  star  has  her  emo- 
tional moment.  And  not  before  there  is  a  battle-ro\  al 
between  the  Navy  and  a  mob  of  Tia  Juana  landlubbers. 


I 


60 


A  Movie  That  Moves 

IT'S  thorough  entertainment,  this  "Good  Intentions," 
which  breezes  across  the  screen  with  such  refreshing 
sprighthness.  It  is  that  rarity — a  movie  that  moves.  It 
has  verve,  vitality  and  vivacity.  It  sounds  a  new  note  in 
relief  of  the  routine  of  movie  monotony. 

The  story  is  a  debonair  drama  of  dashing,  high-hat 
highwaymen,  and  through  its  colorful  sequences  runs  a 
vivid  thread  of  romance.  The  dialogue  is  as  crisp  as  the 
characters  are  convincing.  And  William  K.  Howard, 
credited  with  the  creation  of  both,  has  contributed  in 
addition  a  clean-cut  cameo  of  directorial  craftsmanship. 

Edmund  Lowe  shares  ample  honors  with  Earle  Foxe. 
And  there  are  enough  laurel  leaves  left  to  adorn  the 
histrionic  brows  of  Marguerite  Churchill,  Regis  Toomey 
and  Henry  Kolker.  By  all  means  have  "Good  Inten- 
tions" among  your  movie  "musts."  It's  one  of  those 
rare  ones  which  you'll  remember. 

Sweet  Sentiment 

IHEY'VE  made  the  crux  of  "Courage"  cen- 
sor-proof by  shrouding  the  illegitimacy  of  a 
]  in  a  hazy  explanatory  dialogue  dealing 
with  dream  babies  and  spiritual  daddies.  In 
the  stage  play  the  youngster  was  frankly  the 

Eroduct  of  his  mother's  love  for  an  old  sweet- 
eart.     And    much   of  the   show's  dramatic 
strength  lay  in  that  fact. 

As  it  stands  \n  the  picture,  "Courage"  is  a 
sob-sister  story  of  mother-love,  which  perhaps 
deserves  to  rank  as  a  lesser  "Stella  Dallas." 
Belle  Bennett  plays  the  persecuted  mother  with 
sincere  enjoyment,  and  her  conception  of  the 
character,  while  sugary,  will  be  approved  by 
sentimental  movie-goers.  Leon  Janney,  as  the 
youngest  of  her  brood  of  seven,  proves  an  ex- 
cellent player,  devoid  of  the  precociousness  so 
objectionable  in  many  sub-juveniles.  Marian 
Nixon  is  pretty  florid  as  the  fault-finding  daugh- 
ter, and  Blanche  Frederici  superb  as  the  hatchet- 
faced  aunt. 

First-Rate  Talkie 

HERE  is  our  erstwhile  girl-friend,  "Ex-Wife,"  all 
cleaned  up  and  called  "The  Divorcee."  For  the 
most  part,  the  picture  follows  in  the  footsteps  of  the 
book  with  a  very  fair  fidelity.  Only  in  the  final  flashes 
has  Hollywood  weakened  so  that  Norma  Shearer  fin- 
ishes her  picture  in  the  embrace  of  Chester  Morris.  Mean- 
time much  footage  is  devoted  to  the  extra-marital 
affairs  of  the  heroine,  whose  initial  error  is  credulity  in 
believing  her  husband's  credo  of  a  single  standard. 

The  picture  adds  to  Miss  Shearer's  stature  as  an 
actress.  She  makes  an  alluring  heroine,  and  her  por- 
trayal benefits  through  new  confidence  in  her  ability. 
Apparently  she  is  being  carefully  groomed  for  new 
heights  of  stardom.  After  "The  Divorcee"  there  seems 
no  rca.son  she  shouldn't  gain  them.  Chester  Morris  does 
well  with  a  slender  role,  and  in  this  different  type  part 
renews  confidence  in  his  talent.  A  succession  of  gangster 
portrayals  very  nearlv  put  Chester  on  the  spot. 


c 


THIS  MONTH 

Courage  The  Big  Pond 

The  Divorcee 
Bride  Of  The  Regiment 
Good  Intentions 
True  To  The  Navy 


(2)  Above,  Edmund 
Lowe  and  Marguerite 
Churchill  have  their 
romantic  moments  in 
"Good  Intentions."  At 
the  left,  Belle  Bennett 
has  another  appealing 
mother  role  in  "Cour- 
age"— with  Leon  Jan- 
ney as  the  youngest  of 
the  brood.  Below, 
Norma  Shearer  and 
Chester  Morris  make 
"The  Divorcee  " 
worth  seeing 


61 


d'Ora 


A  Follies  girl  who  became  an  actress,  Claire 
Luce  has  the  talkies  conquered  in  three  ways. 
She  can  dance.  She  can  act.  She  has  those 
certain  things.  Watch  her  step,  both  in  and 
after  "The  Sea  Wolf 


d'Ora 


Hal  Phyfs 


p-D-Doing 


H-H-His  S-S-Stuff 


B  y 

HERBERT 
CRUIKSHANK 


IT  was  that  eerie, 
weary,  after 
midnight  hour 
when  Broadway 
wipes   out   its  ghttering 
make-up  in  the  darkness  of 
hefore-dawn.     That  time  of 
murk   and   mystery  when  the 
back-fire  of  a  motor  may  be  the 
chop-chop  of  a  machine-gun.  When  Times 
Square  roustabout-towns  are  taken  for  rides." 
Unless  the  bandits  are  Scotch.   In  which  case  the  victims 
go  for  a  walk,  instead. 

Scouting  strange  shadows,  the  hospitable  lights  of 
"Dave's  Blue  Room"  finally  glimmered  through  the  gray 
gloom  like  a  spot  on  a  dark,  deserted  stage.  Before  the 
door,  standing  patiently  at  the  curb,  was  one  of  those  strange 
combinations  of  horse-and-wagon  which  rumble  with 
muffled  rattle  through  New  York's  night  like  some  noc- 
turnal creature  of  another  age. 

And  before  the  horse  stood  a  dapper  figure,  one  eye 
darkened  by  a  cocked  derby — the  other  brightened  by  the 
reflected  illumination  of  a  huge  cigar.  It  was  Frisco.  If  you 
don't  know  him  you  will  soon.  He  was  feedmg  the  horse 
crullers  out  of  a  paper  bag.  A  cop  paused  on  his  speakeasy 
route  and  grinned: 

"Hey,  there,  Joe,  get  away  from  that  horse's  head." 
"J-j-just  seein'  how  m-m-many  cr-cr-crullers  he'll  eat 
b-b-before  he  wants  a  cup  o'  c-c-cofFee,"  responded  Frisco, 
from  that  corner  of  his  mouth  unoccupied  by  the  cigar. 

And  perhaps  this  little  incident  serves  as  well  as  any  as 
an  introduction  to  Joe  Frisco,  the  Broadway  buffoon  who 
has  stuttered  his  way  into  a  ten-grand-a-week  movie  con- 
tract w\th  Warner  Brothers.  So,  folks,  meet  F^risco.  And 


Frisco,  meet 
folks. 

Maybe  you've  seen 
his  imitation  of  Helen 
Morgan's  piano-sitting 
act  in  that  two-reeler  called 
"The  Benefit."  No?  Well, 
well,  well.  You  must  come  over. 
It  had  bankers  and  bootleggers  roll- 
ing in  the  aisles.  Helen  herself  went  to 
Europe  to  keep  from  getting  hysteriral. 
These  talkies  are  taking  the  talent  right  off  Broadway  and 
throwing  it  from  Hollywood  to  the  screens  of  Sauk  Center. 

Top-Piece  and  Mouthpiece 

FRISCO  has  done  more  for  the  derby  manufacturers 
than  anyone  except  "Our  Al."  The  old  iron  hat  is 
standard  equipment,  on  or  off.  He's  saved  his  fellow  men 
from  tobacco  heart  by  smoking  all  the  world's  worst  cigars 
himself.  And  he's  demonstrated  that  a  tripping  tongue  has 
more  commercial  value  than  a  hare-lip.  Or  even  Ben 
Turpin's  eyes. 

For  F  risco  stutters  like  a  Ford  on  a  Hollywood  hill. 
"W-W-Warner  Brothers  s-s-sent  for  m-m-me,"  stam- 
mers Joe,  "and  offered  t-t-to  pay  eight  gr-gr-grand  a 
w-w-week  if  I'd  g-g-go  to  Hollywood.  I  t-t-tried  to  s-s-say 
's-s-sure.'  B-b-but  they  thought  I  was  h-h-hesitating. 
And  b-b-before  I  c-c-could  s-s-say  'yes'  they  r-r-raised  the 
ante  to  t-t-ten  thousand!" 

He  was  first  heard  of  as  the  inventor  of  a  dance  called 
"Walking  the  Dog."   With  the  iron  hat  and  the  Camera 
Corona  he  featured  it,  one  night  about  fifteen  years  hack, 
at  a  Coney  Island  jernt  called  "College  Inn."    He  mav 
{Continued  on  page  Q4) 

6.^ 


^1 


Ifs  The  Likes  of  You,  JoC  BrOWn; 

Tell  us  it  isn't  so,  Joe!  Tell  your  Great  Unseen  Audience  your 
little  pal  isn't  Joe  E.  Brownie!  Tell  us  those  aren't  your  toes  that 
you're  turning  up!  But  don't  try  to  tell  us  that  faces  are  made, 
not  born.   We  know  better.  We  kiddies  know  a  wise- crack  when 

we  see  one 

64 


Miss  Moran,  ^^ 

To  Xou,  Sir! 


BY 
DOROTHY 
SPENSLEY 


And  Another  Calamity 
Threatens  Harassed 
Hollywood 


I'M  sick  of  this  interview  business,"  said  Polly,  a  baleful  gleam  in  her 
bright  blue  eyes.  She  hitched  her  skirt  belt  to  a  more  comfortable 
position  and  continued: 
"Nobody  ever  writes  the  truth.   They  talk  to  me  and  then  go 
away  and  write  what  they  want.  They  make  me  out  a  roughneck. 
"I'm  not  going  to  have  any  more  interviews.  Let  somebody  else  be 

the  goat.  Give  them  to —  to  

"Why,  there  was  one  story  ..."  She  paused,  moistened  her  lips 
with  her  tongue,  and  a  crafty  look  stole  into  her  eyes.  Two  people 
hurriedly  left  the  room. 

"Sa-ay!  You're  the  one  who  wrote  it!" 

Oh,  sweet  shades  of  Garbo,  Moran  of  Metro-Goldwyn-Mayer  is 
going  lady-like.  She's  not  going  to  be  interviewed  any  more.  She's 
going  to  retire  like  the  Scandinavian  into  the  citadel  of  silence.  She's 
tired  of  being  misquoted  and  misunderstood. 

Bill  Haines,  half-mast  the  flag  at  the  front  of  your  new  gold-and- 
white  home!  Your  little  pal  is  turning  refined. 

Marie  Dressier,  weep!  and  let  the  hot  tears  course  down  your 
mobile  cheeks.  Your  philm  playmate,  the  little  gal  who  gives  you 
lines  and  takes  your  cracks — sometimes;  your  drinking  partner  of 
the  immortal  "Callahans  and  Murphys;"  your  cinema  sister  of 
"Dangerous  Females"  and  now  of  the  one  they're  calling  "Caught 
Short,"  is  putting  on  the  Ritz. 

0  temporal  0  mores!  What's  happening  to  Hollywood.^ 

Well  Enough  for  Some 

IT'S  well  enough  for  tempestuous,  torrid,  tantalizing  Lupe  to  get 
genteel  under  the  gentle  guidance  of  gaunt  Gary,  but  why  does 
Polly  have  to  do  it? 

It's  all  right  for  Love  and  Douglas,  Junior,  to  work  a  refining  in- 
fluence on  our  dancing  daughter,  Joan;  to  slip  a  wide  old-fashioned 
wedding  ring  on  the  correct  finger  and  get  her  all  worked  up  over 
L'Aiglon  and  other  highbrow  matters,  but  does  that  mean  that 
Polly,  our  phunny  phrolicksome  Polly,  has  to  go  Emily  Post.? 

It's  all  right,  I  suppose,  for  Alice  White  to  get  gentle  and  dovelike 
under  the  radiant  administrations  of  Cy  Harriett,  to  modulate  her 
voice  and  lengthen  her  skirts  and  drive  about  in  a  sleek  car.  But 
she's  too  good  an  example.  Polly  wants  to  follow  suit. 
Oh,  Miss  Moran,  please  say  it's  only  a  pose! 
"Yeah,  you  were  the  one,"  said  Polly,  draping  her  beaded  bag 
over  her  left  knee  and  shifting  her  gray  caracul  coat  a  bit  to  the 
windward.  "  My  mother  read  it  and  said  '  I  suppose  it's  all  right,  but 
couldn't  she  have  given  me  five  years  in  it.?'" 

Oh,  what's  going  to  happen  if  Polly  goes  Godey.?  Oh,  Marion 
Davies,  what's  going  to  happen  to  your  parties.?   Who's  going  to 
make  vou  giggle  and  shriek?  Oh,  alack  and  alors!  Oh,  weal!  Oh, 
,1 


■  I 


woe  I 


Who  is  going  to  pose  for  gag  pictures,  grapefruit  masked  by  a 
{('.n^uinufd  on  page  Qj) 


65 


Vm  Tired  of  Mj 

Eddie  Quillan,  Sail) 
Illustrate  That  Song 


"The  very  girl  I 'm  fondest  of 
Is  good  for  nothin '  when  it 's  time  to  love. 
I'm  gettin'  tired — tired  of  my  tired  girl. 
When  I  just  craves  to  have  her  fuss, 
You'll  find  her  in  the  arms  of  Morpheus. 
I'm  gettin'  tired — tired  of  my  tired  girl." 

(*From  the  Patht  Production,  "Night  Work' 


Tired  Man 

Starr  And  Two  Dummies 
And   Certain  Feeling 


"I  must  say- 
He's  okay,  in  his  way. 
But  his  way  don't  go  far. 
Now  he's  through.  I  am  too. 
I  want  a  Lochinvar. 
The  man  for  me  will  have  to  be 
Equipped  with  oceans  of  vitality. 
I'm  gettin'  tired — tired  of  my  tired  man." 


My  Love  Life 


Aj  told  by  Mickey  Mouse 

TO  CEDRIC  BELFRAGE 


YOU  ask,  can  an  animated  cartoon  have  intimate 
moments?  Naturally,  I  answer.  Why  not  an 
animated  cartoon  just  as  well  as  any  of  the  hu- 
man cartoons  who  call  themselves  stars  in  Holly- 
wood nowadays?  Intimate  is  hardly  the  word  for  some  of 
my  moments — and,  if  you  will  excuse  the  vulgarism,  how! 

It  is  no  earthly  use  for  jackasses  and  prodnoses  to  yell 
at  me:  "But  you're  only  a  drawing!"  Summoning  all  the 
dignity  at  my  command,  I  would  remind  them  of  what 
happened  to  Alice,  of  the  Wonderland  Alices,  when  she 
was  placed  on  trial  for  her  life  by  the  Ace,  King,  Queen, 
Jack,  Ten  and  digits  of  Hearts  and  Clubs  and  Spades  and 
Diamonds.  "Why,"  she  said,  with  great  rudeness  and 
impertinence,  "you're  nothing  but  a  deck  of  cards!" 
As  a  matter  of  fact,  she  said  "pack  of  cards,"  because  she 
was  English,  but  the  insult  was  there  just  the  same.  All 
the  cards  fell  on  top  of  Alice  and  it  was  very  nearly  coffins 
for  her.  The  moral  is:  Be  polite  to  one  and  all,  keep  cool 
with  Coolidge,  be  nonchalant  and  respect  the  eighteenth 
amendment. 

Talking  of  the  eighteenth  amendment  reminds  me  of 
the  time  I  ran  for  cover  from  a  sudden  storm  and  found 
myself  in  a  deserted  house.  Whether  the  place  was  really 


Mickey  Mousd 
Moments  With 


haunted  or  I  was  just  seeing  things,  of  coui 
I  can't  say  for  sure.  All  I  can  say  is  that  fror 
that  day  to  this  I  haven't  touched  a  drop  of  that 
Hollywood  bootlegger's  stuff.  No,  sir;  I  change^ 
my  source  of  supply  pronto,  and  since  then  I'l 
happy  to  say  there  have  been  no  repeats  on  thj 
incident. 


I 


Be  Intimate,  But  Careful 

WOULDN'T  have  mentioned  the  matter  in 

  an  interview  on  my  intimate  moments,  had 

I  not  felt  the  necessity  of  warning  my  friends  in  movie- 
land,  especially  the  kiddies,  that  you  can  get  intimate 
with  the  wrong  kind  of  bottle,  just  as  you  can  with  the 
wrong  kind  of  girl.  My  theory  of  life  has  always  been: 
Be  intimate,  but  mind  with  whom  or  what!  Virtue  may 
be  its  own  reward,  but  an  intimate  moment  properly 
chosen  is  what  gives  life  its  flavor,  its  bouquet. 

My  pictures  try  to  bring  this  point  out,  of  course.  M 
character  is  that  of  an  unfortunate  mouse  who,  througl 
lack  of  foresight,  stumbles  into  situations  where  malignant 
forces  are  almost  too  much  for  him.  We  did  the  haunte 
house  incident  as  a  picture  (with  talking  and  sound)  be 
cause  of  the  wonderful  moral  contained  in  it.  I  think 
Mr.  Hays  is  doing  a  great  work  in  trying  to  make  the 
movies  an  influence  for  good,  and  I  am  behind  him  with 
every  bone  in  my  body  and  every  curl  in  my  tail.  If  the 
haunted  house  picture  didn't  influence  a  few  kiddies  an 
grown-ups  to  stop  doing  business  with  bad  bootleggers, 
miss  my  guess.  And  so  it  is  with  my  other  pictures. 

But  I  must  ask  your  pardon;  I  am  digressing.  Afte 
all,  Mr.  Hays  has  no  place  in  an  interview  on  my  mtimate 
moments,  or,  for  that  matter,  on  anybody  else's.  Much 
as  I  admire  the  man,  I  would  not  try  to  make  it  appear 
that  I  was  ever  really  intimate  with  him.  He  is  more  of 
a  god  to  me — you  know  the  feeling. 

We  Can't  Keep  a  Secret 

FIRST  and  foremost,  of  course,  in  an  interview  such  as] 
this,  I  have  to  mention  the  real  love  of  my  life — Minnie! 
Mouse.  Minnie,  as  my  vast  public  knows,  works  as  my! 
leading  lady;  at  least,  she  says  I  work  as  her  leading  man,  j 
but  that  of  course  is  simply  a  young  girl's  idle  prattle.  I 
may  as  well  confess — for  we  stars  of  the  screen  can  keep] 
nothing,  not  even  the  holiest  things,  secret — that  ever 
since  the  first  time  Minnie  kissed  me  and  blew  heart-shaped 


Iill 

[III 


«:  Bi 
itju 


'md  Other  Things 


"alks  About  Intimate 
A3.rz  Bow  And  Others 


ibbles  into  the  air  as  she  did  so,  my  heart  has  not  been 
y  own. 

I  gave  it  then  into  her  keeping,  and  she  still  has  it.  I 
id  been  kissed  before — what  mouse-of-the-world  has 
)t.'  But  this,  I  knew,  was  something  different.  Minnie 
m  take  my  heart  and  make  it  dance  a  jig  in  thin  air  as 
e  kiss,  or  make  it  stand  to  attention  and  then  fade  from 
ght  just  as  if  she  were  Houdini.  We  have  tried  to  show 
lis  little  trick  of  Minnie's  in  my  pictures.  I  have  never 
)and  anyone  else  who  can  kiss  like  Minnie,  and  all  the 
lost  thrillingly  intimate  moments  of  my  whole  life  have 
c  en  with  her. 

As  for  the  fantastic  stories  that  have  been  circulated 
)upling  my  name  with  that  of  Clarabelle  Cow,  I  can 
Illy  strive  to  maintain  my  composure  and  state  in  an 
^en  voice  that  they  are  false.   Not  that  Clarabelle  is 
ot  an  attractive  enough  animal,  as  cows  go.  But 
lollywood  is  like  that;  if  you  are  seen  twice  in  public 
k'ith  a  cow,  everybody  at  once  thinks  the  worst  and 
:arts  spreading  scandalous  gossip.   What  if  I  did  give 
larabelle  the  lavaliere  cowbell  which  she  wears  around 
er  dainty  neck?  And  what  if  I  did,  on  perhaps  two  or 
iree  occasions,  take  her  to  lunch  at  the  Brown  Derby 
nd  to  dance  at  the  Roosevelt.' 

Good,  Clean  Fun  Spoiled 

'T  was  only  what  common  kindness  necessitated;  and 
if  Horse-Collar  Horace,  that  dreadful  wet  blanket,  to 
^om  Clarabelle  has  the  misfortune  to  be  married  in 
rivate  life,  had  not  ambled  into  the  Derby  in  the  wee 
ma'  hours  one  night,  just  as  I  had  sliced  a  spare-rib  into 
Harabelle's  lap,  none  of  the  absurd  gossip  would  ever 
ave  started.  Horse-Collar  is  fanatically  opposed  to  any 
ort  of  clean  fun,  and  simply  could  not  see  the  joke.  The 
Tiprint  of  his  hoof  is  still  with  me,  and  as  I  slip  into  my 
ajamas  each  night  it  starts  me  to  pondering  on  the  im- 
(ossibility  of  malcing  anyone  in  Hollywood  see  the  clean 
ide  of  an  intimate  moment. 

This  sort  of  thing  will,  I  hope,  give  my  fans  some  idea 
f  what  we  stars,  apparently  so  carefree  on  the  screen,  have 
o  go  through  in  our  private  lives  in  Hollywood.  Of 
ourse,  I  just  love  Hollywood.  If  I  had  to  leave  it,  I 
hould  die  in  twelve  hours.  But  a  more  malodorous 
ollection  of  foul  minds  than  there  are  in  this  town  I 
lever  hope  to  find.  It  is  useless  to  expect  anyone  to  under- 
tand  that  one  has  ideals.    Anywhere  else,  a  platonic 


affection  for  a  cow  would  be  accepted  as  a  natural  and  a 
delightful  thing.  In  Hollywood,  all  the  beauty  and  poetry 
of  a  friendship  like  that  is  dragged  in  the  mud.  That  is  the 
price  you  have  to  pay  for  being  a  star  of  the  movies.  No 
wonder  we  get  that  Pagliacci  feeling,  something  chronic! 

My  Clara  Bow  Moments 

IT  has  been  said  of  me,  too,  that  moments  I  have  spent 
in  Clara  Bow's  company  have  been  of  an  intimate 
character.  That  is  true,  and  I  am  proud  of  it;  and  any- 
body who  thinks  that  means  what  they  think  it  means, 
can  just  go  run  round  the  block.  Few  of  us  young  fellows 
in  Hollywood  have  not  at  one  time  or  another  fallen  under 
the  spell  of  the  Divine  Clara.  I  came  chronologically  be- 
tween Gilbert  Roland  and  Victor  Fleming  in  the  list  of 
Clara's  boy-friends.  Clara  and  I  used  to  ride  for  hours  on 
the  roller-coasters  at  Ocean  Park,  and  while  she  tenderly 
tore  off  the  lobe  of  my  ear  with  her  teeth  I  would  slowly 
throttle  her  with  my  tail — which,  by  the  way,  she  always 
thought  had  "It."  Ah,  happy  nights!  Moments  of  sweet 
intimacy  never  to  be  repeated! 

Clara  had  a  sweet,  soothing  way  of  doing  things  which 
was  in  a  class  by  itself.  But  she  could  not  juggle  with  my 
heart  as  Minnie  Mouse  does.    Finally,  one  day,  she 
{Continued  on  page  g6) 


It  Was  Hollywood  or  flse 


Hurrell 

BY  way  of  proving  that  all  nice-girl  ingenues 
are  not  corralled  among  the  Mary  Brians, 
I  Fay  Wrays,  Jobyna  Ralstons,  Janet  Gaynors  and 
Sally  Blanes  of  Hollywood,  Miss  Mary  Lawlor 
has  come  out  of  the  East.  With  a  genteel  background  of 
home  and  mother,  a  well-modulated  speaking  voice  and  a 
taste  for  simple,  tailored  clothes,  she  could  as  well  be 
Miss  Mary  Lawlor  from  ol'  Virginny  or  other  points 
South.  The  Broadway  note  is  slightly  incongruous, 
Broadway  being  Broad  Way  to  so  many  of  us. 

Just  a  nice  girl,  Mary.  In  turn,  she  reminds  you  of 
Mary  Brian,  Lois  Moran  and  Marilyn  Miller.  The  Miller 
resemblance  is  purely  facial;  but  she  thinks  and  talks 
right  up  the  same  street  with  Mary  and  Lois.  Inci- 
dentally, Paramount's  baby  Brian  is  her  favorite  screen 
personality.  Which  makes  it  nice. 

That  the  new  Miss  Lawlor  should  be  playing  a  minister's 
daughter  in  her  second  sound  picture  opposite  Richard 

70 


And  Now 
Mary  Lawlor 
Has  No  Time 
For  The  Stage 


By 

DOROTHY  MANNERS; 


Dix,  "Square  Dice,"  is  altogether! 
fitting  and  proper.  Not  that  she's 
prudish — I  don't  know  where  people 
get  such  ideas  about  ministers' 
daughters,  anyway.  She  has  a  good 
throaty  laugh  and  a  very  workable 
sense  of  humor.  But  on  the  other 
hand  you  wouldn't  tell  her  that  one 
about  the  night-clerk. 

She  Had  No  Choice 

I   -^M^^        "P)  ACK  on  Broadway  she  danced 
TrJ^^k       Ij  and  sang  and  smiled  her  way 
nl    y^^^       through  various  musical  comedies 
f'  —"Good  News,"  "Queen  High," 

and  "Follow  Thru."    She  loves 
j  'fl^       the  stage — she  might  have  been 

^  \  there  yet,  if  there  were  any- 

»  thing  left  of  it.    But  when  the 

talkies  moved  right  up  Forty- 
Second  Street  to  the  tune  of 
two  dollars  per  ticket  and 
frightened  the  Messrs.  Dil- 
lingham, Shubert  and  Zieg- 
feld  out  of  a  year's  growth 
of  musical  comedies, 
Hollywood  was  forced 
on  Mary.   It  was  Hol- 
lywood or  else. 
She  views  our  little  town 
under  a  rather  skeptical 
eyebrow  that  is  just  a  little 
higher  than  its  mate.  Holly- 
wood is  nice,  but — "I'm  a  little 
suspicious  of  it,"  she  explains, 
r^^—      w      tucking  in  a  wisp  of  nearly-but- 
not-quite-blonde  hair  under  a  gray  felr 
hat.  She  pauses,  then  decides  to  end  our  suspense. 

"It  is  such  a  strange  place.  I  hardly  know  how  to 
explain;  it  rather  swoops  you  up  in  the  most  personal  sort 
of  intimacy,  and  yet  there  is  little  real  friendliness  here. 
I've  been  here  eight  months  and  I  have  many  what  you 
might  call  'gusty'  acquaintances;  but  I  feel  that  only  one 
or  two  are  real  friends. 

"Not  long  ago  I  was  invited  into  a  Hollywood  club  of 
young  professional  people.    I  was  awfully  flattered,  but 
{Continued  on  page  lod) 


\ 


from 


Out  where  men  are  bigger  and  badder  and  women  love  'em,  there's  a  tougher  than-usual 
hombre  you'll  want  to  watch  out  for,  stranger.      He's  quick  on  the  trigger  and 
he   keeps  what   he   knows  under   his  sombrero.    Huston's  his  name — Walter 
Huston.  And  he's  makin'  a  reputation  for  himself  as  "The  Bad  Man" 

Lon^worth 


71 


Bert  Longworth 


^       Camera  Angling 

Another  reel  unwinds  and  reveals  Loretta  Young  having  a  bite  between  meals.  What's 
that  you  said?  "There's  something  fishy  here?"  You're  right.  Thar's  fish  in  them  thar 
rills,  and  there's  bound  to  be  a  catch  with  a  camera  clicking 


72 


*When  women  use  the  wrong  soap 
my  work  is  doubly  difficult 

.  .  .  /  certainly  recommend  Palmolive" 


says 


Dr.  N.  G.  Payot 

Parisian  Beauty  Expert 
Graduate  of  the  University  of  Lausanne 


'Beware  of  soaps  that  harm  the  skin.  Beware  of  free  alkali, 
caustic  soda,  harmful  irritants  in  soap.  Ordinary  soaps  may 
irritate  your  skin.  You  can  use  Palmolive  without  risk  be- 
cause it  is  an  absolutely  pure  soap." 


The  best  way  to  safeguard 
the  beauty  of  the  skin  is  the 
regular  use  of  this  soap 
made  of  olive  and  palm  oils 


WHEN'  women  use  the  wrong  kind  of 
soap,  my  work  as  a  beauty  expert  is 
doubly  difficuli.  The  woman  who  wants  to 
help  her  beautician  must  use  a  soap  which 
offers  everj-  guarantee  of  purity.  I  can  cer- 
tainly recommend  Palmolive  Soap  because  it 
is  one  of  the  purest,"  says  Dr.  N.  G.  Payot, 
graduate  of  the  University  of  Lausanne. 

"Vegetable  oils  have  a  most  delightful 
effect  on  the  skin.  It  is  the  palm  and  olive 
oils  in  Palmolive  Soap  which,  blended  art- 
fully, give  a  smooth,  rich  lather,  which  is 
most  beneficial." 

You  have  probably  heard  of  Mme.  Payot 

Certainly,  if  you  have  been  to  Paris,  you 
know  the  smart  salon  of  Mme.  Payot.  And 


Dr.  Payul's  booHft.  "Physical  Cullui  f  of 
I  lie  Face,"  tells  how  to  use  her  Cream  Ao.  1 , 
Oil  ion  So.  1  and  ImIioh  Ao.  2  in  the  special 
Payut  exercises  for  which  she  is  so/amons. 


in  this  country  you  no  doubt  have  heard  of 
her  reputation  as  a  beauty  expert. 

Many  of  our  own  specialists  have  studied 
with  her  abroad  and  they,  too,  recommend 
Palmolive  Soap  to  combat  the  countless  dan- 
gers that  threaten  complexion  beauty.  There 


PALMOLIVE  RADIO  HOUR -Broadcast  every  Wednesday  niKht-trom  8:30  to  9:i0  p.  m..  Eastern  time; 
7; 30  to  H:30  p.  m  ,  Cetitral  time;  6:30  to  7:30  p.  m..  Mountain  time;  5:30  to  6:30  p.  m.,  Patific  Coast  time— over 
>X^F.AF  and  39  stations  associated  with  The  National  Broadcasting  Company. 


12  Rue  Richepanse,  Paris 

are  more  than  23,720  specialists  who  advise 
daily  treatments  with  this  vegetable  oil  soap. 

This  is  the  twice-a-day  home  treatment 
advised  by  thousands  of  celebrated  beauty 
shops:  make  an  abundant  lather  of  Palmolive 
Soap  and  warm  water.  Massage  this  gently 
into  the  skin  of  face  and  throat.  As  you  rinse 
it  off  you  can  feel  the  impurities  being  car- 
ried away.  Finish  with  an  ice-cold  rinse  in 
tiie  morning.  Get  into  the  habit  of  using 
Palmolive  for  the  bath,  too.  Millions  al- 
ready do,  on  expert  advice. 

No  dye,  no  heavily  perfumed  soap 
Palmolive  is  a  pure  soap  .  .  .  made  of 
vegetable  oils.  Its  color  is  the  natural  color 
of  palm  and  olive  oils.  Its  natural  odor  re- 
quires the  addition  of  no  heavy  perfumes. 

A  soap  that  touches  your  face  nmu  he 
pure.  Use  Palmolive,  on  experts'  advice,  and 
feel  safe,  feel  sure 
you  are  using  the 
best  protection 
against  skin  irri- 
tation. 

Price 

lOc  ^  ,336A 

73 


H 


0% 


As  told  to  Katherine  Albert  by 


ACiIRI,  may  he  appecilinij  for  ever  so 
many  reasons,"  says  Kvelyn  Brent,  the 
star  whose  own  magnetism  has  proved  so  ir- 
resistible on  the  screen.  "But  the  most  com- 
pelling charm  of  all  is  smooth,  soft  skin. 

"An  exquisite  complexion,  somehow,  is  al- 
icavs  alluring.  It  attracts  and  holds  attention 
as  nothing  else  will. 

"Long  ago  the  directors  in  Hollywo(xl 
found  out  that  no  girl  could  hope  to  win  out 
on  the  screen  unless  she  has  the  kind  of  skin 
that  makes  you  fairly  gasp  with  admiration. 
The  close-ups,  you  know,  are  taken  under 
glaring  lights  that  would  show  up  mercilessly 
even  a  tiny  blemish. 

".And  now  that  the  talkies  are  here,  there 


(Photo  by  Ojto~Dyar,  Holly  woo  J) 

{Above)  Marv  Brian,  exquisite  Paramount  star,  in  the 
bathroom  designed  by  a  well-known  New  York  artist 
and  built  for  her  in  Hollywood.  She  says:  ".\  star  just 
must  have  a  smooth  skin  if  she  is  to  face  those  cruel 
close-up  lights  successfully.  1  finil  Lux  Toilet  Soap  so 
very  pleasing  and  soothing.  I  wouldn't  be  without  it!" 
74 


are  more  close-ups  to  face  than  ever,  so  you 
may  be  sure  we  all  take  miuhty  good  care  of 
our  skin ! 

"I  can't  remend)er  who  began  it,"  this 
charming  star  goes  on,  "but  now  almost 
every  girl  in  Hollywood  uses  the  same  method 
I  do — regular  cleansing  with  Lux  Toilet  Soap. 
We  find  it  most  refreshing.  Indeed  it  is  Holly- 
wood's favorite  soap. 

"So  naturally  when  girls  write  to  ask  me 
the  secret  of  being  attractive,  I'd  like  to  say 
to  every  one:  Keep  your  skin  really  lovely — 
smooth  and  flaivless.  You  can  do  it  just  the  way 
ive  screen  stars  do." 

Hollywood — Broadway — Europe 
9  out  of  lo  lovely  stars  use 
Lux  Toilet  Soap 

Of  the  sZ\  important  actresses  in  Hollywood, 
including  all  stars,  511  are  devoted  to  Lux 
Toilet  Soap.  On  Broadway  the  stage  stars 
are  equally  enthusiastic.  .And  even  in  the 
European  capitals  the  screen  stars  are  now 
using  this  fragrant  white  soap. 

You  will  be  delighted  with  the  fresh  smooth- 
ness it  gives  jo«r  skin! 


Attract 


Agnes  Avres  is  one  of  the  <i  i  charming  Hollywood 
actresses  who  use  Lux  Toilet  Soap  for  smooth  skin. 
"It's  so  soothing  and  refreshing  to  the  skin,"  she 
says.  "I  am  certainly  delighted  with  it." 


(Be/oil')  I,<)is  MoRAN,  adorable  young  Fox  star,  has 
the  exquisite,  creamy  skin  which  is  so  necessary  to 
stardom.  Like  hundreds  ot  other  lovely  stars,  she 
cares  for  her  complexion  regularly  with  Lux  Toilet 
Soap,  and  says:  "Nice  skin  is  really  essenliul  to  a 
star's  success.  I-ux  Toilet  Soap  is  really  a  lovely  soap. 
I  depend  on  it  to  keep  my  skin  smooth  and  clear." 


(Photo  by  Clarctur  Hiivitt,  Hollywood) 


(Photo  by  Otto  Dyar,  Holly wooil) 

{/Ibove)  F.vEi.vs'  BkEN  r,  irresistibly  lovely  star,  has 
a  skin  so  exquisite  she  faces  the  glaring  close-up  lights 
with  the  utmost  confidence.  Not  only  in  her  own 
luxurious  hathrot)m,  but  on  location  as  well,  she 
uses  Lux  Toilet  Soai>,  for  this  daintily  fragrant  soap 
is  iijfidiil  in  all  the  great  film  studios.  "The  most 
compelling  charm  of  all,"  she  says,  "is  smooth,  soft 
skin,  ^'ou  can  keep  your  skin  lovely  just  as  we 
screen  stars  do,  by  using  Lux  Toilet  Soap  regularly." 


L 


UX  Toil  et 


s 


First  Sweeping  Holly  woo  J — then  Broadway  — 
oap  anJ  now  the  European  Capitals 


lO 


75 


The  Answer  Man  will  gladly  answer  your  questions  about  pictures  and 
players,  in  these  columns,  as  space  permits,  and  the  rest  by  personal  letter. 
Casts  and  addresses  given  by  mail  only.  Give  your  name  and  address  and 
enclose  stamped  addressed  envelope  for  reply.  Write  to  The  Answer  Man, 
MOTION  PICTURE  CLASSIC,  1501  Broadway,  New  York  City 


HARRIET. — (.ietiing  towed  across  the 
continent  in  a  glider  was  a  record  stunt,  but 
some  Scotchman  will  probably  break  that 
record.  Leila  Hyams  was  born  in  New 
York  City,  May  i,  1905.  Miss  Hyams' 
first  appearance  on  the  stage  was  in  The 
Girl  of  My  Dreams,  vaudeville  four  sea- 
sons, Orpheum  circuit,  starring 
Mother  and  Father.  First  picture  == 
was  Dancing  Mothers,  starring 
Alice  Joyce,  Clara  Bow  and 
Conway  Tearle.  Hobbies  are 
swimming  and  riding,  reads  fic- 
tion and  poetry.  She  is  five  feet 
five,  weighs  118  pounds,  blonde 
hair  and  gray  eyes. 

BETTY  LOU.— David  Rollins 
is  from  Kansas  City,  Mo.,  David 
after  graduating  from  Glendale 
High  School,  secured  a  clerical 
position  in  the  Bank  of  America. 
Finally  when  his  first  vacation 
came  he  decided  to  become  a 
movie  actor.  He  played  as  an 
extra  until  David  Butler  dis- 
covered he  was  the  chap  to  appear 
in  The  High  School  Hero.  He  is 
five  feet  ten,  weighs  135  pounds, 
has  brown  hair  and  blue  eyes. 
Latest  picture  The  Big  Trail, 
Fox  Studios. 

JOAN  C— Hope  at  this  time 
you  have  recovered  from  your  ill- 
ness? Yes,  it  looks  as  though 
Greta  Garbo  has  a  permanent 
wave.  Send  along  a  self-addressed 
envelope  for  the  complete  list  of 
pictures  I  can  supply.  William 
Haines  and  Leila  Hyams  have 
the  leads  in  Way  Out  West.  John 
Mack  Brown  and  Lucille  Powers 
in  Billy  the  Kid. 


CLUB  FANS.  —  Irene  Rich 
Club,  Gordon  Wilson,  5020  Ten- 
nessee Ave.,  St.  Louis,  Mo.  Jean 
Arthur,  Nancy  Carroll  Clubs, 
William  F.  O'Brien,  706  12th  St., 
Franklin,  Fa.  The  All  Star  Club, 
Mrs.  Bruce  Evans,  Box  274,  Bever- 
ly, Mass.  The  Valentino  Assoc. 
Phyllis  Reader,  12  Wolsley  Ave., 
London,  Ont.,  Canada.  Dolores 
Del  Rio  Club,  Rose  Badali,  4446 
Jackson    Boulevard,  Chicago, 


BEAUTIFUL  BUT  DUMB.— Well!  I 
guess  it's  all  right  as  long  as  you  call 
yourself  that.  Bet  I  would  never  get  away 
with  it?  Jeanette  Lolf  was  born  in  Idaho, 
Feb.  9,  1906.  Miss  Loft  at  the  age  of  1 1  had 
the  title  rdle  in  Snow  White  and  the 
Seven  Dwarfs.  At  16,  she  had  a  satisfying 


five  feet  ten,  weighs  152  pounds,  has  brol 
hair  and  blue  eyes.     Latest  picture  2j| 
Sap  from  Syracuse,   Paramount  Studif 
Nils  Asther's  latest  production  is 
Sea  Bat.  Greta  Garbo  in  Romance. 
to  hear  you  like  her  voice,  everybody  do 
Alexander  and  Lawrence  Gray  are  nQ 
related. 


NEW  ORLEANS  FAN.— CU 
Brook  is  appearing  in  The  B 
ter  Wife,  Paramount  Studk 
John  Gilbert  in  Way  for 
Sailor.  Jack  Holt  has  been  pla 
ing  right  along,  some  of  his  mo 
recent  pictures  were;  Fligl 
Vengeance,  The  Border  Legi 
and  Hell's  Island.  Your  lef 
will  reach  him  at  the  Columl 
Studios.  Lawrence  Tlbbett  aii 
Grace  Moore  are  playing 
New  Moon  Metro-Gold  wyi 
Mayer  Studios. 


Ruth  Chatterton's  life  is  due  for  a  complete  change  as 
far  as  the  titles  of  her  pictures  are  concerned.  First  she 
was  "The  Laughing  Lady"  and  then  "The  Lady  of 
Scandal."  But  in  her  new  picture  she  becomes  "The 
Better  Wife" 


Illinois. 


H.  G. — Ramon  Novarro  was  born  in 
Durango,  Mexico,  Feb.  6,  1899.  He  is  five 
feet  eight,  weighs  155  pounds,  has  black 
hair  and  brown  eyes.  Before  going  into  pic- 
tures, Novarro  was  on  the  sta^e  for  a  year, 
dancing  in  vaudeville  pantomime  with  the 
Marlon  Morgan  Troupe.  Today  besides 
singing;  a  delightful  baritone  and  playing 
the  piano,  he  also  plays  the  violin  and 
strums  a  guitar.  Ramon  has  a  miniature 
theater  in  his  Hollywood  home  where  he 
gives  recitals  for  his  friends.  His  real  name 
18  Samanlegos. 


lyric  soprano  voice  and  sang  the  leading  role 
in  Treasure  Hunters,  a  local  operetta. 
Hobbies  are  ice-skating,  skiing,  snowshoe- 
ing,  and  ice-boating.  She  is  of  Norwegian 
and  Danish  descent.  She  is  five  feet  two, 
weighs  105  pounds,  blonde  hair  and  blue 
eyes.  Appearing  in  Gypsy  Love  Song,  Uni- 
versal Studios. 

MINNEAPOLIS  MINNIE.— Glad  to 
hear  you  are  one  of  our  new  readers,  and 
that  you  are  enjoying  our  radio  broadcast. 
Rudy  Vallee  is  not  going  to  appear  in  any 
new  picture  at  this  time.  Jack  Oakle  was 
born  in  Sedalia,  Mo.,  Nov.  14,  1903.  He  is 


LE  PETIT  CHIEX  CHIP.-j 

Yes,  there  are  more  telephones 
the  Equitable  Building  in  Nei 
York  than  there  are  in  all  (irei 
Harry  Richman  was  born 
Newark,  N.  J.,  Oct.  10,  1895 
is  about  five  feet  nine  and  weii_ 
about  160  pounds,  has  black  hi 
and  eyes.  Real  name  is  Hei 
Relchman,  Jr.  Sorry,  but 
ward  Crandall  is  free-lanci 
Colin  Clive,  who  appears 
Journey's  End  is  married 
Jeanne  de  Casalas.  Leon  Ja 
ney  was  born  in  Ogden,  Ut 
April  I,  19 1 6. 


TED  SANDERS.  — Bol 
Steele's  latest  pictures  are  r| 
Cowboy  and  the  Outlaw  and  Hunt 
Men  Syndicate  Pictures.  Marlel 
Prevost  in  Sweethearts  on  Parade, ' 
Columbia  Studios.  Allene  Ray 
and  Tim  McCoy  in  The  In- 
dians Are  Coming,  Universal 
Studios.  Barbara  Stanwyck 
was  born  in  Brooklyn,  N.  V., 
July  16,  1907.  She  is  five  feet 
five,  weighs  118  pounds,  has 
auburn  hair  and  blue  eyes,  mar- 
ried to  Frank  Fay.  Latest  pic- 
ture The  Miracle  Woman,  Colum- 


bia Studios. 

BOB  ANDIANE.— The  Warner  theater 
was  the  Piccadilly  until  1924,  when  the 
Warner  Brothers  bought  it  and  called  it 
after  themselves.  The  Paramount  theater 
opened  on  November  l,  1926.  And  considers 
the  personal  appearance  of  Buddy  Rogers 
the  week  of  February  21,  1930,  an  out- 
standing feature.  Maurice  Chevalier 
was  born  in  France,  about  thirty-two 
years  ago.  He  is  five  feet  ten,  weiglis 
165  pounds,  has  brown  hair  and  blue  eyes. 
Those  are  Maurice's  and  Robert  Frazer's 
real  names.      {Continued  on  page  102) 


76 


It  Gives  Your  Teeth 


How  Colgate's  Cleans  Crevices 
Where  Tooth  Decay  May  Start 


^^^^ 


A  Double  Cleansing! 


Colgate's  penetrating  foam  sweeps  into  tiny  crevices,  washing  out  decaying 
particles  as  well  as  polishing  the  surf  aces...  thus  cleansing  teeth  completely. 

IT  is  easy  to  fool  yourself 
that  you  have  really 
cleaned  your  teeth,  after 
vigorously  scrubbing  the 
outer  surfaces  until  they 
sparkle. 

But  unless  you  use  a  denti- 
frice like  Colgate's,  whose 
active  foam  penetrates  the 
spaces  between  teeth,  and 
the  tiny  fissures  where  food 
particles  collect,  and  washes  out  these  hard-to- 
clean  places,  you  haven't  done  a  complete  job 
of  cleansing.  Your  teeth,  though  pearly  white, 
are  only  ha/f  clean  ! 

Not  all  dentifrices  are  able  to  clean  these  crev- 
ices equally  well.  Scientific  tests  prove  that 
Colgate's  has  the  highest  penetrating  power 
of  any  leading  toothpaste  .  .  .  hence,  Colgate's 
cleans  best.  Its  lively,  bubbling  foam  creates 
a  remarkable  property  which  enables  it  to 
penetrate  into  tiny  spaces,  softening  the  im- 
purities and  literally  flooding  them  away  in  a 
w  ave  of  cleanUness. 

Thus  Colgate's  cleanses  the  teeth  completely 
.  .  .  washing  out  the  crevices  as  well  as  polish- 
ing the  surfaces  brilliantly.  Why  not  give  your 
teeth  this  double  protection  ? 

Colgate's  is  the  largest  selling  toothpaste  in 
the  world  today.  More  dentists  recommend 
it  than  any  other. 

If  youpreferpowder.ask  forColgate'sDental  Powder. .  .it 
has  the  same  high  cleansing  ability  as  Ribbon  Dental  Cream . 


Dtaffrara  showing 
tiny  sp&ce  between 

teeth.  Note  how 
ordinary.  sluKiiish 
toothp&ste  khaving 
"hiffh  Sarface-Ten- 
Bion  )  fails  to  pene- 
trate de«p  down 
where  thi-  cauaea  of 
decay  may  lurk. 


Hi  I  diaffram  snows 

how  Colffate'f  active 
foam  (baring  "low 
iurface-tension"  ) 

Senetrates  deep 
own  into  the  crev- 
ice«.  cleanainff  them 
completely  where 
the  tootbbraab  cu- 
oot  reach. 


PR  PP    COLGATE.  Dept.  M-634  P-  O.  Box  MS,  Grand  Crniral  Post 
Office.  New  York  City.  Ple»«e  tend  me  a  free  lube  of  Coljatc't 
Ribbon  Dentml  Creun  with  booklet  "  How  to  Keep  Teeth  and  Mouth  Healthy.*' 


Name  

Address.. 


77 


A  Young  Man  Of  Parts  T 


enormous  number  of  English  plays  are  being 
done  as  talkies.  Then  there  are  stories  of 
New  York  or  Boston  society  mixed  up  on 
every  studio  schedule  with  stories  of  Okla- 
homa. Few,  if  any,  of  our  most  prominent 
screen  actors  are  able  to  ring  the  changes 
necessary  for  these  various  localities,  and 
carry  any  sort  of  conviction. 
The  best  they  can  do  is 
change  back  and  forth  be- 
tween broad  and  nasal  "a's." 

Young  and  Ninety 

MAcKENNA'S  latest  job 
is  the  highly  -  coveted 
one  of  leading  man  to  Mary 
Pickford,  in  "Forever  Yours." 
They  needed  a  good-looking 
young  chap  who  could  make 
up  to  look  ninety  and  talk 
like  a  man  of  that  age.  Who 
was  there  in  Hollywood  to  do 
it?  Nobody  but  MacKenna. 
He  was  vacationing  at  Lake 
Arrowhead  at  the  time,  but  a 
hurry  call  was  sent  to  bring 
him  in.  One  day  he  was 
signed,  the  next  he  started 
rehearsing.  And  when  I  ran 
into  him  coming  oflf  the  set 
for  lunch,  the  second  day  of 
rehearsal,  he  was  very  non- 
chalant about  it. Very  pleased, 
of  course,  to  get  not  only  a 
part  with  character  work  to 
do,  but  also  the  lead  opposite 
Pickford.  And  perfectly  con- 
fident of  his  ability  to  do  all 
that  was  required  of  him, 
and  do  it  well. 

He  smoked  a  pipe  during  a 
wait  between  scenes,  and  we 
strolled  up  and  down  the 
sunny  studio  street,  every 
now  and  again  dodging  a 
speeding  Rolls-Royce  or  some 
other  plutocratic  limousine 
which  purred  in,  carrying  a 
United  Artist  to  work.  Mac- 
Kenna is  the  pipe-smoking 
kind  of  man.  I  would  put  him  down  as  a 
super-Colman.  He  has  a  serious,  thought- 
ful mind,  which  runs  to  books  where  the 
mind  of  an  average  movie  hero  would  run 
to  skirts  and  their  contents.  He  is  mod- 
est without  being  blatant  about  it.  He  is 
highly  intelligent,  and  is  not  in  the  least 
interested  in  superficial  things  or  super- 
ficial remarks.  About  his  work  and  the  in- 
dustry in  which  he  is  employed,  he  seems 
to  have  his  own  thoughts,  which  are  prob- 
ably not  entirely  complimentary;  but  he 
is  not  going  to  give  them  up  without  a 
struggle. 

He  Knows  What  He  Wants 

ABOUT  the  talkies,  he  says:  "  I  like  them, 
/a.  honestly.  It  is  tremendously  interest- 
ing work.  I  wouldn't  say  that  I  want  to 
stay  in  them  for  good — I'll  always  want  to 
go  back  to  the  stage  at  intervals.  But  as 
long  as  I  get  the  right  sort  of  parts  I'm 
happy  in  a  studio  just  as  I  am  on  the  stage. 
This  part  in  'Forever  Yours'  is  the  sort  of 
thing  I  like  very  much — it  calls  for  charac- 
ter work. 

"Straight  leading-man  r31es  bore  me.  I 
had  several  in  a  row  when  Fox  first  started 
me  in  talkies,  and  I  was  very  discouraged; 
then  '  Men  Without  Women '  came  along — 
they  had  someone  else  picked  for  my  part, 
but  they  couldn't  get  him,  so  I  was  put  in  at 
the  last  moment.  After  that  picture  one  of 
the  Fox  executives  came  to  me  and  said, 


78 


(Continued  from  page  51) 

quite  seriously:  'Now  you're  learning  to 
act.  Up  to  now  you  were  doing  ordinary 
work,  but  you've  picked  the  idea  up  very 
quickly.'  But  I  don't  think  there  is  any 
credit  due  the  talkies  for  teaching  me  what- 
ever I  can  do  in  the  way  of  acting.  It  was 
simply  that  before  'Men  Without  Women' 


She  Knew  Him  When 
The  girl  (one  of  several)  he  left  behind  him:  "I  see  you're  wearing  the 
hat  you  had  before  becoming  a  movie  star!" 


I  had  never  had  a  part  I  could  get  my  teeth 
into.  If  it  hadn't  been  for  that  assignment 
I  think  I  would  have  asked  for  a  release  and 
gone  back  to  New  York.  But  since  then 
I've  been  given  credit  for  ability  to  do 
something  besides  straight  leading-man 
stuff." 

Uncivilized  Hollywood 

HERE'S  what  he  thinks  of  life  in  Holly- 
wood: 

"Oh,  it  was  certainly  hard  at  first  to  ad- 
just myself  to  the  different  waking  hours. 
In  New  York,  every  night  after  the  show, 
I  would  always  get  together  with  friends 
and  we  would  talk  or  play  cards  or  some- 
thing till  at  least  three  or  four  in  the  morn- 
ing. Here,  everyone  goes  to  bed  at  ten  or 
eleven.  To  go  to  bed  at  twelve  is  considered 
late  indeed.  But  I  wasn't  surprised  to  find  it 
this  way.  You  could  hardly  expect  anything 
else  in  a  place  where  they  have  to  go  to 
work  so  early.  One  just  has  to  accustom 
oneself  to  it — to  living  by  day  instead  of 
half  by  day  and  half  by  night.  I'm  ac- 
climatized now. 

"It's  ridiculous  to  say  that  Hollywood  is 
changing,  that  the  New  York  people  coming 
out  here  have  made  it  more  cosmopolitan 
and  less  rural.  Bob  Benchley  said  the  last 
word  on  that,  when  they  told  him  that  all 
New  York's  men-about-town  were  in  Holly- 
wood and  the  place  was  at  last  waking  up. 
He  said  that  was  impossible,  because  men- 


about-town  have  got  to  have  a  town  to 
about. 

"Hollywood  is  just  a  good  place  to  wor 
it  doesn't  know  much  about  civilized  li; ; 
After  all,  most  of  the  really  civilized  thin  ' 
of  life  belong  to  the  evening  and  the  nigh 
and  a  place  like  this,  where  there  cann 
possibly  be  any  sort  of  nigh 
life,  cannot  be  very  civilized 
The  principal   thing  abo 
Hollywood  that  he  likes 
that  there  are  lots  of  wonde 
f  ul  buys  to  be  had  in  the  boo^ 
shops,  because  so  many  pei 
pie  come  out  to  Hollywoc 
and  then  go  broke  and  have  t 
sell  their  libraries  to  ktie 
alive. 

Up  from  Wall  Street 

ABOUT  himself  and  his  sue 
±\,  cess  MacKenna  has  thi 
to  say: 

"I  have  been  ridiculousl;i 
lucky.  In  the  first  place, 
never  intended  to  be  an  actoi 
at  all.  I  was  in  a  banking 
house  on  Wall  Street,  anc 
getting  along  well.  Then  1 
played  in  an  amateur  show 
and  someone  came  to  ask 
me  if  I  would  like  to  take  a 
professional  stage  job.  It 
was  a  leading  part,  and  they 
had  to  get  somebody  at  once. 
I  decided  to  try  it.  That  was 
nearly  ten  years  ago,  and  I've 
never  played  anything  but 
leads  since  then.  Most  of  the 
time  I've  been  under  con- 
tract. 

"  It  does  require  hard  work 
to  get  ahead  on  the  stage,  of 
course.  You  have  to  keep 
learning  everything  you  pos- 
sibly can  about  your  business. 
But  there  are  undoubtedly 
hundreds  of  actors,  just  as 
good  as,  or  better  than  I, 
who  never  got  a  break  and 
are  still  walking  on  or  starving  to  death, 
or  both.  It  is  almost  impossible  to  work 
up  from  the  bottom.  If  you  have  the  luck 
to  start  in  something  good,  like  myself, 
you  can  easily  keep  at  the  top  as  long  as 
you  work  at  it.  There  really  is  no  sense  to 
it  at  all,  but  that's  the  way  it  actually 
works  out. 

"The  same  is  true  of  all  the  big  talkie  con- 
tracts. It  is  almost  impossible  to  work  your 
way  into  them.  But  if  you've  had  a  break 
and  the  chance  to  show  you  can  play 
leads,  you  get  offers  from  almost  every  com- 
pany. 

"I'm  sure  there  are  numbers  of  clever 
people  in  Hollywood  who  can't  get  a  job. 
Yet  anybody  who  is  actually  doing  some 
thing  in  New  York  is  pestered  to  death  to 
join  the  talkie  throng.  And  when  anyone 
refuses  an  offer,  they  won't  believe  he  sin- 
cerely doesn't  want  to  come  out  here.  I 
have  a  brother,  for  instance,  who  is  an  art 
director  on  Broadway.  He  was  pestered  for 
so  long  that  finally  he  went  to  see  the  rep- 
resentative of  the  company  that  wanted 
him.  They  made  him  an  exceptionally  won- 
derful offer,  but  he  held  out  for  an  astound- 
ing large  amount  of  money;  and  when  they 
wanted  to  compromise  he  just  walked  out  of 
the  office,  saying  he  was  perfectly  happy 
where  he  was  and  didn't  want  to  go  to 
Hollywood,  anyway.  They  can't  believe  it 
to  the  present  day,  and  are  still  making  him 
offers." 


ave 

our  secrets  .  .  . 
my  perfume  and  I 

says  JOAN  BENNETT 

A.t  first  you  tkinJc  it  s  so  naive 
.  .  .  so  Jryad-sJiy  .  .  .  discreet^ 
.  .  .  my  new  perfume.  Seventeen. 

But  wJiat  that  perfume  Jtnoivs  of 
life!  It  tells  me  the  strangest  things 
,  .  ,  hints  at  magic  .  .  .  sings  of 
Youth  and  its  own  allure  .  .  . 
invites  me,  dares  me,  lures  mc? 
.  .  .  on  and  on  .  .  .  to  lighter  moods, 
to  gayer  talk,  to  thrilling  livingi 

Aly  perfume  asks  so  much  of 
me!  I  just  can  t  disappoint  it^ 
.  .  .  I  MUST  he  young  .  .  . 
and  gay  .  .  .  forever ! 


Seventeen  ...  a  fragrance  so  close  to  you  .  . . 
so  matckeJ  to  your  own  quick  tempo  ...  so 
right  witk  your  Janngest  costumes  .  .  .  you  11 
never  quite  know  if  it  s  perfume  upon  you 


...  or  a  fragrance  that  s  actually  part  ol  you ! 

Eight  glorious  toiletries  to  keep  you 
radiant  as  Seventeen^ 

The  JPerfume  ...  of  course!  Inspiration  for  all  tke  rest 
.  .  .  setting  tke  rkytKm  .  .  .  guiding  your  mood.  Puwtler 
...  to  leave  upon  your  skin  .  .  .  tke  tinted  skeen  .  .  . 
tke  delicate  texture  ...  of  youtk.  Du  sting  Puwaer .  . . 
clean,  fresli,  elusive  u  a  l>atn  powder  skou  Id  ke.  Toiht 
li^ater  ,  .  .  liLe  tKe  periume  us  us  sKaclow.  Sachet  .  .  . 
to  Lreatke  into  every  garment  tKe  cKaracten5tic  fra^ance 
of  you.'  Compact  .  .  .  stunningly  keauttful  ...  in  Llack 
ana  goU.  Talcum  Pnwiier  .  .  .  sootkinff  and  refresKinj 
for  sensitive  sLins.  JBrtlltanttnej  .  .  .  to  leave  a  skimmer 
and  tke  faintest  pOMikle  «ceat  upon  your  kaix. 


tkat' 


of^ 


.1 


79 


Isn't  She  Odd? 


gestures  (A  the  screen  Zasu,  there  lives  the 
real  Zasu — a  very  wholesome,  domestic  and 
maternal  person.  77r«*  <A«  real  Zasu 
Pitts.  So  Tczl  that  against  it  the  screen  rSles 
fade  into  the  shadows  they  are,  and  the 
wistful  exterior  is  but  a  ver>' 
thin  mask,  hiding  a  good  ca- 
pacious heart,  a  strong,  reliant 
spirit. 

There  is  nothing  macabre. 
about  the  real  Zasu  Pitts. 
There  is  nothing  morbid  or 
subterranean  about  the  inter- 
ests and  pursuits  of  the  off- 
screen Zasu.  There  is  nothing 
downtrodden  or  submerged 
about  her.  She  is  different. 
She  is  kU -depredatory.  She 
laughed  in  her  funny  little, 
sidc-of-the-mouth  way  about 
being  interviewed  at  all.  "It 
seems  so  silly,"  she  said,  "for 
you  to  be  asking  and  for 
me  to  be  telling  you  what  / 
think  ..." 

But  in  her  personal  life, which 
is  her  real  life,  Zasu  is  teeming 
with  life  and  encrpes.  Abound- 
ing with  those  mterests  pop- 
ularly supposed  to  be  con- 
tained in  "a  woman 's  sphere." 
As  they  are. 

And  the  interests  of  Zasu  are 
ardens  and  the  growing  of 
owers.  Kitchens  and  cookies, 
and  recipes  and  diets.  "  Doing 
over"  the  bedroom  m  baby- 
blue.  Buying  drapes  and  new 
linoleum.  Going  to  food-shows 
— she  took  me  to  one — and 
comparing  the  relative  merits 
of  wheat  and  bran  flours.  Buy- 
ing big  glacdd  apples  on  long 
white  sticks  for  the  little 
kiddies. 

Zasu  is  domestic  in  the  good 
old  fashion  of  the  Mauve  Dec-  "Do 
ode.  What  she  doesn 't  do  her-  "No 
ftelf  she  pleasantly  su(:iervi9e8.  Garbo 
.She  runs  her  house  with  the 
capable  help  of  two  women 
who  are  her  cUj^  friends  as  w  ell  as  her  serv- 
ants. .She  discusses  with  them  the  baking  of 
cakes,  the  values  of  cuts  of  beef,  the  most 
exact  stewing  of  chickens.    She  doesn 't  en- 
tertain pe^jple  with  whom  she  has  to  "put 
on  high  airs."    She  seldom  goes  to  parties. 
She  is  an  exile  from  some  prim  New  Eng- 
land shore,  dwelling  in  Hollywood. 

Her  Reasons  for  Being 

AND  Zasu  is,  most  of  all,  maternal.  She 
proved  that  when  she  had  her  own 
little  girl  and  loved  having  her.  She  proved 
it  beyond  any  shadow  of  a  doubt  when  she 
adopted  Barbara  La  .Marr's  little  adopted 
boy.  And  Barbara  (lid  adopt  him,  tabloid 
twitterings  to  the  contrary.  For  Zasu  has 
talked  to  the  matron  of  the  asylum  from 
which  he  came,  in  Texas.  He  is  the  legiti- 
mate Bfjn  of  a  postman,  aged  fifty-odd,  and  a 
trained  nurse  in  her  twenties.  Both  dead,  I 
believe. 

Zasu's  heart  is  the  real,  the  capacious 
mother-heart,  to  which  all  children  are  dear 
because  they  are  children.  She  loves  her 
little  adopted  boy  equally  as  well  as  her  own 
little  daughter.  .She  feels  no  difference  to- 
warrl  them.  And  she  intends  to  have  other 
chiirlren  to  love  and  care  for.  Her  older 
sister  died  a  few  months  back,  leaving  four 
young  ones  to  her  care.  Zasu  wants  them  to 


{Continued  from  page  jo) 

come  to  her!  She  wants  to  tend  them  and 
love  them. 

"I  can't  imap;ine,"  she  said,  in  that  halt- 
ing, drifting  voice  of  hers,  "anything  better 
for  anyone  to  do  with  their  liife  than  take 


you  share  my  enthusiasm  for  The  IT  Girl?" 
,  boss,  you  can  keep  Clara  Bow.  But  I'd  take  Greta 
any  time!" 


care  of  babies.  For  every  baby  born  there 
should  be  someone  to  love  it.  I  can't 
imagine  having  anything  more  worth  while 
to  work  for.  There  must  be  something 
worth  while  to  work  for  or  there  would  be  no 
reason  for  it.  I  would  feel  so  silly  acting 
parts  on  the  screen  if  I  didn 't  have  an 
object  in  view.  I 'd  like  to  work  until  I  have 
just  enough  money  to  be  able  to  stay  at 
home  and  take  care  of  things.  1  'd  like  to 
adopt  a  lot  more  children.  I 'd  like  to  have  a 
nursery  home,  where  a  lot  of  little  babies 
could  have  sunshine  and  fresh  air  and 
food  and  lots  of  toys  and  loving.  To  make 
them  happy — that  is  the  most  important 
thing." 

Not  Guided  by  the  Stars 

'y^ASU  has  a  house  down  .Santa  Monica 
jT  1  way.  Asked  what  type  of  house  it  is, 
she  says,  "Oh,  iust  a  house  ..."  And  in 
that  house,  which  is  also  a  home,  Zasu  is  the 
personally  presiding  spirit.  She  is,  literally, 
up  with  the  sun.  There  is  nothing  remotely 
resembling  a  movie  star's  regime  in  the 
schedule  followed  by  Zasu.  No  breakfast 
trays  brought  to  a  daised  bed.  No  hours 
spent  in  massages  and  facials  and  manicures. 
No  silken  seclusion  of  self.  No  artificial  pad- 
ding is  put  between  herself  and  life.  Zasu  is 
the  mother  of  her  family,  Tom  Gallery's 


wife,  and  the  mistress  of  her  home  b" 
fore  she  ever  gets  around  to  being  a  mov' 
actress. 

The  children  are  in  Zasu 's  room  as  soon  as 
they  wake,  at  six  in  the  morning.  Tumbling 
over  her,  laughing,  sublimely 
sure  of  a  welcome.  Zasu  can 
be  seen  in  the  morning  only 
through  a  riotous  tangle  of 
small  arms  and  legs,  heard  only 
through  the  gleeful  shouts  of 
the  little,  beloved  tyrants.  A 
more  pjermanent  and  lasting 
frame,  I  should  say,  than  per- 
fumed French  rosebuds  and 
tinted  laces. 

This  alone,  in  itself,  should 
tell  you  what  manner  of  per- 
son Zasu  Pitts  really  is.  It  is 
her  valedictory.  It  is  self-ex- 
planatory. It  needs  no  words, 
no  rhetorical  eulogies. 

An  Accidental  Actress 

ZASU  didn 't  have  a  par- 
ticularly happy  young 
girlhood.  Her  childhood  was 
normal  enough.  There  was  the 
older  sister,  and  there  were  two 
or  three  young  brothers,  and 
there  were  the  garden  and 
flowers  to  tend. 

"I  always  loved  to  tend 
things,"  said  Zasu,  striking  her 
own  major  chord.  "I  guess  I 
was  born  being  just  the  Help, 
in  one  way  or  another." 

She  lived  in  Santa  Cruz 
during  most  of  her  childhood 
and  went  to  school  there. 
She  didn 't  care  much  for  school 
or  for  books.  There  was  the 
living  world,  lying  all  about 
her.  She  never  dreamed  of 
becoming  an  actress,  least  of 
all  a  screen  actress.  She  used 
to  appear  in  most  of  the 
school  plays,  but  then,  so  did 
most  of  the  other  girls  of  her 
acquaintance. 
When  she  grew  into  adolescence,  it  was 
constantly  held  before  her  that  she  must 
work,  must  earn  her  own  living  in  the 
world.  And  to  the  domestically  inclined 
child  this  pressure  became  a  dark  shadow, 
ominous.  There  was  no  money  to  be  had 
in  tending  flowers,  especially  if  you  only 
tend  them  because  they  are  fragile  and 
helpless  and  you  love  them.  Zasu  came 
to  Los  Angeles.  There  might,  it  occurred  to 
her,  be  money  in  that  play-acting  she  used 
to  do  at  school.  They  photographed  you 
play-acting  now.  And  Mary  Pickford  was 
the  star  at  which  to  hitch  so  frail,  so  tenta- 
tive a  little  bark.  Zasu  "hitched"  and- her 
first  picture  experience  was  with  Mary  Pick- 
ford  in  "The  Little  Princess." 

As  a  consequence  of  having  to  work  and 
hating  it,  Zasu  doesn't  want  her  little  girl 
to  be  on  the  screen  or  anything  but  she 
wants  her  to  be  just  a  normal  girl  "having 
a  good  time." 

Zasu  says  her  one  great  ambition  is  "just 
to  get  along." 

She  doesn't  care  for  luxuries.  Her  one 
extravagance  is  her  smart  Straight  Eight. 
She  doesn't  care  for  jewels  or  for  lavish 
entertainment  or  an  extensive  estate.  Most 
of  her  money  goes  into  gardens  and  babies, 
sunshine  and  young  laughter,  good  milk  and 
roses  and  kiddie  l^rs  .  .  .  This  is  the  real 
Zasu  Pitts.    There  is  no  other. 


80 


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Si 


My  Most  Deductive  Moment 

{Continued  from  page  jp) 


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82 


bickering  and  searchings,  we  were  forced  to 
abandon  the  idea  of  finding  the  lost  lucre 
in  the  room  and  decided  that  we  should  go 
to  the  studio  and  forget  it. 

That  original  incident  isn't  of  any  note 
except  that  it  lays  the  foundation  for  a 
startling  series  of  events  that  were  to  occur 
in  the  future.  There  was  really  ver\'  little 
allusion  to  the  missing  bills  after  the  first 
shock  had  been  weathered.  Other  pictures 
followed  and  months  passed.  Dick  and  I 
became  e%'en  better  friends  as  our  rela- 
tionship progressed — the  only  bone  of  con- 
tention being  the  robbery. 

Then  we  were  both  ordered  to  Holly- 
wood. Four  years  had  passed  since  the 
first  event  and  nothing  had  ever  been  done 
by  way  of  solving  the  mystery,  although  I 
must  admit  that  I  spent  many  waking 
hours  and  a  good  many  sleepless  nights 
f)ondering  over  the  crime  and  its  few 
baffling  clues.  Having  become  friends  while 
working  in  the  Elast,  and  since  we  were  both 
without  many  acquaintances  in  Hollywood, 
our  close  association  was  continued  in  the 
new  environment.  Much  of  our  time,  in 
fact,  was  spent  at  each  other's  apartments 
and  it  was  during  one  of  these  sojourns 
that  the  second  mysterious  event  took 
place. 

Mystery  Number  Two 

WE  had  decided  to  meet  at  Dick's 
apartment  (which  was  located  only 
a  block  from  mine)  after  work  and  have  a 
highball  before  dinner.  We  met  about  six 
o'clock  and  mixed  up  a  few  tall  ones.  About 
six-thirty,  or  possibly  it  was  six-thirty-five, 
I  told  him  that  I  would  have  to  run  down 
and  change  before  going  to  eat.  This,  he 
agreed,  would  be  an  excellent  idea,  and  so, 
at  six-forty,  I  left  the  Barthelmess  apart- 
ment and  hurried  to  my  own. 

Scarcely  had  I  closed  the  door  of  my  own 
rooms  than  there  came  a  terrific  beating  on 
the  hall  door.  It  was  Dick.  As  I  opened 
the  entrance  way,  he  rushed  into  the  room 
and  started  a  tirade  of  accusations.  How- 
ever, I  closed  the  door  and  crossed  the 
living-room  before  I  attempted  to  listen  to 
his  raging  voice. 

"Say,  listen,"  he  stormed,  "joke's  off  I 
What's  the  idea,  anyway?  This  is  the 
second  time  you've  pulled  this  same  trick 
on  me  and  I  won't  stand  for  it  any  longer. 
Here  I  think  I  have  a  friend  in  my  apart- 
ment for  a  little  sociability — and  what 
do  I  get?  Robbed!  Seventy  dollars  again, 
too!  Let's  have  it." 

It  really  took  all  the  powers  that  lay  at 
my  command  to  keep  him  from  springing 
at  my  throat.  Carefully,  I  took  the  be- 
reaved man  by  the  two  shoulders  and  forced 
him  into  a  chair.  Then,  I  myself  sat  down 
in  order  that  I  might  concentrate  on  the 
mysterj'.  After  a  deal  of  deliberation,  I 
arose  and  approached  Dick,  at  the  same 
time  holding  out  my  hand. 

At  Last,  a  Real  Clue 

H.^ND  me  your  wallet,"  I  said.  "I'd 
like  to  give  it  the  general  once-over. 
How  much  money  did  you  have  in  your 
{Xjssession  when  the  crime  took  place?  " 

'  I  had  just  cashed  a  check  for  a  hundred 
and  fifty  dollars  at  the  bank  before  I  met 
you.  I  saw  the  clerk  count  the  money  right 
before  my  own  eyes — then,  after  I  had 
re-counted  it  (just  to  make  sure  that  he  had 
made  no  mistake),  I  placed  it  carefully  in 
my  wallet.  That  is  all  I  know  about  the 
whole  terrible  mess,"  he  concluded. 

"Why,  bless  my  soul,"  I  said  in  astonish- 
ment as  I  extracted  the  remaining  roll  of 
bills  from  the  wallet,  "there  are  but  eighty 
dollars  left  of  the  hundred  and  fifty.  What 


does  that  mean?  Eighty  dollars  exactly. 

"  I  said  a  few  minutes  ago  that  I  had  ' 
been  robbed  of  seventy  dollars.  How  m 
does  that  ordinarily  leave  out  of  a  hun 
and  fifty? "  r 

Of  course,  he  had  caught  me  off  my  guc 
with  such  a  sudden  query,  and  it  was  qia 
some  time  before  I  regained  my  comp 
sufficiently   to   figure   the  problem 
However,  I  was  soon  my  old  deductr 
self,  and  quickly  figured  out  the  answer.- 

"  Yes,"  I  countered  with  my  character 
thoroughness,   "the  robber  left  you 
exact  change — eighty  dollars.  Now, 
only  thing  to  do  is  to  find  the  ill-f 
seventy.  Why,"  I  said  (suddenly  dedy( 
the  situation),  "that  is  the  second  ti 
you  have  parted  with  the  same  identi 
amount.     Seventy!    Seventy!    What  ' 
heaven's  name  can  it  mean?  The  fact  t 
the  same  amount  is 'missing  each  time  m 
reveal  some  essential  clue  for  me  to  work 
on.  Let  me  think  this  thing  out." 

A  Disappearance  Deduced 

FOR  the  next  hour,  Dick  left  me  to  my 
own  devices,  and  I  am  frank  to  admp 
that  I  was  no  nearer  the  solution  at  tlie 
end  of  that  time  than  I  had  been  at  the 
beginning.  I  did,  however,  decide  that  I 
should  take  Barthelmess  to  a  psycho- 
analyst at  once — and,  possibly,  to  a 
numerologist;  we  must  get  at  the  bottom 
of  the  unfathomable  mystery  at  once. 
Strange  as  it  may  seem,  and  in  spite  of 
our  repeated  trips  to  the  above-mentioned 
specialists,  I  was  unable  to  deduce  anx-thing 
further  except  that  seventy  dollars  had 
disappeared  twice  under  the  same  circum- 
stances. That  made  one  hundred  and  forty 
in  all. 

I  worked,  sweated  and  studied  during  the 
next  few  days — all  to  no  avail.  Would  this 
mystery  never  be  solv^ed?  It  began  to  look 
that  way.  But  with  the  singular  faith  that 
I  had  in  my  own  powers  of  deduction, 
combined  with  the  fact  that  I  neier  give 
up  the  hunt,  I  at  last  hit  upon  a  plan  that 
would  either  show  up  the  culprit  or  solve 
the  mystery  of  the  missing  money,  once  and 
for  all  time. 

The  whole  thing  came  to  a  head  one 
evening  while  I  was  aboard  Dick's  new 
yacht.  There  was  quite  a  party  of  friends 
on  the  boat  and  we  were  having  the  time 
of  our  lives. 

I  must  digress  a  moment,  however,  and 
tell  you  of  some  of  the  important  events 
that  occurred  before  I  hit  upon  my  plan. 
Inasmuch  as  this  is  to  be  a  complete  report, 
I  must  give  you  all  the  details.  As  soon  as 
dinner  had  been  ser\'ed,  and  we  were  all 
gathered  in  the  forward-deck  saloon,  Dick 
asked  for  quiet  and  commenced  to  talk. 

A  Delusion  of  Grandeur 

FRIENDS,"  he  began,  "I  am  sorr>- 
that  I  must  tell  you  of  a  certain  bit  of 
knowledge  I  have  in  my  jxissession,  but  in 
fairness  to  all  aboard  I  must  give  you  this 
bit  of  advice.  Walking  among  you — at  this 
very  moment — is  a  man  who  has  a  pen- 
chant for  money  in  seventy-dollar  lots. 
His  name  is  Powell.  I  hereby  warn  you  of 
the  state  of  affairs  as  they  exist  and  plead 
with  you  that  if  you  have  such  an  amount 
on  your  person  at  this  moment,  that  you  add 
a  dollar  to  the  sum  (making  seventy-one 
or  that  you  give  some  friend  a  dollar  to 
hold  (making  sixty-nine).  If  you  follow 
this  advice,  you  will  be  spared  the  em- 
barrassment of  having  your  money  dis- 
appear." 

Of  course,  such  an  outbreak  forced  me 
to  defend  myself  on  the  spot.  What  I  said 
will  prove  to  you  that  my  mind  is  working 


.t  top  speed  at  all  times.  Raising  my  hand 
n  passionate  pleading,  I  began  to  orate. 

■'Friends,  please  use  your  common  sense 
ibout  this  whole  affair.  Standing  before 
•Qu  is  a  man  who  has  always  had  a  fine 
eputation  for  his  inimitable  work  in  the 
ield  of  deductive  reasoning.  True,  I  was 
jresent,  in  an  astounding  degree,  in  each 
nstance  when  Barthelmess  missed  the  fatal 
«venty  dollars — but  I  beg  of  you  to  look 
'jpon  that  as  a  mere  coincidence.  Let  me 
;ell  you  something  of  the  owner  of  this 
3oat.  In  the  first  place,  he  never  has  lost 
'seventy  dollars  even  once.  It  is  a  total 
delusion  (as  we  say  in  court).  His  claims 
:o  have  lost  this  same  amount  on  two 
different  occasions  amounts  to  what  we 
term  a  delusion  of  grandeur.  I  doubt  if  he 
ever  had  seventy  dollars.  He  is  in  a  sad 
condition,  according  to  the  Sfjecialists  we 
have  visited.  Seventy  is  the  one  number 
that  will  throw  him  off  his  r^ular  balance. 
Believe  him  not!!" 

The  Last  "Seventy"  Vanishes 

AND  I  am  glad  to  relate  to  my  audience 
^  that  the  guests  sided  with  me  on  the 
whole  thing,  and  that  very  little  was  said 
with  reference  to  the  missing  money  during 
the  remainder  of  the  evening. 

It  was  later,  while  most  of  the  others 
were  busily  engaged  in  dancing  that  Dick 
told  me  of  his  plans  to  buy  a  special  sort 
of  motor  for  his  outboard  "put-put"  and 
gavt  me  the  name.  It  was  the  mention  of 
the  price  ($140.00)  that  almost  froze  the 
blood  in  my  veins.  Here  was  my  great 
opportunity  to  show  my  prowess.  It  was 
A  ith  much  happiness  that  I  bade  the  others 
idieu  and  made  my  way  home.  The  next 
iiorning  I  was  to  meet  Dick  at  the  boat. 

Is  it  necesssary  to  say  that  I  came  bear- 
iig  a  motor  which  had  cost  exactly  the 
.  sum  and  total  of  the  money  he  had  missed? 
Twice  seventy  dollars — S140.00.  Now  we 
would  see  what  would  happ)en  to  the  curse 
of  seventy! 

After  we  had  affixed  the  motor  to  the  rear 
end  of  the  little  craft,  Dick  got  aboard  and 
started  the  thing  humming.  Quite  a  crowd 
had  gathered  as  we  were  working,  and  so 
about  thirty  people  saw  Dick  shove  off 
alone  in  the  boat.  I  stayed  behind  to 
watch  the  results  of  my  plan.  Now  the 
mystery  would  be  solved — or  the  curse 
would  be  destroyed  forever! 

As  the  boat  gained  mid-stream,  the 
motor  suddenly  spit  a  jet  of  livid  flame  and 
the  entire  craft  sank  slowly  out  of  sight. 
It  was  only  the  horrible  screams  of  the 
onlookers  that  covered  my  slight  laugh  as 
the  boat  sank  beneath  the  waves.  The 
curse  of  the  "Seventy"  was  drowned  for 
all  time.  Philo  Vance  and  his  deductive 
powers  had  triumphed  again!  Oh,  what  do 
you  make  of  it,  Watson? 


Color jui,  laiy  ui,.it.i :>..h^_  lu.n 
)0H  feel  so  Hlltrl)  feminine" 


Dorothy  Dix  h/L 


abaid  Yenumne  C^karni^ 


Another  myrtery :  where  are  Clara  Bow's 
flowers  coming  from  now? 


"MISS  DiX.  what  IS  ehe  secret  t)f  charm? 
Girls  no  prettier  than  I  am  are  happily 
married  with  dear  little  homes  of  their 
own.  >X'on't  the  rijjht  man  e\er  fall  in 
hive  with  me — " 

KVELVN  S  


HERE  IS  the  real  truth.  Evelyn. 
It  is  jtniininit)  in  a  girl  that 
arouses  a  man's  desire  to  take  care  of 
her.  marr)'  her. 

But  first  of  all,  you  must  feel  yt)ur 
own  dainty,  captivating  femininity. 

Confidence  of  Charm 
(-lothes  can  help  to  give  a  girl  this 
happy  confidence  of  charm.  Especially 
all  the  dainty  ,  most  feminine  part  of 
a  girl  s  wardrobe,  her  lingerie,  negli- 
gees, hosiery. 

Lovely,  soft  colorful  underthings  — 
they  make  you  feel  st)  utterly  y^w/M/w. 
Irresistible!  And  because  you  have 
confidence  in  yourself,  you  impress 
others —  for  confidence  is  contagious. 

Girls  sometimes  say.  "It  is  so  dif- 
ficult to  keep  lovely  underthings  look- 
ing wonderful,  colorful  as  new  — 


frequent  washings  take  awav  color 
and  charm.  " 

It  is  true  that  just  ordinary  "good  " 
soaps  Jo  take  out  some  of  the  color 
along  with  the  dirt.  But  this  will 
never  be  the  case  if  you  wash  them 
always  in  Lux.  L//.v  is  made  especially 
10  keep  colors  vibrantly  alive! 

Your  Surroundings.  Too 

Your  surroundings  can  also  add  to 
your  charm!  Pretty  curtains,  cush- 
ions, colorful  table  linens,  all  form 
part  of  the  magic  spell,  when  kept  ever 


lovely  with  Lux! 


Dorothy  Dix 


Lineerie  after  12  Lux 
washings — e>er>  thread 
in  place,  silk  and  lace 
fibres  intact,  color  in- 
tact. The  Karmcoi  re- 
tains the  charm  of  ne« ! 


After  1 2  KashinKs  with 
ordinar>  "leood"  soap 
— silk  fibres  a  little  out 
of  place,  lace  damaxed. 
lustre  impaired,  the 
charm  of  color  loM. 

83 


Where  Are  They  Sundays? 


{Continued  from  page  57) 


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early  for  some  remote,  picnic-location  with 
his  small  grandson  as  the  star  pf  each  pro- 
duction. 

George  Arliss  is  almost  a  fanatic  on  this 
Sunday  business.  He  believes  that  all  shows 
should  be  closed  to  the  public,  as  well  as  the 
actor.  "I  do  on  Sunday  the  things  I  had 
intended  to  do  on  other  days,  but  could  not 
find  the  time."  I  should  suggest  you  hire 
an  aeroplane  to  locate  him. 

Pauline  Frederick  has  a  beach  house — 
sixteen  miles  from  a  telephone  and  forty 
miles  from  Warner  Brothers'  studio — which 
was  especially  erected  for  Sundays.  Here 
she  repairs  each  Saturday  night  to  indulge 
in  her  hobby — cooking.  "  It  is  the  way  I  let 
off  steam,"  she  tells  me.  "Cooking  is  my 
play,  cakes  my  sermon  and  preparing  Sun- 
day night  suppers  my  vacation."  I'd  try 
Malibu  if  I  were  you.  Ditto,  all  the  way 
through,  for  Louise  Fazenda. 

Just  try  and  find  Al  Jolson!  His  is  a  rest- 
less energy  that  seeks  new  scenery  each 
Sunday.  There's  only  one  time  when  you 
can  be  certain.  If  there's  a  horse  race  at 
Tia  Juana  or  Agua  Caliente,  your  search  is 
over. 

He  Knows  the  Ropes 

KEN  MAYNARD  stays  true  to  cowboy 
form  and  holds  calf-roping  contests. 
The  young  bucks  from  the  entire  country- 
side flock  to  his  ranch  to  compete  with  him. 
One  Sunday,  not  long  ago,  Tommy  Bay  won 
the  championship;  Ken's  first  home-plate 
defeat.  Ken  will  be  glad  to  have  you  try 
your  hand  against  Tommy's. 

You'll  have  to  keep  your  eye  on  two  places 
for  Grant  Withers.  The  interior  of  Mexico 
and  the  interior  of  his  and  Loretta  Young's 
home.  If  Loretta  and  Grant  aren't  working 
(a  rare  case),  take  a  chance  upon  Mexico, 
especially  Ensenada.  But  if  they  haven't 
had  time  to  indulge  in  lovers'  pastimes 
during  the  week,  it  won't  be  necessary  to 
leave  the  native  hills. 

Marion  Davies  is  gregarious.  She  likes 
swarms  of  people  around  her.  But  Sunday 
is  the  only  time  she  can  gather  them  to- 
gether. So  Sunday  afternoon  is  open  house 
at  Marion's.  At  that,  she  often  has  so  many 
other  week-day  left-overs  that  all  she  can 
do  is  to  greet  her  guests  with,  "  Hello  every- 
body. Make  yourselves  at  home.  Swim, 
play  tennis,  do  as  you  please.  There's  eats 
in  this  room  and  beverages  in  that — "  and 
disappear  until  it  is  time  for  leave-taking. 
You  won't  have  any  trouble  in  finding 
Marion's  place.  It's  a  white  house  on  the 
beach  in  Santa  Monica  and  bigger  than  the 
one  in  Washington,  D.  C.  You  can't  mis- 
take a  beach  club  for  it,  Marion's  is  so  much 
more  hotelish.  Just  perch  on  the  high  fence 
with  your  binoculars  and  you'll  see  half  the 
celebrities  in  town  frisking  around  like 
school  kids  on  their  first  day  of  vacation. 

Two  Suppers  to  Attend 

I SUGGEST  that  you  arrive  at  Marion's 
about  four  P.  M.  and  stay  until  twilight, 
then  walk  south  on  the  beach  three  or  four 
houses  to  see  Bebe  Daniels.  Don't  take  the 
road  in  the  rear.  These  houses  face  the 
sands  and  the  street  fence  is  so  high  you 
won't  be  able  to  see  anything  but  the  en- 
trance and  a  palm  tree  rising  from  the  patio. 
From  the  beach,  however,  you  can  climb 
the  patio  wall,  jump  over,  sneak  to  the  front 
windows  and  peep  through  the  curtains. 
You'll  see  at  least  twenty  celebrities  eating 
supper  (probably  buffet).  About  half  of 
them  will  remain  on  the  first  floor  to  play 
bridge,  while  the  balance  go  to  the  playroom 
on  the  second  floor  for  ping-pong  and  other 
varieties  of  card  entertainment.  (Bring 
your  rope  ladder;  palm  trees  are  no  good  for 
climbing.)  There'll  be  Bebe  and  her  mother, 


Ben  Lyon,  Norma  Talmadge,  Gilbert 
land,  Constance  Talmadge  and  husban 
it's  almost  certain.  The  stakes  will  be  hii 
But  it  will  make  your  mouth  water  just  i 
look  at  so  much  money,  even  on  Sunday.! 

There's  another  good  patio  wall  for  tv 
light  climbing,  back  in  Beverly.  The  Jimr 
Gleasons'.  Jimmy  and  Lucille  will  be  hani 
ing  out  their  famous  hash,  baked  beans  aiij 
combination  salad,  with  a  possible  additiq 
of  waffles  and  grated  maple  sugar.  If  yd 
make  a  spectacular  climb,  they'll  probabj 
let  you  "drop  in"  and  join  them.  I'd  taf 
in  both  of  these  suppers,  because  you'll  i 
all  the  old-line  screen  people  at  Bebe's  an 
the  Broadway  newcomers  at  Jimmy's. 

Sunday  Drivers 

THE  golf  clubs — Lakeside,  Rancho, 
Air,  etc. — are  other  certain  meccas  f(j 
the  famous.  Bob  Armstrong,  Ford  Sterlij 
Robert  Ames,  Joseph  Cawthorn,  RichaL 
Arlen.  You'll  find  at  least  the  other  th^j 
of  a  foursome  with  Dick  and  if  you  foUo 
them  closely,  you'll  land  at  his  house  whe 
the  game  is  over  for  supper  with  Mrs.  Dicli| 
Jobyna  Ralston. 

If  you're  interested  in  real  estate,  pa 
up  your  overnight  case  Saturday,  haii 
around  the  Paramount  doors  until  Charld 
E.  Mack  (of  Moran  and  Mack)  comes  oti| 
Follow  him  to  a  sub-division  near  Newha 
which  he  is  developing.   His  own  home 
completed,  and  six  others  nearly  so.  SundaJ 
is^his  day  for  personal  supervision  and  pr 
motion.    His  acreage  is  next  door  to  Bil 
Hart's  ranch.  Just  run  over  and  call  on  Bill 
He'll  be  a  gentleman,  even  though  you  areii 
stranger. 

To  locate  Ronald  Colman,  climb  the  hil 
north  of  Hollywood  until  you  come  to 
high,  a  very  high  wall  with  an  English  homd 
snuggled  far  behind  it.   Blow  out  a  hole 
the.  concrete  with  dynamite,  rush  to  th<( 
tennis  courts  and  watch  Ronny  and  Bil 
Powell  in  their  weekly  championship  bout 
Linger  until  tea  time,  then  trail  them 
Clive  Brook's  for  eats.  There  you  will  joinj 
Clive  and  Mrs.  Clive,  John  Loder,  PhilliF[ 
Strange  and  other  celebrities  who  went  tct 
kindergartens  across  the  water. 

Away  from  It  All 

IF  it's  Gary  Cooper  you  are  seeking,  you'll 
have  a  hard  day.  Up  before  six  and 
away  to  rodeos  or  ranch  or  cool,  unfre- 
quented retreats  in  the  mountains.  Gary, 
believe  one,  can't  carry  on  without  these 
away-from-HolIywood  and  back-to-nature 
diversions.  Lupe  \'elez  must  agree,  because 
you'll  certainly  be  forced  to  share  Gary  with 
her. 

Naturally,  I  could  go  on  for  pages  and 
pages.  Richard  Dix  is  at  his  ranch  in  the 
San  Fernando  \  alley,  where  he  plays  with 
his  setters  and  looks  over  his  financial 
papers.  While  Rudy  Yallee  was  here,  he 
divided  his  time  between  his  mother  and 
father  at  home  and  Mary  Brian  at  hers. 
Sally  Blane  washes  her  own  beneath-the- 
dress  dainties.  Yes  sir,  the  laundries  spoiled 
so  many  soft  silks  that  they  forced  her  to 
become  a  Sabbath- Day  washlady.  Ivan 
Lebedeff  writes  Russian  letters  in  the  day- 
time and  is  very  quiet  about  his  Sunday 
evenings.  I|  Natalie  Moorhead  never  fails  to 
write  mother  or  pay  bills.  (Lucky  creditors.) 
Vivienne  Segal  plays  bridge  and  takes  a  vocal 
lesson.  (Follow  the  sound  of  her  voice  to 
locate  her.)  Myrna  Loy  forgets  she  is  a 
slinking  vamp  the  other  six  days  of  the 
week  and  becomes  a  girl  athlete.  Try  the 
Swimming  Club;  it's  pretty  certain.  Dorothy 
Mackaill — fly  to  Agua  Caliente.  Ditto  for 
Clara  Bow. 

Sunday,  for  the  week-day-laborers  of 
Hollywood,  is  a  day  of  rest  with  a  %  engeance. 


84 


I 


*  He  Forgot  He  Was 
Ronald  Colman 

(Continued  from  page  52) 

10  a  room.  "That  was  Ronald  Colman," 
announced  the  clerk,  more  to  save  himself 
I  game  of  questions-and-answers  than  to 
five  information 

The  Great  Unknown 

WHO'S  he?"  asked  the  woman  who 
has  done  missionary  work  and  will 
ell  you  all  about  it,  if  you  don't  watch  out. 

"Movie  actor,"  replied  the  rheumatic 
tjentleman,  who  suffers  with  insomnia  and 
vill  tell  you  about  that,  if  you  don't  watch 

)Ut. 

The  missionary  lady  made  derogatory  na- 
ial  noises  and  returned  to  her  article  on  the 
;reat  work  being  done  by  Dr.  Beamish 
n  West  Afro-China.  The  rheumatic  gen- 
leman  tried  straightening  out  one  leg,  said 
ouch!",  and  let  the  matter  drop.   It  was, 

am  willing  to  bet,  the  slimmest  reception 
Donald  Colman  was  ever  accorded.  And  it 
liso  was,  according  to  Mr.  Colman,  by  far 
lis  best  reception,  Lord-mayored  and  gold- 
)raided  ones  notwithstanding. 

Colman  had  come  to  that  town  and  that 
nn  at  the  urgent  request  of  Mr.  Charles 
.ane,  his  retired  actor  friend.  But  not 
intil  he  had  actually  arrived  and  seen  the 
)lace  did  he,  for  whom  other  quiet  little  va- 
ations  had  invariably  been  quiet  little  mob- 
)ings,  actually  credit  his  friend's  extrava- 
gant claims. 

He  left  his  room  and  tried  a  walk  before 
linner.  Nothing  happened.  He  tried  din- 
ler  in  the  small  crowded  dining-room.  Still 
lothing  happened.  He  tried  (and  now  look 
)Ut)  the  lobby,  with  its  many,  many  pit- 
alls.  And  still  nothing  happened.  He 
miled.  He  laughed.  He  bellowed!  There 
iis.  a  Santa  Claus. 

"That  Man  in  Room  53" 

HERE  he  could  be  free  and  natural. 
Here  he  could  be  just  "that  man  in 
ioom  53."  And  for  the  next  two  weeks  he 
vas  just  "that   man   in   Room  53"  and 
lothing  more.    For  two  solid  weeks  he 
vallowed  in  the  earthly  joys  (unknown  to 
lim  in  Hollywood)  of  being  contradicted 
ind  summarily  dismissed  as  conversation- 
illy  unimportant.   For  fourteen  solid  days 
le  said  what  he  pleased,  went  where  he 
leased,  or  lay  abed  if  he  pleased,  without 
I'ing  hawked  by  wild-eyed  publicists.  His 
pinions,  for  the  first  time,  were  no  better 
ban,  probably  not  as  good  as,  the  next 
•Tson's.    If  old  man  Little,  floor  leader  at 
le  nightly  fire-place  Senate,  thought  Col- 
an's  judgment  to  be  sadly  erring,  he  told 
im  so  at  once  and  without  the  least  hint 
t  apology.  What  if  he  was  Ronald  Colman? 

A  ho  the  h  ,  old  man  Little  wanted  to 

now,  was  Ronald  Colman? 
So,  with  the  very  firm  conviction  that  he 
ad  at  last  struck  Heaven,  Mr.  Colman  tore 
rito  the  conversation — good  homely  Amer- 
an   conversation — until    all    that  could 
osaibly  be  said  about  the  younger  genera- 
lon;  Mussolini  (what  does  he  think  he's 
,)  to,  anyhow?);  the  new  Ford  versus  the 
Id;  cnme  in  Chicago;  the  New  Woman; 
he  stock  market  crash;  women  who  smoke 
garettes;  who  won  the  war;  what's  wrong 
Aith  the  movies  (Mrs.  Cupf>er  wanted  to 
know  when  they  are  going  to  cut  out  all 
that  love-making  mush);  and  the  younger 
generation  again  had  been  said — and  said 
iiid  said.   If  a  certain  instinct,  latent  in  all 
he  celluloidally  prominent.  Caused  Colman 
0  beware  of  being  himself,  that  caution 
lOon  left  him.  An  hour  after  dinner  he  was 
ireathing  deeply  and   laughing  normally. 
'  le  had  successfully  ditched  Ronald  Col- 
an,  actor,  for  Ronald  Colman  in  person, 
(Continued  on  page  101) 


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{Continued  from  .page  25) 


longest  purse  has  an  advantage.  Two  years 
ago  the  motion  picture  wallets  were  wrinkled 
and  flat.  Even  to-day,  with  color  and  wide- 
film  sitting  on  the  doorstep,  more  outside 
capital  is  needed,  and  money  for  commercial 
expansion  can  come  from  but  two  directions. 
The  picture  companies  may  go  direct  to  the 
public  with  their  securities,  as  Fox  did  last 
autumn  with  such  negative  results,  or  they 
may  invite  the  investment  bankers  to 
underwrite  stocks  and  bonds,  or  to  make 
loans. 

In  either  case,  "terms"  will  be  exacted, 
and — since  the  Fox  experience — backed 
with  adequate  guarantees.  If  those  terms 
are  agreed  to,  one  may  wonder  where  the 
present  group  of  picture  executives  will  be 
five  years  hence,  for  Wall  Street  does  not 
willingly  let  outsiders  run  its  enterprises, 
and  particularly  unsympathetic  outsiders. 

Three  years  ago,  such  a  possibility  as  the 
present  one  would  have  been  unthinkable. 
But  to-day  the  Wall  Street  interests  have 
control  of  patents  without  which  it  is  almost 
impossible  to  make  a  talking  picture,  or, 
having  made  it,  to  project  it  upon  a  screen. 
These  patents  fundamentally  are  radio  and 
telephone  inventions,  among  the  most  im- 
portant of  which  are  the  "C  Battery" 
patents,  and  they  are  held  in  the  names  of 
the  General  Electric,  Westinghouse,  Ameri- 
can Telephone  and  Telegraph  Company, 
and  Radio  Corporation  of  America.  The 
gross  capitilization  of  this  group  of  interests 
runs  into  the  billions,  and  they  have  pipe- 
lines leading  direct  to  the  treasuries  of  Wall 
Street. 

Unheard  Of  Until  1890 

IT  is  comparatively  recently  that  gentle- 
men of  similar  nomenclature  to  the 
present  picture  barons  broke  into  the  amuse- 
ment business.  Can  you  recall  one  in  the 
circus  enterprises  among  the  Barnums, 
Baileys,  Ringlings,  Forepaughs,  Sellses  and 
Robinsons?  And  what  were  the  great 
theater  names  of  three  or  more  decades  ago? 
Were  they  not  Daly,  Palmer,  Hoyt,  Sinn, 
Macauley,  Abbey,  Niblo,  Stetson,  Pope, 
Hamlin,  Henderson,  Hooley,  and  so  on? 
And  in  vaudeville  did  we  not  have  Keith, 
Proctor,  Albee,  Pastor,  Murdock,  Castle, 
Considine,  Sullivan  and  Sun? 

Not  until  the  'Nineties  did  there  arrive  on 
soft  shoes  the  Frohmans,  Haymans,  Er- 
langers,  Klaws,  Shuberts,  Meyerfeldts  and 
Becks.  But  by  the  turn  of  the  century  they 
were  in  full  control  of  the  American  theater 
— big  and  little! 

In  the  very  middle  of  those  same  'Nine- 
ties, there  appeared  an  interesting  toy, 
showing  pictures  in  motion.  Wall  Street 
probably  heard  of  it — since  the  first  exhibi- 
tion occurred  on  Nassau  Street  near  Maiden 
Lane,  and  later  in  the  building  where  the 
Guaranty  Trust  Company  now  holds  forth 
— but  dismissed  it  to  lie  with  the  baby's 
rattle  or  the  latest  block  puzzle.  But  a 
reporter  on  a  New  York  newspaper,  a  fire 
chief  from  Kansas  City,  a  planter  from  the 
South,  together  with  a  few  other  visionaries 
for  the  moment  at  a  loose  end,  began  to 
pioneer  the  new  contraption. 

Anglo-Saxon  Pioneers 

SOON,  others  joined  the  Messrs.  Blackton, 
Hale  and  Latham.  These  newcomers 
had  names  like  Long,  Dickson,  Koopman, 
Marvin,  Kennedy,  Smith,  Rock,  Aitken, 
Meek,  McKinley,  Jefferson,  White  and 
Spoor.  The  clothing,  glove  and  fur  indus- 
tries had  not  yet  been  drawn  upon. 

The  gentlemen  just  mentioned  organized 
little  picture  companies  with  odd  names, 
such  as  Biograph,  Kalem,  Solax,  Essanay, 
Polyscope,  Majestic,  Reliance,  Eclair,  Bison, 
\  itagraph,  Keystone,  Rex,  Imp  and  so  on. 


Their  business  grew  amazingly,  and  about 
1910  these  Saxon  entrepreneurs  suddenly 
discovered  a  number  of  strange  names  in 
their  midst.  A  clothing  store  manager  from 
\yisconsin,  Laemmle  by  name,  and  an  eye- 
glass maker  from  Philadelphia,  yclept 
Lubin,  demanded  to  be  counted. 

Next,  quietly  arrived  the  Messrs.  Lasky, 
Zukor,  Goldfish,  Fox,  Loew,  Abrams,  Kes- 
sel,  Warner,  Bauman,  Selznick,  Dintenfass, 
etc.,  and  most  unobtrusively,  but  effectively, 
took  charge  of  the  new  picture  business,  and 
have  continued  since  to  govern  it.  This  is. 
not  a  history  of  the  motion  picture,  so 
suffice  it  to  say  that  for  one  reason  or  an- 
other Latham,  Long,  Smith,  Rock,  Dickson, 
Kennedy,  Hale,  Marvin  and  the  rest  have 
dropped  out.  Only  one  of  them  discovered 
Wall  Street.  Harry  E.  Aitken  organized 
Mutual  Film  Corporation  in  191 3  and  got 
his  money  down  there,  enticing  a  member 
of  the  House  of  Kahn  aboard  with  him. 
Perhaps  no  one  was  more  astonished  than 
he  to  obtain  a  million.  Seven  figures  had 
never  before  been  used  in  the  picture  busi- 
ness— save  in  dreams. 

Wall  Street  Steps  In 

BY  1914,  the  company  names  were 
Famous  Players,  Lasky,  Universal, 
Fox,  World,  Selznick,  etc.  Of  the  old 
group  Biograph,  Mutual,  Edison  and  \'ita- 
graph  were  all  that  were  left  and  they  were 
dying.  By  now  Wall  Street  had  discovered 
the  picture  business.  J.  P.  Morgan  &  Co., 
Kuhn,  Loeb  &  Co.,  Knauth,  Nachod  & 
Kuehne,  and  E.  S.  Smithers  &  Co.  had 
made  loans  and  underwritten  securities.  An 
occasional  bank  lent  against  negatives  or 
contracts,  and  picture  stocks  began  to  ap- 
pear on  the  exchanges. 

In  1915,  the  public  was  invited  into  Tri- 
angle and  went  with  a  rush — temporarily. 
Fox  had  found  a  new  vein  of  capital  over  in 
New  Jersey  and  had  become  a  five-million- 
dollar  concern.  Famous  Players  and  Lasky 
merged.  Edison  and  Biograph  quit,  Luhin 
failed,  Kalem  dissolved  and  Vitagraph  was 
getting  into  shoal  water.  With  them  went 
the  old  names,  and  by  1920  none  was  left. 
About  this  time,  Wall  Street  discovered  that 
the  annual  picture  income  needed  nine 
figures  for  its  expression.  It  had  topped  a 
billion  dollars  a  year,  and  ranked  fifth  or 
sixth  iri  the  industrial  list! 

Radio's  Effect 

THE  next  year,  radio  was  born  and  with 
it  came  the  principles  that  made  talking 
pictures  a  possibility,  though  they  did  not 
appear  for  a  half-dozen  years  more.  The 
big  electrical  companies  quietly  gathered  up 
the  patents  expressing  these  principles  and 
eventually  worked  out  the  precision  appa- 
ratus that  gave  a  voice  to  the  films.  Forth- 
with they  were  launched  into  the  picture 
business. 

It  may  be  said  that  the  picture  industry  is 
an  important  link  in  the  gradual  erection  of 
the  electrical  vertical  trust.  The  vertical 
trust  is  an  industrial  plan  which  begins  with 
the  control  of  certain  industries  intimately 
related  and  starting  with  raw  materials. 
For  example,  copper  mine,  wire  mill,  rubber 
plantation  and  factory,  electrical  machine 
works,  electrical  railways,  telephone  and 
telegraph  companies,  radio  stations,  railroad 
block  signals,  power  companies,  radio  tube 
and  lamp  factories,  all  work  harmoniously 
together,  passing  a  finished  product  straight 
on  up  from  one  to  the  other.  In  this  way 
markets  are  stabilized  and  profits  virtually 
guaranteed.  The  motion  picture  business, 
almost  entirely  electrical,  fitted  in  like  a 
block  in  a  puzzle.  You  see,  television  al- 
ready had  been  provided  for,  so  the  thing 
{Continued  on  page  /oj) 


A  Blonde 
Old-Fashioned? 

(Continued  from  page  41) 
Hollywood  Not  to  Blame 

I JUST  wasn't  happy,"  Jeanette  says. 
"Hollywood  had  nothing  to  do  with 
our  separating.  It  would  have  happened 
1  anywhere  else,  some  time  .  .  ." 

Jeanette  is  old-fashioned.  She  hopes  to 
marry  again.  It  looks  very  much  as  though 
she  will.  She  wants  a  home  and  babies.  She 
'believes  in  the  virtue  of  women  and  in  the 
chivalry  of  men.  She  has  never  had  an  un- 
pleasant experience  with  the  much-ad- 
vertised hunters  of  Hollywood  damosels. 
She  doesn't  believe  unpleasant  experiences 
'are  necessary.  She  believes  that  a  girl  can 
get  along  in  Hollywood  and  remain  "a  good 
■girl,"  too.  She  thinks  that  men  are  nice  to 
■girls,  if  girls  are  nice  with  them.  She  ought 
to  know.  For  she  was  a  married  woman 
when  she  came  here.  No  one  knew  that  she 
I'was  married.  She  had  to  turn  down  invita- 
tions and  plead  work  and  tiredness.  It 
^didn't  debar  her  from  a  contract  with 
■■Universal. 

I  Because  Jeanette,  once  married,  inde- 
Ipendent,  in  and  of  Hollywood,  still  strongly 
f  suggested  to  us  the  old-fashioned  girl,  it  was 

^also  suggested  to  us  that  we  do  an  old- 
fashioned  interview. 
We  thought  it  would  be  piquant  to  dis- 
cover what  is  Jeanette's  favorite  candy, 
color,  flower,  actor  and  actress. 

By  a  person's  tastes  shall  he  be  known. 
Well,  these  are  Jeanette's  tastes.  You 
have  her  background.  Her  future  stretches 
ahead,  luminously,  to  the  pot  of  gold  at  the 
rainbow's  end. 

Now,  go  ahead  and  fill  in  the  blanks  .  .  . 

Furnishing  Her  Preferences 

I SAID,  "What  is  your  favorite  flower?  " 
Jeanette:  "Yellow  roses.  They  make 
me  dream." 
G.  H.:  "Your  favorite  color?" 
Jeanette:  "Orchid.  It's  soft  and  sad  and 
beautiful.    I  feel  different  when  I  wear  it 
than  I  do  in  any  other  shade." 
G.  H.:  "  Your  favorite  animal?" 
Jeanette:  "English  sheep  dogs.  I  always 
think  of  little  children  when  I  see  them. 
They  are  so  rompy  and  so  jolly  and,  some- 
how, 90  Pftn-Pannish." 
G.  H.:  "Your  favorite  book?" 
Jeanette:   "  Donn  Byrne's  'Marco  Polo. 
I  have  a  thirst  for  adventure,  for  sailing  the 
Seven  Seas,  for  touching  at  foreign  ports." 
G.  H.:  "Your  favorite  sport?" 
Jeanette:  "Horse-racing.   Perhaps  there 
is  the  gambler  hidden  somewhere  in  my 
heart.   What  revelations  a  person's  tastes 
can  be!" 
G.  H.:  "Hobby?" 

Jeanette:  "  Ice -'skating.  It  seems  to 
bring  me  nearer  to  the  land  of  my  fore- 
fathers. The  ring  of  steel  on  blue  ice.  Some 
day  I  want  to  go  there.  I  have  a  feeling 
that  I  belong  ..." 

Sad"  and  "Expensive" 

:  "  Your  favorite  bird?" 
Jeanette:    "The  blue  love-birds. 
Tney  are  so  tender  and  so  gentle  and  so  sad. 
I  think  I  must  care  about  sad  things." 
G.  H.:  "Your  favorite  jewel?" 
Jeanette:  "  Now  I  begin  to  get  expensive. 
The  diamond.    It  is  the  only  jewel  that 
means   anything    to    me.  Engagements. 
Promises." 
G.  H.:  "Your  favorite  city?" 
Jeanette:    "Berlin,  so  far.    It  gives  me 
more  than  Paris  or  London  or  New  York.  " 
G.  H.:  "Your  favorite  season?" 
Jeanette  (smiling):    "I  think  I  am  still 
young  enough  and  still  hopeful  enough  to 
{Contiriued  nn  page  Ql) 


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■  ■■■■■■■■ 


His  Pace  Is  His  Fortune 


(Continued  from  page  48) 


Eddie  lost  no  time  getting  started.  I  bor- 
rowed a  pencil  somewhere  and  caught  some 
of  it. 

The  Movies  Not  to  Blame 

IF  the  theater,"  he  began,  "feels  that  the 
movies  have  crowded  it  out,  it  has  only 
itself  to  blame.  For  the  theater  didn't  keep 
faith  with  the  public.  Half-way  good  shows 
have  been  shoved  off  on  the  public  for  the 
last  time.  Not  only  that,  the  theater  doesn't 
know  how  to  treat  the  public. 

"How  in  the  world  could  they  expect  to 
draw  movie-sized  crowds  when  they  pre- 
sented their  offerings  in  theaters  that  often 
were  no  more  than  barns?  And  the  way 
in  which  they  handled  audiences  nearly 
amounted  to  'the  public  be  damned.'  Pro- 
grams were  shoved  at  incoming  patrons  and 
they  were  herded  to  their  seats  like  so  many 
cattle.  Perhaps  the  seats  were  uncomfort- 
able and  the  theater  itself  overly  warm  or 
cold.  Producers  acted  as  if  they  were  doing 
the  public  a  favor  to  let  them  into  their 
theaters.  It  couldn't  last.  It  was  only 
natural  that  the  movie  crowd  should  come 
along  and,  by  making  the  customers  feel  at 
home,  inevitably  capture  a  good  share  of 
the  business." 

I  thanked  him  and  rose  to  go.  Certainly 
I  had  enough  information  here  for  an  article. 
And,  besides,  I  knew  where  there  was  a 
poker  game  going  on  .  .  . 

"Where  you  going?"  asked  Mr.  Cantor. 
"I'm  going  home  and  transcribe  my 
notes,"  I  answered.  "It's  been  a  wonderful 
interview  and  ..." 

He  Insists 

OH,  no,  you're  not,"  he  spouted.  "I 
haven't  even  got  started  yet.  Now 
you  just  sit  down  like  a  good  boy  while  I 
get  warmed  up.  Here  (and  he  shoved  a 
chair  under  me),  you're  not  leaving  yet, 
are  you?"  I  sat  down.  Evidently  I  wasn't. 

"Now  the  theater,"  continued  Mr.  Can- 
tor, "is  far  from  dead."  (I  borrowed  the 
pencil  again.)  "Far  from  dead.  Do  you 
know,"  and  he  wagged  a  finger  at  me,  "that 
in  sixty  weeks  we  did  some  two  millions  of 
dollars'  worth  of  business  with  'Whoopee '?  " 
I  didn't,  and  I  was  getting  sleepy. 
"And  did  you  know,"  he  continued  (there 
was  really  no  stopping  the  man),  "that  in 
one  year  alone  we  drew  (I  forget  how  many) 
thousands  and  that  road  shows  annually 
draw  (I  forget  these  thousands,  too)  more?" 

"Jed  Harris  was  right  when  he  told  a  re- 
porter the  other  day,  'There  was  only  one 
thing  wrong  with  the  theaters,  and  that 
was  the  managers.  They  have  proved  them- 
selves to  be  as  imbecile  a  group  of  business 
men  as  ever  got  together.  They  tell  us  the 
theater  business  is  in  a  bad  way.  They  pro- 
duce bad  plays  and  then  wonder  why  they 
have  failures.  Any  time  you  give  the  public 
its  money's  worth,  it  will  flock  to  the  thea- 
ter. Here  are  some  figures  to  illustrate:  It 
cost  me  eleven  thousand  dollars  to  produce 
"Broadway";  it  netted  me  one  million, 
three  hundred  thousand.  "Coquette"  cost 
nie  ten  thousand  and  netted  a  half-million. 
It  is  a  marvelous  business  when  the  man- 
agers are  not  hopelessly  incompetent.'  " 

Saving  a  Half- Day 

EXCUSE  me  a  moment,"  snapped 
Eddie.  "  I've  got  to  make  a  scene." 
He  shot  from  his  seat  and  rushed  to  his 
place  before  the  cameras.  Instantly  he  got 
into  character.  Speedily  he  rehearsed  the 
act,  supervised  the  adjustment  of  micro- 
phones, rehearsed  the  act  again  and  stood 
ready  for  the  take. 


Then  a  cry  rang  out  from  the  back  of  t 
set.  One  of  the  gals  in  the  show,  perched  ( 
a  high  seat  to  represent  the  spirit  of  som 
thing  or  other,  had  slipped  and  landed  on 
Eddie  ran  around  back  and  got  her.  Th( 
he  was  a  sympathetic  soother.  With  a  fathe 
ly  arm  around  her,  he  cooed  soft  comfor 
ing  coos.  "  Did  it  hurt  awfully  much?  Whei 
did  she  land;  where  her  brains  are?  Woul 
she  please  take  a  deep  breath  and  sa 
'Ah!'"  Soon  he  had  her  snickering;  laugl 
ing.  Soon  the  interruption  in  the  work  w£ 
over  and  they  were  back  to  business. 

Now,  this  incident  is  interesting  only  a 
additional  evidence  of  Eddie's  amazin 
energy.  A  company,  always  ready  to  loal 
would  normally  take  off  a  half-day  becaus 
of  such  an  occurrence.  But  the  effect  0 
Eddie  and  his  all-consuming  vitality  literal!; 
spurred  the  others  to  work,  in  spite  of  them 
selves.  The  picture  will  probably  be  finishe( 
by  schedule  and  dozens  of  efficiency  expert: 
go  quite  mad. 

He  Crackles 

TWICE  or  three  times  they  took  the 
scene.  It  looked  good  to  everyone.  But 
Eddie  asked  for  another  take;  and  another. 
Eddie  isn't  interested  in  good  scenes.  He 
wants  them  all  to  be  swell.  There  is  a  thrill 
in  watching  this  man  work.  Somewhere  he 
picked  up  a  craftsmanship  that  is  just  a 
little  new  out  here.  The  efficiency  of  Eddie 
Cantor  before  the  camera  has  something  of 
big  business  about  it.    His  sure,  staccatoi 
movements  fairly  crackle.    He  seems  to 
click.  I'd  say  that  he  is  electric  if  I  hadn't' 
already  said  it.  A  man  can't  go  on  repeating  1 
all  his  life — 

Presently  he  was  back  beside  me  on  thej 
bench.  "The  theater,"  he  took  up,  as  if 
there  had  been  no  interruption,  " needs i 
fresh  blood  in  its  production  department. 
No  one  back  there  (meaning  the  East)  will 
take  a  chance.  They  go  ahead,  year  after 
year,  with  the  same  formulas,  afraid  of  risk- 
ing a  new  idea.  That's  where  the  movies 
have  'em.  What's  more,  the  movies  take 
tremendous  Broadway  spectacles,  as  well  as 
masterpieces  of  acting,  right  into  the  coun- 
try. Consider  what  the  brilliance  and  gay- 
ety  of  an  'On  with  the  Show'  mean  to  small- 
town people.  Realize  that  if  it  were  not  for 
the  movies,  countless  thousands  of  rural 
folk  would  never  see  the  art  of  a  George 
Arliss. 

He  Knows  His  Business 

"T  "  HE  continued,  "have  always  been 
Jj  interested  in  the  producing  end  of  the 
theater.  I've  made  it  my  business  to  know 
every  branch  of  the  industry  and  could  tell 
you,  up  to  a  few  dollars,  the  cost  of  trans- 
porting a  company  from  ..." 

But  just  then  he  was  wanted  on  the  set 
for  another  shot. 

"Excuse  me,"  he  said,  "I'll  be  right 
back." 

And  maybe  he  was  right  back.  As  for 
me,  I  didn't  wait  around  to  find  out.  If 
these  live  wires  from  the  East  think  they 
can  work  us  poor  writing  guys  like  that, 
they're  crazy.  Eddie  Cantor  or  no  Eddie 
Cantor,  a  guy's  got  to  consider  his  health. 

As  I  left,  the  last  words  I  heard  were 
Eddie's.  He  was  addressing  the  troupe. 
"Now,"  he  was  saying,  "let's  do  it  again. 
And  this  time  let's  make  it  good.  Let's 
work  at  it! " 

It  would  be  strange  to  see  a  sign  on  a 
studio  gate  reading:  Closed  Indefinitely  jor 
a  Good  Long  Rest.  But  that's  the  one  they 
may  have  made  for  United  Artists  when 
"Whoopee"  is  finished. 


90 


I         A  Blonde 
Old-Fashioned  ? 

{Continued  from  page  8g) 

say  Spring.  I  like  all  the  beginnings  of 
things.  Perhaps  because  they  are  sad, 
too  .  .  ." 

G.  H.:  "Your  favorite  food?" 

Jeanette:  "Caviar  on  toast.  A  dangerous 
admission,  coupled  with  the  preference  for 
diamonds.  It  might  make  a  man  afraid  of 
nie  at  meal  times  and  at  Christmas  time." 

Chevalier  Preferred 

GH.:  "  Your  favorite  actor?" 
.    Jeanette:     "Maurice  Chevalier." 
(There  was  no  hesitation  to  that  answer. 
,It  required  neither  thought  nor  weighing.) 
J    G.  H.:  "Your  favorite  actress?" 
i    Jeanette:    "Greta  Garbo.    Pola  used  to 
jbe.    But  now  it  seems  to  me  that  Greta 
jsymbolizes  all  of  the  feminine  allure,  the 
^strangeness  in  the  world." 
j    G.  H.:  "Your  favorite  screen  character?" 
i   Jeanette:  "Mickey  Mouse." 
f    (i.  H.:  "Your  favorite  orchestra?" 
[    Jeanette:  "Yes — it's  Paul  W'hiteman's. 
I  prefer  jazz  symphonic." 
jl    G.  H.:  "Your  favorite  song?" 

Jeanette:"McDoweirs'Toa  Wild  Rose.' " 
G.  H.:  "Your  favorite  salad?" 
Jeanette:  "Avocado." 

iG.  H.  (consideringly):  "Your  favorite- 
fish?" 
Jeanette:  "Sand-dabs." 
.    G.  H.:  "Your  favorite  color  in  hose?" 
1    Jeanette:  "Nude." 

G.  H.:  "Your  favorite  candy?" 
'.  Jeanette:  "  Peppermint  sticks." 
'  There,  didn't  we  tell  you  she  is  an  old- 
( fashioned  girl?  For  only  an  old-fashioned 
j  girl  would  care  for  Spring  and  diamonds  and 
"tea  roses  and  English  sheep  dogs— and 
peppermint  sticks. 


If  she  ever  finds  time  to  lounge  about, 
Claudia  Dell  would  prefer  to  do  it  in  a 
pajama  outfit  like  this  one.  The  printed 
silk  blouse  is  trimmed  with  the  solid 
color  silk  while  the  trousers  of  the  sohd 
color  are  trimmed  with  the  print 


Because  Kotex  deodorizes  .  .  . 
is  inconspicuous  .  .  .  stays  light 
and  cool  for  hours  ...  it  is 
really  necessary  to  your  summer 
poise  and  comfort. 

DON'T  sacrifice  your  feminine  charm 
one  single  day  in  summer.  Kotex  pro- 
tects when  daintiness  is  especially  difficult. 

All  through  every  Kotex  pad  a  wonderful 
deodorant  is  sprinkled.  This  deodorant  is 
your  protection.  It  is  safe  and  gentle  .  .  . 
soothing,  even  . . .  yet  deodorizes  as  long  as 
the  pad  is  worn. 

Meantime,  Kotex  gives  a  degree  of  com- 
fort that  seems  almost  miraculous.  This  is 
largely  due  to  its  unique  filler,  Cellucotton 
(not  cotton)  absorbent  wadding. 

Preferred  by  hospitals 

Cellucotton  is  used  by  85%  of  America's 
leading  hospitals  because  of  its  many  advan- 
tages. It  is  not  cotton,  but  a  cellulose  sub- 
stance which  absorbs  five  times  as  much  as 
an  equal  weight  of  finest  cotton ! 

Do  you  realize  what  this  means?  It  means 
your  Kotex  pad  can  be  five  times  lighter  than 
any  cotton  pad,  and  give  equal  protection. 
Think  of  the  difference  in  summer,  when 
bulk  and  weight  are  so  trying. 

Kotex  keeps  its  original  delicacy  an  amaz- 
ing time.   It  is  made  of  sheer  layers,  laitl 


lengthwise.  These  layers  permit  free  circu- 
lation of  air,  and  carry  irioisture  quickly  auay 
from  the  surface.  This  method  of  absorption 
is  important  both  to  comfort  and  hygiene. 

Round,  tapered  corners  keep  Kotex  always 
inconspicuous.  And  you  dispose  of  it  as  easily 
as  tissue.  Kotex  Company,  Chicago,  Illinois. 

g:Tiiii<iiiiiiiii[iiiiiiiiii<iiiiiiniiiii!i!iiiiii>iiii!iiiii!iiii'iiNiiiiiii;ii!iiiininiiiiiiiiin 

I         IN  HOSPITALS    -  I 

I  85*  of  our  leading  hospitals  use  the  very  i 

1  same  absorbent  of  which  Kotex  is  made.  g 

I  2    'fo/fX' /V  ^o// ...  not  a  deceptive  soft-  j 

1  ness  that  soon  packs  into  chafing  hard-  | 

1  ness   But  a  delicate,  fleecy  softness  that  f 

I  lasts  for  hours.  1 

I  J    Safe,  secure  .  .  .  keeps  your  mind  at  1 

1  ease.  f 

1  4    Deodorizes.  ..  safely,  thoroughly,  by  | 

g  a  special  process.  | 

I  5    Disposable,  instantly,  completely.  | 

1  Regular  Kotex -45c  for  12  | 

i  Kotex  Super-Size  — 65c  for  12  = 

1  Also  regular  size  singly  in  vending  cabinets  1 

i  through  West  Disinfecting  Co.  g 


I Ask  to  see  the  KOTEX  BELT  and  I  i 
KOTEX  SANITARY  APRON  at  any  I  | 
drug,  dry  goods  or  department  store.  |  = 

fiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii>iiii!iiii:iiiiiiiin;iii:!iiiiuiiiiiiHiiii^ 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 

91 


Your  poise  and  charm 

are  safe  with  this 
deodorizing  protection 

1 


Costumes  from  Kasktl  6  Kaskel  Dunlap 


Now 


rvelovislv   lyeilef  ica\ 


TO  REVEAL 
THE  FULL  BEAUTY 
OF  YOUR  EYES! 

C^VERy  wonjan  who  cares  for 
\0  the  charm  of  shadowed/ 
sweepms  lasheS/  is  adopting  tliis 
chic  method  .  .  . 

Smart,  sof)Kisticatecl  women,  wLo 
have  tried  many  eyelasK  teautifiers  — 
seeking  the  ideal  —  come  eventually  to 
Winx.  For  two  reasons  : 

yVinx  keeps  eyelashes  soft.  It 
never  cakes  nor  clots — just  gives  a  shade 
of  emjjhasis  to  the  natural  loveliness  oi 
your  lashes.  And  the  lashe  s  never  eet 
hard  —  the  effect  is  always  sott,  silky. 

Winx  gives  a  wholly  natural 
effect.  No  artilicial  stagey  look— just 
the  deefjened  exf)ression  and  irresis- 
tible fascination  of  your  own  eyes. 

^''^ould  you  like  to  try  Winx?  J  list 
send  the  cou(>on  with  lOc,  and  we  shall 
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WINX 

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A  month  of  beautiful  eyes!  Send  for  the 
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tfam,  _  

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□  Black 


□  Br 


Hollywood  Sob -Stories 


{Continued  from  page  2g) 


And  so  it  was  that  out  of  the  shadow  of 
death,  Walter  Pidgeon  staged  his  come- 
back in  talking  pictures.  Not  only  was  he 
granted  a  nsw  life  professionally,  but  he 
came  out  of  that  operation  forever  rid  of 
the  idea  that  he  was  a  victim  of  cancer. 

Not  The  Usual  Type 

AN  interesting  and  strange  man,  this 
Walter  Pidgeon.  \'ery  direct  in  his 
speech.  \  ery  given  to  skirting  non-essen- 
tials in  everything  he  does  and  says.  He 
might  be  a  successful  young  surgeon,  or 
lawyer.  Certainly  his  own  profession  has 
not  noticeably  marked  him.  Anything  from 
contract  bridge  to  Einstein  he  finds  more 
conversationally  interesting  than  any  resu- 
me he  might  give  of  his  picture  activities — 
past  or  present. 

He  knows  many  people  outside  of  pro- 
fessional Hollywood.  Premieres,  he  be-' 
lieves,  are  capable  of  struggling  along  with- 
out his  patronage.  Often  he  misses  his  own 
pictures  in  preference  to  a  quiet  evening  at 
contract  bridge  at  his  own,  or  a  friend's 
home.  He  enjoys  dinner  parties,  providing 
there  are  not  too  many  people,  and  once  or 
twice  a  week  he  dines  out  at  a  popular  cafe 
on  an  "off"  night.  He  frankly  admits  that 
he  loves  beautiful  women,  in  the  abstract; 
but  prefers  the  society  of  men  friends,  in  the 
concrete.  For  that  reason  he  is  not  looked  on 
as  good  engagement  bait  by  the  local  hus- 
band-hunters. 

His  musical  activities,  singing  and  piano, 
date  back  to  the  time  of  his  childhood  in 
Canada.  Of  the  four  sons  of  Charles  and 
Fronie  Pidgeon,  Walter  was  the  musical 
one.  Instead  of  following  medicine  or  law, 
as  did  his  brothers,  he  evinced  a  talent  for 
amateur  dramatics  as  early  as  his  high 
school  and  military  days.  His  rich  voice 
made  him  outstanding  in  East  St.  John's 
glee  club  activities,  and  he  would  have  im- 
mediately branched  into  the  study  of  music 
abroad,  if  the  war  had  not  sent  him  there 
on  a  little  private  business  for  Canada. 

What  He  Missed,  He  Heard 

IN  1915,  he  enlisted  in  the  Canadian  army 
as  a  private  in  the  artillery.  After  a  year 
at  the  front  he  was  wounded  and  spent  the 
remainder  of  his  nineteen  months  in  France 
in  a  base  hospital  within  bombing  distance 
of  the  Heinies.  What  Mr.  Pidgeon  didn't 
see  of  the  war — he  heard.  He  also  heard 
Elsie  Janis,  "toast  of  the  A.  E.  F.,"  on 
one  of  her  tours  through  the  front  hospitals 
and  aided  her  in  staging  an  entertainment  for 
the  boys.  Incidentally,  Elsie  also  heard 
Walter,  and  made  him  promise  to  get  in 
touch  with  her  if  he  ever  contemplated  a 
theatrical  career. 

But  it  was  not  until  several  years  after 
the  Armistice  that  he  reminded  her  of  that 
promise. 

In  the  meantime,  he  had  returned  home, 
broken  in  health,  confined  to  crutches  for 
two  years.  The  war  had  not  embittered 
him,  so  much  as  it  had  robbed  him  of  in- 
terest. He  dabbled  about  in  various  things. 


In  a  desultory  manner  he  traveled  to  Ita  i 
and  studied  singing.    It  was  there  that  1  ' 
met  his  wife,  a  non-professional.  Tiring 
Europe,  he  came  back  to  the  United  Statil 
and  affiliated  himself  with  a  Boston  broke;! 
age  house.    It  was  not  until  this  enterpris 
failed,  sweeping  away  a  great  deal  of.h; 
inheritance  in  the  crash,  and  after  the  d( 
of  his  wife,  that  he  turned  seriously  ti 
stage  for  a  livelihood. 

Elsie  Remembered 

WITH  the  implicit  confidence 
novice,  he  wired  Elsie  Janis 
decision.  Anyone  else  might  have  forgo 
that  promise  made  years  ago  to  a  sick  1 
in  a  French  hospital — but  not  the  one 
only  Elsie.  She  wired  him  to  join  her  foPT 
concert  engagement  at  Aeolian  Hall  in  Ne 
York.    It  was  the  beginning  of  a  long 
successful   tour   with    Elsie   through  the^l 
United  States  and  England  in  "At  Home."  I 
In  his  spare  time  he  made  records  for  the 
X'ictor  people. 

It  was  Joseph  Schenck  who  brought  him 
to  Hollywood  as  a  leading  man.  Silent  pic- 
tures were  in  exclusive  reign  at  the  time  of 
his  debut  and,  like  John  Boles,  the  equally 
personable  Mr.  Pidgeon  found  a  great  deal 
of  his  personality  wasted  before  the  voice- 
less camera.  He  drifted  hither  and  thither 
in  support  of  very  beautiful  ladies,  rating 
"satisfactorily — but  hardly  more  than  that," 
he  puts  it. 

"I  got  to  the  point  where  I  actually  en- 
vied the  character  men  and  the  heavies. 
They  at  least  had  something  to  do,  besides 
wear  a  dinner  coat  and  rush  in  at  the  nick 
of  time  to  defend  a  lady's  honor. 

The  Untangled  Web 
"/'^N  top  of  what  I  believed  to  be  my 
indifferent  showing  on  the  silent, 
screen,  I  was  a  sick  man  almost  from  the 
start.  My  health,  which  had  been  miserable 
since  the  war,  was  not  improving  even  in 
what  the  boosters  call  'God's  climate.'  Lord, 
there  were  times  when  Hollywood,  with  all 
her  attractions,  looked  ghastly  to  me! 

"Funny,  how  Fate  can  straighten  out  all 
our  tangles  for  us  with  one  gesture,  isn't  it? 
When  I  went  into  the  hospital  I  had  little 
to  live  for.  Six  weeks  later,  not  only  was  I  a 
well  man,  mentally  and  physically,  but  that 
miracle  of  talking  pictures  had  taken  hold  of 
my  profession  and  given  me  a  new  chance. 

"I've  been  lucky — awfully  lucky.  I  feel 
that  my  real  work  in  Hollywood  has  just 
begun,  since  signing  this  new  First  National 
contract.  I  don't  care  if  people  forget  there 
was  ever  a  Walter  Pidgeon  of  silent  pictures. 
So  far  as  I  am  concerned,  my  career  really 
started  with  the  last  six  pictures  I  have 
done:  'A  Most  Immoral  Lady,  'Her 
Private  Life,'  'The  Bride  of  the  Regiment,' 
'Mademoiselle  Modiste,'  'Sweet  Kitty 
Bellairs,'  and  now  this  picture  with  Miss 
Miller.  Not  a  bad  break,"  he  chuckled,  "for 
coming  back  from  the  grave." 

When  you  stop  to  think  of  it — not  bad  at 
all! 


Books  are  seldom  censored.  Likewise  stage  plays.  But  the  movies?  Ah,  the  movies 
are  pure. 

Or,  if  they  aren't,  it  isn't  the  reformers'  fault. 
That  is  the  sob-story  of  Hollywood. 

But  talkies  have  remade  the  movies.  Are  they  likely  to  remake  censorship  also? 
Don't  miss  "How  Free  Is  Speech?"  in  the  September 

MOTION  PICTURE  CLASSIC 


92 


sports  Of  The  Stars 

{Continued  from  page  jj) 

.ould  look  as  if  I  were  entering  the  rum- 
'unning  business.  That,  or  a  run  on  my 
|iank  account! 

Yachting  California 

TT  generally  happens  that  a  man  who  once 
\_  owns  a  boat  is  a  sailor  for  life;  and  such 
's  the  hold  which  the  sport  has  gained  on 
MDuthern  Californians,  that  at  present  there 
's  considerable  agitation  under  way  for  the 
establishment  of  a  yacht  harbor,  with  facili- 
ies  for  five  hundred  boats,  just  inside  the 
breakwater  of  Los  Angeles  Harbor.  With 
lose  to  twenty-five  millron  dollars  invested 
n  pleasure  craft  on  the  Pacific  Coast,  it  is 
elt  that  we  should  have  a  proper  anchorage, 
^'achting  and  motor-boating  are  no  longer 
he  sports  of  a  limited  number  of  people; 
hey  have  won  themselves  a  place  wherever 
here  is  sunshine  and  favorable  water.  And 
kvhere  will  you  find  more  of  those  qualities 
than  here? 

Dr.  Albert  Soiland,  senior  admiral  of  the 
Pacific  Coast  Yachting  Association,  calls 
ihis  "the  logical  national  center  for  boat- 
building activity."  As  soon  as  proper  facil- 
ities are  arranged,  that  happy  day  may 
;rrive;  but  until  then  we  are  using  a  number 
■f  scattered  moorings.  It  is  significant  of 
the  manner  in  w-hich  picture  people  pursue 
t  he  sporting  life  that  wherever  these  moor- 
ings are,  you  will  find  the  craft  of  various  of 
Its  members. 

Cinema  Sailors 

CONRAD  NAGEL  and  Corinne  Griffith 
have  beautiful  boats;  whereby  they 
differ  from  Lewis  Stone,  whose  craft  is  as 
funny-looking  on  the  outside  as  it  is  com- 
fortable below  decks.  Jack  Gilbert  recently 
(iispKJsed   of   his   boat;   but    Hal  Roach, 
farther  down  the  street  in  Culver  City, 
evened  things  up  by  building  a  new  one. 
This  Gypsy  is  a  marv'elous  aflfair,  and  there 
-n't  a  yachtsman  in  the  colony  who  isn't 
nvious  of  Hal. 
.\nd  when  I  say  "yachtsmen  in  the  col- 
riy, "  I  mean  just  that.  There  are  any 
umber  who  take  their  sailoring  with  a 
lioroughly  proper  seriousness.  Xeil  Hamil- 
'  nn  matriculated  at  the  University  of  South- 
rn  California  for  the  spring  semester  to 
study  navigation  and  nautical  astronomy. 
I  le  is  intent  upon  becoming  an  expert  pilot, 
nd  with  the  same  determination  behind 
I  in  which  has  taken  him  so  far  in  pictures, 
m  thinking  it  won't  be  long  before  he  is 
iJtsailing  us  all. 

Of  course,  he  will  have  to  do  some  fancy 
andling  of  the  wheel  to  best  Larry  Kent, 
ne  of  the  best  navigators  among  us.  Larry 
, lends  a  great  deal  of  time  and  money  on 
IS  two  boats.  A  lover  of  solitude,  he  likes 
'jthing  more  than  to  use  his  between-pic- 
ure  periods  for  extended  cruises.  Just  be- 
ire  his  last  jaunt,  he  made  an  arrangement 
ith  Webster  Daly,  physician  for  a  large 
number  of  film  people  and  an  ardent  yachts- 
man.   They  got  together  ev-enings,  and 
i.arry  brushed  Doc  up  on  navigation  while 
Daly  gave  Kent  lessons  in  first  aid. 

Where  Charlie  Can  Be  Found 

WHENEVER  Fox  can't  find  Charlie 
Farrcll,    they    send    down    to  his 
nchorage.  Not  long  ago  the  studio  was  the 

I  use  of  a  heart-breaking  incident  with 
harlie.  He  was  competing  in  one  of  the 
ral  races,  and  it  seemed  that  he  was  about 

II  win  his  first  cup,  when  on  the  breakwater 
r  saw  a  boy  from  the  studio  signaling  fran- 
tically to  him.  He  knew  they  wouldn't  be 
calling  unless  it  was  something  important, 
so  he  sailed  sadly  in — and  read  about  some- 
one else's  victory  in  the  morning  paper. 

Farrell  has  a  good-looking  boat — in  fact, 
it  is  so  good-looking  that  that  canny  Cape 
(Continued  on  page  gs) 


the  Kleenex  way  to 
remove  cold  cream 

think  of  rubbing  your  delicate  skin  with  a 
germ-laden  "cold  cream  cloth." 

And  do  you  know  how  dangerous  these 
wrong  methods  can  be?  An  unabsorbent 
cloth  or  towel  leaves  part  of  the  cold  cream 
in  the  pores,  and  with  it  tiny  bits  of  dirt  and 
cosmetics.  That's  what  starts  pimples  and 
blackheads ! 

Even  hard  rubbing  can't  remove  all  the 
impurities,  when  you  use  an  unabsorbent 
cloth.  And  this  hard  rubbing  is  injurious. 
Stretches  the  skin.  Relaxes  it.  And  so  in- 
duces large  pores  and  premature  wrinkles. 

Kleenex  just  can't  irritate  in  any  way.  It's 
so  soft,  so  readily  absorbent.  It  blots  up 
every  bit  of  surplus  cream,  and  lifts  impuri- 
ties from  the  pores. 

More  and  more  people  are  using  Kleenex 
for  handkerchiefs.  It's  especially  valuable 
for  colds,  to  avoid  reinfection.  Kleenex 
comes  in  pure,  lovely  tints  and  white,  at  drug 
and  depanment  stores. 

Kleenex  Cleansing  Tissues 

TO  REMOVE  COLD  CRE.\M 



Kleenex  Company,  Lake-Michigan  Bldg.,  .MPC-8 
Chicago,  IIL 
Please  send  a  sample  of  Kleenex  to: 

Namt  -   

City  —   

'A  ddrtsi  


KLEENEX  makes  it  so  pleasant  to  care  for 
your  skin  the  proper  way !  With  this 
smart  box  filled  with  exquisite  tissues  on  your 
dressing  table,  you'll  never  be  tempted  to  use 
a  towel  to  wipe  away  cold  cream  I  You'll  never 


"/  USE  KLEENEX  for  removing  cold  cream 
because  the  tissites  are  so  very  absorbent  that 
rubbing  is  unnecessary." 


93 


Beautifi 


lers 


f 


fragrant 
distinction 


The  delicate  fragrance  of  Duska  toiletries 
is  the  very  odor  of  beauty  itself.  Beautiful 
women  everywhere  choose  the  clinging, 
silken-smoothness  of  Duska  F  ace  Powder 
...the  elusive,  captivating  Duska  perfume. 
And  Duska  brings  beauty  . .  .  giving  the 
skin  the  fragrant  bloom  of  youth.  You'll 
be  proud  of  the  dist  inguished  Duska  con- 
tainers on  your  dressing  table.  Sold  only 
at  Rexall  Drug  Stores.  Liggett's  are  also 
Rexall  Stores.  There  is  one  near  you. 


D-D-Doing  H-H-His  S-S-StufF 


10 


{Continued  from  page  6j) 


have  the  hat  still.  But  it's  a  different  cigar. 

Before  he  walked  the  dog  along  the  George 
White  Way  to  the  Double-Cross  Roads  of 
the  World,  the  kid's  square  monicker  was 
Louis  Josephs.  The  name  of  Frisco  he 
picked  from  the  freight  car  that  carried  him 
from  nowhere  in  particular  to  a  spot  where 
he  can  draw  ten  thousand  dollars  for  six 
days'  work.  He  cut  his  last  name  in  half  and 
put  it  before  instead  of  behind — hence,  Joe 
Frisco,  a  name  that  means  dough  when  it 
appears  in  lights  above  the  Palace  Theater. 
And  will  soon  mean  S.R.O.  to  the  movies. 

He  Won't  Rehearse 

WITH  the  derby  and  the  cabbage  for 
props,  he'll  step  on  at  a  moment's 
notice  and  stop  the  show.  All  they  have  to 
say  is:  "Get  out  there,  kid,  and  be  comical." 
Give  him  the  key  and  he'll  sing  in  any  flat. 
He  ad  libs  his  stuff  and  won't  rehearse. 
When  he  works  in  pictures,  he  stays  up  all 
night  to  be  at  the  studio  on  time.  When  on 
the  stage,  he  catches  an  hour's  rest  after  the 
last  show.  Then  he  rounds  the  Square  until 
the  appearance  of  those  early  birds  that  get 
worms  for  their  trouble.  He's  kind  to  show- 
girls and  other  dumb  animals — as  witness 
the  business  with  the  horse  and  the  dough- 
nuts. 

He  hasn't  much  faith  in  the  sincerity  of 
women.  One  time  he  asked  a  girl  to  marry 
him. 

"I  d-d-don't  t-t-talk  very  f-f-fast,"  he 
says,  "and  it  t-t-took  me  a  1-I-long  time 
t-t-to  tell  her  that  I  1-1-loved  her.  When  I 
f-f-finally  proposed,  she  s-s-said  to  m-m-me, 
'Oh,  J-J-Joe,  this  is  s-s-£o  s-s-sudden.'  I 
knew  d-d-different!" 

Some  say  Frisco  started  life  as  a  train 
announcer.  But  by  the  time  he  got  through 
calling  the  track  number  of  the  departing 
choo-choo,  the  passengers  arrived  at  the 
gate  just  in  time  to  be  too  late.  Then  they 
transferred  him  to  the  Information  Desk. 

One  day  a  woman  with  a  little  boy  ap- 
proached him  and  inquired  the  time  of  de- 
parture of  the  two-twenty-two  to  Toledo. 
Joe  responded: 

"Th-th-that  t-t-train,  the  t-t-two-t-t- 
twenty-t-t-two  t-t-to  T-T-Toledo  1-1-leaves 
f-f-from  t-t-track  t-t-two  at  t-t-two  t-t- 
twenty  t-t-two." 

It  was  quite  a  task.  But  when  the  pros- 
pective passenger  returned  to  ask  again,  he 
courteously  repeated  the  information.  The 
third  time,  however,  he  chided: 

"  M-m-madam,  I've  t-t-told  you  three 
t-t -times  about  that  t-t-train." 

"I  know,"  she  replied,  "but  my  little  boy 
likes  to  hear  you  talk." 

How  He  Lost  the  Job 

THE  way  Frisco  is  said  to  have  lost  the 
railroad  job  is  that  he  ran  after  the 
president  of  the  road  with  a  package  the 
Rig  One  had  forgotten  in  the  waiting-room. 

"H-h-here's  your  p-p-package,  S-s-sir," 
stammered  Frisco. 

And  the  Chief  of  the  Works  spluttered 
back: 

"S-s-say,  w-w-who  in  h-h-heli  d-d-do  you 
think  you're  k-k-kidding!" 

Frisco's  pockets  are  invariably  filled  with 
rock  candy,  of  which  he  nibbles  and  knoshes 
a  couple  of  pounds  daily.  If  Dave,  of  "  Blue 
Room"  fame,  hasn't  the  particular  dish  Joe 
wants,  he'll  insist  that  the  restaurant  send 
out  and  buy  it  from  a  competitor.  More 
than  once  Frisco  has  seated  himself  at  a 


table  during  the  midnight  rush  hour,  pro-  ' 
duced  a  piece  of  pie  from  his  pocket  and 
demanded  plenty  of  service  while  he  ate  it. 
Dave  is  glad  that  Frisco's  favorite  dish  is  a 
concoction  of  mushrooms,  red  peppers  and 
noodles.  He  can't  carry  this  in  his  pwcket. 

Once  Joe  won  an  argument  with  a  movie 
producer  who  was  known  as  the  Cackling 
Kid  because  of  his  fast  patter.  The  movie 
man  talked  with  his  hands  as  well  as  his 
tongue,  and  there  was  every  reason  to 
believe  he'd  out-talk  Joe.  But  

"You  s-s-see,"  reminisces  Frisco,  "1 
g-g-got  him  j-j-just  after  a  s-s-strenuous 
g-g-golf  game.  His  arms  w-w-were  t-t-too 
t-t-tired  to  w-w-wave,  so  he  c-c-couldn't 
t-t-talk  so  f-f-fast." 

At  times  Joe  kind  o'  brags  of  the  fact  that 
he  can't  write.  Not  even  his  name.  A  close 
observer  may  notice  that  he  introduces  this 
subject  into  the  conversation  when  the 
waiter  presents  the  dinner  check  for  signa- 
ture. Or  when  he  is  asked  to  indorse  one  of 
those  rubber  checks  that  the  holder  may 
have  for  keeps  after  it  bounces  back  three 
times. 

His  Money  Is  Elsewhere 

NOT  exactly  careless,  Frisco  carries  two.' 
wallets.  "  One  f-f-for  the  t-t -thieves,"' 
he  explains.   And  that  one  is  put  in  a  sp)ot>. 
where  its  presence  is  obvious  to  the  leather' 
workers.  But  why  he  goes  in  for  such  rank^  ' 
deception — one  that  has  made  him  unpopu-t  1 
lar  in  certain  Broadway  circles — is  a  mys-^j 
tery  to  the  mob.    For  neither  pocketbook^j 
contains  anything  but  membership  cards  toSj 
Main  Stem  Anti-Volstead  Associations.  Ther 
real  jack  is  secreted  in  another  place.  AH  ofi 
which  may  lead  you  to  believe  that  Frisco  isj 
a  member  of  the  Caledonian  Society.  ButJ 
he's  not  a  Scotch  spendthrift.   Rather  is  he 
known  as  a  liberal  spender. 

Frisco  goes  in  for  all  the  superstitions 
And  wherever  he  runs  across  a  deck 
crackers  he  reads  his  own  fortune  in  the 
cards.   He  declares  they  told  him  of  a  dark 
man  who  would  send  him  on  a  long  tri^ 
with  plenty  of  jack.  Warner — Hollywood--^ 
pictures.    He's  partial  to  purple  robes 
nuit,  which  is  safe  to  print,  because  JoeJ 
won't  know  what  it  means.  1 
In  Chicago,  recently,  Frisco  sat  aroundj 
until  dawn  and  bedtime  before  returning  ten 
his  hotel.  Finally  sun-up  came  and  he  madel 
ready  to  turn  in,  having  reached  that  stage] 
of  dishabille  calling  for  the  removal  of  the] 
trousers.  Suddenly  a  voice  barked: 
"Put  your  hands  over  your  head!" 
Frisco  dropped  the  trousers  and  held  th^ 
hands  toward  Heaven.  Tremblingly, 
awaited  the  bandit's  next  move.   In  telli^ 
of  it  he  says: 

"  H-h-hovv  did  I  k-k-knovv  the  hotel  had  i 
r-r-radio    in    every    r-r-room,    and  tha 
s-s-some  ch-ch-chump  would  be  b-b-broadj 
casting  s-s-setting-up  exercises  j-j-just 
my  b-b-bedtime?  " 

Personally,  there  are  some  doubts  as 
whether  Frisco's  stuttering  is  an  affliction  o| 
an  accomplishment.  He  was  overheard  in 
telephone  booth  one  night,  and  there  was 
trace  of  a  stammer  in  his  tones.   The  hoy 
demanded  an  explanation. 

"W-w-well,  it  w-w-was  this  w-w-way, 
said  Joe.  "Th-th-that  was  a  1-1-long  diSjl 
tance  c-c-call,  and  I  w-w-was  p-p-payinga 
f-f-for  it!"  J 
And  that's  Joe  Frisco,  folks.  You'rS 
g-g-going  to  1-1-like  him  in  the  m-m-moviesS 


Some  of  the  feminine  stars  of  the  silent  drama  lost  out  in  the  TALKIES  because 
they  were  evidently  too  beautiful  for  words. 


sports  of  the  Stars 

(Continued  from  page  qj) 

odder  keeps  it  covered  with  a  tarpaulin 
ost  of  the  time.  But  few  of  the  actors  are 
)le  to  support  boats  on  the  order  of  those 
.aintained  by  producers  such  as  Joseph 
-henck,  Mack  Sennett,  the  Christie  broth- 
s,  Cecil  de  Mille  or  Hal  Roach. 
But  these  floating  palaces  to  me  defeat  the 
-incipal  advantages  of  yachting.  They  are 
)  large  that  they  demand  heavy  crews  al- 
ays  aboard:  it  is  next  to  impossible  for  a 
lan  to  get  any  exercise  on  one  of  them.  I 
I  lould  far  rather  sail  a  smaller  craft  (weather 
ermitting!)  than  to  lounge  under  the 
A-nings  of  any  one  of  those  creations  upon 
hich  it  isn't  necessary  to  lift  a  hand. 

Work  Is  Pleasure 

rHI.S  matter  of  size  in  relation  to  exercise 
is  far  more  important  than  the  usual 
crson  considers.    For  instance,  Del  Lord, 
le  director,  is  a  motor-boat  enthusiast  and 
inually   cleans   up  the   prizes  at  Lake 
Isinore,  the  headquarters  for  that  sport, 
ou  may  well  imagine  how  much  more 
in  sical  effort  is  required  of  Lord,  piloting 
le  little  boats  himself,  than  of,  say,  de  Mille 
ri  his  Seaward.  With  its  engines  to  run  the 
(jat,  and  an  efficient  crew  to  run  the  en- 
ines,  Mr.  de  Mille  might  as  well  be  sitting 
I  the  front  porch  of  a  seaside  hotel. 
Too,  another  disadvantage  of  large  boats 
or  for  that  matter,  of  small  ones),  is  that 
hey  appeal  to  a  large  class  of  people  as 
accellent  locales  for  parties.  At  sea  there  are 
O  neighbors  to  complain  about  noise,  and 
o  minions  of  the  law  to  pounce  down  upon 
■ne  for  being  seen  with  a  bottle  in  his  hand, 
'he  result  is,  that  some  yachtsmen  return 
rem  week-ends  on  the  water  considerably 
nore  frazzled  than  when  they  sailed  away. 

And  there  you  have  the  great  problem  of 
'wning  a  boat.  A  small  craft  is  apt  to  offer 
'OU  more  exercise  than  you  can  handle, 
larticularly  if  a  squall  blows  up:  and  a  large 
ne,  either  no  exercise  at  all  or  too  much  of 
he  kind  that   consists  of   lifting  glasses. 


The  dashmg  young  man-about-town  just 
about  to  step  out  is  Frank  Albcrtson.  We 
hope  it  is  for  a  stroll  along  Hollywood 
Boulevard  and  not  with  "Wild  Company" 
which  is  the  name  of  his  latest  picture 


The 
"Idol  Rich" 


Few  wealthy  people 

Are  sincerely  loved 

By  other  members  of 

This  sometimes  human  race. 

And  most  of  them 
Abide  in  Hollywood. 

Strange,  isn't  it. 
What  a  difference 
Money  makes 
If  it  comes 
After  fame. 
And  not  before? 

A  strange  place, 
Hollywood, 
All  around. 

Fille<l  with  unusual  people. 
Leading  unusual  lives. 

Filled  with  unusual  stories. 
True  and  fictional. 

The  fictional  ones 

Are  to  l)e  found 

In  any  movie  theater. 

But  the  true  unusual  ones 
Are  to  be  found 
In  only  one  place: 

When  you  want  the  stories 
Never  told  before — 
Of  love,  adventure. 
Tragedy,  comedy — 

Of  the  inner  life 
Of  the  old  stars 
.\n<i  the  new — 

The  one  place  to  find  them 
Is  in 


MOTIQN  PICTURE 

The  Oldest— The  Newest— The  Best 


95 


easy  way 
to  develop 


TTJ  nature  has  not  ei 

eyes  with  the 
ing  they  deserve,  y« 
longer  despair.  Just 
LUR'EYE,  apply  at 


idowed 
uteous  set 
need  no 
a  tube  of 
;ht  before 


retiring,  and  in  a  mofch  or  less 
you'll  be  amazed  ana  delighted 
\  with  the  results.  For  cp^er  a  year 
Ithis  remarkable  medication  has 
'been  employed  by  beaiity  special* 
ists  with  extraordinary  ^u^ess. 

LUR'EYE  not  onlyi  i^motes 
I  the  rapid  growth  of  eyel^ftes,  but 
W  wonderfully  efficacious  in\reliev- 
ing  strained,  inflamed  and  Iblood' 
'shot  eyes  as  well  as  granulated  lids. 
,Try  LUR'EYE  at  our  risk.  If  after 
month's  trial  you  are  not  fully 
atisficd,  your  money  cheerfully 
tefundied. 


Madame  Louise,  famous 
beauty  specialist  of  Chicago 
and  Los  Angeles  says,  "I  can 
very  highly  recommend 
LUR'EYE  as  an  unexcelled 
eyelash  developer." 


tR-6YS 


//  not  at  your  favorite  shop,  use 
coupon  to  order  LUR'EYE  direa. 


LUR  EYE,  Inc..  Dept.  CI 26 

307  N.  Michigan  Ave.,  Chicago 
I  enclose  $1 .00  for  a  tube  of  LUR'EYE  (3  months'  treat- 
ment) which  is  guaranteed  to  be  entirely  satisfactory  i 
to  me.  ! 

Name  | 


Address 


Something  new  under  the  H  .       :  ;d  sun:  playing  on  the  roof  and  playing  badmin- 
ton. Even  Richard  Dix  is  trying  his  hand  at  the  game. 

My  Love  Life  And  Other  Things 

{Continued  from  page  6g) 


missed  my  ear  as  we  rounded  a  bend  on  the 
roller-coaster,  and  merely  tore  out  a  mouth- 
ful of  hair.  1  accused  her  of  having  become 
cool  in  her  ardor,  and  she  could  not  deny 
it.  I  jumped  out  and  quickly  disappeared 
into  the  crowd,  since  when  I  haven't  seen 
Clara  again.  1  tell  this  story  in  detail  to 
discount  the  absurd  and  libelous  rumors 
which  have  been  circulated  about  our 
friendship — another  beautiful  thing  in  my 
life  which  slanderers  have  done  their  best 
to  show  in  an  evil  light. 

Polly  Moran  Won  My  Heart 

MY  seven  engagements  to  prominent 
movie  actresses  have  all  taught  me 
something.  Gradually,  developing  from  the 
unsophisticated  creature  I  was  when  I  first 
came  to  Holh"\vood,  I  have  come  to  realize 
what  real  love  is,  and  just  where  and  when 
it  pays  to  snatch  an  intimate  moment. 
Looking  back,  1  think  I  can  say  that  my 
greatest  attachment  out  of  the  seven  was 
for  Polly  Moran.  Polly  was  real,  and, 
sweetly  intimate  as  she  could  be  when 
occasion  demanded,  she  was  that  much 
more  solid  thing  in  a  mouse's  life — a  pal. 
"We're  pals,  aren't  we?"  1  used  to  say  to 
her,  just  like  that.  And  she  would  nod  her 
dimpled  little  head  and  smile  at  me  with 
that  big,  friendh-  mouth  of  hers. 

Then,  too,  I  ha\-e  none  but  the  pleasantest 
recollections  of  my  engagement  to  Mae 
Busch,  in  spite  of  the  fact  that  some  Dutch- 
man came  along  and  took  her  from  me  just 
when  the  marriage  bells  were  about  to  ring 
out.  Mary  Nolan,  of  course,  I  knew  and 
loved  dearly.  We  were  not  engaged,  but 
one  day  when  we  were  having  a  bite  of 
breakfast  together,  a  repxjrter  burst  in  and 
said,  "Aha!"  For  a  moment  we  didn't 
know  what  to  think  of  this,  as  he  made  no 
further  remark  for  some  time.  Finally, 
though,  he  told  us  we  had  better  let  him 
announce  our  engagement  "or  else."  I 
hadn't  the  slightest  idea  what  he  meant, 
nqr,  1  should  imagine,  had  Mar>';  but  we 
laughingly  consented  to  his  propK>sal  and 
called  it  a  morning. 

No  Linen  to  Wash 

SO. ME  of  my  other  engagements  were 
likewise  misunderstandings  on  some 
reporter's  part,  but  as  they  never  ended  in 
matrimony  there  is  no  need  to  bring  them 
up.  If  you  start  washing  your  linen  in 
public,  I've  always  found  that  everybody  at 
once  assumes  it  is  dirty  linen.   In  my  case. 


it  is  perfectly  clean  and  I  have  nothing, 
whatever  to  hide,  but  the  minds  of  these^ 
HolI>avood  cats  are  exactly  like  cesspools,  i* 

Mind  you,  I  adore  Holh^vood.  Don'^"' 
misunderstand  me  on  that  score.  A  coupl 
of  hours  away  from  the  place  and  I  a 
cr^'ing  for  sal  volatile.  Hollywood  stands, 
for  all  that  is  best  in  life:  art,  beauty,  love 
and  culture.  I  admit  the  gin  you  get  is 
pretty  ghastly — but  you  can't  have  every- 
thing, can  one? 

Taking  them  all  in  all,  the  movie  stars 
are  the  nicest  bunch  you  could  possibly  find 
anywhere.  We  have  plenty  of  fun  in  a 
perfectly  clean  and  healthy  way.  which  is 
more  than  you  can  say  for  any  other  group 
of  artistic  folk.  To  my  mind,  there  are  no 
more  refined  people  in  the  world  than  the 
movie  colony  in  Hollywood.  You  seldom 
hear  a  coarse  word  at  a  party,  and  if  you  do, 
the  delightfully  thoughtful  hostesses  keep 
supplies  of  those  nonchalant  cigarets  handy 
at  all  times.  Rough  horseplay  of  any  kind 
is  simply  not  done,  and,  really,  if  it  weren  t 
for  the  fact  that  the  whole  colony  ha\e 
minds  like  garbage-cans,  it  wouldn't  be  too 
much  to  say  they  were  quite  perfect,  of 
course  within  essential  human  limitations. 

Sue  and  I  Agree 

IF  you  ask  my  advice  to  the  public,  : 
considered  ad%ice  based  on  the  exper. 
ence  I  have  had,  I   say  with  Sue  Carol 
(another  intimate  moment  of  mine — but 
let  that  pass) :   '  Dare  to  be  old-fashioned ! 
For  my  part,  I  have  never  wandered  from 
the  old-fashioned  path,  as  it  has  always 
been  my  contention  that  the  morality  that 
was  good  enough  for  my  father  and  moth.  - 
is  good  enough  for  me.  .As  Sue  Carol  sa> 
the  old-fashioned  way   is  the  only  trua 
way  to  win  real  love.    The  histor>'  of  my 
romances  with  Clara  Bow,  Mar>-  Nola-, 
Clarabelle  Cow  and  the  others  shows  th  ■ 
I  have  always  acted  from  the  highest  m 
tives.  I  think  Minnie  Mouse  is  conscious  : 
this  and  that  her  affection  for  me  is  deep 
and  lasting,  based  as  it  is  on  the  solid 
foundation  of  mutual  ideals. 

Please  tell  my  public  "hello"  for  me.  I 
am  tired.  We  artists,  you  know !  The  claims 
on  us  are  unceasing.  My  pictures  have 
only  grossed  five  hundred  thousand  dollars 
so  far,  but  who  am  I  to  be  selfish  when  the 
world  clamors  for  more  of  me?  Let  me  pour 
you  a  glass  of  this  excellent  gin.  I  have  it 
specially  shipped  from  Canada.  You 
couldn't  get  such  quality  in  this  town. 


96 


not 
for 
ladies 
only 


The  ladies  like  it, 
The  records  say. 

Feminine  instinct 

For  the  best,  no  doubt. 

For  style,  and  class. 

And  cleverness — 

The  ability 

To  do  new  things 

In  a  new  way — 

And  set  a  glamourous  pace 

That  others 

Cannot  follow. 

But— 

Men  also  know 
A  good  thing 
When  they  see  one. 

For  men  appreciate 
Honesty,  thoroughness. 
Sophistication — 
And  know  when 
They  are  getting 
Their  money's  worth. 

They  prefer  good  red  meat 
To  hasty  pudding. 

And  both  are  satisfied 
When  they  read 


Motion  Picture 
-CLASSIC- 

"It's  The  Magazine 
With  The 
Personality" 


Fat 


Learn  how  to  <>ontrol  r»f  by 

rphatllltaili)!!  <■'  •'■   •'  i/. -tlvp 

<.rt:Ml.-  ry, 

W  rue  U.v  t-,-.  on 

Wh-y    ()l)f-.lt  V    N    .>        ■  .111(1 

not  a  illxeu.se  Or  E  L  Holt. 
512  Haa«  BIdg..    Lo«  Angslts,  Cal. 


STOP 


FOOT 
PA  I  NS 


You  cannot  be  healthy  and  happy  unless  your  feet 
are.  Foot  pains  disappear,  feet  become  youthful, 
Btronir,  happy,  when  foot  muscles  are  built  up  by 
the  Hnllaway  Foot  fixerrise.  .Vo  supports,  cushions, 
or  braces,  nothing  to  wear.  Small  device,  invention 
of  notP<i  foot  specialist.  Sent  post-paid  on  receipt 
of  Sl.rK)  cash  or  money-order.  Money  back  if  not 
fully  -.-itisfiMl 

Dept.  M, 
PLAINFIELD,  N.  J. 


ROLLAWAY  CO. 


Miss  Moran,  To  You, 
Sir! 

{Continued  from  page  65) 

miniature  windshield  for  optical  protection, 
et  cetera? 

Who  is  going  to  come  in  with  two  black 
eyes  and  say,  "Yeah!  I  got  'em  skipping 
rope  without  a  bras—  .  .  .  "?  And  isn't 
the  climate  full  of  weather  for  this  time  of 
year? 

Who  is  going  to  get  down  on  her  hands 
and  knees  and  play  marbles  with  the  kids? 

Pagli'acci  Polly 

MEMORIES  .  .  . 
Oh,  I  could  go  on  forever.  Poig- 
nant memories.  Stop  me.   If  you  can. 

There  is  something  pitiful  about  Polly. 
Laugh,  Clown,  Laugh  business.  Pagliacci, 
the  show  must  go  on.  Laugh,  though  it 
hurts.  .She  says,  sadly,  "Gee,  it's  tough  to 
think  of  gettirxg  old!"  And  everj-one 
bellows.  But  she  means  it.  Not  getting 
sympathy,  she  lapses  into  the  easy  rut  of  her 
old  buffoonery.  -Always  funny,  always  the 
cut-up,  the  crowd  will  not  let  her  be 
serious,  be  morose,  be  melancholy,  be  her- 
self, even  if  her  feet  hurt  and  she  has  a  stiff 
neck. 

Probably  the  one  who  understands  her 
best,  and  loves  her,  is  her  side-kick,  Marie 
Dressier,  with  Bill  Haines  a  close  second. 
They,  too,  know  the  world's  attitude 
toward  professional  humorists. 

But,  oh,  Polly!  can  their  love  transcend 
this?  Can  it  transcend  all  things,  including 
this  business  of  going  genteel? 

Sitting  with  her  feet  apart  in  maternal  pos- 
ture, Polly  looked  every  inch  the  lady.  She 
waggled  an  accusing  north-northeasterly 
finger,  and  said: 

"Sure!  You're  the  one  that  wrote  it! 
What  you  didn't  call  me!" 

"Oh,  heaven  look  down  upon  me!  No. 
A  thousand  noes!  My  stor>-  wasn't  printed." 

Truth  struggled  with  doubt  in  her  bright 
blue  eyes,  and  then  she  spoke,  this  gentle 
creature  who  has  renounced  publicity: 

"N'eah?  Well,  why  not?  " 


Looking  Them  Over 

{Continued  from  page  45) 

"^JILS  Aslher,  in  an  enormous  coal, 
hoarding,  a  train  for  San  Francisco. 

William  Ilaines,  in  tennis  logs,  super- 
vising a  neu'  paint  job  on  his  house. 

Karl  Dane  installing  a  built-in  swimming 
pool  for  his  dogs. 

Mary  .-Istor  in  a  vivid  blue  roadster,  tvith  a 
motor-cycle  cop  disturbingly  near. 

Lon  Chaney  in  St.  Vincent's  Hospital  for  a 
rest  cure. 


TN  A  curtain-call  speech  to  the  Hollywood 
audienceat  a  performance  of  "  Brothers," 
Bert  Lytell  told  this  one: 

"  During  the  New  \'ork  run  of  this  show, 
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well-plastered  with  slogans  such  as  'See 
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right  across  the  street  was  an  automobile 
company,  advertising  in  bright  lights  a  foot 
high,  'Dodge  Brothers.'  " 


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Anita  Page  from  .\I-(i-M;  Sally  Blane  from 
R.  K.  O.,  and  Zasu  Pitts,  a  free-lance. 


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97 


J  never 
have 
FLEAS' 

says  i/T 

Pete 


Neither  do  L 
says  FLASH 


"Nc 


or  /  says 
IIGHTNING" 


THESE  famousscreen 
dogs  are  all  protected 
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Pulvex 

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Depi  B-126.I925  Clilton  Ave.  Chica«o,  III. 


98 


The  kind  he  likes:  James  Hall,  dodging  into  a  beauty  shop,  picks  up  a  bottle 
of  "Songe  de  Merna,"  named  for  friend  Merna  Kennedy 

The  Boys  Are  Getting  It 

{Continued  from  page  27) 


the  film  heroes  rushing  in  for  folding  time- 
pieces, and  that  Jack  Warner's  braided 
leather  wrist-watch  band,  brought  from 
X'ienna,  forced  him  to  impwrt  a  supply  be- 
cause everyone,  from  Grant  Withers  to 
Frank  Fay,  wanted  one.  And  cr>-stal  cuff 
links  and  small-linked  rings. 

Soon  we  jemmes  will  have  to  start  hook- 
ing them  up  the  back  and  loaning  our 
powder  puffs. 

As  it  is.  Max  Factor  has  a  tidy  line  of 
sun-tan  and  orchid  powders  that  the  men 
sneak  in  and  purchase,  and  three  kinds  of 
pomades  for  unruly  locks  and  bristling 
mustaches.  He  has  bath  salts,  and  ten 
wigmakers  whose  partial  duty  it  is  to  make 
toupees,  copying  faithfully  oldtime  photo- 
graphs of  the  ultimate  wearers.  He  has 
honeysuckle  cream  (to  keep  the  face  from 
shining — hey  hey!  so  they  sayt,  lilac  toilette 
water  and  lemon,  both  favorites  with  the 
alleged  stronger  sex.  He  has  mustache  and 
eyebrow  dye,  a  surprisingly  good  seller. 
And  one  lad,  recently,  wanted  a  compact  of 
dark  powder  to  carry  at  night.  It  seems 
that  loose  powder  is  messy,  sifting  all  over 
one's  dark  formal  suit,  as  it  does,  for  hev- 
vin's  sake. 

And  Where's  my  lipstick?  I'll  bet  that 
big  marine  took  it. 

Drawing  the  Color  Line 

SAM  GOLDWVX,  producer,  according 
to  Tailor  Eddie  Schmidt,  wears  clothes 
as  well  as  any  star.  And  that  includes 
Ronald  Colman,  Bill  Powell,  Clive  Brook, 
William  Haines,  .A.dolphe  Menjou,  Douglas 
Fairbanks,  Sam  Hardy,  George  Fitzmau- 
rice.  Lew  Ayres,  V  ictor  Fleming,  Charles 
Farrell,  Sid  Grauman,  Joe  Schenck,  Claude 
AUister,  Cedric  Gibbons. 

"Menjou  is  quick  in  decisions,"  says 
5khmidt,  from  behind  a  brusque  mustache. 
"He  knows  just  what  he  wants.  So  does 
Colman.  No  dallying  or  choosing  long 
between  colors.  Colman 's  always  conserva- 
tive. Just  bought  two  brown  suits,  one 
pencil-striped  and  single-breasted;  the  other 
plain  and  double-breasted.  He,  William 
Powell  and  Clive  Brook  dress  with  discre- 
tion. They're  genteel  in  their  selection  of 
colors.  Wear  clothes  with  ease,  too.  So 
does  X'ictor  Fleming,  the  director. 

"Lew  Cody  is  having  a  top-coat  of  this," 
he  continued,  picking  up  a  vivid  green  tweed, 
"and  for  Cedric  Gibbons,  M-G-M's  art 
director,  we're  making  a  suit  of  this  brown 


herringbone  linen.  He  can  wear  the  color 
well,  being  a  brunette.  We  wouldn't,  of 
course,  think  of  putting  a  brown  suit  on  a 
blue-eyed  and  light-haired  man." 

Oh,  mercy.  We  shudder  at  the  thought. 

"  But  they  can  wear  the-  new  burgundy 
shade,"  hastily  and  helpfully  added  Jimmy, 
Mr.  Schmidt's  assistant.  "And  brunettes 
with  dark  eyes  can  wear  browns,  tans  and 
light  grays." 

Fashions  and  Fads 

BUT  who's  going  to  wear  Rheingold  blue 
and  Canary  Island  yellow?  That's 
what  is  fretting  me. 

"Everyone,"  answered  the  Souchet- 
Shafer  gentleman,  allaying  my  fears.  "  Last 
year  it  was  blue.  This  year  it  is  yellow. 
They're  buying  it  in  underwear,  hosiery, 
handkerchiefs,  ties  and  pajamas. 

"Eddie  Lowe,  for  instance,  goes  in  for 
cashmere  in  suits.  He  just  bought  a  poudre 
blue  Shetland  sweater,  a  double-breasted 
blue  jacket,  white  English  slacks,  a  blue 
muffler  to  tie  in  a  French  knot.  But  he 
goes  in  for  yellow,  too. 

"Gilbert  Roland  has  a  weakness  for 
gloves.  Every  time  he  comes  in,  he  buys 
another  pair,  pigskin,  chamois,  any  kind. 
He  likes  extreme  French  models,  and 
trousers  that  are  high,  with  belts  up  almost 
under  the  arms.  And  scarves.  .  .  blue, 
canary,  red.   He  has  dozens  of  them." 

And  at  Sidney's,  Ltd.,  El  Brendel  re- 
fused a  white  linen  hat,  demanding  flannel, 
on  the  grounds  that  the  former  was  too 
effeminate. 

Gerly,  the  Parfumeur,  anticipates  the 
yearning  of  the  males  with  a  perfume  for 
them,  exclusively:  "Celui  Que  J'Aime" — 
He  Whom  I  Love.  And  Jimmy  Hall's 
Merna  Kennedy  wanted  to  have  her  per- 
fume blend  named  "James"  in  his  honor, 
compromised  by  calling  it  "Songe  de 
Merna,"  which  he  enjoys,  nevertheless.  One 
beauty  accessory  manufacturer  decided  to 
make  a  powder  puff  for  men  and  ask  Jack 
Dempsey  to  indorse  it,  but  somehow,  he 
never  got  around  to  doing  it. 

Finger  waves,  hair  bleaches,  eyebrow  and 
hair  dyeing,  permanents,  scalp  massages  are 
frequent  male  habits,  with  Percy  Marmont 
and  Paul  Nicholson  regular  clients  of  Jim, 
the  sculptural  barber  who  hews  t)eauty  out 
of  hair,  and  whose  following  is  largely 
women. 

Hand  me  some  of  that  Star  Plug! 


A  new  way  to  score  in  Hollywood:  those  two  hard-working  comedy-makers, 
Marjorie  Beebe  and  George  Barraud,  try  out  the  latest — a  game  called 

"Pitch  and  Putt" 

A  Murderin'  So-and-So 

(Continued  from  page  ^S) 


"OO,  while  he  was  still  a  little  chap,  he 
used  to  hang  around  the  barrooms  and 
listen  to  their  tales,  and  he  took  to  prac- 
tisin'  his  shooting  and  his  riding  with  the 
idea  of  growing  up  to  be  a  dashing,  reckless 
sort  of  fellow  like  the  men  he  knew. 

"Then  his  mother  married  again  and  the 
Kid  didn't  like  his  stepfather  and  he  got  so 
he  didn't  stay  home  any  more'n  he  had  to. 

A  Killer  at  Twelve 
"T)UT  the  first  real  step  came  when  he 

fj  was  twelve.  He  killed  his  first  man 
while  he  was  still  that  young! 

"It  happened  that  he  was  walkin'  along 
the  street  with  his  mother  one  day,  when  a 
blacksmith,  staruling  in  his  shop,  called  out 
some  insultin'  remark  to  her.  The  twelve- 
year-old  Kid  went  after  him  to  fight  him 
and  the  big,  burly  smith  knocked  him  down 
and  was  beatin'  him  when  a  cowboy  came 
along  and  put  a  stop  to  it. 

"Later  on,  the  cowboy  got  into  a  bar- 
room brawl  with  this  same  blacksmith.  (I 
suppose  the  first  fight  had  started  some 
sort  of  feud  between  them.)  Anyhow,  the 
cowboy  was  getting  the  worst  of  it  when 
the  Kid  saw  them  and  sprang  at  the  smith 
from  behind  and  knifed  him  in  the  back. 
Savin'  his  friend.  See? 

"Well — they  probably  wouldn't  have 
done  anything  to  him  for  it,  but  he  thought 
they  would,  so  he  ran  away,  thin  kin'  he  was 
a  fugitive  murderer.  That's  a  terrible  thing 
for  a  little  boy  to  think  about  himself.  He 
thought  they  would  have  hung  him  for 
sure.  And  he  thought,  moreover,  that  he 
was  a  desperate  character. 

"And,  thinking  about  himself  like  that — 
well,  he  just  became  one! 

A  Nice  Chap  to  Have  Around 

HE  was  smart — no  doubt  about  that! 
And  he  was  good-lookin'  and  had  a 
nice  way  with  him.  But  he  got  so  he'd  kill 
a  man  as  soon  as  take  a  look  at  him. 

"  He  could  be  kintl  and  generous  to  people 
he  knew  and  liked  or  strangers  who  took  his 
fancy.  Rut  if  anyone  got  in  his  way  or  had 
anything  he  wanted,  he'd  just  drill  him 
without  a  qualm. 

"  It  is  surely  authentic  that  he  was  deeply 


in  love  with  a  girl  from  England,  although 
whether  the  story  went  just  the  way  it  is  in 
the  picture,  I  don't  know.  Women  were 
attracted  to  him  but,  apparently,  he  cared 
only  for  this  one — really,  you  know. 

"But  I  think  a  fellow  like  that,  who  kills 
people  in  cold  blood,  just  for  the  little  bit  of 
money  they  have  or  to  save  himself,  has 
something  lacking  in  his  mental  make-up. 
Imagination,  probably. 

"You  know,  none  of  us  gets  very  worked 
up  about  the  death  of  a  total  stranger. 
Anyone  we've  never  seen  or  known.  You 
can  hear  about  folks  dying  ofT  by  the  thou- 
sands in  China  without  getting  very  excited 
about  it.  But  let  one  person  next-door  to 
you  die,  and  you  feel  pretty  bad. 

"It  gets  close  to  you  and  you  can  think, 
'What  if  it  were  my  brother  or  father — or 
myself? ' 

He  Hated  to  Live 

WELL,  men  like  Billy,  the  Kid,  can't 
think  that  way.  Everybody  in 
the  world,  except  one  or  two  folks,  was  a 
stranger  to  him.  He  couldn't  put  hiniself  in 
their  places,  and  he  didn't  try.  He  just  took 
it  for  granted  everybody  was  against  him 
and  that  he  had  to  fight  to  live.  After  a 
little  while,  it  was  true.  He  did  have  to 
fight  to  live! 

"Folks  have  asked  me  if  I  think  a  picture 
like  this — that  makes  a  hero,  or  at  least  a 
sympathetic  character,  out  of  a  man  who 
was  just  a  plain,  murderin'  thief — will  have 
any  bad  effect  on  the  minds  of  small  boys 
who  go  to  see  it. 

"I  don't  think  it  will.  They  can't  think 
of  imkating  him  because  conditions  are 
so  different.  That  was  in  the  days  when 
the  country  was  new  and  wild — when  men 
could  roam  around  the  prairies  and  the 
deserts  like  wild  beasts.  There  couldn't  be 
such  a  character  now.  There  isn't  any  place 
for  him  to  be  in!" 

"Have  you  died  yet?"  I  asked  him,  when 
he  paused  for  breath.  He  beamed  at  me. 

"Oh,  yes!  I  died  the  other  day.  It  was 
grand!  I  think  we  all  like  to  die  in  a  pic- 
ture, don't  you?  This  is  a  great  picture  for 
that.  Nearly  everyone  gets  a  good  death 
scene!" 


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99 


WASTED 


by 

neglecting 
a  minute 
for  THIS 


Often  all  the  efforts  made  to  attain  a  dainty, 
lovely  appearance  are  undone  by  ruinous,  tell' 
tale  moisture  spots  on  a  beautiful  frock. 
It's  so  unnecessary,  too,  for  just  a  minute  de- 
voted  to  DEW  will  keep  excessive  perspira- 
tion from  spelling  your  charming  ensemble. 
This  original  crystal'pure  deodorant  and  in- 
stant non-perspirant  may  be  used  often  and 
at  any  time  of  day.  DEW  will  not  irritate  the 
most  tender  skin  or  injure  the  most  fragile 
fabrics  when  the  simple  directions  are  fol- 
lowed. It  stops  perspiration  instantly.  It  is 
colorless,  and  unscented  and  in  a  beautiful 
spill-proof  flask.  DEW  instantly  and  com- 
pletely deodorizes  sanitary  pads.  At  all  drug 
and  department  stores.  Three  sizes:  25  cents, 
50  cents  and  $1.00.  Write  to  Lambert-Fesler, 
Inc.,  Dept.  N-i4^for  a  generous,  free  sample. 

LAMBERT-FESLER,  INC.,  St.  Louis 


Pans 


London 
Barcelona 


Berlin 
Sydney 


Amsterdiin  Copenhagen 
Toronto  Shanghai 


IDEW 

C  R  V  .S  I  A  L  -  J'  I  R  t  DEODORANT 
INSTANT  NON-PERSPIRANT 


Schoenba  um 

Tee  for  two:  Buddy  Rogers  and  Nancy  Carroll  prove  that  not  only  acorns, 
but  pairs,  are  found  under  oak  trees — and  further  complicate  matters  by 
singing  "A  Peach  of  a  Pair"  in  "Follow  Thru" 

It  Was  Hollywood  Or  Else 

(Continued  from  page  70) 


somehow  or  other,  after  attending  a  meet- 
ing or  two,  I  just  couldn't  see  myself  joining. 
You  see,  the  people  of  my  own  profession 
frighten  me  just  a  little." 

There's  a  strange  wrinkle  for  you. 

Away  From  It  All 

WHEN  1  was  back  in  New  York  on 
the  stage,  1  was  never  a  part  of  the 
professional  life.  1  worked  in  New  York, 
but  my  home  was  in  Rye.  My  people  were 
not  of  the  theater — in  fact,  they  are  the 
most  untheatrical  people  you  can  imagine. 
Most  of  my  close  friends  were  boys  and 
girls  who  had  never  set  foot  backstage.  I 
don't  think  they  ever  looked  on  me  as  an 
actress.  Once  in  a  while,  when  we  ran 
across  a  movie  star  or  a  stage  celebrity  at 
some  hotel  or  night-club,  1  would  gawk  and 
admire  as  much  as  they. 

"I  did  not  live,  think  and  sleep  show- 
gossip.  Because  they  didn't  know  my 
work,  I  seldom  talked  it.  It  made  so  little 
difference  to  them  that  So-and-So  had  a 
great  'spot'  in  a  new  revue.  Or  that  a 
certain  dance  number  had  been  trimmed. 
Or  that  Somebody-or -Other  was  leaving  her 
husband  for  Somebody  Else. 

"  But  Hollywood  actually  breathes  noth- 
ing but  Hollywood. 

Dix,  the  Sinned  Against  ■ 

WHEN  I  first  started  work  with 
Mr.  Dix  in  this  picture,  I  was 
awfully  amused  at  the  gasps  and  gurgles  of 
several  Hollywood  girls  over  the  idea  that 
I  was  working  with  Richard  Dix!  What 
did  I  think  of  him?  Was  he  really  a  great 
heart-breaker????  Didn't  I  know  that  he 
fell  in  love  with  all  his  leading  ladies?????? 
Heavens,  there  was  a  dreadful  hubbub. 
Naturally,  I  was  awfully  thrilled  at  working 
with  Richard  Dix,  the  star.  I've  always 
admired  him  so  much.  Personally,  I  think 
he  is  quite  the  dearest  and  nicest  person 
imaginable.  But  so  far  as  anything  else — it 
is  to  laugh ! 

"After  we  had  been  on  the  picture  a 
couple  of  days  I  told  him  what  I  had  heard 


about  his  romantic  reputation.  'Sure,'  he 
laughed,  'don't  you  know  I'm  very  dan- 
gerous, Mary?  You  want  to  watch  out  for 
me!'  Really,  he  treats  me  like  a  kid  sister." 

In  spite  of  Hollywood's  oddities,  Mary  is 
settled  here  for  some  time  to  come. 

No  Time  for  the  Stage  Now 

"T  LO\"E  the  stage  so  much  that  at  first 

J_  I  tried  alternating  it  with  studio  work. 
I  played  'Follow  Thru'  at  a  local  theater 
for  two  months.  But  it  seems  that  from 
now  on  my  picture  engagements  will  follow 
so  closely  together  that  I  won't  have  much 
opportunity  for  the  stage." 

As  you  will  find  in  all  nice-girl  biogra- 
phies, Mary's  non -professional  family  seri- 
ously objected,  at  first,  to  the  idea  of  her 
following  the  giddy  spotlight  as  a  career. 
Her  mother  was  proud  of  her  daughter's 
talents  in  the  line  of  dancing  and  singing, 
but  not  so  intrigued  by  the  idea  of  the 
stage.  "W'hy  don't  you  teach,  instead?" 
she  suggested.  Teaching  is  a  much  more 
genteel  form  of  expressing  one's  talents 
than  exhibiting  them.  But  the  suburb  of 
Rye  is  dangerously  close-  to  the  boardwalks 
of  New  York — and  in  the  long  run  Mary 
won  out.  After  an  appropriate  apprentice- 
ship in  small  and  smaller  parts,  Mary  made 
her  way  to  featured  billing  in  musical 
comedy,  her  most  successful  engagement 
on  Broadway  being  "Good  News,"  a  peppy 
show  of  collegiate  background  that  ran 
well  over  two  years. 

Incidentally,  "Good  News"  served  as  her 
debut  into  talking  pictures,  in  her  original 
Broadway  role. 

"I  don't  believe  it  is  quite  as  good,"  she 
said  frankly.  "Somehow,  for  all  the  cK - 
vices  of  sound  and  color,  the  screen  ha~ 
not  yet  successfully  caught  the  mood  ot 
musical  comedy.  It  does  not  drift  as  easih 
into  changes  of  music  and  scene.  What  I 
am  trying  to  say  is  that  it  isn't  as  flexible. 
For  that  reason  I'm  rather  glad  my  next 
two  pictures  for  R.K.O.  will  be  just  straight 
dramatic  leads.  I  should  like  to  do  the 
same  things  that  Mary  Brian  does." 


100 


Don  English 

No,  Richard  Arlen  is  not  writing  a  fan  letter,  nor  is  he  signing  a  twenty- 
year  contract.    Nor  is  he  writing  his  memoirs.     The  smile  is  worn 

even  at  home 

He  Forgot  He  Was  Ronald  Colman 


{Continued 

not  a  motion  picture.  He  was,  I  found  out, 
the  happiest  he  has  ever  heen. 

Ronald  in  Person 

THI.S  is  all  very  pretty,  you  say.  And 
now,  if  it's  not  too  much  trouble,  would 
you  mind  telling  us  something  about 
Ronald  Colman — what  he's  really  like?  Ah 
yes — what  he's  really  like.  I'd  almost  for- 
gotten. You  want  to  know,  then,  what  he's 
really  like?  That  is,  really  like?  Well — 

Did  you  see  him  in  "  Bulldog  Drum- 
inond"?  Yes?  He's  like  that.  You  didn't? 
Well — he's  rather  tall,  but  not  too  tall; 
rather  English,  but  not  too  English;  rather 
goo<l-looking — quite  darned  good-looking 
in  fact — but  not  a  pretty  (Charles  "Buddy" 
Rogers)  boy.  When  not  in  use,  his  voice, 
I  think,  is  kept  in  one  of  Mr.  Tiffany's 
jewel-boxes.  He  has  the  advantages  of  a 
Clraham  McNamee  voice  without  the  dis- 
advantages of  a  Graham  McNamee.  He 
once  studied  to  be  an  engineer.  He  gave  it 
up,  I  think,  because  he's  too  much  of  a 
gentleman  to  give  rough  estimates.  (Which 
relieves  me  considerably  because,  lawdy 
massy  Tom,  but  I  thought  I'd  never  get  a 
chance  to  use  that  one.) 

He  has  a  smile  that  makes  women  want 
to  sit-down  -  for- just- a- second- if -you -don't 
mind  -  don't  -  bother  - 1  'II  -  be  -  all  -  right  -  in  -  a  - 
moment,  and  sends  men  to  grimace  before 
their  mirrors.  When  interested,  he  com- 
bines this  smile  and  voice  and  a  dimple  and  a 
slight  crook  of  the  head,  with  chin  tucked 
in,  pug  fashion — all  unwittingly  I  think;  but 
devastatingly,  I'm  positive-  with  blasting 
effect  on  those  who  allow  themselves  to  be 
affected  by  such  things,  and  with  the  same 
effect  on  those  who  do  not.  When  con- 
versing, he  tags  more  than  he  propounds. 
He  hands  down  no  ultimatums;  makes  no 
flat-footed  statements.  He  uses  precise 
English  to  give  his  precise  meaning.  He  is 
as  nice  a  grammarian  as  a  pink-tea  pastor 
or  an  English  professor  whose  job  is  begin- 
ning to  slip. 


from  page  Sj) 

The  Opposite  of  Others 
"  "VT'ES.  yes,  yes,"  you  say.    ".Still  very 
j[  pretty.   But  what's  he  like — renlly?" 
And  now  you've  gone  and  made  me  sore. 
\'ou  just  had  to  make  me  sore,  didn't  you? 
How  can  I  say  what  he's  really  like  unless — 
I'll  tell  you.    Recall  those  gentlemen  of 
Hollywood  whom  you  have  seen.  Then 
I'll  have  the  easier  job  of  telling  you  what 
he's  not  like.   Finished  recalling?  All  set. 

Ronald  Colman  does  not  make  personal 
appearances  with  his  films.  He  does  not 
say,  "And  how!"  He  does  not  call  you 
"brother."  He  does  not  call  you  by  your 
first  name  after  the  first  five  minutes.  His 
tie  does  not  match  his  socks.  He  does  not 
wear  a  monogramnied  shirt  or  hat  or 
sweater.  He  does  not  wear  his  shirt  open 
at  the  throat. 

He  does  not  kid.  He  does  not  call  a  bell 
boy  "son."  He  is  neither  loud  nor  obscene. 
He  does  not  nei^h.  He  does  not  wear  silk 
shirts.  He  does  not  have  more  than  one 
horn  nor  two  headlamps  on  his  (not  red) 
roadster.  He  does  not  smoke  cork-tipped 
cigarettes  nor  use  a  cigarette  tube.  He 
does  not  play  golf  and  so  does  not  wear 
golf  knickers.  He  does  not  boom  out  with 
how  drunk  he  was  last  night.  He  does  not 
try  to  meet  the  waitress.  He  does  not  wear 
a  wool-and-silk-mixed  sleeveless  sweater. 

He  does  not  "  I  says"  and  "he  says"  and 
then  "I  says."  He  does  not  call  it  "the 
pitcher  racket"  or  "the  pitcher  game"  or 
"pitchers."  He  does  not  tell  about  that 
time  he  was  in  Bombay  (it  seems  like 
yesterday).  He  does  not  tell  you  about  his 
war  experiences — he  who's  actually  had 
some.  He  does  not  tell  Pat  and  Mike  jokes 
in  dialect.  He  does  not  J' Look  here  what 
it  says  in  the  paper — . "  He  does  not  say 
"O.K."  or  "Okay"  or  "Oke."  He  does  not 
wear  a  lavender  beret.  He  does  not  wear 
a  mauve  beret.  Except  for  picture  pur- 
poses, he  does  not  wear  a  b6ret  at  all.  He 
does  not — 

But  why  bother?  Ronald  Colman's  right! 


My  Face  is 
10  Years  Younger 

Free  From  Blemishes, 
Discolorations,  Wrinkles 

THIS  grateful  woman  describes  what  has 
happened  to  thousands  of  women.  Clasmic 
Pack,  perfected  after  13  years'  research  in  the 
laboratories  of  Boncilla,  is  used  and  endorsed 
by  Andrelys  of  Paris,  Emile  of  London  and 
the  foremost  beauty  experts  of  Europe.  Smooth 
a  fragrant,  soothing,  creamy  substance  on  your 
face.  After  30  minutes  see  the  results — your  face 
amazingly  refreshed,  lines  and  crows'  feet  re- 
moved, radiant  color  in  the  cheeks,  the  skin 
velvety  soft,  smooth  and  refined.  The  quickest 
way  known  to  end  enlarged  pores,  blackheads, 
discolorations  and  other  blemishes.  The  scien- 
tific way  to  meet  ageing  of  the  skin  of  face  and 
neck,  that  dermatologists  say  begins  soon  after 
20.  Ask  for  Boncilla  Clasmic  Pack  at  any 
good  drug  or  department  store.  The  cost  per 
treatment  is  but  a  few  cents.  Your  money 
refunded  if  you  are  not  delighted. 


78,000  men  and  wo- 
men have  used  the 
.\XIT.\    Nose  .Ad- 
juster    to  improve 
their  appearance. 
Shapes  flesh  and 
cartilaee  of  the  nose 
— quickly,  safely  and 
painle.s.sly,  while  you 
.-^Iccp    or    work      Your  ago 
diiesn't      matter.  Results 
are  lasting.    Doctors  praise 
it     Small  cost.  Money-back 
guarantee. 

Send  for  FREE  BOOKLET  (-^u^,^,, 
'*The  Note  and  its  Shape*'   Won  ir23 
ANITA  INSTITUTE,  829  An  ita  Bide,  Newark,  N.J. 


mm 


II 


BEFORE  lAFTER 


SAFE  LIQUID 

ENDS 

Corns 


Deaden  pain  instantly 

ONE  drop  of  this  amazing  liquid  and  .soon 
any  corn  or  callus  shrivels  up  and  loosens. 
Peel  it  off  with  your  fingers  like  dead  skin. 
Don't  risk  dangerous  paring.  Removes  the 
whole  corn.  Acts  instantly,  like  a  local  anaes- 
thetic, to  stop  pain  while  it  works.  Doctors 
approve  it. 

Satisfaction  guaranteed.  Works  alike  on  any 
corn  or  callus — old  or  new,  hard  or  soft. 


it 


GETS-  IT 


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World's 
Jfaatest  Way 


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Ci.EAT 
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The  Answer  Man 


(Continued  from  page  yd) 


^  You'Ufind  a  land  of  perfect 
vacations  around  America's 
inland  seas.  Pleasure  facilities 
abound  for  every  taste. 

Attractive  cities  of  smart  aven- 
ues and  splendid  shops  vie  with 
the  lure  of  dense  balsam  for- 
ests and  "fishin'  holes"  of 
fighting  pickerel.  You  can 
swing  your  mashie  over  any 
number  of  splendid  courses  . . . 
go  boating  ...  or  riding  .  .  . 
or  swimming!  There's  Niagara 
Falls  to  see  .  .  .  and  restful 
Mackinac  Island. 

Everyone  has  a  wonderful  time 
in  the  land  of  the  blue  Great 
Lakes.  «  ■ 

You'll  travel,  of  course,  on  the  D  8C  C 
lines.  A  fleet  of  the  largest  steamers 
on  inland  waters  to  serve  you.  State- 
rooms and  lounge  rooms  assure 
comfort;  splendid  cuisine;  deck 
sports;  social  hostesses;  dancing; 
afternoon  teas  ...  all  to  make  your 
every  minute  pleasant. 

DAILY  SERVICE     1  WAY      R.  T. 
Detroit-Buffalo  $5  $10 

Detroit-Cleveland  $i  $  5.50 

3  SAILINGS  WEEKLY 

Fares  include  meals  and  berth 
Detroit-Chicago  ?31  $52.50 

Detroit-Mackinac  Is.      $15  ^26.30 
Chicago-Mackinac  Is.    ^16  ^27.50 
Tickets,  reservations  at  any  authorized 
tourist  agency 
Liberal  stop-over  privileges. Autos  carried. 
Sendforillustrateabook,  'Vacation  Days." 

E.H.  Mccracken, 

P.T.M.,  14  Wayne  St. 
Detroit  :  Michigan 


DETROIT  a 
CLEVELAND 
NAVIGATION 
COMPANY 


A  REEL  FAN. — If  you  are  having  trouble 
with  your  garden,  consider  the  plight  of  one 
man  in  the  flood  district  whose  radishes  and 
lettuce  were  scratched  up  by  trout.  Glenn 
Hunter  was  born  in  Highland  Mills,  N.  Y., 
in  1897.  He  is  five  feet  ten,  weighs  about 
140  pounds,  has  light  hair  and  blue  eyes. 
Appearing  in  The  Straw.  Herbert  Rawl- 
inson,  Brighton,  England,  on  Nov.  15, 
1885.  He  is  six  feet  tall,  weighs  about  175 
pounds,  has  brown  hair  and  eyes,  and  is  ap- 
pearing on  the  stage.  Caryl  Lincoln  is 
married  to  George  Barr  Brown,  publicity 


A  SMILING  SMILE.— Gosh!  but  you're 
happy.  George  Katsonaros,  George 
Rigas  and  Elena  Aristi  are  some  of  the 
Greek  players.  Greta  Garbo,  Anna  0- 
Nilsson,  Nils  Asther,  Lars  Hanson,  and 
Sigrid  Holmquist  are  Swedish.  Ramon 
Novarro,  Dolores  Del  Rio,  Gilbert  Ro- 
land, Lupe  Velez  and  Raquel  Torres, 
Mexican.  Nick  Stuart  is  a  Roumanian, 
real  name  is  Nicholas  Pratza. 

SWEETER  THAN  SWEET.— Nancy 
Carroll  is  married  to  Jack  Kirkland,  a 

scenario  writer,  they  have  a  daughter, 
Patricia,  about  five  years  old.  The  pic- 
tures Mary  Brian  and  Charles  Rogers 

have  appeared  in,  together,  are:  More  Pay, 
Less  Work,  Varsity,  Someone  to  Love,  River 
of  Romance.  Mary  was  born  in  Corsican, 
Texas,  Feb.  17,  1908.  Frank  Fay  was  born 
in  San  Francisco,  Gal.,  He  is  six  feet  tall, 
weighs  180  pounds,  has  coppery  red  hair  and 
blue  eyes.  Latest  picture  Bright  Lights. 

JOHN  BOLES  FAN.— John  is  playing 
in  Gypsy  Love  Song,  Jeanette  Loff  plays 
opposite.  Receives  his  fan  mail  at  the 
Universal  Studios.  David  Manners,  whose 
real  name  by  the  way,  is  Acklon,  was  born 
in  Halifax,  Nova  Scotia,  Canada,  April  30, 
1902,  but  lived  most  of  his  life  in  New  York 
City.  Manners  was  educated  in  Canadian 
public  schools  and  the  University  of  Toron- 
to, where  he  majored  in  mathematics  with 
the  idea  of  fulfilling  his  parent's  ambition 
for  him  of  achievements  in  civil  engineering. 
His  own  ambition  was  to  be  a  sea  captain. 
Has  appeared  on  the  stage  in  Dancing 
Mothers.  He  is  six  feet  tajl,  weighs  160 
pounds,  has  light  brown  hair  and  gray  eyes. 
Married  to  Suzanne  Bushnell. 

NORMA  SHEARER  FAN.— Norma  is 
married  to  Irving  Thalberg,  a  film  execu- 
tive. She  has  been  appearing  in  pictures 
since  1922.  Corinne  Griffith  was  born 
Nov.  25,  1897.  Joan  and  Kathryn  Craw- 
ford are  not  related.  Vivienne  Segal  was 
born  in  Philadelphia,  Pa.  She  was  educated 
there  and  went  directly  from  Philly  to 
Broadway  and  stardom.  She  is  five  feet, 
two  inches  tall,  with  blonde  hair  and  brown 
eyes.  Her  hobbies  are  bridge  and  motoring. 

PEGGY  AND  LESTA.— You're  both 
wrong.  Bessie  Love  and  William  Haines 
appeared  in  Lovey  Mary,  Yes,  Ronald 
Colman  was  married  to  Thelma  Raye, 
the  English  stage  actress.  Neil  Hamilton, 
Shirley  Mason,  Robert  Frazer  and  Wil- 
liam Powell  had  the  leads  in  Desert 
Gold.  Jack  Oakie  is  twenty-seven  years 
old.  Maurice  Chevalier  playing  in  The 
Little  Cafe,  Paramount  Studios. 

DADEDEEN'S  GIRL.— Glad  to  hear 
from  you  again.  William  Russell,  Vir- 
ginia ValH,  Nancy  Drexel  and  George 
Meeker  had  the  leads  in  The  Escape. 
Crane  Wilbur,  last  I  heard  of  him  was 


appearing  on  the  stage.  Marion  Shilling 
was  born  in  Denver,  Colo.,  Dec.  3,  1910. 
She  is  five  feet  three  and  a  half,  weighs  no 
pounds,  has  brown  hair  and  eyes.  Appear- 
ing in  On  Your  Back  Fox  Studios. 

KEN  MAYNARD  FAN.— Ken  was  born 

July  21,  1895.  Six  feet  tall,  married  to 
Mary  Leeper.  That's  his  real  name. 
Molly  O'Day,  Oct.  10,  1910.  You  refer  to 
Virginia  Bruce  who  played  the  role  of 
Flo  in  Young  Eagles.  Latest  production 
Safely  in  Numbers.  Lily  Damita's  name 
means  Little  Lady.  She  was  born  in 
Paris,  France,  July  10,  1906.  Real  name  is 
Liliane  Carre  and  she  speaks  French, 
German,  English,  Spanish  and  Portuguese.- 

A  SUBSCRIBER.— Ina  Claire  was  born 
in  Washington,  D.  C.  Educated  at  Holy 
Cross  Academy.  She  made  her  stage  debut 
in  1907  impersonating  Harry  Lauder.  Some 
of  her  most  recent  stage  productions  were 
The  Gold  Diggers,  Bluebeard's  Eighth 
Wife,  The  Awful  Truth,  Grounds  For 
Divorce,  The  Last  of  Mrs.  Cheyney  and 
Neglige.  The  only  picture  she  appeared 
in  was  The  Awful  Truth.  Sorry  I  haven't 
her  home  address. 

TRUDIE.— And  then  there  was  the 
Freshman  who  tried  to  book  passage  to 
Europe  on  the  S.  S.  Van  Dine.  William 
Powell  is  appearing  in  For  the  Defense. 
John  Mack  Brown  was  born  at  Dotham, 
Ala.,  Sept.  I,  1904.  Married  to  Cornelia 
Foster,  they  have  one  daughter,  Harriet 
Jane.  Lupe  Velez  was  born  July  18,  1909. 
Gary  Cooper,  May  7,  1901.  Ruth  Mix 
was  married  to  Douglas  Gilmore,  June  9, 
1930.  Bert  Lytell  is  appearing  in  Broth- 
ers, Columhia.  Studios. 

DAYTONA  TONY.— A  fan  club  is 
merely  a  group  of  admirers  of  a  certain  star, 
who  get  together  through  correspondence. 
Hell's  Angels  has  been  released  only  on 
the  Coast,  at  this  writing.  That  was  Rich- 
ard Barthelmess's  own  voice  you  heard  in 
Son  of  the  Gods.  Marilyn  Miller's  lat- 
est picture  Sweethearts.  The  Big  Parade 
was  released  in  Nov.  1925.  Belle  Ben- 
nett is  about  thirty-nine  years  old. 
Appearing  in  Recaptured  Love.  Joan 
Crawford  has  brown  hair  and  blue  eyes. 
Johnny  Hines,  last  I  heard,  was  appearing 
in  vaudeville.  Norma  Talmadge's  latest 
picture  is  Du  Barry,  Woman  of  Passion. 

ANGIE  AND  CUPIE.— Those  who 
mourn  the  passing  of  the  "Old-Fashioned 
Fourth"'  should  be  comforted.  A  backfire 
is  as  loud  as  a  giant  fire-cracker  and  an 
accelerator  as  dangerous.  You  refer  to 
David  Durand  who  appeared  in  The 
Song  of  Love.  Lois  Wilson  has  never  been 
married  to  my  knowledge.  She  was  born  in 
Pittsburgh,  Pa.,  June  28,  1899.  Laura 
La  Plante,  Nov.  i,  1904.  Miss  La  Plante 
is  not  under  contract  at  this  time.  Let's 
hear  from  you  again. 

A  CONSTANT  READER.— Glad  to 
hear  that.  Keep  up  the  good  work.  Doug- 
las Fairbanks,  Jr.,  was  married  to  Joan 
Crawford  June  3,  1929.  He  is  playing  in 
The  Dawn  Patrol,  First  National  Studios. 
Robert  Montgomery  was  born  in  Beacon, 
N.  Y.,  May  21,  1904.  Have  only  recently 
heard  he  is  married  to  Elizabeth  Allen. 
Loretta  Young  was  the  girl  in  Loose 
A  nkles. 

ETHEL.— Buster  Keaton  is  very  much 
alive,  where  did  you  receive  your  information 
(Continued  on  page  104) 


102 


Who'll  Own 
The  Movies? 

{Continued  from  page  88) 

was  complete.  Wall  Street  seldom  acts  hast- 
ily, but  plans  ahead.  So  it  is  not  strange 
that  a  Boston  banker  should  appear  in  New- 
York  and  buy  up  the  tottering  FBO  organi- 
zation. Almost  immediately  came  the  talking 
pictures,  and  Mr.  Kennedy  willingly  sold  his 
new  acquisition  to  the  Radio  Corporation — 
which  having  acquired  all  the  vaudeville 
interests  in  sight  to  get  a  string  of  theaters, 
now  moved  into  the  front  production  ranks. 

Where  Is  The  $500,000,000? 

NEXT  Pathd-  fell  into  Mr.  Kennedy's 
hands.  Then  Fox  bought  out  Metro- 
Goldwyn-Mayer  and  an  English  theater 
chain,  but  he  had  to  borrow  close  to  a 
hundred  million  to  do  it.  Suddenly  the 
stock  market  crashed.  Fox  couldn't  meet  his 
obligations  and  the  screws  were  very  quietly, 
but  inevitably  applied.  So  now  we  find 
RKO,  Fox  and  Pathe  in  the  Wall  street 
column.  Still  in  the  old-line  camp  are 
Paramount-Publix,  Warner  Brothers-First 
National,  and  Universal.  United  Artists  is 
more  or  less  of  a  puzzle,  though  Joseph  M. 
Schenck  seems  to  have  a  tight  hold,  in 
spite  of  his  efforts  to  merge  with  other  con- 
cerns. Tiffany  has  Wall  Street  affiliations, 
while  Columbia  is  of  the  old  regime.  Edu- 
cational, Roach,  Christie  and  Sennett  are 
headed  by  Messrs.  Hammels,  Roach,  Chris- 
tie and  Sennett  in  person,  and  will  likely 
travel  where  the  financial  pavement  leads. 

The  Wall  .Street  line-up  has  J.  P.  Morgan 
&  Co.,  National  City  Bank,  Guaranty 
Trust  Co.,  Halsey  Stuart  &  Co.,  Dillon, 
Read  &  Co.  with  the  new  Chase  combina- 
tion and  Blair  &  Co.  and  the  powerful  Bank 
of  Italy  group  on  one  side;  while  Goldman 
.Sachs,  Ladciiburg,  Thalman  and  Lehman 
Brothers  may  racially  belong  in  the  other 
camp — but  actually  are  seldom  found  in 
opposition  to  the  first-named  collection,  and 
never  in  violent  opposition  to  the  electrical 
line-up. 

To  sum  up,  within  the  next  two  years  at 
least  five  hundred  million  will  be  needed  for 
picture  betterments.  If  found.  Wall  Street 
will  find  it.  Then  we  are  likely  to  see  a  lot 
of  new  names  at  the  top  of  the  motion  pic- 
ture business.  By  that  time,  any  one  with 
an  eye  to  see  will  realize  that  a  change  has 
taken  place.  The  cat  will  once  more  have 
the  canary  where  it  will  do  the  most  good 
to  the  cat's  digestive  apparatus. 


Looking,  ahead;  and  Lucille  Browne, 
though  a  newcomer,  knows  that  the 
smile  with  the  voice  wins 


Unchanging  Beauty 
for  your  Fingertips 

GLAZO  POLISHES,  iMj  never 
vary  their  tones,  are  the  smartest  colors  you  can  wear 

IN  a  less  active  generation,  lovely  nails  and  fingertips 
signified  a  woman  with  very  little  to  do.  Today, 
thank  goodness,  women  are  busy — at  sports  and  at  work. 
Hands  are  exposed  to  this  and  that.  And  Glazo,  with 
its  unique  virtue  of  looking  as  well  in  evening  as  in  day, 
helps  the  busy  woman  to  guard  her  beauty  and  her  time. 


The  delicate  sheath  of  Glazo 
that  gives  your  fingertips  love- 
liness by  Jay  .  .  . 


.  .  .  retains  the  same  charming 
tone  by  evening  light.  Glazo 's 
smart  colors  .  .  . 


.1 

.  .  .  never  vary  u  ith  a  change 
of  light.  The  beauty  it  brings 
is  constant,  and  lasts  for  a 
week  or  more. 


Only  u  ith  Glazo  will  your  fingertips 
be  constantly  smart 

Glazo  liquid  nail  polish,  in  a  few  moments'  time,  brings 
to  your  nails  a  lovely  delicate  sheen  that  lasts  a  week  or 
more.  It  never  peels,  and  it  never  verges  on  artificiality. 

And  Glazo's  smart  colors  never  change  their  tone,  re- 
gardless of  varying  lighting  conditions.  Other  polishes, 
pleasing  by  daylight,  take  on  a  different  and  disappoint- 
ing cast  by  candlelight  or  electricity.  Glazo  alone, 
because  scientifically  made  so,  remains  unaffected. 

With  Glazo  on  your  nails,  your  fingertips  will  always 
be  lovely,  will  always  be  admired. 

Be  sure  to  sec  Glazo's  Lipstick  Reds — Flame,  Geranium 
and  Crimson — three  new  nail  polishes  that  harmonize 
with  the  popular  lipstick  shades.  With  a  "lighx  '  Jif>- 
stick,  use  Glazo  Flame.  Use  Geranium  with  a  "medium." 
And  with  a  "dark"  lipstick,  use  Glazo  Crimson. 

These  Lipstick  Reds,  as  well  as  the  standard  Glazo 
shades,  may  be  found  at  all  toilet-goods  counters. 

GLAZO  Coupon 

THE  GLAZO  COMPANY,  Inc.,  Dept.  GM80 

191  Hudson  Sueet,  New  York,  N-  Y. 

□  Plain       □  Perfumed 
I  enclose  six  cents.  Please  send  me  Glazo  samples  (polish  and 
remover'.  See  check  above.  Also  booklet,  "Lovely  Eloquent 
Hands. "(If  you  live  inCanada,  address  P.O.Box  2054,  Montreal. ) 

Nttmt 

Addrtss  

City  _  Statt.  


103 


Are  You 
Coast  Wise 

? 


Are  you  sure 

You  know  everything 
That  is  going  on 
In  Hollywood? 

Are  you  sure 

That  you  know 
Hollywood 
Inside  and  out? 

Do  you  know 

The  stars 

Like  old  friends? 

Are  you  sure 

Of  having  your  wit 
About  you 
^\Tien  Hollywood 
Is  mentioned? 

And  do  you  insist 

Upon  seeing 
The  best  pictures 
The  stars  appear  in? 

And  are  you  sure 

Of  seeing  them 
In  stories 

That  do  them  justice? 

' Then, 

Sure  enough, 

You  must  be  another 

Regular  reader 

Of 

Motion  Picture 
CLASSIC 

"7r.9  The  Magazine  urith 
the  Personality'' 


Don  English 

Getting  there  may  be  uphill  work  for  the  big  Man  from  Montana,  but 
once  at  home  Gary  Cooper  isn't  molested.  This  is  a  picture  of  his  Holly- 
wood street  on  a  busy  day 

The  Answer  Man 

(Continued  from  page  102) 


that  he  was  not?  Buster  was  born  Nov.  4, 
1895.  Married  to  Natalie  Talmadge  since 
May  31,  1 92 1,  has  two  children,  Joseph  and 
Robert.  Latest  picture  is  Foru.ard  March, 
Metro-Goldwyn-Mayer  Studios.  Robert 
Frazer,  Worcester,  Mass.,  June  29,  1891. 
Six  feet  tall,  weighs  170  pounds,  brown  hair 
and  eyes.  Married  to  Mildred  Bright. 

BRONX  FAN.— Dolores  Del  Rio  was 
born  in  Durango,  Mexico,  .\ug.  3,  1905. 
Educated  in  Paris  and  has  taken  dancing 
lessons  from  Europe's  famous  masters. 
Edwin  Carewe,  who  saw  Dolores  in  Mexico 
City,  signed  her  for  a  long  term  contract. 
First  picture  Joanna,  in  which  Dorothy 
Mackaill  and  Jack  Mulhall  starred.  Later 
in  Pals  First,  featuring  Lloyd  Hughes. 
The  Whole  Toivn's  Talking,  What  Price  Glory, 
Resurrection,  Jungle  Fever  and  numerous 
others.  She  is  five  feet  four,  weighs  118 
pounds,  has  black  hair  and  eyes.  Real  name, 
Dolores  Asunsolo  de  Martinez  del  Rio, 
now  just  whistle  that  over  your  tongue. 

MARGARET  O.— The  violinist  was  not 
given  credit  on  the  cast  of  The  Racketeer. 
Fred  Kohler  was  born  Kansas  City,  Mo., 
six  feet  tall,  weighs  200  p>ounds,  and  has  light 
brown  hair  and  blue  eyes.  Received  his  stage 
training  with  a  stock  company.  Some  of  his 
most  recent  pictures  are:  Underworld,  The 
Dragnet,  Forgotten  Faces,  Roadhouse  Sights, 
Slightly  Scarlet,  Ladies  Love  Brutes,  Light  of 
Western  Stars  and  Under  Western  Skies. 
Married  and  his  hobbies  are  hunting,  riding, 
fishing,  golf  and  dogs.  Write  him  at  the 
Paramount  Studios. 

VIOLET. — Well!  here  are  your  answers  in 
just  the  issue  you  requested,  how's  that  for 
service?  Joyce  Gompton  was  Eva  in  The 
Wild  Parly.  William  Gollier,  Jr.  is  appear- 


ing in  Rain  or  Shine,  starring  Joe  Cook, 
Tiffany  Productions.  He  did  not  sing  in  The 
.Melody  Man.  Cliff  Edwards'  latest  picture 
is  Good  Xcus,  Metro-Goldwyn-Mayer. 

LOUISE. — Maurice  Chevalier's  next 
picture  is  The  Little  Cafe.  James  B.  Lowe, 
Margarite  Fischer,  Arthur  Edmund 
Carewe,  Mona  Ray  and  John  Roche  had 
the  leading  roles  in  Cnclc  Tom's  Cabir.. 
Joyce  Goad,  Margaret  Morris,  Philippe 
de  Lacj'  and  Raymond  Keane  in  Thi  Magic 
Garden.  Mrs.  Wallace  Reid  and  Percy 
Marmont  The  Broken  Law.  Charles  Byer 
and  Patsy  Ruth  Miller  Red  Riders  of 
Canada.  GuUen  Landis  and  Barbara  Bed- 
ford The  Broken  .Mask.  Haven't  the  other 
two  casts  you  mentioned. 

YPSILANTI  FAN.— Charles  Morton 

was  born  Jan.  28,  1908.  Has  dark  hair  and 
grey  eyes  and  is  not  married.  Appeared  i-^ 
vaudeville  and  musical  comedies  bef(- 
entering  pictures.  First  flicker  was  Rich  B 
Honest,  which  was  released  in  May  19- " 
He  is  six  feet  one  inch  tall,  weighs  1 7 : 
pounds.  .Appearing  in  Caught  Short.  Hugh 
Trevor,  Boston,  Mass.,  about  twenty-se\ir 
years  ago.  No  record  of  him  being  marric; 
Helene  and  Dolores  Costello  are  sister- 
GoshI  I  thought  everyone  knew  thav 
Maurice  is  their  father. 

BILLIE.— Laura  La  Plante  s  husband 
William  A.  Seiter.  Clive  Brook  was  bo: 
in  London,  England,  June  i,  1891,  has  brov- 
hair  and  grey  eyes,  married  to  Mildred 
Evelyn,  has  a  daughter  Faith  and  a  sc  : 
Clive,  Jr.    Latest  picture  The  Better  Wi; 
starring  Ruth  Chatterton.  Kay  Johnson. 
Roland  Young,  Reginald  Denny,  Lillian 
Roth  and  Mary  McAllister  have  the  leadinc 
rdles  in  Madam  Satan. 


104 


BeThelVIan 
Beh  i nd  the  Camera 


The  wedding  group  at  Hollywood's  latest  largest  wedding:  left  to  right,  Mae  Sunday, 
Adela  Hyland,  Lila  Lee,  EHane  Maunse,  Louella  Parsons,  the  bride — Bebe  Daniels, 
the  groom — -Ben  Lyon,  Rita  Kaufman,  Constance  Talmadge,  Marie  Mosquini  and 

Betty  Compson 

Black  and  White,  Read  and  Write 

{Continued  from  page  6) 


impossible.  Radical  changes  from  the  orig- 
inal story  do  not  help,  they  usually  make 
it  worse. 

Endings  are  not  always  happy  in  our 
everyday  life  stories — and  it  is  often  better 
that  they  are  not,  so  why  make  them  all 
that  way  in  the  movies?  And  parts  of  the 
story  do  not  affect  us  much  when  we  know 
it  will  be  fixed  up  all  right — in  the  end. 

R.  G.  Muse 


artist.  He  enchants  with  his  gay  humor, 
baffles  by  his  candor,  and  packs  into  this 
whole  single  characterization  enough  "IT" 
to  supply  a  whole  army.  In  other  words, 
"ENCORE,"  if  you  please.  Messieurs 
Lubitsch  and  Chevalier!      Florence  Cobb 


Too  Doggone  Clever 

St.  I.ouis,  Mo. 

I  like  dogs,  love  them.  I  enjoy  seeing 
them  in  the  movies- — those  clever  trained 
dogs.  I  do  not  like  them,  however,  in  such 
impossible  roles.  I  want  them  as  I  have 
always  known  them,  jolly  companions  and 
trusting  friends.  In  our  dog  melodramas, 
the  dogs  do  everything  but  lly  airplanes — 
they  foil  master  minds — far  surpass  the 
human  hero  in  deeds  of  bravery-  and  cunning 
— or,  in  other  words,  simply  insult  our  in- 
telligences. 

I  want  to  ask  you,  fellow  fans,  if  you 
would  not  rather  see  your  canine  friends  as 
you  know  dogs  ought  to  be.  If  you  would 
not  like  to  see  them  about  a  happy  fireside, 
as  a  companion  for  a  child,  or  a  friend,  but 
not  the  sufjerior  of  the  hero.  Do  you  like  to 
sec  dogs  as  you  know  they  could  never  be, 
anywhere  but  in  the  movies?  .A  good  show- 
is  a  show  that  is  real,  that  is  like  life. 

We're  all  dog  lovers.  We've  all  had  one  or 
more  of  them.  Let's  get  together  and  see 
them  on  the  screen,  as  they  really  are. 

Edward  Mead,  Jr. 


Why  A'ot  A  J'estibule  Or  A 

Halhcay? 

Berlin,  Germany 
Lovers  are  often  too  sweetish.  When  a 
loving  couple  falls  in  love  and  kisses  for  the 
first  time,  why  are  there  always  blooming 
trees,  falling  flowers  in  the  flowering  season, 
twittering  birds  and  mostly  the  full  moon 
in  the  heaven?  For  instance,  in  "Sally"  we 
saw  such  scenes  of  exaggerated  sweetness, 
so  that  this  picture  has  not  had  the  success 
expected  in  Germany.  Why  is  love  in  other 
seasons  than  Spring  and  at  other  places  than 
at  the  bottom  of  blooming  trees  imp>ossiblc 
on  the  screen?  Otto  Behrens 


Encore,  Encore 

Birmingham,  .-Mabama 
With  admirable  finesse  and  Continental 
subtlety,  Ernst  Lubitsch  guides  that  irre- 
sistible Frenchman,  Maurice  Chevalier, 
through  a  piquant  plot  set  to  music,  and 
just  racy  enough  to  please  sophisticated 
movie-goers.  Maurice  Che\'alier's  acting  is 
conspicuous  for  its  sp»ontaneity,  grace,  and 
sustained  perfection  of  artistic  balance.  The 
most  captious  critic  could  hardly  fail  to 
respond   to  this  charming  aiul  ingenuous 


Tt  liaVs  in  a  name? 

A  person  in  a  library  choosing  a  book  is 
guided  by  what?  The  name,  of  course.  The 
same  holds  true  to  a  ver>'  great  extent  wheT 
one  is  selecting  the  motion  picture  which  is 
going  to  furnish  the  evening's  entertain- 
ment. 

What  I  cannot  comprehend  is  why  movi; 
producers  will  spend  a  lot  of  time,  talent  and 
money,  turn  out  a  really  fine,  intelligent 
production,  and  then  tie  a  title  on  to  it 
which  has  absolutely  nothing  in  common 
with  the  picture. 

Right  now,  I  have  in  mind  "Ladies  Love 
Brutes"  with  C»eorge  Bancroft.  A  superb 
actor,  a  brilliant  cast,  a  picture  interesting 
and  entertaining  from  beginning  to  end. 
But  what  a  title!  It  gives  one  the  impres- 
sion that  they  are  going  to  see  a  silly  comedy 
drama,  whereas  it  is  as  far  from  that  as  the 
north  pole  is  from  the  south. 

Come  on,  you  movie  pictures!  Thanks  to 
science,  you  can  talk  now.  Protest  against 
these  silly  names  they  are  calling  you,  and 
demand  titles  that  will  give  you  your  right- 
ful place  in  (-incm.i  history.       S.E.  Woo  f 


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105 


Here's  Tliat  Wew  Way 
of  Removing  Arm  and  Leg  Hair 


*5-     +     '5-     (2J0  ma 


ni;  IV  omen 


a..e  asl^ln,  aLui 


Not  only  is  slightest  fear  of 
bristly  re-growth  banished, 
but  actual  reappearance  of 
hair  is  slowed  amazingly. 


ne-w  discovery 
that  not  only  removes  JiAir  instantly 
hut  utterly  avoids  fostering  coarsened re=grov^tfi 


ANEW  way  of  removing  arm  and  leg 
hair  has  been  found  that  not  only 
removes  every  vestige  of  hair  instantly, 
but  that  banishes  the  stimulated  hair 
growth  thousands  of  women  are  charging 
to  less  modern  ways.  A  way  that  not 
only  removes  hair  but  delays  its  reappear- 
ance remarkably ! 

It  is  changing  previous  conceptions  of  cos- 
meticians about  hair  removing.  Women 
are  flocking  to  its  use.  The  discovery  of 
R.  C.  Lawry,  noted  beauty  scientist,  it  is 


Neet 


Cream 

Hair  Remover 


different  from  any  other  hair  remover 
known. 

WHAT  IT  IS 
It  is  an  exquisite  toilet  creme,  resembling 
a  superior  beauty  clay  in  texture.  You 
simply  spread  it  on  where  hair  is  to  be  re- 
moved. Then  rinse  off  with  water. 

That  is  all.  Every  vestige  of  hair  is  gone; 
so  completely  that  even  by  running  your 
hand  across  the  skin  not  the  slightest  trace 
of  stubble  can  be  felt. 

And— the  reappearance  of  that  hair  is  delayed 
surprisingly! 

When  re-growth  finally  does  come,  it  is 
utterly  unlike  the  re-growth  following  old 


ways.  You  can  feel  the  difference.  No  sharp 
stubble.  No  coarsened  growth. 

The  skin,  too,  is  left  soft  as  a  child's.  No 
skin  roughness,  no  enlarged  pores.  You  feel 
freer  than  probably  ever  before  in  your 
life  of  annoying  hair  growth. 

WHERE  TO  OBTAIN 
It  is  called  Neet — a  preparation  long  on 
the  market,  but  recently  changed  in  com- 
pounding to  embody  the  new  Lawry  dis- 
covery. 

It  is  on  sale  at  practically  all  drug  and 
department  stores  and  in  beauty  parlors, 
in  both  $1  and  60c  sizes.  The  $1  size  con- 
tains 3  times  the  quantity  of  the  60c  size. 


106 


R.  R.  DONNELLEY  6  SONS  CO..  CHICAGO 


VW/^/  kind 


^j^CiH     I       idl^^       ^    ^  "Cleanliness  ofcourse,  is  something 

that  everyone  must  have.  Who,  in  this 

*'T"VE  just  read  the  most  astonishiiijz       nights  I've  been  too  excited  or  nervous  close-crowded  and  strenuous  world, 

■■■  booklet.  And  what  do  you  think       to  get  to  sleep!   And  then  when  I  can  deny  it?  But  it's  nice  to  know, 

it  was  about?  Baths'.                             realize  that  probably  the  right  kind  of  and  uh\,  daily  baths  at  the  same  time 

"Imagine  a  book  about  baths  being       baths  would  have  saved  many  of  those  can  do  so  much  for  us  in  the  way 

so  interesting  and  so  helpful,  that  you       precious  hours  for  me...  well!...  I  can't  of  health,   efficiency,  comfort,  and 

don't  want  a  single  friend  to  miss  it!       tell  you  how  sorry  I  am  this  little  book  good  looks. 

Well,  I  couldn't  imagine  it  either  .  .  .       wasn't  published  a  long  time  ago  .  .  .  So  I'm  going  to  tell  everyone  I 

until  I'd  read  it.  Keeping  us  clean,  it       or  how  grateful  I  am  to  have  it  now.  know,  about  this  little  book  that  is  so 

seems,  is  only  one  of  the  many  im-          'To  say  nothing  of  all  the  informa-  full  of  surprising  and  useful  infor- 

portant  things  that  baths  can  do  for  us.       tion  it  contains  about  baths  to  make  mation".  And  you  will 

hen  I  think,  for  instance,  of  all      one  cool  in  hot  weather,  to  take  after  too,we're  certain,when    L=--_ar_  / 

the  hard-to-wake-up  mornings  I  have       hard  work  or  exercise,  to  ease  sore  you've  used  the  cou- 

had,  and  the  sleepy,  'no-account'  fore-       muscles,  to  help  avoid  colds,  to  some-  pon  below,  and  gotten 

noons;  the  evenings  I  have  spoiled  by      times  wash  away  nervous  headaches  jour  free  copy  of  "The 

being  inexcusably  dull  and  tired;  the       or  spells  of  the  blues.  Book  About  Baths". 

CLEAIXLINESS  I  NSTITUTE  r^^i^^SS^^sS^^'" 

Established  to  promote  public  u  elfare  by  j   ,                  />«- n,.  Book  About  B.th..' 

teaching  the  value  of  cleanliness  \ 

45   EAST   17th   STREET,  NEW  YORK.  N.  Y.  i  N.m.. 

/mporfnn/;  Perhaps  you  also  would  bp  interested  in"A  Cleaner  House  by  120'Clork",or'TheThirty  :  y^jj,^ 

Hav  I  II  pline«s  Test".  These,  loo,  are  free  ...  a  part  of  the  wide  service  of  Cleanliness  Institute.      I  /.ll'.l'.l...™.......'...'...^^^^^^^^ 


n  wings  ot  song 


hffl 


LA  WR  E  NCE  TIBBETT 


Noted  Metropolitan  Opera  star  raises  the  talking  screen 
to  new  heights  in  THE  ROGUE  SONG,  Metro-Goldwyn- 
Mayer's  magnificent  All -Technicolor  musical  drama. 


TECHNICOLOR  IS 
NATURAL  COLOR 


and  waves 
of  color  * 


L 


AWRENCE  TIBBETT!  Never,  you're  tempt- 
ed to  say,  has  the  screen  been  turned  over  to 
such  a  superb  personality.  To  such  a  dy- 
namic actor.  To  such  a  brilliant,  roguish,  lov- 
able king  of  song.'  In  Technicolor,  the  Tibbett 
of  opera  fame  appears  before  you  in  one 
sv/eeping,  indelible  surge  of  reality!  From 
curtain-rise  to  finale,  "The  Rogue  Song"  pul- 
sates with  intrigue,  romance,  drama — with 
the  sheer  resplendence  of  its  two  irresistible 
stars,  Tibbett  and  Technicolor!  See  it.  Marvel 
at  it.  Move  through  it,  thrilled  by  the  en- 
chantment of  natural  color  truly  interpreted! 

SOME     OF  THE 
TECHNICOLOR  PRODUCTIONS 

BRIDE  OF  THE  REGIMENT,  with  Vivienne  Segal  (First  National); 
DIXIANA,  with  Bebe  Daniels  (Radio  Pictures);  GOLDEN  DAWN, 
with  Walter  Woolf  and  Vivienne  Segal  (Worner  Bros);  KING  OF 
JAZZ,  starring  Paul  Whitemon  (Universal);  MLLE.  MODISTE,  with 
Bernice  Claire,  Walter  Pidgeon  and  Edward  Everett  Hoiton  (First 
National);  PARAMOUNT  ON  PARADE,  all-star  cast  (Paramount); 
SONG  OF  THE  FLAME,  with  Bernice  Claire  and  Alexander  Gray 
(First  National);  SONG  OF  THE  WEST,  with  John  Boles  and 
Vivienne  Segal  (Warner  Bros.);  THE  CUCKOOS,  with  Bert 
Wheeler,  Robert  Woolsey  and  Dorothy  Lee  (Radio  Pictures); 
THE  MARCH  OF  TIME,  all-star  cast  (Metro-Goldwyn-Moyer), 
Technicolor  Sequences;  THE  VAGABOND  KING,  starring  Dennis 
King  with  Jeanette  MocDonold  (Paramount). 


icoior 


Wot  I  o  N~F>  I CTU  R  E 


BEBE  DANIELS  in  "DIXIANA"— wifb  Everett  Marshall,  Metropolitan  Opera  baritone. 
Wheeler  and  Woolsey,  Dorothy   Lee,  Joe  Cawthorne  and  Jobyna  Howland. 


SOME  OF  THE  TECHNICOLOR  PRODUCTIONS 

BRIDE  OF  THE  REGIMENT,  with  Vivienne  Segal  (First  National) ;  BRIGHT  LIGHTS,  with 
Dorothy  Mackaill  (First  National);  DIXIANA,  with  Bebe  Daniels  (Radio  Pictures);  FOLLOW 
THRU,  with  Charles  Rogers  and  Nancy  Carroll  (Paramount);  GOLDEN  DAWN,  with 
Walter  Woolf  and  Vivienne  Segal  (Warner  Bros.);  HELL'S  ANGELS,  all-star  cast 
(Caddo),  Technicolor  Sequences;  HOLD  EVERYTHING,  with  Winnie  Lightner,  Georges 
Corpentler  and  Joe  E.  Brown  (Warner  Bros.);  KING  OF  JAZZ,  starring  Poul  Whiteman 
(Universal);THE  TOASTOF  THE  LEGION,  with  Bernice  Claire,  Walter  Pidgeon  and  Edword 
Everett  Norton  (First  Notional);  SONG  OF  THE  FLAME,  with  Bernice  Claire  and 
Alexander  Gray  (First  National);  SWEET  KITTY  BELLAIRS,  all-star  cast  (Warner  Bros.); 
THE  FLORADORA  GIRL,  starring  Marion  Davies  (Metro-Goldwyn-Mayer),  Technicolor 
Sequences;  THE  MARCH  OF  TIME,  all-star  cast  (Metro-Goldwyn-Mayer),  Technicolor 
Sequences;  WOMAN  HUNGRY,  with  Sidney  Blockmer  and  lila  lee  (First  Notional). 


Most 
Bea  u  +  i"f  ul 

Womo  n 
in  the  South 

Wouldn't  you  like  to  see  her?  Dix- 
iana,  star  of  Cayetano's  Circus — 
"most  beautiful  woman  in  the 
South!"  Played  by  alluring  Bebe 
Daniels — brought  to  fascinating, 
vivid  life  by  the  modern  miracle 
of  Technicolor.  Technicolor  has 
put  a  light  in  her  eyes  and  a  flush 
on  her  cheek — has  given  new 
warmth  and  meaning  to  her  every 
glance  and  gesture.  All  the  stars 
shine  brighter  in  Technicolor. 


I* 


Xoo  ooe 


^hot     '  Pat, 


on 


se 


TtHD  COlop 


RADIO  PICTURES  Challenge 
The  Entertainment  World! 


ICTURE  goers,  this  year,  can  look  to  the  Radio 
Pictures  trademark  for  the  utmost  in  screen  en- 
tertainment. Never  before  has  there  been  such 
an  array  of  outstanding  productions. 

Heading  the  procession  comes  AMOS  'N' 
ANDY,  invincible  monarchs  of  the  air,  in  their 
first  talking  picture.  A  red  letter  event  in 
screen  history! 

"CIMARRON,"  Edna  Ferber's  magnificent  novel, 
v/iil  be  presented  on  a  colossal  scale.  Jhis  epic  of 
empire  brings  RICHARD  DIX  in  the  picturesque  role 
of  Vance/  Cravat,  two-gun  poet  in  buckskin, 
dreamer,  crusader,  fighter,  v^ho  helped  make  his- 
tory in  a  day. 

"DIXIANA,"  glamorous  romanceof  old  New 

Orleans  in  Mardi  Gras  time,  presents  BEBE  DANIELS, 
EVEREH  MARSHALL,  Metropolitan  Opera  star;  Bert 
Wheeler,  Robert  Woolsey  and  a  thousand  others. 
Victor  Herbert's  immortal  "BABES  IN  TOYLAND" 
will  be  the  year's  supreme  extravaganza.  "HALF 
SHOT  AT  SUNRISE"  featuring  BERT  WHEELER  and 
ROBERT  WOOLSEY,  promises  the  season's  comedy 
sensation. 

Rex  Beach's  "THE  SILVER  HORDE"and  John  Gals- 
worthy's "ESCAPE"  typify  the  high  type  of  author- 
ship in  Radio  productions.  Many  more  attractions 
of  equal  merit  await  you!  Millions  of  dollars  and 
the  creative  genius  of  the  best  minds  in  the  talking 
picture  art  are  being  poured  into  these  productions, 
which  challenge  the  whole  world  of  entertainment. 

I 

"HALF  SHOT  AT  SUNRISE" 

Bert  Wheeler  and  Robert  Woolsey  in  a 
grond  bombardment  of  mirth  and  melody. 


■  Your  local  theatre  mariager  is  now  arranging 
his  season's  program.  He  is  always  interested 
in  knowing  your  wishes  and  is  guided  by  your 
desires  in  entertainn^ent.  Tell  him  you  want 
to  see  these  outstanding  Radio  Pictures 
at  his  theatre.  He  will  appreciate  your  interest. 


mi 


MOT  Q  ON    P  Q  CT  OJ  IRE 

CLASSIC 


Vol.  XXXII  SEPTEMBER,  1930  No.  1 

Notable  Features  in  This  Issue: 

How  Free  Is  Speech? — It's  Cheap  As  Dirt,  And  Treated  As  Such  Campbell  MacCuUoch  24 

Who's  Glorified  Now?— Ziegfeld's  Ideal  Beauty  Of  1931  Dorothv  Manners  26 

Hollywood  Sob  Stories— EDWINA  BOOTH  "  Dorothy  Calhoun  29 

Classic  Holds  Open  Court — Case  V — ClARA  BOW  Defends  Sex  Appeal  Cedric  Belfrage  36 

The  Most  Dangerous  Moment  Of  My  Life — CHARLES  BiCKFORD                   W^alter  Ramsey  38 

The  Classic  Gallery  Constance  Bennett,  Anita  Page,  Claudia  Dell,  Clive  Brook.  19-22 

Classic  Talks — An  Editorial  George  Kent  Shuler  27 

Picture  page— JOAN  BENNETT   28 

Perfect  Honeymoon— ^/mosf.—BEN  LyON  and  Bebe  DANIELS  Robert  Fender  30 

Picture  page — RUDOLPH  VALENTINO   31 

Picture  page — BUDDY  ROGERS  and  MARGARET  BREEN   32 

He  Lived  ft  Down— BEN  ALEXANDER  Grew  Up  Gladys  Hall  33 

Kinema  Keyholes— picture  paees  JEANETTE  LOFF,  LUPE  VELEZ.  JOAN  MARSH   34 

I'm  A  Screamer,  Aren't  We  All?— picture  page,  VIRGINIA  SALE   40 

Through  At  Five  O'Clock— WALLACE  BEERY  Doesn't  Work  Overtime.  .  .  .Elisabeth  Goldbeck  41 

Ship  Ahooey — picture  pages,  ALICE  WHITE   42 

They're  All  Talking,  At  Last— LILA  Lee  Doesn't  Believe  In  Santa  Claus  Gladys  Hall  48 

He  Has  T/jwj— picture  page,  GEORGE  DURYEA   49 

Their  Sea  Legs— picture  page,  JOHN  BaRRYMORE   50 

He  Didn't  Know  Better— FrED  SCOTT  Dorothv  Manners  51 

The  Americano  From  Milano— EVERETT  MARSHALL  Cedric  Belfrage  52 

Is  Hollywood  Going  Old-English?  Cedric  Belfrage  56 

Razzberries  In  C  Major— JOHNNY  HAMP  Of  The  Cocoanut  Grove  Lloyd  Leuis  58 

Talkie  Pioneers— picture  page,  JOHN  WAYNE   59 

The  Mermaids'  Night  Off— picture  page,  RAQUEL  TORRES  and  EDWINA  BOOTH   62 

The  Panic  Is  Over — Broadway  Returns  From  Hollvwood  Herbert  Cruikshank  63 

C'Mon,  Garee,  He  No  Bite— picture  page,  LUPE  VeleZ   64 

All  To  The  //oA•(^-Hollywood  Puts  On  The  Art  Robert  Fender  65 

Life  Is  Like  A  Checkerboard— picture  pages,  RAYMOND  HACKETT  and  DOROTHY  JORDAN.  66 

I  Like  To  Interview  And  I  Don't  Like  To  Interview  Helen  Louise  Walker  68 

Girl  Going  Up— LOTTI  LODER  Charleson  Gray  70 

Alas,  Poor  Barrymore — picture  page,  BuSTER  KeATON   71 

A  Soft  Right  To  The  Jaw— picture  page,  DAVID  MANNERS   72 

Roughing  It  De  Luxe — Solid  Comfort  In  The  Wilds  Helen  Louise  W^alker  73 

Hippy  Days  Are  Here  Again — picture  page.  Movietone  Follies  Girls   75 

The  Classics  Famous  Departments 

Black  And  White— Read  And  Write  (Prize  Letters^   8 

From  Where  I  Sit — Explosives,  High  and  Low   Cedric  Belfrage  10 

My  Neighbors  In  Hollywood  K.  C.  B.  12 

Last-Minute  News   14 

Facts  And  Figures  Campbell  MacCuUoch  16 

Looking  Them  Over — Newsy  Close-Ups  Dorothy  Manners  42 

Our  Own  News  Camera — The  Screen  World  In  Pictures   53 

The  Celluloid  Critic — Some  Current  Films  In  Review  Laurence  Reid  60 

The  Answer  Man   76 

Cover  Drawing  of  LorvUa  Young  by  Colin  Cruickshank 


Laurence  Reid,  Editor 

Colin  J.  Cruickshank,  Art  Director 

Classic  comes  out  on  the  12th  of  every  Month,  Motion  Picture  the  28th 


Motion  Picture  Classic  is  published  monthly  at  350  E.  22nd  St.,  Chicago,  III.,  by  Motion  Picture  Publications,  Inc.  Enlertd  as  second  class 
mailer  Augiusl  usl,  102S,  at  the  I'osI  Office  at  Chicago,  Illinois,  under  the  Act  of  .\larch  ,?,  iSyg;  printed  in  U.  S.  A.  Editorial  and  Executive  Offices,  Paramount 
Huilding,  1  sol  Hroaduiay,  New  York  City,  N.  Y.,  Copyright  lojo  by  Motion  Picture  Publications,  Inc.  Single  copy  25c.  Subscriptions  for  U.  S.,  ils  pos- 
sessions, and  Mexico  $2.00  a  year,  Canada  $2.50,  Foreign  Countries,  J.). 00.  European  Agents,  Atlas  Publishing  Company,  18  Bride  Lane,  London,  E.  C.  4. 
George  Kent  Shuler,  Pres.  and  Treas.,  Duncan  A.  Dobie,  Jr.,  Vice  Pres.,  Murray  C.  Hernays,  Secy, 


5 


ho  made  SUNNY  SIDE  UP  the  most  popular 
motion  picture  of  the  past  year? 

.  .  YOU  did  —with  the  tickets 
'you  bought  at  the  box  offices  all 
over  the  country ....  Who  made 
THE  COCKEYED  WORLD  the  run- 
ner-up  ?  . . . .  YOU  again  —  with 
your  spontaneous  approval,  registered  by  cash  paid  for  tickets  at  the 
box  office,  of  the  rough  and  ready  wit  and  humor  of  McLaglen  and  Lowe. 
....Who  were  the  year's  favorite  actor  and  actress? ....  Janet  Gaynor 
and  Charles  Farrell,  overwhelmingly  voted  the  most 
popular  in  polls  conducted  by  both  the  Chicago 
Tribune  and  the  New  York  Daily  News,  the  two  largest 
newspapers  in  their  respective  cities. . . .  Who  won 
the  coveted  Photoplay  Gold  Medal  for  the  past  two 
years  ?  . . .  FOX— last  year  with  John  Ford's  FOUR  SONS 
—  year  before  last  with  Frank  Borzoge's  7th  HEAVEN. 
....  Who  cast  the  winning  ballots  for  Gaynor  and 

Farrell  ?  Nobody  but  YOU  Who  has  already 

decided  what  kind  of  pictures  we  will  produce  and 

leading  houses  everywhere  will  feature 
during  the  coming  year?  .  .  .  .YOU,  of 
course  —  because  you  have,  in  terms 
that  can't  be  mistaken,  placed  your  ap- 
proval on  what  FOX  has  done  in  the 
past  and  told  us  what  you  like  ....  Will 
you  get  it?  ...  .  Look  at  this  line-up  of 
new  productions  now  on  their  way  to 
you!  ....  Janet  Gaynor  and  Charles 
Farrell  in  OH,  FOR  A  MAN  I — another  sure-fire  hit, 
produced  under  the  masterly  direction  of  the 

man  who  made  SUNNY  SIDE  UP,  David  Butler  

McLaglen  and  Lowe  chasing  women  OF  ALL 
NATIONS  —  in  the  further  rollicking  adventures  of 
Flagg  and  Quirt — from  the  story  by  Laurence 
Stallings  and  Maxwell  Anderson,  authors  of 
WHAT  PRICE  GLORY.  Direction  by  Raoul  Walsh 
What  a  line-up!  Charlie  Farrell  in  his  greatest  part  of  all,  as  Liliom, 


6 


AN  D 


MILLiON 


CANT 


WRONG 


in  DEVIL  WITH  WOMEN,  from  Franz  Molnar's 
international  stage  success  ....  And  Charlie 
will  also  entertain  you  in  three  other  great 
pictures  during  the  year  —  THE  MAN  WHO 
CAME  BACK,  with  Louise  Huntington;  THE 
PRINCESS  AND  THE  PLUMBER,  with  Maureen 
O'Sullivan,  the  find  of  the  year;  and  SHE'S 

MY  GIRL,  with  Joyce  Compton  In  UP  THE 

RIVER,  a  new  kind  of  prison  story,  John  Ford 
is  striving  to  surpass  his  own  Photoplay  Gold 
Medal  winner,  FOUR  SONS.  In  this  picture  appears  Cherie,  daughter  of 
Warden  Lowes,  and  a  great  cast  of  established  ^ 
screen  favorites  ....  Frank  Borzage,  Gold  Medal 
winner  of  the  previous  year,  will  give  you  four  great 
pictures  —  SONG  O"  MY  HEART,  introducing  to  the 
screen  the  golden  voice  and  vibrant  personality  of 
the  great  Irish  tenor,  John  McCormack  —  two  of 
Charlie  Farrell's  new  pictures,  THE  a^an  who  came 
BACK  and  DEVIL  with  women  —  and  ALONE  WITH  YOU, 
in  which  Janet  Gaynor  will  insinuate  herself  still 
more  deeply  into  your  affections . . .  .The  honor  most 
coveted  by  the  motion  picture  actor  is  the  annual  award  of  the  Academy 
of  Motion  Pictures.  Warner  Baxter  is  the  latest  recipient  of  this  honor — 
won  by  his  magnificent  characterization  of  the  Cisco 
Kid  in  IN  OLD  ARIZONA.  Warner,  lovable  bandit  and 
idol  of  the  feminine  heart,  will  give  you  four  big 
pictures  ....  If  you  saw  Will  Rogers  in  they  had 
TO  SEE  PARIS,  or  SO  THIS  IS  LONDON,  you  will  cheer  the 
announcement  of  two  more  pictures  by  America's 
incomparable  comic:  a  CONNECTICUT  YANKEE, 
perhaps  Mark  Twain's  funniest  story,  and 
SEE  AMERICA  FIRST  ....  DeSylvo,  Brown  and 
Henderson — the  Gilbert  and  Sullivan  of 
our  day — will  follow  their  smash  success, 
SUNNY  SIDE  UP  with  JUST  IMAGINE,  clever, 
gay,  tuneful  and  funny.  The  cast  will  be  headed  by  Maureen 
O'Sullivan  and  El  Brendel  ....  We  made  the  pictures  —  but  YOU 
asked  for  them — and  you  and  sixty  million  others  can't  be  wrong! 


V 


Tell  Us  All  About  It 


$20.00  LETTER 

'^Mickey  Mouse^'  Chases 
The  Blues 

Everett,  Mass. 

Say  listen,  feller,  have  you  got  the  blues? 
Did  you  have  a  scrap  with  your  best  gal? 
Is  there  a  rubbery  taste  in  your  mouth  and 
do  you  feel  as  if  the  whole  world  and  every- 
thing in  it  wasn't  worth  while?  If  you  have 
any  of  these  or  any  other  ailments,  I  know 
a  sure  cure  for  them  all.  And  it  won't  cost 
a  dollar  a  bottle  or  fifty  cents  or  even  a 
dime.  Here's  a  free  prescription  for  you  all. 

Go  to  a  theater  showing  a  Mickey  Mouse 
comedy  and  you'll  forget  you  ever  felt  down 
in  the  dumps.  These  animated  cartoons 
which  talk,  sing  and  dance  are  world-beaters 
when  it  comes  to  chasing  the  blues  away. 
There's  no  fault  you  can  find  with  them 
unless  you  feel  like  I  do  and  that  is  that 
they're  much  too  short.  A  feature  picture 
means  nothing  when  "Mickey"  is  on  the 
program. 

More  power  and  success  to  the  producers 
of  Mickey  Mouse  Comedies  and  may  I  sug- 
gest that  they  compel  theaters  showing 
these  novelty  films  to  say  so  on  their  bill- 
boards. Mary  Ev. 


,00  LETTER 
Those  Awful  "Shorts" 

Nyack,  N.  Y. 

I'm  not  going  to  pan  or  praise  a  star  and 
I'm  not  going  to  pan  or  praise  a  picture,  but 
I'm  going  after  the  "short  subjects"  with  a 
vengeance. 

When  we  go  to  see  a  picture,  why  must 
we  be  bored  to  death  with  all  these  shorts? 
First  we  have  to  sit  through  a  newsreel,  but 
that's  easy  enough  because  news  is  always 
interesting,  but  since  the  talkies  we  have 
had  every  vaudeville  team  served  to  us  in  a 
short.  It  seems  to  me  that  all  the  troupers 
who  have  been  forced  off  good  circuits  are 
now  handed  to  us  in  picture  form.  Why  dig 
up  these  old-timers  who  are  passe?  Can't 
they  let  them  stay  buried?  If  we  want 
vaudeville  we'll  go  to  a  theater  that  spe- 
cializes in  that  type  of  entertainment. 
They're  cheap  vaudeville  acts  and  if  they 
can't  do  better  than  that,  then  omit  them 
altogether. 

A  good  idea  is  to  give  us  the  feature 
pictures  first  and  then  run  the  news 
and  other  short  subjects  so  that  those 
of  us  who  are  not  interested  may  be 
spared  the  ordeal  of  sitting  through  a 
performance  which  is,  to  say  the 
least,  boring.  Jay  Kay 


public  has  become  critical.  There  has  been 
severe  criticism  of  the  slang,  bad  manners 
and  offensive  noises  used  in  American 
talkies.  It  is  remarkable  that  the  American 
film  censors  allow  some  talkies  to  be  shown 
in  America,  without  sending  them  abroad 
to  defame  American  standards  of  living. 
Most  of  the  talkies  shown  in  Australia  dur- 
ing the  past  year  have  pictured  the  Ameri- 
can people  as  a  drunken,  dissolute  crowd  of 
morons.  It  is  bad  advertising  for  the  U.S.A. 
and  the  sooner  attention  is  drawn  to  it  by 
your  journal,  the  better  it  will  be  for  the 
U.S.A. 

The  talkies  featuring  back-stage  settings, 
ballet  girls  undressing,  and  wealthy  morons 
tempting  them  with  diamonds  and  dinners 
that  end  in  shameless  orgies,  are  not  good 
for  the  theatrical  business  and  certainly  not 
fit  subjects  for  the  younger  generation. 

Another  objectionable  feature  is  the 
making  of  offensive  noises  with  the  mouth  by 
some  actors  such  as  "The  Raspberry"  which 
originated  in  Tasmania  among  the  convicts 
in  1820.  Apparently,  America  has  just  heard 
of  this  awful  means  of  annoying  warders 
that  was  used  by  the  scum  of  early  convict 
settlements. 

In  "Untamed,"  featuring  Joan  Crawford, 
the  young  actress  is  seen  to  strip  a  young 
man  to  the  buff,  and  urge  him  to  fight  an- 
other young  society  man  in  the  drawing- 
room  of  her  wealthy  uncle's  mansion.  The 
men  don  gloves  and  fight  it  out  to  a  finish. 

Now,  I  ask  you,  is  that  sort  of  thing  done 
in  decent  society?  Of  course  not.  Yet 
America  allows  such  films  to  go  abroad  to 
damage  her  reputation.  Joseph  L.  Cartmel 


$1.00  LETTERS 

The  Great  Garbo 

Los  Angeles,  Cal. 
I  have  just  seen  Greta  Garbo's  latest,  and 
may  I  say,  I  think,  Garbo's  greatest  picture, 
"Anna  Christie."    What  a  wonderful  pro- 
duction. 

Need  the  glamourous  Garbo  be  afraid  of 
the  wicked  "mike"?  I  think  not.  Her  voice? 
It  is  in  keeping  with  her  personality,  if  it 
may  be  termed  as  "personality."  No  one 
can  ever  define  Greta  Garbo's  appeal.  It 
certainly  isn't  physical  beauty,  and  in  view 
of  the  type  of  pictures  in  which  she  is 


starred,  it  can't  be  attributed  to  beauty  of 
the  soul.  Perhaps  it  is  fascination  alone. 
As  for  me,  the  matter  can  rest  there. 

What  a  "break"  for  Miss  Garbo  that  her 
first  talkie  demanded  that  she  be  Swedish. 
During  the  first  part  of  the  picture  I  sat 
breathless,  waiting  for  Miss  Garbo  to 
appear  and  speak.  And  when  she  did,  I 
wasn't  disappointed.  I  was  surprised.  Her 
voice  is  as  different  as  she  herself.  The 
monotone  in  which  she  speaks  is  just  typical 
of  her  every  move. 

What  a  mysterious  person  this  actress  is 
whom  so  many  fans  hail  as  the  greatest 
actress  of  all  time.  She  slouches  around  in  a 
disreputable  looking  sweater  and  skirt,  and 
above  all,  black  tennis  shoes,  and  doesn't 
care  if  her  hair  looks  as  though  it  hasn't 
been  combed  in  a  week.  That  is  the  way 
she  looks  in  "Anna  Christie. "'Who  but  Garbo 
could  get  away  with  it?  Who,  but  Garbo 
would  dare  try? 

I  am  praying  that  they  never  train  Gar- 
bo's voice.  I  am  hoping  that  she  may  say 
"ahn't"  for  "aint"  and  "Mott"  for  "Matt" 
until  the  end  of  time.  Gladys  E.  McWhorter 


$5.00  LETTER 

Tut  A  Stop  To  Films  That 

Defame  America 

Melbourne,  Australia 
Now  that  the  novelty  of  "talkies" 
Ivas  worn  off,  the  Australian  picture 


You  may  have  S.A.,  but  do  you  have  S.E.?  Motion  Picture 
CLASSIC  wants  to  know.  We  want  you  to  join  our  free 
clinic.  If  the  tests  show  that  you  have  a  superior  kind  of 
S.E.,  you  stand  in  line  for  one  of  three  first  prizes;  $20  for 
first,  $10  for  second,  $5  for  third  and  $1  for  every  other  letter 
published. 

To  join  the  clinic  all  you  have  to  do  is  to  write  a  letter  of. 
say,  200  to  250  words,  about  some  phase  of  the  movies,  ad- 
vancing an  idea,  an  appreciation,  or  a  criticism,  without 
becoming  ga-ga  or  vituperative.  Sign  your  full  name  and 
address,  and  mail  the  letter  to;  Laurence  Reid,  Bditor.Motion 
Picture  CLASSIC,  Paramount  Building,  1501  Broadway, 
New  York  City.  No  letters  can  be  returned,  and  we  reserve 
the  right  to  print  any  or  all  that  we  like. 

Having  done  this  much,  you  will  perhaps  be  conscious, 
without  our  telling  you,  that  you  have  S.E.  But  iT  you  win  a 
prize,  or  your  letter  is  printed,  there  can  be  no  doubt  about 
it;  you  have  Self-Expression. 


The  Dancing  Chorus 

Shamefully  Neglected 

Hollywood,  Cal. 
The  star  gets  a  hand,  the  song  bird  who 
once  helped  light  Broadway's  night  life  gets 
a  hand,  the  toiling  director  gets  a  hand,  and 
the  scenario  writer  gets  a  hand.  But  what 
about  the  dozens  of  little  PoUyannas  with- 
out whom  "Broadway  Melody,"  "Road- 
show," "Sally,"  and  the  other  pitter  patter- 
ing reels  of  celluloid  would  never,  could 
never  bring  $2.00  worth  of  satisfaction  for 
fifty  cents. 

Row  after  row  of  tap  dancers,  fringe 
garbed,  always  smiling,. always  peppy,  each 
one  cuter  than  her  girl  friend.  Who  could 
imagine  that  these  kids  work  harder  than 
anyone  in  the  cast?  Hour  after  hour  bobbing 
up  and  down,  stretching,  fighting  soft  sag- 
ging muscles  and  the  faintness  that  dancing 
all  day  and  all  night  brings,  yet  here  they 
are  in  the  morning,  bright  as  their  lipstick. 
All  ready  for  a  day  of  working  "to  eat,"  or 
perhaps  for  that  opportunity. 

I've  been  one,  and  I  know.  Each  "danc- 
ing pony"  is  fighting  a  fight  of  her  own,  and 
beneath  gold  net  each  one  has  a  heart 
full  of  klieg  lights,  grinding  cameras, 
and  the  dream  that  never  comes  true. 

Helen  Marie  Jelliffe 


What's  Happened  to  the 

Scenics? 

Hancock,  Mich. 
While  I  am  a  firm  admirer  of  the 
spoken  motion  picture  I  must  confess 
that  it  has  dealt  the  final  card  to  our 
"scenics."  To  me,  there  was  nothing 
more  wonderful  than  to  sit  in  the 
neighborhood  theater  during  the 
{ConlinuS^  on  page  105) 


8 


RICHARD 


BARTH  ELM  ESS 


GREATEST   AIR    EPIC  EVER! 

Five  thousand  feet  up!  ...  Forty  whirring, 
purring  propellers  singing  a  song  of  death. 
Forty  roaring,  streak-fast  war-eagles  making 
a  shambles  of  the  sky.  Forty  youngsters 
sporting  with  fate  —  for  they  must  live 
greatly,  or  not  at  all !  .  .  . 

Forty  famous  stunt  flyers  helped  Dick 
Barthelmess  crowd  "The  Dawn  Patrol"  with 
more  thrills  than  youM  get  in  a  dozen  actual 
flights.  And  the  author  of  "Wings"  has 
packed  the  story  with  heart-throbs  such  as 
only  heroes  know!  "Take  off""  to  "The  Dawn 
Patrol"  the  minute  it  comes  to  town. 


and  1  oilier  eturs.  Dirrrtcd 
by  llowanl  iluwkn.  Krom 
the  story  "The  Flight  Corn- 
man  tlrr**  by  John  Monk 
Saunilrm.  Adaplalion  and 
dialogue  by  iTowarfl  llawkt*, 
Dan  Tolhrroh,  and  Selon 
Millrr.  "Vilaphonc"  is  the 
rr-giftlcrrd  trade-mark  of 
The  Viiaphone  Corporation. 


A  FIRST  NATIONAL     VITA  PHONE  PICTURE 


Explosives,  High  And  Low 

H 


By  CEDRIC  BELFRAGE 


'ERE  is  an  etiquette  problem  taken  direct  from 
our  feathered  friends  of  movieland. 

What  should  A  do  if,  some  weeks  after  di- 
vorcing his  wife,  B,  he  should  receive  from  her 
a  wire  as  follows: 

"  HAVE  WONDERFUL  OPPORTUNITY  TO  BUY 
ROLLS-ROYCE  STOP  PLEASE  WIRE  THOU- 
SAND POUNDS"?  A  modest  sum  for  a  modest  car! 
This  is  just  what  happened  re- 
cently: A,  being  Alexander  Korda, 
the  director,  and  B  being  the  flam- 
ingly  temperamental  Maria,  his  ex- 
wife,  who  is  sojourning  in  England. 

The  Words  He  Found 

ALEXANDER,  a  mild  soul,  had 
J^\_  not  heard  from  Maria  for 
quite  a  time  since  she  divorced  him 
on  grounds  of  extreme  cruelty.  He 
was,  as  you  can  imagine,  temporarily 
nonplussed  by  this  odd  telegram. 

Finally,  he  pulled  himself  together 
and  sent  the  following  reply:  we  hope  it  was  collect. 
"YOU  ARE  EVIDENTLY  MAD  BUT  IT'S  NOT 
MY  BUSINESS." 

An  early  Edwardian  whatnot  is  offered  as  a  prize  to 
any  reader  thinking  up  a  better  answer  than  Alexander's. 

Clara  Confesses  All 

I SPENT  an  evening  at  Clara  Bow's  not  long  ago  and 
Clara  poured  out  her  soul  to  me  about  the  Harry 
Richman  business.  I  like  Clara  more  every  time  I  meet 
her.  She  is  the  only  genuinely  modest  movie  star  in  skirts, 
excepting  Garbo.  She  has  no  illusions  about  herself. 

She  told  me  the  whole  story  of  Vaffaire  Richman,  and 
took  all  the  blame  for  the  bust-up.  It  was  an  unfortunate 
episode,  to  say  the  least.  To  start  with,  Clara  was  accused 
of  vulgarity  because  she  frankly  answered  all  the  re- 
porters' ques- 
tions. Then 
they  said  she 
was  high-hat 
when  she  re- 
fused inter- 
views. It  was 
acaseof  heads- 
you-win,  tails- 
I-lose  as  far  as 
Clara  was 
concerned. 
Nothing  she 
could  have 

done  would  have  been  right  in  the  eyes  of  reporters  and 
public. 

She  Isn't  the  Type 

THE  plain  fact  is,  of  course,  that  Clara  simply  isn 't  the 
type  of  person  who  was  intended  to  run  a  thirty-five- 
hundred-doliar-a-week  life.  She  is  almost  entirely  lacking 
in  the  subtle  social  arts,  in  prudence  and  in  general 

10 


savoir-faire.  She  obeys  her  impulses,  which  are  one  hun- 
dred per  cent,  good-hearted  impulses,  whatever  else  they 
may  be.  Certainly  she  would  never  do  anything  to  hurt 
anybody,  if  she  could  help  it;  and  the  result  is  that  she 
spends  most  of  her  time  hurting  herself. 

The  Richman  business  has  hurt  her  prestige  with  the 
public  plenty.  But  I  think  it  has  left  Clara  an  ever  so 
slightly  sadder  and  wiser  girl.  In  appearance  she  has 
improved  several  hundred  per  cent, 
following  her  mysterious  sojourn 
in  the  hospital,  where  she  left 
twelve  pounds  of  herself  behind. 
Her  new  close  haircut  makes  her 
look  more  youthful,  and  her  figure 
is  ne  plus  ultra. 

I  don't  care  if  Clara  gets  herself 
photographed  with  Madame  Glyn; 
I  shall  still  think  she  is  quite 
the  grandest  person  in  Hollywood 
without  exception. 

They  Who  Seek  Peace 

CLARA,  Greta  Garbo  and  Ronald  Colman  are  three  of 
a  kind.  Their  one  desire  above  all  othets  is  to  be  let 
alone — to  be  treated  as  ordinary  human  beings  and  not  as 
if  they  were  monkeys  on  view  at  the  Zoo.  And  because 
scores  of  their  fellow-stars,  who  really  love  to  be  constantly 
in  the  limelight,  spend  their  time  groaning  about  it  with 
obvious  insincerity,  nobody  will  believe  that  the  plaints 
of  Clara,  Greta  and  Ronald  are  on  the  level. 

Ronald,  I  note,  has  slipped  back  from  England  without 
telling  a  soul,  in  an  effort  to  get  a  peaceful  vacation. 
But  they  ran  him  to  earth  on  the  boat  and  there  were  at 
least  fifteen  thousand  women  armed  with  umbrellas,  wait- 
ing on  the  dock  to  seize  a  piece  of  him  as  a  souvenir.  He 
had  to  lie  low  in  his  stateroom  for  hours  before  it  was  safe 
to  land.  Whom  did  I  hear  saying  they  envied  the  life 
of  a  movie  star.?  Put  your  hand  up.  Don't  be  bashful. 

It  seems  as 
if  everybody's 
hand  is  up.  I 
don't  know 
what  you  're 
all  thinking 
about,  unless 
perhaps  it's 
the  idea  of 
getting  four 
thousand 
dollars  a 
week.  Funny 
how  we  get  to 

thinking  that  dollars  will  heal  up  the  worst  wounds.  But 
money,  as  the  girl  said  to  the  soldier,  isn't  everything. 

One  Way  to  Get  Along 

ARTHUR  CAESAR'S  salary  goes  steadily  up  and  up 
as  he  makes  ruder  and  ruder  remarks  about  the  film 
producers  who  employ  him.  It  must  be  a  gift. 

{Continued  on  page  86) 


Blonde,  Brunette,  Redhead, 

Ij^l  orBrownette! 


Do  Ton  Know 

Your  Color 
Harmony 


tn 


Make-Up 

as  all  Hollywood  Screen  Stars  Do? 


Jcanette  Lojf 


Universal  Sla 


-Blonde 


Sally  O'Neill 
R-K-0  Star 
Brunette 


Myrna  L/>y 
iVamer  Bros.  Star 
Redhead 


Permit  Filmland's  Make-Up  Genius, 
Max  Factory  to  Reveal  to  You  Holly- 
'wooets  Make-  Up  Secret  .  .  .  the  One 
Way  to  Double  Your  Beauty  and 
Vividly  Emphasize   Your  Personality. 

IN  HOLLYWOOD,  to  please  the  screen  stars, 
a  new  kind  of  make-up  has  been  perfected 
for  day  and  evening  use.  A  new  magic  to  em- 
phasize beauty,  allure  and  personality. 
And  now  it  is  offered  to  you. 
A  Society  make-up... powder,  rouge,  lipstick 
and  other  essentials,  created  in  varied  color  har- 
monies to  blend  perfectly  with  every  variation  of 
complexion  coloring. 

Now,  like  the  screen  stars,  you  may  emphasize 
your  own  personality  and  individuality  by  having 
your  own  color  harmony  in  make-up  .  .  .  and  Ma,\ 
Factor,  Hollywood's  King  of  Make-Up,  will 
analyze  your  comple.xion  and  chart  your  make-up 
color  harmony  .  .  .  free. 

^n  Amazing  Discovery 
In  his  Studio  work,  under  the  blazing  "Klcig" 
^^^^^    lights.  Max  Factor  discovered 
^^^^^^^^  the  secret  of  perfect  make-up. 
^^^Kf^^^^    Cosmetics  must  be  in  perfect 
^^Kg  color  harmony,  otherwise 


odd,  grotesque  effects  result  .  .  . 
and  beauty  is  marred.  So  today, 
in  all  the  motion  picture  produc- 
tions, faultless  beauty  is  insured  by 
Max  Factor's  Make-Up. 

Based  on  this  same  principle 
of  cosmetic  color  harmony.  Max 
Factor  produced  Society  Make-Up 
for  day  and  evening  wear.  Powders, 
rouges,  lipsticks  and  other  essent- 
ials in  correct  color  harmonics  for 
every  variation  of  type  in  blonde, 
brunette,  redhead  and  brownette. 
Society  Make-Up  created  a  sensation  in  Holly 
wood.  Almost  instantaneously  leading  stars  and 
thousands  of  other  beautiful  women  adopted  it. 

Learn  Hollywood s  Make-  Up  Secret 
Now  you  may  learn  what  Hollywood  knows 
about  make-up.  Ma.x  Factor  will  reveal  to  you 
this  new  secret  of  beauty.  He  will  analyze  your 
complexion  and  suggest  the  one  color  harmony 
in  make-up  that  will  magically  emphasize  your 
beauty,  charm  and  personality.  To  gain  the  greatest 
beauty,  you  must  individualize  your  make-up. 
Even  similar  types  ...  for  example,  Dorothy 
Mackaill  and  Phyllis  Haver,  both  blondes,  re- 
quire slight  changes  in  make-up  color  harmony. 

What  a  wonderful  opportunity!  .  .  .  to  secure 
personally  from  Filmland's  genius  of  make-up, 
a  beauty  secret  prized  by  stars  of  the  screen.  Now 
it  is  yours.  Free  .  .  .  and  you  will  also  receive  a 
complimentary  copy  of  Max  Factor's  book,  "The 
New  Art  of  Society 

Joan  Bennett,  United  Artists  star, 
and  Max  Factor,  H ollywood's  Make- 
Up  King  approving  the  correct  color 
harmony  tone  in  Max  Factor's  lipstick. 


Make-Up".  Fill  m 
coupon,  mail  today. 


Sue  Carol 
Fox  Film  Star 
Brownette 

Not  Every  Blonde  . . . 

should  use  the  same  color  har- 
mony in  make-up. 

JVot  Every  Brunette  . . . 

should  use  the  same  colors  in 
rouge,  powder  and  lipstick. 

IVot  Every  Redhead . .  . 

should  risk  beauty  to  haphazard 
selection  of  colors  in  cosmetics. 

Not  Every  Brownette  . . . 

should  dare  to  use  the  rouge  and 
powder  of  her  blonde  sister. 


F   MAIL  FOR  YOUR  COMPLEXION  ANALYSIS  1 

Mr.  Max  Faaor — Max  Faaor  Studios,  Hollywood,  Calif.  2-7-24 
j  Dear  Sir:  Send  me  a  complimenury  copy  of  your  48-page  book,  "TV  New  Art 
I  of  Society  Make-Up",  personal  complexion  analysts  and  make-up  color  harmony 
t  chan 


I  enclose  10  cencs  to  cover  cost 
I  of  postage  and  handling. 


Max  FACTOR'S  Society  MAKE-1 

""Cosmetics  of  the  Stars"*. . .  HOLLYWOOD 


COMPLEXION 

COLOa  EYES 

UPS 

Moui 

Fur 

COLO*  LASHES 

Or, 

SKIN 

COLOR  HAIR 

Oh 

D-r 

S.JI0W 

ACE  1 

Okt 

'96%  of  all  make-up  used  by  Hollywood  Screen  Stars  and  Studios  is  Max  Factor's.  ^Los  Angeles  Chamber  af  Commerce  Statistics\ 


11 


My  Neighbors 
in  Wo^^^" '''''' K.C.B. 


THERE  ARE  those  who  like  it. 
AND  THOSE  who* don't. 
AND  ONE  who  doesn't. 
IS  RONALD  Colman. 

AND  WHAT  I  mein* 

•  •  • 

IS  HE  doesn't  like  crowds. 
HE  LIKES  Bill  Powell. 
AND  ERNEST  Torrance. 
AND  DAVID  Torr'ance. 

•  •  • 

AND  ONE  or  two  others. 
AND  A  while  ago. 
WHEN  HE  disappeared. 
NOBODY  KNEW.'  ' 
WHERE  HE  had  gone. 
OR  WHEN  he  had*  gone. 
OR  ANYTHING.  *  * 
EXCEPTING  BILL.  * 

AND  ERNEST  and  Dave. 

•  •  • 

AND  ONE  or  two  others. 

AND  WHEN  one  works. 

IN  SUCCEEDING'pictures. 

AS  REGULARLY*  * 

AS  RONNIE  does  *  * 

IT'S  A  matter  of  moment. 

WHEN  ONE  disap*p^ars. 

WITHOUT  A  band.  ' 

AND  A  crowd  of  workers. 

FROM  THE  studio.  * 

TO  SAY  good-bye.*  * 

AT  THE  Santa  Fe.'  ' 

AND  ANYWAY. 

RONNIE  DISAPPEARED. 

AND  A  little  while  later. 

ERNEST  TORRANCE. 

GOT  UP  and  left.  *  " 

AND  THEN  Bill  Powell. 

HE  PACKED  his  ba^s. 

AND  A  little  later' 

THERE  CAME  a  day. 

AND  SOMEWHERE  in  London. 


AND  BACK  at  home. 
THE  TWO  of  them.  * 
WHO  ARE  Englishr^en. 
ANT)  ONE  of  them. " 
OF  THE  Torrance  clan. 
WHO  IS  Scot. 
SAT  DOWN  and  planned. 
AND  WENT  away'  * 
TO  THE  Continent. 
AND  AT  this  writing. 
THEY  ARE  still'  there. 
TRAMPING  ABOUT. 
FROM  PLACE  to  *plkce. 
AND  WHY  it  is! 
IT  INTERESTS  me*  * 
IS  THAT  it's  a  dream. 
THAT  HAS  come  true. 

•  •  • 

AND  THAT  couldn't  have  been. 
EXCEPT  THAT'it*came. 
FROM  HOLLYWOOD. 

FOR  HERE  It  w'as*  " 

•  •  • 

THAT  THE  dream  was  dreamed. 

BACK  IN  the  days*  ' 

OF  LEANER  picking. 

FOR  THE  three  of*them. 

DAYS  OF  waiting* 

AND  WONDERING. 

AND  A  stretch  of  work. 

AND  A  longer  stretch. 

OF  IDLENESS. 

BUT  EVEN  then. 

THEY  WERE  good  days. 

FOR  IT  isn't  far! 

FROM  HOLLYWOOD. 

TO  MOUNTAIN  trails. 

AND  MOUNTAIN  camps. 

AND  RONNIE  and  Bill. 

OR  RONNIE  and  Ernest. 

OR  THE  three  of  t*hem. 

WOULD  DISAPPE'aR. 


AND  NO  one  would  know. 

WHERE  THEY  ha*d  gone. 

BUT  UP  in  the  hills." 

THREE  UNSHaXtN  men. 

WOULD  BE  hiking  about. 

FROM  PLACE  to  *place. 

SLEEPING  HERE*  ' 

AND  SLEEPING  there. 

CONTENT  AND  happy. 

IN  COMPANIONSHIP. 

WITH  KINDRED  *soiils. 

AND  THE  great  outdoors. 

AND  THERE  itVasi 

WHEN  NIGHT 'would  come. 

THEY'D  SIT  and  tal'k. 

OF  WHAT  they''d*do. 

IF  THEY  had  a  in'lh'on. 

TO  DO  it  with. " 

AND  MAYBE  it*  is.  ' 

THAT  NONE  of  the'm. 

HAS  THE  million  yet. 

BUT  NEVERTHELESS. 

THEY  HA\'E  enough. 

•  •  • 

AND  THE  dream  they  had. 
HAS  COME  to  pass. 
AND  I'M  wondering. 
IF  WHEN  It  happens. 
THEY  COME  back  a'gain. 
TO  HOLLYWOOD. ' 
AND  TO  their  work*. 
IF  PERHAPS  some*tiine. 
THEY  WON'T  s'it*down. 
AND  MAKE  admission. 
EACH  TO  the  other.' 
THAT  THERE  was  something. 
IN  THOSE  other  d*ays. 
THAT  THEY  have  lost. 
IN  THEIR  affluence.' 
I  THANK  you. 


12 


LOOK  FOR 
THIS  WRAPPER 

This  Frederics  Vita  Tonic 
Compound  holds  the  secret 
of  the  gorgeous  Vita 
Tonic  permanent  wave 
— the  %vave  that  is  enthu- 
siastically praised  by 
Hollywood's  Lovely 
Screen  Stars, 


CATtltPIKE 

DALt  OWEN 


No  matter  where  you  may  have  seen  this  enchanting  blue-eyed 
screen  star,  you  cannot  forget  her  soft,  natural  Vita  Tonic  Waves 
.  .  .  their  breath-taking  beauty  .  .  their  youthful  radiance!  "Insist  on 
a  Genuine  Frederics  Vita  Tonic  Wave/'  says  beautiful  Catherine  Dale 
Owen,  "it  is  the  modern   way  of  placing  appealing   charm  and 
loveliness  into  the  hair."    To  be  sure,  however,  that  you  are  getting  a 
Genuine  Frederics  Vita  Tonic,  ask  to  see  the  name  "Frederics  Vita  Tonic" 
on  each  wrapper  used  on  every  wound  tress  of  hair.    Let  us  send  you  our 
interesting  booklet,  which  tells  how  to  take  care  of  your  wave,  together  with 
one  of  Frederics  Vita  Tonic  wrappers.   Take  this  wrapper  to  your  hairdresser 
when  going  for  a  permanent,  see  that  she  uses  no  harmful  imitations  on  your  hair. 

FREDERICS 
V  i  1  A  -  ""f  ®      ■  ^  ^  A  V  E  * 

DEPT.  343      -   235-247   EAST  45th   STREET   -   NEW   YORK,    N.  V. 


13 


ILA^ST  MINUTE 


THE  doves  of  peace  and  contentment  have  perched  happily,  if  not 
permanently,  upon  the  roof  tops  of  several  Hollywood  homes  late- 
ly. Honeymoons  have  been  very  much  the  fashion.  Alice  Day — 
sister  of  Marceline — set  off  for  a  few  blissful  weeks  with  her  new 
husband,  Jack  Cohn.  .  .  .  Zelma  O'Neal  and  Anthony  Bushell 
finished  a  honeymoon  abroad  that  should  have  been  started  two 
years  ago  when  they  were  first  married.  However,  now  that  that's 
been  attended  to,  they  are  both  back  in  the  Hollywood  swing  con- 
tinuing their  respective  careers  .  .  .  Evelyn  Brent  managed  a  few 
happy  hours  with  her  husband.  He  arrived  from  London  and  she 
hastened  into  traveling  togs  for  Alaska  with  the  "The  Silver  Horde " 
company.  .  .  .  And  they  do  say  that  wedding  bells  are  getting  ready 
to  chime  for  Claire  Windsor  and  Philip  Plant.  They  are  noticed 
together  most  of  the  time  out  on  Long  Island  .  .  .  And  now,  what  of 
Constance  Bennett  and  her 
divorce?  Will  she  find  someone 
else,  as  it's  rumored,  to  fill  the 
place  once  held  by  one  M.  Plant? 

JUST  to  sort  of  even  up  the 
Hollywood  score,  divorces  con- 
tinue to  roll  up  big  pluralities. 
Billie  Dove  is  the  latest  to  receive 
a  full-fledged  decree  from  Irvin 
Willat  .  .  .  Lina  Basquette  and 
Peverell  Marley  no  longer  give 
Sunday  night  suppers  in  the  same 
household  and  their  separation 
may  be  final,  even  though  it  is 
still  friendly  .  .  .  Clara  and 
Charles  Ray,  too,  appear  to  have 
reached  the  parting  of  the  ways 
and  seem  to  be  enjoying  single 
blessedness  again.  .  .  .  Ona  Mun- 
son  and  Eddie  Buzzell  are 
another  couple  who  are  trying  out 
the  "absence  makes  the  heart 
grow  fonder"  cure  before  defi- 
nitely dissolving  partnership. 

THE  ocean  liners  are  getting 
their  full  quota  from  Holly- 
wood. East  and  west  bound  steam- 
ers are  docking  with  decks  fairly  full 
of  picture  celebrities  .  .  .  Conway 
Tearle  sailed  for  England — visit- 
ing home  as  well  as  attempting  to 
persuade  brother  Godfrey  to  try 
American  shores  for  luck  and 
parts  in  talkies  .  .  .  Ronald  Col- 
man  blew  into  town  from  a  long 
trip  in  Londontown.  There  he 
sort  of  visited  around  with  Evelyn 
Laye,  who,  by  the  way,  is  mighty 
popular  in  Hollywood  where  she  is 
making  her  talkie  debut  .  .  .  Emil 
Jannings  is  another  who  will 
come  over  across  the  seas  with  an 
improved  English  accent. 


p.  &-A. 

Lohengrin  was  their  theme-song:  Hoot  Gibson  and  Sally 
Eilers,  just  after  Ziegfeld's  choice  as  Hollywood's  prettiest 
girl  became,  in  private  life,  the  Gibson  girl 


YOUTH,  so  long  able  to  demand  everything  for  itself  out  where 
pictures  were  pictures,  is  sort  of  taking  second  place  to  Expe- 
rience. George  Arliss,  for  instance,  well  past  sixty,  is  one  of  the 
outstanding  figures  on  the  gold  coast  in  talking  pictures  .  .  .  Marie 
Dressier,  too,  has  blossomed  like  a  June  rose  and  is  forever  stealing 
pictures  from  beautiful  blondes  .  .  .  Cyril  Maude,  cheered  on  by  his 
contemporaries,  will  try  his  luck  with  "Grumpy  "...  Otis  Skinner, 
in  the  grandfather  period  of  life,  is  stepping  briskly  as  a  boy,  pre- 
paring for  "  Kismet  "...  Beryl  Mercer  is  trying  her  luck  at  screen 
laurels  .  .  .  George  M.  Cohan  is  lending  a  willing  ear  to  screen-siren 
salaries  .  .  .  And,  they  do  say,  that  if  the  price  comes  right,  Harry 
Lauder  himself  will  try  a  little  Scotch  yarn  for  benefit  of  the  millions 
who  turn  into  talkie  theaters. 

ION  CHANEY'S  visit  to  New  York  has  been  for  medical  treat- 
j  ment  as  well  as  diversion  from  picture  making.  He  has  been 
seriously  ill  with  throat  trouble  and  received  treatment  twice  daily 
.  .  .  Little  Lila  Lee  is  another  screen  player  who  has  been  forced  to 
abandon  screen  roles  temporarily  and  has  left  Hollywood  for  a  six 


months'  rest .  .  .  Lila  Lee's  misfortune,  however,  is  Glenda  Farrell'  1 
gain.  She  will  be  substituted  in  the  feminine  leading  role  of  "Littl  | 
Caesar  "  with  Douglas  Fairbanks,  Jr.  .  .  .  Young  Doug,  by  the  by 
is  stepping  right  along  up  the  ladder  with  bigger  and  better  part  , 
in  every  picture  .  .  .  And  the  same  thing  can  be  said  for  Mrs.  Doug 
This  thing  called  love  seems  to  be  working  wonders  for  Joan  Craw 
ford  .  .  .  Sue  Carol  has  reason  to  dance  merrily  'o  nights  with  he 
fairly  new  husband,  Nick  Stuart.  For  haven't  Amos  'n'  Andii 
taken  her  inside  the  magic  circle  for  their  leading  lady  in  "Checl 
and  Double  Check  "  ? 

ANOTHER  glorified  girl,  Claire  Luce,  is  in  Hollywood  with! 
a  nice  fat  Fox  contract  tucked  away  for  a  rainy  day.  She  willl 
make  her  screen  debut  in  "Up  the  River"  .  .  .  And  it's  "happy 

days  are  here  again  "  for  Margue- ' 
rite  De  La  Motte,  who  will  try  her 
luck  in  her  first  talking  picture, 
"Shadow  Ranch,"  in  which  Buck 
Jones  is  the  hero.  .  .A  trip  south, 
back  to  the  cotton  fields,  will  give 
Bebe  Daniels  a  chance  to  show 
what  Southern  belles  are  wearing  in 
her  latest  picture,  called  "  Dixian- 
na."  Yes,  that  good  old  Dixie  tune 
has  been  corralled  by  the  mo\-ies 
.  .  .  Lois  Moran  is  stepping 
right  along.  Now  she  is  getting 
ready  to  show  her  talents  in  "The 
Play  Called  Life." 

BARBARA  BENNETT  and 
Morton  Downey  are  on 
their  way  to  London.  Morton 
will  sing  and  Barbara  will  dance 
there  at  the  Kit  Kat  Club — and 
that  takes  care  of  the  summertime. 
They  plan  to  return  to  Hollywood 
in  September  .  .  .  Constance 
Bennett,  on  the  other  hand,  has 
given  up  all  ideas  of  going  abroad 
and  will  start  to  work  on  "In 
Deep"  instead  .  .  .  Lupe  Velez 
has  again  caused  a  raising  of  eye- 
brows with  her  expenditures.  She 
can't  help  spending  generously. 
But  then,  didn't  she  just  sign  a 
contract  at  §20,000  per  picture? 
.  .  .  George  Abbott  has  chosen 
New  York  as  his  vacation  town. 
.  .  .  Hope  Hampton  has  again 
registered  "success"  in  her  oper- 
atic career.  Her  Belgium  debut 
was  called  triumphant  .  .  .  Clara 
Bow  hopped  into  town  and 
ducked  the  highly  curious  by  go- 
ing places  with  the  Richman  man 
.  .  .  Sally  Blane,  who  looks  so 
much  like  sister  Loretta  Young 
that  it's  hard  to  tell  'em  apart,  is 
all  ready  for  the  leading  r6Ie  in  "The  Leather  Pushers."  .  .  . 
That  film,  just  to  mention  novelties,  will  introduce  to  the  screen 
Richard  Barker  for  its  star.  He  was  formerly  a  film  salesman. 

BATHING  costumes  are  more  or  less  the  topic  of  conversation 
wherever  film  luminaries  gather.  Dorothy  Mackaill  is  appear- 
ing most  often  in  linen  bathing  suits  .  .  .  Irene  Rich  prefers  jersey, 
Zelma  O'Neal  likes  pongee— and  there  you  are.  Bebe  Daniels 
doesn't  much  care  what  she  wears  as  long  as  she  can  get  some  use  of 
the  baker's  dozen  she  bought  .  .  .  Malibu  Beach  is  the  place  for 
week-ends  nowadays.  Marilyn  Miller  motors  down  frequently  .  .  . 
Constance  Talmadge  and  her  rather  recent  husband  are  also 
among  those  present  at  parties  ...  As  for  Corinne  Griffith,  she  is 
spending  all  her  time  there  before  the  European  trip  is  started. 

ESTELLE  TAYLOR  has  landed  the  biggest  part  of  her 
career  as  the  glorified  feminist  of  Edna  Ferbier's  saga  of  Okla- 
homa, "Cimarron" — opposite  Richard  Dix  as  the  colorful  Yancey 
Cravat  .  .  .  Husband  Jack  Dempsey  is  putting  on  the  gloves  again, 
to  bring  back,  perhaps,  that  title  that  went  to  Max  Schmeling. 


14 


Vivacious,  beautiful — 
Alice  White  knows,  as  a 
charming  film  star,  the 
vondrous  beauty  of 
Sllowing  Princess  Pat 
Rouge. 


Into  your  cheeks  there  comes 
a  new  mysterious  GLOW 


Into  cheeks  touched  with  almost  magical 
Princess  Pat  rouge,  there  comes  mysteri- 
ous new  beauty — color  that  is  vibrant, 
intense,  glorious,  yet  suffused  with  a 
soft,  mystical  underglow  that  makes  bril- 
liancy natural! 

No  woman  ever  used  Princess  Pat  rouge 
for  the  first  time  without  being  amazed. 
Accustomed  to  ordinary  rouges  of  one 
flat,  shallow  tone,  the  youthful,  glow- 
ing naturalness  of  Princess  Pat  gives 
beauty  that  actually  bewilders,  that 
thrills  beyond  words  to  describe. 

The  Life  Principle  of  All  Color  Is  Glow 

The  mysterious  fire  of  rubies,  the  opales- 
cence of  opals,  the  fascinating  loveliness 
of  pearls  depend  upon  glow.  Flowers 
possess  velvety  depths  of  color  glow.  In 
a  naturally  beautiful  complexion  there  is 
the  most  subtle,  beautiful  glow  of  all, 
the  luminous  color  showing  through  the 
skin  from  beneath. 

Now  then!  All  ordinary  rouge  blots  out 
glow.  On  the  contrary  Princess  Pat 
rouge  imparts  glow — even  to  palest  com- 
plexions. The  wonderful  color  you 
achieve  seems  actually  to  come  from 
vnthin  the  skin.  It  is  sparkling,  as  youth 
is  sparkling.  It  is  suffused,  modulated. 
It  blends  as  a  natural  blush  blends,  with- 


out definition,  merging  with  skin  tones 
so  subtly  that  only  beauty  is  seen — 
"painty"  effects  never. 

Only  The  "Duo-Tone"  Secret 

Can  Give  This  Magic  of  Lifelike  Color 

No  other  rouge  can  possibly  beautify 
like  Princess  Pat  "duo-tone."  Why? 
Because  no  other  rouge  in  all  the  world 
is  composed  of  two  distinct  toyies,  per- 
fectly blended  into  one  by  a  very  secret 
process.  Thus  each  shade  of  Princess 
Pat  rouge  possesses  a  mystical  under- 
glow to  harmonize  with  the  skin,  and  an 
orertone  to  give  forth  vibrant  color. 
Moreover  Princess  Pat  rouge  changes  on 
the  skin,  adjusting  its  intensity  to  your 
individual  need. 

Every  Princess  Pat  Shade 

Matches  Any  Skin 

Whether  you  are  blonde  or  brunette,  or 
any  type  in  between,  any  shade  bf  Prin- 
cess Pat  you  select  will  harmonize  with 
your  skin.  The  duo-tone  secret  gives 
this  unheard  of  adaptability.  And 
what  a  marvelous  advantage;  for  vari- 
ations of  your  coloring  are  unlimited. 
There  are  shades  of  Princess  Pat  for 
sparkle  and  intensity  when  mood,  gown 
or  occasion  dictate  brilliance;  shades  for 
rich  healthful  tints;  shades  that  make 


P 


r  I  n  cess 


Pat 


CHICAGO,  U.  8.  A.  (l.N  CANADA,  93  CHURCH  BT.,  TOBONTO) 


Pnnee»  Pat  Lip  Roui/e  a  new  sensation  —  nothin( 
Icn.  For  it  does  what  no  ether  lip  ruufre  has  ever 
done.   Pnnceaa  Put  Lip  Rouge  colors  that  loaido 


cheeks  demure;  a  shade  for  wondrous 
tan;  an  exotic,  glowing  shade  for  night — 
under  artificial  lights.  So  thrillingly 
beautiful  is  this  fashionable  use  of  just 
the  right  shade  for  the  occasion,  that  you 
will  undoubtedly  want  to  possess  at 
least  a  shade  for  day — and  wonderful 
NITE  for  evening  use.  The  cost?  No 
more — because  each  shade  lasts  its  ac- 
customed time. 

Be  Beautiful  Today  as  You 

Never  Were  Before 

Princess  Pat's  thrilling  new  beauty  is 
too  precious  to  defer.  And  words  can- 
not adequately  picture  the  effect  upon 
your  cheeks.  Only  when  you  try  Prin- 
cess Pat  duo-tone  rouge  will  you  realize 
its  wonders.  Today,  then,  secure  Prin- 
cess Pat  and  discover  how  gloriously 
beautiful  you  can  be.   


moist  surface  of  lips  as  well  as  outside.  You'll  lovo 
Ihi-t  new  beauty  Keeps  lips  soft  and  free  of  chap  and 
dryness.  I'ermanent.   Dainty  enameled  metal  box. 


Tba  vnry  DopuUr  Pni>c«aa  Pat  Week  End  Set  it  ofiared 
for  alinuUNl  time  for  THIS  coopoN  and  2So  (ootn).  Only 
ooe  to  a  customer.  Set  contAins  eaaily  a  month'a  supply 
of  almood  tiase  powderand  FIVEotber delightful  PrinceM 
Pat  preparationa.  Packed  in  a  beautihiUy  decorated 
boudoir  box.  Please  act  promptly. 


SPECIAL 


Ptii>c<«Pat.2709a  WeU9St.,Chica<o.     Dept.  A-I0I9 
Encloeed  Bad  26a  for  which  Mad  bm  tba  Prinoaas  Pat 
Week  Bind  Sat, 


I  (print). 


Stnet. 
City  and  Stato 


Facts  and 

Figures 


Intimate  Items 
About  Pictures, 
Past,  Present 
And  Future 


By   CAMPBELL  MacCULLOCH 


AS  a  nation,  we'll  swallow  any  quantity  or  description 
of  exaggeration  or  sensationalism,  if  the  figures  about 
it  are  big  enough.  There's  "Hell's  Angels,"  for  example. 
The  publicity  has  it  that  it  cost  $3,750,000,  assertedly  the 
highest  picture  cost  ever,  and  that  it  bridged  across  three 
successive  calendar  years.  But  it  isn't  the  most  expensive 
picture,  nor  is  it  the  only  one  that  spanned  three  years. 
"Ben  Hur"  cost  $4,500,000  and  was  in  production  in 
1924,  1925,  and  1926. 


FOUR  years  ago,  the  Western  Electric  Com- 
pany tried  to  sell  their  talking  picture 
mechanism  to  several  large  picture  concerns, 
who  merely  sniffed.  The  then-unenvied  War- 
ners did  not  sniff,  but  they  were  not  too  eager. 
So  they  came  out  of  the  business  conference 
with  a  contract  that  obligated  them  to  use  the 
talkie  apparatus.  In  consideration  for  their 
efforts,  they  would  participate  in  the  royalties 
other  producers  might  pay,  to  the  tune  of  15 
per  cent.  Then  the  deluge,  and  after  two 
years  the  contract  was  readjusted  to  an  8  per 
cent,  participation.  And  the  royalty,  by  the 
way,  is  $500  a  reel  for  every  picture  filmed  on 
Western  Electric  apparatus. 


MENTIONING  "Hell's  Angels"  just  above  reminds 
me  that  Howard  Hughes,  its  producer,  did  spend 
dollars  stoically.  At  Oakland  Airport,  about  eighteen 
months  ago,  I  saw  a  fleet  of  forty  planes  and  fifty  pilots. 
"That's  Hughes's  air  fleet  for  his  picture,"  an  official  told 
me.  "This  is  his  fourth  week  here,  and  he  has  been  able 
to  get  into  the  air  just  three  days.  For  the  other  twenty- 
five  he  has  stood  around  in  the  rain  and  watched  $10,000  a 
day  go  in  overhead.  But  he  hasn't  whined." 


YEARS  ago  (in  1908)  somebody  told  Mayor 
McClellan  of  New  York  that  the  movies 
were  inciting  children  to  crime.  So  McClellan 
up  and  closed  down  all  the  picture  houses  in 
town  the  night  before  Christmas.  Of  course, 
they  opened  again,  but  the  child-menace  bug 
has  persisted  ever  since;  which  is  why  we  have 
censors.  And  also  ever  since,  the  producers 
have  regarded  the  child  business  as  their  big- 
gest and  most  important  clientele.  Like  other 
accepted  fallacies,  it  isn't.  Children  up  to  four- 
teen represent  but  7,75  per  cent,  of  the  total 
audiences.  Adolescents  from  fourteen  to 
eighteen  are  but  11  per  cent.  more. 

I  .'VER  since  the  row  over  the  authenticity  of  "Ingagi," 
y^i  there  has  been  a  leaning  toward  proof  by  producers. 
One  company  has  gone  off  to  the  Malay  Peninsula  to  shoot 

16 


hunting  stuff  and  has  taken  along  a  college  professor 
guarantee — as  an  eye-witness — the  truth  of  the  stor 
It  does  not  seem  to  have  occurred  to  the  sponsors  of  tli 
expedition  that  someone  might  decline  to  believe  the  pre 
fessor.    In  that  event,  who  will  guarantee  him.''  Tha 
Maharajah  of  Bhurimpoor — or  whatever  his  name  is] 


THE  rest  of  America  loves  to  believe  Holly- 
wood a  sink  of  iniquity.  Well,  just  to  con- 
found them  I  dug  these  figures  out  of  the  Los 
Angeles  police  statistics :  Hollywood  is  fourth 
in  population  among  the  sixteen  police  divi- 
sions, with  150,000  residents,  so  it  is  about  12 
per  cent,  of  the  city's  total.  If  the  carpers  are 
right,  it  should  furnish  about  50  per  cent,  of 
the  municipal  crime,  and  it  doesn't.  It  turns 
out  a  weak  and  piffling  9.25  per  cent.,  deliver- 
ing but  1,558  violations  of  the  penal  code — 
made  up  of  416  burglaries,  59  robberies,  41 
grand  larcenies,  623  motor-car  thefts,  12  hold- 
ups, 34  cases  of  fraud,  4  homicides  and  399 
traffic  accidents. 


1 


ONE  is  tempted  to  wonder  what  the  producers  would 
do  without  the  co-operation  of  the  Federal  Govern- 
ment. Old  Uncle  Samuel  really  is  generous.  He  furnished 
an  army  motor-truck  train  for  "The  Big  Parade"  and 
rolled  it  for  days  across  the  Texas  plains.  Both  the  Army 
and  Navy  contributed  to  the  making  of  "The  Rough  1 
Riders."  Annapolis  was  helpful  in  making  "The  Midship-  ! 
man"  and  "Salute,"  while  West  Point  put  forth  its  re- 
sources for  "West  Point"  and  "Dress  Parade."    The  j 
Marines  were  useful  in  the  making  of  "Tell  it  to  the  I 
Marines"  and  a  few  more,  while  the  Coast  Guard  has 
helped  out  in  several  pictures.  Altogether,  the  list  is  too 
long  to  set  down,  but  a  rough  calculation  is  that  in  ten 
years  the  Government  has  contributed  about  $5,000,000 
in  production  values. 


RECENTLY,  I  ran  across  some  figures  of 
production  under  the  old  Triangle  ban- 
ner fourteen  years  ago,  when  Thomas  H.  Ince 
was  active  at  Culver  City.  Then,  a  top-notch 
five-reeler  cost  about  $50,000  and  needed  a 
production  crew  of  49.  In  1928,  the  cost  had 
risen  to  an  average  of  $215,000  for  the  picture, 
and  the  production  crew  had  gone  up  to  268. 
Both  are  averaging  more  now.  Which  gives 
us  some  faint  idea  of  why  the  studios  are  plan- 
ning to  spend  $125,000,000  this  coming  year. 


AND  speaking  of  production  costs,  D.  W.  Griffith 
£\_  "Birth  of  a  Nation,"  made  in  1914,  cost  $\\ 
Yes,  the  whole  twelve  reels  of  it!  On  the  present-day  basis, 
(Continued  on  page  107) 


4i 


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17 


A 

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Anita  Page 
Maro-Goldwyn-MayCT 


What  a  glorious  thing  it  is  to  face  each 
day,  secure  in  the  confidence  that  you 
are  always  attractive!  That  you  can 
wear  the  alluring  new  fashions,  so  ador- 
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for  which  they  were  designed! 

. . .  Yet  for  everyone  girl  who  possesses 
a  naturally  fashionable  figure  there  are 
hundreds  who  diet  and  worry  to  con- 
trol  their  weight — often  unwisely. 

The  main  danger  with  most  reduc- 
ing diets  is  that  they  are  unbalanced. 
In  the  desire  to  reduce,  important  food 
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When  the  amount  of  food  is  cut  down, 
there  is  often  insufl&cient  bulk  to  assure 
proper  elimination. 

As  a  result  poisons  are  formed.  These 
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drugs.  Eat  it  reguhrly — to 
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18 


CONSTANCE  BENNETT 


Hollywood  said  she  was  an  attractress,  but  hardly  an  actress.  That 
was  before  "Son  of  the  Gods"  and  "Common  Clay."  Now  she  is  in 
Eden,  being  Eve  in  Erskine's  "Adam  and  Eve" 


Hitrrell 

ANITA  PAGE 

Nineteen -year-old  Anita  is  growing  older  dramatically. 
Featured  with  Joan  Crawford  in  "Our  Blushing  Brides," 
she  now  is  blushing  opposite  Doug,  Jr.  in  "Little 
Accident" 

20 


Fred  R.  Archer 


CLAUDIA  DELL 

Ding,  dong,  Dell.  Kitty  dances  well.  Who  will  hold  her 
back?    Not  I,  said  Warner  (Jack).    So,  "Sweet  Kitty 
Bellairs"  being  finished,  she  now  is  The  Girl  in  Al  Jolson's 
"Big  Boy" 


21 


CLIVE  BROOK 

He  introduced  grass  tennis  courts  to  Hollywood,  and 
English  literature.  What  will  he  do  next?  Just  act  his 
usual  best,  opposite  Ruth  Chatterton  in  "The  Better  Wife" 


22 


r/,0  I  'l  l 


a       a  f  I  n  c 


c  ) 


/; 


MOT  DON     [P  D  CTT  dJ  [RE 

CLASSIC 


Talks  • 


Bv  GEORGE  KENT  SHULER,  PMsher 


FOUND  at  last:  a  place  where  a  squawk  about 
censorship  has  done  some  good.  Montreal  was 
the  happy  battleground.  It  seems  that  the  local 
Puritans  banned  "Joan  of  Arc,"  a  French  film. 
Prominent  citizens  promptly  rioted,  raismg  such  a 
commotion  that  the  censors  reconsidered,  and 
allowed  the  show  to  go  on,  with  only  minor  cuts. 
Other  self-respecting  towns  please  copy. 


FROM  Hollywood,  well-known  suburb  of  our 
fifth  largest  city,  where  natives  ask  a  stranger 
if  he  is  working  before  they  tell  him  they  are  glad  to 
see  him,  the  Better  Business  has  been  circulating 
warnings  to  film  hopefuls  to  stay  away  or  starve. 
Now  the  Great  Unknowns  are  saving  their  ducats 
and  arriving  with  enough  to  last  at  least  six  months, 
figuring  that  while  there's  food  there's  hope. 


HOLLYWOOD,  never  noted  for  experimenting 
(even  talkies  were  forced  on  all  bur  one  studio), 
is  not  on  the  look-out  for  buddmg  talent;  HolK  wood 
wants  full-blown  dramatic  roses.  Helpful  hint:  go  to 
New  York,  if  you  have  screen  yearnings,  get  on  the 
stage,  and  wait  to  be  discovered.  It  s  not  eas\ ,  but 
It's  easier  than  crashing  the  pearly  gates  of  talkieland 
without  a  reputation. 


ANN  HARDING  has  revealed  that  she  acquired 
.  her  famous  enunciation  when  wiirking  in  an 
office  a  few  years  ago.  She  had  to  use  a  dictophone, 
and,  the  best  stenogs  scrapping  for  the  best  dicto- 
phone records,  she  had  to  be  good  to  make  her  letters 
look  fit  to  send  out.  She  is  probably  the  onlv  star 
who  ever  became  a  star  h\  t-nlkinc  to  herself. 


THE  latest  news  about  the  strongest  and  silentest 
of  them  all      \N  illi:mi  S    Hart    is  that  certain 


producers  are  sounding  out  exhibitors  on  the  possible 
drawing  power  of  a  talkie  co-starring  him  and  Davey 
Lee.  also  absent  from  the  screen  these  many  moons. 
1  he  picture  to  be  titled,  perhaps.  "Gunny  Boys.  " 

•  •  • 

ANEW  producer,  announcing  his  entry  into  the 
crowded  cinema  field,  states  in  an  open  letter 
to  Will  Hays,  noted  law-giver  of  Hollywood,  that 
the  latter's  prayers  have  at  last  been  answered-- 
for  the  former's  picture  program  is  "the  Code  of 
Ethics  wrapped  up  in  a  bundle  of  showmanship." 
To  end  the  suspense:  he  is  going  to  film  the  works  of 
Gene  Stratton-Porter.  Now  that  they  are  assured 
that  Mr.  Hays's  prayer  has  received  due  considera- 
tion, the  rest  of  the  producers  can  even  more 
blithely  go  on  picturing  I.ife  In  1  he  Raw. 

•  •  • 

MOVIES  a  few  of  us  would  like  to  see: 
A  comedy  of  mother  love. 
.A  tragedy  of  college  life. 
A  cannibal's  adventures  in  civilization. 
The  millionaire  s  son  turning  out  better  than  the 
hard-working  lad. 

A  silent  starring  Rudy  \'allee. 

•  •  • 

MACK  SENNETT,  inventor  of  the  pastry-pasting 
comedy,  recently  relieved  himself  of  this 
sentiment:  "Sometimes  now.  when  I  see  some  of 
my  former  actresses  playing  their  great  starring 
rnles.  I  feel  the  need  of  having  someone  step  forward 
with  a  luscious,  well-proportioned  pie  and  delivering 
it  in  the  way  and  manner  in  which  it  would  do  the 
most  good,  saying.  'Gome  on  down  from  that 
pedestal  and  act."  "  I  he  pie,  we  take  it,  wfnild  b*" 
humble  pie. 

•  •  • 

TOM  MARSHALL,  the  best  wise-cracking  Vice- 
I*risultnt  w("\c  evti  bad'  was  mi';tak<ii    \\  li.nt 
\nirru  a  nt-eils  is  a  good  five-cent  movnv 

2.^ 


How  FREE 


On    The  Screen 
As    Dirt,  An 


Seeing  that  girls  do  not  "indecently  kick:"  Evan 
Chesterman,  chairman  of  the  Virginia  Board  of 
Censors,  that  spares  not  even  newsreels 


The  Movie  Audience 

Total  weekly  attendance  in  the  U.  S. 

  115,000,000 

Children  (up  to  12  years) — 8  per  cent. 

    9,200,000 

Adolescents  (12  to  16  years)-  20  per  cent. 

  23,000.000 

Adults— 72  per  cent  82,800,000 


Number  of  Censors  and 
Approximate  Cost 

KANSAS 

3  at  $2,500  per  year  '  - 

Expenses:  $8,000  per  year..  J.i-'.-'i'i. 

MARYLAND 

3  at  $2,400  per  year  1  4,, 

Expenses  (est.):  $21,800. .  . 

NEW  YORK 

One  diiector  with  four  \ 

assistants,  opcratini;;  expenses^  $60,000 

$60,000   ■■ 

OHIO 

2  at  $2,400  per  year   >  ann 

Expenses:  $23,000   »i27,KOO 

PENNSYLVANIA 

1  at  $4,800  per  year'^, ,  1 

2  at  $4,  SOO  per  y ea  r ,  i  $26, 1 00 

Expenses  (est.):  $12,100 

VIRGINIA 

3  at  $2, SOO  per  year  1  «7c  nnn 

Expenses:  $17. SOO   $25,000 

$185,400 


By  CAMPBELL 


EVERY  citizen  may  freely  speak,  write  and  publish 
his  sentiments  on  all  subjects."  This  declaration  of 
popular  independence,  found  in  the  Ohio  State 
Constitution,  is  repeated  .  .  .  either  in  these  exact 
v^^ords  or  in  some  variation  of  them — in  every  State  Consti- 
tution in  this  country.  The  provision  is  supposed  to  reiterate 
the  sacred  first  article  of  our  Federal  Bill  of  Rights,  which 
guarantees  us  all  sorts  of  delightful  privileges — if  we  can  get 
them.  However,  six  of  our  sovereign  States  have  grinned 
cheerfully  at  the  constitutional  guarantee,  and  chirruped: 

"Sure.  Except  if  he  tries  to  do  it  on  a  motion  picture 
screen ! 

Which  means  that  more  than  thirty  million  people,  living  in 
the  six  States  of  Kansas,  Maryland,  New  York,  Ohio,  Penn- 
sylvania and  Virginia,  have  their  motion  picture  entertain- 
ment carefully  denatured  for  them  before  they  have  a  chance 
to  look  at  it.  However,  there  is  nothing  very  new  about  that 
— or  wasn't,  until  the  talkies  came  along  and  proceeded  to 
put  an  entirely  different  complexion  on  the  matter. 

A  very  rigid  control  of  the  screen  was  submitted  to  by  the 
inhabitants  of  the  States  mentioned  and  by  all  the  motion 
picture  producers,  and  while  many  people  growled,  nobody 
did  much  of  anything  about  it.  Then  came  the  talking  screen, 
and  now  there  is  as  neat  a  fight  brewing  as  you'd  want  to 
witness,  even  in  Donegal.  And  it  all  hinges  on  that  lucky 
group  of  thirteen  words  at  the  beginning  of  this  tale— or  at 
least  on  the  sentiment  embodied  in  tJiem. 

Censorious  Mr.  Kipling 

IT  was  Rudyard  Kipling  who  said  that  as  a  nation  we  would 
be  all  right,  if  only  we  had  a  sense  of  humor.  As  he  had 
lived  among  us  for  a  number  of  years,  he  felt  that  he  knew 
what  he  was  talking  about;  but  most  of  us  have  been  frothing 
at  the  mouth  ever  since. 

"Still,"  adds  Mr.  Kipling,  "you  have  moving  picture 
censors,  you  know." 

Of  course,  it  is  true  that  here  in  Hollywood  have  been 
gathered  the  best  available  talents,  solely  for  the  purpose  of 
turning  out  good  entertainment  for  all  the  world.  And  it  is 
equally  true  that  this  entertainment  is  both  difficult  and 
expensive  to  make,  and  most  of  it  is  real  entertainment — 
when  it  leaves  the  studios.  But  you  inhabitants  of  the  six 
States  mentioned  stand  a  mighty  slim  chance  of  seeing — or 
hearing — exactly  what  Hollywood  has  sweated  to  make  for 
you.  You  get  a  more  or  less  emasculated  version,  carefully 
edited  by  perhaps  twenty-five  State  censors — genial,  broad- 
minded  souls,  to  whom  you  pay  many  thousands  of  dollars 
to  decide  whether  you  shall  or  shall  not  see  Armand  kiss 
Claudia  on  the  neck;  whether  perchance  you  may  hear 
Harold  say  to  Gussie:  "Gee,  kid  !  I'm  goofy  about  you !  Gimme 
a  long,  hard  kiss!" 

Also,"  before  I  forget,  there  are  a  number  of  cities  in  the 


24 


Speech? 


It    Is  As 


Treated  As 


MacCULLOCH 


land  —cities  outside  the  six  States  mentioned     which  liase 
I,    censors.    For  example,  tlie  tightest  censorship  in  the  Lnited 
:    States  is  maintained  by  the  city  of  Chicago,  where  it  has 
,     been  effectively  functioning  for  fifteen  years.    The  utmost 
J     care  has  been  exercised  to  keep  off  the  screen  all  reference  to 
crime,  misdemeanors,  moral  turpitude  or  law  violation  of  any 
kind.   They  won't  even  permit  reference  to  a  gangster  or  a 
crooked  politician.    The  result  speaks  eloquently  for  itself. 
As  everyone  knows,  Chicago  is  probably  the  most  law-abiding, 
quiet,  orderly,  peaceable,  honest  and  solvent  community  in 
the  world.  Yeah ! 

Censorship  really  began  back  in  1908  in  New  York  City, 
when  Mayor  George  B.  McClellan  issued  an  order  closing 
every  one  of  the  five  hundred  picture  houses  in  the  city  on 
December  24,  of  that  year,  on  the  ground  that  they  were 
unclean  and  immoral.  Three  days  later  a  court  order  re- 
opened them.  Then  a  volunteer  organization,  The  People's 
Institute,  offered  to  examine  all  films  intended  for  exhibition, 
and  approve  or  disapprove  them.  The  producers  agreed,  and 
there  began  the  argument.  No  one  had  tried  to  censor  the 
press;  books  and  paintings  that  at  least  hinted  at  immodesty 
were  published  in  reasonably  generous  quantities;  but  the 
pictures  looked  like  a  wholesale  assault  on  the  morals  of  the 
nation.  And  the  pastime  of  pictorial  inhibition  grew.  Gosh, 
yes! 

Anna  Became  a  Lady 

AND,  now  that  the  movies  have  found  a  voice,  are  they 
Ix-  on  the  same  status  as  the  stage?  Now  that  they  are  using 
the  same  lines  that  have  been  spoken  thousands  of  times  from 
behind  the  footlights,  are  they  exempt  from  censorship  at 
last.?  Those  who  have  seen  both  the  stage  and  the  screen 
version  of  "Anna  Christie"  realize  that,  so  far  as  the  talkies  are 
concerned,  they  still  are  merely  movies  to  the  censor.  Instead 
of  the  mouth-filling  w'aterfront  phrases  of  the  O'Neil  drama, 
Anna  murmurs,  petulantly, "Oh, darn !"  No  doubt  the  censors 
felt  they  were  straining  their  consciences  to  permit  even  that 
mild  oath.  The  lines  throughout  were  weakened  to  the  point 
sometimes  of  absurdity,  when  the  film  was  made,  for  fear  of 
what  the  censors  would  do  to  "Anna"  unless  she  talked  like  a 
lady.  The  producers  have  had  experience  with  talking  censor- 
ship. They  have  seen  whole  sentences,  entire  conversations 
ruthlessly  cut  out  of  a  film  and  the  jagged  gap  in  the  action 
covered  with  a  written  title  by  the  guardians  of  public  morals. 

In  its  stage  form,  "Anna  Christie"  was  probably  not  seen 
by  more  than  seven  hundred  thousand  people  in  all.  In  its 
movie  form,  it  will  in  all  likelihood  be  seen  by  five  or  six  million 
people.  The  reason  for  carrying  the  censor's  rule  into  the 
field  of  the  spoken  word  is  vaguely  based  upon  these  figures. 

I  don't  know  who  first  remembered  that  ancient  Bill  of 
Rights  article,  but  I  think  he  was  a  Pennsylvania  theater- 
{Continued  on  page  go) 


Cheap 
Such 


He  allows  baby  shirts:    but  Director  James 
Wingkte  of  the  New  York  State  Board  of  Censors 
is  not  approving  any  political  slams 


He  doesn't  allow  baby  shirts:  Harry  L.  Knapp  is 
chairman  of  the  Pennsylvania  Board,  that  frowns 
on  mention  of  The  Expected  Event 


25 


Who's  GlorifiecT 


BY 
DOROTHY 
MANNERS 


Tut  latest  standards  for  the  up- 
tu-the-niinute  beauty  of  to-day, 
according  to  the  man  who  picks 
them,  Florenz  Ziegfeld,  run  about 
as  follows: 

Height:  fn  e  feet  Jive  inches. 
Weight:  I2j  pounds. 
.  Coloring:     Medium-light  or  medium-dark. 
Age:  2 J  years. 

Attributes:    Common  sense  in  large  doses,  and 
.workable  sense  of  humor. 

Read  it,  girls,  and  get  a  new  slant  on  that  age- 
old  question! 

This  presents  something  different  and  unique  in  the 
line  of  beautv.  The  master  connoisseur  of  them  all  is  mak- 
ing beauty  practical! 

In  the  first  place,  notice  that  such 
Items  as  "classic  fea- 


tures, 
and 


"thin  forms," 
'  youth  at  any 
cost"  are  conspicuous- 
ly missing.  Notice, 
too,  that  the  definite- 
ly-colored type  is  no 
longer  outstanding. 
Peroxide,  henna  and 
black  dye  have 
gone  out  of  date  in 
favor  of  old  Mother 
Nature. 

Coming,  as  it  does, 
from  the  greatest  judge 
of  present-day  femi- 
ninity, the  style-setter 
in  pretty  girls,  who 
has  been  glorifying 
beauty  for  over  thirty 
vears,  this  dictum 


carries  a  potent  punch  other  than 
its  novelty. 

He  Thinks  What  He  Says 

N  setting  forth  his  new  beauty 
requirements,  Ziegfeld  doesn't 
mince  his  words.  You  get  the  idea 
that  this  man  doesn't  mince  his 
words  about  anything.  Next  to  Eric 
von  Stroheim,  he  is  the  most  ruthlessly 
frank  person  I've  ever  encountered.  What 
he  says  isn't  always  diplomatic,  but  he  has  a 
nice  little  way  of  saying  it,  with  a  twinkle  in  his  eye.  I 
only  wish  you  could  have  heard  him  tearing  some  of  our 
foremost  beauties  apart,  without  bothering  to  put  them 
back  together  again. 

He  doesn't  particularly  look 
like  a  beauty  expert.  Nothing 
noticeably    "artistic  "    in  his 
make-up.  He  might  be  the  head 
of  a  great  railroad  company,  or 
an   insurance  house,  as  well. 
There  is  something  decidedly 
Big  Business  in  the  elegant,  but 
inconspicuouscut  of  his  clothes, 
in  the  slight  patches  of  gra\ 
hair  that  show  on  his  teni-  ' 
pies  under  the  hat  rim. 
In  Hollywood,  in  the  ca- 
p  a c i  t  y  of  a d  v  i  s o  r >■ 
director  on  Samuel  Gold- 
wyn's  production  of 
"Whoopee,"  he  casts  on 
the  business  of  making 
talkies  a  gentle  and  un- 
e.xcited    eye.  Movies 
which  present  theatrical 
producers  as  loud- 


Proofs  of  the  Ziegfeld  eyesight:   Catherine  Moylan,  at 
top;  Claire  Dodd,  in  circle;  Christine  Maple,  left;  and 
Murrel  Finley,  right    all  ex-Ziegfeld  girls  now  in  the 
movies 


Richee 


26 


Now? 


Ziegfeld  Describes  The 
Ideal  Beauty  of  1931 


mouthed  gentlemen, 
who  yell  out  ot  the 
corner  of  the  mouth, 
did  not  get  their  model 
from  Ziegfeld,  the 
•  greatest  revue  artist  of 
them  all. 

It  was  over  in  a 
j  quiet  corner  of  the 
"Whoopee"  set  that 
he  told  me  of  these 
new  beauty  standards, 
which  will  be  utilized 
in  the  castmg  of  the 
new  "Follies,"  and  will 
set  the  pace  for 
femimne  charm  the 
world  over  —  because 
Ziegfeld  thinks  so! 

Beauty  and  the  Beast 

BEAUTY,"  he  be- 
gan on  his  favo- 
rite and  most  quoted 
subject,  "is  as  subject 
to  change  without  no- 
tice as  fashions  in 
clothes.  Each  day  and 
age  brings  its  own  re- 
quirements. Since  I 
have  been  in  the  show 


Famous  Ziegfeld  choices:  above, 
Louise  Brooks,  once  a  Follies  girl, 
now  film-famous;  lower  left,  Claire 
Luce,  ex-Ziegfeld  star,  now  a 
talkie  star;  center,  Sally  Eilers,  his 
idea  of  the  1931  girl 


IS  no 


tune  with  our 


rora 


business,  I  have  seen  various 
types  come  and  go.  First,  the 
buxom  lasses  of  the  '  Florodora ' 
period  —  the  Lillian  Russell 
type  of  beauty.  Next,  the  tall, 
thin  girl  of  the  Irene  Castle 
style.  Then  the  chestless  flap- 
per. Each  of  these  represented 
— almost  personified — the  day 
and  age  in  which  she  reigned. 

"And  how  brief  that  reign  is! 

"The  flapper  of  five  years 
ago  is  as  out  of  date  as  the 
old  'Florodora  girl.'  With  her 
short  skirts  and  her  pert  cute- 
ness,  she  was  typical  of  the 
after-war  speed  of  living.  She 


onger  in 
present  times. 

"Instead,  the  modern  beauty 
has  come  to  take  her  place.  And 
she  in  turn  will  be  superseded 
by  another  type — just  what,  we 
do  not  know.  But  let  the  fu- 
ture take  care  of  itself.  W  e  have 
with  us  this  new  girl  in  keeping 
with  life  as  it  is  lived  to-day. 

"She  is  taller  than  the  flap- 
per's five  feet  of  cuteness,  by 
four  or  five  inches.  And  she 
weighs  tully  ten  pounds  more. 
About  one  hundred  and  twenty- 
five  pounds  would  be  ideal.  She 
is  of  medium,  rather  than  de- 
cided, coloring.  Naturalness  is 
the  code-word  of  the  hour,  and 
as  we  Americans  are  neither 
Nordic  nor  Latin,  our  perfect 
national  type  is  a  combination  of  the  two.  It  is  not  par- 
ticularly important  whether  she  is  more  to  the  blonde,  or 
to  the  brunette  in  type.  They  are  equally  attractive  in  the 
beauty  scale,  though  I  have  always  favored  the  blonde, 
myself.  However,  that  is  merely  a  personal  opinion.  What 
is  one  man's  peach  is  another's  lemon  .  .  . 

The  Height  of  Beauty 

"  I  .^XTREME  youth  IS  no  longer  a  necessary  attribute 
l^j  to  beauty,  as  it  was  in  the  flapper's  reign.  At  seven- 
teen or  eighteen,  beauty  is  merely  in  bud — a  promise.  At 
twenty-five,  according  to  our  present  standards  of  living, 
it  is  at  its  height.  The  bud  has  blossomed,  and  the  marks 
of  age  are  a  good  five  years  in  the  future. 

"But  this  modern  beauty  has  a  test  to  meet,  of  which 
her  sisters  of  the  past  were  free.    Of  her  are  demanded 
{Continued  07i  page  pj) 

27 


Bull 


Duncan 


If  a  cinemactress  isn't  one  thing,  she's  another.   If  she  isn't  comic,  she's 
tragic.  And  if  she  doesn't  know  her  Hollywood  expressions,  it  doesn't 
matter  what  features  she  has.  But  Joan  Bennett  knows  her  emotion  pictures 
and  has  chances  like  "Smilin*  Thru" 


28 

J 


HOLLYWOOD  Sob -Stories 


Hidden  Away, 
Edwina  Booth 
Still    Is   Haunted  By 
The     Horrors    She  Saw 

By    DOROTHY  CALHOUN 


HERE  is  a  girl  who  is  haunted. 
She  looks  out  of  the  window  of  the  small  com- 
monplace bungalow  in  Culver  City  and  sees, 
instead  of  oil-derricks  and  sub-division  signs, 
strange  tortured  trees  writhing  against  a  sky  of  brazen 
blue.  And  suddenly  she  shudders. 

"I  can't  explain — "  she  says,  " — but  nothing  was  sane 
looking.  Even  the  trees  looked  different — crazy.  Tall 
naked  trunks  with  a  flat  tuft  of  leaves  on  top — trees 
shouldn't  look  like  that." 

It  is  five  months  since  Edwina  Booth  left  Africa.  Five 
months  in  which  she  has  been  struggling  to  get  back  to 
every-day  life,  five  months  in  which  she  has  been  trying 
to  forget  glossy  jungle  leaves,  a  grey  sun  that  strikes  one 
down  like  a  sharp  blow,  dark  skins  and  painted  animals 
and  nightmare  trees.  .  . 

In  these  five  months,  all  sorts  of  fantastic  rumors  have 
floated  around  Hollywood  about  this  slim  golden-haired 
girl,  chosen  to  play  the  White  Goddess  in  "Trader  Horn  " 
on  five  days'  notice.  Unknown  before  she  set  out  on  the 
African  safari,  she  is  still  to  be  seen  on  the  screen.  In  the 
slow  weeks  while  her  youth  battled  with  the  fever  brought 
back  from  the  jungle,  M-G-M-  has  held  up  the  picture, 
waiting  for  her  recovery. 

In  a  Haunted  House 

BUT  while  Edwina  was  hidden  away  in  a  beach  cot- 
tage from  friends  who  talked  too  much,  and  re- 
porters who  made  her  talk  too  much,  with  a  nurse  and 
doctor  to  care  for  her,  whispers  went  around.  One  tabloid 
printed  the  report  that  the  "goddess  girl"  of  "Trader 
Horn"  was  suffering  from  some  malignant  tropic  germ 
thai  would  be  fatal  in  a  few  months.  Another  rumor 
{Continued  on  page  84) 


C.  S.  Bull 


Then  and  now:  above,  healthy  and  robust  Edwina  Booth  before 
she  saw  Africa;  at  left,  the  thin,  wasted  girl,  bareheaded  under 
the  tropic  sun,  who  played  the  White  Goddess — with  one  of 
her  cannibal  companions 

29 


Perfect  Honeymoon  -  - 


By 

ROBERT  FENDER 


mos 


J- 


I SUPPOSE  reporting  is  a 
bum  business.  Maybe  I 
should  feel  ashamed  for 
what  I've  just  done  and 
hand  in  my  badge.  Perhaps  I'm 
a  low-down  something-or-other. 

Still,  when  Bebe  Daniels  and 
Ben  Lyon,  freshly  married,  an- 
nounced that  no  this-and-that 
reporter  was  going  to  horn  in  on 
their  honeymoon,  I  simply  felt  it 
my  duty  to  horn  in.  After  all, 
here  was  a  challenge.  Here  was 
a  game.  And  I  love  games. 

Now  I  had  heard  that  Ben  and 
Bebe  were  to  become  Mr.  and 
Mrs.  Ben  sometime  Saturday 
night,  June  14,  and  were  to  leave 
for  the  north  directly  after.  I  had 
also  heard  that  they  were  going  to 
drive  in  their  Rolls-Royce.  I've 
never  been  very  quick  at  arith- 
metic, but  nearly  everyone  in  these  parts  knows  that  going 
north  for  a  honeymoon  means  going  to  one  of  two  places: 
Santa  Barbara  or  Del  Monte.  And  that's  where  I  figured 
they'd  go.  Santa  Barbara  would  be  the  first  stop.  With 
their  car,  I  figured,  they  should  be  able  to  make  it  in  one 
or  two  hours.  But  the  merest  glance  at  my  car  assured  me 
that — well — you  should  see  my  car.  I  left  Saturday  morn- 
ing at  dawn. 

The  Long,  Long  Trailing 

^ANTA  BARBARA,  as  I  remember,  hove  into  sight  at 
v3  dawn  of  the  next  day.  Everything 
possible  went  wrong  with  my  flivver.  It 
all  but  blew  up.  I  asked  the  hotel  man 
if  Mr.  and  Mrs.  Lyon  were  in  town. 


Carl  E  SrAKbiTf  Vanhscr 

DelMokte  Cai^iforkia 


3 


Our  Sle  ut  h 


Alone  Knows  What 
A   Good  Time 
Ben  And  Bebe 
Had 


Our  deteckatif  and  his  evidence:  left 
to  right,  Mr.  Fender  and  the  unsuspect- 
ing honey mooners,  Mrs.  and  Mr.  Lyon. 
Above,  Exhibit  B 


"They  luere  m  town,"  he  an- 
swered sleepily,  "but  'pears  to 
me  they've  gone.  Think  I  heard 
someone  say  they  were  heading 
north." 

I  sighed.  I  wanted  to  lie  down 
and  die.  Instead,  I  filled  up  the 
heap  with  gas,  oil  and  water 
and  pushed  on.  Eventually  I 
arrived  at  Del  Monte,  just 
before  passing  out  completely. 

The  clerk  at  that  very  ex- 
clusive resort  was  not  encour- 
aging. He  wanted  to  know  this.  He  wanted  to  know  that. 
His  voice  wore  a  stiff  collar.  To  my  questions  concerning 
the  famous  honeymooners  he  turned  a  deaf  ear. 

"Listen,  Clarence,"  I  finally  said.  "I  don't  want  to 
have  to  wreck  the  place,  but  would  you  mind  telling  me  if 
they  are  registered  here.'"' 

He  turned  to  the  baggage  handler.  "Herbert,"  he 
drawled,  "would  you  please  put  this  guy  in  the  usual 
place?" 

From  that  point  on  things  seemed  to  grow  dark.  I  came 
to  in  a  bed  of  petunias.  I  was  cold  and  tired  and  disgusted. 

And  I  was  sore.  Lying  there  a  second, 
I  had  the  good  fortune  to  see  other  re- 
porters get  the  same  gate.   It  cheered 
{Continued  on  page  86) 


30 


Russell  Ball 


JULIO,  THE  SHEIK,  MONSIEUR  BEAUCAIRE,  THE  EAGLE-many  men  in  one. 
And  that  man  one  in  many.  Magnetic,  warm-blooded,  sensitive  Rudolph  Valentino. 
"The  great  lover" — the  only  one  a  fickle  world  has  given  the  title.  It  still  is  his,  though 
For  four  long  years  he  has  not  been  here  to  wear  it.  Except  in  memory,  which  glides  over 

the  years  as  does  Fame  itself 


31 


Buddy  Rogers  gives  the  little  girl  a  hand,  and  suggests  their  crossing  a 
bridge  when  they  get  to  it.  But  Margaret  Breen,  a  newcomer  to  the  screen, 
has  heard  enough  about  those  big,  brawny  brutes  of  Hollywood  to  keep  a 
firm  hold  on  him  in  "Heads  Up" 


He  Lived  It  Down 


By 

GLADYS 
HALL 


(HE 

has 


Infant 


grown 


gray  beard, 
th 


Industry 
a  long 


T 

_^  The  Infant  Industry 
has  finally  produced  its  second 
generation — all  grown  up  and 
knocking  at  our  doors. 

We   are   grown   ripe  with 
years  and  laden  down  with 
honors.  Our  babes  and  suck- 
lings are  polished  young  men. 
"Little  Ben  Alexander"  and 
"The  Kid,"  J.  Coogan — once, 
so  short  a  while  ago,  rompered 
darlings  tugging  at  our  heart- 
strings and  tempting  us  to  buy 
them  lollipops  and  kiddie-kars 
— are  now  come  back  as  lovers, 
as  soldiers,  as  romantic  heroes  and 
swashbuckling  villains.    Adult.  Edu- 
cated.  Finished  and  ready  to  snatch 
the  bay-leaves  right  out  of  the  hands 
of  their  aging  seniors. 

It  is  a  thought,  a  fact,  to  give 
pause.  For  this  is  the  first  second 
generation  the  movies  have  ever 
known.  This  is  the  first  time  that 
there  are  young  hands  to  take  the 
torches  as  they  fall  from  older  hands. 
The  children  —  our  own  children  —  have 
grown  up' 


It  is  of  "Little  Ben  Alexander"  that  we 
write.  And  this  is  the  place  to  say  that  if 
you  care  to  make  the  grade  with  Ben,  you 
will  not  greet  him  with  the  common  effusion, 
"Oh,  this  is  Not  Little  Ben  Alexander!" 
His  prayer  is  that  some  day  people  will 
cease  to  gawp  at  him  and  express  their 
amazement  that  he  has  not  stayed  six  or 
seven  years  of  age. 

Another  prayer  is  that  his  mother  will 
conceal  in  the  ambush  of  the  Family 
Album  the  infant  photograph  of  him  as 
an  al  fresco  cherub,  sporting  with  a  gar- 
land of  roses.   He  feels  that  the  time 
has  come  .  .  . 

Time's  Little  Joke 

"T  ITTLE  Ben"  played  his  very 
I  ^  first  screen  role  with  Mary  Pick- 
ford  m  "The  Little  American."  Grown- 
up Ben  is  now  playing  with  Mary  in  her 
present  vehicle.    Time  plays  odd  chican- 
eries. Little  Ben  is  little  no  longer,  America 


The  boy  who  came  back:  in 
circle  above,  in  the  days  when 
he  was  "the  child  wonder"; 
below,  juat  before  he  forgot 
about  the  screen ;  at  top,  the 
tragic  Kemznerich  of  "All 
Quiet  on  the  Western  Front" 


An  Infant 
Prodigy 
Grew  Up  And 
Became 
Ben  Alexander 


Sweetheart  remains  the  same. 
Hoopla,  that  men  should  age 
and  women  not! 

It  was  difficult  for  me  to  re- 
strain myself  when  I  went  to 
lunch  the  other  day  to  meet 
"Little  Ben."  I  knew  that 
some  years  had  passed  over 
his  infant  brow,  of  course.  I 
did  not  expect  him  to  run  to 
meet  me,  wearing  checkered 
rompers.  But  I  was  not  pre- 
pared for  the  tallish,  fair- 
haired  young  man  with  the 
level  bright  blue  eyes,  the  somewhat 
ironic  mouth,  the  finished  manner,  the 
very  mature  and  excellently  balanced 
mind.  I  restrained  the  "Oh,  this  is 
NOT  Little  Ben  .Alexander!"  I  gulped 
it  down,  how  happily  for  meJ 
Ben  has  grown  up.  He  has  grown  up  to 
be,  at  nineteen,  a  wise,  mature,  well-read 
young  man.  His  reactions  to  life  and  to 
people  are,  you  feel,  the  right  reactions.  The 
kind  you  would  like  your  son,  or  your 
brother  to  have.  He  says  he  hopes  he  is  not 
"a  wholesome  American  boy."  Asked  what 
type  he  does  think  he  is  and  how  he  would 
describe  himself  if  he  were  doing  a  self- 
portrait,  he  laughed.  He  hasn't  thought 
much  about  himself. 

The  "War"  Changed  Him 

THERE  have  been — there  are — too  many 
outside  interests,  too  many  things  to  do, 
ool  and  games  and  money  to  earn.  He 
has  none  of  the  morbid  vaporings  of  lit- 
erar>-  adolescence.  He  would  not  be  ad- 
mitted   into   the    coterie  of  Beverly 
Nichols  or  his  kind.  He  is  wise,  rather 
than  sophisticated;  sane,  rather  than 
suave.    He  says  that  things  do  "go 
on"  among  members  of  the  lounger 
Generation,  but  those  who  do  such 
things  are  in  the  minority  and  would 
be  the  same  at  any  age,  in  any  place. 
He  says  a  film  studio  is  as  safe  as  a  high 
school  and  no  safer.    It  is  the  individual 
and  not  the  locale  .  .  . 

{Continued  on  page  88) 


33 


K  I  N  K  M  A 

Little 
O  f 

Little 
Home 

Case  IV 


CLDRIC   BELFRAGE,   Court  Reporter 


In  this  case,  suit  ^^as  brought  against  the  defend- 
ant by  combined  members  of  the  Prodnose  family 
throughout  the  world.  Defendant  was  charged  M-ilh 
possession  of  sex  appeal  without  a  license,  contrary 
to  law,  with  wholesale  enchantment  and  corruption 
of  young  manhood  through  insidious  celluloid  ex- 
hibitions of  herself,  and  with  general  conspiracy 
against  public  morals  in  the  first,  second  and  third 
degrees.  Defendant,  although  supplied  by  her  ad- 
herents with  the  finest  legal  champions  available, 
swept  these  aside  and  rose  to  conduct  her  own 
case. — Editor's  Note. 

MISS  BOW  was  simply  attired  in  a  suit  of  silk 
pajamas,  consisting  of  scarlet  trousers  and 
sleeveless  white  jacket  with  scarlet  spots.  As 
she  took  the  witness-stand  to  answer  the  ques- 
tions of  the  Prodnose  attorney,  several  members  of  the 
jur\',  apparently  of  the  male  sex,  were  seen  to  adjust  their 
neckwear  for  no  clear  reason. 

Plaintiffs'  Attorney,  opening  the  case  for  his  clients: 
"Your  Honor,  before  embarking  on  the  case,  I  would  beg 
to  point  out  on  behalf  of  plaintiffs,  the  Prodnose  family, 
that  they  have  no  personal  motives  of  any  kind  in  bringing 
this  action.  They  merely  consider  it  their  duty  to  act  as 
they  are  doing  in  the  interest  of  world  morality,  for  which 
glorious  cause  they  would  like  to  be  considered  official,  if 
self-appointed,  public  prosecutors." 

Defendant:  "I  object.  Plaintiffs  have  no  legal  right  to 
so  regard  themselves  or  to  be  so  regarded,  and  I  ask  that 
the  jury  be  instructed  to  that  effect." 

His  Honor:  "Objection  sustained.  Plaintiffs  will  kindly 
proceed  with  their  case  and  stop  making  perorations  about 
their  motives,  in  which  this  court  is  not  interested." 


P.  A.:  "Very  well,  your  Honor."  (To  defendant. 
"Your  name  both  in  public  and  in  private  life  is  Clarj 
Bow,  is  it  not.'" 

Defendant:  "It  is." 

She  Admits  It 

PA.:  "Are  you,  or  are  you  not,  the  same  Clara  Bov 
.  whose  possession  of  some  mysterious  quality  inspirec 
Madame  Elinor  GK  n  to  invent  the  expression  Tt'.'" 
Defendant:  "I  believe  so.  What  of  'It'.?" 
P.  A.:  "Your  Honor,  is  it  necessary  to  continue  with 
any  further  charges.''  Defendant  has  already  as  good  as 
admitted  enough  to  send  her  to  the  penitentiary  for  life." 

His  Honor:  "If  plaintiffs  do  not  cease  quibbling,  I  shall 
have  the  entire  Prodnose  family  and  its  representatives 
ejected  from  the  court.  Kindly  proceed  with  some  defi- 
nite charges  against  the  defendant." 

P.  A.:  "Very  well,  your  Honor.  Now,  Miss  Bow,  yoa 
are  charged  with  the  possession  of  sex  appeal  without  a 
license,  contrary  to  law.  Will  you  please  tell  the  court 
whether  this  'It'  which  you  possess  is,  or  is  not,  the  same 
thing  as  sex  appeal.'" 

(Uproar  in  court.  This  question  appeared  to  throw 
everyone  present,  officials  and  public  alike,  into  pande- 
monium. Heated  arguments  sprang  up  on  every  side 
and  soon  several  fist-fights  were  in  progress.  His  Honor, 
after  vainly  trying  to  restore  order  for  several  minutes, 
himself  became  involved  in  an  argument  with  a  courr 
usher,  and  angry  cries  of  "It  is!"  and  "It  isn't!"  flev 
between  them.  Finally  the  usher  delivered  a  straight  let^ 
to  His  Honor's  jaw  and  floored  him. 

Twenty-five  minutes  later.  His  Honor  was  broughr 
'round  by  frequent  applications  of  ice-packs,  and,  after 
the  injured  in  the  body  of  the  court  were  removed  on 


36 


Holds  Open  Court 


'HE  CHARGE:  Sex 

HE  PLAINTIFFS:--The 
'HE  DEFENDANT:  


rretchers,  the  case  fortunately  proceeded.) 
Avoiding  Further  Bloodshed 
IS  Honor  (weakly):  "I  think  the  plain- 


Appeal  Is  A  Crime 
Prodnose  Family 
Clara  Bow 


IB 

Ts'  attorney's  last  question  had  bet- 
er  be  considered  out  of  order." 

Defendant :  "As  the  only  point  in  asking  the 
[uestion  was  to  make  me  admit  I  possess  sex 
ippeal,  I  may  as  well  avoid  further  bloodshed 
»y  admitting  it.  It  is  nothing  I  am  ashamed 
i)f.   What  law  is  there  on  the  statute  books 
vhich  denies  me  the  right  to  possess  it.'" 
P.  A.:  "Of  course  we  are  not  dealing  with 
he  laws  of  man,  but  with  the  eternal  laws  of 
ight  and  wrong,  the  laws  of  morality.  Are 
ou  going  to  stand  there  and  suggest  that 
his  unlicensed  sex  appeal,  running  riot  as 
t  does  through  millions  of  feet  of  film,  dis- 
)layed  all  over  the  world,  is  not  an  outrage 
gainst  ail  decent  canons  of  morals  and 
cod  taste.'" 

Defendant:  "Since  the  plaintiffs  insist, 
hat  is  just  what  I  am  going  to  stand  here 
ind  do.   I  should  not  have  thought  it  was 
lecessary  to  point  out,  and  I  am  quite  sure 
he  worthy  members  of  the  jury  will  not  think 
t  necessary,  that  there  is  sex  appeal  and  sex 
ippeal."    (Applause  in  court,  and  cries  of 
'Atta  Clara!") 

P.  A.:  "I  think  the  members  of  the  jury,  who 
>ave  decency  and  clean-thinking  writ  large  all 
)ver  them,  would  like  to  know  just  what  you 
ire  talking  about." 

She  Comes  by  It  Naturally 

DEFENDANT:  "I  refertothe  kind  of  sexap- 
peal  that  appealsonly  to  men,  and  the  other 
;ina,  which  also  affects  women  with  the  thought 
hat  they  would  like  to  resemble  the  possessor 
•fit.  Obvious,  flagrant  sex  appeal  can  be  vulgar 
n  the  extreme.  I  have  sex  appeal,  but  when  I 
m  in  a  scene  I  never  think  about  it.  Conscious 
ex  appeal  is  not  the  real  thing.  It  isn't  just  a 
natter  of  sex.  You  can  have  it,  and  people  can 
>e  drawn  to  you  without  having  any  thought  of  physical 
X)ntact  at  all.  You  can  have  just  as  much  of  it  in  a  ging- 
lam  dress  as  in  a  low-cut  evening  gown  with  most  of  your 
)hysical  charms  showing.  Sex  appeal  is  personality — it's 
lot  your  body.  You  throw  it  out  without  thinking 
ibout  it." 

P.  A.:  "Then  you  ask  the  jury  to  believe  that  you  are 
lifferent  from  other  film  stars  with  .sex  appeal,  whose 


names  have  become  synonymous 
with  vulgarity?" 
Defendant:  "I  don't  pretend  that  I  am  the 
only  star  possessing  the  real,  wholesome  kind  of 
sex  appeal — of  course  not.   But  I  do  say  that  sex 
appeal  has  earned  its  bad  name  through  a  few- 
stars  who  do  not  really  have  it,  and  who  make  it 
vulgar  by  making  frantic  efforts  to  look  as 
though  they  had  it.   Either  you  have  it  or  you 
haven't,  and  people  who  try  to  assume  it  by 
suggestive  clothes  and  actions  are  always  vul- 
gar. A  lot  of  girls  in  Hollywood  act  as  if  they 
had  it,  and  only  make  it  all  the  plainer  that 
they  haven't. 

Good  Looks  Not  Essential 

HOLLYWOOD  is  full  of  marvelously  good- 
looking  people,   but  good  looks  have 
nothing  to  do  with  it.  Some  people  who  are  down- 
right homely  in  their  features  are  made  attractive 
and  magnetic  by  natural,  inborn  sex  appeal.  Others 
who  have  perfect  features  sometimes  make  themselves 
repulsive  by  assuming  something  they  don't  have. 
Some  stars  who  are  reputed  to  have  's.  a.'  are  not  so 
big  at  the  box-office,  and  the  reason  is  that  they  have 
only  one  audience — the  men  who  don't  object  to  their 
vulgarity.  To  be  a  really  big  star  you've  got  to  have 
the  women  and  the  kids  like  you  as  well  as  the  men 
do.  That  means  something  more  natural  and  child- 
'   ish,  not  just  a  bold  sexy  look  on  your  face. 

"Sex  appeal  can  be  a  great  asset  to  a  star,  but 
can  also  pull  you  back  if  you  get  known  for 
lat  and  nothing  else.  Personally,  I  have  never 
striven  after  sex  appeal  because  I  suppose  I 
have  it  inborn  in  me,  and  I  believe  that  is 
why  I  have  got  where  I  am.  I  believe  that 
anything  that  pleases  the  people  as  a  "whole 
must  be  good.  I  deny  the  charge  of  vul- 
garity and  I  shall  continue  to  deny  it  as  long  as 
there  is  a  Prodnose  left  on  earth." 
(Wild  applause  in  court.  Several  gentlemen's 
hats  are  thrown  at  defendant.  An  excited  lady 
throws  her  umbrella  in  the  same  direction,  and  her  small 
offspring,  thinking  it  is  a  game,  tosses  a  toy  brick.  With 
great  difficulty  His  Honor  restores  order.) 

Not  the  Criminal  Kind 

PA.:  "I  am  gratified  to  observe  on  the  faces  of  the  jury 
members  that  they  are  no  more  impressed  by  this  hair- 
(Continued  on  pa^r  89) 

37 


The  Most  Dangerou:', 


Charles  Bickford's  size,  voice  and  he-man  personality 
are  so  well  suited  to  the  tvpe  of  role  he  makes  convincing 
that  CLASSIC  asked  him  if  his  real  life  had  had  any  o£ 
the  same  tough  action  he  portravs  on  the  screen.  The 
story  he  tells  here  is  his  answer — and  a  potent  one.  It 
is  a  story  that  contains  more  "hidden  past"  than  has 
ever  heretofore  been  revealed  by  a  motion  picture  star. 
In  telling  it,  he  was  emphatic  that  it  should  he  printed 
just  as  he  told  it — without  any  "sugar-coating." — 
Editor's  Note. 


AT  present  I  am  a  movie  star  in  Hollywood. 

f\        A  few  years  ago  I  was  a  rum-running  racketeer 

/"^  in  Maine. 
/  m  And,  of  the  two,  I  would  much  prefer  the  life 
of  a  rough  and  ready  racketeer  to  that  of  a  movie  star, 
any  day!  Not  particularly  for  the  money  there  is  in  it, 
but  because  it's  more  interesting  and  exciting.  Real  ad- 
venture. This  business  of  standing  in  front  of  a  micro- 
phone" and  "acting"  tough  is  like  a  howl  of  cold  soup — 
after  some  of  the  actual  adventures  I  have  been  through. 

I  have  always  labored  under  an  innate  rebellion  against 
all  law  and  order.  In  fact,  I  have  never  been  much  for 
obeying  laws — that  is,  unless  I  had  to  or  because  I  just 
happened  to  agree  with  a  certain  statute.  I  realize  that 
we  must  have  a  good  many  laws  in  this  state  of  advanced 
civilization  in  which  we  live,  but  I  don't  like  them  and 
I  never  obey  them  when  it  is  more  enjoyable  or  profitable 
to  pass  them  up.  My  heart  and  soul  have  an  unquench- 
able thirst  for  adventure  and  I  have  found  that  strict 
adherence  to  laws  has  always  been  more  or  less  of  an 
obstacle  in  my  path. 

F-ven  as  a  kid.  I  pndrd  ni\ self  npf>ti  limif;  nn  active 

.>8 


Charl  s 
He-Man  (f 
Courtc) 
As  a  Ru 1 

As  Toht 
TO  WALT! 


No  synthetic  adventurer: 
Charles  Bickford,  the  hard- 
boiled  Irishman  of  "Anna 
Christie"  (lefti  and  the  he- 
man  sailor  of  "  The  Sea  Bat  " 
(below),  had  his  first  sea  fight 
just  outside  of  Boston  Harbor 


R.  H.  Louise 


Hurrel 

member  of  the  "Forty  Thieves,"  a  gang  of  young 
hoodlums  that  infested  the  East  End  of  Boston.  We  were 
a  prettv  tough  bunch  of  youngsters  and  were  famous  tot 
settling  accounts  for  that  whole  end  of  the  town.  In  al 
fairness,  however.  I  must  say  that  we  made  it  a  practice 
to  steer  clear  of  those  who  allowed  us  our  own  ideas. 
There  are  probably  a  number  of  citizens  who  remember 
us  as  a  bunch  of  row.iv  hellions.  We  were.  And  1  w.is 
the  so-called  leader! 

That's  where  1  got  in\  start    over  on  the  Fnsr  Fn<l  of 


Moment  of  My  Life 


Bickford 
the  Screen, 
Danger 
Runner 


Charles  Bickford 

RAMSEY 


Known  in  Hollywood  as 
"Bad  Boy  Bickford"  because 
he  does  and  says  what  he 
likes,  he  has  had  little  chance 
to  rest  '  as  below )  at  his  Santa 
Monica  home,  since  his  in- 
tense portrayal  in  "Dyna- 
mite" (right) 

R  H  Louise 


that  "dignified"  city  of  Boston.  Then  along 
came  the  War.  The  gang  all  wanted  to  go — and  most  of 
tliem  did.  I  got  along  great,  while  I  was  over  in  France, 
hccaiise  I  suppose  "most  everyone  could  see  (just  by  one 
look  at  my  face)  that  I  was  having  the  time  of  my  life. 
Ir  was  a  great  adventure.  A  lawless  sort  of  law  in  the 
l)reaking! 

A  few  months  after  returning  from  that  CJreat  Adven- 
ture, I  was  introduced  to  another  adventure  nnn-run- 
ning.  in  rather  an  accidental  wav.  .  .  . 


A  Run-in  With  Pirates 

TWO  of  the  hoys  and  myself  decided  to  spend  the  day 
on  the  ocean,  doing  a  little  yachting.  We  had  figured 
It  to  be  a  stag  affair,  but  the  owner  of  the  boat  brought 
along  his  girl-friend.  After  we  had  been  out  about  three 
or  four  hours,  we  sighted  a  forty-foot  speed  launch  ap- 
parently in  distress.  We  got  their  signal  from  a  distance 
and  turned  in  their  direction  to  see  if  we  might  be  of 
some  assistance.  When  we  drew  alongside,  the  four  men 
in  the  other  boat  began  throwing  ropes  onto  our  deck  in 
order  to  hold  the  two  crafts  fast.  We  even  helpfd  them! 

I  hen  the  hell  broke  loose — and.  incidentally,  one  of  the 
most  dangerous  moments  of  my  lifel 

The  four  of  them,  all  big,  burly  cut-throats,  came  lung- 
ing onto  our  deck  with  dark  scowls  and  much  strong 
cursing.  One  of  them  brandished  a  large  club  and  de- 
manded that  we  turn  over  the  ship  to  them  —  together 
with  the  girl.  That  was  the  pay-off"!  Fists  commenced 
to  fly  and  men  began  to  fall. 

We  were  outnumbered  and  outweighed  by  them,  but, 
as  luck  would  have  it,  two  of  them  had  been  drinking 
a  bit  of  their  own  cargo  and  weren't  so  steady  as  they 
should  have  been.  The  owner  of  the  boat  was  the  first 
to  feel  the  strength  of  the  pirates;  a  swift  jab  of  the  club 
caught  him  behind  the  collar  and  laid  him  out  tem- 
poranlv. 

Five  Unconscious  Men 

IN  the  meantime  my  partner  and  I  were  having  a  hot 
time  uith  the  three  racketeers  who  had  chosen  to  mix 
it  with  us.  lie  got  in  one  very  neat  blow  just  as  the  brawl 
started  and  the  man  who  took  it  on  the  chin  fell  back- 
wards on  his  head  against  the  anchor — cracking  his  skull 
(Covtittufd  nv  pn^^  q  f) 


.^0 


Vm  A  Screamer,  Aren't  We  All? 

Strike  up  the  band!  Virginia  Sale  has  joined  the  ranks  (with  the  accent  on  the  rank) 
of  theme-songstresses,  and  there's  going  to  be  anything  but  music  in  the  air.  The  only 
place  she  can  carry  a  tune  is  in  her  arms    but  who  cares?   This  gal  has  expression! 

Portraits  posed  especially  for  Classic  by  Russell  Ball 


40 


At  Five  O'clock 


You  Don  t  Catch 
Wallace  Beery 
Working  Overtime 

By 

ELISABETH  GOLDBECK 


WALLACE  BEERY,  in  the  guise  of  P.  T. 
Barnum,  ambled  into  the  lunchroom.  With 
the  utmost  courtliness,  he  shook  hands. 
Then  he  carefully  removed  his  coat.  With 
qua!  deliberation,  he  removed  his  vest,  and  hung  them 
>oth  on  a  nail. 

IThen  he  sat  down,  and  carefully  lowered  his  suspenders. 
Perfect  comfort  having  been  achieved,  he  ordered  lots 
)f  potatoes  and  started  to  talk. 

The  most  you  can  get  from  Wally  is  rambling  comment 
>n  the  things  that  happen  to  be  passing  through  his 
nind — delivered  in  a  deep  and  rambling  voice.  There's  a 
rery  pleasant,  seasoned  quality  about  him  and  about  his 
roice. 

His  favorite  salutation,  for  everyone,  is,  "Hello,  Keed!" 
He  devotes  a  lot  of  time  to  practical  jokes.  When  he 
md  Raymond  Hatton  were  makmg  comedies  together, 
hev  had  one  set  on  the  deck  of  a  big  ship,  which  was 
cached  by  a  long,  hard  climb  up  a  ladder.  It  was  their 
dea  of  great  fun  to  keep  asking  the  property  man  for  a 
!rink  of  water,  all  day  long,  and  when  he  had  toiled  way 
p  to  the  top  with  it,  to  take  a  tiny  sip  and  throw  it,  cup 
ind  all,  over  the  side  of  the  boat.  They  split  their  sides 
jver  that  one. 


w 


He  Likes  to  Shock  Them 

IRING  a  chair  and  giving  unsuspecting  sitters  a 
nasty  jolt  of  electricity  is  another  of  Wally's 
avorites.  And  hitting  people  on  the  side  of  the  leg  with 
lis  fist  was  another  pet.  He  went  to  great  trouble  to 
jevelop  that  gag.  He  hit  the  rest  of  the  cast  in  the  leg 
jntil,  black  and  blue,  they  caught  on  to  the  idea  and  were 
about  ready  to  hit  him  back.  Then  he  put  a  long  board 
nside  his  trouser  leg,  and  wore  it  all  day,  so  when  his 
victims  hit  him  in  the  leg,  they'd  take  the  punishment. 

All  these  little  jokes  he  perpetrates  with  that  wide  baby 
5mile,  which  is  very  disarming,  unless  you  happen  to  be 
he  one  who  sat  in  the  electric  chair.  I  suppose  after  his 
'riends  have  broken  a  few  knuckles,  he  explains  that  he 
was  only  kiddmg. 

He  hates  to  have  his  lines  of  dialogue  changed.  If  they 
ntroduce  so  much  as  an  "and,"  or  tell  him  to  say,  "Oh, 
nello,"  instead  of  "Hello,  there,"  he  grumbles  and  says, 
'How  do  you  expect  me  to  learn  these  lines  if  you  keep 
rhanging  them  ?" 

He  arrives  on  the  set  with  exact  promptness,  and  when 
ive  o'clock  comes  he  quits,  even  if  it's  in  the  middle  of  a 
scene — a  prerogative  which  only  very  big  stars  have  the 
enrage  to  claim,  as  a  rule. 


He  drives  his  car  like  a  madman;  he  used  to  be  a  rac- 
ing driver.  The  reason  people  ride  with  him  in  his  airplane 
is  that  they  feel  it's  safer  than  riding  with  him  in  his  car. 

The  Elephants'  Influence 

AMONG  other  things  that  he  used  to  be  are:  an  ele- 
phant trainer,  a  chorus  boy,  a  leading  man,  a 
female  impersonator,  a  hard-breathing  villain,  and  an 
arch-nitwit  in  comedies.  He  trained  the  largest  herd  of 
elephants  in  the  United  States,  and  let  them  lie  down  on 
him  and  do  all  the  other  tricks.  He  thought  that  was 
great — and  explains  it  with  the  theory  that  where  there 
are  no  brains,  there  is  no  fear. 

Nevertheless,  the  elephants  left  their  mark.  Wally 
seems  to  have  taken  on  many  of  their  qualities.  He's  big, 
playful,  and  pachydermic.  He  has  their  gentleness  of 
spirit  and  movement,  but  with  that  slow  sense  of  strength 
— that  wallop  behind  the  elephant's  smile. 

He  immediately  calls  a  woman  "dear,"  in  the  Hollywood 
manner. 

{Continued  on  page  gj) 

41 


L  O  O  K  I 


N  0 


Close  -  U ps 
From  The  Coast 


Russell  Bal! 

OUT  of  politeness,  practically  all  Hollywood  separa- 
i  tions  are  referred  to  as  "surprising,"  but  none  so 
f  thoroughly  jolted  the  natives  as  this  trouble  be- 
tween Lina  Basquette  and Pev  Marley.  "Ulterior 
motive"  rumors  are  flying  tfiick  and  fast,  for,  two  weeks 
before  this  was  written,  Pev  and  Lina  were  dropping 
kissed  sugar  in  each  other's  coffee  and  insisting  they  were 
the  happiest  couple  alive.  And  it  wasn't  hard  to  believe. 

In  Pev's  little  hillside  bungalow  Lina  had  apparently 
settled  down  to  a  life  of  domestic  bliss.  She  even  prepared 
the  meals — between  kisses  and  boastful  compliments  from 
her  young  husband  that  she  was  the  world's  best  cook. 

And  now  Pev  is  living  in  the  little  house  all  alone  and 
Lina  is  stopping  at  the  Ambassador  Hotel. 

Lina  says  that  her  baby,  Lita,  daughter  of  the  late  Sam 
Warner,  came  between  them.  "Pev  was  jealous  of  her. 
He  was  jealous  of  anything  that  reminded  him  of  my 
former  marriage,"  is  her  explanation.  Pev  says  nothing. 
In  the  meantime,  the  Harry  Warner  adoption  suit  and 
{^300,000  settlement  on  the  baby  hangs  in  the  balance; 


and  Hollywood  can't  forget  that  the  Warners  never 
approved  of  Lina's  marriage  to  De  Mille's  former  camera- 
man. There's  many  a  head  wagging  over  this  "mysteri- 
ous" estrangement. 


CLARA  Bow.  in  a  hat  with  "lialos"  around  it — sup- 
posed to  be  the  newest  wrinkle. 
Ina  Claire  telephoning  from  a  luncheon  table  at  the  Bram 
Derby.  Guess  whom? 

Marian  Nixon  hostess  at  a  "bathing  suit"  shower  for 
Sally  Filers  a  week  before  her  marriage. 

Florenz  Ziegfeld  conversing  with  '  Mrs.  Walter  Aforosco" 
and  not  recognizing  Corinne  Griffith. 

Bebe  Daniels  and  Ben  /.yon  settled  in  Ben's  f folly  wood 
apartment  after  a  honeymoon  in  Santa  Barbara. 


A 


T  this  writing,  Alice  White's  ofF-again-on-again  con- 
tract with  First  National  is  still  a  topic  of  interest. 


42 


Them  Over 


By 


DOROTHY  MANNERS 


.... 


She  must  have  his  Httle  joke:  it's  not  that  Robert  Ames 
(above)  isn't  perfectly  capable  of  talking,  but  when  two  ex- 
Broadway  stars  get  together,  as  he  and  Ann  Harding  do  in 
"Holiday,"  there's  bound  to  be  some  close-up  mischief  and 
some  stage  whispers  afoot 


And  at  right,  ladies  and  gentlemen,  you  see  the  first  siren  in 
the  talkies  to  lose  her  pretty  head:  Norma  Talmadge,  thinly 
disguised  as  Du  Barry,  Woman  of  Passion,  as  whom  she  loves 
not  only  well,  but  unwisely 


The  minute  if  leaked  out  that  the  blonde  flapper  and  her 
company  had  reached  a  parting  of  the  ways,  the  rumor 
hounds  began  to  sing  Alice's  Swan  Song.  One  enterprising 
young  reporter  was  on  the  verge  of  printing  a  story  to  the 
effect  that  Alice  would  sign  with  a  comedy  company  at 
one-tenth  of  her  former  salary,  but  before  he  could  get  to 
the  papers  with  his  story.  First  National  started  dickering 
for  her  continued  services. 

The  truth  is  that  the  little  White  flapper  won't  sign 
with  anybody  unless  she  gets  a  contract  very  much  to  her 
liking.  She  is  one  of  the  few  who  have  salted  it  away  while 
the  salting  was  good.  For  three  years  while  she  was  draw- 
ing a  thousand  dollars  weekly,  Alice  was  living  in  a  sixty- 
dollar-a-month  apartment  and  driving  a  Pord. 

Incidentally,  she  told  me  she  had  made  close  to  sixty 
thousand  dollars  in  the  stock  market  during  the  slump. 
W  ith  her  usual  canniness,  she  rushed  in  where  the  foolish 
still  feared  to  tread  and  bought  at  the  bottom.  Now  she's 
riding  arotmd  in  a  slick  new  town-car  with  plenty  left 
over  for  knicknacks.. 


John  Mieblp 

JEANETTE  Lofi  in  a  vivid  uetv  sports  dress  on  her  zvav 
to  San  Francisco  to  sinp  over  the  radio. 
Lon  Chaney  and  Edmund  Goulding  speaking  over  their 
hock  fence.   TheyWe  neighbors  now. 

Jeanette  Mac  Donald  practising  tap-dance  steps. 
Dick  Arlen  and  Jobyna  Ralston  joining  'Dick's  location 
troupe  in  Catalina  on  their  c:vn  yacht. 


EDDIE  Cantor  was  giving  a  brief  lesson  on  diet  to  one 
of  his  young  daughters  on  the  "Whoopee"  set. 
"You've  got  to  eat  lettuce  because  of  the  vitamins,"  he 
explained.  "You  know  about  vitamins — Warner  Brothers 
have  been  making  'em  for  years!" 


MAURI  Grashin,  Pathe  scribe,  was  matched  against 
William  dc  Mille  in  the  recent  Motion  Picture 
Tennis  Tournament.  Grashin  won  by  default.  Inasmuch 
as  De  Mille  could  beat  Grashin  over  the  rrlcphone,  every- 

4,S 


News  And  Views  Of 


one  was  surprised  to  hear  the  news.      Lese  Majeste? 

"How  come?"  asked  one  of  the  innocent  bystanders. 

"Oh,  it  was  easy,"  offered  Grashin.  "I  just  called  him 
up  and  asked  if  we  couldn't  settle  this  thing  outside  the 
courts." 


ERNST  Lubitsch  calling  his  divorced  wife  over  the 
telephone  to  find  out  about  his  dress-shirt  studs. 
Mae  Sunday,  ex-daughter-in-law  of  the  famous  Billy, 
accepting  her  second  bridesmaid's  role  within  a  month.  Mae 
"stood  up"  with  both  Bebe  Daniels  and  Sally  Filers. 
Helena  Costello  ordering  seven  hats  from  Magnins. 
Lupe  Felez  dining  at  home  with  her  sister  and  brother- 
in-law. 


YOU'RE  in  for  a  real  treat  when  Fredric  March 
"comes  to  your  theater"  in  "The  Royal  Family." 
It  was  his  famous  John  Barrymore  impersonation  in 
this  stage  play  by  Edna  Ferber  and  George  S.  Kaufman 
that  earned  Freddie  his  Paramount  contract.  And  how 
he  does  it!  He  even  looks  like  Barrymore — walks  like 
him — talks  like  him. 

"The  Royal  Family"  is  supposed  to  be  based  on  the 
family  life  of  the  Barrymores,  the  characters  including 
Ethel,  John  Drew  and  all  the  in-laws. 


THE  "hot  shot"  publicity  story  of  the  month  comes 
from  Paramount,  to  the  effect  that  Wolfe  Gilbert  and 
Abel  Baer,  composers,  are  writing  Clara  Bow's  moods, to 
music.  The  yarn  continues  (believe  it  or  not): 


"It  is  their  theory  that  screen  melodies,  to  be  full 
effective,  must  fit  the  personalities  of  those  who  sing  them 
Consequently,  they  embarked  upon  a  study  of  the  11 
girl.  A  studio  projection-room  served  as  their  laboratory 
part  of  the  time.   In  an  unobtrusive  way,  they  carried 
their  research  further  by  talking  with  the  star  at  every 
opportunity  and  drawing  her  out  on  various  subjects.  All 
of  the  time  they  were  careful  not  to  let  Miss  Bow  kno\ 
that,  figuratively,  her  personality  was  under  the  dissectin 
knife.   To  have  done  so  might  have  robbed  her  actions 
of  spontaneity  and  defeated  their  purpose." 


JUNIOR  Laemmle  lunching  in  a  quiet  corner  at  the 
Embassy. 
Jimmy  F idler  presenting  Dorothy  Lee  with  a  beautiful 
engagement  ring  at  their  "announcement  party." 

Sue  Carol,  their  closest  friend,  performing  the  announce- 
ment. 

Fred  Scott  on  the  verge  of  backing  out  of  a  tea-room  because 
he  didn't  "see  any  other  fellows." 

Stanley  Smith  arriving  just  in  time  to  save  Fred  from 
flight. 


ZASU  Pitts  is  the  mother  of  one  child  and  has  adopted 
five  others. 

At  the  time  of  Barbara  La  Marr's  death,  Zasu  took  her 
ffiend's  adopted  son  to  raise,  and  now,  at  the  death  of  her 
sister-in-law,  she  has  sent  for  her  brother's  four  motherless 
children. 

For  years  Zasu  has  been  looked  on  as  Hollywood's 
grandest  person.  This  cinches  it. 


Archer 


Radio 


It  pays  to  look  around:  it  was  his  own  lines  for  "Nancy  From 
Naples,"  that  Charles  King  was  supposed  to  be  learning,  but 
he  preferred  to  study  Irene  Delroy's 


It's  lucky  Californians  go  to  Florida:    if  someone  from  RKO 
hadn't  gone  to  the  enemy  country,  young  and  promising 
Roberta  Gale  would  not  now  be  under  contract 


44 


Hollywood  Today 


TVTO  one  is  more  surprised  over  Marie  Dressler's  sensa- 
K  tional  success  than  Marie  Dressier.  Two  years  ago 

Marie  told  a  friend,  "  I'm  all  cleaned  up.  I'm  just  a  fat  old 
woman  and  nobody  wants  me." 

Now,  word  drifts  back  from  London  that  Marie  is 
creating  more  of  a  riot  than  even  Mary  and  Doug. 

When  she  was  in  New  York,  a  whole  squad  of  Elks,  or 
Boy  Scouts,  or  something,  stood  lined  up  in  her  corridor 
just  waiting  for  a  chance  to  shake  hands  with  her. 

In  the  meantime  M-G-M  is  lining  up  another  co-starring 
picture  with  Polly  Moran.  "Caught  Short"  has  been 
standing  them  in  line  all  over  the  country. 


►  EBE  Daniels  lunching  at  the  Embassy  in  a  smart 
sweater-and-skirt  suit. 
Ditto  for  Ina  Claire. 
Red-white-and-blue  being  the  favorite  combination  for 
Hollywood  sports  clothes. 

Lucille  Gleason  entertaining  at  the  Dominoes  Club. 
Dorothy  Dwan,  at  Lucille's  party,  admitting  that  she  is 
quite  finished  with  pictures. 


WHEN  Ruth  Mix  married  Douglas  Gilmore,  she 
ran  into  the  same  trouble  Loretta  Young  and 
Grant  Withers  experienced — "mamma"  trouble.  At 
first  it  brewed  hot  and  heavy,  and  then  the  newspaper 
boys  drifted  around  and  asked  the  former  Mrs.  Tom  Mix  if 
she  wouldn't  please  pose  for  pictures  with  Ruth  and 
Doug.  "I  ougnt  to  pose  with  an  ax  or  something,"  de- 
clared Mrs.  Mix,  but  there  was  a  twinkle  in  her  eye;  and 
by  the  time  Ruth  and  Douglas  showed  up  from  their 


Rich»e 


elopement,  mamma  was  in  a  more  or  less  submissive 
frame  of  mind. 

From  somewhere  in  the  wilds  of  Canada  Tom  Mix  also 
sent  his  blessings. 


EDDIE  Quillan  doing  first-rate  imitations  of  Netusreel 
personalities. 

Mitzi  Green  leaving  a  nickel  tip  under  her  glass  of  milk 
in  the  Paramount  cafe. 

Clive  Brook  lunching  in  a  bathrobe  at  the  same  place. 

Richard  Dix  helping  an  actor  memorize  his  lines  by 
"cueing"  him. 

Lilyan  Tashman  experimenting  with  unusual  coiffures 
in  a  beauty  parlor. 


IF  you  ever  have  occasion  to  lunch  at  Eddie  Quillan's 
house — take  a  tip!  Don't  eat  for  a  week.  Mama 
Quillan  sets  a  luncheon  board  that  would  shame  the 
twelve-course  dinners  at  the  Mayfair  or  the  Embassy. 
"Just  a  little  snack,"  she  calls  it,  referring  to  chicken  and 
potatoes,  hot  biscuits,  two  kinds  of  salads,  potato  and 
fruit,  stuffed  celery,  stuffed  eggs,  ice  cream  and  cake. 
And  don't  forget  there  are  fourteen  of  the  Quillans! 


NOW  that  the  reports  are  all  in,  they  say  William 
Haines  made  more  money  for  M-G-M  than  any 
other  star  last  year.  Greta  Garbo  was  second.  Joan  Craw- 
ford third.  John  Gilbert,  who  formerly  led  the  box-office  pa- 
rade with  Greta,  can't  be  counted  as  he  made  so  few  pictures. 
[Continued  on  page  lOj) 


\  .-v. 


Becoming  high-hat:  but  Marlene  Dietrich  is  becoming  any  way. 
And  the  has  a  right  to  the  tall  topper,  making  her  talkie  d6but 
opposite  Gary  Cooper  in  "Morocco" 


Fryer 

Where  there's  a  light  there's  a  smoke:    Guinn  Williams,  who 
knows  his  broncos  and  cattle  rustlers,  goes  downright  Western 
in  "The  Bad  Man"  and  rolls  his  own 


45 


ibey^re  All  Ta 


At  L 


a  s  t 


By 

GLADYS  HAL 


IILA  was  feeling  low. 
She  didn't  care  who 
knew  it.  She  looked 
•  beautiful  but  tired. 
She  looked  Grown-Up. 
"Cuddles"  is  gone.  A 
woman  has  taken  her  place. 
One  of,  it  is  generally  con- 
ceded nowadays,  the  most 
beautiful  and  most  talented 
in  Hollywood.  Lila,  in  com- 
pany with  Bebe  Daniels  and 
Warner  Baxter  and  others, 
has  staged  a  notable  Come- 
back. She  is  Talked  About. 
She  is  a  Bet.  A  Bet  that  has 
won. 

Lila  was  feeling  low.  She 
had  had  a  scene.    With  an 
admirer  who  thought  she 
was  getting  too  peaceful. 
Lila  does  not  come  under 
the  Oscar  Wilde  heading  of 
ladies  who  take  lovers  just 
to  make  scenes  for  them. 
She  is  not  flattered.   She  is 
not  stimulated.    She  is  ser-  • 
iously   annoyed   and  very 
much  enervated.  They  wilt 
her.     She  says  she  knows 
some  women  who  eat  up 
scenes  and  thrive  on  them.  She 
is  not  among  them.  Probably 
men  make  them  just  to  be  obliging, 
but  Lila  wishes  they  would  use  some  discre- 
tion before  unleashing  •  their  more  tempestuous 
emotions. 

Lila  says,  "I  have  to  have  harmony  about  me  or 
go  to  pieces.  I  rather  run  away  from  unpleasant 
things  .  .  ." 

She  Lived  and  Learned 

IILA  was  feeling  very  low.    Life  is  not  at  all  the  Baii 
J  way  she  once  thought  it  would  be,  when  she  was 
"ver\'  young."    She  doesn't  believe  in  Santa  Claus  any 
more,  or  in  elves  and  fairies.  God  may  be  in  His  Heaven, 
but  all  is  not  right  with  the  world. 

"I  expect  that  there  are  people  with  the  blood  of  con- 
querors coursing  through  their  veins,  people  who  are  cap- 
tains of  their  souls  and  masters  of  their  fates  or  what- 
have-you.  People  who  can  take  life  by  the  nape  of  the 
neck  and  twist  it  into  any  shape  or  position  they  please. 
\o  doubt  it  is  this  quality  in  them  that  makes  them 


But  Lila  Lee  Still 
>      Doesn't  Believe 
In     Santa  Claus 


world-beaters.  But  I  am  not 
among  them.  I  can't  seem 
to  get  a  propergrip  on  every- 
thing all  at  once.  When  one 
thing  in  life  goes  right,  an- 
other goes  wrong,  and  vice 
versa. 

"As  now,  with  my  work. 
That  is  going  righter  than  I 
ever  thought  it  would  or 
could  again.  A  couple  of 
years  ago,  I  thought  I  was 
Jini.  I  saw  my  movie  tomb- 
stone reared  above  me,  all 
neatly  epitaphed  and  every  - 
thing. Nobody  wanted  me. 
I  was  completely  forgotten. 
I  made  a  quickie  and  thought 
I  was  Big  Time.  And  I  was 
frantic.  I  had  to  work.  I 
had  to  have  money.  I 
didn't  know  what  I  could 
do,  where  I  could  turn. 
There  was  nothing  I  could 
do,  nothing  else,  I  mean. 

Her  Life's  Work 

had  never  known  any- 

  thing    but   the  stage 

from  the  day  when  I  was 
four-and-a-half   years  old 
and   Gus   Edwards   saw  me 
running  home  from  school.  That 
was  in  Union  Hills,  New  Jersey.  And 
he  carried  me  off  then  and  there,  in  the 
name  of  Art,  or  something.  I  sat  on  top  of  a  piano 
and  sang  and  they  named  me  'Cuddles.'    I  kept 
right  on  going.   I  toured  about  with  the  Edwards 
troupe  as  star  until  191 8,  when  Jesse  Lasky  saw  me 
and  offered  to  give  me  a  screen  test.   A  contract 
was  the  result  of  that.    I  was  thirteen.  My  first 
picture  was  'The  Cruise  of  the  Make-Believe,'  with 
Wally  Reid.  Then  came  a  succession  of  child  roles. 
My  first  really  grown-up  role  was  in  Cecil  de  Mille's  'Male 
and  Female.' 

"Oh,  well,  that's  all  an  old  stor>'  .  .  .  But  anyway,  the 
point  is  I  had  never  had  any  schooling  to  speak  of. 
Itinerant  tutors,  but  no  consecutive  training  of  any  sort 
along  an\'  other  line.  I  had  no  interest  in  anything  but 
the  stage  or  screen.  I  could  hardly  talk  about  anything 
else,  let  alone  do  anything  else.  No  wonder  I  was  terrified 
when  I  thought  that  the  one  door  was  closed  to  me.  I 
{Continued  on  page  100) 


I 


48 


You've  heard  of  The  Man 
With  The  Hoe.  The  IT  Man, 
The  Man  With  A  Family 
(insure  yourself  to-day),  The 
Man  With  A  Future  (you 
too  can  have  one — sign  up 
now),  not  to  mention  The 
Man  With  A  Past— but  here 
is  The  He-Man  With  Man- 
Size  Dimples,  and  George 
Duryea  doesn't  find  them  a 
handicap 


Last  month,  June  Collyer 
did  things  with  dimples,  and 
now  George  is  doing  them. 
At  top,  for  instance,  he's 
trying  to  look  like  Lon 
Chaney  in  a  cut-throat  poker 
game.  Center,  he  turns  on 
the  kind  that  that  little 
blonde  with  the  lithp 
callth  dimply  elegant.  And, 
right,  the  way  he  turns  up 
when  he's  a  week  late  on  a 
date 


Lippman 


Their 


Sea  Legs 


Two  of  a  kind  are  the  peg-leg  mate  and 
Cap' n  Ahab  Barrymore,  after  John  meets 
his  old  enemy,  "Moby  Dick,"  the  white 
whale.  He  would  have  only  one  leg  to  stand 
on  for  the  rest  of  the  potent  picture,  if  it 
weren't  for  the  ship's  carpenter 


tie  Didn't  Know  Better 


By 

DOROTHY 
MANNERS 


I 


N  my  comings 
goings  among 


and 
the 


exalted,  I  have 
heard  many  causes 
1(  aded  in  the  name  of 
line,  but  Fred  Scott  is 
lit  first  to  blame  it  all 
II  ignorance. 

"I  sometimes  thmk," 
aid  Fred,  looking  as 
hough  he  really  made  a 
labit  of  it,  that  "ig- 
•orance  is  an  under- 
ated  condition.  It 
pares  us  so  much.  W  ith- 
out it,  it  would  be  too 
asv  to  give  up  anytbmg 
It  the  first  rebuff.  On 
he  other  hand,  being  in 
I  pleasant  state  of  un- 

onsciousness,  many  of   

IS  press  on,  convinced  ■^■^^^H^^H^^^^^BB 

hat  we  are  indefati- 
:able.  Often  it  isn't  until 

wi-  have  achieved  a  fair  amount  of  success  that  we  realize 
difleiently — and  then  it  is  too  late. 

When  I  first  came  to  Los  Angeles  from  Fresno,  1  was 
firmly,  convinced  that  I  was  the  only  good  singer  in  these 
parts  ..." 

It  is  hard  to  visualize  this  boy  as  ever  having  been  sold 
on  himself,  even  in  his  juvenile  stage.  He  is  quite  the 
shyest  person  I  have  ever  met  from  behmd  the  cameras. 

le  reminds  you  of  no  other  actor,  because  he  is  not  like 
an  actor  at  all.  I  doubt  if  you  could  even  call  him  hand- 
some, though  he  is  pleasant-looking  in  an  out-of-door  sort 
of  wav.  If  Fresno  hadn't  been  his  birthplace,  Texas 
would  have  served  nicely.  He  even  has  that  drawly,  slow 
wav  of  talking,  seasoned  with  a  Will-Rogersonian  brand 
of  dry  humor.  Just  when  he  is  on  the  verge  of  being 
slightly  ill  at  ease,  that  same  humor  rushes  to  his  rescue. 
His  hair  is  dark,  and  I  think  his  eyes  are  blue. 

"I  was  quite  the  vocal  works  up  in  F"resno,"  he  con- 
tinued, in  that  drawl,  after  sufficient  probing.  "Sang  in 
the  church  choirs,  and  for  the  visiting  E^lks  and  that  sort 


4 


of  thing,  on  the  slightest 
provocation.  Naturally, 
I  got  it  into  my  head 
that  Fresno  was  cramp- 
ing my.  style  as  a  baby 
Caruso.  Such  talent  de- 
served a  wider  field  of 
expression." 

He  looked  at  me  sort 
of  sheepishly,  to  make 
sure  I  was  sharing  m 
this  laugh  on  himself. 

"I'd  heard  about  the 
famous  Alberti,  who  was 
conducting  a  vocal  school 
in  Los  Angeles,  and  if  he 
was  as  good  as  they  said 
he  was.  I  figured  he 
should  have  the  oppor- 
tunity to  coach  me.  So 
down  I  came,  blissfully 
unaware  that  I  was  any- 
thing but  a  greenhorn 
who  was  good  enough  for 
small-town  sociables — and  no  better  than  that. 

"I'll  never  forget  that  first  audience  with  Alberti.  I 
ran  a  few  scales  for  him — sang  a  song  or  two.  I  his  great 
old  gentleman  listened  to  me  for  a  moment  and  then 
shook  that  wise  old  head  of  his.  'My  boy,'  he  said,  'you 
are  wasting  your  time  cultivating  that  voice.  You  are 
wasting  your  money.  I  don't  know  where  you  came  from, 
but  I  would  advise  you  to  go  back  there.' 

"I  was  flabbergasted.  I  was  bewildered.  But  I  was 
not  hurt  or  discouraged.  I  was  too  ignorant  for  that.  1 
figured  that  this  kind  old  gentleman  didn't  know  what  he 
was  talking  about.  Wasn't  I,  the  pride  of  Fresno  quartets, 
offering  myself  to  him  in  all  my  glory.'  It  was  just  a 
mistake.  He  was  wrong. 


Wni.  E.  Thomas 


if 


He  Couldn't  Be  Discouraged 

'M  not  going  back  home,'  I  told  him.  'I  don't  care 
what  you  say.  I'm  going  to  stay  here  and  study- 
not  with  you — with  someone  else.'    I  could  feel  this 
{Continued  on  page  lOy) 


I 


51 


The  Kmericano  from  Milano 


By 

C  E  D  R  I  C 
BELFRAGE 


com- 


IF  you  have  felt 
pelled  to  conclude, 
from  your  observation 
of  the  early  musical 
talkies,  that  as  singers 
Americans  have  very  good 
profiles,  hold  your  final  verdict 
until  you  get  an  earful  of  Everett 
Marshall. 

Everett  is  one  of  the  four  mem- 
bers of  the  Metropolitan  Opera 
Company  who  have  signed  fat  talkie 
contracts.  The  other  three  are  Law- 
rence Tibbett,  Grace  Moore,  and 
Mary  Lewis.  Their  talkie  contracts  are 
a  lucky  break  whichever  way  you  look  at 
it,  because  none  of  them  is  bound  hand  and 
foot  to  Hollywood.  In  each  case,  they  are  simply 
loaned  to  pictures  for  the  time  when  they  are  not  wanted 
at  the  Met. — about  forty  weeks  a  year,  that  is.  Large 
sums  had  to  be  paid  to  the  Met.  directors  to  release  them 
at  all.  And  still  larger  sums  are  going  into  the  pockets  of 
the  four  Prides  and  Joys  of  American  singing. 

Radio  Pictures  is  the  company  whose  productions  will 
be  graced  by  the  presence  of  Everett  Marshall.  And  first 
the  world  is  to  see  and  hear  him  opposite  the  fair  and 
luscious  Bebe  Daniels,  in  an  operetta  called  "Dixiana." 

There  was,  we  may  suppose,  much  weeping  when 
Everett  bade  his  pals  at  the  Met.  adieu.  Also  some 
gnashing  of  teeth.  For  it  must  have  been  like  swallow- 
ing gall  for  the  Italians,  the  Portuguese  and  the 
Greeks,  who  make  up  the  large  bulk  of  the  Met.  com- 
pany, to  see  four  Americanos  getting  Holl>'^vood's 
bags  of  gold,  while  they,  the  supreme  songsters  of  the 
world  by  all  musical  traditions,  were  ignored.  All  that 
good  money  going  to  waste!  But  the  Italians,  the  Portu- 
guese and  the  Greeks  were  no  longer  young.   They  had 


Everett  Marshall 

Did  Not 
Reach  The  Top 
By  Starting 
At  The 
Bottom 


Bachrach 


trained  so  long  to  get  a 
voice  that  in  getting  it  they 
had  lost  everything  else. 
It  was  Tibbett,  Moore, 
Lewis  and  Marshall 
who  won  the  four  big 
prizes;  all  comparative- 
ly young  people,  and  with  voices 
to  boot. 

Treated  Like  a  Native 

MARSHALL,  youngest  of  the 
four,  is,  however,  the  only 
one  who  wins  a  pat  on  the  back, 
even  in  a  small  way,  from  the  foreign 
element.  For  at  least  the  Italians  re- 
garded him  half  as  one  of  their  own.  Did 
he  not  make  his  debut  in  Italy;  sing  leading 
part.s  in  nearly  every  important  opera  house  of  that  coun- 
try; and  was  he  not  finally  signed  while  there  to  come 
back  and  appear  in  America.''  The  answer  to  these  ques- 
tions, as  my  tone  of  voice  should  have  indicated,  is  yes. 

Everett  is  one  of  those  incredibly  determined  people, 
who  pursue  an  idea  so  relentlessly  that  in  the  end  tney 
have  to  win  out.  Ever  since  he  was  a  boy,  he  was  deter- 
mined to  be  a  singer,  and  no  reverses  were  able  to  cool 
his  ardor.  Or  so  I  gathered,  after  a  delightful  two  hours 
spent  over  lunch  with  him. 

He  had  just  finished,  that  morning,  the  last  scene  for 
his  first  talkie,  "Dixiana";  and  at  this  more  or  less 
climactic  point  in  his  career,  I  asked  him  to  wax 
reminiscent  and  tell  me  about  himself.   Everett  told 
me — with  a  charm  in  the  telling,  the  like  of  which  I 
had  never  before  encountered  in  Hollywood.  Here  is 
a  man  with  a  natural  charm  which  batters  down  all  in- 
stinctive prejudice  that  one  might  have,  either  against 
{Continued  on  page  102) 


52 


wn 


ews 


amera 


53 


CINEMA    SHOTS   FROM    COAST  Tl 


He'll  sign  the  doggone  thing: 
with  Catherine  Moylan  teas- 
ing him  (right),  "Buster," 
leading  man  of  "Dogway 
Melody,"  agrees  to  a  new 
contract  at  three  thousand 
dog  biscuits  a  year 


Hollywood  makes  her 
laugh  fleft) :  but  Fran- 
ces McCoy's  profes- 
sion is  comedy,  so 
don't  think  things.  She 
is  having  a  good  time 
at  Fox  expense  in  Rube 
( Cartoonist  j  Gold- 
berg's "Soup  to  Nuts" 


The  girls  insist  on 
hanging  around  Karl 
Dane  (left),  and  he  not 
only  has  a  load  on  his 
shoulders,  but  his 
hands  full.  Left  to 
right,  they  are  Lenore 
Bushman,  Hsu-riet 
Lake,  Raquel  Torres, 
Catherine  Moylan  and 
Lottice  Howell.  Mary 
Doran  is  the  one  upset 


A  nice  fellow  to  have 
around:  Wallace  Beery, 
who,  after  all  these  years 
of  villainy,  is  finally  put 
behind  the  bars  as  Ma- 
chine-Gun  Butch,  tries 
to  look  harmless  (left), 
while  watchfully  waiting 
to  blow  the  lid  off  "The 
Big  House" 


She's  out  to  get  him: 
Gloria  Swanson,  who  as  a 
photographer  is  a  good 
actress,  tells  Lew  Cody, 
who  makes  his  talkie  de- 
but in  "What  A  Widow," 
to  sit  pretty  (left),  but  he 
wants  to  know  what  she's 
aiming  for — the  top  of  his 
head? 


Black,  but  not  blue:  Marjorie  Beebe,  Educational 
comedienne,  just  off  the  boat,  pulls  up  on  the  dock 
after  a  trip  to  Honolulu  to  prove  that  as  a  tan- 
getter  she  is  no  Hawaiian  pineapple 


54 


COAST  AND  BACK  TO  COAST  AGAIN 


One  horse  she  can  hold:  Joan 
Marsh,  who,  unlike  most 
actresses,  loves  horses,  has  a 
necking  party  (leftj  with  an 
Arabian  colt  at  the  extensive 
Kellogg  Arabian  Horse  Ranch 
near  Pomona 


She  was  kept  in  the 
dark  in  "The  Midnight 
Mystery,"  but  from 
now  on  Rita  La  Roy 
(right) — a  dark  lady 
who  is  coming  into 
your  movie  life — will 
have  spotlights  to 
guide  her 


She  straightens  him  out. 
acting  as  a  press  agent, 
Joan  Bennett  (right) 
gives  Joe  E.  Brown  "the 
works,"  with  the  result 
that  he  has  some  new 
wrinkles  in  "Maybe  It's 
Love,"  a  comedy  fwhen 
is  there  going  to  be  a 
tragedy?)  of  college  life 


Lippman 


She  leaves  the  prison: 
talented  eight-year-old 
Joan  Lawes,  seen  with  her 
father,  Warden  Lawes  of 
Sing  Sing  ( right  i ,  has  been 
signed  to  a  long-term  con- 
tract by  Fox,  and  now  is 
in  Hollywood  and  in  "Up 
the  River,"  a  prison  story 


'S  funny,  in  Hollywood,  the  friends  you  make:  as, 
for  instance,  Raquel  Torres'  latest — an  alligator, 
no  less — who  (or  which)  has  already  learned  how 
to  take  a  girl  for  a  ride 


George  Von  Elm,  one-time 
national  champion,  tells 
Richard  Dix  (right)  he  has 
seen  golf  players  blow  up, 
but  Rich  is  the  first  one 
he  has  ever  seen  blow 
down.  But  George  doesn't 
know  what  luck  some 
people  can  have 


55 


Is  HollywoocG 


BY    CEDRIC  BELFRAGE 


WHETHER  or  not  the  Old  English  Spirit 
is  gripping  Holl>^'ood  is  the  latest 
problem   to   wrinkle   my  massive 
dome. 

Of  course,  we  all  know  that  there  are  a 
deuce  of  a  lot- of  these  Limeys  in  Hollywood. 
But  the  full  extent  of  the  English  invasion 
may  not  be  percolating  through  into  our 
mass-consciousness.  These  English 
chaps  resort  to  insidious  methods  when 
they  go  out  on  an  invasion.  And  be- 
fore America  realizes  what  is  going 
on,  she  will  wake  up  to  find  that 
Hollywood,  that  diadem  in  her 
gem-encrusted  crown,  has  en- 
tirely capitulated  to  the  Limey 
and  all  he  stands  for.  There  will 
be  brass  bands  playing  "My  Coun- 
try, 'Tis  of  Thee"  along  Hollywood 
Boulevard,  and  the  people,  lost  to  all 
sense  of  shame,  will  be  singing  the 
words  of  "God  Save  the  King"  to  those 
glorious  strains.    And  what  will  Uncle 
Sam  do  then.^ 

Just  to  give  you  an  idea  how  serious  the 
English  invasion  is  getting,  here  is  the  result 
of  calculations  I  have  been  making  on  odd 
pieces  of  paper  during  recent  weeks: 

Englishmen  are  now  on  Hollywood's  payroll  to 
the  tune  of  a  round  $4,000,000  a  year.  And  that 
means  Englishmen — not  Colonials.  It  doesn't  include 
the  Canadian  division,  with  its  Pickfords  and  Pre- 
vosts,  nor  the  Australians  with  their  Niblos  and  Ju- 
lians. Nor  does  it  include  any  but  those  ladies  and 
gentlemen  from  the  sea-girt  isle  who  are  active  at  the 
present  moment  in  Hollywood  studios.  Excluded  also 
are  such  Limeys  of  doubtful  income  as  Charlie  Chap- 
lin.  Here  are  the  totals: 

Nine  English  directors  pull  down  approximately 
$16,500  weekly. 

Twenty-one  English  contract  players  get  approxi- 
mately $38,950  weekly. 

Sixty-eight  English  free-lance  players  get  approxi- 
mately $41,650  weekly. 

The  Money  They  Take 

ESTIMATING  an  average  of  one  working  week  in 
every  three  for  the  latter  group,  and  a  conserva- 
tive total  of  $500,000  a  year  earned  in  lump  sums  by 
a  half-dozen  English  writers  (including  Lonsdale  and 
Wodehouse),  one  finally  arrives  at  a  grand  total  of 
more  than  $4,000,000  a  year,  after  which — if  one  has 
any  sense — one  gets  into  a  hot  bath  and  lies  in  it  for 
an  hour,  to  restore  the  shattered  brain-cells. 

You  have  only  to  add  on  Charlie  Chaplin  and  a 
minor  host  of  cameramen,  assistants,  executives  and 
stepandfetchits  to  swell  your  total  up  somewhere  near 
the  $5,000,000  mark. 

Such  a  mob  of  Englishmen  could  hardly  be  present 
in  any  community  without  having  some  effect.  And 

56 


in  Hollywood  there  have  been  unmistakable  signs 
some  time  that  the  effect  is  no  small  one,  ai 
that  it  grows  steadily  greater  as  more  ai 
more  chappies  from  over  the  bally  briny  po 
into.  town.    Since  we  are  waxing  statistic: 
here  are  some  more  figures  to  set  you  poi 
dering  and  taking  headache  powders: 
Out  of  the  twenty-one  English  contra 
players,  thirteen  have  arrived  in  Hoi 
wood  since  the  talkies  started. 
Out  of  the  sixty-eight  English  fre 
lancers,  nineteen  have  arrived  sim 


0^ 


'Orribly  Hinglish  —  'Ollywood  ari 
Claude  Allister,  illustrating  tho! 
quaint  hold  Hinglish  customs  of  wea 
ing  the  'igh  topper;  taking  a  bawtl 
don't  y'know;  jolly  well  sneering;  ao  iK(i-k 
'ard  drinking  Jj^-  J; 

Portraits  of  Claude  Allister  especially  '^^"^ 
posed  for  Classic  by  Russell  Ball 


Going  Old -English: 

It's    'igh    Time    We  Jolly 
Well    Found  Out 


In  addition  to  those  included  in  the  above  sixty- 
eight,  literally  hundreds  more  Englishmen  have 
'arrived  in  Hollywood  to  tr>'  their  luck  without 
getting  a  foothold  yet,  and  are  therefore  not 
included  in  my  abstruse  calculations. 

How  Far  Things  Have  Gone 

ONE  of  the   more   recent  arrivals, 
Reginald    Sharland,    is  actually 
starting  a  Hollywood  cricket  team 
That  shows  you  how  far  the  thing  has 
already  gone.  He  has  sent  emissaries 
to  England  with  instructions  to 
bring  back  with  them  bats,  balls, 
wickets,  stumps,  nets,  pads, 
weed-killer  and  plenty  of  teacups. 
Any  day  now,  these  holy  emblems 
of  England's  national  rite  may  arrive 
in  Hollywood;  and  then  even  Califor 


nia's  meadows  will  be  taken  over  for  the  worship  of 
this  foreign  deity. 
Also,  of  course,  there  is  the  matter  of  English 
accent  and  pronunciation.    Just  everybody  is 
taking  lessons  nowadays  in  broad  "a's,"  and 
It's  getting  to  be  downright  unfashionable 
not  to  be  able  to  trot  out  a  few  at  any 
smart  gathering.  No  longer  is  it  possible, 
as  of  yore,  to  tell  an  Englishman  from 
an  American;  they're  all  talking  the 
same,  or  at  least  trying  to.  Who 
would  ever  think,  to  hear  them 
talk  as  they  do  to-day^  that  Ruth 
Chatterton  and  Hedda  Hopper 
were  both  one  hundred  per 
cent.  Yankees? 
The  point  where  the  English 
mvasion  of  Hollywood  becomes 
serious  is  just  this  matter  of  pro- 
nunciation.   No  hundred  per  cent. 
American  is  going  to  take  the  trouble 
to  object  because  a  few  Hollywood 
people  become  Union-Jack-conscious  in 
other  ways.    But  when  the  English  im- 
press their  manner  of  speaking  upon  the 
American  picture  stars,  they  impress  it  on  all 
America.   And  the  idea  that  America  should 
be  dictated  to  in  this  or  any  other  matter  by  a 
bunch  of  Limey  lads  is,  to  many,  altogether 
shocking. 

"Suspenders"?  Horrors! 

■PRONUNCIATION  isn't  all,  either.  The  very 
Jj^words  of  the  American  language  are  being  replaced 
by  English  words,  just  because  the  Hollywood  people 
have  let  themselves  be  influenced  by  the  invadtrs. 
Take,  for  example,  that  fine  old  American  word, 
"suspenders."  When  Fred  Kerr,  a  London  stage  vet- 
eran, came  to  Hollywood  some  months  ago,  he  wanted 
something  to  keep  his  pants  up  and  went  into  a  shop. 
He  asked  for  "braces,"  and  the  salesman  said,  "On, 
you  mean  suspenders.^"  Kerr  had  three  apopleptic 
seizures  and  a  fit  of  the  palsy,  and  finally  the  sales- 
man was  so  touched  by  the  actor's  condition  that  he 
consented  to  call  the  contraption  "braces."  From 
then  on,  the  word  has  swept  the  country,  and  nowa- 
days, if  you  ask  for  "suspenders"  in  any  number  of 
shops,  they  give  you  such  a  look  that  you  want  to 
fall  through  the  floor.  All  a  part  of  this  insidious 
English  propaganda,  without  a  doubt.  Something 
ought  to  be  done. 

The  English  have  a  way  of  shriveling  a  poor  Amer- 
ican with  one  glance,  if  he  should  either  do  or  say 
anything  that  doesn't  measure  up  to  the  Limey  idea 
of  perfect  behavior.  No  race  except  King  George's 
Own  could  have  changed  Hollywood  and  Hollywood 
life  so  quickly. 

In  the  last  two  years,  the  American  habit  of  mixing 
ginger  ale  with  Scotch  has  practically  died  out  in 
{Continued  on  page  87) 

57 


^azzberr/es  In  C  Majorl 


Johnny  (Cocoanut 
Watching  Hollywood 
Goes  Pppfff, 


Grove)  Hamp, 
At  Play, 

;       '    Pppfff.  Pppfff 


B 


LLOYD  LEWIS 


YOU'VE  heard  Pete  go  tweet,  tweet,  tweet  on  his 
piccolo  by  now,  surely. 
But  have  you  ever  heard  Hamp  go  pppfff, 
pppfff,  pppfff  on  his   razzberry?    No?  Well, 
\ou've  missed  a  lot,  'cause  it's  hotter  than  hot. 

Hollywood  has  been  given  the  bird  before,  but  Johnny 
Hamp,  who  for  the  past  year  has  led  his  dance  band  in 
the  Cocoanut  Grove' of  the  Ambassador  Hotel,  is  the  first 
one  to  do  it  with  sound  effects. 

And  when  Hamp  plays  a  razzberry  on  his  trombone,  it 
is  a  razzberry  in  C  Major  that  outdoes  even  the  sound- 
effects  man  on  a  Raoul  Walsh  set. 

A  most  impolite  sound  it  is.  Pppfff,  pppfff,  pppfff. 
Taken  out  of  phonetics  and  put  into  English  they  can 
understand  in  Boston,  Mr.  Hamp  gives  Hollywood  the 
bird  in  this  fashion: 

"Hollywood  is  the  kept  woman  of  the  world.  .  .  . 
"Hollywood  doesn't  know  how  to  play.    It's  neither 
rowdy  nor  reserved,  smart  nor  refreshingly  simple.  .  .  . 

"And  so  Jean  Harlow  left  Laddie  Sanford  standing 
right  there  in  the  middle  of  the  dance-fioor.  .  .  ." 

If  you  want  gossip,  juicy,  spicy  gossip,  don't  waste  your 
rime  trying  to  get  intimate  with 
the  Chief  of  Police  or  the  head  of 
a  divorce  detective  agency.  For 
smacking,     sensational  scandal 

58 


there's  no  one  better  able  to  turn  on  the  heat  than  a  band 
leader. 

He  Knows  What's  Going  On 

THE  lights  are  low  on  the  dance  floor;  the  music  is 
romantic.  Nobody  is  watching,  nobody  cares.  No- 
body but  the  band  leader,  who  sees  more  of  Hollywood's 
affairs  in  an  evening  than  the  night-watchmen  do  in  a 
month. 

"They  don't  realize,  as  they  cuddle  up  on  a  dimly  lit 
dance-floor  or  get  friendly  in  the  corner,  that  the  boys  of 
the  band  keep  themselves  awake  by  taking  in  all  that's 
going  on,"  Hamp  explains. 

And  so,  in  the  months  he  stood  waving  his  baton  at  the 
Cocoanut  Grove,  Hamp  watched  some  of  the  picture 
colony's  warmest  romances  bud,  bloom  and  burst. 

Hamp  and  his  band  helped  Nick  Stuart  say  it  to  Sue 
Carol  by  playing  "Sweet  Sue"  whenever  they  were  there. 

Loretta  Young  said  "Yes"  to  Grant  Witliers,  and  her 
sister  Sally  Blane  gave  Tommy  Lee  the  "bye,  bye,"  while 
Hamp  looked  on,  and  waved  his  little  stick. 

Long  before  the  chatter-writers  made  paragraphs  about 
them,  Hamp  knew  that  Betty 
Johnny  Hamp  (in  oval)  has  seen  plenty  of  Holly-     Compson  and  Hugh  Trevor  were 
wood  life    and  so  has  his  band,  absorbing  some  day-        gomg  together. 

light  above  on  the  steps  of  the  Ambassador  {Continued  on  page  pj) 


Ta  Ik  t  e 


V  tone  er  s 


Again  they  struggle  westward — and  this 
time  you  are  going  to  see  some  pioneering 
with  sound  effects,  with  John  Wayne,  at  top, 
going  from  prop-boyhood  to  leading-manhood 
via  "The  Big  Trail"  and  success 


Laurence  Reid 

Reviews 
The  New 
Photoplays 


/ 


At  the  top  is  Lon 
Chaney  making  his 
vocal  debut  in  "The 
Unholy  Three,"  a 
talkie  version  of  his 
earlier  success.  As- 
sisting him  is  Ivan 
Linow.  At  the  right 
is  Commander  Rich- 
ard Byrd,  the  cour- 
ageous hero  of  "With 
Byrd  at  the  South 
Pole."  Below  are 
Billie  Dove,  Sidney 
Blackmer  and  Leila 
Hyams  in  "Sweet- 
hearts and  Wives" 


60 


The  Money  Talks 

IN  "The  Unholy  Three"  that  strong,  and  heretofo| 
silent  man,  Mr.  Alonzo  Chaney,  capitulates 
sound — Money  talks.  And  so  does  Mr.  Chaney. 

Why  Lon  hesitated  to  plumb  the  mysteries  of  tl 
new  medium  must  remain  an  unsolved  enigma.  Pe' 
haps  it  was  because  "fools  rush  in."  Surely  no  playtj 
has  emerged  from  the  fier>'  test  of  the  talkies  so  heavil 
laden  with  laurels.  Not  only  is  the  Chaney  voii 
characteristically  masculine,  deep  and  resonant,  bi 
the  man-of-a-thousand-faces  seems  capable  of  equall 
wide  range  in  vocal  gymnastics.  In  "The  Unholj 
Three"  he  gives  several  of  them  an  audition, 

The  film  itself  is  only  less  compelling  than  its  silei 
predecessor.  Elliott  Nugent  subs  for  Matt  Moore,  of  t] 
original  picture;  Lila  Lee  for  Mae  Busch,  and  Ivi 
Linow  for  Victor  McLaglen. 

The  Flag  Can  Be  Truly  Waved 

FROM  30,000  miles  of  negative  sufficient  ha 
been  culled  to  produce  an  inspiring  visua 
record  of  what  occurred  "With  Byrd  at  th( 
South  Pole."  The  result  is  a  thrilling  drama  0 
realism  which  flames  forth  as  one  of  the  mosi 
brilliant  achievements  of  the  motion  picture 

In  these  dull  days,  with  their  dearth  ol 
national  heroes  and  lack  of  national  accom- 
plishment. Admiral  Richard  Byrd  and  his  South 
Polar  exploits  breathe  new  life  into  an  expiring 
patriotism,  rekindling  the  spirit  of  pride,  daring 
and  romance  that  once  was  the  soul  of  America. 

Not  only  is  the  film  both  inspirational  and 
educational,  but  it  is  likewise  highly  endowedt 
with  those  qualities  essential  to  screen  enter-' 
tainment.  Comedy  and  tragedy  march  shoulder 
to  shoulder  in  every  sequence,  and  even  in  the 
dim  Antarctic  abode  of  grim  gods  the  element 
of  human  interest  is  skilfully  limned.  The  pic- 
ture is  a  worthy  record  of  an  epochal  American 
achievement.  Once  again  we  can  wave  the  Flag, 
whose  luster  has  been  dimmed  by  small  men. 
Now  every  star  is  luminous. 

A  Tangled  Skein 

WHAT  a  tangled  skein  we  weave  when  first  we 
practise  to  deceive,"  said  Bobby  Burns.  And 
e  might  have  been  referring  to  the  new  Billie  Dove 
picture,  "Sweethearts  and  Wives,"  which  as  "Other 
Men's  Wives"  enjoyed  a  moderate  Broadway  stage 
run  last  season. 

Even  the  plot  is  tangled,  dealing  as  it  does  with  a 
couple  whose  little  on-the-side  love-afFair  maroons 
them  in  a  mysterious  inn  where  all  sorts  of  things,  at 
once  sinister  and  amusing,  occur.  There  is  a  jewel 
theft,  blackmailing  and  murder.  But  somehow  it  all 
seems  to  be  in  good,  clean  fun.  And  even  though  it 
looks  as  though  the  beauteous  Billie  is  an  adventuress, 
you  know  things  will  come  out  all  right  in  the  end. 

The  other  lady  in  the  case  is  Leila  Hyams.  The  man 
is  Sidney  Blackmer,  a  smooth  player  always.  Miss 
Dove  shares  honors  with  Clive  Brook,  who  comes  near 
to  stealing  the  picture  as  a  detective. 


Hit 

I  .to 


i 


rl  I  i  c 


THIS  MONTH 

The  Unholy  Three  Holiday 

Sweethearts  And  Wives 
With  Byrd  At  The  South  Pole 
The  Bad  One     The  Big  House 


Cause  to  Celebrate 

r HERE'S  a  real  film  feast  offered  the  fans  in 
"Holiday,"  a  smart,  sophisticated  love  drama 
<ilfully  adapted  from  Philip  Barry's  play.  The 
ialogue  is  just  about  the  best  thus  far  heard  in  the 
ilkies,  with  a  perfect  cast. 

The  story  is  about  a  boy  and  two  girls,  sisters.  One 
ruled  by  a  respect  for  riches.  The  other  by  a  love  of 
ving.  The  lover's  loyalties  are  torn  between  the  two 
-and  their  ideals.  There  is  a  deal  of  delightful  comedy 
>ainst  a  background  grim  with  tragic  threat  before 
le  tangled  skein  is  finally  straightened. 
Ann  Harding  and  Mary  Astor  are  the  sisters.  Each 
utterly  exquisite,  but  perhaps  Miss  Astor  provides 
le  greater  surprise.    Instead  of  the  bread-and-butter 
Iiss  of  silent  days,  she  shows  strength,  depth  and  un- 
crstanding;  not  to  mention  a  new  and  seductive  charm. 

Up  on  Its  Toes 

THE  BAD  ONE"  is  pretty  good.  In  fact,  the 
first  half  of  this  Dolores  del  Rio — Edmund 
owe  talkie  ranks  pretty  much  on  a  level  with  the 
(  St  contributed  by  these  favorites.  But  then 
lungs  go  Hollywood  with  a  vengeance,  and  the 
iter  sequences  are  just  so  much  hokum. 

The  scene  is  Marseilles;  Dolores  is  a  cabaret 
irl;  Eddie  a  roving  Casanoua  of  all  Seven  Seas. 
!'he  courtship  is  lusty  and  a  little  lewd.  But  the 
lean  flame  of  true  love  finally  emerges  from  the 
moke  of  the  smudge  pots,  only  to  be  dampened 
/hen  the  hero  is  jailed  for  the  murder  of  a  rival, 
circumstantial  evidence  destroys  his  faith  in 
he  girl. 

She  follows  to  his  island  prison  through  the  ruse 
f  an  engagement  to  his  guard.  Then  comes  the 
lash  for  freedom,  with  Lowe  winning  pardon  by 
rustrating  the  murderous  plans  of  the  half- 
razed  convicts.  In  conclusion  there  is  a  hope  for 
lappiness  when  the  couple  departs  for  the  States. 
Joth  players  are  fine  in  the  earlier  sequences. 
?ut  not  even  they  can  prevent  the  collapse  of  the 
)icture  in  its  last  half. 

Stark  Drama  Here 

r7EARS0ME  and  bitter  as  the  grey,  gun-guarded 
r  ramparts  of  "The  Big  House,"  itself,  is  the  tragic 
outine  of  hopelessness  and  the  riot  of  death  and 
lesperation  depicted  in  this  stark  picture  drama.  It  is 
o  real  it  hurts.  And  yet  there  is  a  leavening  of  laughter 
rresistible  even  in  the  shadow  of  doom. 

The  tale  itself  is  slight  and  trite.  But  the  prison 
jackground  is  so  compelling  that  any  fable  would  be 
Iwarfed  in  comparison.  The  principal  protagonists  are 
hree  widely  different  types  who  meet  behind  the  bars. 
Dne  a  bullying  killer;  the  second  a  brainy  crook,  and 
he  third,  a  weak-kneed  boy  whose  yellow  streak  brings 
\  relentless  fate  in  its  wake. 

The  most  gripping  sequences  portray  the  futile 
attempt  to  seize  liberty  through  a  jail  break.  But  there 
ire  others  only  less  enthralling.  Chester  Morris,  Robert 
Montgomery  and  Wallace  Beery  contribute  the  best 
characterizations  of  their  careers. 


At  the  top,  Robert 
Ames,  Mary  Astor 
and  Ann  Harding 
(starring )  make  "Hol- 
iday" a  worth-while 
film.  At  the  left,  Ed- 
mund Lowe  and  Do- 
lores del  Rio  combine 
their  talents  for  "The 
Bad  One."  Below  is  a 
scene  from  "The  B-g 
House,"  a  graphic 
picture  of  prison  life 
enacted  by  Wallace 
Beery,  Chester  Mor- 
ris and  Robert  Mont- 


61 


The  M  ermaids  ^igh 


62 


The  Panic  Is  Over 


HERBERT  CRUIKSHANK 

Illustration    By     E I  don     K  e  I  ley 


T 


|HE  panic's  on!" 

That  was  the  roar  from  Hollywood  a  year  ago. 
A  roar  that  reverberated  across  the  land  to  Broad- 
way. A  roar  that  echoed  in  the  ears  of  the  theater. 
And  threatened  to  sweep  the  stage  clean  as  a  tidal  wave. 

But  things  are  different  now.  I  he  panic  is  over.  Holly- 
wood is  itself  again.  And  so  is  Broadway.  Like  the  ancient 
platitude  about  Mark  Twain's  death,  the  rumor  regarding 
the  imminent  demise  of  the  theater  was  slightly  exag- 
gerated. I  he  westward  hegira  has  ceased,  and  the  return 
stub  of  the  two-way  railroad  ticket  is  the  season's  vogue. 

As  in  any  other  gold  rush,  the  breaks  accorded  the  re- 
cent Hollywood  argonauts  was  about  nmety-ten.  Ten 
per  cent,  found  pay-dirt  in  the  land  of  bilk  and  money. 
Ninety  per  cent,  were  glad  to  kiss  the  pavement  in  front  of 
the  Palace  Theater,  and  to  give  Hollywood  the  chill 
antarctic  bird. 

At  the  height  of  the  invasion  which  led  to  the  Battle  of 
Equity  and  the  subsequent  Retreat  from  Malibu,  there 
were  some  fifteen  hundred  recruits  from  various  branches 
of  the  theater  bucking  the  Hollywood  tiger.  It  is  safe  to 
say  that  not  one  hundred  and  fifty  remain  to  tell  the  tale. 
The  Broadway  season  just  passed  has  proved  a  particularly 
fertile  one.  Not  a  theater  was  dark.  And  an  enormous 
number  of  plays  were  produced.  The  percentage  of  suc- 
cesses not  being  lower  than  usual— although,  goodness 
knows,  that  is  low  enough. 

Clauses  and  Effects 

BRIEFLY,  the  prodigals  have  returned,  the  fatted 
calves  have  been  fitted  to  sock  and  buskin,  and  all's 
quiet  on  the  Eastern  front.  And  that  goes  even  for  the 
musicals  and  revues,  which  were  hardest  hit  among  the 
"legitimate"  brethren  by  the  raiding  Tartars  of  the 
Talkies. 

Even  when  Hollywood's  head  was  whirling,  it  re- 
membered the  old  Spanish  custom  of  giving  only  short- 
term  contracts — an  initial  three  months,  with  options  for 
similar  periods  following.  In  the  scramble  for  talent — 
histrionic,  technical,  directorial — it  was  no  Fred  Keating 
bird-cage  trick  to  win  a  Hollywood  holiday.  And  that  is 
exactly  what  many  a  contract  amounted  to. 

At  the  expiration  of  the  first  three-month  term,  many 
a  Broadway  lad  and  lass  bounded  back  to  New  York  on 
the  old  Santa  Fc  without  having  worked  a  day.  With  the 
next  quarter,  a  further  weeding-out  took  place.  Some 
promising  prospects  were  retained.  Others  were  kept 
around  the  lot  as  a  threat  to  temperamental  high-priced 
picture  stars.  But  these  were  the  exceptions.  Hot  or  cold, 
the  majority  faced  the  rising  sun.  Frequently,  without 
having  had  a  single  opportunity  to  prove  asse^or  liability. 


The  Broadway  Hordes 
Are  Folding  Their 
Tents  And  Silently- 
Stealing  Away 


And  at  the  end  of  the  ninth  month,  Hollywood 
had  given  birth  to  some  very  decided,  and 
quite  sound  ideas. 

It  had  discovered  that  a  competent  stage 
player  is  not  necessarily  a  cinema  sensation. 
The  screen  calls  for  three  degrees  of  acting, 
three  changes  of  pace.  It  is  necessary  to  exag- 
gerate action  in  long  shots — be  yourself 
in  mediums — and  use  considerable  restraint 
in  close-ups.    On  the  stage,  the  tempo  re- 
mains always  the  same.     The  Broad- 
way   brotherhood    proved  unadapt- 
able. 

It  had  discovered  that  in  the  theater 
a  player's  features  ordinarily  are  indis- 
cernible beyond  the  fifth  or  sixth 
row.    But  the  perennial 
ingenues  of 


the  stage 
looked  like 
Macbeth's  witches 
under  the  age-disclos- 
ing eye  of  the  close-up 
camera. 


I 


Home  Talent  Wanted 

T  had  discovered  that  the  "star  sys- 
tem" built  by  Hollywood,  itself,  had 


developed  into  something  of  a  Frankenstein. 
The  movie  public  knew  Gloria,  and  Bebe,  and 
Buddy,  and  Gary.    Knew  them  and  wanted 
them.    The  big  names  of  Broadway  didn't 
do  business  in  that  thing  called  "Middle 
West" — and  many  a  golden  egg  was 
laid,  with  the  producers  supplying  the 

fold.      Less   than   fifteen  blocks 
rom  Times  Square,  on  Broad- 
way, Ina  Claire  was  billed  as 
Mrs.   Jack   Gilbert.  That 
gives  you  an  idea. 

Hollywood  had  also  dis- 
covered   that    it  hadn't 
given  the  home  talent 
enough  credit.  Being 
[Continued  on 
page  io6) 


63 


Ray  /ones 


CMon,  Garee,  He  No  Bite 

What's  missing  in  this  picture?  Only  Mr.  Cooper,  presumably  absent  for  fear  of 
losing  an  ear.  He's  familiar  with  Lupe  Velez'  Big  Game.  But  when  she  and  a 
bear  rug  get  close  to  one  another,;  there 's  not  a  bite  in  a  floorful.   She  holds  on  to 

herself  then 


64 


i 

( 


All  To  The  Hoke 


BY 

ROBERT 
FENDER 


OUR  waitresses," 
1  advertises  a  Hol- 
lywood eat-shop, 
"are  the  prettiest 
^irls  in  town."   That's  nice. 

I And  how,  we  wonder,  about 
:he  food.^  But  that's  old 
itufF.  Why  worry  about  the 
''ood  so  long  as  the  waitresses 
ire  good  numbers.''  Maybe 
that's  not  the  way  you  figure 
jit,  back  in  Grapefruit,  Loui- 
siana, but  you're  in  Holly- 
wood now.  The  boys  here  can  ^^^^^^^^^^^^^^^^^ 
stand  their  apple  strudel  a 
little  soggy  if  the  gels  behind 

the  counters  will  only  come  back  with  snappier  ones  than 
they're  handed. 

Of  course,  the  movies  did  it.  Every  waitress  here  is  a 
lotential  Nancy  Carroll  or  better.  And  every  boy  a  pos- 
ible  Buddy  Rogers.    Except,  according  to  them,  if  they 
f)uldn't  pull  better  stuff  than  them  two  cuckoos,  they'd 
quit.   So  Hollywood  goes  'round.   Those  whose  business 
It  is  to  act,  try  to  forget  it  out  of  working  hours.  But  the 
rest  of  the  town  eats,  drinks,  and  sleeps  the  movies. 

The  movies,  too,  have  made  every  man  here  conscious 
of  his  chest.  And  every  girl  aware  of  her  charms.  Every 
time  I  escape  into  civilization  and  get  home  for  a  week  or 
two,  I  am  taken  aside  by  my  friends.  "Maybe  you  don't 
know  it,"  they  warn,  "but  you're  acting  more  and  more 
like  Charles  Farrell."  I  bow  my  head  in  silence.  There  is 
no  answer. 

The  girl  two  apartments  down  from  mine  says  she  gets 
the  same  thing  from  her  home  folks,  except  in  her  case  it's 
Ruth  Chatterton.    Even  my  landlady  has  given  up  her 


Hollywood 
Is  That 

Way 
Through 
Putting  On 
The  Act 


personality  for  another's.  Or 
perhaps  she  is  Beryl  Mercer. 

My    first    impression  of 
Hollywood  was  the  kindness 
shown  here.    Why,  I  won- 
^^^^^^^^^^^^^^^^      dered,  was  everyone  so  nice 

to  me?     Had  rumors  been 
circulated   that  I  was  the 
Prince  of  Wales  traveling  incognito?  Did  I  look  the  money? 

The  Yes  with  a  Smile  Wins 

BUT  no.  Everyone  gets  courtesy  in  Hollywood.  There 
are  no  blanks.  The  reason.?  Well,  my  two-bits' 
worth  is:  the  movies  again.  Which  calls  for  the  following 
studio  maxim:  Click  your  heels  and  hold  your  job.  Or, 
written  for  all  to  understand:  It  is  better  to  have  smiled 
and  yes-ed  than  to  have  gone  sailing  out  on  your  ear. 

Visitors  to  studios  for  the  first  time  are  surprised  at  the 
courtesy  shown  them.  But  they  needn't  be.  We're  cour- 
teous, argue  the  studio  people,  because  how  do  we  know 
who  you  are.''  You  might  be  just  the  Fuller  Brush  man, 
and  again  you  might  be  a  big-shot.  And,  what  with  super- 
visors snooping  this  way  and  that,  always  on  the  watch 
for  idleness,  the  studio  folk  are  efficient  (or  look  efficient) 
to  the  point  of  bursting.  Now  no  studio  has  walls  high 
enough  to  keep  this  fine  spirit  inside.  It  was  bound  to 
{Continued  on  page  lOi) 


Evidences  thatHolly- 
wood  is  Hollywood: 
left,  a  restaurant 
dressed  up  as  a  Cliff 
Dweller's  hut;  right, 
sm  iceberg  cream  par- 
lor, known  as  -The 
Igloo;  and  above, 
that's  no  lady,  that's 
a  malted  milk  depot 


65 


Life  is  likeI 


66 


A  Checkerboard 


I  Like  


-  -To  Interview 

The  Slightly  Mad 
Ones,  The  OfF-Stage 
Actors,  The 
Comedians 

By  HELE 


THIS  is  an  odd  business,  you  know,  whe 
you  come  to  think  of  it — this  one 
interviewing  people.  In  the  first  plao 
you  are  privileged  to  walk  in  (b 
appointment)  upon  a  total  stranger  and  as 
him,  without -fear  (at  least,  without  much  fear)  c 
being  socked  in  the  nose,  questions  which  his  owj 
mother  would  hesitate  to  put  to  him. 

There  isn't  much  he  can  do  about  it  excep 
sort  of  squirm. 

Then,  of  course,  there  are  the  lunches.  Actors 
after  all,  are  acting  most  of  the  time  and  the  mos 
convenient  period  for  most  of  them  to  allow  yoi 
to  cross-examine  them  is  at  the  noon  hour.  I 
has  occurred  to  me  at  times  that,  instead  of  ou 
getting  money  for  eating  our  way  through  ali 
these  conversations,  we  really  should  pay  for  the 
concession. 

Despite  these  advantages,  however,  I  may  as 
well  admit  at  the  beginning  that  I  am  not  a  good 
interviewer.  I  never  get  a  "hot"  story.  Nobody 
ever  breaks  down  and  tells  me  All.  If  he  does 
become  garrulous  over  the  lamb  chops  and  melba 
toast  and  reveal  an  intimacy  here  and  there,  I  am 
so  overcome  with  embarrassment  that  I  am 
likely  to  forget  my  Duty  to  my  Public  and  try  to 
stop  him. 

The  Appalling  Thing 

I AM  still,  after  some  years  of  experience  in 
this  strange  business,  a  bit  appalled  at  times 
at  the  things  that  people  appear  not  only 
willing,  but  even  determined,  to  tell  me  for 
publication. 

The  thing,  however,  is  not  entirely  made  up  of 
drawbacks.  You  make  the  acquaintance  of 
many  weird  and  wonderful  people — and  you  can 
become  more  intimately  (perhaps  I  should  say 
more  thoroughly)  acquainted  with  a  person 
during  an  hour's  interview  than  in  weeks  and 
weeks  of  casual  meetings. 

Lots  of  times  it  is  fun.  It  is  fun  when  a  person 
puts  on  "the  act"  for  you.  Most  of  the  people 
with  whom  we  have  to  deal  are  experts  at  this, 
{Continued  on  page  g6) 


I  Don't  Like 


-'To  Interview 


The  Ones  I  Like, 
The  Shrinking 
Violets,  The 
Pretty  Posers 

LOUISE  WALKER 

Illustrations  By  Eldon  Kelley 


I DON'T  like  to  interview  people  I  like! 
The  trouble  is  that,  if  I  really  like  them 
and  if  we  have  fun  together,  it  is  so  diffi- 
cult for  us  to  stay  upon  whatever  subject 
we  have  chosen  with  which  to  edify  a  breath- 
less public.  I  can  spend  hours  with  people  like 
Leatrice  Joy  or  Freddie  March  or  Florence 
Eldridge  or  Glenn  Tryon  or  Doris  Kenyon — 
and  get  nowhere.   But  I  have  a  lovely  time! 

Try  to  imagine  how  you  would  feel,  your- 
self, if  you  had  to  go  to  see  someone  whom 
you  liked,  and  you  were  supposed  to  have  a 
discussion  with  him  about — oh,  love,  or 
something.  And  then,  suppose  that  you  were 
going  to  write  down  what  he  said  (and  some 
things  you  said,  yourself)  and  that  the  thing 
was  going  to  be  printed  where  some  hundreds 
of  thousands  of  utter  strangers  could  read  it 
if  they  wished. 

Suppose,  moreover,  that  you  were  required 
to  write  down  your  impressions  and  opinions 
of  one  of  your  best  friends — an  estimate  of 
him — and  that  he  was  going  to  read  it.  How 
would  you  like  that?  How  would  he.'  Try  it 
some  time  and  see  what  happens  to  a  beauti- 
ful friendship! 

Of  course,  it  is  absolutely  impossible  to 
please  anybody  with  an  interview.  Obviously. 
You  may  say.  "  He  is  a  big,  strong,  handsome, 
intelligent  man.  A  genius.  A  magnificent 
actor. 

When  They  Feel  Insulted 

THAT'S  about  all.  If  you  qualify  that 
statement  in  any  way,  he  is  going  to  be 
frightfully  annoyed  with  you.  If  you  should 
be  so  bold  as  to  add,  "There  are  some  rAles 
which  would  not  suit  him."  he  will  un- 
doubtedly hate  you  to  your  (and  his)  dying 
day. 

If  you  should  be  an  even  worse  meanie  and 
sav,  "He  is  big  and  handsome — but  I  doubt 


Girl  Going  UP 


Archer 


SO  you  want  to  go  into  the  movies,  sez  you? 
Very  well — listen  while  I  sez  me.   I  shan't  keep 
you  long;  nor,  I'm  afraid,  do  you  much  good. 
Because  it  isn 't  every  gal  who  can  practise  what  I 'm 
going  to  preach.  Which  is  this: 

The  best  way  I've  heard  about  latel}'  to  achieve  a  starry 
place  is  to  be  petite,  saucy  and  clean-cut  of  feature,  to 
slick  down  your  dark  hair,  dress  in  a  tuxedo,  and  be  the 
vivacious  focus  of  a  Budapest  spotlight  whilst  enthusiastic 
night-clubbers  beat  their  hands  to  a  pulp  applauding  your 
rendition  of  "Sweet  Annabel  Lee!" 

Complicated?  Rather!  And  more  so  when  you  learn 
that  among  the  onlookers  there  must  be  an  American 
movie  executive — say  Darryl  Zanuck  of  Warner  Brothers 
— to  be  taken  by  your  charm.  You  thought  rliere  was  a 
catch  to  it  somewhere?  Well,  to  tell  you  the  truth,  I  don't 
think  you  seem  much  like  Lotti  Loder,  anyhow! 

Lotti  has,  you  see,  what  it  takes  just  at  present — the 


Lotti  Loder 
Has   It,  Them 
And  Those 

By   CHARLESON  GRAY 


ability  to  look  well  while  making  pleasant  sounds. 
More,  she  has  youth.  And  that  indefinable 
something  which  my  governor,  in  describing  a 
thoroughbred  race-horse,  used  to  call  the  look  of 
eagles.  She  has  It.  Them.  Those.  The  Thing 
that  Makes  You  Turn  Around  and  Look.  That 
odd,  precious  something  more  familiarly  known 
as  Class. 

Not  Long  Obscure 

SHE  has  had  it  for  some  time.  Roughly.  I 
should  say  since  four  years  before  the  out- 
break of  the  war,  when  she  was  born.  But  it  was 
not  until  1927  when,  faced  by  those  economic 
conditions  which  made  the  post-martial  days  in 
Austria  a  crying  misery,  she  made  her  stage 
debut  in  a  small,  obscure  theater. 

She  wasn't  there  long.  She  has,  you'll  re- 
member, what  it  takes,  even  in  Vienna.  Soon  she 
was  appearing  throughout  central  Europe  in  the 
cabaret  system  that  corresponds  to  our  own 
vaudeville  circuit.  Her  most  popular  act  was  to 
appear  (much  like  our  own  Kitty  Doner  or 
Frances  White)  dressed  in  a  tuxedo,  with  her  hair 
boyishly  smooth,  and  sing  snappy  little  songs  in 
such  a  fetching  manner  that  soon  she  was  well- 
known  over  the  entire  loop — Berlin,  Dresden, 
Stettin,  Marienbad — and  Budapest. 

Budapest!  Ah,  gayest  and  most  cosmopolitan 
of  cities,  with  its  Sziget  Club  and  its  be-yoo-tiful 
women,  its  lovely  parks  and  dashing  men,  its 
excellent  food  and  superlative  drink,  its  charm 
and  its  graciousness  and  its  multitudinous  attractions  for  a 
man  with  as  much  money  as  a  movie  executive! 

Thence  to  Hollywood 

IT  was  in  Budapest  that  Lotti,  singing  "Sweet  Annabel 
Lee,"  attracted  the  attention  of  vacationing  Darryl 
Zanuck.  He  became  excited  by  her  screen  possibilities. 
Which  is  characteristic  of  the  gentleman  in  question.  At 
one  time  during  our  respective  more  tender  years,  M. 
Zanuck  and  I  were  inmates  of  the  same  military  academy. 
I  recall  that  he  always  was  excited  about  something. 
Usually  something  like  escaping  a  parade  or  rolling  a  given 
number. 

He  told  Lotti  that  he  wanted  her  to  take  a  screen  test. 
Lotti  thought  he  was  keeding  her.   In  school  we  always 
thought  that  Darryl  was  keeding,  too.  But  the  years  must 
have  made  a  difference.    He  wasn't  keeding  Lotti.  He 
{Continued  on  page  10^) 


70 


Alas,  Voor  Barrymore. 


f 


If  Barrymore  .does  Hamlet,  Buster 
Keaton  says,  he'll  get  out  of  humor 
himself.  John  might  as  well  give  up 
the  King's  ghost.  He  hasn't  the 
face  to  compete  with  Buster.  The 
only  trouble  is  that  Buster's  hair  is 
so  long  you  can't  tell  whether  he's 
a  melancholy  Dane  or  a  St.  Bernard 


A  Soft  Right  To  The  Jaw 


Loniwoith  J 


Aa  he  discovered  in  "Journey's  End,"  where  there's  shooting,  there's 
bound  to  be  powder — and  taking  it  on  the  chin,  David  Manners  has 
cause  for  reflection.  He  is  wondering  if  he  will  get  another  big  puff 
for  his  work  in  "Kismet" — and  girls,  he  does  look  like  Valentino  in  it 


72 


Roughing  It  De  Luxe 


Those  Big  Outdoor 
Boys  And  Girls 
Miss  Nothing  Out 
In   The  Wilds 

By 

HELEN   LOUISE  WALKER 


JUST  a  lot  of  great  big  outdoor  boys  and 
girls,  these  actors.   Always  having  to  get 
away  from  it  all  and  scuttle  away  to  the 
mountains  or  the  ocean.  And  just  getting 
right  down  close  to  primitive  old  Mother  Nature, 
a  way  from  the  hustle  and  confusion  of  the  stu- 
dios, and  lead  the  simple  life  for  a  while. 
The  simple  life.  Ye-ah! 

Camping,  fishing,  hunting,  sailing — anything 
'  I  get  away  from  the  haunts  of  men  and  the  soft- 
css  of  civilization.  Out  where  men  are  men  and 
ney  must  shift  for  themselves,  if  they  are  to 
irvive. 

Take  trout-fishing  in  the  rushing  mountain 
reams,  for  instance.  Now  there  is  a  man's 
3 port!  To  sleep  on  a  bed  of  pine  boughs  and 
rise  in  the  dawn  and  wade,  in  one's  hip-boots, 
into  the  icy  water — to  search,  in  the  primeval 
stillness,  for  that  deep  pool  where  lurk  the  wary, 
speckled  patriarchs  of  the  watery  wilderness — 
to  return  to  the  little  camp  at  night,  tired  and 
blissful,  to  clean  the  day's  catch  and  cook  the 
plump  trout  over  an  open  fire — 

Well,  Noah  Beery's  Paradise  Trout  Qub,  in 
the  mountains,  eighty  miles  from  Holl>-wood,  is 
a  little  bit  like  that! 

The  Rigors  of  This  Paradise 

YOU  don't  exactly  sleep  on  pine  boughs,  but 
the  cabins  do  look  awfully  rustic  and  cute — 
all  built  of  logs  or  stone.  And  in  each  one  there 
are  a  big  fireplace  and  kerosene  lamps  and  can- 
dles sittmg  around,  just  too  primitive  and  amus- 
ing for  anything.  Of  course,  there  are  electric 
lights,  if  you  want  to  use  them,  and  each  room 
is  equipped  with  its  own  shower-bath — but  you 
can  wash  out-of-doors  in  a  tin  basin,  if  you  want 
to  (and  can  find  a  tin  basin).  Or  you  might  take 
a  dip  in  the  large  swimming-pool. 

And  you  don't  exactly  rise  with  the  dawn.  At 
least,  very  few  of  the  guests  do,  though  I  suppose 
there  is  no  objection  if  anyone  should  insist  upon 
being  so  backwoodsy.  The  management  might 
be  a  little  surprised.  Most  people  get  up  some- 
where around  noon  and  have  their  breakfasts 


LongwoTth 


The  rigors  of  fishing:  the  stream  is  well-stocked  and  the  fish  can't  escape 
(note  the  stone  banks)  and  Lila  Lee  has  a  bard  time  pulling  them  in  fast 

enough 


Hurrell 


High  up  in  the  Sierras,  where  he  had  a  struggle  putting  up  a  mammoth  cabin 
and  getting  electricity  and  running  water,-  Reginald  Denny  and  wife  are 
sometimes  alone 


73 


Where  Men  Are  Men  And  Bears  Are  Rug! 


Hurrell 

Let  the  wind  howl  and  the  tempest  shriek:  Reginald  Denny  and  his  wife, 
safe  in  the  mountain  cabin,  have  all  the  comforts — and  none  of  the  cares — 

of  home 


Dyar 

An  island  retreat  seventy-five  miles  from  the  nearest  railroad,  telephone  or 
movie  theater — but  there's  a  catch  to  it.  Wallace  Beery  has  an  airplane 

handy 


Trout  are  scarce  around  Hollywood,  but  not  eighty  miles  away,  at  Noah 
Beery 's  Paradise  Trout  Club,  where,  as  above,  his  g^uests  can  see  trout 
right  under  their  noses 

74 


served  out  on  those  trick  little  verandas, 
hardly  think  they  vk'ould  let  you  build  a  cam' 
fire  anywhere  around. 

You  have  a  little  rest  and  maj^be  a  swim  in  t 
pool  or  a  set  or  two  of  tennis,  and  then  you  aj 
ready  for  the  day's  sport.  One  nice  thing  aboi 
it  is  that  even  the  amateurs  get  an  even  break^l 
the  fish  are  so  nicely  trained.  You  see,  they  af 
raised  in  hatcheries,  right  there  on  the  place,  ar 
they  have  enough  sense  to  know  that  when  anj 
thing  goes  plop!  in  the  water,  someone  has  prolj 
ably  brought  them  their  lunch. 

Live  Fish  Market 

WHEN  they  are  big  enough  to  catch,  th 
are  put  into  neat  little  pools,  up  t 
stream  a  way  (sealed  up  with  concrete,  so  th 
they  can't  escape),  and  there  they  wait  to  bi 
hooked.  There  are  gravel  paths  and  bench 
here  and  there,  where  you  can  sit  down  and  fis 
if  you  get  tired.  You  don't  have  to  wade  in  th 
water.  In  fact,  I  hardly  think  you  would  b 
allowed  to  do  so. 

You  bait  your  hook  and  drop  it  in  the  poc 
(none  of  this  fancy  business  about  casting  flies! 
and   the   accommodating   little   trout  swam 
around  and  crowd  each  other,  trying  to  swallov 
it.  When  you  have  all  the  fish  you  want  or  can 
to  buy  (it  usually  takes  about  thirty  minutes) 
you  trot  back  to  the  hatchery  and  turn  in  you: 
pole  and  basket.    When  you  are  ready  to  g( 
home,  your  catch  is  handed  to  you,  all  nicel) 
cleaned,  laid  in  neat  rows,  wrapped  in  surgica 
gauze  and  packed  in  a  pretty  box — like  the  kinci 
you  get  at  a  really  good  confectioner's.  The  fish 
go  on  your  bill,  at  thirty-three  cents  each,  along 
with  the  rental  of  the  poles  and  other  things. 

It  is  suck  a  treat  to  get  out  in  the  wilds  that 
way  and  fend — or  whateyer  it  is — for  yourself! 

Sea-Fever  Sufferers 

THEN  there  are  the  people  who  like  to  rough 
it  near — or  on — the  ocean.  They  have  nice 
little  shacks,  'way  ofF  where  they  can  hear  the 
boom  of  the  waves  and  run  around  in  pajamas 
or  bathing  suits  and  just  be  bohemian  and  natu- 
ral and  unrestrained. 

Simple  little  summer  cottages,  they  have. 
Most  of  them  are  hardly  any  bigger  than  the 
resort  hotels  that  cluster  round  them. 

Of  course,  they  make  themselves  comfortable 
— in  a  primitive  sort  of  way.  Bebe  Daniels  and 
Marion  Davies  and  George  Bancroft  have  their 
own  swimming-pools  at  their  beach  retreats — 
just  in  case  any  of  their  guests  should  be  too 
timid  to  go  in  the  big  rough  ocean. 

Miss  Davies  has  a  good  many  rare  orchids 
scattered  about  her  cottage,  too.  Just  because 
you  are  roughing  it  is  no  reason  why  you 
shouldn't  have  a  touch  of  beauty  here  and  there. 

Then  there  are  the  people  who  go  in  for 
ranches.  The  big  Western  types.  Like  Grace 
Moore.  Miss  Moore  rented  a  ranch  when  she 
first  came  to  Hollywood.  She  explains  that  it 
really  is  a  ranch  because  they  raise  things  on  it. 
But  it  is  only  about  three  blocks  from  the  studio 
and  it  has  tennis  courts  and  a  swimming-pool 
and  a  big,  flagged  patio  with  tables  and  swinges 
and  striped  umbrellas  strewn  over  it.  It  look.s 
{Continued  on  page  82) 


Hippy  'Days  Are  Here  A.gam 

Out  Where  Curves  Are  Curves 
The  Girls  Are  Shaping  Up 


The  Answer  Man  has  conducted  this  department  for  over  eighteen  years. 
He  will  answer  your  questions  in  these  columns,  as  space  permits,  and  the 
rest  by  personal  letter.  Give  your  name  and  address  and  enclose  stamped 
addressed  envelope  for  reply.  Write  to  The  Answer  Man,  MOTION  PICTURE, 
1501  Broadway,  New  York  City 


HOPE.— Phillips  Holmes  played  ihe  r6k 
of  Bobin  Only  the  Brave,  starring  Gary  Copp- 
er, You  may  write  Florenz  Ziegfeld  at  959 
Sixth  Ave..  KT.  Y.  Charles  Rufegles,  the  droll 
comedian  who  has  rung  the  bell  in  Gentlemen 
of  the  Press,  The  Lady  Lies,  Roadhouse  Nighls 
and  Young  Man  of  Manhattan  and  who  was 
a  member  of  the  stage  cast  of  Queen  High 
when  it  scored  its  triumph  on  Broadway. 
Wait  until  you  see  him  in  the  screen  version 
of  Queen  High,  starring  Stanley  Smith  and 
Ginger  Rogers.  His  name  (to  popularize 
him)  has  officially  been  changed  to  Charlie. 


DIMPLES— The  largest  electric 
sign  in  the  world  is  atop  Warner 
Bros.  Hollywood  Theater  at  Broad- 
way and  51st  Street,  New  York 
City.  Belle  Bennett  is  about 
thirty-nine  years  old.  Married  to 
F.  G.  Windermere.  Miss 
Bennett's  father  owned  a  traveling 
repertoire  company  and  she  ap- 
peared in  a  number  of  his  produc- 
tions. At  sixteen  she  was  a  star  and 
her  name  was  a  box-office  magnet 
in  every  town  she  appeared.  From 
traveling  "rep"  shows  she  gradu- 
ated into  "stock"  and  became  one 
of  the  highest  salaried  and  most 
popular  leading  women  in  this  field. 
Latest  picture  is  Recaptured  Love. 
Billie  Dove  was  born  in  New  York 
City,  May  14,  1903. 

J.  Y.  B.— Kay  Francis,  known 
as  the  best-dressed  woman  in 
Hollywood,  appeared  as  Carmen 
in  one  of  the  numbers  in  Para- 
mount on  Parade.  Dixie  Lee  was 
born  in  Harriman,  Tenn.,  about 
twenty  years  ago.  She  is  five  feet 
three  and  three  quarters,  weighs 
109  pounds,  has  blonde  hair  and 
brown  eyes.  You're  right,  she  ap- 
peared on  the  stage  before  entering 
pictures.  Latest  production,  Cheer 
U p  and  Smile,  Fox  Studios. 

INQUISITrVE.— Fred  Kohler, 

movie  bad  man,  spends  his  spare 
time  at  his  ranch,  Chatsworth, 
Calif.  Al  Jolson  and  David  Lee 
are  not  related.  Fred  Scott  played 
opposite  Helen  Twelvetrees  in 
Swing  High.  Claudette  Colbert's 
latest  picture  is  Manslaughter, 
Fredric  March  plays  opposite. 
Palmer    in   Ladies    Must  Play, 


blonde  hair  and  blue  eyes.  Married  to 
Marion  Oakes.  Has  been  playing  in  pictures 
since  1925.  His  last  four  being  A  Lady  to 
Love,  Rich  People,  Not  Damaged  and  Holiday. 

ARLETTA.— Helen  Kane  receives  her 
fan  mail  at  the  Paramount  Studios,  and  lots 
of  it.  Rudy  Vallee  has  blonde  hair,  write 
him  c/o  Paramount  Publix,  1501  Broadway, 
N.  Y.  C.  Send  a  self-addressed  envelope  for 
the  complete  list  of  fan  clubs.  Bebe  Daniels 
has  made  288  pictures.  Lauful  Larceny  is 
her  288th.  She  started  making  pictures  when 


Drawing  by  Simonton  from  a  photograph 

Having  completed  production  on  two  pictures,  "Follow 
Thru"  and  "Heads  Up,"  at  the  Paramount  New  York 
Studio,  and  having  made  some  personal  appearances  to 
the  delight  Of  so  many  of  his  fans.  Buddy  Rogers  is  now 
headed  for  Hollywood  and  home 


She  is  five  feet  one,  weighs  95  pounds,  has 
brown  curly  hair  and  blue-gray  eyes.  Latest 
picture  is  Half  Shot  at  Sunrise,  Radio  Pic- 
tures Studios. 

GALLAGHER  FAN.— "Skeets"  was" 
born  in  Terre  Haute,  Ind.  He  is  five  feet 
seven  and  a  half  inches  tall,  weighs  140 
pounds,  has  light  hair  anc^  blue  eyes,  married 
to  Pauline  Mason  and  receives  his  fan  maU 
at  the  Paramount  Studios.  Lillian  Roth, 
Dec.  13,  1911,  she  is  five  feet  four  and  a  half, 
weighs  115  pounds,  and  has  brown  hair  and 
blue  eyes.  Latest  picture  is  Animal 
Crackers.  That  is  Janet  Gaynor's 
real  name. 

DOROTHY.— Sally  Blane  was 

born  July  11,  1906,  five  feet  four 
and  a  half,  weighs  117  pounds,  has 
brown  hair  and  hazel  eyes.  Latest 
picture  is  The  Little  Accident.  Rudy 
Vallee  is  not  going  to  appear  in 
any  new  picture  at  this  time.  Chief 
Bacon  Rind,  eighty  year  old  Osage 
Indian,  and  fifty  of  his  tribesmen 
will  soon  be  on  their  way  to  Holly- 
wood to  appear  in  Radio  Pictures' 
Cimarron.  The  Indians  were  signed 
by  Doran  Cox,  assistant  director, 
who  returned  from  Oklahoma, 
where  he  had  been  filming  prairie 
scenes  for  the  forthcoming  pro- 
duction, starring  Richard  Dix. 


NOVARRO  FAN.— Ramon's 

name  is  pronounced  Rah-mone,not 
Raymon — mone  rhymes  with  bone. 
No-vahr-ro,  accent  on  middle  syl- 
lable. Ken  Maynard  was  born  at 
Mission,  Texas,  July  21,  1895.  He 
is  six  feet  tall,  has  black  hair  and 
gray  eyes.  Ken  was  formerly  with 
the  Kit  Carson  Buffalo  Ranch  Wild 
West  Company,  Hagenbeck  and 
Wallace,  Howe's  Great  London 
Show,  Golmar  Brothers  and  the 
Sells-Floto  Circus  as  a  trick  rider 
and  roper  before  entering  pictures. 
Ken  is  married  and  his  chief  hobby 
is  horses.  Appearing  in  Sons  of  the 
Saddle,  Universal  Studios. 


Shirley 

starring 

Dorothy  Sebastian,  Neil  Hamilton,  Co- 
lumbia Studios.  Carol  Lombard's  latest 
releases  are  Red  Hot  Rhythm,  The  Arizona 
Kid,  Safely  in  Numbers  and  The  Best  People. 
Paramount  Studios  is  where  you  may  write 
her  at  this  time. 

J.  S.  C. — Many  a  tourist  spends  his  week- 
end trying  to  find  the  right  road.  Robert 
Ames  was  born  in  Hartford,  Conn.,  he  is 
five  feet  ten,  weighs  155  pounds,  and  has 


eight  years  of  age,  completing  25  before  she 
was  ten.  At  fourteen  she  joined  Harold 
Lloyd  and  made  one  picture  per  week  for 
four  years.  Then  she  starred  in  49  pictures 
for  Paramount.  Her  last  five  productions, 
all  talkies,  have  been  made  by  Radio  Pic- 
tures. 

DOROTHY  LEE  FAN.— We  sure  do 
mourn  the  passing  of  the  old-fashioned  radio 
set.  It  used  to  be  silent  at  least  while  the 
battery  was  being  recharged.  Dorothy  Lee 
was  born  in  Los  Angeles,  Cal.,  May  23,  191 1. 


NELLIE.— Glad  to  hear  you  en- 
joyed our  radio  broadcast!  Myrna 
Loy  was  born  in  Helena,  Montana, 
about  twenty-four  years  ago.  She 
is  five  feet  six,  weighs  no  pounds,  has  red 
hair  and  light  green  eyes.  Real  name  is 
Williams,  and  she  is  Scotch  and  Welsh  de- 
scent. Latest  picture,  r/ieA^a»g/i/y  Flirt,  Fox 
Studios.  Fred  Thomson  died  Dec.  24,  1928. 
Last  picture  was  Kit  Carson.  Philippe  de 
Lacy  was  born  in  France,  July  25,  191 7.  He 
has  dark  hair  and  gray-green  eyes.  Mary 
Brian  played  opposite  Richard  Arlen  in 
Light  of  Western  Stars.  H.  B.  Warner  is 
appearing  in  "Devil  with  Women."  Yes,  we 
have  his  photo  in  stock. 

{Continued  on  page  82) 


76 


PIERRE 

Beauty  adviser  to  smart  Jt^ew  York  warns  .  .  , 

don't  experiment  witk  oea 


uty 


Anotker  famous  teauty  special- 
ist approves  Palmolive  5oap 
for  kome  cleansing  of  tke  skin 


WOMEN  now  and  then  have  a  mistaken  notion 
that  they  should  use  no  soap  on  the  face, ' 
says  Pierre  of  New  York.  "  'The  trouble,'  I  reply  in 
all  such  cases,  'is  that  you  are  using  the  wrong  kind 
of  soap.  You  should  use  Palmolive — a  soap  that  is 
effective  but  gentle  in  its  aaion.'  " 

Pierre  speaks  from  experience.  For  over  thirty 
years  he  has  been  one  of  New  York's  leaders  of 
beauty  culture.  His  smart  modern  salon,  in  the 
fashionable  Plaza  distria  on  57th  Street,  is  visited 
by  women  of  social  distinaion  who  entrust  all  their 
beauty  problems  to  his  expert  care. 

To  them  Pierre  says:  "Don't  experiment  with 
beauty.  It  is  too  precious.  Use  Palmolive  Soap  to 
keep  your  skin  lovely." 

This  preference  expressed  by  the  famous  Pierre 
you  will  find  is  repeated 
by  23,720  leading  ex- 
perts all  over  the  world. 
Of  all  cleansing  agents, 
these  experts  find  Palm- 
olive safest  and  best  for 
regular  home  use.  And 
this  is  why. 

Nature's  finest 
cosmetic  oils 

There  are  certain  oils 
which,  for  generations, 
have  been  proved  the 
finest  natural  cleansers. 
These  are  olive  oil  and 
palm  oil.  And  it  is  these 
oils  of  which  PalmoliveSoap  is  skilfully  blended.  This 
facial  soap  contains  no  free  alkali  to  irritate  sensitive 
skin.  It  is  not  artificially  colored.  It  requires  the  addi- 
tion of  no  heavy  perfumes.  No  wonder  experts  advise 
its  daily  use.  This  is  the  treatment  recommended: 

With  both  hands  massage  rich  Palmolive  lather 
into  the  skin.  Rinse  with  warm  water,  followed  by 
cold.  And  now  you're  ready  for  make-up. 

Just  try  that  simple  2-minute  treatment  tomorrow. 
Use  Palmolive  for  the  bath,  too.  See  how  refreshing 
it  is.  Then  you'll  use  it  every  day,  as  millions  of 
others  do.  At  10  cents  the  cake  it  is  the  world's  least 
expensive  beauty  treatment. 


caitty  spc- 
]n   this  ( ountry  and 
abroad  advocate  home  cleans- 
ing with  Palmolive  ai  a  basil 
for   professional  treatments. 


In  a  cosmopolitan  city, 
and  Xi.'ith  a  sophisticated 
clientele,  Pierre  has  made 
for  himself  an  enviable 
reputation  as  a  beauty 
specialist.  His  salon  oc- 
cupies a  prominent  posi- 
tion on  Fifty-Seventh 
Street,  New  York's 
street  of  superlatively 
smart  shops.  To  this 
salon  come  many  dis- 
tinguished women  for 
Pierre's  valued  counsel. 


"It  is  the  vegetable  oils  of  olive  and  palm  that  make  Palmolive 
so  soothing  and  delicate.  They  make  a  soap  that  is  safe 
for  sensitive  skins.  A  soap  that  produces  no  harmful  irrita- 
tions, hut  leaves  the  skin  smooth,  clean  and  lovely." 

39  W.  57TH  St. 
New  York  City 


6072 


Retail  1  /^^^ 
Prict  1 


PALMOLIVE  RADIO  HOUR-Btotdcast  every  Weaocsday  ni«hc-fiom 
8:}0  to  9:)0  p.  m.,  Euteia  time;  7:30  to  8:30  p.  m..  Central  time;  6:30  to 
7:30  p.  m.,  Mountain  time;  5:30  to  6:30  p.  m..  Pacific  Coast  time  —  over 
WEAF  and  39  (tations  associated  with  The  National  Broadcasting  Company. 


Th  e  Way  to  be 


As  revealed  to  KATHERI 


EVKRY  normal  girl 
captivating,"  says  Lila  Lee,  the 
girl  whose  dark  fascination  has  made  her 
an  adored  favorite  on  the  screen.  "And 
every  girl  can  be  if  only  she  will  keep  her 
skin  always  lovely. 

"For  smooth,  soft  skin  has  an  irresist- 
ible charm — a  charm  which  every  screen 
star,  certainly,  knows  she  must  have. 

"Hollywood  directors  discovered  long 
ago  that  only  with  ravishingly  beautiful 
skin  can  a  girl  win  her  way  into  the 


ALBERT 


public's  heart,  and  hold  her  popularity. 

"When  you  face  the  glare  of  the  great 
close-up  lights,  you  know  that  even  the 
tiniest  flaw  in  the  skin  is  fatal!  So  you 
see  why  smooth,  fine-textured  skin  is 
especially  important  to  a  star! 

"  .\  few  years  ago  some  of  us  began 
using  Lux  Toilet  Soap  and  now  'most  all 


of  us  do— and  are  delighted  with  it! 

"Its  lather  is  so  quick  and  gentle,  and 
it  keeps  the  skin  smoothly  clear — with 
that  soft,  glowing  look  that  is  so  tempting. 

"Naturally,  my  advice  to  the  girl  who 
wants  to  be  winning  is  take  regular,  iyi- 
teUigent  care  of  your  skin!" 

Hollywood  —  Broadway  —  European 
Stars— use  Lux  Toilet  Soap 

Of  the  521  important  actresses  in  Holly- 
wood, including  all  stars,  511  are  devoted 
to  Lux  Toilet  Soap.  All  the  great  film 
studios  have  made  it  the  official  soap  for 
their  dressing  rooms! 

The  lovely  Broadway  stage  stars,  too, 
have  discovered  that  Lux  Toilet  Soap 
gives  their  skin  just  the  gentle  care  that 
is  required  to  keep  it  exquisite. 

.And  now  the  European  stars  are  using 
this  fragrant  white  soap!  You,  too,  will 
want  to  try  it.  Order  several  cakes—  today. 


Cnoiu  by  L  is  enn  S.  Ball.  Hollrwaod 

.•\iLEEN  Princle,  the  star  whose  loveliness  wins  hearts  by  the  thousand, 
says:  "Smooth,  exquisite  skin  is  a  screen  star's  most  priceless  posses- 
sion !  Make-up  is  of  little  help  under  the  great  close-up  lights.  Her  skin 
must  be  genuinely  lovely!  Lux  Toilet  Soap  keeps  mine  petal-smooth." 


Laura  La  Plante,  lovely  Universal  star,  is  one  of  the  alluring  star 
who  depend  on  this  fragrant  white  soap  for  complexion  beauty:  "Like 
those  very  expensive  French  soaps,  it  gives  my  skin  a  marvelous  softness.' 


Lux  To  i  1  e  t  Soap 


INNING 


LiviNGSTOS,  charming 
Margaret  ^-^ij^t  Soap 

Columbia  star-.  .. 


^^^Z^popuhirColumbia 


LjLA   Lee,  irresistibly  beautiful 
favorite  of  the  screen,  in  the  luxuri- 
bathroom  designed  for  her  by  a 
l-known  artist  and  built  in  Holly- 
iod.  At  home,  as  in  her  dressing 
m  on  location,  she  cares  for  her 
exCjuisite  skin  with  Lux  Toilet  Soap, 
anii  says:  "  A  screen  star's  skin  must 
be  so  smooth  and  flawless,  it  is  not 
Stiange  we  all  use  LuxToilet  Soap!" 


Luxury  such  as  you  have  found  only  in  fine 

French  soaps  at  50^  and  $1.00  the  cake 


Fhoto  bf  Lonc« 


NOtV 


10 


79 


From  Where  I  Sit 


{Continued  from  page  lo) 


His  latest  cinema 
love  to  beautiful 


I  was  passing  Warner  studio  the  other 
day  when  a  newsboy  ran  past,  shouting 
"  Extra !  Attempt  to  assassinate  Bill  Hart ! " 
Who  should  appear  on  the  second-floor 
balcony  in  front  of  Warner's  executive 
offices  but  Arthur  Caesar,  waving  a  nickel, 
and  followed  by  a  horde  of  important  studio 
muckamucks  all  pricking  up  their  ears. 

"Who  was  that  you  said  they  assassin- 
ated?" shouted  Caes- 
ar down  at  the  news- 
boy. "Bill  Hart!" 
said  the  lad,  waving  a 
paper.  "Want  one?" 

Arthur  turned 
back  in  disgust  and 
faced  the  group  which 
had  followed  him 
out.  "You  can  save 
your  nickels,"  he 
said.  "  I  thought  he 
said  Joe  Schenck. 
They  fired  at  the 
wrong  man." 

This  remark  was 
made  in  the  presence 
of  half  Hollywood, 
including  studio  ex- 
ecutives and  hoi 
polloi  in  the  street. 

Next  week,  un- 
doubtedly, they  will 
put  Arthur's  salary 
up  again,  or  else  he 
will  be  transferred  to 
United  Artists  on 
a  new  contract. 

That 's  the  way  to 
succeed  in  Holly- 
wood. Or,  at  least, 
one  of  the  movie  ways. 

Modesty  Plus 

MODESTY  is  all  right  up  to  a  point, 
but  when  it  comes  to  this  sort  of 
thing  I  feel  someone  ought  to  protest. 

Harry  Tierney,  composer  of  theme-songs 
for  Radio  Pictures,  has  insured  his  sense  of 
hearing  for  one  hundred  thousand  dollars. 
And  here  is  what  he  has  to  say  about  it: 
"Hearing  is  a  vital  asset  to  me.  No  com- 
poser except  Beethoven  was  able  to  create 
music  without  it — and  I'm  no  Beethoven!" 

Let  us  draw  a  veil  while  Mr.  Tierney 
blushes. 

A  Dubious  Business 

THE  cafe  business  in  Hollywood  must  be 
just  about  the  most  uncertain  thing  in 
the  world.  For  it  depends  wholly  on  the 
caprice  of  the  stars;  where  they  go,  every- 
body wants  to  go.  Nobody  can  attempt  to 
fathom  just  why  the  stars'  taste  in  eating- 
places  changes.  But  it  does  change — and 
when  that  happens,  wild  lions  couldn 't 
drag  the  Tashmans,  Menjous  and  Baby 
Stars  back  to  the  Old  Haunt. 

Now  the  Montmartre  has  gone  on  the 
rocks — the  Montmartre  which  only  a  year 
ago  was  still  world-famous  as  the  haunt  of 
the  stars — the  Montmartre  outside  which 
crowds  used  to  gather  every  Wednesday  to 
see  celebrities  arriving  and  leaving. 

The  stars  who  made  it  and  its  proprietor, 
Brandstatter,  what  they  were,  stifled  a 
yawn  and  moved  on  to  the  Roosevelt  and 
the  Brown  Derby.  And  it  has  only  taken 
a  few  months  for  the  Montmartre  to  go 
bankrupt. 

The  Latest  Wrinkle 

THE  comparatively  new  Brown  Derby 
cafe  did  terrific  business  for  a  few 
months;  but  already  there  is  a  noticeable 

80 


cooling  of  ardor  on  the  stars'  part,  and 
nothing  but  a  miracle  can  restore  the  place 
to  the  popularity  it  had  six  months  ago, 
when  one  had  to  wait  a  half  hour  for  a  table 
only  to  be  told  that  "booths  are  only  re- 
served for  famous  people." 

Now  somebody  is  building  a  new  place,  a 
little  way  down  Vine  Street — a  great  open 
courtyard  with  a  great  big  round-house 


happen  in  a  hurry  or  not  at  all,  it  seems. 

Then,  too,  Bebe  and  Ben  have  both  been 
engaged  so  often  before  that  it  had  simply 
developed  into  a  bad  habit.  Neither  was 
ever  married  before,  but  a  list  of  the  people 
they  have  been  engaged  to  would  look  like 
a  Who's  Who  of  the  Western  Hemisphere. 

But  this  time  we  wiseacres  were  wise  once 
too  often,  as  we  are  only  too  glad  to  admit 
in  this  case. 

And  if  you  don't 
think  it  got  Holly- 
wood all  of  a  twitter 
when  they  announced 
that  a  bachelor  was 
to  marry  a  spinster, 
why  you  're  not  think- 
ing, Louisa. 

No  Joking:  It 
Has  Opened 


r 


The  Near-Great  Lover 
romance  over,  he  tells  his  director  (left):  "I'm  tired  of  making 
women — now  for  a  restful  vacation!"    But,  as  you  can  see  at 
right,  there's  never  any  vacation  in  a  love-life 


kitchen  in  the  middle,  where  they  will  serve 
customers  in  their  cars.  That,  too,  will  have 
its  day. 

The  Synthetic  Parisienne 

OUT  comes  the  truth  about  Fifi  D  'Orsay. 
She  has  never  been  in  France  in  her 
life.  Her  name  is  Yvonne  Luserer  and  she 
is  a  French-Canadian,  one  of  thirteen 
children  of  a  Montreal  post-office  clerk. 

The  story  of  how  she  put  herself  over  in 
Hollywood  as  a  revue  star  from  Paris  is 
really  one  of  the  epics  of  filmdom.  She  can 
speak  English  like  you  and  me,  and  as- 
sumes the  accent  for  business  purposes  only. 

Yes,  even  I  was  taken  in  by  Fifi.  The 
name  sounded  phoney  to  me  from  the  first, 
but  I  fell  for  the  accent.  Now,  though,  I 
can  see  that  the  latter  is  much  too  good  to 
be  true.  The  fact  is,  of  course,  that  nobody 
with  such  a  pronounced  accent  would  be 
capable  of  Fift's  fluency. 

I  have  awarded  myself  three  bad  marks 
and  I  am  keeping  myself  in  after  school 
hours  for  a  week,  just  to  show  myself  where 
I  get  off. 

Love  Finds  a  Way 

THIS  month  I  am  asking  for  three  peppy 
huzzahs  for  Bebe    Daniels  and  Ben 
Lyon. 

Recently  there  have  been  one  or  two  sur- 
prises when  engaged  couples  have  suddenly 
got  married — the  Grant  Withers-Loretta 
Young  affair,  for  example.  But  in  these 
cases  the  engagements  were  short.  The 
Bebe-Ben  nuptials,  on  the  other  hand, 
came  as  the  culmination  of  a  protracted 
betrothal.  Everyone  in  Hollywood  had 
decided  months  ago  that  if  Bebe  and  Ben 
had  ever  really  thought  of  marriage,  they 
had  long  since  put  such  an  idea  out  of  their 
heads:  for  Hollywood  marriages  notoriously 


N  regard  to  How- 
ard  Hughes's 
mammoth  produc- 
tion," Hell  's  Angels," 
I  would  only  pause 
to  point  out  this  fact. 
There    are   just  so 
many   seats    in  a 
theater,  and  just  so 
many  theaters  in  the 
world;  and  if  Howard 
can  add  up  the  fig- 
ures any  way  at  all 
to  show  him  a  profit 
on   his  four-million- 
dollar  investment, 
he's  a  much  better 
man  than  I  am. 
As   a   matter  of 
fact,    he's   undoubtedly   a   much  better 
man  than  I  am  anyhow;  but  we'll  let  that 
pass. 

Anyway,  "Hell's  Angels"  has  actually 
opened  in  Hollywood,  and  how!  Airplanes 
played  leapfrog  over  the  palpitant  crowds 
outside  Grauman 's  Chinese,  and  they  sent 
down  smoke  screens  just  as  Arthur  Caesar 
was  getting  out  of  his  car.  The  whole  even- 
ing, in  fact,  was  consecrated  to  Art  with  a 
capital  A — with  a  mammoth  A.  The  only 
thing  that  wasn 't  mammoth  was  Sid 
Grauman 's  bob,  and  I  shall  never  be  able 
to  forgive  Sid  for  having  his  curls  shingled 
the  way  he  has. 

Where  Will  His  Money  Go? 

AS  this  is  written.  Serge  Eisenstein,  the 
^  Russian  director,  is  in  Hollywood. 
And  what  everybody  I  know  or  heard  of 
is  wondering  at  present  is:  What  is  Mr. 
Serge  Eisenstein  going  to  do  with  all  the 
money  he  gets  from  the  Messrs.  Zukor  and 
Lasky? 

He  is  going  to  get  a  salary  of  three 
thousand  a  week  over  a  period  of  at  least  a 
year — a  total  of  some  hundred  and  fifty 
thousand  smackers.  At  the  end  of  the  year 
he  has  to  return  to  Russia,  and  the  law 
there  says  that  he  may  not  bring  the  money 
in  with  him,  nor  may  he  derive  any  income 
from  it  in  American  investments.  So  he 
will  either  have  to  throw  the  money  about 
wildly  to  spend  it  while  he  is  in  Hollywood, 
or  else  there  will  be  large  sums  to  be  dis- 
tributed to  somebody  or  other  when  he 
leaves. 

Be  that  as  it  may,  the  eminent  Mr.  Eisen- 
stein is  going  to  find  whpn  he  gets  to  Holly- 
wood that  he  has  far  more  friends  and  ad- 
mirers than  he  ever  suspected  in  his  most 
far-fetched  imaginings. 


You  need  this 
Penetrating  Dentifrice 

...  to  give  your  teeth  the 
kind  of  cleansing  dentists  recommend 


Surface  polishing  only 
half  cleans.  Colgate's  does 
more  —  it  washes  away 
decaying  particles. 

QURFACE  polishing  gives  good- 
^  looking  teeth.  It  keeps  them 
white  and  attractive.  Almost  any 
toothpaste  will  scrub  the  tooth 
surface. 

But  Colgate's  is  different!  It  not 
only  polishes  teeth  — it  also  ui-ashes 
them  perfectly,  flooding  out  the 
deca)ing  particles  from  bet'Uijeen  the 
teeth  and  in  the  tiny  crevices. 

The  extra  action  is  due  to  the  Col- 
gate formula,  which  includes  an  in- 
gredient that  breaks  into  a  sparkling 
foam.  This  foam  bathes  the  teeth 
with  active  penetrating  bubbles. 


rip^rmm  thowtnr  tiny 
sroco  bwtwccn  tcetb. 
Notr  how  ordinary .  8lus- 
fiiah  tOQthpute  (ha%*tnK 
"hlvbgurfacr-tensfo 
fail*  to  p«notrttte  d 
down  whvrv  th«  CAai 
of  decay  ma^  lurk. 


i") 
deep 


Colgate's  is  most  econoini* 
cal  —  the  25o  tube  contains 
more  toothpaste,  by  volume, 
than  any  other  nationally  ad- 
vertised brand  priced  at  a 
quarter. 


This  lively  foam  goes  where  the 
ordinary  sluggish  toothpaste  can't— 
into  tiny  fissures  and  spaces  between 
the  teeth. 

Thus  Colgate's  does  two  things  at 
one  time— ( I )  its  soft  chalk  polishes 
brilliantly  (2)  its  penetrating  foam 
loosens  and  washes  away  dangerous 
decaying  particles. 

Why  be  satisfied  with  a  mere  polish- 
ing dentifrice?  By  using  Colgate's 
you  not  only  maintain  attractive 
white  teeth,  but  you  also  piOtect 
the  crevices  by  flooding  out  the 
embedded  impurities. 

This  double  action  has  made'  Col- 
gate's the  world's  favorite  dentifrice 
—  used  by  more  people,  recom- 
mended by  more  dentists. 

If  you  have  not  become  acquainted 
with  the  superiority  of  Colgate's, 
mail  coupon  for  free  trial  tube  of 
Colgate's  Ribbon  Dental  Cream 
and  interesting  booklet  on  the  care 
of  the  teeth  and  mouth. 


Colgate 's  comes  in  powder  form 
for  those  who  prefer  it.  Ask 
for  Colgate's  Dental  Powder. 

FREE  COLGATE,  Dept.  M-635,  I' 
O.  Box  507,  Griiiul  Cfiitral  Post 
Office,  New  York.  Please  send  a  trial  tube  of 
Colgate's  Ribbon  Dental  Cream,  \\itli  booklet 
"How  to  Keep  Teeth  and  Month  Healthy." 


deep  down  into  th«  rrcv- 
lr«,  cIvaDtlnir  tt  com- 
pivtrlr  wh«r«  the  tuoth- 
bruah  cADOot  reach. 


Address.. 


81 


Roughing  It  De  Luxe 


like  a  big  estate  to  me.  But  there  are  trees 
growing  around  the  edges  that  sometimes 
have  fruit  on  them — so  that's  why  it's  a 
ranch. 

Big  Boy  Williams  cares  for  ranching,  too. 
He  used  to  be  a  cowboy,  you  know.  Or 
if  you  don't  know,  it's  just  because  you 
haven't  been  paying 
attention.  Almost  any 
week-end,  you  can  see 
him  and  Charlie  Far- 
rell,  all  dressed  up  in 
their   cowboy  suits, 
hustling  to  the  ranch 
for  a  little  bronco- 
busting  and  roping 
practice. 

"What  in  the  world 
do.  you  rope?"  I  asked 
him  once.  "You  sure- 
ly don't  have  great 
herds  of  cattle  grazing 
out  there,  do  you?" 
Because,  you  under- 
stand, in  California 
there  is  nothing  not- 
iceable on  which  cat- 
tle can  graz  . 

Big  Boy  grinned. 
"No-o-o —  "  he 
drawled.  "But  I  keep 
a  few  yearlings  in  a 
pen  and  Charlie  and 
I  let  'em  out  and 
lass-oo  'em  when  we 
feel  like  it.  We  ride 
cowboy  saddles  and 
everything!" 

It's  ever  so  wild- 
Western,  of  course. 
But  somehow,  it 
seems  sort  of  a  dirty 
trick  on  the  year- 
lings. 

Then  there  are  the 
gipsy  types.  The  ones 
who  feel  the  call  of  the 
open'  road  every  now 

and  then  and  must  needs  go  a-wandering. 
Tom  Mix  and  the  Tod  Brownings  and  some 
other  people  us;d  to  feel  like  that  every  once 
in  a  while.  When  the  yearning  got  to  be  too 
much  for  them,  they  used  to  get  one  of  the 
big  stages  which  ply  between  Los  Angeles 
and  San  Francisco.  They  would  have  the 
insides  ripped  out  and  would  install  wicker 
chairs  and  couches  and  bridge  tables  and  a 
nice  little  ice-box  and  bar — and  away  they 
would  go  to  Santa  Barbara  or  some  place, 
with  a  song  jn  their  hearts.  You  know  how 
it  is.  Just  a  lot  of  merry  vagabonds. 

All  the  comforts  of  home  and  none  of  the 
responsibilities. 


{Continued  from  page  74) 

Mary  Pickford,  I  am  told,  has  a  little 
gipsy  blood,  too.  But  when  Mary  goes 
a-wandering  and  a-vagabonding,  she  takes 
precautions  against  homesickness.  No  mat- 
ter if  she  is  to  be  gone  from  home  only 
overnight,  Mary  must  have  her  own  things 
about  her.  So  she  takes  along  lamps  and 


P.  *•  A. 


Sixteen  years  after:  D.  W.  Griffith  and  nine  of  the  cast  of  "Birth  of  a  Nation" 
celebrate  the  revival  of  the  first  great  movie — with  sound  effects  and  prologue.  Left 
to  right,  Donald  Crisp,  Joseph  Henabery,  Mae  Marsh,  Spottiswood  Aitken,  D. 
W.,  Tom  Wilson,  Henry  B.  Walthall,  Walter  Long,  Mary  Alden  and  Ralph  Lewis 


cushions  and  little  lace  pillows  and  framed 
photographs  and  disposes  them  neatly 
about  the  room,  ere  she  goes  to  sleep.  Just 
so  she  won't  wake  up  and  find  herself  in 
surroundings  that  are  too  unfamiliar  and 
frightening. 

Reginald  Denny  is  a  big  mountain  type. 
He  has  a  shack  'way  off  in  the  tip  tops  of  the 
High  Sierras.  Just  a  shack,  my  dear — with 
only  four  or  five  bathrooms !  All  the  supplies 
have  to  be  packed  in  on  horses  and  mules, 
so  you  can  see  that  it  must  be  really  primi- 
tive and  back-to-nature.  He  has  a  couple 
of  generating  plants  hidden  away  on  the 
mountainside  so  that  the  house  may  be 


supplied  with  electricity  and  he  has  arrange 
for  running  water  and  modern  plumbin 
Everything  is  just  too  rustic  for  word 
All  the  furniture  is  made  of  natural  wood 
polished  a  little  bit  so  it  won't  be  too  roug 
on  ladies'  silk  stockings.  The  lamps  by  th 
beds  are  made  of  little  twiglets  and  th 
mirrors  are  all  frame 
in  a  lace  work  of  tin 
polished  branches 
taken  right  oflF  th 
trees!  Just  too  wood 
sy  for  anything. 

W'allace  Beery  isal 
so  a  bacjc-to-natur 
addict.  Hehasaplace 
far,  far  from  the  mad 
ding  crowds  of  Holly 
wood.    (And  goshil 
how  madding  those> 
crowds  do  get  some- 
times!) He  has  a  lake 
somewhere  or  other 
and  spends  his  spare! 
moments  on  an  island 
in  the  middle  of  it 
where  no  one  can  pes- 1 
sibly  find  him — un- 1 
less  they  chase  him  i 
in  an  airplane.  He 
flits  up  there  in  his 
own  plane  and  lands 
on  his  own  tidy  little 
landing    field  —  and 
there  he  is,  all  remote 
and    secluded  in  a- 
twinkling! 

Location  trips 
sometimes  take  peo- 
ple far  into  the  wilds. 
Of  course,  there  was 
the  "Trader  Horn'V 
company,  which  wen^ 
into  the  interior  of 
Africa  and  had  to 
cope  with  all  those 
tse-tse  flies  and 
things.  And  right  this 
minute  Dick  Arlen  is  on  location  over  a 
Catalina  Island — making  "The  Sea  God" 
and  living  on  his  own  yacht.  I  don't  kno 
that  there  are  any  tse-tse  flies  to  bother 
them,  but  I  have  it  on  good  authority  that 
Jobyna  caught  a  real  live  eel  while  she  was 
sitting  right  on  her  own  front  porch  or  deck 
or  whatever  you  call  it. 

Anyhow,  they  all  just  love  Nature  and 
you  can  see  that,  even  in  Hollywood,  the 
primitive  instincts  do  get  the  better  of 
people  every  once  in  a  while.  Wind  in  the 
hair  and  fog  in  the  throat  is  lovely  now  and 
then — only  you  don't  want  to  be  too  un- 
comfortable. 


The  Answer  Man 


KATHRYN.— Billie  Dove  was  born  in 
New  York  City,  May  14,  1903.  Real  name 
is  Lillian  Bohny.  Louise  Fazenda,  June 
17,  1895.  Married  to  Hal  Wallis.  Milton 
Sills,  Jan.  10,  1882,  married  to  Doris  Ken- 
yon.  Fay  Wray,  Sept.  25, 1907,  John  Monk 
Saunders.  Arthur  Lake  was  born  in  Cor- 
bin,  Ky.,  in  1910.  We  have  had  conflicting 
statements  regarding  his  age  but  this  is  the 
correct  year.  He  is  five  feet  eleven,  weighs 
145  pounds,  has  brown  hair  and  blue-gray 
eyes.  Real  name  Silverlake,  he  has  a  sister 
Florence  who  is  also  appearing  on  the  screen. 
Lake's  next  picture  is  Chscr  U p  and  Smile. 

82 


(Continued  from  page  y6) 

L.  LEWIS. — Josephine  Dunn  was  born 
in  New  York  City,  May  i,  1901.  She  is  five 
feet  five  inches  tall,  and  weighs  exactly  119 
pounds.  She  has  blonde  hair  and  blue  eyes. 
Appearing  in  Safety  in  Numbers.  Lupe  Velez 
did  her  own  talking  and  singing  in  Tiger 
Rose.  Leroy  Mason  played  opposite  Dolores 
del  Rio  in  Revenge.  William  Boyd,  June 
Collyer,  Helen  'Twelvetrees,  Fred  Scott, 
Robert  Armstrong,  James  Gleason, 
Russell  Gleason,  Zasu  Pitts,  William 
Holden,  and  Bert  Roach  have  the  lead- 
ing [r61es  in  Beyond  Victory,  Pathe 
Studios. 


IRENE.— Ian  Keith  was  born  in  Boston, 
Mass.,  Feb.  27,  1899.  Ian  was  well  known  on 
the  stage  before  entering  pictures.  He  was 
educated  at  the  Parker  Preparatory  school 
in  Chicago  and  later  studied  at  the  American 
Academy  of  Dramatic  Arts  in  New  York. 
He  is  six  feet  two,  has  brown  hair  and  gray 
eyes.  Most  recent  pictures  released  are 
Abraham  Lincoln,  What  a  Widow,  The  Big 
Trail  and  Prince  of  Diamonds. 

DIANE. — Norma  Shearer  is  married  to 
Irving  Thalberg.  She  is  five  feet  one,  weighs. 
(Continued  on  page  106) 


SHE  CAN'T  PLAY  A  NOTE'* 


Thisll  be  Funny 

they  shouted  as  she 
sat  down  to  play 

  6ui  a  minute  later. 


I GUESS  we're  stuck  right  here  for  the  after- 
noon," mighecl  Jane,  as  the  rain  began  coming 
down  in  torrents.  The  usual  crowd  always  gathered 
at  the  club  on  afternoons  such  as  this. 

"I  suppose  this  means  more  bridge,  and  I'm  tired 
of  that."  said  John  Thompson.  "Can't  we  find  some- 
thing different — something  unusual  to  do?" 

"Well,  here  comes  Sally  Barrow.  She  might  offer 
some  solution  to  the  problem,"  suggested  Jimmy 
Parsons,  with  a  laugh. 

Poor  Sally!  Unfortunately  she  was  considerably 
overweight.  It  seemed  she  was  just  destined  to  be 
bea\')'  and  plump.  But  the  boys  all  Uktd  Sally — 
she  was  so  jolly  and  full  of  fun. 

"Hello  everybody,"  came  Sally's  cheery  greet- 
ing, "What's  new?" 

"That's  just  it,  Sally.  We  were  trying  to  find 
some  excitement  and  we've  just  about  reached  the 
end  of  our  rope,"  replied  John. 

"Would  it  surprise  you  if  I  played  a  tune  or  two 
for  you  on  the  piano?  I'm  not  awfully  good  as  yet, 
but  I'll  try." 

"You  play,  Sally?  Don't  be  funny!"  The  very 
idea  of  Sally  having  talent  in  any  direction  struck 
everybody  as  a  joke  Sally  was 
gu<xl-iiat  ured  though.  She  didn't 
mind  b^i  ng  laughed  at  — as  long  as 
John  Thompson  didn't  join  in  the 
laughter.  Sally  liked  John — more 
than  she  cared  to  admit. 

The  laughter  became  more 
boisterous  as  Sally  walked  non- 
chalantly over  to  the  piano. 
Carelessly,  she  played  a  few- 
chords.  At  this,  everyone  sud- 
denly stopped  laughing  and 
turned  to  watch  Sally.  "Well, 
anyone  could  play  a  few  chords," 
they  thought  Then  withoul  the 
slightest  hesitation  and  just  as 
if  she  had  been  playing  for  years. 
Sally  broke  into  the  latest  Broad- 
way hit.    Her  listeners  couldn't 


believe  their  ears!  Sally  continued  to  play  one  lively 
t  une  after  another.  Some  danced  while  others  gath- 
ered around  the  piano  and  sang. 

Finally  she  finished  and  rose  from  the  piano.  John 
Thompson  was  at  her  side  imm^iately  brimming 
over  with  curiosity.  He  never  knew  she  could  play  a 
note. 

"Where  did  you  learn?    Who  was  your  teacher? 
John  asked,  "Why  didn't  you  tell  me  about  it 
sooner?" 

"It's  a  secret — and  I  won't  tell  you  a  thing  about 
it  .  .  .  except  that  I  had  no  teacher!"  retorted  Sally. 

Sally's  success  that  afternoon  opened  up  a  world 
of  new  pleasures.  John,  particularly,  took  a  new  and 
decided  interest  in  Sally.  More  and  more  they  were 
seen  in  each  other's  company.  But  it  was  only  after 
considerable  teasing  on  John's  part  that  Sally  told 
him  the  secret  of  her  new  found  musical  ability. 


Sally's  Secret 


Learn  to  Play 
by  Note 


Piano 
Organ 
UkuUU 
Cornet 
Trombon* 
Piccolo 
Guitar 

Hawaiiar 


Sight  Singing 
Voica  and  Spaach  Culture 
Druma  and  Trapa 
Automatic    Finder  Control 
Banjo    'Plectrum,  5-String 
or  Tenor> 
Piano  Accordion 
Italian  and  German 
Accordion 
Harmony  and  Compotition 


"Vou  may  laugh  when  I  tell  you,"  Sally  began, 
"But  I  learned  to  play  at  home,  without  a  teacher. 
You  see.  I  happened  to  see  a  U.  S.  School  of  Music 
advertisement.  It  ofTered  a 
Free  Demonstration  Lesson  so 
I  wrote  for  it.  When  it  came 
and  I  saw  how  easy  it  all  was,  I 
sent  for  the  complete  course. 
What  pleased  me  most  was  that  I 
was  playing  simple  tunes  by  note 
right  from  the  start.  Why.  it  was 
just  as  simple  as  A-B-C  to  follow 
the  clear  print  and  picture  illus- 
trations that  came  with  the  les- 
sons. Now  I  can  play  many  clas- 
sics by  note  and  most  all  the  pop- 
ular music  .\nd  jus;  t hink — the 
cost  averaged  only  a  few  cent  s  a 
day!" 

Today.  Sally  is  one  of  the  most 
popular  gills  in  her  set.  .And  we 
don't  need  to  tell  you  that  she 
and  John  are  now  engaged! 


Violi 
Clarinet 
Flute 

Saxophone 
Harp 
Mandolin 
■Cello 
Steel  Cuitai 


The  story  is  typical.  The  amaiing  success  of 
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this  surprising  course.  You  can't  go  wrong.  First 
you  are  told  how  to  do  it,  then  a  picture  shr.n-s  you 
how,  and  then  you  do  it  yourself  and  hear  ii 

Thus  you  teach  yourself — in  your  spare  time — 
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8^ 


Hollywood   Sob -  Stories 


spoke  of  a  strange  "Love  Cult"  into  which 
she  had  been  initiated  in  moonlit  jungle 
ceremonies. 

Nobody  realized  the  simple  truth. 
Edwina  Booth  is  not  yet  quite  back  from 
Africa.  The  cheerful,  instalment-furnished 
bungalow  living-room,  with  the  neighbors 
dropping  in,  and  four  high-school  brothers 
and  sisters  chatting  of  basketball 
and  algebra  tests,  does  not  look 
haunted.  Her  mother  wisely  has 
not  scattered  any  African  souvenirs 
— skins,  guns,  knives,  savage  war- 
drums — about  the  room. 

"Everything  I  brought  back," 
Edwina  murmurs,  "was  something 
that  had  been  killed  or  some- 
thing that  was  meant  for  killing—" 

But  there  is  a  far-away  look  in 
her  eyes,  as  if  even  yet  she  sees 
scenes  very  different  from  the  safe, 
familiar,  homely  ones  around  her. 

"When  I  first  came  back,  every- 
one asked  me  about  my  trip  and  I 
talked,  and  talked  about  it,"  she 
tells  you.  "I  talked  so  fast,  trying 
to  get  everything^  in!  I  guess  I 
talked  too  much.  The  doctor  tells 
me  now  to  try  not  to  think  about 
Africa. 


{Continued  from  page  2g) 

What  did  it  seem  like  to  read  of  these 
things  in  the  heart  of  Africa?  "I  don't 
think,"  says  Edwina,  smiling  slowly,  "I 
could  tell  you  just  what  it  seemed  like.  No, 
I  don 't  think /fiOttW  put  it  into  words  .  .  ." 

She  came  from  a  tree-shaded  Pasadena 
street  with  a  church  on  each  corner. 

"I  used  to  hear  those  church  bells  in 


Horrors  Without  Relief 

IT'S  sort  of  like  shell-shock,  I 
suppose.  While  I  was  away, 
it  didn 't  seem  so  strange  or — or 
terrifying.  Why,  here  at  home  I 
could  never  bear  to  see  anything 
hurt.  If  I  saw  a  kitten  run  over 
by  an  automobile,  I  was  sick  for 
days.  In  Africa  I 'd  watch  them 
bring  in  the  day's  kill  without  a 
shudder  and  stand  looking  on  while 
they  skinned  it.  They  make  a 
long  slash  down  the  stomach  first, 
you  know.  I  don 't  know  whether 
it 's  the  heat  or  why  it  happens, 
but  as  soon  as  the  slit  is  made,  all 
the  insides  burst  out  with  a  sort 
of  explosion.  I  could  stand  there 
and  watch  as  cool  as  you  please. 
But  I  was  holding  it  all  in.  Too  many  new 
and  different  experiences  happened  to  me 
all  at  once.  There  wasn 't  time  to  feel  every- 
thing then,  so  I  was  saving  it  up.  I  knew  I 
didn't  dare  let  go  or  I  couldn't  go  on 
working." 

In  her  letters,  her  mother  tells  you, 
Edwina  never  mentioned  her  own  suffering, 
the  heat  and  flies  and  sunstroke  and  other 
distressing  things.  She  did  not  give  herself 
even  that  outlet.  One  has  a  picture  of  the 
bewildered  girl  (she  was  only  eighteen  and 
had  never  been  away  from  home  in  her  life 
before),  tortured  with  fever  and  homesick- 
ness, sitting  in  the  outlandishness  of  an 
African  camp,  with  savage  sights  and  smells 
and  sounds  all  about  her,  forcing  herself  to 
write  enthusiastically  and  happily  to  the 
folks  six  thousand  miles  away. 

She  Heard  The  Bells 

AND  the  letters  from  home!"  says 
.  Edwina,  breathlessly.  "We  got  the 
mails  only  once  a  month.  I  could  hear  the 
little  river  steamer  chugging  in  at  midnight 
and  I  would  run  out  and  get  my  mail.  And 
light  a  lamp  and  read  all  the  letters  .  .  ." 

Home  letters,  full  of  the  small  intimate 
details  of  crowded  family  life;  "Dad  washed 
the  car  Saturday" — "I  wish  you  could  see 
the  new  dining-rOom  curtains,  cross-bar 
dimity  with  yellow  flowers" — "The  twins 
are  in  the  High-School  play.  They  miss 
your  help" — "And  listen.  Sis,  if  I  make  the 
Varsity  football  team  next  fall  ..." 

84 


Bareheaded,  barefooted,  scantily    dressed,  under  a 
noonday  sun,  Edwina  Booth,  above,  led  the  native 
warriers  into  the  jungle.  Below,  Edwina  with  the  pig- 
mies, whom  she  still  can  see 


Africa,"  she  says.  "I  couldn 't' sleep  more 
than  a  few  minutes  at  a  time,  nights,  and 
they  would  wake  me  up.  Then  I 'd  find  that 
it  was  just  the  voodoo  drums  in  the  native 
village.  One  night,  I  was  sleeping  outside 
the  hut  under  a  tree  for  air,  and  I  heard 
Mother  calling  me.  I  got  up  and  ran.  A 
native  boy  caught  hold  of  my  arm  just  as 
I  was  going  down  the  bank  into  the  Nile." 

What  Were  Fevers,  Dangers? 

A HOME  girl.  A  director  saw  her  walk- 
ing on  the  street  and  suggested  pic- 
tures. Two  disheartening  years  without  a 
break  and  then — suddenly  the  only  wo- 
man's part  in  "Trader  Horn."  She  didn't 
have  to  take  it,  you  say?  Then  you  don't 
know  Hollywood  or  a  girl 's  ambitions.  The 
money  they  would  pay  her  was  very  small. 
Never  mind,  it  was  her  Great  Chance.  It 
would  make  her  famous  overnight!  The 
fevers,  the  dangers?  The  doctor  warned 
her  that  blondes  were  more  susceptible  to 
the  sun  than  brunettes,  and  that  she  was 
running  a  risk  to  go.  Already  she  had 
fainted  once  in  the  California  sun,  playing 
a  bit  in  a  picture.  She  took  the  inoculations 
against  typhoid  and  left  town  on  the  first 
lap  of  her  safari  with  a  fever  of  a  hundred 
and  four. 

"We  had  only  five  days  to  decide,"  her 
mother  says.  "I  thought  to  myself,  'If 
another  girl  goes  and  makes  a  great  success, 
Edwina  will  never  forgive  me.  Her  father 
tried  to  talk  to  the  studio  people.   It  was 


all  confused,  hurried,  unreal  .  .  .  like  a 
dream.  Our  Edwina  going  to  Africa.  I  just 
couldn't  seem  to  take  it  all  in.  If  we'd 
known  .  .  ." 

Trader  Horn  Shook  His  Head 

WHEN  Trader  Horn  himself  visited 
the  M-G-M-  Studio  after  the  com- 
pany had  left,  he  shook  his  head, 
hearing  that  a  young  girl  had 
gone.  "Some  of  them '11  never 
come  back  alive,"  he  prophesied. 
"If  they  escape  the  sun,  there's 
the  bites  of  poison  creatures,  and 
if  they  escape  that,  there's  the 
sickness  .  .  .  malaria,  dysentery. 
It's  a  bad  place  they've  gone 
to  .  .  .bad." 

When  Edwina  Booth  came  back, 
the  ship's  doctor  examined  her. 
"She  might  as  well  be  dead  al- 
ready," he  told  another  member 
of  the  company.  "I  can't  find  any 
pulse." 

Five  months  in  the  interior  of 
Africa.  The  men  of  the  company 
wore  tropical  suits,  pith  helmets, 
spine  pads  against  the  insidious 
sun.  "But  of  course  I  was  playing 
a  goddess  in  a  native  temple," 
Edwina  explains  simply.  "  I 
couldn't  wear  many  clothes,  and 
I  had  to  go  bareheaded." 

It  is  the  Hollywood  code  of 
"Anything  for  the  sake  of  the 
picture."  For  the  sake  of  the  pic- 
ture Edwina  spent  hours  under 
the  secret  sun,  striking  from  a  grey 
sky  at  the  tiny  nerves  of  the  spine 
and  the  brain.  Twice- — for  the  sake 
of  the  picture — she  was  sunstruck. 
She  chased  wild  animals,  and 
walked  barefoot  through  tall  grass 
where  Death  might  be  hiding.  She 
took  it  quite  for  granted — wasn 't  it 
all  for  the  sake  of  the  picture?  She 
is  proud  of  the  fact  that  they 
never  lost  a  day's  work  on  her 
account. 

"The  worst  was  not  sleeping," 
she  rehiembers  as  she  turns  those  remote 
blue  eyes  on  you,".  .  .  not  more  than  ten 
minutes  at  a  time  all  those  months.  And 
since  I 've  been  home,  it 's  the  same.  I  wake 
up,  thinking  I'm  back,  thinking  I  hear  the 
drums,  and  the  hyenas  screaming  and  the 
natives  chanting.  Did  you  know  that  when 
any  of  the  village  people  are  sick  they  take 
them  out  and  abandon  them  in  the  forest 
to  die?  We  saw  that  happen.  We  saw 
them  eat  the  day 's  kill  ...  a  bufifalo  .... 
raw,  tearing  it  apart  with  their  hands.  We 
saw  dances  ..." 

Her  voice  trails  off.  Her  mother  shud- 
ders. The  dark  rumors  return  to  mind; 
Love  Cults  .  .  .  native  ceremonials  .  .  . 
blood  brothers  to  the  black  men  .  .  . 
pigmies  like  gnomes  .  .  .  naked  warriors 
painted  into  fiends  with  colored  clays  .  .  . 

With  an  effort  she  comes  back  to  the 
Culver  City  bungalow. 

"But  I'm  much  better.  I  can  sleep  an 
hour  at  a  time  now.  I 'm  ready  to  go  back 
to  work  whenever  they  need  me.  It  was 
terrible — -and  wonderful  too.  But  I  feel  as 
if  I 've  had  enough  emotions  to  last  me  all 
my  life.  I  want  to  buy  new  clothes  now, 
and  go  places  and  dance  and  see  my  friends, 
and  most  of  all  I  want  to  work.  1  hope  my 
next  picture  will  be  a  young  love  story.  . ' ' 

If  there  is  gratitude  in  Hollywood  for  a 
little  trouper,  Edwina  Booth's  next  picture 
will  be  in  the  nature  of  a  Reward  of  Valor. 
But  is  there  gratitude?  We  shall  wait  and 


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85 


Perfect  HoncymooU'-Almos^^ 

{Continued  from  page  jo) 


A 

new 
delight 
in 

toiletries 


Before  you  catch  its  delicate  fragrance 
or  feel  the  incredible  smoothness  of  the 
powder,  you'll  love  Shari  .  .  .  because 
of  its  exquisite  casings.  You'll  want 
them  on  your  dressing  table  .  .  .  you'll 
want  to  carry  them  in  your  purse.  And 
once  you've  used  Shari,  you'll  prefer 
it,  for  the  charming  fragrance  of  the 
perfume  .  .  .  and  the  long-adhering, 
petal-smooth  powder,  will  bring  you 
so  many  compliments.  At  all  Rexall 
Drug  Stores  which  includes  Liggett  and 
Owl  Stores;  there  is  a  Rexall  Store 
conveniently  near  you. 


me.  Finally  I  collared  one  of  them.  "What's 
the  dope?"  I  asked.  "Why  are  they  so  rude 
to  nice  fellows  like  you  and  me?  Especially 
me — " 

"Aw,  it's  the  bunk,"  he  growled.  "You 
see  Ben  Lyon  and  Bebe  said  they  were 
going  to  take  a  honeymoon  without  being 
bothered  by  reporters." 

"Yeah,"  I  answered.  "That's  what  I 
heard,  but — " 

"And,"  continued  the  reporter,  gingerly 
feeling  certain  parts  of  his  body,  "I  guess 
that's  what  they  meant!  I  thought  it  was 
the  same  old  stall.  I  figured  they'd  be  glad 
to  talk  to  the  boys  after  a  day  or  two,  like 
everybody  else  who  comes  here  on  honey- 
moons, but  I  guess  it's  no  soap.  None  of  us 
guys  can  get  by  that  (name-name)  desk- 
clerk." 

"That  guy!"  I  shouted.  "Let's  get  him 
to-night." 

Still  mumbling,  the  reporter  shuffled  off 
and  I  ambled  over  toward  the  tennis  courts. 
And  then  came  my  change  in  luck.  Like 
this: 

The  Good  Samaritan 

AN  old  caretaker  asked  me  why  I  looked 
^  the  way  I  looked.  I  answered  how  I'd 
come  there  for  a  story  on  Bebe  and  Ben  and 
that,  so  far,  I  hadn't  even  been  able  to  see 
them.  His  eyes  twinkled.  Maybe  he'd  been 
I  a  reporter  once  himself.  (All  good  reporters 
eventually  become  caretakers.)  At  any  rate, 
he  had  a  plan. 

"Mr.  Lyon,"  he  said,  "has  come  out  to 
the  courts  for  the  last  three  mornings  to 
play  tennis  and  hasn't  been  able  to  find  a 
partner.  She  comes  with  him,  too.  Why 
not  stick  around  and  play  him  some  tennis?" 

He  furnished  me  with  a  racket,  and  after 
hugging  him  for  the  bright  hunch,  I  sat 
down  to  wait  for  them.  Soon  Ben  and  his 
brand-new  wife  turned  up.  He  was  all  set  to 
play  tennis  and  Bebe  was  all  ready  to  watch. 
Then  it  was  that  the  caretaker  announced 
he  had  a  tennis  partner  for  him.  Ben  gave 
me  a  suspicious  glance,  but  the  caretaker 
assured  him  I  was  all  right. 

"Don't  need  to  worry  about  him.  He's 
one  of  the  boys."  Ben  looked  at  Bebe. 
Bebe  nodded.  Approximately  two  minutes 
later,  Ben  and  I  were  playing  tennis.  And 
this  was  the  same  Ben  who  vowed  he  wouldn't 
let  a  reporter  near  him  during  the  honey- 
moon. 

We  finished  the  first  set  and  sat  down  to 
talk  it  over.  I  said,  "Must  be  tough  being 
so  famous.  Reporters  bother  you  quite  a 
lot,  don't  they?" 

Ben  winked  at  Bebe  and  laughed. 

"  Not  this  trip  they  don't,"  he  chuckled. 

How  They  Fooled  the  Boys 

"'  I  'HIS  is  one  time,"  added  Bebe,  leaning 
J_  over,  "that  we  completely  out-smarted 
the  boys.  Do  you  know,"  she  added  con- 
fidentially, "that  not  one  single  reporter  has 
been  able  to  interview  us  since  we've  been 
gone — or  even  get  near  to  us?" 


"Or  even  see  us,  "  put  in  Ben  stoutly.  j 

I  sighed  audibly.  "That's  wonderful,"  I  j 
said.   "How'd  you  do  it?"  ■ 

"It  was Bebe's idea," explained  Ben.  "She 
figured  we  ought  to  travel  at  night  and  not 
make  reservations  ahead.  Then  no  one 
would  know  where  we  were." 

"And  when  we  arrived  at  Santa  Barbara 
and  here,"  put  in  Bebe,  "we  gave  strict! 
orders  at  the  desk  that  no  one — absolutely 
no  one  from  a  magazine  or  paper  should  be^' 
admitted.  The  clerk  at  the  desk  here  said 
he  would  do  all  he  could  to  help  us." 

"  He  did,"  I  agreed. 

"Oh,  do  you  know  him?"  asked  Bebe. 

"Only,"  I  answered,  "a  passing  acquain- 
tance of  mine." 

"Well,  it's  all  worked  too  wonderfully,". 
Bebe  concluded.  "  I  guess  we're  the  only 
honeymooners  who  ever  got  away  with  it." 

I  was  about  to  agree  with  her  when  the 
hotel  photographer  came  up  and  asked  them 
to  pose  for  a  picture.  They  refused.  "No 
thanks,"  laughed  Ben.  "No  pictures  this 
trip."   Crestfallen,  the  man  departed. 

"You  wouldn't  mind  if  I  snapped  you, 
would  you?"  I  asked.  "Just  a  little  snapshot, 
to  show  the  kid  sister?" 

"Not  a  bit,"  Ben  laughed.  "  You  can  take 
all  the  pictures  you  care  to,  but  those  pro- 
fessional boys  aren't  going  to  get  a  look-in." 

Getting  the  Evidence 

I HANDED  my  vest-pocket  camera  to 
the  caretaker  and  asked  him  to  snap  the 
three  of  us  standing  together.  Ben  and 
Bebe  couldn't  quite  figure  why  I  wanted 
them  to  stand  in  front  of  the  Del  Monte 
Hotel  sign.  That  was  v-ery  important  to  me, 
however.  I  was  going  to  need  all  the  proof 
I  could  get  that  I'd  actually  crashed  their 
honeymoon.  What  if  they  tried  to  deny  I'd 
seen  them?  That  sign,  I  figured,  would  re- 
produce nicely. 

We  finished  taking  the  picture  and  started 
another  set.  Ben  won,  but  after  all- 
Soon  we  were  on  the  sidelines  again,  talk- 
ing it  over.  Both  Ben  and  Bebe  kept 
chuckling  over  the  clever  way  they  had 
eluded  the  news-hounds.  I  laughed  with 
them  and  agreed  that  they  had  turned  the 
neatest  trick  of  the  year.  They  seemed  par- 
ticularly pleased  with  life  and  each  other. 
This,  I  thought,  is  probably  this  "love" 
business  one  hears  so  much  about.  Never 
have  I  heard  so  many  affectionate  words  or 
witnessed  such  loving  glances.  They  seemed 
to  take  less  and  less  notice  of  me.  I  up  and 
beat  it. 

The  next  day  I  looked  up  the  caretaker 
to  thank  him  for  his  help.  We  had  a  little 
laugh  over  it  and  then  he  handed  me  a  note. 
It  was  an  invitation  from  Ben  for  more 
tennis.  But  my  tennis  days  were  over.  I 
hadn't  come  to  this  joint  to  play  tennis.  I 
had  work  to  do.  I  had  a  story  to  write!  A 
story  about  Ben  Lyon  and  his  famous  wife 
and  the  perfectly  marvelous  way  they  had 
ditched  all  the  reporters  on  their  honey- 
moon.   All  reporters  except  this  one — 


Ballyhoo  is  always  necessary  to  put  over  a  poor  picture. 
The  best  pictures  are  their  own  best  advertisement. 
Likewise,  the  best  magazines. 

They  fill  every  page  with  something  worth  reading,  worth  seeing. 

They  do  not  re-hash  old  ideas.   They  have  new  ones. 

They  set  a  pace  for  others  to  follow. 

They  have  that  elusive  quality  called  personality. 

Others  may  need  ballyhoo,  but  not 

Motion  Picture  CLASSIC 


Is  Hollywood 
Going  Old-English? 

{Continued  from  page  57) 

loUywood.  A  few  withering  looks  from 
!nglish  guests  soon  put  an  end  to  the  prac- 
ice,  and  now  everybody  who  even  pretends 

0  be  anybody  in  the  film  capital  takes  soda 
ater  out  of  a  syphon  to  round  out  his  after- 
nner  highball. 

It's  Tweeds  and  Teas  Now 

AMERICAN  clothes  have  gone  com- 
\  pletely  out  of  favor  with  the  movie 

1  ntry.  I  can  remember  well  how,  in  the 
id  days,  all  the  young  bloods  of  the  screen 
.ere  to  be  seen  on  the  Boulevard  wearing 
;ood,  rough  American  garments — Arnerican 
iats — American  shoes.  Nowadays,  if  they 
an't  manage  a  trip  to  London's  Savile  Row 

0  buy  their  outfits,  they  do  the  next-best 
hing  and  have  English-made  clothes  copied 
ly  local  tailors.  An  important  Hollywood 
nale  garbed  in  honest  American  fashion  is 
.  rare,  almost  an  extinct  specimen. 

The  new  English  spirit  in  Hollywood  is 
)robably  more  in  evidence  at  these  after- 
loon  tennis  parties  than  at  any  other  time, 
jrass  tennis-courts  are  becoming  increas- 
ngly  popular — a  vogue  started  by  Clive 
Jrook,  who  three  years  ago  installed  the 
irst  grass  court  in  Southern  California.  On 
junday  afternoons  there  are  never  less  than 

1  dozen  tennis  parties  in  Beverly  Hills,  at- 
ended  by  the  cream  of  filmdom.  They  have 
is  their  hub,  around  which  activities  whirl, 
hat  old  English  institution,  afternoon  tea. 
\  tennis-party  without  tea  would  be  un- 
hinkable  in  Hollywood  to-day.  While  the 
flayers  in  one  set  sip  the  warm  liquid  out 

shell-thin  cups,  thereby  making  them- 
ilves  even  hotter  than  they  were  when  they 
linished  playing,  another  foursome  occupies 
tself  with  the  business  of  hitting  the  balls. 

The  Last  Straw 
T^'HE  tea  habit,  indeed,  has  even  been 
X.  carried  into  the  inmost  shrines  of  cellu- 
oidia — the  studios.  In  England,  when  they 
ire  making  a  picture,  the  company  always 
stop  for  tea  around  five  o'clock.  The 
jtrange  rite  was  introduced  to  Hollywood 
Dy  the  "Journey's  End"  company  of  Eng- 
ishmen,  and  soon  other  studios  were  taking 
to  it.  Sam  Goldwyn  now  makes  tea  a  regu- 
ar  thing,  and  it  is  served  both  on  the  sit 
md  to  Sam  himself  in  his  ofifice.  It  was 
when  Sam  gave  a  so-called  "press  tea"  for 
Flo  Ziegfeld  that  I  began  to  understand  just 
how  far  things  were  going  in  the  Angliciza- 
tion  of  Hollywood.  "Press  Teas"  have  for 
years  been  an  institution  in  Hollywood; 
hey  are  so-called  by  courtesy,  possibly  be- 
ause  at  about  the  same  time  as  they  are 
held,  other  people  may  be  drinking  tea.  But 
Bo  far  as  I  know,  nobody  in  Hollywood  ex- 
ept  Betty  Bronson  has  ever  insulted  the 
Press  by  offering  it  tea  at  a  Press  Tea.  Sam 
Goldwyn  made  no  such  fatal  error  as  this; 
but  tea  was  actually  present  in  the  room  on 
the  occasion  of  his  Ziegfeld  reception,  and, 
suddenly,  Sam  electrified  the  whole  roomful 
of  writers  by  crossing  to  the  table  and  pour- 
ng  himself  a  cup! 

It  was  in  that  historic  moment  that  w;e 
realized  what  we  were  up  against  in  this 
English  menace. 


In  Hollywood,  life  is  just  one  menace  after 
another. 

If  it  isn't  the  English,  it's  Marie  Dressier. 
If  it  isn't  Broadway,  it's  Wall  Street. 
If  it  isn't  wide  film,  it's  television. 
Keep  up  on  all  the  menaces  and  all  the  good 
news  - 

Indulge  that  certain  feeling  that  comes  from 
reading. 

Motion  Picture  CLASSIC 


A  romantic  marriage  to  the  man  of  her  dreams — every  girl's  desire! 


it 


COUNSELS 


HELEN  M — is  eating  her  heart  out,  poor 
child,  because  she's  so  "unlucky."  There 
have  been  six  weddings  among  her 
friends  and  she  hasn't  even  one  beau. 
"Miss  Glyn,"  she  writes,  "really  I  am  as 
good  looking  as  these  other  girls.  Can 
it  be  their  clothes?  Yet  I  buy  the  same 
styles  as  they  do  and  pay  just  as  much — " 

"pvON'T  call  it  luck,  Helen.  Undoubt- 
edly  these  girls  know  something 
that  you  don't  —  that  the  thing  about 
clothes  that  has  the  greatest  appeal  for 
men  is  color.  Psychologists  say  color 
affects  the  emotions  more  than  any  other 
factor  in  dress. 

As  long  as  its  intensity,  its  balance, 
are  not  upset  or  diminished,  color  will 
work  unfailingly  on  the  emotions. 

It  all  comes  down,  Helen,  to  these 
two  simple  rules: 

ONE:  Wear  the  most  becoming  colors — 
TWO:  Keep  those  colors  fresh,  unfaded. 

Some  women  use  an  ordinary  "good" 
soap,  but  it  is  not  good  enough,  for 
color  goes  from  the  fabric. 

But  there  is  a  famous  product  espe- 


cially made  to  take  out  dirt  without  dis- 
turbing the  colors.  That  is  the  well-known 
Lux.  If  a  color  is  safe  in  water,  Lux 
will  preserve  a//  of  its  original  magnetism. 

And  Your  Home,  Too 
Remember  this,  too.  If  everything  about 
you,  dainty  curtains,  gay  pillows,  pretty 
table  linens,  reflects  the  charm  of  fresh 
color,  which  Lux  alone  gives,  this  will 
make  you  seem  more  charming  to  him. 

ELINOR  GLYN 


THE  SECRET  OF  CLOTHES  APPEAL 


Printed  chiffon  after 
12  Lux  washings — un- 
faded, vibrant  as  when 
boufthi.  all  the  magnet- 
ism of  color  retained! 


Washed  12  times  with 
ordinary  "good"  soap, 
undeniably  faded,  not 
actually  ruined,  but  the 
allure  of  color  lost. 


1/  ifs  safe  in  water, 
ifs  safe  in  LUX! 


or  a 
Hobby 


If  You 
Want  a  Job 


ihatPays 
WeU 


WiereYbu 
canbelibur 
OwnBoss 


mdtkeplSmi 
OmHours 


Jeoui 
lUustratin^ 


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{Joi  Illustraf  in^ 


Federal  School  of  Illustrating, 
9080  Federal  School  Building, 
Minneapolis,  Minnesota. 

Name  Age. 

Occupation   

Address 


He  Lived  It  Down 


(.Continued  from  page  jj) 


He  says  his  experiences  in  "All  Quiet  on 
the  Western  Front"  did  more  to  mature 
him,  to  bring  him  to  grips  with  life,  than  any 
passing  of  years  could  do.  That  was  real. 
That  was  raw.  That  was  Life.  He  went 
into  the  picture  thinking  that  war  was  flag- 
waving  and  uniforms  and  pretty  girls  throw- 
ing hearts  and  flowers.  "I  came  out  of  it," 
said  Ben,  "knowing  that  war  is  mud — and 
filth — and  rats — " 

Ben  changed,  his  mother  told  me,  actually 
changed  during  the  making  of  the  picture. 
He  was  never  able  to  tell  her  anything  about 
it.  He  couldn't  bring  himself  to  talk  about 
it.  He  was  a  facsimile  of  the  men  who  came 
home  from  the  actual  trenches,  silenced, 
muted. 

Out  of  Sight,  Out  of  Mind 

BEN  left  the  screen  officially,  when  he 
was  twelve  or  thirteen  years  old.  For 
all  he  thought  about  it  in  the  intervening 
years,  he  might  have  left  it  for  good  and  all. 
He  should  have  known  better.  For  Ben  was 
born  an  actor.  Not  by  virtue  of  inheritance. 
Perhaps  by  virtue  of  pre-natal  influence,  if 
biology  had  not  disposed  of  that  handy 
argument  pro-and-con. 

His  mother,  who  is  really  his  best  friend 
and  fondest  critic,  always  longed  to  be  an 
actress.  She  wasn't  one,  for  one  reason  or 
another.  When  Ben  was  born,  she  longed  to 
fulfil  in  him  her  own  unfulfilled  desires. 
She  didn't  need  to  long.  Somehow,  the 
trick  was  turned.  She  knew  that  before  Ben 
was  seven  years  of  age.  He  was  always 
play-acting.  He  would  burn  down  the 
house,  or  try  to,  in  order  to  "save  the  in- 
mates." He  would  be  both  fireman  and  vic- 
tim of  the  flames.  He  would  dress  up  and 
be  the  hero  of  whatever  book  he  happened 
to  be  reading  or  have  read  to  him.  His 
mother  came  home  one  day  and  found  her 
front  door-knob  ornamented  with  a  large 
and  dreary  crape.  "Someone  hath  died, 
Mother,  and  we  are  having  the  funeral." 
"We"  were,  with  details. 

There  was  no  thespian  food,  so  to  speak, 
for  the  small  Ben  to  feed  his  imagination  on. 
He  didn't  play-act  by  virtue  of  an  example 
set  before  him.  He  had  never  heard  the 
world  of  greasepaint  spoken  of  at  that  time. 
He  had  never  seen  a  movie.  He  had  never 
been  to  a  play.  For,  at  that  time,  the 
Alexanders  lived  in  Goldfieid,  Nevada,  and 
were  surrounded  by  the  rough  world  of 
mines  and  miners,  men  who  were  desper- 
ately seeking  their  fortunes  in  the  raw  earth. 

Profiles  Were  Forgotten 

BEN  has  had  a  sensible  boyhood.  When 
he  left  the  screen,  too  large  to  be  the 
pitiful  urchin  or  the  pampered  pet  of  the 
scenarios,  too  small  to  figure  as  a  youth,  he 
had  private  tutors  for  a  time  and  then  went 
to  Hollywood  High.  At  no  time  during  this 
period  of  his  growing  up  did  his  mother  hold 
his  career  before  him.  She  bided  her  time 
and  let  him  have  his  time.  He  played  foot- 
ball and  baseball  and  hockey.  He  hiked  and 
swam  and  fought  and  mauled.  He  did  all 
the  things  a  reg'lar  fellow  does.  It  was  never 
even  suggested  to  him  that  he  might  better 
guard  his  hands  for  the  making  of  dramatic 
gestures  or  of  preserving  his  nose  that  he 
might  present  a  Barrymore  profile.  If  acci- 
dents befell  him — well,  he  shouldn't  be  de- 
prived of  being  a  hoy  in  order  that  he  might 
some  day  become  an  actor. 

And  during  those  boyish  years  Ben  forgot 
the  screen.  Forgot  that  he  had  ever  been  a 
movie  actor.  Forgot  the  studio  world  and 
the  patter  of  the  play  people.  Football  and 
athletics  and  girls  and  guns  occupied  his 
waking  and  sleeping  thoughts.  And  then, 
one  day — a  year  or  two  back,  I  believe — he 


took  part  in  a  spoken  play  out  here.  AndS 
suddenly  he  realized  that  something  within] 
him  had  been  a  long  while  unsatisfied.  Hel 
had  a  strange  sensation  of  homecoming! 
after  a  long  absence,  of  being  among  his  owni 
again,  of  listening  to  a  native  tongue.  And. 
he  knew  that  in  some  obscure  recess  of  hisi 
mind  he  had  been  hungry  for  the  talk  of  the 
studios,  for  the  "shop"  that  among  many| 
real  things  is  the  realest  of  all  to  him. 
He  wanted  to  go  back  ... 

No  Hanger-On 

NOTHING  seemed  to  "break."  Per- 
haps he  couldn't  go  back.  Perhaps  he 
had  been  a  "child  prodigy,"  destined  tq 
flicker  out  with  the  flickering  out  of  child- 
hood. Well,  that  was  that.  He  was  deter- 
mined that  he  would  not  be  one  of  those  pa- 
thetic objects,  hanging  on  to  the  frayed 
fringes,  talking  of  the  big  break  just  ahead, 
starving  in  spats  and  casting  directors' 
offices.  He'd  get  to  work  .  .  .  and  he  did. 
He  drove  a  grocery  wagon  two  successive 
Christmases.  He  worked  in  a  gasoline  fill- 
ing station.  He  helped  the  tailor  down  the 
street  press  pants  and  coats.  He  did  er- 
rands. He  watered  lawns.  And  he  used  his, 
real  name. 

When  he  had  finished  high  school,  he  en^ 
rolled  at  U.  C.  L.  A.  (University  of  Califor< 
nia  at  Los  Angeles).  If  he  couldn't  be  att' 
actor,  he  wouldn't  be  a  dummy.  He  was, 
there  from  three  to  six  months  when  he  ranji 
into  Lewis  Milestone,  then  casting  for  " 
Quiet."  Mr.  Milestone  told  him  about  thi' 
picture  and  the  part  there  would  be  for  himi' 
Ben  said,  "But  I'm  going  to  colleg 
And  Mr.  Milestone,  who  had  read  him,  perJ 
haps,  said,  "  If  you  are  to  return  to  thr' 
screen,  this  is  too  important  a  chanceforyo' 
to  miss,  college  or  no  college." 

It  was.   Ben  passed  up  college.   He  hi 
come  back. 

Young  Ben  Alexander  doesn't  want  to  be 
a  leading  man.  He  doesn't  want  to  be  a 
screen  hero  after  the  model  of  John  Gilbert 
or  Buddy  Rogers.  He  doesn't  want  to  do 
pretty-pretty  things  calling  for  a  kiss,  Ma- 
dame. He  would  rather  be  a  soldier,  dying 
in  the  mud,  than  a  profile,  dying  in  the  par- 
lor on  a  scented  lady's  bosom.  He  would 
rather  do  character  parts  than  Lothario 
parts  with  the  perquisite  of  sexy  fan-mail. 

Ben  is  a  very  balanced,  very  mature 
youth.  He  knows  what  he  likes  and  what 
he  wants,  and  what  he  wants  and  likes  is 
worth  wanting  and  liking.  He  has  never 
had  a  crush  on  a  movie  actress.  The  Clara 
Bow  type  does  not  appeal  to  him.  He 
thinks  a  young  chap  might  get  a  kick  out  of 
Garbo  because  most  young  fellows  have  a 
period  of  liking  an  older  woman  and  learn- 
ing from  her.  He  has  a  girl  of  his  own,  not 
connected  with  pictures,  and  he  likes  her 
because  she  has  a  sense  of  humor,  is  an  all- 
around  athlete  and  doesn't  use  make-up.  He 
isn't  in  love  now.  He  has  been,  in  his 
"past,"  three  or  four  times.  He  began  run- 
ning around  with  girls  rather  early. 

He  is  very  glad  that  he  was  a  child-actor, 
now  that  he  has  proved  that  it  can  be  lived 
down  and  made  use  of.  He  says  a  fellow 
hasn't  a  chance  of  getting  a  swelled  head  if 
he  has  had  that  background  of  experience  in 
his  infancy.  He  knows  what  it  is  all  about. 
It  doesn't  come  to  him  like  a  clap  of  thun- 
der. Pats  on  the  head  have  lost  their  power 
to  spoil.  The  glamour  has  been  pierced 
through  and  evaluated  by  the  clear  eyes  of 
a  child  and  cannot  dazzle  in  later  life. 

Ben  chums  about  most  of  the  time  with 
young  Russell  Gleason  and  the  other  fellows 
who  were  together  "in  the  trenches."  He 
and  Russell  play  tennis  and  "goofy"  gaim"^ 
and  go  swimming  together. 


88 


Classic  Holds 
Open  Court 

(Continued  from  page  j 7) 

splitting  than  I  am."  (Here  several  jurymen 
hurriedly  shifted  their  glances,  which  for 
some  minutes  had  been  fixed  in  a  mesmer- 
ized stare  on  the  legs  of  the  chair  on  which 
defendant  sat.)  "Whether  your  particular 
kind  of  sex  appeal  is  inborn  or  assumed  is 
of  no  importance  whatever,  in  so  far  as  the 
ultimate  moral  aspects  of  the  case  are  con- 
cerned. The  fact  is  that,  by  your  own 
admission,  you  not  only  possess  sex  appeal 
for  all  practical  purposes,  but  you  persist  in 
broadcasting  it  so  as  to  weaken  the  moral 
fiber  of  millions  of  young  men  who  see  your 
films.  Is  this  not  so?" 

Defendant:  "Any  young  man  who  can 
produce  evidence  to  show  that  I  have  weak- 
ened his  moral  fiber  can  come  to  me  and 
receive  my  check  for  five  thousand  dollars. 
I  fail  to  see  where  there  is  anything  seri- 
ously unsettling  about  real  sex  appeal — sex 
appeal  which  is  not  assumed  or  exaggerated. 
1  don't  believe  mine  is  the  unsettling  kind, 
because  it  isn't  the  vulgar  kind.  The  boys 
who  see  my  pictures  may  get  pleasure  out  of 
thinking  how  nice  it  would  be  to  meet  me — 
to  kiss  me,  perhaps.  Possibly  they  get  a 
little  thrill  up  and  down  the  spine — I  don't 
know  just  exactly  what  the  reaction  is.  But 
it  certainly  wouldn't  do  them  any  harm 
afterwards,  and  in  many  cases  it  probably 
does  them  a  lot  of  good.  I  dare  say  that 
many  boys  who  are  starved  for  some  sort 
of  affection  get  their  only  satisfaction  out 
of  imagining  themselves  to  be  the  boy-friend 
of  some  movie  star  with  honest -to-goodness 
sex  appeal.  If  anybody  says  that  natural 
sex  appeal  is  dirty  or  vulgar,  it's  just  in 
his  own  mind." 

(Deafening  cheers  broke  out  again  at  this 
point,  and  no  efforts  of  His  Honor  and 
court  ushers  could  check  them.  A  riot 
appeared  to  be  imminent). 

To  Be  Settled  Out  of  Court 

PA.:  "Hm — hm — glug — mumble — tchk." 
(This  was  all  that  could  be  heard  above 
the  din.  The  Prodnose  family,  occupying 
the  entire  front  row  of  chairs,  decided  it  had 
been  insulted  and,  gathering  up  its  volumi- 
nous skirts,  left  the  court  amid  further 
cheers  and  catcalls.) 

Defendant  (restoring  order  instantane- 
ously with  a  single  gesture):  "In  conclusion, 
I  would  like  to  say  this  to  the  fine,  upstand- 
ing ladies  and  gentlemen  of  the  jury  who 
have  listened  so  patiently  to  my  defense. 
A  girl  must  have  some  kind  of  sex  app>eal  or 
she  has  no  warmth — she  may  have  every- 
thing else,  but  it  means  nothing.  There  is 
nothmg  vulgar  about  it,  1  repeat  again. 
Some  people  have  more  of  it  than  others, 
and  the  ones  who  in  my  opinion  have  least 
are  those  who  try  hardest  to  have  it.  When 
your  second  thought  on  seeing  a  person  is 
that  you'd  like  to  kiss  him  or  her,  then  you 
know  that  that  person  has  that  certain  thing. 
Is  there  anything  vulgar  about  that?" 

(Cries  of  "No!"  broke  out  from  the  jury- 
men, who  swept  forward  in  a  body,  lifted 
defendant  shoulder-high  and  carried  her  out 
of  the  courtroom  at  the  head  of  a  triumphant 
procession.  In  their  haste  they  forgot  to 
give  any  verdict,  so  that  a  decision  on  the 
case  is  left  to  the  jur>'  of  public  opinion.) 


Clara  Bow,  the  ultimate  authority  in 
Hollywood,  defines  sex  appeal  as  person- 
ality— something  which,  like  the  mumps, 
you  cither  have  or  don't  have.  And  this 
being  the  case,  Classic  must  have  it,  for 

"It's  The  Magazine  With  The 
Personality" 


What  hath  to  give  me  energy  ? 

Do  you,  now  and  then,  have  hard-to-wake-up  mornings,  "no-account"' 
work  days,  and  tired,  spoiled  evenings?  Then  you  should  read  the 
booklet  described  below. . .  should  learn  how  remarkably,  simple  baths 
often  can  help  in  these  too-common  complaints. 


What  hath  for  quick,  sound  sleep? 

Nervous  fatigue,  they  say,  is  an  American  tendency.  When  over-tired 
or  too  keyed-up  to  get  to  sleep,  try  the  magic  of  the  bath  that's  only 
mildlv  warm.  (See  booklet)  ■  ^    a  - 

rf 


what  hath  to  avoid  sore  muscles? 

When  physically  exhausted  never  take  a  cold  bath.  Make  it  hot.  Drink 
a  glass  or  two  of  water,  and  then  soak  for  a  full  ten  minutes.  You'll 
fairly  feel  the  soreness  going. 


What  hath  to  head  off  a  cold? 

The  quite  hot  bath  is  the  one  to  take,  too,  when  you've  come  home 
thoroughly  chilled  or  with  wet  feet.  But  don't  put  it  off . . .  And  don't 
delay  either,  sending  for  this  instructive  highly  interesting  booklet, 
"The  Book  About  Baths." 


Send  for  "The  Book  About  Baths" 


Why  is  it  that  so  many  people  have  tended  to  think  ^f^^  V*Vi  T^T^  ^ 
ofthe  bath  in  terms  ofcleanliness  alone?  One  reason,  * 
no  doubt,  is  that  they've  never  before  been  offered,  free,  a  booklet  just 
like  this  one.  So  get  your  copy.  Use  the  coupon.  You'll  be  glad  you  did. 

CLEANLIXESS  INSTITUTE 

Established  to  promote  public  welfare  by  teaching  the  value  of  cleanliness 


Important:  Perhaps  you 
would  b«  interested  in  "A 
ae«nerHou»ebyl20'aock.'' 
or*The Thirty  D«y  LoTelinest 
Test."  Thrse.  too,  are  free  .  .  . 
a  pari  of  the  wide  aervice  of 
Cleanlinetfl  Institute. 


CLEANLINESS  INSTITUTE,  Dept.  MPCS 
45  East  17lh  Street.  New  York.  N.  Y. 

Please  aend  me  /ree"The  Book  About  Batha.**  It  aonnda  interesting. 

Name   

Street 

City  Statr 


89 


How  Free  Is  Speech? 


owner.  I'm  told  that  the  Pennsylvania 
censors — than  whom  there  are  none  more 
rabid  on  the  trail  of  doubtful  moral  values 
— had  hashed  a  talking  picture  until  there 
was  doubt  if  it  was  a  picture  or  a  talking 
golf  score. 

For  the  information  of  those  who  may 
not  know,  it  is  not  possible  to  cut  a  talking 
picture  as  one  may  a  silent  movie.  The 
part  of  the  film  that  bears  the  "sound 
track"  of  a  particular  scene  is  always 
fourteen  and  one-half  inches  in  advance  of 
the  picture  itself.  Moreover,  when  the 
censor  blithely  orders:  "Change 
line  reading,  'Do  you  think  this 
bed  is  big  enough  for  two?'  to 
make  it  read,  'Another  pillow?'" 
— as,  by  the  way,  a  Pennsylvania 
censor  actually  did  order — cer- 
tain technical  difficulties  occur. 
It  isn't  as  easy  as  it  sounds, 
and  the  chances  are  that  the 
scene  will  have  to  go  back  to 
the  studio  to  be  remade,  or  that 
what  is  known  as  "dubbing"  must 
be  resorted  to.    Well,  anyway — 

Modern  newsreels  have  voice 
accompaniment,  but  the  Penn- 
sylvania censors  cut  them  just 
as  enthusiastically  as  they  did 
the  purely  fictional  product. 
Whereupon  there  was  a  howl, 
and  when  the  dust  had  settled 
down,  some  picture  interests 
had  succeeded  in  getting  the 
Aron  Bill  changed  to  exclude 
newsreels  from  censorship.  Then 
Warner  Brothers  and  Fox  went 
into  the  State  courts  and  argued 
that  the  censors  had  no  right 
to  censor  talk  at  all,  since  the 
talk  was  not  the  motion  picture 
within  the  meaning  of  the  law. 

Trying  to  Save  Words 

YOU  may  recall  the  argument 
of  Portia  in  "The  Merchant 
of  Venice,"  to  the  general  effect 
that  Shylock  could  cut  his  pound 
of  flesh  all  right,  but  if  he  spilled 
any  blood  doing  it  he  was  in  very 
bad  indeed.  Well,  that  was  the 
idea.  They  could  cut  the  pic- 
ture so  long  as  they  did  not  cut 
any  speech.  But  the  court  pro- 
bably had  never  heard  of  Por- 
tia and  didn't  approve  so  much 
of  the  Bill  of  Rights — even  if  it  had  heard 
of  the  measure — so  it  upheld  the  censors. 
However,  there  are  other  and  higher 
courts,  and  eventually  we  may  wind  up 
before  the  Supreme  tribunal  in  VVashington, 
D.  C. 

Down  in  Virginia  the  courts  included 
newsreels  in  the  general  ruthlessness,  but  in 
Kansas  the  Attorney-General  has  ruled 
that  the  censors  have  no  power  to  cut 
dialogue.  Maryland  insists  on  censoring 
everything  in  the  picture  line,  and  Ohio 
still  has  the  dialogue  contention  under  ad- 
visement, though  the  legislature  has  turned 
down  an  amendment  to  the  censor  law 
which  would  include  dialogue  in  the  range 
of  the  official  snickersnee. 

You  thirty-odd  million  folk  who  live  in 
the  six  censor  States  are  either  a  lot  better 
than  the  rest  of  us  who  can  see  uncensored 
pictures — and  take  the  consequences  on  our 
own  heads — or  you  are  not.  I  could  find  no 
existing  argument  for  or  against,  so  I've 
dug  up  a  few  figures,  which  prove  you're 
not.  Generally  you're  worse  than  the  rest 
of  us  ff  the  figures  don't  lie.  Here's  the  idea, 
get  in  the  game: 
90 


{Continued  from  page  25) 
Censors  and  Criminals 

A CERTAIN  State,  where  censorship  of 
talking  pictures  exists,  has  a  certain 
proportion  of  its  population  in  jail.  Pre- 
sumably they  got  there  because  they  broke 
the  law,  and  the  reason  they  broke  the 
law  was  that  they  were  lawless.  Then  I've 
taken  another  State  which  has  no  censor- 
ship, but  with  close  fo  the  same  population, 
and  set  its  prison  population  up  against  that 
of  the  first.  The  jail  figure  is  the  number  of 
people  per  100,000  of  population  in  the 
prisons.    Here  we  go,  watch  the  score: 


J.(i 


The  bridge  of  thighs:  because  the  girls  know  their  part 
O'Neal  is  beneath  the  chorus  in  "Follow  Thru" — with 
to  go,  except  ahead 


State 

KANSAS 

Nebraska 

MARYLAND 

Connecticut 

NEW  YORK 

OHIO 

PENNSYLVANIA 
Illinois 
VIRGINIA 
Alabama 


Prisoners 
Population  per  100,000 
pop. 

1,328,000  146.7 
1,396,000  71.9 
1,597,000  120  9 
1,636,000  58.6 
11,423,000  64.2 
6,710,000  93.3 
5,673,000  58.8 
9,730,000  43.1 
7,673,000  83.3 
2,546,000  78.2 
2,549,000  74.2 


As  there  is  no  individual  State  to  balance 
against  New  York,  the  Empire  division 
must  stand  by  itself.  But  please  note  that 
with  but  one  exception  the  censor  States 
have  a  larger  jail  population  than  those 
without  censors — if  that  means  anything. 
And  it  should,  since  the  object  of  censor- 
ship is  to  increase  respect  for  law,  both 
moral  and  legal. 

One  of  the  puzzles  is  the  degree  to  which 
the  censors'  moral  standards  vary.  For  ex- 
ample, it  is  not  permissible  to  thumb  the 


nose  in  Kansas.  If  it  is  exhibited  after  fhe< 
censors  have  deleted  the  scene,  it  becomes 
a  felony.    You  could  get  away  with  it  on 
the  street,  but  don't  try  it  on  the  screen  in 
Kansas! 

Maryland  doesn't  mind  mere  nose- 
thumbing,  but  becomes  slightly  hysterical 
at  the  sight — and  sound — of  a  young  man 
kissing  a  girl  on  the  neck — that  is,  on  the 
screen;  but  not  at  a  race-track,  of  course. 
In  Virginia  it  is  not  allowable  that  "girls 
indecently  kick."  No  fixed  standard  of  in- 
decency in  kicking  has  been  established, 
however,  and  it  would  se^m 
that  \  irginia  newspapers  have_ 
overlooked  a  wonderful  circula- 
tion stunt  in  not  starting  contests 
as  to  when  a  lady's  kick  is  or  is 
not  debent — with  practical  illus- 
trations in  the  ball  parks. 

Among  Pennsylvania's  cellu- 
loid iniquities  is  the  indication 
in  any  manner  that  a  child  is 
about  to  be  born,  and  most  par- 
ticularly must  you  not  hint  at 
such  indecencies  as  baby  clothes. 
Show  on  the  screen  a  tiny  woolen 
shirt  at  your  peril !  In  New  York 
you  can  go  much  farther  than  a 
shirt,  but  to  hint  that  all  politics 
are  not  as  pure  as  the  Acts  of 
the  Apostles  is  a  crime — as  you'll 
find  out  if  you  override  a  censor 
order.  Ohio  positively  will  not 
stand  for  underwear  on  the 
screen.  It  may  be  all  right  in  a 
newspaper  or  magazine,  but  be- 
ware the  "teddy"  on  a  movie 
lady! 

Preparing  for  the  Next  War 

OTION  picture  censorship 

  has  many  defenders,  but 

the  most  fervid  is  Dr.  Eastman, 
the  editor  of  "The  Christian 
Century,"  published  in  Chi- 
cago— that  gleaming  example  of 
its  beneficial  effects.  Then  there 
is  Canon  Chase  of  Brooklyn, 
whose  light  seems  to  be  dwin- 
dling in  candlepower  lately,  and 
finally  the  group  of  gentlemen 
and  ladies  who  have  lined  up 
behind  the  so-called  Hudson  Bill 
(H.  R.  13686)  in  Congress.  This 
is  by  far  the  most  radical  and 
revolutionary  censorship  measure 
ever  offered  to  control  the  picture  industry. 
Its  principal  features  are  the  appointment 
of  commissioners  for  life,  supervision  of  all 
posters  and  advertising  matter,  licensing  of 
each  picture  prior*  to  production,  and 
saddling  the  cost  of  this  on  the  producer. 

It  is  urged  that  under  this  measure — 
which  fortunately  seems  to  have  very  little 
chance  of  emerging  from  committee — it 
would  be  possible  for  the  commission  to 
appoint  inspectors  in  each  studio  to  watch 
actual  production  and  prohibit  this  or  that. 
That  is  the  way  Government  regulation  of 
meat-packing  plants  is  conducted. 

But  don't  let  the  foregoing  delude  you 
into  the  belief  that  censorship  has  no  case. 
It  has,  and  all  the  evidence  for  it  has  been 
supplied  by  the  producers  themselves.  To 
say  that  some  of  the  material  turned  out  of 
the  studios  violates  every  standard  of  good 
taste  is  mild,  but  the  public  is  coming  to 
know  more  of  such  things,  so  it  is  not 
strange  when  some  of  the  more  flagrant 
examples  rouse  antagonism.  And  frankly, 
some  of  the  motion  picture  advertising  is  so 
ignorant  and  stupid  that  it  is  a  wonder 
more  trouble  has  not  been  brewed. 


M' 


s,  Zelma 
no  place 


They  gave  a  neiv  I  liri 

THAT'S  WHY  THEY  COT  THERE. ...SO  QUICKLY 


"So  you're  a  saxophone  pliner,  ehy 
Well  .  .  make  me  weep!  Do  your 
stuff,"  said  the  vaudeville  booker.  Rudy 
did  I  And  fame  caressed  him.  The  whole 
public  succumbed  in  two  short  years. 


RUDY  VALLEE 

Two  years  ago  he  stepped  into  the 
spot-light  on  a  little  cafe  floor  and 
crooned  a  song  called  "Deep  Night." 
Today  deep  night  on  Broadway  sees 
his  name  blazed  in  electric  signs. 
•    •  • 

It  wasn't  the  cut  of  his  clothes ...  or 
the  break  of  his  luck.  This  youngster 
just  naturally  delivered  something 
that  the  public  wants! 

Just  so  OLD  GOLD  cigarettes  have 
grown  from  a  baby  brand  to  a  giant 
brand  in  record  time  .  .  .  because 
they  delivered  a  new  enjoyment  .  .  . 
they  thrilled  the  taste  and  comforted 
the  most  sensitive  throat. 

Belter  tobaccos. ..that's  why  they  win. 


m 


On  iMarch  7,  1927,  OLD  COLDS  were 
introduced  in  Illinois.  Today,  the  city  of 
Chicago  alone  smokes  nearly  3,000,000  daily. 


nETTFR     TOBACCOS    .    .    .    "NOT     A     COUCH     IN     A  CARLOAD* 


At  Last  The  Great  Broadway  Hit 
Gomes  To  The  Talking  Screen 


A  greater,  more  complete,  more  real* 
istic  production  of  this  sensational 
musical  comedy  than  was  possible  on 
the  stage.  "GOOD  NEWS"  brings  you 
the  soul  of  college  life-nts  swift  rhythm, 
its  pulsing  youth,  its  songs,  its  pep,  its  loves,  its 
laughtei — crowded  into  one  never-to-be-forgot- 
ten picture.  A  cocktail  of  hilarious,  riotous 
entertainment! 

What  a  cast!  Bessie  Love,  of  "BROADWAY 
MELODY"  fame;  Gus  Shy,  who  starred  in  the 
Schwab &Mandel  Broadway  presentation; 


beautiful  Mary  Lawlor,  also 
one  of  the  original  cast;  ClifiF 
Edwards  with  his  magic  uku- 
lele; Stanley  Smith,  Lola  Lane, 
Dorothy  McNulty  and  a  cam- 
pus-full of  cute  co-eds  and  capering  coUegiates. 

Marvelous  music  by  De  Sylva,  Brown  &. 
Henderson.  "The Best  Things  in  Life  are  Free", 
"The  Varsity  Drag"  and  others.  Mirth!  Melody! 
Speed!  That's  "GOOD  NEWS"! 

Scenario  by  Frances  Marion— Dialogue  by  Joe  Famham 
Directed  by  Edgar  J.  MacGregor  and  Nick  Grinde 


Razzberries   In    C  Major 


And  as  Johnny  Hamp  watched  Holly- 
wood laugh  and  make  love  and  shake  a  foot 
to  dance-time,  these  are  some  of  the  con- 
clusions he  came  to,  some  of  the  comfjari- 
sons  he  made: 

"If  cities  can  be  compared  to  persons, 
Hollywood  is  the  kept  woman  of  the 
world — a  beautiful,  but  dumb,  kept  woman, 
overdressed  and  overpaid — a  kept  woman 
lacking  the  smartness  of  Paris,  the  reserve 
of  London  and  the  abandon  of  Madrid. 

"  Hollywood  is  afraid  to  be  rowdy  and  yet 
hasn't  the  background  to  be  reserved. 

"Hollywood  hasn't  learned  to  play  yet, 
or  else  it  doesn't  have  time." 

What  appraisals  Johnny  Hamp  makes  of 
Hollywood  are  based  mostly  on  comparisons 
with  the  other  dance-floors  on  which  he  has 
watched  personages  parade. 

In  winter,  Hamp  and  his  band  supply  the 
:  iilo  players  of  Park  Avenue  and  their  Paris- 
^iiwned  partners  with  fox  trots  at  the  \\1bst- 
liester-Biltmore.  In  summer,  Chicago's 
iL-butante  crowd  dances  to  his  tunes  in  the 
lialloon  Room  of  the  Congress  Hotel. 

The  Westchester-Biltmore  and  the  Bal- 
l<jon  Room  of  the  Congress  Hotel  are  two  of 
America's  smartest  watering-places.  You 
know,  seltzer  water  and  cracked  ice. 

'The  crowds  that  come  to  those  two 
places  represent  the  best -dressed  sections  of 
the  Social  Register,"  e.xplains  Hamp.  "  I've 
never  played  anywhere  but  the  most  ex- 
clusive clubs  and  hotels  before." 

"Before,  Mr.  Hamp  .  .  .  before?" 
One  of  the  band  leader's  guests  inter- 
rupted. "Did  I  hear  you  say  before? 
Don't  you  think  Hollywood  presents  a 
smart  exterior?  Aren't  our  women  the 
most  beautiful,  the  best  dressed,  the — er — 
eh — the  grandest  in  the  world?  That's 
what  all  the  visiting  Polish  painters  claim, 
and  all  the  resident  press-agents. 

"Isn't  Hollywood  the  style  center  of  the 
world,  like  Mr.  Greer  says  it  is?  Don't  our 
ingenues  look  more  like  debutantes  than  the 
members  of  New  York's  Junior  League?" 

The  Los  Angeles  Chamber  of  Commerce 
sob-sister  fell  back  into  her  glass  of  orange- 
ade, exhausted  by  the  emotional  outlet,  and 
Mr.  Hamp — Mr.  Johnny  Hamp,  late  of 
the  Westchester-Biltmore — looked  at  her 
with  that  quiet  reserve  of  the  well-bred 
Easterner  and  began  answering  her  ques- 
tions one  by  one,  counting  them  up  on  his 
fingers.  He  counted  two,  as  a  matter  of 
fact,  on  the  middle  finger  of  the  right  hand. 
The  nail  was  extra  long. 

"In  New  York,"  said  Mr.  Hamp,  with 
the  same  sup)erior  tone  in  which  an 
English  novelist  speaks  of  London  to  the 
Ladies'  Reading  Club  of  Des  Moines,  "in 
New  York  we  speak  of  a  girl  as  being  either 
Park  Avenue,  Fifth  Avenue  or  Broadway." 

(Don't  go  rooting  around  for  that  street 
map,  Gladys — the  man  is  going  to  explain.) 

"  Park  Avenue  sends  its  smart  debutante 
to  places  like  the  Westchester-Biltmore, 
with  a  polo  player  late  of  ^'ale  or  Princeton 
as  her  escort.  Broadway  lends  a  show-girl 
to  a  broker  for  a  night  at  a  supper  club.  But 
the  women  of  Fifth  Avenue.  .  .  .  To  call  a 
girl  a  Fifth  Avenue  type  is  to  label  her  a 
kept  woman. 

"I've  seen  a  little  of  the  Park  Avenue 
here,  an  occasional  party  of  Pasadena 
people.  Broadway,  the  show-girl,  is  Broad- 
way all  over  the  world.  The  show-girl  is  in 
Hollywood  now  for  the  talkies.  But  it's 
been  of  Fifth  Avenue  I've  thought  mostly 
as  I  watched  Hollywood  dance  its  women 
by  me  every  night. 

"The  girls  here  are  so  badly  dressed! 
They  lack  all  the  style  and  bearing  and 


(Continued  from  page  5S) 

the  'to  the  manner  born'  air.  Commer- 
cially, Hollywood  may  be  the  style  center  of 
the  world;  numerically,  more  women  may- 
copy  Norma  Shearer's  latest  dress  than  the 
newest  creation  of  Chanel.  But  the  sim- 
plicity of  real  style,  the  smartness  of  line, 
are  utterly  lacking. 

"As  for  comparing  the  picture  ingenue  to 
a  debutante,  the  stars  to  modish  ma- 
trons— " 

Mr.  Hamp,  late  of  the  Westchester- 
Biltmore,  signaled  his  saxophone  player 
(.pun,  pfeasei  and  the  band  resumed  its 
music  without  his  leadership. 

"Pppfff — pppfff,  pppfff,"  hooted  a  horn. 

"As  I  was  saying,"  continued  Mr.  Hamp, 
"there's  a  vast  difference  between  'society' 
as  you  see  it  on  the  screen  and  as  it  really  is. 
Hollywood,  all  dressed  up  for  a  big  evening 
at  the  Cocoanut  Grove,  is  as  far  from  being 
a  picture  of  society  as  the  party  scenes  in 
'  Dynamite." 


Lippman 

They  both  have  pull :  Evelyn  Knapp  gets 
a  roller  coaster  ride  out  of  Grant  Withers 
at   Coney   Island   between   scenes  of 
"Penny  Arcade" 


Up  from  Main  Street 

THERE  are  a  lot  of  sweet  little  girls 
who  come  here  who  look  just  like 
what  they  are:  nice  middle-class  people 
from  nice  middle-class  towns,  who  have 
been  skyrocketed  into  a  prominence  they 
can't  quite  carrj-. 

"Even  if  you  e.xchanged  their  studio- 
designed  clothes  for  a  simple  evening  dress, 
dressed  their  hair  properly,  instead  of  hav- 
ing it  spilling  coyly  all  o\er  their  necks, 
they  wouldn't  fool  even  the  doorman  of  the 
Junior  League." 

Mr.  Hamp  straightened  his  shoulders, 
preparator>'  to  delivering  an  epigram. 

"No  matter  how  you  dress  it,  ser\e  it, 
spice  it,  it's  still  ham,"  he  said,  and  near-by 
a  horn  hooted:  'Pppfff,  pppfff,  pppfff!  " 

But  stay — hold  on,  old  fellow,  don't  rush 
away  to  the  ticket  office  like  that.  There 
may  be  hope  for  Hollywood,  yet.  Ah,  there 
is  hope! 

"Of  course,  there  are  many  exceptions," 
said  Mr.  Hamp.  "I've  never  seen  a 
sweeter-looking  woman  than  Mary  Pick- 
ford,  a  smarter  one  than  Gloria  Swanson — " 
(how  those  names  do  pop  up)  " — and,  of 


course,  there  are  several  girls  in  pictures 
now  who  were  part  of  New  York  society  be- 
fore they  came  West. 

"June  Collyer.  whose  real  name  is 
Dorothea  Heermance,  used  to  be  at  the 
Westchester-Biltmore  frequently.  Mar>' 
Lawlor  lived  near-by  and  was  constantly 
there.  Jean  Harlow  began  her  romance 
with  Laddie  Sanford.  the  millionaire  polo 
player,  on  our  dance-floor  long  before  she 
entered  pictures. 

".\nd  incidentalh',"  incidented  Mr. 
Hamp,  "that  romance  we  saw  rise  in  the 
Blast  sure  did  set  in  the  West.  It  was  right 
in  front  of  our  bandstand  that  Jean  gave 
Laddie  a  final  slap  in  the  face  and  walked 
off  the  floor  and  out  of  his  life." 

"A  figurative  slap  or  a  literal  slap?" 
asked  the  Chamber  of  Commerce  sob-sister, 
brightening  at  this  point. 

"A  figurative  slap,"  said  Mr.  Hamp,  and 
the  sob-sister's  face  fell  again. 

"And  then  there  are  other  picture  stars 
who  have  always  been  received  by  the 
smartest  society  in  New  York,  lionized  and 
fussed  over  by  the  Westchester-Biltmore 
crowd. 

"Richard  Dix  was  the  debutantes'  dar- 
ling of  all  the  parties  he  attended  there.  A 
date  with  Di.x  was  the  answer  to  a  Sf>ence 
girl's  dream. 

"Adolphe  Menjou,  Bebe  Daniels,  Dolores 
Del  Rio  and  Carmelita  Geraghty  have  all 
been  the  most  sought-after  guests  of  the 
season  on  visits  to  the  club." 

Night-Clubs  in  New  York  are  a  show- 
window  to  movie  folk,  in  Hollywood  they 
are  a  hide-away,  Hamp  contends. 

"Picture  stars,  out  for  an  evening  in  the 
East,  dress  their  best  and  make  an  effort  to 
impress  what  folk  they  meet  with  smart- 
ness. In  Hollywood,  they  go  to  their  fa- 
vorite dance-floor  as  readily  in  a  sweater  as 
an  evening  dress. 

"But  that  isn't  just  true  of  the  picture 
people.  One  of  the  greatest  contrasts  be- 
tween the  night  life  of  the  two  coasts  in 
general  is  that  the  East  is  so  much  more 
formal,  the  West  so  matter  of  fact  about  its 
entertainment. 

"  New  York  plans  its  evening  ahead  with 
great  exactness.  Hollywood  ad  libs  it.  The 
New  York  beau,  be  he  social  registerite  or 
stock  exchange  clerk,  buys  his  theater 
tickets,  reserves  a  table  for  dinner  before 
the  show  and  supp)er  afterwards,  all  in  ad- 
vance. Hollywood's  young  man  about 
town  makes  his  evening  date  at  twilight  on 
the  set  and  comes  around  to  pick  up  his  girl 
with  no  definite  idea  for  the  evening. 

"  It  can  be  laid  partly  to  the  uncertainty 
of  hours  in  Hollywood,  and  it  is  work, 
too — work  for  the  girls  as  well  as  the  men — • 
that  results  in  Hollywood's  starting  and 
ending  its  evening  so  much  earlier  than 
New  York.  A  Hollywood  escort  is  putting 
his  car  away  for  the  night  and  crawling  into 
bed,  just  about  the  time  that  a  New  York 
couple  are  just  getting  started  on  their 
tour  of  the  night-clubs. 

"And  I  think  that  Hollywood  itself  pre- 
fers to  have  its  fun  in  New  York.  Com- 
pared to  its  rather  quiet,  ordered  routine  at 
home,  Hollywood  finds  an  ever  new  thrill 
in  Manhattan. 

"And  it's  reasonable — Why,  night  life  in 
Hollywood  is  like  ginger  ale,  compared  to 
the  champagne  of  New  York. 

"Why.  to  compare  Hollywood  to  New 
York  is  like  comparing  the  puny — "  Mr. 
Hamp  found  himself  making  a  speech,  so 
instead  he  signaled  the  orchestra  again. 

"Broadway,"  said  Mr.  Hamp,  "is  Holly- 
wood's idea  of  Heaven!" 


93 


The  Most  Dangerous 
Moment  of  My  Life 

{Continued  from  page  jg) 


Chicago 

Exposed! 

The  Inside  Story  of  Why  "Jake" 
Lingle^  Chicago  Tribune 
Reporter,  Was  Killed 

Complete  in 
the  September 

REAL  DETECTIVE  TALES 

When  Alfred  ("'Jake")  Lingle, 
Tribune  reporter,  was  shot  down 
and  killed  at  high  noon  in  the 
heart  of  Chicago,  on  June  9  of 
this  year,  the  sensation  was  felt 
throughout  America. 

Newspapers  everywhere  have 
played  up  this  greatest  of  all 
crime  stories.  But  not  one  news- 
paper has  printed  the  real  facts. 
These  facts  are  published  for  the 
first  time  in  this  month's  issue  of 

REAL  DETECTIVE  TALES. 

Read 

"The  Reporter  Who  Blew 
the  Lid  Off  Chicago" 

See  how  the  "big  shots  "  of 
Chicago's  underworld  have  cor- 
rupted not  only  the  police  and 
men  in  public  office,  but  even  the 
Chicago  newspapers. 

Behind  the  murder  of  "Jake  " 
Lingle  lies  an  appalling  record  of 
crime  and  graftthat  has  no  parallel. 
The  whole  sensational  story  is 
told,  completely  and  in  detail,  in 
America's  fastest  growing  de- 
tective magazine 


LOOK  FOR  THIS  COVER 


Now  on  Sale  at  All  News  Stands 


94 


wide  open.  But  even  with  the  odds  even, 
we  had  a  tough  time  and  tookan  awful  beating 
from  the  two  remaining  men  who  faced  us. 

Finally,  the  rum-runner  who  had  wielded 
the  club  with  such  devastating  effect  re- 
turned from  his  romantic  search  of  the  ship. 
The  girl,  however,  had  succeeded  in  hiding 
herself  well.  As  he  came  around  the  corner 
of  the  cabin,  I  picked  up  the  man  I  had 
just  knocked  senseless  on  the  deck  and, 
raising  him  high  above  my  head,  threw  him 
bodily  in  the  direction  of  the  oncoming  ad- 
versary. The  impact  was  terrible.  Both 
men  were  sprawled  on  the  deck  of  the  craft 
— cold. 

I  then  helped  my  partner  put  the  remain- 
ing man  out  of  commission  and  we  found 
ourselves  standing  in  the  midst  of  five  un- 
conscious men.  We  revived  the  owner  of 
the  boat  in  short  order  and,  together,  we 
lifted  the  fallen  rum-runners  to  the  side  of 
the  boat  and  dropped  them  over  into  their 
own  launch,  cut  the  ropes  and  moved  away. 
As  we  left  the  vicinity  of  the  scrap,  we 
thanked  our  lucky  stars  that  the  racketeers 
had  failed  to  bring  their  guns  when  they 
invaded  our  yacht.  The  end  of  the  fight 
might  have  been  sadly  reversed,  if  they  had. 

It  Promised  Adventure 

THE  next  few  days  following  that  inci- 
dent, I  spent  in  some  heavy  thinking. 
The  men  on  the  power  launch  had  been 
carrying  a  cargo  of  liquor  down  from  Can- 
ada, and  I  found,  by  inquiring  about,  that 
this  sort  of  business  was  paying  big  money. 
If,  I  figured,  I  could  get  such  a  kick  out  of 
running  into  a  bunch  engaged  in  the  racket, 
why  shouldn't  I  get  in  the  game  myself? 
No  reason  at  all.  So  I  went  around  to  call 
on  an  old  friend  of  mine  who  was  making 
regular  and  mysterious  trips  to  the  border 
at  least  once  a  week.  Maybe  he  could  put 
me  wise.  After  a  half-hour's  talk  with  Bill, 
I  decided  that  rum-running  was  the  next 
adventure  for  me. 

He  told  me  that  he  was  bringing  down 
a  load  of  liquor  every  few  days  and  that 
the  game  was  paying  him  big  money.  The 
smartest  thing  for  me  to  do,  he  thought, 
was  to  make  a  trip  or  two  with  him  so  that 
I  could  get  onto  the  ropes  and  learn  how 
the  deal  was  worked.  He  explained  that  the 
racket  didn't  require  a  great  amount  of 
brains,  but  that  one  needed  an  over-supply 
of  nerve  and  brass.   I  said  I'd  go. 

DON'T  LAUGH.  /  made  that  trip  dis- 
guised as  a  womanl 

"Honeymoon  Couple" 

BILL  had  calmly  informed  me  that,  if  I 
was  to  make  the  trip  with  him,  I  must 
wear  a  woman's  hat,  coat  and  heavy  veil. 
The  reason  for  this  precaution  being  that 
Bill  always  carried  an  extra  man  along  with 
him,  dressed  as  a  woman,  to  allay  the  sus- 
picions of  the  customs'  men.  I  was  to  take 
his  place,  if  I  wanted  to  go.  I  did.  We 
drove  a  geared-up  job  that  was  capable  of 
making  a  hundred  miles  an  hour  with  a  load 
of  thirty  cases  aboard.  Nothing  happened 
on  the  way  up.  We  got  the  liquor  and 
placed  it  in  the  special  holders  on  the  frame 
under  the  body  of  the  phaeton.  The  springs 
of  the  car  had  been  built  up  with  extra 
leaves  so  that  any  casual  inspection  of  the 
machine  would  fail  to  disclose  the  additional 
weight.  We  started  back. 

Through  the  customs  at  the  border  we 
went — just  like  a  "couple"  on  a  honeymoon. 
Not  the  slightest  suspicion  seemed  to  cause 
the  guards  to  look  twice  in  our  direction. 
I  began  to  laugh  after  we  got  out  in  the 


open  country.  Bill  scowled  and  asked  what 
all  the  fun  was  about,  and  I  told  him  that 
I  had  never  guessed  that  it  would  be  as 
easy  as  this.  He  scowled  again.  Then  he 
passed  me  a  cigarette  without  a  word,  i 
Something  in  his  silence  seemed  to  tell  me  | 
that  the  worst  was  yet  to  come. 

Going  along  at  a  clip  of  about  fifty  miles 
an  hour,  we  were  covering  a  lot  of  territory 
when  all  of  a  sudden,  in  the  road  just  ahead 
of  us,  stood  two  men  waving  a  lantern.  The 
road  at  this  particular  spot  was  very  narrow 
and  there  was  no  room  for  us  to  swerve 
around  them.  We  had  to  stop. 

The  Searching  Party 

THEY  approached  the  car  with  rifles  and 
informed  us  that  they  were  government 
men  and  that  they  were  going  to  search  the 
car  for  liquor.  I  must  have  looked  like  a 
pretty  husky  lady  for  Bill  to  be  carrying 
around  (he  only  weighed  about  a  hundred 
and  thirty  pounds).  But  my  size  and  veil 
seemed  to  make  no  difference.  One  man 
stood  at  our  side  while  the  other  started  in . 
on  his  tour  of  inspection.  Soon  we  heard  the 
man  at  the  back  of  the  car  call  out: 

"Come  on  back  here,  Lem — want  you  to  . 
hold  this  lantern  whilst  I  take  a  good  look* 
under  this  band-wagon.  Them  springs  don't 
look  as  light  as  they  might." 

The  car  was  still  running  and  before  the 
man  at  our  side  left  us,  he  cautioned  us  to 
turn  ofif  the  motor  and  not  to  try  anything.  * 
But  they  never  had  the  chance  to  look  under 
the  car.  Instead  of  cutting  the  motor  off. 
Bill  cut  it  wide  open  the  minute  the  guard 
left  the  front  of  the  car — and  we  left  them 
standing  in  the  center  of  the  road.  The  fact 
that  the  car  was  geared-up  gave  us  a  good 
get-away  speed,  but  we  had  hardly  started 
when  we  heard  the  familiar  sound  of  Win- 
chester .30-. 30  rifles  cracking  out  at  our 
backs.  The  bullets  continued  to  sing  around 
us  for  the  next  few  seconds  and,  as  we  found 
when  we  stopped  down  the  road,  a  lot  of 
them  .  had  been  true.  Our  machine  was 
riddled  with  holes  all  over  the  back  of  the 
tonneau! 

So  far,  so  good!  Now  it  was  Bill  who 
was  doing  the  smiling.  He  had  come, 
through  experience,  to  expect  only  one  hitch 
to  the  trip.  But  he  was  mistaken.  We 
were  due  for  another — and  it  wasn't  going 
to  be  a  hitch  either.  It  was  what  I  have 
always  considered  the  most  dangerous  mo- 
ment of  my  life. 

Trouble  Ahead,  Then  Behind 

1EM  and  his  partner  must  have  tele- 
j  phoned  the  news  of  the  rum-runners 
ahead  of  us.  At  any  rate,  they  knew  we 
were  coming.  We  saw  their  lights  about  a 
half-mile  before  we  actually  got  to  the  place. 
It  was  only  about  ten  miles  from  the  previ- 
ous stop.  As  we  drew  closer,  we  could  see 
that  they  had  placed  a  "STOP"  sign  in  the 
center  of  the  road  and  that  there  were  two 
armed  men  on  either  side  of  the  highway 
waiting  for  us.  Bill,  yelling  over  the  noise 
of  the  motor,  told  me  that  he  thought  the 
"STOP"  sign  was  pretty  flimsy.  I  got  him. 
We  were  going  right  on  through.  Down 
went  the  foot  on  the  accelerator,  and  the 
motor  roared  as  though  the  world  were 
coming  to  an  end. 

I  looked  at  the  speedometer  .  .  .  60  .  .  . 
70  .  .  .  80  .  .  .  crash!  The  little  "STOP" 
sign  placed  in  our  track  went  flying  through 
the  air  in  a  thousand  pieces.  Before  the  car 
had  hardly  crossed  the  "deadline,"  the  rifles 
commenced  to  pop.  Bill  started  to  cuss. 
{Continued  on  page  qq) 


Ctslumts  fnm  Kajkil  &  Kaskti  Dunial> 


New  summer  freedom 

with  this  lighter,  cooler 
sanitary  protection 

Kotex  stays  light,  cool  and  delicate  for  hours ...  it  deodorizes 
.  .  .  fits  perfectly  .  .  .  thus  giving  unique  summer  comfort. 


Who's  Glorified  Now? 

(Continued  from  page  27) 

certain  attributes,  and  the  greatest  of  these 
is  common  sense.  There  is  no  longer  a  reign- 
ing "beautiful-but-dumb"  type.  In  this 
day,  a  purely  facial  beauty  will  be  crowded 
out  for  a  less  beautiful,  but  more  clever  girl. 
A  dumb  girl,  no  matter  how  beautiful,  can- 
not compete  with  the  personality  girl  whose 
cleverness  and  good  sense  shine  through  her 
pretty  face. 

"Mind,  I  do  not  mean  intelligent  women. 
Booky  women.  Overly  educated  women. 
Brains,  in  large  doses,  have  always  been  an 
enemy  to  a  woman's  face.  They  have  a 
tendency  to  rob  woman  of  her  greatest 
charm,  femininity.  But  good  common  sense, 
of  the  variety  of  knowing  enough  to  come  in 
out  of  the  rain,  enhances  the  loveliness  of 
any  woman. 

"Humor,  too,  is  an  important  attribute. 
.\  sense  of  it  lightens  a  woman's  face,  gives 
her  a  pleasant  expression,  vivifies  the  look 
around  her  eyes  and  mouth. 

Hollywood's  Best  Example 

PERHAPS  you  think  my  requirements 
are  too  rigid?  A  girl  who  embodied  all 
these  virtues  would  be  .a  sensation?  But 
that  is  where  you  are  wrong.  For  instance, 
the  most  perfect  type  of  American  beauty  I 
have  encountered  in  Hollywood  is  Sally 
Eilers — and  to  date  she  is  not  world-famous, 
though  I  cannot  understand  why  she  is  not 
a  picture  star.  This  girl  has  everything  in 
modern  beauty  requirements.  On  one  oc- 
casion I  saw  her  in  a  group  with  several 
other  famous  Hollywood  beauties,  and  she 
stood  out  from  the  others  like  a  searchlight. 

"Hers  is  typically  a  modern,  practical 
beauty.  She  looks  equally  well  in  riding- 
breeches  and  evening  clothes.  She  can  be 
separated  from  her  powder  puff  for  more 
than  ten  minutes  and  still  retain  a  well- 
uroomed  look.  Her  hair  is  medium-auburn. 
Her  skin  is  becomingly  sun-tanned.  There  is 
something  shining  about  this  girl,  in  the 
sparkle  of  her  eyes  and  the  flash  of  her 
teeth.  And  she  is  ideally  in  proportion.  That 
is  the  great  trouble  with  so  many  Hollywood 
beauties.  Their  heads  do  not  fit  their  bodies. 

"One  other  phase  which  I  believe  is  im- 
portant is  that  beauty  to-day  is  not  isolated 
—not  unique.  Our  day  has  produced  no 
outstanding  type  of  beauty,  or  beauties,  like 
Lillian  Russell  and  Maxine  Elliott,  who 
waged  a  war  of  supremacy  for  years.  Indi- 
viduality is  the  present  keynote  of  looks. 

Nearly  All  Can  Have  Them 

PRACTICALLY  every  woman,  who 
gives  herself  a  fair  amount  of  care  and 
watches  her  calories,  has  her  quota  of  fair 
looks.  Practical  prettiness  becomes  more 
noticeable  every  day.  It  is  to  be  found 
among  girls  who  serve  you  in  cafes.  Among 
stenographers,  store  clerks.  Nice-looking 
women  are  in  demand  in  every  walk  of  life. 
Prettiness  is  being  put  into  circulation!" 

Naturally  any  discussion  like  this  was 
bound,  sooner  or  later,  to  get  around  to  a 
comparison  of  Hollywood  vs.  Broadway 
beauties,  and  even  the  great  Ziegfeld  had  to 
give  it  a  moment  or  two  of  deliberation. 

"The  featured  women,  the  stars  of  Holly- 
wood, are  more  beautiful  than  Broadway 
women  in  the  same  scale  of  the  profession;" 
he  said  at  last,  "but  the  average  beauty,  the 
beauty  you  see  on  the  streets,  the  extra 
girls,  the  chorus  girls  cannot  compare  in  any 
way  with  their  Broadway  sisters. 

"  I  should  hate  very  much  to  try  to  pro- 
duce a  'Follies'  from  local  candidates.  There 
is  a  noticeable  lack  of  distinction  among  the 
girls  and  their  forms  are  not  so  pretty  as 
they  should  be.  I  believe  it  is  because,  in 
spite  of  every  opportunity,  the  California 
girls  do  not  exercise  sufficiently. 

"  No,  give  me  the  Broadway  girl  for  a 
show  girl  every  time!" 


MODERN  living  demands  so  much 
of  us !  Freedom  and  perfea 
poise  .  .  .  every  day  of  every  month  . . . 
for  sports  or  business  or  some  other 
interest. 

This  constant  aaivity  would  be  very 
difficult,  particularly  in  summer,  with- 
out the  wonderful  comfort  provided  by 
Kotex.  Kotex  .  .  .  with  its  light,  cool 
construction  ...  its  careful  shaping  .  .  . 
its  safe  deodorizing  ...  its  easy  disposa- 
bility  .  .  .  has  ended  forever  many  dis- 
quieting mental  and  physical  handicaps. 

Used  in  hospitals 
Many  of  the  unusual  comforts  of  Kotex 
are  due  to  its  unusual  filler,  Cellucotton 
(not  cotton)  absorbent  wadding.  This 
material  is  used  by  85%  of  America's 
leading  hospitals  because  of  its  com- 
fort, absorbency  and  hygienic  safety. 

Cellucotton  absorbs  five  times  as 
much  as  an  equal  weight  of  cotton,  or 
any  cotton  material.  This  means  your 
Kotex  pad  can  be  five  times  lighter 
than  ordinary  pads,  yet  have  the  same 
absorbency. 


Kotex  deodorizes  ...  so  very  im- 
portant in  summer.  The  corners  are 
rounded  and  tapered  to  eliminate  awk- 
ward lines.  You  dispose  of  Kotex  like 
tissue.  Kotex  Company,  Chicago,  111. 

piiiiiiiiuiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ 

I  IN  HOSPITALS  I 

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I  Like  To  Interview 


(Continued  from  page  68) 


and  it  gives  you  a  sense  of  having  a  special 
performance  given  for  your  particular 
benefit,  when  Lupe  Velez  leaps  and  shouts 
or  John  Barrymore  does  his  "bad  boy" 
stuff. 

The  Barrymore  quirks  are  particularly 
amusing.  He  says  perfectly  frightful  things 
to  you  at  first — especially  if  you  are  a  lady 
interviewer.  Apparently,  it  pleases  him  to 
try  to  disconcert  you.  But  if  you  decline  to 
be  disconcerted  and  simply  wait  with  what 
patience  you  can  muster,  until  he  has 
exhausted  whatever  ideas  for  this  little 
pastime  he  can  produce,  he  will  eventually 
smile  at  you  and  remark,  "AH  right.  I'm 
through.  Now,  let's  do  the  story!"  After 
that,  it  takes  only  a  short  time,  because 
Jack  has  a  pungently  interesting  mind  and 
knows,  through  long  experience,  what  is 
good  copy. 

Slightly  Mad  Ones  Preferred 

I PREFER  to  interview  people  who  are  a 
trifle  insane.  The  illogical  ones,  the 
slightly  mad  ones,  are  much  more  fun  than 
the  reasonable,  ordinary,  every-day  folk. 

I  enjoyed  the  pak,  blonde,  exquisite 
"Follies"  girl  who  screamed  suddenly,  "I 
want  wine!  Red,  red  wine!  Life  is  so  short!" 

And  there  was  the  actress  who  beat  her 
breast  one  day  at  the  Montmartre  and 
moaned,  to  the  mild  astonishment  of  people 
at  near-by  tables,  "God!  If  I  were  only  a 
mother! " 

It  was  fun  when  Lupe  leaped  up  in  Madame 
Helene's  to  bite  "her  Garee"  upon  the  ear. 
(I  might  add  that  this  also  considerably 
enlivened  the  luncheons  of  divers  ladies  from 
Iowa  who  were  eating  there.) 

Joseph  Schildkraut  is  a  diverting  subject 
for  an  interview.  He  is  likely  to  go  frisking 
about  the  room  on  all  fours,  barking  like  a 
dog.  Or  to  tell  you,  with  dramatic  abrupt- 
ness, that  he  likes  women  who  possess  a 
"subtle,  mental  eroticism!"  Which  I 
consider  really  elegant. 

With  smug  faith  in  his  own  perspicacity, 
he  picks  out  what  he  thinks  are  your  pet 
vanities  and  proceeds  to  flatter  them  in  what 
he  doubtless  considers  a  completely  irresist- 
ible fashion.  If  you  write,  he  tells  you  that 
he  prefers  the  "  mental  type  "  of  woman.  He 
tells  you,  in  any  case,  that  you  are  "strangely 
interesting."  He  summed  me  up,  at  the  last, 
by  telling  me  that  I  was  "inhibited  and 
afraid  of  life!"  Which  would  surprise  my 
mother  some. 

Watching  Jack  Believe 

I LIKE  to  watch  Jack  Gilbert  (who  is  one 
of  my  favorite  people,  anyhow)  pacing 
up  and  down  and  declaiming  with  terrific 
intensity  whatever  it  is  he  is  believing  to- 
day. The  fact  that  he  will  believe  something 
entirely  diflPerent  to-morrow  makes  not  the 
slightest  difference.  He  is  so  picturesque,  so 
vivid  and  emphatic  about  his  believing! 
He  does  everything  so  hard\ 

I  like  the  people  who  surprise  me.  Ramon 
Novarro — our  spiritual  and  detached  Ramon 
— pounding  on  the  table  and  averring  in  a 
tremendous  voice,  "I  do  not  believe  in  birth 
control ! " 

I  like  comedians.  All  comedians.  Buster 
Keaton,  who  is  likely  to  punctuate  his 
remarks  with  funny  falls.  Harry  Langdon, 
who  is  terrified  of  interviews  and  has  to  be 
lured  out  from  behind  a  bit  of  scenery  and 
coaxed  and  cajoled  before  he  will  talk  at  all. 
Wallace  Beery,  who  once  took  me  to  the  zoo 
at  Universal  and  -made  the  elephant  do 
tricks  for  me!  Harry  Sweet,  who  tried, 
without  much  success,  to  teach  me  how  to  do 
a  "nip-up." 

(In  case  you  don 't  know  what  a  "nip-up" 
is — it  is  sort  of  like  a  cartwheel  and  sort  of 
like  a  backward  somersault  and  the  effect. 


if  you  are  inexperienced,  is  distressingly  Hfee 
falling  downstairs.) 

The  Labor-Saving  Kind 

I LIKE  the  people  who  give  the  thing  a 
little  thought  before  they  come  to  meet 
you — and  have  something  or  other  to  say 
and  are  willing  to  say  it. 

People  like  Clive  Brook,  who  talks  in  neat 
paragraphs,  beginning  at  the  beginning  of 
his  subject  and  ending  with  a  tidy  "tag,"  so 
that  all  you  have  to  do  is  go  away  and  put 
down  what  he  said,  without  any  business 
of  trying  to  piece  it  together  or  figure  out 
what  he  really  meant  by  what  you  thought 
you  heard  him  say.  I  always  feel  that  if  I 
could  just  have  a  dictaphone  with  me  when 
I  talk  with  Clive,  I  could  turn  it  on  and  then, 
take  the  record  home  with  the  story  on  it — • 
all  finished! 

People  like  Dorothy  Mackaill,  who  will 
really  think  about  what  they  are  saying  and 
try  quite  earnestly  to  reach  some  conclusion..* 
which  will  be  worth  printing. 

The  people  who  are  troubled  with  pains  in 
their  souls  are  interesting — for  interviewing 
purposes  only.  I  should  hate  to  acquire  one 
for  an  in-law  or  something.  These  folk,  who 
become  so  utterly  lacerated  and  devastated 
by  the  mere  process  of  living  and  what  they 
call  "associating  with  clods"  (they  are 
always  involved  with  "clods,"  somehow), 
reduce  a  mundane  person  like  me,  whose 
soul  is  pretty  well-behaved  and  hardly  ever 
aches,  to  a  state  of  wide-eyed  wonder. 

The  Teeth-Gnashers 

THE  people  who  wail  and  gnash  their 
teeth  over  what  "they"  are  doing  to 
them  give  me  nice,  eerie  little  thrills,  too. 
There  is  something  so  sinister  about  the 
mysterious  "they"  who  are  responsible  for 
all  the  failures,  all  the  suppressions  and  all 
the  unpleasantnesses  of  life  in  the  picture 
business. 

I  have  never  determined  exactly  who 
"they"  may  be.  Certainly  they  have  a  lot 
to  answer  for. 

But  really  best  of  all  are  the  people  whom 
the  publicity  departments  do  not  want  you 
to  interview.  And  next  best  are  the  ones 
whom  press-agents  insist  upon  accompany- 
ing while  they  are  interviewed. 

You  may  be  certain  that,  if  the  depart- 
ment objects  to  your  seeing  an  actor,  he  not 
only  has  something  to  say,  but  is  pretty 
determined  to  say  it.  He  is  probably  a 
person  who  dares  to  be  himself  (which  is 
heresy  in  this  business)  and  it  is  undoubtedly 
an  interesting  self,  too,  if  his  guardians  are 
intent  upon  keeping  it  quiet. 

If  I  Were  One  of  Them 

IF  I  were  a  motion  picture  actor  (quaint 
notion  that  is!)  I  should  pick  out  a 
fascinating  and  capricious  personality  for 
myself  and  then  I  should  work  very  hard  at 
trying  to  be  like  that.  I  should  do  strange 
and  startling  and  novel  things — if  I  could 
think  of  them — and  I  shouldn 't  let  anybody 
cram  me  into  a  pure-and-noble-and-kind- 
to-animals  mold.  If  I  were  naturally  like 
that,  I  should  try  to  keep  it  a  secret.  I 'd  be 
a  nuisance  to  the  press-agents,  but  the  press 
would  think  I  was  grand! 

I  like,  naturally,  the  people  who  are  on 
time  for  appointments — at  least,  arriving  on 
the  day  set  for  the  interview.  I  like  the  ones 
who  do  not  take  this  business  too  seriously 
and  who  do  not  susfiect  me  of  malicious 
plans  to  ruin  them  with  their  public. 

I  like  the  naive  people  and  the  honest  ones 
and  the  funny  ones — the  exotic  ones  and  the 
original  ones.  And — usually —  the  ones  who 
don 't  like  me. 

There  are  quite  a  lot  whom  I  do  not  like. 
I  11  list  them  for  you  on  page  69. 


96 


Through  at 
Five  O'clock 

{Continued  from  page  41) 

He's  really  a  big  baby.  When  there's 
anything  the  matter  with  him,  a  slight  cold 
or  the  hiccoughs  or  anything,  he  carries  on 
and  makes  more  fuss  than  a  three-year-old 
child. 

His  humor  is  broad  and  robust,  his  frank- 
ness complete. 

He's  very  plaintive  about  what  the  talkies 
have  done  to  Hollywood.  He  hates  progress, 
especially  in  the  form  of  foreign  versions. 
He  wishes  he  could  hear  some  language 
spoken  around  the  studio,  that  he  could 
understand. 

He  says  the  public  has  never  heard  of  the 
hordes  of  newcomers  from  New  York  and 
that  the  public  doesn't  want  to  see  them. 
He  thinks  they'd  rather  play  golf. 

Why  People  Go  to  the  Movies 

HE  believes  it's  actors  like  Lewis  Stone 
and  the  other  old-timers  who  draw 
people  into  theaters. 

He's  interested  in  dogs,  airplanes,  fishing, 
and  hunting.  He  takes  his  aviation  more 
seriously  than  anyone  else  in  pictures. 
He  has  a  transport  pilot's  license  and 
makes  frequent  trips  to  New  York  in  his 
cabin  plane.  It  holds  eight  people  and  has 
all  the  comforts  of  home,  and  he  doesn't 
have  any  trouble  getting  passengers. 

He  once  had  a  yacht,  but  sold  it  because 
he  found  that  after  he  got  all  dressed  up  in 
his  cap  and  brass  buttons,  there  was  no 
place  to  go. 

He  has  a  fishing  lodge  on  a  little  island  in 
the  High  Sierras,  where  he  fishes,  and  hunts 
(lucks  and  bears.  He  says  Lew  Stone  is 
i;reat  for  that  sort  of  thing,  too. 

He  doesn't  like  the  beach,  because  you 
ran't  walk  a  yard  without  stepping  on  an 
(-■mpty  pop  bottle  or  tripping  over  the 
remains  of  a  hot  dog. 

He  hated  "All  Quiet  on  the  Western 
I'ront." 

He  thinks  "Robin  Hood"  was  the  loveliest 
1  ntertainment  picture  ever  made — but  not 
because  he  was  in  it. 

He  enjoys  razzing  Jim  Tully. 

He  thinks  Jack  Gilbert's  voice  is  just 
fine,  except  that  no  voice  sounds  natural  to 
him  in  the  talkies. 

His  Idea  of  a  Pet 

HE'LL  talk  at  some  length  about  a  cute 
seal  that  used  to  flop  into  his  rowboat 
and  ride  with  him,  when  he  was  on  location 
with  "Old  Ironsides."  On  the  day  they 
dynamited  the  ships,  James  Cruze  delayed 
for  about  eight  hours  until  he  had  located 
the  seal,  because  they  were  all  fond  of  it 
and  didn't  want  to  blow  it  up.  Wally 
thinks  seals  are  very  companionable,  and 
make  wonderful  pets. 

He's  still  in  a  daze  about  where  the  movie 
producers  get  all  their  money. 

No  matter  how  much  he  eats  or  how  much 
exercise  he  takes,  his  weight  is  always  the 
same — two  hundred  and  something,  I  for- 
get just  what. 

He  has  a  blonde  wife,  young  and  hand- 
some. 

Few  people  remember  that  he  and  Gloria 
Swanson  once  were  marital  mates. 

He  gets  confused  if  he  has  to  play  in  two 
pictures  at  the  same  time — as  was  the  case 
with  "Way  For  A  Sailor"  and  "Jenny 
Lind." 

He  has  been  in  pictures  for  twenty  years. 
He  thinks  comedy  is  much  harder  than 
character  parts,  but  more  interesting. 

Acting,  to  him,  means  action. 

He's  hard  to  work  with,  but  lovely  to 
talk  to. 

He  thinks  Missouri,  where  he  was  born, 
is  the  place  God  forgot. 


She  started  all  America  singing"Can't 
help  lovin'  that  man".  .  .  she  played 
in  some  of  the  greatest  successes 
Ziegfeld  has  ever  known  .  .  .  and 
she  tells  you  here  how  she  proteas 
the  beauty  that  made  her  famous. 

YOU  saw  her  in  "Show  Boat,"  didn't  you  ? 
And  if  you  are  human — and  femtnine- 
you  must  have  wondered  how  she  preserves 
her  creamy  skin  and  cool,  magnolia  beauty. 

Well — take  a  peep  into  her  dressing  room ! 


Right  past  the  doorman,  into  the  star's  own 
inner  sanctum !  And  here  we  find  her,  cleans- 
ing her  skin  . . .  with  Kleenex ! 

"Kleenex  is  always  on  my  dressing  table," 
she  says.  "It's  the  only  safe  and  sanitary  way 
to  remove  face  creams  and  make-up.  Soft  and 
absorbent,  it  wipes  away  but  does  not  scratch 
or  stretch  the  skin." 

You  see,  Helen  Morgan  knows  the  impor- 
tance of  proper  cleansing.  So  she  uses  Kleenex. 

Kleenex  is  powerfully  absorbent.  It  blots 
up  . . .  not  only  every  trace  of  cream  and  oil 
.  .  .  but  embedded  dirt  and  cosmetics  also. 

Women  everywhere  are  rapidly  adopting 
the  Kleenex  way  of  removing  cold  cream. 
Kleenex  is  so  sanitary.  It's  so  much  safer  than 
germ-filled  "  cold  cream  cloths"  or  towels.  And 
far  less  expensive. 

Kleenex  comes  in  white,  and  in  three  safe, 
lovely  tints,  at  all  drug  and  department  stores. 

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SAFE  TO  REMOVE 

CORNS 


One  drop  deadens  pain, 
dries  up  callus 

SCIENCE  has  perfected  new  methods  in  end- 
ing corns.  No  more  paring  that  is  dangerous. 
You  touch  the  most  painful  corn  with  an 
amazing  liquid  which  acts  like  a  local  anaes- 
thetic. Deadens  pain  in  3  seconds.  You  wear 
tight  shoes,  walk,  dance,  in  comfort  .  .  .  In- 
stantly '. 

Soon  the  corn  shrivels  up  and  loosens.  You 
peel  It  off  with  your  fingers.  Works  on  any 
kind  of  corn  or  oallus.  hard  or  soft;  new  or  old. 


I  Don't  Like — To  Interview 


lit.- 


iTf  guarunteiil 


GETS -IT 


99 


World's 
Fastest  Way 


{Continued  from  page  6g) 


whether  he  is  very  strong."  Or,  "He  is 
intelligent  and  a  genius — but  not  hand- 
some," he  will  certainly  have  a  tantrum, 
then  and  there,  and  rush  to  the  publicity 
department  to  demand  that  they  bar  you 
from  the  lot.  Or  take  immediate  steps 
toward  your  complete  extermination. 

Anything  less  than  a  superlative  is  taken 
as  an  insult.  And  there  are  so  few  super- 
latives ! 

I  don't  like  to  interview  people  who  are 
too  intelligent.  1  once  spent  three  hours 
with  Milton  Sills  and  he  talked  about 
psycho-analysis.  It  was  one  of  the  most 
interesting  afternoons  I  have  ever  expe- 
rienced. But  when  I  left  I  realized  abruptly, 
that  1  hadn't  the  vestige  of  a  story  about 
Milton  for  my  magazine.  And  I  had  to 
slink  back  a  day  or  two  later  and  do  the 
interview! 

Then  there  are  the  people  who  are  afraid. 
Afraid  of  publicity,  of  the  public,  afraid — 
for  goodness'  sake — even  of  me!  (I  suppose 
that  should  flatter  me.  Well,  it  does,  just  a 
little.) 

Shrinking  Violets 

THESE  timorous,  shrinking  darlings 
shudder  fearfully  with  each  syllable 
they  utter,  inquire  anxiously  whether  you 
think  "this"  would  offend  anyone — and 
then  produce,  in  a  choked  whisjjer,  some 
such  revolutionary  remark  as,  "1  like 
avocados  better  than  radishes."  They  want 
the  story  to  be,  as  Ronald  Colman  once 
remarked,  "Dignified — and  safe!"  Which 
would  mean  that  nobody  would  read  it. 

They  will  tell  you  things  sometimes — in- 
teresting things  which  folks  would  love  to 
read — prefacing  their  confidences  with, 
'This  is  not  for  publication."  And  there 
you  are.  Sunk. 

That  is  one  of  the  most  disheartening 
things  an  inter\'iewer  can  hear.  "  I'd  like  to 
tell  you  something — if  you  won't  print  it!" 

I  don't  like  the  people  who  want  to  see 
the  story  before  it  goes  to  the  editor.  No- 
body ever  lets  them  see  one — except  very 
rarely,  by  sjjecial  arrangement — but  it  is 
annoying,  somehow,  to  have  them  want  to, 
however  innocuous  the  story  may  be.  I 
can't  explain  why  it  is  annoying.  It  just  is. 

I  don't  like  to  interview  people  who  affect 
to  be  bored  with  being  interviewed.  After 
a  press-agent  has  pursued  you  for  days,  try- 
ing to  persuade  you  to  do  a  story  with  his 
client  and  you  have  acquiesced  at  last, 
partly  because  the  press-agent  has  worn  you 
down,  partly  because  you  couldn't  find  a 
better  story  and  you  were  short  for  that 
month  and  partly  because — oh,  well,  just 
because! — it  is  a  trifle  irritating  to  find  the 
subject  of  the  interview  almost  too  bored 
to  say  a  word. 

Imaginary  Interviews 

NOT  that  1  blame  them  for  being  bored! 
I'm  talking  about  what  I  don't  like. 
And  I  don't  like  to  interview  those  people. 

Any  interviewer  knows  what  1  mean. 
You  dicker  for  days  for  the  appointment. 
Then,  for  one  reason  or  another,  you  make 
a  late  start  to  the  studio  and  are  subse- 
quently arrested  for  speeding  on  your  way 
there.  You  arrive,  panting  and  disheveled, 
but  on  time,  only  to  be  told  by  a  suave  pub- 
licity man  that  your  victim  has  'phoned 
that  he  "will  be  a  few  minutes  late"  and 
will  you  please  sit  down  and  wait? 

An  hour  or  so  later,  the  actor  strolls  in, 
greets  you  with  a  casual  apology  and  looks 
at  you  inquiringly. 

"Now,  just  what  was  it  you  wanted  to 
know?"  he  asks,  in  an  encouraging  tone. 

Oh,  dear!  You  didn't  want  to  know  any- 
t'  ingi  You  haven't  the  slightest  curiosity 
about  this  sleek  human  being  opposite  you. 


His  press-agent  has  assured  you  that 
person  "has  a  great  story."  But  he  hasn't, 
apparently,  told  the  actor  what  it  is.  You 
chat  for  a  few  moments,  trying  to  find  out 
on  what,  if  any,  subject  he  can  talk  in- 
terestingly. 

Then  he  comes  up  with  a  bright  idea.  (I 
know  I've  mentioned  this  before — but  it's 
one  of  my  phobias.)  He  says,  "Why  don't 
you  just  run  on  home  and  write  anything 
you  want  to?  I'll  trust  you  to  make  me  say 
something  really  clever  " 

Pretty  Poses 

I ALSO  view  with  suspicion  the  people  who 
have  their  pictures  taken  in  the  act  of 
scrambling  eggs  or  cutting  roses  or  romp- 
ing with  the  kiddies  on  the  beach  or  pur-, 
suing  any  other  prettily  domestic  pastime. 
They  are  the  ones  who  roll  their  eyes 
heavenward  and  murmur,  "My  dear 
mother!  She  is  siuh  a  help  to  me — . "  And 
so  on. 

Honestly,  they  still  do  that!  One  did  it 
at  me  only  last  week.  Maybe  it's  true.  But 
it  doesn't  seem  the  sort  of  thing  one  dis- 
cusses, somehow.  I  always  have  a  feeling 
that  such  people  have  something  rather 
dreadful  to  hide.  Probably  they  at  least 
nurse  a  suppressed  desire  to  strangle  "  Dear 
Mother"  from  time  to  time.  Probably  a 
little  strangling  would  improve  her.  I'll 
bet  a  nickel  she  is  the  sort  of  mother  wha  sits 
in  on  interviews! 

I  feel  about  those  people  very  much  as  I 
do  about  the  individual  who  has  his  picture 
taken  with  a  book.  And  maybe  a  pipe. 
And  a  woolly  dog.  I  am  instantly  convinced 
that  he  can't  read,  that  tobacco  makes  him 
very  ill  and  that  he  is  secretly  addicted  to 
vivisection.  There  is  just  something  about 
them — . 

I  don't  like  the  Press-tea  givers,  who  look 
upon  interviewers  as  necessary  evils,  gather 
them  together,  try  to  kill  them  off  with 
Holl>'\vood  gin,  and  dispense  a  few  kind 
words  to  each  in  turn. 

I  don't  like  the  pompous  people.  The 
ones  who  persist  in  making  Statements  to 
the  Press.  The  ones  who  enquire,  "  Have 
you  a  pencil?"  apparently  expecting  you 
to  whisk  out  a  thick  pad  of  paper  and  write 
busily  and  reverently  as  they  produce  their 
momentous  opinions.  Of  course,  I  haven't 
a  pencil!  And  the  only  piece  of  paper  I  have 
about  me  is  my  parking  ticket.  I  know 
what  they're  going  to  say,  anyhow. 

An  Old,  Old  Story 

THEY  will  begin,  "You  may  say  for  me 
— ahem! — that  motion  pictures  are 
still  in  their  infancy.  Heh!  Heh!  That 
remark  is  a  bit  trite,  I  know.  But  it  is  truel 
No  one  can  possibly  fathom  the  possibilities 
and  potentialities  of  this  new  art.  Now  I, 
as  an  exponent  of  this — "  And  so  on.  And 
on.  I  don't  need  any  pencil.  I  can  recite 
that  speech  glibly,  myself,  with  all  the 
gestures. 

And  I  don't  like  the  people  who,  when  I 
come  to  see  them  for  the  first  time,  gaze  at 
me  in  startled  dismay  and  cry,"  1  ou'rf  not 
the  one  who  is  going  to  interview  me! '^ 

It's  disconcerting,  that's  what  it  is!  When 
you  have  tried  for  a  long,  long  time  to 
achieve  the  bearing  and  manner  of  a  digni- 
fied lady  journalist.  When  you  are  wearing 
that  neat  cloth  suit,  purchased  for  the  ex- 
press purpose  of  impressing  interviewees 
with  the  fact  that  you  are  business-like 
and  efficient  and  all  those  things.  When  you 
have  carefully  put  on  your  more  intellec- 
tual expression  just  before  entering  the 
room.  Then  to  have  them  obviously  look 
upon  you  as  a  chit — and  not  a  very  bright 
chit,  either — is  most  depressing. 

So  there! 


98 


The  Most  Dangerous 
Moment  of  My  Life 

{Continued  from  page  p^) 

One  of  the  shots  had  winged  him  on  the  ear 
and  the  blood  was  running  down  the  side  of 
his  face  in  a  torrent.  All  at  once  the  road 
in  front  of  us  seemed  to  go  dark.  It  wasn't 
that  our  lights  had  failed.  It  was  the  search- 
lights of  the  pursuing  guards  flooding 
through  our  back  curtain.  It  made  the  road 
ahead  appear  dim  in  comparison. 

Shots  were  dropping  on  the  back  of  our 
car  like  rain  by  this  time.  Not  high  up  on 
the  back  (where  there  would  have  been  a 
chance  of  our  being  hit),  but  down  low  on 
the  rear.  We  could  hear  the  dull  thud  of 
the  blunt-nosed  bullets  as  they  continued  to 
thump  into  the  rear  end.  Bill  yelled  some- 
thing about  the  tires.  That  was  it!  They 
were  attempting  to  put  the  car  out  of  com- 
mission. How  we  prayed  for  those  tires  to 
hold  out.  Then  it  happened.  Just  a  stray 
shot,  perhaps,  but  it  did  the  work. 

The  Unhappy  Ending 

A RESOUNDING  report  .  .  .  like  a  12- 
inch  shell  landing  in  the  front  lines. 
The  tires!  I  knew  it  was  the  tires  before 
the  car  started  to  swerve  .  .  .  bend  over 
to  the  edge  of  the  road  .  .  .  back  to  the  oppo- 
site side. 

Bill  was  doing  his  best  to  keep  it  upright. 
Then,  as  if  it  might  be  a  dying  body,  the 
car  lurched  and  spun  to  the  edge  of  the  high- 
way and  hurtled  its  heavy  mass  through 
the  white  picket-fence  that  lined  the  road. 
Smash!  A  huge  tree  had  got  in  our  way. 
Then  all  was  quiet. 

"Jump!  Follow  me!"  yelled  Bill,  as  the 
car  stopped  in  its  dizzy  careening. 

And  I  did  jump — out  into  the  open  and 
away  from  the  car.  We  plunged  into  the 
dense  wooded  section  directly  in  front  of  us 
and  were  swallowed  up  in  a  twinkling.  But 
not  a  moment  too  soon.  Just  as  we  darted 
into  the  thickest  of  it,  we  could  hear  the 
groaning  of  heavj'  brakes  as  the  police  cars 
came  to  a  halt.  Keeping  well  under  cover, 
we  doubled  back  in  the  direction  from  which 
our  car  had  approached  the  scene.  The  men 
on  the  road  were  firing  into  the  woofis  at 
random,  and  some  of  them  were  making 
fairly  good  guesses.  So  good,  in  fact,  that 
we  decided  to  cross  the  road.  We  made  the 
crossing  about  three  hundred  yards  to  the 
rear  of  the  police  cars  and  entered  the  woods 
opposite  to  where  our  car  lay  wrecked 
against  the  tree.  If  the  officers  had  seen 
the  "lady"  as  "she"  crossed  the  road,  they 
would  have  had  to  laugh  before  they  shot. 
I  had  lost  the  veil  in  transit  and  was  quite 
the  red-haired  boy  by  now. 

It  Taught  Him  a  Lesson 

YES,  we  got  back  to  Boston  all  right. 
But  we  had  lost  our  load  on  the  first 
trip  I  ever  made  and  it  taught  me  a  lesson. 
I  always  used  hard  rubber  tires!  No  shoot- 
ing up  the  rubber  for  me.  And  when  I  made 
my  trips  in  the  future,  I  always  took  a  real 
lady  when  I  wanted  companionship. 

That  ends  the  telling  of  the  most  danger- 
ous moment  of  my  life.  And  it  was  dan- 
gerous, too!  More  dangerous  than  most  of 
the  thrillers  you  have  seen  in  the  movies. 
The  reason  I  didn't  keep  on  with  the  racket 
was  the  fact  that  I  was  in  it  primarily  for 
the  adventure.  I  need  not  tell  you  that  the 
man  who  stays  in  it  for  any  other  reason  is 
a  dyed-in-the-wool  criminal. 

At  present,  as  I  have  said,  I  am  an  actor 
in  Hollywood.  How  long  I  shall  remain,  I 
don't  know.  Maybe  I  shall  return  to  the 
New  York  stage.  The  one  thing  I  would 
rather  do  than  anything  else  in  the  world 
would  be  to  buy  myself  an  island  in  the 
middle  of  the  briny  deep,  where  I  would  be 
the  lord  and  master  of  all  I  could  survey. 


LAUGH... 

I  thought  I'd  die! 


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They're  All  Talking  At  Last 


1 


(Continued  from  page  48) 


can't  cook.  I  can't  keep  house.  I  can't  add 
up  accounts.  I  can't  stenog.  I  can't  sew. 
I  was  about  as  blue  as  that  color  ever  was. 

All  Talking  of  a  Sudden 

THEN  I  did  a  short  subject  for  Bryan 
Foy.  He  talked  about  me.  The  ball 
began  to  roll.  Other  people  talked.  Offers 
grew,  where  no  offers  had  been  before.  The 
tide  had  turned,  as  the  tide  will,  over  a 
mere  pebble.  I  played  in  'The  Drag'  with 
Barthelmess  and  I  got  my  break,  dating 
from  that.  Now  I  have  a  contract.  My 
first  picture  under  the  contract,  '  Under 
Western  Skies.'  I  seem  to  be  all  set  for  the 
moment.  And  I'm  so  interested  in  my  work 
that  I  can  hardly  think  about  anything 
else.  I'd  like  to  be  in  the  studio  morning, 
noon  and  night.  I  put  so  much  into  it  that 
when  I  go  home  I'm  hollow.  It  just  about 
compensates  me  for  all  the  other  things — 
unhappy  things.  .  .  things  that  have  gone 
wrong  or  have  never  come  right.  Every- 
thing. 

"I'm  almost  afraid  to  take  my  work  too 
seriously,  to  let  it  mean  too  much  to  me. 
I'm  afraid  I  might  become  one  of  those  who 
go  about  saying,  throatily,  'Errr,  did  you 
see  me  in  my  last  production — I — I — ' 

"I  don't  think  I'll  ever  get  that  way,  but 
you  never  can  tell.  I  stay  away  from  most 
public  demonstrations,  parties,  openings 
and  so  on.  If  anyone  points  me  out  in  a 
crowd,  or  on  the  street,  I'm  horribly  em- 
barrassed. I  don't  know  how  to  meet  'my 
Public'  I  don't  know  what  to  do  or  to 
say. 

"And  I  don't  think  I'll  get  that  way, 
because  too  many  other  things  in  my  life 
are  wrong  for  me  to  become  coinplacent. 
Everything  is  all  scattered  and  messy.  Jim 
and  I  separated  ...  I  don't  think  it  was 
Hollywood  that  did  it,  by  the  way  .  .  . 
The  baby  back  and  forth  between  us,  not 
understanding  .  .  .  My  mother  and  father 
separated,  and  also  scattered  .  .  .  None  of 
us  together  .  .  .  Nothing  whole. 

Plans  That  Went  Awry 

"/'^H,  I  don't  know  ...  I  used  to  think 
that  I  could  do  anything  I  wanted 
with  my  life,  that  I  could  have  what  I 
wanted,  be  what  I  wanted  to  be.  Every- 
thing seemed  so  simple,  so  orderly,  so  easy. 

"  I  made  plans.  I  planned  to  take  a  col- 
lege course  and  really  know  something. 
Money  matters  were  tight  and  I  had  to 
work.  I  planned,  when  I  was  first  married, 
to  give  up  the  screen,  have  children,  be 
really  domestic  and  homey.  Things  went 
wrong  there.  I  couldn't  do  it.  Nothing 
seems  to  come  out  as  we  plan  it,  scheme  for 
it.  Nothing  is  the  way  we  think  it  is  going 
to  be,  or  want  it  to  be.  We  are,  some  of  us, 
at  any  rate,  the  victims  of  circumstances 
too  strong  for  us. 

"I've  given  up  thinking.  I've  given  up 
planning  anything.  I  haven't  a  thought  or 
a  conviction  about  anything  on  earth,  least 
of  all  myself  or  my  own  future.  It  doesn't 
interest  me.  I  just  want  to  work,  to  have 
fun  between  whiles  and  to  let  events  shape 
their  course  as  they  will. 

"I'm  not  making  any  more  futile  predic- 
tions. I  may  marry  again  ...  I  don't 
think  I  will  as  I  feel  at  the  moment.  I  seem 


to  have  no  need  whatsoever  of  any  mate  ( 
companionship  in  my  life.  Love  is  probably 
important — it  must  be,  considering  the 
havoc  it  can  cause — but  it  isn't  important 
to  me — to-day.  To-morrow?  Who  knows? 
Who  cares?  Not  I !  I  rather  think  I'd  like  to 
make  enough  money  to  adopt  some  children 
and  have  the  kind  of  home  I  want.  I  may 
even  change  about  that  ...  I  DON'T 
KNOW  is  my  slogan  at  present.  To-mofs- 
row  it  may  change  .  .  .  ^ 

The  Sin  That  Is  a  Law  T 

I THINK  Hollywood  causes  people  to' 
have  one  very  deadly  sin — the  sin  of: 
having  to  be  nice  to  everybody. 

"It  is  deadly — to  have  to  be  nice,  no^ 
matter  how  you  feel.   Never  to  be  yourself, 
or  seldom.    To  violate  natural  impulses,  if  . 
they  do  not  coincide  with  the  pretty  picture 
you   must  everywhere  and  all  the  time, 
paint  of  yourself. 

"Who  wants  to  be  nice  to  everyone  all  of 
the  time?    There  are  times  when  you  feel' 
like  calling  your  best  friend  names  she 
wouldn't  care  to  hear.     But  no  actress  ■ 
dares  do  it  .  .  . 

"Anyone  else,  in  any  other  position  may 
get  away  with  it.  A  waitress,  for  instance, 
can  drop  a  poached  egg  in  your  lap  and  you- 
will  be  momentarily  annoyed  at  her  clum- 
siness. You  will  not  go  about  nursing  a 
grudge,  spreading  the  news  that  Tillie  is 
temperamental,  a  heel  and  a  virago.  But 
let  an  actress  go  on  the  set  and  fail  to  turn 
on  the  broad  expansive  smile,  as  one  turns 
on  an  electric  light,  and  immediately  it 
flashes  over  the  country  that  she  has  the  ■ 
high-hat,  the  swell-head,  the  swollen  Ego, 
and  any  other  term  that  comes  to  mind.  No 
one  would  ever  pause  to  consider  that 
her  stomach  might  be  out  of  order  or  that 
the  baby  had  the  mumps  or  something. 

Perpetual  Acting 

"T"Y  7"E  have  to  be  nice  to  everyone,  every 
V V  minute  of  the  day  and  night.  Nice 
to  electricians,  chauffeurs,  producers,  fellow- 
players,  dressmakers,  doctors,  dentists, 
authors,  the  Press,  friends  and  those  who 
are  not  friends.  Even  the  solace  of  being 
able  to  dig  in,  when  we  feel  low,  is  not  al- 
ways possible.  We  have  to  act  all  the  time, 
day  and  night,  for  our  personal  maid  as 
much  as  for  our  most  distant  Public.  It's 
hard.  Perhaps  I  feel  that  way  about  it 
today,  because,  perhaps,  I'm  losing  my  dis- 
position. I  used  to  be  perpetually  sunny. 
I  feel  rather  cloudy  to-day." 

Lila  is  growing  up.  She  is  suflfering  gjrow- 
ing  pains.  "Cuddles"  is  gone  away,  never 
to  return.  Dreams  have  turned  a  night- 
mare face.  Laughter  is  broken  up  with 
tears.  Santa  Claus  is  a  hired  down-and- 
outer  with  a  rented  beard.  Toys  are  painte<i 
wood  and  tinsel  and  do  not  come  alive. 
And  out  of  the  whilom  wreckage  of  that 
springing  faith  of  first  youth  is  emerging  a 
woman  who  may  well  become  a  great 
dramatic  artist. 

Lila  is  only  saying,  only  thinking  what 
countless  others  have  said  and  thought 
before  her,  and  will  say  and  think  after 
her  .  .  .  What  Wordsworth  thought,  when 
he  wrote: 

"  Whither  is  fled  the  visionary  gleam? 
Where  is  it  now,  the  glory  and  the  dream? 


The  talkies  killed  Low-Brow  Comedy. 
Was  it  justifiable  homicide? 

Was  it  time  that  we  stopped  laughing  at  pie-throwing,  sit-spot  falls, 
polka-dot  underwear,  et  cetera? 

Mack  Sennett,  who  ought  to  know,  will  tell  you  in  the  October  Open 
Court  of 

—  Motion  Picture  CLASSIC  — 


i 


All  To  The  Hoke 

{Continued  from  page  65) 

creep  out  into  the  town's  soda  fountains, 
parking  stations  and  such.  And  from  this 
town,  it's  gradually  spreading  all  over. 
Grocers  and  service-station  men  in  Herrin, 
Illinois  (that  quiet  little  resort  town),  soon, 
I  suspect,  will  be  dressed  in  pink  combina- 
tions or  snappy  orange  and  green  costumes, 
with  a  smile  and  a  'yes  sir'  or  'modom  is 
right'  for  everyone.  The  studios,  however, 
started  it. 

The  studios  also  started  the  form  of 
architecture  that  has  Hollywood  by  the 
throat.  Buildings  that  have  all  the  ear- 
marks of  Moorish  love-nests  turn  out,  upon 
closer  examination,  to  house  businesses  no 
more  romantic  than  tire-repairing  or  rug- 
renovating.  No  enterprise,  say  the  build- 
ers, is  too  humble  for  arty  trimmings.  They 
point  to  studio  sets  as  examples  of  the 
beauty  that  can  be  put  into  buildings  at 
little  or  no  cost.  The  fact  that  these  sets  are 
temporary  things,  built  for  a  month  at  the 
most,  doesn't  seem  to  bother  them.  So  up 
go  a  dozen  "We  Fix  Flats"  shops,  with  their 
fronts  in  the  Byzantine  manner  and  their 
backs — we  won't  speak  of  the  backs.  We're 
not  supposed  to  see  them  anyway. 

Hamburgers  De  Looks 

THE  romance  of  the  films  has  even  oozed 
into  our  hamburger  shops.  "  Drive  in," 
say  signs  all  over  town,  "and  let  us  serve 
you  in  your  car."  And  that's  just  what  they 
do.  "And  how!"  as  the  expression  is,  and 
has  been  for  the  past  ten  years.  Barely 
inside  the  places,  we  are  charged  by  a  dozen 
or  so  gals  wearing  (and  this  is  straight)  pink 
pants,  green  jackets,  wide  floppy  Spanish 
iiats  and  a  thousand  spangles,  all  in  the 
approved  movie  manner.  We  don't  quite 
know  what  they're  supposed  to  represent. 
Spanish  pirates,  maybe.  That  makes  us 
pieces  of  eight.  At  least  they've  come,  we 
learn,  to  take  our  orders.  Eventually  we 
receive  our  hamburgers.  But  the  excite- 
ment has  been  too  much.  We  can't  eat. 
Instead,  we  simply  gaze  at  these  ravishing 
creatures  in  their  ravishing  pants.  Some- 
times, we  reflect,  life  is  too  wonderful. 

And  ah! — the  churches.  A  religious  per- 
■on  like  myself  is  nearly  ashamed  to  go  to  a 
Hollywood  church  on  Sunday.  It's  too 
much  fun.  It's  too  much,  to  come  right  out 
with  it,  like  a  movie.  For  instance:  an 
attendant  parks  your  car;  an  usher  shows 
you  to  your  seat  with  a  professional  flour- 
ish; an  organist  every  bit  as  good  as  Jesse 
Crawford  performs  at  a  console  equal,  in 
every  way,  to  the  ones  at  movie  palaces, 
even  to  the  point  of  raising  and  lowering; 
there  is  a  number  by  the  choir  (short  sub- 
ject); the  reading  of  announcements 
(comedy);  a  film  or  pageant  (prologue),  and 
a  nice  tasteless  sermon  (.feature)  to  send  us 
home  smiling.  "Come  next  Sunday,"  reads 
an  announcement  (trailer)  thrust  in  our 
hand  by  a  young  and  sleek  doorman  (whom 
we'd  swear  to  be  N'ils  Asther),  "and  learn 
the  secret  of  wealth  and  happiness."  And 
as  an  added  attraction,  there  may  be  an 
ojien  discussion  of  the  latest  axe-murder, 
under  the  racy  caption:  "Should  Wives 
Tell-""  Will  we  go  next  Sunday?  We  aren't 
sure  yet.  There's  a  pretty  good  show  at  the 
Orpheum,  too — 

The  Classy  Working  Class 

Ol'T  this  way,  in  fact,  the  very  air  is 
charged  with  the  movies.  Our  milkmen 
go  o()cn  at  the  throat,  and  ride  their  carts 
lor  all  the  world  like  cinema  caballeros  in 
full  chase.  Our  sf>eed  cops,  booted  and 
s[)iirrcd,  and  conscious  of  the  drama, 
fnk;lili'n  little  boys  who  ride  their  bikes  on 
tlu-  sidewalks  into  realizing  the  enormity  of 
(Continued  on  page  loj) 


WHAT  DID  MADGE  DO 


WITH  HER  FAT? 
JUST  THIS: 

ALL  over  the  country%  men 
and  women  are  wondering 
at  the  slender  figures  of  todav. 
Excess  fat  is  rare  now,  compared 
with  years  ago. 

These  people  do  not  starve 
themselves  of  elements  they 
need.  They  employ  a  modem, 
scientific  method  to  combat  the 
cause  of  fat.  The  cause  usually 
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Modem  physicians,  in  treat- 
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the  whole  world  has  changed, 
in  late  years,  as  regards  the 
over-fat. 

A  famous  medical  laboratory 
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Try  Marmola,  and  watch  the 
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PRESCRIPTION  TABLETS 
The  Risht  Way  to  Reduce 


Quick,  Clarinda, 
a  Clarifier! 


N'o,  I  don 't  want  a  doctor. 
I  don't  need  a  doctor, 
I  tell  you. 

This  i.s  no  time 

For  joking,  C'iarinda. 

I'm  dizxy,  woman. 
Woozy,  misconfuddleil. 

In  .short,  where  am  I.' 
Afoot  or  horseback. 
Going  or  coming. 
Right  side  up. 
Or  inside  out.' 

My  eyes  hurt, 
Mv  head 's  hot — 


In  fact,  I'm  hot  all  over. 

I  don't  irant  an  ice-bag. 
I  insi-it,  C'iarinda. 

And  I  don't  want 

.\ny  cold  towels 

( >r  -sas.saf ras  tea 

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(H 


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The  Americano  From  Milano 


{Continued  from  page  52) 


opera  singers  in  general  or  against  him  jjer- 
sonally.  No  wonder  the  Italians  took  him 
to  their  hearts.  He  has  warmth  and  human- 
ness  in  his  philosophy;  and  they  ring  out  in 
his  voice. 

When  he  sp)eaks  of  places  in  Europe,  he 
always  pronounces  them  perfectly,  with  the 
accent  called  for  by  the  language;  to  me  an 
annoying  habit  in  an  American  or  an  Eng- 
lishman, nearly  always  springing  from  a 
desire  to  show  off.  But  Everett  is  quite  un- 
self-conscious  about  it,  and  it  even  adds  to 
his  charm. 

Not  up  from  the  Bottom 

HERE,  conspicuous  among  Everett's  re- 
marks to  me,  is  what  1  consider  to  be 
the  most  incredible  thing  ever  said  by  an 
operatic  star.  If  I  hadn't  heard  it  with  my 
own  ears,  I  would  not  believe  it  myself: 

"I  should  never  have  reached  the  top  if 
I  had  started  at  the  bottom,  if  I  had  not 
been  subsidized. 

"It  seems  as  if  everybody  wants  to  be  a 
star  at  the  Metropolitan.  The  competition 
is  terrific.  There  have  been  those  who  got 
somewhere  after  starting  in  the  chorus  or  in 
small  bits — but  it  practically  never  hap- 
pens. The  only  way  is  to  wait  until  one's 
voice  is  properly  trained  and  really  ready 
for  the  big  things;  and  then  to  have  still 
enough  money  to  be  able  to  wait,  and  wait, 
until  a  real  chance  comes  along. 

"  Mr.  Raskob  interested  himself  in  me  and 
sent  me  to  England.  I  spent  a  year  there, 
doing  nothing  except  studying  voice  culture. 
Then  I  went  to  Italy.  I  spent  six  months 
intensively  learning  the  language,  in  Mi- 
lano, and  then  started  learning  operas.  I 
didn't  tr>'  to  get  a  job  until  I  knew  fourteen 
operas.  Then,  finally,  I  got  a  chance  to  be 
heard,  and  I  was  engaged  to  sing  'Tra- 
viata,'  'Forza  del  Destine,'  'Trovatore,' 
'Favorita'  and  'Pagliacci'  at  Palermo.  From 
there  I  went  to  Torino  and  to  numerous 
other  cities.  The  Scala  at  Milano,  where  I 
studied,  was  about  the  only  big  opera  I 
never  sang  at  in  Italy. 

"I  had  enough  money  to  live  on  com- 
fortably while  I  was  waiting  and  studying. 
Also,  I  worked  very  hard.  I  did  ver>'  little 
of  the  drinking  and  carousing  with  Milano's 
American  and  English  colony  of  opera- 
aspirants.  I  felt  there  was  only  one  way  to 
get  on;  time  was  passing  by,  as  time  will, 
and  I  had  to  be  showing  results. 

A  Second  Hollywood 

"'THHE  American  colony  in  Milano  is 
J_  strangely  like  the  colony  of  extras  and 
film-aspirants  in  Hollywood,  from  what  I 
have  been  told  about  the  latter.  The  petty 
jealousy  among  its  members  is  indescrib- 
able. If  you  do  get  a  part  to  sing  in  ti  e 
opera,  all  the  colony  sit  over  their  drinks  at 
the  cafes,  waiting  to  hear  how  you  got  on. 
If  you  succeeded,  they  start  suggesting  that 
you  paid  the  opera  management  to  get  the 
part.  They  never  give  anybody  credit  for 
succeeding  by  hard  work,  because  the  enor- 
mous majority  of  them  are  lazy  themselves. 
It  takes  terrific  work  to  get  into  the  opera — 
either  that,  or  a  terrific  amount  of  money. 
Many  Americans  in  Milano  pay  heavily  for 
the  privilege  of  appearing  once  at  the  Scala, 
even  in  just  a  small  part,  because  it  means 
so  much  to  them  to  write  home,  enclosing 
clippings,  showing  their  names  in  the  cast. 
But  such  a  way  into  the  opera  never  gets 
anybody  a  permanent  position. 

"Getting  in  by  your  own  efforts  is  tre- 
mendously difficult.  But  it  can  be  done.  I 
know,  because  I  did  it.  When  I  finally  sang 
at  an  audition  at  Milano,  my  voice  was 
thoroughly  trained,  I  could  speak  Italian 
perfectly,  and  if  ever  I  was  to  be  ready  for 
leading  parts  I  was  ready  then.    I  started 


off  by  singing  leads  and  have  never  su 
anything  else. 

Where  Hope  Springs  Eternal 

THERE  are  thousands  of  Americans  in] 
Milano,  all  trying  to  get  into  opera.i 
They  are  mostly  people  of  rather  a  tough] 
type — and  they  have  to  be,  to  stand  tha 
disappointments  as  long  as  they  do.    It  is 
hard  for  the  men,  and  impossible  for  tha 
women,  to  make  any  headway  unless  th^ 
are  pretty  tough.  Most  of  them  have  plenra 
of  money  to  live  on — otherwise  they  couUH 
not  stay  there,  as  there  is  nothing  at  all  m 
be  made  out  of  small-part  work,  even  if 
they  can  get  any.    They  are  all  attracted, 
I  suppose,  by  the  glamour  of  the  opera.i 
They  would  give  all  they  possessed  to  singl 
a  leading  part  just  once,  most  of  them.  .1 
"The  strange  thing  is  that  all  the  fJettyj 
jealousy  from  fellow-aspirants  that  I  ever! 
had  shown  me  was  from  my  own  country- 1 
men.    Never  a  suggestion  of  it  did  I  get! 
from  Italians  with  whom  I  sang  in  Italian! 
opera-houses,  even  though  I  might  have  the  I 
best  part  in  the  opera.    I  suppose  this  was] 
because  I  took  the  trouble  to  learn  their 
language  so  that  I  could  speak  naturally  and 
Huently  with  them,  and  because  I  always 
tried  to  see  their  point  of  view.    One  has] 
only  to  be  a  good  fellow  with  the  Italians,  | 
and  show  that  one  does  not  look  down  on 
them,  to  ha.ve  them  as  friendly  as  could  be. 
I'm  not  trying  to  blacken  Americans  in  gen- 
eral, however;  the  colony  in  Milano  was 
hardly  representative. 

"I  had  been  singing  for  several  months 
in  various  Italian  operas  when  I  received 
an  offer  from  the  Metropolitan,  which,  of 
course,  I  accepted  gladly.  The  thing  that 
amused  me  there  was  how  the  foreign  ele- 
ment, comprising  most  of  the  artists,  were 
somewhat  disdainful  of  Americans  who  as-' 
pired  to  be  singers.  Still,  I  have  always  got 
along  well  at  the  Metropolitan."  5*. 

Away  from  the  Claques 

I ASKED  Marshall  whether  he  would 
miss  the  audiences,  now  that  he's  work- 
ing in  talkies. 

"There  are  two  sides  to  that,"  he  said. 
"I  suppose  I  shall  miss  the  bona  fide  audi- 
ence; but  certainly  I  shall  shed  no  tears  at 
being  separated  from  that  institution,  found 
in  all  opera  houses,  known  as  the  claque. 

"Yet  there  is  a  thing  I  can  pride  myself 
on;  I  never  paid  a  cent  for  applause.  When 
the  leaders  of  the  claques  come  to  me,  I  treat 
them  with  extreme  politeness  and  say  that 
I  am  sorry,  but  if  I  cannot  have  people 
applaud  me  for  my  work,  I  would  rathef. 
have  no  applause  at  all.  That  means,  of 
course,  that  one  starts  out  with  a  section 
of  the  audience  ready  to  be  antagonistic. 

"The  claque,  I  can  assure  you,  is  a  thing 
to  be  treated  with  extreme  tact  and  polite- 
ness. The  only  man  I  ever  heard  of  who 
used  different  tactics  was  Chaliapin,  who, 
when  he  made  his  debut  in  Italy,  kicked  the 
leader  of  the  claque  down  the  stairs  in  front 
of  the  whole  cast  and  a  crowd  of  people.  It 
got  in  the  papers  and  added  tenfold  to  his 
reception.  But  I  haven't  reached  that  stage. 

"in  the  talkies,  at  least  that  burden  will 
be  off  my  shoulders.  And  I  am  going  to 
enjoy  the  work,  I  can  assure  you.  It  gives 
one  so  much  more  scope  for  one's  own  per- 
sonality than  opera  ever  can. 

"At  the  same  time,  I  shall  sing  twelve 
weeks  in  opera  every  year,  in  addition  to 
occasional  concerts.  Whatever  John  Mc- 
Cormack,  who  is  not  an  operatic  artist,  any- 
how, has  to  say  about  it,  I  am  convinced 
opera  will  go  on.  There  is  just  one  thing 
that  will  make  it  live,  even  if  there  is  nothing 
else;  and  that  is  the  eternal  desire  of  society 
people  to  see  and  be  seen  by  each  other." 


102 


Looking  Them  Over 

{Continued  from  page  45) 

Ruth  Chatterton  is  expected  to  lead  the 
Paramount  Parade,  topping  even  Clara 
Bow. 


IITTLE  Mitzi  Green  wants  it  under- 
'  stood  that  she  is  no  relation  to  Harry- 
Green,  the  actor.  Mitzi's  father's  name  is 
Keno,  a  former  vaudevillian. 

They  like  to  kid  Mitzi  over  on  the  Para- 
mount lot  about  being  Harry  Green's  little 
sister.  The  funny  part  of  it  is,  she  has  a 
brother  named  Harry  Green,  who  is  in 
school  in  the  East.  "And  I  can't  say  I'm 
not  Harry  Green's  sister,"  says  Mitzi  in 
exasperation,  "when  I  am!" 


SAN  FRANCISCO  and  Los  Angeles  are 
supposed  to  be  cities  of  great  rivalry, 
but  San  Francisco  (they  shoot  from  the  hip 
if  you  call  it  'Frisco)  makes  no  secret  of  her 
enthusiasm  for  Hollywood  movie  stars. 
And  how  she  treats  the  visiting  celebrities! 

Usually  they  are  met  at  the  station  by 
Mayor  Rolph  (who  may  be  Governor  of  the 
State  by  the  time  you  read  this)  and 
presented  with  the  Key  to  the  City.  And 
that's  no  formal  gesture — it  means  just  that. 
They  are  even  immune  from  speed  tags  and 
other  nuisances. 


A LITTLE  tourist  lady  from  back  Iowa 
way  furnished  a  lot  of  laughs  in  Jim's 
Beauty  Parlor  recently.  It  seems  that  she 
came  there  merely  because  she  had  heard 
Mary  Pickford  had  her  hair  waved  at  the 
establishment.  What  she  expected  it  to  be 
was  not  quite  clear,  but  she  took  a  disdainful 
look  about  the  shop,  which  looks  just  like 
any  other  beauty  parlor,  and  turned  up  her 
nose.  "Mary  Pickford  would  never  come 
in  here,"  she  insisted.  "It  isn't  grand 
enough." 

She  had  no  more  than  got  the  words  out 
of  her  mouth  when  Mary  Pickford  walked 
in. 

It  took  a  facial  and  a  massage  to  revive 
the  skeptic. 


All  To  The  Hoke 

(Continued  from  page  loi) 

their  crime.  Deliverymen,  driving  their 
■traight  eights  and  very  grand  in  their  whip- 
cord uniforms,  try  their  utmost  to  convince 
this  rather  tame  little  village  that  the  movies 
have  changed  everything.  Doormen  are 
everywhere.  And  don't  think  for  a  moment 
that  the  Hollywood  doorman  isn't  just  a 
little  more  haughty  and  marvelously 
groomed  than  the  one  you'll  see  at  the  pic- 
ture to-night.  It  would  be  a  sad  commen- 
tary indeed  if  Hollywood,  where  they  show 
the  world  just  how  doormen  and  butlers  and 
footmen  should  act,  couldn't  put  on  a  better 
■how  itself. 

And  now  since  talkies,  our  tendency  to  go 
theater  is  even  more  pronounced.  We've 
learned  to  time  our  actions  and  speech. 
"The  filet,"  say  our  butchers,  with  eyes 
cast  down,  "are — "(Here  they  pause,  to 
give  us  a  chance  to  catch  the  full  significance 
of  what's  to  follow.  Then  looking  us  full  in 
the  face,  and  using  a  richly  modulated 
voice,  they  conclude) — "excellent!"  Hav- 
ing given  their  all,  they  then  seem  to  sink 
back  exhausted.  We,  i«i  turn,  take  the  filet, 
and  in  spite  of  knowing  better  are  very  ant 
to  purr:  "Thank  you,  my  good  man!" 
Just,  say,  as  Ronald  Colman  or  CLive  Rrook 
might  put  it.  Oh,  the  movies  have  got  us  in 
this  man's  town.  We're  all  in  pictures — 
whether  we  get  our  checks  or  not. 


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103 


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Girl  Going  Up 

{Continued  from  page  70) 


gave  her  the  test — and  a  contract.  And  a 
ticket  to  Hollywood.  .'\nd  most  generous 
of  all,  a  home  in  Beverly  Hills  with  Mrs. 
Zanuck  and  himself. 

Too,  aside  from  four  pictures  in  three 
months,  he  also  gave  her  plenty  to  do  re 
the  English  language.  For  Lotti,  although 
she  sang  "Sweet  Annabel  Lee"  with  no 
accent,  just  knew  the  words!  She  had  no 
idea  of  their  meaning  or  their  mates.  So  she 
was  enrolled  in  the  Berlitz  School,  where  she 
studied  to  such  good  effect  that  after  only 
four  months  her  accent  is  fading  like  the 
violets  of  Parma.  More,  she  now  thinks  in 
English. 

Thinking  to  Succeed 

SHE  thinks.    She  thinks,   it   must  be 
observed,  a  great  deal.  Especially  about 
success,   about   succeeding.     It   was  this 
constant  need  that  carried  her  through 
those  long  days  when,  sick  to  tears  for  home 
and  mother,  she  was  learning  our  speech  via 
such  pieces  as  "As  a  Stranger   I  Came 
.■\mong  You,"  "When  the  Blackbirds  Sing 
Their  Latest,"  and  that  classic  which  runs: 
America,  I  love  you, 
Loved  you  from  the  start. 
Your  shores  have  bid  me  welcome 
To  warm  my  homesick  heart. 
I  love  your  broad  acres, 
I  love  your  buildings  tall, 
I  love  your  men  and  women, 
God  bless  you  one  and  all! 
Most  any  alien,  I 'm  thinking,  might  have 
been  excused  a  severe  emotional  cramp  after 
such  a  lingual  diet.   But  not  Lotti.  Clear 
speech  is  necessary  for  success.   And  that 
was  what  she  has  come  for — to  make  good. 
"Make     good" — "make     good" — "make 
good"  runs  through  her  conversation  like  an 
iron  thread  in  a  silken  tapestry.  And  after 
her  hit  in  "See  Naples  and  Die,"  and  the 
promise  she  gives  in  \'ina  Delmar's  "A 
Soldier's  Plaything"  opposite  Ben  Lyon, 
she  seems  on  the  threshold  of  achieving  her 
weesh . 

The  Price  of  Glory 

"  I  .^ET  is  veray  hard  work,"  she  assured 

l^j  me.  "I  nevair  thought  eet  would  be 
so  hard.  I  have  only  sleep  one  houair  now 
in  two  days.  See  the  circales  under  my 
eyes?"  She  indicated  two  faint  smudges, 
little  sisters  of  those  of  the  usual  Hollywood 
gal,  beneath  her  moist  brown  eyes.  "And 
my  feet!  In  Budapest  I  wear  a  size  four 
shoe.  In  New  York  four  and  a  half — and 
here  a  five!  I  am  getting  beeg  feet!" 

"Perhaps  you're  sorry  you  left  the  Con- 
tinent?" I  suggested  (just  a  suggestive  old 
meanie).  "You  miss  your  home — and  those 
feet — and  the  hard  work — and,  ahem,  the 
beer  here  is  so — " 

"Oh,  no!  No!  No!  The  work  is  veray 
hard,  I  know.  The  othair  day  when  I  was 
all  wet  in  the  clothes  at  seex  o  'clock  and  the 
weend  was  blowing,  I  theenk  gosh  I  nevair 
work  so  hard  before.  But  I  weel  do  eet.  I 
must  make  good.  I  weel  make  good!" 

Her  sincerity  and  bright  determination 
made  me  feel  as  if  I  had  teased  an  earnest 
little  spaniel  intent  upon  some  shining 
bauble.  I  felt  fatherly  as  Eddie  Cantor. 
Fatherly.  And  me  still  having  to  leave  the 
room  when  my  sister  has  a  new  story.  But 
Lotti  is  like  that.  A  charming  leetle  keedie 
whom  social  Hollywood  has  taken  to  eets 


bosom  as  I  nevair  (that  stuff  is  catching ij 
recall  its  having  taken  another. 

Not  for  Patting 

SHE  has  a  lorgnette  from  which  dai., 
tokens  and  trinkets  from  half  the  nam  • 
in  town.  Even  while  I  was  with  her,  a  tir 
bell,  scrolled  with  an  infinitesimal  shamroc 
arrived  from  \'ivien  Oakland.  Lotti 
pleasure  aged  my  attitude  to  a  gram 
father's.  I  would  have  patted  her  on  tl 
head  except  that  her  headdress  wasn't  tl 
kind  that  one  pats. 

And  then,  despite  Lotti 's  wide-e'_ 
gaiety  and  gurgling  pleasure  at  each  in 
manifestation  of  Celluloid  Boulevard! 
good-will,  one  somehow  has  the  imprei 
that  she  is  rather  like  that  headd 
Awfully  pretty,  but  not  exactly  pattabl 
She  is  cute,  but  no  cutie.  She  is  too  vigon 
and  straight-glanced,  as  different  froi 
Paramount 's  new  German  importati 
Marlene  Dietrich,  as  the  piquant  cocktal 
hour  is  from  a  blonde,  voluptuous  nooi 
And  there  is  the  ever-present  knowledj 
that  seated  in  Lotti 's  athletic  young  body 
a  determination  like  an  ancient,  invuln 
able  sword.  Make  good — no  foolishne; 
make  good — no  foolishness — make  good 

Make  good  here.    New  York  she  foiuii 
too  loud,  and  she  feels  that  it  would 
impossible  to  return  to  Europe  a  failure, 
did  poor  little  Eva  von  Berne.    "I  am 
well  known  there — eet  would  keel  me 
have  to  go  back  admeeting  that  I  was  m 
good  enough.   I  must  make  good!   I  mu! 
Everyone  here  is  so  kind  to  me,  they  all  low 
me  so — and  everyone  back  there  expect 
much  of  me.    I  weel  work  and  work  am 
work!  I  weel  make  good!" 

Hurdling  the  Barriers 

SENSATION.^L  as  has  been  her  progress, 
her  task  has  been  no  sinecure.  .'\ny 
thing  but.  Her  test  by  Zanuck  was  the  firsti 
time  she  ever  had  appeared  before  a  camera.| 
She  never  before  had  acted.   "I  only  seei 
my  leetle  songs,  and  weegle  my  arms  likt 
this.    You   know,   be   cute?"    And  een 
addeetion  there  ees  the  language  hurdle. 

But  she  apparently  has  taken  both  h. 
riers  with  that  stride  which  seems  t 
peculiar  property  of  a  determined  female. 
Director  Michael  Curtiz  is  finding  her 
extremely  competent,  dramatically;  and 
already,  with  English  all  but  licked,  she  is 
beginning  to  study  Spanish  and  French 
Make  good — make  good — make  good.  .  . 

"Een  Germany  I  go  to  every  peecture 
show.  Eef  there  was  a  movie,  there  was  I 
I  nevair  thought  I  would  be  an  actress — but 
how  I  used  to  admire  Butty  Rogairs  and 
Mary  Peekford  and  Doglas  Fairbanks!  Oh, 
Doglas  Fairbanks!  But  you  know — "  her 
voice  lowered  confidentially  and  she  looked 
around  for  a  chance  eavesdropper  from  the 
Front  Office — "before  getting  to  New  ^'ork 
I  nevair  heard  of  John  Barrymore!" 

"Congratulations!"  I  beamed,  a  matri- 
arch at  least. 

"But  you  won't  put  that  een  the  news 
paper?"  she  asked  anxiously.  "'Sou 
know — "  her  voice  trailed  away  and  she 
looked  down  at  her  lap.  "You  know 

I  knew.  Play  safe — work  hard — offend  110 
one,  by  even  so  slight  a  detail  as  admitting 
ignorance  of  the  existence  of  an  influential 
man — make  good.  Go  up.  Up.  Up  to  where 
the  stars  are! 


When  talkies  first  came,  they  looked  like  a  menace. 
Hollywood  was  caught  unprepared. 
Other  "menaces"  are  on  the  way. 
What  are  they? 
Where  are  they? 

Don't  miss  "Menaces  of  the  Movies,"  starting  in  next  month'; 

 Motion  Picture  CLASSIC  


104 


Black  and  White 
Read  and  Write 

(Continued  from  page  8) 


winter  months  and  witness  the  swishing 
streams  of  Canada  or  Alaska,  laden  with 
trout  and  salmon,  rushing  to  their  destina- 
tion at  sea  level. 

But  now,  practically  everything  in  the 
scenic  line  is  gone.  Evidently  nature  in  her 
more  demure  ways  does  not  make  enough 
noise  for  the  talkie.  Whatever  the  cause, 
I  make  a  plea  that  I  hope  will  find  listeners: 

Give  us  scenics,  one  or  two-reel  scenics. 
We  want  pictures  of  the  north  woods;  pic- 
tures of  Alaskan  snows;  scenes  of  Norwegian 
fjords;  glimpses  of  majestic  Mont  Blancs. 
Whether  you  present  them  silent  or  with  a 
musical  accompaniment,  at  least,  you  heads 
that  be,  give  us  scenics.    Earl  J.  Gagnon 


to  view  every  single  foot  of  its  dazzling 
magnificence — but  the  supreme  minds  think 
that  we  must  be  satisfied  with  a  niggardly 
hour  of  picture  and  then  depart  with  heavy 
hearts — resentful  that  we  could  not  have 
seen  more  details  of  Byrd's  vivid  Antarctic 
drama.  Gelson  Willets 


See 


''The  Big  House"  And 
Learn  Conditions 


A  Downright  Insult 

San  Francisco,  Cal. 

"With  Byrd  at  the  South  Pole  "  is  the 
most  astounding  historical  drama  ever 
filmed — yet  it  is  also  the  most  flagrant  in- 
sult to  American  intelligence  ever  given  by 
any  producer. 

Byrd  tells  us  that  30  miles  (over  159,000 
feet  of  film)  were  "shot"  by  his  two  brave 
cameramen — yet  the  producers  believe  that 
the  theater-going  public  will  only  stomach 
about  1-0,000  feet  of  the  astonishing  Ant- 
arctic epic,  every  foot  of  which  is  crammed 
with  novelty,  adventure  and  thrills  never 
before  pictured  in  any  film. 

Is  this  not  a  slur — this  belief  that  the 
[)ublic  could  not  sit  through  more  than  a 
short  hour  of  that  marvelous  drama?  What 
l)ccame  of  the  other  149,000  feet  of  film? 
It  is  probably  preserved  for  posterity — but 
we,  the  people  of  today,  would  sit  for  days 


Louisville,  Ky. 

Our  penitentiaries  are  now  full  to  over- 
flowing and  it  is  high  time  that  the  public 
learn  something  about  the  existing  condi- 
tions in  and  the  conduct  of  such  institutions. 

See  Chester  Morris  in  "The  Big  House" 
for  inside  information.  You'll  also  learn 
from  the  acting  of  Morris  and  Wallace 
Beery  that  there  is  a  code  of  honor  among 
convicts  which  calls  for  courage,  honor  and 
loyalty  raised  to  the  A'th  power. 

This  film  visualizes  the  densely  crowded 
conditions  of  our  penal  institutions,  thus 
showing  the  necessity  of  putting  a  youthful 
first  offender  in  the  same  cell  with  hardened 
criminals.  It  shows  the  mess  at  which  food, 
not  fit  for  a  dog,  is  slopped  out  to  human 
beings.  It  also  shows  the  leaders  of  the  gang 
being  placed  in  practically  airtight  dungeons 
there  to  suffer  cruel  and  inhuman  tortures, 
the  infliction  of  which  is  a  disgrace  to  our 
muchly  vaunted  civilization. 

My  sincere  wish  is  that  every  senator, 
congressman  and  legislator  in  this  country 
see  this  enlightening  movie,  for  after  seeing 
it,  our  lawmakers  will  surely  take  steps  to 
right  such  deplorable  conditions. 

Lee  Hamilton 


He  Didn't  Know  Better 


{Continued  from  page  51) 


seventy-year-old  maestro  looking  at  me, 
studying  me,  wondering  at  my  kiddish 
arrogance  and  my  pride  in  what  at  best 
was  a  mediocre  voice. 

"Finally,  he  said,  'I'll  take  you.  It  will 
be  a  long  hard  pull  .  .  .  for  you,  a  heart- 
breaking one  in  many  ways.  V^ou  will 
study,  study,  study.  You  shall  sing  scales, 
and  nothing  but  scales,  for  years.  We  shall 
see  what  we  can  do  with  that  voice  of 
yours." " 

Those  who  knew  the  kindly  Alberti,  who 
had  coached  the  great  of  music,  including 
("aruso,  say  he  came  to  love  this  "green- 
horn" kid,  Fred  Scott.  For  two  years  he 
'irilled  the  gold  out  of  that  voice,  bringing 
i<ut  all  the  charm  and  depth  of  its  mirac- 
ulous range,  sweetening  and  softening  the 
clear  notes  of  the  tenor.  Had  the  old  man 
lived,  he  would  have  breathed  with  pride 
to  know  that  Fred  Scott,  his  little  country 
boy,  had  been  chosen  of  them  all  to  supiwrt 
the  American  prima  donna,  Mary  Lewis, 
in  her  first  singing  picture,  that  he  hail 
"clicked"  in  a  picture  called  "Swing  High," 
that  the  Pathe  studio  had  put  him  under 
contract  on  the  strength  of  the  beauty  of  his 
voice. 

But  unlike  the  story-books,  all  this  did 
not  happen  in  a  day. 

Vocal  Boy  Makes  Good 

F(iR  one  thing,  Fred  drifted  in  and  out 
of  extra  work  in  silent  pictures.  Now 
and  then  he  got  a  part,  too  small  to  bring 
him  to  contract  attention.  The  radio  pro- 
yidi-d  a  much  more  lucrative  source  of 
income.   Fred  and  three  other  "boys  estab- 


lished a  quartet  that  was  in  great  demand 
with  the  advertising  programs.  Inciden- 
tally, they  made  excellent  money,  so  much 
of  it  that  for  a  while  Fred  forgot  pictures 

"A  (quartet  is  a  great  commercial  propo- 
sition,' he  explained.  "We  had  more 
offers  than  we  could  fill.  The  radio  and 
various  local  stage  productions  kept  us 
busy,  and  I  enjoyed  the  life.  I  was  not 
fretting  that  I  was  making  no  headway  as 
an  actor.  I  am  a  singer.  When  I  can  sing, 
I  am  happy." 

The  first  studio  to  recognize  Fred's  un- 
usual voice,  and  its  talking  picture  possi- 
bilities, was  Fox.  They  put  him  under  a 
six-months'  contract  about  the  time  Helen 
Twelvetrees  was  signed.  He  did  a  few 
"shorts"  in  that  time,  and  sang  a  casual 
theme-song  for  a  dramatic  picture;  outside 
of  that,  he  merely  hung  around.  He  was 
not  exactly  happy  with  the  contract  and 
when  Pathe  offered  him  a  bigger  oppor- 
tunity, with  a  larger  salary,  he  jumped  at  it. 

An  Operatic  Jazz  Singer 

SPKAKIN(i  of  grand  opera,  he  believes 
it  should  be  heard  and  not  seen. 
"It  is  one  of  the  incongruous  things  of 
life  to  listen  to  the  glorious  voices  of  the 
opera  stars  and  have  to  look  at  their 
panting  girdles  as  they  warble  romantic 
and  passionate  love  songs.  I  suppose  it 
sounds  like  sacrilege,  but  grand  opera  is  a 
very  over-estimated  thing  to  most  of  us.  I 
do  not  believe  it  is  music  at  its  best.  Cer- 
tainly, it  is  not  the  mood  of  music  at  its 
best.  For  one  thing,  the  staging  is  too 
unreal  and  ineffective. 


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Have  All 
The  Liuck 


They  either  inherit  a  million. 
Or  know  how  to  make  one — 

They  are  born  with  good  looks. 
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told  so  often  of  its  dumbness,  Hollywood 
believed  itself  half-wit.  But  to  its  surprise, 
when  the  chance  came,  the  silent  players 
and  directors  and  technicians  gave  more  to 
the  talkies  than  the  stage  crew.  The  change 
in  medium  was  less  vast.  The  veterans  were 
more  adaptable. 

For  one  reason,  or  another,  the  Broadway 
imports  didn't  click  in  the  studios.  Of 
course,  there  were  exceptions,  especially 
in  the  musical  field.  But  these,  like  all  ex- 
ceptions, merely  proved  the  rule. 

Of  the  players,  not  more  than  a  score 
have  definitely  delivered.  And  strange  to 
say,  these  successes  have  emanated  from  the 
most  unexpected  sources.  One  of  the  out- 
standing examples  is  Ruth  Chatterton,  who 
was  not  going  so  well  in  the  theater,  follow- 
ing a  series  of  appearances  in  plays  which 
not  even  the  most  optimistic  yes-man  might 
call  smash  hits:  "  La  Tendresse,"  "  Change- 
lings," "The  Magnolia  Lady."  Another 
is  Jack  Oakie,  small-time  in  the  theater 
— but  what  a  wow  on  the  screen.  Fredric 
March  is  still  another.  And  Frankie  Fay. 
There  are  a  few  more — lamentably  few. 

Most  of  Them  Went  Back 

A FEW  of  the  playwrights  remained, 
notably  Jimmy  Gleason.  But  the  ver- 
satile James  acts,  writes,  directs  or  produces, 
as  the  spirit  moves  him,  and  may  not  be 
considered  a  criterion.  Among  the  names 
that  meant  something  to  the  theater  are 
those  of  John  Colton,  George  Abbott  and 
Sidney  Howard.  But  it  is  more  likely  that 
these  gentlemen  will  divide  their  time 
between  stage  and  screen.  Indeed,  there  is 
evidence  of  an  overlapping,  through  which 
productions  for  Broadway  will  emanate 
from  Hollywood,  rather  than  the  other  way 
'round. 

Perhaps  the  biggest  busts  were  the  stage 
directors.  A  pretty  chesty  lot  they  were  at 
first,  and  made  the  local  boys  as  nearly 
miserable  as  a  Hollywood  director  can  be. 
But  as  soon  as  the  home-town  boys  got  onto 
their  curves,  it  was  easy  to  see  they  hadn't 
so  much  on  the  ball  after  all. 

The  boys  who  did  buy  patios  and  polo- 
ponies  with  their  Hollywood  gold  were  the 
song-writers — the  words-and-music  men, 
the  librettists  and  dance  directors,  and  the 
rest  of  the  tired-business-men-amusers. 
They  went  big.    And  they're  still  playing 


Fox  against  the  wolf  at  the  door.  Althougl 
recent  reports  indicate  that  for  the  time,  a 
least,  the  musical  shows  and  revues  are  ou 
of  favor,  both  in  Main  Stem  movie  house 
and  out  where  the  hollyhocks  drape  th  I 
outdoor  telephone  booths.  ] 

I 

Housecleaning  Is  Over 

IN  the  musical  show-world  even  the  grea 
Gershwin,   and    Berlin,   himself,  wen 
Hollywood  in  a  nice  way.  And,  the  greates 
threat  of  all  to  Broadway,  Florenz  Zui; 
feld,  Georgie  White,  Arthur  Hahimerstein 
the  firms  of  Schwab  and  Mandel,  Aaron;, 
and  Freedley — the  first  line  producers  of  this 
type    of    entertainment — showed  definite^ 
interest  in  creating  for  the  screen.  Butjj 
here,  too,  the  chances  are  that  the  defection 
may  not  be  too  permanent. 

So  after  all,  it  seems  that  good  comes  fron 
evil.    If,  indeed,  the  coming  of  the  talkie 
and  the  resultant  chaos  may  be  so  referred| 
to.    Without  doubt,  Hollywood  needed  to 
rake  out  its  furnace  and  shake  some  of  thel 
clinkers  loose.    Some  of  the  old  favoritesi 
fell  by  the  wayside.  But  can  you  name  them?l 
If  not, 'it  proves  they're  not  so  sadly  missed.| 
And  that  it  was  about  time  for  their  num- 
bers to  come  up. 

If  the  talkies  have  deprived  us,  tem-l 
porarily,  of  the  mighty  Jannings,  they  havel 
given  us  that  Ires  charmant  Chevalier,  fori 
keeps.  And  Emil  may  come  back,  if  he  pays! 
attention  to  his  language  lessons.  In  fact,' 
there  is  a  tale  current  that  January,  1931, 
will  see  him  with  us  again. 

Like  two  adversaries  who  have  found  one 
another  worthy  opponents,  the  theater  and 
the  studios  seem  to  have  shaken  hands.  And  | 
the  amusement-seeking  public  profits.  To- 
gether they  will  defend  the  field  of  enter- 
tainment from  encroachment,  and  already  I 
an  interchangeability  seems  evident. 

The  time  will  come  when  Hollywood 
stars  will  come  East  to  appear  in  the 
theater.  When  plays  written  in  Hollywood 
by  movie  folk  will  be  shown  on  the  boards 
before  appearing  on  the  screen.  When 
Broadway  and  the  Western  boulevards  will 
hoiise  one  big,  happy  family,  with  the 
Shuberts  and  the  Warners  bucking  Wall 
street  together  in  utter  peace  and  harmony. 
When  there  will  be  a  prosperity  unpre- 
cedented in  show-business. 


The  Answer  Man 


{Continued  from  page  82) 


no  pounds.  Latest  picture,  Le/  Us  Be  Gay. 
Robert  Montgomery,  we  have  just  learned, 
is  married  to  Elizabeth  Allen  and  has  been 
for  two  years.  Ruth  Chatterton  and  Clive 
Brook  are  playing  in  The  Better  Wife,  Para- 
mount. Chester  Morris  in  TheBat  Whispers. 
David  Durand,  who  is  nationally  known  as 
Little  Boy  Blue  over  the  radio,  plays  an  im- 
portant r61e  in  Live  and  Learn,  a  Pathc  two- 
reel  comedy.  Young  David  has  five  hundred 
and  thirty-five  radio  and  stage  appearances 
to  his  credit  and  is  said  to  be  the  first  child 
to  sing  a  theme  song  on  the  screen.  Although 
David,  who  is  eight  years  old,  has  played  in 
motion  pictures  since  an  infant,  he  has  never 
been  an  extra.  He  also  has  the  reputation  of 
being  the  youngest  master  of  ceremonies, 
having  served  in  that  capacity  during  the 
broadcast  of  a  Notre  Dame-U.  S.  C.  football 
game  at  the  Coliseum  when  78,000  people 
were  present. 

J.  R. — So!  you're  paying  your  laundry  bill 
by  instalments,  because  that's  the  way  you 


get  your  shirts  back.  Think  I'll  follow  suit! 
Marilyn  Miller  was  born  in  Evansville,  Ind., 
Sept.  I,  1900.  Her  initial  film  production 
was  Sally,  a  version  of  her  most  successful 
musical  comedy.  She  is  five  feet  three,  weighs 
115  pounds,  has  blonde  hair  and  blue  eyes. 
Has  been  married  twice,  to  Frank  Carter 
and  Jack  Pickford.  Appearing  in  Sunny, 
First  National  Studios. 

BROOKLYNITE.— Louis  Wolheim's 

brother  is  very  much  alive.  Barry  Norton 
speaks  Spanish,  French  and  German.  Ruth 
Chatterton  speaks  French  as  fluently  as  she 
does  English.  There  arc  to  be  no  Wampas 
stars  mentioned  for  this  year.  The  theme 
songs  for  Our  Dancing  Daughters  were,  1 
Loved  You  Then  as  I  Love  You  Now,  Lonely 
Little  Bluebird  and  That's  My  Weakness 
Now.  Our  Modern  Maidens,  I've  Waited  a 
Lifetime  for  You  and  Should  I.  Otis  Skin- 
ner, Loretta  Young  and  David  Manners 
have  the  leads  in  Kismet,  First  National 
Studios. 


106 


Facts  and  Figures 

(Continued  from  page  i6) 

that  wouldn't  pay  the  cost  of  the  Klan 
riders  for  four  days.  It  has  been  shown 
aJmost  continuously  for  sixteen  years,  being 
seen  by  over  55,000,000  people,  and  taking 
in  $21,500,000.  Now  it  is  being  fitted  out 
with  sound  effects  and  talking  prologue  to 
start  forth  again.  Griffith  sat  in  a  projec- 
tion-room the  other  day,  watching  it,  and 
wondered:  "What  will  I  have  to  do  in  1946 
to  bring  it  up  to  date?" 

SERIOUSLY,  you  must  accord 
Cecil  B.  de  Mille  the  merit  of 
complete  consistency.  He  has  been 
producing  spectacles  so  long  that 
it  pervades  everything  he  does. 
There's  his  office  bungalow  on  the 
M-G-M  lot,  said  to  have  cast  $22,000 
to  build  and  $30,000  to  furnish. 
Four  secretaries,  a  librarian,  a 
publicity  director  and  a  couple  of 
clerks.  When  C.  B.  goes  to  work, 
it  is  a  parade.  He  moves  first  in 
golf  trousers,  carrying  a  walking 
stick  beneath  his  arm.  The  head 
secretary  next  with  a  brief-case, 
followed  by  a  sub-secretary. 

BY  the  way,  the  censors'  most  humorous 
blow  has  been  delivered.    They  are 
censoring  Mickey  Mouse  and   Minnie  in 
three  States.  It  seems  that  Minnie  has  been 
flaunting  her  lace-edged  lingerie  too  much 
lui  that  Mickey  has  been  guilty  of  vul- 
irities.   Both  in  a  manner  that  cannot  but 
e  highly  menacing  to  the  law  and  order 
:  the  country  at  large. 

IT'S  odd  how  things  turn  upside 
down.  When  Carl  Laemmle 
left  his  Wisconsin  clothing  store  to 
open  a  picture  theater  and  followed 
this  with  others,  he  ran  into  the 
producing  trust.  To  be  sure  he 
could  get  pictures  to  show,  he 
began  production  on  his  own 
account.  But  the  big  producers  of 
today  work  the  other  way;  to  be 
sure  of  a  market  for  their  product 
they  buy  up  and  operate  the 
theaters.  Now  it  is  said  that  more 
than  8,000  of  the  best  houses  of  the 
country  are  in  the  hands  of  the  big 
producers. 

IN  1<)29,  the  studios  turned  out  over  a 
billion  feet  of  film,  which  was  sold  to 
audiences  in  the  United  States  and  Canada 
for  $1,560,000,000.  That  is,  at  just  a  little 
more  than  SI. 50  a  foot.  So  it  is  interesting 
to  note  that  the  average  cost  of  "release 
prints" — which  are  what  you  see  in  the 
theater— is  a  fraction  more  than  a  cent  a 
foot.  Don't  subtract  the  latter  from  the 
former,  though,  expecting  the  difference  to 
be  profit.  It  isn't.  There  is  overhead, 
interest  on  investment,  production  cost, 
distribution  cost  and  advertising  to  come 
out  of  that.  But  even  so,  the  studios  are  not 
yet  starving. 

AND  lest  you  also  have  inflated 
/V  ideas  about  the  big  salaries  of 
the  movie  business,  absorb  these 
facts  and  figures:  There  are  17,500 
extras  on  the  books  of  the  Central 
Casting  Bureau.  The  studios  used 
just  252,000  of  them  last  year,  or 
840  a  day — which  means  that  16,660 
were  out  of  work  each  day.  For  the 
extras  they  used,  the  studios  paid 
out  $2,229,076,  which,  if  split  up 
among  them  all,  works  out  to 
about  43  cents  a  day.  How  would 
you  like  to  try  to  live  on  that  in 
Hollywood? 


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107 


The 
usual  things 

IT  IS  DIFFICULT  to  imagine  the  world  today  with- 
out some  of  the  things  that  make  our  living  in  it  so 
pleasant  and  comfortable.  How  naturally  we  lift  the 
telephone  receiver,  step  into  an  automobile,  and  look 
for  the  news  of  the  world  in  the  newspaper  and  maga- 
zine— every  day  of  our  lives. 

Another  of  these  usual,  invaluable  things,  ac- 
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given  by  the  advertisements  in  supplying  our  wants 
from  day  to  day.  We  read  them.  They  help  us  to  save 
time  and  money.  And  our  lives  go  on — more  easily  and 
more  fully. 

The  advertisements  suggest  ways  in  which  we 
can  get  things  we  want  with  the  greatest  possible  satis- 
faction to  ourselves.  They  tell  us  of  new  conveniences 
and  comforts  of  which  we  would  not  otherwise  have 
known.  They  help  us  to  get  down-to-the-dollar  satis- 
faction. They  assure  us  of  proved  values. 


Advertisements  are  among'  the  necessities 
today  .  .  .  read  them  regularly 


108 


R.  H.   OONN£LLEY  5  SONS  CO.,  CHICAGO 


yalie  tkese 


^HEN  purchasinR 
Maybellinc  Eye  Shadow,  select 
Blue  for  all  shades  of  blue  and 
Ktay  eyes;  Brown  for  haicl  and 
brown  eyes;  Black  for  dark  brown 
and  violet  eyes.  Green  may  be 
used  with  eyes  of  all  colors 
and  is  especially  effective  for 
eveninR  wear.   Encased  in 
an  adorably  dainty  gold- 
6nished  vanity,  at  75c. 


Maybellinc  preparations 
may  be  obtaiacd  at  all 
toilet  goods  counters. 
Maybcllinc  Co.,  Chica|o 


B   Y   E    L   A    S  H 


DARKENER 


easiJ  steps  to 

INSTANT 


Joveli 


mess 


Millions  of  women  instantly  gain  added  charm  and  loveliness  with  these  three 
delightful,  easy-to-use  Maybelline  preparations.  They  use  Maybelline  Eye  Shadow 
to  accentuate  the  depth  of  color  of  their  eyes  and  to  add  a  subtle,  refined  note 
of  charming  allure.  Four  colors:  Black,  Brown,  Blue,  and  Green. 

Then  —  they  use  Maybelline  Eyelash  Darkener  to  instantly  make  their  lashes 
appear  dark,  long,  and  beautifully  luxuriant — to  make  their  eyes  appear  larger, 
more  brilliant  and  bewitchingly  inviting.  There  are  two  forms  or  Maybelline 
Eyelash  Darkener:  Solid  form  and  the  waterproof  Liquid;  either  in  Black 
or  Brown. 

The  third  and  final  step  is  a  touch  with  Maybelline  Eyebrow  Pencil  to  artistically 
shape  the  brows.  You  will  like  this  pencil.  It  is  the  clean,  indestructible  type, 
ana  may  be  had  in  Black  and  Brown. 

Take  these  three  easy  steps  to  instant  loveliness  now.  Begin  with  the  Eye 
Shadow,  follow  with  the  Eyelash  Darkener,  and  finish  with  the  Eyebrow  Pencil. 
Then,  from  the  height  of  your  new  found  beauty,  observe  with  what  ease  you 
attained  such  delightful  results.  This  radiant  transformation  is  achieved  only 
by  using  genuine  Maybelline  products.  Insist  upon  them. 


EVE 


SHADOW 


EYEBROW 


PENCIL 


'iJnstatii  cJ^eauiijxera  for  ilie  (J)t;t 


STRAIGHT  FROM  THE  SHOULDER!! 

"Reach  fo|^^  Lucky  instead" 


► 


Be  moderate  —  be  moderate  in  all 
things,  even  in  smoking.  Avoid  that 
future  shadow*  by  avoiding  over- 
indulgence, if  you  vfould  maintain 
that  modern,  ever-youthful  fig- 
ure.  "Reach   for   a   Lucky  instead." 


lucky  Strike,  the  finest  Cig- 
arette you  ever  smoked,  made 
of  the  finest  tobacco — The 
Cream  of  the  Crop — "IT'S 
TOASTED."  Lucky  Strike 
has  an  extra,  secret  heating 
process.  Everyone  knows  that 
heat  purifies  and  so  20,679 
physicians  say  that  Luckies  are 
less  irritating  to  your  throat. 


CiVHi.  T>N  Amcfxar 
Tolwcto  Co.  HinurMtui 


66 


It's  toasted 

Your  Throat  Protection  —  against  irritation  —  against  cough. 

*We  do  not  say  smoking  Luckies  reduces  flesh.  We  do  say  when  tempted  to  over-indulge,  "Reach  for  a  Lucky  instead.' 


/^L'G  I::  1230 


Motion  Picture 

iTOBER 

25^ 


Starting— 

(enaces 
Of  The 
rioVies 

:liniature  (jolf ) 


m  THEY  STAY 
RETIRED? 


Ik. 


WINNIE  LIGHTNER, 
champion  laugh  girl  of 
the  talkies,  odds  one 
more  triumph  to  her  list 
in  Warner  Bros,  latest 
oil-Technicolor  comedy 
wow,  "Hold  Everything." 


twice  the  "IT 


A  wonder  screen — Technicolor.  Everything  i 
alive  with  color — natural  color!  The  blue  in  blu< 
eyes.  The  ruddy  glow  in  youthful  cheeks.  Sky 
sea,  greensward — an  orchid  frock — or  gingham 
"Twice  the  'it'/'  you'll  say,  when  Technicoloi 
brings  your  favorite  star  to  life.  Beauty,  charm, 
personality — nothing  escapes  the  subtle,  be- 
witching touch  of  Tec/inico/or/ 


InTechnlcolor 


SOME  OF  THE  TECHNICOLOR  PRODUCTIONS 

BRIDE  OF  THE  REGIMENT,  with  Vivienne  Segal  (First  Notional);  GOLDEN  DAWN,  with  Walter 
Woolf  ond  Vivienne  Segal  (Worner  Bros.);  KING  OF  JAZZ,  starring  Paul  Whiteman  (Universal); 
THE  TOAST  OF  THE  LEGION,  with  Bernice  Claire  (First  Notional);  PARAMOUNT  ON  PARADE, 
all-star  cost  (Paramount),  Technicolor  Sequences;  SALLY,  starring  Marilyn  Miller  ( First  Notional ) ; 
SONG  OF  THE  FLAME,  with  Bernice  Claire  ond  Alexander  Gray  (First  Nationol);  THE  CUCKOOS, 
with  Bert  Wheeler,  Robert  Woolsey  and  Dorothy  lee  (Radio),  Technicolor  Sequences;  THE 
MARCH  OF  TIME,  oil-star  cost  (Metro-Goldwyn-Mayer);  UNDER  A  TEXAS  MOON,  with 
Fronk  Fay,  Noah  Beery,  Myrna  loy  ond  Armido  (Warner  Bros  );  WOMAN  HUNGRY,  with 
Sidney  Blockmer  and  Lilo  lee  (First  National);  VIENNESE  NIGHTS,  all-star  cost  (Warner  Bros.). 


Lovely  LORETTA  YOUNG 
tokesher  color  bowin  Pint 
National's  all -Techni- 
color outdoor  romonca, 
"Heort  of  the  North." 


3 


TODAY  THE  WORLD'S  GREATEST  ENTERTAINMENi 
IS  FOUND  ON  THE  TALKING  SCREEN! 


The  Spoilers 


At  popular  prices  for 
the  whole  family! 


The  biggest  value  your  money  buys 
today  is  entertainment  on  the  talk- 
ing, singing  screen!  You  see  and 
hear  sparkling  musical  hits,  great 
plays,  the  work  of  the  most  famous 
writers,  foremost  music  composers. 
Varied,  colorful,  stimulating  enter- 
tainment that  pleases  all  tastes  and 
every  member  of  the  family! 

The  cost  is  so  low  you  shouldn't 
miss  a  single  opportunity  to  see  every 
Paramount  Picture  that  comes  your 
way.  Today,  as  for  18  years.  Para- 
mount is  the  greatest  name  in  enter- 
tainment. The  better  theatres  play 
Paramount  regularly  and  often  — 
use  the  name  always  as  your  guide 
to  "the  best  show  in  town !  " 


RICHARD  ARLEN 

in  "The  Law  Rides  West" 


With  Rosita  More- 
no, Eugene  Pallette, 
Mitzi  Green  and 
Junior  Durkin.  All 
action,  all  outdoors 
romance  starring 
Richard  Arleu. 

Adapted  from  the 
novel  "Spanisli 
Acres"  by  Hal 
Evarts.  Directed  by 
Otto  Brower  and 
Edwin  Knopf. 


FOLLOW 

THRU' 

CHARLES  ROGERS 
NANCY  CARROLL 

Zelma  O'Neal  and  Jack  Haley.  Paramount's 
all  talking,  all  musical,  all  Technicolor  adap- 
tation of  the  sensational  musical  comedy  suc- 
cess that  ran  54  weeks  on  Broadway.  Charles 
Rogers  and  Nancy  Carroll  in  a  bright,  spar- 
kling story  of  youth  and  love  and  golf  with 
catchy  tunes  and  laughs  galore.  On  the  .screen, 
"Follow  Thru"  has  the  same  zip  and  j>cp,  the 
same  youthful  exuberance  that  ma«lc  the 
stage  production  such  a  hit.  By  De  Sylva, 
Brown,  Henderson  and  Laurcncx  Schwab.  Di- 
rected by  Laurence  Schwab  and  Lloyd  Corrigan. 

A  SCHWAB  &  MANDEL 
PRODUCTION 


Edwin  Carewe  Production 
with 

Gary  Coopeb 

REX  BEACH 

Also  in  the  cast  are  Kay  Johnson,  Bett 
Conipson,  William  Boyd  and  Harry  Greet 
Rex  Beach's  dynamic  drama  of  the  Alask 
gold  rush  on  the  talking  screen  in  all  it 
strength  and  splendor!  A  story  of  love,  hat 
and  conflict  that  you  will  never  forget 


TUNE  IN! 

Hear  groat  cnlortainmoiit  and  tlic  latest 
news  of  Paramount  T'icturos  on  the  air  in 
the  Paramount  I'ublix  l{a<li<>  Hour,  carli 
Tuesday  night.  10: IS  to  II  I*.  M.,Eastprii 
Daylight  yavin"  Time  over  the  nation 
wide  Columbia  Broadcasting  System. 


G>aixunouiU  M  pictures 

StU^   PARAMOUNT  IMIBLIX  CORPORATION,  ADOLPH  ZUKOR,  PRES.  .  FyTVa  PARAMOUNT  BUILDING,  NEW  YORK 


I 


MOT  fl  ON    P  i  CT  y  5^[E 


CLASSIC 


Vol.  XXXII 

OCTOBER,  1930 

No.  2 

Notable  Features  in  This  Issue: 

Menaces  Of  The  Movies — Pigmy  Golf  Campbell  MacCulloch  24 

Can  Thev  Stay  Retired?  The  Odds  Are  Against  Them  Gladys  Hall  28 

Hallelujah— And  A  Percentage— AlMEE  SEMPLE  McPIIERSON  Muriel  Babcock  30 

Classic  Holds  Open  Court— MACK  SENNETT  Defends  Low-brow  Comedv.  .  Dorothy  Manners  36 

The  Most  Dramatic  Moment  Of  My  Life— RUTII  CHATTERTON  Walter  Ramsey  38 

Tabooed  Topics — There  Are  Some  Things  You  Mustn't  Mention  Dorothy  Spensley  56 


The  Classic  Gallery   Lupr  f  'elez,  Dorothy  Mackaill,  Claire  Luce,  Richard  Dix  19-22 

Classic  Talks — Editorials  George  Kent  Shuler  23 

Picture  page— ANN  HARDING   27 

Picture  page— CHRISTINE  MAPLE   31 

Picture  page— Mary  BRIAN   32 

Glorifying  The  American  Drunk— FRANK  McHUGH— CHARLES  RUGGLES 

Show  How  Helen  Louise  Walker  33 

Where  Is  It? — picture  pages,  CLARA  Bow   34 

In  A  Ballet  ...  It  s  Balance— picture  page.  HARRIETT  LAKE   40 

Another  Lon  Chancy — The  Friend  Of  The  Crook  /.  Eugene  Chrisnian  41 

High  Hose.  Everybody! — picture  pages.  First  National  Girls   46 

The  Land  Of  Liberties — It's  A  Wise  Brain  Child  That  Knows  Its  Own  Author 

   Helen  Louise  Walker  48 

Picture  page— BEN  LYON  and  ONA  ML  NSON    49 

Left  At  The  Halter— picture  page,  GARY  COOPKR    50 

Gilding  The  Lilv — Or  How  To  Improve  the  Films  >X  ith  Silence  Herbert  Cruikshank  51 

It  Pays  To  lie  Poor— CHESTER  .MORRIS                                                       Etisaheth  Gohlbeck  52 

Menace  Or  Messiah — Eisenstciu  Of  Ked  Russia  Speaks  His  Piece                    Dorothx  (.(ilhonn  58 

Picture  page— ROBERT  MONTGOMERY  and  DOROTHY  JORDAN   59 

Picture  page— LOIS  MORAN   62 

They  Know  A  Tiling  Or  Two — Dad  0"'l'an"s  Youngsters  Dorothy  Manners  63 

Picture  page— JVCKIE  COOCiAN  and  .MiTZI  GREEN                                            .  .    64 

Now  Hollywood  Has  Grace — \nd  (ira«e  Moore  Has  Hollywood                              Gladys  Hall  65 

The  Battle  Of  The  De<  ade— picture  pages,  GARY  COOPER  and  BILL  Bo^  D   66 

Are  You  Musical? — If  Not.  There's  No  Hope  For  You  In  Tlx'  T;ilkies  Cedric  Belfrage  68 

Not  So  Shv- Only  Bv  Name.  And  Not  By  Nature  Is  Gus  Shy                            Y«ncv  Fr\or  70 

Fox  Pass— picture  page.  DOROTHY  LEE    71 

Hitting  Thigh  Spots— picture  page,  DOROTHY  GRANGER  72 

Oh,  So  Playful!   Practical  Jokesters  Of  Hollywood  Jack  Grant  73 

Pic  ture  page— OTIS  SKINNER     75 


The  Classics  Famous  Departments 

Black  And  While — Read  And  Write  (Prize  Letters)   6 

Last-Minute  News                                                                  ..    8 

Classic's  Family  Album— (;rETA  GARBO    10 

My  Neighbors  In  Hollywood                                                                                         K.  C.  B.  12 

Facts  and  Figures — Intimate  Items  About  Pictures                                 Campbell  MacCulloch  14 

Looking  Them  Over — Newsy  Close-Uns                                                        Dorothy  Manners  42 

Our  Own  News  Camera — The  Screen  World  In  Pictures    53 

The  Celluloid  Critic — Some  Current  Films  In  Review.   .Laurence  Reid  60 

The  Answer  Man     76 

Cover  Drawing  of  Constance  Bennett  hy  Marland  Stone 


Laurence  Reid,  Editor 

Colin  J.  Cruickshank,  Art  Director 

Classic  comes  out  on  the  12th  of  eivry  Month,  Motion  Picture  the  28th 


Motion  Picture  Classic  li  published  monthly  at  350  E.  22nd  St.,  Chicago,  III.,  by  Motion  Picture  Publications,  Inc.  Eniertd  as  second  class 
mailer  August  jlsl,  iQlH.  at  the  Post  Office  at  Chicago.  Illinois,  under  the  Act  of  March  j,  1S70;  printed  in  U.  S.  A.  Editorial  and  Executive  Offices,  Paramount 
Building,  1501  Broadway,  New  York  City,  N.  )'.,  Copyright  igjo  by  Motion  Picture  Publications,  Inc.  Single  copy  25c.  Subscriptions  for  U.  S.,  its  pos- 
sessions, and  Mexico  l^.oo  n  year,  Canada  $2.50,  Foreign  Countries,  $,i.oo.  European  Agents,  Atlas  Publishing  Company,  18  Bride  Lane,  London,  E.  C.  4- 
George  Kent  Shuler,  Pres.  and  Trens..  Duncan  A.  Dohie,  Jr.,  Vice  Pres..  Murray  C.  Hernays.  Secy. 


5 


Tell  Us  All  About  It 


$20.00  LETTER 
Be  Honest  W  ith  Your  Publicity 

Kansas  City,  Mo. 

"All  Quiet  On  the  Western  Front,"  a 
splendid  super-production,  recently  showed 
in  Kansas  City,  and  a  newspaper  critic 
announced  that  a  publicity  man  for  that 
picture  had  asked  him  to  stress  the  "girl" 
angle.  The  critic  was  amused;  we  all  were — 
and,  indignant,  too. 

That  is  a  tabloid  of  talkie  advertising 
today,  and  Hollywood  pashas  should  realize 
that  thousands  of  showgoers  appreciate 
characterization,  plot,  and  scenery,  and  end- 
less footage  of  smiles,  dimples,  and  sugges- 
tive lines,  but  why  not  use  common-sense, 
and  exploit  pictures  for  other  qualities  than 
the  number  of  Cut-uppin'  Cuties  it  con- 
tains! 

I  read  Remarque's  book.  Ever>'  word  of 
it.  It  sank  in.  It  was  graphic,  humanitar- 
ian, and  the  brief  paragraphs  of  "woman 
interest"  were  there  because  they  were 
necessary.  And  in  the  picture,  little  time 
was  given  to  French  mam'selles.  Yet  litho- 
graphs and  signs  gave  the  impression  of. 
plenty  of  girls.  Let  the  publicity  men  be 
fair  to  Mr.  Remarque  and  let  people  who 
haven't  read  the  book  know  the  merits  of 
"All  Quiet  On  the  Western  Front." 

Other  pictures  are  advertised  that  way, 
too.  Are  they  fearful  for  their  B.  O.,  that 
they  eternally  play  up  Girls,  Girls,  and 
More  Girls!  In  their  talkie  announce- 
ments? Not  everyone  attends  a  show  for 
sex  interest,  absolutely  not,  so  why  dis- 
courage them  with  the  lithographed  pros- 
pect of  viewing  loo  minutes  of  women?  Be- 
sides, a  corking  story,  a  capable  cast,  and 
real  directing  in  a  picture  attract  more  fans 
than  a  huge  Review. 

Ask  the  Box  Office  Man — he  knows! 

Stanley  Jacobs 


$10.00  LETTER 
Urging  You  to  See  Byrd 

New  ^'ork,  N.  Y. 

"With  Byrd  At  The  South  Pole"  is,  in  my 
estimation  and  also,  as  was  proven  by  the 
box-office  receipts,  in  the  estimation  of  mil- 
lions of  other  movie  fans,  the  perfect  motion 
picture.  The  only  fault  anyone  dares  find 
with  it  is  that  it  was  much  too  short 
for  a  picture  of  that  calibre.  Person- 
ally, I  could  sit  through  three  or  four 
times  more  than  was  shown  to  us. 

This  film  of  a  great  historical  event 
is  a  beautifully  photographed  picture 
of  Admiral  Byrd's  expedition  to  the 
South  Pole,  presented  in  a  manner 
which  can  be  enjoyed  by  everyone, 
young  or  old.  It  is  filled  with  human 
interest,  is  inspirational  and  educa- 
tional and  far  more  entertaining  than 
many  movies  I  have  seen  in  a  long 
time. 

The  popularity  of  this  motion  pic- 
ture of  Byrd's  great  adventure  proves 
that  those  who  attend  the  mov^ie  thea- 


ters are  not  all  young  and  foolish  and  that 
we  don't  always  want  the  silly,  cutie  girlie 
type  of  pictures  and  that  they  don't  always 
have  to  have  those  awful  hot  love  scenes  in 
them  to  make  them  go  over  big.  It  also 
prov-es  that  a  good  picture  does  not  neces- 
sarily have  to  be  a  talkie.  There  was  no 
dialogue  in  this  picture  with  the  exception 
of  where  Floyd  Gibbons  describes  the  actual 
flight  over  the  South  Pole. 

If  you  have  not  already  seen  "With 
Byrd  At  The  South  Pole,"  my  advice  is 
to  do  so  at  once.  Whatever  the  box  office 
price,  it  will  be  money  well  spent.     M.  F. 


$5.00  LETTER 
All  Praise  and  ISo  Complaints 

Corona,  Cal. 

They  came,  they  saw  development,  they 
conquered!  The  talkies,  of  course.  And 
they've  conquered  with  a  vengeance.  Even 
the  tiniest  and  most  suburban  motion  pic- 
ture playhouse  has  its  talkies  now.  They 
have  become  indispensable  to  the  theater- 
goers of  the  world. 

Talkies,  aside  from  their  value  as  an 
entertainment,  novel  and  inspirational,  have 
won  our  approval  as  a  good  which  brings 
other  good  with  it.  Countless  improve- 
ments have  been  made  in  theater  'etiquette' 
if  we  may  so  term  it.  One  remembers  easily 
the  day  when  occupants  of  the  row  in  back 
of  us  constantly  read  titles  aloud  to  chil- 
dren or  the  near-sighted.  No  more  of  this 
annoyance  with  the  modern  actors  who 
"speak  for  themselves". 

Even  the  tiny  tots  .  .  .  for  some  do  still 
crash  the  sacred  box  office  line  .  .  .  have 
given  up  their  crying  and  babbling  during 
the  picture.  There  is  simply  too  much  com- 
petition to  face  .  .  .  from  the  screen  .  .  . 
these  days. 

And,  no,  I'm  not  through  yet.  There  is 
still  another  bouquet  in  my  basket,  if  you 
please.  I  think  the  talkies  have  brought  to 
us  an  era  of  beautiful  and  cultured  voices  to 
be  more  greatly  appreciated  as  we  watch 
the  inevitable  result  which  it  will  ha\  e  upon 
people  as  a  whole.  Who  knows,  the  old  idea 
of  the  actors  as  vagabonds,  may  be  in 
time  replaced  by  a  new  spirit  .  .  .  that  of 
real  admiration  for  the  qualities  our  favor- 
ites exemplify. 

But  it's  true!  No  longer  is  a  pretty  face 


and  an  unusual  ability  to  act,  the  fore 
criterion  of  stardom.     Today's  audie 
demand,  as  wel'  ...  a  cultured,  and  in 
lated  voice  from  the  screen.  Schools' 
specializing  in  voice  training  and  elocuti' 
and  the  results  are  ours  to  witness. 

In  case  my  S.  E.  is  still  a  minus  qualit 
I'll  be  sure  of  myself  and  confess  in  ju 
plain  words  that  I'm  certainly  placing  n 
bet  on  the  talkies.  They're  great! 

Mtixine  J.  Stickle 


$1.00  LETTERS 
A  Righteous  Howl  of 
Indignation 

Oakland,  Cal. 
This  is  a  protest!   Not  a  mere  reprovin 
slap  on  the  wrist  accompanied  by  "  naught\ 
naughty." 

I  went  to  see  "  Ingagi "  along  with  mor 
than  half  the  population  of  our  fair  city  an. 
sat  in  awed  silence  through  a  series  of  tens 
scenes.  I  gasped  and  shuda^red  at  the  hug. 
gorillas,  and  trembled  with  fear  when  on. 
of  the  brutes,  (which  I  now  find  was  hut  . 
'man  in  ajje's  clothing')  attempted  t<i  klfl 
nap  a  village  belle. 

Oh,  it's  well  enough  to  laugh.  I'vt 
noticed  a  number  of  cartoons  all  poking  sl\ 
fun  at  the  public  for  being  so  easily  take:, 
in,  but  do  you  think  it's  fair  for  a  motior; 
picture  company  to  palm  off  such  a  com 
plete  hoax  on  an  unsuspecting  audience' 
The  reason  everyone  was  so  credulous  was 
because  of  the  obvious  authenticity  of  pre 
vious  travel  pictures. 

A  travel  picture  that  is  faked  is  trash, 
nothing  more.  How  many  would  have  goni- 
to  see  this  picture  if  they  had  known  it  wa^ 
a  cheap  fake?  I  think  the  majority  went 
with  the  idea  that  a  good  travel  pictun 
would  relieve  the  monotony  of  a  deluge  ol 
"singies." 

If  "  the  powers  that  be  "  would  assert  thcii 
authority  and  insist  on  honest  advertising, 
at  least  to  a  degree,  the  status  of  a  great 
industry  would  be  vastly  improved. 

A  good  many  theater-goers  were  made 
"goats"  and  I,  for  one,  don't  relish  the  honis 
and  whiskers!  Lucille  Hall 


You  may  have  S.A.,  but  do  you  have  S.E.?  Motion  Picture 
CLASSIC  wants  to  know.  We  want  you  to  join  our  free 
clinic.  If  the  tests  show  that  you  have  a  superior  kind  of 
S.E.,  you  stand  in  line  for  one  of  three  first  prizes:  $20  for 
first,  $10  for  second,  $5  for  third  and  $1  for  every  other  letter 
published. 

To  join  the  clinic  all  you  have  to  do  is  to  write  a  letter  of, 
say,  200  to  250  words,  about  some  phase  of  the  movies,  ad- 
vancing an  idea,  an  appreciation,  or  a  criticism,  without 
becoming  ga-ga  or  vituperative.  Sign  your  full  name  and 
address,  and  mail  the  letter  to:  Laurence  Reid.  Editor. Motion 
Picture  CLASSIC,  Paramount  Building.  1501  Broadway. 
New  York  City.  No  letters  can  be  returned,  and  we  reserve 
the  right  to  print  any  or  all  that  we  like. 

Having  done  this  much,  you  will  perhaps  be  conscious, 
without  our  telling  you,  that  you  have  S.E.  But  if  you  win  a 
prize,  or  your  letter  is  printed,  there  can  be  no  doubt  about 
it:  you  have  Self-Expression. 


A'o  \eed  for  Exaggerated 
Stereotyped  Characters 

Baton  Rouge,  l.a. 

The  movies  have  always  been  known 
for  the  portrayal  of  exaggerated  typf- 
of  persons.  In  the  early  days  of  tin 
silent  screen,  there  were  the  vampi^e^ 
and  the  villains,  which  were  well 
suited  to  the  sensational  melodrama- 
of  the  period. 

Unfortunately.  such  characters 
still  exist.  We  rarely  see  a  stenographe: 
who  doesn't  chew  some  symphony  on 
gum, — a  reporter  who  doesn't  run 
{Continued  on  page  104) 


Want  to 
Laugh? 

IT'S  GREATER  MOVIE 
SEASON  FOR  LAUGHS- 
Am  THATS  NO  JOKE 


HERE'S  the  biggest  com- 
pany of  comedy  stars 
that  ever  started  off  a  new 
season's  program  of  short 
features.  You'll  see — and 
hear — them  all  in  Ediica- 
tionaVs  Talking  Comedies 

this  fall  and  more  are 

coming. 

WHEN  you  want  a  good 
hearty  laugh  to 
chase  your  troubles  away, 
always  look  for  the  theatre 
that  shows 


^1. 


GdiuatianatsTcUkinq  l^cmedie^ 


THE  SPICE  OFTHE  PROGRAM" 


EDUCATIONAL  FILM  EXCHANGES,  inc 

£.  W.  HAMMONS,  President 
Executive  Officea:  1501  Broadway,  New  York,  N.Y. 


ILA^ST  MINUTE 


DOLORES  DEL  RIO  has  found  romance  along  the  matrimonial 
pathwa>-  again.  She  and  Cedric  Gibbons  did  what  the>' 
could  in  the  way  of  making  promises  before  the  good  Padre  and 
are  now  enjoying  a  little  honeymoon  before  the  call  of  the  micro- 
phone interferes.  .  .  .  Romance  is  not  flourishing  in  the  houses 
where  Princes  once  reigned.  Pola  Negri  started  the  general  exodus 
of  nobility  when  she  decided  she  could  get  along  \  ery  nicely  without 
Prince  M'dvani.  .  .  .  And  while  the  Marquis  de  la  Falaise  de 
la  Coudraye  is  once  again  in  Hollywood,  he  is  no  longer  a  guest 
in  the  household  of  Gloria  Swanson,  who  has  definiteh-  stated 
that  she  finds  single  blessedness  quite  attracti\  e — for  the  time  being, 
at  anv  rate. 


G 


I\'IN'G  Tit  for  Tat  is  a  new  pastime  in  the  amusement  world. 
With  almost  all  of 


Broadway  sunning  itself 
on  the  west  coast,  Broad- 
way is  sort  of  turning  the 
tables  by  calling  Holly- 
wood's most  celebrated  to 
the  footlights.  Mary 
Pickford  is  said  to  bend 
an  attentive  ear  to  the 
call  and  is  expected  East 
almost  any  time.  .  .  .  Col- 
leen Moore,  too,  will  try 
out  the  musical  comedy 
stage  for  a  while.  She  has 
been  signed  by  Archie 
Selwyn  to  sing,  dance  and 
be  merry.  .  .  .  Vilma 
Banky  and  Rod  La 
Rocque  are  two  others 
signed  to  tread  the  foot- 
boards of  Broadway  thea- 
ters. .  .  .  Eddie  Cantor 
also  harkened  to  that  ole 
stage  urge  and  will  try  out 
the  Palace  Theater — but 
that's  just  between  pic- 
tures. 


Shiver  m'  timbers,  but  what's  this  the  sea's  tossed  up?  It  looks  tough,  what- 
ever it  is.  Maybe  it's  a  mermaid  with  bobbed  hair.  Maybe  it's  that  ol'  davil 
sea  dog,  Jim  Tully,  in  "Way  for  a  Sailor" 


GETTING  a  thrill  on 
the  other  side  of  the 
amusement  fence  is  Mrs. 
Patrick  Campbell,  who 

stormed  Hollywood  so  successfully.  She  is  now  waiting  to  see  how 
her  good  Public  takes  her  talkie  debut  in  "The  Play  Called  Life." 
.  .  .  Marjorie  Rambeau,  too,  is  w-aiting  with  fast-beating  heart  the 
verdict  on  her  first  talkie,  "Her  Man.'"  Oh,  yes.  there's  still  a  thrill 
for  everyone  with  the  talkies  to  conquer.  .  .  .  Ruth  Chatterton 
is  getting  even  more  enthusiastic  over  the  opportunities  of  the  talk- 
ing pictures  now  that  she  will  play  both  mother  and  daughter  roles 
in  "The  Right  to  Love''  opposite  her  own  husband,  Ralph  Forbes. 

TAKING  pounds  off  and  putting  new  clothes  on  can  be  said  to 
be  among  the  absorbing  moments  of  feminine  film  celebrities. 
Constance  Bennett  goes  in  very  strongh-  for  the  ensemble  idea 
and  stresses  it  to  the  smallest  detail.  .  .  .  Clara  Bow  likes  sports 
clothes  and  much  prefers  the  old  white  duck  trousers  unless  she 
must  dress  to  be  on  parade.  .  .  .  Greta  Garbo  goes  in  heavily  for 
tweeds  and  two-piece  sports  dresses  and,  oh.  yes,  felt  hats.  Perhaps 
the  "Green  Hat"  left  its  influence  after  all.  .  .  .  Lupe  Velez  runs 
to  scarlet  in  her  clothes.  Nancy  Carroll  likes  all  colors  and  wears 
them  all  well.  .  .  .  Marion  Davies  goes  in  for  elaborate  evening 
clothes  while  Nornna  Shearer  lets  the  modernistic  note  prevail  for 
her  daytime  dresses  and  calls  it  an  evening  with  printed  chiffons.^ 

CLAUDIA  DELL  will  be  the  girl  with  "Fifty  Million  French- 
men." .  .  .  Maurice  Chevalier  returns  to  that  dear  Paris  for 
a  few  months.  ...  In  "The  Playboy  of  Paris''  Maurice  has  a  new 
leading  woman  who  is,  by  the  way,  none  other  than  Mrs.  Chevalier. 
Her  screen  name  is  Yvonne  Callee. 

T\IE  foreign  in\-asion  is  by  no  means  o\er — e\-en  if  the  talkies 
do  seem  to  ha\e  come  to  stay.  These  bright  foreign  lads  and 
lassies  have  a  way  of  mastering  the  English  language.  And  even  if 
they  don't,  there  is  the  old  S.A.  to  consider.  Marlene  Dietrich 
landed  from  German  shores  with  plenty  of  "it"  and  a  shining  per- 


sonality to  play  with  Gary  Cooper  in  "  Morocco''  and  from  advanc 
reports,  she  is  doing  mighty  well  in  this  picture.  .  .  .  There  is  als 
Nora  Gregor,  Vienna's  pet,  doing  Mary  Dugan  for  Germany  an, 
.Austria.  .  .  .  Maurice  Chevalier  found  English  easy  and  there  i{ 
also  another  Frenchman  who  does  well,  Andre  Luget.  .  .  .  Spail 
is  sending  a  mighty  contingent  including  Jose  Crespi,  and  strangell 
enough  a  Spanish  miss  who  calls  herself  Conchita  Montenegroi 
...  .As  for  Mexico,  it  has  always  been  well  represented.  Dolorell 
del  Rio  and  Lupe  Velez  are  just  two  of  its  tempestuous  daughter*' 
who  shine  in  Hollywood. 

AS  the  first  large  salmon  commence  to  appear  in  Colfax  Bay*1 
Canada.  Clive  Brook  may  be  found  vacationing  there  wooinj  f 
his  salmon  with  eager  eye  and  skilful  hand  ....  Charlie  Chaplir 

is  recuperating  in  the  Si' 
erras.  .  .  .  Claudettd 
Colbert  is  making  aj 
round-the-world  tour. 
And  she  has  motion  pic-, 
ture  films  which  she 
taken  to  prove  it!  . 
Mary  Nolan  has  can-': 
celled  European  passages^ 
and  will  rest  out  at  Lakej 
Arrowhead,  instead.  Herl 
next  picture,  by  the  way, 
will  be  "Boudoir  Diplo- 
mat"— a  title!  .  .  .  Gildai 
Gray  is  among  those  pres-f 
ent  in  Honolulu  instead 
of  altar-bound.  .  . .  Edwta 
Carewe  is  finding  New 
York  restful  before  work 
on  "Resurrection"  begins 
.  .  .  Sidney  Howard  will 
tour  Europe  by  car.  He 
has  earned  the  rest  after 
completing  "Lilli"  for 
Evelyn  Laye.  ...  J.  Far- 
rell  McDonald  will  an- 
swer the  call  of  vacation 
and  go  down  to  the  sea 
on  a  long  cruise  with  his 
wife  on  their  >acht. 
"  Lorna  M." 


N' 


'EW  YORK  is  entertaining  picture  celebrities  these  days. 
_  They  are  not  all  pleasure  bent,  though.  Ed  Wynn  has 
come  East  to  work  on  "Manhattan  Mary  "out  on  Long  Island.  .  .  . 
Ginger  Rogers  is  working  in  the  film,  too.  .  .  .  Jack  Holt  found 
it  necessary  to  play  around  Lakehurst,  N.  J.,  for  a  while  to  take 
the  lead  in  "Dirigible."  .  .  .  Ralph  Graves  is  co-featured  with 
him.  .  .  .  Lowell  Sherman  is  again  getting  a  kick  out  of  acting 
and  directing.  This  time  "The  Losing  Game"  engages  his  talents. 
.  .  .  Marian  Nixon  transferred  the  old  traveling  bag  to  the  R.K.O. 
studios  for  this  same  picture.  .  .  .  Ben  Lyon  has  tucked  away  a 
five  years'  contract  with  Warners  for  a  rainy  day.  .  .  .  And  Douglas 
Fairbanks,  Jr.,  too,  can  stop  worrying  about  the  rent  coming  due 
for  a  while  with  that  long  term  First  National  option  on  his  services. 


^^^ARIL"irN  MORGAN  changed  her  name  recently. 


Celebrated 

with  champagne  n'  everything.  But  she  didn't  get  married 
to  do  it.  Warners  just  thought  Marian  Marsh  sounded  better. 
.  .  .  Louise  Brooks  appeared  upon  the  streets  of  Hollywood  for 
the  first  time  since  her  di\  orce  from  Eddie  Sutherland.  .\nd  now 
she  will  be  Buck  Jones'  leading  woman  in  pictures.  .  .  .  There  are 
persistent  rumors  that  Corinne  Griffith  should  be  knitting  booties 
for  little  feet.  But  then,  that  rumor  is  always  just  as  persistently 
denied.  .  .  .  Adolphe  Menjou  is  one  of  the  old  guard  who  has 
"come  back"  and  who  is  as  sartorially  efTective  as  ever  along  Hol- 
lywood Boulevard.  .  .  .  Clara  Bow's  new  picture  will  be  "Her 
Wedding  Night."  And  isn't  it  strange,  Clara  and  Rex  Bell  are 
reported  "that  way"  again?  .  .  .  Jack  Pickford  has  put  on  the 
domestic  slippers  again,  having  parked,  matrimonially  speaking,  for 
the  third  time  with  Mary  Mulhern,  a  New  York  show  girl.  .  .  . 
Ben  Lyon,  who  plays  one  of  the  leading  roles  in  "Hell's  Angels," 
dropped  into  New  York  for  the  premiere  of  the  picture — and  spent, 
time  at  the  opening  autographing  programs,  cuffs,  straw  hats  ai^K^ 
newspapers. 


8 


SEN 
2<  STAM 
FOR  THIS 
PRE-VIEW 
BOOKLET 


HOW  would  you  like  to  see  a  pre-view  of  all  the  great  pictures  Metro-Goldwyn-Mayer  is 
making  for  the  coming  year?  We  have  prepared  a  marvelous  little  booklet  called 
"Your  Lucky  Star,"  the  like  of  which  you've  never  seen  ...  32  pages,  brimful  of  inter- 
est and  information,  telling  all  about  the  wonderful  new  pictures  you  will  be  seeing  at  your 
theatre  from  now  on.  Photographs  of  the  stars.  Printed  in  two  colors  and  profusely  illus- 
trated ...  Be  the  first  to  know  all  about  the  coming  M-G-M  attractions  and  the  pictures  in 
which  your  favorite  stars  are  going  to  appear. 


11 


My  Ne/ghbo 
in  \io 


rs 

K.C.B. 


I  DON'T  imagine. 

THERE  IS  any  place. 

ANYWHERE  IN  the  world. 

IN  WHICH  there  dwells. 

SO  MUCH  of  kindness. 

AND  OF  kindly'needs. 

THAN  CAN  be  found. 

AMONG  MY  neighbors. 

IN  HOLLYWOOD.  ' 

AND  JUST,  for  instance. 

I  KNOW  one  man." 

AN  ACTOR  man.  *  '  ' 

OF  THE  older  school. 

WHO  HAS  a  list.  ' 

OF  OLD  time  actors. 

AND  ACTRESSES* 

WITH  WHOM  he's  played. 

MEN  AND  women. 

WHO  HAVEN'T  clicked 

IN  A  payroll  way. 

AND  AT  Christmas  time. 

AND  AT  intervals. 

THROUGHOUT  the  year. 

TO  EACH  of  them*  ' 

THERE  GOES  a" check. 

FOR  A  goodly  sum. 

AND  I'D  like  to  tell  you. 

WHO  HE  is. 

FOR  HIS  fame  is  great. 

AND  YOU'D  be' pleased. 

BUT  HE  wouldn't*  lice  it. 

AND  SO  I  won't.  * 

AND  ANOTHER  man. 

WHOM  I  know  well'. 

A  BIG  producer. 

WHO  ONCE  on 'a 'time. 

RAN  A  little  store. 

• 

AND  I  was  with  him. 
OUT  ON  a  set.  \  '  ' 
ABOUT  THE  time*  * 
OF  THE  market  crash. 


AND  HE  was  telling. 
WHAT  IT  had  done.* 
TO  HIS  bank  account. 
AND  AS  we  talked.  " 
THERE  CAME  to'us. 
A  MIDDLE  aged  man. 
OF  SADDENED  m'le'n. 
AND  SEEDY  clothes. 
AND  I  mo\xd  away, 
so  THE  two  could  talk. 
AND  MY  friend  wrote. 
ON  A  piece  of  paper. 
WHATEVER  if  was. 
AND  THE  saddened  man. 
HE  WENT  away.  '  * 
AND  ANYWAY. 
HOWEVER  I  learned  it. 
IT  DOESN'T  matter.' 
BUT  IT  was  an  order. 
FOR  A  thousand  dollars. 
TO  SAVE  the  hom'e.' 
OF  THE  saddened  man. 
AN  OLD  employe. 
WHO  HAD  broken  down. 
AND  ANOTHER  man. 
WHOSE  NAME' is  linked. 
WITH  HOLLYWOOD. 
AND  THE  movie  world. 
HEARD  someone" mention. 
AT  A  dinner  party. 
OF  A  serious  illness. 

WITHIN  THE  home. 

•  •  • 

OF  A  man  he'd  known. 
AND  HADN'T  see*n.' 

•  •  • 

FOR  A  very  long  time. 
AND  HE  knew  was  poor. 
AND  THE  morning  after. 
HE  CALLED  this  man. 
TO  COME  and  see  him. 
AND  TALKED  wi'th  him. 
AND  A  sick  little  girl. 


HAD  THE  best  there  was. 
IN  A  fine  hospital. 
AND  THE  best  there  was. 
OF  MEDICAL  care.  ' 
AND  I  know,  too. 

•  •  • 

OF  A  restaurant. 
A  FAMOUS  one! 

IN  Hollywood'  ' 

AND  IT  has  the  spirit. 
OF  HOLLYWOOD. ' 

• 

AND  I  know  a  man. 
A  WELL  known  man. 
IN  ANOTHER  town". 
BUT  TO  fame  unknown. 
IN  HOLLYWOOD*  " 
AND  HE'D  had"hlrd  luck. 
AND  WAS  just  about  out. 
WITH  SPIRIT  broke'n. 
AND  EVERYTHING. 
AND  HE  sat  himself  down. 
IN  THIS  restaurant. 
WITH  THE  only  d'oflar. 
HE  HAD  in  the  "world. 
AND  THE  manager  saw  him. 
AND  BEING  a  student. 
OF  THE  near  down  and  out. 
HE  SAT  with  him. 
AND  SAID  to  him'  " 

•  •  • 

"YOU'RE  A  stranger  here. 
"AND  I  just  want  to  tell  you. 
"IF  IT  ever  happens. 
"YOU'RE  IN  need'  o'f  a  meal. 
"COME  ON  in  here." 
"ANY  TIME  at"ari.'"' 
AND  ANYWAY.  '  " 
IT'S  A  great  little  city. 
IS  HOLLYWOOD'  " 

•  •  • 

AND  I  wouldn't  trade  it. 
FOR  EVEN  Broo'kl'yn". 
WITH  ALL  its  churches. 
I  THANK  you. 


12 


America's  Greatest  Actor 
—As  You  Like  Him! 


WARNER  BROS, 
present 


Uohn 

&ARRYMORE 


MOBY  r>l<K 


in 


With  JOAN  BENNETT 
Lloyd  Hughes,  and  a  Great  Cast 


FOR  seven  years  on  the  seven 
seas  he  had  sought  the  in- 
human monster  that  had  made 
him  o  man  unfit  to  love. 

Can  he  win  revenge  against  this 
awful  enemy — or  will  he  perish 
in  the  giant  maw  that  has  been 
the  graveyard  of  a  hundred  men 
before  him? 

Will  he  ever  return  to  his  home 
to  learn  that  the  love  he  thought 
dead  is  still  waiting  ? 

These  are  the  questions  that  have  held 
hundreds  of  thousands  spellbound 
through  the  pages  of  Herman  Melville's 
immortal  classic,  "mOBY  DICK". 

They  are  merely  hints  of  the  throbbing 
thrills  thatmake"Moby  Dick'John  Barry- 
more's  most  glorious  talking  picture!  See 
it  soon,  at  leading  theatres  everywhere. 


Adapted  by  J.  Grubb  Alexonder. 
Directed  by  Lloyd  Bacon.  "Vita- 
phone"  is  fho  registered  trademark 
of    The    Vitaphone  Corporation. 


A  WARNER  BROS. ^VITAPHONE  PICTURt 


13 


Facts 


an 


d 


Figures 


Intimate  Items 
About  Pictures, 
Past,  Present 
And  Future 


By   CAMPBELL  MacCULLOCH 


A CHINESE  merchant  recently  alighted  from  a 
steamer  in  Los  Angeles  harbor  and  announced  that 
he  had  come  here  as  the  representative  of  a  group  of 
tradesmen  in  Shanghai  to  contract  for  American  mer- 
chandise. "I  shall  make  contracts  for  over  a  million 
dollars,"  he  said.  "We  come  to  you  for  these  goods  be- 
cause we  have  seen  them  in  your  moving  pictures.  Not 
only  have  we  seen  them  as  to  their  appearance,  but  we 
have  seen  them  work.  Among 
other  things,  I  will  buy  elec- 
tric refrigerators.  They  have 
commended  themselves  to 
us."  That  is  one  of  the  ac- 
counts Hollywood  has  be- 
stowed upon  these  United 
States.  And  a  million  dollars 
in  foreign  trade  is  no  trifle, 
especially  when  it  comes  from 
one  buyer.  Yet  you  hear  sup- 
posedly reasonable  folk  sneer- 
ing at  Hollywood's  preten- 
sions to  usefulness. 


AND  just  to  clinch 
±\_  the  matter,  it  is 
less  than  a  month 
since  the  Chilean 
Government  awarded 
the  Foundation 
Company  of  Ameri- 
ca a  $4,500,000  con- 
tract for  the  con- 
struction through- 
out Chile  of  250 
schools  and  20  hos- 
pitals. Jorge  Delano, 
a  Chilean  picture  di- 
rector recently  ar- 
rived in  Hollyvs^ood, 
says  that  the  con- 
tract was  directly  the 
result  of  American 
films  made  in  Holly- 
wood. 


Walter  G.  Matthewson,  chief  of  the  Division  of 
Labor  Statistics  in  the  California  Department 
of  Industrial  Relations,  with  a  brutal  smash  at 
the  swollen-stipend  fantasy.  "Between  May, 
1929,  and  May,  1930,"  says  Mr.  Matthewson, 
"the  average  weekly  earnings  of  motion  picture 
folk  was  $54.49.  This  represented  an  increase 
of  thirty-seven  per  cent,  over  earnings  for  the 

previous  year."  Now 
what,  I  ask  you,  are 
we  to  do  with  an 
iconoclast  like  that? 
Has  the  man  no  sym- 
pathy, no  mercy? 
$54.49!  He  wouldn't 
even  make  it  $54.50. 


LSO,  we  have  been  so 


stuffed  with  tales  about 
the  motion  picture  magnate, 
his  millions  and  his  power, 
that  we  ^ave  come  to  be- 
lieve that  Brother  Zukor 
owns  Paramount;  and  Broth- 
er Mayer,  M-G-M;  and  Uncle 
Carl,  Universal,  and  so  on. 
But,  suppose  you  learn  that 
the  Paramount-Publix  out- 
fit is  owned  by  no  less  than 
16,486  common  people  like 
you  and  me!  Rather  makes 
you  wonder  how  many  peo- 
ple Brother  Adolph  has  to 
consult  before  he  can  order 
Clara  Bow  to  stop  talking 
about  her  love  affairs. 


o 


NCE,  quite  a  dis- 


WHY  DIRECTORS  ARE  BALD 

Director,  tearing  out  hair  by  the  handful,  as  the  cameras 
catch  not  only  the  big  jungle  scene,  but  something  else:  "Who 
in  Hellywood  let  those  cats  out  of  the  bag?" 


I HEARD  a  Ch  icago  business  man — who,  by  the  way, 
must  at  sometime  have  been  vaccinated  with  a  phono- 
graph needle — pooh-pooh  the  whole  influence  of  films  on 
foreign  trade.  The  Asiatics  and  sub-Europeans,  he  in- 
sisted, were  too  simple  to  know  what  most  of  the  things  in 
American  pictures  were  intended  for.  Perhaps  so.  But 
you  can't  shove  bathtubs  and  motor-cars  and  handsome 
clothes  under  a  simple  man's  nose  week  after  week  with- 
out making  him  want  them. 

THOSE  $10,000-a-week  movie  salary  yarns — 
usually  the  last  resort  of  a  desperate  pub- 
licity department— are  really  getting  just  a 
little  too  much  to  swallow.   And  now  comes 


movie  history,  I  went 
with  an  advertising 
friend  to  call  on  Carl 
Laemmle  in  his  New 
York  offices.  I  went 
along  to  lend  moral 
support  to  my  friend,  who  had  the  absurd  idea 
that  it  was  time  for  picture  companies  to  ad- 
vertise their  wares.  His  idea  was  that  Univer- 
sal should  spend  as  much  as  $10,000  the  first 
year  to  advertise  its  pictures.  As  I  recall  it 
now,  we  left  quickly,  followed  by  Uncle  Carl's 
voice  shouting  to  know  if  we  thought  he  was 
crazy.  Advertise?  Advertise?  I'm  reminded 
of  the  experience,  because  in  1929-30  the 
movies  spent  over  $100,000,000  buying  advertis- 
ing space.  And  Uncle  Carl's  company  went — 
believe  me— quite  a  long  distance  beyond  that 
first  suggested  ten  thousand  that  roused  his  ire. 
{Continued  on  page  16) 


14 


Vivacious,  beautiful — 
Alice  White  knows,  as  (i 
charming  film  star,  thf 
uondrous  beauty  of 
alowing  Princess  Pat 
Kouge. 


Into  your  cheeks  there  comes 
a  new  mysterious  GLOW 


Into  cheeks  touched  with  almost  magical 
Princess  Pat  rouge,  there  comes  mysteri- 
ous new  beauty — color  that  is  vibrant, 
intense,  glorious,  yet  suffused  with  a 
soft,  mystical  underglow  that  makes  bril- 
liancy natural! 

No  woman  ever  used  Princess  Pat  rouge 
for  the  first  time  without  being  amazed. 
Accustomed  to  ordinary  rouges  of  one 
flat,  shallow  tone,  the  youthful,  glow- 
ing naturalness  of  Princess  Pat  gives 
beauty  that  actually  bewilders,  that 
thrills  beyond  words  to  describe. 

The  Life  Principle  of  All  Color  Is  Glow 

The  mysterious  fire  of  rubies,  the  opales- 
cence of  opals,  the  fascinating  loveliness 
of  pearls  depend  upon  glow.  Flowers 
possess  velvety  depths  of  color  glow.  In 
a  naturally  beautiful  complexion  there  is 
the  most  subtle,  beautiful  glow  of  all, 
the  luminous  color  allowing  through  the 
skin  from  brneath. 

Now  then!  All  ordinary  rouge  blots  out 
glow.  On  the  contrary  Princess  Pat 
rouge  imparts  glow — even  to  palest  com- 
plexions. The  wonderful  color  you 
achieve  seems  actually  to  come  from 
within  the  skin.  It  is  sparkling,  as  youth 
is  sparkling.  It  is  suffused,  modulated. 
It  blends  as  a  natural  blush  blends,  with- 


out definition,  merging  with  skin  tones 
so  subtly  that  only  beauty  is  seen — 
"painty"  effects  ncrer. 

Only  The  "Duo-Tone"  Secret 

Can  Give  This  Masic  of  Lifelike  Color 

No  other  rouge  can  possibly  beautify 
like  Princess  Pat  "duo-tone."  Why? 
Because  no  other  rouge  in  all  the  world 
is  composed  of  two  distinct  tones,  per- 
fectly blended  into  one  by  a  very  secret 
process.  Thus  each  shade  of  Princess 
Pat  rouge  possesses  a  mystical  under- 
glow to  harmonize  with  the  skin,  and  an 
overtone  to  give  forth  vibrant  color. 
Moreover  Princess  Pat  rouge  changes  on 
the  skin,  adjusting  its  inten.sity  to  your 
individual  need. 

Every  Princess  Pat  Shade 

Matches  Any  Skin 

Whether  you  are  blonde  or  brunette,  or 
any  type  in  between,  any  shade  of  Prin- 
cess Pat  you  select  will  harmonize  with 
your  skin.  The  duo-tone  secret  gives 
this  unheard  of  adaptability.  And 
what  a  marvelous  advantage;  for  vari- 
ations of  your  coloring  are  unlimited. 
There  are  shades  of  Princess  Pat  for 
sparkle  and  intensity  when  mood,  gown 
or  occasion  dictate  brilliance;  shades  for 
rich  healthful  tints;  shades  that  make 


cheeks  demure;  a  shade  for  wondrous 
tan;  an  exotic,  glowing  shade  for  night — 
under  artificial  lights.  So  thrillingly 
beautiful  is  this  fashionable  use  of  just 
the  right  shade  for  the  occasion,  that  you 
will  undoubtedly  want  to  possess  at 
least  a  shade  for  day — and  wonderful 
NITE  for  evening  use.  The  cost?  No 
more — because  each  shade  lasts  its  ac- 
customed time. 

Be  Beautiful  Today  as  Vou 

Never  Were  Before 

Princess  Pat's  thrilling  new  beauty  is 
too  precious  to  defer.  And  words  can- 
not adequately  picture  the  effect  upon 
your  cheeks.  Only  when  you  try  Prin- 
cess Pat  duo-tone  rouge  ■will  you  realize 
its  wonders.  Today,  then,  secure  Prin- 
cess Pat  and  discover  how  gloriously 
beautiful  you  CO ?i  be.   


P 


ri  n  cess 


Pat 


CHICAOO.  U.  B.  A.  (in  CANADA,  93  CHURfH  »T..  TORONTO) 

ition  —  nothinK       nioi  ■  f  lip!4  an  wrll      outsi<ln.   You'll  love 

'  mu(re  hua  over       tbi  Kot-pa  lip;*  Noft  jin<l  froo  of  chun  and 

1  >lura  that  ioaide      dryii<       i    .  ..laiiout.  Dmuty  eaamelod  inotui  box. 


The  very  popular  Pnocoas  Pat  Week  End  Set  ia  offered 
for  aliniitod  timo  for  this  CorpoN  and  25e  (coin).  Only 
one  to  a  cuatomer,  Srt  mntnins  easily  a  montb'fl  supply 
of  almond  base  powdcrand  FI\'£  other  delichtful  Princoas 
Pftt  prcparationii.  Packed  in  ft  beautifully  dooorat«d 
boudoir  box.   Plewo  act  prornDtlj*. 


SPECIAL 


PrinccM  P>t,  2709  a  Wolla  St.,  ChicMOi     Dept  101-E 
Eoetowxl  end  2&Q  lot  which  Mod  me  ths  Piinoen  l^t 
Week  End  Sat, 

Nune  (prinU  


Siroot  

City  »nd  8n«4i 


15 


Facts.    And  Figures 


{Continued  from  page  14) 


WHAT  I  said  above  about  the  movie  business  being 
owned  bv  so  manv  people  also  is  interestmg.  when 
we  look  at  the  latest  M-G-M  financial  report.  They  footed 
up  the  business  for  twenty-eight  weeks,  ending  March  14. 
1930,  and  discovered  that  the  gross  profit  was  $9,163,203. 
That  runs  better  than  a  million  and  a  half  a  month.  Of 
course,  there  are  a  few  trifles,  such  as  operatmg  expenses 
and  taxes,  to  be  taken  out  of  that,  but,  even  so.  it  looks 
like  a  nice,  pleasant  autumn  for  the  shareholders. 

1\ST  month,  I  said  something  about  the 
J  Warner  Brothers  contract  with  Western 
Electric  having  brought  them  in  a  handsome 
income  in  the  last  two 
years.  Well,  that  con- 
tract now  has  not  quite 
two  years  to  run,  and 
I  have  what  Joe  Weber 
used  to  call  "inside 
inflammation"  that  it 
will  not  be  renewed — 
by  mutual  agreement. 
Gossip  in  the  trade  is 
that  the  Warners  were 
not  given  as  much  con- 
sideration  as  they 
might  have  had.  How- 
ever that  may  be,  when 
you  read  stories  of 
Warner  purchases  of 
interests  in  Tobis- 
Klang-film — which  is 
a  German  type  of  talk- 
ing picture  apparatus 
— and  their  acquisi- 
tion of  Brunswick 
Phonograph  business, 
keep  that  Western 
Electric  contract  in 
mind.  When  the  wise 
man  is  about  to  move, 
he  prepares  himself 
another  home,  perhaps  ? 


can  do  worse  than  look  us  over  and  ask  how  the 
picture  folk  do  it.  Shoo  these  long-faced  yaw- 
pers  out  to  Hollywood,  Mr.  Hoover! 

SERIOUSLY,  let  us  shed  a  tear  for  Douglas  Fairbanks. 
Poor  Doug!  Two  or  three  months  ago,  he  announced 
that  he  had  given  up  his  plans  to  make  a  new-  picture.  Said 
he  didn't  know  what  the  public  wanted.  Guessed  he'd  just 
sit  around  and  play  golf  and  wait  for  something  to  turn  up. 
But  Joseph  Schenck  had  a  picture  written  by  Irving  Berlin, 
and  he  needed  an  outstanding  personality  for  it,  so  he 
chased  Douglas  into  his  private  swimming  pool  and  before 
Doug  could  escape,  Joe  had  his  signature  on  a  contract  to 

play  the  lead.   M.  Fairbanks 

  gets  $30,000  a  week  for  ten 

weeks. 


O' 


If  you  like  caricature,  just  cast  an  optic  at  Helen  Kane 
in  "Heads  Up."   Them  eyes,  them  cheeks,  them  lips 
have  funny  lines  again 


THE  calamity  howlers  are  doing  the  best  they  can  to 
promote  a  financial  panic,  and  the  motion  picture  in- 
dustry seems  determined  to  knock  their  prophecies  galley- 
west — wherever  that  may  be.  I  said  that  M-G-M  had  been 
having  a  good  half-year — since  the  fateful  October,  1929 — 
and  now  I  find  in  the  morning  paper  the  financial  predic- 
tion for  Paramount-Publix.  Their  earnings — net  this  time 
for  April,  May  and  June,  1930,  will  run  considerably 
better  than  last  year,  reaching  about  $2,550,000.  And 
that's  a  new  high-water  mark. 

PERHAPS  this  industry  of  ours  is  destined 
to  be  something  more  than  just  an  amuse- 
ment provider.  It  is  even  conceivable  that  it  is 
going  to  be  the  big  stabilizer  of  American  busi- 
ness, holding  things  steady  while  the  business 
boneheads  and  political  pushers  are  trying  to 
rock  the  commercial  craft  so  hard  that  it  ships 
water.  Any  enterprise  that  can  extract  $1,560,- 
000,000 — yes,  1  mean  more  than  a  billion  and  a 
half —from  the  public  each  year  is  a  whale  of  a 
big  business,  and  the  fellows  who  make  steel 
and  box  cars,  and  refine  oil  and  provide  trans- 
portation and  build  motor-cars  and  what-not 


NCE  there  was  a 
time  when  every 
studio  had  to  have  its 
own  laboratory  to  de- 
velop and  print  the 
thousands  of  feet  of 
film  it  turned  out. 
Then,  a  few  gentle- 
men merged  them- 
selves into  a  company 
they  called  Consoli- 
dated Film  Industries. 
Here  and  there,  they 
picked  up  a  labora- 
tory, and  soon  they 
had  everything  in  Hol- 
lywood and  New  York 
except  two  small  con- 
cerns. But  they  de- 
cided that  there  were 
still  some  outlying 
trifles  they  needed,  so 
they  bought  up  a  lot 
of  patents  covering 
film  processing  ma- 
chines. Then  they  went 
in  for  color,  and  these 
recent  acquisitions  run  into  about  $2,000,000. 


SOMEBODY  figured  out  the  other  day  that  a  pretty  fair 
grade  of  motor-car  can  be  bought  tor  22  cents  a  pound. 
That  sounds  fairly  reasonable.  But  when  the  picture  stat- 
isticians get  down  to  business,  they  work  differently.  For 
example:  You  sit  in  a  theater  and  watch  a  7,000-foot  pic- 
ture unreel  on  the  screen.  It  takes  just  about  77  minutes 
to  run  it  off.  But  did  you  ever  know  that  for  each  two  and 
three-quarters  minutes  of  time  that  picture  is  on  the  screen, 
nearly  300  people  worked  a  full  day  to  make  it  possible  ? 

SHORTLY  after  "The  Birth  of  a  Nation" 
made  its  appearance  in  1915,  Harry  E.  Ait- 
ken  dreamed  of  a  string  of  theaters  reaching 
all  across  the  land  in  which  super-pictures 
—like  "The  Birth"— would  be  shown  at  $2 
admission.  He  come  near  to  putting  it  into 
execution.  He  acquired  three  houses — in  New 
York,  Chicago  and  Philadelphia,  and  they  oper- 
ated for  six  months  at  the  $2  scale.  I  mention 
this  because  the  $1,560,000,000  theater  receipts 
I  mentioned  a  few  paragraphs  back  were  con- 
tributed by  5,980,000,000  people. 


16 


4/c 


OMAN'S  LOVE  ...  MAN'S  HATE  ...  BLAZING  ROMAlgCI 

%  /M 

IN  A  CITY  AFLAME  WITH  CARNIVAL  PLEASURES! 


B  E  B 


n  staggering  magnificence  ...  In 
thundering  emotions  comes  "DIXIANA"  to  hold 
the  world  spellbound  i  ALL  THAT  IS  LIFE  HAS 
BEEN  ENGULFED  IN  THIS  AMAZING  PRODUC- 
TION! Romance  .  .  .  Fiery  Drama  .  .  .  Bouncing 
Comedy  .  .  .  Revelry  .  .  .  Stupendous  Spectacle ! 
The  story  of  Two  Men  .  .  .  and  a  Woman  who 
set  men's  hearts  aflame  .  .  •  amid  the  Mad 
Abandon  and  Fevered  Passions  of  Mardi  Gras! 


with 

DANIELS 


Slamorous    star  of  song  and   great  amotions. 

EVERETT  MARSHALL 

Famous  star  of  Metropolitan  Opera  Company 

BERT  WHEELER 

AND 

ROBERT  WOOLSEY 

DOROTHY  LEE 
JOSEPH  CAWTHORN 
RALF  HAROLDE 
JOBYNA  HOWLAND  and 
BILL  ROBINSON 
,  (World's  Graotest  Tap  Dincer) 

Music  by  Harry  Tierney,  Book  by  Anna  Caldwell 
O    Directed  by  LUTHER  REED  .  .  .  Suporvised  by 
WM.    LE  BARON 

SCENES  IN  GLORIOUS  TECHNICOLOR 


TUNE    IN  EVERY 

TUESDAY 
EVENING 

and 

THURSDAY 
AFTERNOON 


RKO  HOUR 

ov«rN.B.C.  Network 

Famous  star*  .  .  favorite 
•  ntertaln«rs.     naws  of 
Hollywood   and  coming 
production*. 


COMING  WITH  A  RUSH  !  AMOS  'N'  ANDY 
in  their  first  talking  picture,  Edna  Ferber's 
"CIMARRON",  John  Galsworthy's  "ESCAPE", 
"BABES  IN  TOYLAND",  "LEATHER  NECKING" 
and  "HALF  SHOT  AT  SUNRISE"  with  Bert 
Wheeler  and  Robert  Woolsey  .  .  .  not  to 
mention  a  grand  and  gorgeous  galaxy  of 
other  great  attractions  in  THE  NEW 
PAGEANT  OF  THE  TITANS! 

RKO  DISTRIBUTING  CORPORATION 

(Subsidiary  of  Radio  Corp.  of  America 

1560    BROADWAY,  NEW    YORK  CITY 


17 


A  cross-section  of  a  tooth  and  the  gum,  infected  with 
pyorrhea.  Notice  how  the  gum  tissue  (right)  is  pulling 
atcay  from  the  tooth.  The  continuation  of  this  separa- 
tion will  cause  the  tooth  to  become  so  loose  it  will 
probably  be  lost. 


AS  LONG  AS  THE  DANGER 
LINE  KEEPS  HEALTHY, 


THERE 
IS  LITTLE 
DANGER  OF 
PYORRHEA 

Start  today  using  Squibb's  Dental 
Cream  —  for  its  help  in  protect- 
ing the  delicate  Danger  Line 


Tri  e,  pyorrhea  is  practicallj'  incurable.  But  there  are 
a  number  of  ways  in  which  you  can  guard  against  it. 
Clean,  healthy  gums,  sound  teeth  are  a  protection.  For 
pyorrhea  usually  begins  with  an  infection  of  the  gum  tissue 
at  The  Danger  Line.  And  so  ...  if  you  safeguard  The 
Danger  Line,  pyorrhea  will  have  little  chance. 

Tlie  Danger  Line  is  wliere  gums  meet  teeth.  The  gum 
margin.  It  is  one  of  the  most  important  tissues  of  the 
moutli.  Never  cause  it  to  bleed  by  using  too  stiff  a  brush 
or  a  gritty  dentifrice.  Xever  wound  it  with  tootlipicks  or 
liurt  it  with  strong  astringents.  And  •  .  .  never  allow 
acids  to  irritate  it. 

At  the  edge  of  The  Danger  Line  is  a  tiny  crevice  too 
small  for  your  tooth-brush  to  reach.  Fer- 
menting food  particles  collect  here  and 
generate  destructive  acids  which  irritate 
tlie  gum  tissue.  No  wonder  the  delicate 
gums  sometimes  become  inflamed — and  the 
more  they  recede,  the  wider  the  road  is 
open  to  infection. 

Ordinary  dentifrices,  ordinarj'  methods 
are  ineffectual  against  such  a  menace.  But 
there  is  a  safe  way  to  combat  these  acids. 
Brush  your  teeth  rcgularh'  M-ith  Squibb's 
Dental  Cream.  It  contains  50%  Squibb's 
Milk  of  Magnesia.  Plenty  of  this  safe, 
effective  antacid  to  penetrate  crevices  and 
Assures,  jichere  the  brush  fails  to  reach. 


if  The  Danger  Line  is  the  imaginary 
line  where  gums  meet  teeth.  As  long 
as  this  knife-like  edge  of  gum  tissue 
keeps  healthy,  pyorrhea  will  not  occur. 
A'or  will  tooth  decay  spread  beneath  it 
and  attack  the  sensitive  neck  of  the 
tooth.  In  the  cross-section  above,  notice 
the  tiny  crevice  at  each  side  of  the  tooth. 
The  arrows  show  it.  Food  particles  col- 
lect here,  ferment  and  irritate  the  ijums 
uith  acids.  Eventually  the  deVimie 
gum  edge  recedes  and  then  The  Dmn',  r 
Line  no  longer  furnishes  protect  ma. 


And,  because  it  soothes  irritation,  Squibb's  helps  the  gum 
margin  keep  firm  and  liealthy — a  real  protection  against 
infection.  It  cannot  injure  The  Danger  Line,  for  it  con- 
tains no  grit,  no  astringents. 

It  cleans  beautifully.  The  regular  use  of  Squibb's  will 
restore  and  preserve  the  luster  of  your  teeth.  And  it  will 
clean  between  the  teeth  and  in  the  tinij  pits  and  fissures. 

Get  a  tube  and  begin  using  it  from  tonight.  Make  it  a 
rule  to  visit  your  dentist  regularly.  Know  that  you  arc 
guarding  against  pyorrhea  and  tooth  decay  in  the  safest 
and  most  effective  way. 

E.  R.  Squibb  &  Sons,  New  York.  Manufacturing 
Chemists  to  the  Medical  Profession  since  1858. 

Copyright  1930  by  E.  R.  Squibb  &  Sons 


18 


DOROTHY  MACKAILL 

Credited  in  offstage  Hollywood  with  having  more  sex  appeal 
than  any  other  star,  Dorothy  at  last  is  seen  in  her  true  colors 
in  the  Technicolored  "Bright  Lights" 


Ball 


CLAIRE  LUCE 

Arriving  from  Broadway  too  late  to  start  in  "The  Sea 
Wolf,"  Claire  Luce  had  her  talkie  debut  postponed.  But 
not  for  long.    "Up  the  River"  was  started  early 

21 


J 


C  /.  e        il  l 


^  I  n  e  ^ 


rsouaL 


MOT  DON     P  D  CT  y  IRE 

CLASSIC 


Talks 


By  GEORGE  KENT  SHULER,  Publtsher 


WHEN  talkies  bounced  into  Hollywood,  the 
American  movie  lost  two  irreplaceable  at- 
tractions— fast  action  and  Emil  Jannings.  Word 
seeps  out,  from  heretofore  reliable  sources,  that 
Jannings  has  learned  his  English  lessons  and  will 
return  in  January.  Does  anyone  know  when  we 
can  expect  fast  action  back' 


ARY  Nolan  fell  asleep  in  a  boat  at  Arrowhead 

Lake,  and  awakened  with  a  severe  case  of  sun- 
burn. She  was  rushed  to  a  hospital.  There  she  was 
visited  by  a  Federal  narcotic  mspector,  brought 
thither  by  the  affidavits  of  two  nurses  that  Miss 
Nolan's  arms  were  "full  of  punctures  from  hypo- 
dermic needles."  The  inspector  examined  her  care- 
fully, "failed  to  find  a  single  needle  mark."  The 
case  was  dropped.  At  this  writing,  the  sequel  has  not 
been  printed.  Hut  we  devoutly  hope  that  the  nurses 
or  whoever  gave  them  their  little  idea  get  all  that  is 
coming  to  them. 


THE  Queen  has  abdicated  and  the  castle 
doors  are  open"  is  Hollywood's  way  of  saying 
that  Mary  Pickford  is  chumming  with  Hollywood 
once  more.  I  here  are  also  signs  that  there  is  another 
abdication  in  the  making.  Mary  has  begun  disband- 
ing the  staff  she  has  had  about  her  for  several  years, 
and  United  Artists  announce  that  her  future  films, 
if  any,  will  not  be  made  by  her  as  an  individual 
star-producer,  but  under  their  auspices.  Doug, 
she  explains,  wants  to  withdraw  from  financing  and 
making  talkies  - and  she  does  not  want  to  carry 
the  financial  burden  alone.  Much  as  we  dislike  the 
conclusion,  it  looks  like  the  beginning  ot  the  end 
for  two  of  moviedom's  longest-reigning  favorites. 


THE  latest  silliest  change  in  a  movie  title  is  that 
of  the  Broadway  stage  success,  "  The  Command 


to  Love."  Objectionable  to  the  Hays  office  under 
this  title,  the  show  can  go  on  as  "The  Boudoir 
Diplomat."  No  little  eight-year-olds  could  possibly 
guess  from  this  that  the  play  is  the  least  bit  naughty. 


IT  looks  as  if  there  is  some  hope  for  John  Gilbert 
in  .his  next  talkie,  "Way  for  a  Sailor."  For  one 
thing,  his  voice  has  improved  under  the  expert 
coaching  of  Dr.  P.  Mario  Marafioti.  For  another 
thing,  he  will  not  be  a  romantic  dandy  in  officer's 
brass  buttons;  he  will  wear  dungrrees.  And  the 
dialogue  is  being  written  by  such  censor  baiters  as 
Laurence  Stallings,  responsible  for"The  Big  Parade"; 
Charles  McArthur,  co-author  of  "The  Front  Page"; 
and  Jim  Tully  -  vou  know  Jim  Tully.  Virility  at  all 
costs  IS  the  watchword-  and  a  good  one. 


MOVIES  a  few  of  us  would  like  to  see: 
Clara  Bow  in  something  giving  her  a  chance 
to  act.    Remember  her  in  the  pre-Glyn  days  in 
"Down  to  the  Sea  in  Ships"  (no  relation  to  "The 
Fleet's  In"  and  "True  to  the  Navy")? 
Gloria  Swanson  in  peasant's  clothes. 
A  gangster  story  in  which  the  Big  Shot  is  neither 
noble  nor  educated. 

A  spy  story  in  which  love  does  not  complicate 
the  complications. 

Zasu  Pitts  in  a  leading  role. 


THE  half-pint  golf  courses,  renting  out  putters 
and  colored  golf  balls  on  every  vacant  lot  from 
Conev  Island  to  Catalina  Island,  are  giving  the 
movie  showmen  a  bad  jolt.  They  are,  in  fact,  pan- 
icky— talking  of  converting  failing  theaters  into 
indoor  country  clubs,  el  cetera.  All  of  which  seems 
dreadfully  unnecessary.  America  docs  not  want 
golf  so  much  as  it  wants  good  mox  ies.  (Please 
place  the  emphasis  on  the  good.) 

23 


Menaces 


Of 


I.    Pigmy  Go 


f 


Millions  Ci 
Dollars  Awll 

By  CAMPBEJ 


Above,  a  close-up  of  a  course  built  beside  a 
theater  at  First  Street  and  Vermont  Avenue, 
Los  Angeles,  to  attract  crowds  to  both  golf 
and  movies.  Movie  magnates  did  not  start 
worrying  until  golf  fans  started  turning  out 
at  night,  as  at  right 


I 


ONE  thing  after  another  seems 
to  conspire  to  disturb  the 
peace  of  mind  of  the  motion 
picture  impresario.  The  day 
before  yesterday,  it  was  his  inability  to 
make  enough  of  the  kind  of  pictures  the 
public  wanted.  Yesterday,  it  was  the 
public  demand  that  all  pictures  be  con- 
versational. To-day,  it  is  the  public 
madness  for  poor-man's  golf.  To-mor- 
row.?— one  can  hardly  blame  him  for   

looking  longingly  at  the  fortune  teller's 
ad. 

Undoubtedly,  the  poor  picture  producer  and  theater 
owner  have  a  good  deal  to  think  about.  For  a  time,  they 
had  the  entertainment  business  in  their  grasp.  People 
fell  easily  into  the  habit  of  patronizing  the  movies,  for  two 
principal  reasons:  they  wanted  cheap  amusement  at  short 
intervals,  and  the  picture  entrepreneur  provided  it  at  the 
time  when  there  was  little  else  to  do.  But  in  recent  years 
a  number  of  competitive  factors  have  appeared.  The  auto- 
mobile became  cheap,  radio  poked  its  head  out  of  the 
maze  of  things  unborn,  and  the  American  people  began  to 
lean  more  intensively  to  sport. 

In  1921,  William  W.  Hodkinson,  one  of  the  earliest  of 
the  intuitive  picture  distributors — and  the  organizer  of 
the  Paramount  institution,  by  the  way,  told  me  that  he 
considered  that  radio  had  dangerous  possibilities. 

"Any  picture  man  who  doesn't  see  a  potential  menace  in 
it  is  asleep,"  he  said.  "It  may  develop  into  a  major  enter- 
tainment, or  it  may  prove  merely  a  minor  adjunct.  If  the 
former,  it  might  prove  so  competitive  that  the  motion  pic- 
ture industry  would  have  to  adopt  it,  or  effect  some  com- 
bination. To-day,  it  is  free  entertainment,  delivered  into 
the  home.  But  who  knows  where  it  is  heading,  or  how 
much  it  will  affect  distribution.?" 


Rather  prophetic  now,  isn't  it.?  With  the  Radio  Co 
poration  making  pictures,  and  Paramount  buying  a  hal 
interest  in  the  Columbia  Broadcasting  system.? 

How  It  All  Started 

ABOUT  a  year  ago,  a  Tennessee  innkeeper  name 
Garnet  Carter  stumbled  on  an  idea.  Doubtless,  \ 
had  seen  a  riotous  game  of  lawn  croquet  illustrated  i 
an  old  copy  of  Gody's  Lady  Book  and  had  mixed  that  in  h 
mind  with  a  golf  match  on  an  adjacent  links.  Whateve 
the  process,  the  result  was  an  eighteen-hole  dwarf  goll 
course  outside  his  inn,  with  tin  cans  sunk  in  the  groun 
and  greens  of  cottonseed  hulls.  And  forthwith  the  Ameri 
can  public  performed  one  of  its  characteristic  emotions 
flip-flops  and  went  completely  gaga. 

Psychologically — or  perhaps  pathologically — the  ide 
clicked  with  the  public  taste.  For  years  as  a  nation,  w 
have  been  hearing  about  golf.  The  game  arrived  in  th' 
United  States  on  a  recognized  basis  some  thirty-five  year 
ago.  There  had  been  sporadic  evidences  before  that,  0 
course.  At  first,  as  a  nation,  we  sneered.  Then,  as 
nation,  we  tolerated  the  thing.  Next,  as  a  nation,  w« 
accepted  it,  much  as  we  accepted  polo,  the  I.  W.  W.  anc 


24 


the  Movies 


Is  Taking 
People  And 
From  The  Theaters 


!arrie  Nation — a  sort  of  weakness  that  occupied  space  in 
\t  papers  and  rather  embarrassed  us,  a  weakness  that 
usiness  men  were  supposed  to  shun  as  they  would  the 
lague.  In  the  last  ten  years,  there  has  been  grave  doubt 
9  to  whether  American  business  could  be  earned  on  with- 
Ut  golf. 

But  golf  never  bothered  the  motion  picture  business, 
'ou  see,  it  had  to  be  played  in  daylight.  So  the  magnates 
miled  and  joined  golf  clubs — which  were,  and  are,  by  no 
leans  inexpensive — and  were  blissfully  happy.  And  all 
lis  time  the  shadow  of  that  fellow  down  in  Tennessee  was 
anging  Damocles-WVt  over  the  movie  neck! 

Why  People  Play 

'tT'OU  know,  folks  are  queer.  1  he  thing  just  beyond 
iX  their  reach  is  very  apt  to  be  jeered  at.  Golf  was  like 
at.  Because  a  set  of  odd-looking  clubs  and  a  strange  bag 
nd  a  foppish  suit  of  clothes  and  a  golf  membership  and 
II  the  appurtenances  cost  money,  and  because  valuable 
iaylight  working  time  must  be  sacrificed  to  play  the  game, 
off  was  out  of  the  reach  of  ninety-eight  per  cent,  of  us. 
Consequently,  we  affected  to  scorn  it. 
Then  Tennessee  put  it  very  suddenly  within  our  reach. 


Moss 

Above,  a  golf-course  and  a  Los  Angeles 
movie  theater  working  not  against  each  other, 
but  for  each  other.  You  play  golf,  then  rest  in 
the  movie.  At  left,  a  bird's-eye  view  of  an 
elaborate  course,  equipped  with  rustic  bridges, 
swings,  et  cetera 


And  it  appealed  for  a  dozen  perfectly 
good  human  reasons:  (i)  it  was  very 
accessible;  (2)  it  was  cheap — about  the 
price  of  a  movie  theater  admission;  (3) 
It  used  regulation  golf  equipment;  (4)  it 
was  easy  to  play;  (5)  it  could  be  mdulged 
in  at  night  just  around  the  corner;  (6) 
a  lot  of  other  folks  could  see  us  as  we 
played;  (7)  it  lent  itself  to  mild  gambling; 
(8)  one  could  laugh  and  shout  and  kid 
one's  fellow  players,  whether  known  or 
not;  (9)  girls  could  play  as  well  as  boys; 
(10)  it  was  the  "millionaires'  game"  that 
had  been  increasingly  advertised  as  such;  (11)  it  could  be 
enjoyed  out-of-doors;  and  (12)  it  gave  us  a  chance  to 
dress  up. 

"Why  wouldn't  it  make  a  hit?"  asks  Sid  Grauman,  the 
eminent  Los  Angeles  impresario,  who  shares  with  Roxy 
of  New  York  the  honor  of  making  the  most  spectacular 
motion  picture  forays  upon  the  public  interest.   "It  ap- 

E eared  just  at  the  right  time,  as  talking  picture  enthusiasm 
egan  to  subside  a  little;  it  gave  people  a  chance  to  be 
participants,  instead  of  mere  spectators,  and  it  was  keyed 
at  the  right  price." 

The  Possibilities  Are  Endless 

~V  TOBODY  knows  exactly  how  many  of  these  pigmy 
I  ^  golf-courses  there  are  in  the  United  States,  for  the 
figure  made  up  yesterday  is  valueless  to-day,  since  a 
thousand  or  more  may  have  sprung  into  being  overnight. 
However,  on  July  15  last  it  was  estimated  that  more  than 
thirty-seven  thousand  were  in  operation  in  the  forty- 
eight  states,  and  that  probably  twenty-thousand  more 
were  projected.  In  Los  Angeles  County  alone,  rhere  are 
sixteen  hundred  miniature  golf-courses,  with  fifteen  hun- 
dred more  permits  applied  for. 

25 


What  Can  The  Movies   Do   About  It? 


From  an  investment  standpoint,  they  cost  less  than  even 
the  most  modest  theater.  As  little  as  twenty-five  hundred 
dollars  will  equip  one.  The  usual  practice  is  for  the  in- 
tending operator  to  seek  out  the  owner  of  a  suitable  plot 
of  vacant  ground,  offer  him  a  percentage  of  the  receipts  in 
lieu  of  rent,  and  wait  for  him  to  say  "Yes."  A  week  or 
two  is  sufficient  for  construction.  And  there  are  plenty  of 
vacant  lots! 

Some  of  the  courses  cost  large  sums,  being  ornate, 
elaborately  landscaped  and  or- 
namentally lighted.  Flashing 
fountains,  rocky  dells,  rustic 
bridges  and  shady  nooks  are 
provided.  A  marquee  with 
soda  fountain,  hot  dog  facili- 
ties and  a  barbecue  sandwich 
kitchen  can  fit  in  nicely  and 
add  to  revenue.  The  larger 
courses  even  provide  small 
clubhouses  with  easy  chairs 
and  a  rudimentary  veranda. 
As  much  as  twenty-five  thou- 
sand dollars  is  spent  on  these. 
Los  Angeles,  about  the  time 
this  sees  print,  probably  will 
have  a  course  costing  a  quarter 
of  a  million;  but  then,  Califor- 
nia permits  all-year  playing. 


Defense  Measures 
lERHAPS  the  thing 


is 


JPmerely  a  passing  fad;  but, 
even  so,  it  is  causing  the  movie 
men  acute  discomfort.  The 
West  Coast  Theater  chain  has 
been  meeting  the  menace  by 
buying  up  or  even  startingmin- 
iature  golf-courses  close  by 
their  theaters.  Some  of  the 
larger  movie  houses  offer  a 
ticket  to  the  nearest  pigmy  golf- 
course  for  ten  cents  more  than 
their  movie  admissions. 

Harold  B.  Franklin,  presi- 
dent of  the  West  Coast  chain, 
is  credited  with  the  conviction 
that  the  picture  theater  and 
the  little  golf-course  may  be 
contributing  factors  in  each 
other's  welfare.  Play  golf 
awhile  and  rest  in  the  theater. 
See  the  picture  and  later  stretch  the  muscles  by  playing  a 
little  golf.  Approach  from  either  end.  Well,  that  remains 
to  be  seen.  Anyway,  West  Coast  is  trying  it  out. 

Installation  of  indoor  golf-courses  in  unprofitable  movie 
theaters  throughout  the  country  is  being  considered  by 
Fox,  Warner  Brothers  and  Paramount-Publix,  it  is  said,  as 
one  way  of  capitalizing  on  a  craze  which  in  some  places  has 
robbed  the  movies  of  twenty-five  per  cent,  of  their  patrons. 
An  elaborate  indoor  golf-course  may  be  built  in  a  former 
theater  for  about  twenty-five  thousand  dollars.  The  first 
of  these  playhouses  to  be  converted  into  golf  houses  is 
scheduled  for  an  early  opening  in  New  York  City. 

Wanted:  80,000,000  People 
FTER  all,  we  should  sympathize  with  the  picture 


Above,  a  spacious  California  course  offering  not 
only  a  game,  but  plenty  of  walking  exercise.  The 
daily  average  attendance  at  such  a  course  is  about 
a  thousand.  But  even  simple  vacant-lot  courses 
(like  the  one  below)  draw  their  crowds 


million  dollars  yearly — which  means  that,  in  order  to  pay 
the  interest  bill,  close  to  eighty  million  extra  patrons  a 
week  are  needed  in  the  picture  theaters.  And  this  is  a 
sinful  lot  of  folk,  when  you  consider  that  you  must  extract 
an  average  of  a  quarter  from  each  of  them! 
But  let  us  get  back  to  the  golf  business. 
How  well  are  these  courses  patronized.^  How  badly  are 
the  picture  men  worried.'' 

First,  a  friend  of  mine  who  owns  one  of  these — and  he 

used  to  be  the  general  man- 
ager of  a  big  Hollywood  studio 
— says  his  modest  course  en- 
joys a  patronage  of  from  eight 
hundred  to  a  thousand  people 
a  day.  He  charges  a  quarter 
for  a  round  in  the  afternoon 
and  raises  the  price  to  thirty- 
five  cents  at  evening.  If  the 
player  wants  a  second  round, 
the  price  goes  back  to  the 
quarter.  He  has  one  "fan" 
who  every  day  for  five  weeks 
has  played  nine  rounds!  Which 
sets  him  back  only  two  dollars 
and  thirty-five  cents. 

Allow  that  the  average  pat- 
ronage IS  three  hundred  a  day 
— which  is  believed  reason- 
able, since  some  of  the  big 
courses  enjoy  a  patronage  of 
two  thousand  players  a  day, 
or  even  more — and  with  thir- 
ty-seven thousand  courses  the 
daily  play  reaches  more  than 
eleven  million!  How  many  of 
these  players  are  escaped  from 
the  picture  houses?  If  we  sup- 
pose that  the  average  charge 
is  a  quarter,  the  daily  take  of 
the  miniature  golf-courses  is 
more  than  two  million,  sevej 
hundred  and  fifty  thousai 
dollars! 


The  Surest  Remedy 

OING  back  to  Sid  Cii.u- 
man   again  for  a  mo- 


i 


A' 


 folk.   The  public  demand  for  picture  improvement 

has  caused  the  industry  to  spend  more  than  three  hundred 
million  dollars  in  the  last  two  and  a  half  years.  The  little 
item  of  interest  on  that  sum  is  not  less  than  eighteen 

26 


G 

ment,  I  asked  what  he  thought 
would  happen — how  the  pic- 
ture men  would  meet  this  con- 
dition. 

"Better  pictures,  and  perhaps  lower  admissions  to  the 
theaters,"  he  said.  "I'm  not  sure  about  the  latter,  but  I 
am  about  the  quality.  You  have  to  meet  competition  by 
improvement.  Talkies  are  waning  in  popularity — per- 
haps not  because  of  the  talk,  but  just  because  their  novelty 
is  wearing  off.  In  any  case,  we  must  have  a  finer  grade  of 
product." 

And  we  have  another  factor  that  is  a  parallel  menace: 
Night  sports! 

Cheaper  electricity  means  greater  use.  Better  lighting 
equipment  means  wider  application.  Until  the  last  year 
or  two,  the  artificial  lighting  of  large  outdoor  areas  has  not 
been  general,  but  now  that  we  are  being  introduced  to 
night  baseball,  night  horse-racing  and  night  football,  it  is 
no  wonder  that  the  movie  brow  is  wrinkled. 

The  movies  have  been  top-dog  in  the  amusement  world 
for  quite  a  while.  In  the  last  few  years,  the  picture  man 
has  sympathized  in  a  superior  sort  of  way  with  the  dram 
{Continued  on  page  g2) 


I 


Navigation  in  these  here  parts  requires  plenty  of  latitude  and  a  certain  degree  of  longi- 
tude, but  Ann  Harding  can  just  about  fill  the  large  order.  And  with  her  now  emoting 
"The  Greater  Love."  some  say  that  she  stands  in  others,  that  she  stands  out. 

Either  way,  she  is  shore  attractive 


27 


CAN  They 


Spurr 

^^AN  they  stay  retired? 

m         That  is  the  poser  before  the  house  to-day. 
f     y     I  doubt  it. 

Can  they,  could  they,  would  they  ever  be  content  with 
the  patter  of  Little  Feet  for  their  sound  effects,  the  lull  of  a 
lullaby  for  their  singies,  the  nursery  night-light  for  their  Kliegs? 
Tourist  tours  to  Europe  for  their  locations  and  the  intimate, 
deglamoured  family  circle  for  their  fan  public? 
I  doubt  it. 

I  doubt  it,  despite  the  fact  that  for  years  and  years  I  have  had 
earnest  threats  of  retirement  wammed  into  my  ears.  Credulous 
aural  appendages  they  were,  too,  at  first.  And  now  .  .  . 

I  doubt  it,  despite  the  fact  that  they  have  always  been  very 
pathetic  about  it,  very  firm,  very  reasonable  and  very  emphatic. 

I  doubt  it,  because  they  have  put  limits  on  themselves  and  lo, 
the  limits  were  vistas,  the  endless  kind,  opening,  one  into  another. 
They  have  put  time  limits  on  themselves.  "In  five  years  I  shall 
retire  ...  in  three  ...  in  ten  .  .  ."  and  so  on. 

They  have  put  money  limits.  They  have  put  age  limits.  Time 
goes.  Money  amasses.  Birthdays  tick  off  on  perennially  renewed 
calendars.  And  the  retirers  we  have  always  with  us. 

When  They  Said  They  Would 

HEN  I  have  a  million  dollars,"  says  modest  Eddie 
Lowe,  "then  I'll  retire,  sez  /.'" 
len  they  find  out,  as  they  will  one  day,  that  I  have  a 
stringy  neck  and  a  crooked  nose,  they'll  make  me  retire," 
omened  John  Gilbert  before  the  day  dawned  when  the  strings 
on  the  outside  of  the  throat  were  less  important  than  those 
within.  "They'll  make  me  quit,"  he  said,  "and  then  I'll  stop 
walking,  a  puppet,  through  an  author's  story,  a  scenarist's  script, 
a  director's  megaphone,  a  cameraman's  mercy.  All  the  work  o 
other  men.  I'll  get  down  to  some  honest  toil  of  my  own." 

"When  I  have  an  income  of  two  thousand  dollars  a  month,  my 
own  home  and  everything  I  possess  out  of  the  red,"  announced 
Jack  Mulhall,  with  his  new  R.K.O.  contract  ink-wet  in  his 
pocket. 


"Wl 

"When 


The  Odds  And 
Things  Are 


By  GLADYS 


Constance  Talmadge  (upper  left)  stayed  retired. 
William  Powell  (top)  wanted — still  wants — to  travel. 
Marilyn  Miller  (above)  aays,  "Two  more  pictures  .  .  ." 


28 


Stay  Retired? 


Several  Other 
Against  Them 


HALL 


V 

'7 


Spurr 

John  Gilbert  'upper  right)  thought  they  would  make 
him  retire.  Vilm*  Banky  'top^  thought  the  would  ttay 
■t  home.  Rod  L«  Rocque  (above'  it  not  yet  in  India 


"When  I  have  saved  enough  money  to  travel  on  for  the  rest  of 
my  davs,"  said  Bill  Powell,  adding  honestly, "  but  how  will  I  know 
when  I  have  enough?  The  more  money  I  get,  the  bigger  my  ideas 
become.  Can  it  be  that  this  is  an  endless  chain.'" 

"When  I  am  thirty-two  or  thirty-four,"  insisted  Richard  Dix, 
some  years  ago.  "No  use  in  thinking  I  can  keep  on  after  that." 
"Cimarron"  is  now  in  the  making,  with  Rich  as  the  lusty  Yancry 
Cravat. 

They  never  do. 

They  cant. 

Yes-Men  and  Women 


EVERTHELESS,  just  ask  them.  Their  answer  is  always 


ways 
r,  for 


Yes,  YES,  YES.  They  sigh  for  solitude,  for  privacy,  tor 
travel.  For  a  chance  to  Improve  Their  Minds.  For  kiddies. 
For  the  opportunity  to  Read  a  Book  by  their  own  hearthstone, 
the  cat  dozing  at  tfieir  slippered  feet.  They  crave  to  polish  the 
family  silver,  to  indulge  their  fevered,  fretted  souls  m  all  the 
little  babbittries  dear  to  the  hearts  of  private  Misters  and 
Missuses. 

Say  they. 

I  doubt  them. 

Their  actions  belie  their  words. 

I  believe  thev  would  all  chant  in  unison  the  words  of  Elizabeth 
Barrett  Brownmg:  "A  quiet  life,  which  was  not  life  at  all." 

I  can  recall,  to  date  and  of  late  date,  only  one  famous  movie-ite 
who  has  actually  retired  of  her  own  volition,  and  has  stayed  re- 
tired lone  enough  to  make  her  Exhibit  A.  That  one  is  Dorothy 
Dalton  Hammerstem,  who  cultivates  and  manages  a  largish  farm 
on  Long  Island,  supervises  the  cook,  has  a  baby,  does  all  the 
things  a  proper  Little  Woman  does  do,  save  play  bridge  and 
discuss  her  neighbors'  grievances. 

Dorothy  is  married  to  a  famous  theatrical  producer  with,  at  the 
time,  his  fingers  in  the  picture  pie.  She  could  "come  back"  if  she 
really  wanted  to.  She  doesn't  want  to.  She  recently  returned  to 
Hollywood  with  the  prospect  of  making  a  picture.  The  film,  for 
{Continued  on  page  86) 


29 


Hallel  uiah!  Knd  A 

hH  Vercentag^ 


By 


MURIEL 


BABCOCK 


A  i  m  e  e 
mple  McPherson 
s  A  Heaven-Sent 
kie  Opportunity 


IF  you  have  a  little  radio  set  along  with  the  morris 
chairs  in  your  front  parlor,  you've  no  doubt  heard 
Almee  Semple  McPherson,  the  lady  evangelist.  Be- 
fore someone  turned  her  ofF,  I  mean. 
Come,  all  ye  smners,  and  gather  'round  close.  For 
here's  a  choice  tidbit  for  you.  Aimee  is  going  to  make  a 
picture— a  talking  picture — which  will  relate  the  story  of 
her  life  from  the  wind-swept  prairies  of  Canada,  to  the 
desolate  missions  of  China,  to  the  green  pastures  of  Los 
Angeles  and  Angelus  Temple.  The  lady  who  walked  the 
burning  sands  of  the  desert,  that  she  might  come  home  to 
her  followers  in  the  "pure  and  spotless  raiment  of  the 
Lord,"  is  going  to  break  down  and  confess  all — in  gelatin 
form. 

For  a  long  time  now,  movie  contracts,  screen  tests,  story 
conferences  have  been  brewing.  It  is  said  that  every  big 
motion  picture  company  has  offered  her  a  contract.  First 
Aimee  would,  and  then  she  wouldn't.  The  indecision 
seemed  to  be  tied  up  with  the  matter  of  percentages 
and  lawyers,  and  a  trip  to  the  Holy  Land — and 
Paris. 

Now  everything  seems  set.  By  the  time  you  peruse  this, 
Aimee  should  be  fondling  a  make-up  box  on  the  Universal 
lot.  For,  believe  it  or  not,  the  Laemmles,  Carl,  Sr.,  and 
Carl,  Jr.,  are  preparing  to  film  the  story  of  Aimee.  At  this 


t  is  called  "Clay  in  the  Potter's 
t  is  based  on  Aimee's  autobiograph- 
ical book,  "In  the  Service  of  the  King." 

Everyone  Will  Be  There 

^  IMEE  and  her  whole  family,  from  the 
  departed  Robert  Semple — her  mission- 
ary first  husband  who  exerted  such  influence 
on  her  life  and  deeds — to  Roberta,  the  daugh- 
ter; Rolph,  the  son;  and  even  "Ma"  Ken- 
nedy, will  be  characters.  Although  no  defi- 
nite announcement  of  the  leading  man  has 
been  made,  for  a  long  time  the  name  of 
Kenneth  Harlan  has  been  popping  into  the 
picture.  It  seems  that  he  looks  very  much 
as  Robert  did.  It  will  be  a  full-time  contract 
for  someone,  because,  although  the  mission- 
ary's soul  passed  to  his  fathers  in  China,  his 
spirit  will  accompany  her  in  all  scenes. 
■■^^B         The  cast  should   be  an  enormous  one. 

They've  got  to  put  in  lots  of  converts,  and 
they're  not  going  to  forget  the  yeggs,  gangsters,  dope 
fiends,  capitalists  and  all  others  who  have  figured  in  the 
tempestuous  battle  that  Aimee  has  waged  these  many 
years  against  Evil.  There  will  probably  be  location  trips — 
although  no  mention  has  been  made  of  one  to  Carmel. 

Carl  Laemmle,  Sr.,  likes  the  idea  of  doing  the  picture  so 
well  that  "they  say"  he  wants  personally  to  supervise  the 
production,  which  will  be  staged  on  a  spectacle  scale. 
Everyone,  of  course,  is  entitled  to  one  guess,  or  maybe  two 
about  the  business  of  direction,  but  it  is  this  writer's 
hunch  that  Aimee  herself  will  have  a  lot  to  say  about 
close-ups,  fade-outs  and  what-nots. 

Biblical  Drama  Plus 

FOR  this  Mrs.  McPherson  is  an  experienced  actress. 
Right  now,  she  runs  the  best  show  in  Los  Angeles. 
It's  a  religious  show,  to  be  sure,  but  aside  from  its  evangel- 
ical aspects,  grand  entertainment.  Clad  in  flowing  white 
robes,  assisted  by  all  manner  of  mechanical  effects  and 
props,  Aimee  packs  religion  home  in  strong  doses. 

She  dramatizes  everything  from  her  post — well  spot- 
lighted— on  Angelus  Temple's  rostrum.  Just  as  in  a  draw- 
ing-room play,  when  the  butler  and  footmen  and  maid- 
servants come  on  the  scene  to  converse  grandiloquently  and 
{Continued  on  page  84) 


30 


Me  come  from  East,  from  big  pueblo  of  tall  teepees,  me 
come  West  to  land  of  wild  men,  to  the  land  of  Money- 
ha-ha.  Christine  Maple,  I  am  call.  Me  come  West  to 
make  big  "Whoopee,"  be  chief  dancer  (see  the  steps?), 
and  sit  pretty.  ("Pretty  what?"  the  censors  shouted) 


31 


I 


During  the  late  lamented  heat  wave,  some  people  went  from  one 
cinema  icebox  to  another,  some  went  back  to  Nature,  and  some  kept  cool. 
Mary  Brian  went  back  to  that  old-fashioned  garden  and  parasol  and  wondered 
how  America's  Busiest  Sweetheart  could  possibly  make    "Social  Errors" 


Bredell 


32 


Glorifying 


Ihe  A  merican  Drunk 


By 


HELEN  LOUISE 


WALKER 


i     ^OTION  pictures 
|\  /I    appear  to  be  ear- 
\/  I    nestly  concerned, 
▼  Jl,  just  now,  with  glo- 
!  ying  the  American  drunk, 
i  nay  have  discovered  that  the 
bow-benders,  the  flask-tot- 
-j  s,  the  boys  who  weave  when 
)  ey  walk,  are  just  frightfully 
nny  fellows  and  that  they  are  good 
r  sure-fire  laughs  from  any  audience 
j  this  enlightened  day  of  the  Noble 
jxperiment.  Which  is  a  heaven-sent 
>|  scovery,  what  with  audiences  get- 
'ng  harder  and  harder  to  tickle. 
It  wasn't  like  this  before  Prohibi- 
You  could  never  have  let  your 
hero  get  a  bun  on 

then — and  remain  the  hero. 


Charles  Ruggles  doesn't  see  why  he 
should  stagger  forever  in  pictures 


rank  McHugh    delights  in 
ving  you    that  superiority 
feeling 


Liquor 

automatically  turned  anybody  into  a 
heavy  in  those  days.    But  now  it 
seems  that  the  surest  way  to  gain 
sympathy  for  any  character  is  to 
show  him  a  bit  boiled. 

We  run  all  the  gamuts  in 
drunk  scenes,  of  course — from 
the  pathos  of  Joseph  Schild- 
kraut  in  "Show  Boat"  down 
(or  is  it  up.')  to  the  hilarity  of 
Laurel  and  Hardy  getting 
thoroughly  and  tearily  plas- 
tered on  cold  tea  in  "Blotto." 

Al  Jolson  did  an  appealing 
bit  of  weaving  in  "Mammy," 
you  remember — and  was  still 
fiis  mother's  boy.  Marie  Dress- 
ier, wandering  maudlinly 
through    "Anna  Christie," 
nearly  stole  that  picture  from 
Greta  Garbo.    (Perhaps  they 
should  give  Greta  a  rousing 
drunk    scene   from    time  to 
time!)  Marjorie  Rambeau  had 
scarcely  a  sober  moment  in 
"My  Man."  John  Barrymore 
was  pleasantly  bunned  in 
"The  Man  from  Blank- 
ley's."  Give  Brook  shows 
us  how  polite  an  English 
drunk  can  be  in  "Any- 
body's Woman."  David 


has  played  in  seven  pictures  and 
has  never  had  a  sober  part.  He 
is   First   National's  permanent 
drunk.  Charles  Ruggles,  another 
consistently  good  alcoholic 
(professionally  speaking,  of 
course!),  belongs  to  Para- 
mount. And  how  the  studios 
do  treasure  these  boys! 

I  asked  McHugh  tvhy  he 
thought   a   drunk   was  so 
funny  to  most  people.  "Is 
a  drunk  really  funny?"  I 
wanted  to  know.  "Or  does 
he  only  seem  that  way  when 
portrayed  by  a  clever  actor — 
the  way  a  tramp  can  be  made 
funny  ?" 

"I  think  a  drunk  really  is 
funny,"  he  said.  "Unless  he 
is  the  kind  that  gets  quarrel- 
some or  weepy — and  unless 
he  gets  too  drunk.  I  have  al- 
ways liked  to  watch  them.  A 
man  with  just  a  slight  edge  on 
is  nearly  always  funny.  His 
brain  is  working  so  much  fast- 
er than  his  muscles.  He  can 
think,  but  he  can't  coordi- 
nate. 

"He  gets  absurd  notions 
that  seem  very  brilliant  to 
{Continued  on  page  80) 


A  Little  Lager, 
Now  And  Then, 
Is  Relished  By 
The  Leading  Men 


Manners  gets  thoroughly  squiffed 
in  "The  Truth  About  Youth" — 
his  squiffed-ness,  of  course,  being 
an  important  part  of  the  Truth! 

Drink  and  Be  Employed 

ANYONE  who  can  play  a  convinc- 
ing drunk  scene  is  assured  of  a 
good  job  in  pictures  now.  Studios  are 
employing  actors  who  are  experts  at 
this  particular  form  of  histrionic  ex- 
pression— and  asking  them  to  do  noth- 
ing else.  It  requires  a  talent  all  its  own. 
Frank  McHugh 


But  Expert  McHugh  insists 
that  a  drunk  cannot  play  a 
drunk 


33 


Wher* 


To  Settle 


CI 


a  r  a 


Bo 


w 


I  n  A 


I 


Back  in  those  days  when  sex 
appeal  was  only  sex  appeal, 
Madame  Glyn  took  one  look 
at  Clara  and  said,  "This  is  It." 
The  name,  for  some  unearthly 
reason,  stuck — and  the  time 
has  come  to  find  out  why.  Is  It 
in  her  face  (raise  your  eyes, 
right) — the  face  that  launched 
a  thousand  ships  last  spring? 
Or  in  her  smiling  lips  (above), 
whose  actions  make  words  so 
unnecessary? 


All  portraits  by  Richee 


J 


Is  IT? 


An  Argument, 
Stands  Out 
Big  Way 


When  the  Public  (no,  not  the 
Publix)  insisted  on  knowing 
why  Clara  had  so  many  fan 
males,  there  was  nothing  for  her 
to  do  but  pause  on  "Her  Wed- 
ding Night"  and  show  us  how 
two  and  two  make  four  million. 
To  reveal  (left)  how  she  stands 
with  the  baldheaded  row,  and 
(above)  how  she  looks  in  the 
moonlight.  And  prove,  after 
all  is  said  and  done,  that  It 's  all 
over 


35 


C  L  A  S  S  I 


Case  V 


Ladies  and  Gentlemen  of  the  Jury,  and  may  it 
please  Your  Honor,  Mr.  Hays,  in  the  August  term  of 
Oassic's  Open  Court  the  case  of  the  slaughter  of 
silent  pictures  was  taken  up  by  that  staunch  de- 
fender of  the  late  flickers,  Charles  Spencer  Chaplin. 
Since  that  investigation  a  new  corpse  has  been  dis- 
covered— our  old  friend,  Slapstick  Comedy.  And 
now  comes  the  friendly  Prosecuting  Attorney,  Mack 
Sennett,  to  lay  charge  against  the  talkies,  with  the 
microphone  as  co-defendant,  for  the  death  of  Low- 
Brow  Comedy.  It  is  for  you.  Ladies  and  Gentlemen, 
to  decide  whether  the  deceased  has  met  with  a 
timely  or  untimely  death. — Editor's  Note. 

MR.SENNETT:  Ladies  and  Gentlemen  of  the 
Public,  I,  Mack  Sennett,  dean  of  low-brow 
comedies,  do  now  find  myself  in  the  curious 
position  of  laying  before  you  the  case  of  the 
slaying  of  my  own  brain-child,  the  Low-Brow  Comedy, 
and  it  is  with  mingled  emotions  I  present  my  arguments 
to  you. 


A  bed,  a  dresser, 
and  a  washstand 
used  to  be  a 
boudoir.  But 
today  (see  right) 
Mack  Sennett's 
boudoirs  are  in 
period  furniture 


Dorothy  Manners,  Court  Reporter 

Agamst  the  defendant,  the  talkies,  I  bear  no  grudge  oi\ 
ill  will  or  disappointment,  and  yet.  Your  Honor,  and 
Ladies  and  Gentlemen,  I  do  not  hold  them  entirely 
blameless  in  this  slaying.  Surely,  no  case  has  come  to  you 
through  more  open  mind  than  my  own,  unprejudiced  and 
unbiased,  but  at  the  same  time  finding  defects  in  both  the 
slain  and  the  slayer. 

Bear  with  me  in  a  brief  resume  of  the  life  of  the  late 
Low-Brow  Comedy.  A  silly,  moronic  creature,  the  talkies 
found  it — and  so  they  killed.  And  yet,  is  even  a  dunce 
who  has  brought  laughs,  and  eased  away  troubles  for  both 
young  and  old  alike,  so  low  a  creature  as  to  be  mercilessly 
eradicated.^ 

Silly,  and  imbecilic  as  it  may  have  been,  there  were 
many  redeeming  features  to  our  late  departed.  For  one 
point,  it  had  the  gift  of  vitality  and  action.  True,  you  may 
deride  the  kind  of  action  .  .  .  pie-throwing,  trick  falls, 
somersaults,  bathing-girl  antics  ...  as  silly,  foolish  non- 
sense. I  do  not  deny  this.  Ladies  and  Gentlemen.  I 
created  it.  But,  withal,  it  was  picture  action  .  .  .  and 
we  are  dealing  in  the  medium  of  moving  pictures. 


In  the  old  come- 
dies, the  wealthy 
lived  in  board- 
ing-house style. 
But  today  (see 
left)  their  salons 
are,  at  the  least, 
all  to  the  ultra 


36 


Holds  Open  Court 

THE  CHARGE:  They  KHled  Low-Brow  Comedy 

THE  ACCUSED:  The  M  Talkies 

<Mk 

THE  PROSECUTOR:   Mack  Sennett 


They  Knew  the  Deceased 

ALSO,  from  the  inspiration   of  the  late 
Low-Brow  Comedy  came  amazing  and 
lasting  personahties  of  the  screen.  First  and 
foremost  always,  that  great  genius,  Charles 
Chaplin.  That  beloved  laugh-girl,  Malbel 
Normand.     Harry    Langdon,  Gloria 
Swanson,  Wallace  Beery,  Phyllis  Haver, 
Marie  Prevost.   Low-Brow  Comedy  fath- 
ered and  mothered  these  great  of  the  en- 
tertainment world — because,  Ladies  and 
Gentlemen,   in    the    realm   of  Low-Brow 
Comedy  they  never  ceased  to  be  more  or  less 
than  entertainers.   Art  consciousness  had  no 
place  in  their  efforts — and  so  they  were  artists. 
The  world  laughed  and  wept  with  them.  But  sad 
as  it  is  to  relate,  this  was  not  always  the  case 
after  they  deserted  the  old  school.  Harry 
Langdon,  for  one,  suffered  when  he  forsook  his 
training  of  buffoonery  for  more  subtle  comedy. 
Charles  Chaplin  allows  years  to  elapse  between 
his  pictures. 

Often  I  have  sat  in  darkened  theaters,  watch- 
ing the  new  comedy  modes  of  the  Low-Brow  off- 
spring  and  wondered   at  how  quickly  they 
forsook  their  early  training.  That  creed  was: 
Action,  Speed,  Entertainment  .  .  .  first,  last 
and  in  the  middle. 

But  I  fear  that  we  go  adrift  of  the  real  issue. 
We  are  not  gathered  to  bemoan  or  question  the 
death  of  Low-Brow  Comedy.  It  is  gone  forever. 
It  is  a  part  of  yesterday.  We  cannot  bring  it 
back  if  we  would.  I,  for  one,  am  satisfied  that  it 
is  so.  He  who  denies  the  inevitable.  Ladies  and 
Gentlemen,  is  more  foolish  than  he  who  throws  a 
custard   pie.    That  is  unwritten   law.  Low 
Comedy  is  dead.  Sophistication  of  situation  and 
dialogue  has  come  to  take  its  place  in  the  field  of 
comic  entertainment.   Let  us  consider  the  case 
of  the  assassin,  and  what  cause,  if  any,  there  is 
for  indictment. 


For  and  Against 
the  Accused 
HE  new  comedy  trend 
has     this  redeemmg 
ature:     It   is  adult 
entertainment.  No 
longer  are  screen 
laughs  confined  to 
the  nonsense  of  a 
child's  appreciation. 
Speaking  as  a  pro- 
ucer,  I  am  relieved  at 
this  trend  of  events.  It  is 
much  easier  to  have  a  man 
say  something  funny  than  to 
have  him  do  it.    There  are 
just  so  many  given  situa- 
tions that  are  funny  in 
pantomime,  but  the  field 
of   speech    is  unlimited. 
Just  recently  I  have  pro- 
duced   what    I    hope  is 
laughable  entertainment, 
based  on  various  current  themes,  in- 
cluding diet,  golf,  gangsters  and  air- 
planes.   Low-Brow  Comedy,  rest  its 
soul,  was  not  so  flexible.    Too,  its 
audience  was  comprised  of  patrons  of 
small-town  theaters.    That  the  poor 
creature  was  on  its  death-bed  at  the 
time  of  the  fatal  blow  is  not  to  be 
denied.  On  the  other  hand.  Ladies  and 
Gentlemen,   these   new  sophisticated 
comedy  shorts  are  reaching  first  and 
popular-run  houses,  and  are  increas- 
ingly in  demand.  Their  virtues,  then, 
are  these:   Timeliness,  Variety,  Dia- 
logue and  Novelty. 
Their  great  fault  lies  in  that  they  do 
not   move   sufficiently  fast  for  real 
{Continued  on  page  P5) 


Above,  Mack  Sennett,  dean  of 
Low-Brow  Comedy,  lately  done  to 
death.  At  right,  a  scene  from  a 
Mack  Sennett  comedy  starring 
Billy  Bevan,  in  the  days  when 
humor  was  rough.  At  left,  a  setting 
for  a  modern,  sophisticated  Edu- 
cational two-reeler 


37 


The  Most  Dramati 


Ruth  Chatterton  Went 
To  The  Darkest  Depths 
Of  Hell-On-Earth 


MY  most  dramatic  moment  occurred  within 
the  walls  of  the  most  fam.ous  of  all  French 
prisons, — Sante.  A  hell-hole  of  shackled,  in- 
sane murderers — infested  with  rats  and 
vermm — devoid  of  sunlight  and  other  light — disci- 
plined with  bayonets! 

To  most  of  you,  that  may  seem  surprising — for  the 
reason  that  Sante  is  known  the  world  over  as  a  men's 
prison;  but  it  is  true.  In  fact,  I  have  the  reputation  of 
being  the  only  woman  in  the  world  to-day  that  has  ever 
set  toot  inside  those  dank,  gray  walls.  For  a  woman  to 
get  into  Sante  is  as  difficult  a  feat  as  for  a  man  to  get 
out.  I  had  to  pull  almost  every  political  string  in 
France  to  obtain  permission  to  enter.  Bur  that  is  not 
the  start  of  my  story. 

It  all  began  one  particularly  pleasant  evening  in 
Paris.  I  had  arrived  in  France  only  a  few  days  before, 
and  was  stopping  at  the  Crillon.  If  1  remember  correct- 
ly, I  had  been  to  the  theater  earlier  in  the  evening  and 
had  been  in  my  room  only  about  an  hour—  when  the 
telephone  rang.  I  was  at  a  loss  to  understand  the  mean- 
ing of  such  a  late  call,  but  before  I  could  stop  her,  my 
maid  had  answered.  It  seemed  that  someone  was  in  the 
lobby  and  wanted  to  see  me.  A  gentleman. 

The  Old- Young  Man 

BUT  I  knew  of  no  gentleman  who  could  possibly  be 
calling  me  at  that  hour,  so  I  told  the  maid  to  hang 
up  the  receiver.  In  a  moment  or  so,  the  phone  rang  again, 
and  in  order  to  avert  anv  further  interruption.  I  took  the 


A  much  needed  rest  from  dramatic  situations:    Ruth  Chatterton 
takes  a  nap  between  scenes  on  the  set  of  her  new  picture,  "Any- 
body's Woman" 

call  my.self.  After  listening  to  the  manager  insist  about 
the  importance  of  the  call  for  several  minutes,  1  at  last 
resigned  myself  to  the  situation  and  told  him  to  put  my 
visitor  on  the  wire. 

I  had  only  to  recognize  his  voice  and  listen  to  his  plea 
before  I  asked  him  to  come  up  immediately.  The  man 
who  called  was  a  childhood  friend,  a  young  boy  in  Pans 
for  the  first  time  in  his  life  and  in  terrible  trouble.   I  hur- 


38 


Moment  of  My  Life 


The  rise  of  Ruth  Chatterton  as  a  dra- 
matic actress  has  in  itself  been  dra- 
matic. Her  screen  life  is  invariably 
dramatic.  But  her  real  life?  Hardly  ex- 
pecting to  be  believed,  she  at  first  as- 
sured us  that  her  history  was  prosaic. 
And  then  out  of  the  past  came  this 
memory — dramatic,  unforgettable.  No 
role  she  has  ever  played  can  compare 
with  this  unexpected  role  she  actually 
lived. — Editor's  Note. 


ey  both  know  their  drama:    Ruth  Chatterton  with  Dorothy 
zner,  who  directed  her  in  "Sarah  and  Son"  and  "Anybody's 
Woman  " 

f  dly  threw  on  some  clothes  and  had  barely  finished  dress- 
ii;  when  a  knock  came  on  the  door.  If  I  had  only  known 

'i.Tt  that  impatient  knock  was  to  mean — if  I  had  realized 
It  it  was  the  beginning  of  a  series  of  the  most  startling 
•'ents  ever  to  occur  to  me — I  wonder  if  I  should  have  had 

e  courage  to  open  the  door. 

It  is  difficult  for  me  to  describe  my  thoughts  as  I  saw 
ly  unexpected  midnight  visitor  standing  before  me. 


Clothes  torn  to  shreds  .  .  .  dirty  and  grimy  .  .  .  hatless 
and  unshaved.  He  looked  suddenly  old,  and  he  was 
barely  twenty-one.  I  had  seen  him  only  ten  days  be- 
fore, on  the  trip  across.  At  that  time,  he  had  been 
youthful,  full  of  the  joy  of  living,  well  dressed,  antic- 
ipating the  pleasures  of  his  first  visit  to  the  gayest  city 
in  the  world.  What  dreadful  thing  could  have  hap- 
pened ? 

An  Escaped  Prisoner 

HIS  story  came  falteringly.    Briefly,  it  was  some- 
thing like  this:  He  had  stopped  off  in  a  small 
town  about  thirty  miles  from  Paris  to  look  about. 
While  there,  he  had  been  thrown  into  jail  for  the  crime 
of  stealing  an  automobile.    He  had  protested  his  in- 
nocence (in  which  I  certainly  believed),  but  his  pro- 
tests had  carried  no  weight  with  the  police.  Then, 
even  more  serious,  after  two  nights  in  the  local  jail,  he 
had  managed  to  escape  and  make  his  way  to  Paris. 
He  knew  they  were  searching  for  him  and  would  prob- 
ably take  him  back.  He  wanted  me  to  help  him  out  of 
the  trouble.  He  hated  to  call  on  a  woman  in  this  emer- 
gency— but  I  was  the  only  person  he  knew  in  France,  and 
he  couldn't  speak  a  word  of  the  language.  After  that  much 
of  the  story,  he  collapsed  from  sheer  exhaustion.  My 
maid  and  I  got  him  to  the  lounge  and  tried  to  make  him 
comfortable. 

As  he  lay  there,  I  tried  to  get  a  clear  conception  of  the 
whole  thing  through  my  very  startled  brain.   Here  was  a 
{Continued  on  page  g8) 


39 


Hurrell 

In  A  Ballet  ,  .  Afs  balance 

A  newcomer  to  Hollywood,  Harriett  Lake  is  already  catching  onto  the  ropes — and  is  it  a 
ballet  nuisance?  She  says  '  'No."  It's  not  her  future — it's  only  herself — that  is  hanging 
in  the  balance  after  her  going  to  the  front  in  a  small  part  in  "Dough  Boys" 


40 


Another  Lon  Chancy 

He  Is  The  Friend  Of  The  Crook 
And  Down-And-Outer 


By  J.  EUGENE  CHRISMAN 


'EEZ!"  whispered  the  man  in  the  front  row,  who  was 
doing  a  turn  for  "paper-hanging"  (passing  worth- 
less checks),  "the  way  that  guy  plays 
the  part  of  a  con  man,  you'd 
Itliink  he'd  been  one  hisself!" 

"Aw,  dummy  up!"  hissed  a 
I  voice  from  the  darkness.  "This 
ain't  a  sassiety  drammer!" 

The  prison  picture  room, 
usually  a  bedlam  during  the 
showing  of  a  picture,  was  now 
quiet  except  for  the  voices 
from  the  screen.    The  hun- 
dreds of  inmates  of  a  great 
state  penitentiary,  the  most 
critical  audience  before  which 
a  "crook"  picture  could 
be  shown,  watched  in  si- 
lence the  unfolding  of  Lon 
Chaney's  first  talkie,  "The 
Unholy  Three." 

"Chaney's  pictures  are  the 
ones  that  don  t  get  the  raspberry, 
says  an  ex-convict  now  working  in 
Hollywood,   "because   he  knows 
how  a  real  crook  thinks,  acts  and 
talks.   Another  thing:   he  makes 
human  beings  out  of  his  crook 
characters.     Which    they  are, 
even  if  people  on  the  outside 
don't  think  so." 

You  have  seen  Lon  Chaney 
in  many  "crook"  pictures — 
among  them,  "The  Miracle 
Man,'^"The  Blackbird,"  "The 
Penalty,"  "The  Monster," 
"Outside  the  Law"  and  "The 
Unholy  Three."  The  charac- 
ters he  portrays  in  these  pic- 
tures are  each  vastly  different 
from  the  others;  yet  all  of 
them  possess  one  thing  in  com- 
mon— a  complete  understand- 
ing of  crook  psychology. 
Thousands   of   people  fa- 

Fortraita  by  Hurrmll 


miliar  with  the  underworld,  police  officials  and  the  crimi- 
nals themselves,  have  long  wondered  why  it  was  that 
Chaney — who,  of  course,  has  never  been  a  crook,  except 
for  screen  purposes — could  portray  these  characters 
with  such  astounding  realism,  while  other  players 
who  attempt  crook  roles  give  but  grotesque  imita- 
tions of  the  real  thing. 

The  answer,  never  before  given  to 
the  public,  reveals  a  new  and  nitherto 
unsuspected  side  of  the  complex  char- 
acter of  the  man  who  is  acknowledged 
the  screen's  finest  character  actor. 

Lon  Chaney  understands  the  un- 
derworld and  its  people  because  he 
has  studied  crime  and  criminals.  He 
has  studied  them  so  long  and  so  deep- 
ly as  to  be  recognized  by  leading 
authorities  as  one  of  the  finest  ama- 
teur criminologists  and  penologists  in 
the   world.    Such   men   as  Major- 
General  Smedley  Butler,  the  marine 
who  attempted  to  clean  up  Phila- 
delphia; Dr.  T.  Wendell  Kilmer  of 
the  New  York  State  prison  board ; 
Lieut.  Roy  Harlacher,  iden- 
tification authority;  the  fa- 
mous Chief  Volmer  of  Berk- 
eley,   California;    and  ex- 
Police    Commissioner  En- 
right  of  New  York  City, 
testify   to   Chaney's  deep 
understanding  and  compre- 
hensive grasp  of  their  pro- 
fession. 

He  Speaks  For  Themselves 

EVEN  more  interesting 
is  the  fact  that  not  only 
does  he  hold  the  respect  and 
admiration  of  law-enforce- 
ment officials,  but  that  the 
convicts  themselves  seek  him 
out  as  both  speaker  and 
writer  on  subjects  pertain- 
ing to  their  own  problems. 
(Continued  on  page  Q4) 


41 


Look 


Close-Ups 
From  The  Coast 


Fryer 


DOUGLAS  P^AIRBANKS  may  have  lost  his  pro- 
m  fessional  zest  since  the  talkies,  but  he  still  has 
^  ideas  of  the  importance  of  stardom. 
Before  he  would  consider  adorning  Irving 
Berlin's  operetta,  "Reaching  For  The  Moon,"  which  is 
also  to  feature  Bebe  Daniels,  he  made  it  clear  that  the 
Fairbanks  name  was  to  be  in  letters  twice  as  large  as 
Bebe's. 

Somebody  ran  and  told  Bebe,  of  course.  But  she  just 
grinned  and  said,  "  Build  his  name  a  mile  high  and  leave 
me  off  entirely." 

Bebe  isn't  the  pride  of  Harper  Street  for  nothing. 


w 


ELL,  at  least  Mary  Lewis's  separation  from  a 
gentleman  named  Michael  Bohnen  is  a  relief  after 


Who's  IT  now?  When  Mitzi  Green,  wise  for  her  nine 
years,  also  looked  that  way,  Clara  Bow  went  into  the 
background  (above)  in  "Love  Among  the  Millionaires" 


In  case  you  hadn't  noticed,  here  is  proof  (left)  that 
Bernice  Claire  is  one  singer  who  does  not  resemble  a 
grand  piano.  No  wonder  she  is  "  The  Toast  of  the  Legion  "! 


this  epidemic  of  "  friendly  divorces."  For  the  first  time  in  a 
long  while,  the  Court  listened  to  a  Hollywood  suit  that 
didn't  sound  like  a  testimonial  of  appreciation. 

It  seems  that  once,  in  Berlin,  he  knocked  her  through  a 
hotel  door. 

Socked  her  on  the  chin  on  the  boat  coming  back. 

But  saved  blacking  both  her  eyes  until  they  were  com- 
fortably settled  in  Hollywood. 

All  in  all,  it  made  Mary  mad  enough  to  tell  the  Judge  all 
about  it. 


AT  the  Friday  night  boxing  bouts: 
Maurice  Chevalier  stopping  the  show,  when  he 
climbed  into  the  ring  and  shook  hands  with    the  Main 
Eventers. 

Winnie  Lightner  looking  unusually  well  in  a  smart  blue 
sport  coat. 

Gary  Cooper  and  Lupe  Velez.  Lupe  in  all-yellow. 
Bebe  Daniels,  in  a  white  beret,  with  Ben  Lyon,  eatiu: 
peanuts. 

Ernst  Lubitsch,  shouting  above  the  din:  "Sock  \err.^ 
Sock  'eem!" 


42 


Them  Over 


Richee 


Tou jours  le  chevalier :  making  use  of  zat  ol'  underlip, 
Maurice  Chevalier  (above i  blesses  Frances  Dee,  an  extra 
turned  leading  lady  for  "The  Playboy  of  Paris" 


Despite  appearances  at  the  right,  Dorothy  Burgess  is 
seriously  thinking  of  giving  up  vamping,  now  that  she  has 
a  chance  to  be  good  in  "The  Painted  Desert" 


A FEW  days  after  announcing  her  third  engagement 
in  less  than  six  months,  Dolores  Del  Rio  up  and 
arried  Cedric  Gibbons,  art  director.  Mr.  Gibbons  has 
en  no  slouch  at  this  engagement  stuff  himself.  His 
lame  was  closely  linked  with  Aileen  Pringle's  for  several 
rears,  and  it  was  Cedric  who  cooked  up  that  joke,  along 
vith  Virginia  Valli,  of  announcing  their  engagement, 
'just  to  see  if  the  papers  would  print  it." 

Just  what  happened  to  the  burnmg  romance  between 
Dolores  and  John  Farrow,  the  scenarist,  is  not  known. 

"They  say  "'  that  John  would  like  very  much  to  renew 
lis  friendship  with  Lila  Lee,  which  went  on  the  rocks  at 
he  time  of  the  Del  Rio  interlude.  At  this  writing  Lila 
s  ill  in  a  sanitarium  in  Arizona,  and  unmarried.  James 
Cirkwood  has  won  not  only  his  divorce  (grounds:  deser- 
ion),  but  custody  of  their  child. 


F 


REDERICK    Lonsdale's   story  for   Evelyn  Lave 
arrived  in  Hollywood  in  instalments. 
Evelyn,  herself,  brought  the  first  part  of  "Lrlli." 
Ronald  Colman  arrived  from  London  with  the  finish. 
And  now  Lonsdale  is  here  with  the  iniddle! 


By  DOROTHY 
MANNERS 


I' 


I 


.  r  • 

\ 


Russell  Ball 

A CERTAIN  movie  star  in  Hollywood  owns  the  con- 
trollmg  mterest  m  one  of  our  smartest  dress-making 
establishments — but  she  insists  on  keeping  her  business 
venture  a  secret. 

"Why  not.'"  she  shrugs.  "My  divorced  husband's  new 
sweethearts  are  my  best  customers.  I  can't  take  anv 
chances  with  all  that  trade." 


GRETA  Garbo  reporting  promptly  at  the  studio  for  a  netv 
photographic  sitting. 
John  Gilbert  inviting  seventy-five  friends  to  be  his  guests 
the  premiere  of  Ina  Claire's  play,  "  Rebound." 
King  f'idor,  Eleanor  Boardman,  Donald  Ogden  Ste:rart, 
Mr.  and  Mrs.  Barney  Glazer  in  his  party. 

F,ighty-t:io  baskets  of  flo:vers  jammed  into  Ina's  dressing- 

43 


at 


I 


News  And  Views  Oi 


room  at  the  close  of  the  performance.     A  flower  show. 


PARAMOUNT  tried  once  before  to  change  Buddy 
Rogers's  name  to  the  more  dignified  Charles  Rogers — 
but  this  time  they  are  going  to  insist  upon  it.  They  claim 
that  the  "Buddy"  is  too  juvenile  to  fit  in  with  his  newly 
sophisticated  roles  and  they  are  making  no  compromise 
with  the  nickname.  The  first  time  they  did.  Remember 
"Charles  (Buddy)  Rogers.'"'  From  now  on,  it  is  to  be  just 
plain  Charles  Rogers. 

In  the  meantime,  while  the  Great  Change  takes  place. 
Buddy's  nameless  brother,  "Bh,"  has  been  christened 
Bruce  by  Paramount  officials. 


LUNCH  in  the  Paramount  Cafe: 
J    Marlene  Dietrich.,  slightly  ill  from  the  heat,  sipping 
cold  tea. 

Gary  Cooper  with .  a  week's  growth  of  beard  for  Fon 
Sternberg's  new  picture. 

Jesse  Lasky  and  B.  P.  Schulberg  lunching  out  with  "the 
help." 

Frances  Dee  meeting  Mary  Brian  for  the  first  time  and 
liking  her  "lots." 


IT  doesn't  take  these  chicks  long  to  get  ideas  about  their 
careers! 

Frances  Dee,  the  little  extra  girl,  chosen  by  Maurice 
Chevalier  to  be  his  leading  lady  in  "The  Playboy  of 
Paris"  (erstwhile  "The  Little  Cafe"),  is  now  playing 


opposite  Charles  Rogers,  who  also  favors  newcomend 

"Of  course,"  said  Frances,  musingly,  "I'm  glad  to  ha*^ 
the  opportunity  to  be  playing  with  Mr.  Rogers  in  t\ 
picture,  but  my  own  part  is  nothing  more  than  a  walk-if 
walk-out  role.  No  chance  at  characterization  at  all." 

And  she  told  me  herself  that  six  months  ago  she  worked 
as  an  extra  in  a  scene  with  three  hundred  others  in  a  pici 
ture  of  Buddy's.  (I  mean  Charles's.) 


JUST  around  town: 
Jean  Harlow  walking  from  a  parking  station  to  tht 
Embassy  in  an  elaborate  and  decollete  gown,  giving  tA| 
natives  a  treat. 

Joan  Bennett  denying  she  is  secretly  wed  to  John  Conl| 
sidine,  Jr. 

Olga  Baclanova  looking  at  baby  shoes  in  a  shop  on  thi 
Boulevard,  for  the  best  reason  in  the  world. 

Ann  Harding,  Joan  Crawford  and  Ruth  Roland  making  , 
sunburned  trio  at  the  Embassy  luncheons. 

Elsie  Janis  appearing  in  public  for  the  first  time  sinc.l 
the  death  of  her  mother,  dining  quietly  with  a  business  friendM 


NOT  more  than  a  couple  of  years  ago,  Harry  Cohn  anc^ 
his  Columbia  pictures  were  looked  on  as  the  death' 
knell  of  fame  and  celebrity.  Just  a  step  above  Povertji 
Row,  Harry  rated  as  a  last  resort.  Now  his  contracts  anj 
being  sought  by  the  biggest  directorial  names  in  Holly- i 
wood.  Those  who  have  signed  with  him  are:  D.  W'3 
Griffith,  King  Vidor  and  Jack  Blystone,  who  directed  Wil! 
Rogers  so  successfully  in  "So  This  Is  London." 


Fryer 


She  did  not  dye  for  dear  old  Hollywood:  naturally  a  singer,  as 
well  as  a  blonde,  Jeanette  Loff  is  more  or  less  vinder  cover  in 
"The  Boudoir  Diplomat" 


He  evaded  the  woman  question  in  "The  Dawn  Patrol,"  but 
with  Mary  Astor  distracting  Him  in  "Adios,"  Richard 
Barthelmess  has  something  better  than  steps  to  watch 


44 


OLLYWOOD  Today 


R 


UTH  Chatterton's  inseparable  pal  in  Hollywood  is 

 Lois  Wilson.  Lois  has  a  rare  gift  for  friendship  with 

the  women  who  reach  the  peak  of  screen  attainment.  For 
years  she  was  Gloria  Swanson's  closest  companion,  and 
that  at  a  time  when  Gloria  was  frank  in  admitting  "she 
didn't  trust  women." 

Lois  spends  practically  every  week-end  with  Ruth  and 
Ralph  Forbes  at  their  home  in  Malibu.  They  spend  entire 
days  in  their  bathing  suits  and  try  not  to  hear  the  'phone, 
lest  it  be  some  business  summons  from  Hollywood.  At  the 
first  breathing  opportunity  between  pictures,  Lois  and 
Ruth  are  planning  a  trip  to  New  York  together. 


THE  scenario  editor  was  explaining  to  the  new  writer 
from  Broadway  just  what  he  did  not  want  in  a  story: 
"We  don't  want  old  women,  kids,  war,  crooks,  society, 
convicts  or  prisons,  Cinderellas,  or  mistaken  identity 
themes.  Now,  what  would  you  suggest.'" 
"The  calendar,"  gasped  the  author,  before  he  fainted. 
There  are  daze  and  daze — 


AROUND  the  lots: 
.    Sue  Carol  on  her  way  to  the  Amos  'n  Andy  tea. 
Bebe  Daniels  ahead  of  time  for  an  interview. 
Jeanette  Loff  and  John  Boles  discussing  business  with 
their  mutual  agent. 

Greta  Garbo  surprising  one  of  the  boys  around  the  M-G-M 
*lot  by  calling  him  by  his  first  name. 

Betty  Compson  and  Hugh  Trevor  strolling  arm-in-arm 
ttoward  Betty's  set. 


DOROTHY  Lee,  R.K.O.  cutie,  who  recently  broke  off 
an  engagement  to  Fred  Waring,  is  going  to  marry 
Jimmy  Fidler,  young  Hollywood  publicist,  in  the  near 
future. 

It's  all  very  confusing  to  Dorothy's  colored  maid  and 
practically  impossible  for  her  to  keep  the  young  men's 
names  straight.  Answering  the  'phone  to  a  newspaper 
reporter  the  other  day,  she  gave  out  the  astounding  in- 
formation that  "Mis'  Dor'thy  gwine  marry  Fred  Fidler" 
and  after  a  sound  correction  from  Dorotiiy,  she  called: 
"Hoi' on!  Hoi' on!  Gen'lemun's  name  is  Jimmy  Waring!" 


EILEEN  Percy,  turned  newspaper  columnist,  on  the 
M-G-M  lot  gathering  gossip  for  her  paper. 
R.K.O.  seething  with  Indian  candidates  for  "Cimarron." 
Betty  Compson  arranging  a  gardenia  centerpiece  for  her 
own   table.    Betty's  fresh-flowers-for-the-house  bill  runs 
fifteen  dollars  daily. 

Leila  Hyams,  her  mother,  father  and  husband  taking  a 
Contract  Bridge  lesson. 

Ruth  Chatterton  pronouncing  Paris — "Par-^^j" — and 
all  Hollywood  doing  likewise. 

Mack  Sennett  picking  out  a  tune  on  the  piano  in  his  outer 
office. 


THE  miniature  golf-courses  are  playing  merry  old 
havoc  with  attendance  at  the  movies. 
And  now  comes  the  report  that  Fox  is  making  every 
effort  to  buy  up  the  little  tricks  that  are  adding  gray  hairs 
{Continued  on  page  qi) 


Don  Bnglith 


Time  and  Tide  wait  for  no  man  -  but  Frances  Dee  itn't  time, 
and  Roaita  Moreno  i«n't  Tide.  Newcomeri  to  the  Gold  Coast, 
both  of  them  are  on  the  verge  of  arriving 


C.  S.  Bull 

"A  blonde  with  a  brunette  temperament":  such  a  type  was 
wanted  for  the  rflle  of  Nina  T.  in  "Trader  Horn"  -and 
Edwina  Booth  is  the  girl  who  met  the  demand 


45 


High  Hoj^J 


If  You  Want 
Play  The|} 


If  Santa  has  filled  your  stockings, 
there's  nothing  like  sheer  stuff  and 
nonsense  to  put  you  where  you  be- 
long. Let  Doris  MacMahon  (abovej 
tip  you  off  to  the  height  of  fashion, 
and  let  Laura  Lee  (top  left)  give  a 
rap  about  doubling  those  resources, 
but  look  to  Inez  Courtney  (left)  for 
the  height  of  modesty 


I 


To  Make  A  Fortune, 
Sock  Market 


Fty»f 


If.  like  Laura  Lee  fright),  you  have 
what  Broadway  calls  "daddies"  long 
legs,"  there  could  be  nothing  wrong 
with  the  picture.  And  if  you  have 
plenty  of  lupport.  as  the  doe» 
above  I.  you  should  have  a  balance. 
But  if  you  have  seen  the  last  h<ise 
of  iummer.  like  Irene  Delroy  top 
right  I,  scuttle  for  the  nearest  pin- 
cushion 


1 


The  Land  of  Liberties 

It's  A  Wise  Brain  Child 
That  Knows  Its  Own  Author 


By  HELEN  LOUISE  WALKER 


ONE  of  the  things  which  continues  to  astonish  me 
I  in  this  most  astonishing  of  all  industries  is  what 
f  happens  to  a  popular  novel  or  play  when  it  is 
transferred  to  the  screen. 
A  producer  will  pay  a  fabulous  sum  for  a  book  that  has 
been  a  best-seller  or  a  play  that  has  had  a  long  run  on 
Broadway — on  the  assumption  that  its  previous  popular- 
ity will  draw  people  into  picture  theaters  because  they 
have  already  heard  of  it.  He  pays,  in  other  words,  for 
previous  publicity. 

Then,  the  first  thing  he  does,  upon  acquiring  the  rights 
to  the  thing,  is  to  disguise  it  by  changing  the  title!  This, 
I  gather,  is  on  the  theory  that  the 
person  who  wrote  it  in  the  first 
place  did  not  know  about  titles. 
At  least,  he  did  not  know  how  to 
devise  a  title  with  box-office  ap- 
peal. Well,  it  is  a  difficult  thing 
to  comprehend,  after  all — this  box- 
office  appeal.  Erskine's  "Sincer- 
ity" becomes,  upon  the  screen, 
"The  Lady  Surrenders."  And 
"Liliom"  becomes  "A  Devil  with 
Women."  You  see  the  general 
trend.  ... 

Sometimes,  of  course,  changes 
of  title  are  necessary  because  the 
work  has  been  forbidden  by  the 
Hays  office.  It  doesn't  matter, 
you  understand,  if  they  make  the 
picture.  They  just  mustn't  call  it 
by  its  right  name.  In  other  words, 
a  risque  story,  by  any  other  name, 
isn't  nearly  so  demoralizing  for  the 


kiddies.  A  change  of  title  makes  everything  all  righ 
A  Rose  Under  Another  Name 

AIN,"  you  recall,  was  forbidden — and 


then 


wa 


At  top,  a  real  old  Western  scene  between  Howard 
Estabrook,  writer  (left)  and  Loiiis  Sarecky,  asso- 
ciate producer,  aiming  to  make  "Cimarron." 
Above,  Director  Wesley  Ruggles  watches  every 
move  Estabrook  makes 


made,  under  the  name  of  "Sadie  Thompson.'^ 
Which  cleaned  it  all  up  nicely. 

After  they  get  the  title  readjusted,  they  settle  down  t<i 
a  process  that  is  called  "adapting"  the  story — that 
putting  it  into  form  that  can  be  screened. 

This  is  quite  a  chore  and  usually  involves  writing  ar 
entirely  new  story.    Sometimes,  a  whole  flock  of  people 
write  stories  to  fit  the  new  title.   Not  that  that  mattersj 
The  picture  will  probably  have 
six  or  eight  different  titles  before 
it  is  released. 

But  you  see,  after  they  buy  thi 
thing,  it  occurs  to  them  to  lool 
around,  in  a  startled  fashion,  tfl 
see  whom  they  have  on  the  loi 
who  can  play  in  it.  If  they  finf 
that  they  do  not  have  any  people 
who  exactly  fit  the  rdles,  then  they 
must  change  the  story  to  fit  the 
actors  they  have  on  hand.  You 
will  admit  the  efficiency  of  this 
method,  I  am  sure. 

Take  "Cimarron,"  Edna  Fer- 
ber's  novel,  which  R.  K.  O.  is  now 
making  into  a  picture.  Sabra, 
Yancey  Cravat's  wife,  is  really  the 
chief  character  of  the  book.  The 
romantic,  mercurial  Yancey  flashes 
in  and  out  of  the  story  as  it  suits 
{Continued  on  page  g6) 


48 


Don  English 


Left   At   The  Halter 

And  that,  opines  Gary  Cooper,  is  better  than  getting  a  hoss  laugh  in  the  vestry. 
Hitching  posts  are  all  right  for  busted  broncos,  but  he-men  shouldn't  be  tied  down. 
He's  got  some  cutting  up  to  do  yet,  and,  anyway,  he'd  rather  do  his  fighting  in  pic- 
tures like  "The  Spoilers" 


50 


Gilding 


By 

1  E  R  B  E  R  T 

:ruikshank 


Or,  How  To  Improve  The  Film-s 
With   A   Little   More  Silence 


No  less  an  authority  than  Oscar  Wilde  has  said 
that  a  truth  ceases  to  be  a  truth  when  it  be- 
comes a  platitude. 
Yet  there's  many  a  truth  hidden  in  platitude, 
n  fact,  it  is  platitude,  rather  than  love,  that  makes  the 
vorld  go  round.  Civilization  is  founded  upon  it.  It  echoes 
Vom  high  places  and  reverberates  in  lowly  ones. 

We  all  know,  for  instance,  that  the  pitcher  who  goes  too 
)ften  to  the  box  "blows  up"  at  last — generally  with  the 
score  tied  and  three  men  on  base  in  the  ninth.  Raided  love 
lests  demonstrate  the  axiom  that  a  fool  and  his  honey  are 
soon  parted.  Obviously,  people  who  live  in  glass  houses 
houldn't  roll  bones.  Unless,  of  course,  they've  fixed 
rhings  Down  Town. 

This  sort  of  thing  could  go  on  until  we  were  all  laid  end 
on  end  and  stretched  from  dead-line  to  publication  date. 
3ut  you  get  the  general  idea.  And  the  point  that  is  about 
to  be  made  is  that  Silence  is  Golden,  even  in  sound  pic- 
tures. 

Not  that  the  movies  should  be  seen  and  not  heard.  Ah 
no,  not  that.  True,  some  of  them  would  confer  a  boon 
upon  mankind  if  they  weren't  heard — or  seen,  for  that 
matter.   But  that  is  neither  here  nor  rare. 

The  vital  fact  of  the  matter  is  that  the  gold  of  silence 
assays  higher,  now  that  the  screen  re-echoes  with  a 
silvered  sibilance,  than  ever  it  did  when  the  movies 
were  still  as  the  voice  of  conscience.  For 
then  there  were  no  contrasts.  All  cats, 
so  to  speak,  were  grey.   And  their 
mewings  hushed  in  celluloid  ceno- 
taphs.   I  hen  a  title  had  to  tell  us 
"Came  the  dawn."   While  now, 
from  the  peace  of  night,  we  can 
actually  hear  it  boom  as  it  thun- 
ders up  from  China  'cross  the 
bay.    That's  what  you  call 
contrast.  Silent  night — sound 
dawn. 

Business  also  is  basically 
sound,  they  tell  us,  as  stocks 


thud,  bodies  fall  and  banks  crash.  But  think  how  much 
more  dramatic  the  picture  would  be  if  the  nation's  pooh- 
bahs  contributed  a  little  silence  instead  of  telling  riddles 
and  funny  stories. 

Speaking  of  Sound  Business 

THE  advent  of  the  talking  screen  obviated  one  ad- 
vantage that  the  stage  had  always  held  over  motion 
pictures.  In  the  theater,  one  of  the  most  effective  bits  of 
stage-craft  is  the  use  of  silence  in  stressing  a  climactic 
moment.  The  mere  absence  of  sound  can  make  the 
silence  shriek  louder  than  all  the  clamor  of  Babel. 
Witness,  for  instance,  the  use  of  silence  in  "Journey's 
End,"  both  play  and  picture,  when  in  the  most  dram- 
atic moment  the  booming  of  the  guns  is  for  the  first  time 
hushed. 

But  when  all  movie  moonshine  was  stilled,  silence  was 
robbed  of  its  theatric  value.  The  best  that  could  be  done 
to  gain  the  effect  was  to  have  the  orchestral  accompani- 
ment to  the  picture  suddenly  cease  when  the  big  moment 
arrived.  Crude  as  was  this  device,  movie  maestros  used  it 
not  infrequently.  And  the  mere  cessation  of  the  music 
emphasized  the  drama  enacted  on  the  screen.  The  next 
time  you  see  a  vaudevillian  ride  a  high  bicycle  from 
gallery  to  stage,  swing  the  spangled  blonde  over  the 
audience  by  his  teeth,  or  perform  whatever  feat 
marks  the  climax  of  his  act,  watch  him  signal  the 
orchestra  leader  for  silence.  In  the  circus 
listen  vainly  for  the  blaring  band  when 
the  tumbler  makes  his  Leap  for  Life. 
You'll  get  an  idea  of  the  screen's 
handicap  in  being  unable  to  use 
silence  because  there  was  too  much 
/^  of  it. 

i"^-!    ^  But  the  talkies  have  obviated 

this.    From  the  first  of  the  big 
ones,  employment  of  the  new 
asset  has  been  apparent.  The 
tensest  scene  in  "Broadway 
{Continued  on  page  pp) 


51 


It  Pays  To  Be  Poor 

Chester    Morris    Is    Cashing  In 
As   The   Poorest   Star   In  Town 


By 

ELISABETH 
GOLDBECK 


IT  H  O  U  G  H  T 
Chester  Morris 
was  the  white- 
haired  boy  of  the 
talkies  from  the  begin- 
ning. I  didn't  know  he 
had  an  early  struggle 
to  his  name,  so  far  as 
Hollywood  was  concer- 
ned. I  thought  he  simp- 
ly made  "Alibi,"  was 
besieged  with  offers  on 
every  side,  command- 
ed a  fabulous  salary, 
and  had  since  been  liv- 
ing off  the  fat  of  the 
land,  regarding  a  thou- 
sand dollars  a  week  as 
mere  pin  money. 

Imagine  my  surprise 
to  find  that,  for  four 
months  after  "Alibi" 
was  made,  there  wasn't 
a  studio  in  Hollywood 
that  would  let  Chester 
in.  That  he  suffered 
the  agonies  of  failure 
and  poverty  before  he 
reached  his  present 
eminence. 

And  that  now,  hav- 
ing just  built  a  barbe- 
cue oven  in  his  back 
yard,  he  hasn't  enough 
money  left  to  buy  the 
meat. 

It  was  that  old  dis- 
coverer, D.  W.  Grif- 
fith, who  made  the  first 
tests  of  Chester,  while 
he  was  playing  in  New 
York  in  "Crime." 
Roland  West  saw  those 
tests,  when  he  was 
looking  for  a  believable 
villain  to  play  in 
"Alibi."  He  wired,  of- 
fering Chester  a  United 
Artists'  contract. 

Chester  didn't  want 
to  go.  He  didn't  have 

52 


sense  enough.  It  wa 
his  manager,  A 
Woods,  who  arrange 
the  whole  thing  an 
finally  hustled  him 
to  Hollywood. 

Chester,  that  fiend^ 
ish  crook,  arrived  witi 
the  baby's  bathtub  un-1 
der  one  arm  and  ^ 
straw  suitcase  in  tin 
other.  He  was  rather 
relieved  that  Roland 
West  wasn't  at  the 
train. 


Broadway  Came  Off 

THE  next  day,  he 
presented  himself  'f*' 
to  Mr.  West,  arrayed 
in  spats,  a  derby 
hat,  cane,  and  gloves. 
Roland  took  one  look 
at  him. 

"H'm,"  he  said. 
"Actor.  Well,  we  don't 
have  anything  like 
that  out  here.  You'll 
have  to  give  that  up." 

Chester  went  to 
work.  He  finished 
"Alibi."  United  Art- 
ists, simply  not  Morris-  ' 
conscious,  failed  to 
take  up  his  option. 
For  four  long  months 
he  hung  around  Hol- 
lywood, trying  to  get 
work.  But  no  one  had 
ever  heard  of  him,  and 
no  one  apparently 
wanted  to. 

"Those  four  months 
were  horrible,"  Ches- 
ter said.  "I  hired  an 
agent.  I  hired  a  press- 
agent,  and  I  was  in  a 
Fool's  Paradise  every 
morning  at  breakfast 
when  I  read  things 
about  myself  in  the 
paper.  I  thought  I 
was  a  big  shot.  But  I 
soon  found  out  that 
nobody  read  them  but 
other  actors  out  of 
work.  My  press-agent 
{Continued  on 
Bull      page  102) 


ews 


amera 


When  an  actor  isn't 
taking  something 
out  of  an  icebox, 
but  is  putting  some- 
thing in,  it's  news. 
Eddie  Q  u  i  1  1  a  n 
(right)  has  just  dis- 
covered what  is 
meant  by  "the  dog 
days"  and  intends 
to  have  cold  feet  to- 
morrow. And  Joe 
E.  Brown  (left), 
who,  Hke  Sherlock 
Holmes,  smokes  a 
pipe,  thinks  it's  a 
crime  if  he's  trailing 
anybody  now 


53 


CINEMA    SHOTS    FROM  COAST 


One  hundred 
per  cent. 
American  : 
chief  actor  in 
the  powerful 
silent  of  Indian 
life,  "The 
Silent  Enemy," 
Chief  Long 
Lance  (left), 
Blackfoot 
Indian  and  ex- 
West  Pointer, 
is  the  latest 
"discovery" 
of  the  talent- 
seekers 


Lippman 

It's  easy  to  see  that  Irene  Delroy  (above)  is  a 
newcomer  to  Hollywood,  or  she  would  never 
have  been  caught  actually  immersing  a  bathing 
suit.  If  she  weren't  going  up  the  ladder,  she 
would  probably  be  ostracized 


k 


i 


There  comes  a  time 
in  the  life  of  every 
little  actress  when 
it  is,  if  not  neces- 
sary, at  least  ad- 
visable to  reveal 
some  native  talents 
— which  explains 
why  Betty  Boyd 
is  appearing  in  a 
thing  or  two  (left) 


Puzzled:  John  Wayne,  who  has  been 
accused  of  looking  like  Gsiry  Cooper, 
wonders  (below)  how  a  prop  boy  con- 
verted into  a  hero  for  "The  Big  Trail" 
should  act  when  Ward  Bond  gives 
Marguerite  Churchill  a  left  hook 


When   you  havfl 
long  hair  in  Holly"| 
wood  and,  more 
over,     the  kind 
that  doesn't  fa 
out,  the  best  thir 
to  do,  says  LotI 
tice  Howell,  lyin| 
at  left,  is  to  le 
the  matter  drop 


How  dry  they  are:  Frances  Dee,  a  newcomer,  and  Rosita  Moreno,  a 
ditto — from  Spain  no  less  (left),  having  gone  down  to  the  seas  again 
aren't  so  busy  drying  their  hair  as  getting  the  sand  out  of  it 

Don  English 


54 


J 


.OAST   AND    BACK    TO    COAST  AGAIN 


In  this  madly 
talking  world,  it 
is  not  uncommon 
to  lose  one's  head, 
but  Mona  Maris 
(right),  for  vari- 
ety's sake,  has  ap- 
parently lost  her 
figure.  Moreover, 
her  eyes  are  not 
open.  How  does 
the  girl  manage  to 
get  along  so  well? 


It  "How  doth  the  busy  little  bee  improve 
each  shining  hour?"   That's  what  James 
Gleason  (above)  wants  to  know.  With 
only  acting  and  playwriting  to  do,  he 
needs  something  to  occupy  his  mind 


With  four  Marxmen 
about,  there's  bound  to 
be  some  shooting,  and 
they're  about,  all  right 
— about  to  finish  "  Ani- 
mal Crackers  "  on  Long 
Island.  Below,  you  see 
them  off  again,  in  the 
usual  order:  Beppo, 
Groucho,  Harpo  and 
Zeppo 


When  you  go  fishing 
around  Hollywood, 
you  need  not  only  a 
good  strong  line,  but  a 
baiting  suit,  opines 
Anita  Page  (above) . 
She  is  angling  for  more 
opportunitieslike  "  Lit- 
tle Accident"and  "War 
Nurse ' ' 


Between  Ludwig  Berger,  who  knows  a  thing  or  two  about  direct- 
ing, and  Maurice  Chevalier,  there  was  little  danger  that  Frances 
Dee  (right),  new  to  big  parts,  would  fall  down  in  "The  Little 

Cafe" 


Tabooed  Topics 

By     DOROTHY  SPENSLEY 


Ever  pr^^^^^^P^nrilollywood  mor- 
tals— ^forplTOento  talk  naturally  of  nat- 
ural things — is  Old  Man  Taboo,  warning 
us  to  watch  our  faltering  step 


IN  this  quaint  little  hamlet,  there  are  no  Republicans. 
There  are  no  Democrats.  Political  furies  never  lash 
its  snug  security.  No  one  ever  declares,  vehemently, 
that  he  is  a  Socialist.  No  one  cares  a  whoop,  appar- 
ently, about  the  Communist  party.  Political  controversies 
are  unknown.  Peace  and  quiet  reign,  and  who  cares 
whether  a  Smith  or  a  Hoover  sits  in  the  White  House? 

Democrats,  those  staunch  defenders  of  the  Solid  South, 
are  denatured  when  they  cross  the  state  line.  And  also 
examined  for  hoof-and-mouth  disease,  the  boll  weevil,  the 
Florida  fruit  fly  and  mint  julep.  Their  hearty  convictions 
on  the  power  of  the  party  are  sent  to  limbo  at  the  same 
time. 

Neither  is  there  age  in  this  sweet  Elysium.  The  years  are 
counted  for  two  decades  and  when  twenty  is  reached,  one 
automatically  drifts  into  an  indefinite  period  known  as 
"the  twenties."  One  stays,  unless  possessed  of  tremendous 
courage,  for  thirty  or  forty  years,  or  until  further  face- 
lifting becomes  impractical,  and  then  one  enters  "the 
forties."  The  courageous  souls  who  count  their  years  by 

56 


Illustrations 
By  C.  J.  Mulholland 


the  old-fashioned  twelve-months*  plan  are  deemed  exceed 
ingly  daring,  but  not  quite  fraternal. 

Youth  Goes  on  Forever 

THERE  are  exceptions,  of  course.  There  are  some  who 
smile  at  the  question,  and  admit  they  are  in  their  late 
twenties.  "Late"  may  be  considered  an  admission.  The 
curious  are  permitted  disbelief.  The  wise  say  nothing,  but 
nod  obligingly.  There  are  those,  well  on  toward  the  cen- 
tury mark,  whose  pleasure  is  so  great  in  admitting  it,  that 
they  are  accepted  with  amused  tolerance.  But,  mostly,  the 
inhabitants  of  this  hamlet  are  still  in  "the  twenties." 

Another  amazing  thing  about  this  community  is  the  lack 
of  religious  decision.  Despite  that,  we  gather  from  the 
distinguished  Professor  Smigeens,  D.Sc,  F.R.A.S.,  and 
F.O.B.,  who  has  just  returned  from  making  an  extensive 
survey  among  the  natives,  that  it  must  be  understood  that 
there  is  no  lack  of  faith  and  belief  in  dogma  and  doctrine. 
The  streets  are  lined  with  churches,  temples  and  syna- 
gogues, but  there  are  no  avowed  Presbyterians,  Catholics, 


i 


I 


Shh!  Shh!  There  Are  Some 
Things  You  Mustn't  Mention 


jiscopalians,  Scientists,  Baptists,  Seventh-Day  Adven- 
its,  Lutherans,  Methodists.  Devout,  apparently,  a 
odly  share  of  them,  with  Sunday  mornings  well  spent, 
iding  chaste  and  Christian  lives.  Still,  there  is  a  strange 
ence  when  the  question  of  determinate  creed  is  brought 
j).  Whether  this  is  due  to  bashfulness  remains  in  doubt. 

'  Movieland  Mysteries 

'TILL  other  mysteries  arise  to  confound  the  explorer. 
)  One  is  the  shudder  of  horror  with  which  they  greet  the 
ention  of  the  word  "liquor"  in  the  daily  prints,  if  it  is 
iked  with  their  names;  and  another  is  the  sacredness 
ith  which  they  treat  their  bootleggers'  telephone  num- 
i;rs.  This,  in  itself,  is  not  altogether  compatible,  but  prob- 
l)ly  has  some  mystic  significance.  It  is  strange  and  incom- 
ehensible,  to  the  observer,  to  note  the  lavish  manner  in 
hich  bottled  goods  are  consumed  and  the  utter  public 
sregard  that  accompanies  it. 

For  instance,  it  is  never  noted  in  the  papers  that  a 
:rtain  lady  entertained  with  a  cocktail  party.  When  it 
;aches  print,  the  lady  has  given  a  tea.  This  is  probably  in 
iference  to  a  law  effective  in  the  surrounding  country 
lat  prohibits  the  sale  and  consumption  of  intoxicants.  In 
seping  it  from  the  public  prints,  except  on  unsolicited 
:casions,  the  inhabitants,  we  presume,  are  thoughtfully 
.'fraining  from  causing  their  civic  neighbors  undue 
lalousy. 

Among  certain  of  the  members  of  the  community,  there 
a  decided  aversion  to  discussing  any  lurid  or  amorous 
flfairs  that  may  have  caused  considerable  comment  at  an 
arlier  time.  This  is  especially  true  of  women  who,  since 
le  explosive  publicity,  have  married  and  are  luxuriating 
1  the  pleasant  surety  of  that  state.  Any  references  to 
ectic  events  now  passed  are  marked  with  evident  reti- 
snce.  However,  this  is  not  axiomatic,  because  any  number 
f  females  glory,  conversationally,  in  the  memories  of  their 
abloid  indiscretions  and  aver  that  Art  is  in  Living  Fully. 

A  Quaint  Native  Custom 

PROFESSOR  SMIGGENS  is  more  or  less  at  a  loss  to 
account  for  these  taboos,  but  is  rather  inclined  to 
elieve  them  to  be  of  Polynesian  extraction.  In  Polynesia, 
ertain  things  are  set  aside  as  holy  by  native  tapu.  After 
n  extensive  study  of  newspapers  and  magazines  during 


If  you  know  your  taboos,  you  will 
never  mention  what  leading  men  have 
behind  them  in  the  way  of  women  and 
wine.   They  must  be  ignorant  of  life 


his  sojourn  in  this  quaint  hamlet,  he  finds  the  natives 
hemmed  in  by  taboos.  He  finds  personal  prejudices  that 
are  inexplicable  to  the  scientific  mind.  Hollywood,  for  that 
is  the  name  of  the  hamlet,  has  a  set  of  taboos  that  appar- 
ently are  unlike  any  other  in  the  world.  Even  the  town's 
discovery  was  unusual.  The  site  was  chosen  by  a  gentle- 
man named  DeMille  as  a  likely  spot  to  put  a  barn  that  had 
been  selected  as  the  cradle  of  the  motion  picture  business. 
It  may  be  the  extremely  modest  origin  of  the  industry, 
symbolized  by  a  barn,  that  makes  for  this  native  purity. 
On  occasion,  its  taboos  are  all  but  confusing. 

No  religion,  no  political  parties,  no  age,  unless  it  is  very 
young  or  very,  very  old.  Sometimes  even  the  given  name 
is  taboo.  It  was  Janet  Gaynor  who  objected  to  telling  the 
vast  and  waiting  world  that  she  had  been  christened 
Laura.  Just  what  was  behind  this  naive  tapu,  no  one  but 
she  and  perhaps  Lydell  Peck,  her  husband,  shall  know. 
Laura  is  derived  from  the  Latin  "laurus"  and  certainly  the 
bearer  is  entitled  to  such  a  wreath  for  her  cinema  per- 
formances. 

The  Unpardonable  Error 

THE  uncrowned  queen  of  this  land  has  her  special 
taboos,  too.  It  is  none  other  than  Mary  Pickford,  who 
doesn't  want  to  be  called  a  business  woman.  Anything  but 
that.  Artist,  actress,  woman,  yes — but  never  does  she 
want  to  be  described  as  a  lady  of  commerce.  Her  press- 
agent  takes  time  off  to  tell  you,  too — sometimes  pointing 
out  in  articles  already  ofF  the  press  that  the  unpardonable 
error  of  calling  Miss  Mary  a  business  woman  has  been 
made.  All  this  makes  life  exceedingly  difficult  in  taboo 
town. 

Frequently,  in  the  marts  of  the  motion  picture — in  the 
publicity  departments,  to  be  specific — you  will  find  neat 
little  sets  of  taboos  all  framed  and  ready  for  quick  refer- 
ence. Mention  of  marriage  is  one;  presumably  because 
chastity  is  more  to  be  worshipped  by  the  public  than  con- 
jugal bliss.  This  is  a  taboo  that  has  descended  from  the 
Francis  X.  Bushman  days  when  gelatin  heroes  were  not 
supposed  to  have  private  lives — or  wives. 

There  was  the  taboo  concerning  Nancy  Carroll,  whose 
bright  screen  ways  were  not  to  be  dimmed  by  association 
witn  husband  and  child.  Quiet  requests  were  made  to  soft- 
iContinued  on  page  8g) 


■"Me 


57 


M 


enace  or 


M  e  s  s  i  a  h  J 

•  •  Eisensteiil 
of  Red  Russia  Speak| 
His  Piece  • 


A  great  clamor  has  been  raised  by  the  professional 
protectors  and  protectresses  of  America  at  the  en- 
trance of  Eisenstein,  the  Soviet  motion  picture 
genius,  into  these  United  States.  A  creator  of 
strange,  chaotic  and  powerful  motion  pictures 
baring  the  drama  of  the  masses  in  the  Russia  of  to- 
day, his  influence  in  America  is  impossible  to  pre- 
dict. But  here  he  tells  what  he  wants  to  do,  what 
America  should  expect  from  him. — Editor's  Note. 


TO  the  United  States  of  Soviet  Russia  a  Messiah,  to 
the  United  States  of  America  a  "menace,"  Serge 
Eisenstein  is  to  his  mirror  a  short,  stocky  man, 
32  years  old,  with  wild,  appropriately  red  hair. 
Discovered  at  the  Paramount  studios,  where  he  was 
reading  prospective  scripts  for  his  first  American  picture, 
he  was  explosive  with  epigrams,  not  bombs.  As  sane  as 
you  or  I;  perhaps  saner.  And  intensely  interesting — mag- 
netic, dynamic,  far-seeing,  sensitive. 

There  is  nothing  of  the  gloomy,  Tolstoyan  soul-searcher 


By 


DOROTHY  CALHOU 


about  him.  He  is  a  laughing  Russian — the  n\ 
Russian,  he  tells  us,  of  the  post-Revolutionj 
era,  more  concerned  with  progress  than  his  sij 
soul,  more  interested  in  tractors  than  destir 
more  like  the  American  of  today  than  afl 
other  people. 

"Only  in  America  and  in  Russia  is  there  an| 
thing  important  being  done  on  the  screen," 
cries.  "Call  my  pictures — 'The  Old  and  the 
New'  and  'Ten  Days  That  Shook  The  World  '— 
call  them  propaganda,  if  you  like.  What  is 
propaganda  but  an  idea,  an  idea  so  strong  that 
it  must  find  outlet  in  artistic  expression? 
Dante's  'Inferno'  was  nothing  but  political 
propaganda  at  the  time  it  was  written,  aimed 
at  his  party's  enemies.  Much  of  the  world's 
art  had  its  origin  in  propaganda.  You  Ameri- 
cans use  the  word  as  if  you  were  afraid  of  it! 

The  Butterfly  Crusher 

IN  Russia,  the  making  of  movies  is  under  the 
supervision  of  the  Department  of  Educa- 
tion, as  it  should  be.  Rightly,  the  Soviet  recog- 
nizes the  motion  picture  as  the  greatest  avail- 
able means  of  education  and  spreading  thought. 
Here  you  do  not  realize  the  power  of  what  you  have.  You 
use  only  one  tiny  bit  of  the  possibilities  of  the  cinema — 
like  a  tremendous  machine  put  to  crushing  butterflies. 
There  is  nothing  you  could  not  accomplish  with  the 
movies — nothing! 

"In  Russia,  we  are  making  a  new  world  with  the  aid  of 
the  cinema.  Our  peasants  cannot  read  or  write,  many  of 
them,  but  they  can  all  understand  pictures,  and  if  bread 
is  dear  and  they  cannot  afFord  meat  or  shoes,  the  govern- 
ment has  seen  to  it  that  everyone  can  afFord  amusement. 
In  the  villages,  pictures  are  shown  free.  In  the  cities,  there 
are  especial  low  rates  to  workmen's  societies  and  no  one 
need  go  without  pleasure.  You  think  my  pictures  are  not 
very  amusing  perhaps.^  But  you  do  not  understand 
Russia. 

"Your  ideas  of  my  country  and  its  people  come  from 
books  written  in  the  pre-Revolutionary  period.  That  time 
is  gone,  those  people  are  gone.  In  those  days,  they  asked 
questions,  hopelessly,  of  Life,  of  God.  Now  we  are  finding 
the  answers  to  those  questions.  The  new  Russian  is 
{Continued  on  page  92) 


58 


Laurence  Reid 
Reviews 
The  New 
Photoplays 


It's  Got  That  Kick 


IT  took  four  million  dollars  and  three  years  to  m; 
this  "Hell's  Angels."  With  such  a  bally-l 
abroad  one  couldn't  blame  the  public  for  expect) 
something  worth  while. 

It  doesn't  fail.  It  impresses  one  as  being  about  t 
most  stupendous  thing  of  its  kind  ever  filmed.  W 
emphasis  placed  upon  its  air  shots  I  looked  for 
sloughing-ofF  of  the  story. 

True  it's  just  a  poor  prop  to  carry  the  thrills  w' 
Ben  Lyon,  as  the  younger  brother,  eager  for  life  a 
endowed  with  a  dash  of  yellow,  while  James  Hall  is ' 
upright  youth  who  humanizes  his  r6le. 

But  after  all  is  said  and  done,  the  picture  com 
through  with  its  sky  scenes.    We  may  have'  beco 
satiated  with  so-called  "epics  of  the  air,"  but  this  t 
them  all — particularly  in  the  shots  of  the  Zeppeli 
There's  your  "Hell's  Angels" — A  picture  well  wor 
seeing. 


Old— But  a  Natural 

ONE  might  suspect  that  Constance  Benne 
wealthy  young  woman  of  the  world  an 
glamorous   heart-breaker  of  two  continents 
would  not  be  entirely  comfortable  portrayin 
the  poverty-stricken,  man-persecuted  heroine 
that  hokum  melodrama,  "Common  Clay."  Bui 
the  suspicion  would  be  only  half  correct.  Foii 
after  a  bit  of  floundering  in  the  early  sequence" 
Constance  succeeds  nicely  in  putting  herself  in 
character.  Her  hesitation,  however,  is  sufficient 
to  permit  Lew  Ayres  to  steal  first  honors. 

The  picture  is  somewhat  changed  from  the 
earlier  screen  and  stage  versions  by  the  plastic 
surgery  of  the  Hollywood  scalpels,  but  the  gen- 
eral contour  is  preserved. 

The  plot,  you'll  remember  is  about  the  un- 
protected working  girl  pursued — and  caught — 
by  divers  villains.  There's  a  child,  a  lover  and  a 
prosecuting  attorney  who  doesn't  surprise  us  a 
bit  when  he  is  exposed  as  Connie's  unwed  daddy. 


Death  Takes  No  Holidays 

AVERY  gallant  drama,  ably  enacted  by  Richard 
Barthelmess,  and  an  earnest,  talented  group  of 
juveniles,  "The  Dawn  Patrol"  soars  to  a  new  altitude 
record  for  aviation  photoplays.  No  women  in  the  cast. 

The  characters  are  British  fliers,  hurried  to  certain 
death  from  inadequate  aviation  schools,  and  sent  to 
meet  destruction  in  ships  all  unfit  to  fly. 

If  the  film  has  demerits  they  lie  in  the  love  of  Holly- 
wood for  exaggeration.  There  is  a  deal  of  drinking,  for 
instance.  Not  that  the  birdmen  of  battle  flew  inter  the 
cannon's  mouth  without  a  tilt  with  Bacchus. 

But  for  all  this,  the  drama  is  so  tense,  its  char- 
acters so  pitifully  brave,  that  the  production  leaves  its 
indelible  impression  upon  the  heart  of  the  beholder. 
Mr.  Barthelmess  is  superb.  But  fine  as  is  his  portrayal, 
he  must  share  the  ample  honors  with  Douglas  Fair- 
banks, Jr.,  Neil  Hamilton,  and  the  other  youths  in- 
__        the  cast. 


60 


c 


THIS  MONTH 

Hell's  Angels 
Common  Clay 
The  Dawn  Patrol 
Moby  Dick 
Manslaughter 
Rain  Or  Shine 


Love  And  The  Law 


i  TAYBE  you  remember  the  old,  silent  version  of 
this  picture,  "Manslaughter."  If  so,  you'll  recall 
;  as  a  distinct  triumph  for  director  Cecil  De  Mille. 
ind  for  his  stars,  Tom  Meighan  and  Leatrice  Joy.  Also 
ou  will  be  able  to  compare  it  for  yourself  with  the 
resent  sound  edition  in  which  the  new  favorites, 
!)laudette  Colbert  and  Fredric  March,  supplant  the  old 
nes. 

The  film  fable  is  about  the  same.  There  have  been 
ome  deletions,  and  some  additions.  Thus  it  must  be 
he  changing  times  that  have  robbed  the  thriller  of  its 
ensity.  In  these  hlas'e  days  it  is  difficult  to  conceive 
f  a  District  Attorney — or  any  public  official — striving 
0  convict  his  lady-love  of  crime  rather  than  conniving 
0  acquit  her. 

But  if  you  can  accept  the  premise,  the  production 
if  "Manslaughter"  will  provide  satisfactory  enter- 
ainment.    The  cast  is  excellent. 


Thar  She  Blows 

rO  those  familiar  with  Herman  Melville's 
great  tale,  the  talkie  version  of  "Moby 
Dick"  will  seem  a  pale  parody.  To  others,  who 
ike  their  movies  moviesque,  John  Barrymore's 
atest  should  offer  a  reasonable  amount  of 
■ntertainment. 

As  in  the  silent  version,  the  magnificent 
Irama  of  sea  adventure  is  secondary  to  a  tepid 
omance — a  romance  Melville  neglected  to  in- 
:lude  in  his  story.  Handsome  John  is  again  the 
lard-boiled  tar  who  falls  in  love,  then  loses  his 
eg  to  the  White  Whale,  and  lives  only  for 
evenge  on  the  monster.  This  he  gets — and  the 
^irl  who  has  stayed  young  all  these  years. 

The  ship  and  whaling  scenes  are  colorful,  but 
lohn  is  ashore  more  often  than  not.  Barrymore 
iimself  gives  a  great  performance.  Joan 
Bennett  is  as  interesting  a  sweetheart  as  anyone 
could  be,  and  Lloyd  Hughes  a  convincingly 
jealous  brother. 


Cook's  Tour  De  Force 

JOE  COOK  will  never  have  to  imitate  four  Hawaiians 
again.  He  can  move  right  out  to  Malibou  and  be  a 
movie  star.  But  if  he  does,  it  is  to  be  hoped  that  he  is 
provided  with  stronger  vehicles  than  "Rain  or  Shine." 
The  plot  of  this  story,  adapted  from  Cook's  and 
another  season's  Broadway  stage  show,  is  watered  so 
copiously  as  to  prevent  the  star  shining  with  his  full 
brilliance.  But  nevertheless,  he  struggles  manfully 
with  the  situation,  and  frequently  triumphs. 

It  is  a  circus  yarn  with  Joe  foiling  the  villains  and 
rescuing  the  heroine  from  a  big-top  fire. 

The  film  boasts  fine  work  by  director  Capra,  and,  on 
the  whole,  is  a  highly  creditable  achievement  for  Cook. 
The  difficulty  lies  in  the  too  lengthy  footage  devoted 
to  many  sequences,  and  the  consequent  slowing  up  of 
the  entire  production.  This  may  be  occasioned  by  the 
star's  lack  of  film  technique.  In  the  theater  he  spends 
much  time  building  up  his  laughs. 


Above,  Fredric 
March  and  Claudette 
Colbert  contribute 
emotional  moments 
in  "Manslaughter." 
At  the  left,  "Moby 
Dick"  emerges  as  a 
talkie  with  John 
Barrymore  supported 
by  Joan  Bennett. 
He  also  starred 
the  silent  picture, 
"The  Sea  Beast." 
Below,  Joe  Cook  and 
Joan  Peers  make 
merry  in  "Rain  Or 
Shine" 


61 


Back  in  the  days  when  a  tar  could  spit  a  curve  into  the  wind,  gals 
never  turned  thumbs  down  on  the  uniform.   Maybe  in  those  days 
sailors  had  pockets.  But  sea-crafty  Lois  Moran  is  finding  ways  to  keep 
her  hands  occupied,  between  the  buttons  and  "Tonight  and  You" 


ihey  K 


now 


A  Thi. 


By 

DOROTHY 
MANNERS 


DAD"  Quillan,  wholesale  pere  of  Eddie 
and  the  clan  of  other  Quillans,  is  a 
grand  old  gentleman.   He  eats  pro- 
digiously. He  waves  his  arms  with 
:otch  gusto.  He  believes  doggedly  that  peo- 
e  are  good  and  that  religion,  particularly 
s  religion,  is  vital  to  living  life.   Now  and 
len,  he  thunders  his  approval,  or  disap- 
roval,  of  some  given  point  by  slamming 
ie  fist  of  one  hand  into  the  palm  of  an- 
ther.  In  another  mood,  he  winks  slyly 
t  his  own  quips  and  teases  his  brood  in  a 
oneyed  Scotch  brogue.    He  can  be 
Mider  as  a  woman  or  as  roaring 


as 


eacon. 

He  has  been  an  actor  all  his  life — and 
11  of  his  children  are  talented  "by  the 
jrace  of  God."  He  is  no  part  of  Holly- 
ood.  His  heart  is  too  big  and  simple, 
Imost  as  big  as  that  twenty-seven- 
)om,  old-fashioned  house  that  cov- 
is  his  Scotchlmgs.    He  belongs  to 
nother  day,  when  life  was  less 
(implicated.   "Dad"  Quillan  is  a 
rand  old  gentleman. 

He  told  me,  "Hollywood  can't 
ver  do  anything  to  my  children. 
It-cause  they  are  too  wise — not  in 
>nok  learnin',  mmd  you,  but  m  know- 
ng  life  out  of  lessons  from  real  ex- 
n  riences.    Take  Eddie. 
K  ain't  any  more  tai- 
nted than  my  others, 
ur  he  gets  the  break. 
\ll  right.    All  right. 
I  hat's  the  way  things 
lappen.  But  it  won't 
hange  him  any.  He 
;iu)\vs   it   for  just 
\  hat  it  is.  A  break. 
I  hat's  because  he's 
I  real  trouper,  not 
of  these  upstarts 
N.it  flares  up  with- 
mr   knowing  what 
his  business  is  all 

libout.  He  knows 
har  maybe  to-mor- 
ow  It  may  be  one  of 

lis  sisters  or  his 
brothers  that's  up. 

When   Eddie  was 

iusr  a  wee  bit  of  a 


mg  or 


T 


WO 


Dad"  Quillan's 
Yo  ungsters 
Learned  Their 
Lessons 
Backstage 


boy  in  a  Scotch  plaid  skirt,  swinging 
around  on  the  vaudeville  stage,  he 
learned  how  uncertam  the  breaks  are. 
I  drilled  it  into  them  when  they  was 
babies. 


Remedies  for  Swellings 


Ball 

If  you  think  the  irrepressible  Eddie  ("who  got  a  break  " ! 
are  right,  as  you  can  see  directly  above,  where  "Dad"  and 
up  solidly  by  John.  Eddie,  Marie,  Buster,  Joe,  Helen, 

Rosebud 


AYBE  in  one  town  we'd  get 
over   like    a   house  afire. 
Stop  the  show.   My  tots  would  trot 
back  and  take  encores  until  they 
was  more  tired  from  that  than  the 
work  of  the  act.  And  maybe  I'd  see  just 
a  little  bit  of  conceit  cropping  out  in 
them.   But  I  wouldn't  say  nothing.  No, 
ma'am.   I'd  bide  my  time.   In  teaching 
children,  actions  speak  much  louder  than 
any  words.    I'd  just  wait.    And  sure 
enough,  sooner  or  later,  we'd  hit  a  town 
where  the  act  would  fall  flatter  than  the 
proverbial  pancake.    Then  I'd  rally  my 
discouraged  little  brood  around  me.  That 
was  the  time  to  tell  them  something. 

"'Children,'  I'd  say,  'it  goes  to  show  you 
that  you  can't  ever  get  in  a  spot  where  you 
can't  be  upset.   You  ain't  never  so  good 
that  somebody  in  the  world  can't  up 
and  find  you  pretty  bad.  It's 
part  of  this  game.  It's  also  part 
of    the    game    of  living. 
When  you  get  to  the 
point   when   you  can 
take  the  big  spots  along 
with  the  rough  ones, 
and   take   them  both 
alike,   you'll   be  wiser 
than  an  owl.' 

"I  taught  them  to 
come  into  the  theater 
quietly  and  be  neat  in 
their  dressing-rooms 
and  courteous  to  every- 
body, from  the  head- 
liner  to  the  stage-hands. 
\  audeville  people  hate 
{Continued  on 
page  87) 


is  one  out  of  many,  you 
Mrs.  Quillan  are  backed 
Margaret,  Isabelle  and 


6.? 


Contrary  to  all  movie  tradition,  the  hero  sees  what  he  is  doing  when  he 
kisses  the  heroine,  and  the  heroine  is  caught  unprepared.  But  this  is  the 
first  time  Jackie  Coogan  (fast  growing  up)  has  ever  made  love,  and  the 
first  time  Mitzi  Green  has  ever  heard  of  such  a  thing — all  of  which  only 
makes  them  a  better  Tom  and  Becky  in  "Tom  Sawyer" 

64 


Now  Hollywood  Has  Grace 


By 

GLADYS  HALL 


And  Grace  Moore 
Has  Hollywood 


HOLLYWOOD  has  gone  Grand  Opera. 
Or  can  it  be  that  once  upon  a  time  Grand 
Opera  went  Hollywood  ? 
Certain  it  is  that  ever  since  Lawrence  Tib- 
bctt,  "The  Boy  Wonder,"  shook  the  rafters  of  the  Met 
and  the  hearts  of  his  enraptured  audiences,  the  meticulous 
Met,  hitherto  given  only  to  plethoric  Italian  gentlemen 
and  frankly  non-dietary  ladies,  went  pretty  completely 
Modern  American.  Some  say  commercial.  No  matter. 
What  does  matter  is  that  on  the  tide  of  whatever-you- 
call-it  such  un-operatic-looking  persons  as  Mary  Lewis, 
Grace  Moore,  Marion  Talley  and  others — home-grown 
products  with  home-grown  voices — swept  into  the  view 
of  the  charmed  Diamond  Horseshoe. 

Tibbett  is  held  responsible  for  the  metamorphosis  of 
the  Met.  He  should  also  be  held  responsible  for  the  meta- 
morphosis of  Hollywood.  For,  from  the  night  when  our 
little  town  went  mad  over  "The  Rogue  Song"  to  the 
present  day,  producers  have  been  going  more  and  more 
Grand  Op. 

No  longer  do  the  old  simplicities  prevail.  No  longer  can 
we  settle  down  to  a  good  comfortable  chit-chat  on  Norma 
Talmadge's  profile  or  Clara  Bow's  knees.  Ah,  no.  We 
have  joined  interests  with  Gatti-Casazza  and  you  could 
hardly  suppose  M.  Gatti-Casazza  to  be  interested  in 
knees. 

New  horizons,  now,  a  bit  appalling.  New  interests,  some 
of  them  over  the  heads  of  those  of  us  who  could  learn- 
edly discourse  on  the  merits  of  Westerns  versus  slapstick 
comedies.  New  personalities  to  which  we  must  grow  accus- 
tomed and  learn  to  like,  as  once  we  learned  to  like  olives. 


Milton  Brown 

Grace  Moore,  M-G-M's  importation  {via  a  private  car, 
a  swanky  party  and  all  due  publicity),  is  very  Grand 
Opera,  indeed.  Lacking  the  once  traditional  tummy,  she 
fills  the  bill  in  every  particular,  including  a  foreign  accent. 

She  is  also  in  the  grand  manner.  She  lives  in  an  enor- 
mous ranch  house  with  lofty  ceilings  and  lighted  cande- 
labra. She  speaks  in  a  soignge  fashion  of  her  house  on  the 
Riviera  and  elsewhere.  She  is  very,  very  Europe.  Grand 
operatic  gentlemen  drop  in  for  luncheon  and  there  are 
cocktails  and  wines  and  such  food  as  might  give  tummies 
to  emasculate  angels.  The  conversation,  touching  on  the 
Larger  Aspects,  smatters  of  the  League  of  Nations.  Ital- 
ian, Spanish,  French,  with  a  few  words  of  homespun  Eng- 
lish for  the  unlinguistic  Press.  You  have  to  pinch  yourself 
to  believe  that  you  are  really  in  sturdy  old  America  and 
not  in  sortie  foreign  salon. 

Secretaries  bow  attendance.  Water  taps  are  turned  ofF 
when  they  annoy  the  diva.  She  speaks  of  spending  a  week 
on  the  desert  in  absolute  solitude.  She  has  a  house  at 
Malibu,  where  she  takes  her  sun-baths,  and  her  masseuse. 
She  says  the  first  thing  she  does,  when  she  arrives  in  a  for- 
eign country  or  a  new  town  or  city,  is  to  engage  a  mas- 
seuse and  a  tutor  of  the  language.  These  two  servitors  are 
the  indispensables. 

Filmdom's  Funny  Foibles 

SHE  is  amused  at  Hollywood,  though  (when  we  talked) 
still  largely  unacquainted  with  it.    She  thinks  the 
complexes    Hollywoodians   get    about   themselves  and 
about  each  other  amusing.  She  likes  Greta  Garbo,  Gloria 
(Continued  on  page  82) 


65 


The  Battle 


Gary  Cooper  And 
Fight  To  A 


Without 


If  the  Sharkeys  and  Schmelings  de- 
cided things  as  do  the  Messrs. 
Cooper  and  Boyd  in  "  The  Spoilers," 
a  foul  would  mean  nothing,  and 
the  championship  question  would 
not  still  be  a  question.  Awrrk!  Bad 
Boy  Boyd  is  having  his  head  turned 
— off  (above).  But  no!-  he's  up 
again  (left),  inviting  Gory  Gary  to 
"take  that    and  that    you  d 


0 


/  The  Decade 


Bill  Boyd 
Big  Finish 
A  Referee 


Back  in  the  days  when  men  were  he- 
men,  the  biggest  and  best  fights 
were  in  "The  Spoilers."  First, 
William  Farnum  and  Tom  Santschi 
were  at  it;  then  Milton  Sills  and 
Noah  Beery.  And  now  comes  a 
talkie  bout  to  talk  about,  with 
Gary  taking  a  crushing  blow 
'abovcl,  yet  fighting  back  (right 
and  breaking  Bad  Boy's  esophagus 


67 


Are  You 


By    CEDRIC  BELFRAGE 

Illustrations  By  Eldon  Kelley 


IMAGINARY  scene  in  a  talkie: 
Mr.  A:  " Do  sing  something." 
Mrs.  B:  "I  don't  sing." 
Miss  C:  "Then  play  the  piano  for  us." 
Mrs.  B:  "I  don't  play  the  piano." 
Lord  Q:   "By  Jove,  then,  strum  us  something  on  the 
uke." 

Mrs.  B:  "I  don't  strum  the  uke." 

Marquis  de  Z:    "  Mille  tonnerres!    Zen  'ow  abo 
quelque  chose  on  ze  saxophone.''" 

Mrs.  B:  "I  don't  quelque  chose." 

I  said  an  imaginary  scene.  Such  a  thing  has  never 
happened  yet  in  the  talkies,  and  probably  never  will 
during  the  present  generation.  It  is  conceivable  that 
our  grandchildren,  toddling  around  our  gouty  knees 
in  the  dim  future,  may  tell  us  in  their  childish 
prattle  of  having  seen  such  a  thing  at  the  picture 
show.    But  at  the  present  stage  it  would  be  too 
much  of  a  shock  for  the  audience.  All  the  hospi- 
tals in  town  would  not  be  able  to  accommodate 
the  cases  of  severe  nervous  shock  which  would 
result. 

For  when  Mr.  A  asks  Mrs.  B  to  play  or  sing 
something,  we  all  know  that  they  have  the  voice- 
double  or  playing-double  ready  just  behind  the 
camera,  and  that  without  any  banter  or  the  slight- 
est need  for  persuasion,  Mrs.  B  will  proceed  to  do 
her  stuff. 


Heroes  Love  Music 


THE  producers  have  it  firmly  fixed  in  their 
heads  that  all  really  nice  people  are  musical. 
And  to  put  up  for  the  public's  approval  a  hero  or 
heroine  who  couldn't  sing,  play,  strum  or  blow  something 
— or  whose  double  couldn't — would  be  courting  disaster. 
It  would  be  as  bad,  to 
their  way  of  thinking, 
as  having  your  hero 
make  a  noise  like  a 
bath  drainingout  while 
imbibing  soup.  It 
would  be  as  bad  as 
having  a  detective 
come  into  a  room  with 
his  hat  off;  in  fact,  it 
would   be   almost  as 
disastrous  as  having  a 
heroine  who  didn't 
long  for  babies  and  the 


Th^t  is  the  great  thing 
about  being  musical  in 
the  talkies.  Instead  of 
being  denied  your  favor- 
ite music  at  such  times, 
any  instrument  you  may 
happen  to  play  is  always 
at  hand 


Whether  you  are  situated  in  the  fastnesses  of  the  desert,  on  the  top  of  a 
mountain,  or  on  top  of  the  world,  there  is  always  a  first-class  symphony 
orchestra  just  outside  camera  range 


love  of  a  good  man — I  mean  the  love  of  a  good  man  and 
babies — you  know  what  I  mean. 

I  am  afraid  the  acquisition  of  noise  by 
the  movies  continues  to  be  a  little  too  much 
for  our  producers.  They  are  still  very  like 
children  with  a  new  toy.  One  kind  of  noise 
— the  noise  of  people  talking — isn't  enough 
for  them.  They  have  to  show  off  all  the 
different  sorts  of  sounds  which  their  Tone 
and  Phone  devices  are  capable  of  reproduc- 
ing. At  first,  of  course,  for  no  reason  in  the 
world  they  were  always  giving  us  close-ups 
of  such  pointless  noises  as  donkeys  braying 
and  the  striking  of  matches.  They  got  over 
that  after  a  bit,  but  music  is  just  too  much 
for  them. 

And  So  Do  Villains 

THE  talkies  now  have  people  divided 
into  two  distinct  classes:  those  who  are 
musical  and  those  who  aren't.  The  latter 
class  is  simply  no  good.  So  there  is  no 
longer  any  difficulty  in  distinguishing  be- 
tween your  heroes  and  your  villains.  All 


68 


Musical? 


They  were  marooned  somewhere  near  the  Pole — cut  off  from  all  commu- 
nication with  the  outside  world.   The  director  had  been  quick  to  realize 
that  this  was  a  time  to  bring  in  some  music 


nice  people  play  or  sing,  and  the  nicer  they  are  the 
bi  Iter  they  (or  their  doubles)  do  it.  If  the  villain  is  shown 
playing  or  singing,  you  can  always  bet 
your  last  dollar  that  he  will  turn  out  at  the 
end  to  be  one  of  those  sympathetic  vil- 
lains. He  will  gallantly  refrain  from  stealing 
the  heroine's  virtue  and  will  probably  in- 
sist on  presenting  her  with  a  check  for  a 
thousand  dollars  as  a  wedding  gift  for  the 
nuptials  with  the  hero. 

Musical  comedies,  of  course,  are  differ- 
ent; although  the  complicated  ways  they 
have  of  dragging  in  the  songs  and  dances, 
to  try  to  make  them  look  like  something 
out  of  real  life,  are  fascinating  to  study. 
But  even  the  straightforward  dramas  have 
their  musical  frills,  nowadays.  No  big  scene 
is  considered  correct  unless  suddenly,  in  the 
middle  of  it,  one  of  the  characters  asks  an- 
other to  perform,  which  he  proceeds  with 
great  alacrity  to  do.  Often  even  the  formal 
request  is  dispensed  with,  and  somebody 
starts  bellowing  away  without  a  word  of 
warning.     .Music,  as  we  all  know,  hath 


There's    No  Hope 


You     In     The  Talkies 


charms;  but  one  can  have  too  much  of  it,  not  to  mention  the 
fact  that,  as  the  undertaker  said  to  the  doctor,  there's  a  time 
and  place  for  everything. 

Miracle  Men 

T  wouldn't  be  so  bad  if  they  didn't  all  sing  and  play 
so  remarkably  well.     When,  for  example,  Ronald 
Colman  and  his  fellow-prisoners  in  "Condemned"  burst 
into  a  marching  song,  that  is  reasonable  enough.  But 
that  they  should  sing  it  in  luscious  harmonies,  in  per- 
fect unison  and  in  smooth,  mellow  voices  is  rather  too 
much  to  swallow.  Is  it — can  it  be — that  Sam  Goldwyn 
and  his  colleagues  are  afraid  lest,  if  the  singing  were 
done  as  it  really  would  be  done  in  real  life,  audiences 
;     might  think  it  was  seriously  meant  to  be  good 
music?   I  can  hardly  believe  it,  but  I  don't  know 
what  other  explanation  to  offer. 

The  same  applies  to  Universal's  little  opus  en- 
titled "Dames  Ahoy,"  which  opens  up  on  one  of 
Uncle  Sam's  battleships.  The  whole  ship,  from 
stem  to  stern,  appears  to  be  pulsating  with  gor- 
geous melodies.  And  the  camera  takes  us  for  a 
promenade  through  the  sailors'  quarters,  where 
every  man  is  engaged  in  the  production  of  some 
sort  of  musical  sound — some  singing  in  the  most 
perfect  harmonies,  others  by  the  dozen  sitting 
around  in  a  nonchalant  way,  playing  ukes,  saxo- 
phones, guitars,  banjos,  flutes,  oboes,  clarinets, 
violins,  trombones,  sousaphones  and  what-not. 
"Ah!"  one  thinks,  "this  must  be  'Hit  the  Deck.'" 
But  it  isn't.  It's  supposed  to  be  a  straight  com- 
edy, and  we  are  to  think  it  is  all  quite  real. 
The  ubiquity  of  musical  instruments  in  talkies  is  defi- 
nitely one  of  the  new  wonders  of  the  world.  If  a  producer 

has  an  actor  in  his 
picture  who  can  play 
something,  his  talents 
are  certainly  not  go- 
ing to  be  kept  from 
the  world  by  any  such 
little  thing  as  the  un- 
likeliness of  his  par- 
ticular instrument  be- 
ing to  hand. 

Imagine,  for  ex- 
ample, the  superb  and 
mighty  Cecil  de  Mille 
(Continued  on  page  pj) 


To  put  up  for  public  ap- 
proval a  hero  or  heroine 
who  couldn't  sing  or  play 
something  would  be  as 
bad  as  having  a  heroine 
who  didn't  long  for  the 
love  of  a  good  man  and 
babies 


60 


Not  so  Shj 


Only  By   Name,  And> 
Not    By    Nature,  Is 
G  u  s  Shy 


By  NANCY  PRYOR 


MR.  GUS  SHY  of  M-G-M  and  "pood  News,"  lately  of 
Broadway  and  "New  Moon,"  uses  a  phrase  that  is  I 
likely  to  crop  up  in  his  conversation  anyAvhere.  ■ 
"Just  to  make  a  long  story  short,"  he  says.  And 
says  it  quite  often.   There's  nothing  new  about  the  crack,  but 
then,  Gus  has  been  putting  it  into  practice  for  some  time  now. 
He  started  on  his  career  of  brevity  about  twelve  odd 
years  ago  by  making  a  short  name  out  of  a  long  one.  Much 
to  his  subsequent  embarrassment,  he  was  born  Augustus 
Frederick  Scheu  (pronounced  any  way  you  can  get  at  it). 
The  "Gus"  part  came  naturally  as  a  nickname,  and  as 
Shy  was  as  close  as  most  people  could  get  to  Scheu,  he 
decided  to  let  it  go  at  that. 

As  a  name,  it  was  neat  and  to  the  point.  It 
aroused  a  certain  amount  of  flattering  interest 
^Kmjif     when  paged  in  hotel  lobbies,  and  was  short 
J^^^        ^     enough  to  be  easy  on  the  electric  lights 
/'^^Wy^^^^^^  when  he  got  around  to  figuring  that  far 
■^-^  Jft^^   on  it.  Which  wasn't  until  several  vital 
jl^^^  incidents  had  marked  his  biography-in- 

1||[Hk|^    ^  the-making 

^^^■Pllll^    ^  pl^<^^>  Augustus  F. 

^K^"""'^      Scheu  was  impolitely,  but  quotably 
(his  own  quotes)  "a  young  hellion"  during 
the  first  twenty  years  of  his  life.    It  made  it 
tough  on  a  highly  esteemed  Buflfalo  family,  who 
had  twice  seen  Gus's  grandfather  elected  to  the 
Mayor's  chair  at  the  City  Hall.  In  all  the  fair  city  of 
Buffalo  only  Gus  remained  unimpressed  with  the  Scheu 
traditions. 

No  Lesson-Learner 

I WAS  the  type,"  he  explained,  "that  goes  to  prep  school  for 
the  purpose  of  wrecking  roadsters.  As  I  look  back,  I  can  see 
I  was  just  the  type. 

"Big  scenes  with  the  Dean  with  me  on  the  receiving  end  .  .  . 
In  on  all  the  school  frivolities,  but  slightly  missing  in  the  scholas- 
tic requirements  .  .  .  Long  on  'ahs,'  but  short  on  'A's.'  If  I 
was  out  for  a  letter,  it  wasn't  the  first  one  in  the  alphabet.  I 
would  probably  have  gone  on  and  graduated  with  honors  as  the 
World's  Greatest  Fool,  if  something  hadn't  happened  that  hit  me 
hard,  right  between  the  eyes:  my  Dad  died.  I  quit  school  then 
and  never  went  back.  All  the  things  it  had  stood  for,  to  me, 
seemed  meaningless.  I  didn't  have  the  heart  to  play  the  clown 
any  more,  and  I  didn't  know  any  other  angle  of  school  life." 
He  interrupted  himself  long  enough  to  order  a  glass  of  plain 
water  with  lemon  squeezed  in  it  from  a  Goldwyn 
fi^rreii  {Continued  on  page  88) 


FOX 
PASS 


When  a  little  girl  can't 
keep  something  to  her- 
self, that's  a  faux  pas. 
But  this  is  something 
else  again.  Dorothy 
Lee,  tired  of  frocks  (she 
wore  great  long  ones  in 
"Dixiana"),  is,  for  a 
change,  wearing  fox.  She 
is  at  present  wrapped  up 
in  "Half-Shot  at  Sun- 
rise" 

Bachrmch 


71 


Hitting  Thigh  Spots 


After  eighteen  days  of  Holly- 
wood dieting  (avocados,  caviar, 
bismarck  herring,  et  cetera), 
Dorothy  Granger  of  Hal  Roach 
Comedies  thought  to  kill  the  fat- 
ted calf.  But  when  she  started 
working  her  weigh  (above),  6dl 
she  lost  was  her  balance 


"'Tis  better  to  have  lost  and 
loved,  than  never  to  have  lost  at 
all,"  says  Dorothy,  who  is  of  the 
opinion  that  if  the  kind  of  ex- 
ercise she  favors  (center  and  be- 
low; doesn't  get  her  anywhere, 
there's  nothing  to  be  gained — 
except,  perhaps,  an  eyeful 


72 


Oh,  So  Playful! 


The  Boys  And  Girls 
Are  Very  Practical 
In  Their  Joking 


By  JACK  GRANT 


NOTHING  provokes  a  true  Hollywoodian  quite 
so  much  as  the  merest  suggestion  of  Eastern 
supremacy.  If  you  want  a  heated  argument, 
just  intimate  that  Florida  oranges  surpass  the 
California  fruit.  Or  choose  real  estate  or  any  like  topic 
for  debate.  Your  poor  ears  will  be  assailed  by  more 
statistics  than  you  might  suspect  existed  outside  of  the 
White  House.  Every  man  you  meet  acts  like  the  oldest 
resident.  Some  have  been  here  as  long  as  a  year.  It 
must  be  the  climate. 

All  of  which  serves  as  a  preface  to  the  arrival  of  one 
Joe  Cook. 

When  Cook  took  his  tour  to  Hollywood,  it  was  for  the 
announced  purpose  of  recording  on  celluloid  his  success- 
ful stage  antics  in  "Rain  or  Shme."  Word  began  to  get 
around,  soon  after  his  arrival,  that  the  comedian  is  as 
completely  mad  offstage  as  he  is  on.  Hollywood  knew 
his  reputation  as  an  entertainer.  It  was  to  learn  his  pro- 
clivities as  a  host. 

Joe  gave  parties  to  the  film  fraternity.  He  received 
them  at  his  home  in  stockinged  feet.  He  played  all  man- 
ner of  practical  jokes  on  his  guests.  He  provided  amuse- 
ment that  stopped  at  only  one  thing.  Steadfastly,  he 
refused  to  imitate  four  Hawaiians. 

Tales  of  the  Cook  estate  at  Lake  Hopatcong,  New 
Jersey,  were  bandied  about.  Here,  said  those  who  had 
visited  the  place,  Joe  was  at  his  prankish  best. 

It  seems  that  Joe  Cook  has  for  years  been  engaged  in 
collecting  "objects  smaller  than  a  man's  hand."  An  un- 
paralleled collection,  they  say.  His  favorite  pastime  is 
assembling  a  crowd  in  his  trophy  room,  the  walls  and 
ceiling  of  which  are  literally  covered  with  thousands  of 
"objects  smaller  than  a  man's  hand."  The  game  is  to 
guess  what  Joe  might  have  overlooked  in  his  collection. 
They  seldom  catch  him. 

This  Cook's  Concoctions 

FOLKS  who  know  Cook  intimately  never  pick  up  any- 
thing lying  about  his  home,  regardless  of  how  com- 
monplace it  might  seem.  They  have  learned  by  experi- 
ence that  telephones  spurt  water  from  transmitters, 
musical  instruments  blow  clouds  of  flour  over  their 
clothes  and  the  most  inoflPensive-appearing  things  are 
ofttimes  electrically  charged. 

Joe  also  goes  in  for  trophies  that  have  no  practical- 
joking  effects.  As  example,  a  baseball  under  glass  holds 
prominence  on  his  mantelpiece  in  the  "gag  room."  A 


"If  it  isn't  in  the  window,  it's  inside":  the  exterior  of  Mag- 
icland,  which  supplies  the  local  jokesters  with  most  of  their 
little  tricks.  Out  in  front  is  Murray  Rock,  who  advertises  a 
free  ring  with  every  purchase  and,  bell  in  hand,  makes  good 


Ann  Harding  is  now  living  in  a  new  house — a  fact  which 
obviously  calls  for  some  new  surprise.  This  time,  the  tele- 
phone is  the  instrument  of  torture.  You  lift  up  the  receiver, 
and  immediately  find  yourself  embroiled  in  a  maddening 
conversation 


73 


The  Favorite  Indoor 


The  house  that  Jack  built:  Jack  MacDermott  believes  that 
a  man's  home  should  be  not  only  a  castle,  but  a  battle- 
ground.   In  more  ways  than  one,  it  is  Hollywood's  trickiest 

house 


Above,  Jack  MacDermott  in  his  den,  furnished  from  movie 
sets.    In  circle  is  the  entrance  to  underground  passageway, 
Below,  in  square,  is  the  exit  to  this  passagement.    In  circle, 
the  dining-room — an  old  ship's  hull 


Sports   Of  HollywooM 

placard  beneath  it  reads,  "This  is  the  only  known  base-|l 
ball  in  existence  not  autographed  by  Babe  Ruth."  I 

The  cocktail-shaker  deserves  a  word.  Ingenious,  best! 
describes  it.  Joe  discovered,  quite  by  chance,  that  thosejl 
punching  bags  that  grace  penny  arcades  were  operated  b>n 
a  complicated  series  of  springs.  He  promptly  bought  onejl 
and  dismantled  the  gauge  by  which  the  poundage  of  youi<l 
blow-  is  registered.  In  its  place,  he  mounted  a  clamp.(| 
Thus  the  formula  is  simplified.  The  ingredients  for  th^l 
cocktail  are  simply  poured  into  the  shaker,  which  is  thenll 
placed  in  the  clamp.  One  punch  at  the  bag  suffices.  The'l 
vibration  of  the  springs  thoroughly  mixes  your  drink.  I 

Now-,  in  any  other  town  but  Hollywood,  the  weird  antics  \ 
of  Mr.  Cook  and  the  stories  of  his  New  Jersey  home  would 
have  been  laughed  off.  Holl>nA-ood,  however,  chose  to 
consider  him  a  pretender  to  the  throne  of  Practical  Joke- 
dom.  Local  talent  included  some  uncrowned  kings  at  that  \ 
game.  Every  time  a  Cook  anecdote  was  told,  someone 
in  the  crowd  seemed  hardly  able  to  wait  for  its  conclusion 
to  remark:  "Yes,  that's  very  funny— but  what  about  the 
time  Doug  Fairbanks  gave  three  newspaper  men  the  juice 
on  his  wired  couch?" 

Crazy  House 

JACK  MacDERMOTT'S  home  in  the  Holl^-wood  hills 
has  been  another  "  I-hate-to-go-you-one-better-but — ." 
xMacDermott  built  the  place  himself.  You  need  no  assur- 
ance of  that  fact.  One  look  at  it  is  proof  positive.  No 
architect  ever  went  that  loco.  It  would  have  to  be  a 
scenario  writer. 

Each  room  is  a  separate  building,  gathered  about  what 
mav  be  called  a  living-room,  which  also  serves  Mac  as  a 
study.  Here  most  of  his  writing  is  done,  performed  or 
perpetrated.  This  room  has  five  entrances,  only  two  of 
which  are  visible — the  front  door  and  one  leading  onto 
the  patio.  A  bookcase  slides  back  to  reveal  the  staircase 
to  the  roof  and  a  sleeping  porch.  Another  hidden  pas- 
sagew^ay  leads  to  the  tiled  swimming-pool.  A  well  by  the 
side  of  the  fireplace  takes  you  down  a  runged  ladder  to 
the  subterranean  labyrinth  connecting  all  rooms. 

If  this  sounds  confusing,  all  I  can  say  is:  I'm  sorry. 
As  Mac  himself  explains,  his  home  beggars  description. 
You  have  to  see  it  to  believe  it. 

Take  one  bedroom,  for  example.  Here  an  old  fireplace 
arch  is  suspended  from  the  ceiling  of  an  alcove.  The  bed 
proper  is  built  in  the  alcove  with  four  steps  on  each  side 
leading  up  to  it.  Underneath  the  bed  and  between  the 
steps  IS  the  fireplace. 

The  dining-room  is  an  ancient  ship  hull,  sawed  oflF  at 
both  ends.  The  rafters  and  side  walls  are  the  unboarded 
ribs  of  the  vessel.  Concrete  now  forms  its  anchor  and 
base. 

Drives  Insanely 

MACDERMOTT  drives  Fords  exclusively.  They  are 
the  onlv  cars  he  will  trust  to  carry  him  up  his  hill- 
side. The  Ford  he  owned  before  his  current  one  was  the 
despair  of  all  his  friends.  One  day,  he  discovered  that  the 
steering  wheel  was  loose  on  the  shaft.  .As  he  lifted  it  off. 
an  idea  was  born.  Taking  the  car  to  a  garage,  Mac  had 
a  knee  drive  installed  for  dual  control. 

Inviting  folks  for  a  ride,  he  would  purposely  drive  reck- 
lessly, calling  for  the  friend  to  remark,  "1  don't  care  much 
for  vour  driving." 

"You  don't,  eh?"  Mac  would  reply.  "Well,  drive  it 
yourself."  .And  he  would  hand  his  companion  the  de- 
tached wheel. 

Usually  it  would  take  several  seconds  for  the  fact  the 
car  was  apparently  running  wild  to  percolate.     Then  a 
{Continued  on  page  lod) 


Longworth 


Allah  be  praised! — that  wily,  uncouth  fellow,  Hajj,  is  outside  the  mosque 
again,  looking  for  alms  and  anything  else  he  can  keep  up  his  capacious 
sleeves.  And  by  the  beard  of  the  Prophet,  it  is  a  happy  "Kismet"  that  has 
Otis  Skinner  in  it,  proving  with  his  light  touch  that  beggars  can  be  choosers 

L 


The  Answer  Man  has  conducted  this  department  for  over  eighteen  years. 
He  will  answer  your  questions  in  these  columns,  as  space  permits,  and  the 
rest  by  personal  letter.  Give  your  name  and  address  and  enclose  stamped 
addressed  envelope  for  reply.  Write  to  The  Answer  Man,  MOTION  PICTURE, 
1501  Broadway,  New  York  City 


RUTH  CHATTERTON  FAN— You  bet 

I'm  glad  to  hear  from  you!  Drop  in  when- 
ever you  like.  You  know  it's  easier  to  pad- 
dle your  own  canoe  than  it  is  to  get  an  out- 
board motor  started.  Ruth  Chat- 
terton  was  born  in  New  York  City, 
about  thirty-one  years  ago.  The 
month  and  day  being  Dec.  24. 
She  is  five  feet  two  and  a  half  inches 
tall,  weighs  no  pounds,  has  light 
brown  hair  and  blue  eyes.  Married 
to  Ralph  Forbes.  Appearing  in 
A  nybody's  Woman .  Gloria 
Swanson's  picture  What  a  Wi- 
dow was  filmed  at  the  Pathe  Stu- 
dios, Culver  City,  Calif.,  but  is 
under  contract  with  United  Artists. 

GWENDOLYN— Clara  Bowand 
Fredric  March  had  the  leads 
in  True  to  the  Navy.  George 
O'Brien  and  Sue  Carol  in  The 
Lone  Star  Ranger.  Zelma  O'Neal 
was  born  in  Rock  Falls,  III.,  May 
29,  does  not  tell  the  year.  She  is 
five  feet  two  and  three  quarter 
inches  tall,  weighs  116  pounds,  has 
auburn  hair  and  blue  eyes.  Married 
to  Anthony  Bushell;  hobbies: 
visiting  fortune-tellers,  golf  and 
bridge.  Some  of  her  most  recent 
stage  productions  were  Good  News 
and  Follow  Thru. 


BUDDY  SMITH— Harry  Rich- 
man  is  appearing  in  vaudeville  at 
this  writing.  You  may  write  him 
care  Radio-Keith-Orpheum  Circuit, 
1560  Broadway,  N.  Y.  C.  Harry 
was  born  in  Newark,  N.  J.,  Oct.  10, 
1895.  Real  name  is  Henry  Reich- 
man,  Jr.  Maurice  Chevalier  is 
appearing  in  The  Playboy  of 
Paris,  Paramount  Studios.  Bert 
Lytell,  Patsy  Ruth  Miller  and 
Otto  Matieson  are  playing  in 
The  Lone  Wolf,  Columbia  Stu- 
dios, Davey  Lee,  Jack  Holt  and 
Dorothy  Revier  The  Squealer. 


ring  John  Gilbert,  and  was  released  in 
Oct.  1929.  That  is  her  real  moniker.  Lila 
Lee  and  Ann  Harding  do  not  give  out 
their  home  addresses.  Write  Miss  Harding 


Richee 

Phillips  Holmes  is  taking  his  work  seriously  these  days 
and  so  you  won't  doubt  it,  he  posed  for  this  picture  in  a 
serious  mood,  but  he  is  happy  because  he  has  been 
awarded  some  excellent  r61es  lately  in  "Grumpy,"  "Her 
Man,"  and  "Barber  John's  Boy" 


MISS  WRIGHT— You  forgot  to  give 
your  address.  Alexander  Gray  was  born 
in  your  town,  Wrightsville,  Pa.,  Jan.  8, 
1902,  he  is  five  feet  ten  and  a  half,  weighs 
170  pounds,  has  brown  hair  and  blue  eyes. 
Widower  and  has  one  daughter  Jean. 
Educated  at  Central  High  School,  Philadel- 
phia and  Pennsylvania  State  College.  He 
taught  grammar  school  and  continued  his 
voice  study.  He  later  taught  in  Northwest 
Military  and  Naval  Academy.  He  won  a 
vocal  contest  sponsored  by  the  National 
Federation  of  Music  Clubs.  Has  appeared 
in  Ziegfeld  Follies,  Sally,  Tell  Me  More, 
Naughty  Riquette,  and  The  Desert 
Song.  Latest  screen  production  is  Vien- 
nese Nights. 

ESTHER  B.— Catherine  Dale  Owen's 

first  picture  was  His  Glorious  Night,  star- 


at  the  Pathe  Studios,  Culver  City,  Calif. 
Marilyn  Miller,  Lawrence  Gray,  in 
Sunny.  Conrad  Nagel,  Genevieve 
Tobin  and  Rose  Hobart  The  Lady  Sur- 
renders, Universal  Studios. 

VIRGINIAN— Walter  Byron  was  born 
in  Leicester,  England,  June  11,  1901.  He  is 
six  feet  tall,  weighs  163  pounds,  has  light 
brown  hair  and  blue  eyes.  William  Powell, 
Kansas  City,  Mo.,  six  feet  tall,  weighs  178 
pounds,  brown  hair  and  blue  eyes.  Law- 
rence Tibbett  is  about  thirty  years  old. 
Married,  has  two  children,  twin  boys,  Law- 
rence, Jr.,  and  Richard.  Jeanette  Mac- 
Donald  is  five  feet  two,  weighs  no 
pounds,  has  red  hair  and  green  eyes. 

•  NEW  YORK  FAN— Lois  Moran  and 
Lola  Lane  are  five  feet  two.  Dixie  Lee, 
five  three  and  three  quarters,  weighs  109 


pounds.  Sharon  Lynn,  five  four  and 
half.  Sue  Carol,  five  feet  four  and  a  h; 
120  pounds.  Jean  Arthur,  five  three,  1 
Clara  Bow,  five  three  and  a  half. 

pounds.  Do  you  know  that  Ketd 
kan,  Alaska,  where  Radio  Pictur 
The  Silver  Horde  is  being  filmi 
has  never  seen  a  horse?  Evel 
Brent  and  Joel  McCrea  have 
leading  rdles. 


MURIEL.  —  Robert  Fraa 

played  opposite  Clara  Bow  in  7 
Keeper  of  the  Bees.  Donald  Kelt 
in  The  Plastic  Age  and  Danci; 
Mothers.      Florence    Vidor  ai 
Adolphe  Menjou  in  Are  Paret, 
People?    Bessie  Love  and  Gre» 
Nissen  in  The  King  on  Main  Stre( 
Greta  Nissen,  Lost  a  Wife.  Evely 
Brent,  A  Night  Of  Mystery.  Bett 
Bronson's  latest  picture  released 
The  Medicine  Man.    It  is  Norma 
Brookenshire,      popular  radi 
announcer,  who  does  the  announcin, 
in  the  Vitaphone  Varieties  comed; 
The  Fight. 

JUST    MARY.  -  Clara  Bo^ 

simply  went  on  a  diet  to  get  bat 
to  her  present  weight  of  108  pound: 
Alice  Terry  is  in  France  at  thi 
writing.  Lois  Moran,  Lya 
Putti,  Jack  Mulhall,  Willian 
Collier,  Jr.,  and  Clive  Brool 
appeared  in  God  Gave  Me  Twcnt 
Cents.  Doris  Dawson  plays  oppo 
site  Eddie  Buzzell  in  The  Roya 
Four/lusher,  a  Vitaphone  Varietie; 
comedy. 


MARY  S.— John  Miljan  wa 

born  in  Lead  City,  S.  Dakota 
Miljan  was  on  the  stage  for  fou 
teen  years  (1908-192  2),  covering 
almost  in  all  its  branches — road 
stock  and  repertoire.  Started  his 
screen  career  with  Fox  in  192 
appearing  in  Love  Letters.  I  would 
suggest  you  send  along  a  self-addressed  en 
velope  for  his  complete  list.  He  is  six  feet 
tall,  weighs  168  pounds,  has  brown  hair  and 
eyes  and  married  to  Victorie  Lowe,  non- 
professional. Hobby,  horses  and  gardening. 
Playing  in  Remote  Control.  Armida  in  Border 
Romance. 

MATILDA. — Sharon  Lynn  played  oppo- 
site Warner  Baxter  in  The  Coward.  The  late 
Marietta  Millner  in  Drums  of  the  Desert. 
Irene  Rich,  Craig's  Wife  and  Martha 
Sleeper,  Danger  Street.  Edna  Murphy  and 
Carroll  Nye  in  The  Black  Diamond  Express, 
starring  Monte  Blue.  Let's  hear  from  you 
again  real  soon. 

MARION  G. — Well!  I  suppose  you're  say- 
ing, at  last!  But  you  know  you  have  to  wait 
your  turn  for  your  answer  to  appear  here, 
(Continued  on  page  go) 


76 


Paris . . .  knows  the  way  to  keep 
that  schoolgirl  complexion 


Masse  tells  how  Parisian  beauties  have 
adopted  tliis  olive  and  palm  oil  method 
of  cleansing  .  . .  the  treatment  advised  by 
23,723  beauty  specialists  the  world  over. 


Aid  yuur  beauty  expert 
by  using  Palmolive.  "I 
advise  all  my  clients,'''' 
says  Massi',"iVet'er  wte  any 
soap  except  Palmolive. 
And  those  who  foiUnv  that 
advice  show  the  greatest 
improvement  as  a  result 
of  our  own  treatments." 


Emile  Masse, 

of  Paris  .  .  . 
beauty  artist  of  re- 
nown, whose  clienls 
tiiimber  aristocrats 
from  all  over  Europe. 


16  Rue  Daunou,  Paris 


Vr.vxs,  of  Naples 
says  that  soap  and 
water  cleanliness  is 
essential  to  beauty. 


ECHTEN, 

of  Budapest 
who    advises  two 
daily  cleansini/s  with 
a  lather  of  Palmolive 
Soap. 


Jacobson 
of  London 

unrns  ayaiust  soaps 
nut  made  of  ohve 
and  palm  oils — and 
therefore  approves 
most  heartily  of 
Palmolive. 


MASSI:  .  .  .  the  famous  Masse  .  .  .  and  all 
his  well-known  Parisian  cc>lleaj;ues,  too, 
for  that  matter  .  .  .  has  helped  Paris  find  the 
way  "to  keep  that  schoolgirl  complexion." 

Paris,  where  lovely  ladies  seem  even  lovelier 
because  the  whole  atmosphere  is  charged  with 
beauty !  Paris,  where  experts  like  Masse  actu- 
ally receive  visits  from  reigning  queens.  Where 
royal  ladies,  aristocrats,  world  renowned  art- 
ists of  opera  and  the  theatre  ask:  How  can  I 
keep  my  beauty?  What  can  I  do,  when  I  leave 
beauty- wise  Paris,  to  keep  my  skin  lovely.' 

Here,  of  all  places,  beauty  experts  are  in  de- 
mand. Experts  like  Masse,  who  is  invited 
often  to  attend  royalty;  who  once  journeyed 
all  the  way  to  Cairo  to  give  a  beauty  treatment 
to  a  well-known  American  lady;  who  has  won 
prize  after  prize  for  his  artful  beauty  treat- 
ments. 

This  home  treatment 

What  Masse  advises  is  an  evcr-so-easy  home 
treatment.  You  may  know  it.  All  Paris  docs. 


The  exquisite  "schoolgirl  com- 
plexion" of  the  smart  Parisiennc 
is  due,  in  great  measure,  to 
daily  home  treatments  with  Palm- 
olive. 

In  the  beautiful  environment  of 
the  Place  Vcndomc,  Masse  main- 
tains his  famous  salon  dc  beaute. 
To  his  establishment  come  Paris- 
ian women  of  distinction  for 
beauty  counsel  and  for  treatment. 


Paris  says  it's  the  way  "to  keep  that  schoolgirl 
complexion."  First,  make  a  lather  of  Palm- 
olive Soap  and  warm  water  (not  hot,  that  may 
redden  the  skin).  Second,  with  your  finger 
tips  massage  this  into  face  and  throat,  work- 
ing the  impurities  out  of  the  pores.  Third, 
rinse  off  the  soap  with  warm  water  .  .  .  gradu- 
ally colder  and  colder.  There!  Isn't  that 
cleanliness  delightful-'  And  isn't  your  skin 
refreshingly  smooth,  rich  in  color? 

The  popularity  of  this  home  beauty  treat- 
ment has  made  Palmolive  one  of  the  two  larg- 
est selling  toilet  soaps  in  France. 

You  know,  there  are^all  told — 23,723  ex- 
(>erts  who  advise  Palmolive.  They  prefer  Palm- 
olive because  of  its 
unique  vegetable 
oiLcontent.  So  will 
you.  Use  it  for  the 
bath,  as  well.  It 
costs  but  10  cents 
a  cake. 

61 5  i 


77 


How  to  be 


E 


ASCINATING 


as  told  to  KATHERINE  ALBERT  by 


"  TT^OR  the  girl  who  wants  to  be  charni- 
J7  ing)  one  thing  is  essential,"  says 
Anita  Page,  the  girl  whose  blonde  lo\  eli- 
ness  has  won  her  universal  devotion  on 
the  screen.  "It^s  smooth  skin! 

"No  matter  how  lovely  your  figure — 
your  eyes — your  hair — you  can't  have 
that  compelling  something  unless  your 
skin  is  softly  clear  and  glowing.  And  if  it 
is,  you're  sure  to  be  attractive! 

"Screen  stars,  you  know,  have  to  keep 
their  skin  silky  smooth  and  fine-textured 


Kav  Johnson,  G.  M.  star,  has 
a  skin  of  delicate  beauty.  "It 
leaves  my  skin  so  smooth,"  she  says. 


Bessie  Love,  M.  G.  M.'s  beloved  blonde  star, 
is  one  ot  the  5 1 1  important  Hollywood  actresses 
who  are  ilevoted  to  Lux  Toilet  Soap.  "To  the 
screen  star  lovely  skin  is  very  important,"  she 
says.  "That's  why  I  am  so  delighted  with 
Lux  Toilet  Soap.  It  does  leave  my  skin  so 
smooth  and  soft." 

78 


ever\  minute.  Motion  picture  directors 
found  out  long  ago  that  without  lovely 
skin  no  girl  can  hope  to  win  and  hold 
the  hearts  of  millions.  The  glaring  close- 
up  lights  reveal  even  the  tiniest  flaw! 

"Several  years  ago,  some  of  us  dis- 
covered just  the  care  our  skin  needs  to 
keep  it  always  at  its  best — Lux  Toilet 
Soap!  Then  more  and  more  of  the  stars 
began  to  use  it  until  now  almost  every 
girl  I  know  in  Hollywood  is  devoted  to 
this  daintily  fragrant  white  soap. 


"Catherine  Dale  Owen,  tor  instance. 
Did  you  e\er  see  smoother,  lovelier  skin.' 
And  Kay  Johnson,  too.  They  both  use 
Lux  Toilet  Soap  regularly. 

"Regular  care  with  Lux  Toilet  Soap, 
that's  my  prescription  for  lovely  skin- 
and  any  girl  can  follow  it!" 


Photo  by  C.  S.  Bull.  Hollywood 


Anita  Face,  the  young 
Metro-Cioldwy  n-M;iyerst:ir 
whose  beauty  has  won  mil- 
lions of  hearts,  in  the  strik- 
ing, luxuriously  appointed 
bathroom  especially  de- 
signed for  her  ami  built  in 
Hollywood.  "I  always  use 
Lux  Toilet  Soap,"  she  says. 
"It  keeps'my  skin  so  won- 
derfullv  smooth." 





Anita  Page,  you  see,  is  one  of  the  host 
of  famous  screen  and  stage  stars  who 
have  found  in  this  fine  soap,  so  daintily 
white  and  fragrant,  just  the  gentle  care 
that  is  necessary. 

Nine  out  of  Ten  Lovely  Stars 

use  it— in  Hollywood 
— on  Broadway — in  Europe 

of  the  <2i  important  actresses  in  Holly- 
wo(Ki,  511  use  Lux  Toilet  Soap.  It  has 
been  made  the  official  soap  in  all  the 
studios. 

On  Broadway  the  stage  stars  are  so 
devoteti  to  it,  it  is  in  the  dressing  rooms 
of  71  of  the  74  legitimate  New  York 
theaters! 

.And  even  in  the  Kuropean  capitals  the 
.screen  stars,  like  their  sisters  in  Holly- 
wootl,  are  now  using  it  to  keep  their 
skin  flawless  for  the  close-up. 

You  will  be  delighted  with  Lux  Toilet 
Soap,  too.  With  the  fresh  smoothness  it 
gives  your  skin,  with  its  fragrant,  gener- 
ous lather.  I'se  it  for  your  hath  and  for 
your  shampoo,  too.  Here's  luxury  such  as 
you  have  found  only  in  the  finest  French 
soaps!  Order  several  cakes  — totlay. 


C.-vrHERixE  Dale  Owen, 
lovel\-  .\L  (i.  .\L  star,  says: 
"Lux  Toilet  Soap  is  a  joy. 
It's  so  ilainty  and  refresh- 
ing, and  it  lathers  freely 
even  in  the  hariiest  water." 


Beitv  Bronson,  l>oth  at 
home  and  on  location,  cares 
for  her  ravishingly  lovely 
skin  with  Lux  Toilet  Soap. 
She  says:  "It  certainly  keeps 
my  skin  charmingly  smooth 
and  soft! " 


I'holoby  Siciciien.  Hi)ll> \vi>oil 


Lux  Toilet  Soap 


Luxury  such  as  you  have  found  only  in  fine  French 

soaps  at  50  f  andfl. 00  the  cake  .  .  .  NOW 


79 


Glorifying  The  American  Drunl 


him  at  the  time.  Every  little  thing  is  over- 
emphasized for  him.  He  becomes  didactic, 
or  profound  or  sentimental  or  puzzled — • 
according  to  his  nature  and  how  much  and 
how  fast  he  has  been  drinking. 

A  Funny  Way  of  Thinking 
"  TUST  the  way  a  drunk  walks  is  funny  to 

J  me.  His  center  of  balance,  or  some- 
thing, shifts  and  he  tips  a 
little  forward — or  perhaps 
sways  backward  at  the 
most  astonishing  angles. 
His  face  changes.  It  gets 
loose — the  muscles  sag. 

"But  it  isn't  the  way  a 
drunk  looks  that  makes  him 
funny.  It's  the  way  he 
thinks.  His  mind  soars 
airily  about  from  subject  to 
subject.  Small  things  seem 
vastly  important  to  him. 
He  gets  profound.  He  is 
solemnly  illogical  and  ab- 
surd and  fantastic. 

"I  have  always  liked 
the  story,  which  happens  to 
be  a  true  one,  told  by 
two  gentlemen  who  were 
standing  in  front  of  the 
Lambs'  Club  one  stifling 
night  in  New  York.  A 
drunk  came  walking  down 
the  street. 

"He  wasn't  terribly 
drunk.  He  was  in  evening 
clothes,  well-groomed,  com- 
pletely unruffled  —  just 
weaving  a  little  bit  in  a  dig- 
nified and  polite  manner. 
He  paused  and  asked  one 
of  my  friends  the  time. 

"'Three  o'clock,'  he  was 
told.  He  looked  puzzled. 

"'Three     o'clock?'  he 
repeated,  a  little  fuzzily. 

" '  Yes.' 

"'Three  o'clock — when?' 

"'Three  o'clock  in  the 
morning.' 

"The  stranger  pondered 
this  for  a  moment.  Then 
he  had  a  bright  idea.  He 
burst  into  song.   '  We've  danced  the  whole 
night  through—'  he  caroled.  And  proceed- 
ed upon  his  wavering  way,  singing  merrily. 

A  Drunk  Can't  Play  One 

THAT'S  the  sort  of  thing  that  makes 
them  funny.  Doubtless,  he  had  some 
vague  purpose  in  asking  the  time — trying 
to  orient  himself,  or  something.  Then, 
when  he  heard  that  familiar  phrase,  it  sug- 
gested something  else  to  him  and  he  was 
mightily  pleased  when  he  thought  of  that 
song.  He  was  having  a  swell  time!" 

"Does  it — would  it — do  you  think  it 
might — help  you  in  your  researches  to  get  a 
little  oiled,  yourself,  sometimes?"  I  sug- 
gested, with  some  timidity.  Actors  are  so 
touchy  about  admitting  that  they  ever  take 
a  drink. 

This  one  laughed.  "Not  a  bit,"  he  said. 
"  In  the  first  place,  you  behave  in  an  entirely 
different  manner  when  you  are  really  drunk 
from  the  way  in  which  you  pretend  to  be 
drunk. 

"Besides,  you  are  in  no  mood  for  self- 
analysis  when  you  are  drinking.  And  even 
if  you  could  achieve  introspection,  you 
wouldn't  be  able  to  remember  your  con- 
clusions the  next  day!  You  certainly 
couldn't  play  drunk  scenes  while  you  were 
drunk,  yourself — because  you  would  forget 


{CoiHinued  from  page  jj) 

your  lines  and  perform  all  sorts  of  ab- 
surdities that  were  not  in  the  script. 

Some  Need  It,  Some  Don't 
"  ALCOHOL  is  funny  stuff.  It  ruins 
£\_  some — weak  people.  It  is  very  good 
for  others.  I  know  men,  brilliant  men,  who 
are  so  inhibited,  so  shy,  that  they  just 
don't  function  or  assert  themselves  unless 


lun 

yek  . 
[S  (I 


On-the-side  lines:  driven  indoors  by  a  light  rain  (let's  call  it  a  mist  and 
give  the  Chamber  of  Commerce  a  break)  during  "Rivers  End,"  J.  Farrell 
MacDonald  gets  Charles  Bickford's  ideas 


they  have  a  drink  or  two.  It  gives  them 
confidence,  inspires  them.  Those  people 
need  to  drink.  But  the  ones  who  can't  drink 
a  wee  bit  and  then  stop — shouldn't  drink  at 
all.  We  all  know  people  of  both  types. 

"  But  probably  the  thing  that  makes  a 
drunk  funny  to  a  sober  onlooker  is  the  sense 
of  slight  superiority  that  the  watcher  de- 
velops. Psychologists  say  that  it  is  the 
superiority  feeling  that  makes  people 
laugh.  They  like  to  see  someone  fall  down 
in  an  undignified  position.  They  like  to  see 
the  pompous  gentleman  lose  his  silk  hat. 
The  more  dignity  an  individual  has,  the 
more  we  like  to  see  him  humiliated.  That's 
why  it  is  such  fun  for  the  audience  when  the 
moral  maiden  aunt  becomes  inadvertently 
squiffed.  We  see  her  without  her  defenses. 
We  catch  her  at  something.  She  has  been 
catching  us  at  things  for  years  (or  she  sym- 
bolizes someone  who  has)  and  we  love  to 
reverse  it  on  her.  If  she  makes  a  maudlin 
fool  of  herself — so  much  the  better. 

"We  are  all  subtly  flattered  when  we 
catch  someone  without  his  armor." 

It  Takes  Technique 

CHARLES  RUGGLES.  Paramount's  su- 
per-alcoholic, apparently  has  not  made 
quite  such  a  concentrated  study  of  his  spe- 
cialty as  has  McHugh.    He  declares  that 


playing  comic  drunk  roles  requires  the  sa 
technique  that  any  other  comedy  part 
quires.  ' 

"If  it  is  a  funny  character — and  he  1 
funny  situations  with  which  to  work — 
just  the  same  as  any  other  supposedly  fun 
r61e,"  he  remarked.   "Alcohol  merely 
the  author  an  excuse  to  put  his  chai 
through  amusing  didoes.    If  he  has 
drinking,  then  it  is  I 

  for  him  to  behave  absu 

ly." 

Ruggles  seems  to  be  i 
tonished  and,  I  suspect 
trifle  dismayed,  at  bei 
cast  so  consistently  for 
ebriated  rSles  in  pictures 
"I  played  other  thiii 
besides  drunks  onthe  stap 
he  protested,  in  a  pain 
voice.  "I  don't  see  whj 
should  stagger  forever 
pictures — " 

He  does  not  think  tl 
dronks  are  funny  merely 
cause    they    are  druni 
One  gathers  that  he 
actual  inebriates  distin 
MM-funny^ — even  a  bit  di 
tressing — when  he  encoui 
ters  them  in  person.  Qi 
cannot  imagine  him  carri 
ing  his  academic  researchi 
to    the    point    of  gettiit 
oiled,  himself,  in  the  intei 
estsofart.  Heisanearnei 
young  man.    But  not  M 
earnest ! 

No  Longer  Poison 

THE  attitude  of  pictui 
toward  liquor  ha 
changed  to  a  most  surpru 
ing  degree  in  the  past  tw( 
years.  It  used  to  be  tha 
if  a  character  took  a  drinl 
or  was  portrayed  as  beinf 
intoxicated,  he  must  neC' 
essarily  either  come  to  i 
bad  end  or  see  the  error  ol 
his  ways  and  reform  before 
the  final  fade-out.  It  ii 
undoubtedly  a  reflection 
of  the  change  in  the  general  public  at 
titude  in  these  latter  days  of  Prohibition, 
when  the  hero  can  drink  himself  into  a 
semi-coma  through  most  of  the  picture — 
and  yet  get  the  girl  and  triumph  in  the 
end,  without  a  sign  of  any  intention  to  re 
form. 

The  Hays  organization  tells  me  that  it 
frowns  upon  drinking  scenes  "unless  they 
are  necessary  for  characterization  or  to 
further  the  plot."  Which  would  seem  to 
admit  almost  any  form  of  alcoholism.  The 
Association  also  informs  me  that-  it  views 
with  disfavor  "social  drinking"  upon  the 
screen — that  is,  cocktail  parties  and  things. 
Or  anything  containing  the  implication  that 
constant  imbibing  goes  on  in  the  homes  of 
the  rich!  Solitary  drinking  and  drinking 
among  the  poor,  it  seems,  are  not  consid- 
ered as  being  bad. 

The  organization  still  prefers  that  drink-, 
ers  should  come  to  bad  ends — as  William 
Powell  did  in  "  For  the  Defense." 

But  the  dear  public,  apparently,  is  willing 
for  its  heroes  and  its  funny  men  to  drink  as 
much  as  they  like  and  as  long  as  they  please — 
and  seems  to  view  them  with  a  good  deal  of 
sympathy  and  understanding,  if  not  a  little 
bit  of  envy! 

One  wonders  what  the  end  will  be.  Will 
our  romantic  leading  men  all  be  wet? 


80 


Dr.  Shirley  W.  Wynne 

Commissioner  of  Health  of  New  York  City 

says: 

'Colgate's  is  most 
efficient  cleanser 


RESPONSIBLE  for  the  health  of  six  million  Americans, 
-  Dr.  Shirley  W.  Wynne,  Health  Commissioner  of  New 
York  City,  examined  reports  of  laboratory  tests  comparing 
Colgate's  with  other  prominent  dentifrices — and  of  all  those 
examined,  he  singles  out  Colgate's  Ribbon  Dental  Cream  as 
"the  most  effective  cleanser.  "  His  approval  is  undeniably 
impressive.  Interested  as  he  is  in  all  branches  of  public 
health,  Dr.  Wynne  recently  made  a  careful  study  of  the 
difference  in  dentifrices.  He  examined  tests  made  by  some 
of  America's  greatest  analytical  chemists. 

Dr.  Wynne's  conclusion  is  based  on  the  recent  research 
of  such  eminent  authorities  as  Dr.  Hardee  Chambliss,  Dean 
of  the  School  of  Sciences,  Catholic  University 
of  America,  Washington,  D.  C. ;  Dr.  Philip 
B.  Hawk,  M.S.,  Yale,  Ph.D.,  Columbia; 
Jerome  Alexander,  B.  S.,  M.  S.,  internation- 
ally famous  among  consulting  chemists  and 
chemical  engineers ;  Dr.  H.  H.  Bunzcll,  Ph.D., 
University  of  Chicago,  and  others,  retained  to 
make  analytical  tests  and  report  their  findings. 

All  agree  that  Colgate's  is  supreme  because  . 
of  its  penetrating  foam.  This  active  agent 
flushes  out  the  decaying  food  particles  which 
lodge  between  the  teeth.  Colgate's  thus 
cleanses  completely  —  in  a  way  impossible 
with  sluggish  tooth  pastes  which  merely 
polish  the  outer  surfaces  of  the  teeth. 


Dr.  Wynne  says: 

"The  sole  function  of  a  dentifrice  is  to  thoroughly 
cleanse  the  teeth  and  gums.  To  be  an  effective 
cleanser  a  dentifrice  must  have  low  surface  ten- 
sion in  solution.  Low  surface  tension  is,  therefore, 
the  true  scientific  indication  of  cleansing  power 
OH  the  part  of  a  dentifrice  in  actual  use. 
"I  have  examined  the  reports  of  laboratory  tests 
made  by  eminent  chemists  who  have  compared 
Colgate's  with  other  prominent  dentifrices  and  I 
find  that  Colgate's  rates  the  lowest  surface  ten- 
sion. This  means  that  Colgate's  is  the  most  effi- 
cient cleanser  of  those  examined  because  it  gets 
into  the  crevices  between  the  teeth,  thus  removing 
and  flooding  away  decaying  foods.  " 


The  price  is  important — but  the 
quality — not  the  price  — has  held 
CoUate  leadership  for  30  years. 


SHIRLEY  W.  WYNNE,  M.  D..  Dr.  p.  h. 

Commissioner  of  Health,  New  York  City;  M.  D., 
Columbia  University;  Member  American  Medical 
Association;  Prof.  Preventive  Medicine,  N.  Y. 
Polyclinic  Medical  School  and  Hospital;  Prof,  Public 
Health,  Fordham  School  of  Sociolojiy  and  Social 
Service;  Keco(ini/.ed  internationally  as  an  authority 
on  matters  of  Public  Health. 

ol 


Now  Hollywood  Has  Grac 


Swanson  and  Ronald  Colman.  She  doesn't 
know  whether  she  will  remain  indefinitely 
or  not.  And  she  won't  know  until  her 
first  picture,  "Jenny  Lind,"  is  made  and 
seen.  If  she  doesn't  like  what  she  sees, 
there  will  be  an  end  to  it.  And  not  all 
the  king's  horses  nor  all  the  king's 
Mayers  will  prevail  one  jot  or 
one  tittle.  Ten  minutes  with  Grace 
Moore  can  teach  you  that. 

It  is  stated  pretty  definitely  that 
she  is  to  be  teamed  with  Lawrence 
Tibbett.  There  will  be  a  pair! 
Stormy,  lusty,  with  fever  and  cold 
courage  in  their  souls. 

It  is  difficult  to  believe  that  Grace 
Moore  is  just  one  of  us  gals.  An 
American  girl  born  in  the  unpre- 
tentious town  of  Jellico,  Tennessee. 
The  mere  fact  that  she  was  born 
where  and  what  she  was,  and  that 
in  so  short  a  space  of  time  has 
become  what  she  is,  is  a  dramatic 
story  in  itself.  Melodramatic, 
really. 

Where  She  Found  Her  Voice  ~ 

GRACE  began  to  sing  in  the 
church  choir  at  home.  Like 
her  fellow  -  Grand  -  Opper,  Mary 
Lewis,  she  aspired  to  sing  to  the 
heathen  Chinee.  She  craved  to  be 
a  missionary  and  bring  light  to  the 
pig -tailed  brethren.  Looking  at 
Miss  Moore,  one  inclines  to  believe 
that  she  would  have  been  more 
likely  to  bring  them  another  revo- 
lution. For  she  has  honey-colored 
hair  and  amber  skin,  a  seductive 
mouth  and  brilliantly  blue  eyes. 
The  form  of  an  earlier  goddess 
and  a  radiation  of  danger  about 
her.  She  is  rendering  unto  Caesar 
to  the  extent  of  diet  and  Swedish 


(^Continued  from  page  65) 

"Up  in  the  Clouds."    And  making  a  hit. 

The  producer  of  the  play  thought  he 
heard  things  of  greater  dimension  in  Miss 
Moore's  voice.  He  sent  her  to  see  Dr.  P. 
Mario  Marifioti.  Dr.  Marifioti  would  have 
none  of  her.   Probably  she  looked  entirely 


massage. 

After  Miss  Moore  had  lifted  the 
souls  of  the  Jellicoites  by  her 
hymns,  she  began  to  realize  the 
limits  of  the  little  home-town.  Her 
vasty  wings  began  to  grow  and  beat  the 
confining  air.  That  enormous  impatience 
with  thmgs  as  they  are  stirred  in  her 
and  was  born.  She  went  to  study 
music  at  the  Ward-Belmont  College  in 
Nashville,  Tenn.  And  under  the  auspices 
of  the  college  she  made  her  first  public 
appearance  at  the  National  Theater  in 
Washington,  D.  C,  where  she  shared  the 
program  with  Martinelli.  Musical  critics 
were  facetious  and  spoke  of  "the  Lion  and 
the  Mouse."  But  hand-in-glove  with  their 
humor  ran  a  note  of  genuine  praise.  And 
Miss  Moore,  her  wings  again  beating  too 
heavily  upon  her  environment,  ran  away 
to  New  York.  She  had  to  run,  because  her 
family  frowned  upon  her  aspirations.  They 
might  have  accepted  grand  opera,  but 
neither  Miss  Moore  nor  her  farnily  looked 
so  high  or  so  far  at  that  time. 

In  New  York,  for  a  year,  Grace  Moore 
ate  humble  pie  and  was  hungry.  She  knew 
no  one.  She  tried  to  know  no  one.  She 
had  borrowed  money  to  live  on  and  she 
lived  on  it — just. 

Grace  Moore  is  not  the  type  to  blush  un- 
seen for  very  long.  New  York  was  no  ex- 
ception. She  always  went  about  alone.  She 
frequented  small  cafes  where  the  great  and 
near-great  of  the  musical  world  convened. 
She  sat  apart  and  reverenced  them — and 
smiled.  And  the  smile  penetrated  the  cal- 
lous cuticle  of  the  so-called  inhumane  city 
and  Grace,  before  she  was  quite  aware  of 
events,  was  singing  in  the  musical  comedy, 


Standing  for  no  nonsense:    it  is  fairly  obvious 
Mary  Duncan  is  not  under  illusions  or  much  of 
thing  else,  as  a  haremite  in  "Kismet" 


too  decorative  to  fill  the  shoes  of  a  Tetraz- 
zini.  Miss  Moore  accepted  his  brusque  dis- 
missal by  the  announcement  that  she  would 
sit  in  his  studio  until  he  took  her  as  his 
pupil.  She  sat  for  three  days.  In  order  to 
get  rid  of  that  immobile  presence.  Dr.  Mari- 
fioti took  her  on,  and  to-day,  in  Hollywood, 
still  teaching  her,  he  admits  that  he  is  proud 
of  it. 

Up  Above  the  Clouds 

GRACE  MOORE  made  her  first  really 
big  hit  in  the  Music  Box  Revues  of 
1923,  1924  and  1925.  She  also  appeared  in 
"Hitchy-Koo"  and  other  musical  comedies, 
and  oh  the  concert  platform.  She  had 
reached  a  spectacular  spot.  She  was  a 
Name.  She  was  making  money.  She  was 
comfortable.  She  had  everything.  Ambi- 
tion, in  most  of  us,  would  have  been  ap- 
peased, would  have  curled  up  by  so  luxuri- 
ous a  fire  and  gone  happily  to  sleep. 

But  the  ambition  of  Grace  Moore  is  a 
hard  and  voracious  thing.  If  there  are 
higher  heavens  to  reach,  though  the  way 
should  be  through  Hell,  she  would  try  for 
the  heavens.  Officials  of  the  Metropolitan 
suggested  that  she  abandon  her  career  in 
its  high  hey-day,  study  for  a  year,  at  the 
end  of  which  time,  she  might — or  might  not 
— be  admitted  to  the  Met.  Here  was  a 
Heaven  to  try  for!  Here  was  a  call  to  arms! 
Miss  Moore  turned  her  back  on  Broadway 
and  the  lights,  and  settled  down  to  a  year  of 
intensive  and  unremunerative  work. 


She  made  the  Met.    In  1928.   As  Min 
in  "  La  Boheme." 

During  the  following  two  years,  her  greatl 
est  personal  triumphs  were  as  Juliette  iii 
"Romeo  et  Juliette,"  as  Marguerite  vX 
"Faust,"  and  the  sensational  Manon  aJ 
the  first  performance  of  the  Met] 
ropolitan  this  past  season.  Follow 
ing  the  1929  season,  Miss  Moor 
made  a  European  tour.  Sh< 
appeared  at  the  Paris  Opera  andl 
the  Opera  Comique,  and  at  the! 
Cannes  and  Monte  Carlo  Opera! 
houses.  I 
And  now,  now  she  is  in  Holly-j 
wood.  I 
There  is  courage  in  this  girl  fronu 
Jellico.  Courage  and  storm  anS 
fever  and  no  fear.  | 

Her  Private  Public  Opinion  j 

GRACE  MOORE  very  eml 
phatically  disagrees  with  Gery 
aldine  Farrar's  pronouncement  tlud 
opera  is  a  dying  form.  ^ 
The  amber-hued  and  trenchant  , 
lady  said,  "The  various  statements 
about  grand  opera  dying  have  been 
made  by  artists  who  are  doing 
their  last  mile.  They  are  the  old- 
fashioned  performers,  who  cannot 
keep  step  with  the  spirit  of  to-day. 
The  public  is  not  as  tdlerant  as  it 
once  was.  The  demands  are  greater, 
the  sacrifices  harder.  But,  so  long 
as  there  are  beautiful  voices  in  the 
world,  opera,  old  or  new,  will  live." 

Grace  Moore  loves  the  opera. 
She  loves  the  people  of  the  opera. 
She  loves  the  exactitudes,  the  sacri- 
fices, the  stern  and  unrelenting  de- 
mands. At  her  luncheon  table,  the 
day  we  talked,  were  Giovanni  Mar- 
tino,  the  basso  from  the  Metro- 
politan, young  Martini,  the  tenor, 
that        and    a    distinguished  conductor 
any-         (from  Chicago,  I  believe).  She  says 
the  people  of  the  opera  are  more 
fun  to   be  with  than  any  other 
group  of  people  in  the  world.  "They  work 
harder,  they  play  harder,  they  love  harder, 
they  live  harder." 

"Opera,"  Miss  Moore  continued,  "is  an 
exacting  master.  You  cannot  serve,  two 
gods,  when  one  of  them  is  opera.  You  live 
a  life  of  perpetual  self-sacrifice.  In  small 
ways  and  in  great.  You  cannot  smoke.  You 
cannot  play  tennis  or  go  in  for  strenuous 
athletics.  You  cannot  talk  too  much,  no 
matter  how  much  you  may  enjoy  chatting 
into  the  small  hours,  for  talk  is  more  ex- 
hausting for  the  voice  than  singing. 
Marriage  is  all  but  impossible  for  the  dedi- 
cate devotee.  Love  is  too  exciting.  A 
career  should  not  come  before  the  man  you 
love  and  marry,  and  if  you  put  the  man 
before  the  career  you  are  lost. 

"There  are  tremendous  compensations, 
of  course.  Opera  is  a  rather  more-than- 
liberal  education.  You  must  know  the  lan- 
guages. You  must  know  history,  racial  and 
musical.  You  have  contacts  with  the  finest 
and  most  interesting  people  in  the  world,  in 
all  walks.  You  know  Europe  and  Euro- 
peans.  You  are  everywhere  received  .  .  .." 

There  is  something  about  an  opera  singer 
. .  .Jenny  Lind  and  Jeritza,  Melba  and  Bori 
. .  .mysterious  names,  names  to  conjure  with. 
Grand  names. 

Grace  Moore  may  be  loved  or  she  may  be 
hated.  There  could  be  no  temperate  middle 
ground.  She  is  an  intemperate  personality. 
She  is  trenchant.  She  is  aggressive.  She 
makes  herself  felt,  as  well  as  heard  and  seen. 


82 


I  m  a  kelple^s  prisoner! 


says  MYRNA  LOY 


/  P 


T  m  caught  I  .  .  .  in  a  spun-silJc  weh  I  I  m  held 
...ma  star-dust  rapture  I  I  m  captive  to  a 
lilting  mood!  But  I  love  my  captor  .  .  .  I'll 
never  escape.  For  this  mood  that  s  captured 
me  IS  Youth  itself  ...  a  mood  which  stole 
from  a  perfume  bottle  and  entered  my  heart  .  .  . 
surroun  ded  my  soul  .  .  .  and  I  surrendered! 
See,  here  s  the  hottle  .  .  .  there  s  the  name  — 
Seventeen  —  but  wait!  Not  a  breath  of  it  — 
unless  YOU  want  to  be  carried  away  —  too!" 


Seventeen  . .  .  not  a  perfume  alone 

I)iit  a  wliole  en.seintle  of  gay  toiletries! 

Tlic-  oii.somLIe  i<lca  is  smart  in  toilet  acce,\.<orie\,  too! 
.  .  .  .\o  Scvcnteoii'.s  gay  ami  liglit.sonie  fragrance  lia.i 
l>oi-ii  lirea)lii-<l  into  caili  of  tlic\c  cssi-ntial.-i:  PawJerx 
.  .  .  a  face  ])Ow«liT,  liatK  jiowder  ami  talcum  .  .  . 
all  cliarmlngly  i)ackage«l,  all  exquisitely  soft,  all 
faintly  scented  wilK  Seventeen  ...  a  Ctimpuct,  tlie 
smartest  you've  ever  seen,  in  gleaming  black  ...  a 
Siulirl,  tlie  sulillest  way  to  jierfiime  lingerie  .  .  .  lirtl- 
liinline.i,  one  solid,  one  Ii<|iiiil,  to  restrain  straying  locks 
ami  leave  a  fragrance  lliat  s  ever  so  elusive. 

83 


Hallelujah!   And  A  Percenta 


to  prepare  the  setting  for  the  arrival  of  the 
star,  so  do  Aimee's  assistants,  headed  by 
"Ma"  Kennedy,  precede  her  arrival  in  the 
church  auditorium.  They  work  the  con- 
gregation into  a  frenzy  of  enthusiasm  for  the 
climactic  moment.  Then,  with  the  folks  on 
their  feet,  palms  upraised,  shouting  "Hal- 
lelujah," the  regal  figure  of  the  evange- 
list comes  into  view,  colored  lights  playing 
on  her  gleaming  white 
gown. 

She  dramatizes 
everything.  Some- 
times, even  the  devil, 
in  red  robes  and  with 
the  well-known  horns, 
appears  on  the  plat- 
form, and  Aimee, 
shouting  maledictions 
and  praise  to  the  Lord, 
drives  him  away. 
Sometimes,  she  depicts 
the  Gates  to  Heaven 
and  the  rocky  path 
leading  to  them;  some- 
times, the  Gates  to 
Hell  with  its  path  of 
primroses.  Greed,  Lust, 
Pleasure,  and  other 
symbolic  figures  of  her 
sermons  are  repre- 
sented on  the  rostrum. 
When  she  returned 
from  her  harrowing 
"kidnapping"  experi- 
ence, she  enacted  the 
whole  business  out  on 
the  church  stage. 

Maybe  So,  Maybe 
Not 

SOMEBODY  once 
told  her  she  had 
a  voice  like  Maude 
Adams  and  Ethel 
Barrymore  combined. 
Someone  else  remarked  that  she  resembled 
Texas  Guinan. 

"I  don't  know  myself,"  she  explained 
in  repeating  this.  "You  see,  I  don't  go  to 
the  theater  and  I've  never  met  Texas 
Guinan." 

How  does  she  reconcile  her  present  plans 
for  film-making  with  her  preachments  all 
these  years  past  against  that  instrument  of 
Satan,  motion  pictures? 

In  the  first  interview  granted  on  the  sub- 
ject, she  told  me.  Fondling  a  remarkably 
well-behaved  baby  on  her  knee,  apparently 
as  atmosphere,  she  went  into  action.  Gone 
were  all  the  vestiges  of  the  shoutin',  yellin', 
exhortin'  preacher.  For  this  role,  she  was  a 
modest,  demure  little  woman  in  a  faded  blue 
dress. 

Belle  Bennett  could  not  have  done  it  any 
better. 

She  looked  between  forty  and  fifty  years 
of  age,  much  more  than  she  appears  in 
photographs  or  from  the  church  pulpit.  The 
famous  red  tresses,  which  have  figured  so 
much  in  the  public  prints,  were  a  light 
yellow.  Aimee,  without  doubt,  has  blondined 
her  hair.  Instead  of  being  heaped  on  top  of 
her  head,  as  once,  it  was  combed  straight 
from  her  face,  parted  in  the  middle  and  fell 


{Continued  from  page  30) 

in  long  ringlets  about  her  neck.  Her  voice 
was  subdued  and  quiet.  She  seemed  almost 
reluctant  to  say  anything  about  herself. 
But  not  entirely  reluctant — 

A  Heaven-Sent  Opportunity 

"  TT  will  be  God's  work  to  me.  It  will  be  a 
X  religious  effort.  The  talking  picture  is 
the  greatest  agency  for  the  spread  of  the 


Longworth 

The  witching  houri:  despite  the  penchant  of  turban-wearers 
and  lazy,  little  Loretta  Young  wins  her  way  into  the  heart 
Sidney  Blackmer  in  "Kismet" 


Gospel  since  the  invention  of  the  printing 
press. 

"  My  first  production  will  be  based  on  my 
life  in  the  service  of  the  Lord.  Everything — 
everything  will  be  included.  There  will.be 
scenes  depicting  the  terrible  prosecution 
suffered  at  the  hands  of  the  money  lords, 
the  liquor  barons,  the  rum  runners,  the  dope 
fiends,  the  agents  of  the  underworld  in  Los 
Angeles,  who  had  me  kidnapped  and  set 
down  in  the  desert.  Yes,  I  suppose  we  will 
include  my  long  and  perilous  walk  across  the 
sands. 

"I  would  like  to  make  something  tre- 
mendously fine  in  the  way  of  a  picture.  I 
would  like  good  actors  to  play  in  it.  My 
director?  Personally,  I  would  choose  some 
one  like  Cecil  B.  de  Mille  or  Lionel  Barry- 
more. 

"When  I  was  set  free  by  my  kidnappers 
and  the  newspapers  were  full  of  my  ex- 
periences, I  was  offered  a  million  dollars  by 
a  motion  picture  company  to  screen  the 
story.  I  refused.  I  could  see  no  reason  then 
for  making  a  picture.  To-day,  I  will  make 
one — for  the  Glory  of  God. 

"Talking  pictures  have  changed  every- 
thing. They  give  me  an  opportunity, 
through  sound,  to  promulgate  the  Gospel  as 


never  before.   After  this  production  is 
ished,  I  intend  to  make  a  series  of  serm 
ettes.    They  will  be  released  in  the  ei. 
hundred  and  forty-two  branch  church" 
Angelus  Temple  all  over  the  country." 

She  Lost  Her  Radio  Voice 

AIMEE  was  not  at  all  nervous  when 
.  took  her  first  tests  within  the  stu 
gates,  she  told  me. 
had  no  reason  to  b 
developed,  for 
tests  were  splen ' 
The  evangelist  pho 
graphed  very  well, 
deed.  Her  eyes  w 
extraordinarily  la 
and  luminous.  H 
profile  was  good.  A 
her  voice,  the  one  th 
nearly  blasts  apart  t 
radio  loudspeaker,  i 
cords  clearly  and  wi 
pleasant  tonal  qua 
ties. 

The  story  goes  th,'. 
these  first  tests  we 
accomplished  at  Te 
Art  Studio,  an  ind« 
pendent    organ  izatic 
where  stages  and  can 
era  equipment  may  t 
rented  for  short  (jerioc 
of  time.    Aimee,  roL 
ing  up  to  the  gates  i 
a  black  limousine,  ac, 
companied  by  her 
daughter,  Roberta,  wa 
assigned  to   the  sta 
dressing-room,  one 
occupied   by  Dolore 
Del  Rio.    The  janito 
is  grumbling  authority 
for  the  fact  that  Aima 
brought  no  towels. 
Once  before  the  mi 
crophone,  she  was  apparently  undecidec 
what  to  say.  Turning  to  daughter  Roberta, 
she  said:  "Shall  I  tell  a  story,  or  shall  1 
use  a  scriptural  text?" 

Roberta  voted  for  the  story.  Aimee  told 
one  and  so  well,  it  seems,  that  since  that 
day  there  has  been  no  doubt  about  the  pic- 
ture being  made — it  just  has  been  a  question 
of  when  and  where. 

Aimee  Semple  McPherson  is  a  great  show- 
woman  .  .  .  and  her  name  is  known  the 
length  and  breadth  of  America.  Other  evan- 
gelists have  dropped  more  or  less  by  the  way- 
side, but  Aimee  flings  out  her  banners  and 
marches  on.  She  ought  to  do  as  well  in  pic- 
tures as  she  has  in  the  pulpit.  If  so,  she's  on 
her  way  to  more  success. 

Although  details  of  the  business  organiza- 
tion are  a  little  hazy  in  the  mind  of  a  lay- 
man, it  is  said  that  the  endeavor,  besides 
being  for  the  Glory  of  God,  will  be  on  a 
percentage  basis.  Universal  at  this  writing 
will  produce.  The  Angelus  Picture  Corpora- 
tion and  others  will  get  a  cut. 

So,  folks,  get  ready  for  the  religious  spec- 
tacle of  all  ages.  The  lady  evangelist  is 
breaking  into  screen  drama.  No  doubt,  she 
will  be  as  colorful  a  figure  there  as  she  has 
been  in  countless  newsreels  already  ... 


for  ladies  large 
and  harem  of 


84 


at  home  without 
i  teacher,  in  V2  the  usual 
I  me  and  Va  the  usual  cost? 


Over  half  a  million  men  and  women 
/e  learned  to  play  their  favorite 
truments  the  U.  S.  School  of 
isic  way!  . 

That's  a  record  of  which  we're 
jhty  proud!  A  record  that  proves, 
Iter  than  any  words,  how  thorough, 
N  easy,  how  modern  this  famous 
thod  is. 

Just  think!  You  can  quickly  learn 
play  any  instrument — directly 
m  the  notes — and  at  an  average 
5t  of  only  a  few  cents  a  day. 
You  study  \n  your  own  home,  prac- 
e  as  much  or  as  little  as  you  please, 
t  almost  before  you  realize  it  you 
playing  real  tunes  and  melodies — 
t  dull  scales,  as  with  old-fashioned 
thods. 

Like  Playing  a  Game 

The  lessons  come  to  you  by  mail, 
hey  consist  of  complete  printed  in- 
ructions,  diagrams,  and  all  the  music 
)U  need.   You  simply 
go  wrong.  First 


)u  are  told  what  to  do. 
ihen  a  picture  shows 
ou  how  to  do  it.  Then 
ou  do  it  yourself  and 
'ar  it.  No  private 
•acher  could  make  it 
iy  clearer. 

As  the  lessons  con- 
nue  they  becomeeasier 
id  f  asier.  For  instead 
scales  you  learn 
)  j  lay  by  actual  notes 
le  favorites  that  for- 


Pick  Your  Instrument 


Piano  Guitar 
Orcan  Hawaiian 
Violin  Steal  Guitar 

Piccolo  Mandolin 
Clarinat   Sifht  Singing 
Fluta  Ukulala 
Harp  Trombona 
*Callo  Cornet 

Drums  and  Traps 
Banjo 

'Plectrum.  5- String  or  Tenor) 

Saxophone 
Voice  and  Speech  Culture 
Harmony  and  Conriposition 
Automatic  Finger  Control 
Piano  Accordion 
Italian  and  German 
Accordion 


merly  you've  only  listened  to.  You 
can't  imagine  what  fun  it  is,  until 
you've  started! 

Truly,  the  U.  S.  School  method  has  re- 
moved all  the  difficulty,  boredom,  and 
extravagance  from  music  lessons. 

Fun — Popularity 

You'll  never  know  what  real  fun  and 
good  times  are  until  you've  learned  to  play 
some  musical  instrument.  For  music  is  a 
joy-building  tonic — a  sure  cure  for  the 
"blues."  If  you  can  play,  you  are  always 
in  demand,  sought  after,  sure  of  a  good 
time.  Many  in\'itations  come  to  you.  Ama- 
teur orchestras  offer  you  wonderful  after- 
noons and  evenings.  And  you  meet  the 
kind  of  people  you  have  always  wanted  to 
know. 

Never  before  have  you  had  such  a  chance 
as  this  to  become  a  musician — a  really  good 
player  on  your  favorite  instrument — without 
the  deadly  drudging  and  prohibitive  expense 
that  were  such  drawbacks  before.  .At  last 
you  can  start  right  in  and  get  somewhere, 
quickly,  cheaply,  thoroughly. 

Here's  Proof! 

"I  am  making  excellent  progress  on  the 
'cello — and  owe  it  all  to 
your  easy  lessons,"  writes 
George  C.  Lauer  of  Bel- 
fast, Maine. 

"I  am  now  on  my  12th 
lesson  and  can  already  play 
simple  pieces,"  says  Ethel 
Harnishfeger,  Fort  Wayne, 
Ind.  "/  knew  nothing 
about  music  when  I  start- 
ed." 

"  I  ha ve  completed  onl  y  20 
lessons  and  can  play  almost 
any  kind  of  music  I  wish. 
My  friends  are  astonished," 
wTites  Turner  B.  Blake,  of 
Harrisburg,  111. 

And  C  C.  Mittlestadt,  of 


Mora,  Minn.,  says,  "I  have  been  playing  in 
the  brass  band  for  several  months  now.  I 
learned  to  play  from  your  easy  lessons." 

You,  too,  can  learn  to  master  the  piano, 
violin,  'cello,  saxophone — any  instrument 
you  prefer — this  quick,  easy  way!  For 
every  single  thing  you  need  to  know  is  ex- 
plained in  detail.  And  the  explanation  is 
always  practical.  Little  theory— plenty  of 
accomplishment.  That's  why  students  of 
the  U.  S.  School  course  get  ahead  twice 
as  fast  as  those  who  study  by  old-fashioned, 
plodding  methods. 

Booklet  and  Demonstration 
Lesson — FREE! 

The  whole  interesting  story  about  the 
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Free  Demonstration  Lesson,  which  proves 
how  delightfully  quick  and  easy — how 
thorough — this  modem  method  is. 

If  you  really  want  to  learn  to  play  at 
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Can  They  Stay  Retired? 


(Continued  from  page  29) 


her,  flickered  out.  She  didn't  do  it.  Didn't 
care.  She  went  to  openings  and  parties  and 
tested  the  old  life  to  the  full.  It  was  weighed 
in  the  balance  with  the  Long  Island  farm 
and  the  baby — and  found  wanting. 

Two  Other  Exceptions 

PHYLLIS  HA\  ER,  our  very  own  Phyllis, 
is  a  runner-up  to  Dorothy  Dalton. 
Phyllis  married  Mr.  Seaman  of  the  canned 
goods  clan.  She  lives  in  a  luxurious  pent- 
house in  lower  Manhattan.  And  only  puts 
on  make-up  for  the  Four  or  Five  Hundred. 
She  has  gone  in  for  forestry,  having  planted 
sixty  pine  trees  on  the  pent-house  estate. 
Imagine  their  surprise!  She  drives  a  couple 
of  swell  cars,  is  in  love  with  her  husband  and 
fairly  purrs  with  contentment.  -She  adores 
being  just  the  Little  Woman,  for  you  are 
the  Little  Woman,  whether  you  live  in  a 
pent-house  or  a  cave. 

Phyllis  was  recently  in  Hollywood  for  a 
visit.  Phyllis — can  you  get  it — who  was  as 
much  a  part  of  movies  as  the  film  used  in 
the  making.  She  didn't  feel  any  yen  to  re- 
turn. When  any  of  the  Hollywood  boys 
and  girls  come  to  New  York,  she  says,  they 
always  come  to  see  her.  She  gets  all  the 
gossip,  knows  everything  that  is  going  on. 
It  satisfies. 

Constance  Talmadge  is  living  in  our  very 
midst.  She  is  with  us,  but  not  of  us.  We 
almost  never  see  her  any  more.  Connie, 
who  used  to  be  the  very  heart  of  the  heart 
of  Hollywood.  She  is  said  to  be  more  inter- 
ested in  reading  Helpful  Hints  to  House- 
wives than  she  ever  was  in  reading  reviews 
and  fan  letters. 

There  are  always  exceptions.  To  every- 
thing. Everyone  knows  that.  But  we  be- 
lieve that  they  are  the  exceptions.  And 
there  is  still  room  for  skepticism.  For  they 
are  still  young,  and  somewhere — far  in  the 
offing — there  may  shine  a  glimmer,  a  faint 
gleam,  a  hope,  a  dream  .  .  . 

Remade,  Not  Retired 

YEARS  ago,  five,  six  or  seven,  Mary 
Pickford  solemnly  and  consideringly 
assured  us  that  she  was  through  with  kiddie 
parts  and  therefore  through  with  the  screen. 
She  and  Doug,  she  said,  would  eventually 
make  one  picture  together,  and  then — fare- 
well. Forever.  She  said  that  her  small 
stature  forebade  her  entering  the  dramatic 
field  and  that  as  childhood,  even  on  the 
screen,  must  one  day  make  way  for  maturity 
she,  in  turn,  would  give  way  to  the  inexor- 
able hand  of  Time.  She  didn't.  She  hasn't. 
And  now  she  admits  that  she  doesn't  want 
to.  She  says  she  would  be  utterly  wretched, 
if  she  didn't  have  her  finger  in  things  movie. 
In  order  not  to  retire  she  has  accepted  and 
triumphed  over  the  handicap  of  not  being 
Garboesque  in  size. 

Colleen  Moore,  shortly  after  her  marriage 
to  John  McCormick,  annually  announced 
that  at  the  expiration  of  her  next  contract 
she  would  retire,  travel,  have  children,  read 
books  and  "l-ive  private."  Contracts  kept 
on  blooming  like  the  flowers  that  bloom  in 
the  Spring,  tra,  la;  and  Colleen  kept  right 
on  blooming  with  them.  Colleen  is  no 
longer  married.  Colleen  has,  at  this  writing, 
neither  conjugal  nor  cinema  contract.  But 
report  hath  it  that  Colleen  is  about  to  un- 
dergo a  metamorphosis.  We  will  see  her 
rise,  they  say,  a  phoenix  from  the  ashes  of 
her  adolescence.  A  new  Colleen,  with 
Depths,  will  be  among  us,  to  tarry  a  long, 
long  while.  We  hope  so. 

PEOPLE  conjecture  about  the  beautiful 
Corinne  Griffith.  Will  she  stay  as  re- 
tired, as  she  says  she  will?  Corinne  says 
yes.  Others  say  no.   It  would  appear  that 


Corinne  is  studying  Voice  and  things, 
haps  for  chamber  music. 

Years  ago.  Rod  La  Rocque  sententiou 
assured  me  that  he  would  work  for 
more  years  and  then,  when  he  had  amasl 
enough  samoleons  to  go  abroad,  he  wo 
live  in  India  and  Be  Himself.  You  have 
had  any  picture  post-cards  from  Rod  s, 
ing,  "X  marks  my  salt-mine.  Wish  y 
were  here."  Have  you? 

And  speaking  of  the  La  Rocque  fami 
X'ilma  Banky  La  Rocque  recently  and  a 
very  firmly  announced  that  she  was  throu 
that  she  was  going  to  stay  at  home  and 
the  little  house  frau  she  has  always  lonj 
to  be,  that  she  would  go  in  for  kiddies  it 
Big  Way  and  be  a  proper  wife  to  Rode 
Warner  Baxter  has  stayed  Vilma's  ha 
from  rocking  the  cradle  for  the  time  beii 
She  is  to  play  opposite  the  Cisco  Kid  in 
latest. 

Lila  Lee,  when  she  married  James  Kiii 
wood,  resolved  to  abjure  the  grease-pai 
for  all  time.  She  would  be  domestic  a 
have  a  few  little  Cuddleses  of  her  o\\ 
Finances  and  things  went  flooey  and  it  I 
came  necessary  for  Lila  to  Do  Somethir 
The  screen  was  all  she  knew.  She  we 
through  a  period  of  desperation  for  fear  s 
would  have  to  retire. 

Panic  Time 

BEBE  DANIELS  experienced  somethiij 
of  the  same  panic  during  those  daj 
days  prior  to  "Rio  Rita."  She  knew  th* 
that  anything  she  had  ever  said  about  t|| 
tirement,  traveling,  home-making  was  t| 
bunk.  She  didn't  want  to  be  through.  S!f 
knew  that  she  had  too  much  to  give  , 
Solitude  and  Europe  and  Improving  Ond 
Mind — stale,  stale,  flat  and  profitless. 

You  will  note  that  the  resolve  to  retire  iej 
fragile  thing,  marked  Unbreakable,  but-j 
but  crash  into  it  with  a  swell  part,  a  fattilj 
contract,  a  Break,  the  need  to  economiJ 
or  any  other  Fact  of  Life  and  hear  the  pretl( 
tinkling  sounds  the  pieces  make. 

Marilyn  Miller  swears  by  all  her  go 
Flo  Ziegfeld  and  First  National,  that  si 
will  retire  at  the  end  of  her  next  New  Yon 
show  and  her  next  two  pictures.   She  sajl 
she  has  always  said  she  would  retire  befo  1 
the  Public  began  to  fidget  and  rustle  its  pn'j 
grammes.    But  how  to  know  when  thij 
dread  hour  comes?    There  are  so 
outs  ...  A  mosquito  might  have  bitten ) 
audience.   A  wind  might  have  passed  ol 
the  house  .  .  . 

Zasu  Pitts  hopes  to  retire  when  she 
enough  money  to  adopt  several  more  chil 
dren  and  run  a  Nursery  of  her  own.  St€ 
lizing  milk  means  more  to  Zasu  than  star 
in  pictures.  So  says  the  unique  Pitts. 

ILDRED  DAVlSbecame  Mrs.  Haroll 
Lloyd.    She  dwells  in  marble  halUf 
5he  Retired.  She  had  a  baby.  She  says  it) 
orful.  iVo/ the  baby — Being  Retired.  "Hail 
old  has  people  to  the  house.    They  tall 
shop,  shop,  shop.   Sets,  and  what  hapjjeiti 
in  the  studio.    When  all  1  can  do  is  bleal 
hopefully,  'Oh,  Gloria  has  a  new  tooth] 
and  hope  someone  will  be  thrilled  to 
that  Gloria  has  a  new  tooth.    I  feel  so  ov 
of  things,  not  a  part  of  anything,  dumb !  •  •  •  1 
Mary  Hay  promised  Richard  Barthek 
mess,  when  they  wed,  that  she  would  pei 
manently  retire  from  both  screen  and  stan 
She  tried  it.  She  couldn't.  She  picked  up  th! 
pieces,  professionally,  and  dropped  then 
matrimonially.  It  sometimes  goes  like  thai 
Maurice  Chevalier  told  me  that  his  wif' 
is  content  for  long  sp>ells  at  a  time,  and  thei 
for  long  spells  at  a  time  she  is  not  content. 
Can  they  stay  retired? 
I  doubt  it. 


S6 


J 


rhey  Know  A  Thing 
Or  Two 

{Continued  from  page  6j) 


:id  acts  as  a  rule, 
resh  and  bossy. 
Sever. 


Most  stage  children  are 
But  not  my  Quillans. 


Business,  If  Not  Pleasure 

I'D  talk  to  them  this  way:  I'd  say,  'If 
you  can't  be  well-behaved  because  it's 
he  decent,  respectable  thing  to  do,  then 
Id  it  because  it's  good  business.  More  flies 
ire  caught  with  sugar  than  vinegar.  The 
nore  friends  you  got  backstage,  the  better,' 
'd  tell  them.  "Stay  out  of  people's  way. 
fCeep  out  of  the  wings,  unless  you  get  per- 
Tiission  to  stand  there.  When  you  come  off 
rom  your  act,  hike  to  your  dressing-rooms 
ind  get  your  make-up  off  and  get  out  of  the 
;  heater.' 

"  It  ain't  boasting,  no,  ma'am,  when  I  say 
niy  kids  were  welcomed  back  to  every 
theater  they  played  more  than  once. 

"I  taught  them,  this,  too:   to  take  kid- 
ling  well  when  the  joke  was  on  themselves — 
lut  to  be  careful  about   kidding  other 
leople.    That's  more  important  in  Holly- 
wood than  any  place  in  the  world.  The 
•own  is  full  of  practical  jokers,  whose  sense 
)f  humor  isn't  sufficiently  elastic  to  see  the 
loint  when  it  is  turned  on  them.  '  But  when 
\ou're  the  goat,'  1  told  my  kids,  'grin  and 
lear  up  under  it.'  There's  nothing  worse  in 
•he  show  business,  or  any  other  business, 
than  the  fellow  who  can't  see  the  laugh  on 
J  himself.    If  it  doesn't  do  anything  else,  it 
itends  toward  good  fellowship. 

"As  the  boys  grew  a  little  older,  the  busi- 
lOess  of  training  them  became  a  little  more 
complicated.  Saj-  what  we  will  for  it.  and  I 
love  it,  nevertheless  life  in  the  show  world 
is  a  little  lajc.  The  conventions  are  not  as 
strictly  adhered  to  as  they  might  be.  It 
ain't  deliberate  wickedness,  but  it's  careless- 
ness. It's  easy  to  drift  into  the  slip-shod 
way  of  dealing  with  things. 

The  Most  Important  Thing 
""DUT  before  them  constantly,  I  kept  the 
Pj  example  of  the  devotion  between 
their  mother  and  myself.  Oft-times  when  I 
traveled  with  the  act,  Mrs.  Quillan  and  I 
would  be  separated  for  months  at  a  time. 
And  yet  never  once  did  I  let  my  children  see 
me  miss  my  daily  letter  to  her.  I  read  every 
word  of  the  letters  she  wrote  to  us.  I 
taught  them  that  faithfulness  to  one  woman 
was  the  grandest  thing  of  God's  scheme. 
Look  at  mamma  sitting  over  there  laughing 
at  me,  will  you?  '  \'ou  scalawag,'  she'll  say 
after  you're  gone,  '  Vou  old  scalawag!'  But 
she'll  only  say  it  with  her  lips.  She  knows 
deep  down  in  her  heart  that  what  I'm  saying 
is  the  truth. 

"I  taught  them  to  respect  all  women. 
Like  they  would  their  own  sisters.  Maybe 
the  girls  they  met  didn't  dress,  or  look,  or 
talk  like  their  sisters,  but  my  boys  learned 
to  treat  them  as  such.  When  a  man  loses 
his  respect  for  womanhood,  he  loses  his 
respect  for  himself! 

"'Don't  ever  set  yourself  up  to  judge 
other  people,'  I'd  tell  them.  'Maybe  they 
'  is  en't  the  same  religion  as  yours.  Or  the 
^aie  ideals.  Or  the  same  way  of  seein' 
things.  But  judgin'  is  not  for  you.  Take 
the  good  you  can  get  out  of  them,  and  leave 
the  bad  alone.' 

"I  didn't  say  they  couldn't  go  out  at 
night  after  the  shows.  I  didn't  forbid  them 
to  drink.  Or  to  smoke.  I'm  too  old  a  dog 
not  to  know  that  forbidden  fruit  is  the 
sweetest,  ma'am.  I  just  put  a  proposition 
up  to  them. 

It  Was  Up  to  Them 

F  you  go  out  and  make  fools  of  yourself,' 
I  d  say,  'that's  your  busine.ss.  You're 
{Continued  on  page  gj) 


I 


Her  Hands 


lovely  as  a  hncJe  s 
after  10  years 
liOLisekeepui^ 


V 

1920 

.  .  tliank.s  to  LUX 
in  tlie  cJislipan,  .says 
M.r,s.  H.  \V^.  Simmond.s 

THIS  attractive  voun^  homcmaker 
has  di)ne  all  her  own  work,  having 
iier  hands  in  and  out  of  the  dishpan 
rhrct  times  a  day — torten  years.  Yet  thev 
are  soft  and  white  and  sm(K)th  as  when 
she  was  married  .  .  .  thanks  to  Lux  ' 
"Washing  dishes  with  Lux  leaves 
mv  hands  lovt-lv  looking  —Mrs 
Simmonds  sa)  s  enthusiasticalK  .  .  so 
snn)oth  and  white  and  daint\'. 

A  Great  Dwortry 

Modern  young  homemakers  them- 
selves discovered,  in  using  Lux  for  their 
silks  and  woolens,  that  the  gentle,  bland 
Lux  suds  work  the  same  magic  with 
their  hands  as  with  their  tine  fabrics. 

Among  thousands  of  young  wives 
inter\*iewed  in  1 1  large  cities,  96  out  of 
every  100  use  Lux — to  keep  their  hands 
lovely  ...  in  spite  »>f  housework! 

FAMOUS  beauty  shops  —  U)")  of 
them  —  iultisc  Lux  for  the  hands! 
With  all  our  experi- 
ence, we  actually  can 


1930 

ThoinanJt  of  ivumtn  uhn  urn  f>riJr>  hit  tears 
,tgii  itill  ban  hanJi  <•/.(  tuith  a*  on  ihtir  utJJnii: 
Jiiy    I  hunks  to  iht  magic  of  Lmx.' 

not  tell  the  difference,"  they  sav.  be- 
tween the  iiands  of  the  woman  with 
maids  ami  the  hands  of  the  wom.m 
who  uses  Lux  in  the  dishpan. 

They  know  that  ordinary  coarse  soaps 
leave  hands  red  and  rough  while  the 
gentle. bland  Lux  protects  the  beaut\  oils 
of  the  skin,  keeping  busy  hands  smooth 
and  w  hite.  Yet  Lux  for  dishes 
costs  less  than  1  c  a  da\  ' 


For  lovely  liaiuls   •   costs  Ic.s.s  tlian  1*   a  clay 

87 


Not  So  Shy 

(Continued  from  page  yd) 


What  makes  china  glisten? 

This  important  truth  is  worth  repeating :  for 
easy  and  effective  dishwashing,  (1)  scrape 
dishes  well;  (2)  haveg-e/ieroiis  suds ;  (3)  rinse 
with  boiling  water.  (And  see  our  booklet). 


When  is  a  stocking  dirty? 

Summer  and  winter  we  perspire.  And  per- 
spiration attacks  silk  underthings,  frocks, 
stockings.  Wash  out  all  these  promptly 
after  wearing,  whenever  possible. 


How  best  to  wash  woodwork? 

Suds  get  tired.  To  clean  easiest,  best, 
change  suds  often.  For  spots,  apply  soap 
directly  to  wood. 


Is  your  cleaning  done  by  noon? 

To  have  more  time  to  do  as  you  please, 
use  cleaning  short  cuts,  and  have  a  clean- 
ing schedule  or  plan. 


This  valuable  book  is  freel 

We  offer  you  an  unusual  kind  of  booklet... 
full  of  short  cuts,  and  with  instructions 
for  making  a  cleaning  plan  to  fit  your  par- 
ticular problems.  Send  for  this  booklet. 
Remember  it's  free. 

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I  NSTITUTE 

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88 


commissary  waitress.  It  turned  out  that  he 
doesn't  eat  lunch.  Not  that  he's  afraid  of 
avoirdupois,  like  Clara  Bow,  but  after  years 
of  arduous  exercise — dancing  and  making 
comedy  whoopee — on  the  New  York  stage, 
the  life  of  ease  in  Hollywood  has  robbed 
him  of  his  appetite.  "  How  these  people  out 
here  can  eat  three  square  meals  a  day  and 
do  as  little  as  they  do"  is  beyond  him. 

The  Bug  Took  Effect 
""DUT  to  make  a  long  story  short,"  he 

If  continued,  taking  up  where  he  had 
left  off  in  his  private  life,  "I  went  to  work 
with  my  two  brothers  in  my  father's  in- 
surance business.  Mother  wanted  me  to. 
I  guess  she  figured  that  if  anything  would 
sober  me  down,  insurance  would.  Of  all  the 
businesses  in  the  world,  barring  under- 
taking, that  is  foremost  in  taking  out  the 
kinks.  But  the  stage  bug  had  bitten  me  in 
prep  school  and  1  had  footiight  fever.  I 
thought  1  was  quite  a  funny  guy  and  that 
Broadway  was  missing  a  good  number. 
When  I  confided  at  home  that  1  had  made 
up  my  mind  to  go  down  and  give  Ziegfeld 
and  George  White  a  break,  there  was  a  row. 

"Somebody  kept  bringing  up  the  subject 
of  money,  of  which  1  had  an  embarrassing 
shortage — the  idea  being  that  the  family 
would  not  finance  my  apprenticeship  days 
in  such  a  harum-scarum  undertaking.  'AH 
right,'  said  little  Gus,  'I  won't  take  any  of 
your  money.'  And  the  joke  of  it  is,  I  nearly 
starved  to  death,  carrying  out  that  threat. 
That  brings  us  to  the  point  of  Local  Boy 
Turned  Out  In  The  Cold,  Cold  World, 
doesn't  it?  Even  a  comedian  has  to  have 
his  sob  moments.  Look  at  Chaplin,  the 
greatest  of  them  all. 

"1  could  keep  you  here  all  afternoon, 
telling  you  the  gory  details  of  my  Broadway 
reception.  But  to  make  a  long  story  short, 
it  was  a  cinch  that  Ziegfeld  and  White 
hadn't  seen  any  of  my  prep  school  plays, 
and  I  kind  of  got  the  idea  that  they  didn't 
care.  Everybody  patted  me  on  the  back  and 
advised  me  to  run  home.  Even  if  I  was  all 
I  kept  telling  them  1  was,  what  good  would 
it  do  me?  There  were  a  hundred  thousand 
others  like  Gus.  The  only  bright  spot  in 
that  part  of  my  private  life  was  that  I  made 
a  couple  of  good  friends.  One  of  them  was 
Ned  Wayburn,  who  staged  dance  numbers 
for  Broadway  musical  money-makers. 

A  Fortunate  Flop 

BY  sheer  dint  of  perseverance,  I  got  a 
few  bits  to  do  in  that  greatest  of  all 
flops  of  Broadway,  'Town  Topics.'  Don't 
get  it  into  your  head  that  Hollywood  is  the 
only  place  where  they  can  throw  a  million 
away.  That  baby  was  the  most  expensively 
mounted,  elaborately  cast  waste  of  a  million 
berries  since  we  loaned  our  bank-roll  to 
Europe.  But  it  is  an  ill  wind  that  blows 
nobody  good,  and  the  way  I've  always 
looked  at  'Town  Topics,'  someone  spent  a 
fortune  to  teach  Gus  Shy  a  few  details 


about  show  business.    I  had  my  eyes 
ears  open  all  the  time  and  tried  to  re^H 
a  little  of  what  I  saw. 

"  It  made  me  so  ambitious  that  I  deci^H 
to  take  a  show  of  my  own  on  the  road. 
will  get  the  extent  of  my  ambition,  wh(|^P 
tell  you  I  didn't  have  a  cent  of  cash  in  W 
pocket  when  I  was  hit  by  this  idea.  1 
take  part  of  that  back.  I  think  I  had  ah  t 
a  hundred  and  fifty  dollars  to  my  acco  |t 
in  the  bank.  But  what's  money? 

"Believe  it  or  not,  but  1  got  up  a  pr(  • 
good  show.  My  costumes  were  a  knc  - 
out.  They  should  have  been.  I  bou  t 
them  second-hand  from  somebody  who  3 
swiping  them  from  Ziegfeld,  after  one  of  is 
show-girls  had  dropped  a  cigarette  ash  1 
them,  or  something.  Ziegfeld  paid  a  col  ; 
of  hundred  for  the  outfits  I  was  getting  r 
a  couple  of  bucks.  Naturally,  1  coulc  : 
afford  to  have  De  Sylva,  Brown  :  I 
Henderson,  or  Irving  Berlin  write  the  nn 
for  the  show.  But  what  did  I  care?  Tl  ■ 
were  working  for  me  and  didn't  know  [ 
I  took  all  of  their  current  song  hits  j  I 
hummed  them  backward.  I  put  it  all  • 
gether  and  it  spelled,  '  Honey.' 

It's  a  Gift— Plus  Work 

I MANAGED  my   brain-child  on  1  : 
tour  through  the  sticks.    Every  n 
and  then,  when  a  comedian  or  a  leading  rr 
would  blow  up  on  me,  I'd  step  in  and  do  • 
part  myself.  I  learned,  among  other  thin 
that  it  is  a  gift,  coupled  with  a  lot  of  h; 
work,  to  be  funny.    But  you  can't  let  lii 
folks  know  you're  working.    It's  got  ||. 
seem  natural  and  spontaneous.    All  If* 
comedians  I've  ever  known  got  their  gt 
hairs  trying  to  look  nonchalant.  That  sh 
may  not  have  been  the  best  in  the  world,  t 
it  taught  Gus  Shy  a  set  of  tricks  that  land 
him  back  on  Broadway. 

"To  make  a  long  story  short,"  he  I 
peated,  "I  played  the  featured  comic  t  I 
years  in  'Good  News'  and  had  an  equa 
long  run  in  'New  Moon.'  I  was  just  g' 
ting  to  the  point  where  I  could  write  out  r 
own  ticket  on  Broadway  when  the  mov 
came  along.  I  don't  know  anything  abo 
them.  But  here  I  am  with  an  M-G-I 
contract.  I'm  not  worrying.  I  didn't  kn< 
anything  about  show  business  when 
started,  either.  When  this  studio  offer 
me  the  chance  to  play  my  original  Broa 
way  rSle  in  'Good  News,'  in  the  screen  v« 
sion  of  that  musical,  I  figured  that  if  I  w 
ever  going  to  m^ke  the  dive,  now  was  t 
time. 

"I  like  it  out  here,  all  right.  All  exce 
one  angle :  this  confounded  sitting  around- 
doing  nothing.  I'm  used  to  perspiring  f 
my  living.  That's  the  reason  I'm  going 
dancing  school  and  working  out  in  t) 
Athletic  Club  gym  during  my  spare  da; 
between  pictures.  And  that's  that,"  j 
added,  just  by  way  of  making  a  long  stoi 
short,  as  he  squirted  another  drop  of  lem( 
in  his  plain  water. 


CORRECTION 

In  the  story  about  Mickey  Mouse,  entitled  "My  Love 
Life  And  Other  Things,"  in  the  August  issue  of  CLASSIC, 
Ub  Iwerks  was  referred  to  as  "the  originator  of  Mickey 
Mouse."  We  were  in  error.  Walter  E.  Disney  is  the 
originator  of  Mickey  Mouse  and  producer  of  the  Mickey 
Mouse  cartoons.  Our  sincere  apologies  to  Mr,  Disney f 
for  not  giving  credit  where  credit  is  certainly  due. — Editor. 


Tabooed  Topics 

{Continued  from  page  57) 

dal  the  matrimonial  stuff  on  Nancy  and 
present  hier  as  a  vestal  virgin,  but  Nancy 
d  other  thoughts.  They  were  mostly 
out  her  small  daughter,  Patricia,  and  her 
ddy.  Jack  Kirkland,  busy  writing  scena- 
)s.  And  she  expressed  them.  It  was 
fficult  to  enforce  the  taboo  and  now  all 
e  world  knows  about  Patty  and  Jack. 

Heroes  Must  Remain  Heroes 

vNOTHER  publicity  department  taboo 
'\_  deals  with  the  morals  of  leading  men. 
one  of  the  baser  instincts  can  be  attributed 
them.   They  are  as  ignorant  of  life  and 
nat  makes  the  world  whirl  as  that  cap- 
in's  lassie,  Joan  Lowell,  ever  was.  They 
low  nothing  of  seduction  or  the  harsher 
icks.  Of  liquor  and  its  consequences,  they 
e  ignorant.  To  them,  a  "side  car"  belongs 
I  1  a  motor-cycle.  Only  once  did  liquor  ever 
'inquer  and  that,  in  the  minds  of  the  taboo 
i  isers,  was  because  it  was  the  lesser  of  two 
;  'ils.  It  was  admitted,  in  a  life  story,  that 
I  certain  lily  lad  cf  the  screen  had  sipped  the 
ice  of  the  corn ;  but  the  hearers  had  to  pay 
;price.  For  this  admission,  the  word  "fast" 
as  to  be  deleted  from  the  description  of  the 
t  of  young  folks  in  which  he  had  formerly 
aveled.    The  public's  illusions  must  be 
feguarded  at  any  cost. 
Mr.  Charles  E.  Mack,  fearless  in  the 
uresence  of  the  leaping  antelopes  and  angles 
1'  his  modernistic  house,  has  a  pet  taboo 
nat  makes  him  wish  to  mention  not  at  all 
!r.  George  Circe,  who  is  the  current  Moran 
:  The  Two  Black  Crows.  Any  mention  of 

)iat  gentleman  brings  a  drawling  comment 
f  "0-oah,  tha-at's  been  written  about  SO 
'luch." 

Nick  and  Sue  Stuart,  before  their  mar- 
>  age,  grew  panicky  if  they  thought  any  sug- 
lestion  of  the  joint  possession  of  a  new 
ilurma  rose-and-black  motor  vehicle  was 
oing  to  be  made  public. 

Silence  Preferred 
•'iTT  THEN  Mary  Nolan,  whose  Broadway 
'  Vy  trade-mark   was   Imogene  Wilson, 
■  as  imported  from  Germany  to  play  at 
gelatines  with  the  United  Artist  kiddies,  a 

tegular  Chinese  Wall  of  taboos  was  erected 
nd  everyone  was  reminded  that  her  name 
jvas  Mary  Nolan  and  nothing  else.  But  with 
ler  skill  as  an  actress  increased,  and  her 
nema  ability  justifying  all  previous  frolick- 
iig,  it  is  now  permissible  to  remember  that 
■he  once  answered  to  Imogene. 

Some  taboos  are  amusing.    Others  are 
ragic.  Rock-ribbed  is  Bill  Hart's  refusal  to 
alk  about  the  short,  pitiful  matrimonial 
•  ixperience  he  had.    He  is  not  anxious  to 
;ouge  a  painful  wound.  And  Paul  Bern,  for 
«me  reason,  probably  justified,  refuses  to 
)e  proffered  to  the  press  in  an  interview  that 
laints  him  as  the  Father  Confessor  of  Holly- 
vood.  Into  his  ears  have  undoubtedly  been 
^  X)ured  more  sorrows,  real  and  imagined, 
'  ;han  would  fill  a  library.    Anita  Page  and 
IVlother  Pomares  think  it  better  not  to  men- 
l  ion  Harry  K.  Thaw  in  connection  with  her 
( screen  career. 

Ben  Lyon,  always  gallant,  retains  lofty 
muteness  on  the  subject  of  Marilyn  Miller 
yt  any  other  of  his  affairs  of  the  heart;  and 
eharlie  Chaplin  is  not  to  be  wangled  into 
patting  about  his  matrimonial  endeavors. 
Harrison  Ford  is  reluctant  to  discuss  the 
aspects  of  his  married  life  and  whether  or 
not  he  is  divorced.  As  a  matter  of  record,  he 
IB  safely  married.   Jacqueline  Logan  draws 
^  veil  of  secrecy  over  her  marriage  to  Ralph 
llespie;  and  Madge  Bellamy  simply  will 
talk  about  her  one  flyer  into  matrimony 
j  With  Logan  Metcalf.    Douglas,  the  Senior, 
I  would  rather  talk  about  Shakespeare  or  the 
'  vmpir  Games  than  disruss  his  titled  house 
'■sts. 


•the  modern  minded 

read 


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Its  humor  is  the  best  of  the  latest — sparkling  and  fresh  from  the 

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Each  month  the  College  Hall  of  Fame,  articles  on  the  latest  books, 
travel,  motion  picture  stars,  Styles  for  College  Men  and  Women 

— who's  who  and  what's  what  among  the  up-and-doing  moderns. 

•  highlights  of  the  NOVEMBER  issue 

HUDDLE  by  Francis  Wallace,  CHORUS  MAN  bv  Faith 
Baldwin,  HUMBLE  PYE  by  Richard  Connell.  BEDS  by  Groucho 
Mary,  OHIO  STATE  by  Daphne  Alloway  McVicker. 

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89 


Science  Discovers 

Way  to 

XdmbCoIpr 


Hair 


THERE  is  no  excuse  now  for  anyone  to 
endure  the  handicaps  and  embarrass- 
ment of  Gray  Hair.  For  science  has  dis- 
covered a  clean,  colorless  liquid  that 
actually  imparts  color  to  Gray  Hair  and 
leaves  the  beautiful  sheen  unchanged.  It 
is  called  Kolor-Bak.  So  certain  are  its 
results  that  already  hundreds  of  thpusands 
of  bottles  have  been  sold. 

You  simply  comb  Kolor-Bak  into  your  hair  and 
watch  the  Gray  go.  So  gradual  that  even  your 
closest  friends  cannot  detect  it.  Although  Kolor- 
Bak  is  colorless  itself,  the  one  bottle  does  for  blonde, 
black,  brown,  auburn. 

No  matter  what  your  age — no  matter  if  your  hair 
is  snow-white  or  merely  streaked  with  Gray — Kolor- 
Bak  will  impart  color,  or  it  will  cost  you  nothing. 
Make  this  no-risk  test  today:  Get  a  bottle  of  Kolor- 
Bak  from  any  druggist  or  department  store  and  if  it 
doesn't  make  you  look  10  years  younger  your  money 
will  be  refunded  any  time  you  request  it. 
KOLOR-BAK  — Imparts  Color  to  Gray  Haiti 


The  Answer  Man 

(Continued  from  page  76) 


ANEA$Y 
WAY  TO 


CHAPE 


■<«. 


NOSE 


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90 


unless  you  send  a  self-addressed  envelope  for 
a  personal  reply.  Jean  Hersholt  is  married 
to  a  non-professional,  haven't  her  name. 
Ditto  for  Jack  Holt.  Stan  Laurel  to  Lois 
Neilson.  Oliver  Hardy,  Myrtle  E.  Reeves, 
professional.  Baclanova  is  about  thirty-one 
years  old.  Married  to  Nicholas  Soussanin. 
Jack  Hoxie's  real  name  is  Stone.  Gladys 
Brockwell  was  born  Sept.  26,  1894.  Died 
July  2,  1929.  Frank  Mayo,  June  28,  1886, 
not  appearing  in  pictures  at  this  time.  Win- 
nie Lightner  was  born  in  Greenpoint,  N. 
Y.,  Aug.  17.  Married  and  her  real  name  is 
Winifred  Hanson. 


0-  M.  W. — John  Garrick  has  appeared 
in  the  following  pictures:  The  Sky  Hawk, 
Fox  Movietone  Follies  of  IQ30,  Song  0'  My 
Heart,  The  Lottery  Bride  and  Are  You  There? 
Here  are  some  of  the  new  pictures  we  have  in 
stock,  Winnie  Lightner,  John  Garrick, 
Marjorie  White,  Lillian  Roth,  Catherine 
Dale  Owen,  Dorothy  Lee,  Sally  Starr, 
Helen  Twelvetrees,  Fred  Scott,  Claudette 
Colbert,  Bernice  Claire,  Frank  Albertson, 
Regis  Toomey,  Charles  Bickford,  Phillips 
Holmes,  Lew  Ayres  and  Barbara  Stan- 
wyck. 

HAZEL. — Alice  White  formerly  lived  in 
Paterson,  N.  J.,  but  couldn't  tell  you  what 
street.  Why  not  write  direct  to  Alice,  no 
doubt  she'd  be  glad  to  tell  you.  She  is  ap- 
pearing in  Sweethearts  on  Parade,  Columbia 
Studios.  William  Boyd  in  Beyond  Victory, 
Pathe  Studios.  He  does  not  give  out  his 
home  address.  Eddie  Cantor  has  five 
daughters.  Wait  until  you  see  him  in  Whoopee, 
United  .\rtists  Studios.  Buddy  Rogers  has 
one  sister,  Geraldine,  and  a  brother  Bh,  who 
is  also  going  to  appear  on  the  screen  shortly. 
Bh  will  be  known  as  Bruce  Rogers  from 
now  on. 

SYLVIA.— Ann  Pennington  was  born 
in  Camden,  N.  J.  She  is  four  feet  eleven  and 
a  half,  has  brown  hair  and  eyes.  Began  her 
stage  career  at  the  age  of  twelve  years  as  a 
member  of  a  vaudeville  team  of  three  girls. 
Her  stage  revues  include  Ziegfeld  Follies, 
several  George  White's  Scandals,  Jack  and 
Jill,,  etc.  Marion  Byron,  who.se  nickname 
is  Peanuts  and  is  one  of  the  youngest  and 
smallest  actresses  in  motion  pictures,  is  a 
graduate  of  the  comedy  lots  in  Hollywood, 
and  her  first  big  chance  came  when  she 
was  chosen  leading  lady  for  Buster  Keaton 
in  Steamboat  Bill,  Jr.  Miss  Byron  formerly 
was  in  musical  comedies  in  |New  York, 
playing  with  Fannie  Brice  in  Music  Box 
Revue  and  was  chosen  for  the  lead  in  Tip- 
toes, being  taken  out  of  the  chorus  for  that 
honor. 


MARIE  OF  BROOKLYN.— Do  you  know 
that  the  first  all-Vitaphone  Varieties  program 
opened  on  April  19  at  the  Gaiety  Theater 
(renamed  the  Roxy)  in  Melbourne,  Australia? 
It  is  a  two  and  a  half  hour  picture-theater 
program  made  up  entirely  of  Vitaphone 
Varieties,  plus  a  news  reel.  Jackie  Coogan 
was  born  Oct.  26,  1914.  He  is  appearing  in 
Tom  Sawyer,  Paramount  Studios.  Frankie 
Darro,  Dec.  22,  1918,  and  is  still  growing. 
Lila  Lee,  July  25,  1905.  Marian  Nixon, 
Oct.  20,  1906.  .Appearing  in  Adios,  starring 
Richard  Barthelmess.  Marion  Davies, 
Jan.  3,  1900.  Latest  production,  Rosalie. 

MYSTERIOUS  X.  X.— What  do  you 
want  me  to  do,  be  Philo  Vancef  Richard 
Barthelmess  was  born  in  New  York  City, 
May  9,  1895.  He  appeared  on  the  stage  in 
slock  with  his  mother  before  entering  pic- 


i 

tures.  Married  Mary  Hay  in  June,  iga 
Were  divorced  in  1926.  Then  to  Jessie 
Sargent  on  April  20,  1928.  Has  a  daught 
Mary  about  eight  and  a  stepson  aboi 
twelve.  Dorothy  Jordan  appearing  in  Lo 
in  the  Rough,  starring  Robert  Montgon 
ery.  Richard  Arlen  and  Mary  Brian 
Social  Errors,  Paramount. 


BEE'S  KNEES  FROM  CALIF. - 
Frankie  Dolan,  holder  of  the  Pacific  Coaj 
flyweight  championship  for  six  years,  playe 
the  part  of  Jack  Oakie's  second  in  boxin 
scenes  of  The  Social  Lion.  John  Barrymore' 
real  name  is  Blythe.  Eleanor  Boardma 
has  two  children.  Mabel  Normand  wa 
born  Nov.  10,  1897,  and  died  Feb.  23,  193c 
Greta  Garbo  is  five  feet  six.  Sharon  Lyni 
was  born  in  Weatherford,  Texas,  abou 
twenty-three  years  ago.  Playing  in  Men  0 
Call,  Fox  Studios.  The  G  Sisters'  real  name 
are  Eleanor  and  Carola  Knospe. 


A  CONSTANT  READER.— Glad  to  hea 
that.  Claire  Windsor  was.  born  .\pril  14 
1897.  Her  son  Billy  is  about  nine.  She  i 
five  feet  six.  William  Haines  played  oppo 
site  her  in  The  Denial,  which  was  released  ir 
Mar.,  1925,  Miss  Windsor  is  not  appearing 
in  any  new  picture  at  this  writing.  Tim 
McCoy,  AUene  Ray  and  Francis  Ford  have 
the  leads  in  The  Indians  Arc  Coming,  Uni- 
versal Studios. 

INQUISITIVE.- We  have  quite  a  fin 
this  month  but  let's  go.  You  ask  'em  and  VH 
answer.  Billie  Dove  was  born  in  New  Yofk 
City,  May  14,  1903.  Latest  picture.  Tit 
Lady  Who  Dared.  You'll  have  to  send  along  a 
self-addressed  envelope  for  a  complete  list 
of  the  various  films  she  has  appeared  in, 
there  are  too  many  to  naention  here.  Ramon 
Novarro's  latest  production  is  Cail  of  (he 
Flesh.  He  was  born  in  Durango,  Mexico, 
Feb.  6,  1899.  Nancy  Carroll's  picture  Com 
Out  of  the  Kitchen  was  released  as  Honey. 
Now  appearing  in  Laughter,  Fredric  March 
plays  opposite. 

LOLLY  POP.— They're  good  too.  No! 
I  don't  like  cod  liver  oil,  who  would!  But! 
I  do  like  buttermilk.   Sally  Blane  is  not 
married  and  her  latest  flicker  is  The  Little  | 
Accident,  starring  Anita  Page  and  Douglas  1 
Fairbanks,  Jr.,  Lillian  Gish  is  still  single. 
Betty  Compson    plays    opposite  Gary 
Cooper  in  The  Spoilers. 

NOZZY. — Dorothy  Janis  played  oppo- 
site Ramon  Novarro  in  The  Pagan.  His 
picture.  The  Battle  of  the  Ladies,  was  changed 
to  Devil  May  Care,  Dorothy  Jordan  played 
opposite.  House  of  Troy  changed  to  In  Gay 
Madrid.  The  theme  songs  were  Into  My 
Heart,  Santiago  and  Dark  Night.  You  refer 
to  Frank  Merrill  and  Natalie  Kingston  in 
Tarzan  the  M ighty.  Charles  Bickford  is  not 
married  to  my  knowledge. 

BOLES  FAN.— John  Boles  was  born  in 
Greenville,  Texas,  Oct.  28,  1898.  He  is  six 
feet  one,  weighs  180  pounds,  has  dark  brown 
hair  and  blue  eyes.  Married  to  Marcelite 
Dobbs,  they  have  two  children.  Boles, 
graduate  of  the  University  of  Texas  and 
student  under  Continental  masters,  had  ap- 
peared in  Little  Jessie  James,  The  Romany 
Love  Spell,  Kilty's  Kisses  and  other  Broadway 
productions  when  Gloria  Swanson  lured 
him  to  Hollywood  for  the  supporting  r61e  in 
Loves  of  Sunya.  His  first  big  success  was  as 
the  Red  Shadow  in  The  Discrl  Song.  Now 
appearing  in  Gypsy  Love  Song. 


i 


They  gave  a  neiv\\\r\ 

THAT'S  WHY  THEY  COT  THERE. ...SO  QUICKLY 


"Mar'lyn,  chile,  shake  yo'  feet!" 

Grandmother's  kinkv-liaired  old  fur- 
iiacrman  was  the  first  to  educate  Mari- 
lyn Miller's  feet.  At  those  same  feet, 
just  a  few  years  later,  old  New  York 
laid  its  heart. 


MARILYN  MILLER 

From  her  grandmother's  cellar  . . .  to 
Ziegfeld's  Roof. . .  in  just  the  twinkle 
of  a  toe.  She  really  was  the  "Sally" 
.  .  .  of  the  alley  called  Broadway. 

How  explain  the  miracle  of  Marilyn's 
success?. ..iVatu re  simply  blessed  her 
with  a  charm  all  her  own. 

And  that's  the  only  answer  to  another 
young  star's  rise.  OLD  GOLD  made 
its  bow  just  four  years  ago.  In  a 
month  it  was  popular.  In  a  year,  a 
headliner.  Today  it's  America's  fast- 
est growing  cigarette. 

Nature  again!  Sun-drenched  heart- 
leaves  from  better  tobaccos.  A  new 
taste-thrill  for  jaded  palates.  A  new 
throat-ease  and  freedom  from  coughs. 

You  can  "manufacture"  an  ordinary 
cigarette  ...  or  an  ordinary  actress. 
But  only  Nature  produces  the  stars. 


OIJ)  GOr.DS  first  hopped  the  Pacific  Orean 
in  March.  1029.  In  just  three  weeks  after 
thev  a|)|ieared  on  the  beach  at  Waikiki  they 
were  one  of  the  four  "best  sellers." 


Op 


"in 


Co. 


BETTKR    TOBACCOS    .    .    .    "NOT     A     COUGH     IN     A  CARLOAD" 


These  Pictures  Are  For  You! 

Twenty-four  of  them,  all  new  poses,  size  5V2      S  inches. 


Yes,  for  you.  We  know  that  thousands  of  our 
readers  are  collecting  pictures  of  the  interesting 
men  and  women  of  the  screen.  You  have  your 
favorites.  You  are  interested  in  the  new  feature 
players  who  are  at  the  height  of  their  popularity 
now.  Surely  you  will  want  their  fine  pictures. 
Here  are  the  subjects,  all  new  poses: 


Just  send  one  dollar  to  pay  for  the  next  six 
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Loretta  Young 
Grant  Withers 
Dennis  King 
Lawrence  Tibbett 
Jack  Oakie 
John  McCormack 
George  Arliss 
Norma  Shearer 
Joseph  Schildkraut 
Catherine  Dale  Owen 
Jean  Arthur 
Bernice  Claire 


Claudette  Colbert 
Marion  Davies 
Alexander  Gray 
Neil  Hamilton 
Kay  Johnson 
Lila  Lee 
Jeanette  Loff 
Jeanette  MacDonald 
Chester  Morris 
Lupe  Velez 
Stanley  Smith 
Vivienne  Segal 


10  M.  P.  C. 
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of  MOTION  PICTURE  CLASSIC 


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Sanitary  Protection  m 

must  be  inconspicuous 

that's  why  most  women  prefer  Kotex 


Looking  Them  Over 

(Continued  from  page  45) 

o  the  heads  of  the  boys  who  make  the 
iiovies. 

Several  first-run  theaters  in  Hollywood 
re  offering  free  golf  tickets  with  every 
heater  ticket  purchased. 

•     •  • 

ANTONIO  Moreno  was  the  only  mov- 
•  ing  picture  actor  to  be  listed  in  "The 
^lue  Book." 

Maybe  you  think  that  didn't  give  Holly- 
vvood  a  start!  Not  that  they  were  so 
imazed  to  find  Tony  among  'em,  for  the 
ascinating  Daisy  Moreno  has  long  rated 
IS  a  social  light — but  look  at  those  who  were 
(ft  out:  Mary  and  Doug,  Will  Hays, 
Zorinne  Grififith,  Richard  Barthelmess  and 
ill  the  rest  of  the  cream. 


JOHN  Boles  and  Evelyn  Layc  huniming  a 
duet  number  in  rehearsal. 
Marcelite  {Mrs.)  Boles  waiting  outside  the 
oimd  stage  in  her  new  limousine. 
Al  Jolson  pulling  a  John  Gilbert  and  re- 

•  •Asing  to  he  interviewed. 

Janet  Gaynor  and  Lydell  Peck  making  up 
olitc,  but  phoney  e.xcuses  to  a  social  invita- 
!:on. 

Gary  Cooper  bemoaning  the  loss  of -six 

•  recious  pounds  through  overwork. 

•  •  • 

IT  was  announced  that  Will  Rogers'  next 
picture  would  be  titled  "See  America 
!' irst." 

Se\eral  weeks  later,  it  was  also  an- 
lounced  that  Universal  was  engaged  on  a 
[licture,  featuring  Harry  Langdon  and  Slim 
Sunimerville,  to  be  called  "See  America 
Thirst." 

Now  comes  word  that  Will's  new  picture 
-  not  "definitely"  titled. 
No  wonder. 

•  •  • 

nPHE  release  of  Charlie  Chaplin's  eight-reel 
■^picture,   "City  Lights,"  means  some- 
thing very  definite  to  the  future  of  the 
( inema.  If  it  is  an  outstanding  hit,  we  may 
ixpect   several   pretentious  silent  picture 
(iroductions  immediately.    One  big  studio, 
I  know,  is  holding  several  big  silent  stories, 
lul  stars,  up  their  sleeve  in  readiness  in  case 
lit"  first  returns  on  Charlie's  picture  war- 
int  optimism. 


TN  every   way   possible,  HolKwood  has 
done  her  dingest  to  wring  out  a  gossip 

^ttlry  about  Gary  Cooper's  infatuation  with 

June  Collyer. 

"Lupe  and  Gary  are  all  cleaned  up,"  the 

igs  gaily  assured  each  other. 

If  they  are — they  certainly  are  putting 

up  a  good  bluff.  To  my  eagle  reportorial  eye 

they  seem  even  more  devoted  than  ever. 
So  far  as  can  be  made  out,  Gary  himself 
nocently  started  these  rumors  when  he 
[icnly  admired  June  Collyer  and  said  he 
ought  she  was  a  beautiful  girl. 
Gary  must  ha\e  forgotten  that  a  young 
an  in  Hollywood  can't  even  think  about  a 
ily  without  starting  something. 


jV/TARY  Brian  is  gradually  getting  her 
hair  shorter    and    shorter.     At  the 
'  f^-t  clip  of  the  barber's  scissors,  Mary 
I'ldn't  stand  it  any  shorter  than  a  \ery 
'  "g  bob. 

•Now  she  is  wearing  it  at  a  flapperish  ear- 

!■  ngth. 

"One  more  month,"  said  Mary  "and  it 
11  be  a  boyish  shingle!" 


Kotex  now  has  rounded, 
tapered  corners  which 
eliminate  awkward  bulges 
and  assure  a  snug,  firm  fit. 

THERE  are  times  when  you  hesi- 
tate to  enjoy  sports  to  the  fullest . .  . 
unless  you  know  about  Kotex. 

Kotex  is  the  sanitary  pad  that  is 
designed  for  ituons picuoNs  protection. 
The  corners  are  rounded  and  tapered. 
Sides,  too,  are  rounded.  It  gives  you 
complete  security  and  case  of  mind. 

Wear  Kotex  without  a  w'orry,  then, 
under  any  frock  you  possess.  Wear  it 
for  sports  or  with  filmiest  evening 
things — and  retain  the  cool  poise  so 
essential  to  charm. 

Light,  cool,  comfortable 
There's  another  way  in  which  this  care- 
ful shaping  brings  wonderful  relief. 
There's  no  unneedod  bulk  to  pack  and 
chafe.  No  awkward  bulges  to  grow 
terribly  uncomfortable. 

Kotex  is  always  light,  always  cool, 
always  comfortable.  This  is  largely  due 
to  its  remarkable  filler  —  Cellucotton 
(not  cotton)  absorbent  wadding.  Cel- 
lucotton is  five  times  more  absorbent 
than  cotton.  This  means  your  Kotex 
pad  can  be  pie  tunes  lighter  than  any 


cotton  pad,  with  the  same  absorbency 
and  protection. 

America's  leading  hospitals — 85%  of 
them — choose  this  same  absorbent  for 
important  surgical  work. 

Kotex  deodorizes  .  .  .  keeps  you  dainty 
and  immaculate  at  times  when  that  is 
particularly  essential.  It  is  so  easily  dis- 
posed of. 

You  owe  it  to  your  comfort  and  good 
health  to  use  this  modern,  safe,  sanitary 
protection.  Kotex  is  available  every- 
where.  Kotex  Company,  Chicago,  111. 

gniiiniiiiuiiiiuuiiiiiiiiiiiiiiiKiiiHiuiiiiiiiiMiiiiiiiiuiiuiiuniininniiiiiiiniiiuiiiuiiniiiiinininiiiiii^ 

I  IN  HOSPITALS  I 

=  854  of  our  leading  hospitals  use  the  very  g 

I  same  absorbent  of  which  Kotex  is  made.  g 

I  2    Kotex  is  soft  .  .  .  not  a  deceptive  soft-  i 

I  ness  that  soon  packs  into  chafing  hard-  1 

g  ness.  But  a  delicate,  fleecy  softness  that  1 

1  lasts  for  hours.  1 

I  3  ^''f^t  secure  .  .  .  keeps  your  mind  at  | 
1  ease.  g 

I  4  Deodorizes  ,  .  .  safely,  thoroughly,  by  | 
1  a  special  process.  ^ 

I      5    Disposable,  instantly,  completely.  | 

I  Regular  Kotex-45c  for  12  | 

I  Kotex  Super-Size— 65c  for  12  g 

I  Also  regular  size  singly  in  vending  cabinets  1 

1  through  West  Disinfecting  Co.  1 

I Ask  to  see  the  KOTEX  BELT  and  I  1 
KOTEX  SANITARY  APRt:)N  at  any  limiiiiii 
drug,  dry  goods  or  department  store.  I 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 

91 


MODERN  ART 

PAYS  BIG  MONEY 


In  this  Age  of  Color  .  .  .  the  amazing 
demand  for  art  work  of  all  kinds  is 
creating  hundreds  of  big-pay  oppor- 
tunities every  year.  Manufacturers, 
decorators,  publishers  ...  all  Ore  seek- 
ing men  and  women  with  art  training. 

Through  the  Federal  School  of  Illus- 
trating many  who  drudged  at  small 
pay  have  found  fascinating  careers 
.  .  .  larger  incomes.  Many  Federal 
students  are  now  earning  from  $2500 
to  $6000  a  year.  The  Federal  Course 
aims  at  dollars  and  cents  profit  for 
every  student. 

You  can  learn  athome  in  your  spare 
time  the  Federal  way.  More  than  fifty 
famous  artists  contribute  exclusive 
lessons  containing  their  technical  tricks 
in  illustrating,  cartooning,  lettering, 
designing,  etc.,  to  the  Federal  Course. 

Test  Your  Drawing  Talent 

Send  for  our  Free  Vocational  Test 
Chart.  Our  artists  will  judge  your 
ability  and  give  you  a  definite  guide 
to  your  probable  talent.  Just  fill  in 
the  coupon  below  and  we  will  send 
you  this  test  together  with  our  book, 
"a  Road  To  Bigger  Things,"  without 
obligation. 

FEDERAL  SCHOOL 
OF  ILLUSTRATING 

10090  Federal  Schools  BIdg.,  Minneapolls,Minn. 


Federal  School  of  Illustrating 
10090  Federal  Schools  Building 
Minneapolis,  Minnesota 

Please  send  me  free  book,  "A 
Road  To  Bigger  Things,"  and 
Standard  Art  Test. 


Name- 
Ago — 


Menaces  Of  The  Movies 


Occupation- 


Address- 


{Continued  from  page  26) 


manager  and  producer.  "Poor  devil!  He 
should  have  gone  into  something  sure  and 
permanent,  like  pictures."  Now  he  is 
wondering  if  the  miniature  golf  magnate 
is  about  to  sympathize  with  him! 

Threats  and  Counter-Threats 

BUT  don't  get  the  idea  that  he  is  taking 
all  this  supinely,  this  picture  magnate. 
At  least,  I  don't  think  so — for  an  impressive 
amount  of  adverse  legislation  is  being  set  in 
motion.  Town  councils,  county  boards  of 
supervisors,  State  legislatures,  are  being  in- 
vited to  pass  laws  prohibiting  this  or  that 
practice  by  the  little  golf-course.  They 
should  not  be  permitted  to  open  too  early 
or  stay  open  too  late;  license  fees  should  be 
so  and  so;  this  or  that  area  should  be  closed 
to  them,  boards  of  control  should  investigate 
their  morals.  You  know  those  things  didn't 
just  pop  into  the  minds  of  the  politicians. 
Someone  put  them  there.  You  guess, 
Harold  and  Clara. 

To  meet  this  threat,  the  owners  of  mini- 
ature golf-courses  have  just  banded  to- 
gether for  defense  against  a  possible  movie 
monopoly  of  small  golf-courses. 

Incidentally,  one  of  the  contributing 
causes  to  popularity  of  the  small  golf-course 
is  the  opportunity  to  wear  golf  clothing. 
The  department  stores  report  an  enormous 
increase  in  the  sale  of  such  garments. 
Jimmy,  the  shipping  clerk,  can  buy  a  pair 
of  plus  fours  at  $4.78  and  some  glaring  hose 
at  $.87,  while  his  old  gray  coat  and  cap  and 
yellow  shoes  will  serve  nicely.  Marge  is 
more  fortunate,  for  all  she    needs    is  a 


beret  and  some  sport  shoes  and  stocki 
Then,  at  the  beginning,  the  courses 
plied  the  clubs.  Now  the  smart  thing  is  t< 
have  a  couple  of  clubs  of  your  own.  The) 
are  on  the  market  for  as  little  as  a  dollar 
At  first  put  out  by  the  novelty  factories, 
they  are  now  being  supplied  by  the  big 
standard  club-makers  at  the  dollar  price. 


He'll  Take  a  Chance  Now 


'HARLES  Leonard  Fletcher  used  to  be 
\^  an  actor— and  a  good  one — but  of  late 
years  he  has  turned  to  golf  instruction  in 
Hollywood.  He  tells  me  that  the  smal 
courses  are  breeding  big-time  golfers  by  th 
thousand.  The  fellow  who  has  been  f 
busy  or  too  self-conscious  to  try  on  a  real 
course  will  readily  take  a  chance  with  th 
small  one,  and,  finding  it  to  his  liking,  buys 
into  the  big  game. 

And  not  only  the  amateur  patronizes  t' 
small  course.  The  real  golfer  finds  it  con- 
venient and  pleasant.  Such  men  as  Harold 
Lloyd,  who  has  recently  completed  a  splen- 
did nine-hole  course  on  his  Beverly  Hills 
estate,  like  the  little  game  because  they  can 
be  more  easily  with  their  friends.  You  see, 
real  golf  is  inclined  to  be  a  lonely  affair,  but. 
the  little  course  is  as  intimate  as  a  crowd; 
rat  trap. 

It  will  be  interesting  to  see  how  the  pic- 
ture people  meet  the  new  competition, 
present  and  to  come.  Ethically,  the  new 
amusement  stands  up  well.  It's  public, 
out-of-doors,  healthful  and  joyous.  If  only 
it  doesn't  develop  endurance  contests!  Thstffe 
will  come  later. 


Just  a  Few  Figures 


Small  Golf 

No.  of  courses  37,000 

Est.  attendance  daily  11,100,000 

Average  cost  per  round  $.25 

Est.  daily  receipts  $2,275,000 


Motion  Pictures 

No.  of  theaters  22,800 

Est.  attendance  daily.  .  17,000,000 

Average  admission  $.25 

Est.  daily  receipts  $4,225,000 


Hanging  is  good  enough  for  her:  the  aviator  wanted  to  start  something,  and  even 
asked  her  to  take  the  air,  but  Laura  Lee  isn't  taking  any  chances  with  non-stop 

fliers 


92 


Are  You  Musical? 

{Continued  from  page  69) 

>ing  balked  hy  anything  like  that!  When 
>  wanted  someone  to  sing  "How  Am  I  to 
now?"  in  jail,  so  that  his  hero  and  heroine 
)uld  make  it  a  sort  of  love-theme-song  in 
le  later  scenes,  he  was  not  perturbed  by  the 
ct  that  the  average  prison  cell  isn't 
juipped  with  a  ukulele.  A  uke  just  ap- 
^ared  out  of  the  nowhere  to  be  strummed 
\  the  man  in  the  next  cell  to  Charles 
ickford,  who,  by  an  odd  quirk  of  fate,  hap- 
t  ned  to  have  a  voice  of  professional  caliber. 
That  is  the  great  thing  about  being  musi- 
;!  in  the  talkies.  Instead  of  being  denied 
our  favorite  music  at  such  times,  any  in- 
rument  you  may  happen  to  play  is  always 
)  hand.  If  a  grand  piano  or  a  harp  had 
(cn  called  for  in  the  "Dynamite"  scene,  I 
111  sure  De  Mille  would  have  seen  to  it  that 
lie  particular  cell  in  question  was  equipped 
ith  one. 

If  you  find  it  hard  to  sing  without  an 
(  companiment  at  the  odd  moments  when 

is  called  for  in  the  talkies,  do  not  despair. 
\  hether  you  are  situated  in  the  fastnesses 
:  the  desert,  on  the  top  of  a  mountain,  or 

1  top  of  the  world,  there  is  always  a  first- 
:<iss  symphony  orchestra  just  outside  cam- 
ra  range,  ready  to  give  you  the  opening 
ars  and  help  you  right  through  your  song. 

In  the  Best  Arctic  Circles 

rHE  best  instance  of  this  was  a  scene  I 
saw  being  taken  in  a  studio  in  England, 
:  short  time  ago.   There  were  a  half-dozen 
len  marooned  somewhere  near  the  North 
ole — cut  ofif  by  the  snow  from  all  commu- 
ication  with  the  outside  world.  The  direc- 
^r  had  been  quick  to  realize  that  this  was 
great  time  to  bring  in  some  incidental 
lusic,  just  to  show  there  was  still  a  sound 
rack  on  the  film.  So,  of  course,  one  of  the 
laracters  was  turned  into  an  ex-vaudeville 
irformer;  and  the  others  with  one  voice 
amored  for  a  song.    No  sooner  had  they 
■ne  so  than  an  orchestra  of  sixty  piects 
-truck  up  the  first  bars  of  a  jazz  number. 
Even  as  they  played,  the  ex-vaude  man  was 
saying,  "Oh,  no,  boys,  you  know  I'm  a'rot- 
ten  singer."  The  words  were  hardly  out  of 
his  mouth  when  the  orchestra  came  to  where 
he  was  supposed  to  start  singing;  so  without 
more  ado,  he  sang. 

If  you're  musical,  the  talkies  are  the  best 
place  for  you.  Anything  from  a  symphony 
orchestra  to  a  clarinet  is  always  at  hand. 

They  Know  A  Thing 
Or  Two 

{Continued  from  page  8j) 

growing  up  and  you  ought  to  know  by  now 
what  you  want  out  of  life.  I  can't  be  always 
at  your  side,  wiping  off  your  mouths  and 
setting  you  on  your  feet  again.  By  now 
you  ought  to  have  some  idea  of  the  way  you 
want  to  go  in  life  and  what  you  want  to 
make  of  it.' 

"That's  what  I'd  say  to  them. 
"'And  don't  forget  that  the  Right  Way 
is  the  easiest  way,  and  the  best  way  all 
along.  Not  because  I'm  telling  you  so.  Try 
it  for  yourself.  Words  don't  mean  any- 
thing. Experience  does.  If  you  feel  as  good 
after  a  night  of  making  a  fool  of  yourself,  if 
you  look  as  good,  if  you  can  do  as  good 
work,  if  you  are  as  proud  of  yourself,  then 
go  ahead.  Don't  forget  you've  only  got  so 
much  to  give  to  this  business  of  li\ing. 
Don't  squander  it — any  more  than  you'd 
squander  your  savings  in  the  banks.' 

"No,  ma'am,  Hollywootl  can't  do  any- 
thing to  my  children.  It  hasn't  to  Eddie. 
Out  at  Pathe  Studio,  he  may  be  one  of  their 
•tars.  But  here,  where  his  real  life  is  lived, 
he's  just  one  of  the  act." 


Noze^ . . . 
try  Kleenex 

for  Handkerchiefs 

It  is  softer,  more  hygienic. 
Ideal  for  colds,  hay  fever. 


YOU  know  what  Kleenex  Tissues  are  .  .  .  those 
soft,  dainty  tissues  that  smart  and  beautiful 
women  are  using  to  remove  cold  cream. 

But  did  you  know  that  Kleenex  is  rapidly  replac- 
ing handkerchiefs  among  progressive  people 

Kleenex  is  so  much  more  sanitary.  You  use  it  just 
once,  then  discard  it.  Cold  germs  are  discarded  too, 
instead  of  being  carried  about  in  an  unsanitary  hand- 
kerchief, to  reinfect  the  user  and  infea  others. 

And  Kleenex  is  infinitely  more  comfortable.  Every 
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absorbent. 

Kleenex  is  the  size  of  a  handkerchief.  It's  very 
soft.  Each  tissue  comes  from  the  box  immaculately 
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You  can  buy  Kleenex  in  a  large  or  small  size  pack- 
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The  coupon  below  will  bring  you  a  generous 
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OFFICE  WORKERS  find 
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MOTHERS  have  discovered 
that  Kleenex  makes  perfect 
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What  if  it's  lost?  .  .  .  the  cost 
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think — no  more  washing  of 
grimy  little  handkerchiefs. 


\ 


FOR  COLDS  AND  HAY 
FEVER.  Other  people  appreci- 
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colds  instead  of  the  germ-filled 
handkerchief,  which  is  a  men- 
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Kleenex  comes  in  white,  and  in 
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93 


too 
witLbe 

HAPPY- 

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To  have  lovely,  lustrous,  gloriously  beau- 
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ible beauty  of  your  hair — wouldn't  this  make 
you  happy? 

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beautiful  effect.  And  how  easy  it  is  to  use. 
You'd  never  think  so  small  an  effort  could 
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They  both  know  their  lines:  Police  Lieutenant  Roy  Harlacher,  fingerprint  expert  ofi 
Los  Angeles,  helped  another  expert,  Lon  Chaney,  brush  up  for  his  detective  role  inf 

"While  the  City  Sleeps" 

Another  Lon  Chaney 

{Continued  from  page  41) 


His  articles  on  penology,  rehabilitation  and 
kindred  subjects,  appear  regularly  in  lead- 
ing prison  publications  and  are  eagerly  read 
and  quoted  by  the  inmates.  A  recent  article 
in  "The  Island  Light,"  the  prison-published 
organ  of  the  convict  body  of  McNeil  Island 
Penitentiary',  has  been  translated  for  re- 
print in  similar  papers  all  over  the  world. 

Chaney  is  often  requested  to  address  con- 
vict bodies,  and  this  year,  picture-making 
permitting,  he  will  be  one  of  the  principal 
speakers  on  the  program  of  the  annual 
meeting  of  the  Sing  Sing  Mutual  Welfare 
League.  These  invitations  come  from  the 
convicts,  not  the  officials. 

Only  a  man  of  broad  understanding  and 
deep  human  sympathies  could  thus  merit 
the  recognition,  respect  and  confidence  of 
two  so  definitely  opposed  factions.  That 
Lon  Chaney  has  found  time  to  gain  such 
eminence  in  so  difficult  a  profession  as  that 
of  criminology',  in  addition  to  his  many 
other  interests,  is  a  tribute  to  the  versatile 
mind  behind  the  mask  of  his  screen  imper- 
sonations. 

The  Society  He  Enters 

EVER  the  student,  the  seeker  after 
knowledge  of  life,  Lon  finds  far  more 
pleasure  in  the  study  of  the  criminal,  the 
hobo  and  the  down-and-outer  than  in  the 
society  with  which  his  position  in  pictures 
entitles  him  to  mingle.  This  knowledge, 
gained  by  rubbing  against  the  ragged  edges 
of  life,  has  kindled  in  him  a  sympathy  for 
the  underdog.  To  him,  the  man  who  has 
run  afoul  of  the  law  is  not  a  vicious  in- 
dividual to  be  segregated  and  treated  as  a 
mad  dog,  but  a  human  being,  like  himself, 
to  whom  life  has  been  unkind. 

"Criminals  and  law-breakers,"  says  Lon, 
"are  uncomfortably  (for  some  people)  like 
ourselves.  There  is,  of  course,  the  occa- 
sional individual  who  is  utterly  depraved 
and  inherently  vicious,  but  even  he  is  more 
a  case  for  the  psychiatrist  than  the  penolo- 
gist. Men  on  the  inside  of  our  jails  are  no 
more  wholly  bad  than  men  on  the  outside 
are  wholly  good,  and  the  line  between  the 
two  is  often  faintly  drawn. 

"We  need  more  correction  and  less  pun- 


ishment. If  your  automobile  ceases  to  per] 
form,  you  send  it  to  be  repaired,  noi| 
punished.  If  your  tooth  aches,  you  go  to  ; 
dentist — not  to  be  punished  (although  yotJ 
usually  are),  but  to  find  the  trouble  ancj 
correct  it.  The  man  who  runs  afoul  of  thcJ 
law  has  something  that  needs  repairing  and.l 
like  the  man  in  the  dentist's  chair,  he  must] 
undergo  a  certain  amount  of  punishment  inj] 
the  process. 

Honesty  Could  Be  the  Policy 

I'\"E  met  and  talked  with  hundreds  ofij 
criminals,  both  in  jail  and  out,  and  it  ] 
is  my  firm  belief  that  every  man  has  an  in- 
herent desire  to  be  a  respected  member  of  j 
society.  The  man  who  goes  to  prison  should  > 
be  given  an  opportunity  to  equip  himself  j 
to  earn  an  honest  living  upon  his  release. 
His  term  should  be  devoted  to  educating  | 
him  to  take  a  decent  place  in  society  rather  | 
than  a  post-graduate  course  in  crime,  as  ' 
happens  all  too  often  to-day.   It  is  not  an 
insoluble  problem.    Much  could  be  done  i 
toward  its  solution  by  taking  p)olitics  out  1 
of  our  prisons  and  placing  their  administra- 
tion in  the  hands  of  those  who  have  a  firm, 
yet  sympathetic  understanding  of  the  law- 
breaker and  his  problems. 

"The  placing  of  police  officers  at  school- 
crossings  will,  in  my  estimation,  prove  one 
of  the  most  effective  instruments  in  reducing 
crime  among  the  growing  generation.  When 
1  was  a  boy,  the  'cop'  was  an  individual  to 
be  feared  and  avoided.  Mothers  obtained 
obedience  by  threatening  to  'let  the  police- 
man get  you.'  With  a  police  officer  at  every 
school-crossing,  children  realize  that  he  is  a 
likable  person,  to  whom  they  can  look  for 
protection  and  help.  Don't  tell  me  that 
they  won't  grow  up  with  a  different  attitude 
toward  the  law,  and  the  forces  that  repre- 
sent it,  than  the  past  generations  have!" 

Tradition-Breaker 

ION   CHANEY    has    never    lived  the 
J  traditional  life  of  the  motion  picture 
star.   He  prefers  studying  human  nature  in 
the  raw  to  observing  it  half-baked.  He  sees 
more  in  a  grub  worm  than  in  a  butterfly, 
{Continued  on  page  gy) 


94 


Classic  Holds  Open 
Court 

{Continued  from  page  j 7) 

>medy  tempo.  They  follow  too  closely  the 
ift  of  the  vaudeville  skit.  When  some 
iginal  mind  combines  the  moving  picture 
ialities  of  action  and  the  sophistication  of 
i  alogue  in  one  comedy  effort,  then  is  when 
e  real  laughs  will  start  in  sound  comedies. 

Good-Bye  Acting,  Hello  Lines 

\ND  where,  Ladies  and  Gentlemen,  in 
this  new  field  are  we  developing  true 
medians  with  original  means  of  getting 
iighs?    The  new  talking  comedies  have 
■t  so  far  given  us  one  outstanding  comedian 
comedienne.     Where   are   the  Harry 
irigdons,  the  Mabel  Normands,  the  Charles 
haplins,   the   Roscoe  Arbuckles?  What 
eech,  so  far  has  tickled  our  ribs  like 
:ose  old  shoes  of  Charlie's,  like  that  funny 
I  addle  of  Arbuckle's,  like  that  little  wistful 
lile  of  Harry  Langdon's? 
In  their  place,  we  find  legitimate  dramatic 
Jlctors  pinch-hitting  with  comedy  lines  for 
liiat  old  guard  of  comedy  actors.  The  great- 
|5t  dialogue  writer  in  the  world  cannot 
liiake  laughs  unless  the  man  who  says  them 
funny. 

I  do  not  say,  Ladies  and  Gentlemen,  that 
is  impossible  for  a  great  comedian  to 
liome  out  of  the  talkies.  I  say  he  has  not  yet 
■Appeared.  Perhaps,  some  day  in  the  not  so 
liistant  future,  there  will  be  a  funny  little 
Inan  who  will  spring  up  into  our  hearts 
because  he  talks  funny.  Perhaps  he  will  lisp 
little  bit.  Or  stutter.  Perhaps  there  will 
|)e  a  little  sobby  catch  in  his  voice  that  will 
tiake  ever>-thing  he  says  pathetically 
Punny.  And  this  man,  whoever  he  is,  will 
he  the  first  comedian  of  the  talkies.  I  do 
pot  doubt  for  a  minute  that  this  man,  and 
;his  brand  of  comedy  will  be  greater  than 
anything  produced  from  the  field  of  slap- 
stick— with  the  single  exception  of  Charlie 
Chaplin,  who  will  never  be  equaled  in  any 
nedium. 

In  this  strange  case,  friends,  there  is  no 
verdict  to  be  reached.  The  case  is  open  and 
shut.  The  talkies  ha\  e  done  away  with  Low- 
3row  comedy.    You  do  not  grieve.    I  do 
Inot.     It    was   justifiable   homicide.  Let 
Isentence  be  suspended  on  the  New  Comedy 
-until  it  has  developed,  as  it  surely  will, 
Ithat  killing  type  of  insanity  that  always  gets 
la  laugh! 


Giddap!   Hal  Roach's  youngest,  up  on 
one  of  Pop's  funny  folk,  says  the  younger 
generation  is  riding  high 


L 


FEW  ARE  FAT 


IN  THESE  DAYS 


THERE'S  A  REASON 

Have  you  noted  how  few  people  are 
nowover-fat,  as  compared  with  years 
ago.''  Slender  figures  are  the  vogue. 
And  they  have  brought  to  millions 
new  youth  and  beauty,  new  health 
and  vigor. 

Look  about  you  in  any  crowd, 
and  you  will  realize  that  some  new 
factor  has  been  found.  People  are 
not  starving  to  reduce.  They  are 
combating  the  cause  of  obesity, 
which  usually  lies  in  an  under-active 
gland.  Modern  science  has  dis- 
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the  world  over  now  employ  it. 

A  famous  medical  laboratory  em- 
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The  Marmola  prescription  is  not 
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Try  Marmola,  if  you  need  it.  Do 
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The  Land  Of  Liberties 


{Continued  from  page  48) 


his  impulse.  But,  you  see,  R.  K.  O.  has 
Richard  Dix  under  contract  and  they  are 
going  to  have  to  get  someone  from  out- 
side to  play  the  wife.  So — the  emphasis  of 
the  stor>-  will  just  have  to  be  gently  shifted 
in  order  to  give  Richard  more  spotlight  than 
the  lady.  Why  should  they  waste  spotlight 
on  a  borrowed  player? 

Miss  Ferber  naturally  could  not  be  ex- 
pected to  have  these  matters  in  mind  when 
she  wrote  the  book,  since  she  would  have 
no  way  of  knowing  who  was  going  to  buy 
the  picture  rights,  or  whom  they  would 
have  under  contract.  So  they  have  found 
it  necessary-  to  invent  some  extra  incidents 
and  scenes  for  Yancey,  by  way  of  indicating, 
in  no  uncertain  terms,  exactly  who  is  the 
star  of  the  picture. 

Novelists  should  really  make  a  little  study 
of  the  star  system,  and  write  their  stories 
accordingly.  It  would  save  so  much  subse- 
quent trouble  for  the  people  who  buy  their 
books  

Anyhow,  they  brought  a  bevy  of  million- 
aire Osage  Indians  to  Hollywood  to  play 
extra  roles  at  seven-fifty  a  day,  as  atmos- 
phere. And  they  are  interpwlating  the 
classic  bit  about  the  Indian  who  bought  the 
hearse  to  use  for  a  family  car.  I  suppose 
they  couldn't  have  missed  that  old  one! 
(That,  my  children,  is  for  "comedy  relief.") 

The  delicate  and  complicated  task  of 
adaptation  has  been  entrusted  to  Howard 
Estabrook,  and  I  trudged  over,  a  day  or  so 
ago,  to  see  how  he  was  getting  on  and  to 
inquire  how  in  the  world  he  went  about 
such  a  task.  He  was  most  helpful. 

"First  of  all,"  he  told  me,  "I  read  the 
book! " 

Well,  that  was  a  surprise.  I  had  never 
suspected  that  any  adapter  ever  did  such 
a  thing. 

"Then,  we  made  a  scenario  of  the  entire 
novel.  And  we  found  that  it  would  take  at 
least  three  evenings  to  run  the  picture.  So 
we  went  about  deciding  what  parts  of  it  to 
discard  and  how  we  could  tighten  it  up  to 
get  it  inside  our  time  limit." 

Now  we  were  getting  down  to  something. 
The  discarding  process  has  always  intrigued 
me — it  is  usually  so  thorough. 

"Now,  the  most  important  thing  in  any 
stor>'  is  the  conflict  between  people.  No 
sweep  of  history,  no  locale,  no  background 
is  important.  It  is  the  emotional  clash  of 
j'our  characters  that  matters." 

"Always  remembering  who  is  the  star — " 
I  reminded  him. 

"Exactly.  Then  there  is  censorship  to 
consider.  Situations  to  be  suggested — 
deftly.  A  novelist  can  make  his  characters 
curse  roundly,  if  it  suits  his  purpose.  We 
can't  do  that.  We  have  to  achieve  our  ef- 
fects in  some  other  way." 

"But  what  if  they  are  the  kind  of  people 
who  would  curse?" 

"They  can't  on  the  screen.  There's  no 
reason  why  they  should!"  he  added,  se- 
verely. "There  is  no  reason  to  go  into 
gutters." 

I  was  squashed,  and  he  continued,  "So 
we  write  our  story  about  our  two  people, 
trying  our  best  to  preserve  the  spirit  of  the 
book. 

"That  is  our  biggest  task — preserving  the 
spirit  of  the  story  we  are  adapting.  The 
atmosphere,  the  feeling  of  a  story  is  what 
people  remetnber,  much  more  than  the  ac- 
tual sequence  of  events,  as  related  in  it. 

"We  stick  as  closely  as  possible  to  the 
central  theme,  try  hard  to  preserve  the  feel- 
ing of  the  story,  and  discard  as  much  ex- 
traneous material  as  seems  necessary." 

The  process,  as  described  by  Mr.  Esta- 
brook, does  seem  a  difficult  and  complicated 
one  to  me.  But,  I  still  insist,  I  find  the  fin- 
ished product  very  surprising  in  a  number 


of  cases.  And,  despite  what  he  says,  I  she 
still  imagine  that  censorship  must  pre 
its  problems  in   adapting  a  good 
modern  stories. 

Sidney  Howard,  the  author  of 
Knew  What  They  Wanted" — the  Pulitzl 
prize  play  of  a  few  years  ago — told  me  dijj 
the  Hays  organization  forbade  making  1 
play  into  a  picture  at  one  time. 

"I  went  to  see  Will  Hays,  to  ask  hil 
why,"  Mr.  Howard  said.  "And  he  told  nn 
that  it  couldn't  be  put  upon  the  screen 
cause  an  adulterous  woman  in  the  story 
forgiven  by  her  husband  in  the  end! 
pointed  out  to  him  that  there  was  a  famoij 
example,  in  the  New  Testament,  of  an  adu 
terous  woman  who  was  forgiven — and  thd 
I  had  imagined  that  I  was  expressing  a  dit 
tinctly  Christian  sentiment  in  allowing  th 
character  in  my  play  to  enjoy  similar 
giveness. 

"But  he  said  it  would  never  do  to  forgrvi 
her  on  the  screen — even  if  she  suffered  fcl 
her  sin.  No  matter  what  happened  in  thi 
New  Testament.  The  censors  wouldn't  all 
low  it." 

Mr.  Howard's  play  was  made  into 
picture  recently,  however  —  disguised,  ol 
course,  under  a  different  title.  "A  Lady  til 
Love."  It  was  tidied  up  by  neatly  amput 
ing  the  sign  and  symbol  of  her  misstte 
(the  baby)  from  the  script,  which  left, 
feeble  story  about  nothing  in  particuL 
But  Mr.  Howard  did  the  adaptation  him| 
self,  and  I  suppose  he  received  a  ni 
round  sum  for  it,  so  he  probably  didn't 
mind.  And  I  am  sure  my  own  distress] 
mattered  to  no  one. 

Babies,  as  a  matter  of  fact,  present  a  host  I 
of  difificulties.  (On  the  screen,  I  mean.)  In. 
adapting  the  play  called  "Little  Accident," 
they  were  obliged  to  marry  the  parents, 
briefly,  in  the  interests  of  propriety — and 
then  to  annul  the  marriage  in  the  interests) 
of  the  story.  The  wedding  rather  took  the 
point  out  of  the  title,  it  would  seem.  And! 
it  is  one  of  the  few  titles  that  remain  intact. 

Another  thing  which  they  simply  can  not 
resist  is  to  make  the  sets  look  expensive,  no- 
matter  whether  they  fit  the  story  or  not. 
In  the  original  version  of  this  same  play, 
the  young  father  fled  with  his  baby  to  a 
shabby  little  apartment,  where  he  attempted 
to  care  for  her  with  distinctly  makeshift 
equipment.  Which  created  one  of  those 
homely,  simple,  amusing  situations  that  are 
delightful.  But  in  the  screen  version  there 
is  the  most  incredible  modernistic  hospital — 
not,  I  trust,  like  any  hospital  anywhere  in 
the  world.  And  the  apartment  to  which  he 
flees  is  startlingly  ornate  and  enormous.  The 
nursery  would  shed  glory  on  any  newly- 
made-millionaire's  child. 

And  what  is  more,  we  find  Zasu  Pitts 
introduced  as  the  plaintive  nursemaid.  This 
obvious  afterthought,  of  course,  not  only 
adds  elegance  to  the  establishment,  but  also 
the  "comedy  relief,"  which  must  be  there 
at  any  cost  of  credibility. 

Remember  Laurel  and  Hardy  in  "The 
Rogue  Song"?  Somebody  had  that  bright 
idea  after  the  picture  was  all  finished,  and 
the  bewildered  pair  were  simply  poked  into 
the  picture  to  balance  it. 

It  is  explained  constantly  that  a  stage 
play  has  too  little  action  for  the  purposes 
of  the  screen  and  that  action  must  be  intro- 
duced to  break  up  the  dialogue.  But — there 
was  "Journey's  End,"  which  received  almost 
no  adapting  at  all,  but  was  shot  almost  ex- 
actly as  it  was  presented  on  the  stage. 

And  there  was  "All  Quiet  on  the  Western 
Front,"  which  not  only  "kept  the  spirit" 
of  the  book — but  actually  told  the  same 
story  that  Remarque  told.  And  that  pic- 
ture is  getting  along  all  right.  I  wonder  if 
adaptations  need  be  so  elaborate,  after  all! 


96 


inother  Lon  Chaney 

{Conlinmd  from  page  94) 

i  1  is  drawn  to  those  to  whom  life  had  been 
r  iind,  rather  than  to  those  upon  whom  its 
\  ssings  have  been  showered. 

During  a  recent  visit  to  New  York,  his 
.  re  time  was  spent  in  observing  the  fa- 
,  iars  of  the  night  court,  in  company  with 
\  friend,  Commissioner  Enright.    His  in- 

■spicuousness,  off  the  screen,  enables  him 
I  mingle  freely  with  people  without  fear  of 
>  ognition. 

\  part  of  his  knowledge  of  the  underworld 
,  of  course,  come  from  books;  but  a  far 
:iter  portion  of  it  has  come  from  his  own 
sonal  observations,  made  on  park  bench- 
in  cheap  "  flop  houses  "  and  other  obscure 
ints  where  the  world's  flotsam  and  jetsam 
igregate,  tossed  up  by  the  tide  of  ad- 
sity.  Many  a  "peterman,"  gunman  and 
lerworldling  has  spoken  freely  to  a  hea\  y- 
luldered,  roughly-clothed  individual  with 
irered  cap  pulled  low  over  strong,  deeply- 
hed  features,  speaking  his  own  language, 
1  gone  his  way,  little  realizing  that  he  has 
itributed  something  of  himself  to  the 
irvelous  perfection  of  Lon  Chaney 's 
ten  characterizations. 

1  shed  no  maudlin  tears  over  our  crim- 
ils,"  is  the  way  in  which  Lon  sums  up  his 
Mtude,  "but  I  believe  that  our  entire 
Mtude  toward  the  man  beyond  the  law 
uild  be  just  one  thing — a  square  deal, 
.e  Golden  Rule  is  still  a  splendid  idea 
It  doesn't  grow  old-fashioned;  and  man, 
iL-r  all,  is  still  his  brother's  keep>er!" 


Menace  or  Messiah  ? 

{Continued  from  page  $8) 

ibitious,  eager  to  learn  new  ways,  better 
\  s.  For  the  first  time  in  our  history,  the 
i^ants  are  looking  up  off  the  ground, 
'^'ou  cannot  make  a  new  Heaven  and 
u'w  Earth  in  a  day  or  a  year — it  takes 
icrations  to  straighten  bent  backs.  Rut 
le  motion  picture  is  giving  them  some- 
ling  they  have  never  had  before — Hope, 
n  my  picture,  'The  Old  and  the  New,'  you 
ave  the  whole  story.  The  Old,  men  and 
omen  no  better  than  the  beasts,  tortured 
y  a  Devil,  the  implacable  devil  of  the  soil, 
hich  must  be  turned  by  hand,  seeded  by 
and,  reaped  by  hand;  the  New — ma- 
hinery!  Men  freed  by  tractors.  Instead  of 
ighteen  hours  a  day  in  the  fields,  six. 
"  Picturesriue?  Of  course,  the  Old  order 
as  picturesque—  shawled  women  flailing 
he  grain  with  sticks,  peasants  in  blue 
louses  cutting  the  fields  with  sickles!  Fiut 
be  world  wasn't  made  for  the  tourists  to 
ake  snap  shots  of. 

"You  should  wa^ch  an  audience  of 
peasants  seeing  'The  Old  and  the  New,' 
seeing  with  their  own  eyes  the  great  beauti- 
ul  powerful  machines  sweep  in  an  army 
cross  the  grain  fields,  doing  their  work  for 
hem.  None  of  your  American  movies  ever 
tiad  such  a  breathless  audience.  They 
understand  dimly  that  it  means  what  even 
the  Revolution  didn't  mean  for  them — 
Freedom.  Time  to  live  like  human  beings, 
to  enjoy  life.  Time  to  learn. 

"\Vhat  will  they  do  with  this  freedom? 
Who  knows  what  the  leisure  of  two  hundred 
ion   people    may   mean   to  the  world? 
lOn  pictures  can  teach  them  what  to 
ith  their  new  hours  of  life,  perhaps, 
first  to  give  them  these  hours!  This 
I  showed  in  my  picture  was  the  first 
turned  to  the  great  experiment  of 
ration.    It  is  the  largest  farm  in  the 
A  hundred  tractors  work  it!  So 
were  not  needed,  but  when  it  means 
to   the  experiment,  the  Soviet  is 
ih.  They  provide  more  tractors  than 
{Continued  on  page  loj) 


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97 


Thrills! 

Mystery! 

Excitement! 

MONSTERS  OF  MYSTERY 

#  A  penniless  young  man  finds  a 
thousand-dollar  bankroll  in  the 
street — and  enters  upon  a  strange 
adventure 

By  HARRY  M.  LYNCH 

THREE  MINUS  ONE 

9  An    Underworld  Detective 
Story. 

By  EARL  W.  SCOH 

THE  DEATH  RIDDLE  OF  THE 
REDWOODS 

9    The  True  Story  of  California's 
Strangest  Murder  Mystery 

By  J.  WILLIAM  HAMILTON 

MORE  STARTLING  FACTS 
ONTHE"JAKE"LINGLE 
MURDER 

#  Chicago's  G  rea  test  Crime 
Scandal. 

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SCIENCE  GOES  HAYWIRE 

9  A  new  detective  story 

By  THOMAS  TOPHAM 

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Real 
Detective  Tales 

Now  on  Sale  at  All  N  ews  otands 


The  Most  Dramatic  Moment 
Of  My  Life 


{Continued  from  page  jq) 


boy  with  whom  I  had  been  friends  ever  since 
our  childhood.  We  had  been  raised  on 
neighboring  estates  and  at  an  early  age  our 
nurses  had  brought  us  together  for  an  after- 
noon of  play.  We  had  grown  up  and,  I  be- 
lieve, even  verged  on  a  puppy-love  affair. 
Then  I  had  gone  away  to  the  stage.  .  . 

I  hadn't  seen  him  again  until  the  second 
day  out  on  my  trip  to  France.  He  had  de- 
veloped into  a  charming,  delightful  boy  and 
we  had  a  wonderful  time  with  deck  games 
and  dancing  until  the  boat  landed.  Then 
we  separated  and  1  had  all  but  forgotten 
him.   And  now,  here  he  was  in  trouble! 

Strange  Justice 

SUDDENLY,  he  gained  a  semblance  of 
consciousness  and  tried  to  tell  us  the 
remainder  of  his  story.  He  had  been  thrown 
into  jail  for  stealing  a  car  that  had  been  stolen 
and  recovered  eight  months  before  he  had  ever 
set  foot  in  France!  That  may  seem  impos- 
sible. But  let  me  remind  you  that  a  person 
accused  of  crime  in  France  is  guilty  until 
proved  innocent!  And  besides,  there  seems 
to  be  no  such  law  as  our  American  habeas 
corpus  that  gives  a  prisoner  the  right  to  an 
immediate  and  impartial  trial.  No,  on  the 
contrary,  France  brings  her  prisoners  to 
trial  when  the  spirit  moves  her!  I  could 
see  that  the  only  way  out  was  for  the  boy  to 
escape  the  country  inasmuch  as  they  had 
stripped  him  of  his  passport  and  without  it 
he  had  no  way  of  proving  his  entrance  into 
the  country. 

He  explained  that  most  of  his  belongings 
were  still  in  the  little  room  he  had  taken, 
when  he  arrived  in  town  the  day  before.  It 
had  been  difficult  to  locate  me  and  he  knew 
that  he  had  been  followed  almost  every 
time  he  had  set  foot  outside  his  lodging 
place.  But  I  had  a  plan.  W'e  would  call  the 
taxi-driver  at  the  hotel  and  ask  him  to  help 
us.  It  was  arranged  that  he  should  take  the 
boy  to  the  vicinity  of  his  room  and  let  him 
out — then  drive  to  a  safe  distance  and  wait. 
I  gave  the  boy  all  the  ready  money  I  had 
with  me;  he  thanked  me,  and  we  said 
farewell. 

Kidnapped  by  the  Law 

BUT  if  I  had  had  any  idea  that  our  ailieu 
was  to  be  in  any  way  permanent,  I  was 
sadly  mistaken !  The  taxi  man  returned  to 
me  at  five  o'clock  in  the  morning  with  the 
story  of  the  attempted  escape.  He  had 
driven  the  boy  within  a  block  of  his  room 
and  let  him  out.  About  fifteen  minutes  lat- 
er, he  saw  my  friend  approaching  the  ma- 
chine with  a  bag  and  just  behind  him  were 
two  offtcial-looking  gentlemen  who  had  sud- 
denly taken  an  interest  in  his  movements. 
As  the  young  man  opened  the  door  of  the 
cab,  one  of  the  men  stepped  forward  and 
slipped  handcuffs  over  his  wrists.  Inasmuch 
as  the  driver  had  the  motor  running  for  a 
quick  start,  he  had  managed  to  get  away. 
That  was  all. 

I  was  frantic.  My  questions  fairly  tum- 
bled over  each  other.    "Where  was  the 


young  man  now.*^ 


'  Did  the  two  men  take 


him  back  to  the  village  thirty  miles  from 
Paris?"  The  poor  dazed  driver  could  not 
help  me,  so  I  sent  him  away,  with  the  warn- 
ing that  he  be  on  hand  in  case  I  should  need 
him. 

As  I  search  my  mind  for  the  most  dra- 
matic moment  of  my  life,  I  find  that  it  is 
almost  impossible  to  choose  any  one  mo- 
ment from  the  week  that  followed.  That 
week  was  one  dramatic  moment  after  an- 
other. I  shall  try  to  give  them  to  you  as 
they  happened  to  me. 

First,  I  knew  that  I  must  have  help.  Af- 


ter all,  I  was  but  an  American  woman  al 
in  Paris — and  that  was  not  such  a  bri 
outlook  for  a  boy  in  grave  trouble.  Tti 
I  had  several  friends  in  Paris;  but  they  w 
friends  I  had  never  thought  I  would  ne 
to  call  on.  Now,  I  needed  them  most  drea 
fully.  I  set  the  wires  of  the  hotel  burning  ' 
my  haste  to  get  in  touch  with  the  Americ 
Embassy,  the  Consul,  the  French  Surei 
and  as  many  more  official  agencies  as  I  co" 
think  of  at  the  moment.  For  I  had  receiv- 
word  that  the  boy  was  being  held  at 
most  terrible  of  all  French  prisons — San 
Could  I  see  him?  No!  It  was  absolute 
impossible.  No  one  could  see  him.  I  beg* 
the  American  Consul  and  the  Ambassad 
to  do  something.  But  it  seemed  a  hope 
task.  The  boy  was  now  under  the  status 
an  escaped  prisoner — a  far,  far  more 
gerous  predicament  than  his  original  tro 
ble.  By  pulling  every  possible  string,  I 
aged  to  send  him  food  and  clothing;  but 
for  seeing  him  and  letting  him  know  a  I 
was  active  in  his  behalf — never!    I  mi 
have  saved  myself  the  effort  of  sending 
food  and  clothing.   I  learned  later  that 
never  received  them.    The  guards  saw  t, 
that. 

After  the  third  or  fourth  day  of  beggin 
and  pleading,  using  tears  and  smiles  wlie 
I  thought  they  would  do  the  most  g" 
things  began  to  take  shape.  I  was  inforr 
that  everything  was  being  done  to  arrangit 
the  matter  of  my  seeing  the  boy.  In  .Amen, 
ica,  I  suppose  that  would  be  easy — too  easv 
and  matter-of-course  to  be  in  any  way  dra' 
matic.   But  France  is  quite  different. 

My  "Trial" 

I appeared  before  austere  French  gentle' 
men  in  fancy  uniforms;  I  dined  with  th 
American  representatives  in  Paris;  I  h 
audiences  with  every  person  of  political  in 
portance  in  the  city.  And  at  last  I  was  tol 
that  my  request  was  to  be  put  before  th 
High  Tribunal.  At  the  time,  I  had  no  id 
what  this  could  mean — but  I  was  soon 
find  out. 

My  hearing  was  set  for  an  early  hour  in 
the  morning.  A  special  messenger  conduct- 
ed me  to  the  "trial,"  and  I  was  so  fright-; 
ened  by  his  imposing  bearing  that  I  almost' 
gave  up  the  whole  thing  on  the  spot.  Right 
here  is  where  I  want  to  say  that  my  "trial" 
before  the  Tribunal  was  one  of  the  most  dra- 
matic moments  I  have  ever  experienced. 

I  was  led  into  a  regular  courtroom  with  a 
judge,  jury  and  guards.  I  can't  possibly i 
describe  it  to  you  so  that  you  might  under- 
stand the  pomp  and  ceremony  that  must  be 
gone  through  before  such  a  permission  as  I 
sought  may  be  granted.  But  it  was  much 
more  impressive  than  any  famous  murder 
trial  in  our  own  country — of  that,  you  may 
be  sure.  I  was  required  to  take  the  stand 
and  testify,  as  were  all  the  importar»t  per- 
sonages whose  aid  I  had  enlisted  in  favor  of 
the  boy.  At  last,  a  decision  was  reached.  .  . 

1  was  to  have  the  opportunity  to  visit  him 
in  Sante — but  only  through  a  heavy  iron 
netting.  I  was  not  to  attempt  to  get  any 
closer  than  that.  Then,  after  a  half-hour 
talk  by  the  judge,  in  which  he  went  to  great 
trouble  to  tell  me  just  how  great  was  the 
privilege  (mentioning  the  fact  that  I  was  the 
only  woman  alive  who  had  ever  been  grant- 
ed such  an  extraordinary  permission),  I  was 
told  that  I  was  to  go  to  the  prison  at  sun- 
tlown  the  next  evening.  At  last,  the  climax 
to  a  week  of  drama:  to  be  the  only  woman 
alive  ever  to  descend  into  the  bowels  of  that 
Hell-on-Earth — Sante! 

I  don't  believe  I  slept  a  wink  that  night, 
{Continued  on  page  loi) 


98 


Gilding  The  Lily 

{Continued  from  page  57) 

Melody,"  memorable  as  the  first  fine  talkie, 
was  when  Bessie  Love  shut  out  the  cacoph- 
ony of  the  stage,  eliminated  the  strident, 
wrangling  voices  of  Anita  Page  and  Charlie 
King,  and  was  left  alone  in  silence.  For  an 
appreciable  time,  during  which  you  might 
have  heard  a  pin  drop  there  wasn't  a  sound. 
The  audience  was  fascinated,  hypnotized. 
Then,  low  and  throbbing,  her  sobs  broke  the 
spell. 

The  most  thrilling,  spookiest  moments  in 
Harold  Lloyd's  "Welcome  Danger"  were 
those  in  which  he  and  the  comedy  cop 
wandered  about  the  Chinese  den  without  a 
murmur.  These  incidents  always  came  be- 
tween sound  factions  and  w^ere  so  carefully 
timed  that  they  stressed  the  most  amusing 
bits  of  business  in  the  picture.  Lloyd,  him- 
self, was  quick  to  sense  that  silence  is 
golden  on  the  silver  screen,  and,  as  he  will 
tell  you,  he  has  made  the  most  of  it. 

Gloria  Swanson's  record-breaker,  "The 
Trespasser,"  was  skilfully  knit  with  a  fine 
thread  of  silence  running  like  a  clear  still 
brook  through  a  forest  of  sound.  The  trag- 
edies of  the  heroine  she  portrays  were  made 
more  poignant  because  the  deepest  dramatic 
moments  were  filmed  without  the  aid  of  the 
mike.  And  Gloria  is  so  impressed  with  the 
effectiveness  of  such  treatment  that  "What 
a  Widow"  was  made  with  the  value  of 
silence  in  mind. 

It  is,  perhaps  that  the  talking  screen  has 
given  a  new  spark  of  naturalness,  of  reality, 
of  life,  to  motion  pictures — in  bestowing 
upon  it  the  ability  to  portray  the  contrasts 
between  sound  and  silence  that  exist  in  all 
nature.  The  great  moments  of  real  life  arc 
met  in  silence.  Men  and  women  do  not 
vocalize  under  the  influence  of  deep  emo- 
tions. The  mysteries  of  life  and  death  are 
faced  silently.  The  ecstasies  of  love  tran- 
scend the  possibilities  of  verbosity.  Life's 
crises  come  shrouded  in  silence. 

Alice  Joyce,  intelligent  interpreter  of 
many  roles  in  the  silent  drama,  upon  the 
stage,  the  talking  screen,  and,  indeed,  in 
life  itself,  believes  silence  is  sound's  greatest 
weapon.  As  to  its  realism,  she  cites  a  drama 
of  her  own  life  which  found  her  small 
daughter  close  to  death.  Following  a  con- 
sultation of  physicians,  the  chief  of  these 
advised  her  that  the  child's  life  hung  by  the 
proverbial  thread.  She  greeted  the  an- 
nouncement with  silence,  and  not  until  the 
shadow  was  passed  was  her  heart-stabbing 
emotion  voiced. 


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Oh,  So  Playful! 

{Continued  from  page  74) 


Address. 
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State. 


mad  scramble  to  get  the  steering  wheel 
back. 

Without  a  companion  in  the  car,  Mac 
varied  the  stunt.  .Seeing  friends  on  Boule- 
vard, instead  of  waA'ing  his  hand,  he  waved 
the  wheel. 

But  we  were  talking  about  houses,  weren't 
we?  You  have  heard  about  Cah  in  Cool- 
idge's  electrical  rocking-horse.  Did  you  ever 
hear  of  Winnie  Sheehan's  electrical  rocking- 
floor? 

Reports  vary  about  the  operation  of  this 
mechanical  phenomenon.  I  should  like  to 
give  it  to  you  straight  but  somehow  or 
other,  no  one  I  know  on  the  Fox  lot  ever 
heard  of  it.  .Strange! 

The  consensus  of  opinion  seems  to  be  that 
Sheehan  has  a  button  hidden  as  a  false 
screw  in  the  electric  wall  switch.  He  turns 
on  the  lights  and,  at  the  same  time,  the 
device  which  rocks  the  floor.  The  appliance 
has  a  two-fold  purpose  in  practical  joking. 
It  makes  a  swell  earthquake  for  out-of-town 
guests.  It  serves  equally  w-ell  in  stretching 
the  effects  of  a  pair  of  highballs  into  the 
simulation  of  a  mild  snootfull. 

How  to  Lose  Your  Friends 

SE\'ER.'\L  Hollywood  jokesters  have 
swimming-pools  with  false  sides,  which 
throw  unsuspecting  guests  into  the  water, 
fully  dressed  or  not.  Breakaway  furniture 
which  collapses  beneath  one  is  so  common 
it  needs  no  detailing. 

Jimmy  Cruze  indulged  in  several  eve- 
nings of  fun  at  the  expense  of  his  guests  and 
lost  a  friendship  or  two  for  his  pains.  Cruze 
had  a  microphone  in  his  garage  connected 
to  the  loudspeaker  of  his  radio.  Hiring  a 
small  jazz  band  and  an  announcer,  he  pre- 
pared to  entertain. 

In  the  course  of  the  evening,  the  radio 
was  tuned  in  on  a  program  purporting  to  be 
from  KFWB,  the  local  Warner  Brothers' 
station.  The  band  played  a  selection  and 
the  announcer  got  in  some  choice  gossip 
about  picture  people  in  general,  and  some 
of  the  listening  guests  in  particular.  Much 
of  his  juicy  scandal  struck  too  near  home 
to  be  comfortable.  The  interspersed  band 
numbers  relieved  the  tension  slightly  and 
allowed  Jimmy  a  chance  to  communicate 
■with  the  announcer  to  prompt  him  for  the 
next  outburst. 

The  hoax  was  not  revealed  until  after  one 
irate  gentleman  had  left  the  house  post- 
haste, headed  for  the  real  KF\\'B  studio  to 
revenge  himself  for  the  insinuations  broad- 
cast. He  did  not  return  that  night — or 
since. 

In  the  den  of  the  new  house  occupied  by 
Harry  and  Ann  Harding  Bannister  is  a  tele- 
phone not  listed  on  the  records  of  the  'phone 
company.  As  the  receiver  is  lifted,  a  pleas- 
ant voice  asks,  "How  are  you  to-day?" 
Most  guests,  by  the  way,  answer  the  query. 
A  iTioment  later,  the  voice  says  politely, 
"Now  if  you  will  deposit  a  nickel,  I'll  try 
to  get  your  number." 

This  is  a  bit  unexpected  on  a  private  wire 
and  while  the  disconcerted  caller  is  fumbling 
for  change,  the  voice  declares  harshly,  "Cut 
out  this  stalling  or  I'll  disconnect  the 
'phone."  There  issues  further  abuse  in  the 
same  vein,  but  as  Bannister  usually  cannot 
help  grinning,  the  tip-off  ends  the  conver- 
sation. The  device  is,  of  course,  merely  a 
phonograph  record,  so  adjusted  that  the 
lifting  of  the  receiver  sets  it  in  motion. 

They  Stand  for  Doug 

NEARLY  e\eryone  in  Hollywood  has 
at  one  time  or  another  sat  in  Douglas 
Fairbanks's  hot-spot  couch.  They  sit  to 
rise  again,  but  Doug's  wide  grin  immedi- 
ately dispels  resentment.  He  has  played 
this  prank  on  all  comers  since  his  earliest 


days  in  pictures.  There  must  be  thousands 
of  other  electrically  wired  seats  in  Holly-: 
wood  studios  and  homes,  but  his  is  the  most" 
famous.  To  the  best  of  anyone's  knowledge, 
Doug  has  used  the  device  only  once  in 
anger. 

Three  newspaper  inen  called  on  Fairbanks 
to  ask  questions  about  a  matter  he  consid- 
ered private.  He  received  them  with  a  glint 
in  his  eye  and  asked  them  to  be  seated, 
maneuvering  meanwhile  so  that  they  all  sat 
on  the  couch.  Doug  stepped  on  the  juice. 
The  trio  rose  as  a  man. 

"Going  so  soon?"  Fairbanks  inquired 
politely.  "Well,  if  you  must.  Your  business 
is  concluded,  I  suppose.  You  came  for  a 
shock  and  you  got  it." 

William  Haines,  although  an  incorrigible 
practical  joker,  has  very  few  appliances 
around  his  own  home.  He  did,  however, 
fix  up  a  house  once  for  newly-wed  friends. 
Returning  from  their  honeymoon,  the  bride 
and  groom  found  it  impossible  to  open  a 
window  or  door  of  their  new  Beverly  Hills 
home  without  setting  off  sirens.  The  more 
they  searched  for  the  source  of  the  contacts, 
the  more  confused  they  became.  Unless 
they  read  this,  they  may  never  know  who 
was  responsible  for  their  discomfort. 

Monkeyshine  Business 

HOLLYWOOD  supports  a  Boulevard 
store,  called  Magicland,  which  is  de- 
voted to  the  furthering  of  practical  jokes. 
Its  proprietor,  Murray  Rock,  is  a  jovial 
gentleman  whose  whole  life  is  dedicated  to 
magic  and  joking. 

He  even  perpetrates  gags  on  his  custom- 
ers, posting  a  sign  in  the  window  advertising 
a  free  ring  with  every  purchase.  Bell  in 
hand,  he  makes  good. 

The  shelves  of  Magicland  are  filled  with 
a  wide  assortment  of  jokesters'  delights. 
There  you  will  find  rubber  soap;  golf  balls 
with  concussion  caps  that  blow  them  to  bits 
when  hit;  loaded  cigars  and  cigarettes;  soap 
that  conceals  lampblack  so  that  the  more 
you  wash,  the  dirtier  you  get;  playing  cards 
that  explode  when  cut — in  fact,  every  con- 
ceivable item  of  waggery  and  some  incon- 
ceivable ones. 

Murray  Rock  has  a  large  acquaintance 
in  the  picture  colony.  He  serves  their  par- 
ties in  jokes  much  as  a  caterer  serves  them 
in  food.  Marion  Davies  calls  up  to  say  she 
is  giving  a  party  for  six.  Will  he  send  out 
something? 

Let's  see — what  shall  it  be?  The  choice 
is  narrowed  down  somewhat.  Miss  Davies 
is  a  steady  customer.  .She  has  had  rubber 
wafers,  flannel  pancakes,  fly  pins  to  stick 
between  sliced  bread,  sugar  spoons  that 
break  to  spill  sugar  everywhere,  and  re- 
versed salt  and  pepper  shakers.  Dribble 
glasses  that  have  fine  holes  around  the  rim 
to  spill  liquid  on  the  drinker  are  too  com- 
monly used.  What  shall  it  be? 

Marion  may  get  floating  sugar,  a  sub- 
stance that  looks  like  the  real  thing,  but 
will  not  sink;  or  perhaps  a  set  of  those 
spoons  that  melt  away  in  hot  coffee  or  tea. 
Or,  again.  Rock  may  invent  something 
absolutely  new. 

He  Knows  Them  All 

FAREWELL  dinners  for  brides  or  grooms 
are  one  of  Rock's  specialties.  Bebe 
Daniels's  and  Hoot  Gibson's  were  recent 
ones.  Gibson  has  been  a  steady  patron  of 
Magicland  ever  since  Rock's  loaded  ciga- 
rettes cured  people  on  the  lot  of  bumming 
from  Hoot.  A  service  like  that  is  signal. 

For  those  who  may  doubt  the  shop's 
patronage  among  the  film  fraternity,  Magic- 
land has  a  whole  wall  of  autographs.  You 
will  find  the  signatures  of  such  play  folk  as 
{Continued  on  page  loi) 


100 


The  Most  Dramatic  Moment 
Of  My  Life 


(Continued  from  page  qS) 


waiting  .  .  .  waiting  .  .  .  The  following  day 
was  spent  in  a  cold  terror  of  excitement, 
anticipation  and  dread.  The  thought  upper- 
most in  my  mind  was  that  I  had  spent  a 
week  of  my  stay  in  Paris,  arranging  some- 
thing that  would  probably  be  so  horrible 
that  it  would  remain  in  niy  memory  the  rest 
of  my  life.  It  ne\  er  occurred  to  me  that  my 
fears  were  really  well-founded.  But  I  was 
to  learn  in  a  few  hours  that  I  was  incapable 
of  fearing  sufficiently  to  cope  with  the  real- 
ity. I  had  no  way  of  realizing  that  I  was  to 
witness  a  scene  that  my  imagination  had  no 
possibility  of  visualizing.  I  was  to  have  a 
9ought-for  look  at  Hell! 

The  immensity  of  the  situation  began  to 
dawn  on  me  as  I  was  led  through  the  outer 
ofi|ce  of  the  prison,  and  began  my  journey 
into  the  depths.  VVill  you  believe  me  when 
I  tell  you  that  rn  this  day  and  age  this  prison 
is  still  run  in  the  same  manner  and  by  men 
dressed  in  the  same  uniforms  as  it  was  in  the 
Sixteenth  Century?  The  interior  of  Sante  is 
i(uarded  by  tall,  uncouth  rufhans  in  brightly- 
colored  suits  of  the  dark  ages  before  the 
French  Revolution.  Not  armed  with  revolv- 
ers, but  with  long  muskets  equipped  at  all 
times  with  bayonets — sharp  bayonets  that 
these  ruffians  are  ready  to  put  into  use  at 
the  slightest  provocation. 

Slowly,  by  the  light  of  a  tall  candle,  we 
were  advancing  toward  the  dense  and  musty 
depths  that  had  been  conceived  in  the  mind 
of  an  early  French  king.  At  times,  the  light 
was  extinguished  by  a  sudden  draft  of  damp 
air.  .  .  And  as  I  walked  on,  petrified  with 
terror,  I  heard  the  scurry  and  swish  of  gut- 
ter rats  and  bats  as  they  brushed  my  feet  or 
whirled  past  my  face.  Have  you  ever  been 
icy-cold  with  fear  one  moment  and  feverish 
with  stark  horror  the  next?  If  you  have 
had  such  an  exjierience,  you  have  been 
through  a  Santi-  of  reality! 

Forgotten  and  Lost 

BUT,  suddenly,  as  if  to  make  the  situation 
even  more  terrifying  (.if  possible),  I  be- 
gan to  hear  voices— rather,  shrieks  and 
moans — terribly  intensified  by  the  cold  air 
and  echoing  walls  and  dripping  water.  They 
were  the  screams  and  mouthings  of  men 
turned  to  animals  under  the  most  grueling 
test  of  human  sanity  ever  invented.  A  cry 
in  the  dark  has  always  paralyzed  my  heart, 
but  what  I  heard  in  the  depths  of  Sante 
were  the  uncontrolled  screams  of  man-made 
animals.   In  revolt.   In  pain. 

I  was  almost  in  a  state  of  collapse  when 
we  came  at  last  to  the  deepest  caverns  of  this 
ancient  prison.  I  could  dimly  see,  by  strain- 
ing my  eyes,  that  directly  ahead  of  us,  in 


the  distance  were  the  cages  of  the  impris- 
oned men. 

.^nd  now,  for  a  moment  of  drama  of  the 
type  that  has  never  been  acted. 

There  before  me,  in  the  dim  and  shad- 
owed light  cast  by  a  flickering  candle,  stood 
the  boy.  My  powers  of  description  leave 
me  in  this  attempt  to  give  you  even  a  small 
conception  of  the  reality.  He  looked  at  me 
— or  did  he  stare? — with  the  eyes  of  a  man 
lost  to  the  world  of  the  living.  His  e>es 
strained  against  the  light  that  glowed  in  the 
shape  of  a  candle,  because  (as  I  was  to  learn 
later)  Sante  is  forever  in  darkness.  The  half- 
naked  animal  who  stood  next  to  the  boy  was 
an  insane  man  convicted  of  murder  four- 
teen years  before.  Believe  me  when  I  tell 
you  that  he  was  frothing  at  the  mouth! 

A  Women  Among  Madmen 

NO  sooner  had  the  rest  of  the  convicts  in 
this  Hell  become  used  to  the  glare 
than  they  realized  that  I  was  a  woman- — the 
first  woman  many  of  them  had  seen  in 
twenty  years!  There  were  gibberings,  at 
first,  of  disbelief,  then  awful  howls  of  pent- 
up  emotion  and  passion.  The  dirge  of  wom- 
anless  men!  How  I  managed  to  retain  my 
balance  while  I  talked  to  the  boy  (who  per- 
haps couldn't  hear),  I  have  ne\er  been  able 
to  fathom.  Possibly,  it  was  just  the  stark- 
ness  of  the  reality  that  gave  me  a  new  set  of 
nerves  .  .  .  new  to  women. 

As  I  tried  to  convey  some  of  the  hope  for 
his  release  that  was  in  my  heart,  fifty  insane 
criminals  howled  and  cried  an  obligato.  The 
miserable  harmony  of  forgotten  men.  One 
of  those  who  used  his  lungs  a  bit  more  lustily 
than  the  rest  sufTered  a  bayonet  in  the  stom- 
ach. Soon  I  turned  and  motioned  to  the 
guard  and  we  started  our  return  march  from 
the  valley  of  the  damned.  As  we  went 
through  the  first  iron  gate,  I  turned  for  a 
parting  glance  at  the  horror  I  had  just  wit- 
nessed— gloomy,  and  now  by  the  fading 
light  of  the  candle,  dank,  hopeless.  .  . 

Thus  ends  my  most  dramatic  experience. 
The  boy  was  released  within  a  week  after 
my  visit.  His  family  never  knew  of  his  ter- 
rible experience  and  I  ne\er  told  them. 
Every  year,  no  matter  where  I  am,  that  bo> 
sends  me  a  heart-felt  message  of  gratitude 
for  what  I  did  for  him  in  Sante.  He  is  a  man 
reclaimed,  but  a  man  with  imperishable 
memories. 

I  have  never  been  called  upon,  on  stage  or 
screen,  to  portray  such  drama  as  this — and 
I  hope  I  never  shall.  I  am  sure  that  such 
nerve  as  I  found  myself  possessed  of  in  the 
depths  of  Sante  is  visited  upon  a  woman 
but  once! 


Oh,  So  Playful! 

{Continued  from  page  wo) 


Charles  Chaplin,  Clara  How.  Al  Jolson,  Lon 
Chaney,  Richard  Barthelmess,  Conrad  Na- 
gel.  .Marion  Davies,  William  Haines,  Sue 
Carol,  I'riscilla  Dean  (upside  down)  and 
even  One-Eyed  Connelly.  More  amazing 
still  is  George  K.  Arthur's  tight-fisted 
scrawl. 

Rock's  clients  have  their  preferences  in 
the  type  of  joking  material  they  desire. 
Cicrtrudc  Olmstead  runs  entirely  to  eat- 
ables. Sue  Carol  also  prefers  table  tricks. 
1  he  rubber  pads  that  she  inflated  to  make 

r  guest's  <linner  plates  jump  about  were 
distinct  success. 

Jimmy  Hall  gave  a  series  of  three  parties 
ith    material   picked   up  at  .Magicland 


First,  he  entertained  gentlemen  of  the  local 
press;  then,  the  Paramount  publicity  crew; 
and,  finally,  songwriter  denizens  of  Holly- 
wood's Tin  Pan  Alley. 

Murray  Rock  and  his  Magicland  are  be- 
coming a  Hollywood  institution.  With  such 
a  strong  bulwark,  the  West  stands  ready  to 
repulse  Eastern  attacks  from  such  pretend- 
ers to  the  dynasty  as  Joe  Cook. 

Our  position,  I  must  admit,  has  not  al- 
ways been  so  impregnable  as  it  is  now. 
Only  a  short  time  ago  Magicland  was  un- 
known. When  Rock  first  posted  his  shingle, 
sjiying  "  Magicland  will  soon  open  here," 
a  lady  from  Hollywood  dropped  in  to  ask 
where  his  subdivision  was  located. 


Color  Magic  for  the  Lips! 

How  innocent  Tangee  looks  in  its  modest  gun- 
metal  case!  But  touch  ic  to  your  lips,  you 
Blonde  one  of  great  fame  . . .  you  Beauty  of  the 
titian  hair  .  .  .  you  sparkling- eyed  Brunette! 

For  this  is  the  magic  of  Tangee ...  it  changes 
•  when  applied  to  your  lips  and  blends  perfectly 
with  your  own  natural  coloring,  no  matter 
what  your  complexion. 

Tangee  never  gives  an  artificial,  greasy,  make- 
up look.  It  never  rubs  off.  And  Tangee  has  a 
solidified  cream  base,  one  that  not  only  beauti- 
fies but  actually  soothes,  heals  and  protects. 

Tzngee  Lipstick,  $1.  The  same  marvelous  color 
principle  in  Rouge  Compact,  75^  .  .  .  Crhie 
Rouge,  $1.  Face  Pouder,  blended  to  match  the 
natural  skin  tones,  $1.  Night  Cream,  both 
cleanses  and  nourishes,  %\.  Day  Cream,  protects 
the  skin,  %\.  Cosmetic,  a  new  "mascara,"  will 
not  smart,  $1 . 


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It  Pays  To  Be  Poor 

{Continued  from  page  52) 


advised  me  to  gi\e  a  party  for  the  press, 
which  I  did.  I  invited  twenty-five  people. 
I  counted  seventy-two — and  they  wrecked 
the  house.  They  consumed  cases  and  cases 
of  liquor,  and  broke  everything  we  had.  I 
said,  '  Never  again  I ' 

"After  that,  I  watered  the  garden,  and 
suffered  terribly. 

"Then  one  morning  I  went  to  a  pre-view 
of  '  Alibi '  at  the  Chinese  Theater.  I  couldn't 
sit  through  it.  I  left  in  the  middle  of  the 
picture,  went  home,  and  started  packing.  I 
said  to  Susie,  'Get  read}'.  We're  going  back 
to  Broadway  today.' 

"Just  then  the  'phone  rang.  It  was 
Roland  West.  'What  are  you  doing?'  he 
asked.  '  Packing?  I  thought  so.  Well,  hold 
everything.  We're  coming  right  over.' 

He  Became  an  Investment 

HE  and  his  wife  came  over.  'We're 
going  to  New  York  to-morrow  for 
the  opening  of  '  "Alibi,' ' '  Roland  said,  'and 
we're  taking  Susie  with  us.  You  can  stay 
here  and  take  care  of  the  baby.' 

"'You're  going  to  work.  I'm  going  to 
put  you  under  personal  contract  for  a  year, 
and  we'll  see  what  we  can  do  with  you.' " 

Chester  protested.  "I  can't  let  you  bur- 
den yourself  with  me.  r\e  been  here  four 
months,  and  it  looks  as  though  I'll  never 
get  a  job.  You'll  just  be  paying  me  out  of 
your  own  pocket." 

"I've  never  yet  lost  money  on  anything 
I  invested  in,"  retorted  Roland,  "and  I 
won't  now." 

What  happened  after  that  is  history. 
"Alibi"  was  a  big  sensation,  and  the  per- 
sonal hit  made  by  Chester  \Iorris  was  an 
even  bigger  one.  The  studios,  which  had 
been  apathetic  toward  this  gifted  player,  be- 
gan fighting  for  him. 

From  the  time  that  contract  was  signed, 
Chester  became  an  obsession  with  Roland 
^^'est.  The  director  has  carried  benevolence 
and  paternalism  to  an  extreme.  He  has 
handled  Chester  very  astutely,  thought 
everything  out  to  the  smallest  detail.  He 
has  loaned  him  to  nearly  every  big  studio 
in  Hollywood — studios  with  many  diflerent 
releases — with  the  object  of  having  him 
reach  all  the  fans. 

He  reads  all  Chester's  fan  letters,  studies 
the  trend  of  their  opinions  and  guides  his 
career  accordingly. 

No  Longer  a  'Villain 

CHESTER  established  himself  in  crook 
roles.  But  Mr.  West  won't  let  him 
play  any  more.  The  public  is  tired  of  them, 
according  to  all  the  signa.  The  fans  are 
always  writing,  "Why  don't  you  let  him 
get  the  girl  for  a  change?"  So  Chester's 
going  to  be  allowed  to  capitalize  on  some 
of  that  personal  charm  (refined  for  "sex 
appeal";  that  has  been  almost  forgotten  in 
the  general  enthusiasm  for  his  acting. 

Mr.  West  manages  everything.  All  Ches- 
ter has  to  do  is  to  receive  a  smalh  check 
every  week.  That's  the  beginning  and  end 
of  his  business  worries. 

But  don't  think  Roland  West  is  fattening 
on  the  thousands  of  dollars  Chester  now 
earns.  This  is  one  personal  contract  that 
will  never  end  in  a  lawsuit.  West  gets  noth- 
ing out  of  it  but  the  fun  of  seeing  what  he 
can  do  with  a  boy  who  was  turned  down 
by  every  studio.  Chester  gets  every  penny 
of  the  huge  salary  Mr.  West  has  managed 
for  him — but  not  just  yet. 

"I'm  not  going  to  let  you  make  a  fool  of 
yourself,  the  way  I  did  when  I  first  began 
to  make  money,"  Roland  told  his  protege. 
"You're  going  to  get  just  enough  to  live  on 
reasonably,  and  I'll  invest  the  rest.  When 
you  have  a  trust  fund  of  one  hundred  thou- 


sand dollars,  it'll  be  time  enough  for  you 
handle  your  own  money." 

At  the  end  of  five  years,  the  Morrise3, 
who  will  still  be  in  their  infancy,  will  have 
one  hundred  thousand  in  the  Bank  of  Italy, 
and  another  hundred  thousand  in  a  Cana- 
dian bank.  The  principal  goes  to  their  son 
Brooks  when  he  is  thirty-five. 

And  Chester  intends  to  collect  an  extra 
thousand  on  the  deal  by  winning  a  bet  he 
made  with  Roland  that  he  can  keep  up  his 
modest  living  for  the  five  years.  Smart  man, 
that  Mr.  West. 

Meanwhile,  Susie  runs  her  house  on  fifty 
dollars  a  week.  "You  can't  do  it!"  her 
friends  assure  her.  "But  I  do,"  says  Susie 
firmly.  She  does,  and  very  nicely  too,  from 
what  I  could  gather.  They  have  a  nurse, 
for  the  baby,  a  maid  named  Tina  who  i" 
very  versatile,  and  maybe  some  more  co 
cealed  about  the  house. 

Chester  consults  Mr.  West  about  ev( 
thing  he  does.  He  let  them  buy  their  hou" 
which  used  to  be  his.  He  let  them  buy  a 
car  apiece.  He's  even  letting  them  ha\e 
another  baby. 

He  allows  them  enough  to  keep  the  little' 
Brooks  in  tiight-overalls,  or  whatever  you. 
call  them.  Brooks  is  a  whimsical  child,  very., 
smart  for  his  age,  blond  like  his  mama,  and. 
with  a  charming  social  instinct.  At  the  age 
of  two,  he  already  knows  how  to  totter  over 
to  the  smoking  stand  and  pass  the  cigarets 
to  the  assembled  guests,  with  a  perfectly 
devastating  smile. 

He  can  articulate  something  that  sounds 
like  "Daddy,"  and  naturally  Chester  takes 
great  pleasure  in  hearing  him  say  it  as  of- 
ten as  possible. 

"Good-night,"  lisped  the  little  heir,  as  he 
took  off  for  bed. 

"Good-night,  who?"  prompted  Chester. 

"Good-night,  who,"  said  Brooks  oblig- 
ingly, and  went  romping  up  the  stairs. 

Why  They  Like  Hollywood 

E\"ERY  Saturday,  the  Morrises  go  to  the 
Wests'  beach  house  at  Castellamare, 
and  stay  until  Monday  morning.  Every 
Tuesday,  the  Wests  have  dinner  at  the 
Morrises.  Those  are  their  most  important 
social  engagements,  and  they're  perfectly 
contented. 

"I  was  playing  in  'Yellow'  when  I  mar- 
ried Sue,"  Chester  explained.  "The  show 
had  already  run  for  seventeen  weeks  and 
seemed  set  for  a  long  and  prosperous  run, 
and  I  thought  it  was  safe,  so  I  said,  'Come 
on,'  and  we  got  married. 

"The  next  night  the  two  weeks'  notice 
was  posted." 

They  had  a  miserable  life  for  a  long  time 
afterwards.  The  City  Marshal  was  one  of 
their  frequent  callers — collecting  the  rent. 
Food  was  none  too  plentiful,  and  they  ex- 
perienced all  the  other  horrors  familiar  to 
impulsive  young  couples. 

That's  why  they  don't  mind  living  on  Mr. 
West's  pittance.  That's  why  they  love  Hol- 
lywood, their  house,  their  view,  and  their 
garden.  You  might  almost  say  they  have 
a  swimming-pool — in  a  way.  Monta  Bell 
has  a  house  a  little  below  them  on  the  hill- 
side, with  a  pool  placed  conveniently  under 
the  Morrises'  window.  Chester  is  thinking 
of  constructing  a  chute. 

Their  cars  aren't  Lincolns.  They're 
Dodges,  to  be  frank. 

They've  just  built  a  barbecue  oven  in  the 
yard,  but  they  haven't  enough  money  left 
to  buy  the  meat. 

Just  two  kids  trying  to  get  along. 

But  when  you  see  them  swinging  happily 
down  the  boulevard,  hand  in  hand,  you  sigh 
and  think — wouldn't  it  be  wonderful  to  be 
poor! 


102 


Menace  or  Messiah? 

{Continued  from  page  97) 

necessary',  the  precious  benzine  is  spilled  by 
awkward  hands  on  the  ground— never 
mind!  It  is  a  baptism.  Only  a  beginning, 
but  in  the  next  five  years  there  will  be 
twenty-five  such  farms,  and  then  others — 
and  others.  Red  Russia  is  turning  green  at 
last. 

"Vou  shall  sec  these  pictures,  and  so 
understand  what  is  the  truth  about  the 
greatest  experiment  ever  tried  by  any 
people.  Not  one  of  your  writers  yet  has 
seen  Russia  as  she  really  is  since  the  Revo- 
lution. Those  who  visit  my  countr\-  go  first 
to  the  cities,  to  Moscow — always  over- 
crowded, now  ten  times  more  so.  They  do 
not  understand  that  the  cities  mean  nothing: 
that  crowding  and  hunger  and  the  rest  of  the 
miseries  they  note  down  mean  nothing: 
that  it  is  in  the  great  countr\  sides  that  the 
Communist  exp)erimcnt  is  being  worked  out 
and  is  succeeding.  We  in  Moscow  d>  not 
mind  standing  in  line  for  our  bread,  and 
even  going  without  enough  bread,  because 
we  know  what  is  hapjiening  all  o\-er  the 
land.  We  know  that  they  are  learning  to 
raise  bread  enough  for  all.  The  Russian 
people — I  say  it  honestb- — are  happier  than 
they  ha\  e  ever  been  before. 

America  Has  Not  Suffered 

"TT  is  not  an  individual  thing  that  is  hap- 
X  pening  in  Russia  to-da)-.  It  is  a  mass 
drama.  That  is  why  I  make  pictures  of  the 
masses.  Here  in  America,  I  do  not  know. 
Vou  Americans  are  not  accustomed  to 
thinking  in  terms  of  people,  of  humanity — 
but  of  individuals,  yourselves,  your  neigh- 
bors, your  latest  newspaper  hero.  Your 
pictures  do  not  interpret  America  as  a  whole. 
Except,  perhaps,  those  of  King  \'idor.  You 
have  other  great  directors:  Milestone — but 
he  is  a  Russian;  von  Stroheim  and  von 
Sternberg — but  they  are  Germans. 

"I  should  like  to  hope  that  I  might  show 
you  in  a  motion  picture,  to  yourselves,  a 
great  chaotic  country,  thinking  along  a 
thousand  lines,  instead  of  gjroping  toward 
one  common  idea,  seeking  many  things  in- 
stead of  one  ideal.  I  have  seen  your  un- 
believable cities.  I  have  watched  pigs  cut 
up  into  tiny  bits  in  your  slaughter  houses, 
and  tiny  bits  of  iron  flung  together  into 
automobiles  in  your  factories.  I  have 
spoken  to  your  students  at  the  universities. 
And  so  far  I  do  not  find  a  mass  movement 
in  America.  Perhaps  you  have  not  suffered 
enough  yet. 

"Talkies?  To  me,  dialogue  is  a  childish 
use  of  the  great  power  of  the  microphone. 
Motion  pictures  still  must  move.  They  have 
no  call  to  be  poor  imitations  of  the  theater, 
which  in  itself  was  always  a  po<ir  imitation 
of  Life.  But  Sound — that  is  different.  That 
is  marvelous. 

"When  wc  can  add  to  our  motion  pic- 
tures the  sounds  of  life — the  sounds  that 
are  not  national,  but  understandable  to  all 
the  peoples  of  the  world — then  we  shall 
begin  to  make  good  motion  pictures  at  last. 
The  sounds  of  rain  on  the  ground,  of 
breathing  crowds,  of  cries  of  joy  and  grief, 
and  that  most  dramatic  sound  of  all — the 
sound  of  the  machines  that  are  modern  gods 
rfiiiu-  to  free  humanity.  It  is  these  that  the 
talkies  mean  to  me.  We  have  here  in  the 
movie  studios  not  a  completed  thing,  but  a 
crude  beginning  whose  end  we  hardly  dare 
to  prophesy." 


So  You  Take 
the  $1,500-- 

And  trot  around  the  globe  .  .  . 

Or  buy  that  Straighter  Eight  .  .  . 

Or  save  the  old  homestead  .  .  . 

Or  start  the  new  one  .  .  . 

Or  — but  you  have  your  own  ideas. 

You  know  what  you  could  do  with  it. 

And  don't  get  cynical. 

You  won't  have  to  work  for  it — 

That  is,  if  you  have 

More  brain  than  brawn, 

More  wit  than  wishbone. 

It's  a  game,  a  diversion. 
Amusement,  entertainment. 
You  play.  We  pay. 

A  new  picture  game — 
A  game  of  pictures. 
You  send  in  titles — 
We  send  out  checks. 

The  first  will  be  for  $1,500. 

The  second,  $1,000 
Third.  $500  -Fourth.  $250— 
Fifth,  $125— Sixth.  $100— 
Seventh,  $75. 

Eighth  to  twelfth.  $50 
Thirteenth  to  twentieth,  $25 — 
Then.  50  for  $10  each- 
Fifty  for  $5  each  — 
And  250  for  $1  each. 

$5,000  in  all. 

If  Time  is  Money, 
Don't  lose  any. 
Turn  in  a  hurry 
To  Pages  40  and  41 
Of  the  October 

MOTION  PICTURE 


103 


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blackheads,  pimples  gone,  enlarged  pores  closed, 
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Black  And  White 
Read  And  Write 


{Continued  from  page  6) 


around  wildly  with  a  pencil  and  pad  in  his 
hand, — or  a  detective  who  doesn't  wear  his 
hat  in  the  house. 

How  long  will  it  be  before  the  directors 
realize  that  the  smiling  negro  mammy  with 
the  red  bandanna  around  a  fat,  kinky  head 
exists  today  only  in  the  ads  of  pancake  flour? 
And  honestly — college  men  and  women 
don't  dress  like  the  rah-rah  boys  and  girls 
of  the  John  Held,  Jr.,  illustrations. 

Perhaps  at  one  time  there  was  an  excuse 
for  those  things;  but  with  the  marvelous 
possibilities  of  the  talkies  today,  there  is  no 
need  for  it.  Such  exaggerated,  stereotyped 
characters. 

I  hope  I'm  not  misunderstood  in  this 
criticism;  it  is  merely  a  suggestion.  If  I 
meant  that  there  were  no  excellent  shows 
with  marvelous  acting  and  all  other  things 
that  go  to  make  an  artistic  production,  one 
could  truthfully  call  me  the  proverbial 
fault-finder.  But  many  good  shows  are 
ruined  by  these  exaggerated  portrayals. 
Why  not  tame  them  down  somewhat  or  for- 
get them  entirely  for  a  while? 

Thomas  Downey 


very  dear  to  me  and  every  time  I  see  a  war 
picture  my  mind  travels  back  to  that  ter- 
rible time  when  so  many  fine,  honest  boys 
lost  their  lives. 

I  do  not  go  to  war  pictures  when  I  kno 
what  they  are,  but  I  have  seen  two  or  threS' 
within  the  last  few  years  that  I  had  no  idea 
were  along  that  line.  The  picture  sounded 
interesting  from  the  name  so  I  went  only  to 
find  a  repetition  of  what  to  every  mother 
who  lost  a  son  is  a  nightmare.  Is  it  neces- 
sary to  bring  back  all  these  memories? 
Cannot  we  be  left  with  the  thoughts  of  our 
sons  as  we  knew  them  and  not  the  thoughts 
of  them  over  there  dying  by  the  thousands? 

Mrs.  S.  A.  R.  . 


Enough  of  This  War  Stuff 

Minneapolis,  Minn. 
I  am  the  mother  of  one  of  the  boys  buried 
under  the  poppies  in  Flanders  Field,  and  I 
am  wondering  why  it  is  that  the  movie  pro- 
ducers insist  on  giving  us  war  pictures. 
Although  the  war  has  been  over  these  many 
years,  still  my  son  is  very  near  to  me  and 


Wants  Some  Light  on  a  Dark 
Subject 

Evanston,  111.  - 
Well,  I'm  still  trying  my  darndest  but. 
I  can't  get  a  little  match  to  light  up  my 
whole  room  at  night.  They  can  do  it  in  the 
movies  though.  The  darling  heroine  jumps 
up  in  the  cold  night,  clad  in  a  half  yard  of 
lace,  and  lights  a  match  to  see  what  time  it 
is,  being  quite  sure  it  is  past  midnight.  Lo: 
and  behold,  the  whole  room  is  filled  with 
light.  Nell,  or  perhaps  it's  Mary,  blows  out 
the  match  to  find  herself  in  utter  darkness. 
But  she  isn't  surprised  a  bit,  it's  a  movie  and 
she  knows  her  movies.  Don't  get  me  wrong. 
I  have  respect  for  the  beloved  screen,  but 
things  like  that  should  not  be  overlooked. 

Margaret  Egan 


Another  harried  heroine  takes  a  rest  cure:  when  Mona  Maris  can  get 
away  from  the  Hollywood  villains,  she  hits  for  the  hills  and  her  new 
estate,  eighty  miles  from  it  all 


104 


Likes  Polly  Because  She  Has 
I\o  Gilded  Cage 

Winston-Salem,  N.  C. 

As  the  majority  rules,  am  confident  I  am 
oicing  the  sentiments  of  the  people  when  I 
lake  this  assertion  that  we  are  all  fed  up 
n  these  much  exaggerated  mystery-  stars 

ho  live  in  dreamland  and  you  should  not 
xpect  us  to  soar  the  clouds  and  be  en- 
ranced  with  these  well  advertised  celebrities 
ny  longer,  as  we  are  human  and  like  a 
eal  kick  out  of  a  picture.  I  ne\-er  miss  an 
pportunity  of  seeing  Polly  Moran,  for  her 
(-ting  becomes  vitally  a  part  of  her  and  her 
udience  feel  the  greatest  thrill  they  have 
ad  since  they  last  saw  her,  Polly  brings  us 
own  to  terra  firma  when  she  drops  that 
)\ver  jaw,  twists  her  apron  and  hands  us  her 
ine.  Oh !  what  a  scream  she  is,  but  when  she 
ets  in  double  harness  with  Marie  Dressier, 
Ain't  We  Got  Fun."  Please  give  us  more 
ike  this  Polly  that  is  not  in  a  gilded  cage, 
don't  supfMJse  this  type  of  a  letter  is  much 
n  demand.  Mrs.  Jack  A.  Cooper 


Keep  Oil  With  the  Talkies 
But  Take  Out  the  Color 

Los  Angeles,  Cal. 

I'm  really  not  the  type  that  writes  com- 
plaining letters  to  newspapers  and  maga- 
lines.  Ill  fact,  I  don't  recall  ever  having 
written  one  before,  so  whether  I  ha\e  S.  E. 
will  he  a  matter  of  no  small  conjecture  until 
I  see  what  happens  in  this  instance. 

(Just  a  moment,  please.  I  want  to  point 
out  that  any  alleged  thoughts  put  forward 
here  are  my  own  and  do  not  represent  the 
ideas  of  the  world  at  large. — ) 

Talking  pictures  are  the  movies'  greatest 
boon  ;  color  their  greatest  curse. 

To  take  them  up  in  order.  Talkies  have 
supplanted  the  pictures  thenisehes  as  the 
infant  industry.  Reproduction  is  not  per- 
fect, nor  does  anyone  expect  it  to  be  at 
present.  Radio  was  far  from  perfect  when 
it  was  as  young  as  sound  pictures.  But  in 
time  I  have  no  doubt  it  will  be  perfected. 

At  the  same  time,  producers  have  a  teml- 
ency  to  stilted  action.  One  of  the  attrac- 
tions of  pictures  was  its  ability  to  change 
scenes.  If  all  the  action  is  to  take  place  in 
two  or  three  scenes,  we  might  as  well  return 
to  the  legitimate. 

As  to  color.  It's  not  natural  and  I  don't 
think  it  should  be  inflicted  on  the  public 
until  it's  perfected.  S. 


One  character  in  search  of  six  authors: 
Aileen  Carlyle,  quaint  newcomer,  spe- 
cializes in  dialects,  all  kinds 


Outdoor  Life  on  theSouth  Grounds  of  the  Ambassador,  Los/bigeks 

No  Hotel  in  the  World  offers 
Such  Varied  Attractions  as  the 

AMBASSADOR 

LOS  ANGELES 
"The  Great  Hotel  that  Seems  Like  Home" 

CONTINUOUS  program  of  outdoor  and  indoor 
diversion.  2 7- acre  park,  playgrounds,  open  air 
plunges,  tennis  courts,  18-hole  miniature  golf  course, 
archery  and  fencing,  flowered  pergola  walks,  cac- 
tus gardens,  ping  pong  tables,  all-talking  motion 
picture  theatre,  world-famous  Cocoanut  Grove  for 
dancing  parties,  riding,  hunting,  and  all  sports.  Beau- 
tifully redecorated  lobby.   35  smart  shops. 

Ambassador  convention  auditorium  seats  7000.  Guests 
have  privilege  of  championship  18-hole  Rancho 
Golf  Club. 

Most  Attractive  Summer  and  Fall  l(ates 

OUTSIDE  ROOMS  with  BATH  as  low  as*^  per  day 

Writt  for  Oxf's  Booklet  of  Qilifomia  Recipes  and  Information^ 


THE    AMBASSADOR     HOTELS  SYSTEM 

THE  AMBASSADOR,  NEW  YORK 
THE  AMBASSADOR.  PALM  ItKACH 
THE  AMBASSADOR.  ATLANTIC  CITY 
THE  AMBASSADOR.  LOS  ANGELES 

43 


Are  You  Coast  Wise? 

.\re  you  sure  you  know  everything  thtit  is  Koi^K  <>"  i»  Hollywood? 
Are  you  sure  thjit  you  know  Hollywood  inside  and  out? 
Do  you  know  the  stars  like  old  friends? 

Are  you  sure  of  hnvinK  your  wit  about  you  when  Hollywood  is  mentioned? 
.\nd  do  you  insist  upon  seeing  the  best  pictures  the  stars  appear  in".', 
.\nd  are  you  sure  of  .seeing  them  in  stories  that  do  them  justice? 
Then,  sure  enough,  you  must  be  another  regular  reader  of 

Motion  Picture  CLASSIC 

''It's     T  h  c.    M  a  g  (I  z  i  n  e    w  ith    I  h  c    P  e  r  s  o  n  a  I  i  I  i/'  ' 


105 


You  and  Co. 


YOU  may  never  have  thought  of  yourself  in  just  this 
way.  It  may  never  have  occurred  to  you  that  in  filhng 
many  of  the  needs  of  your  every-day  Hfe  you  have  at 
your  command  organized  guidance  and  help  of  the 
most  practical  kind. 

But  this  is  the  fortunate  situation  in  which  you  find 
yourself  whenever  there  is  something  you  are  about  to 
buy,  from  a  package  of  salt  to  a  sedan.  \Vhen  you  turn 
to  the  advertisements  in  this  magazine  you  call  on  safe 
and  expert  buying  counsel  that  will  enable  you  to  get 
the  last  cent's  worth  for  every  dollar  you  spend. 

Advertisements  are  your  purchasing  advisers,  your 
economic  scouts  in  any  field  of  merchandise.  Each  one 
presents  important  and  carefully  selected  facts  that  you 
are  not  in  a  position  to  discover  without  their  aid.  You 
can  "bank  on"  the  advice  that  each  one  gives.  Its  value 
has  already  been  proved  to  people,  over  and  over  again. 

Make  a  practice  of  reading  the  advertisements. 
They  save  you  time  and  energy  and  worry.  They  make 
it  easy  for  you  to  be  an  expert  purchasing  agent  for 
your  family  corporation. 


Call  on  the  proved  counsel  of  the  advertisements 
.  .  .  read  them  regularly! 


e  these 


easu  steps  to 

INSTANT 


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The  third  and  final  step  is  a  touch  with  Maybelline  Eyebrou-  Pencil  to  artistically 
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d7#i.s/aii/  cJ^eaui  'tj\ei-9  for  ilie  O^^m 


En  Route 


Unnumbered  miles  slip  away 
from  the  Limited  .  ,  .  sagebrush 
and  sand  and  a  painted  desert  .  .  . 
mountains  stark  above  timber 
line.  But  through  all  the  chang- 
ing scene,  this  cigarette  will  be 
your  best  companion.  Fragrant, 
refreshing,  dependable,  it  adds  the 
flavor  of  enjoyment  to  your  jour- 
ney. .  .  .  And  whether  you  travel 
three  days  or  three  hours,  you 
know  that  you're  going  some 
place,  when  you  go  with  Camels. 


p- 


@  1930,  R.  J.  Reynolds  Tobacco  Co.,  Wlinlon-Salem,  N.  C 

SEP  ' 


Motion  Pict 


(VEMBER 


LA 


Menaces 
Of  The 
vloVie  s 

^jelemsion) 

Putting 
"hem  Back 

Into 
(Trculatioi\ 


TECHNICOLOR 


SOME  OF  TH 
PRODUCTIONS 


Marion  .  .  .  . 
as  she  is 

Through  even  the  gray,  shadowy  limitations  of 
black  and  white  films,  the  color  of  Marion  Davies's 
personality  reached  out  and  touched  the  hearts 
of  millions. 

Now,  you  have  a  chance  to  see  that  colorful 
personality  'h\\\\o\j\  limitations — in  Technicolor.  To 
enjoy  to  the  full  the  radiance  of  a  charm  that  has 
won  her  unique  position  in  filmdom. 

With  Technicolor's  aid  you  see,  at  last,  reality 
on  the  screen.  Color — lavish,  laid  on  with  Nature's 
true  touch — fires  your  imagination.  You  see  the 
stars  as  they  really  are. 


BRIGHT  LIGHTS,  with  Dorothy  Mockaili  (First  Nationol);  DIXIAN^4 
with  Bebe  Daniels  (Radio  Pictures),  Technicolor  Sequence 
FOLLOW  THRU,  with  Charles  "Buddy"  Rogers  and  Nancy  Corro 
(Paramount);  SWEET  KITTY  BELLAIRS,  with  Claudia  Dell  on 
Perry  Askam  (Warner  Bros.) ;  TOAST  OF  THE  LEGION,  with  Bernic  I 
Claire  and  Walter  Pidgeon  (First  National);  VIENNESE  NIGHT! 
all-star  cast  (Warner  Bros.);  WHOOPEE,  starring  Eddie  Contc 
(Samuel  Goldwyn  —  Florenz  Ziegfeld). 


I 


MARION  DAVIES  gives  the  screen  one  of 
the  finest  performances  of  her  colorful  career  in  Metro- 
Goldwyn-Mayer's  musical  vehicle — "The  Florodora  Girl, 
embellished  with  Technicolor  scenes. 


in  Technicolor 


CROM  a  shabby  shop  on  the  East 
•  Side  she  fought  her  way  to  power 
and  luxury  as  the  greatest  modiste 
on  Fifth  Avenue.  Calculating  and 
crafty,  she  was  never  beaten  till  she 
opposed  her  son's  love  for  a  penni- 
less girl.  IRENE  RICH  in  the  great  role 
of  her  career;  H.  B.  WARNER  mag- 
nificent as  the  suave  financier  who 
tries  to  buy  the  son's  sweetheart; 
RAYMOND  HACK  EH  as  the  boy. 
Directed  by  Guthrie  McClintic. 


ACK  LONDON'S  greatest  story  given 
life  and  voice.  Human  passions  in 
e  raw  battling  to  a  stupendous  climax 
s  a  brave  boy,  a  wayward  girl  and  a 
emon  sea-captain  meet  their  destiny 
n  a  sealing  ship  where  man-mode 
ws  are  laughed  to  scorn!  An  out- 
standing cast  including  MILTON  SILLS, 
ne  Keith  and  Raymond  Hacketl. 
rected  by  ALFRED  SANTELL. 


RUBE  GOLDBERG— you  know  Rube- 
comedy  cartoonist  specializing  in 
nuttyinventions  —  has  turned  his  talents 
to  the  talking  screen  with  riotous  re- 
sults. Stay  away  from  Soup  to  Nuts  if 
you  can't  stand  mirthquakes.  Here's  a 
new  kind  of  flesh  and  blood  comedy — 
seven  reels  of  goofy  entertainmentwith 
a  dash  of  song.  Introducing  to  the 
screen  Ted  Healey  and  his  racketeers. 
Also  Frances  McCoy,  Lucile  Brown, 
Stanley  Smith  and  Charles  Winninger. 
Story,dialog  and  gags  by  Rube  Gold- 
berg.   Directed  by  Benjamin  StolofF. 


J 


Your  favorite  entertainment 


MOVIETONE  PICTURES 


FEET  FIRST 


H 


APPY  days  are  here  again!    Here  comes  Harold  with  a 
brand  new  bag  of  tricks  that  will  make  your  sides  ache 
with  laughter!  Fun  no  end,  thrills  galore,  action  every  second. 
q  Harold  Lloyd's  All -Talking  picture  "Feet  First."  Your 
eyes  will  be  glued  to  the  screen  and  you'll  hang  on  every 
word!  More  than  a  motion  picture — an  event  the  whole 
family  looks  forward  to  with  keen  anticipation.  Get  set 
now  for  the  great  gloom  destroyer  of  1930!  Get  set 
and  go!  ^  Your  Theatre  Manager  will  gladly  tell  you 
when  "Feet  First"  is  coming  to  your  town.  Pro 
duced  by  Harold  Lloyd  Corporation.  A  Paramount  ^ 
Release.  ^  "/^  it's  a  Paramount  Picture  it's  the 


best  show  in  town!^^ 


TUNE  IM  Paramount  Publix 
Radio  Hour,  each  Tuesday  Kvc- 
ning,  10:15  to  1 1  P.M.  Eastern 
Time,  over  the  Columbia  Broad* 
casting  System. 


PARAMOUNT  PUBLIX  CORPORATION,  ADOLPU  ZUKOR,  PRES. 


PARAMOUNT  BLDC,  NEV  YORK 


MOTDON  PQCTQJIRE 

CLASSIC 

Vol.  XXXII  N0\T:MBER.  1930 


ISotable  Features  in  This  Issue: 


Menaces  Of  The  Movies— Television  Campbell  MacCaUoch  24 

Putting  Them  Back  Into  Circulation — Hollywood  Marriage  Market  Helen  Louise  Walker  28 

The  Waltz  Dreamer— OSCAR  STRAUS  '.  Mollie  Merrick  33 

Classic  Holds  Open  Court — Defending  Modern  Youth  Robert  Fender  36 

The  Daily  Terror — Movie  Star  Beaten  At  Party  Wilbur  Morse.  Jr.  38 

A  "Villain"'  Smiles— PAUL  LUKAS  '.  Ghnhs  Hall  56 

A  "Villain"  Laughs— LEW  CODY  Gladys  Hall  57 


The  Classic  Gallery  Ann  Harding.  Joan  Cratcford.  Lois  Moran.  Stanley  Smith  19-22 

Picture  page— HELEN  TVt  ELVETREES     27 

The  Legendary  Barrvmore — His  Greatest  Role  Jay  Brien  Chapman  30 

Putting  Off  The  Dog— picture  page,  MAURICE  CHEVALIER     31 

Picture  pa^e — FreD  SCOTT   32 

Join  The  Navy — And  See  Stars — picture  page,  LORETTA  YoUNG   34 

Spanish  Mainly — picture  page.  LUPE  VeLEZ   40 

The  Kid  Also  Talks— JACKIE  COOGAN  .\ancy'  Pryor  41 

A  Dog  For  Every  Mood — picture  page,  ANITA  PAGE   46 

Clara's  New  Beau — Now  It's  Rex  Bell  D  ro'hy  Manners  48 

Picture  page — JAMES  RENNIE     49 

Picture  page— LAURA  LA  PLANTE   50 

The  Rest  Of  Ladv  Peel— BEATRICE  LiLLIE  Hale  Horton  51 

He  Acts  Natural— Jack  MULHALL  Gladys  Hall  52 

Meet  The  Killer— EDWARD  G.  ROBINSON  Allen  Eruin  58 

Warm,  But  Not  Bothered — picture  page.  LEILA  HYAMS   59 

They're  In  The  Barkies  Now — The  Dogs  in  the  Movies  Helen  Louise  Walker  63 

Free  Faces  West— picture  page,  RICHARD  CROMWELL'S  MASKS   64 

She  Longed  To  Be  Liked— ROSE  HOBART  Elisabeth  Goldbeck  65 

Flora  and  Fauna— picture  pages,  LILLIAN  ROTH  and  FRANCES  DEE   66 

How  To  Treat  Chorus-(iirls — Never  Call  Them  Names  Cedric  Belfrage  68 

It's  Free  and  Easy — If  You're  Broke  Come  To  Hollywood  Robert  Fender  70 

Mark  Twain's  Bov— picture  page,  JUNIOR  DURKIN   71 

Little  Sob-Sister— picture  page.  DOROTHY  JORDAN   72 

Ladies  of  "W  hoopee" — Their  Opinions  of  Men,  Morals  and  Movies  Dorothy  Manners  73 

Picture  page — LaURA  LEE   75 


The  Classics  Famous  Departments 

Black  And  V;  lute — Read  And  Write  (Prize  Letters)   6 

Last-Minute  News   8 

Classic's  Family  Album— ALXRILYN  MILLER   10 

My  Neighbors  In  Hollywood                                                                                         K.  C.  B.  12 

Facts  and  Figures — Intimate  Items  About  Pictures  Campbell  MacCulloch  14 

Looking  Them  Over — Newsy  Close-Ups   Dorothy  Manners  42 

Our  Own  News  Camera — The  Screen  w  orld  In  Pictures   53 

The  Celluloid  Critic — Some  Current  Films  In  Review  Laurence  Reid  60 

The  Answer  Man   76 

Cover  Drawing  of  Dorothv  Lee  bv  Marland  Stone 


Laurence  Reid,  Editor 

Colin  J.  Critickshank,  .4rt  Director 
Classic  comes  out  on  the  12th  of  etvr\-  Month.  Motion  Picti  re  the  28th 


Mi'TiM-.  Pii  r,  Ki-    "l\5sic  15  published  moHlhly  al  jso  E.  22n4  St.,  Chicago,  lU.,  by  Motion  Picture  Publications,  Inc.    Entertd  as  second  class 
\  al  the  I'osl  Ofice  al  C  hica(o,  Itlianis,  under  the  .4i  /  o.f  XIarch  j,  iSto:  primed  in  V.  S.  .4.  Editorial  and  Exei  utire  Offices,  Paramount 
iv.  New  York  City.  S.  Y .,  Copyrmht  ig.w  by  Motion  Picture  Publications,  Inc.  Single  copy  25c.  Subscriptions  for  C.  S..  its  pos- 
;.\oo  a  year,  Canada  ti.50,  ForeiKn  Countries,  Sj.oo.   European  Agents,  .Atlas  Publishing  Company,  iS  Bride  Lane,  London,  E.  C.  4. 
George  Kent  Shider,  Pres.  and  Trras.,  Duncan  .4.  Dobie,  Jr.,  Vice  Pres.,  Murray  C.  Bernays,  Secy. 


Tell  Us  All  About  It 


$20.00  LETTER 
Eulogy  to  Lon  Chaney 

New  Haven,  Conn. 

The  grim  reaper  has  struck  again.  This 
time  robbing  the  screen  of  its  finest  charac- 
ter actor.  The  tragic  death  of  Lon  Chaney 
has  left  a  void  which  cannot  be  filled. 
Modest  and  unassuming,  "The  Man  Of  A 
Thousand  Faces,"  as  he  was  sometimes 
called,  was  devoted  to  his  art  and  always 
attained  the  height  of  perfection  in  the 
characters  he  portrayed. 

We  all  know  that  he  was  not  a  vain  man 
as  was  proved  by  the  fact  that  he  didn't 
mind  creating  the  grotesque  characters 
which  he  played  so  well.  He  stopped  at 
nothing  to  gain  reality  and  to  make  his 
characters  just  as  atrocious  as  the  story 
called.  He  saw  to  it  that  every  detail  con- 
nected with  the  role  was  properly  attended 
to.  Pride  would  not  have  permitted  any 
other  actor  to  undertake  such  morbid  parts, 
yet  Lon  Chaney  played  them  for  many 
years  and  would  have  gone  on  for  many 
more  years  if  the  curtain  of  death  had  not 
been  drawn. 

Moviedom  will  not  soon  forget  Tito  of 
"Laugh,  Clown,  Laugh"  or  Echo  of  "The 
Unholy  Three"  or  Quasimodo  of  "The 
Hunchback  of  Notre  Dame  "  and  his  famous 
Mister  Wu,  "He  Who  Gets  Slapped" 
and  "The  Phantom  of  the  Opera." 

His  untimely  passing  is  mourned  by  his 
millions  of  loyal  fans.  E.  L.  B. 

$10.00  LETTER 
Has  the  Inevitable  Happened? 

Corona,  Cal. 

Unless  I  miss  my  guess,  those  pearly 
gates  of  filmdom  are  growing  more  fastidious 
as  to  just  what  scenarios  they  allow  to  slip 
within.  The  discard  undoubtedly  boasts 
many  a  trifling,  rehashed,  musical  comedy 
which  (thanks  to  the  powers  that  be)  didn't 
quite  crash  the  line  of  "those  accepted." 

I  believe  that  the  public  has  finally  grown 
wise  and  decided  that  he's  pretty  weary  of 
false  eyelashes,  tap  dancers,  and  glamourous 
finales.  Today's  theater-goers  want  a  little 
more  of  the  real  thing — life!  No,  I  don't 
mean  great  quantities  of  tears,  battlefields 
and  corpses,  or  over-done  domestic  trag- 
edies, but  some  honest-to-goodness  charac- 
ter acting,  acting  that  demands  all  the 
finest  abilities  of  a  player. 

Perhaps  a  great  many  people  ful- 
fil the  threadbare  qualifications  of  an 
ability  to  dance,  sing,  and  reveal  a 
pleasant  reflection  in  the  looking 
glass,  but  it  takes  an  IL  B.  Warner 
or  a  Belle  Bennett  to  "get"  an  audi- 
ence as  these  two  did  in  "Wild  Com- 
pany" and  "Courage." 

These  shallow,  plotless  talkies  in 
which  real  personality  is  shoved  to 
the  background  to  give  the  center  of 
the  stage  to  a  gymnastic  heroine  or  a 
waxed  hero  have  a  tendency  to  flood 
the  market.  On  the  other  hand,  pic- 
tures like   "The   Big   House"  and 


"All  Quiet  on  the  Western  Front"  are  my 
idea  of  number-one  films.  These  pictures 
are  real,  dominated  by  figures  that  live  in 
one's  memory  long  after  recollections  of 
dazzling  choruses  and  novel  songs  have 
faded.  I'm  not  advocating  an  entire  leave  of 
absence  for  our  musical  comedies,  but  I 
would  like  a  few  less  and  more  character 
stories.  Maxine  J.  Stickle 


$5.00  LETTER 
In  Regal  Splendor 

Oakland,  Cal. 
After  hiking  for  hours  up  Persian  carpets, 
past  expensive  paintings  and  draperies,  in 
and  out  of  beautifully  colored  lobbies  and 
waiting  rooms,  being  dazzled  by  glistening 
crystal  lamps  and  hand  carved  ivory  wood- 
work, passing  gaudy  uniformed  generals  and 
fancy  dressed  guides,  saluting  whenever 
anyone  came  by,  past  gold,  diamonds  and 
precious  stones,  I  finally  got  into  the  audi- 
torium part  of  the  theater.  Sweating  past 
rows  and  rows  of  plush  and  deluxe  leather 
seats,  I  finally  landed  in  a  cubby  hole  and 
lay  down  exhausted  from  the  strenuous 
climb,  and  not  caring  if  I  never  saw  the 
show. 

The  theaters  nowadays  are  more  beauti- 
ful and  massive  than  any  European  opera 
house  or  Oriental  palace.  This  was  a 
novelty  for  a  while.  The  pictures  no  longer 
attracted  the  crowds  because  they  all  had 
the  same  plot  hashed  over  and  over  again, 
so  the  producers  set  out  and  built  a  flock  of 
Buckingham  Palaces  costing  more  than  the 
contents  of  the  United  States  Treasury,  to 
draw  the  public.  The  people  went  to  the 
theaters,  not  to  the  shows  and  after  a  while 
the  novelty  of  grand  shrines  to  the  gods  of 
the  flicker  wore  off,  so  the  writers  and  head 
men  in  the  mecca  of  pictures  are  again 
wracking  their  brains  trying  to  think  up 
another  kind  of  bait. 

When  at  last  I  reached  the  seat  assigned 
to  me  by  admiral  something-or-other,  what 
kind  of  picture  do  you  think  I  saw?  A 
villain  had  the  mortgage  on  the  farm  and 
was  going  to  throw  the  girl  out  into  the 
snow  when  the  hero 'rushed  in  and  paid  the 
sum.  1850  stuff,  dressed  up!  I  fainted  out- 
right and  the  Alpine  climbers  miles  below 
me  were  still  showing  the  faithful  to  their 
seats!  W.  C.  H. 


$1.00  LETTERS 
Feeling  of  Friendship  Created 
by  Talkies 

Albany,  N.  Y.  . 

Perhaps  the  most  vital  and  perplexing 
question  in  the  world  today  is — how  to 
maintain  peace  among  nations. 

Wars  are  caused  largely  by  fear  and  dis- 
trust, and  these  in  turn  are  caused  by  mis- 
understanding. It  is  perfectly  natural  for 
the  people  of  one  nation  to  misunderstand 
those  of  another,  there  being  differences  in 
language,  customs  and  ideas. 

With  the  advent  of  the  "talkies,"  the 
foreigner  has  become  a  very  much  more  real 
person  to  us.  We  hear  him  speak  his  dialect, 
and  it  amuses  us;  we  hear  him  express  his 
ideas,  and  begin  to  understand  him.  He  is, 
after  all,  we  discover,  just  a  human  being 
like  ourselves,  with  the  same  hopes  and 
aspirations. 

With  understanding,  fear  and  distrust 
fade  away,  and  are  replaced  by  a  feeling  of 
friendship  and  good-will,  and  the  way  is 
paved  for  a  lasting  peace.      M.  E.  Bates 


You  may  have  S.A.,  but  do  you  have  S.E.?  Motion  Picture 
CLASSIC  wants  to  know.  We  want  you  to  join  our  free 
clinic.  If  the  tests  show  that  you  have  a  superior  kind  of 
S.E.,  you  stand  in  line  for  one  of  the  prizes:  $20  for  first, 
$10  for  second,  $5  for  third  and  $1  for  every  other  letter 
published. 

To  join  the  clinic  all  you  have  to  do  is  to  write  a  letter  of, 
say,  200  to  250  words,  about  some  phase  of  the  movies,  ad- 
vancing an  idea,  an  appreciation,  or  a  criticism,  without 
becoming  ga-ga  or  vituperative.  Sign  your  full  name  and 
address,  and  mail  the  letter  to:  Laurence  Reid,  Editor,  Motion 
Picture  CLASSIC,  Paramount  Building,  1501  Broadway, 
New  York  City.  No  letters  can  be  returned,  and  we  reserve 
the  right  to  print  any  or  all  that  we  like. 

Having  done  this  much,  you  will  perhaps  be  conscious, 
without  our  telling  you,  that  you  have  S.E.  But  if  you  win  a 
prize,  or  your  letter  is  printed,  there  can  be  no  doubt  about 
it;  you  have  Self-Expression. 


Doesn't  Fancy  New  Faces 

Philadelphia,  Pa. 
I  am  just  about  discouraged  trying  to 
find  a  picture  in  which  I  am  sufficiently 
interested  to  want  to  see  and  I  don't  doubt 
but  that  there  are  plenty  of  other  fans  who 
feel  the  same  way.  The  theaters  have  been 
deluged  with  such  names  as  Fannie  Brice, 
Lawrence  Tibbett,  Ted  Lewis,  Winnie 
Lig"htner,  Harry  Richman,  Bernice  Claire, 
Alexander  Gray — and  others.  These  names 
draw  to  a  great  extent  in  the  theaters  of 
large  cities,  where  they  mean  something  to 
the  people,  but  do  they  attract  the  smaller 
theaters  and  the  smaller  towns?  And  even 
though  I  do  live  in  Philadelphia,  I  am  not 
particularly  interested  in  these  stage  people. 
When  I  go  to  the  movies  I  want  to  see  the 
players  I  have  known  and  have  appreciated. 
I  want  to  continue  to  see  films  containing 
such  names  as  Gloria  .Swanson,  Greta 
Garbo,  William  Haines,  X'ilma  Banky,  Bebe 
Daniels,  Clive  Brook,  Evelyn  Brent,  and  so 
on.  I  want  to  see  the  youthful  good  looks  of 
such  attractive  personalities  as  Janet  Gay- 
nor,  Clara  Bow,  Buddy  Rogers,  Loretta 
Young,  Grant  Withers,  Nancy  Carroll, 
Norma  Shearer,  and  I  want  to  see  and 
hear  plenty  of  them! 

The  producers  are  forcing  new 
faces  (and  very  trying  they  are  in 
most  cases)  and  new  voices  on  the 
movie  audiences  and  I  can't  see  or 
hear  where  these  new  faces  and  new 
voices  are  any  better,  in  most  cases, 
than  the  established  favorites.  Mov- 
ing picture  audiences  prefer  to  see  the 
regular  stars  rather  than  new  talent, 
and  that  the  reason  they  are  not  see- 
ing them  in  the  talkies  so  much  as 
formerly  is  not  because  these  stars 
have  failed  in  the  new  era,  but  be- 
cause the  producers  are  determined 
(Continued  on  page  /o  ?) 


6 


From  a  Broadway  music  slore  to  the  swankiest  hotel 
iu  Havana  .  .  .  Winnie  Lightner  and  Irene  Delroy  as 
amateur  gold  diggers  .  .  .  leaving  a  trail  of  roaring 
laughs  behind  them. 

\S  ilh  the  most  gorgeous  gowns  ever  seen  in  one  pieture, 
the  funniest  horse  race  ever  run  on  any  turf,  and  Fl'LL 
COLOR  to  add  zest  and  sparkle  to  this  greatest  of  all 
laugh  pictures,  THE  LIFE  OF  THE  IVVIM  Y  hits  the 
high  spot  record  for  all  time  entertainment. 

"Vitaphone'^ is  the  registered  trademark  ttf  The  I  ilaphnne 
Cor/Htration.    Cnlar  scenes  by  the  Technicolor  Process. 


^'AIOgJ^^O^'GINAL  story  6v  MELVri-LE  CR 

rl!  "^"^  ADAPTATION  6u  ARTHUR  O^to 
DIRECTED^  ROY  DEL  RUTH 


4  WARNER   BROS.  X  VITAPHONE  PICTURE 


IL/V^X  MJNUTE 


THI 
mc 


IE  stork  has  been  about  the  most  active  bird  noticed  on  the 

  motion  picture  horizon.     The  house  of  Thalberg  has  been 

recently  visited  and  Norma  Shearer  has  a  new  role — that  of 
motherhood,  to  add  to  her  career.  The  baby  has  been  named  Irving 
for  his  dadd>.  It  won't  be  long  now.  before  Miss  Shearer  will  re- 
turn to  the  screen.  In  fact,  she's  contemplating  "Susan  Lenno.x" 
Ijefore  Christmas  time  .  .  .  Florence  Vidor,  too.  caught  a  flying 
visit  from  the  stork,  who  left  a  little  daughter  for  Mr.  and  Mrs. 
Jascha  Heifetz  .  .  .  The  house  of  Carl  Laemmle,  also  is  casting 
eyes  heavenward  for  the  appearance  of  the  bird.  Carl  Laemmle, 
Sr.,  delayed  trips  East  awaiting  the  arrival  of  his  grandchild. 


scheduled  definitely  to  return  to  pictures.   "The  Painted  Desert'?, 
will  be  his  next  venture.  .  .  .  Mary  Pickford  won't  abandon  thi 
talkies  for  the  stage,  but  will  do  "Kiki  ".  .  .  .  Charlie  Chaplin  will 
make  a  personal  appearance  in  London  when  "City  Lights"  is 
world  premiered. 


CUPID  at  the  present  time 
a  pretty  close  race. 
Thornton  Freeland  and  the 
former  June  Clyde  have  been 
honeymooning  in  New  York 
where  they  came  to  attend  the 
opening  of  "Whoopee"  .  .  .  And 
the  cables  are  being  watched  for 
word  of  the  wedding  of  Agnes 
Ayres  and  Lewis  Milestone 
who  have  been  abroad  for  some 
time.  .  .  .  Lupe  Velez  and  Gary 
Cooper  are  again  giving  evi- 
dences of  being  ready  to  walk 
altarward.  .  .  .  Vivian  Duncan 
and  Nils  .\sther  are  up  to  their 
neckings  in  wedded  bliss  now 
that  they  are  returned  to  Holly- 
wood from  their  honeymoon. 
. .  Mr.  and  Mrs.  Jack  Pickford 
too, are  giving  Montmartre  diners 
an  opportunity  to  see  how  happ\ 
they  are,  now  that  they  are 
married.  .  .  .  And  to  prove  that 
marriages  in  Hollywood  some- 
times "take,"  Lilyan  Tashman 
proudly  displays  a  beautiful  dia- 
mond and  jade  bracelet  given  to 
her  by  Edmund  Lowe  to  cele- 
brate their  fifth  wedding  anni- 
versary ! 

ION  CHANEY,  "the  man 
J  with  a  thousand  faces,''  left 
almost  his  entire  estate  of  over  a 
half  a  million  to  his  second  wife 
Hazel  and  donated  a  single 
dollar  to  his  first  wife.  .  .  .  .Among 
those  who  do  not  bow  to  each 
other  when  the\'  meet  on  Holly- 
wood Boulevard  are  John 
Barrymore  and  Lowell  Sher- 
man— just  friendly  brothers-in- 
law!  Dolores  and  Helen,  the 
sisters,  it  is  noticed,  are  bowing 
coollv,  too.  .  .  . 


seems  to  be  running  the  stork 


CONRAD  NAGEL  has  been  in  New  York  a'  seeing  things  o! 
nights.  He  surely  was  entitled  to  all  that  he  could  see,  for  thi-. 
was  his  first  vacation  in  six  years.  .  .  .  Ann  Harding  and  E.  H. 
Griffith  will  go  abroad  to  do  the  scenes  for  "Rebound."  .  .  .  Al 
Jolson,  too,  sailed  to  make  a  film  in  (iermany.  After  that's  attended 
to,  he  will  make  "Sons  o'  duns''  in  Hollywood.  And  they  do  say 
that  the  mammy  singer  has  refused  a  Palace  Theater  offer  of  Si2,ooo 

a  week.  These  are  happy  da\  s 
forAl.  .  .  .  Clara  Bow's  red  hea  I 
has  been  seen  bobbing  arouni 
at  first  nights  in  New  York.  She 
is  vacationing  a  hit  before  start- 
ing work  on  a  really  serious  pii 
ture  at  the  Paramount  I.on.; 
Island  studios  .  .  .  Colleen 
Moore  and  Virginia  Valli  art- 
in  .New  York.  Colleen  to  star' 
rehearsals  in  her  musical  comed  . 
.  .  .  Claudette  Colbert 
another  New  Yorker.  She  will 
be  noticed  round  about  the  town 
for  some  time  after  that  world 
trip  which  landed  her  in  Para- 
mount studios  on  Long  Island 
just  as  the  first  autumn  leaves 
fell.  .  .  .  Dorothy  Arzner 
reached  New  York  to  direct  the 
first  Colbert  eastern  picture. 


THE 
bein 


ships  news  reporters  are 


Dyar 

Keeping  his  head  between  them:  and  with  Betty  Boyd,  new 
comedienne  (left),  and  Frances  Dee,  his  new  leading  lady,  both 
pretty  close,  that's  no  effort  for  Charles  Rogers  in  "Along  Came 
Youth" 


BETTY  COMPSON  and  James  Cruze  may  no  longer  be  married 
but  the\-  manage  to  work  mighty  well  together  before  the 
microphone.  Betty  has  the  leading  rflle  in  "She  (iot  What  She 
Wanted  '  which  Jim  is  directing.  .  .  .  Society  is  taking  up  the  movies 
in  a  big  way  with  .Mrs.  Glaezner,  the  wife  of  the  vice-president  of 
Cartier's,  making  her  debut  in  "Sin  Takes  a  Holiday."  Kendall  Lee 
is  the  name  selected  for  movie  purposes.  Kendall,  by  the  by,  is  an 
intimate  friend  of  Constance  Bennett.  .  .  .  Society  will  have  to 
move  several  paces  backward,  however,  with  kings  going  movie  in 
a  serious  way.  The  Kings  of  Siam  and  Abyssinia  both  lend  attentive 
ears  and  eyes  to  the  talkies  and  are  liaviii^^  their  palaces  wired  to 
show  them. 

N.ANCY  CARROLL  is  in  New  York  to  work  at  the  Paramount 
Long  Island  studio.  Then,  too,  she  has  another  interest 
East  -her  husband's  new  play,  "Frankie  and  Johnnie".  .  .  .  Joan 
Crawford  keeps  on  being  a  niodern  maiden  in  "( iirls  Together  "  but 
in  "Within  the  Law"  will  become  serious  for  the  first  time.  .  .  . 
William  Haines  plays  opposite  her  in  this  picture,  following  his 
•  i;..i,r  r<Mc  in    '  Gentlemen's  Fate ''  .  .  .  .  William  Farnum  is 


celebrities  hopping  on  and  off  the 
big  liners.  Dorothy  .Mackaill 
got  all  caught  up  on  that  Lon- 
don vacation  and  spent  a  few 
busy  days  in  New  York  before 
the  long  trek  to  Hollywood  and 
a  new  long-term  contract  with 
First  National.  .  .  .  Lily  Damita 
left  that  dear  Paris  and  will 
celebrate  her  return  to  the 
movies  by  making  a  picture  with 
Al  Jolson  when  he  finishes  show- 
ing C.ermany  how  to  sing  a 
mammy  song. . . .  Ivan  Lebedeff 
popped  into  New  York  for  a 
little  visit  before  boarding  the 
Isle  de  France.  .  .  .  Mr.  and  Mrs. 
Morton  Downey,  Barbara 
Bennett  are  ready  for  points 
West  after  a  London  season. 
....  Archie  Mayo  will  be 
among  those  present  when  the  Breinen  puts  out  to  sea.  .  .  .  Lillian 
Gish,  forsaking  the  movies  permanently,  returned  on  the  Pans  lor 
another  trial  on  the  Broadway  stage.  .  .  .  .\lbert  Lewis  will  find 
himself  among  .American  vacationers  abroad  these  crisp  fall  days.  .  . . 
Hal  Roach,  on  the  other  hand,  is  taking  up  aviation  in  a  serious  way. 
Traveled  from  the  coast  all  the  way  by  plane  lor  the  polo  matches 
and  then  hopped  off  to  Boston  for  a  brief  spell  just  to  prove  how  air- 
minded  he  is. 

TH  ESE  hospitable  shores  are  being  invaded  by  foreign  actors  who 
are  finding  Hollywood  streets  paved  with  gold — something  like 
the  days  of  '49!  Jose  Crespo  is  back  from  Mexico  where  he  retired 
when  it  seemed  as  though  the  talkies  had  banished  foreigners.  Now 
he  is  back  and  doing  nicelv,  accent  and  all  for  Spanish  versions  of 
M.  Cj.  M.  films.  . .  .  Barry  Norton,  from  the  .Argentine,  Lupe  Velez 
from  Mexico,  and  Lupita  Tovar  are  others  who  find  their  foreign 
tongue  an  asset  instead  of  a  liability.  .  .  .  (iermany  is  sending  a 
mightv  contingent.  "Those  Who  Dance"  alone,  features  Carla 
Barthell,  Lizy  Arna,  and  Anton  Pointener.  .  .  .  Lotti  Loder, 
straight  from  Unter  den  Linden  is  another  seemingly  permanent 
guest  out  lIollvwDixl  wa\'.  .  .  . 


3^fm  ONE ^Jtrty  ikai  held milliom 

Ineatklen  U/ie  ONE  ^itl  wfio 

could  /rtin^  il  io  vii/Ld  life  .  .  . 


'ELASCO'S  epic  story  of  the 
strangest  gamble  a  woman  ever  made.  Strangest  stakes  ever  left 
to  the  fate  of  cards.  Strangest  climax  in  show  histor)  as  the  ^golden 
girl'  gambles  the  one  time  in  her  life — for  love — And  cheats  to  win! 

Twelve  stirring  situations  all  brought  to  you  with  the  artistry, 
charm  and  compelling  beauty  of — 

ANN  HARDING 

:;^GIRL'?<ij^GOLDEN  WEST 

JAMES  RENNIE   •   HARRY  BANNISTER 

iujee^on  iJie ^/a^  ly    DAVI  D  B  ELASCO  \JtSS!S?^ 

^  JOHN   FRANCIS    DILLON  /^toduci ion. 
A   FIRST   NATIONAL  AND   VITAPHONE  PRODUCTION 

"Vinphonc''  is  the  rrguured  trademark  of  The  Vilaphone  Corporation 


Back  in  those  ballet  days,  she  may  have  been  on  her  toes,  but  being 
just  one  of  a  family  of  acrobats,  she  had  her  hands  full  every  time  she 
was  in  a  picture.    She  did  not  stand  out  as  Marilyn  Miller 


10 


fho  lit.nii     \'.  I  I  I  I  I       M  V  i  >t  < 

THE  SOUTH  SEAS." 


i  luiii  (h(  /udiuui  iiu«ci  by  i  lutiri  Hum  uiiti  i.lii<lmia  Lr^iii 


METRO-GOLDWYN- 


"More  Stars  Than  There  Are  in  Heaven"  ^-^itirsTAROi^^ 


11 


My  Neighbors 
in  H(9^^"""'"^^^  K.CB. 


I'M  IN  Nevada. 

AS  I  write  this. 

WITH  MY  typewriter  table. 

BESIDE  A  window. 

WHERE  I  may  look  out. 

ON  LAKE  Tahoe.  *  " 

AND  IF  I  wished. 

I  COULD  step  outside. 

AND  THROW  a'stone. 

INTO  CALIFORNIA. 

AND  IF  it  happens. 

YOU  REMEMBER*  •'Lightnin'" 

AND  OLD  Bill  Jones. 

FRANK  BACON  p'la'yed. 

YOU  WILL  recall.'  ' 

THE  SCENE  was  laid. 

ON  THE  border  line.' 

OF  THE  Reno  state. 

WITH  ITS  quick' divorce. 

AND  THE  Golden'st'ate. 

THAT  LIES  west'w'ar'd. 

AND  anyway'. 

I'VE  COME  up  here." 

WITH  A  lot  of  my  neighbors. 

FROM  HOLLYWOOD. 

AND  FOR  three 'daVs. 

AS  I  write  this. 

I'VE  BEEN  running  around. 

AS  A  hanger-on. 

KEEPING  OUT  of'tlie  way. 

OF  CAMERA  men*  ' 

AND  MICROPHONES. 

AND  MOTOR  trucks. 

AND  BIG  sound  trucks. 

THE  WHILE  Wi'irRogers. 

AMBLES  AROUND.' 

AS  "LIGHTNIN'  Bil'l.'/ 

AND  LOUISE  Dres*se'r. 

WHO  PLAYS  Mk  Jones. 

12 


THE  WIFE  of  Bill. 

SMELLS  OF  h'is 'breath. 

TO  ASSURE  h'ersel'f. 

HE  HAS  been  drinking. 

OR  HASN'T  been." 

OR  WHATEVER  I't  is. 

SHE  WANTS  to  *know. 

AND  ANYWAY*  * 

AS  I  wander  around. 

FROM  SHOT  to'shot. 

I  THINK  alwa'ys*  ' 

OF  MY  friend  Frank  Bacon. 

WHO  DREAMED 'out  "Lightnin"' 

UP  HERE  in  the'hills. 

OF  THE  High'Si'erra. 

WHERE  WE  a're'now. 

AND  AFTER  a  lifetime. 

ON  THE  stage'.  * 

TROUPING  a'bOUT. 

THROUGH  ONE  night  stands. 

AND  HIS  hair  grown  white. 

AND  HIS  gent'le'fa'ce. 

MARKED  WITH  t'he  years. 

THAT  HAD  come  to  him. 

TOOK  HIS  manuscript. 

AND  THE  hopes*  he  held. 

FOR  "LIGHTNI*n'  Bill.'"' 

AND  CARRIED 'them  back. 

TO  NEW  York  t'own. 

AND  SOMETI'm'eS  dreams. 

REALLY  DO  come  true. 

AND  FRANK ''S  dream  did. 

AND  ON  a  night.  ' 

AT  THE  Gaiety  ' 

AND  THE  usual  crowd. 

THAT  COMES  to  see. 

ANOTHER  FAILURE. 

OR  BY  kind  fo'rt'un'e. 

A  SUCCESS  perhaps. 


THIS  UNKNOWN  actor. 
TO  THE  most  of  them. 

unheralde'd'  ' 

•  •  • 

AND  TO  fame  unknown. 

ADDED  THE  name. 

OF  "LIGHTNIN'  Bill." 

TO  THE  famous  roles. 

OF  AMERICA's'stage. 

AND  THOSE  of 'us'. 

WHO  HAD  known  Frank. 

THROUGH  His'w'andering  days. 

AND  THERE  were"  a  few. 

WHO  SAT  out* front. 

ON  HIS  opening  night. 

WE  CRIED  a  I'itt'lel 

IN  THE  joy  of  it*  ' 

AND  ANYWAY*  * 

•  •  • 

IT  WAS  Frank's  big  night. 
AND  FOR  three 'years. 
HE  STAYED  right' there. 
AT  THE  Gaiety  *  ' 
LOOKING  FORWARD. 
ALL  THE  time. 
TO  TAKING  Bifl.' 
OUT  INTO  the  \Ve'st. 
WHENCE  HE 'had 'come. 
BUT  HE  didn't  get  there. 
FOR  ON  the  way. " 
HIS  LAST  call'ca'm'e. 
BUT  IF  it  is. 
HE  CAN  look'ba'ck. 
I  THINK  perhaps.  ' 
HE  WILL  be  giad." 
THAT  WE'RE*  a'l  up  here. 
IN  THE  hills  he'o'ved. 
AND  THAT  Bill'jones. 
IS  BACK  again. 
WHERE  HE  was'  born. 
I  THANK  you! 


Columbia  Has  The  Best  Directors 

^ssurina  You  The 

Best  Pictures! 


FRANK  CAPRA  for 

DIRIGIBLE 

With  JACK  HOLT  and  RALPH  GRAVES 

From  tiout.  Commander  Frank  Weed's  great  story.    Mr.  Copra  directed 
"Rain  or  Shine,"  "Flight/'  "Submarine,"  "Ladies  of  Leisure,"  etc. 

HOWARD  HAWKS  for 

THE   CRIMINAL  CODE 

From  the  sensational  New  York  Stage  hit  by  Mortin  Flavin  .    .   .  and 
winner  of  the  Theatre  Club  Trophy  as  the  best  play  of  the  year.  Mr. 
Hawks  directed  "The  Dawn  Patrol,"  "The  Air  Circus"  and  others. 


JOHN  BLYSTONE  for 

TOL'ABLE  DAVID 

Your  demands  bring  Joseph  Hergesheimer's  immortal  screen  classic  to 
the  motion  picture  theatre  as  a  talking   picture.    Mr.   BIystone   is  the 
director  of  "So  This  is  London"  and  many  other  hits. 

VICTOR  FLEMING  for 

ARIZONA 

Written  for  the  screen  by  Jules  Furthman  from  Augustus  Thomas'  great- 
est outdoor  play.    To  be  produced  on  an  epic  scale.  Mr.  Fleming  directed 
"The  Virginian,"  "Common  Clay"  and  others. 

JOHN  ROBERTSON  for 

MADONNA  T°HE  STREETS 

With  EVELYN  BRENT 

An  adaptation  of  W.  B.  Maxwell's  wonderful  novel    "The  Ragged  Mes- 
senger." Mr.  Robertson  directed  Mary  Pickford  and  Richard  Barthelmess 
in  many  of  their  outstanding  successes. 

LIONEL  BARRYMORE  for 

A  GREAT  PICTURE 

With  BARBARA  STANWYCK 

(Watch  for  announcement  of  title.)  The  greatest  star  find  of  years  in  a 
smashing  drama  made  from  a  tremendous  story.  Mr.  Borrymore  directed 
"The  Rogue  Song,"  "Madame  X"  and  many  others. 


COLUMBIA  PICTURES 


Ask  your  favorite  theatre  when  these  pictures  will  be  shown.  H 


Meet 
Miss 
Columbia 


LESLEV  BETH  STOREY 

of  Brooklyn,  N.  Y.,  winner  in 
Columbia's  great  nation-wide 
search  for  "Miss  Columbia." 
She  has  been  awarded  a 
week's  controct  at  $350.00 
ond  a  free  trip  to  Hollywood. 
She  wos  the  selection  of  the 
New  Mov/e  and  allied 
magazines. 
Runners  up  for  honors  as  Miss 
Columbia,  all  of  whom  have 
been  awarded  Majestic 
Radios,  were:  Dorothy  Dawes, 
Brooklyn,  N.  Y.,  nominated  by 
Film  fun,  Dorothy  Brown,  Des 
Moines,  la..  Screen  fiomonces; 
Jean  Eckler,  West  Palm  Beach, 
Flo.,  Mot/on  Picture  Mogazine, 
Donna  Barton,  Tulso,  Okla., 
Motion  Picture  Classic;  Vera 
Martin,  New  York,  N.Y.,  Screen 
Soolk;  Bernice  Maiwald,  Loco- 
nia,  N.  H.,  Motior)  Picture 
Stories;  Meta  Diane  Neuburg, 
Tuckahoe,  N.  Y.,  Phofop/oy, 
Mercedes  Janet  Rice,  Banning, 
Go.,  Screenland. 


13 


Facts 


an 


d 


Figures 


Intimate  Items 
About  Pictures, 
Past,  Present 
And  Future 


By   C  A  M  PBELL  MacCULLOCH 


EXPERIENCE,  said  the  old  copybooks,  is  the  best 
teacher.  Well,  perhaps — but  in  the  light  of  the  re- 
cent effort  to  have  the  moving  picture  companies  provide 
stock  market  facilities  on  the  West  Coast,  it  begins  to  look 
as  if  some  of  those  October  scars  are  beginning  to  heal. 
Whatever  might  have  happened  to  the  big  industrial 
stocks,  the  picture  securities  are  showing  signs  of  life. 
Here  is  the  result  of  a  recent  survey  made  by  the  Los 
Angeles  Stock  Exchange: 

Of  the  total  membership  of  the  Exchange,  83%  had 
transactions  in  RKO 
Securities,  80%  in  Eox 
Film,  79%  in  Warner 
Brothers,  69%  in  Par- 
amount-Publix,67%in 
General  Theaters 
Equipment,  54%,  in 
Loew's,  49%  in  Pathe, 
16%  in  Columbia  and 
14%  in  Universal. 
That  would  seem  to 
show  that  the  picture 
industry  hasn't  sunk 
so  low  in  the  affections 
of  the  investor  as  the 
calamity-howlers 
would  have  us  believe. 

ONE  of  the 
reasons, 
possibly,  is 
that  the  pic- 
ture companies 
manage  to  pay 
respectable 
dividends.  Par- 
amount-Pub- 
lix,  just  as  an 
example,  an- 
nounced net  profits  for  the  first  six  months 
of  1930  of  $8,434,000.  Unfortunately  for  the 
Gloom  Guard,  that  record  is  just  65%  better 
than  for  the  corresponding  period  of  1929. 
The  thousands  of  stockholders  naturally  de- 
cline to  take  seriously  all  the  wild  tales  of 
disaster  that  are  abroad. 

AND  don't  get  the  idea  that  better  business  is  confined 
±\_  to  one  companv.  It  isn't.  RKO  earned  net  profits 
of  well  over  $2,000,000  for  the  first  half  of  1930,  as  against 
a  little  more  than  $600,000  in  the  first  six  months  of  1929. 
The  quality  of  some  of  the  pictures  may  be  terrible; 
possibly  the  public  is  getting  awfully  tired  of  them;  and 
It  may  be  that  the  players  ought  to  be  sent  back  to  the 
rolling  mills  or  the  soda  fountains  or  whatever,  but — 
somehow  the  yawps  carry  little  influence  in  the  face  of  the 
financial  facts.    So  when  someone  tells  you  about  the 


Figures  and  a  fact:  when  Le  Roy  Prinz,  staging  a  new  revue  in  a  Los  Angeles 
theater,  issued  a  call  for  chorus  girls,  more  than  500  wanted  work.  These 
are  the  lucky  few  who  found  it 


number  of  studios  and  theaters  closing  down,  lift  one  eye 
brow  and  remark:  "Oh,  yeah.?" 

THREE  bandits  fell  into  one  of  the  most 
common  of  errors  the  other  day — the  error 
of  believing  that  a  millionaire  carries  cash 
with  him.  They  held  up  Douglas  Fairbanks, 
and  in  his  own  home.  Douglas  had  no  money 
on  him.  He  had  to  brouse  and  scratch  around 
the  house  for  some  and  finally  rounded  up  a 

total  of  $27.  The 
chances  are  that 
a  very  rich  man 
handles  less  ac- 
tual money  in  the 
course  of  a  year 
than  the  garage 
man  or  the  dress- 
maker. He  does 
not  need  it  be- 
cause the  greater 
number  of  his 
business  trans- 
actions are  based 
on  his  credit. 
There  was  that 
time  when  John 
D.  Rockefeller, 
Jr.,  had  to  have 
$3.75  and  could 
find  only  eighty 
cents  in  his 
pocket.  So,  Ban- 
dits, don't  waste 
your  valuable 
time  on  Rich 
Folks.  Go  after 
the  Little  Fellow. 


EVERY  now  and  then,  some  one  goes  into  hysterics 
over  "monopolies"  and  "trusts"  and  "octopi"  and 
what  not.  Usually,  it  is  one  of  our  moronic  legislators  at 
Washington  trying  to  convince  the  folks  back  home  that 
he  is  awake  and  on  the  job.  It  is  just  lately  that  the 
Western  Electric  Company  and  the  General  Electric  Com- 
pany have  been  put  in  the  monopoly  class  and  accu.sed  of 
dividing  up  all  the  theaters,  to  the  exclusion  of  everyone 
else,  in  supplying  sound  equipment. 

A  few  days  ago,  I  hunted  up  a  list  of  all  the  manufac- 
turers of  such  equipment.  There  are  just  ninety  (90)  of 
them.  They  have  the  oddest  names  for  their  product. 
For  example:  Amplion,  Beltone,  Cinevox,  Dramaphone, 
Electrofone,  F"ilmophone,  Halgrophone,  Kinotone,  Life- 
tone,  Mellaphone,  Norophone,  Orotone,  Picturfone, 
Q-Phone,  Radiotone,  Speakaphone,  Talkafilm,  Ultra- 
phone,  Vocaphone,  Wonderphone. 

{Continued  on  page  l6) 


14 


Doctors  Show 


^tars 

How  To  End 

GOLDS 

in  a  Few  Hours 


TEMPTING  taste!  Surprisingly  quick  relief! 
'riien  the  joy  of  faciii)^  the  microphone  w  itii- 
out  fear  of  .sjK)ilin>(  a  i)ictiire  by  the  sniffle 
of  a  head  cold,  the  husky  hoarseness  of  a 
chest  cold  or  the  static-like  discord  of  an  un- 
timely couph. 

This,  briefly,  is  the  new  experience  told  by  scores 
of  "talkie"  stars. 

iMir  doctors  have  shown  the  way  to  quickly  end 
hca<l  colds,  couj^hs  or  chest  colds.  And  at  the  first  sij^n 
of  a  cold  players  are  now  given  a  few  plea?<int  doses  of 

  Ayer's  Gierry  I'ectoral.    Soon  the 

cold  is  gone !  For  this  hospital  cer- 
tified remedy  has  been  chosen  by 
physicians  as  the  l)est  of  different 
widely  use<l  methcwls  to  treat  colds. 
Test  cases  have  proved  that  it  gives 
the  quickest,  surest  relief. 


ROBT.  ARMSTRONG 
Sturring  in 


1 


„,  I  .  „  ,,„  ,         g  e  s  t  e  (1,  his 
hroat  was    inflamed     by  constant 
'Ughing  and  his  voice  was  hoarse. 
Then  he  was  given  double  strength 
of   Ayer's    Cherry  Pectoral 
15    minutes   until  congestion 
1  clearing  up,  then  a  spoonful 
two  hours. 
In  just  an  hour  or  .so  the  merlica- 
on   began    to   relieve  congestion, 
'.reafhing  l)ecame  easier ;  the  .spas- 
lodic  attacks  of  coughing  cease«l  ami 
\   dinner  time  he  was  feeling  like 
I  'Tcrent  jwrson.    When  frientls  ar- 
•  !  for   bridge   that   evening  his 
oarseness  had  almost  entirely  dis- 


Rohrrt  Arm.slroitf!  FiruLt 
Quickest  IT'ar      Fntl  Cold* 

ROBERT  Armstrong  for  exam- 
ple, had  a  severe  cough  caused 
by  neglectinj,'  a  chest  coKI.  I'.xamin- 
ation  slH)wed  that  his  breathing  pas- 
sages were  mn- 


Lll.A  LKK 
Starring  in 
Secon.l  Wife 
Miibchaving  Laclie 
The  Unholy  Three 


ALICE  WHITE 
Starring  in 
Sweethearts  on  Parade 
Man  Crazy 
The  Naughty  Flirt 

appeared.  The  ne^xt  day  he  was  delighted  to  find  that 
C  herr)-  Pectoral  had  cleared  up  the  cold  .so  that  his  voice 
was  in  condition  to  go  ahead  with  the  jiicture. 

Alice  W  hile  l'»ed  Cherry  Pectoral  to  Get 
Rid  of  Cold  Caufrfit  at  Dance 

ALICE  White  is  still  another,  like  Lila  Lee,  Roland 
Drew,  Nancy  Urexel,  Rolwrt  .Montgomery  and 
.scores  of  Hollywood  stars,  who  has  taken  the  advice  of 
jihysicians  and  found  how  quickly  colds  (li.sappear  after 
a  few  pleasant  doses  of  Ayer's  Cherry  Pectoral. 

"I)\iring  a  recent  dance",  says  Aliss  White,  "I  be- 
came overheated  on  the  dance  floor  and  walked  out  on 
the  veranda  to  cool  off.  As  a  result  I  caught  a  severe 
cold.  The  next  day  my  head  and  clicst  were  so  congested 
with  coUl  that  the  director  advised  me  to  stay  at  home. 
He  realized  that  my  hoarse  voice  would  simply  spoil  the 
picture. 

"By  evening  the  cold  was  worse  and  I  was  advisetl 
to  take  Ayer's  Pectoral  every  15  minutes  until  congestion 
l>egan  to  clear  up.  then  once  every  two  or  three  hours. 

'"By  night  my  fever  was  gone.  I  was  able  to  sleep 
without  coughing.  The  next  dav  my  voice  cleared  up 
so  that  I  could  work— and  in  just  a  day  or  so  I  was 
astonished  to  find  that  all  trace  of  the 
cold  had  disappeared.  No  wonder 
Ayer's  Oierrv  Pectoral  is  a  neces- 
sity to  players,  esjiecially  now  that 
talkies  dematid  that  one's  voice  be 
kept  free  from  the  effects  of  a  coulMi 
or  cold." 

Ayer's  Pectoral  was  hospital  cer- 
tified as  the  best    of    the  ditTerent 
widely  used  methods  testecl  for  head 
ALEC  FRANCIS  .^^''^'is  and   chest  colds  l)e- 

starringin  cau>>e  it  gavc  the  qmckest,  surest  re- 

crp'."n%Kc°"*'*^  lief-  with  absolute  safety.  It  is  now 
Outward  Bound  fcaturcd  by  all  leading  daiggists. 


IS 


Facts     And  Figures 


{Continued  from  page  14) 


WHILE  sound  pictures  have  eliminated 
hundreds  of  good  folk  from  the  studio 
payrolls,  they  have  given  other  specialists  their 
chance.  For  instance,  there  is  little  Charlie 
Gamares.  Charlie  used  to  put  in  most  of  his 
time  painting  portraits,  but  now  he's  a  gorilla 
specialist.  He  makes  gorilla  costumes  and 
paints  the  faces.  Then  he  puts  on  a  suit  and 
"gorills"  in  a  most  convincing  manner.  Once 
Charlie  was  satisfied  with  a  very  modest  daily 
fee.  Lately  he  has  demanded  $500  a  day. 

And  there  is  Count  Cutelli,  who  will  guar- 
antee to  imitate  any  noise  you  can  name.  He 
doubles  for  frogs,  animals  (any  kind),  sea- 
waves,  motorboats,  hurricanes,  steam  whistles, 
airplanes, 
babies  and 
most  kinds  of 
machinery. 
And  about 
seventy-two 
other  noise- 
makers  are 
listed  in  the 
studios, 
ready  to 
imitate 
anything 
from  a  slowly 
creaking 
door  to  a  loud 
noisy  ele- 
phant  trum- 
pet. 

I'M  not  sure 
whether  the 
efficiency  prin- 
ciple will  do  the 
picture  business 
any  good  or  not. 
The  half-dozen 
companies  put- 
ting forth  newsreels  use  up  about  10,000,000  feet  of  film 
each  year.  But — and  maybe  we  should  be  thankful  for 
this — only  500,000  feet  ever  reach  the  theaters.  Think  of 
the  thousands  of  naked  babies,  Japanese  fishing  scenes, 
and  bathing  girls  we  have  been  spared. 

And  the  average  director  uses  up  about  50,000  feet  of 
negative  film  to  get  the  7,000  feet  you  finally  see  on  the 
screen.  Before  the  talking  pictures  came  along,  he  used  to 
shoot  several  times  that  amount.  In  "Ben  Hur, "  Fred 
Niblo  shot  750,000  feet  of  film  to  get  the  12,000  feet  that 
made  the  eventual  picture.  Imagine  the  feelings  of  the 
financial  and  engineering  sharps  who  broke  into  pictures 
within  the  last  two  years!  No  wonder  the  sanitariums 
were  overpopulated  for  months! 

TIME  was  when  you  could  scare  a  theater- 
owner  into  convulsions  by  telling  him  that 
this  or  that  was  not  interesting  the  children. 
But  lately  he  doesn't  scare  so  easily,  because  he 
has  discovered  that  about  5%  of  his  patronage 
comes  from  persons  under  16  years  of  age. 
Columbia  University  in  New  York  analyzed  a 
theater  audience  for  a  week.  In  that  time, 
150,000  people  passed  through  its  doors.  Of  the 
total  number,  there  were  8,250  under  21  years 


F  S-  A 

Los  Angeles  doesn't  have  any  honest-to-goodness  free  lunches,  but  the  hordes  of 
always-hopeful  unemployed — like  this  one  outside  Warner  Brothers  Studio — call 
themselves  the  "breadlines" 


of  age:  only  a  small  number  being  children. 

And  another  odd  circumstance  was  dis- 
covered. Children  under  12  years  remembered 
very  little  of  the  details  of  any  picture,  but 
they  disliked  the  wrongdoers  very  positively. 
But  how  they  liked  heroes!  Lindbergh,  Tom 
Mix  and  Doug  Fairbanks  outclassed  all  the  vil- 
lains and  bedimmed  all  the  crime. 

ANYONE  who  doesn't  think  that  talking  pictures 
have  changed  the  character  of  theater  audiences 
might  do  worse  than  consider  how  greatly  studio  fan  mail 
has  changed.  Not  the  mail  addressed  to  the  plaj-ers,  bat 
that  coming  to  the  studio  itself,  and  generally  dealing 
with  criticism,  suggestion,  advice,  encouragement. 

Two  years  ago, 
the    average    big  I 
"lot"   had  from! 
500  to  750  letters 
a  day.  Now,  such) 
concerns  as  Para- 
mount.  Fox, 
M-G-MandRKOj 
get  as  many  asj 
1,500    each,    the  I 
greater  number^ 
being  quite  sane 
in  their  com- 
ments.    The  stu- 
dio   folk  believe 
the  intelligence  of 
the  picture  pub- 
lic is  on  a  higher 
level  since  the 
talkies  came. 
Rude  persons 
like  H.  L.  Menck- 
en insist  that  it 
had     to    go  up 
since  it  could  not 
by  any  possibility 
fall  lower. 


THE  financial  firm  of  Halsey-Stuart  and 
Company  have  made  a  survey  of  the  pic- 
ture business  and  find  that  the  investment  in 
theaters  and  exhibition  equipment  runs  to 
$1,250,000,000.  That  means  that  more  than 
300,000,000  people  have  to  slip  their  admission 
fees  over  the  glass  shelf  every  year  just  to  pay 
the  interest  on  the  investment. 

Put  it  another  way:  every  twentieth  one  df 
you  pays  the  interest;  every  seventeenth  per- 
son pays  for  the  profit ;  and  the  rest  just  pay  to 
keep  the  machine  going. 

A PRODUCER  showed  me  his  cost-sheet  for  a  new 
feature  picture  not  long  ago.  It  was  a  seven-reeler, 
and  the  total  figure  ran  to  just  $478,099.5 1 .  He  mentioned 
that  it  had  been  37  days  in  the  making.  My  mind  went 
back  to  the  earlier  days  of  the  picture  business,  when  I 
dropped  in  at  the  old  Solax  studio  in  Flushing,  L.  I.,  and 
found  the  entire  staff — of  seven  people — in  a  heavy  con- 
ference. They  were  half-way  through  production  of  a  one- 
reeler,  and  the  cost  to  date  had  been  $850.  They  had 
found  that  they  couldn't  tell  the  story  in  one  reel.  It 
would  have  to  be  two,  and  that  meant  more  than  $500 
{Continued  on  page  106) 


16 


I ir^ you  would 
/#    have  the 

VOICE 

you  wanf 


AHSWER  THIS  AD 

ESPECIALLY    IF  ALL  OTHER  METHOD5  HAVE  FAILED 


have  voice  ambitions  —  if  you  have  tried 
■ihotls  without  success  —  yes,  even  if  you 
have  lost  your  voice  or  are  afraid  of  losing  it  — 
or  even  if  you  stammer  or  stutter .  .  .  mail  coupon  now  and  learn  about  the  marvelous  results 
Prof.  Feuchtinger's  great  SILENT  mcthcxl  of  voice  training  has  brought  to  thousands  upon 
thousands  of  men  and  women  —  even  after  other  methwls  failed!  Your  voice  has  marvelous 
possibilities  that  you  may  not  even  suspect  .  .  .  let  us  reveal  them  to  you  ...  let  us  tell 
you  the  real  facts  about  your  voice  . .  .  Write  —  mail  coupon  now. 

IOO%lmpmement  Guaranteed 

And  now  the  most  astounding  part  of  it  all.  Tlii^  Bchool  offers  to  train  you  at  home,  by  mail,  at 
a  very  nominal  cost  and  ahuolutely  guarantees  to  improve  your  voire  at  least  100%  or  refund  every 
penny  of  your  tuition.  The  Feuchtinj:er  Perfect  Voice  SILFNT  Method  of  Voire  Training  has  been 
.Hurresflfully  taught  on  lliis  gitamnlct'd  basis  fur  nearly  a  fifth  of  a  century  to  over  30,000  men  and 
women  ....  Investigate!  ....  Send  todav  for  free  hook  telling  all  about  tbis^uaran/ecci  voice  course  .... 
mail  coupim  noii  !  PERFECT  VOICE  INSTITUl  E,  Studio  12^,  1022  Sunnyside  Ave.,  Chicago,  IlL 


Mdil  Now  for  Free  I  Oiic  liooh  u  ith  True  KxfH'rit'nccs  of  Others 

IVrf«Tl  Voice  IiifliUilt*, 


siu.lio  l-'-'tfl  rhiraco.  III. 

\'\.  .  .  mr  FRF.K  flotl  wiihoui 

..I.I.    ,li..n   Pr..f  t  .  M.  Iil.rvrr'.  n»w 
v.. Ill  ' 

  •  I  City 


Addreu 


-i.d. 


[J  ITmA  iw* 
Q  Stammmrifg 


Stale 


J9 


ITS   COLOIV  CHAJ^^C^ES  .    .  . 

to  bLencL  wilk^^ur  cmnpl^ixm 


There  is  only  one  TANGEE 
n^e  sure  you  see  the  name 
TANGEE  on  the  package. 

Tangee  Lipstick,  $i.  Also  the 
same  marvelous  color  principle 
in  Kouge  Compact,  75^5  ••  •  Creme 
Rouge,  $1.  Face  Poivder,  blended 
tomatch  the  natural  skin  tones, 
$1.  Night  Cream,  both  cleanses 
and  nourishes,  $i.  Day  Cream, 
a  foundation  cream,  protects  the 
skin,  $x.  Coj-?«mc,  a  new  "mas- 
cara," will  not  smart,  $i. 


"1/1 NC^^ 


Based  on  a  marvelous  color  principle, 
Tangee  changes  as  you  put  it  on  .  .  .  and 
blends  perfectly  with  your  individual  com- 
plexion, whether  blonde,  brunette  or  titian. 

For  Tangee  gives  a  natural  glow  without 
thickness  or  substance  .  .  .  permanent,  with 
never  a  trace  of  grease  or  smear.  The  exact 
shade  of  this  glow  depends  both  upon  how 
much  Tangee  you  apply  and  upon  your  own 
natural  coloring. 

Tangee  keeps  lips  lovely  all  day  long. 
Unlike  other  lipsticks,  Tangee  has  a  solid- 
ified cream  base  ...  it  not  only  beautifies 
but  actually  soothes  and  heals.  And  it  lasts 
twice  as  long  as  other  lipsticks. 

SEND   20(f  FOR  TANGEE  BEAUTY  SET 

(Six  items  in  miniature  and  "The  Art  of  Make-Up.") 
Thb  George  W.  Luft  Co.,  Dept.M.  C.-ll 
417  Fifih  Avenue  New  York 

Name  

Addnss  


l.s 


Rut%»ll  Ball 

LOIS  MORAN 

Once  the  daughter  of  Stella  Dallas,  Lois  seemed  destined  to  be  a 
sad  child  forever.  But  in  the  talkies  she  was  allowed  to  grow  up  and 
smile — and  was,  happily,  "Not  Damaged" 

21 


I 


Richee 


Yes,  he  is  collegiate — despite  the  fact  that  from  Hollywood 
High  School  he  went  into  stock  company,  and  from  that  school 
into  the  movies.  An  apt  pupil,  Stanley  Smith  now  is  going  up 
the  scale,  with  lovelight  in  his  eyes 


22 


/  //  o  c1  a 


^-  '  n  e  IL   ill}        I  /i  e        C^P  e  r  s  o  u  a  I  i  { 


MOT  DON     P  D  CT  QJ  [RE 

CLASSIC 

•  Talks  • 


THE  drama  of  Lon  Chaney's  life  fulfilled  the  re- 
quirements of  tragedy.    It  was  a  drama  of  pity 
and  terror. 

Born  of  parents  who  could  neither  hear  nor  talk, 
he  was  able  to  speak  to  them  only  in  pantomime. 

Leaving  school  at  the  age  of  nine  to  care  for  his 
ill  mother,  he  was  only  beginning  his  self-education. 

A  circus  contortionist,  a  comedy  dancer  and  actor 
in  small  stock  companies,  he  was  eventually  stranded 
in  California.  Too  poor  to  return  East,  he  wandered 
to  Hollywood. 

Always  an  experimenter  with  make-up,  even  in  his 
scene-shifting  days,  he  produced  such  startling  ef- 
fects, when  the  opportunity  came,  that  they  called 
him  "The  Man  of  a  Thousand  Faces."  And  the  title 
was  a  handicap. 

I'ntil  his  appearance  without  make-up  in  "Tell  It 
to  the  Marines."  the  critics  were  loath  to  call  him 
a  great  actor.  Before  the  critics,  the  public  sau  rlic 
genius  behind  the  masks. 

Idolized  beyond  most  stars,  he  never  became 
wealthv.  He  shunned  publicity  and  poses.  Wealth, 
as  compared  with  sincerity,  meant  nothing  to  him. 

A  creator  of  grotesques,  he  was  grotesquely  obliv- 
ious of  the  effect  on  his  frail  constitution  of  some  of 
the  fiainful  harnesses  he  wore,  of  some  of  the  make-up 
rluiiiicals  that  he  breathed. 

One  of  the  most  eloquent  of  actors,  all  but  one  of 
his  pictures  were  silent.  And  that  one  cost  him  his 
life. 

Last  mfinrh,  it  was  our  sad  fortune  to  publish  what 
was  destined  to  be  the  last  magazine  interview  he 
ive    an  interview  that  told  of  his  little-known 
lendship  for  society's  debtors.   It  was  titled,  "An- 
•  her  Lon  Chanev." 
It  was  an  unfortunate  and  ironic  title.    I  here  is 
'  orher  I  on  ("han«'\      I  here  ncxcr  will  hv  another. 


R 


OME  had  its  Mscenas,  Hollywood  has  its 
Howard  Hughes.    And  a  royal  spender  he  is. 


Didn't  he  go  to  every  possible  trouble,  and  to  every 
possible  expense,  to  make  "Hell's  Angels"  a  great 
spectacle.'  But  it  was  the  picture,  not  the  story,  that 
cost  him  money.  The  story,  unless  Hollywood  is 
mistaken  again,  came  from  the  bargain  counter;  he 
economized  in  the  wrong  direction. 


MARY  PICKFORD  and  Arch  Selwyn,  New  York 
stage  producer,  apparently  got  together  and 
had  a  nice  little  chat.  They  announced  that  the 
party  of  the  first  part  would  star  on  Broadway  this 
winter  for  the  party  of  the  second  part.  Now  Mary 
announces  that  she  has  changed  her  mind,  is  going 
to  film  "Kiki,"  instead.  Or  isn't  she?  Or  is  she.' 
Heads  we  win,  tails  vou  lose. 


FRANCES  DEE,  an  extra  girl,  is  spotted  by 
Maurice  Chevalier,  and  becomes  his  leading  lady. 
Roy  Radabaugh,  a  struggling  young  local  sculptor, 
is  given  a  chance  to  change  his  name  to  Ricnard 
Cromwell  and  become  Torable  David.  .'\' person- 
able voung  film  salesman,  renamed  Kane  Richmond, 
will  be  the  champion  of  "The  Leather  Pushers." 
Wayne  Morrison,  carrying  some  scenery  past  Raoul 
Walsh,  is  persuaded  to  become  John  Wayne  and  the 
hero  of  "The  Big  Trail."  Sounds  easy,  doesn't  it' 
Accidents  :vill  happen,  even  in  an  unemployment 
center  like  Hollywood.  The  approximate  ratio  is: 
once  in  ten  thousand  times. 


ALL  is  milk  and  honey  now  at  Fox,  for  Janet 
.  (laynor  has  returned.  And  just  in  time,  too. 
Maureen  O'Sullivan  had  almost  been  made  into  a 
starring  partner  for  Charles  Farrell.  \s  for  the  viva- 
cious Maureen,  it  would  look  as  if  the  luck  of  the 
Irish  has  deserted  her.  (^n  the  other  hand,  she  now 
mav  have  the  chance  to  be  herself-  a  very  different 
personality  from  the  wistful  Janet. 


2.? 


Imagine  Broadway's  Paramount  (left),  Rialto  (left,  above)  and  Rivoli  (right,  above) 
Theaters  covered  with  cobwebs!  Five  years  ago,  movie  producers  would  have  laughed  at 
the  thought.    But  to-day — with  television  on  the  up  and  up? 


W  here    Is  Television? 


THERE  is  no  use  at  all  in  disputing  the  power  of 
the  press.     Generally,  that  power  is  quite  reason- 
ably and  accurately  used,  but  occasionally  the 
sensational  orgy  of  headlines  is  about  something 
of  which  they  know  little  or  nothing,  and  the  result  is 
frequently  unfortunate.    These  news  jags  usually  concern 
scientific  matters. 
There's  television,  for  example. 

A  combination  of  one  Greek  word  and  one  English 
word,  presumably  intended  to  indicate  sight  at  a  distance; 
it  is  just  now  rather  upsetting  to  the  minds  of  motion 
picture  producers,  theater  owners  and  investors  in  picture 
securities — to  say  nothing  of  those  well-disposed  folk 
always  anxious  to  pioneer  with  their  dollars.  (Confiden- 
tially, the  last-named  are  known  in  Wall  Street  as 
"suckers.")  Actually,  however, 
television  is  intended  to  describe 
any  process  by  which  a  person  at 
one  place — Chicago,  for  instance 
— can  see  what  is  going  on  in 
another  place — let  us  say  New 
Orleans. 

The  picture  business  is  often 
the  last  to  know  about  the  in- 
ventions which  may  affect,  or 
even  revolutionize  it.  For  five 
or  six  years,  the  talkies  were 
being  perfected  in  the  experi- 
mental laboratories  of  electrical 
companies,  before  the  picture 
producers  woke  up  to  what  was 
going  on.  And  when  they  did  wake  up,  their  first  reaction 
was  one  of  terror.  The  new  is  always  threatening!  It  is 
said  on  reliable  authority  that  several  of  the  biggest 
motion  picture  executives  went  to  the  Warner  Brothers 
and  remonstrated  with  them,  begging  them  to  hold  off 
sound  a  while  longer  and  save  the  equipment  and  invest- 
ment of  the  studios.  Is  it  possible  that  television  is  being 
delayed  purposely  for  fear  of  its  startling  possibilities.'' 

Rumors  of  its  perfection  are  legion. 

Recently,  in  Schenectady,  the  General  Electric  Com- 
pany experts  put  on  a  demonstration,  during  the  course 


Why  Movie  Men  Look  Harassed 

Another  disturbing  thought  occurs.  If  we  are 
to  distribute  by  radio'television,  is  it  necessary  to 
go  to  the  trouble  of  putting  the  picture — or  all  the 
pictures,  rather — on  celluloid  film  at  all?  Why  not 
good  stock  companies  at  various  strategic  points, 
with  their  performances  broadcast — televisionally? 

Then  what  happens  to  the  motion  picture 
studios  and  their  enormous  equipment  and  invest* 
ment?  What  happens  to  the  motion  picture  stars? 
This  thing  begins  to  look  rather  terrifying  to  the 
industry! 


of  which  a  musician  was  dimly  seen  waving  his  baton  and! 
directing  an  orchestra  whose  music  poured  forth  from  a 
loud  speaker — the  picture  appearing  on  a  small  screen. 

A  very  few  miles  were  bridged  in  what  was  frankly  an 
experiment.  Earlier,  the  Bell  Telephone  Company's 
radio  laboratory  at  Whippany,  N.  J.,  had  broadcast  some 
television  pictures  at  more  or  less  regular  intervals,  and 
these  had  been  picked  up  by  experimenters  at  various 
points. 

In  Washington,  D.  C,  C.  Francis  Jenkins,  one  of  the 
inventors  of  the  motion  picture  projector,  has  done  con- 
siderable television  work.  And  m  England,  J.  C.  Baird 
has  made  more  than  a  little  progress  in  transmitting 
recognizable  likenesses  over  various  distances.  Add 
some  German  and  French  experiments  and  you  come  to 

the  following  conclusion. 

It  is  possible  to  transmit  by 
radio  waves  some  reproductions 
of  current  events.  And  there  are 
amateur  radio  sharps  at  work 
all  over  the  country,  striving  to 
produce  good  television  results. 
Also — and  this  is  stated  without 
any  prejudice  whatever — a  num- 
ber of  astute  and  long-visioned 
gentlemen  have  anticipated  the 
scientific  situation  by  organizing 
commercial  companies  to  manu- 
facture and  sell  television  appa- 
ratus for  the  home.  Two  such 
television  receivers  were  ex- 
hibited at  the  May  convention  of  the  Radio  Manu- 
facturers' Association  at  Atlantic  City. 

Also,  stock  in  television  companies  is  for  sale! 

Looking  Back  Five  Years 

A FEW  days  before  this  article  began  to  roll  off  a  type- 
writer, I  set  afoot  two  simple  inquiries,  just  to  check 
my  own  information.  I  felt  certain  that  the  whole  tele- 
vision situation  was  altogether  too  chimerical  in  its 
present  stage  of  development  to  warrant  the  wild  press 
tales  I  had  been  reading.   I  felt — and  still  feel — that  any- 


24 


the  M  O  Y  I  E  S 


Whif 

Sid  Grauman's  Chinese  Theater  in  Lo«  Angeles  (left,  above   and  the  Metropolitan  Opera 
House  (right,  above)  are  two  of  America's  best-known  show  places.  Are  they  destined  for 
the  television  spider's  web?    David  Samoff  (right;  is  optimistic 


r 


By     CAMPBELL  MacCULLOCH 


thing  like  a  true  commercial  development  that  would  put 
current  events  or  pictures  in  the  home,  as  current  music 
is  broadcast  to-day,  is  a  long,  long  way  off;  and  that  the 
present  state  of  the  art  will  not  justify  a  tithe  of  the  news- 
paper claims.  But  I  wanted  to  be  sure. 

Let  us  first  have  a  little  history.  Five  years  ago — in 
May,  1925 — I  visited  David  SarnofF,  then  vice-president 
and  now  president  of  the  Radio  Corporation  of  America, 
and  said: 

"Do  you  see  television  on  the  commercial  horizon?" 

"Yes.  Probably  in  five  years,"  he  replied.  "I  say  that, 
considering  the  progress  made  by  radio  in  four  years,  and 
always  with  certain  reservations." 


Mr.  Sarnoff  Is  No  Prophet 

I  inquired  again  of  Mr. 
v3  SarnoflF,  this  time  in  May, 
1930,  and  he  wrote: 

'While  a  good  deal  of  construc- 
tive work  has  been  done  in  the  field 
of  television  and  I  am  optimistic 
about  the  ultimate  possibilities,  I 
can  only  say  that  it  is  still  in  the 
laboratory  stage  and  I  doubt 
whether  anyone  can  speak  with 
certainty  as  to  the  exact  time  when 
television  will  be  a  commercial 
reality.  The  role  of  the  prophet  is 
always  hazardous,  and  if  I  have 
learned  nothing  else  in  the  last 
five  years,  I  have  at  least  learned 
to  be  more  cautious  about  prophe- 
sying." 

So,  I  had  one  confirmation,  and 
here  is  the  other,  from  a  man  who 
— because  of  certain  professional 

relationships — must  remain  in  the  background.  (A  man, 
by  the  way,  whose  inventions  are  in  use  in  the  transmission 
of  photographs  by  trans-Atlantic  communication;  whose 
developments  are  in  use  in  making  talking  pictures,  and 
whose  television  work  has  been  in  association  with  one  of 
the  foremost  experimenters  in  America.) 


■Ania  tmmtHtmxrtox 


Partly  Possible 
I  'ELEVISIOX — of  a  sort — is  commercially  possible 
J_  to-day,"  he  said.  "But  when  I  say  that,  I  mean 
that  it  is  feasible  to  place  a  simple  subject  before  a  tele- 
visor and  to  transmit — either  by  radio  or  wires — that 
vision.  However,  neither  the  subject  nor  the  audience 
will  be  enthusiastic  about  it.  The  subject  won't  like  the 
heat  from  the  amount  of  light  that  is  necessary,  and  the 
audience  won't  be  very  appreciative  of  the  ill-defined, 
uncertain  picture  on  a  very  small  screen. 

"Unfortunately,  television  is  not  like  photography, 
which  is  more  or  less  an  instantaneous  process — a  flood  of 
light  reflected  in  various  intensities 
  from  an  object  or  objects,  and  fall- 
ing simultaneously  on  a  sensitive 
emulsion  to  be  recorded  as  one 
efl^ect.  Television  is  to-day  a 
building-up  process,  and  the  more 
surface  it  is  necessary  to  display, 
the  longer  time  is  required  to 
build  it. 

"The  only  television  principle 
with  which  I  am  familiar  is  that  of 
the  scanning  disc.  There  is  no 
need  to  go  mto  detail,  but  until 
this  scanning  process — which  in- 
volves time — can  be  replaced  with 
some  method  which  requires  no 
time,  relatively  speaking,  there 
will  be  no  wide  commercial  appli- 
cation of  television  on  a  practical 
scale." 


•kit  ■•ral»l  fr««tia«t. 


Television  Movies? 


THE  other  well-touted  phase  of 
television  has  to  do  with  the 
transmission  of  motion  pictures.     To-day,  this  is  not 

Practical  in  anything  like  a  commercial  sense.  Nobody 
nows  when  it  will  be.  There  are  such  elemental  and 
experimental  things  as  "radio  movies,"  which  are  merely 
minute  silhouettes  or  outlines;  iTut  they  are  experimental 
and  nothing  else. 


25 


A     New     Menace     To  Worry 
Producers     And  Players 


The  motion  picture  difficulty  is  apparent  from  the 
expert  remarks  just  made.  If  it  takes  an  appreciable  time 
to  transmit — televisionally — one  small  picture,  how  much 
more  time  will  be  required  to  transmit  twenty-four  pic- 
tures? The  problem  is  put  that  way  because,  in  every 
second  of  time  on  the  motion  picture  screen,  twenty-four 
distinct  and  separate  pictures  are  shown  and  removed. 
Each  requires  a  distinct  time  to  build. 

Still,  a  very  small  device  might  change  all  this,  and 
make  television  a  practical  reality.  And  we  are  an  in- 
genious nation.  Whenever  we  need  an  invention,  there  is 
almost  always  someone  to  invent  it.  At  any  moment, 
someone  may  supply  the 
missing  link  to  complete  tele- 
vision. Possibly  to-day — now 
— it  has  been  invented! 

Looking  Far  Ahead 

LET  us  take  a  long  look 
J  down  the  corridors  of  the 
future  and  imagine  what  may 
occur  when  it  is  possible  to 
transmit  both  current  events 
and  motion  pictures  by  tele- 
vision. 

To  begin  with,  the  first,  or 
current  events  division,  may 
affect  the  newsreels  to  some 
extent.  If  there  is  a  football 
game  on  New  Year's  Day  at 
the  Rose  Bowl  in  Pasadena, 
it  may  be  possible,  ulti- 
mately, to  transmit  every  de- 
tail as  it  occurs.  At  three  in 
the  afternoon  in  Pasadena,  it 
will  be  six  o'clock  in  the  eve- 
ning in  New  York  and  eleven 
at  night  in  London,  while  in 
Tokio  the  hour  will  be  six  in 
the  morning.  Perhaps  the 
time  difference  is  not  impor- 
tant, but  the  problem  of 
assembling  a  number  of  in- 
teresting current  events  into 
one  progressive  program  is 
another  matter.  So,  possibly, 
we  must  fall  back  on  the 
transmission  of  motion  pic- 
tures, even  for  the  newsreel. 

No  one  doubts  that  the 
distribution  of  any  product  is 
a  grave  and  intricate  prob- 
lem. Getting  a  single  motion 
picture  production  to  the 
various  theaters  where  it  is 
to  be  shown  costs  almost  a  third  of  the  total  price  the 
theater  pays  for  it.  And  it  is  complicated.  But  what  if  it 
could  be  transmitted  by  radio-television  from  three  or 
more  central  stations  simultaneously,  to  appear  on  the 
screens  of  subscriber  theaters  at  the  same  moment.^  Does 
not  that  eliminate  many  physical  problems  and  much 
duplication  of  film? 

Obstacles  in  the  Way 

A  STUDIO  makes  a  motion  picture.  The  result  is  a 
/~\_  negative.  From  this,  a  hundred  to  a  hundred  and 
fifty  positive  prints  are  made  at  a  cost  that  runs  into 
thousands  of  dollars.     Thirty-two  exchanges  or  branch 


Radio  came,  and  the  studios  still  stood.   Talkies  came,  and 
the  studios  remade  themselves.  And  now  television  is  almost 
here — a  threat  to  even  such  potent  studios  as  Metro-Goldwyn- 
Mayer  (above)  and  Famous  Players-Lasky  (below) 


offices — manned    by    managers,    salesmen,  iiispectfl 
clerks — handle  the  film,  and  the  express  comj)any  ships 
here  and  there.  That's  where  the  thirty  per  cent,  diij 
tribution  cost  goes. 

What  is  to  become  of  all  that  labor  and  profit  un  piinil 
making  if  we  transmit  by  radio-television?  But  radiJ 
transmission  also  costs  money.  A  good  radio  statioij 
easily  eats  up  a  quarter  of  a  million  a  year  in  operatinij 
costs.  And  all  theaters  in  one  time  zone  may  not  want  t( 
run  the  same  picture,  so  it  may  be  necessary  to  transmii 
ten  or  twelve  different  pictures  to  satisfy  them.  Perhapi 
a  hundred  or  even  two  hundred  different  pictures  arfl 

shown  in  a  single  time  zond 
now. 

But  a  dozen  different  pio 
tures    will    also    require  a 
dozen  different  stations  oper- 
ating on  a  dozen  difFeren 
wave  lengths.   The  Easten 
zone  may   be  transmittinj 
eleven    pictures    at  sevei 
o'clock  to-night,  while  th| 
Chicago  zone  is  delivering 
twelve.  Unfortunately,  radio 
impulses  don't  stop  sharp 
at  zone  limits,  so  instead  of 
those  twelve  channels  you 
may  need  fifty  or  more,  and 
then  what  becomes  of  the 
regular  radio  programs? 

Disturbing  Thoughts 

SHORT  waves,  says  some- 
one. Perhaps,  but  from 
the  row  that  has  been  going 
on  in  Washington  over  the  al- 
location of  these,  any  effort 
to  grab  as  many  as  fifty 
for  picture  transmission  will 
precipitate  a  riot. 

And  another  disturbing 
thought  occurs.  If  we  are  to 
distribute  by  radio-televi- 
sion, is  it  necessary  to  go  to 
the  trouble  of  putting  the 
picture — or  all  the  pictures, 
rather — on  celluloid  film  at 
all?  Why  not  good  stock 
companies  at  various  stra- 
tegic points,  with  their 
performance  broadcast — 
televisionally? 

Then  what  happens  to  the 
motion  picture  studios  and 
their   enormous  equipment 
What  happens  to  the  motion  picture 


and  investment? 


stars?    It  looks  rather  terrifying  to  the  industry! 

But  perhaps,  after  all,  it  ^ill  be  better  to  continue 
putting  the  picture  on  the  film.  The  stage  can  never 
equal  the  breadth,  scope  and  epic  sweep  of  the  motion 
picture,  which  is,  after  completion,  merely  the  accumu- 
lation of  many  scenes  made  at  many  places  at  many  times, 
but  shown  as  one.  However,  don't  let  us  lose  sight  of  the 
possibility  that  the  speaking  stage  may  have  an  important 
part  to  play  in  the  televisionally  equipped  motion  picture 
theater.  Television  would  then  be  a  Frankenstein, 
destroying  the  very  business  which  created  it. 

{Continued  on  page  loi) 


26 


Helen 
Twcl  vetre  es 
has  become  decidedly 
fashionable.   Several  studios 
would  like  her  to  step  out  with 
them.  But  after  being  Universally 
liked  in    "The    Cat    Creeps,"  she 
became  engaged  to  Path6  again, 
and,  when  last  seen,  was  still 
theirs  —  standing  out  in 
"The  Painted 
Desert" 


c/ 


t 


27 


Putting  Them  Bac 


Practice  Makes  Perfec 

Marriagd 


HOLLYWOOD  probably  has  more 
divorces  per  square  inch  than  any  other 
city  of  its  size  in  the  world.  It  is  one  of  the 
things  for  which  it  is  famous.  (I  hope 
don't  think  I'm  boasting — it's  true!) 

We  go  in  for  divorce,  as  it  were.  We  do  it  with 
finesse  and  finish.   No  people  anywhere,  I'll 
wager,   think   up   neater   or   more  adroit 
"grounds"  for  the  thing  than  Hollywoodians 
do.    "Mental  cruelty"  is  the  usual  charge 
made  by  wives  desiring  to  achieve  the 
single  state  and  generously  willing  to  save 
their  husbands'  feelings,  when  the  allega- 
tions are  reported  in  print.  And  the  things 
they  say! 

After  this  is  accomplished,  of  course,  the 
two  members  of  the  team  are  automatically 
put  back  into  circulation.    I  mean  they  are 
open  to  new  offers.   Available  for  re-sale.  A 
trifle  shopworn,  perhaps,  and  rumpled.  But 
really  better  than  new,  because  they  have  had  th 
advantage  of  practice. 

As  a  matter  of  fact,  this  practice  business  makes 
amateur  competition  difllicult  in  the  marriage  marts  of 
Hollywood,   what  chance  do  you  think  a  person  has,  who 
has  never  been  married,  in  comparison  with  all  these  agile  people 
who  have  been  at  it  off  and  on,  for  years? 

It  is  much  the  same  situation  as  that  of  an  unknown  and  un- 
tried actor  trying  to  compete  with  an  experienced  and  famous 
one  who  is  "between  contracts."  Experience  counts,  my  dears, 
in  marriage — as  in  acting. 

The  Problems  of  Comebacks 

ETTING  back  into  circulation  successfully  is  a  fine  little 
VJ"  problem  in  itself.  Not  that  one's  status  is  at  all  question- 
able in  these  circles,  as  it  may  still  be  in  some  repressed  and  back- 
ward quarters  of  this  earth.  (I  wouldn't  know  about  that!).  But 
it  is  a  little  bit  precarious. 

Unless  one  has  kept  one's  hand  in  (of  course,  a  flock  of  them 
have),  one  does  not  know  exactly  how — er — good  one  is  going  to 


By  HELE 


be  when  one  achieves  th< 
single  state  and — uh — look^ 
about  for  new  prospects.  It 
is  a  bit  worrisome,  wonder-i 
ing  whether  the  old  appeal 
is  as  potent  as  ever  am' 
whether  one  shows  one's  at 
very  much,  and  so  forth. 
The  effect  of  newly  acquii 
singleness  varies  considerably! 
with  individuals.  Naturally.  ] 
For  instance,  I  think  divorce  hasi 
been  very  becoming  to  Colleen  Moore. 
She  has  positively  bloomed  since  her 
separation  from  John  McCor- 
mick.  She  has  bought  a  lot  of  < 
new  clothes — sloofy,   so- 1 
phisticated    clothes,   if  I 
you  please.  No  more 


Now  that  Charlie 
Chaplin  (upper  left) 
and  Betty  Compsoa 
(left)  are  back  in  cir- 
culation, Lita  Grey 
Chaplin  (upper  right) 
and  James  Cruze 
(below)  are  victirat 
of    partial  eclipses 


28 


Into  Circulation 


In  The  Hollywood 
Market 


LOUISE  WALKER 


simple,  girlish  effects  for  her! 
And  she  is  wearing  earrings 
and  large,  alluring  hats  and 
things. 

She  looks  almost  grown-up, 
these  days,  and  she  dashes 
about  to  parties  as  she  never 
did  before.  She  is  surrounded 
constantly  with  swarms  of  per- 
sonable and  eager  young  men 
plying  her  with  compliments  and 
making  her  easily  the  belle  of  any 
gathermg 

All  Play,  and  No  Work 

HE  has  not  worked,  either, 
since  the  separation,  and 
one   gathers   that  she 
doesn  t  care  in  the  least 


When  Colleen  Moore 
•hook  off  the  thacklet 

(top  right),  John 
McCormick  (top left) 
faded  into  the  back- 
ground. Aa  did  Irvin 
Willat  (belowj  when 
Btllie  Dove  (right) 
waa  free 


pany 

oft 


whether  she  makes  another  picture  soon  or 
not.     She  seems  to  be  having  a  gay  and 
frivolous  holiday — from  matrimony  and  from  pic- 
tures, simultaneously.   And  it  is  certainly  agreeing 
with  her. 
'Snicc. 

Betty  Compson  has  bloomed  considerably, 
too,  smce  her  divorce  from  James  Cruze.  She 
seems  to  be  seeing  a  good  deal  of  young  Hugh 
Trevor,  who  gooples  at  her  in  the  most  flat- 
tering manner,  if  you  know  what  I  mean. 
It's  a  sort  of  gee-but-you-are-beautiful- 
please-be-good-to-me  expression. 

It  is  very  satisfying  for  a  freshly  circu- 
lating young  woman  to  acquire  a  handsome 
and  devoted  escort  right  away.    It  is  reas- 
suring. Besides  being  most  convenient. 
Betty,  I  imagine,  is  enjoying  being  "com- 
nstead  of  "hostess,"  for  a  while.  One 
the  things  about  which  she  complained  in 
her  life  with  Jimmy,  you  know,  was  the  fre- 
quency and  overpowering  size  of  his  parties.  The 
Cruze  household  was  simply  overrun  with  oddly  as- 
sorted guests  most  of  the  time.  And  Betty  grew  pretty 
tired  of  it,  I  can  tell  you. 
So,  naturally,  after  she  returned  to  circulation,  she  preferred 
circulating  as  a  guest,  herself,  for  a  time.  You  really  can't  blame 
her.   And  she  seems  to  be  having  a  lovely  time. 

Far  From  the  Madding  Crowd 

BILLIE  DOVE  acquired  a  most  desirable  and  devoted  escort 
as  soon  as  she  was  divorced,  too.  Howard  Hughes,  who  is 
not  only  wealthy,  but  also  is  a  power  in  pictures — the  sort  of 
chap  who  can  Do  Things  for  an  ambitious  young  screen  beauty. 
(She  acquired  a  gorgeous  sable  coat  at  the  same  moment — which 
caused  just  such  a  twittering  among  Hollywood  gossips.) 

But  Billie  didn't  "go  social"  and  butterfly  a  bit  when  she 
emerged  from  marriage.    On  the  contrary,  she  withdrew  to  a 
house  somewhere  in  the  hills  above  Hollywood  and  wouldn't  tell 
{Continufd  on  page  88) 


29 


The  Legendary  Barrymor 


Our  Foremost  Actor's 
Greatest  Role  Is  

John  Barrymore 

By  JAY  BRIEN  CHAPMAN 

ORE   than    any   living   Thespian,  John 
Barrymore  is  a  legend. 

His  greatest  role,  close  friends  and  asso- 
ciates think,  is — John  Barrymore. 
Into  no  Hamlet,  no  Richard  III,  has  he  poured  the 
romance,  the  waggish  humor,  the  cynical  honeit\ , 
the  utterly  unconventional,  colorful  individuality 
that  make  his  own  character  his  masterpiece. 
Art?   Inheritance.''    Product  of  environment.' 
No  one  knows,  Barrymore  least  of  all.  Either  his 
character  is  an  excellent  work  of  art,  or  a  gesture 
of  Dame  Nature,  bent  on  creating  one  really  human 
actor! 

About  his  private-life  character,  a  rare  group  of  anec- 
dotes has  collected,  many  of  them  unprintably  bawdy 
^  or  profane,  but  all  of  them  delightful.  They  have 
followed  him  around  the  world,  accumulating  steadily 
since  his  earliest  days  as  a  vagabond  actor,  newspaper 
artist,  and  ne'er-do-well  sponger  on  friends  and  famous 
relatives. 

Some  of  his  most  whimsical  pranks  are  very  recent, 
despite  the  fact  that  there  are  people  in  Hollywood — 
where,  probably,  his  choicest  episodes  have  been  enacted — 
who  claim  he  has  turned    husmtss-B abbitt    and  very-proper 
married  man. 

Probably  the  Babbitt  pose  is  just  another  prank. 

To  the  Ladies 

THREE  beautiful  and  voluptuous  Hollywood  Him  actresics 
have  separately  remarked  that,  while  Barrymore  is  not  an  accom- 
plished lover,  he  is  an  ideal  husband.  None  of  them  was  Dolores 
Costello,  the  present  Mrs.  Barrymore,  which  caused  an  old  friend 
of  the  actor's  to  remark: 

"If  John  heard  that,  he'd  cock  up  one  eye  with  that  shrewd, 
devilish  look  of  his  and  say:  'But  how  can  these  ladies  judge.? — 
I  have  never  married  them!'" 

If  Barrymore's  later  episodes  were  more  amusing  and  colorful, 
some  of  his  earlier  ones  were  charming.  He  admits,  for  instance, 
that  as  a  boy  he  was  a  much  more  prolific  liar  than  his  contempo- 
raries, and  that  he  was  not  unversed  in  theft. 

Once  he  stole  his  Grandmother  Drew's  jewels  to  buy  a  rosary 
for  a  female  many  years  his  senior,  with  whom  he  fancied  himself 
in  love.  Something  of  the  actor's  character  is  expressed  in  his  re- 
mark about  the  incident: 

"What  strange  inroads  religion  makes  into  the  minds  of  the 
young!" 

It  was  quite  some  time  later  that  he  played  the  stellar  part  in 
the  rape  of  the  sword  from  the  hand  of  the  figure  of  Victory,  which 
surmounted  the  old  Dewey  Arch  in  New  York.     Three  news- 
{Continued  on  page  gf) 


30 


Otto  Dymr 


Putting  Off  The  Dog 

Not  that  le  Chevalier  ever  put  on  the  canine. 
Maurice  knows  and  likes  his  public  too  well 
for  that.  He  is  simply  trying  to  kid  a  pal  into 
believing  that  Paris  is  a  doggier  town  than 
Hollywood  and  that  there  even  les  chiena 
are  mad  about  "The  Playboy  of  Paris" 


n 


It  was  fairly  obvious,  when  he  all  but  walked  away  with  "The 
Grand  Parade,"  that  Fred  Scott  was  not  only  going  to  "Swing 
High,"  but  would  be  going  to  the  front.  And  in  "Beyond  Victory" 
he  arrives — a  little  surprised  to  find  that  it  wasn't  more  of  a  battle 


The  Waltz  Dreamer 


And  California 
Sunshine  Helps 
Oscar  Straus 
To  Dream 

By 

MOLLIE  MERRICK 

IIGHT  luncheons  with  heavy  lions 
make  food  for  much  of  our  Holly- 
wood thought. 
^  Since  local  producers  acquired  the 
habit  of  reaching  out  into  the  world  beyond 
cinemaland  and  lifting  the  great  from  their 
secure  retreats — for  all  the  world  like  a  con- 
jurer nipping  a  rabbit  out  of  thin  air — you 
can  choose  your  lion  with  impunity  any 
day,  on  any  lot. 

Having  progressed  through  an  artistic 
appreciation  with  Mahonri  Young,  and  a 
bit  of  dramatic  dilettanting  with  G.  A.  Sil 
Vara,  Oscar  Straus  claimed  attention  as 
most' famous  of  the  musical  group  to  be 
snared  from  the  Old  World. 

It  is  a  far  cry  from  a  Paris  atelier  to  a 
concrete  cubicle  on  a  Hollywood  studio  lot. 
But  Oscar  Straus  (not  related  to  Johann 
Strauss,  and  spelled  with  one  S)  likes  it.  He 
says  so — emphatically. 

Don't  think  we  arrived  at  this  conclusion 
within  the  half-hour  following  our  intro- 
duction. The  great  musician  smiled  upon 
bein^  presented,  gave  me  the  genealogical  and  spelling 
rubrics  of  his  name,  then  lapsed  into  a  profound  and  rest- 
ful silence,  the  while  we  progressed  through  endless  com- 
missary tablet  to  our  allotted  one. 

The  Dream  Waltz 

QSCAR  STRAUS  stood  out  in  my  consciousness  chiefly 
as  composer  of  "The  Chocolate  Soldier."  He  it  was 
bad  given  the  world  that  waltzof  maximum  sex-appeal : 
'  Comt,  come,  I  love  you  only — 
My  heart  is  true; 
Come,  come,  my  life  is  lonely — 
/  long  for  you. 

Come,  come,  naught  can  eface  you; 

My  arms  are  aching  now  to  embrace  you; 

Thou  art  divine! 

Come,  come,  I  love  you  only — 

Come,  hero  mine!" 
Such  things  as  this,  I  had  concluded  on  the  long  drive 
to  Culver  City,  are  written  out  of  burning  temperaments. 
Are  written  in  torrential  tantrums.  Have  a  fourth-dimen- 
lional  significance.  The  genius  through  whom  such  perfect 


Longworlh 

rhythm  reaches  earth  must  have  a  transcendental  quality. 

1  murmured  something  of  all  this  as  the  waitress  passed 
us  the  studio  menu.  -Mr.  Straus,  a  delicate  look  of  concern 
on  his  fine  worn  face,  did  not  answer  immediately.  A  sig- 
nificant silence  lay  between  us.  Then: 

"I  am  perplexed,"  said  Mr.  Straus,  with  the  level-eyed 
passivity  of  a  child,  waked  from  deep  sleep:  "I  am  per- 
plexed to  know  just  what  to  say." 

He  dropped  his  eyes  to  the  menu;  then  raised  them  to 
the  blue-and-white  waitress: 

"It  is  very  confusing.  Do  you  think  I  would  like  the 
stuffed  pig's  knuckle.'" 

The  Release  Words 

SHE  thought  Mr.  Straus  would  like  it  very  much  indeed. 
She  was  gone  an  incredibly  short  time,  but  the  interval 
did  not  furnish  me  with  any  key  to  the  mystery  of  genius. 
A  gentle  coma  had  descended  upon  Oscar  Straus.  It  was 
broken  only  by  the  arrival  of  the  dish  in  question  and 
my  asparagus  vinaigrette. 
The  composer  of  "The  Chocolate  Soldier"  studied  the 
{Continued  on  page  86) 


33 


oin  The  Nav 


Loretta  Young 
Favors  Naval 


For  a  steady  diet,  there  is  nothing  like  Holly- 
wood— but  Loretta  wanted  to  know  how  the 
Navy  reduces.  So  she  boarded  the  U.  S.  S. 
California — and  became  a  flag-waver  (top 
right).  For  she  heard  (top  left  and  above) 
what  radio  operators  take,  and  discovered  (left) 
another  way  to  get  light 

Portraits  by  Elmer  Fryer 


--And  See  Stars 


For  One, 
•Reduction 


Calling  on  a  battleship  is  one  thing  Loretta 
obviously  enjoys  (top  right).  But  all  of  a 
quarter-mile  from  shore,  she  had  a  hard  timi 
getting  her  bearings  (above)  until  she  started 
to  run  up  all  the  signal  flags  (top  left)  and  was 
bluntly  told  where  she  was.  Then  it  was  taps 
for  Loretta  (right) 


.^5 


C  L  A  S  S  I 


Case  VII 


Modem  Youth  may  be  guilty  of  speeding,  of 
musical  murder,  and  of  assault  and  battery  on  the 
good  old  Mother  Tongue.  But  are  the  bright-eyed 
youngsters  guilty  of  everything  they  are  accused  of 
by  their  model  elders?  How  about  these  charges 
against  the  youth  of  that  so-called  modem  Babylon 
— Hollywood?  William  Janney  and  his  cronies  are 
here  to  tell  how  innocent  they  are. — Editor's  Note. 

PROSECUTING  ATTORNEY:    Do  you  stand  for 
youth  ? 
The  Defendant:  I  do. 

P.  A.:  Well,  sit  down.  {Turns  to  courtroom  for 
appreciation  of  his  little  joke.  Gets  booed.  Continues:) 
Maybe  you  don't  know  it,  but  we,  the  people,  feel  that 
the  youth  of  today  isn't  so  much. 

Young  Bill  Janney:  You'll  have  me  crying  next — 
P.  A.:  And  that  it  can  easily  be  found  guilty  on  at 
least  four  counts — 

Janney:  Let's  have  'em.  One  at  a  time — 
P.  A.:  — and  that  you'll  have  to  talk  awfully  fast  to  do 
any  good  for  yourself.    In  the  first  place,  we  believe 
modern  youth,  especially  modern  Hollywood  youth,  is 
headed  straight  for  hell. 

Janney:  Mr.  Prosecutor!  Please!  Your  language! 
Remember  there  are  gentlemen  in  the  audience.  {Turns 
to  courtroom.)  Will  Messrs.  Russell  Gleason,  William 
Bakewell  and  Arthur  Lake  please  present  proof  that  they 
are  gentlemen.^ 

(The  Messrs.  Gleason,  Bakewell  and  Lake  present  priwa- 
facie  evidence.) 

They're  Hardly  Themselves 

'ANNEY:  I  might  as  well  explain.  I  brought  these  gen- 
tlemen along  as  witnesses.  At  this  very  moment,  they 
are  in  the  audience  disguised  as  each  other.  William 


Court  Reporter:    ROBERT  FENDER 

Bakewell,  for  instance,  represents  Russell  Gleason,  who  i 
disguised  as  Arthur  Lake.  Mr.  Lake,  in  turn,  appears  in 
my  likeness,  while  I — Gentlemen,  very  few  know  this — in 
reality,  /  am  Greta  Garbo. 

P.  A.  {with  tears  streaming  down  his  face):  As  God  is  my 
witness,  I've  been  a  cad.  Can  you  ever  forgive  me.^ 

Janney:  Youth  is  quick  to  forget.  All  is  forgiven. 

P.  A.:  Good!  And  now  let's  get  on  with  the  trial.  Per 
sonally,  I'd  like  to  get  to  the  beach.  May  I  ask  Witness 
Russell  Gleason  to  step  to  the  stand.' 

(Russell  Gleason  advances,  doing  a  soft-shoe  dance.) 

Clerk:  Will  the  witness  repeat  after  me:  "I,  Rusiell 
Gleason,  being  of  sound  mind  and  body  and  all  that 
rubbish,  do  hereby  swear  and  so  forth,  that  I  will  speak 
the  truth,  only  the  truth  and  nothing  but  the  truth,  unless 
I  think  of  something  better.?" 

Russell:  You  took  the  words  right  out  of  my  mouth. 

Clerk  {to  P.  A.):  He's  O.  K.  Shoot. 

P.  A.:  My  charge  against  you,  as  a  representative  of 
HolljTvood  youth,  is  that  you  waste  time,  our  most 
valuable  possession.  Is  that  right? 

His  Idea  of  Fun 

USSELL:  That's  right,  except  that  it's  wrong.  My 
J\  time  is  pretty  well  divided.  Work  claims  most  of  it. 
Tne  rest  I  spend  at  playing  as  hard  as  I  can  play.  I've 
found  that's  necessary. 

P.  A.:  Ah,  yes — playing!  Your  idea  of  the  best  time  in 
the  world  is  to  dawdle  away  time  in  a  night-club,  pos- 
sibly.? 

Russell:  Sorry  to  disappoint  you,  but  no.  There  will 
be  lots  of  time  for  that  when  I'm  your  age.  Right  now  I'd 
rather  meet  interesting  people — all  I  can.  If  you've  got 
your  pencil  and  paper  ready,  you  might  write  down  that 
Russell  Gleason  says  that  his  idea  of  the  best  time  in  the 
world  is  to  listen  to  those  brighter  than  himself.  I  know  of 


36 


Holds  Open  Court 


believe 


The  Charge:  . 
The  Plaintiffs: 
The  Defendants: 


nothing  better  than  to  sit 
)y  while  my  maw  and 
:)aw  and  their  friends  say 
hings.    That  exhilarates 
Tie  quite  a  lot  more  than 
Hollywood  gin,  even  if  it 
were  gin. 
P.  A.  (to  William 
y):     Do  you 
hat? 

Janney:  I  happen  to 
know  it's  true.  Meeting, 
listening  and  talking  to 
interesting  people  is  Russ 
Gleason's  major  sin. 

P.  A.  {disgustedly) : 
Witness  dismissed.  And 
now  may  I  ask  Mr. 
Arthur  Lake  to  ooze 
forward?  (Mr.  Lake 
does  so,  with  variations. 
He  looks  a  little  tired, 
and  the  Prosecuting  At- 
torney, noticing  it,  at- 
tacks him  with:)  Tell 
me,  Mr.  Lake.  What 
did  you  do  last  night? 

Arthur  Lake:  VVell— 
Mom's  got  an  ulcerated 
tooth  and — 

P.  A.:  Very  interest- 
ing, Mr.  Lake.  Fery 
interesting  and  a 
Jittle  touching,  but 
what  has  that  to  do 
with  you? 

Arthur  Lake:   Nothing,  except  that 
lupplying  her  with  hot  towels. 

A  Little  Wink  Is  a  Big  Sin 

'f  ^ HE  Prosecuting  Attorney  is  embarrassed.  (Hastily  runs 
J  through  notes,  then:)  What  would  you  say  if  I 
cnarged  you,  as  one  of  the  young  men  of  Hollywood,  with 
being  excessively  wild? 

Arthur  Lake:  I'd  fight  that  charge.  I  am  not  wild. 
And  neither  are  the  boys  I  know.  \Ve  haven't  got  time 
to  be  wild.  When  we  are  older  and  have  arrived,  we  may 
have  time  for  that.  But  right  now  there  are  too  many 
necessary  things  to  do. 

This  is  a  tough  age — the  toughest  in  history.  WTiat- 
cver  we  do,  we  must  do  it  just  a  little  better  than  the 
rest,  if  we  want  to  keep  up.  Of  course,  that  is  particularly 
true  of  this  business,  but  it  applies  in  every  other  as  well. 
I  know  of  ten  boys  in  as  many  different  businesses. 


you 
this 


spent 


Three  of  the  younger  set 
defending  modern  youth 
are  Arthur  Lake,  William 
Janney  and  Russell  Olea- 
•on,  who,  striking  a  coun- 
selor's pose,  is  shouting 
"Answer  'Yes'  or  'No!'" 


night 


Modern  Youth  Is  All  To  The  Bad 

 Their  Elders 

.    .  William  Janney  And  Pals 


About  half  of  them  are 
college    graduates,  yet 
every  single  one  of  them 
attending  night 
school.  They 
work  all  day  and 
study  half  the 
night.    And,  if 
on    the  way 
I    home  at  night, 
V  they  stop  to 
f  wink  at  a  girl, 
there    are  a 
thousand  reform- 
ers    and  profes- 
sional meddlers  all 
ready  to  jump  in 
and    brand  tnem 
"wild."  It's  a  busi- 
ness— 

P.  A.  Then 
would  place 
age  above  past 
younger  genera- 
tions? 

Arthur  Lake:  I 
would,  I  do,  I  have. 
If  the  present  crop 
of  young  ones 
weren't  a  lot  bus- 
ier, wiser  and  brain- 
ier than  those  be- 
fore them,  they'd 
just   naturally  go 
under,  they  couldn't 
stand  the  racket.  And 
now,  if  you'll  excuse  me,  I'll  get  back  to  my  work — 
P.  A.:  Which  is? 

Arthur  Lake:  Studying  my  present  part,  rehearsing  my 
next  picture,  taking  instruction  in  voice,  dancing  and 
foreign  languages,  looking  out  a  little  for  things  at  home 
and — 

His  Elders  Were  Joy-Killers 

PA.:  Enough.'  Witness  excused!  But  before  this  court 
,  adjourns,  I'd  like  to  ask  Mr.  Janney  to  call  Mr.  Wil- 
liam Bakewell  to  the  stand. 
Janney:  How  about  it.  Bill? 

William  Bakewell:  I'm  almost  there.  Mr.  Prosecuting 
Attorney,  you  may  fire  when  ready. 

P.  A.:  As  one  o( the  younger  set,  I  charge  you  with  lack 
of  ambition  and  aim  in  life.  What  is  your  answer? 

William  Bakewell:  Just  this — that  if  1  listened  to  the 
(Continued  on  page  gg) 


37 


CIRCULATION 
HORON  TWO 
MILLION 


THE 


DAIL 


If  It  Happened 
In  Hollywood, 
It's  News  -  -  - 

MAYBE 


THE  bigger  the  name,  the  better  the  story.  But 
the  name  does  not  have  to  be  big,  the  story  does 
not  have  to  be  good.  All  that  is  necessary  is  a 
Hollywood  dateline.  And  you  are  sure  to  read  it. 
It  has  become  a  racket,  this  business  of  Hollywood 
headlines.  For  years,  newspapers  all  over  the  country 
have  been  breaking  out  with  stories,  which,  had  they  not 
emanated  from  Los  Angeles'  best-known  suburb  and  had 
the  smell  of  picture  studios,  would  have  been  lost  in  the 
news  agencies.  For  years,  the  names  of  prominent  pic- 
ture stars  have  had  more  linotype  used  on  them  than  any 


MOVE  STAR 


STEPPING  OFF? 


INJ  URED 


Clara    Bow,    Hollywood's  flaming 
youth,  here  to  see  "friends,"  would 
not   confirm   or   deny   her  coming 
marriage 


Carsey 

Vivian  Duncan,  screen  siren,  accuses 
Rex  Lease,  movie  hero,  of  blacking 
her  eye  at  gay  Hollywood  party 
last  night 


ATPJlRn: 


other  class  of  public  figures.  They  are  front-page  newsJ 
Editors  themselves  commented  on  this  fact  when  Ru-f 
dolph  Valentino  and  Charles  Eliot  died  on  the  same  day  ] 
The  actor's  death  was  retailed  to  the  public  in  streamers! 
across  the  front  page  of  every  newspaper  in  the  country,] 
while  the  obituary  notices  of  the  president  emeritus  of] 
Harvard  were  included  among  others  on  inside  pages. 

Clara  Bow  takes  a  room  in  a  Texas  hotel  and  a  reporter! 
assumes  that  she  is  there  to  pay  hush  money  to  a  local] 
dentist's  wife.  Wham!  The  explosion  of  the  hot  story  is| 
echoed  in  eight-column  headlines  all  over  the  land. 
______        Rex  Lease,  a  minor  actor,  takes  a  sock  at, 

Vivian  Duncan,  herself  hardly  a  national  figure,! 
and  in  Hollywood  the  story  holds  page  one  for 
three  days  running.  If  the  principals  in  the  brawl 
had  been  an  iceman  and  a  maid,  the  news  would  1 
have  been  lost  with  the  fire  report  on  page  12. 

Lina  Basquette  takes  poison,  and  Mussolini's 
threat  of  war  on  France  is  pushed  behind  the 
sport  pages  to  make  way  for  front-page  sob- 
stories  of  the  domestic  tragedy. 

Why  Is  It? 

YOU  are  the  reader  of  a  magazine  devoted 
exclusively  to  information,  gossip  and  pic- 
tures of  Hollywood  celebrities.  You  buy  it  in 
preference  to  any  of  a  dozen  periodicals  in  which 
you  would  conceivably  learn  who  rules  the 
United  States  and  why,  and  other  great  big,  two- 
ton  facts. 

Do  you  know  exactly  why  your  interest  is  so 
much  keener  in  what  fan  writers  have  to  say 
about  Greta  Garbo,  Clara  Bow  and  Company 
than  in  any  discussion  H.  L.  Mencken  might 
stir  up  about  Senator  Jazzbo  in  his  green-covered 
American  Mercury.? 

It's  not  because  Hollywood  is  better  pub- 
licized than  Washington.  There  are  three  active 
newspapermen,  writing  from  the  Capital  daily, 
to  every  Hollywood  reporter.  Ten  words  go  out 
over  the  telegraph  wires  from  the  Senate  Press 
Gallery  to  every  one  that's  written  for  publica- 
tion from  Hollywood. 

And  yet  almost  any  newspaper  reader  can  tell 
you  the  name  of  John  Gilbert's  present  wife. 
Few  can  quickly  name  the  present  Chief  Justice 
of  the  Supreme  Court,  even  if  he  did  almost  be- 
come President. 

What's  the  answer.? 

An  erudite  editor  of  one  of  Mr.  Hearst's  news- 


38 


TE  RROR 


EXTRA 

FINAL  EDITION 


BEATEN 
ARREST  ACTOR 


By 


WILBUR 


MORSE,    J  R 


or 

papers  for  "People  Who  Think"  recently  tossed  off  what 
IS  possibly  the  answer. 

"What  the  public  is  most  interested  in  reading  are 
stories  of  blood,  love  and  money." 

Granting  that  the  New  York  Times  and  the  Baltimore 
"Sunpapers"  are  circulated  for  the  most  part  among 
people  who  want  either  to  look  at  the  pictures  in  the  roto- 
gravure sections,  or  read  about  the  love-life  of  penguins  at 
the  pole,  an  acceptance  of  this  eagle-eyed  editor's  policy 
cxplainTs  a  lot  about  the  newspaper  stories  just  now 
emanating  from  Hollywood — and  the  public's  unques- 
tioned interest  in  them. 

It  explains  why  our  shy  and  retiring  stars  of  " 
the  silver  screen,  try  as  hard  as  they  may,  can't 
keep  oflF  the  front  pages. 

For  m  the  imagination  of  millions  of  news- 
paper readers,  both  those  who  think  and  those 
who  merely  look  at  the  pictures,  Hollywood  is  a 
symbolic  center  of  those  three  interesting  phases 
of  life:  blood,  love  and  money. 

Combine  the  frequency  of  murders — dramatic 
murders;  and  suicides — tragic  suicides;  with  the 
imagery  of  most  picture  stars  as  worshipers  of 
Venus  and  Racchus,  and  children  of  Crrrsus,  and 
you  can  understand  why  the  "  people  who  think  " 
reg.ird  Hollywood  as  the  world's  most  fascinat- 
ing source  of  news  about  blood,  love  and  money. 

You  Imagine  You  Know  Them 

THERE  is  another  reason  why  this  land  of 
oranges  and  applesauce  is  the  shadowy 
wmdowshade  for  so  many  eyes,  the  keyhole  for 
so  many  ears. 

One  of  the  principles  upon  which  several  great 
newspapers  have  built  staggering  circulations 
is  printing  names,  names  and  more  names.  For 
example,  old  .Mrs.  Jones,  of  6054  Yasmine  street, 
is  always  more  interested  in  reading  that  Mrs. 
Hawkms  at  6062  Yasmine  street,  fell  downstairs 
and  broke  her  ankle,  than  why  King  George 
caught  influenza. 

Now,  it's  a  fact  that  constant  attendance  at 
the  movies,  and  constant  worship  at  the  shrine 
"f  some  cinema  star,  result  in  a  feeling  of  almost 
personal  intimacy  with  the  actor  or  actress. 
I  hat's  why  a  minor  picture  actor  gets  a  hundred 
•  mes  more  fan  letters  than  the  most  famous 
itinee  idol  of  Broadway. 

\ny  newcomer  to  Hollywood  will  tell  you  that 
almost  involuntarily  said  "  Hello"  to  the  hrst 


picture  personage  he  happened  to  meet  on  the  Boulevard. 
He  had  a  subconscious  feeling  of  knowing  the  player. 
Similarly,  that  subconscious  feeling  of  knowing  the  stars 
personally  after  seeing  them  so  often,  suffering  with  them, 
loving  with  them — on  the  screen — stirs  up  in  Mrs.  Jones 
almost  as  neighborly  a  response  to  the  printed  name  of 
Ronald  Colman  as  that  of  IVIrs.  Hawkins. 

Their  neighborhood  movie  theater  is  the  center  of  so 
many  millions  of  people's  lives,  then,  that  news  of  the 
stars  they  see  there,  and  of  the  town  where  the  stars  live, 
{Continued  on  page  gS) 


UNHAPPY 


THRICE  HAPPY 


Fr»ulich 

Lin*  Basquettr,  film  itar,  playing 
tragic  rdle  in  real  life,  takes  poison. 
Hospital    physicians   say    she  will 
recover 


PthA 

Jack  Pickford,  brother  of  Mary  Pick- 
ford,  screen  star,  with  his  bride  of 
yesterday.  Mary  Mulhern.  Broadway 
actress 


.^0 


Spanish 
Mainly 


After  all  these  torrid  years  of  sailing  the 
cinema  seas,  Lupe  Velez  at  last  has  wind 
of  a  boatload  of  bullion  coyning  her  way. 
And  is  it  going  to  get  past  her?  Not  while 
she  is  on  deck — a  star  boarder,  with  mis- 
chief in  her  eyes,  and  with  her  hands  full 


Portraits  eapacially  posad  for  Claaaio 
by  Gene 


The  Kid 
Also  Talks 

Jackie  Coogan  Is  Back 
From  School  For 
"Tom  Sawyer" 

BY 

NANCY  PRYOR 

IXTEEN  years  old;  a  fresh  sprinkling  of  freckles 
across  his  nose;  seventy-five  hundred  dollars  weekly 
^\  in  salary;  an  avid  appetite  for  toasted  cheese  sand- 
wiches,  plus  chocolate   milk-shakes — and  Jackie 
Cboean  is  back  for  the  talkies.  The  Kid,  himself,  is  sound- 
ng  his  a's  and  clearing  his  juvenile  throat  for  the  micro- 
phone. 

For  six  months,  the  Paramount  company  held  up  the 
production  of  the  talking  "Tom  Sawyer  '  until  Jackie  had 
finished  his  term  of  second-year  high  school — which 
shows  how  excited  that  astute  company  became  over  the 
prospect  of  Jackie's  return  to  the  fold. 

On  the  other  hand,  Jackie  is  not  so  excited,  viewing  the 
entire  situation  with  disconcerting  calm  and  professing 
neither  nervousness  nor  excitement  in  the  new  adventure 
with  the  mike.  Sure,  the  picture's  all  right,  but  as  a  topic 
of  conversational  interest  it  isn't  one,  two,  three  with 
the  excellence  of  toasted  cheese  sandwiches  as  fried  by  the 
Paramount  chef — or,  if  you  like,  the  relative  nonsense  of 
diets  and  dieting. 

"  I  like  plump  women,"  he  remarked,  gravely  examining 
his  cheese  sandwich  in  all  its  glory.  "  It  makes  them  more 
appealing.  For  instance,  you,"  he  glanced  casually  at 
me,  as  though  summing  up  my  possible  height,  "could 
weigh  a  hundred  and  forty  pounds  and  look  great.  You 
didn't  know  that,  did  you.'  Why  these  women  want  to 
diet,  I  don't  know.  It  they'd  only  bother  to  look  at  a 
weight  scale  and  find  out  what  their  normal  weight  is, 
they  wouldn't  bother  with  this  starving  stuff.  Over  at 
school,  we  have  a  weight  scale,  so  I  know  all  about  that." 

Polite  Wandering 

T^Y  some  miraculous  cooperation  of  conversation  and 
fj  mastication  that  first  sandwich  had  disappeared  and 
Jackie  gave  his  order  for  a  second.  I  think  he  ate  three 
altogether,  with  two  tall  glasses  of  milk-shake.  I  took  it 
that  the  weight  scale  over  at  school  allowed  Jackie 
several  pounds  leeway  which  he  was  trying  to  make  up  in 
a  hurry,  though  I  thought  him  rather  plumply-pleasing 
already. 

But  come!  Wasn 't  it  just  too  exciting  to  work  in  "Tom 
{Continued  on  page  Q4)  Oordon 


L  O  O  K  I  N 


Close-Ups 
From  The  Coast 


Fryer 


Bredell 

HOLLYWOOD  is  intrigued  with  this  month's 
gossip  of  the  Two  Broken-Hearted  Young  Men. 
Gavin  Gordon  is  supposed  to  be  one  of  them. 
Lew  Ayres,  the  other. 
The  stories  are  romantic. 

Gavin,  they  say,  fell  desperately  in  love  with  Greta 
Garbo  during  the  filming  of  "Romance,"  and  that  his  so- 
called  "overacting"  in  that  film  was  prompted  by  a  heart- 
felt, but  hopeless  infatuation  for  the  glamourous  Scandi- 
navian. Anyway,  close  friends  of  the  young  man  say  he  is 
going  through  a  heart-breaking  experience  with  unre- 
ciprocated love. 

On  the  other  hand,  no  one  in  Hollywood  is  more  dis- 
turbed over  this  gossip  concerning  Constance  Bennett  and 
Gloria's  Marquis — then  young  Lew  Ayres.  He  really  likes 
Connie  an  awful  lot,  does  Lew. 


FRIENDLY  argument  was  taking  place  at  the 
anniversarv  dinner  of  Marian  Nixon  and  Eddie 


All  dressed  up  with  plenty  of  places  to  go:  Ona  Munson 
(above),  mourned  on  Broadway,  is  all  wrapped  up  in 
her  new  work,  enjoying  "Going  Wild"  and  being  "The 
Hot  Heiress" 


Sitting  up  exercises:  Lillian  Roth  (left),  having  reached 
the  top  of  the  ladder,  is  resting  on  air — keeping  in  shape 
to  off-balance  Jack  Oakie  in  "Sea  Legs" 


Hillman  as  to  which  one  had  given  the  other  the 
more  elaborate  gift.  A  stray  remark  of  Sue  Carol's 
just  about  cinched  it: 

"Well,  Marian  can  ride  around  in  that  Packard 
phaeton  she  gave  Eddie.  That's  a  typical  wife's 
gift  to  her  husband — something  she  can  get  some 
good  from,  herself.  But  Eddie's  never  going  to  get 
any  wear  out  of  that  diamond  bracelet  he  gave 
Marian!" 


HOLLYWOOD  is  set  and  determined  to  "engage" 
Josef  von  Sternberg  and  Marlene  Dietrich  with 
matrimonial  attentions,  which  might  be  all  right  if  the  lady 
did  not  have  an  undivorced  husband  in  Germany. 

There  is  no  doubt  but  that  the  Paramount  director  is 
deeply  devoted  to  his  fascinating  star,  but  something  tells 
me  the  wedding  bells  will  not  ring  any  time  in  the  imme- 
diate future. 

The  gossips  have  it  that  Marlene  is  none  too  happy  in 
Hollywood.  She  has  a  small  daughter  in  Germany  in 
whom  all  her  interests  are  centered.  By  the  way,  she 
pronounces  her  first  name — Mar-lana. 


PATSY  RUTH  MILLER  attracting  much  attention  in  a 
stunning  green  evening  gown  at  the  Olsen  Supper  Club. 
Carmelita  Geraghty,  equally  effective  in  ivory  satin,  at  the 
same  place,  in  the  satne  party. 


42 


Them  Over 


By  DOROTHY 
MANNERS 


Phyla 


Via  New  York  and  London,  Claire  Luce  (above) 
finally  arrived  in  Los  Angeles,  the  world's  largest 
city  (in  area  ,  where,  she  was  told,  she  should  enjoy 
"  Luxury  " 


Not  posing  for  that  old  college  wheexe — "  IDoes  your 
girl  smoke?"    "Almost":  Inez  Courtney  (right)  is 
simply  looking  right  smart  for  a  newcomer  in  "The 
Hot  Heiress" 


Richard r/^n  au/ogra^Ainf  an  album  for  a  check- 
room f^irl. 

Mary  Brian  wearing  a  coat  valued  at  thirty-thou- 
sand dollars  for  fashion  pictures. 

William  Boyd  burning  his  hand  badly  in  an  at- 
tempt to  keep  an  extra  man  from  striking  a  match  on 
a  box  of  explosive. 


AFTER  a  year  of  somewhat  strained  relations,  Sue 
.  Carol's  mother  has  at  last  put  her  official  blessing 
on  the  union  of  Sue  and  Nick  Stuart. 

She  remembered  their  wedding  anniversary  with  a 
beautiful  gift  of  silver  service  plates  that  are  the  pride  and 
joy  of  the  new  Carol-Stuart  home. 

Sue  was  so  thrilled  and  happy  that  she  called  Chicago 
immediately  to  thank  her  mother. 


BETTY  COMPSON  and  Richard  Dix  dancing  at  the 
Cocoanut  Grove. 
Hugh  Trevor  in  the  same  party. 

Jimmy  Hall,  Mema  Kennedy  and  Sohhy  j4gneu'  at  a 
Hollywood  picture  show. 

Louise  Brooks  back  in  Hollywood  going  places  with 
Connie  Talmadge's  former  boy-friend,  Eddie  Kane. 

Mary  Eaton  and  Millard  Webb  and  Sally  Eilers  and 
Hoot  Gibson  in  a  spirited  game  of  contract  bridge. 


Fryer 

THEY  tell  this  one  on  Lowell  Sherman: 
The  last  time  Lowell  was  crossing  the  .Atlantic,  a 
gav  party  of  his  friends  were  also  aboard.  The  evening 
before  the  boat  was  to  dock,  the  party  gained  momentum 
and  a  very  good  and  noisy  time  was  being  had  by  all. 
About  twelve  o'clock,  Lowell  retired  for  what  he  termed 
"a  little  rest."  An  hour  later  he  returned,  fully  dressed 
and  complaining. 

"Really,"  he  drawled,  "you're  making  a  dreadful 
amount  of  noise.  I  can't  sleep."  After  about  ten  or  fifteen 
minutes,  he  again  left  the  group  to  make  anntlicr  effort  to 
sleep.  This  attempt  was  equally  unsuccessful.  So  he 
dressed  and  came  back  again. 

"Honestly,"  he  said,  as  only  Lowell  Sherman  could  say 
it,  "not  only  are  the  people  on  this  boat  being  disturbed — 
but  other  boats  are  complaining!" 


J 


EAN  HARLOiV,  in  the  most  beautiful  evening  gown  of 
the  season,  stepping  out  with  Ernie  Torgler,  young  broker. 

43 


News  And  Views  O 


Loretta  Young  congratulating  Douglas  Fairbanks,  Jr.,  on 
his  new  starring  contract. 

Joan  Crawford  beaming  with  pride  at  her  husband's 
success. 

Lawrence  Tibhett  lunching  in  a  vivid  bathrobe  in  the 
M-G-M  caj'e. 

•  •  • 

THE  feud  between  Cecil  de  Mille  and  Charles  Bickford 
evidently  hasn't  extended  into  a  family  affair,  for 
William  de  Mille  has  selected  the  virile  red-headed  boy  for 
the  lead  in  "The  Passion  Flower." 

Bickford  and  Cecil  de  Mille  reached  some  sort  of  heated 
misunderstanding  during  the  filming  of  "Dynamite"  that 
has  never  been  cleared  up.  The  story  goes  that  De  Mille 
made  a  characteristically  sarcastic  remark  about  Charlie's 
acting  ability  and,  in  place  of  cringing  (as  most  of  them 
do),  the  Bickford  fellow  came  right  back  with  some  equally 
sarcastic  reference  to  De  Mille's  directorial  talents. 

•  •  • 

I AM  still  engaged,"  confessed  Lily  Damita,  to  the 
Parisian  reporters  on  the  occasion  of  her  return  to 
her  native  city,  and  spoiled  it  all  by  adding:  "But  I  can- 
not tell  you  my  fiance's  name.  By  the  time  you  would 
have  published  the  news,  I  might  have  changed  it." 

•  •  • 

KAY  FRANCIS  "fishing"  quarters  out  of  her  fan  mail 
letters. 

M'G-M  cafe  waitress  on  her  way  to  Greta  Garbo' s  dressing- 


Fryer 


The  voice  with  the  grin  wins:  besides  being  young  Doug's 
young  stepfather,  Jack  Whiting  gets  a  kick  out  of  work- 
ing at  "Top  Speed"  and  other  things,  after  Broadway 


room  with  a  bottle  of  near-beer. 

John  Boles,  his  wife  and  four  friends  in  a  heavy  Blac 
Jack  game  at  Malibu. 

Janet  Gaynor  receiving  the  press  at  a  "make  up"  luncheo 
at  the  Fox  Studio. 

Maureen  O'Sullivan  and  John  Farrow  dining  at  ih 
Cocoanut  Grove — and  very  mutually  interested,  too. 

•  •  • 

GLORIA  and  the  Marquis  de  la  Falaise,  etc.,  havel 
reached  a  definite  parting  of  the  ways. 
Several  weeks  ago,  before  the  arrival  of  Hank  in  Holly- 
wood, Gloria  gave  out  an  interview  in  which  she  said  she 
hoped  her  titled  husband  would  not  want  a  divorce.  She 
said  she  was  perfectly  content  with  their  marital  relations, 
even  though  it  meant  that  Hank  lived  his  life  in  Paris, 
while  Hollywood  claimed  most  of  her  time. 

Evidently  this  long  distance  romance  did  not  appeal  so 
much  to  the  Marquis.  He  had  been  in  Hollywood  only  a 
day  when  both  he  and  Gloria  verified  reports  of  their 
separation. 

Hank's  first  official  call  in  the  film  city  was  on  Constance 
Bennett. 

*  •  • 

NOT  more  than  a  week  after  the  parting  of  Gloria  and 
Hank,  the  lady's  first  husband,  Wally  Beery,  con- 
firmed reports  of  divorce  proceedings  in  his  own  household. 
Wally,  stout  villain  of  the  screen,  merely  says  that  the 
present  Mrs.  Beery  is  "just  going  away."  No,  she  isn't 
coming  back.  That's  all,  thank  you. 


Having  won  his  spurs,  Robert  Montgomery  is  beginning 
to  look  more  and  more  like  a  fixture  on  the  West  Coast. 
He  has  just  lassoed  another  big  part  in  "War  Nurse" 


44 


HOLLYWOO 


D  Today 


Wally  and  Arita  Mary  Gillman  have  been  married  seven 
years.  They  met  when  'Rita  was  an  extra  girl  and  Beery 
was  King  in  Doug  Fairbanks's  "Robin  Hood."  She  is  one 
of  the  most  beautiful  blondes  in  Hollywood. 

•  •  • 

JEANETTE  LOFF  wearing  amber-colored  finger  nails  to 
match  an  amber  bracelet. 
Lupe  Felei,  suffering  from  a  nervous  headache^  crying 
softly  in  her  dressing-room. 

Joan  Crawford,  young  Doug  and  Lawrence  Tibbett 
lunching  together. 

Hedda  Hopper  being  offered  the  job  of  social  correspondent 
for  a  movie  booK  and  almost  taking  it. 

•  •  • 

BEBE  DANIELS'  best  girl-friend,  Marie  Mosquini,  is 
going  to  take  a  fling  at  the  talkies  in  "New  Moon," 
which  co-stars  Lawrence  Tibbett  and  Grace  Moore. 

Marie  is  all  excited  about  it — and  so  is  Bebe.  These  two 
became  fast  friends,  way  back  in  the  Hal  Roach  days  when 
Bebe  was  leading  lady  to  Harold  Lloyd  and  Marie  sup- 
ported Snub  Pollard. 

Since  Bebe's  marriage  to  Ben  Lyon,  Marie  has  been 
making  her  home  with  Bebe's  mother,  who  is  not  only  one 
of  the  most  popular  human  beings  in  Hollywood — but  the 
best  bridge  player. 

•  •  • 

LUPE  VELEZ  now  comes  out  in  print  and  says:  "Gary 
J  and  I  were  never  in  love — we  are  just  good  friends!" 


In  the  forc-frotind :  having  at  last  found  a  golf  course  juat 
her  tise,  Marjorie  White  ii  being  Tonuny  ClifTord't  age 
for  an  afternoon  and  oierciiing  her  voice 


Which  may  mean  one  of  several  things:  .  .  .  the  beginning 
of  the  end  of  their  romance  ...  a  temporary  quarrel.  .  .  or 
just  an  attempt  to  throw  off  the  reporters  who  insist  they 
are  married. 

Maybe  they  were  "  never  in  love,"  but  I  can  well  remem- 
ber when  Lupe  used  to  cry  "Garree,  I  lofF you"  at  the  top 
of  her  lungs  on  the  slightest  provocation. 

•  •  • 

CLARA  BOW  has  undergone  a  radical  change  in  her 
personal  wardrobe.  While  Clara's  clothes  have  al- 
ways been  vivid,  she  has  never  been  a  candidate  for  the 
title  of  "the  best-dressed  woman  in  Hollywood."  And  yet, 
in  her  last  couple  of  public  appearances,  Clara  has  looked 
very  smart,  and  incidentally,  prettier  than  she  has  in  years. 

One  of  Clara's  new  outfits  is  a  fawn-colored  Fall  suit 
with  which  she  wears  two  perfectly  matched  silver  fox  furs; 
an  Oxford-gray  hat  and  a  smart  envelope-bag.  Clara  cut 
a  dashing  figure  when  she  wore  this  outfit  to  the  studio. 
The  general  run  of  surprised  comment  was:  "Well,  for 
goodness  sake — " 

•  •  • 

AGAIN  Paramount  comes  to  the  fore  with  the  most 
XA.  dashing  bit  of  publicity  news  of  all.  To  quote: 

"A  princess  who  claims  descent  from  that  famous  siren 
of  history,  Cleopatra,  is  Hollywood's  latest  roval  visitor. 

"  It  is  no  visit  of  state  that  Princess  Athena  Piearibes  is 
making  in  the  film  city.   The  lure  of  talking  pictures 
brought  her.  Like  many  another  possessor  of  a  proud  title, 
{Continued  on  page  8g) 


Dyar 


No,  he  ii  not  paging  Lupe.  Nor  it  he  inviting  a  molar 
expedition.  After  a  hard  day'a  work  in  "Morocco,"  Oary 
Cooper's  vocal  organs  simply  need  a  good,  long  rest 


45 


With  dog  comedies  on  the  up  and  up,  M-G-M  now 
has  enough  canines  to  match  Anita  Page's  every 
mood.  When  it's  excitement  she  wants,  as  above, 
Big  Boy  is  all  set 


But  if  she  feels  a  flirtatious  pout  and  a  sirenish 
mood  coming  on,  only  little  limpid-eyed  Oscar, 
at  top  left,  is  a  match  for  her  in  side-longing  looks 
and  posing 


And  then  there  come  those  inevitable  moments 
when  Hollywood  is  as  boring  as  a  poor  movie,  and 
she  needs  a  sympathetic  pal  like  tired  and  true  old 
Brownie,  left 


Every  Mood 


When  a  girl  haa  been  franired  in  one  k<^m!  picture 
kfter  another,  and  ii  wnMully  waifint  !  ir  »t«r- 
dotn,  it  hrlpa  to  have  a  watchdof  like  Buater, 
above,  also  alert 


And  wlirn  she  ii  in  one  of  thoae  "love  me,  love  my 
dog"  m  "  ><!s  and  wants  to  i<x>k  downriKht  hard  to 
handle,  it  o  So«o,  top  r.^i^:,  that  growU  <nit  the 
dangr-r  I't^nali 


J 


m 


,  of  co»irte,  there  nrr  time*  when 
ta(-'M-s  are  diplomav.c,  and  brig^i' 

Sarif/v,  right,  n  y. 


y.  win- 
tle  lop- 

riend  that  -.s  (luick  to 


lie  fey  CUr^nca  S.  Bull 


Clara's  New  Beau 


By 

DOROTHY 
MANNERS 


UNLIKE  Harry  Rich- 
man,  there's  no  dan- 
ger  in  his  eyes, 
Cherie,  but  maybe 
Clara  doesn't  care.  On  the 
contrary,  his  eyes  are  quite 
blue  and  guileless  and  he  uses 
them  for  smiling. 

He  isn't  smarty,  or  sophis- 
ticated or  night-clubby.  Din- 
ner coats  make  him  mad  and 
just  average  coats  make  him 
uncomfortable.  For  the  sort 
of  social  life  he  covers  in  his 
daily  routine,  a  sweater  serves 
all  purposes  nicely. 

Three  or  four  years  ago  the 
Fox  Company  jerked  him  up  from 
cowboy-ing  in  Buck  Jones  unit  and 
starred  him  after  changing  his  name 
to  Rex  Bell.  He  does  not  look  like  a 
cowboy  and  so  his  pictures  of  wild 
West  life  were  not  particularly  suc- 
cessful. He  looks  like  a  typical  Holly- 
wood juvenile. 

His  hair  is  black,  though  it  used  to  be 
blond.  This  sudden  change  of  coloring 
threw  several  newspaper  reporters  into 
a  raft  of  subtle  and  sarcastic  comments. 
"He  dyed  it  to  please  Clara,"  quoth 
one  sister  with  a  giggle  up  her  sleeve. 
As  a  matter  of  fact,  he  dyed  it  because 
his  hair  was  so  sun-faded  it  registered  in 
streaks  for  the  camera.  The  dye  job  he 
considers  entirely  unsuccessful.  As  soon 
as  Nature  permits,  he  will  again  be  a 
blond — streaks  and  all.  "He's  dyed 
his  eyebrows  and  plucked  them,  too," 


Romance  has  always  beckoned  to 
Clara  Bow,  the  promising  protege 
of  Madame  ("The  It  Woman") 
Qlyn.  But  life  is  never  dull  for  a 
girl  who  has  one  pressing  (or  even 
depressing)  engagement  after  an- 
other. Her  first  beau  was  Gilbert 
Roland,  then  came  Gary  Cooper, 
followed  by  "Vic"  Fleming,  the 
director — and  the  one  and  only 
Harry  Richman.  The  latest  to  re- 
ceive Clara's  favors  is  Rex  Bell,  the 
former  cowboy  actor 


1 

Gilbert,  Gary, 
"Vic"  Fleming, 
Harry  -  -  And 
Now  Rex,  In 
The  Order  Named 


gleefully  reported  the  same 
lady  who  called  attention  to 
his  hair,  and  this,  too,  was  sup- 
posed to  be  in  honor  of  Clara. 
The  truth  is,  when  he  dyed  his 
hair,  he  got  the  dye  all  over  his 
face,  including  his  eyebrows, 
and  he  looked  so  "villainish" 
with  scowling  black  brows  that 
he  tried  to  rub  off  the  dye  with 
pumice  stone.  When  that 
wouldn't  work,  he  yanked  them 
out! 


H' 


She  Speaks  His  Language 

E'S  really  a  nice  kid,  eager 

 and  friendly  and  enthusiastic 

like  a  young  pup.  He  insists  he 
hasn't  had  much  education  and 
doesn't  always  speak  "proper  Eng- 
lish." That  is  one  reason  he  is  so 
attracted  to  Clara.  She  didn't  have 
much  education  to  start  with,  either, 
but  it's  "wonderful  how  she's  learned 
about — things."  She  never,  never  makes 
a  mistake  in  grammar.  And  she  helps 
Rex  with  his  own  little  difficulties,  too. 
Whenever  he  starts  a  sentence  with 
"It  don't"  or  some  other  phrase  that 
grates  on  Clara's  educated  ear,  she 
makes  him  go  back  and  start  all  over 
again. 

He's  been  hanging  around  Hollywood 
{Continued  on  page  gf) 


48 


EJtnmr  fryt 


At  a  pirate,  James  Rennie  cannot  be  kept  down.  After  all  those  year*  that 
he  wai  anchored  in  New  York,  it  teems  good  to  get  up  with  the  sea- gulls  to 
look  out  for  his  fortunes.  Right  now,  there's  a  ship  coming  in,  and,  being 
CmptMin  Blood,  he's  certain  it's  going  to  be  his 


49 


When  she  and  Universal  parted,  Laura  La  Plante  expressed  a  belief  that 
there  were  other  fish  in  the  sea.  And  if  appearances  aren't  deceiving,  she 
was  right.   Not  conscious  of  being  on  the  rocks,  she  is,  at  the  present 
moment,  in  a  position  to  land  a  number  of  things 


The  R^j/  of  Lady  Peel 


Beatrice  Lillie 
Gives  An  Interview 
Betw^een  Winks 

To 

HALE  HORTON 


docs 


ADY  PEEL,"  I  inquired,  polirely,  "just  how 
the  Lord  react  to  your  camera  sittings?" 

Having  seen  that  sad-faced  elhn-hke  creature, 
Beatrice  LiMie  in  a  "Chariot's  Revue,"  I  knew 
her  to  be  something  of  a  drollster,  and  subtle  as  the  wind. 
So  when  I  had  been  informed  by  the  etflcient  Fox  pub- 
licity force  that  she  might  be  found  in  her  dressing-room- 
bungalow,  I  had  legged  it  across  the  hot  lot  and  at  the 
moment  was  peering  eagerly  through  a  screen  door,  behind 
which  I  presumed  my  quarry  was  lurking. 

"Camera  sittings.'"  came  a  voice.  "Camera  sittings? 
I  rather  fancy  I  miss  your  meaning.  Furthermore,  I'm 
not  .Miss  Lillie,  but  rather  her  secretary,  .Miss  Walsh,  and 
Miss  Lillie's  husband  is  a  baronet,  and  not  a  Lord,  and 
at  present  Miss  Lillie  is  sleeping.  Won't  you  come  in.'" 

So  I  entered;  and  she  reluctantly  pushed  me  through 
another  door,  where  1  found  my  objective  stretched 
out  comfortably  on  a  couch.    With  one  eye,  she 
peered  at  me  gloomily.     Her  face  was  shaded 
with   sorrow;   and    I   couldn't    help  noticing 
that  she  appeared  to  advantage  in  green  pa- 
jamas.   However,  out  of  deference  to  her   

exhausted  condition,  I  postponed  my  ques-  ^■■■■■M 
tion  relative  to  the  aforementioned  sittings. 

"I  suppose,"  she  sighed,  "that  we  must  talk  about 
something.  It's  customary,  isn't  it,  Walshie?" 
"I  fear  that  such  is  the  custom." 

Suggesting  the  Impossible 

"'TPHEN"— and  Miss  Lillie  indicated  a  chandelier  com- 
J_  posed  of  pink  grape-vines,  intertwined  with  daFodils 
and  purple  roses — "let's  discuss  that." 

Obviously,  it  was  impossible.  I  told  her  so.  With  a 
shrug  she  went  back  to  sleep.  Miss  Walsh  went  into  a 
trance,  and  your  correspondent  took  advantage  of  the  re- 
sulting lull  by  mulling  over  a  few  facts  of  Miss  Lillie's  life. 

Recalling,  for  instance,  that  she  was  the  result  of  a 
union  in  Canada  between  an  Englishwoman  and  an  Irish- 
man—  and  she's  reallv  comparaf ivciv  voting,  her  birthday 
fiaving  fallen  on  .May,  the  nineteenth.  Even  at  so  tender 
an  age.  Miss  Lillie  has  done  rather  well,  as  she  actually 
broke  into  the  "writies."  not  so  long  ago,  with  an  article 
on  "Should  a  Husband  Eat  Breakfast  Alone?"  She,  her- 
self, however,  seldom  eats  breakfast,  with  the  exception  of 
a  pot  of  tea,  and  she  usually  takes  it  in  bed.  On  the  few 
or,  .(sions  when  she  has  felt  the  urge  for  an  early  morning 
r-  1  .ist,  she  is  reported  to  have  shown  a  decided  preference 


for  kippered  herring  and  cold  canned  tomatoes,  which  are 
as  good  reasons  as  any  for  abstinence. 

In  spite  of  later  success,  her  first  attempts  at  connect- 
ing with  the  stage  met  with  repeated  failure;  she  argues 
that  she  was  simply  "no  good."  Finally,  she  connived  an 
introduction  to  Chariot,  with  whom  she  obtained  an  audi- 
tion and  a  three-year  contract — and  it  differed  from  the 
typical  talkie  contract  in  that  it  contained  no  six-month- 
option  clause. 

Her  first  big  part  was  in  a  play  called  "Now's  the 
Time,"  aptly  titled  by  an  electrician,  one  presumes,  for 
the  lights  went  out  the  moment  her  number  commenced — 
and  stayed  out,  until  she  had  left  the  stage. 

The  Lyons'  Share 

AF  l  ER  a  few  more  plays,  she  came  to  Los  Angeles,  in 
vaudeville,  and  every  night  during  the  run,  Ben 
Lyon  and  his  Bebe  sat  in  the  front  row,  wearing  long, 
black  beards  at  which  they  would  stroke,  until  Miss  Lillie 
had  miraculously  finished  her  appearance.  No  doubt 
deeply  affected  by  this  hairy  reception,  she  trotted  back 
home  and  got  married. 

{(Continued  on  page  84) 

51 


He  Acts  Natural 


By 


GLADYS  HALL 


Which  Explains  Some 
Things  About 
Jack  Mulhall 


You  cannot  get  Freudian  about  Jack  Mulhall.  Ah  me, 
what  is  there  to  write  of  when  you  are  dealing  with  the 
sunny  simplicity  of  soul  of  an  Irish-American  from 
Wappingers  Falls,  N.  Y.  ?  How  can  you  go  on  and  on 
and  on  about  a  movie  actor  who  has  no  dim  and  dark  abysses 
into  which  the  peering  pen  can  pry  and  probe?  A  movie  actor 
who  has  no  complexes,  scandals,  skeletons  or  sins?  A  movie 
actor  who.  Heaven  help  the  hapless  scrivener,  is  crazy  about 
his  son,  his  wife,  his  home,  his  garden,  tennis,  golf,  swimming, 
travel,  work,  mankind.  'T'ain't  fair. 

Jack  has  no  bone  to  pick,  no  axe  to  grind.  Hollywood  has 
done  right  by  him.  Producers  are  good  fellows.  His  fellow 
actors — and  actresses — give  him  the  breaks.  Critics  are 
fair.  Aooow! 

Times  may  have  changed  for  some  folks.  They  haven't 
changed  for  Jack  Mulhall.  Or  rather,  he  hasn't  changed 
with  them.  He  rides  in  motors  and  airplanes.  He  talks 
with  the  talkies.  But  he  has  remained,  at  heart,  the  James 
Whitcomb  Rileyish  barefoot  boy  who  trudged  the  sunny, 
dusty  roads  of  Wappingers  Falls,  N.  Y. 

A  young  veteran.  A  ruddy-haired  candidate  for  the 
Grand  Old  Army  of  the  Reelpublic.  Seventeen  years  of 
movie  molehills  and  mountains  finds  Jack  still  in  the 
midst  of  us,  still  on  top,  talking  away  with  the  best  of 
the  Broadwayites  and  the  other  survivors  of  the  fittest. 

Only  One  Full-Grown  Dislike 

ACK  hasn't  been  downed.    He  is  never  dis- 
couraged.  He  believes  that  men  are  his  friends 
until  they  prove  to  be  the  contrary,  which 
they  don't.  He  believes  that  women  are 
more   saints  than  sinners,  and  if  they 
aren't,  he  doesn't  want  to  hear  about  it. 
He  has  a  lot  of  lusty  likes  and  few, 
if  any,  dark  dislikes.    The  only  one 
full-grown  enough  to  talk  about  is  his 
detestation  of  Little  Folkswith  Big  Heads. 
The  sort  who  are  touching  you  one  year 
and  lolling  about  in  their  RoUses  the  next 
year,  looking  very  distingue  or  what- 
have  you  and  saying  faintly,  "Aow, 
how  ju  du"? 
I    w      Jack  is  one  of  six  rampaging  Irish- 
1  American  Mulhalls.   From  Wap- 

1     \^        pincers  Falls,  N.  Y,    He  still 
believes  in  the  tenets  and  the 
toys  of  his  boyhood.  A  boy- 
hood   hymned    by  James 
Whitcomb  Riley.    A  boy- 
hood where  the  lads  hiked 
{Continued  on  page  86) 


BaohtMch 


52 


amera 


Hand  in  hand: 
Fred  Scott, 
who  first 
swung  high  in 
"The  Grand 
Parade,"  ii 
ftlad  to  meet 
•omeone  else 
who  is  famous 
after  one  pic- 
t  u  r  e — J  e  a  n 
Harlow  (be- 
low), only  a 
Chicago  soci- 
ety girl  before 
■  '  Hell's 
Angels" 

Bull 


Rich— 

Oone  are  the  long,  dark  shroud,  the 
scrawny  figure,  and  the  wi«ened  face. 
This  is  1930,  and  to  bewitch  anybody 
nowadays,  Clara  Bow  reveals  '  above  > , 
a  girl  has  to  have  something  besides 
black  cats 


Pleasure  bent:  even  as  genial  and 
successful  a  dog-trainer  as  Rennie 
Rcnfro  (below)  has  to  be  sat  on  every 
so  often,  what  with  the  way  he  works 
them  to  supply  demand  for  M-O-M's 
canine  comedies 

BJtrrIni 


I 

\ 


Dymr 

She  has  a  good  time  all  the  time: 
when  she  isn't  confounding  inter- 
viewers with  spelling  tests,  Mitzi 
Green  above)  is  looking  for  more 
conquests  in  apple  tubs  and  Tom 
(Jackie  Coogan)  Sawyer 


"It's  beastly  hot,"  pants  Oh  (that's 
his  name).  Sue  Carol's  favorite  sitting 
bull  (all  movie  dogs  talk,  you  know), 
but  Sue  is  keeping  cool,  even  if  she  is 
Amot  'n'  Andy'*  leading  lady 

Htndriokton 


S3 


CINEMA  SHOTS 


FROM  COAST 


1 

T 


Up  on  the  carpet: 
usherettes  in  the 
Fox  Carthay  Circle 
Theater  in  Los 
Angeles  are  kept  off 
their  feet  for  a  half- 
hour  each  day  by 
this  sort  of  thing 
(left).  All  of  which 
only  proves  that  if 
you  work  in  a 
movie,  you  work 


Wenger 


Two  little 
hips  and  a 
big  hooray 
— and  they 
are  the  least 
you  can  give 
to  see  Bar- 
b  a  r  a  Lee 
(left)  in 
"  Whoopee," 
the  wow 
musical 
comedy. 
And  she  is 
only  one  of 
Mr.  Ziegfeld's 
gifts  to  Hol- 
lywood 


llfMli 


A  slight  oversight: 
Aunt  (Clara  Blan- 
dick)  Polly  over- 
looks her  specs 
(above)  to  find 
Tom  and  Huck 
Finn,  to  the 
amusement  of 
Jackie  Coogan  and 
Junior  Durkin,  who 
are  America's  best- 
known  boy  friends 
in  the  talkie  version 
of  "Tom  Sawyer" 


Most  of  them  build 
swimming  pools, 
but  newcomer 
Claire  Luce  (above) 
preferred  a  fish 
pond.  Then,  no  one 
could  possibly  call 
her  a  bathing  beau- 
ty, and  she  would 
keep  out  of  deep 
water 


Not-so-heavy 
thinker:  the  first 
talented  German  to 
enter  American 
talkies,  Marlene 
Dietrich  (left)  is, 
figuratively  speak- 
ing, wondering  how 
she  can  be  in  both 
Hollywood  and 
"  Morocco  " 

Richee 


English 

You  know  how  salt  acts  on  cucumbers? 
Well,  offstage,  cool-as-a-cucumber  Charlie 
Ruggles  (above)  is  taking  no  chances  on  get- 
ting pickled.  It's  under  the  water,  not  the 
weather,  for  him 


54 


:OAST  AND  BACK  TO  COAST  AGAIN 


Families  will  be 
families  (right):  on 
one  of  those  Sunday 
afternoons  they  al- 
ways spend  to- 
gether, this  is  how 
they  looked  to  a 
snapshot  fiend: 
(front  rowj  Robert 
Armstrong,  Mrs. 
Gleason  and  son 
Russell;  'back  row"i 
Mrs.  Armstrong 
and  James  Gleason 


As  the  movie  pro- 
ducers say,  there  ii 
more  than  one  way  to 
get  around  a  runt 
golf  course:  and  little 
Dorothy  De  Borba, 
new  addition  to  Our 
Gang  (above),  is  in  a 
position  to  show  you 
how,  Chubby  being 
able  to  stand  a  little 
more  weight 


There  are 
more  ways 
than  one  to 
avoid  get- 
ting cold 
shoulders 
in  Holly- 
wood: and 
Albertina 
Vitak,  solo- 
ist dancer 
(right  I,  re- 
veals how 
warm  she  is 
in  the  snow 
number 
of  "  The 
March  of 
Time" 


Imwmiian  Nmwt  Burmmu 

Surf  bathing  in  Hawaii:  Harold  Lloyd,  out  to 
show  his  company  a  good  time  between  scenes 
of  "Feet  First,"  gives  them  a  taste  of  the  sea 
and  how  Hawaiians  go  places  and  do  things 


Jazsbohemian : 
having  played 
in  enough  suc- 
cesses to  be  able 
to  afford  a  play- 
house all  her 
own  at  Malibu 
Beach,  Raquel 
Torres  (above) 
defies  anyone  to 
teach  her  how 
to  get  the  blues 


Just  to  prove 
what  bally,  silly 
things  hats  are, 
anyway  (Holly- 
wood doesn't 
wear  themi, 
William  Janney 
gets  under 
Claude  Allister's 
tall  English  top- 
per (right  I,  and 
Claude  goes 
collegiate 


55 


V  "VILLAIN"  Smiles- 


But    Paul  Lukas 
Does     Not  Like 
To    Do  It 

By    GLADYS  HALL 


H 


A  TRAIN  pulled  into  the  Hungarian  capital 
f\    Budapest.  A  bell  rang.  A  whistle  blew.  Passenge 
dismounted.  A  child  was  born. 
JL   The  child  was  Paul  Lukas. 

The  date,  May  26.  The  year  he  should  tell!  Arer 

" villains "  ageless.^ 

He  remains  an  only  child. 
He  has  no  living  relatives.  Only  in-laws. 
When  he  began  his  career  in  the  theaters,  he  change 
his  name  to  Paul  Lukas.  He  doesn't  tell  his  real  one. 

He  has  been  called  "The  Hungarian  Lew  Cody." 
has  also  been  called  "The  Hungarian  John  Barrymore.| 
Because  he  has  played  roles  similar  to  the  latter.  Becaus 
he  somehow  suggests  the  former. 

He  resents  both  "compliments."    Feels  that  Mes8r^ 
Cody  and  Barrymore  doubtless  resent  them  also. 

He  wishes  to  be  Paul  Lukas,  himself,  or  no  one  at  all| 
He  is  militantly  individualistic.  Probably  an  egotist. 
He  doesn't  believe  in  "second  Valentinos"  or  "thir<| 
Mary  Pickfords." 

Labels,  tags,  stereotypes  and  formulas  are  taboo. 
He  is  six  feet  one  and  one-half  inches  tallH 
Weighs  one  hundred  and  eighty-five  pounc 
stripped.  Has  curious  hazel  eyes.  Brown  hair| 
receding.  A  generous,  predatory  nose.  A  sophis- 
ticated, adult  mouth. 

Hardly  Practical 

E  flew  to  the  interview.  That  is,  flew  to  the! 

 nearest  alighting  place.  Arrived  breathless, 

clad  in  a  wind-breaker  and  knickers.  Dropped  to 
one  knee  and  kissed  the  hand.  Which  (the  knee- 
dropping)  goes  the  Lebedeff^s,  the  Asthers  and  the 
Schildkrauts  one  or  two  better. 
He  believes  that  American  men  are  too  practical. 
Too  generous  with  money  and  too  grudging  with' 
romance.  They  haven't  enough  time  to  drop  on  knees' 
and  kiss  hands.  A  pity.   Beautiful  women  do  not  like' 
practical  men — until  they  have  experienced  impractical 
men,  and  then  it  is  usually  too  late  for  them  to  be  choosey. 
Plain  women  like  practical  men  even  less. 

When  in  school,  he  was  the  head  of  all  dramatic  clubs, 
amateur  theatricals  and  sing-songs,  if  they  have  such 
things  in  Hungary.   He  thought  himself  pretty  good. 
So  did  his  admiring  fellow  Thespians.  He  still  does. 
They  still  do. 
American  film  actors  and  Hungarian  stage  stars 
are  responsible  for  his  being  in  our  midst.  He  saw 
the  work  of  both  and  knew  that  it  was  his  work. 

He  prefers  the  stage,  but  asked  me  not  to 
mention  it. 

His  father  had  a  big  advertising  business.  He 
naturally  wanted  his  only  son  to  join  him.  His 
only  son  tried  it  and  stuck  for  a  month.  Was 
ineffably  bored,  pleasantly  regretful,  and  de- 
parted. This  was  after  he  had  risked  his  life  for 
his  country.  He  felt  that  he  had  earned  his 
freedom. 

His  Front  Lines 

HE  was  in  the  War  and  did  his  best  acting  in 
the  trenches  and  thereabouts.    Served  a 
goodish  time  and  had  enough  of  it.  Didn't  want 
to  die.  Too  much  to  do.  Too  much  to  be  alive 
for.    Was  "taken"  with  shakings  and  tremb- 
{Continued  on  page  J 01) 


56 


A  "VILLAIN"  Laughs  — 


IEW  CODY  ... 
With,  I  should  say,  less  to  smile  about. 
Lew  has  been  generous  with  Life.  He  has  poured 
^  generous  libations  of  heart  and  purse,  of  friendship 
ind  love.  Life  has  been  generous  with  Lew.  Money  and 
ame  and  friendship  and  the  fleshpots.  In  all,  I  shouldn't 
vonder,  but  the  essentials.  Those  simple,  homely  things 
hat  remain  with  a  man  for  his  comforting  when  the 
leshpots  have  lost  their  savor. 

Lew  has  given  Life  some  tough  pummelings.  Life  has 
TCtaliated  in  kind. 

The  last  bout,  it  looked  as  if  Life  would  come  off  a 
smirking  victor.  Death  so  near  to  him.  Illness.  The  end 
of  a  contract.  The  need  of  Beginning  Again  after  traveling 
a  long. and  arduous  road.  From  the  days  when  matinee 
girls  in  White  Plains  hugged  a  debonair  photograph  to 
their  palpitant  bosoms  and  murmured  "Lew  .  .  ." 
to  the  days  of  Aileen  Pringle-Lew  Cody  comedies, 
when  the  daughters  of  those  same  palpitant  bosoms  y| 
likewise  murmured  "Lew  .  .  .  .' 

Lew  has  busted  back  at  Life  and,  at  this  writing 
the  odds  arc  even,  with  Lew  a  bit  to  the  fore. 

Laughter  That  Hurts 

LEW  sits  in  his  patio  in  his  own  backyard.  He 
^  wears  a  silk  kimono  and  an  African  sun 
helmet. 

The  patio  is  carpeted  with  beach  sand.  Back 
of  it  there  is  a  pool.  Over  the  pool  and  to  the  rear 
is  a  sign.  It  reads,  "Ye  Comfort  Station." 

On  either  side  of  Lew  is  draped  a  beauteous 
damsel  or  so.  Aged  nineteen.  He  calls  them  "old 
hags."   And  laughs.  The  laughter  is  impersonal 
enough  to  hurt. 

Lew  is  going  through  all  tricks  that  have  lost  their 
savor.  He  is  amused.  He  is  no  longer  bemused. 

Probably  James  is  the  only  human  being  who  means 
very  much  to  Lew  at  the  present.    The  one  who  is 
close  and  familiar  and  necessary.    James  is  the  negro 
man  Lew  has  had  for  years.    And  James  refers  to  Lew 
and  himself  as  "We."    He  says,  "We  are  going  to  have 
our  pictures  made  .  .  .    We  have  been  sick,  but  we're 
better  now  .  .  .   We  don't  want  a  day  off  .  .  .    We  go 
down  to  Central  Avenue  and  gets  into  trouble.    That  is 
no  place  for  us.  Here  is  where  we  belong." 

The  only  time  James  uses  the  first  person  singular  is 
when  he  refers  to  "My  car." 

The  Unwelcome  Guest 

IF  AN  envious  guest  suggests  to  James  that  there  might 
be  more  money  and  more  leisure  elsewhere,  James 
says,  "We  will  have  to  talk  that  over,  suh,"  thus  pan- 
icking the  disloyal  guest,  who  incidentally,  is  a 
guest  in  one  house  no  longer. 

Lew  commands  loyalty.  Or  he  doesn't  command 
it.  He  just  plain  gets  it.  Deserved  or  not,  there  it 
is,  unwavering,  long-lived  and  wholly  unequivocal. 

"We"  play  tricks.  Lew  and  James  sit  in  the  sun 
and  spin  tricks  to  trap  the  unwary  guest. 

The  radio  plays.  There  is  a  pause  for  a  station 
announcement.  The  announcer  says,  "If  anyone 
knows  the  whereabouts  of  Gladys  Hall,  last  seen 
driving  toward  Beverly  Hills,  will  they  kindly 
report  to  headquarters.'" 

This  is  usually  good  for  a  slight  fainting  fit  or  a 

{Continued  on  page  joo)  — 


And    Lew  Cody- 
Laughs    Till  It 
Hurts 

By    GLADYS  HALL 


57 


Meet 

THE 

Killer 


Edward   G.    Robinson   Is   Hunted  Down 
And   All   But  Fingerprinted 


By     ALLEN     ER WIN 


BANG!  Bang!  A  fancy  little  gat  responds  to 
Edward  G.  Robinson's  trigger  fing^pr. 
(  The  rival  gangster  gasps,  clutches  his  side 
where  the  bullets  are  supposed  to  take 
eflfect,  writhes  a  bit,  and  falls  in  the  heap  he  has 
rehearsed  twenty  times.  Something's  got  to  be 
done  about  that  fall;  it's  still  far  from  perfect. 

The   juvenile's   eyes   pop   convincingly,  but 
noiselessly.  He's  hiding  behind  the  curtain,  and 
you  can  just  bet  he's  seen  everything.  He'll 
make  a  mental  note  of  all  this 
Then,  when  Edward  G.  decides 
to  give  him  the  works,  he'll 
remember  the  advice  of  Miss 
Stufflebean,  his  dear  old 
Sunday  School  teacher,  get 
smitten  with  noble  inten- 
tions, vow  to  travel  the 
straight  and  narrow,  and 
be  properly  relieved  when 
his  moll  arrives  with  the 
dicks,  right  when  Mr. 
Robinson  is  all  ready  to 
take  him  for  a  ride. 

Foiled  again!  But 
Edward  G.  doesn't 
give  a  hang.  He  just 
doesn't  seem  ever  to 
learn  his  lesson.  He 
simply  packs  up  his 
greasepaint,  brushes 
his  pearl-gray  spats, 
sends     the  foppish 
striped  suit  with  the  yel- 
low waistcoat  to  the  dry  clean- 
ers, and  moves  to  another  stu 
dio,  to  do  his  dirty  work  all 
over  again.    Being  depraved 
is  paying  awfully  well  this 
season. 


It  Pays  to  Be  Bad 

ROBINSON'S  success  in 
the  portrayal  of  gang- 
sters will  probably  make  him 
the  successor  of  Eric  von 
Stroheim  as  the  man  you 
love  to  hate.  He  has  worn  a 
groove  in  his  trigger  finger 


When  he  expresses  himself  as  Little 
forget  that  he  wouldn't  know  a 


Caesar  (as  at  top),  youll 
gangster  if  he  saw  one 


and  his  income-tax  report  has  becomt 
something  for  experts  to  worry  over 

With  only  six  pictures  completed,  hi 
salary  is  already  substantially  more  than 
that  of  most  of  the  handsome  youths' 
whose  spines  shiver,  cinematically,  oi 
course,  when  he  is  perpetrating  one  of 
his  expert  treacheries. 

The  handsome  youths  receive  hun- 
dreds of  letters  from  loyal  fans.  Letters 
which  have  long  since  ceased  to  give 
them  any  pleasure;  mash  notes  from  ador- 
ing high-school  girls;  timid  compliments 
from  married  women  in  the  outlying 
districts,  which  thinly  conceal  the  fact 
the  present  husband  hasn't  quite 
fulfilled  the  qualifications  of  ro- 
mantic idealism. 

Robinson's  letters  from 
screen  fans  can  be  counted 
upon  his  fingers.  Yet  no 
actor  in  Hollywood  can 
derive  more  enjoyment 
from  fan  letters. 

He  would  like  to  receive 
mash    notes    and  hear 
women  say,  "There  goes 
Edward    G.  Robinson 
Isn't    he  handsome.''" 
He'd  simply  eat  it  up  and 
work  like  the  devil  to  live 
up  to  the  part.  This  mat 
inee-idol  complex,  with  a 
face  the  Fates  meant  for 
leers,  is  his  major  incongruity 
He  thinks  he's  a  very  com- 
plex person,  but  his  other  in- 
congruities exist  mostly  in  his 
imagination. 

Not  At  All  Bashful 

HE  is  frankly  egotistical. 
Extremely  proud  of  his 
accomplishments  during  six- 
teen years  spent  on  the  stage, 
he  knows  he's  good  and  he 
likes  to  hear  people  say  it. 

He  doesn't  just  want  pub- 
licity; he  craves  it.  Craves 
it  so  much  that,  shortly  after 
his  arrival  in  Hollywood  he 
(Continued  on  page  g6) 


Fryr 


58 


i 


Laurence  Reid 
Reviews 
The  New 
Photoplays 


Confetti  Time  in  N 'Orleans 
IXIANA"  has  its  good  points.  And  some  nicJ 

  curves,  too.    The  latter  are  contributed  bj 

Mrs.  Ben  Lyon — Bebe  Daniels  to  you.  The  former  inl 
elude  some  colorful  ensembles,  a  handsome  production! 
a  few  pleasing  songs,  the  presence  of  those  "cuckoos,*! 
Bert  Wheeler  and  Robert  Woolsey,  a  show-stopping 
interpolation  by  the  tap-dancing  Bill  Robinson,  and  _ 
hip-hip-hurrah  performance  by  Ralph  Harolde,  one  olj 
the  most  up-'n'-coming  menaces  in  movieland. 

The  film  is  obviously  designed  to  follow  in  the  foot-^ 
steps  of  "  Rio  Rita."  But  it  fails  to  attain  the  excellence 
of  that  picture.  And,  moreover,  it  is  a  year  later.! 

Bebe  is  cast  as  a  song-and-dance  girl  in  a  Louisiana^ 
carnival.  Love  comes.  And  also  conflict.  Thenj 
finally  there  is  a  spectacular  sequence  in  the  colorful( 
New  Orleans  gambling  resort  of  the  villain,  lots  of 
Mardi  Gras  stuflF,  a  duel  and  a  final  clinch. 

Another  Cameo  for  Arliss 
T'YT'HEN  it  comes  to  exquisite  character 
Vy  etchings,  Mr.  George  Arliss  is  undoubt- 
edly the  finest  artist  yet  to  give  his  talents  to  the 
screen.  In  "Old  English"  this  first  gentleman 
of  the  cinema  bestows  upon  his  ever-mcreasing 
public  another  boon  in  his  conception  of  the 
doughty  ageling  whom  he  created  in  the  theater. 

"Old  English,"  be  it  known,  is  the  nickname 
of  a  British  octogenarian  who  has  known  his 
wild  oats  during  the  reign  preceding  that  of  the 
dear  late  Queen.  Yes,  he  has  had  his  moments. 
And  as  a  result  is  equipped  with  a  fine  set  of 
grandchildren  whose  'scutcheons  are  crossed 
with  the  bar  sinister.  The  film  deals  with  his 
guileful  plan  to  provide  for  these  illegitimate 
darlings  before  departing  this  world  on  the  final 
great  adventure.  There  is  a  villain  in  the  piece. 

The  tale  is  somewhat  outmoded  if  judged  by 
current  cinema  standards.  There  is  a  dearth  of 
action,  and  just  the  suggestion  of  the  usual  ''young 
love  interest."  Betty  Lawford  and  the  young 
woman  who  is  socharming  as  the  Irish  maid 
stamp  themselves  with  the  hall-mark  of  talent. 

The  Great  American  Film 
"PTS  producers  call  it  "the  most  important  picture  in 
fifteen  years."  But  the  mighty  film  drama,  "Abra- 
fiam  Lincoln,"  is  more  than  this.  It  is  the  outstanding 
contribution  of  the  cinema  to  the  great  collection  of 
Americana  preserved  by  camera  and  celluloid  for  future 
generations.  And  it  is  the  magnum  opus  of  the  "Old 
Master,"  David  Wark  Griffith. 

There  is  inspiration  in  every  chapter  of  the  film  story 
which  traces  "The  Emancipator"  from  the  lowly  cabin 
of  his  birth  to  the  high  places  of  world  fame  and  univer- 
sal recognition.  In  telhng  his  tale,  Griffith  has  stressed 
the  humanity  of  his  hero.  His  theme  is  Lincoln,  the 
Man — rather  than  Lincoln,  the  Legend. 

It  is  perfectly  cast,  with  Walter  Huston  making 
himself  immortal  in  the  title  rfile,  and  Una  Merkel,  as 
the  tragic  Ann  Rutledge  whom  Lincoln  loved  and  lost. 


60 


C rl  //  c 


THIS  MONTH 

DixiANA  Abraham  Lincoln 
Old  English  Monte  Carlo 
Romance     Animal  Crackers 


Garbo  at  Her  Best 

IT  is  probable  that  her  latest — and  greatest — photo- 
play, "Romance,"  marks  the  zenith  of  Greta 
GarDo's  glamourous  career.  For  it  is  impossible  to 
imagine  a  finer  portrayal  than  that  offered  by  the 
•White  Fla  me."  So  if  you  want  Garbo  at  her  best 
—seek  and  see  "Romance." 

The  film  is  an  almost  literal  transcription  of  the  play 
which  brought  a  decade  of  fame  to  Doris  Keane. 
Greta  is  that  turbulent-souled  singer,  Rita  Cavallini, 
who  finally  yields  her  heart  to  a  youthful  cleric. 

Garbo  plumbs  new  dramatic  depths.  She  adds  new 
charm  to  her  attractions,  and  is  very  much  the  star  of 
the  production.  But  the  very  sure  support  of  Lewis 
Stone  adds  to  the  excellence  of  the  lavishly  mounted 
production.  The  selection  of  Gavin  Gordon  as  the 
priestly  lover  is  less  fortunate,  but  the  shadow  of  the 
'great  Uarbo  softens  the  glare  of  his  defects. 


Triumph  for  Director  and  Cast 

AFTER  all's  said  and  done,  "  Monte  Carlo," 
Ernst  Lubitsch's  latest,  is  a  musical 
comedy.  It  is  something  of  a  triumph  for  the 
director,  for  his  light,  skilful  touch  is  apparent 
in  every  sequence.  But  the  picture  itself  lacks 
the  broad  appeal  which  has  distinguished  his 
most  popular  efforts.  Now  and  then  the  pro- 
duction fairly  sparkles.  But  there  are  frequent 
intervals  of  darkness  between  the  lightning 
flashes. 

The  plot  is  one  of  those  things  about  a  dash- 
ing nobleman,  wealthy,  of  course,  who  disguises 
himself  as  a  hair-dresser  in  order  to  gain  access 
to  the  affections  and  the  boudoir  of  the  beauti- 
ful, haughty  and  impecunious  Countess.  The 
itory  provides  the  leading  players  with  oppor- 
tunities for  several  songs — solos  and  duets. 
And  the  casting  of  lack  Buchanan,  the  London- 
New  York  stage  favorite,  and  Jeanette  Mac- 
Donald,  in  the  leading  roles,  assures  tuneful 
vocalizmg,  and  a  certain  grace  and  eracious- 
ness  that  must  be  listed  among  the  chief 
charms  of  the  production. 


Lunatics  at  Large 

§OME  of  the  funniest  fumadiddles  of  filmdom  are 
)  presented  by  those  hilarious  hoodlums,  the  Four 
arx  Brothers,  in  their  new  mirth-movie,  "Animal 
Crackers."  There's  no  more  sense  to  the  talkie  than 
there  it  to  its  title.  But  if  you  want  to  laugh  until  the 
tears  wash  the  blues  away,  this  one  is  just  what  the 
doctor  ordered. 

The  plot  of  the  piece  is  lost  somewhere  in  the  shuffle. 
Or,  more  probably,  Groucho.  Harpo,  Zeppo  and  Chico 
sneaked  up  on  it  in  some  darlc  corner  of  the  studio,  and 
tossed  it  bodily  out  the  window.  In  any  event,  it  is  lost, 
strayed  or  stolen.  And  no  reward  offered.  The  brothers 
work  singly  and  in  bunches  to  bring  you  a  conglomera- 
tion of  gorgeous  nonsense.  And  if  you  fail  to  giggle  with 
glee  at  their  antics,  better  have  the  funny-bone  ex- 
amined immediately. 


61 


Joan  Crawford 


discovers  new  silverware 
treasures  in  "PIECES  of  8" 

TRADE  MAIIK  REGISTCRCO 

The  Viande  Knives  and  Forks  and 
companion  pieces  for  her  table. 

That  very  modern  young  lady,  Joan 
Crawford,  appears  in  the  role  of  that 
dashing  pirate  girl,  Johanna  Silver, 
the  symbol  of  1847  Rogers  Bros. 
famous  "  Pieces  of  8." 

For  Joan  .  .  .  like  thousands  and 
thousands  of  other  modern  young 
women,  has  discovered  the  new 
Viande  pieces  for  her  table.  The 
silverware  treasure  of  this  modern 
age.  Knives  with  long  handles  and 
short  blades.  Forks  with  long  handles 
and  short  tines.  And  the  companion 
pieces  .  ,  .  salad  forks,  salad  knives, 
butter  spreaders  and  dessert  forks. 

And,  of  course,  her  silver  is  in 
"Pieces  of  8."  Eights  of  the 
essentials  .  .  .  dinner  knives  and 
dinner  forks,  8  tea  spoons,  8  dessert 
spoons  .  .  .  and  a  sugar  spoon  and  a 
butter  knife.  And  the  most  delight- 
ful of  all  .  .  .  this  gorgeous  array  of 
America's  oldest  and  finest  silver- 
plate  in  the  newest  Viande  shapes 
and  forms  .  .  .  costs  but  349.50. 


Viande  Knives,  Sixes,  ?1 5.00 . . .  Eights,  ?20.00 
Viande  Forks,  Sixes,  J58.25.  Eights,  311.00. 
3  Piece  Tea  Set  340.00  .  .  .  Tray  320.00. 
Silhouette  pattern. 

The  Viande  Knife,  U.  S.  Patent  Applied  For. 
Canadian  Registration  Granted  Feb.  11, 1930. 


1847  ROGERS  BROS. 


*    I     I  V 


a  ( ^rodiicl  of  Ihe  ^nltrna/ional  <zfili^r  C  owfxtriiji^ 

Write  International  Silver  Company,  Factory  E,  Meriden,  Connecticut, 
for  booklet  Y-57,  "What  the  well-dressed  table  will  wear  in  silverware." 

62 


Joan  Crawford,  starring  in  t 
Metro-Goldwyn-Mayer  pictur 
"Our  Blushing  Brides." 


LATE 


ihey're  in  the  Barkies  Now 


It's  Time  To  Wish  You 
Could    Lead    A    Dog's  Life 


nee. 


^B^!^^^^k  /  I  "^HERE  has  been  much  ado 
^^^■^^^^         I         the  or 

^^^H^^^^^B  I  about  new  players.  Actors 
^^^^^^^■^^H  hitherto  unknown  on  the 

\  fl^^^^^^^^H  screen  have  startled  us  by  arising 
W^^^Hp^Hp      to  abrupt  prominence  in  talking 

ijr    ^^^^^^^  pictures. 

W^m^^^^A)^^  Metro-Goldwyn- 
^^^^^^^■■^^^^      Mayer  has  signed  a  whole  new 
JIGGS  stock  company  of  some  forty  or 

more  promising  players — all  at 
It  is  a  novel  arrangement  all  around.  The  young 
ctors  live  all  together  on  an  elaborate  country  place 
ut  in  the  San  Fernando  Valley. 
They  are  carefully  watched.    Their  diets  are 
•rescribed  for  them  individually,  by  experts, 
hey  are  kept  in  excellent  physical  trim  and 
ley  have  rehearsals  of  one  sort  or  another 
very  day  of  their  lives,  whether  they  are 
ctually  at  work  on  a  picture  or  not 

No  gay  night-life  in  Hollywood 
or  them.  No  parties  or  cocktails 

rich  food  at  the  Cocoanut 
jrove.    They  go  to  bed  at 
undown  and  take  regular 
rxercise   and   study  their 
oles.  They  live  for  their  Art 

Sounds  like  a  dog's  life, 
oesn't  it.'   But  they  do  not  ap 
)ear  to  mind.  After  all,  you  know, 
f  one  is  an  Artist — and  if  one's  rations 
ire  of  the  best  and  if  one's  directors  know 

I  those  sensitive  little  spots  back  of  one's 
?ars  where  one  likes  to  be  scratched — well, 

one  can  put  up  with  some  re- 
strictions.   A  bone  and  a  ball 
and  a  soft  bed.   Reward  enough 
for  a  good   little  dog,  any  day 

They  Know  Their  Movies 
OT  all  of  these  players  are  new- 


By  HELEN  LOUISE  WALKER 


JIGGS'S  SON 
most  inappropriately,  as 


oped  unmistakable  jowls.  So 
he  is  relegated  to  "character 
roles"  and  must  leave  the  ro- 
mantic parts  to  his  promising 
son ! 

I  hesitate  a  little  bit  to  reveal 
that   the   lovely,  languishing, 
blonde  lady — the  Greta  Garbo 
of  the  "barkies" — who  will 
play  Greta's  role  in  the  forth- 
coming canine  version  of 

"Anna  Christie" — is  known,     

Oscar.    Sometimes,  Oscar  dons  male  attire  and  por- 
trays a  young  man.  It  all  depends  upon  the  require- 
ments of  the  story.   And  all  the  artists  are  very 
nice,  indeed,  about  doing  whatever  they  are 
asked  to  do. 

Jiggs,  \n  particular,  is  an  old  hand  at  the 
business.  And  I  am  sure  you  never  saw 
so  versatile  an  actor  in  your  life.  He 
plays  old  men  or  young  flappers  with 
equal  verve  and  enthusiasm — his 
portrayal  depending  largely  up- 
on what  sort  of  costume  they 
give  him.   And,  of  course, 
what  sort  of  voice. 

Four  Legged  Humans 

FOR  the  present  series  of  pic- 
tures is  an  innovation.  Jiggs 
and  Buster  and  Oscar  never  were  per- 
mitted to  talk  before.  Their  articulation 
was  restricted  to  well-timed  "woofs"  and 
nicely  modulated   "grrrrs!"    Now,  if  you 
please,  they  have  human  be- 
ings to  talk  for  them — as  well 
as  to  sew  and  cook  and  valet. 
They  have  voices  and  costumes 
and   characterizations   to  consider. 
They  have  become  people. 

And  do  they  like  it.'   Well — yes  and 
They  love  their  Work,  of  course. 


WHIPPET 


N  comers  to  the  screen.  Jiggs  iuA  no 
Buster  and  several  of  the  others  have  But,  naturally,  it  is  a  little  hard  to  share 
had  valuable  screen  credit  for  years,  the  spotlight  after  one  has  been  the  real 
They  even  enjoy  voluminous  fan  star  of  all  one's  pictures.  They  are  nearly 
mail.  .And  must  needs  send  out  a  as  apprehensive  about  finding  their  voices 
great  many  photographs  to  admirers  on  the  screen  as  some  of  our  silent  pic- 
1  over  the  world.  ture  human  actors  were. 

5ujMf— that   tall,   lean,   aquiline        Their  two  directors.  Jules  White  and 
leading  man— comes  from  a     Zion  Myers,  tell  me  that  they  have 
long  line  of  stage  people,     had  a  deal  of  ionayiff^- artistic  tempera- 
His  father  was  once  a  male     ment   to   cope   with   in   their  work 
star.    And   famous,   too.     But     with  the  four-footed  geniuses.  The  old 
now,  Bustrr   senior,  is  th^  m-h.      troupers   in   the  company 

tting  a  little  gray  and        OrcLlcr  of  the        "ever  had  to  work  with  other 
grizzled   and   has  devel-  B«rki«  (Continued  on  page  Sj) 


BUSTER 


63 


"Could  you  possibly  use  my  head?  "  is  all  that  a  star  asks  of  her 
friends  nowadays.  Then,  like  Lilyan  Tashman  (above),  she  has 
Roy  Radabaugh  make  much  of  her.  At  right,  above,  he  holds  his 
view  of  Katherine  Cornell,  and,  from  top  to  bottom,  you  see 
what  he  has  done  for  Miss  Cornell,  Beatrice  Lillie,  Ilka  Chase, 
Lilyan  Tashman  and  Patsy  Ruth  Miller.  The  artist,  himself 
— under  the  name  of  Richard  Cromwell — is  being  given  to  the 
talkies  in  the  title  rdle  of  "Tol'able  David" 


Pottt»it»  by  RuuaU  Bmlt 


She  Longed  To  Be  Liked 


By 

ELISABETH 
GOLDBECK 


ROSE   HOBART  used  to 
have  a  frightful  inferi- 
ority   complex  about 
^  her  mind. 
This  may  seem  fantastic  to 
nyonc  who  has  talked  with  her 
ince  she  came  to  Hollywood, 
^ftcr  a  great  success  in  "Death 
fakes  A  Holiday"  in  New  York, 
lose  came  West  to  play  the  re- 
iiellious  Janet  Gaynor's  part  in 
;'Liliom.  '   And  in  the  studios, 
'vithout  exception,  people  have 
ound  her  one  of  the  most  self- 
iiisertive  and  confident  young 
^vomcn  that  ever  came  to  town. 

But  it's  true  that  up  to  a  year 
igo  Rose  thought  she  was  dumb, 
jhe  believed  her  opinion  was 
Ifforthless,  that  almost  anyone 
icnew  more  than  she  did.  She 
vas  afraid  to  speak  up  in  any 
inpany.  too  timid  and  self- 
Jisparaging  to  express  an  idea  on 
ny  subject. 
Then  she  went  to  a  psycho- 
nalyst — and  he,  so  to  speak, 
ave  her  back  her  mind.  Realiz- 
at  last  that  it's  a  pretty  ca- 


B  u  t  Now 
Rose  Hobart 
Is  Wiser 


Ro«€  Hobart,  who  came  from  the  New 
York  stage  to  play  oppoaite  Charles 
Farrell  in  "Liliom"  <a«  below,  replacing 
the  absent  Janet  Qaynor,  would  like  to 
return  to  New  York.  Her  reason:  she 
wants  to  act 


aole  one,  as  minds  go,  she's  like 
child  who  has  just  learned  to 
wim.  You  can  hardly  get  Rose 
ut  of  the  water.  Exercising 
hat  brain,  displaying  it  to  a  sur- 
prised   and    slightly  resentful 
world,  is  her  favorite  sport. 

With  a  degree  of  introspec- 
tion that  has  hardly  ever  been 
equalled,  she  has  been  examining 
herself  to  see  what  she  is  like 
and  what  can  be  done  about  it. 
She  finds  she  can  trace  all  her 
characteristics  back  to  the  un- 
happy experiences  of  her  child- 
hood. 

A  Statue  of  Freedom 

I'M  extravagantly  independ- 
ent, for  instance,"  she  said,  "and  I  have  a  fierce  de- 
sire for  security  and  all  things  that  are  sound  and  stable. 
I  hat's  all  because  of  my  precarious  childhood." 
>he  was  born  in  New  York,  and  spent  her  first  seven- 
■  n  summers  in  the  artists'  colony  of  Woodstock,  Ver- 
int.    Both  her  parents  were  musicians,  both  were 
French,  and  both  were  extremely  erratic. 


"When  I  was  still  in  my 
early  teens,  they  were  divorced 
— at  a  time  when  divorce  was 
considered  not  quite  the  thing. 
I  can  remember,  in  school,  be- 
ing looked  down  on  a  bit,  for 
that  reason.  That  was  prob- 
ably the  beginning  of  my  infe- 
riority complex. 

"I  was  sent  to  many  differ- 
ent schools.  I  never  stayed 
more  than  a  year  in  any  one.  I 
just  began  to  get  comfortable, 
to  know  the  girls  and  to  settle 
down,  when  1  was  whisked  off 
to  some  other  part  of  the  coun- 
try. And  I  never  did  finish 
school — which  was  one  reason 
why  I  was  so  ashamed  of  my 
mind. 

"When  I  was  very  young,  I 
was  sent  to  stay  with  my 
grandmother  in  France, 
to  study  piano.  I  was  expected 
to  become  a  pianist,  but  I  never 
wanted  to.  I  loved  the  harp. 
If  I  had  been  allowed  to  stuay 
the  harp,  I  would  have  kept  on 
with  a  musical  career." 

In  spite  of  herself.  Rose  be- 
came an  accomplished  pianist, 
and  still  takes  her  music  pretty 
seriously. 

Beyond  a  Doubt 

L'T  I  didn't  like  piano, 
and  I  longed  to  go  on 
the  stage.  I  was  always  sure  I 
could  act,  and  I've  never  had 
one  moment  of  doubt  about 
whether  I  was  good  or  not." 

Her  stage  career  began  with 
a  season  in  Chautauqua,  when 
she  was  fourteen. 

"I  got  the  iob  myself. 
Mother  didn't  object,  because 
she  was  divorced  by  that  time, 
and  anything  that  brought 
money  into  the  family  coffers  was  all  right.  I  made 
twenty-five  dollars  a  week,  and  sent  ten  dollars  home.  I 
don't  know  how  I  ever  did  it,  but  I  had  as  much  fun  on 
that  tour  as  I've  ever  had  in  my  life.  And  even  then,  I  got 
very  good  notices." 

She  spent  several  years  retiring  to  Woodstock  when  she 
{Continufd  on  page  loa) 


B 


65 


O  r  9.  and 


Lillian  Roth 


Are     Sunk  In 


It  wasn't  that  Frances  Dee  and  Lillian 
Roth  couldn't  show  finesse  without 
fins,  but  you  know  how  girls  are  never 
contented  with  what  they  already  have. 
So  Paramount  floated  them  as  mermaids, 
and  now  they  are  bubbling  over  with 
contentment  (top  left),  learning  the 
ropes  (above)  and  stealing  some  other 
sirens'  stuff  (left) 


Portraits  exclusively  by  Otto  Dyar 


and  Frances  Dee 


A   Rock  Garden 


On  the  surface,  Frances's  interest  seemed 
to  be  in  "The  Playboy  of  Paris"  and 
Lillian  was  working  overtime  on  "Sea 
Legs."  But  at  the  bottom,  their  only 
thoughts  were  (as  above  of  the  waves 
in  their  hair,  and  'top  right  i  of  the  two 
best-looking  jewel  cases  in  Davy  Jones's 
locker,  and  '  right  i  of  how  much  ihry 
could  stow  away 


67 


At  the  left,  three  of  the  chorus  of  "Dixiana"  who  lend  a  military  flavor  to  a  song 
number.   Above,  an  ensemble  of  Fox  Movietone  girls  who  appeared  in  "The 

Golden  Calf" 


A  MONG  the  things  in  American  hfe  which  are  get- 
/\     ting  bigger  and  better,  in  this  rapid-moving  era, 
are  chorus-girls. 
^JL  We  all  know,  of  course,  that  they  are  getting 

bigger.  Has  not  the  Great  Flo  himself  handed  down  from 
Olympus  the  edict  that  Miss  193 1   shall  display 
"womanly  curves".? 

But  the  trend  toward  the  better  is  as  pronounced 
as  that  toward  the  bigger.  Chorus-girls  are  getting 
refined;  half  of  them  use  broad  "a's"  and  practic- 
ally all  can  understand  the  long  words  in  Will  Hays's 
speeches.  A  totally  different  class  of  girl  is  drift- 
ing into  the  work.  And  the  result  is  that  chorus 
masters  are  having  to  use  an  entirely  new 
technique  in  dealing  with  their  high-steppers. 

Hollywood,  as  ever,  leads  in  the  new  move- 
ment for  more  refined  language  from  chorus 
masters.  With  the  craze  for  backstage  pic- 
tures  and   musical   comedy  talkies,  the 
chorus  became  one  of  the  big  items  of  a 
picture   studio.    And   you   could  trust 
Hollywood  not  to  put  up  with  any  rough 
talk  in  front  of  young  and  (often)  inno- 
cent girls. 

The  order  went  forth  for  a  Kindness  to 
Chorus-Girls  Week;  and  so  instantly  and 
surely  did  the  idea  catch  on,  that  after  it  was  over 
you  found  all  the  chorus  directors  in  the  business 
vying  with  one  another  as  to  which  of  them  could 
coo  the  softest.  Soon  the  house  of  Paramount  was 
proudly  announcing  to  humanity  that  within  its 
doors  was  to  be  found  "Hollywood's  softest- 
spoken  chorus  master."  His  name,  which  should 
be  emblazoned  on  the  scroll  of  history,  is  David 
Bennett. 

Praiseworthy  Girls 

AND    what    results    Bennett    is  getting 
through  his  policy  of  giving  his  girls  "a 
rest  and  a  cheering  word  of  praise  when 
they  are  tired"!   It's  a  pleasure  to 
work  with  such  a  fine,  good-hu- 


Among    Other  Things 


Names 


N  e 


V  e  r 


BY    C  E  D  R  I  C 


mored   gang,  he   cries  delightedly.    And  per- 
sonally, we  can  well  believe  it. 

Well,  in  our  restless  and  inquisitive  way,  we 
went  ahead  and  made  a  survey  of  conditions  in 
other  Hollywood  pastures  where  ladies  of 
the  ensemble  do  their  gamboling.   What  we 
found  will  prove  a  veritable  sock  in  the 
kisser  for  those  gullible  movie  fans  (their 
name  is  legion)  who  believe  chorus  masters 
behind  the  cameras  talk  to  their  girls  as  do 
the  ones  which  the  cameras  show  us  on  the 
screen. 

We  found,  to  be  notably  brief,  a  consist- 
ently lofty  tone  in  the  relations  of  chorus 
directors  and  their  minions.  We  found  that 
the  average  chorus  director  in  the  talkie 
studios  neither  chews,  spits  nor  swears  at  his 
work;  that  eight  times  out  of  ten  he  takes  his 
hat  off  when  riding  in  the  elevator  with  girls 
of  his  troupe;  that  he  addresses  them  by  their 
first  names,  not  as  "you  with  the  fat  thighs" 
or  collectively  as  "a  rheumaticky  bunch  of 
grandmothers."   And  the  bouquets  he  hands 
nut  to  his  girls,  when  an  interviewer  comes 
sailing  by!  It  almost  makes  you  blush  to  hear 
them.    But  it  is  a  blush  of  pride  for  the  en- 
nobling and  purifying  influence  of  the  talking  pic- 
tures. 


At  the  left  is  Betty  Recklaw,  a  charmer  in  the 
"  Dixiana"  chorus 


68 


Chorus-Girls 


Metro-Goldwyn- Mayer  have  had  dancing  ensemblea  for  several  of  their  pictures. 
Above,  a  group  of  girls  about  to  step  their  routine.  At  right  are  three  other  girls 

from  "  Diziana" 


N  e 


V  e  r 


Call    T  h 


e  m 


Think    They're  Hard 


BELFRAGE 


On  Their  Honor 

JUST  as  an  example  of  the  way  things  have 
changed — I'm  willing  to  bet  that  nobody 
thought  there  was  such  a  thing  as  "a  sense  of 
honor"  among  chorines.    Yet  that  is  what 
Russell  Marlcert,  who  trained  the  girls  for 
L'niversai's  "  King  of  Jazz,"  found  it  expedient 
to  appeal  to.    Marlcert  knew  all  his  girls  by 
their  first  names  and  made  a  sort  of  family 
matter  of  the  work.   And  the  girls  looked  on 
him  as  a  pal  of  the  higher  and  better  sort,  and 
didn't  slack  on  the  job.  Markert  never  had  to 
call  upon  the  Deity  to  make  the  girls  put  vim 
into  their  high-kicks.  He  just  told  them  what 
to  do,  and  they  were  too  dashed  decent  not  to 
put  all  they  had  into  the  execution  of  his 
commands. 

Then  you  can  toddle  over  to  First  National 
and  seek  out  His  Excellencj',  Larry  Ceballos. 
And  what  do  you  find.'  The  same  spirit  of 
friendliness,  co-operation,  shoulder-to-shoul- 
dcr  and  give-and-take,  only  perhaps  more  so. 
Now  Larr>-  admits  that  there  are  chorines 
deolorably  lacking  m  the  fine  new  spirit. 
Often  they  are  extremely  clever,  but  they  find 
it  impossible  to  conquer  the  demons,  disobedience 
and  unpunctuality.   Then  they  have  to  go.  But 
Larry  has  weeded  all  such  poorly  greased  parts  from 


Helen  Fairweather,  at  right,  a  decorative 

mcmbrr  of  Fir^t  National 


his  high-kicking  machine  long  ago;  and,  to-day,  his  girls 
on  both  Warner  and  First  National  lots  are  one  and  all  of 
the  highest  type.  According  to  Larry,  the  modern  Holly- 
wood chorus  master's  task  is  an  easy  one.  so  far  as  getting 
work  out  of  his  girls  is  concerned.   A  kind  word  here,  a 

^^m^  beaming  smile  there,  and  everything  goes  forward 

Mf^Qt     >^ithout  a  hitch. 

^  Blushing  Beauties 

PARAMOUNT  may  have  Holl\-w3od's  softest- 
spoken  chorus   master,  but    R-K-O  has  the 
most  refined  set  of  girls  in  town,  if  we  may  believe 
Pearl  Eaton,  directress  of  high-kicks  for  that 
emporium.    Pearl  spent  many  weary  weeks 
separatmg  sheep  from  goats,  and  interviewed 
four  thousand  girls  to  get  a  chorus  of  forty. 
The  group  finally  selected  was  made  up  of 
girls  of  such  a  high  type  that  when  Ivan 
Lebedeff  was  brought  up  and  mtro- 
duced,  and  kissed  their  forty  right 
hands,  all  but  three  of  the  girls  rushed 
off  and  buried  their  heads  in  their 
mothers'  laps.   Pearl  Eaton  immedi- 
ately knew  that  all  was  well. 
She  proceeded  from  the  first  mo- 
ment on  "Kindness  to  Chorus-Girls" 
lines,  and  everything  has  been  hunky- 
dorj-  right  along.    Not  only  has  she  en- 
couraged her  girls  with  kind  looks  and 
words,  but  she  has  given  each  of  them  a 
chance  occasionally  to  do  a  specialty  or 
speak  a  line  or  two.  As  a  result,  she  has  made 
herself  securely  popular.    The  girls  will  do 
anvthing  for  Pearl  Eaton,  and  you  have  only  to 
watch  them  at  work  to  know  that  the  very  idea  of 
harshness  or  strained  relations  between  Pearl  and 
girl  IS  unthinkable. 

All  of  Hollywood's  chorus  directors  agree  that 
there's  just  one  reason  for  the  change  in  chorus- 
girls — competition.    The  glamour  of  the 
studios  attracts  so  many  girls  that  there 
{Continued  on  page  05) 

60 


It's  Free  and  Easy 


If     You're     Sure     You're  Broke, 
Come     To  Hollywood 


By 
ROBERT 
FENDER 


HOLLYWOOD 
may  not  be 
one  of  the 
best  things  in 
life,  but  it's  free.  And 
easy.  Easy,  that  is,  to 
work,  for  a  gratuitous 
living. 

Are  you 
supporting 
Then  come, 
d  o  1  p  h 
Ricardo 


You  will  find  solid  comfort  in  Pershing  Square  Park  (above),  where 
Valentino,  among  others,  waited  to  be  discovered;  and  (below)  in  Hollen- 
beck  Park,  which  was  Gary  Cooper 's  first  Hollywood  home 


weary  of 
yourself.^ 
as  did  Ru- 
Valentino, 
Cortez,  Gary 
Cooper,  Grant  Withers, 
Jim  Tully,  director  Bill 
Seiter  and  others — oh, 
many  others — to  the 
town  that  will  support 
you!  Are  you  yearning 
for  a  screen  career.^ 
Then  come  to  this  cock- 
eyed town  and  earn 
while  you  yearn. 

Rudolph,  Ricardo, 
Gary,  Grant,  Jim,  Bill 
and  those  others  have 
demonstrated — nay, 
conclusively  proved — 
that  all  a  man  needs  he 
can  get  here  for  noth- 
ing. You  don't  believe 
it?  Then  you're  my 
man.  Move  that  ash- 
tray over  where  you'll 
have  a  chance  of  hitting 
it.  And  settle  down  for 
a  little  read. 

First  of  all,  what 
does  a  man  really  need  ? 
Assuming,  of  course, 
that  he  already  has  at 
least  one  pair  of  trousers,  he  needs:  (i)  Food,  (2)  Shelter 
and  (3)  Amusement.  Bring  those  trousers  with  you  to 
Hollywood.  Also  bring  wliat  will  pass  as  a  dress  suit.  And 
a  razor.  Your  arsenal  is  now  complete.  Hollywood  and 
its  gravy  is  now  yours  for  the  taking. 

How  about  getting  free  food  and  shelter  in  Hollywood.'' 
The  tow-n  has  no  breadline.  And  even  if  it  had,  one  would 
hate  to  forget  oneself  to  the  point  of  using  it.  Vulgar 


breadline.  But  there's 
still  that  question  of 
free  board  and  room. 
Very  well.  Jim  Tully, 
himself,  points  the  way. 

Like  this:  turn  up 
at  a  star's  or  near  star's 
house  with  a  strange 
tale — any  strange  tale 
that  will  make  you  out 
an  "interesting  person" 
— and  let  things  take 
their  course.  Tully,  you 
remember,  used  the 
hobo  story.  It  worked. 
Everywhere,  he  was  ac- 
cepted as  that  interest- 
ing hobo  fellow.  He 
simply  made  a  racket 
of  romanticism.  Food 
and  shelter  followed. 
No  less  a  personage 
than  Charles  Chaplin 
took  him  into  camp  and 
saw  to  it  personally 
that  he  ate  regularly 
and  slept  soundly.  The 
fact  that  he  was  badly 
stung  for  his  trouble; 
that  Tully  later  came 
out  with  articles  that 
bit  the  hand  that  fed 
him,  has  no  place  here. 
Enough  that  Tully  got 
all  the  free  meals  and 
drinks  out  of  Holly- 
wood that  he  could  use. 

Too,  there  was  the 
bright  youngster  who 
turned  up  in  Holly- 
wood with  a  fake  title, 
to  the  delight  of  his  stomach.  This  chap  posed  as  a 
nephew  of  Franz  Josef  of  Austria.  Hollywood  couldn't  do 
enough  for  him.  For  three  solid  months,  he  ate  and 
drank  the  best  the  town  offered'.  At  the  end  of  that  time, 
someone  bothered  to  look  up  his  credentials.  Result: 
Franz  Josef's  "nephew"  went  back  to  his  old  stand  at  the 
soda  fountain.   But  it  was  good  while  it  lasted. 

{Continued  on  page  go) 


70 


Rich— 


When  Junior  Durlcin  wai  given  the  rflle  of  Huckleberry  Finn  in  the  talkie  rendition  of  "Tom  Sawyer,"  no  complaints  were 
received  at  Paramount.  He  may  have  grown  up  on  Broadway,  but,  like  Hack,  he  is  a  constant  waif  —partial  to  open  collars, 
mussed  hair,  dirty  nails,  mumbly-peg  and  whittling.   Not  to  mention  Mitzi  Green,  "Tom  Sawyer's"  Becky  Thatcher 


Little  Sob-Sister 


72 


I 


Ladies  of  "Whoopee" 


And  Their  Frank 


Opinions  Of 
Hollywood  Men, 
Morals  And  Movies 


B 


DOROTHY  MANNERS 


Four  little  "Whoopee"  KirN.  dimpled  of  knee, 
One  didn't  show — and  so  there  were  three. 


|HE  first  to  arrive  was  a  pert-eyed  young- 
ster named  Bohhf.  Bobhe  Weeks — "and 
please  don't  spell  it  "  Bobbie!'" 

The  second  was  a  languid,  fresh-peach 
edition  of  a  blonde  named  Virginia  Bruce,  Hol- 
lywood's own  contribution  to  the  ranks  of  the 
show  girls,  and  she  had  never  seen  Broadway 
past  Seventh  Street,  Los  Angeles. 

1  he  third  was  Georgia  Lereh,  formerly  of 
George  White's  Scandals,  and  she  looked  ath- 
letic. Brown  and  hrm.  Pale  blonde  hair  against 
healthy  skin.  Friendly,  this  one,  and  gentiv 
humo,rous. 

The  fourth  never  did  show.  But  no  one  was 
surprised.  "She  wouldn't!" — in  friendly  little 
giggles—"  Probably  lost  her  lip  stick  " — "  Didn't 
set  her  alarm  clock  for  4  P.M." — "Maybe  she 
thought  It  was  some  Thursday  next  week!" 

"Oh,  well,"  grinned  a  Bright  ^'oung  Man — 
who  has  been  associated  with  Follies,  Scandals 
and  Hollywood  show-girls  all  through  the  pro- 
duction of  Sam  Goldwyn's  "Whoopee"  — 
"Maybe  it's  just  as  well.  Get  'em  all  together 
at  once  and  they're  liable  to  kick  each  other  in 
the  chin." 

"Whatta  you  mean — 'kick  each  other  in  the  chin.'"'  I 
demanded  suavely,  lowering  mv  lorgnette.  "Don't  tell 
me  that  the  cherubs  actually  hght  among  themselves!" 

But  They  Have  Differences 

COME  to  think  of  it,  I  don't  believe  they  actually 
came  to  blows."  went  on  the  Bright  Young  Man. 
"  But  what  can  you  expect  of  a  dozen  beautiful  gals  thrown 
together  for  three  months.'  All  sizes,  all  shapes,  all  types 
of  thrm.  Blondes,  brunettes  and  red-heads.  Wisecrackcrs, 
^  fresh  out  of  the  syrup,  and  now  and  then  a  couple 
■  w  what  it's  all  about.  No  two  of  them  talked  up 
the  Siiine  street. 

"There  was  Muriel  Finley,  a  Ziegfeld  Follies  girl,  im- 
ported for  'Whoopee' — she  could  hardly  wait  for  the  pic- 
ture to  be  over  to  blow!  It  didn't  take  that  snappy  child 


Ormii  Tolmnd 

Bobbe  Week* — "rabid  on  the  •ubject  of  tunny  Hollywood,  even  if  the  it 
Ziegfeld '•  favonte  chorus  girl" 


long  to  shake  the  Hollywood  dust  from  her  French  heels 
and  catch  the  first  train  back  to  what  she  called  a  Real 
Town.  She  didn't  get  any  words  mixed  up  in  her  chewing 
gum  on  what  she  thought  of  Hollywood  shortcomings:  the 
men  were  handsome,  but  poor  and  uninteresting,  the 
places  were  dull — and  the  work  I — well,  who  ever  heard  of 
getting  up  at  H  a.m.  .' 

"Marv  Coyle  was  only  slightly  less  vehement.  Mary 
was  Fiftfi  Avenue,  if  I  ever  saw  it.  She  might  have  learned 
to  like  it  out  here  a  little  better,  only  she  had  a  perfectly 
good  husband  back  in  New  York,  and  he  and  the  bright 
lights  were  calling. 

"On  the  other  hand.  Bobbe  Weeks — you'll  meet  Bobbe 
— a  California  convert  if  I  ever  saw  one.  Rabid  on  the 
subject  of  sunny  Hollywood,  even  if  she  is  Ziegfeld't 
favorite  chorus  girl  and  the  cleverest  little  dancer  in 


They   Disagree   About  The  Tow 


D.  W.  Griffith  thought  Virginia  Bruce  (at  top)  looked  like 
Lillian  Gish,  and  Irving  Berlin  told  her  she  would  get  the 
breaks.  But  Virginia  wonders.  While  Georgia  Lerch 
(at  bottom)  is  wondering  if  she  can  winter  in  New  York 
and  summer  in  Hollywood 

Kenneth  Alexander 


anybody's  Mine.'  Mix  in  Virginia  Bruce  (a  Hollywood 
brand  of  show-girl  about  as  sophisticated  as  Elsie  ^ 
Dinsmore)  and  Georgia  Lerch  (witty,  experienced  and 
clever  and  knows  show  business  from  A  to  Z)  and  about 
eight  other  equally  varying  types,  opinions  and  lingoes 
— and  what  have  you.^  Not  a  sorority!" 

Broadway?    Forget  It! 

I WAS  just  nodding  my  head  on  the  idea  of  seeing 
the  ladies  in  "relays"  when  Bobbe  Weeks  arrived. 
She's  cute,  she's  pert,  and  was  she  excited!  About 
two  hours  previous,  a  "call"  had  come  through  from 
Warner  Brothers  which  meant  that  she  was  awarded  a 
six  months'  contract  with  that  company  and  a  chance 
to  settle  in  Hollywood.  "Gee,"  she  breathed,  "Gee!". 
Her  eyes  are  blue,  but  her  hair  is  black  and  straight.  A 
white  beret,  well  back  on  her  head,  was  an  unconsciously 
striking  effect.  She  settled  deep  down  in  a  chair  and 
hunted  feverishly  for  an  illusive  package  of  cigarettes 
with  fingers  that  shook  slightly.  Why  not?  Wasn't  she 
sure  of  six  months  more  in  Hollywood — and  who  knows? 
Maybe  she  would  click  and  remain  in  "Paradise"  the 
rest  of  her  life. 

"Sure,  I'm  crazy  about  it  here!  I  didn't  know  there 
was  any  place  like  this  before.  Everything  about  it  is 
just  like  in  a  story  book.  I  sent  my  regrets  to  Broadway 
the  minute  I  got  oif  the  train. 

"Broadway  excitement?  Say,  Broadway  wasn't  so 
exciting  to  me.  I  was  a  chorus  girl  and  don't  ever  let 
anybody  tell  you  that  a  chorus  girl's  life  isn't  hard 
work.  I  used  to  be  so  tired  after  the  evening  perform- 
ance I'd  run  right  home  to  mother.  They  tell  me  that 
there  are  some  awfully  exciting  night-clubs  and  whoopee 
resorts  going  along  Broadway  for  the  people  that  have 
time  to  get  around  to  them,  but  I  could  count  the  night- 
clubs I've  been  in  on  one  hand. 

Out  Where  Men  Are  Pale 

HOLLYWOOD  is  my  idea  of  excitement.  You 
keep  the  kind  of  hours  out  here  that  don't  leave 
you  too  tired  to  have  a  good  time  in  the  evening.  I've 
seen  more  night-life  in  Hollywood  than  I  ever  ran 
across  on  Broadway. 

"And  the  men— well,  believe  me,  there's  a  great  dif- 
ference in  the  men.  All  Broadway  men  look  alike  to 
me.  They're  all  one  type.  Slightly  oldish,  but  well 
massaged,  immaculate  dinner  clothes,  gardenia  in  the 
lapel,  and  reeking  of  some  sort  of  barber's  tonic.  They're 
good  spenders  and  don't  bat  an  eye  at  putting  on  the 
dog,  but  what's  that  in  comparison  to  a  Hollywood 
boy  who  is  good-looking,  dances  well,  and  furnishes 
several  honest-to-goodness  laughs  throughout  the  eve- 
ning? 

"Hollywood  men  are  more  sociable,  if  you  know  what 
I  mean.  They  don't  only  take  you  out — they  go  along 
with  you!  On  the  other  hand,  if  a  girl  goes  out  with 
a  typical  Broadway  man,  she's  sort  of  a  hired  audience 
and  spends  a  bored  evening  listening  to  his  latest 
escapades  on  the  Stock  Market." 

Bobbe  shot  a  polite,  but  feverish  glance  at  a  wrist 
watch  and  said  something  about  a  test  down  at  War- 
ner's. If  it  was  all  right  with  everybody,  she  thought 
she'd  better  be  dashing  along.  "  Hope  I  see  you  around," 
I  called  after  her  rapidly  vanishing  figure.  She  stuck 
her  head  back  through  the  door,  grinning  like  a  little 
imp,  "I  hope  you  see  me  around  Hollywood  the  rest 
of  my  life,"  she  agreed  and  disappeared. 

After  Bobbe's  electric  now-you-see-her-and-now-you- 
{Continued  on  page  g6) 


74 


This  business  of  shooting  up  in  the  marshes  of  Hollywood  is  just  too  ducky 
for  words,  hints  the  lor  dc,  if  you  insist)  coy  Laura  Lee.   The  little  dog 
laughs  to  see  such  sport,  knowing  that  left-handsome  Laura  isn't  aiming  to 
bring  down  anything  but  houses  in  "Going  Wild" 


Answer  Man 


The  Answer  Man  has  conducted  this  department  for  over  nineteen 
years.  He  will  answer  your  questions  in  these  columns,  as  space 
permits,  and  the  rest  by  personal  letter.  Give  your  name  and 
address  and  enclose  stamped  addressed  envelope  for  reply.  Write 
to  The  Answer  Man,  MOTION  PICTURE  CLASSIC,  1501  Broadway, 
New  York  City 


UNA — Rudy  Vallee  was  born  July  28, 
1901,  and  is  five  feet  eleven  inches  tall. 
Mitzi  Green  was  born  in  New  York  City 
about  nine  years  ago  and  her  real  name  is 
Keno.  She  is  not  related  to  Harry  Green. 
Evelyn  Laye,  London,  England,  July  10, 
1900,  five  feet  five,  blonde  hair  and  blue 
eyes,  real  name  Froud.  Appearing  in 
"Lilli,"  United  Artists  Studios.  John  Boles 
plays  opposite  Miss  Laye,  in  this  produc- 
tion. 

SALLY  ANN  —  These  obstacle  golf 
courses  ought  to  be  good  training  for  house- 
holders who  have  to  get  the  coal  past  the 
furnace  door.  Helen  Foster  is  very  much 
alive  to  my  knowledge.  Clive  Brook  was 
born  in  London,  England,  June  I,  1891. 
His  latest  picture  is  "The  Greater  Love," 
starring  Ann  Harding.  Ruth  Roland, 
San  Francisco,  Cal.,  Aug.  26,  1892.  Appear- 
ing in  "Reno."  Has  auburn  hair  and  blue 
eyes.  ElBrendel,  Philadelphia,  Pa.,  March 
25,  1891,  five  feet  eight,  weighs  150  pounds, 
has  brown  hair  and  eyes. 

GLADYS— Bert  Lytell  was  born  in  New 
York  City,  Feb.  24,  1885.  He  is  five  feet 
eleven  inches  tall,  weighs  153  pounds,  has 
dark  brown  hair  and  hazel  eyes.  He  has 
been  married  and  divorced  from  Evelyn 
Vaughan  and  Claire  Windsor.  His  pres- 
ent wife  is  Grace  Menken.  Has  been  ap- 
pearing in  pictures  since  191 7.  Latest  pro- 
duction "Brothers,"  Columbia  Studios. 
Stuart  Erwin,  Squaw  \'alley,  Calif.,  Feb. 
14,  does  not  tell  the  year,  five  feet  nine, 
weighs  165  pounds,  red  hair  and  grey  eyes. 

AMELIA — The  girls  who  appeared  in 
"Safety  in  Numbers"  were  Kathryn  Craw- 
ford, Carol  Lombard  and  Josephine 
Dunn.  Nils  Asther,  Charles  Bickford 
and  Raquel  Torres  in  "The  Sea  Bat." 
Helen  Kane  was  born  in  New  York  City 
about  twenty-two  years  ago.  Real  name  is 
Schroeder.  Lillian  Roth  is  not  married 
or  engaged,  appearing  in  "Animal  Crack- 
ers." Catherine  Moylan,  Dallas,  Texas, 
about  twenty  years  ago,  five  feet  two  and 
a  half,  weighs  108  pounds,  has  blonde  hair 
and  green  eyes. 

JONORA— Art  Acord  was  born  in  Still- 
water, Okla.,  Feb.  19,  1890,  he  is  six  feet 
one,  weighs  185  pounds,  has  light  hair  and 
blue  eyes.  He  is  divorced  from  Edith 
Sterling  and  Louise  Lorraine.  Agnes 
Ayres,  Carbondale,  111.,  April  10,  1898,  five 
feet  four  and  a  half,  weighs  125  pounds, 
blonde  hair  and  blue  eyes.  Real  name 
Agnes  Hinkle.  Mary  Brian  was  loaned 
to  Warners  to  appear  in  "Captain  Apple- 
jack." She  is  now  appearing  in  "Social 
Errors,"  Paramount  Studios.  We  do  not 
answer  questions  pertaining  to  the  religion 
of  the  stars. 

ARTHUR— John   Mack  Brown  was 

born  in  Dotham,  Ala.,  Sept.  4,  1904.  He  is 
six  feet  tall,  weighs  165  pounds,  has  black 


hair  and  brown  eyes.  Married  to  Cornelia 
Foster,  they  have  a  daughter.  His  first 
picture  was  "The  Bugle  Call,"  starring 
Jackie  Coogan.  Latest  flicker  "Great 
Day,"  starring  Joan  Crawford,  Metro- 
Gold  wyn- Mayer  Studios.  Helen  Foster  is 
about  twenty-three  years  old,  five  feet  tall, 
weighs  102  pounds. 

MARION— Colin  Clive  was  born  in  St. 
Malo,  France,  Jan.  21,  1900,  has  brown  hair 
and  eyes.  Married  to  Jeanne  de  Casalis. 
"Journey's  End"  is  the  only  picture  he  has 
appeared  in  up  to  this  time.  Bernice 
Claire,  Oakland,  Cal.,  March  22,  1909,  five 
feet  two  and  a  half,  weighs  116  pounds,  has 


Riches 

It's  no  fish  story  that  Jeanette  Mac- 
Donald  managed  to  get  away  by  herself 
and  reel  in  a  mountain  trout  before 
she  started  work  on  "Stolen  Thunder" 


dark  brown  hair  and  blue  eyes.  Real  name 
Bernice  Claire  Jahnigan.  Next  picture 
"Toast  of  the  Legion." 

JUST  BOBBIE— Barry  Norton  hails 
from  Buenos  Aires,  Argentine,  June  16, 
1905.  Real  name  Alfredo  de  Biraben. 
Playing  in  the  Spanish  versions  of  "The 
Benson  Murder  Case"  and  "East  Is  West." 
Janet  Gaynor,  Philadelphia,  Pa.,  Oct.  6, 
1907.  Richard  Cromwell  and  Joan  Peers 
are  playing  in  the  talkie  version  of  "Tol'able 
David,"  Columbia  Studios.  Kay  Francis 
and  Walter  Huston  in  "The  X'irtuous 
Sin,"  Paramount  Studios.  Edna  Murphy, 
Kenneth  Harlan  and  Gertrude  Astor  are 
playing  in  a  mystery  serial  "Finger  Prints," 
which  is  in  production  at  the  Universal 
Studios. 

PHYLLIS— Greta  Garbo  was  born  in 
Sweden,  Sept.  18,  1906.  She  is  five  feet  six, 
weighs  126  pounds.  Bebe  Daniels  first 
name  is  pronounced  Bee-Bee,  not  Bay-Bay. 
Jetta  Goudal,  Ja  as  in  jail,  Goo-dahl  g  as 
in  good.  Raquel  Torres  is  not  married. 
Armida  is  appearing  on  the  stage  at  this 
writing.  Ronald  Colman  was  born  in 
Richmond,  Surrey,  England,  Feb.  9,  1891. 
Constance  Bennett  and  Adolphe  Men- 
jou  are  playing  in  "Sin  Takes  a  Holiday." 

FLORENCE— Gosh !  it  would  take  me  a 
month  of  Sundays  to  give  you  all  the  biog- 
raphies you  requested.  However,  here  are 
a  few  of  your  favorites.  Charles  Rogers 
was  born  Aug.  13,  1904,  he  is  six  feet  tall, 
weighs  165  pounds,  has  black  curly  hair  and 
brown  eyes.  Lupe  Velez,  Mexico,  July  18, 
1909,  five  feet  one,  105  pounds,  black  hair 
and  brown  eyes.  Real  name  Villalabos. 
Joan  Bennett,  New  York  City,  Feb.  27, 
191 1,  five  two,  100  pounds,  blonde  hair  and 
blue  eyes.  Constance  Bennett  is  about 
twenty-five,  five  four,  99  pounds,  blonde 
hair,  blue  eyes.  Ruth  Chatterton,  thirty- 
one,  five  feet  two  and  a  half,  no  pounds. 

BARBARA— Ralph  Forbes  hails  from 
England,  born  Sept.  31,  1898,  he  is  six  feet 
tall,  weighs  165  pounds,  blonde  hair  and 
blue  eyes.  Has  been  married  to  Ruth  Chat- 
terton since  1924.  Appearing  in  "Her 
Wedding  Night,"  starring  Clara  Bow. 
Bert  Wheeler  was  born  in  Paterson,  N.  J. 
Hobby  is  six-day  bicycle  races.  Stage  expe- 
rience began  as  prop  boy  with  a  stock  com- 
pany in  Paterson,  and  later  became  a  mem- 
ber of  that  company.  Has  appeared  in  the 
'Ziegfeld  Follies,"  Gus  Edwards  Revue, 
vaudeville,  and  the  stage  and  screen  version 
of  "Rio  Rita."  Receives  his  fan  mail  at  the 
Radio  Pictures  Studios. 

PUSS  FROM  MONTANA  —  Gary 
Cooper,  Myrna  Loy,  Patricia  Archer, 
Lane  Chandler,  Helen  Lynch  and  Kath- 
lyn  Williams  are  some  of  the  players  who 
were  born  in  Montana.  Bebe  Daniels  was 
born  in  Dallas,  Texas,  Jan.  14,  1901,  she  is 
five  feet  four,  weighs  123  pounds,  has  black 
{Continued  from  page  104) 


76 


In  Spain . . .  beauty  experts  insist 

on  olive  and  palm  oils 
to  keep  tnat  schoolgirl  complexion 


Specialists  in  beauty  culture  -  23,723*  of 
them,  the  world  over  —  agree  on  this  one 
way  to  keep  skin  lovely. 

Tejero  advises  you:  " Massage  a  fine  lather 
of  Palmolive  into  the  tkin  -  »o  -  rinse  it  off 
tcith  refreshing  clear  water-to  icy-cold  tem- 
perature. There!  that  leaves  the  skin  smooth^ 
ifresh  and  lovely." 


TEJf  RO,  uhtitifmutymlon 
II  miiim  hj  msmy  if  tot  mm 

Al  nthi  u  ihtuim  lit  fs<a4i 
if  liiH* 'i titsHuimtmt. 


SEILER.  •/  G*nns.  Swii- 
ttrUnd  -  wh»  jtint  2),  723 
itanty  itr(i»hiU  tn  rarrai- 
mndmi  PslmiUu. 


PALMOLIVE  RADIO  HOUR 
Broidciii  every  Wcdncidiy 
nighi  -from  9  )0  to  10  )0  p  m  . 
Eutcia  (une.  B:30  to  9  30  p.  m., 
Ctnttti  time.  7;)0  to  8:50p  m.. 
Mountain  time;  6;  30  to  7:30 
p  m  .PicificCodi  (imc-OTct  >M- 
tion  WEAF  tad  39  itiiioni  itso- 
cutcd  with  The  Nitioail  Broad- 
cutioc  ComptitT' 


ON'T  think,  just  be- 
cause nature  is  so 
kind  to  sunny  Spain,  that 
the  lovely  Spanish  senoritas 
can  afford  to  neglea  their 
complexions.  Tejero,  the 
well-known  Barcelona 
beauty  specialist,  will  tell 
you  otherwise. 
With  the  Spaniard's  fiery  spirit,  he  becomes 
indignant  when  his  smart  clients  don't  follow 
his  advice.  "How  dare  you  mistreat  your 
complexion,"  he  storms,  "when  it  is  so  easy 
to  use  this  twice-a-day  treatment?" 

Trtatment  advised  by  25, 723  specialists 

\ou  know  the  treatment  to  which  he  refers. 
It  is  stressed  by  23.723  beauty  specialists  — 
the  world  over.  Before  all  else  they  empha- 

*br  actual  count 


Evidenct  of  that  schoolgirl  com- 
plexion ii  iound  over  and  over 
again  in  the  olite-iinied,  ujrm 
color  of  the  lovely  Spannh  senonu. 


size  the  need  of  a  pure  soap  and  water  for 
foundation  cleanliness.  And  every  single  one 
of  them  considers  Palmolive  best. 

In  16  countries,  women  are  told  to  "keep 
that  schoolgirl  complexion  "  by  the  daily  use 
of  this  vegetable  oil  soap. 

Simply  massage  a  fine  lather  of  Palmolive 
and  warm  water  into  the  face  and  throat. 
(Don't  use  hot  water — that  is  apt  to  redden 
and  irritate  sensitive  skin.)  Rinse  with  warm 
water,  then  colder  and  colder.  Use  that  as  a 
basis  for  makeup.  Never  fail  to  observe  this 
rule  of  cleanliness  before  retiring. 

P.  S.  Because  Palmolive  is  so  inexpensive 
it  is  the  natural  choice  of  experts  as  a  bath 
soap,  too.  It  proteas 
sensitive  skin  from 
irritation. 


lOc 


77 


oiv  to  be 


AS  TOLD  TO  KATHERINE  ALBERT 


BY 


Bk  1  \  \  CoMHSON 

Riidtti  I'iciures'  star 


"TfOW  to  be  captivating?"  Bebe  Daniels  smiled 
a  deprecating  little  smile  as  she  considered 
my  question.  But  when  she  began  to  speak,  her 
appealingly  beautiful  brown 
eyes  were  thoughtful. 

And  then  I  learned  this 
lovely  actress  feels  emphat- 
ically there's  one  thing  has 
more  to  do  with  a  girl's  at- 
tractiveness than  any  other 
charm — a  beautiful  skin — 
clear,  soft,  smooth. 

How  alluring  in  any  girl! 
How  sure  to  win  admiration  ! 
And  to  the  screen  star,  Bebe  Daniels  earnestly 
explained,  a  skin  of  breath-taking  loveliness  is 
really  essential! 

"Only  the  girl  with  smooth  skin,"  she  said, 
"need  not  fear  the  relentless  eye  of  the  camera. 
For  even  the  cleverest  make-up  will  not  suffice 
under  the  searching  lens  of  the  close-up. 

"  I'hat  is  why,"  she  went  on  seriously,  *'many 
girls  lacking  great  beauty  but  possessing  lovely 
skin  have  passed  on  the  road  to  fame  the  woman 
with  perfect  features. 

"Lux  Toilet  Soap  is  wonderful  for  keeping  the 
skin  smooth  and  lovely." 

Hollywooil's  favorite 
beauty  care 

Bebe  Daniels,  you  see,  is  One 
of  the  51  I  beloved  Hollywood 
actresses  who  use  Lux  Toilet 
Soap  regularly. 

I'  ascinating  Anna  ().  Nilsson 
.  .  .  cunning  little  Sally  Blane 
.  .  .  vividly  charming  Betty 


A 


I 


Anna  Q.  Nilsson 
Lovely  blonde  star 


Compson  .  .  .  exquisite  June  Clyde  .  .  .  .Actually 
98^/^,  of  the  lovely  complexions  you  see  on  the 
screen  are  kept  silky-smooth  by  this  soothing, 
fragrant  soap. 

Lux  Toilet  Soap  is  just  like  the  expensive 
soaps  you  get  in  France,  Hollywood  says.  And 
the  lovely  stars  use  it  regularly  at  home  and 
wherever  they're  making  pictures  as  well. 

They  like  its  dainty  fragrance,  and  the  quick, 
genenius  lather,  even  in  the  hardest  water  .  .  . 
And,  above  all,  the  exquisite  softness  it  gives 
their  skin. 

So  enthusiastic  are  they,  indeed,  that  Lux 
I'oilet  Soap  has  been  made  the  official  soap  in 
all  the  great  film  studios. 

9  out  oj  \o 
Screen  Stars  use 
Lux  Toilet  Soap 

()t  the  521  important  ac- 
tresses in  Hollywood,  in- 
cluding all  stars,  51 1  are  de- 
voted to  Lux  Toilet  Soap. 
On  Broadway  the  stars  of 
the  outstanding  stage  successes,  too,  use  it.  And 
since  so  many  of  them  are  play- 
ing in  the  talkies,  with  so  many 
close-ups,  they  are  more  than 
ever  grateful  to  this  delicately 
fragrant  white  soap! 

The  European  screen  stars, 
too — in  I'Vance,  in  Kngland,  in 
(lermany  —  have  now  adopted 
it.  You  will  be  just  as  delighted 
with  it.  Order  several  cakes  — 
today. 


Sally  Blank 
Radio  Piciures'  Player 


J  I  NE  ClVDK 

Radio  Pifltires'  Player 


Lux  Toilet  S 


oa 


p 


78 


Bkbk  Danikls,  fascinating  Radio  Pictures* 
star,  in  the  luxurious  blue  an<l  silvery  grav 
l)athr(M)m  which  is  one  of  the  most  beautiful 
seen  in  Holly  wncxl.  She  is  one  of  the  ^  1 1  im- 
portant actresses  there  who  use  I.ux  Toilet 
Soap  rfi;iilarl\ ,  Ixirh  .<f  hnnu-  nfiii  in  rhcir 


dressing  rcKjms.  "Many  gir/j  lackinjf  peat 
beauts  but  possessing  lovely  skin"  she  says, 
"have  passed  on  the  road  to  Jaiue  the  ivninan 
with  perfect  features.  l.u.\T oilet 
Soap  is  wonderful  for  keeping 
the  skin  soiouth  and  t'r:cl\'" 


1 1  rat  Sweepniii  vivxkI — titfn  BroaJwav 

—  and  now  the  European  Capital\ 


lO 


He  Acts  Natural 


to  the  ole  swimin'  hole  and,  on  Big  Days, 
two  miles  barefoot  along  a  dusty  road  to 
where  the  mighty  Hudson  invited'  their 
stripped,  skinny  adventuring  bodies.  That 
was  Something,  back  in  the  days  when 
neither  airplanes,  movies,  radios  nor  Mr. 
Ford  had  made  the  world  safe  for  democ- 
racy. The  days  when  petting  was  unknown 
and  the  \'illage  Drunkard  was  the  only  guy 
who  had  ever  heard  of  prohibition. 

He  Did  Everything  But  Act 

JACK  went  barefoot  through  the  long, 
clover-sweet  summer  days.  Barefoot 
with  an  old 
straw  hat  flap- 
ping atop  his 
shaggy  head.  In 
the  winters,  he 
wore  hip-boots 
and  shoveled  his 
way  to  the  little 
red  schoolhouse. 
He  and  his  lusty 
brothers  and  his 
buxom  sisters 
and  the  neigh- 
bors' kids.  He 
had  a  silent, 
tight-lipped, 
big  -  hearted 
father,  who 
didn't  talk 
much,  because 
he  didn't  get  a 
chance.  He  had 
a  comfortable, 
kindly  mother 
who  knew  noth- 
ing of  cocktail 
parties.  Bridge 
games  or 
CEdipus  com- 
plexes. 

Jack  nutted  in 
the  autumn  and 
berried  in  the 
summer.  He 
got  the  kick  of 
his  life,  when 
along  about 

spring,  the  Performing  Bear  came  to 
town,  heralded  from  afar  by  that  pierc- 
ing, mysterious  whistle  that  can  mean  only 
one  thing  in  all  the  thrilling  world 
this  day,  Lon  Chaney  makes  a  poor 


{Continued  from  page  52) 

motley  little  crew  and  assisted  the  Houdini 
of  the  outfit  in  taking  white  rabbits  out  of 
his  hat  for  the  bewildered  joy  of  the  gaping 
townsfolk.  It  was  even  more  fun  to  see  the 
goggle-eyes  of  the  good  people,  credulous 
and  clamoring. 

Jack  trekked  with  the  carnival  until  he  got 
to  Passaic,  N.  J.  A  long  way  from  home. 
Seein'  the  world,  that  was.  For  Jack  had 
never  been  on  a  railroad  or  a  trolleycar.  He 
had  never  been  to  New  York  City.  He  had 
never  been  inside  a  real  theater.  The  Mul- 
halls  never  were  great  hands  for  traveling. 

In  Passaic,  Jack  got  himself  a  job  with  a 


Komman 


To 
sec- 


He  did  it  for  the  kiddies;  after  "Safety  Last,"  you  might  have  thought  Harold  Lloyd  would 
never  be  so  screamiiigly  funny  again,  but  in  "Feet  First"  this  is  only  one  of  the  ways  he  saves 
himself  for  the  cause  of  American  humor 


stock  company  at  the  Whitehead  Op'ry 
House.  And  there  he  received  his  first  in- 
structions in  the  ancient  art  of  mumming. 
Jack  had  never  thought  about  having  to 
learn  to  act.  You  were  just  yourself,  weren't 
you?  You  did  things  all  folks  do,  so  that  all 
folks  may  weep  with  you,  or  laugh  with  you, 
as  the  case  may  be.  If  you  were  Jack  Mul- 
hall,  did  you  have  to  be  Edwin  Booth  or 
someone?  Fantastic,  but  apparently  you 
did  ...  . 

Jack  learned  his  artistic  alphabet  and  re- 
mained— Jack  Mulhall. 

One  season  of  that  and  then  he  joined  a 
Ned  Wayburn  show  on  Broadway  and 
played  bits.  At  that  time  D.  W.  Griffith 
was  looking  for  talent  for  the  old  Biograph 
Company,  cradle  of  so  many  luminaries. 
He  spotted  young  Jack  and  his  Irish 
laughter,  and  young  Jack  packed  his  duds 
and  moved  over  to  Biograph.  He  played 
his  very  first  part,  a  small  one,  in  a  com- 
pany boasting  Lionel  Barrymore,  Lillian 
Gish,  Antonio  Moreno,  Bobby  Harron  and 
Micky  Neilan.  They  were  all  swell  to  him 
back  in  those  days.  They  are  all  swell  to 
him  now.  There  are  mechanical  changes, 
says  Jack,  but  the  heart  is  in  the  same  old 
place  and  stays  there. 

His  winning  Irish  smile  purchased  him  a 
ticket  to  California  when  the  Biograph 
moved  West. 

Jack  is  a  young  veteran  of  pictures.  He 
has   been   thfough   the   mill    and  back 


ond  to  Bruin  dancing  on  his  short  hind-legs. 

Yessir,  that  was  a  boyhood  as  was  one. 
Santa  Claus  coming  once  a  year,  faithful 
and  dependable.  The  long  dusty  roads  to 
trudge  down,  with  Adventure's  shining  face 
at  every  turnstile.  A  happy  boyhood  in  a 
normal,  Irish-American  family  under  a  sky 
where  God  in  his  heaven  ruled  the  best  of 
all  possible  worlds.  The  last  family  in  the 
world  to  suspect  that  they  had  a  potential 
movie  actor  living  in  their  midst. 

And  So  He  Became  An  Actor 

TO-DAY,  one  of  Jack's  brothers  is  an 
engineer  and  the  other  a  salesman,  I  be- 
lieve he  said.  His  mother  and  one  sister  are 
living,  too.  They  may  not  quite  understand 
the  mysteriously  gifted  brother  who  is 
known,  now,  to  so  vast  a  world;  but  they 
see  all  of  his  pictures  three  and  four  times 
and  they  talk  about  him  in  that  proud, 
family  boasting  way  so  good  to  hear. 

Jack  had  often  thought  he  would  like  to 
be  an  actor.  He'd  heard  tell  of  'em.  He 
hadn't  an  idea  how  to  become  one.  A  Mul- 
hall wouldn't.  Then  a  small  carnival  com- 
pany came  to  town.  It  looked  fun.  It  was 
even  better'n  the  Performing  Bear.  (Large 
praise.)     Jack  attached   himself  to  the 


again.  He  has  sky-rocketed  up  and  he  has' 
ker-plunked  down  again.  He  has  bee 
leading  man  for  both  Constance  and  Nor- 
Talmadge.  He  has,  for  years,  played  Is 
with  stardom,  waiting  just  around  the  ne' 
corner.  No  sooner  did  he  catch  the  elusiv" 
fey  by  the  shirt-tails  than  along  came 
Valentino  and  sent  the  world  mad  o 
Latin  heroes  with  sloe-eyes.  No  room  th 
for  an  honest  Irish-American  from  Wa- 
pingers  Falls.  Jack  found  himself  sid 
switched  to  melodramas  and  serials.  An 
he  took  it  all  on  the  chin  and  bided  h" 
time.  In  a  couple  of  years  the  public  righ 
about  -  face 
again  and  wan 
ed  their  Iris' 
American  bac 
They  knew  w' 
he  was  all  abou 
The  boy  from 
Wa  p  p  i  n  g  e  r», 
Falls,  who  spo' 
their  languag 
who  laughed 
over  what  they 
laughed  ove  r 
and  wept  as 
they  wept.  Jack, 
on  one  of  these 
tides,  was  signed 
by  First  Na- 
tional, was  with 
them  for  six  or 
seven  years  and 
ended  his  con- 
tract as  a  star. 

Jack  doesn't 
believe  in  wear- 
ing out  your 
welcome  in  any 
one  spot.  If  he 
has  any  advice 
to  give  to  young 
men  who  want 
to  know  all 
about  Holly- 
wood, it  is  to 
say  '"Don't  let 
them  get  tired 
of  seemg  your 
face  around."  When  that  time  comes,  as 
come  it  will.  Jack  believes  in  moving  on. 
He  moved  out  of  First  National  with  the 
idea  of  free-lancing.  He  didn't  get  a  chance. 
R.  K.  O.  reached  out  for  him  with  stardom 
as  a  bait  and  "The  Fall  Guy"  was  his  first 
picture  under  the  new  contract. 

Acting  Himself 

JACK  hasn't  changed.  He  isn't  going  to 
change.  He  still  believes  that  acting  is 
being  yourself.  He  talks  on  the  screen  as  he 
talks  at  home,  when  he  is  not  on  exhibition. 
He  believes  that  people  want  human  beings 
and  not  mannequins  who  say  "How  ju  du" 
on  the  screen  and  "Begates"  off  the  screen. 

He  lives  in  a  charming  home,  attractive 
but  not  bristling  with  butlers,  swimming 

Cools,  marquetry  or  Gobelins.  He  wants  to 
uild  a  home  down  Santa  Monica  way.  It 
is  his  dream  to  get  it  all  paid  for,  his  garden 

Clanted  and  enough  money  so  that  he  will 
ave  the  sufficient  sum  of  two  thousand 
dollars  a  month  whether  he  ever  works 
again  or  not.  That,  he  says,  is  ample  for  any 
family.  He  wants  to  travel  and  to  live  long 
whiles  in  different  countries,  until  he  gets 
the  feel  of  them.  He  wants  to  get  his  son, 
thirteen,  by  his  first  wife,  started  in  life, 
and'educated.  He  keeps  him  now,  away  from 
Hollywood  and  the  pseudo-sophisticates  of 
the  studios.  He  loves  his  wife,  his  son, 
his  home,  his  work,  his  fellow-men — and  he  ■ 
doesn't  invite  his  soul  and  ask:  Why? 


80 


 1 

'^^^^mB         Therapeutics  0/  the       :  j^m^BfSf^B^ 
^     ^^^BH          'American  Dental       /  ^^^^3^^^^ 

\       I       ll       ti^^^^                                                                            The  price  i»  imporlMit— 
!|^                        V                                                                   but  Ihe  »««/»/7-no«  the 
V                                                                    price— hei  held  Coital* 
■                                                                     Icwicrthip  for  JO  yeari. 

c 

V_>^OLGATL  announces  the  ac- 
ceptance of  Colgate's  Ribbon  Dental  Cream  by 
the  Council  on  Dental  Therapeutics  of  the 
American  Dental  Association. 

Be  guided  in  your  choice  of  a  toothpaste  by  the 
acceptance  of  the  Council  on  Dental  Therapeutics. 

• 

Use  Colgate's  —  not  only  the  largest-selling 
toothpaste  in  the  world  —  but  a  toothpaste 
recommended   by  dentists  for  more  than  a 
quarter  of  a  century. 

Colgate's  cleans  teeth  safely;  it  contains  only 
safe  cleansing  agents.    It  leaves  the  teeth  clean; 
the  mouth  refreshed  and  pleasant-tasting. 

Colgate's  is  used  by  more  people  than  any 
other  dentifrice. 

COLGATE'S  RIBBON  DENTAL  CREAM 

81 


They're  In  The  Barkies  Now 


dogs  before.  They  have  played  scenes  with 
people.  And  when  a  dog  appears  upon  the 
screen,  naturally  all  eyes  are  attracted  to 
him — human-canine  relations  being  what 
they  are — and  the  two-legged  creatures, 
striding  about,  become  mere  props. 

Jiggs  and  Buster  and  their  experienced 
colleagues  have  not  cared  at  all  for  the  idea 
of  working  with  others  of  their  kind.  They 
have  been  nervous  and  "edgey," 
Mr.  White  and  iMr.  Myers  mform 
me.    They  resented,  in  a  truly 
artistic  fashion,  the  presence  of 
other  dogs  on  the  set  and  were 
distinctly  irritated  by  the  atten- 
tion paid  to  the  interlopers. 

Their  Solid  Comforts 

ALL  this,  despite  the  fact  that 
their  prestige  was  nicely  up- 
held in  all  the  arrangements  made 
for  their  comfort.  Each  star  and 
featured  player  has  his  own 
"dressing-room,"  sacred  to  him. 
It  might  look  like  a  mere  little 
dog-house  to  you.  But  it  is  a 
dressing-room,  nevertheless,  and 
each  of  the  favored  little  animals 
has  one  to  himself. 

And  just  let  some  other  dog- 
actor  try  to  usurp  it!  Just  let 
him  try — 

"They  surely  know  their  own 
pens  and  guard  them  jealously," 
Mr.  White  told  me.  "I  think  a 
dog 's  sense  of  property  must  be 
one  of  his  strongest  instincts. 
You  should  see  the  fireworks,  if 
we  try  to  put  one  dog's  costume 
on  another!  They  can  smell  the 
difference,  you  know.  And  how 
they  resent  it!" 

The  company  possesses  a  wardrobe 
containing  over  a  thousand  costumes 
— carefully  tailored  to  measure.  And 
quite  a  chore  it  is  to  get  them  dressed 
in  the  morning,  too.  Although  they 
put  up  with  it  more  calmly  now  than 
they  did  at  first — and  don't  spend  a 
lot  of  Metro-Goldwyn-Mayer's  val- 
uable time  trying  to  scraffle  out  of 
their  trousers  backward  as  they  did 
when  they  were  first  introduced  to 
them. 

All  kinds  of  sanitary  precautions 
are -carefully  observed.  It  would 
never  do  for  a  prominent  actor  to 
acquire  a  flea  that  would  impel  him 
to  pause  in  the  midst  of  an  important 
scene  and  scratch  his  ear! 

Luckier  Dogs 

ELABORATE  arrangements  are 
made  to  insure  the  most  com- 
fortable temperature  of  the  atmos- 
phere in  which  the  little  actors  work. 
Expensive  cooling;  systems  were  in- 
stalled upon  their  stage  during  the 
warm  weather  this  summer.  Electric 
fans  hummed  incessantly  and  fresh, 
iced  water  was  supplied  at  regular 
intervals. 

They  worked  for  very  brief  periods 
with  frequent  stops  for  rest  and  relax- 
ation. 'You  see,  if  a  dog  becomes 
overheated  or  excited,  he  pants  and 
his  red  tongue  hangs  out — and  his 
efforts  to  portray  human  beings  are 
not  convincing. 

"We  only  let  them  pant,"  Mr. 
Myers  explained,  "  in  the  love  scenes." 

I   have  seen   highly  paid  human 
actors,  working  under  the  augmented 
lights   used  for  color-photography, 
who  would  have  sacrificed  dollars  and 
82 


{Continued  from  page  6j) 

dollars  if  they  might  have  been  treated 
with  as  much  consideration  as  are  the  stars 
of  "the  barkies." 

The  attitude  of  the  dogs  toward  their 
work  is  pretty  similar  to  that  of  human 
actors.  They  do  it  for  what  they  get  out  of 
it.  A  little  bit  of  beefsteak.  A  puppy 
biscuit.  A  tiny  tidbit  of  sugar.  One  of  them 
refuses  to  work  at  all  unless  someone  shows 


When  a  bark  means  a  bite:  the  dogs  jump  at  every 
to  eat  (above)  from  the  hands  of  Mr.  and  Mrs. 
Renfro.   Below,  Mr.  Renfro  teaches  Buster  to  put 
foot  forward 


chance 
Rennie 
his  best 


A  studio  executive,  noticing  that  his  small 
daughter  had  stopped  asking  him  for  movie 
money,  investigated. 

She  told  him,  "There's  too  much  talking,  and 
nothing  doing." 

The  executive  considered  this  a  tip.  He  imme- 
diately began  campaigning  for  a  series  of  action 
pictures. 

The  children  must  be  brought  back  to  the 
theaters! 

As  you  will  discover  in  the  December 

Motion  Picture  CLASSIC 


him  a  ball  -  and  his  reward,  upon  coniplet-il 
ing  a  scene  to  the  directors'  satisfaction —  !| 
is  a  hilarious  chase  after  the  rolling,  red  | 
rubber  sphere.  The  general  idea  is  the  same  i 
as  that  of  any  other  actor. 

"Imagine  tossing  Charles  Bickford  ja  | 
biscuit  if  he  did  a  scene  well!"  someone  said  i 
to  Mr.  White. 

"Well — imagine  offering  him  an  extra  | 
five   thousand   berries!"    he  re- 
torted. "It  all  depends  upon  what  j| 
a  person  wants — " 

Know  When  They're  Good 

LIKE  human  artists,  some  of 
J  the  dogs  work  better  for  one 
man  than  for  another.  Mr,  and 
Mrs.  Renfro,  who  are  not  only- 
trainers,  but  also  own  and  super- 
vise the  kennels  where  the  dogs 
live,  both  have  their  favorites  who 
will  work  for  no  one  else.  There 
are  four  or  five  other  trainers, 
each  of  whom  is  responsible  for  a 
special  group  of  dogs. 

The  little  chaps  know  all  the 
signals  and  when  the  director 
says,  "O.  K.  Cut!"  they  all  drop 
to  their  four  feet  and  scamper  off 
the  set.  However,  if  he  remarks, 
"That's  lousy!  Once  more,"  tails 
hang  between  legs  and  the  actors 
register  deep  shame. 

The  pictures,  of  course,  are  shot 
in  "silents"   and   afterward  the 
voices  are  "dubbed  in"  on  the 
sound  track.    It  is  quite  a  nice 
problem  for  directors  and  super- 
visors   to    select    human  actors 
whose  voices  and  deliveries  are 
suitable  for  little  dogs  who  are, 
in  turn,  portraying  human  beings. 
The  stories  are  all  essentially  satiri- 
cal. Yet  the  human  actors  who  furn- 
ish  the  lines  must   take  them  as 
seriously  as  possible.     It  is  this  very 
seriousness,   in   playing  melodrama 
(they  are  nearly  all  melodramatic, 
you  will  observe),  that  makes  the 
thing  amusing  when  the  voices  seem 
to  come  from  dogs,  wearing  clothes 
and    occupying    sets,   fashioned  in 
miniature  imitation   of   those  used 
in   serious   human   drama.     If  the 
actors  who  speak  the  lines  play  their 
roles  "straight" — those  voices  com- 
ing, apparently,  from  the  small  crea- 
tures who  look  so  ludicrously  human 
in  their  artificial  trappings  and  who 
are  still  so  obviously  lovable  little 
dogs,  will  be  grotesque  enough. 

There  is  a  note  of  irony  in  the 
story  of  the  girl  who  worked  for 
years  trying  to  achieve  a  career  in 
pictures — and  who  has  settled  down 
at  last,  for  the  time  being,  anyhow,  to 
be  a  voice  for  a  dog! 

They  also  tell  a  story  of  a  stock 
company  actor  who  came  to  town  to 
break  into  the  movies,  and  brought 
his  dog  along  with  him.  At  first,  they 
lived  in  a  rooming  house:  then  they 
slept  in  various  parks,  and  took  their 
meals  at  the  back  doors  of  restau- 
rants. The  actor  couldn't  even  get  on 
the  waiting  lists  of  extras,  and  he 
didn't  have  the  nerve  to  introduce 
himself  and  his  story  to  some  mag- 
nanimous star.  And  then  came  a  day 
when  it  rained,  a  limousine  passed 
them,  a  head  peered  out,  and  said, 
".^h— a  new  face!"  It  was  a  producer. 
He  bought  the  dog,  took  him  home 
and  made  him  into  a  star.  Now  the 
actor  is  a  dog-biscuit  salesman. 


J 


A  Perfume  . . . 

tauent  me  tne  secret  of  Youth  .  .  . 


says 

LiLA  Lee 

YOUTH  —  wliat  IS  It?  All 
avjei' ...  a  iiuniluT  of  years? 
No  —  I  tllOUJjllt  tll.it  oiicc  .  .  . 
before  1  knew  .  .  .  about  Seven- 
teen. Seventeen  —  you  ve  seen 
it'f  Worn  it?  Ok,  vou  most! 
A^Iorioos  fratjranee,  likenotli- 
eLc  .  .  .  except  perliaps  .  .  . 
t)iose  rose -coloretl  ilreains, 
tlio^e  \jos.vainer  fancies  .  .  .  one 
\nas  at  Seventeen!  It  took 
Seventeen  to  teack  me  tkat 
Youtk  s  a  mood  .  .  .  to  ke  re- 
captureJ  .  .  .  triinnpiiantly 
worn  .  .  •  forever,  if  1  kke! 


£i«jlit  Toiletries  Lear 
till'  fra<jraiicc  uf 
Seventeen 

Tkt  Ptrfumt  .  ,  ,  in  a 
t  rern  k-cut  Jiaeon^  to  amari 
.  .  .  A   Cumpail  (.itnyflt  or 

U'AiiA  may 
(kaitj^ed  itlu  a  l*>o.t€-pt>u*j€r 

in  .«uAf/tf  yttutkfui  akadtx.  A. 
fyu*ttng  PtiirJer  .  .  .  tkat 
makes  your  halk  laxurxuus, 
A  Talcum.  A  Toilet  Water 
.  .  .  «o  re  fret  k  •  ng.  Two 
Brtilantmes  .  .  .  sultd  or 
IttfuiJ,  A  Satket  .  .  .  tke 
correct  way  tn  3i,ent  on<  « 
tn^  and  lingerie. 

Pictured  at  are 
Seventeen  Perfume,  Seven- 
teen Saiket.  and  Seventeen 


Face  Powder, 


83 


The  Rest  Of  Lady  Peel 


For  a  honeymoon,  she  and  the  Bart,  Sir 
Robert  Peel,  motored  through  the  south  of 
France  for  a  while  and  finally  took  the  boat 
for  \ew  \'ork.  It  was  then  that  she  propo- 
sitioned Ziegfeld  for  a  job  of  work,  and 
Ziegfeld  said  thumbs  down,  proving  that 
even  Ziegfeld's  not  immortal.  Faintly 
piqued,  .\Iiss  Lillie  returned  to  London, 
gave  birth  to  a  son,  and  played  in  "'Up  in 
Mabel's  Room."  Then  the  World  War 
broke  out.  During  the  War,  she  devoted 
her  talents  to  entertaining  the  soldiers  in 
London.  It  was  shortly  after  this  that  she 
annexed  that  bodyguard  with  the  freckled 
face  and  the  name,  as  advertised,  of  Kath- 
erine  Walsh,  who  acts  as  secretarial-man- 
ager, companion  and  interpreter. 

After  being  starred  in  several  "Chariot's 
Revues,"  she  returned  to  Hollywood  and 
made  "Exit  Smiling" — "which  is  just  what 
I  did,"  Miss  Lillie  has  said.  "At  least,  in  sofar 
as  the  movies  were  concerned.  It  was 
pretty  terrible,  don't  you  think?" 

But  since  the  advent  of  the  talkies  she 
has  been  called  again  to  the  land  of  sun- 
shine, sunshine  and  sunshine,  where  she  is 
making  "Are  You  There?"  for  Fox — the 
studio  taking  advantage  of  her  subtle,  whim- 
sical humor  by  having  her  jump  into  a 
haystack  with  Ham  Hamilton,  execute  a 
burlesque  adagio  dance  and  sing  in  the 
bathtub. 

Unheard-of  Society 

BUT  so  much  for  the  mulling.  After  all, 
I  was  squatting  in  Miss  Lillie's  bunga- 
low for  the  sole  purpose  of  discussing  things 
pertinent;  and  it  may  have  been  the  bathtub 
allusion  that  reminded  me  of  that  all-impor- 
tant problem,  society.  And  again,  of  course, 
there  may  have  been  no  connection.  How-- 
ever,  when  I  suggested  the  subject  of  society, 
Miss  Lillie  rose  up  on  an  elbow  and  studied 
me  curiously. 

"Society?  Society?  I  had  no  idea  there 
was  such  a  thing.  ..."  And  once  more 
she  sank  back  on  the  couch. 

"The  line  of  demarcation  is  rather  faint," 
Walshie  admitted,  deftly  catching  up  the 
thread  of  the  conversation,  "but  I  presume 
society  exists — even  in  Hollywood." 

"Hollywood,"  Lady  Peel  muttered,  with- 
out opening  an  eye.  "Hollywood.  It's 
rather  different  from  London.  Am  I  not 
right,  Walshie?  " 

"Quite,  Miss  Lillie.  But  I  might  elabo- 
rate a  bit." 

"You  may  do  anything  you  want  to," 
was  the  smothered  reply,  "if  you'll  only  be 
quiet  about  it." 

"They  are  so  filled  with  energy  around 
this  studio,"  was  Walshie's  comment,  "that 
Miss  Lillie  scarcely  has  time  for  a  wink — 
ah,  now  she  appears  to  have  dropped  off  to 
sleep.    But  about  Hollywood  and  London: 
It's  not  that  Miss  Lillie  objects  to  Holly- 
wood people.  She  has  some  nice  friends  out 
here,  like  Mr.  and  Mrs.  Barthelmess,  Miss 
Swanson,  Mr.  and  Mrs.  Ben  Lyon,  not  to 
mention  several  others.   But  she  feels  that 
friendship,  in  Hollywood,  depends  more  on 
what  you  do  than  what  you  are.    Do  you 
follow  me?  This  is  not  to  her  liking. 

The  Noble  English  Stage 

AND  Miss  Lillie's  ideas  on  friendship 
are  consistent  with  those  of  the  en- 
tire English  aristocracy.  You  will  find  more 
tolerance  among  the  aristocracy,  and  soci- 
ety, of  England  toward  actors  and  actresses, 
for  this  same  reason — but  of  course  I'm 
referring  to  the  legitimate  stage — than  you 
will  find  among  the,  ah,  society  of  America. 

"This  also  is  due  in  a  measure  to  the 
fact  that  our  stage  has  more  prestige  than 

84 


{Continued  from  page  §i) 

the  American.  You  will  even  find  titled 
personages  in  some  of  our  choruses!  With- 
out doubt,  if  pressed,  we  could  put  on  a 
musical  comedy  with  an  all-aristocratic  cast, 
if  that  is  the  phrase.  On  our  stage,  you  will 
find  people  like  Lady  Peel,  Lady  Ashley, 
Lady  Innes-Karr,  who  is  the  wife  of  Lord 
Innes-Karr,  Lady  Windham,  Lady  Tree, 
wife  of  Sir  Herbert  Beerbohm-Tree,  and  a 
number  of  others. 

"Furthermore,  when  our  stars  are  ac- 
cepted socially,  they  are  accepted  completely 
and  not  held  in  the  light  of  paid-entertain- 
ers, as  is  the  rather  unique  custom  in 


America.  Let  me  again  point  out  that  over 
there  you  are  taken  for  what  you  are  and 
not  necessarily  for  what  you  do.  The  fact 
that  Miss  Lillie  married  Sir  Robert  Peel, 
fifth  baronet  of  England,  in  no  way  fur- 
thered her  social  standing.  She  attended  the 
Prince  of  Wales'  garden  parties  before  she 
married  Sir  Robert;  and,  indeed,  has  at- 
tended them  since." 

"Bravo,  Walshie!"  came  a  faint,  jumbled 
whisper.  "Now  tell  him  about  the  party- 
crashing." 

Whereupon  Walshie  allowed  her  rather 


severe  countenance  to  melt  into  a  toleran 
grin. 

Too-Informal  Hollywood 

MISS  LILLIE  is  amazed  by  th 
hordes  of  uninvited  guests  tha 
crash  parties,  and  by  the  nonchalant  man 
ner  in  which  invited  guests  bring  thei 
friends.  Apparently,  a  host  is  deepl 
wounded  unless  a  number  of  unexpect 
arrivals  are  announced.  Such  a  procedur 
seems  in  some  vague  way  to  stamp  th 
party  with  exclusiveness.  Now  in  London 
when  a  host  invites  ten  guests  for  dinner 
he  expects  ten  and  not  thirty.  Ah,  yes, 
Hollywood's  a  bit  too  informal  for  Miss^ 
Lillie.  .  .  . 

"However."  she  quickly  added,  "Miss. 
Lillie  likes  any  place  in  which  she  is  kept 
busy.  The  truth  is  that  on  a  number  of 
occasions  she  has  admitted  to  being  deeply 
affected  by  Hollywood.  ..."  A  faint 
shudder  coursed  through  Lady  Peel's  green- 
swathed  body. 

After  a  few  moments,  the  ensuing  silence 
in  the  hot  studio  bungalow  was  broken  by 
Sam  Wurtzel's  pleading  voice:  "Say,  Miss 
Lillie,"  it  went,  "can't  you  please  be  on  set 
in  fifteen  minutes?" 

Tortuously  raising  herself  to  an  elbow, 
Miss  Lillie  opened  an  eye. 

"But  when  am  I  supposed  to  sleep? 
I  worked  until  seven  o'clock  last  night 
and  now,  when  it's  barely  noon,  you 
want  me  to  appear  on  the  set  again, 
or  rather  in  a  bathtub.  Are  you  a 
slave  driver?  " 
Mr.  Wurtzel  looked  like  a  man  who 
thought  seventeen  hours'  sleep  should  be 
enough  for  anyone,  even  Lady  Peel,  but  he 
discreetly  bowed  out  with,  "Then  come 
whenever  you  are  thoroughly  rested,  Miss 
Lillie." 

Ah,  Yes,  Her  Husband 

AND  before  she  could  close  her  eye,  just 
in  fact  as  she  was  reestablishing  som- 
niferous relations  with  the  couch,  I  ad- 
mitted my  curiosity  as  to  whether  or  not 
she  would  come  back  for  another  picture, 
after,  of  course,  visiting  her  husband 
London. 

"Yes,  if  this  picture's  any  good,  I'll  be 
back.  And  if  it's  as  bad  as  my  other  ones, 
I  shall,  most  definitely,  remain  in  London 
and  confine  myself  to  the  stage.  It  surely 
will  be  nice  seeing  my  son  again.  ..." 

"But  about  your  husband — " 

"My  son,"  she  iterated,  "is  a  darling 
boy.  The  name  is  Robert;  and  at  present 
he's  in  school  in  Switzerland." 

Deciding  to  press  my  point  in  a  round- 
about fashion,  T  displayed  an  interest  in 
any  thoughts  she  might  have,  relative  to  the 
Hollywood  divorce  situation. 

"Are  they  caused,  for  instance,  by  exces- 
sive temperament?" 

"Bunk,"  was  Lady  Peel's  emphatic  re- 
tort. "  It's  just  the  old  cry  for  new  faces." 

Then  quickly  I  sank  the  hook:  "  Is  there 
any  truth  in  the  rumor  that  you  and  the 
Bart  are  separated  by  something  substan- 
tially more  impassable  than  the  Atlantic?" 

"Getting  a  divorce  in  London,"  Walshie 
replied,  for  Lady  Peel  had  promptly  fallen 
asleep,  "is  comparable  to  signing  your  own 
death  .warrant.  And  we  did  so  enjoy  our 
interview.  ..." 

As  my  reply  was  mocked  by  a  faint, 
tremulous  snore,  I  clutched  at  my  hat,  and 
silently  tiptoed  away. 


r«  kelp  htmp  amay  writdtUt,  and 
f^My  JUih,  Bcnib  lustilj  with 
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U  •inpU:  toap- 
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liaeM  awgj. 


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your  tut.  jiui  uka  • 
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To 


T»  taaa  taaalt/a< 
A«B^.  aaTar  vaak 
Aaa  CMaOy.  Scrok 
ifcaM  Mil.  Riaaa  ikaai 
ihoro^Uy.  Dry  lhaa 
aaflilalj.  (Saa  baok- 
IM). 


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85 


at, 


The  Waltz  Dreamer 


(I  was 


situation  gravely  and  hesitated  to  begin. 

"I  am  disappointed,"  he  confided.  "It 
doesn't  look  at  all  as  I  had  imagined  it. 
But — "  with  a  sudden  flash  of  optimism — 
"it  may  prove  a  pleasant  surprise.  Your 
dish,  now,  is  highly  ornamental  stunning, 
I  should  say." 

An  inner  demon  goaded  me.  "Ya-aaa-ah!" 
it  taunted,  "are  you  to  be  beaten  by  a  pig's 
knuckle?" 

"Come,  come,"  I  murmured, 
about  to  add,  "this  won't  do.") 
But  the  worrls  released  something 
in  the  genius  brain: 

"Now  liinl  was  a  lyric,"  said 
Oscar  Straus,  aiiandoning  the  pig  s 
knuckle  with  a  suddenness  typ- 
ically jiiale.  He  kissed  his  finger 
tips. 

"Ah,  that  indeed  is  a  lyric!  A 
man  can  write  real  music  when 
he  is  furnished  with  such  lines.  I 
am  not  writing  just  now.  I  am 
waiting  for  the  book.  This  busi- 
ness of  fitting  words  to  music  which 
is  already  written  doesn't  suit  me. 
I  must  fit  my  music  to  the  words. 
That  is  as  it  should  be. 

"Arthur  Schnitzler's  story, 
'Daybreak,'  is  to  be  my  vehicle. 
It  is  a  magnificent  thing.  W'e 
shall,  I  rlare  say,  denature  it  a  bit 
for  mo\  ie  uses.  The  end  is  far  too 
strong  for  opera  honffe.  But  once 
I  get  the  book — the  music  will  fly. 
with  all  this  sunshine  ..." 

Sunshine  Music 

SUNSH 1  \E,  it  seems,  does  won- 
ders with  the  genus  musician, 
of  which  Oscar  Straus  is  a  shining 
exemplar.  Twenty-five  years  of 
musical  composition  have  rendered 
him  adept  at  this  art  which  burns 
fitfully  in  the  breast  of  the  prose- 
lyte. He  wrote  the  musical  score 
of  "Danube  Love  Song"  in  a  fort- 
night. 

"It  caused  the  rumor  that  I 
had  left  Warners  before  my  work 
was  finished,"  he  said.  "People 
did  not  believe  such  a  score  could 
be  written  in  so  brief  a  period  of 
time.  But  sunshine  -that  speeds 
things  up.  ..." 

About  us  were  the  heterogeneous  human 
assortment  of  studioland.  Joan  Crawford, 
chrome-faced  and  scarlet-mouthed  in  make- 
up. Roland  Young,  his  greasepaint  metic- 
ulously protected  by  a  neckerchief.  Dr. 
Marafioti  of  the  Metropolitan,  in  close  con- 
ference with  as  many  lovely  ladies  of  the 
cinema  as  could  insinuate  themselves  into 
his  presence  during  the  duration  of  his 
luncheon.  Julia  Faye,  Bessie  Love,  Anita 
Page — each  coaxing  a  bit  of  the  famous 
voice  doctor's  time.  Comedians  in  outland- 
ish costumings.  The  violent  rubaceous 
color-harmony  of  Charles  Bickford.  Troops 
of  little  blondined  angels.  .\  dark-eyed 
vampire  quite  obvious  in  her  black  velvet 
and  sequins.  And,  smiling  blandly  among 
them,  Oscar  Straus  of  Wien,  composer  of 
"The  Chocolate  Soldier, Ihe  Waltz 
Dream,"  "Mariette"  and  a  score  of  im- 
mortal things. 

Even  Better  Times  To  Come 

RECORDINCi,"  says  this  genius  with 
the  perfect  musical  ear,  "is  amazing. 
The  Hollywood  studio  product  is  far  finer 
than  what  we  hear  in  theaters  at  the  present 
time.  But,  in  the  future,  theaters  of  ideal 
size  and  with  ideal  acoustical  requireincnts 
will  give  the  entire  country  the  thing 
86 


{Continued  from  page  jj) 

we  have  here.   Then  we  shall  hear  music! 

"It  is  more  difficult,"  says  Oscar  Straus, 
"to  write  music  for  a  talking  picture  than 
for  a  legitimate  performance.  On  the  legiti- 
mate stage,  you  only  need  a  couple  of  song 
hits.  The  rest  may  be  interesting  material 
in  which  the  choreography  or  the  scenic  in- 
vestiture carries  the  interest.  But  in  the 
talking  picture,  every  song  must  be  a  hit, 
else  it  goes  flat. 

"In  the  theater,  to  begin  with,  you  have 


Before  he  became  the  sensation  of  1930,  Lew  Ayres 
was  a  blues  singer.   So  you'll  have  to  believe  that 
he  can  play  the  organ  and  mandolin,  as  well  as  the 
radio  and  phonograph 

the  orchestra,  which  plays  the  overture. 
The  overture  is  a  general  assembly  of  all 
the  airs  which  are  to  run  through  the  per- 
formance. The  audience  is  more  or  less  ac- 
quainted with  the  music,  therefore,  before 
the  performance  begins.  When  the  number 
presents  itself,  it  is,  to  a  certain  extent, 
familiar. 

"Now,  in  the  talking  picture,  the  song 
breaks  on  the  consciousness  of  the  audience 
when  the  number  begins  in  the  performance. 
It  comes  cold  to  them.  It  must  be  a  fulfill- 
ing melody,  else  they  will  not  catch  it  at  a 
single  hearing.  And  we  do  not  repeat  ad  in- 
finitum in  talking  pictures  as  we  have  de- 
veloped the  habit  of  doing  on  our  stage." 

Talkies  with  Overtures 

THAT  is  food  for  thought,"  said  I.  "The 
day  comes  then,  when  the  talking  pic- 
ture of  musical  type  will  begin  with  an  over- 
ture, for  all  the  world  like  the  legitimate 
performance.  The  orchestra  will  play  the 
overture  as  the  people  find  their  seats. 
There  will  be  no  attempt  to  divert  them  on 
the  screen.  The  melodies  will  sink  into 
their  consciousness  as  they  do  in  the  the- 
ater. And  prepare  a  way  for  themselves 
against  the  time  when  they  occur  in  the 
picture.  " 


"Precisely,"  said  Oscar  Straus  with 
gracious  wave  of  his  fine  nervous  hand. 

On  his  fourth  finger  was  a  heavy  gold 
band  with  a  huge  embedded  emerald.  It 
was  reminiscent  of  the  lavish  emeralds  on 
Fyodor  Chaliapin's  large  white  hands.  A 
series  of  initials  in  black  enamel  script,  on 
either  side  of  the  stone,  gave  it  an  old- 
fashioned  solidity.  But  there  is  nothing 
old-fashioned  about  Oscar  Straus. 

For  many  years  now  he  has  had  his  atelier 
in  Paris.  The  Wien  of  his  birth, 
once  the  gayest  and  most  capti- 
vating city  of  the  earth,  he  finds 
too  sad  for  musical  coinposition 
since  the  War.  He  has  a  son 
Irving,  who  will  soon  come  to 
Hollywood.  Irving,  at  seventeen 
has  gained  r°cognition  for  his  jazz 
compositions.  He  is  ati  expositor 
of  the  mode  itioderne. 

Because  of  this,  he  and  his 
father  do  not  discuss  music,  al- 
though they  are  vitally  interested 
each  in  the  other's  work. 

"I  am  of  another  generation 
and  of  another  school,"  says  Oscar 
Straus  (with  one  S),  "so  we  would 
only  get  into  useless  argument." 

Hollywood  an  Experience 

HOLLYWOOD  is  colorful  and 
fascinating,  because  it  is  new 
and  utterly  different  from  any- 
thing Oscar  .Straus  had  ever  seen. 
A  creative  person  lives  by  his 
experiences.  He  has  never  before 
lived  in  a  land  where  oil  derricks 
pierce  the  horizons.  Nor  has  his 
music  before  been  written  in  a 
bungalow  adjoining  Buster  Kea- 
ton's.  One  writes  under  terrific 
pressure  in  Hollywood:  Oscar 
Straus  likes  that  also. 

"Mariette"  was  done  in  Paris 
with  Sacha  Guitry  and  Yvonne 
Printemps.    There,  one  knows,  if 
the  music  is  good  at  all,  la  Prin- 
Ray  Jones        temps  will  carry  it  through  to  a 
Parisian  triumph.   Here,  one  does 
not  know.    One  has  no  idea  who 
the  leading  lady  will  be.    Or  the 
leading  man.    One  does  not  know 
the  reactions  of  producers,  of  au- 
diences. Everything  is  foreign  and 
fascinating  and  life-giving  to  the  creative 
person,  because  of  the  novelty. 

By  this  time  the  stuffed  pig's  knuckle  was 
no  novelty  to  Oscar  Straus  of  Wien,  Paris 
and  Hollywood.  The  waitress  bore  it  awa> 
with  a  flourish  worthy  of  the  Reserve  di 
Beaulieu,  instead  of  a  commissary  dining- 
rooin. 

"It  was  most  intriguing,"  said  Oscar 
Straus  with  a  gentle  air  of  complacence 
"Most  intriguing." 

I  looked  up  with  a  thank-you  on  my 
tongue.  It  is  not  often  an  interviewer  is  so 
complimented  by  a  great  man. 

Oscar  Straus  of  Wien  was  speaking  to  the 
waitress.  His  charming  reference  was  for 
the  stuffed  pig's  knuckle. 

I  pocketed  my  pride.  After  all,  genius  is 
genius  and  one  must  not  expect  weighty 
compliments  at  light  luncheons  with  heavy 
lions. 

We  rose.  We  made  our  way  toward  the 
exit.  He  was  bowing  and  smiling  to  friends 
and  acquaintances. 

We  were  outside,  outside  in  the  melodious 
sunshine.  Somewhere,  a  strain  of  jazz  tinkled. 
It  seemed  incongruous-  with  Oscar  Straus 
about  that  an>one  could  be  playing  harsh 
music.  But  Oscar  Straus  did  not  seem  to 
notice. 


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{Continued  from  page  zgi) 


anyone  her  address  or  telephone  number. 
She  used  to  be  seen  at  parties  and  in  cafes  a 
great  deal.  But  not  since  shetis  single.  One 
hardly  ever  sees  her  now. 

Vou  can  never  tell  how  it  will  affect  them. 
One  of  the  most  curious  of  Hollywood  cus- 
toms, it  seems  to  me,  is  that  of  announcing 
people's  "engagements"  to  people  who  are 
still  entangled  in  matrimony  elsewhere. 
This  usually  presages  a  forthcoming  divorce, 
of  course. 

Engaged?  Well,  Hardly 

WHY,  the  rumors  of  Constance  Ben- 
nett's engagement  to  Gloria  Swan- 
son's  "Hank"  flew  so  thick  and  fast — long 
before  Gloria  had  ever  admitted  that  there 
was  even  a  shadow  of  a  rift  in  her  marriage 
— that  Constance  was  obliged  to  make  offi- 
cial and  firm  denials  in  the  public  prints.  I 
may  be  old-fashioned  or  something,  but 
it  still  seems  funny  to  me  to  talk  of  being 
engaged  to  some  other  lady's  current 
spouse. 

There  may  have  been  something  to  it,  at 
that.  Anyhow,  the  effect  of  the  separation 
on  the  Marquis  de  la  Falaise  has  appeared 
to  be  a  chronic  attendance  upon  Miss  Ben- 
nett ever  since  he  has  been  in  Hollywood 
this  time.  Gloria  has  not  appeared  in  public 
at  all. 

Kay  Francis,  too,  has  denied  emphatic- 
ally that  she  is  engaged  to  Ronald  Colman — 
which  seems  logical  to  me,  since  he,  in  turn, 
denies  that  he  is  even  contemplating  a 
divorce  from  his  wife. 

Hordes  of  men  prefer  to  "circulate"  in  a 
semi-wedded  state,  such  as  Ronnie  enjoys. 
They  think  it  saves  them  a  deal  of  trouble 
with  ambitious  young  women  who  would 
like  to  collect  for  breach  of  promise  or  some- 
thing. Ronnie  has  frequently  said  that  he 
considered  it  "a  very  good  thing"  for  him 
to  publicize  the  fact  that  he  is  married. 
Plenty  of  them  feel  the  same  way  about  it. 

That  is,  they  want  all  the  safety  of  the 
wedded  state  but  none  of  the  responsibil- 
ities. It  makes  circulating  so  much  safer! 

Distress  Calls 

THEN  again,  some  men  are  suddenly 
overwhelmed  with  their  own  helpless- 
ness after  the  tie  is  broken.  Ernst  Lubitsch 
had  to  call  his  wife  to  help  him  find  a  suit- 
able house  and  to  interview  prospective 
servants  for  him,  after  they  parted.  He 
simply  could  not  cope  with  domestic  details 
alone  at  all. 

She  had  to  select  a  comfortable  home  for 
him  and  see  him  nicely  settled  in  it  before 
she  could  proceed  with  the  divorce! 

And  another  newly  bereft  husband  of  my 
acquaintance  rushed  to  his  erstwhile  wife  in 
dismay  one  night,  begging  her  to  tie  his 
dress  tie  for  him.  He  was  starting  his  cir- 
culating and  had  an  engagement  to  take  a 
blonde  to  dinner — and  he  simply  could  not 
manage  that  horrible  dress  bow!  The  wife 
was  nice  about  it.  But  I'm  afraid  she  giggled. 

Of  course,  some  of  them  leap  so  quickly 
from  marriage  to  marriage  that  there  is 
practically  no  interim  for  circulating  at  all. 
Hardly  anyone  knew  that  Sue  Carol  had  a 


husband  somewhere  back  East.  She 
engaged  to  Nick  Stuart  so  long.  And  we  i 
hardly  recovered  from  our  astonishment 
the  announcement  of  her  divorce  before 
were  gasping  again  at  the  news  that  she  { 
Nick  had  been  married  for  weeks.  You; 
never  know  where  they  are! 

Married  Before  You  Knew  It 

NO  one  in  Hollywood  knew  that 
Winton  was  divorcing  Charles 
yon  until  they  read  of  her  marriage  in 
York  to  a  broker  or  somebody.  It 
that  the  ink  on  the  divorce  decree 
scarcely  dry  before  the  wedding  was  ac4 
plished. 

Sometimes,  it  almost  seems  as  if  thef 
malities  of  divorce  had  been  overlod 
entirely — the  things  move  so  swiftly, 
was  a  lot  of  ado  when  John  Barrymore  ; 
ried  Dolores  Costello,  because  no  one 
heard  that  he  was  divorced  from  his  oti| 
wife. 

Ruth    Chatterton    and    Ralph  ForI| 
lived  apart  for  about  a  year  and  both  1 
them  were  considered  distinctly  el  _ 
And  Hollywood  was  just  that  disconcer 
when  they  suddenly  decided  to  resume  thi 
lives  together.    Ruth  explained  that  thj 
found  that  they  didn't  have  nearly  so 
fun  apart  as  they  did  together.  Apparent^ 
circulating  lost  its  charm,  after  a  time. 

Charles  Chaplin  always  gets  very  more 
and  lugubrious  when  he  is  divorced  ail 
evinces  all  sorts  of  symptoms  of  being  j 
woman-hater.  Or  at  least,  a  distruster  of  i\ 
sex.  But  he  gets  over  it  after  a  while,  ii 
least,  he  always  has.  He  says  that  he  w|| 
never  marry  again. 

Farewell,  1930  Style 

THE  Eddie  Sutherlands  introduced 
neat  new  wrinkle  into  divorce  custor 
the  other  day  when  they  entertained 
what  they  called  "a  separation  party." 
was  a  sort  of  debut-dinner  for  both  of  theil 
— at  the  Embassy  Club — to  announce  t 
their  friends  that  they  were  returning  t 
circulation. 

They  said  that  they  had  decided  t 
separate,  but  before  they  did  it,  they  wante 
to  entertain  the  people  who  had  been  nic 
to  them  while  they  were  married  to^or 
another.  All  very  amiable  and  friendly. 

Generally,  the  "ex-es"  remain  upo 
pretty  good  terms  with  one  another  an 
display  the  friendliest  sort  of  interest  i 
each  other's  affairs  of  the  heart. 

I  heard  a  young  wife  announce  her  ir 
pending  separation  only  recently  by  sayinf 
brightly,  to  a  friend,  "  My  dear!  I  think  yo 
have  always  been  a  little  interested  in  m 
husband.  Well — you  may  have  him  now 
I'm  going  to  divorce  him.  I  think  you  ant 
he  would  make  a  splendid  couple — he' 
such  a  nice  chap,  you  know.  I  think  yoi 
would  get  on  very  well,  and  I'd  like  to  set 
you  both  happy  and  settled!" 

The  strange  part  of  it  is  that  I  think  sh« 
meant  it.  Her  concern  for  her  husband  was 
sincere.  She  was  putting  him  back  intc 
circulation  and  she  wanted  him  to  be  con  - 
tent. 


The  county  clerk  writes  them  into  marriage 

The  judge  writes  them  out  of  it  — 

The  press-agents  write  the  papers— 

And  the  papers  write  the  news. 

And.  somewhere  in  the  shuffle, 

The  stars  lose  their  individuality. 

If  you  want  all  the  news,  and 

The  personalities,  too.  keep  pace  with 

Motion  Picture  CLASSIC 


♦ 
♦ 

♦ 
♦ 


GIRLS 

Do  Well  in 

ART 


I Looking  Them  Over 
(Continued  from  page  45) 
:hc  princess  has  been  forced  to  make  her 
jwn  way  in  life. 
"Princess  Athena  is  not  without  her  small 
curt  in  Hollywood,  however.  The  Arabian 
Musicians,  with  whom  she  is  appearing  in 
he  Foreign  Legion  picture,  'Morocco,' 
iddress  her  by  her  title  and  show  her  the 
leference  they  consider  her  rank.  To  them, 
ihe  is  'our  princess.'  " 

•  •  • 

JACKIE  COOGAN  spurning  the  whiU- 
J  tablecloth  brigade  of  the  Paramount  cafe 
ind  eating  with  the  technicians  at  the  counter. 

Joan  Crawford,  Douglas,  Jr.,  Kay  Ham- 
mond, Ruth  Roland  and  Ben  Bard  among 
Ann  Harding's  guests  at  a  theater  party. 

Sally  Starr  and  Fred  Scott  at  the  same  play. 

Sally's  supposed-to-be  boy-friend,  Eddie 
Judl'in,  escorting  his  Mother  and  Dad. 

•  •  • 

SEVERAL  Hollywood  globe-trotters  have 
recently  returned  to  the  home  fold,  sing- 
.ngthe  praises  of  London,  and  telling  of  the 
<ay  receptions  they  were  accorded  there, 
lleretofore,  Paris  has  always  been  the  fa- 
vorite playground,  but  London  seems  to  be 
stepping  right  up  when  it  comes  to  enter- 
taining visiting  movie  stars. 

Marion  Davies  made  a  p>ersonal  appear- 
ance in  the  city  of  the  fogs,  and  thousands  of 
'conservative"  English  folk  stampeded  the 
entrance  of  the  theater  and  the  'bobbies  " 
had  their  hands  full,  holding  the  crowd  in 
check.  When  Marion  made  her  appiearance 
upon  the  stage,  the  entire  audience  rose  and 
cheered. 

Charlie  King  was  another  visiting  fireman 
to  bring  back  glowing  tales  of  his  London 
reception.  And  while  Buster  Keaton  in- 
sisted he  was  on  a  vacation  and  refused  to 
make  personal  appearances,  he  was  not 
without  his  share  of  traffic-stopping, 
him.ielf. 

•  •  • 

T^IET  continues  to  be  a  favorite  subject 
^-^  of  Hollywood  conversation.  The 
Eighteen-Day  diet  is  dead  and  buried. 
Lamb  chops  and  pineapple  are  as  out-of- 
date  as  last  year's  hat.  All  you  hear  about 
now  is — soup  and  buttermilk. 

Winnie  Lightner  introduced  this  one,  I 
believe.  Anyway,  whoever  introduced  it, 
soup  and  buttermilk  is  the  last  word  in 
weight-reduction  conversations. 

•  •  • 

'^ORMA  SHEARER  cabling  good  wishes 
and  congratulations  to  Talullah  Bank- 
head  the  night  she  opened  "Let  i's  Be  Gay" 
in  London. 

Certain  film  producer  wondering  if  the  life 
story  of  Jeanne  Eagels  would  make  suilabU 
material  for  a  movie. 

John  Boles  teaching  his  small  daughter  to 
swim. 

Lilyan  Tashman  and  Edmund  Lotue 
walUing  in  the  Blossom  Room. 

•  •  • 

THE  latest  feminine  adornment  in  Holly- 
wood is  the  beret.  Not  that  the  beret, 
per  se^  is  a  novelty.  But  the  top-piece  in 
question  heretofore  has  been  something  to 
wear  for  sports — not  here,  there  and  every- 
where. 

Hollywood  just  can't  be  bothered  by  be- 
ing formal.  Let  Paris  decree  straight  and 
narrow  lines,  and  Hollywood  promptly  (jives 
its  belt  a  good  healthy  pull.  Let  Parisian 
couturiers  stock  up  with  large  hats  and 
Hollywood  dons  the  smallest  thing  it  can 
find. 

Now  the  girls  aren't  wearing  hat  brims 
around  their  faces,  but  little  wavelets  their 
best  friends  never  knew  they  had.  And  you 
hf.ir  that  feniininity  is  coming  back. 


DO  you  like  to  draw?  If  you  do,  it  is  almost  a  sure  indica- 
tion of  talent.  Make  the  most  of  your  natural  ability- 
get  into  Commercial  Art,  a  field  where  youth  is  an 
asset,  not  a  handicap,  and  where  you  are  paid  as  much  as  a 
man  of  equal  ability.  Trained  artists  earn  nne  incomes. 

Federal  Students  Are  Successful 

Manv  Federal  Students — pirls  aa  well  as  men — are  making  $2000. 
$3000,  $1000,  $S000  and  $6000  a  year  -some  much  more.  Art  is  a 
vital  part  of  modern  biiAineAS,  and  thousands  of  advertisers  are  spending 
millions  of  dollars  every  year  for  illustrations  and  designs.  A  career 
and  a  fine  inrome  awaits  ambitious  girls  with  the  proper  training. 

Learn  At  Home  In  Spare  Time 

^'hv  spend  your  life  in  wearisome  routine  work  that  gets  you  no- 
where? Many  Federal  Students  have  quickly  doubled  and  tripled  their 
former  incomes.  '^I'he  thorough  Federal  Course  contains  lessons  by 
many  of  the  country's  leading  artists,  ^'ou  are  eiven  personal  criticisms 
on  your  lessons.  It  prepares  you  quickly  so  that  vou  can  soon  begin 
to  earn  money.  Some  Federal  Students  have  earned  more  than  enough 
to  pay  for  their  entire  Federal  Course  even  before  they  hnished  it. 

Test  Your  Art  Ability  Free 

Test  your  natural  sense  of  design,  proportion,  color,  perspec- 
tive, etc.  Find  out  how  much  talent  you  have—  if  it  is  worth 
developing.  Send  today  for  Free  .-Vrl  Ourstlonnaire.  V^'e  will  tell 
you  truthfully  what  your  score  is  ana  also  send  you  our  book, 
"Your  Future,"  telling  you  all  about  the  Federal  Course  in  detail. 


89 


It's  Free  And  Easy 


(Continued  from  page  70) 


First-Class  Rackets 

AN'D  although  Hollywood  has  been 
.  fooled  that  way  many  times,  it's  still 
a  Grade  A  racket.  You,  too,  should  pick  up 
a  title  on  the  way  out.  Most  any  title  will 
do  as  far  as  Hollywood's  concerned.  Oh, 
yes — and  a  family  crest  w-ould  be  nice,  too. 
Spend  about  twenty  minutes  figuring  one 
out  before  you  start.  You  can  use  it  here 
in  place  of  a  meal  ticket. 

However  you  work  it,  as  romantic  "hobo" 
or  titled  "nobility,"  be  sure  to  bring  a  good 
supply  of  sarcasm.  Criticize  continuously. 
Find  fault  w  ith  the  food,  furniture  and  filet 
mignov.  Question  your 
host's  taste  in  drinks, 
drapes  and  dressing- 
gowns.  Be  nasty.  Be  im- 
possible. Raise  trouble 
with  Hollywood  and  the 
movies.  Your  host,  in- 
stead of  kicking  you  out, 
will  titter,  gasp  and 
straightway  announce 
you  as  a  Great  Man- 
one  with  the  courage  of 
his  convictions.  You're 
made. 

Still  another  way  of 
gathering  in  the  gratis 
groceries  and  shelter  is  to 
park  on  the  porch  of  some 
star  until  he  asks  what 
it'sall  about.  That'syour 
cue  to  crash  out  with  the 
story  of  how  you've  come 
clear  across  thecontinent 
just  to  see  him.  Soon 
after,  go  into  your  faint. 
You'll  be  taken  in  and 
nursed  back  to  health — 
a  long  slow  process. 
Long  and  slow,  that  is, 
if  you're  at  all  clever. 

Or,  if  you  prefer,  begin 
loading  up  the  star  with 
news  of  the  home-town. 
Funny  as  it  sounds,  that 
also  works.  Your  average 
actor  is  provincial  to  the  point  of  hick. 
Bring  lots  of  news  of  the  home-folks  to 
the  folks  in  Hollywood.  Soon  after,  if  you 
see  any  more  food  you'll  scream. 

Parking  Allowed 

PERHAPS  you'd  prefer  not  being  made 
part  of  a  Hollywood  household.  Perhaps 
the  outdoors  is  strong  within  you  as  it  was 
within  Gary  Cooper,  Grant  Withers,  Ru- 
dolph X'alentine  and  Bill  Seiter.  It  was  for 
you,  then,  that  Hollywood  and  Los  Angeles 
made  their  parks.  With  our  mild  temperate 
climate  (you've  surely  heard  of  our  mild, 
temperate  climate),  you'll  find  our  public 
parks  to  be  perfectly  delightful  living  quar- 
ters. It's  simply  a  matter  of  picking  your 
favorite. 

Westlake  Park,  for  instance,  has  the  lake. 
This  is  favored  by  those  in  whose  blood  runs 
the  call  of  the  sea.  Grant  Withers  is  said  to 
have  preferred  Westlake.  Rumor  has  it  that 
the  soft  lap-lapping  of  the  waves  on  the 
shore  helped  his  insomnia.  Pershing  Square 
Park,  across  from  the  fashionable  Biltmore, 

QO 


has  always  rated  highest  with  those  having 
a  social  standing  at  stake.  X'alentino  is  said 
to  have  liked  it.  X'alentino  is  said  also  to 
have  preferred  the  newspapers  there:  ex- 
cellent for  wiping  one's  face  after  a  hurried 
wash.  Late  editions,  goes  the  anecdote,  were 
recommended  by  him,  both  for  the  news 
they  contained  and  for  their  thickness. 

Gary  Cooper,  or  so  it  goes,  liked  the  peace 
and  quiet  of  Griffith  Park,  located  on  the 
edge  of  Hollywood.  Here  he  would  sit  by 
the  hour,  broke  and  jobless,  true,  but  quietly 
content  as  he  watched  gentlefolk  fall  off 
their  horses.  He  also  was  partial  to  Hollen- 


O' 


Another  good 
who  will  be  del 


stopping-place,  before  you  get  acquainted 
ighted  to  hear  your  story,  is  Westlake  Park, 
always  preferred  Westlake 


beck  Park.  You,  too,  will  find  one  to  your 
liking.  Just  one  more  word.  Don't  overlook 
the  spacious  grounds  of  the  Beverly  Hills 
Hotel.  Personally,  I  think  it  has  them  all 
beat. 

You  Can  Let  It  Rain 

WITH  the  rains,  you  may  want  to  give 
up  your  Park  and  take  winter  quar- 
ters. That  is  the  time,  according  to  Bill  Seiter 
and  many  before  him,  to  select  the  parking 
station  of  your  choice.  That's  what  5>eiter 
did  in  his  plug-ugly  days.  The  Lincolns  and 
Cads  are  best,  he  says,  for  stretching  out. 
Simply  wait  till  business  starts  falling  off. 
Then  as  the  attendant  begins  napping,  head 
straight  for  the  car  of  your  choice,  pull  down 
the  curtains  and  call  it  a  day.  As  Grand 
Rapids  bed  men  say — we  must  get  our 
sleep. 

With  food  and  shelter  out  of  the  way,  we 
may  now  turn  our  attention  to  amusement: 
free  amusement.  And  there,  my  dears,  is 
where  Hollywood  has  the  whole  world 
skinned.  Had  the  late  Mr.  Barnum  seen  the 


shows  that  are  daily  enacted  on  Hollywood 
Boulevard,  he  would  have  sighed  and 
straightway,  and  for  all  time,  have  handed 
in  his  tights.  Probably  that's  why  the  circus 
never  amounts  to  much  in  Hollywood.  The 
side-show  freaks  running  around  loose  here 
are  far  better  than  the  real  thing.  Name  the 
free  amusement  you're  craving  and  I'll  tell 
you  where  to  look  for  it.  Do  you  like  cow- 
boys and  rope-tossing  acts?  Turn  up  at 
Hollywood  and  Cahuenga  boulevards.  There 
you'll  find  a  couple  dozen  rangy  saddle- 
hands  waiting  for  westerns  to  come  back. 
And  as  they  wait  they  daily  put  on  a  show 
of  which  even  Buffalo 
Bill  would  approve. 

How  To  Be 
Entertained 

R  probably  you'd 
like  a  party.  Well, 
the  ladies  of  Hollywood 
are  often  stuck  for 
extra  men  for  their 
dinner  dances.  While 
walking  peaceably  along 
the  Boulevard,  you're 
very  apt  to  be  herded 
suddenly  into  a  carload 
of  other  last  minute 
guests.  That  very  thing 
has  happened  more  than 
once.  If  you  are  ever  so 
drafted,  don't  be  alarm- 
ed about  not  knowing 
anyone  at  the  party. 
You'll  have  plenty  com- 
pany. With  parties  given 
on  the  wholesale  dimen- 
sions you  find  here,  it's 
ten  to  one  that  the  host- 
ess doesn't  know  an\  one 
there,  either.  J  ust  eat  and 
drink  whatever's  in  sight 
and  check  up  another 
free  evening. 

Remember  that  you 
are  free  to  leave  the 
party  if  it  bores  you: 
free  to  try  all  the  other  parties  in  town, 
till  you  find  one  that  looks  good.  Just 
amble  along  till  you  find  a  mob  of  cars 
parked  in  front  of  a  house.  That  usu- 
ally means  party.  Ooze  into  the  house 
and  snuggle  up  to  the  punch.  No  one 
will  bother  you.  After  a  while,  it  won  t 
matter  if  they  do. 

Hollywood,  besides  being  democratic 
as  to  its  guest  list,  is  woefully  dumb. 
The  only  ones  who  don't  attend  the 
parties  here  are  the  invited  guests.  That 
makes  it  better  for  you.  Break  up 
enough  furniture  and  they'll  take  you  for 
a  regular.  And  as  the  party  breaks 
up,  don't  be  alarmed  when  the  guests 
start  thanking  you  for  the  splendid 
evening  they've  had.  Someone  has  to 
be  host. 

This  testimony  should  be  enough  to  start 
you  on  your  way  to  this  town  of  easy  gravy. 
Sow  if  you  don't  come  to  Hollywood  to  get 
in  on  the  free  racket,  we'll  know  it's  just 
because  you're  a  ninny  who's  afraid  of 
traveling  on  a  train. 


Keystone 

with  some  star 
Grant  Withers 


tackle  a 


now 


watcl 


1  us 


Just  think  how  one  would  taste!  That  center,  barely  crumbling 
as  you  bite  through  it  .  .  .  its  flavor  telling  of  fresh  sweet  milk 
and  delicious  nidltcc/  milk.  Topping  that,  the  golden  layer  of  just 
slightly  chewy  caramel;  and  then,  outside  of  all,  that  rich  brown 
coating  of  wonderful,  pure  milk  chocolate. What  a  rare  combination 
of  goodness,  and  how  satisfying,  when  you  crave  good  candy. 
Oh  boy  .  .  .  imagine  how  good  one  would  taste  rijr^ht  this  minute! 

MARS,   INC.,  2  0  19-2059  NORTH   OAK   PARK   AVENUE,  CHICAGO 


They  gave  a  neiv  I  hri 

THAT'S  WHY  THEY  COT  THERE. ...SO  QUICKLY 


The  payroll  read,  "L.  Tibbett,  off-stage 
voire,  $75  a  week"  .  .  .  But  liis  cliance 
cainc  in  tlie  ojjera  "Falstaff."  In  15 
niiiiuti's  Ik;  saii^  liis  way  to  fame.  To- 
day, tliouaaiul^  tlirill  to  his  "talkies." 


LAWRENCE  TIBBETT 

Programs  rustle . . .  "Who  is  Tibbett?" 
.  ,  .  Then  comes  a  voice  of  molten 
gold,  clear,  pulsing,  tender,  stirring . . . 
'•The  Diamond  Horseshoe"  cheers 
like  bleachers.  Encores.  Bravos. 
Flowers.  Speeches. 

A  quick  triumph  for  Lawrence 
Tibbett?  Not  at  all!  Nature  gave  him 
that  glorious  voice. 

That's  why  OLD  GOLD  makes  no 
claims ...  of  factory  skill ...  or  secret 
processes.  For  Nature  alone  deserves 
the  credit.  The  sun,  the  rain,  the 
fertile  soil  simply  produced  better 
tobaccos.  That's  why  OLD  GOLDS 
thrill  your  taste.  That's  why  OLD 
GOLDS  give  you  throat-ease. 

From  an  "off-stage  voice"  to  a  star  in 
the  opera,  concert,  "talkies,"  that's 
what  Nature  did  for  Tibbett.  From  a 
tyro-brand  to  a  great  success.  That's 
what  Nature  did  for  OLD  GOLD. 


1*  •     <  4 


OLD  GOLD  first  appeared  on  Hollywood 
"lots,"  November  9,  1926.  In  just  90  days 
it  was  one  of  the  four  most  popular  brands 
aiuoii!!  the  celebrities  of  the  screen. 


BETTER     T  <)     A  C  C  O  S    .    ,    ."NOT     A     COUGH     IN     A  CARLOAD" 


The  Legendary  .  Barrymore 


G 


paper  cronies — Carl  Decker,  Frank  Butler 
and  Rip  Anthony,  were  with  him — but  it 
was  young  John  who  actually  climbed  up 
and  removed  the  huge  thing  of  wood  and 
plaster  from  its  rightful  place.  The  young 
men  then  took  it  from  saloon  to  saloon  on 
Broadway,  and  for  their  prowess  were 
awarded  many  a  round  of  drinks. 

The  Punishment  Fitted  Him 

EORGE  BRIDGMAN,  noted  artist 
and  teacher  of  art,  who  was  Barry- 
•x-'s  instructor,  says  of  his  student: 
The  Ixjy 's  bold  originality  was  develop- 
in  his  sketches,  although,  of  course,  they 
KCii  the  influence  of  Dore.  He  had  the 
-.ings  of  a  painter  in 

ii)r<'  was  first  intlicted 
r.arrymore  as  a  pun- 
icnt.     A   copy  of 
te's  "  Inferno,  "illus- 
'd  by    the  famous 
.chman,  was  given 
l)oy  to  read  when 
is  twehe  years  old, 
'unishment  fi>r  hit- 
^  another  lad  in  the 
i.ir  with  a  hard-boiled 

He  feels  that  Dorc  in- 
fluenre<l  not  only  his 
- '    '  but   his  very 

instilling  in 
touch  of  the 
mtuabre  that  occasion- 
ally is  evident  in  his 
nature. 

N'oung  Barrymore 
sold  a  play  p)oster  for 
five  dollars.  Andrew 
('.iriHv'i'-  lii.ii'.jlit  his 
k,rui  -. Mil'  "The 

I I.  infill. Ill,  liir  ten 
ilull.irs.  .And  before  he 
liiially  secured  employ- 
ment as  a  newspa|>er 
artist,  he  had  obtained 
other  trilling  sums  for 
his  artistic  labors. 

He  worked   for  eigh- 
teen months  1)11  the  st.ifl 
of  the  New  ^ Drk  K\en- 
iiu  Journal.    He  usu.dly  illustrated  .Arthur 
Hi '-.liane 's  e<litori.il  p.i^'-  '  nt      ■  i--'  ..,  ,11^ 
one  of    his  gloomy,  i 
drawings  illustrated  th< 
Klla  Wheeler  Wilcox. 

His  Excuse  Was  Acceptable 

TIIK  first  trial  of  this  strange  combina- 
tion brought  strong  protests  from  the 
[Mittess,  and  young  Barrymore  was  sent  to 
meet  her  and  explain. 

"  .Madame,  my  drawings  are  probably  <le- 
ficient  because  I  di<l  not  stay  m  art  school 
I'lTi^  enough  to  tlraw  feet,"  he  told  her.  "I 
niii-t  alwavs  hide  feet  in  grass." 

M  hearty  in  her  praise  of 

I'll  illustrations.     He  was 

l  it' :  lor  a  botched  political 

III.  li'.  in,; 

Hair\niore  turneti  from  art  to  acting' 
with  regret.   .As  he  puts  it: 

"I  only  went  back  to  the  stage  hccaus< 
t  til  re  is  hf>|>e— at  least,  money-  lor  the  bad 
.11  lor.     The    inditfcrent    painter  usually 

.1  r \  cs  " 

I''  1 1 1.1  [)s  the  reason  Barrymore  is  such  a 

'  '   ,1  I    M  I  Iiirful  individual 

lly  liked  or  re- 
lamous  family. 
ikI.sIihw  lirtNe  always  been  his 
<li  i:  ile  haa  met  great  pcrson- 


{Continued  from  page  jo) 

alities,  and  kings  and  queens,  but  the  char- 
acters that  have  interested  him  far  more 
have  nearly  always  been  relatively  obscure, 
such  as  Rip  Anthony,  artist,  and  Frank 
Butler,  newspaper  writer. 

The  Friend  of  His  Choice 

AT  an  imjiortant  Hollywood  film  studio, 
_  one  of  his  cronies  was  the  gatekeeper. 
That  worthy  was  alwa\'s  welcome  to  come 
to  the  Barrymore  dressing-room  and,  when 
there,  was  always  sure  of  a  drink. 

The  biggest  executives  of  the  film  com- 
pany were  formally  introduced  to  "Jim" 
when  they  met  him  in  the  star's  dressing- 
room,  and  they  had  to  enjoy  his  company. 


No  bed  of  roses:  but  Joyce  Compton  is  enjoying  Hollywood  despite.  The  reason: 
she  appears  to  be  in  something  better  than  clover,  and  blossoming  out,  after  be- 
ing with  Will  Rogers  in  "Lightnin'  " 


A  climax  was  reached  one  dav,  *hen 
I'  lrrvmore  returnc!  t  ,  I  ,,  .Angeies  frmn 
N'ork.   .All  of  •  s  chief  <  \ 

were  at  the  tr.,  ■  t  him.  !!•  i 

iiig  timidly  on  the  outt>kirts,  and  no  doubt 
frowned  at,  was  "Jim.  ' 

"  Ha,  you  old  lo<ifer,  so  you  got  my  wire! " 
he  shouted.  "That's  fine.  Where's  your 
car?  " 

.Arm-in-arm  with  the  gateman,  he  dashed 
away,  climbed  into  a  r'l  kii'  !  '  •  -  I 
rattled  off.   Behind  hin: 

and  his  valet  for  the  exi  i 
the  awaiting  Rolls-  Royces! 

Fireworks  Display 

kNE  of  his  best  pieces  of  acting  in  a 
studio  ne\  er  i  ■     '     '  ■,. 

sjx'cial     pi  had' 
.''III.  ; ,  ,  auto 

noon,  the 
t  the  com- 

wliich  was  lit'liind  !x.liedule,  would 
have  to  work  late  that  night.  Bill  realized 
that,  if  Barrymore  worked  until  midnight 
or  later  Saturd.iy,  he  would  ne\er  get  up  in 
time  for  the  races  next  day. 

'<.iKss  this  cralM  our  plan,  doesn't  it?" 
he  asked. 

"Oh,  I  don't  think  we'll  work  late," 
Barrymore  replied. 


paiiy. 


He  wore  a  long  cloak  in  the  next  scene. 
The  cloak  kept  falling  off.  He  broke  a 
wooden  trellis.  Some  lady  visitors  came 
on  the  set  and  disturbed  the  players.  Barry- 
more gradually  worked  himself  into  a  tower- 
ing rage.  At  last  the  scene  was  nearly  com- 
pleted. Then  the  cloak  fell  off  again! 

With  a  howl,  followed  by  cursing  that 
sent  the  lady  visitors  away  with  hands  over 
their  ears,  the  star  tore  the  cloak  to  rags  and 
strode  off  the  set. 

The  company  discussed  the  blow-up  with 
hushed  voices.  It  was  decided  that  no  njore 
work  could  be  done,  and  everyone  was 
dismissed  for  the  week-end. 

Bill,  with  many  forebodings  and  qualms 
of  fear,  forced  himself 
to  invade  the  lion's  den. 
He  was  determined  to 
ask  Barrymore  if  he  still 
wanted  to  go  to  the 
races. 

The  Lion  Unbearded 

BEFORE  he  could 
knock  at  the  stellar 
dtKir,  however,  it  opened 
and  a  redfaced,  perspir- 
ing chief  executixe  of 
the  studio  came  out,  re- 
treating gracelessly  and 
in  confusion. 

" N'ou  aren't  going  in 
there,  are  you.  Bill?"  he 
gasped. 

"\ -yes  sir!  I  gotta  see 
him.    Is  he  awful  mad?  " 

"Boiling!  Better  iu)t 
disturb  him.  He 'II  knock 
\oiir  luMil  off." 

Doggi-dly,  but  with 
misgivings.  Bill  otx-ned 
the  door  a  crack  and 
peered  in.  Barrymore 
caught  sight  of  him. 

"Hey,  Bill,  you  old 
wart  -  hog  !      Come  in, 

d  you!   Didn 't  1  tell 

you  we'd  not  work  late 
to-day?" 

-Not   long  ago,  Win- 
ston   Churchill  visited 
Barrymore  at  the  studio. 
The  onlv  person  the  star  introduced  to  the 
famous  British  statesman  wasanothercrony, 
Tiny  "  Jones,  a  diminutive  extra  woman, 
who  was  fornu-rly  Dorothy  .Mackaill  s  maid. 

"Tiny's  a  country-woman  of  yours," 
Barrymore  explained.  "Besides,  she's  a 
real  i>erson." 

The  Human-Being  Test 

ANOTHER  anecdote  gives  a  clue  to  the 
_  genesis  of  s<ime  of  his  friendships. 
.A  new  executixe  was  to  be  presented  to 
Barrymore.    This  was  precarious,  for  the 
star's  violent  dislikes  are  as  characteristic 
as  his  sudden  friendships. 

One  of  the  cronies,  as  ambassador,  warily 
led  the  newcomer  into  the  Presence. 

Staring  hard,  Barrymore  shook  hands 
with  the  new  man.  The  latter  st.utd 
Iwldly  back.  It  was  like  two  fighters  touch- 
ing glo\  es  l>efore  the  bout. 

Drinks  were  brought.  The  newcomer  in- 
sisted that  his  famous  host  l)e  served  first. 
With  a  wise  eye  cocked  at  his  visitor,  the 
star  poured  a  staggeringly  tall  whiskey,  and 
shot  into  it  a  mere  finger  or  so  of  seltzer. 

The  new  man  delil>erately  poured  a  teller 
drink  of  whiskey,  and  a  mere/-/-//  of  seltzer! 
Barrymore  grinned. 

"I'm  gl.id  you're  a  human  being!  "  he 
declared.   "L'p  the  ri\er,  uM  tup'" 


|j|()TION  PICTURE 


^£TING 


Jerome  Storm,  left  Directing 
'CONSTANCt  TALMADGE.  Starm  THE  GOIOFISH 
7?ifkr  C  Gardner  Sullivan,  iuperi/iior. 

SCENARIO  WRITIfIG 

Foi'  a  limited  time  only,  we  offer  a  complete  con- 
centrated course  in  DRAMATIC  ART,  including 
MOTION  PICTURE  MAKE-UP,  SCENARIO 
WRITING  and  DIRECTING,  prepared  by  a. 
Famous  Staff  who  are  ACTIVELY  engaged  in  the 
Motion  Picture  Industry  in  the  "Film  Capital  of 
the  World," 

HOLLYWOOD 

This  offer,  made  possible  as  a  result  of  months  of 
well  directed  effort  on  the  part  of  the  Authors,  will 
serve  as  permanent  and  decidedly  helpful  reference 
guide  for  either  the  Professional  or  Amateur  being 
especially  adapted  to  Talking  Pictures. 

Our  Staff,  offering  the  benefit  of  their  many  years 
of  actual  a  hievement  in  this  magnetic  industry, 
consists  of: 

JEROME  STORM,  Famous  Director,  who  has 
been  instrumental  in  the  development  of  numerous 
screen  celebrities.  Among  the  many  he  has  directed 
are  Colleen  Moore,  John  Gilbert,  Norma  Talmadge, 
Constance  Talmadge,  .Adolphe  Menjou,  Lillian 
Gish,  Wallace  Beery,  .\Iice  White,  Jack  Mulhall, 
Hessie  Love,  Douglas  McLean,  ^Iabel  Normand, 
Tom  Moore,  Jackie  Coogan  and  Charles  Ray  in  his 
widely  loved  "Country  Bov"  characterizations. 

J.  FRANK  GLENDON,  Star  of  the  Broadway 
Stage  and  Screen,  featured  Star  in  over  thirty  screen 
versions  of  the  O' Henry  Classics  and  many  others 
which  include  "Night  Life  in  Hollywood,"  "Rip 
Tyde,"  "Yankee  Doodle,  Jr.,"  supporting  Clara 
Kimball  Young  in  "Soul  of  Raphael"  and  "Mid- 
channel";  Norma  Shearer  in  "Up  Stage"  and  Marion 
Davies  in  "Lights  of  Old  Broadway."  He  has  been 
featured  with  many  others  including  Leatrice  Joy, 
.\gnes  .\yres,  Claire  W'indsor,  Jane  Novak  and  sup- 
ported among  many  Greta  Garbo,  Marie  Prevost, 
Lionel  and  John  Barrymore. 

OLIVER  I)I{.\KE.  Author  and  Writer  of  more 
than  a  hundred  screen  successes  including  "Rogue 
of  the  Rio  Grande."  "The  Squealer."  "Red  Riders 
of  Canada."  "The  Desert  Rider."  "The  Drifter."  etc.. 
featurlntt  many  famous  players  among  whom  are  Ray- 
mond Hatton.  Patsy  Ruth  Miller.  Tom  Mix.  Sharon 
Lynn,  Tom  Tyler,  Myrna  Loy,  Bob  Steele  and  Raquel 
Torres. 

These  subjects  have  been  particularly  prepared  to 
fultlll  the  demand  of  those  who  possess  an  honest  am- 
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and  actual  experience  In  the  Motion  Picture  Business 
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by  the  correct  application  of  Make-I'P.  the  rellectlng  of 
light  and  the  making  of  Interesting  scenes  in  continuity. 

This  Instruction  may  provide  the  foundation  for  your 
future  success.  You  may  earnestly  WISH  to  be  an 
Actor  or  Writer  but  ambitions  are  realized  through 
genuine  effort,  not  wishes.  You  can  no  more  succeed 
without  study  than  >ou  could  practice  Law  without 
preparation  Your  questions  will  receive  the  personal, 
helpful  attention  of  our  Staff  members  —  not  enjployees. 
Take  advantage  of  this  opportunity  and  Introductory 
price  now. 

(.For  vovr  protection,  the  officers  of  the  Hollywood  Film 
Academy  are  Uonded  ) 


HOLLYWOOD  FILM  ACADEMY  iDept.  2A) 
6372  Hollywood  Blvd.,  Hollywood,  Calif. 


(    IDKAMATtC  ART.  iimludinc  Motion  Piotun  M>ke-i;p. 

(    )1'UOTOPLAY.WKITI.NG  •nd  Motioa  Piolur.  UiaECTING. 

N»mo  >  

Addrew  

City  tiid  .Sut«  


The  Kid  Also  Talks 


(^Continued  from  page  41) 


Sawyer,"  with  nice  little  Mitzi  Green  and 
that  brand-new  mike?  (I  often  wonder  if  I 
am  not  just  a  little  silly  when  I  talk  with 
children.  I  never  quite  seem  to  know  when 
they  have  crossed  that  line  from  child- 
hood into  human  beings.  Sometimes  I  think 
I  actually  coo  at  them). 

Sure,  he  said,  it  was  nice  to  take  a  fling 
at  the  talkies.  Ever  since  they  came  in, 
he'd  wanted  to  try  them  to  see  just  what 
made  'em  tick.  You  got  the  idea  he  would 
have  had  the  same  interest  in  a  new  auto- 
mobile motor  or  a  self-setting  alarm  clock. 
His  mind  wandered  politely  from  the  sub- 
ject. Mar>'  Brian  had  come  in  and  taken 
the  next  table. 

Jackie  observed  her  silently  for  a  moment. 
"The  most  beautiful  girl  on  the  screen" — 
this  with  the  tone  of  a  connoisseur.  "She 
isn 't  too  skinny." 

There  might  have  been  more  on  the 
charms  of  Mary  as  seen  by  her  youthful 
admirer,  if  that  second  toasted  cheese 
hadn't  arrived  at  just  this  time.  For  the 
next  moment  or  two  Jackie  gave  this 
masterpiece  of  culinary  art  his  undivided 
attention. 

Food  For  Thought 

IT'S  wonderful  the  way  that  fellow 
makes  these,"  he  mused.  "They 
aren  t  all  messy  like  most  cheese  sand- 
wiches. The  cheese  is  toasted  right  in  be- 
tween the  bread" — his  expressive  hands 
illustrated  in  pantomime  just  how  the 
cheese  and  the  bread  got  together, — "and 
then  it's  put  on  a  special  sort  of  frying 
plate.  I  wish  you 'd  have  a  bite,"  he  offered. 

After  that,  I  don 't  know  what  kept  me 
from  ordering  one  myself. 

Later,  Jackie's  father  told  me  he  had 
always  been  that  way.  Didn 't  care  a  darn 
about  fame.  It  just  didn 't  mean  anything 
to  him.  He  never  quite  "got"  it — or 
rather,  it  never  quite  "got  him."  He  just 
won't  talk  pictures. 

"He's  far  more  interested  in  the  things 
that  interest  most  boys  of  his  age  who  have 
never  set  foot  on  the  stage,  or  in  a  motion 
picture  studio. 

"He  gets  a  kick  out  of  such  things  as 
belonging  to  the  German,  French,  English 
and  American  Boy  .Scouts.  When  we 
trav^eled  in  Europe  on  his  personal  appear- 
ance tour  a  couple  of  years  ago,  it  didn 't 
mean  anything  to  Jackie  that  they  were 
still  talking  about  'The  Kid' — just  as  if  it 
had  been  made  yesterday.  The  biggest 
thrill  of  that  tour  to  him  was  the  oppor- 
tunity to  attend  the  International  Conven- 
tion of  the  Boy  Scouts. 

He  Likes  What  He  Gets 

"  TTE'S    nutty    about    airplanes,  and 
J_  J_  things    like    that,    and    over  at 
Loyola  he  wapts  the  boys  to  forget  he  is 
Jackie   Coogan,   the   movie  star.    If  he 


wants  to  go  to  the  mat  with  a  certain  boy 
over  a  disputed  point,  he  wants  it  to  be  oa 
a  boy-to-boy  basis. 

"His  mother  and  I  have  tried  to  keep' 
Jackie  unspoiled  by  not  giving  him  what  he 
asks  for  right  away.  I  bought  a  tricky  littiej 
model  of  a  kite-airplane  the  other  day  and, 
Jackie  went  crazy  about  it.    He  started, 
business   negotations   for   it   right  away.' 
First,  he  asked  me  to  give  it  to  him.  Then< 
he  offered  to  buy  it.   I'm  going  to  let  him-"^ 
wait  a  little  while  for  it — he'll  appreciate! 
it  more  when  he  gets  it."  I[ 

At  this  moment,  the  Kid,  who  had  been 
visiting  the  table  of  Gary  Cooper  during 
this  eulogy  on  his  robust  fellowhood,  re- 
turned bearing — believe  it  or  not — another 
cheese  sandwich.  Something  in  Coogan, 
Sr.'s  expression  must  have  smitten  him,  for 
he  murmured:  "This  isn 't  exactly  for  me- 
I  know  you  like  them.  Dad."  And  it 
turned  out  that  Dad  did. 

"The  people  in  Europe  have  the  real 
idea  about  eating,"  said  Jackie,  because, 
after  all,  this  was  an  interview  and  some- 
thing was  expected  in  the  conversational 
line.  "They  really  know  food,  even  though 
they  do  spring  some  funny  novelties  on  you. 
I  never  thought  in  my  whole  life  I 'd  ever 
be  able  to  eat  a  snail.  But,  honest,  they're 
delicious!  The  first  time  I  ordered  them,  I 
ate  six  and  after  I  finished  those,  I  ordered 
six  more.  They  don 't  taste  like  what  you 'd 
think  snails  taste  like,  at  all." 

The  Coogan  Mystery 

IN  spite  of  Jackie's  cultivated  taste,  his 
father  says  he  is  most  difficult  to  feed 
at  home. 

"He  will  sit  down  to  a  delicious  meal — 
and  then  inform  us  out  of  a  clear  sky  that 
there  is  nothing  on  the  table  he  really  likes. 
That  is  always  his  cue  to  make  a  polite  get- 
away down  the  street  to  one  of  those 
barbecue-sandwich  places.  He  brings  back 
one  of  those  pork  or  beef  concoctions  just 
dripping  in  that  gooey  sauce.  His  mother 
nearly  had  a  fit,  at  first — but  he  hasn 't 
broken  down  yet.  I  don 't  know  whether  it 
is  a  sign  that  the  food  is  all  right — or  that 
Jackie  has  a  tin  stomach." 

Jackie  only  smiled.  After  all,  it's  his 
own  secret. 

Somebody,  an  assistant  director,  I 
think,  came  and  said  Jackie  was  wanted 
back  on  the  set.  For  the  first  titne  since  the 
last  cheese  sandwich,  Jackie  lighted  up  a 
bit.  "Excuse  me,  please,  I'm  glad  to  have 
met  you,"  and,  just  like  that,  he  was  gone — 
cheese  sandwich  and  all. 

"Mr.  Coogan,"  I  pried  on  from  a  sense 
of  duty,  "isn't  he  just  a  little  excited  over 
the  picture — I  mean,  at  home  doesn 't  he 
say  anything?" 

Coogan,  Sr.,  shook  his  head.  "Fame 
doesn 't  mean  anything  to  Jackie." 

That  being  the  case,  I  said  I  thought  I 'd 
have  ofie  of  those  cheese  sandwiches. 


With  the  talkies,  hokum  is  being  squeezed  off  the  screen- 

A  blah  remark  sounds  even  worse  than  it  looks. 

But  written  hokum  looks  bad  enough — ■ 

Especially  when  you  have  been  seeing  it 

For  years  and  years  and  yet  more  years — 

Material  that  went  over  big  in  the  days 

When  movies  were  designed  for  ten -year -olds. 

The  alert,  adult  audience  of  to-day 

Knows  hokum  at  first  sight,  and 

Keeps  away  from  it,  by  reading 

Motion  Picture  CLASSIC 

"It's  The  \lagazine  With  The  Personality'' 


94 


How  To  Treat 
Chorus-Girls 


lio  understand. 


veryone  who  understands 
teauty  care  takes  Kleenex 
as  a  matter  of  course  .  .  . 

(J  tlie  wav.s  ot  Keaiitv  —  I 


Screen  stars " — 'Xvise  u\U  tlie  ways  ot  locality' — liiid 
Kleenex  indispensalile  lor  removing  cold  cream. 


{Continued  from  page  6g) 

are  at  least  a  hundred  to-day  for  ever>-  job, 
even  in  the  chorus.  So  you  have  to  be  ex- 
traordinarily good  at  your  kicks,  splits  and 
taps  to  qualify  for  a  permanent  chorus  job 
at  one  of  the  big  studios.  Thus  the  chorus 
director's  job  is  done  for  him  before  he 
starts,  so  far  as  getting  work  out  of  the  girls 
-  concerned.   All  he  has  to  do  is  tell  them 

:i.it  he  wants,  and  they  can  do  it  with  little 
or  no  trouble.  .So  we  see  that  even  if  the 
new  Will  I  lays'sco<le  of  ethics  for  I  lolly  wood 
li  id  not  been  intro<luced,  there  would  be 

1  le  need  for  swearing  at  chorines.  The 
.(  tory  for  purity  is  complete. 

How  It  All  Started 

D.\N\Y   DARE,  who  is  overseer  of 
massed  feminine  gyrations  for  Fox, 
'  I)S  forward  to  tell  us  the  evolution  of 
■rus-girl  treatment  from  earliest  times  to 
'  present  enlightened  day. 
It  was  Leon   Krrol,  he  says,  who  dis- 
ered  the  art  of  staging  dances  without 
use  of  profatiity.    Krrol  is  said  to  ha\e 
illed  his  girls  with  kindness."   Mefore  his 
,  the  backers  of  liroailway  shows  would 
-.1  in  the  orchestra  at  rehearsals  and  listen 
to  chorus  directors  yelling  and  screaming 
at  the  chorines.  If  a  girl  answered  back,  she 
went  straight  out  into  the  street  and  did  not 
return.  The  chorines  had  to  be  as  tough  as 
steel  to  stand  it.  Mut  then,  in  a  way,  chorus 
masters  hail  a  right  to  expect  them  to  stand 
up  against  iirofanity;  for  many  of  them 
could  flo  nothing  els<-  except  walk,  and  that 
only  with  the  strange  onc-knee-over-the- 
other  gait  which  generally  betokens  knock- 
knees. 

The  change  came  from  show-girls  to 
dance-girls.  A  lady  of  the  ens<Muble  had  to 
be  able  to  do  something;  and  for  what  she 
could  do  she  commanded  a  <-ertain  amount 
of  ri  spcct.  The  old  manner  of  directing 
1  iiM  1  li.Irs,  as  exemplified  by  Ned  VVayburn 
and  /u  gfeld  in  fornwr  d.iys,  began  to  fiide 
out.  The  us»-  of  profanity  became  a  thing  of 
the  past.  And  "ladies  of  the  ensemble,"  so- 
called  for  dozens  of  years,  were  treateil  a 
little  more  like  ladies  and  a  little  less  like 
inmates  rif  an  orphanage. 

To-day,  says  Dare,  the  average,  chorine 
has  to  be  a  far  better  danier  than  the  star 
u.s<-d  to  \tv  in  the  old  riays:  and  with  nKNlern 
1 1< \>. I mmI  <  om|)etition — with  thousands  of 
niggling  for  a  place,  be  it  ever  st) 
nijii.i  ir,  in  the  limelight — the  chorus-girl  i 
who  can  get  a  job  is  no  less  than  an  ex|KTt 
in  every  line  of  dancing.  I'rofanity  is  not 
only  undignified — it  is  unnecessary. 

As  for  the  show-girls  of  the  old  school, 
they  are  now  d(jing  their  knm  k-knet'  walk- 
ing in  millinery  and  f.ishion  shops.  Thev 
arc  not  wanted  in  the  show  business.  Their 
tough  hides  are  no  longer  any  us»*  to  them. 

I  asked  Ivan  l.elM-<lelT  the  very  man 
whose  hand-kissing  sent  thirty-seven  girls 
at  R-K-O  to  the  tlof)r  for  a  count  of  ten — if 
he  had  any  views  on  the  correct  treatment 
of  chorus-girls,  and,  if  sf),  to  spill  them  or 
forever  hold  his  |)cace. 

Ivan  frowned,  then  smiled  a  Motui  Lisa 
smile. 

"It  all  de|)onds  on  your  taste,"  he  saiil. 
"I  prefer  the  old-fashioned  way  myself." 

lie  (M>ndere<l  further. 

"Also,"  he  continued,  "there  are  two 
divisions  of  the  problem-  above  the  waist- 
line and  l>elow  the  waist-line. 

"I  mean  by  this,  of  course,  treating  a 
chorus  girl  intellectually  and  treating  her 
prot.        •  .M\  " 

I  my  head  as  he  w.ilked  itn. 

'.Ill   ,   I  III"-!    frirclVH  1  ll.ip-,       Illtl  Il.-I  tll- 

ally,  foraootli ' 


HY  is  Kleenex  in  the  dressing 
room  of  almost  every  star  in 
Hollywood.'' 

Because,  as  Virginia  Valli  says,  "It's 
the  modern,  sanitary  way  to  remove 
cold  cream  and  make-up." 

Kleenex  /'/  the  modern  way.  How 
much  daintier  to  use  an  immaculate  tis- 


VSE  Kleenex  for  funJierchiefs — //  avoids 
re/nfedioH  when  you  hare  a  cold  .  .  .  ii 
soft,  daiHly  . . .  and  saves  laundry. 


sue  than  a  germ-fillcd  cold  cream  cloth . . . 
or  a  harsh  and  unabsorbent  towel ! 

With  Kleenex  there  s  no  rubbing  or 
stretching  the  skm.  You  just  hint.  Along 
with  the  cream  come  embedded  dirt  and 
cosmetics — which  harsh  cloths  often  rub 
right  back  into  the  pores. 

Kleenex  is  simply  discarded  after 
using.  If  you  don't  know  Kleenex,  stan 
today  to  give  your  .skin  the  care  it  dc- 
.servcs.  Buy  Kleenex  at  drug,  dry  goods 
and  department  .stores. 

'h  "^^Y  Kleenex  Free  ♦• 

Kleenex  Company,  mJ'C.  11 

Lake-Michigan  BIdg.,  Chicagi>,  III. 
Please  send  a  sample  of  Kleenex  to: 

Name  

AJdreis..  . 

{,//> . 


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Mrs.  .M.  Y.  Munford,  Springdeld,  Mass  ;  Lois  Calvert,  Houston, 
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FORM  DEVELOPED 

Ily  3U  Kiisy  .<iiii[)le  Method  that  has 
stood  the  te-'^t  of  26  year?"  Successful 
Ser\  ice.  The  Direct  Method  (ora  Sym- 
metrical Figure — Development  where 
needed.  Neck,  chest.  .\rms.  Legs — in 
lact  .ANY  part  of  the  Hody.  Y  ou  need 
not  send  me  a  loni:  letter.  .lust  write 
•■  /  tncliKt  10c.  Mail  me  a  Lari/e  Box  of 

PEERLESS  WONDER  CREAM 

  Staled  and  Prepaid,  and  tell  me  liotc 

to  Derelnp  a  Beault/ul  hvunded  Form  b\i  tiour  Stmpte 
Home  MethiMl."  That  is  all  you  need  say,  and  1  will  return 
the  dime  if  you  wish,  but  send  it  NOW. 

Mme.  Williams,         Box  133,         Buffalo,  N.  Y. 


STAMMERING 

Ifs  (a\ise  dj\d  Gire  »♦ 

Toa  can  b«  qojeklr  carad  If  rou  stammer.     Send  10  c«nt».  cobi 
or  atantps.  for        p«c«  cloth  bound  book  oo  Stanuovrtnc  and 
3tutt«nnc.    it  tclla  bow  I  cure<l  mj—\t  after  Stammarinc  mad 
Statt«nn«  for  20  raara.    BfNJAMIN  N,  BOGUE 
I      77iaBocue  Bulldlns.  1147  N.  IM.  St.    Indlanapotta  ■ 


Meet  The  Killer 


{Continued  from  page  58) 


hired  a  free-lance  press-agent  to  get  the 
editors  jogged  up  a  bit. 

The  press-agent  would  handle  his  account 
for  a  hundred  and  fifty  dollars  per  week.  He 
paid  for  expensive  portraits  that  he  never 
saw:  dashed  hither  and  yon,  buying  lunches 
for  newspapermen;  talked  long  and  impres- 
sively whenever  a  member  of  the  Fourth 
Estate  happened  along.  This  went  on  for 
many  weeks,  to  the  tune  of  one  hundred  and 
fifty  dollars  ever>-  seven  days,  plus  costly 
portrait-sittings,  plus  lunches. 

He  isn't  a  notorious  spender,  so  naturally 
he  demanded  to  know  what,  besides  income- 
tax  exemption,  all  this  was  getting  him.  The 
press-agent  was  indignant,  but  a  few  five- 
line  notices  in  newspaper  dramatic  sections 
were  all  that  could  be  produced.  He  still 
wants  publicity,  but  he's  not  going  to  be 
made  a  sucker  to  get  it. 

Observing  Stage  Law 

ALTHOUGH  he  hasn't  been  interviewed 
verj'  much,  he's  nothing  if  not  thor- 
ough about  it.  The  interviewers  one  meets 
in  fiction  and  stage  plays  always  carry  little 
black  notebooks  with  a  supply  of  well- 
pointed  pencils.  Mr.  Robinson  reads 
extensively  and  has  seen  no  end  of  plays. 
He  wants  to  give  out  a  good  interview  just 
as  earnestly  as  he  wants  to  play  the  title 
role  in  "  Dracula." 

So  it  isn't  surprising  when  he  suggests 
that  one  produce  one's  notebook  and  pencil 
to  take  down  what  he  says.  It  doesn't  really 
matter  if  what  he  says  is  substantially  the 
same  thing  actors  have  been  saying  since 
time  immemorial;  to  see  a  pencil  scratching 
on  a  notebook  inspires  his  best  efforts. 

It  isn't  as  though  Mr.  Robinson  didn't 
know  what  interviewing  is  all  about.  He 
does.  He  has  read  interviews  and  he  has 
ideas  about  what  the  public  wants  to  know. 
There's  the  matter  of  favorite  food,  for 
instance. 

"Say  that  fruits  are  my  favorite  food. 
Put  it  fruits  and  tobacco.  That's  good, 
isn't  it?  " 

This  sprightly  bit  of  humor  was  accom- 
panied by  a  little  slap  on  the  elbow — our 
elbow — which  is  one  of  the  typical  Robinson 
mannerisms,  .'\fter  delivering  himself  of  an 
observation  he  considers  unusually  apt,  it 
is  his  custom,  by  way  of  emphasis,  to  lean 
forward  and  give  the  listener  a  slight  slap 
with  the  back  of  his  hand. 

He  never  lets  a  good  thing,  whether  it  be 
a  joke  or  a  characterization,  elude  him 
for  lack  of  following  it  up.  The  impulse  to 


follow  up  is  responsible  for  his  being  typedv 
as  a  gangster.  He  was  tremendously  success- 
ful in  the  stage  production  of  "The  Racket," 
and  was  promptly  brought  out  to  Hollywood 
to  be  sleek  and  suave  in  "  N'ight  Ride." 
Since  then,  producers  haven't  been  able  to 
get  enough  of  his  nasty  doings. 

He  has  never,  to  his  knowledge,  seen  a 
gangster  in  the  flesh.  The  character  he  did 
in  "The  Racket"  was  popularly  supposed 
to  be  a  take-off  on  "Scarface"  Al  Capone. 
He  never  even  heard  of  Capone  until  after 
the  play  had  closed. 

Being  typed  rather  disturbs  an  actor  who 
is  otherwise  well  pleased  with  himself.  On 
the  stage,  he  did  plays  that  mov-ie  audiences 
would  consider  decidedly  high-brow  and 
worked  for  impresarios  who  spell  art  with  a 
capital  -'\.  Now  he's  laboring  in  the  once- 
despised  flickers  and  playing  conventional 
villains  calculated  to  make  little  children 
shudder. 

Notwithstanding  which,  he  announces, 
"I'm  too  individual  to  be  tied  down  with  a 
contract." 

And  does  he  love  his  symphonies?  That's 
easy.  Does  Clara  Bow  love  her  front-page 
stories. 

He  can  neither  play  nor  read  a  note  of 
music,  but  he  expands  indefinitely  on  the 
finer  points  of  Tschaikowsky's  Symphony 
Pathetiqiie.  What's  more,  he  can  spell 
Tschaikowsky.  He  professes  to  abhor  jazz, 
yet  people-who-should-know  say  he's  an 
unusually  expert  ballroom  dancer.  He 
leased  a  box  at  the  Hollywood  Bowl  and 
goes  religiously  to  hear  the  symphonies 
under  the  stars. 

He  pumps  a  mean  player-piano,  too. 
Once  when  an  original  mood  possessed  him, 
he  cut  sections  from  a  half-dozen  player  rolls 
and  pasted  them  together,  in  an  effort  to 
achieve  something  unique.  Judging  from 
his  wife's  comments,  the  result  was  even 
more  than  he  had  hoped  for.  Now,  no 
amount  of  persuasion  will  enable  one  to 
hear  the  Robinson  Originak  It  is  for  his 
own  solitary  enjoyment. 

"Tell  them  my  tastes  are  very  diversi- 
fied," he  instructed.  "Say  that  when  I  have 
a  day  off  in  New  York  I  go  to  an  opera 
matinee,  then  to  a  prize-fight  in  the  evening, 
and  enjoy  one  as  much  as  the  other." 

Crap.-shooting  is  his  favored  sport.  The 
perusal  of  Sunday  newspa[>ers  is  his  major 
excursion  into  current  literature,  because 
he  prefers  reading  books  which  time  has 
proved  worth  while.  He  speaks  seven 
languages. 


Ladies  of  "Whoopee" 


(Continued  from  page  74) 


don't-act,  \'irginia  Bruce  was  like  a  straw- 
berry ice  cream  soda  after  a  gin  fizz.  She's 
quiet — but  beautiful.  \  ery,  very  beautiful. 
Tall.  Blonde.  Her  obvious  inexperience 
takes  on  the  coloring  of  bewilderment.  She 
talks,  looks  and  acts  as  you  might  expect 
Lillian  Gish  to  talk,  look  and  act  in  a 
chorus.  Several  men  who  darted  in  and  out 
of  the  office  on  the  L'nited  Artists  lot 
spotted  X'irginia  sitting  so  erectly  in  her 
pale  pink  dress  and  called  out:  "Hello, 
Beautiful."  'Hello,"  she  answered  politely 
and  softly. 

"AW  the  men  I've  met  since  I've  been  in 
pictures  are  awfully  encouraging,"  she  ad- 
mitted in  calm  repression,  "I'm  not  really 
a  show-girl,  you  know.  That  is,  I  never 
worked  in  a  stage  show.  I  came  out  to 
Hollywood  originally  to  go  to  school,  but 
since  the  talkies  started  I've  worked  in 
manv  musical  comedies.    I  had  a  contract 


with  Paramount  for  six  months — but  noth- 
ing happened."  She  fixed  me  gently  with 
those  lovely  puzzled  eyes. 

"I've  had  an  offer  from  Mr.  Ziegfeld  to 
go  back  to  New  York  for  the  next  Follies — 
but  I  don't  know  whether  I  should  or  not. 
It  would  mean  being  separated  from  my 
family — and  I  think  I  would  just  die.  I've 
never  been  away  from  my  family,  and  New 
York  seems  so  cold  and  unfriendly  from 
what  I've  heard  about  it.  I'm  not  the  type 
that  likes  to  go  around  to  lots  of  places 
with  different  men.  I  like  being  at  home 
with  people  I  know,  I  really  don't  know 
what  to  do. 

What  Can  Be  the  Matter? 

"TF  things  just  broke  right  for  me  in  the 
X  talkies,   I'm  sure   I   would  love  this 
work.     Just  when  I'm  beginning  to  feel 
{Continued  on  page  102) 


Desist 
Doctor 


/  have 


Changed 


Oh,  please  don't,  doctor, 
Please  don't  tell  me 
I  ouKht  to  try  some  more 
Of  that  awful  stuff. 

It  didn't  help  me  a  bit. 

And  really,  d<X!tor, 
I  don't  need  if. 

Why,  it  has  even  g<M  ~m  ihat 
I  don't  even  erave 
A  little  prescription, 
Now  and  then. 

No  longer  am  I  sick, 
Or  fired,  or  lH)red. 

My  eyes  have  stopped 
Hurnint;  and  aching. 
My  head  d«K'sn"f  fe<>l 
Like  a  bale  •)f  cotton. 
My  ap[)efite  is  go<Mi  again 

I  happened,  ;dl  l)y  myself, 

( )n  what  1  need. 

And  it  surely  is 

A  .sure  cure  f<ir  hitkuiii 

And  the  doldrums. 

That's  why  I  have  changed. 

I  tossed  all  that  f»ther  .stuff 
Into  the  grate — and 
S<>ttled  down  to  enjoying 
Some  he-nmn  do«M?s 
Of 


MOTION  IMCTl  RK 

CLASSIC 

••//  .s  ihr  Mn^dzinr 
Uith  the  Porsonality" 


Clara's  New  Beau 

{Continued  from  page  4S) 

for  some  time  (.when  he  was  a  kid  he  used  to 
caddy  for  Wally  Keid  on  the  golf  links'jbut 
it  is  only  lately  he  has  begun  to  crash  any 
degree  of  interest.  He's  lost  the  cowboy- 
background  in  favor  of  straight  juvenile 
screen  leads — and  then  this  "stuff"  about 
an  engagement  between  him  and  Clara,  has 
certainly  stirred  up  talk,  to  say  the  least. 

"Everybody  wants  to  give  me  advice 
about  Clara,"  he  commented,  settling  him- 
self into  a  chair  in  my  apartment  which  was 
not  quite  large  enough  for  him.  "A  few 
people  around  the  studio  ha\e  even  tried 
to  run  our  friendship  for  us— if  you  can  beat 
that!  One  fellow  said  to  me:  'Don't  let 
yourself  get  serious,  kid,  she'll  only  break 
your  heart  and  give  you  the  air.'  Another 
said:  '  Keep  your  heart  out  of  it  but  crash  in 
on  the  publicity.'  I  could  have  socked  that 
one.  I  guess  I  should  have — but  I  was  so 
surprise*!  I  was  dumb.  For  the  most  part  I 
let  them  rant  their  heads  off  and  don't  say 
anything  myself. 

Keen  for  Clara 

"T  FEEL  it's  nobody's  business  about  my- 
JL  self  and  Clara's  friendship.  1  don't 
mind  telling  you  this,  though.  I'd  rather  be 
in  the  comjwny  of  Clara  than  any  other  man 
or  woman  I've  ever  known.  She's  st>  darn 
kind  and  generous  to  everybotly  and  they're 
so  mean  to  her — except  a  few  of  her  real 
ik»»o  friends  and  I'm  not  so  craz\  alxjut  all 
of  them — but  you  can't  argue  vith  Clara — 
she  thinks  they're  tine. 

"I  wonder  why  p>eople  don't  leave  Clara 
alone?  She  never  bothers  anylxxly.  She 
leads  the  quietest  life  of  any  girl  in  Holly- 
wood. 

"  Lots  of  times  when  I  ask  her  to  come  to  a 
theater,  or  out  dancing,  she  says  she'd 
rather  sit  home  and  play  cards.  She's  crazy 
about  cards.  She  likes  I'oker  some,  but 
she'd  r.ither  play  Rummy  or  Chess.  Did 
you  know  she  was  the  iR-st  Chess  player  of 
Brooklyn ?  She's  the  champion.  It  takes  a 
lot  of  brains  to  play  that  game. 

"I'm  i>erfectly  happy  just  knowing  I  can 
drop  over  to  Clara's  house  and  sit  around 
talking  to  her.  There's  a  real  companion- 
ship in  our  friendship.  We  do  just  what  we 
want  to  do  without  trying  to  put  on  an  act 
for  each  other.  If  Cl.ir.i's  tired  and  wants  to 
get  st)me  rest,  she'll  excuse  herself  to  the  rest 
of  us  and  go  to  iK-d.  Even  when  she  can't 
sleep  she  likes  to  lie  there  and  relax.  Her 
health  isn't  so  awful  go<i<l,  you  know.  What 
she  really  neetis  is  a  long  rest  away  from  this 
town. 

"We  don't  make  any  demands  on  each 
other,  either.  None  of  that  jeal«)us  'check- 
ing up'  business.  Maybe  I  won't  see  Clara 
f(»r  a  a)uple  of  flays.  Maybe  I'll  drop  o\er 
to  another  girl's  house  anil  take  her  to  a 
movie,  or  something.  It  doesn't  make  any 
difference  to  Clara.  We're  real  friends. 

Has  Given  Him  Courage 

"OIIE  advises  me  a  lot  about  niy  studio 
^  work,  1(H).  She  thinks  it's  great  I'm 
studying  with  a  dramatic  art  teacher  and 
trying  to  improve  myself  that  way.  She's 
gi\en  me  a  lot  of  cour.ige  alK)Ut  things  — 
and  I  never  felt  that  way  l>efore. 

"I  haven't  worke<l  in  four  months.  At 
one  time  that  wouhl  have  scared  me  to 
death.  I'd  lie  sure  they  were  trying  to  get 
rid  of  me  at  the  studio  and  I'd  Ik*  |>anicky. 
Hut  l.itely  with  this  new  wav  of  looking  at 
things  I  tliink:  'Well,  wh.it  if  they  do  let  me 
gii.''  In  f.ict,  not  longer  than  a  couple  of 
weeks  ago  I  went  to  an  otfici.d  of  the  studio 
.iiid  asked  for  my  release.  I  told  him  I  felt 
I  u.is  ill  a  rut.  Not  that  I  was  sf>re  al)out 
.inythmg  or  blaming  them.  I  wasn't.  I 
hgured  maybe  I'd  been  hanging  around 
(CofilinueJ  on  page  j/j^) 


Nrkon'i  wntk   (  I  )  br- 
forr  and  (2  )  aftrr  Fxicral 
Sch(x>l  iraining. 

Now  he  DRAW$ 
the  things  he  wants 

T    OOK  at  drawing   No.   1  above. 

'  Then  compare  it  with  No.  2  and 
note  the  improvement  Federal  School 
training  has  made  in  the  work  of  Art 
Nelson.  He  formerly  worked  as  a 
surveyor's  assistant  at  $18.00  a  week. 
Today  as  an  illustrator  he  makes 
$65.00  a  week.  He  says,  "The  Federal 
Schools  made  this  possible  through 
their  training  and  co-operation  as  I 
had  only  average  ability  before  enroll- 
ing as  a  student."  Nelson  is  one  of 
many  young  people  making  big  money 
because  of  Federal  training. 

Publishers  buy  millions  of  dollars 
worth  of  illustrations  every  year.  If 
you  like  to  draw,  let  your  talent  make 
your  living.  The  Federal  Course  in- 
cludes illustrating,  cartooning,  letter- 
ing, poster  designing,  window  card 
illustrating,  etc.  Over  fifty  famous 
artists  have  contributed  to  the  Federal 
Course.  It's  easy  to  learn  the  "Federal 
Home-Study  Way." 

Test  Your  Drawing  Talent 

How  well  can  you  draw?  Will  you 
make  an  artist?  These  questions  are 
fully  answered  by  our  free  Vocational 
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97 


Menask^ 
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Watch  her  when  she  enters  the  room. 
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Look  at  her  hair.'    Do  you  not  find  the 

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Lon  Chaney's  make-up  box  carried  every  possible  shade  of  color  and  device 
for  portraying  his  varied  roles.    With  this  box  the  late  lamented  star  mas- 
tered the  art  of  characterization 


The  Daily  Terror 


{Continued  from  page  jg) 


interests  them  more  than  anything  else  in 
the  paper.  Especially  if  that  story  has  a 
tang  of  blood,  love  or  money. 

There's  one  answer,  then.  A  second,  one 
seldom  touched  on  by  the  newspaper  edi- 
tors themselves,  requires  another  preface 
before  its  explanation. 

Not  long  ago,  the  somewhat  sensational- 
minded  managing  editor  of  a  New  York 
tabloid,  with  no  other  instigation  than  his 
own  imagination,  deliberately  stirred  up 
such  a  furor  of  renewed  interest  in  the  fa- 
mous Hall-Mills  murder  in  New  Brunswick, 
New  Jersey,  that  the  whole  case  was  trotted 
back  to  court  and  the  front  pages. 

There  seems  little  doubt  that  that  tab- 
loid's accusations  were  first,  last  and  always 
purely  a  circulation  stunt.  A  bid  for  public 
attention  through  which  so  many  more 
newspapers  could  be  sold,  and  therefore  so 
many  more  advertisers  attracted  to  that 
particular  paper. 

Sensation  with  a  Reason 

THE  most  sensational  stories,  then,  are 
often  "hopped  up"  purely  at  the  com- 
mand of  the  circulation  department,  or 
through  the  doubtful  enterprise  of  an  am- 
bitious editor. 

The  murderer  of  William  Desmond  Tay- 
lor, the  movie  director,  was  sought  for  years 
by  the  circulation  managers  and  editors  of 
Los  Angeles  newspapers — and,  occasionally, 
by  a  political-minded  District  Attorney — 
long  after  the  Los  Angeles  police  had  pigeon- 
holed their  investigations  as  impossible  of 
success. 

Not  only  are  bona  fide  stories  overplayed, 
o\erwritten  and  ov^sold  because  of  their 
Hollywood  connections,  but  often  the  Hol- 
h  wood  connection  with  a  story  is  dragged 
from  so  far  afield  that  it's  almost  imper- 
ceptible, just  to  give  the  report  of  a  messy 
murder  the  smell  of  studio  lights,  a  tang  of 
cinema  glamour. 

Lita  Grey  Chaplin's  former  butler  is  mur- 
dered on  a  lonely  road  near  Salt  Lake  City 
and  the  press — that  is,  that  part  of  the 
press  which  has  a  continual  red  rash — goes 
to  every  extreme  but  libel,  and  pretty  close 
to  that,  to  drag  the  name  of  Charlie  Chaplin 
into  the  case. 

Clara  Bow  goes  to  the  hospital,  and  the 
papers  say  her  visit  was  occasioned  by 
everything  from  the  cold  shoulder  of  Harry 
Rich  man  to  the  hot  edge  of  a  razor  blade. 


News-Hounds'  'Victims 

CORINNE  GRIFFITH  is  playing  tennis 
in  Burbank  when  the  papers  print  a 
dispatch  from  London,  locating  her  in  a  ma- 
ternity hospital  in  England. 

Douglas  Fairbanks  goes  to  Europe  to- 
watch  some  golf  and  the  professional  gos- 
sips spell  every  sort  of  surmise. 

Every  move  of  Mary  Pickford's  less  fa- 
mous relatives.  Jack  and  Lottie,  is  followed 
by  prod-nosed  reporters — not,  you  may  be 
sure,  because  the  Great  American  Public 
cares  much  what  either  of  them  do,  but  be- 
cause the  name  Pickford  looks  intriguing  in 
headlines  and  sells  papers. 

And  there  is  a  tip  to  you,  who  would  save 
your  pennies  on  dull  Monday  afternoons 
when  you  hear  the  lusty-lunged  "  boot- 
jackers"  calling  out  extras.  When  the  head- 
lines say  "Actor,"  you  may  be  sure  the  per- 
son is  obscure.  And  even  when  the  name  is 
bannered,  ten  times  out  of  twelve,  the  smack 
of  sensation  hinted  in  the  headline  will  not 
be  justified  in  the  story  itself. 

"Screen  Actress  Summoned  in  Beauty 
Marring  Case,"  a  Monday  afternoon  head- 
line may  read.  Follow  down  to  the 
last  dull  paragraph  in  the  yarn  and  you'll 
learn  that  Mary  Dokes  got  burned  while 
having  a  facial  in  the  shop  of  John  Gish. 
Mary  claims  it  was  because  Gish  was  care- 
less. Gish's  lawyer,  passing  a  wink  and  a 
quart  of  gin  to  the  court  reporters,  claims 
the  beauty  parlor  owner  is  never  careless. 

"  Why,  to  show  you  what  an  expert  opera- 
tor he  is,  I'd  like  the  court's  permission  to 
subpoena  a  well-knowji  movie  star  as  a 
character  witness  for  the  defendant."  He 
names  the  star.  Needless  to  say,  neither  she 
nor  her  studio  allow  anything  more  to  be 
said  on  the  matter  after  the  first  afternoon's 
extra. 

But  when  you  hear  someone  say:  "Oh, 
that's  just  newspaper  talk,"  and  dismiss  a 
story  with  an  incredulous  sneer  because  he 
has  been  fooled  once  too  often,  don't  put  all 
the  blame  on  the  reporters. 

Remember  that  in  every  newspaper  or- 
ganization there  is  a  circulation  manager 
whose  demands  for  the  sale  of  papers  are 
more  exacting  than  the  orders  for  accuracy 
on  the  part  of  editors.  A  Hollywood  dateline 
will  make  a  headline  that  sells  papers,  es- 
pecially if  it  bears  one  of  the  famous  names: 
Pickford,  Chaplin,  Bow,  or  Garbo. 


9X 


Ckssic  Holds  Open 
Court 

{Continued  from  page  jj) 

older  generation  any  more  than  I  have, 
your  charge  would  be  well  founded.  Why? 
Because,  with  the  exception  of  my  family, 
all  the  encouragement  I've  received  from 
those  older  than  myself  has  been  negligible; 
all  the  advice  they  have  given  me  has  been 
■  •  J  itive:  all  the  help  had  at  their 

.'Is  has  been  a  clamp,  clammy  sort  of 

•  which  is  just  a  little  worse  than  no 
'  at  all. 

cfore  I  started  acting,  my  kind  friends 
r  than  I  did  everything  possible  to  stop 
"Fie  an  engineer,"  they  said,  "or  a 
•or  or  lawyer  or  anything — aprytliing  but 
11  tor."  I  replied  that  I  was  interested 
iDthing  but  acting,  whereupon  they 
k  their  heads  s;»dh  and  gave  me  up.  I 
to  go  to  those  of  my  own  age  for  help 
i-ncouragement. 

The  Only  Fun  They  Have 

ANIJ    once    I'd     started     acting,  the 
oldsters  in  the  business  went  out  of 
their  way  to  dampen  my  spirits.  They 
lied  me  so  often  an«l  prc<licted  st>  many 
lent  kinds  of  disaster  for  me  that  I 
-  .  i  lenly  realized  that  here  was  tlii  ir  'uily 
enjoyment  in  life. 
P.  A.:  You  mean? 

William  Haki-urll:  I  mean  that  the  older 
generation  actually  enjoys  scaring  the 
younger  generation.  It's  a  sort  of  sadism  in 
which  thiv  iiiilulge.   And  now  is  n.s  goo<l  a 

•  as  any  for  me  to  place  a  counter-charge 
■ist  you  older  ones.  I  hereby  charge  you 

'  iking  the  joy  out  of  life! 

'1  Jannry:    Will  the  Prosecuting 
.  answer  that  charge? 
i'.  A.:    Well,  frankly,  1  ve  got  another 
caw.   I'm  late  now.  (Lxits.) 

Will  anyone  in  the 
that  charge? 
M.ni  Miiltlenly  iK'comcs  empty.) 
'(  Jannfy  [to  othrr.si:     And  now, 
•    1  r.    Ill  you,  I  am  able  to  announce  a 
clean  sweep  for  youth.    Will  the  witnesses 
join  their  champion  in  a  cpiiet  egg-nog.' 

(The  others  accept  with  pleasure  an<l, 
shaking  han<ls,  the  three  de[)art  for  a  local 
egg-nog  emporium.  This  trial  is  over  > 


Clara's  New  Beau 

{Continued  from  fxi^e 

there  so  long  they  had  just  become  used  t" 
me  and  o\crlfH>ked  me.  If  I  got  away  I 
might  be  able  tf)  make  a  fresh  start.  Hxtx 
they  wouldn't  let  me  go.  I  suppose  they  are 
just  w.iiting  for  my  contract  to  run  tuit. 
"  !  x  •■  k;ot  everyt I  r  .  il'  ''Loured  out  about 
1  work.   I  to  try  \  er\-  hard 

I  go  of  it  .   I  like  the  \M>rk 

'  since  I  gut  awa\  from  Wc^' 
ig  to  gixe  nnsrif  e\er\  \" 
M  t  lo  mak' 

Hut  I  r 

•      ■   •  Il,  .1  >..U  ..1  '! 

.  to  line  up  for  me 
.  ►;o  into  some  sort  ol 
le  movie  game.  After  all, 
life  in  the  worhl    and  it 
<  an  make  you  plenty  miserable  if  you'll 
let  it. 

"It  isn't  M  that  matters  i-itlui 

Wallv  Rrid  «  ;iy  with  all  his  .  : 

'  '  VI.  it  h   hers.  The 

-  as  I  see  it  is  to  ft  ■ 
1.,  something— and  iiii|'iii\ 

t  hear  much  about  Rex  and 
•  ir  in  mintl  that  this  lx)y  has 
"Ut  what  isn't  news. 


Body  Beauty  is  returning 
Excess  Fat  is  doomed 


That  evidence  is  eveni  where.  In  every 
circle  you  see  slim  figures  coming  back 
in  an  amazing  way.  They  are  coming 
without  abnormal  exercise  or  diet,  with- 
out harmful  drugs. 

Medical  science  has  found  that  a  weak 
gland  is  a  great  cause  of  obesiry.  It  has 
learned  how  to  repair  the  dtticiency — 
by  feeding  the  gland.  Doctors  the  world 
over  now  employ  this  method.  It  has 
become  a  standard  treatment.  .A  new 
era  has  come  to  people  who  wish  to  keep 
their  beauty,  health  and  vim. 

Marmola  prescription  tablets  embody 
this  new  factor — thyroid.  .A  world-fa- 
mous labfiratorv  prepares  them  to  fit  the 
average  case,  tvery  box  contains  the 
formula  and  the  reasons  for  results,  ^'ou 
and  your  doctor  can  know  exactly  what 
you  are  taking.  So  you  need  not  worry 
about  harm.  .Modern  doctors — ever>'- 
whcrt — tight  excess  fat  in  this  way. 

Marmr>la  has  a  remarkable  record.  It 
has  been  used  for  24  vears — millions  of 
boxes  of  It.  L'sers  have  told  others,  and 
the  use  has  grown  and  grown.  Now  it  is 
time-tested,  and  ir  stands  supreme  in 
its  field,  while  false  helps  have  dis- 
9ppeared  by  scores. 

Niarmnla  feeds  the  system  a  gland 
factor  which  largely  controls  nutrition. 
Its  great  purpose  is  to  help  turn  foixi 
into  fuel  and  energy  rather  than  to  fat. 
It  also  excites  other  glands  to  activity. 


Obese  people  usually  lack  that  factor. 

Try  Marmola.  Pnce.SI.OO.  Read  the 
book  in  the  box.  leam  the  reasons  for 
results.  Then,  when  the  pounds  drop 
away,  tell  your  friends  who  should 
know.  Don't  wait  longer,  txccss  fat 
robs  life  of  half  its  joy. 

MARMOLA 

PRESCRIPTION  TABLETS 
The  Risht  Way  to  Reduce 


A  f  i  |i  •  •  •  /  r  o  ffi 
Aiiflri^w  riirii«^;»'i4' 

\»lv«-<l  t«»  explain  hit  pile iti>iii<*i)al  !»iirc<-ji».  \n<ir«*w  < 'jiriK-ftir 
lilaiullx  ntlril>iile<l  it  l«i  lii«ahilily  lo  ^rl  men  In  >t(trk  ftir  hiiii 
M  liii  kiK'M  iiior<'  than  h<-  liiii. 


\ii<i  llial'v  a  foriiiiila  f<ir  Mirct*^*-.  NtthiMly  \«  li>>  really 
i>iif'ee«.«riii  il«M*>.  all    tlir   Mork   liinioelf.  t-iiipliiy>.  ollit-r 

|M-«iplf*>>  iiiiiidn  ainl  (-IT<irl». 


I)i>  <lii  I  he  oaiiif  ill  the  iiilrirate  liii-iii<'*>*«  of  riiiiiiini: 

xoiir  lioiiie  aii<i  takiiiK  rare  iif  xoiir  faiiiilx  '?  ^  nil  run.  <|iiili' 
<-a»il\ . 


^  oil  can  eniplox  >>|ioriali<«l<>  in  tiirl :  xitii  ran  «>a-rt<-  the  nuf^ler 
alioliro  of  fainoii-  eliiT?*:  xtiii  ran  ha«r  llir  a«l«irr  of  ••l>ii- 
aiil lioritir»  in  ■•rlrrliiiK  >(itir  rlolhew.  of  w  hoir  rl«-rlriral 
laboraloriro  in  hii>in|{  htniM-liolil  appliaiirr>.  hy  rrudiiiK  llir 
ail^rrl  ioriiirnl«. 

Ml  the  nrwr^l  knoMlr<l|:r  knoMlrtlpr  millions  of  dollars 
anil  xrar^  of  rfTorl  ha^r  moii  is  ronlainitl  in  llir  uii^rriix-- 
iiirnlH. 


If  xon  v>  ill  iisr  Ihr  ailMTlisrnx-nls  in  this  matzazinr  as 
\n(irrw  I  Uirnri;ir  iis<mI  turn  m  ho  k  nru  morr  I  hati  hr  did.  <-%rry 
dollar  \oii  spend  will  hi-  sprni  xisrlx.  rronomirall  \ .  and  will 
rrliirn  full  inrasnrr  of  su I isfarl ion.  Thai's  Ihr  \«a>  to  hr  a 
Mirrrss  in  llir  ftrfulrsi  hiisinrs.  in  ihrworlil     lnakin^  a  liomr. 


Science  Discovers 

LIQUID 

that  has  no  color 


A  "Villain"  Laughs--- 


WILL  the  wonders  of  science  never 
cease  I  Now  a  scientist  has  discov- 
ered a  colorless  liquid  that  actually 
imparts  color  to  Gray  Hair  no  matter  what 
your  age — no  matter  how  Gray  your  hair — 
no  matter  what  else  you  might  have  used 
without  satisfaction.  Already  hundreds  of 
thousands  of  people  have  used  this  amazing 
discovery.  It  is  called  Kolor-Bak  and  is  as 
simple  to  use  as  A. B.C.  You  merely  comb 
it  into  your  hair  and  the  color  comes — the 
Gray  disappears  so  gradually,  so  perfectly, 
that  no  one  detects  it.  Another  strange  thing 
about  this  colorless  liquid  is  that  the  one 
very  same  bottle  will  do  for  Blonde,  Black, 
Brown,  or  Auburn.  Now  you  don't  need  to 
experiment  with  uncertain,  messy,  sticky 
preparations  that  may  endanger  your  hair. 
Kolor-Bak,  the  clean,  colorless  liquid, 
leaves  the  beautiful  sheen  of  your  hair  un- 
changed. Get  a  bottle  from  any  druggist  or 
department  store  today — and  if  Kolor-Bak 
doesn't  make  you  look  10  years  younger, your 
money  will  be  refunded  any  time  you  request. 
KOLOR-BAK— Imparts  Color  to  Gray  Hair 


Make  His  Heart  Lean 


with  the  bewitching  iragrauce 
of  Mystic  Lnre.  the  new  and 

di/Iererit  perfume,  Ito  delli'ato.  exotic 
•oent  seems  to  wliispf-r  <tf  lif*-  and  l<f\e 
«8  it  weaves  its  cumpelUng  c-hanii  ubuiit 

you. 

MYSTIC  LURE 


WRITE 
TODAY 


You  muot  try  this 
lovfrly  frucruiicc.  Si-inJ 
only  5(Jc  for  lartje 
bottle  o(  Afvdtc  Lurr. 
or   $1    for   tlie  eitni 

etreiisthi.  Addrena 

Dept.  K-11,       799  Broadway,  New  York  City. 


DISSOLVES  and  FKRMANENTLY 

Removes  any  kind .  anywhere. 
Safe.  No  acid.  Easily  applied. 
Price  $1.   Information  tree. 


j^^^^^^y  VitaCo..  Dept.  B,  Room  41S 


1819  Broadway,  N.  Y.  City. 


BUNIONS 

IMssalved-rREE  TEST 


Pain  stops  almost  Inrtantly!  THEV  PERMANENT 
KKLIEF.  Amazine  Falpyfoot  gradually  dissolves  painful, 
"cly  bunions.  Quickly  enables  you  to  wear  smaller  shoes. 
Wo  mes.sir  salves.  No  rumbcrsome  appliances.  This  mar- 
velous discovery  entirely  diffepent!  llsed  successfully  on 
nOO.OOO  feet.  Write  today  for  trial  treatment  absolutely 
tree.  (Notljinu  to  pay  —  no  (",  O.  D. —  no  obligation.) 

_       FAIRYFOOT  PRODUCTS  CO. 
1223  $.  Wabajh  Ave.     Dept.  48       Chicago,  llllnola 


{ConHnried  from  page  57) 


mild  hysteria,  according  to  the  state  of  con- 
science of  the  person  paged. 

Eminent  visiting  editors,  lawyers,  pugi- 
lists, actors  and  even  clergy  have  had  this 
tried  on  them.  It  is  Lew's  commentary  on 
his  sex  that  not  one  of  them  has  remained  a 
natural  hue.  All  have  turned  pale  and 
rushed  to  the  'phone  to  tell  their  Little 
Wimmin  not  to  believe  a  word  they  hear 
on  that  horrid  radio.  None  have  caught  on. 

Strange  Interlude 

LEW  sits  in  the  sun  and  spins  tales  .  .  . 
J  Things  that  have  happened  to  him  in 
the  Past.  Things  that  still  happen  .  .  . 

Once,  when  he  was  playing  in  San  Fran- 
cisco, a  little  old  lady,  very  old  and  very 
fragile,  began  to  talk  to  him  from  the 
audience.  For  that  little  lady  there  were 
two  people  in  the  crowded  theater — herself 
and  Lew.  She  said,  "I  knew  you  were  like 
this.  I  knew  you  were  not  as  they  say  you 
are."  This  was  the  time  when  Lew  was 
billed  as  "The  Butterfly  Man"  and  mothers 
were  locking  up  their  daughters  against  the 
winged  one's  depredations. 

Incidentally,  it  was  one  of  the  times 
Lew's  heart  was  broken. 

After  the  performance  Lew  leapt  the  foot- 
lights and  went  to  the  little  old  lady.  He 
held  out  his  hand.  And  she  said,  loudly  and 
emphatically,  "I  won't  shake  hands  with 
you."  The  audence  started  and  gasped. 
Lew  stammered  and  flushed.  He  said  he 
was  sorry  he  had  offended  her.  He  asked 
her  if  she  wouldn't  do  him  the  honor  to 
shake  hands  with  him.  The  little  old  lady 
smiled  up  at  him.  There  was  a  glitter  in 
her  eyes.  She  pulled  the  stalwart  man  to 
her  tiny  knees.  She  said  "I  won't  shake 
hands  with  you  because — I  want  to  kiss 
you." 

Then  and  there,  in  the  crowded  house,  a 
firm  friendship  was  made.  The  little  old 
lady  told  Lew  she  had  three  beautiful 
daughters.  He  could  "have  his  pick."  Lew 
visited  the  modest  little  homestead.  There 
were  the  three  beautiful  daughters.  He 
didn't  take  his  pick,  but  he  and  his  little 
old  lady  still  correspond.  She  follows  him 
in  all  his  pictures,  all  his  personal  griefs 
and  joys.  She  is  his  mother  by  proxy. 

His  Friends  in  Need 

MOST  of  the  women  who  write  to  Lew 
are  little  old  ladies. 
They  want  to  comfort  him  in  the  sorrows 
they  feel  he  has  had. 

They  want  to  reform  him.  They  tell  him 
that  they  just  know  he  is  a  good  man.  They 
Seem  to  realize  that  a  debonair  manner  does 
not  necessarily  mean  a  debonair  heart. 

They  knit  him  mufflers  and  woolen  socks 
and  prepare  for  him  cookies  and  jam.  He 
is  the  erring  son  they  have,  or  might 
have  had.   He  is  the  young  husband  who 


broke  their  hearts  and  lives  in  their  dreams. 

Or  little  girls  write  to  him.  Children. 
They  tell  him  all  about  their  troubles  at 
home.  The  mother  who  doesn't  understand. 
The  dad  who  doesn't  care.  They  wish  they 
could  have  Lew  for  a  Daddy.  He  would 
care,  they  say.  He  would  understand.  Per- 
haps they  are  right  .  .  . 

Down-and-outers  write  to  him.  Men  who 
have  Come  Back.  Men  who  are  trying  to 
Re-Enter.  Men  who  seem  to  feel  that  here 
is  a  man  neither  better  nor  worse  than  they. 

Tragic  Clowning 

LEW  talks  about  Mabel. 
J      "They  made  only  one  like  her.  That 
one  is  gone.   The  best  companion  any  man 
— or  any  woman — ever  had. 

"One  of  the  last  tiines  I  saw  her  alive — 
just  toward  the  end,  she  said  to  me,  'Lew, 
/  want  you  to  divorce  me.  No,  don't  kid.  Be 
serious  just  this  once.  I  really  mean  it.  I've 
never  been  anything  but  a  drag  on  you.  / 
want  yo7i  to  be  free. '  " 

Lew,  who  was  to  be  forever  free  so  soon — 
and  knew  it. 

And  the  "villain  "  smiled.  He  threw  back 
his  head  and  laughed.  The  most  painful 
laughter  that  ever  constricted  his  swollen 
throat.  "Who've  you  got  your  eye  on?" 
he  said,  "  What's  the  big  idea,  giving  me  the 
go-by?  Who  is  the  fellow? " 

And  another  time,  the  only  time,  "Lew, 
do  you  really  think  I'll  get  out  of  this?  " 

And  the  "villain"  said,  "I'm  afraid  so.  I 
suppose  I'll  have  to  have  you  tagging 
around  ..." 

Who  said  Pa^^liaci  i? 

You  see,  they  always  kidded.  It  was  their 
way,  the  one  with  the  other.  The  face  of 
Death  had  no  power  over  them. 

Now — As  Then 

THE  dark  cloud  seems  to  have  passed  by 
the    man    who    may    be    called,  in 
Hungary,  "The  American  Paul  Lukas." 

Lew  is  working  again,  is  well  again. 
"What  a  Widow!"  "  Beyond  X'ictory."  He 
says  that  Gloria  Swanson  is  the  best  sport, 
the  most  generous  co-worker  he  has  ever 
known  .  .  . 

"Old  hags"  still  cluster  about  him.  Little 
old  ladies  still  try  to  comfort  him,  to  reform 
him. 

Norman  Kerry  is  still  his  pal.  Mickey 
Neilan  drops  by  for  a  hand-made  julep. 
Visiting  dignitaries  and  undignitaries  spend 
their  womanless  hours  with  a  man's  man. 

Lew  plays  the  old  tricks.  Laughs  the  old 
laughter.  Gives  life  a  wham  in  the  ribs  and 
takes  the  comebacks.  Is  not  afraid  to  die, 
for  the  prologue  has  never  been  niggardly, 
no  matter  what  else  it  may  have  been. 

Fun  has  been  fun.   There  is  a  fiddler  to 

Another  "villain "  smiles  .  .  . 


THERE  MUST  BE  REASONS 

Miniature  golf  haa  taken  away  movie  fans  like  a  flu  epidemic. 
Chililren  are  .staying  away  from  the  talkies  and,  in  many  cases,  also 
keeping  adults  away. 

The  prtMlucers  seem  constantly  menaced  by  loss  of  patronage. 
Why?  What's  wrong  with  the  movies'/  What  do  people  want  to  sec? 
What  would  you,  for  instance,  enjoy  seeing  next  year? 
Turn  to  page  107  and  help  the  puzzled  pro<lucers. 

Cultivate  that  satisfied  feeling  that  comes  when  you  unload  your  likes 
and  dislikes — 

And  know  that  what  you  have  to  say  is  going  to  count. 


100 


Are  You 
Playing 
For 
Money? 


In  ;i  lottrry, 

You  have  to  have  luck  . .  . 
At  a  ract'-track, 
You  havo  to  have  intui- 
tion .  .  . 
In  Wall  Stnvt, 
You  have  to  have  money. 

Mut  here  is  a  new  f^ame — 
And  a  bin  kii'hc — 
In  which  all  you  neetl 
Is  a  lead  {x^ncil. 

And  you  are  all  set 
To  win  anv  amount 
I'rom  $.').(K)  to  $l,r)(H>— 
Preferably,  %\,m). 

You  l<K»k  at  some  pic- 
tures— 

I'hey  y*»»  interest- 
ing ideius — 

And  itIeiLs,  in  this  game, 

Are  worth  money. 

$.").()00  worth  of  it. 

And  you  find  y«>urself 
I'layinn    not  working — 
f'"c>r  money  .  .  . 
i'orthat  lotiK  vacation  . . . 
That  new  car  .  .  . 
That  new  hous<»  .  .  . 
That  biKK<'r  and  betd  i 
bank  account  .  .  . 

It  is,  in  short, 
The  opportimity 

of  .■!  pii  /  /I  I  ri'j  Iif<''  i'lic. 


1  lll.>  Hi  M  m  li  \    h  >|  I  llUf 

Is  waiting  for  you 
( )n  paKcs  10  and  1 1 
<  )f  the  NovemlxT 


MOTION 
I'lCTTH  K 


A  "Villain"  Smiles 

{Continued  from  page  56) 

lings.  A  perfect  case  of  shell-shock.  They 
tried  to  trap  him.  They  would  waken  him 
suddenly  in  the  middle  of  the  night.  The 
ruse  didn't  work.  Paul  awoke  shaking  and 
trembling.  He  convinced  his  audience  and 
was  sent  home  to  recupe.  Like  a  homing 
bird,  he  tlew  to  the  nearest  theater. 

His  debut  was  in  1916  at  the  Comedy 
Theater,  Budapest.  In  the  title  role  of 
Molnar's  "I,iliom,"  given  us  on  these 
shores  by  our  own  J<je  Sch  lid  kraut. 

He  has  played  in  almost  every  con- 
ceivable play  and  in  ever>-  conceivable  r6le. 

()ne  night  he  waited  table  and  said, 
■'Thank  ye.  Sir.  "  The  next  night  he  seduced 
Royalty  or  wore  a  crown  himself.  Shaw, 
Shakespeare,  Galsworthy,  the  Russians, 
Wilde,  all  were  the  glittering  axes  on  which 
he  sharpened  his  art. 

Such  catholicity  has  given  him  his  pet 
aversion — for  factory  methods,  for  stereo- 
types. For  playing  a  "smiling  villain  ' 
once,  scoring  a  hit,  and  being  expected  to 
play  the  same  until  the  last  l>ell  rings. 

A  Samson,  No  Less 

M.'VX  RKI.NH.ARDT  saw  Lukas  in 
Budapest  and  took  him  as  guest 
artist  to  the  theaters  of  Berlin  and  \  ienna. 
In  Berlin,  Lukas  joined  up  with  I  fa  and 
playe<l  Samson  in  "Sanjson  and  Delilah.  " 

.\dolph  Zukor  attended  performances  of 
"Antonia  ■  in  the  Comedy  Theater  and 
ill  ■  '  '  'y  negotiated  with  Paul  for  his 
•'  on  the   Paramount   lot.  .And 

li-  was  in  Pola  .Negri's  "  l-oves  of 
.An  .V- tress  "  Since  which  time  he  has  made 
"Three  Sinners,""  "".Manhattan  Cocktail," 
"Shopworn  .Angel,  "  "The  Wolf  of  Wall 
Street,"  "Illusion,"  "Slightly  .Scarlet." 
"Young  l-lagies,"  "'The  Benson  .Vlurder 
Case"  and  tjthers. 

He  thinks  limit  Jannings  is  a  very  great 
actor.  Hand-made.  Conscious.  Calculated. 
.Mental. 

There  are  two  kinds  of  actors,  he  savs. 
One  works  with  the  hea<l.  The  other  with 
the  emotions.  It  is  the  latter  who  niake  you 
cry  and  t:«-t  ma^-.nrn  all  over  your  rouge. 

He  I  '  .ictor  (  <;«  l>e  made,  but 

that  I  ill  are  born.   The  born 

ones  .11  ■  I  •        ,      •  .„g 

,.       K"^'";'?  Ik;  Intel-        ■   |»  ^  »^  ( OMI'LKTK  TEST 

The  U!H'  ■  ''   H  m    ■  ''  ,         .  ProTr  In  rourwir  ohat 

doi-S  not   (.   ,  ,  *  ^  3.00U.000  women  kn,w 

eyes.     

In  Hungar>-,  they  especially  love  Chaplin,  ^     2ST\\  \^ 

Nornu  Talnuulge  and  Douglas  Fairbanks.     j  V    >^^*^'*'^  ^ 

Habitually  Normal  U^'*'"*'0^    1     U  AID 

HK  is  married  to  'a  nice  girl."  Hunga-   '    \\  Xl.  /\  1  IV 

r'.ui.  Kurt'  \  ,  \  cw  ' 

when  the  day  s  ,s   1  K  ,~  \,  .,l.it;>  C  ».*   *  M*^ 

are  normal.  <    f  A  ,  ' 

He  has  a  Hungarian  cook  who  cooks  Why  ho.qit(it.>7 

.American  stvle.  MaryT.dolilnmn'a 

He  »nitH  his  foo<|  to  the  climate.    Hun-  '^^'^  !"  SAFE.  Just  .  omb  .  l.  ar. 

I  -   L-  .  L  11  colorlfBS  liquid  throuKh  the  hair,  i'oulh- 

K  '  I  IS  his  faNoritc  when  m  Hungary.  ful  color  com«.    Nothing  to  rub  or 

I  -tenance  over  here.  ^    wash  off. 

li.  i.M  ,11  t  care  for  ice  cream  soflas  or  W.-  don"t  ask  you  to  buy.  We  only  a.^ik 
leinon-|>op.                                                      \    that  you  tonvlnce  yourwlf.    Snip  otT  a 

Hedoesn  .f  I  .  1  .    .  t'  lt  merely  beautiful  locV.  of  h.ilr.  Test  n.Hultn  flrst  this  safo 

women  an  mv  man     Cnless  ^•^V-    You  liavi-  nothlnK  to  losp.  You 

ho  Ik.  •  fr.,  ,  ..i  .„  ,  1  I         .  t*K«r  HO  Tlsk.    Wo  Send   FRKIO  a  com- 

Kwl^t    ;V  .  or  an  adolescent.  plete  test  package.   Mail  tin-  .  oupon. 

Lven  u,  the  primary  sex  emotions  he  p,„^  Coupon  for  FBEE  TEST  PACKAGB 
lieves  intelligence  and   an  accompanying 

sensitivity  to  be  far  more  important  than  \  MARY  T.   GOLDMAN  \ 

n  n'-l^'i       "  ^*''*"  :    "l^  Cold„,„„  BldK.       S..  P.uU  Minn.  ! 

wiphisticated  man  iv  onquest.  '  »  .  .^.^  ^ 

He  feels  that  his  i  1  to  the  Rus-      '  Nami-    • 

-     ^"  '  ''  '  H,,.  is  introspec-       {  g.r^-t    I 

I'                            lit  considerably  along  >   I  1 

p-         .  II  nir   Slat*   I 

He  has  no«  stop,K-d  thmking.    He  takes      |  c„i„r  „f  ,„.,r  h.ir?   I 

(LontiHued  on  paf^e  loj) 


Clear,  Bright 
eyes  in  no  time 

A  few  applications  <»f  harmless  Murine 
will  make  your  eyes  niiirli  clearer  and 
brighter  than  before.  It  ri><liires  blood- 
shot veins  and  dissolves  the  dust-laden 
film  of  mueus  that  makes  eyes  lo<»k 
dull  and  lifeless.  Murine  positively 
contains  no  l>ellud<>nna  or  any  other 
injurious  inf;rtHlient.  60c  at  drug  aud 
depart nienl  stores.  Try  it! 

roR  VouR  , 

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She  Longed  To  Be  Liked 


{Continued  from  page  6s) 


had  no  job,  and  hurrying  back  to  Broadway 
when  sent  for.  One  of  her  first  parts  was 
the  child  in  "Liliom,"  with  Eva  Le  Gal- 
lienne  and  Joseph  Schildkraut  starred.  It's 
one  of  the  few  plays  that  she  has  remem- 
bered word  for  word,  and  it  almost  drove 
her  crazy  when  they  changed  a  few  lines  in 
the  screen  version. 

Eventually  came  "Death  Takes  a  Holi- 
day," reams  of  critical  enthusiasm,  the  in- 
evitable Hollywood  offer — and  the  psycho- 
analyst. 

The  Woman  and  the  Girl 

ROSE  is  a  strange,  contradictory  person, 
one  of  those  personalities  that  doesn't 
linger  definitely  in  the  mind.  In  make-up 
she  becomes  a  rather  sophisticated  woman — 
verging  on  the  type  of  Evelyn  Brent,  though 
not  so  striking.  At  home,  she's  more  like 
Lois  Moran.  Very  brown,  absurdly  young, 
and  persistently  intellectual.  She  has  a 
nice,  high  brow, — probably  a  great  satis- 
faction to  her — and  green  eyes,  handsome 
and  thoughtful.  In  spite  of  the  psycholo- 
gist, she  hasn't  yet  quite  laid  the  ghost  of 
her  numerous  complexes  and  inhibitions. 

"I  was  always  stiff  and  frigid,"  she  con- 
tinued. "People  felt  it  on  the  stage,  and  in 
my  voice.  I  couldn't  give  an  inch  of  myself 
to  anybody.  I  tried  all  the  things  that  are 
usually  suggested  as  a  cure  for  inhibitions, 
but  they  didn't  work.  I  used  to  wonder, 
'How  can  it  be,  when  I  know  I'm  this  lovely 
person,  emotional,  terrified,  and  com- 
pletely feminine?  Why  do  I  have  to  be  tied 
up  like  this? ' 

"All  my  life,  I  wanted  terribly  to  be  liked, 
and  nobody  ever  liked  me.  Until  this  last 
year,  I  never  had  a  real  friend.  I  knew  hun- 
dreds of  people,  superficially.  Now  I've 
looked  them  all  over,  with  a  new  vision, 
weeded  out  most  of  them,  and  thought  to 


myself,  'These  people  are  of  no  consequence. 
I'm  bound  for  somewhere,  and  I  can't  waste 
my  time  on  them.'  I  don't  care  much  now 
whether  I'm  liked  or  not,  and  consequently 
people  are  beginning  to  like  me.  Oh,  I've 
only  just  begun  on  the  things  I  can  do  to 
myself.  It  has  made  all  the  difference  in  the 
world  to  me." 

Hollywood  Horrors 

MISS  HOBART  thinks  Hollywood  is 
an  impossible  place.  She's  just  a 
little  bit  perverse  about  it.  Having  dinner 
in  her  patio,  with  stars,  moon,  and  pepper 
trees  making  a  fantastically  perfect  setting, 
she  sighed,  "I  wish  I  were  in  a  speakeasy  in 
New  York.  With  false  stars  painted  on  the' 
ceiling.  This  place  is  so  beautiful!  It  re- 
minds you  of  all  the  lovely  places  you've 
ever  known,  makes  you  want  lovely  things 
— and  you  can't  do  anything  about  it. 

"It  changes  people  so!   There  are  many 
people  here  whom  I  knew  in  New  York,  bu 
they're  very  different.   It  dulls  the  edges 
little.  They're  not  quite  so  sharp,  not  quit 
so  brilliant.   There  is  absolutely  no  menta 
stimulation  here.  I  want  to  go  back  to  Ne^ 
York,  because  it's  impossible  to  act  in  mo' 
tion  pictures.    There's  no  continuity — it' 
impossible  to  sustain  an  emotion,  the  wa 
you  do  on  the  stage.  You  don't  even  kno." 
what  part  of  the  story  you're  doing.  It' 
entirely  stylized  and  mechanical.    And ' 
want  to  act ! " 

Rose  Hobart  takes  her  work,  herself,  and 
her  mental  processes  with  a  profound' 
gravity.  Still  constrained,  immature,  a 
little  sharp,  she  is  trying  her  best  to  become 
a  richer  and  warmer  personality  through 
psyching  herself.  But,  with  the  greatest  re-- 
spect  for  the  method  she  has  chosen,  I  think 
that  growing  up  is  going  to  do  Rose  as  much, 
good  as  anything. 


Ladies  of  "Whoopee" 


{Continued from  page.g6) 


awfully  discouraged,  someone  comes  along 
and  advises  me  to  hang  on  here  for  awhile. 

"I  met  Irving  Berlin  yesterday — and  he 
was  so  sweet  to  me.  I  think  he  is  one  of 
the  nicest  men  I  ever  met.  He  said:  '\'ir- 
ginia,  just  stick  it  out,  you'll  get  the  breaks.' 
And  when  I  met  D.  W.  Griffith,  he  said  he 
thought  I  was  a  lot  like  Lillian  Gish.  So 
many  people  have  told  me  I  was  just  the 
type  that  Griffith  used  in  his  pictures,  and 
I  rather  expected  something  to  come  of  our 
meeting — but,  so  far,  nothing  has.  When 
Paramount  signed  me  six  months  ago,  I 
thought  my  troubles  were  over,  but  they 
didn't  do  anything  for  me,  either.  I  took 
lots  of  publicity  pictures,  that's  all.  They 
made  quite  a  fuss  about  my  being  'Holly- 
wood's Own  Show-Girl,'  but  I  never  got  a 
good  part."  She  sighed  ever  so  slightly.  I 
murmured  something.  It  didn't  seem  right 
that  anything  so  pink  and  beautiful  should 
be  so  discouraged. 

Heading  for  Home 

IN  a  little  while  she  went  away,  as  beauti- 
ful and  bewildered  as  ever,  to  make  way 
for  Georgia  Lerch  of  Broadway,  poised, 
calm  and  four  years  of  George  White's 
Scandals  behind  her. 

Georgia  wore  a  little  athletic  green  hat 
and  a  summery  comfortable  dress  of  the 
same  material.  She  smiles  easily  and  quickly, 
but  she  doesn't  laugh  much.  Her  voice  is 
deep  and  dramatic.  It  is  quite  clear  that 
she  is  one  of  those  "now  and  thens"  who 
know  what  it  is  all  about.     She  was  as 


poised  as  Ruth  Chatterton  and  as  self- 
assured. 

"Now  that  'Whoopee'  is  finished,  I'm 
planning  a  short  trip  back  to  New  York," 
she  explained.  "My  home  is  there.  No 
matter  how  crazy  I  became  over  another 
place,  I  think  I  would  have  to  get  back  to 
New  York  every  now  and  then.  My  roots 
are  in  New  York — but  I  love  Hollywood. 

"I  live  very  quietly  here.  I  live  very 
quietly  in  New  York,  for  that  matter.  I 
don't  think  I  can  give  you  any  pointers  on 
night-life  in  either  place.  I  don't  go  in  for 
it,  much.  It's  daytime  Hollywood  and  day- 
time New  York  that  mean  the  most  to  me. 

The  Ideal  Combination 

ILO\  E  New  York  Fall  and  Winter 
seasons.  I  love  this  summer  I  ha\c 
spent  in  Hollywood.  The  days  we  weren't 
actually  working  on  'Whoopee,'  I  was  at 
the  beach  swimming,  or  riding  through  the 
hills,  or  playing  tennis  or  golf.  To-day  I 
shainpooed  my  hair  and  walked  up  on  i 
Hollywood  hill  back  of  my  apartment  tn 
dry  it.  I  sat  there  in  the  sun  with  all  Hol- 
lywood in  the  valley  at  my  feet  and  won- 
dered why  I  wanted  to  go  back  to  New 
York. 

"It  isn't  until  evening  conies  on  that  1 
realize  I  am  homesick  for  show  time.  I 
was  in  the  Scandals  for  four  years  and  1 
grew  to  love  coming  into  the  theater,  seeing 
all  the  girls.  If  you  have  ever  been  in  the 
show  business,  I  think  it  becomes  part  of 
your  life." 


102 


A  "Villain"  Smiles 


(Continued  from  page  loi) 

till    '  lys — and  the  nights — as  they  come. 

h  has  no  philosophy  of  life.  Doesn't 
w.ii  ■  one.  No  conclusion  has  ever  been 
rf.»'    '  il.  No  conclusion  ever  will  be  reached. 

!!■  has  no  theories.  lie  discarded  all 
olc.;  ■  >  and  isnis  in  college. 

I !    IS  not  afraid  to  die. 

Ready  for  Anything 

I'  should  die  to-day  he  would  have  had 
many  beautiful  things  happen  to  him. 
It       lid  have  been  worth  while.  .  .  . 

\  I  %et— while  there  are  l)eautifully, 
in''  ^L-ntly  responsive  women  in  the  world, 
til.  ire  so  many  more  beautiful  things  that 
i.r     ippen  .  .  . 

'   believes  the  French  idea  of  marriage  - 
r       iis'es  of  convenience,  with  j)ern>issil)le 
-  on  the  side — is  the  only  civilized 
a  to  the  question.     Points  of  view 

■  ■  different  from  practice*.  .  . 

it  ion  is  his  hobby.     Cets  the  most 
>us  thrill  in  the  world  by  rising  at 
l.iwii  and  Hying  above  the  clou<ls.  No  mat- 
r  what  has  happened  on  earth — vexations, 
lis,  disappointments — all  dissolve  in 

■  lestial  ether  .  .  . 

I  In-  really  great  love  of  his  life  is  his 
.•.ork.  He  almost  worships  it.  He  is  happy 
11  any  spot  on  the  glol)e,  so  long  as  he  is 
A  orking. 

If  he  is  a  villain,  he  is  a  smiling  one, 
hether  he  likes  it  or  not.  With  a  lih«rated 
mind  and  a  kind  heart. 


Black  and  White 
Read  and  Write 

(Continued  from  page  6) 

tci  iiiiM  new  ^t.irs  who  will  l)c  willing  to  work 

for  li-^-  miiiM  \ 

V  .  \\\\n 

I.  .  ,  ,.f 

II.  . 1  -  r'tW' 

Mel. HI'  long  I  shall  Ik*  giving  the  movies  up 
in  ill  spair,  and  that  will  be  bad  for  me — 
anii  lor  the  Ixix-oftice,  whose  funds  I  have 
lu  l|M  i|  for  s<jme  years  to  swell  coiisiderablv ! 

Ellen  \V.  Whit/ 

If  here  Strirtrr  CeiiHorsliip 


W'rut  l  awn,  Pa. 


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climin.i:' 
it   sfciiis  I 

M.T.I.'il  ol   |.  .    ,  I 

l  iny  reek  with  sex  and 
Mt ii.it i. iif.     HilllHxird  ad\erti 


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lo 
but 

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but 


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.lefinite  function  lu  (KTlorm 
I  statements  and  indelicate 
I  insinuations  cert      '     '      I  to 
movie  art  and  crt  t  in 


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5irl,  I  diin't  think  there  is  one  who  equals 
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The  Answer  Man 

(Continued  from  page  y6) 


hair  and  eyes.  Dorothy  Lee,  Los  Angeles, 
Calif.,  May  23,  191 1.  She  is  five  feet  one, 
weighs  9,s  pounds,  has  brown  curly  hair  and 
blue-grey  eyes.  Playing  in  "Half  Shot  at 
Sunrise,"  Radio  Pictures  Studios. 

INTERESTED  ONE— They  say  that  the 
owners  of  those  new  small  cars  can  use  the 
packing  box  for  a  garage  —  that  is,  until 
the  wife  tries  to  put  the  car  away.  Hugh 
Allen  was  born  in  Oakland,  Calif.,  Nov.  5, 
1903.  He  is  six  feet  tall,  weighs  200  pounds, 
has  black  hair  and  brown  eyes.  Real  name 
Allen  Hughes.  Educated  at  Trement  High 
School,  Oakland,  Cal.  Hobbies,  mechanics, 
block  printing  (linoleum  cuts).  His  first 
appearance  in  pictures  was  a  part  in  "Sally" 
in  1924.  Since  then  he  has  appeared  in 
".Annapolis,"  "Plastered  in  Paris,"  "Dress 
Parade,"  "Object  Alimony,"  "Sin  Town," 
and  Pathe  serials.  Arthur  Lake  was  born 
in  Corbin,  Ky.,  in  1910. 

MADELINE  MEUSE— Joe  E.  Brown 

is  five  feet  seven  and  a  half  inches  tall, 
weighs  149  pounds.  Winnie  Lightner, 
five  five,  125  pounds.  Barbara  Stanwyck 
was  born  in  Brooklyn,  N.  Y.,  July  16,  1907, 
she  is  five  feet  five,  weighs  118  pounds,  mar- 
ried to  Frank  Fay  and  is  appearing  in  "The 
Miracle  Woman."  Charles  Bickford, 
Cambridge,  Mass.  Does  not  tell  his  age. 
George  Arliss,  London,  England,  April  10, 
1868.  Jack  Oakie  will  be  seen  next  in  "Sea 
Legs,"  Paramount  Studios. 

IG — Nancy  Drexel  was  born  on  April 
5.  Helen  Lynch,  April  6.  Neal  Hart, 
April  7.  Mary  Pickford,  Rosemary 
Theby  and  Yola  d'Arvil  April  8.  .Send 
along  a  self-addressed  envelope  for  a  com- 
plete list  of  fan  clubs.  Colleen  Moore  was 
born  in  Port  Huron,  Mich.,  Aug.  8,  1902. 
She  is  five  feet  four,  weighs  108  pounds,  has 
brown  hair  and  eyes.  Real  name  Kathleen 
Morrison  and  she  is  not  active  on  the 
screen  at  this  time,  but  is  planning  to 
appear  on  the  stage  this  Fall. 

BROOK  FAN— Clive  Brook  was  born 
in  London,  England,  June  i,  1891.  He  is 
five  feet  eleven,  weighs  149  pounds,  has 
brown  hair  and  grey  eyes.  Married  to 
Mildred  Evelyn,  they  have  two  children, 
Faith  and  Clive,  Jr.  Latest  production 
"The  Greater  Love."  Receives  his  fan  mail 
at  the  Paramount-Publix  Studios.  Mary 
Brian,  whose  real  name  is  Louise  Dantz- 
ler,  took  the  name  of  Brian  from  her 
father.  It  was  his  middle  name.  Fifi  Dorsay 
is  appearing  in  "Those  Three  French  Girls," 
Met ro-Goldwyn -Mayer  Studios. 

JIMMIE  LEE— Charles  Rogers  is  not 
married  or  engaged.    Claude  Allister  did 

not  appear  in  "The  Return  of  Dr.  Fu 
Manchu."  I  believe  you  refer  to  William 
Austin,  who  played  the  role  of  the  English- 
man. Alice  White  is  twenty  years  old  and 
was  educated  at  the  Hollywood  High  School 
and  Roanoke  College,  V  irginia.  Richard 
Arlen  is  thirty-one  years  old,  latest  picture 
"The  Santa  Ft-  Trail."  Charles  Bickford 
in  "The  Passion  Flower."  Clara  Bow  "Her 
Wedding  Night." 

AMELIA — Earle  Foxe  was  born  in  Ox- 
ford, Ohio,  on  Dec.  25,  does  not  tell  the 
year.  He  is  six  feet  two,  weighs  180  pounds, 
has  dark  brown  hair  and  dark  blue  eyes, 
English  and  Irish  descent  and  served  with 
the  London-Irish  Machine-Gun  Division  in 
the  World  War.  Most  recent  picture  re- 
leased was  "Good  Intentions,"  starring  Ed- 
mund Lowe.  Gary  Cooper  and  Marlene 
Dietrich  are  playing  in  "Morocco,"  Para- 
niount-Publix  Studios. 


MARGIE — Glad  to  hear  from  you  again. 
Marian  Nixon  was  born  in  Superior,  Wis., 
Oct.  20,  1906.  She  is  five  feet  two,  weighs 
109  pounds,  has  brown  hair  and  eyes.  Latest 
picture  "The  Losing  Game."  Jeanette 
MacDonald,  Philadelphia,  Pa.,  five  feet 
two,  weighs  no  pounds,  has  red  hair  and 
green  eyes.  Joan  Crawford,  San  Antonio, 
Texas,  March  23,  1908,  five  feet  four,  120 
pounds,  brown  hair  and  blue  eyes.  Appear-, 
ing  in  "The  Great  Day."  Ivan  Lebedeff 
in  Uspoliai,  Lithuania,  June  18,  1899,  play- 
ing in  "Conspiracy." 

VERNON— Yes,   it  begins  to  look  as 
though  the  real  vanishing  American  is  the  . 
pedestrian.  The  talkies  that  Marian  Nixon' 
has  appeared  in  are:   "Out  of  the  Ruins,":' 
"Geraldine,"  "BigTime,"  "The  Red  Sword," 
"The  Rainb(5w  Man,"  "General  Crack,"  ■ 
"In  the  Headline,"  "Say  It  with  Songs,'*' 
"Show   of   Shows,"    "Young  Nowheres,'^- 
"Courage,"  "Scarlet  Pages"  and  "The  LosV 
ing  Game."    Myrna  Loy's  latest  flicker  is 
"Renegades,"  Fox  Studios.    Lois  Moran, 
Walter  Byron,  Phillips  Holmes  and  Mae 
Clarke  have  the  leads  in   "Play  Called 
Life,"  Fox  Studios. 

FRANKIE — Ramon  Novarro's  latest 
picture  is  "Call  of  the  Flesh,"  Dorothy 
Jordan  plays  opposite.  Lupe  Velez  and 
Gary  Cooper  are  still  engaged  to  our  knowl- 
edge. June  Collyer  was  born  in  New  York 
City  about  twenty-four  years  ago.  Entered 
pictures  in  1927.  Real  name  is  Dorothea 
Heermance.  Claudette  Colbert,  Paris, 
France,  she  is  five  feet  five,  weighs  103 
pounds,  has  brown  hair  and  eyes.  Married 
to  Norman  Foster.  Jeanette  MacDon- 
ald's  latest  picture  is  "Stolen  Thunder." 

MARIE — A  hundred  years  ago  most  of 
this  country  was  unsettled.  Conditions  to- 
day seem  to  be  about  the  same.  Elliott 
Nugent  was  born  Sept.  20,  1901.  Married 
to  Norma  Lee  and  is  appearing  in  "Sins 
of  the  Children,"  Metro-Goldwyn-Mayer 
Studios.  Basil  Rathbone  is  married  to 
Ouida  Bergere,  latest  production  "The 
Lady  Surrenders,"  Universal  Studios.  Janet 
Gaynor  and  Charles  Farrell  in  "The  Man 
Who  Came  Back,"  Fox  Studios. 

CLEO — Anita  Page  has  one  brother,  I 
don't  believe  she  has  a  sister.  Why  not 
write  direct  to  her  at  the  Metro-Goldwyn- 
Mayer  Studios.  I'm  sure  she  will  be  glad 
to  hear  from  you.  Anita's  latest  picture  is 
"War  Nurse."  Carol  Dempster  hasn  t 
been  active  in  pictures  for  some  time. 
Bessie  Love  was  born  Sept.  10,  1898.  Joel 
McCrea  was  born  in  Los  Angeles,  Cal., 
Nov.  5,  1905.  Has  brown  hair  and  blue 
eyes.  Educated,  Hollywood  High  School, 
University  of  Southern  California,  and  Po- 
mona College.  He  is  not  married  and  is 
playing  in  "The  Silver  Horde,"  starring 
Evelyn  Brent. 

RUTHIE — Rex  Lease  is  the  chap  you 
refer  to  who  played  the  r61e  of  Jim  Grant 
in  "Sunny  Skies."  Rex  was  born  in  Central 
City,  \'a.  He  is  five  feet  eleven  inches  tall, 
weighs  150  pounds,  has  brown  hair  and 
green  eyes.  Playing  in  "The  Utah  Kid," 
Tiffany  Productions.  Kenneth  Thomson, 
Pittsburgh,  Pa.,  Jan.  7,  1899,  six  feet  tall, 
weighs  160  pounds,  has  brown  hair  and 
eyes.  Married  to  Alden  Gay,  professional. 
Played  on  the  stage  before  entering  pictures. 
Here  are  a  few  of  the  flickers  he  has  ap- 
peared in:  "Corporal  Kate,"  "White  Gold," 
"Broadway  Melody,"  "The  Girl  from  Ha- 
vana," "The  Notorious  Affair,"  "Sweet 
Mama,"  "Lawful  Larceny,"  "The  Doorway 
to  Hell"  and  "Sweethearts  on  Parade." 


104 


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{Continued  from  page  loj) 

Maidens,"  I  could  hardly  wait  to  see  and 
hear  her  first  talkie.  Although  I  haven't 
read  any  articles,  telling  how  she  conquered 
the  Microphone,  as  are  written  about  so 
many  stars,  I  think  she  has  an  unusually- 
good  %'oice.  In  my  estimation,  the  songs 
she  sang  in  "I'ntamed,"  went  over  a  great 
deal  better  than  many  of  the  songs  I  have 
hearrl  in  these  "Siong  and  Dance"  pictures, 
where  the  star  is  really  supposed  to  be  a 
singer. 

Since  "  Ntontana  Moon  "  has  played  our 
theater,  the  number  of  her  fans  here  has 
increased  ioo%. 

Here's  wishing  Miss  Crawford  a  world  of 
success,  for  she  certainly  pro\  ides  us  with 
good  entertainment  when  she  appears  in  a 
picture.  Mrs.  L.  (>.  Grounds 

An  Appreviution  To  All 

.■\ul)urn  Park,  Chicago,  ill. 

Trj  a  great  extent  the  beauty  within  our- 
selves comes  as  a  reS|K)nse  to  beauty  from 
without.  To  connoisseurs  of  true  l)eauty 
(.in  the  highest  meaning i  much  may  be 
gleaned  from  the  Screen  and  it's  world. 

Beauty  of  heart  and  character  in  Experli- 
tion  members  and  beauty  of  snow  and  ice 
artistry  ami  sea-foam  embroidery  in  the 
scenery  of  "With  Byrd  at  the  S)uth  I'ole  ". 
beauty  of  melody,  song  and  story  in  "The 
X'agabond  King";  beauty  of  color  and  the 
picturesque  in  "I'nder  Western  Skies"; 
irresistible  beauty  of  humor  in  comedy 
masterpieces:  beauty  of  golden  voice;  fieauty 
of  gaxety  anti  rhvthm  in  Marilyn  .Miller's 
dancing;  In-auty  of  chihjhood  naivetd  in 
Phillipe  de  l.acy;  friendliness  of  th«'  Che\a- 

licr)"  -  '••        i'!f    '  'A  holesome  nature 

in  N  'if  l.arry  <iray; 

ru^;^'  II  charm  of  ( iary 

Cooiht;  e\i|uisilt'  leeling  Aiid  girlish  beauty 
of  Janet  (.laynor:  glimpses  of  genius  in 
unexpected  flashes;  directorial  be.iuty  of 
those  homely  little  human  loiichcs  that 
play  the  hear  ■  •  '       '     ■ '  li- 

world  akin ;  ; 

t  II  m.il   I  'I  I '  I'  .  ,1  .  I    1  ; ;  1  II 


ii;  gi\-cn  ' 

^.iiiii'il  ,1.  .  .  lit  via  pal 
and  by  sincerity  of  effort  ai 


-  who 
iships 

tUr 


torm't  the  "Hearts  and  FUnvers** 

Dallas.  Tex. 

Why  have  I  not  known  before  that  v<> 
not  only  invite,  but  offer  ri  ■  '  i 

criticisms  of  the  T.ilkies.''  S 
tion,  1  ha\e  gone  about  tin..i--,, 
my  sole  complaint  against  tlu-m,  only  to 
get  a  lariinic,  "I  quit''   i^r..    with  you," 
from  m>'  fnetxls,  not  k  i.it  I  might 

tell  m\  grie\  ancc  to  hi  .. 

This  IS  what  irks  my  st)ul.   1  resent  the>*<- 
outbursts  of  orrh«'>>tr,if  i<in.   which   rtTnl.  i 
toil   .  ■  ■ 
In  , 

on  II,.  .  .       .  ■;  {  ..k      ,ii  ,  rv ^  i . ,(     . , 
was  about  to  8.»y  the  thing  I  d  waited  .ill 
tlir<Mik;h   the  picture  to  hear  him  s,iy  - 
(  r.i.-li'   "Hearts  and  Flowers,"  completely 

liter, iti-s  his  words  ami  I  just  want  to  roll 
over  .111(1  play  dead. 

I  know  that  soft  music  affects  the  emo- 
tions, but  the  actors  we  have  now  don't 
need  any  help  to  bring  the  tears  an<l 
thrills.  Who  wants  to  near  music  when 
we  can  hear  Fredric  .March  say  — Oh! 
just  anything. 

I'm  not  ver^-  old,  and  I'm  not  at  all  deaf, 
but  I  can't  listen  to  two  things  at  once. 
When  I  want  to  hear  music,  I  can  always 
turn  on  the  rarlio,  but  when  I  go  to  a 
talkie,  I  want  to  hear  them  T.M.K. 

I).  MiUutnt  Burton 


UDIES/Iearn  to  Lecome 


\3Gouly  Sfioppe 


a 

_  Beauty 
\  Specialist 

only 

Complete 
Course 

By 

Milt  Irtnt  Kostt 


>  to  m*kr 


■     t  1  , . I.I  .f  . Ill  a  ..iiitlr. 

trM-  '-If.      .My  r.mrM>  will 

IMS' t.  .  I  rmtle  and  r.arn  moiMy 

ia  thir    .  .  , 

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Haw  Ta  Order 


<3  <m    I  ..-n  l  r..M,|.l.-'.- 

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'•I  mi.n*'y  nntwr  (nr 
r<p[.*T  (ty  T^ttirli  pr.. 


Amkltioas  Woman's  Lcagae 
Frankfortf  At«.«     FhUaa«lplUa«  Pa 


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aiKl  , 


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Hurrell 

He  can't  find  enough  to  do:  what  with  "Madam  Satan"  and  his  mountain  lodge  both 
finished,  Reginald  Denny  now  is  building  a  grill  out  where  the  cook  can  curse  as  loud 

as  he  pleases 

Facts  and  Figures 

{Continued  from  page  i6) 


more.  The  big  question  was:  could  the 
theaters  stand  the  cost  of  a  two-reeler,  and 
where  were  they  to  get  the  extra  S500?  Be- 
sides, it  meant  another  day  and  a  half  to 
make  it! 

IN  Russia,  they  apparently  have 
larger  ideas  of  the  value  of  the 
motion  pictures  than  we  have. 
Recent  reports  show  that  in  Mos- 
cow alone  there  are  400  workers' 
clubs,  and  all  of  these  are  to  be 
equipped  with  projection  machines. 
The  idea  is  to  make  pictures  em- 
bodying Soviet  ideals  and  then  dis- 
tribute them  among  the  clubs. 

Nobody  in  this  country  seems  to 
have  discovered  that  the  28,865 
labor  unions  might  be  a  field  for 
the  sale  of  motion  picture  equip- 
ment and  that  even  pictures  them- 
selves might  be  made  for  this 
market. 

QUITE  a  number  of  years  ago,  Paul 
Smith,  then  the  pastor  of  a  San 
■  Francisco  church,  hurtled  into  New 
York  City  and  organized  the  International 
Church  Filrn  Corporation.  He  had  pro- 
duced a  picture  called  "The  Finger  of 
Justice,"  and  it  had  created  a  furor.  The 
earnings  were  large,  and  Dr.  Smith  figured 
that  it  would  be  a  good  idea  to  make  special 
pictures  for  the  churches.  But  Kaiser 
Wilhelm's  helmet  began  to  pinch  his  head 
about  then — in  1914 — and  the  church  film 
business  was  lost  sotnewhere  in  the  picture 
shuffle. 

The  Western  Electric  folk  are  now  looking 
into  the  church  business.  They  ha\-e  listed 
230, 000  churches,  and  are  getting  up  a 
special  talking  equipment  for  them.  Don't 
be  surprised  if  you  drop  in  at  your  special 
kirk  sotne  day  to  find  the  pulpit  empty  and 
the  Reverend  S.  Parkes  Cadman,  or  some 
other  spiritual  spell-binder,  delivering  the 
sermon  \ia  the  talking  screen.  Mind  you, 
there  are  more  than  58,000,000  church- 
goers in  these  United  States! 


YOUNG  Howard  Hughes,  who 
made  "Hell's  Angels"  at  a  cost 
of — whatever  number  you  can 
think  of  quickest,  has  gone  into 
the  business  of  providing  color  for 
motion  pictures.  He  has  bought 
the  Multicolor  Company  and  now 
is  digging  foundations  for  a  big 
laboratory  in  Hollywood.  Brother 
Hughes  believes  that  if  you're  going 
to  simulate  life  by  making  pic- 
tures emit  sounds,  you  ought  to 
simulate  life  a  little  more  by  mak- 
ing the  pictures  look  like  nature — 
hence  the  new  color  laboratory. 
The  latest  reports  are  that  97  of 
the  1930-31  pictures  are  to  be  in 
full  color. 

AXD  talking  about  color  pictures,  did 
>ou  know  that  there  are  more  than 
400  movie  theaters  in  the  United  -States 
that  are  exclusively  for  negroes?  No  white 
folks  wanted.  And  when  spasms  of  economy 
seize  the  managements,  and  they  eliminate 
the  gorgeously  uniformed  doorman,  the 
business  falls  off.  Yes,  sir.  Nobody  is  going 
to  pay  fifteen  or  twenty  cents'  admission 
unless  they  get  some  frills  thrown  in. 

THE  Fox  Company  is  moving  all 
its  production  to  the  new  great 
Fox  Hills  studio,  comprising  153 
acres  on  the  outskirts  of  Holly- 
wood. About  $50,000,000  represents 
the  investment  in  this  place.  .\nd 
when  Thomas  A.  Edison  built  his 
first  studio — which  he  called  The 
Black  Maria — he  spent  S637.28  on 
it.  .\nd  the  first  actor  didn't  get  a 
cent  for  his  work. 

AND  talking  about  Edison,  the  first 
film  he  bought  from  Ceorge  Eastman 
cost  him  $2.70  (and  that,  by  the  way,  was 
the  first  film  sale  Eastman  made),  but  last 
vear  the  three  big  film  stock  makers  sold 
the  industry  more  than  830,000,000  worth 
of  film.  That's  a  little  progress. 


106 


What  Do  YOU 
.  .  .  .  Want? 

THE  PRODUCERS  ARE  WAITING 
FOR  YOUR  ANSWERS 


HA  I ,  exactly,  do  you  want?  1  hat  is  the  question  now  before 
harassed  movie  producers. 

At  present  they  are  only  guessing.  Until  you  tell  them  what 
you  want,  and  do  not  want,  this  is  all  they  can  do. 


They  spend  a  fortune  on  a  spectacle  which,  judging  from  past  reactions, 
the  public  wants — and  the  public  stays  away.  I  hey  spend  a  few  dollars  on 
a  casual  picture — and  there  is  standing  room  only.  Thinking  that  they  have 
learned  a  lesson,  they  concentrate  on  unsensational  pictures — and  the  public 
registers  a  loud  and  prompt  objection. 

Frankly,  they  have  reached  a  crisis.  To  even  a  casual  observer,  it  is 
obvious  that  many  people  are  staying  away  from  the  movies.  There  must 
be  reasons.  And  there  must  be  ways  to  bring  them  back.  What  are  they? 

They  want  to  know  what  you  like  and  do  not  like,  what  you  want  and  do 
not  want.  They  not  only  want  your  advice,  they  desperately  need  it. 

Below,  we  are  asking  you  a  few  questions.  They  arc  the  questions  upper- 
most in  prtxlucers'  minds  in  their  present  dilemma,  ^'our  answers  to  these 
questions  can  solve  many  of  their  problems,  are  certain  to  influence  future 
[iroduction. 

What  do  you  want  to  see  next  year?  What  don't  you  want  to  see? 

You  can  tell  us.  and  through  us.  the  entire  industry  —  simply  by  filling 
out  the  questionnaire  and  mailing  if  to  us.  If  you  are  also  in  a  mo<xl  t<> 
express  your  opinions  in  a  letter,  by  all  means  do  so.  Remember  that  every 
letter  that  the  editor  receives  is  eligible  for  the  prizes  given  monthly  for  the 
best  fan  letters  received. 


EXPRESS  YOURSELF!  Tell  the  movie  world  what 
you  think! 

1.  Do  yiiu  want  more  talkie  revivals  of  old  silent  j>irtiires? 
2   \\  i»uld  you  like  to  see  some  silent  pictures? 

i.  1  )o  you  want  more  adaptations  from  plays,  or  more  original  st  reen  stories?  ,  .  . 

4.  Which  interests  you  most — comedv.  trnceilw  or  molo<lrama? 
5   W  hat  tyi^e  of  |)icture  bores  you? 

6.  What  ty|>e  of  picture  d<»  you  think  has  l)een  overdone? 

7.  Is  there  ( i)  enough  romance  in  the  talkies  to  suit  you? 
(2)  Enough  action?  

8.  With  the  talkies,  are  you  drawn  more  (o  the  theaters  by  stories  or  by  stars? 

Do  you  prefer  pictures  in  color  or  in  black  and  white  ' 

10.  Do  you  like  the  wide  screen? 

1 1 .  Do  you  like  musical  movies? 

12.  If  s«i,  which  do  you  prefer    n)mance.  comedy,  or  revue? 

I.V  What  tyfM?  of  shorts  do  you  prefer?  (Two-reel  comedies,  cart(K)ns,  vaudeville, 
scenics,  etc.) 

14.  What  would  \'>n  lik''  i"  -i-'-  "n  ^hf     rc.-n'^          '.Miir  f:i\  uitr  plays,  Hovels 
or  stories.   

15.  What  is  your  idea  of  a  good  talkie?  (  Tell  us  in  your  own  words  or  cite  s|>ecilic 
pictures.). 


Xo  longvr  need  vou  fenr 

Perhaps  you  lie?il.H<'.  Pprluips  you  ju'»t 
hale  to  put  oniinary  iiia^caras  on  your 
la»he!<.  IVrhap-  jou  feel  that  niu<le-up 
laches  —  -liff  and  beady  —  are  in  liad 
ia?le  . . . 

Of  rour-e  you're  right  .  . .  .\n<l  tli.Tc- 
fore,  you  will  !»••  th«'  iiioro  itltt■^•■^tlMl  in 
a  new  and  absolutely  different  eyela-li 
treatment. 

It  is  the  nriv  Winx  with  the  ^'doublt^ 
Ireatnirnt"  formula.  Fir«t  —  of  rourste — 
it  darken>  and  ^hadow•■  lashe".  The  ef- 
fect i!>  always  good  ta>te,  natural,  ap. 
pealinK  . . .  Bui  ihul  i>n't  all...Winx 
artuully  softens  lanho'* . . .  "Ilrittle"  or 
roarse  la-lie«  —  so  oftiMi  tin-  result  of 
ordinary  make-up— are  impo-sililf  iili 
Winx.  Indeed,  regular  trcatmenl  with 
Winx  help-  laches  to  grow  line — rurly. 

Winx  comes  in  two  forms:  Liquid, 
which  is  easy  to  apply  ami  is  absolutely 
waterproof.  Cake,  which  in  its  chic 
►ilvery  compact  can  he  carried  even  in 
a  small  purse...  \sk  for  the  /ieit»  Wiiix! 


107 


e  these -<Gasij  steps  to 

INSTANT 


^^HEN  purchaitni 
MaThfllinr  Evr  Shadow.  mUci 
Blur  for  til  ihtdrt  of  blur  •nJ 
■t>T  tytt:  Bro«n  for  hairl  and 
hruwn  cvct.  Black  fordark  brown 
•  nd  violet  tytt.  Grrrn  may  ht 
ua«d  with  CTci  of  all  colon 
and  It  rtp«clallT  (Ifrcilv*  lor 
rvrntni  w«ar.    ErK(i«d  in 
an  adorabU  dalnif  gold 


Mavbrlli 

mav  b«  rhtaincd  af  all 
loilcl  gooda  couniara. 
Mavbclltna  Co. .Chicago 


I    Y    I    L    A    S  H 


DARKENBR 


ovcuness 


Millions  of  women  instantly  gain  added  charm  and  loveliness  with  these  three 
delightful,  easy-to-use  Maybclline  preparations  They  use  MayM/tne  E)t  ShatJow 
to  accentuate  the  depth  of  color  of  their  eyes  and  to  add  a  subtle,  refined  note 
of  charming  allure.  Four  colors:  Black,  Brown.  Blue,  and  Green. 

Then  — they  use  Mj)hiUtti(  E^tLnh  Darkemr  to  instantly  make  their  lashes 
appear  dark.  long,  and  beautitully  luxuriant  — to  make  their  eyes  appear  larger. 
m«)re  brilliant  and  bewitchingly  inviting.  There  are  two  forms  of  Maybelline 
Eyelash  Darkener:  Solid  form  and  the  waterproof  Lic]uid.  either  in  Black 
or  Brown 

The  third  and  final  step  is  a  touch  with  MayMline  Eyfbnu  Prncil  to  artistically 
shane  the  brows.  Vou  will  like  this  pencil.  It  is  the  clean,  indestructible  type, 
ami  may  be  had  in  Black  and  Brown. 

Take  these  three  easy  steps  to  instant  loveliness  mu:  Begin  with  the  Eye 
Shadow,  follow  with  the  Eyelash  Darkener.  and  finish  with  the  Eyebrow  Pencil. 
Then,  fiom  the  height  of  your  new  found  beauty,  observe  with  what  ease  you 
attained  such  delightful  results.  This  radiant  transformation  is  achieved  only 
by  using  genuine  Maybelline  products   Insist  upon  them. 


E  Y 


SHADOW 


EYEBROW 


PENCIL 


'Jtulanl        (raulijiett  jor  iitt  LH'm 


Favorites 


In  the  long  run,  favorites  are 
favorites  because  they're  a  better 
horse,  or  a  better  cigarette.  You 
can't  win  purses  with  plow-horses 
• , .  nor  experienced  smokers  with 
anything  short  of  the  best.  That's 
why  Camels  are  made  of  the  choic- 
est, mellowest  tobaccos  money  can 
buy. . . .  That's  why,  wherever  you 
go,  Camels  are  odds-on  favorites. 


1930,  R.  J.  Reynoldi  Tobarco  Cn.,  Wintlon-Salrin.  C. 


Menaces 

OF  THE 

Movies 

file  iJanishing 
Children) 

Sold 

)ownThe 
JouleVarp  { 

lowWoMEl4 
ffAVE  - 

han9EdThem 

^Jau)rencejihbett) 


Pl  CTU  R 


THE    LOTTERY  BRIDE 

JEANETTE  MacDONALD,  JOE  E.  BROWN 
and  ZASU  PITTS  place  United  Artists'  new 
Technicolor  musicai-romonce/'The  Lottery 
Bride,"  among  the  hit-headliners  of  the 
current  season.  Don't  miss  this  one. 


Her  charm  made  a  vital, 


stimulating  presence 

No  longer  do  screen  limi- 
tations restrict  this  vital  Jeanette  MacDonald  to  shadowy 
motions  in  black  and  gray. 

In  The  Lottery  Bride  she  walks  before  you  a  living 
presence — her  color  and  charm  richly  expressed  in  the 
color  and  charm  of  Technicolor. 

Only  in  Technicolor  can  the  true  sweep  of  life  actually 
pass  before  you  on  the  screen.  You  hear,  and  now  you 
see,  people  and  things  actually  as  they  are.  The  true 
image,  the  very  living  presence,  is  yours  to  command — 
through  the  magic  of  Technicolor. 


TECHNICOLOR  PRODUCTIONS 

DIXIANA,  with  Bebe  Daniels,  Everett  Marshall,  Bert 
Wheeler  and  Robert  Woolsey  (Radio)  Technicolor 
Sequences;  FIFTY  MILLION  FRENCHMEN,  all-stor 
cast  (Worner  Bros.);  FOLLOW  THRU,  with  Charles 
Rogers  and  Nancy  Carroll  (Paramount);  HELL'S 
ANGELS,  with  Ben  Lyon,  James  Hall,  Jane  Winton 
and  ThelmaTodd  (Caddo)  TechnicolorSequences; 
SWEET  KIHY  BELLAIRS,  with  Claudia  Dell  ancj 
Perry  Askam  (Warner  Bros.);  THE  LIFE  OF  THE 
PARTY,  with  Winnie  Ughtner  (Warner  Bros.);  THE 
TOAST  OF  THE  LEGION,  with  Bernice  Claire, 
Walter  Pidgeonond  Edward  Everett  Horlon  (First 
National);  VIENNESE  NIGHTS,  all-star  cast 
(Warner  Bros.);  WHOOPEE,  starring  Eddie  Cantor 
(Samuel  Goldwyn-Florenz  Ziegfeid). 


Techni 


color 


<'uarh  lloMartl  J<Hir-« 

J  nii.  o/.So.  <W. 

K.  SrhiMinovfT 
E.  N.  Slriphl 

l'urJu< 

Tim  Movnihan 

Voirf  (himf 

May  Montftomcry 

• 

/ta««-«/ f*n  thi-  ■rf»rY  fry 

Murk  ('.anti<-l(l 

Mrrwn  /'litv  anti  titnlti0tt0  hy 

JtHkrph  JackiMin 


A  Toil«*ll€l€l\Vll!  fviHurinq  thv 
XIA^XMVAXICW  FOOTIIAI.L  TKA^I 

What  is  heliin<l  the  success  of  a  preat  football 
team?  Men?  Teamwork?  Coaeliiii;:?  W'aleli  Joan 
Heiiiiett  vamp  the  whoh*  All-Aiiierieaii  team  into 
|>hiviii<;  for  her  anil  you'll  ajjree  that  sometimes 
—  'Maybe  it's  Love!'' 

ffaturlnff 

40I-:  I-:,  iiiiowx   .io.%>  iii-:xm<:tt   .ia>ii-:s  iiaix 


<Mii>  PoinmerrninK 

\fu  ht/cun 

krnnrlli  llayrraft 
RuAnrll  Saunilcn 

(  nil    .7  N.  lot 

lloHuril  ilariMlcr 
i'aiil  Soiill 

I  nit .  «y  JVnn. 

William  Banker 
• 

THrvrtfii  hv 
WlIXlAM  WE:ij.M«\ 
Dtnrtor  ■>/  'Wutft ' 


^     WARNER  BROS,  present  ^ 

Maybe  Ifs  Love 

A   WARNER    BROS.  AND   VITAPHONE  PICTURE 


Fun  for  everyone  from  6  to  60 ! 


You  enjoyed  Tom  Sawyer  and  his  gang  when  you  read  of  them  as  a 
kid— you  laugh  even  more  uproariously  when  you  read  about  them 
now.  But  when  you  actually  meet  them  on  the  Paramount  screen 
youMl  love  them  more  than  ever  before  —  you''ll  laugh  as  youVe 
never  laughed  yet! 


MITZI 

GREEN 

The  lovable,  laugh- 
able imp  of  the  screen 
as  Becky  Thatcher 


Mark  Twain,  who«e 
stories  of  Iheee  arfven- 
luroui,  kiHs  made  hi» 
fame  immortal. 


JACKIE 
COOGAX 

Hear  the  most  famous  boy  in 
the  world  in  bis  first  talking 
picture  —  ind  bis  ideal  part  as 
Tom  lumself 


TOM 
SAWYER 

SEE  and  hear  them  pay  Tom  to  let  them  whitewash  the  fence! 
Follow  Huck,  Tom  and  Joe  to  the  island  where  they  played 
pirate  while  the  town  thought  they'd  been  drowned  —  and  then 
see  them  attend  their  own  funeral!  Listen  to  Tom  "get  engaged" 
to  Becky  Thatcher.  Played  by  America''8  most  famous  juvenile 
actors  —  real  kids,  all  of  them  —  and  produced  by  the  greatest 
picture  organization  in  the  world,  "Tom  Sawyer"  is  a  picture 
everybody  should  see.  It  will  be  a  treat  for  children  —  and  for 
you  too!  If  it's  a  Paramount  Picture  it's  the  best  show  in  town! 


rABAMODNT     PDILIX     COir..     ADOLPB     ZVKO*,  PBtS. 


TUNE  INI  Paramount 
Publlx  Radio  Hour,  each 
Tuesday  evening,  lo.is  to 
11  P.M.  Eastern  Time, 
over  the  Columbia  Broad- 
castins  System. 


PAIAHOUNT    BUItOINC,  N. 


4 


MOT  DON    P  B  CT  lU  IRE 

CLASSIC 


Vol.  XWII  DKCEMBER,  1930  No.  4 


Notable  Features  in  This  Issue: 

Menaces  Of  The  Movies — The  Vanishinf;  Children  Campbell  MurCulloch  2i 

SoUI  Down  The  B«»iilevar(l — Stars  Are  Tra<le(l   Reginald  Tnvitwr  28 

How  Women  Have  Chaiified  Them— L  vV*  KKN(  K  TllJHKlT  (Aatlys  Hall  30 

Classic  HoMs  ()|M'n  (Joiirt — The  FVople  Vs.  Miss  Hollywood  Hale  llnrtnn  36 

H^in{;inf^  Hark  'I'lie  Thrillers — Serials  (ione  Talkie  Reginald  Taiiner  38 

Their  Private  Love  Lives — Ex|>erts  Don't  Practiee  What  They  Prearli  Dorothy  Manners  68 

What  \h}  You  Mean — "Star"? — Can  Yon  Tell  The  UifTerenee?   Jack  Grant  73 


The  Classic  Gallery  (irela  Carbo,  Sue  Carol,  Evalyn  Knapp,  Jackie  Coogan .  .19-22 

PirHire  pafie — (;kNEVIEVE  TOBIN       27 

Pi«  tnre  papt — (iAKY  COOl'KK     31 

The  Ihmey  \n«l  The  M.mhi  — pictnre  pape,  LUCIIXE  WILLIAMS   32 

(ihevalier  Himself — Manrice  \  Krenrh  Vmerican  Elisabeth  Coldbeck  33 

\  nionde  In  The  Dark  — pirtnre  pa-je,  LeILA  IIYAMS   31 

Pietiire  paf;« — KKNEST  ToHUKNCE   tO 

Y^HiCan  l  Vi  in— JE  VNETI  K  M  \<  Don  VI.I)                                                     Elisaln-th  (,oldU-ck  41 

The  I\oted  Dame  Team —pirl ore  paf:e>,  Fmtthall  (iirls    46 

They'll  Pav  You  To  Insult  Them — Take  Your  Dirty  Dips  To  llollywtHMi .  .  Helen  Ltmise  If  alker  48 

Pirtnre  pap. —  KiCII  Mil)  CKOMVl  ELI     49 

Pic  ture  pape —Ann  H  Vl{|>l\(;     50 

The  Man  Yon  Hate  To  Love -U>WEI.L  SlIERM  VN.                                             Faith  Senice  51 

Around  Tlir  W  orld  Broke — JOIIN  iloi.l. \NI>                                                                (.ladys  Hall  52 

Lonp  .'^liol>  W  ilh  I  he  nip  Shot- —  rhr\  Do  Take  (Jianres.   huniihy  Manners  ,'>6 

Helifve  Him  Or  Not     HoilKKI  L.  Ull'I.KY    Hrrhrrl  (riiil.shiink  .>8 

Pirtnre  papr    M \I(IK  DltKSSI.KK   ")9 

The  llipli  Cost  Of  K.M.thall     pirtnre  pape,  JOAN  .MARSII.  .    (>2 

Normal,  riiouph  \n  \rtor— KLLIOT  Nl  CENT                                                      Rttln  rt  I  rnder  63 

The    Weiphs    And    Means   Committee— picture   pagr,   FRANCES   DEE   and  .MaTIIILDE 

COMONT   64 

Plenty  Smart  (Jirl  — R  VQI  EL  T<>RRE.S  Dorothy  Manners  65 

Steppinp    Ahead    Of    Tlir    \lo\  ies— picture    papes.    L\RRV    CEB\LL0S    and    DvNC  INc; 

(ilRLS     66 

The  Newest  l>«ii«/i-lioy— Sl.IM  Sl  MMERVILLE                                        Helen  Louise  IT  alker  70 

Pirtnre  pape   -J \MES  and  Hi  S>^^I.L  GLEASON.  71 

Pirtnre  pap« — SlONEV  IJL\<:KMrU   72 

Picture  pape — lAN  KEITH   75 


Ttie  CiASSicrs  Famous  Departments 

Last-Minute  NewB   8 

My  Neiphhors  In  ll..llywood    K.  (  .  It.  12 

Tarts  and  I'ipnres-  Intimate  Items  About  Pictures                                  CampMl  MarCullmh  1  I 

Ulark  \nd  Whit.-— Head  \nd  Write  (Prize  l,«'tters)    16 

LtMtkiiip  riiem  Over — Newsy  (ilose-l  ns                                                           Dorothy  \lanners  42 

Our  Own  News  Camera — The  S<Teen  World  in  Pictures    .53 

The  Celluloid  Critic — Some  Current  Films  In  Review   Laurence  Rcid  60 

The  Answer  Man      76 

Cofrr  Drim-infi  iif  l.ila  1^'  hv  Marlantl  Stone,  from  .i  jMirtrait  by  RiimkII  Ball 


Laurence  Reid,  Editor 

Golin  J.  f.ruickxhank.  Art  Director 
Classic  mmes  out  on  the  12th  of  en-ry  Month,  Motion  Picti  rf,  the  28th 


>N  PicTUBB  Classic  it  pubtttktJ  monlUr  at  \$o  E.  iind  St.,  Ckieato,  lU.,  by  Motion  Picrvmi  Publications.  Inc.  Enltttd  as  stcond  class 
•  Aumsl  Jill,  lotS,  al  tkt  I'oit  i)fi,t  al  Ckt  k  o. 

iini,  I  SOI  flroaaway,  Nrm  i'ork  (  ilv,  .V.  I  Sintit  copy  IS'-  Suhnrif  lions  for  U.  S.,  lis pot- 

ni,  and  \tt*tto  $2.00  a  ytar,  i  amtJa  $j  Companv,  l8  Bruit  t.ant,  London,  E.  Cf.  4. 


 Mmul 

II I  r 


With  JOHN  WAYNE  - 
MARGUERITE  CHURCHILL-  EL  BRENDEL 
TULLY  MARSHALL     DAVID  ROLLINS 

TYRONE  POWER 


and 20,000  others 


in  an  all-taikin^ 
movietone  romance 


t 


r 


tOallik's 


Young  love  and  courage  sweep  on  to  triumph  in  this  tremendous 
story  of  the  winning  of  the  West.  Twenty  thousand  pioneers  in  a 
magnificent  migration,  vanquishing  Indian,  hear,  buffalo,  blizzard.  New 
thrills  await  you  in  this,  the  most  important  picture  ever  produced. 


ILA-ST  MINUTE 


JOHN  BARRYMORE  is  plunging  into  mysteries  in  a  determined 
way.  He's  not  content  to  ferret  out  the  home  of  the  elusive 
white  seal  aboard  his  yacht  with  Dolores  and  the  new  baby,  but 
plans  to  play  an  old-fashioned  sleuth  of  the  Sherlock  Holmes  school 
in  "The  Maltese  Falcon.''  .  .  .  Screen  detectives  have  a  way  of 
keeping  in  front  of  the  Kliegs.  DeWitt  Jennings,  who  has  done 
litti:;  else  but  unravel  screen  mysteries,  is  again  scheduled  to  do 
detective  work  as  the  captain  of  the  guard  in  "Criminal  Code."  .  .  . 
William  Powell,  the  Van  Dyne  detective-de-luxe,  will  holiday  for 
a  while  before  starting  to  work  on  "  Xew  Morals,"  in  which  Richard 
Tucker  also  will  try  his  master  hand. 

THE  cowboy  is  roaming  the  hills  again  with  his  accustomed  dash 
now  that  Western  films  are  coming  into  their  own.  Ken  May- 
nard  will  have  a  whole  series  of  them  to  make  his  come-back  a 
complete  success. 
His  first  picture  will 
be  "The  Midnight 
Stage,"  an  old-fash- 
ioned thriller  in 
which  Jeanette 
Loff  will  be  the 
heroine.  .  .  .  Little 
Ruth  Mix,  seeing 
the  trend  of  the 
times,  believes  it 
wise  to  follow  in 
daddy's  footsteps 
and  will  try  out  the 
great  big  hat  with 
the  great  big  brim 
in  "Red  Fork 
Range,"  the  first  of 
a  new  series  of  west- 
erns  featuring 
Wally  Wales.  .  .  . 
It  seems  to  be  the 
day  of  the  very 
much  younger  gen- 
eration anyway. 
Little  four-year-old 
Billy  Haggerty  is 
tr>  ing  to  fit  into  the 
golden  shoes  of 
Jackie  Coogan  and 
Davy  Lee  in  Mae 
Robson's  picture, 
"Mother's  Mil- 
lions." 


New  York  in  1980:  elevated  boulevards  with  cross  traffic  on  a  different  plane,  heaven- 
scrapers  instead  of  skyscrapers,  and  human  beings  mere  atoms.  Thus  is  it  predicted  in 

"Just  Imagine" 


J ETTA  GOUDAL 
is  one  of  Holiywoocl's  newest  brides.  Her  marriage  to  Harold 
Grieve,  interior  decorator,  will  give  her  temperament  a  new  outlet, 
as  she  plans  to  become  an  activ^e  partner  in  her  husband's  work.  .  .  . 
Marie  Mosquini,  as  maid  of  honor  to  Bebe  Daniels,  caught  the 
bride's  bouquet  and  is  living  up  to  tradition  by  announcing  her 
engagement  to  Dr.  Lee  De  Forrest.  .  .  .  Helen  Twelvetrees,  it 
is  rumored,  has  been  asked  to  change  her  name.  This  time,  not 
through  the  holy  bonds  of  matrimony,  but  for  publicity  purposes. 
It  seems  as  though  Twelvetrees  is  too  long  for  electric  light  featur- 
ing and  just  Tree  will  have  to  do.  .  .  .  Old  Lady  Rumor  has  just 
heard  that  Mary  McCormick  is  engaged  to  Prince  Mdivani,  at 
present  the  husband  of  Pola  Negri,  who  has  a  divorce  all  sched- 
uled. .  .  .  Perhaps  that  accounts  for  the  wistful  air  of  Pola  in  Paris, 
these  days.  .  .  .  Barbara  Kent  may  spend  part  of  her  honeymoon 
abroad  if  it  is  really  true  that  she  and  Paul  Fejos  have  looked  for 
and  found  the  silver  lining. 

D.'WCE,  little  lady — that's  the  slogan  these  days.  Dancing  feet 
carr\'  themselves  right  to  stardom.  Barbara  Stanwyck 
proved  it.  She  started  as  a  cabaret  dancer  and  now  does  dramatic 
roles  with  Columbia.  .  .  .  Joan  Crawford  has  l>een  dancing  for 
quite  a  while  and  only  recently  found  herself  growing  dramatic  in 
"Within  the  Law."  .  .  .  Nancy  Carroll's  toes  carried  her  into 
starring  roles  in  pictures — and  so  did  the  twinkling  feet  of  Marilyn 
Miller,  Fifi  Dorsay  and  Lily  Damita. 

THE  football  season  is  commencing  to  draw  the  west  coast 
crowds  again.   Ruth  Roland  is  having  a  very  gay  holiday  in 


New  York,  shopping,  seeing  the  big  games,  and  night-clubbing.  .  .  . 
Marion  I>avies  whirled  about  for  a  bit  before  taking  the  Paris  fall 
styles  out  home  with  her.  .  .  .  Fifi  Dorsay  has  been  partying  around 
in  Xew  York  for  some  time  and  never  seems  to  tire  of  it.  .  .  .  Ernest 
Torrence  stayed  in  Xew  York  just  long  enough  to  say  "hello," 
en  route  to  Hollywood  from  a  Scotland  vacation.  .  .  .  Buddy  Rogers 
and  his  mother  sailed  to  see  a  bit  of  London,  Paris,  Germany,  Nice 
and  Italy — just  a  nice  little  vacation  between  pictures.  .  .  .  Conrad 
Nagel  and  his  wife  are  now  on  the  receiving  line  in  Hollywood 
after  their  holiday  in  Xew  York.  .  .  .  Richard  Barthelmess  is 
resting  up  in  the  East  and  spends  a  good  deal  of  his  time  in  Con-, 
necticut,  on  his  estate. 

OXE  of  the  very  fastest  trips  ever  recorded  was  that  of  Joan 
Bennett  to  New  York.  She  just  turned  right  round  again 

and  went  back  to 

  make,  so  they  say, 

"Smilin'  Through." 
.  .  .  Constance 
Bennett,  on  the 
other  hand,  con- 
tents herself  with 
trips  just  across  the 
border  to  Agua  Ca- 
liente,  where  she 
was  accompanied  by 
her  mother  and 
Gloria's  Marquis 
de  la  Falais.  .  .  . 
The  Marquis,  by 
the  by,  is  now  con- 
nected with  R.K.O. 
.  .  .  James  Rennie 
hopped  the  choo 
choos  East  en  routf 
to  Europe  with  ,i 
fat  contract  all 
signed  by  First  Na- 
tional. His  wile, 
Dorothy  Gish,  did 
not  accompany  him. 
She  hasn't  been  ac- 
companying the 
handsome  James 
anywhere  in  some 
time,  as  a  matter 
.  .  .  Mary 
and  her 
Millard 
re  two 


of  fact 
Eaton 
husband, 
Webb. 

others  who  will  sail 

to  see  London  in  a  Fall  fog.  .  .  .  Barbara  Kent  will  go  relative 
hunting  when  she  arrives  in  London  town — in  fact,  she  plans  to 
have  Christmas  dinner,  Yule  log  and  everything  at  her  grand- 
mother's home  there. 

GENEVIEVE  TOBIN  has  joined  the  Malibu  Beach  colony. 
.  .  .  Lois  Moran  is  all  rested  from  a  little  vacation  at  Santa 
Barbara.  .  .  .  Gary  Cooper  wants  to  add  French,  German  and 
Spanish  to  his  English  way  of  making  love  in  pictures  and  is  taking 
up  a  course  in  languages.  .  .  .  Richard  Dix  is  signing  for  another 
visit  to  Xew  York  and  its  interesting  streets  "somewhere  in  the 
fifties."  .  .  .  Joan  Crawford  and  Douglas  Fairbanks  have  been 
separated  for  the  first  time  since  their  marriage  when  Doug  was 
on  location  in  Arizona. 

CLARA  BOW  has  again  caused  a  general  lifting  of  the  eyebrows 
with  the  title  "  Xo  Limit" — a  picture  with  a  gambling  se- 
quence! .  .  .  Norman  Foster,  husband  of  Claudette  Colbert,  is 
scheduled  to  play  opposite  the  red-haired  headline-hunter.  .  .  . 
Claudette,  herself,  is  looking  forward  to  bigger  and  better  pictures, 
with  "Strictly  Business''  to  start  her  on  her  way.  .  .  .  Myrna  Loy 
is  wearing  a  smile  these  days.  She's  all  signed  up  with  Fox.  .  .  . 
Lily  Damita  will  continue  right  along  with  "5>ons  o'Guns"  when 
Al  Jolson  gets  into  his  stride  with  that  picture.  .  .  .  Ruby  Keeler, 
the  mammy  singer's  mammy,  has  given  up  all  thoughts  of  "The 
N'anderbilt  Revue"  and  will  tarry  awhile  with  Jolson  in  Hollywood. 

INA  CLAIRE  and  John  Gilbert  still  deny  reports  of  a  separation. 


8 


jTf  %iirjUjr  Jj™*  youVe  had  in  ytartj 


''Where  the  H 
is  Mulligan  ? 


Out  go  the  lights!  On  go  the 
tbrills!  Into  the  mystery-mansion 
seaiks  the  "Gorilla",  a  mind  of 
a  master-criminal — lust-cravings 
of  a  beasL  In  walk  Mulligan  and 
Garrity,  tl^  two  dumb  detectives, 
and  then  the  fun  begins.  It 
shouldn't  be  missed. 


JOE 

FRISCO 


Ho\  rY  Gribbon  Walter  Pidgeon 

Story  by  Ralph  Spence 
f         Directed  by  Bryon  Foy 

MyiteriousI  Hilarious!  Stupendous}  "The 
Gorilla"  Will  Give  You  The  Thrill  Of 
Your  LAFFfimef 


Mulliiian  and  Garriry  (Joe  Fritco  and 
Marry  Cinhhonj  ihc  iwci  hlundrrinti 
dciectivo  who  sec  all.  hear  all  and 
know  nothing.  Thry're  ■  rioll 


A  FIRST  NATIONAL  ^  VITAPHONE  PICTURE 


Talkie  Terrors 


10 


Birds  have  to  migrate  East  during  epidemic  of  air  pictures 

Drawn  ever  so  heavrnly  by  Sm:i.i>HASE 


A  Popular  Novel 

FREE 


0  Many  girls  find,  when  the  tumult  and 
orange  blossoms  have  died  down,  that  love  is 
not  enough.  Others  arc  finding  before  mar- 
riage that  they  cannot  build  their  lives  on  the 
affection  of  men.    So  business  claims  them. 

Your  modem  business  girl!  Ready  to  be 
stimulated  by  success.  Free  to  do  as  she 
pleases  with  her  future.  TTic  great  public 
interest  in  her  and  her  problems  was  respon- 
sible for  the  enthusiastic  reception  accorded 
the  serial  publication  of  Big  Business  Girl  in 
CoLLnci;  Humor.  It  is  soon  to  be  released 
as  a  feature  moving  picture  by  Warner 
Brothers. 

And  now  this  story  is  being  brought  out  as  a 
regular  full  length  novel,  bound  in  boards 
and  with  a  four  color  jacket,  under  die  im- 
print of  Farrar  8C  Rinehart.  It  has  already 
enjoyed  a  phenomenal  advance  sale.  For  a 
very  short  time,  until  December  31,  1930, 
this  book  will  be  given  away  absolutely  free 
to  subscribers  to  COLLLGE  HUMOR. 

If  you  were  to  purchase  single  copies  of  diis 
magazine  at  newsstands,  die  price  would  be 
thirty-five  cents  a  copy.  The  advantage  of 
subscribing  for  one  year  at  three  dollars  or 
two  years  at  five  dollars  (twenty-four  issues) 
is  apparent  to  everybody.  And  the  no\cl 
will  be  given  away  for  good  measure! 

Since  this  offer  has  a  strict  time  limit,  we  sug- 
gest using  the  coupon  at  once. 

College  Humor 

MAGAZINE 

The  magazine  with  a 
College  Education 


c 

1S\  Thii  hook  about  Cljtrr  Mjclntyrr.  a  big  hutinrit  girl, 
%^  makei  u  fine  gift  or  j  raluMe  •iJJilion  lo  your  Ubidry. 

r  iccep*  VPur  FREE  offrr.  Endowd  find  ^.  ..  Ple**e  send  BIG  BUSINESS  GIRL  to 

Namo  .  .  .Addrrss  

Citv  .  Scate  

•nd  COLLEGE  HUMOR  for  one  year  at  ^1  □  to 

two  yrars  at  ^5  LJ 

Name  .  .  Address  

Gty  ...  .  State  

Regularly  Colle|{e  Humor  costs  J5  cents  a  copy. 
CuuJiJin  poM^^   >0  <(nu  t  y«u  aJJiiionil,   iutufn  pcMx^t  fl.OO. 


11 


My  Ne/gbbors 
in  Yio 


K.C.B. 


IF  I  had  to  work. 
IN  MOTION  pictures. 
I'D  LIKE  to  work.* 
FOR  CHARLIE  Chaplin. 
AND  WHY  that's 'so. 

IS  THAT  Fm  lazy*  ' 
AND  HAVE  a  horror. 
OF  BEING  rushed'  ' 
AND  JUST  for  instance. 

occasionally'  " 

•  •  • 

ON  AN  afternoon. 

I  DRIVE  myself.* 
TO  THE  Chaplin  I'ot. 
AND  FIND  a  chair. " 
AND  SIT  me  down. 
AND  WATCH  the'm'work. 
AND  AFTER  a  while. 
ALONG  ABOUT  four. 
OR  THEREABOUTS. 
THE  WORKING  ceases. 
AND  EVERYBOd'y! 
GOES  hustling'  off. 
AND  SOMEBODY  comes. 
WITH  A  little  table.' 
TO  WHEREVER  it  is. 
THAT  CHARLIE 's.' 
AND  PUTS  it  dow'n.' 
AND  TEA  is  brought. 
AND  SANDWICHES. 
AND  IF  it  happens. 
YOU'RE  A  friend  of  Charlie's. 
YOU  SIT  with  h'ira. ' 
AND  DRINK  your  tea. 
AND  TALK  with 'him. 
AND  FOR  thirty  minutes. 
OR  WHATEVER  the  time. 
IT'S  JUST  the  same. 
AS  THOUGH  you'sat. 
IN  AN  English  home. 

12 


WITH  NOTHING  but  leisure. 
AHEAD  OF  you.  ' 
AND  THEN  all  at' once. 
THE  RECESS  ends*  ' 

•  •  • 

AND  A  whistle  blows. 
AND  EVERYBOd'y! 
COMES  HUSTLING  back. 
AND  ANYWAY. 
ON  THE  day  I  write. 
IT'S  BEEN  two  years. 
AND  SOME  added*  months. 
SINCE  CHARLIE  began. 
ON  "CITY  Lights*"' 
AND  TODAY  it's*done. 

•  •  • 

AND  IN  its  making. 
TEN  THOUSAND* persons. 
DREW  PAY  checks.' 
FOR  WHATEVER* the  time. 
THEY  WERE  at  work. 
AND  ON  every  day. 
NO  MATTER  the*sc'ene. 
THAT  WAS  being*shot. 
CHARLIE  TOOK  tiiiie. 
TO  DRINK  his  tea*  " 
AND  I  recall. 
A  YEAR  ago. 
I  THINK  it  was.* 

•  •  • 

ON  A  summer  day. 

•  •  • 

AND  I  went  out. 
TO  THE  Chaplin  Tot* 
AND  THE  gateman  said. 
THERE  WAS  no'body  there. 
AND  NOBODY 'w*or"king. 
OR  ANYTHING. 
AND  THEN  I  fo'undl 
THAT  FOR  four  days. 
THEY'D  CUT  out*work. 
SO  THAT  Charlie  could  go. 
TO  THE  tennis  matches. 


WHERE  WORLD-famed  players. 

WERE  IN  tournament. 

AND  THAT'S  m'y*id'ea. 

OF  MAKING  pi'ctures. 

OR  WRITING  boJks. 

OR  SELLING  groceries. 

OR  ANYTHING.  *  ' 

AND  I'D  like  to' work. 

FOR  A  bird  like' that. 

•  •  • 

AND  IT'S  nobody's  business. 
EXCEPT  JUST  Ch'ariie's. 

•  •  • 

FOR  IT'S  his  own  money. 
THAT  HE'S  working  with. 
AND  NO  bank  owns  him. 
OR  ANYTHING.'  ' 
AND  IF  it  happens. 
HE  WANTS  to  I'oa'f.* 
AND  LET  the  workers. 
ON  HIS  yearly  s'taff.' 
HAVE  A  few  da'ys'off. 
HE  DOESN'T  even.  ' 

•  •  • 

HAVE  TO  say  he's  sick. 

HE  CAN  go  right  out. 

•  •  • 

WITH  HIS  conscience  clear. 
AND  IN  good  health. 
AND  ENJOY  hi'msel'f. 
AND  AS  I've  sai'd  *  ' 

IF  EVER  it  happens.' 

•  •  • 

I  AM  an  actor. 

•  •  • 

AND  I'LL  have  to  hurry. 

•  •  • 

IF  I'M  going  to  be. 
I  WANT  to  wor'k.*  ' 
FOR  MR.  Chaplin*  * 
INSTEAD  OF  some  guy. 
WHO  DOESN'T  li*ke'  tea. 
IN  THE  afternoon. 
OR  NEVER  goes. 
TO  A  tennis  match. 
I  THANK  you. 


QITAL.IFY  FOR   THE   OFPORT-UIiriT Y 

TO   WIi¥  $0^0.00 


THK  hunt  in  about  to  start.  Thn  hounds  have 
l)ccn  unleashod  ;ind  aro  impatient  to  pick  up  tho 
Brent.  Soniewhore  in  the  pack  are  two  do^3  exactly 
alike — identical  to  the  eye  in  size,  pose,  markings  on 
the  legs,  bodies,  hoads  and  tails.  How  well  devel- 
oped are  your  powers  of  observation?  How  quick  is 
your  eye?  Can  you  find  the  twin  dopsi*  It  will  cost 
you  nothing  to  try  for  the  Grand  Prizes  which  will 
be  awarded  according  to  the  contestants'  standings 
when  the  final  decision  is  made. 

If  you  can  find  the  twin  dogs  send  the  numbers 
together  with  your  name  and  address.  Six  thousand 
dollars  to  be  paid  in  10  equal  first  prizes.  Each  one 


$600.00  or  a  brand  new  Chevrolet,  2-door  sedan,  the 
model  pictured  alx)ve.  with  many  extra  prizes  of 
$50.00  each — you  can  win  one  by  being  prompt — 
making  a  total  first  prize  of  $650.00  cash  if  you  pre- 
fer. In  addition  to  the  first  prizes  there  are  dozens 
of  other  well  chosen  prizes  which  will  be  given  to  the 
wiimers  in  this  unique  "advertising-to- the- public" 
program.  Duplicate  prizes  will  l)e  awarded  in  case 
of  lies.  Solutions  will  not  be  accepted  from  persons 
living  in  Chicago,  Illinois,  or  outside  of  the  U.S.A. 
Mail  your  answer  today. 

J.  F.  LARSON, 
R(X)m  271,  54  West  lllinob  Street,  Chicago,  Illinois 


Facts 


an 


d 


Figures 


Intimate  Items 
About  Pictures, 
Past,  Present 
And  Future 


By   CAMPBELL  MacCULLOCH 


BECAUSE  he  has  been  in  the  picture  business  some 
fifteen  or  twenty  years,  the  presumption  is  that  Ivan 
Abramson  has  come  to  beheve  some  of  the  wildly  exagger- 
ated bunkum  the  publicity  departments  turn  out.  At 
least  that  seems  the  charitable  view,  or  how  else  account 
for  Ivan's  suit  to  compel  Will  Hays  into  court  to  explain 
how  he  uses  th^"  hundred  million  dollars  annually  the 
Motion  Picture  Producers 
and  Distributors  of  America 
are  said  by  Ivan  to  collect 
and  spend  ? 

Just  for  the  sake  of  the 
record,  the  M.  P.  P.  &  D.  of 
A.  is  much  more  modest  than 
Ivan  seems  to  believe.  It 
collects  and  uses  about  one 
percent  of  the  excited  Abram- 
son figure,  which  isn't  so 
much  when  you  consider  the 
industry's  two-billion-dollar 
income. 

THERE  must  be 
something  out  of 
synchronism  with 
the  news  reports 
about  the  growing 
unpopularity  of 
American  talking 
pictures  among  for- 
eigners. We're  send- 
ing more  audible  film 
overseas  than  ever  be- 
fore. For  instance,  in 
the  first  six  months 
of  1930  we  exported 
144,932,674  feet  of 
film,  which  was  val- 
ued a  t  $4,127,172. 
Compare  that  with 
the  same  period  in 
1929  when  we  export- 
ed  121,810,453  feet 
and  collected 
13,331,022  for  it.  If 
you're  interested, 

you'll  find  that  this  year  we  got  a  higher  price 
per  foot  by  .02  cents  than  we  had  last  year. 

Those  calamity-howlers  who  have  been 
telling  us  that  Great  Britain  had  organized 
against  our  pictures  have  been  listening  in  on 
the  wrong  station,  because  John  Bull  took 
more  than  double  as  much  talking  film  from 
us  in  the  first  half  of  1930  as  he  did  in  1929.  If 
you  must  have  the  figures,  they  are  23,677,004 
feet  these  first  six  months  and  11,195,243  the 
previous  period.  I  got  those  figures  from  the 
Department  of  Commerce,  and  they're  official. 


ND  while  we're  talking  about  exports,  don't  let 
anyone  tell  you  that  talk  is  cheap.  The  manufac- 
turers of  talking-picture  equipment  sold  ^4,585,000  worth 
of  their  apparatus  between  January  i  and  June  30  of  this 
year,  just  for  export  alone.  Most  of  it  went  to  England, 
though  both  France  and  Canada  figured  well. 

While  we're  on  the  subject  of  such  apparatus,  last  year  I 

counted  173  firms  making  it, 
but  the  mortality  must  have 
been  terrible  since,  because 
less  than  half  that  number 
reported  for  business  this 
September.  From  the  sounds 
some  of  that  equipment 
made,  the  only  wonder  is 
that  there  were  not  more 
financial  funerals,  and  corpo- 
rate executions.  And  why  the 
ear-'phone  business  is  so  slow. 


I 


International  Newsreel 

Three  film  faces  East:  Claire  Dodd,  Christine  Maple  and 
Virginia  Bruce,  beginners  all,  were  picked  by  Florenz  Ziegfeld 
as  the  Hollywood  girls  he  would  like  to  glorify.   It  will  cost 
Talkie  Town  plenty  to  get  them  back 


gram   for  1930-31. 


N  CLASSIC  recent- 
ly an  article  on 
the  ownership  of  the 
movies  set  forth  a 
financial  line-up 
which  indicated  that 
the  big  banking  and 
investment  houses, 
together  with  several 
great  electrical  com- 
panies, were  gradu- 
ally acquiring  a  foot- 
hold in  pictures. 
Current  Wall  Street 
gossip  lines  up  Hay- 
den,  Stone  and  Co., 
The  Western  Electric 
Co.,  Goldman,  Sachs 
and  Co.  and  the  Du 
Pont  interests  as  a 
composite  group  to 
furnish  between 
$15,000,000  and 
$20,000,000  for  the 
completion  of  just 
one  company's  pro- 
There  is  a  well-known 
Arabian  proverb  that  recites  the  experience 
of  a  desert-dweller  who  permitted  his  camel 
to  put  merely  his  head  in  the  tent,  and — you 
probably  recall  it  as  well  as  I  do,  so  finish  the 
application  for  yourself. 

A FEW  days  since,  I  came  across  a  statement  of  the 
gross  receipts  of  the  Roxy  Theater  in  New  York  City 
for  one  week.  The  figure  was  $176,812.  And  there  are 
between  5,500  and  6,000  seats  in  the  establishment.  That 

{Continued  on  page  gj) 


14 


£5£ 


YOUR 

ROUGE  shades 

this  NEW, 

fascinating  way 


Forget  all  about  "matching 
your  skin"  and  select  shades 
to  match  your  costume 


■VTCH  THR  SPFKIT.  the  joyous  fnHvlom.  of 

I  Ills  U  '  '  ishiuii  .  .     ■  ' 

'iiiorii/  .TV  rotfu 


thiM 
diri' 
in-VA 
of  \ 

\ 


•1  - 
tllf.  , 

and  I 


tihil  tiiii.i  iiiiiturtol  liv  I'nui-vas  i'ut  Kuuca 
ojiu*'  fruni  wiiliin  tin-  skin. 


U) 


WHY  OiUmM  Colon  ol  CoKaa*  Ab«>l«(«lv  DtMtd 
(Mffwviil  Sludti  of  Roaf* 

Yon  hnvp  loaniivl  liow  nil  5hnH>>4  of  Prinro*^  P  it 


N  i'i  i.  .  .>i:ui/.'  lliM  when  ymi  uiiitcli  dnw.  Iium-, 
.■-li'M  -.  1.,'-.  -u)  that  till*  on.McmUo  i«  h:irni<>niou!«. 
It  n  cvi-n  nii>r<«  vit.'Uly  imixtrtuDt  to  rocutfnifo  it 
when  you  Bolpct  r<Hi(jf  nHadr.*. 


Tho  KTvnt  mi<t.-iko  with  nnijtp  haj*  l>o««n  thia: 
■  uir — say  IIu^liu^■.   To  M^-uro 
•  III  u«>d  mon*.  i»r  loss.  rouKc. 


w^t.-!  lc.->.'<  tlian  niclli'vi  witli 

 luid  tv>  on  tlirouKli  tin-  r.viKO 

1  1        .lii  iii  in.i  of  coHtuiuo  utid  couploxion. 

Marrtlon  Ntw  BcMty  If  Yo*  Follow  TImm  Hintl 
Fof  Chootins  Roiif« 

F<ir  gowns  of  all  ri><l  .tliadi-*.  8«>lcrt  Prinfvsa  Pat 
Vivid,  or  Priiic»*-«'<  Pnt  Spi.iw.  Kvi-n  flii»  i>iliMt 
Ijlondt"— oni"  wh  '  '  >  i 

wi'«r  liriiclit  ri-  < 
throtiKh  U'H*  of  \  i  ~  ,  ,  .  T 

nolo  in  the  oluvikS.  tor  gown^  ol  purpli*.  violot, 
IJiif.  u«>  Suviaw,  Thoatff  or  Mi^liimi.  Whi-n  you 
»  oranniv  'nfks  an-  won- 

<i  Pnnr.'**  !  nt.    With  soft 

I' '     •      •  iiinu*'*.  aclih  i,,ilcxion  noto  of 

rool,  di'lidous  «»n'nily  with  Pnin-csji  Pat  MiNiiitm 
or  Thn>lri«.  For  tm  cfToct,  use  Princoss  PaC  Sum- 


Nr. 
a  ni:ir 

siiiiv  r  ,  < 
Klorioii.tiv  to  artllirial 
liKlit  a;*  the  moot  |kt- 
fpcl  daytime  rougo 
doett  tu  sunlight. 


Tbm  wy  povuUr  Pliimw  Pat  Weak  Bad  to  oOMad 
for  alimiu^d  taaalormaoowoH  aadlSa  («ate>.  Only 
ooa  toaoi* 
olilwiaill 


PRINCESS  PAT 

nil.  i,io,  v  s.  A.  UM  raiiA»*,  N  cmumcm  wt.,  roao-fTo) 

/Vwuwn  Pat  Up  Ktm^  m  n«w  ■maatioo— ooUiiac  !«■.   For  it  don  wtial  bo 
cum'  hp  route  dm  ever  duor    Pnorea  Pat  Iad  Rouse  nilora  that  uiadr  — 
Mirfaor  of  liiMaa  well  aa  oiilxuJp.  You'U  love  Ihia  new  beauly    Keepa  lipa  sun 
aotl  free  of  ohap  «ad  lirjiuaa    PimaiMat.   Daiaty  iinarnatiiil  BMtMTt 


boM. 


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>«riMil  Bad  saa  for  vktakaaad  aa  Ite  PMbm  Pat 
^aakEniaal. 


NaaaCpdaU. 


Tell  Us  All  About  It 


$20.00  LETTER 
Abraham  Lincoln/'^ 
A  Masterpiece 

Philadelphia,  Pa. 

For  the  first  time  I  have  seen  the  Abraham 
Lincoln  that  my  imagination  has  always 
conjured  up.  For  the  first  time  I  have  seen 
a  living,  breathing  Lincoln,  with  all  the 
faults  and  all  the  virtues  of  a  human  being. 
A  Lincoln  stripped  of  romantic  legends,  a 
Lincoln  that  stands  in  all  his  elemental 
rawness,  in  all  his  elemental  tenderness. 

D.  W.  Griffith  has  dipped  into  history 
and  extracted  from  it  the  beauty  of  human 
life.  But  he  had  the  courage  to  leave  in  all 
the  daring  crudity,  all  the  daring  realism 
that  touches  our  experience,  that  clutches 
at  our  hearts,  that  brings  to  our  cheeks 
flushes  of  shame  as  well  as  pride. 

Here,  for  the  first  time  on  the  screen,  I 
have  beheld  the  true  greatness  and  the 
great  weakness  of  the  man  whose  awkward, 
stooping  shoulders  once  carried  the  cross  of 
a  whole  nation's  suffering.  I  beheld  his 
greatness  in  his  very  hours  of  failure,  and  I 
beheld  his  failure  in  his  very  hour  of  great- 
ness. Such  is  the  magic  with  which  Griffith 
has  touched  his  latest  masterpiece!  Such  is 
the  magic  which  the  art  of  Walter  Huston 
injects  into  Lincoln's  portrayal! 

I  consider  it  a  great  privilege  to  have  seen 
it,  and  a  greater  privilege  to  have  the 
opportunity  of  telling  my  friends  about  it. 
The  Abraham  Lincoln  I  have  seen  will  re- 
main enshrined  in  my  heart  forever. 

Pearl  Kustin 


$10.00  LETTER 
Glorifying  Gloria 

Pittsburgh,  Pa. 

I  am  in  the  mood  of  singing  the  praises  of 
Gloria  Swanson.  What  an  actress  she  is 
and  what  a  picture  she  made  of  "What  A 
Widow!"  Had  some  other  star  played  the 
almost  slap-stick  role  of  "Tarn,"  the  wealthy 
and  merry  widow,  "What  A  Widow!"  would 
have  become  just  another  cheap  slapstick 
comedy,  but  with  Gloria  Swanson  it  was 
nothing  short  of  high  class  comedy. 

Gloria  is  a  real  artist  and  she  has  proved 
her  ability  and  versatility  in  doing  light 
comedy  parts  as  well  as  heavy  dramatic 
roles,  doing  justice  to  the  two  distinctly 
different  types  of  acting  as  only  a 
finished  artist  of  her  calibre  could  do. 
She  has  poise  and  charm. 

However,  while  I  enjoyed  the  com- 
edy "What  A  Widow,"  1  prefer  (Gloria 
in  ihc  type  of  parts  she  played  in 
"Sadie  Thompson"  and  "The  Tres- 
passer." These  r61es  gave  her  many 
opportunities  to  do  some  real  dra- 
matic acting. 

In  closing  I  wish  to  say  a  word 
for  the  novel  manner  in  which  the 
announcements  preceding  the  pic- 
ture, "What  A  Widow!"  were  pre- 
sented when  giving  the  names  of  the 
author,  director,  cast,  etc.,  etc. 

J.  A.  Nichols 


$5.00  LETTER 
And  Now  The  "Smellies^* 

Hollywood,  Cal. 
In  Hollywood  it  is  said  that  something 
must  be  done  to  revive  mov^ie-goers'  interest 
in  motion  pictures — but  how?  Sight  has 
been  well  served;  hearing  is  pleased  but  it 
has  in  store  for  it  undreamed  of  satis- 
faction; color  laboratories  are  striving  for 
more  natural  color  effects  and  will  get  them 
but  the  screen  still  lacks  good  perspective 
and  relief  while  our  olfactory  nerves  have 
been  left  entirely  without  entertainment. 
Now  that  we  have  the  "talkies"  why  not 
the  "smellies  "  as  well?  What  we  should 
have  next  is  a  smell  of  the  movies — I  had  a 
taste  of  this  when  Sid  Grauman  opened  the 
"Hollywood  Review"  at  his  Chinese 
Theater  in  Hollywood.  It  was  during  the 
screening  of  an  orange  grove  scene  Sid 
wafted  through  the  house,  via  the  venti- 
lators, a  wonderful  orange  blossom  perfume 
and  the  audience  was  spellbound.  Everyone 
was  struck  with  the  realism  which  leads  us 
to  believe  scent  effects  should  be  written 
into  the  script  so  that  appropriate  odors  and 
perfumes  would  be  released  at  the  proper 
time.  Outdoor  scenes  would  easily  lend 
themselves  to  such  elaboration,  an  easy 
matter  for  perfumers.  Certainly  a  lady's 
boudoir  should  be  scented  with  perfume. 
A  kitchen  might  smell  of  fresh  baked  bread 
or  a  juicy  roast  in  the  oven.  Should  the 
odor  of  gasoline  be  emitted  from  a  garage 
and  what  does  a  ship's  hold  smell  like? 
When  the  roses  are  sent  to  the  leading  lady 
in  her  dressing-room,  why  shouldn't  we 
smell  them  as  well  as  she.  Apparently  all 
very  ridiculous  but  easily  possible  and  very 
probable  before  long.       Miss  M.  Young 

$1.00  LETTERS 
Judge  by  Virtues,  Not  Faults 

San  Francisco,  Cal. 
At  the  outset,  I  wish  to  say  that  no  one 
has  a  greater  reverence  and  appreciation  for 
the  Arts  than  I.  I  worship  the  geniuses  of 
literature  and  am  enthralled  by  the  magic 
of  music. 

It  is  quite  impossible  to  understand  the 
few  carping  critics,  who  laugh  outright  when 
someone  speaks  of  the  Motion  Picture  in- 
dustry as  an  Art.  •  That  many  pictures  are 


stupidly  dull,  inane  or  merely  hokum,  any- 
one will  readily  admit,  but  then,  an  Art  is  to 
be  judged  not  so  much  by  its  faults  as  by 
its  virtues.  No  critic  would  care  to  be  • 
quoted  as  saying  that  most  "literary" 
productions,  for  instance,  are  praiseworthy. 
For  one  great  novel  or  poem,  there  are 
virtually  hundreds  upon  hundreds  of 
trashy  novels  or  puerile  poetic  effusions!  It 
is  inconceivable  that  any  sane  person  would 
deny  that  Motion  Pictures  not  only  add 
greatly  to  the  enjoyment  of  countless 
millions  but  that  a  magnificent  production 
does  occasionally  flash  itself  across  the 
Silver  Screen,  to  shed  some  sunshine  on  our 
none-too-happy  lives. 

A.  M.  Egan 


\  Chevalier  Charms  His  Audience 

Chicago,  111. 
The  local  movie  house  was  cool  and  dark 
as  I  crept  into  a  seat.  Outside,  the  glare 
and  noise  of  the  city  were  harsh  and  irritat- 
ing to  raw,  tired  nerves,  but  inside  the  cool 
anaesthesia  of  the  darkness  and  the  music 
crept  over  me  and  dulled  the  weariness  and 
irritation. 

I  succumbed.  And  onto  the  silver  sheet 
flashed  a  face — the  face  of  a  man  who  will 
not  soon  be  forgotten.  No  one  can  explain 
the  charm  of  his  features.  It  comes  from 
within.  When  he  does  not  smile,  the  face  is 
somber  and  ordinary.  But  when  he  speaks 
or  sings,  it  is  like  lighting  a  searchlight  in  a 
dark  room.  He  seems  to  say — 

"Smile,  my  friend!  Forget  the  troubles 
that  have  turned  your  face  to  gloom  and 
set  your  teeth  on  edge.  The  world  is  not  so 
bad  a  place  after  all — I  like  it!  I  have  seen 
its  ugly  side  too — more  often  than  you 
perhaps — but  I  have  forgotten  that.  Smile 
with  me,  my  friend!" 

There  is  something  touching  about  his 
gay  philosophy — the  radiant  good  humor 
of  a  man  whose  life  has  had  its  seamy  and 
sordid  chapters;  who  could  still  take  a  good 
many  knocks  on  the  head  and  "like  it!" 

I  admire  him — for  his  humor,  and  his 
sparkle,  and  his  vivacity,  and  for  the 
startlingly  charming  things  he  does  to  our 
English  language. 

And  as  for  America — may  he  "like  it" 
well  enough  to  stay  and  give  the  country  a 
few  more  exquisite  hours  of  laughter  and 
song — this  Chevalier  of  France! 

Gwennie  James 


You  may  have  S.A.,  but  do  you  have  S.E.?  Motion  Picture 
CLASSIC  wants  to  know.  We  want  you  to  join  our  free 
clinic.  If  the  tests  show  that  you  have  a  superior  kind  of 
S.E.,  you  stand  in  line  for  one  of  the  prizes:  $20  for  first, 
$10  for  second,  $5  for  third  and  $1  for  every  other  letter 
published. 

To  join  the  clinic  all  you  have  to  do  is  to  write  a  letter  of, 
say,  200  to  250  words,  about  some  phase  of  the  movies,  ad- 
vancing an  idea,  an  appreciation,  or  a  criticism,  without 
becoming  ga  ga  or  vituperative.  Sign  your  full  name  and 
address,  and  mail  the  letter  to:  Laurence  Reid,  Editor,  Motion 
Picture  CLASSIC,  Paramount  Building,  1501  Broadway, 
New  York  City.  No  letters  can  be  returned,  and  we  reserve 
the  right  to  print  any  or  all  that  we  like. 

Having  done  this  much,  you  will  perhaps  be  conscious, 
without  our  telling  you,  that  you  have  S.E.  But  if  you  win  a 
prize,  there  can  be  no  doubt  about  if,  you  have  Self-Ex- 
pression. 


Pictures  Lack  Individuality 

Oakland,  Cal. 

The  day  of  reckoning,  as  far  as  the 
motion  picture  industry  is  concerned, 
is  at  hand  and  the  producers  realizing 
this  fact  have  asked,  through  the  me- 
dium of  Motion  Picture  Classic,  just 
what  sort  of  pictures  the  public  really 
wants.  I  have  filled  out  a  question- 
naire and  am  also  expressing  my  op- 
inion by  letter. 

I  really  thought  this  day  was  to 
{Continued  on  page  107) 


16 


$5000.00 

IN  CASH  PRIZES 


SCHEDULE  of  AWARDS 
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FOURTH  AWARD 

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FIFTH  AWARD 

$125.00 

SIXTH  AWARD 

$100.00 

SEVENTH  AWARD 

$75.00 

EIGHTH  AWARD 

$50.00 

NINTH  AWARD 

$50.00 

TENTH  AWARD] 

$50.00 

ELEVENTH  AWARD 

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and  3  58  other  cash  awards 

Total  $5000.00 


Offered  by 

Motion  Picture  Magazine 

for  the  best  answers  in  the  great 

'"Motion  Picture  Title  Game'* 

that  is  now  running  in  current  issues 

This  game  will  appeal  to  all,  young  and  old, 
who  are  interested  in  Motion  Pictures,  Feature 
Players  and  Productions.  Nothing  to  buy. 
Nothing  to  sell.  Costs  you  nothing. 

Here  is  a  wonderful  game  that  will  test  your 
discernment,  develop  your  powers  of  observa- 
tion and  pay  you  money  for  the  time  you 
spend  playing  it.  It  began  in  the  October  issue 
of  Motion  Picture  Magazine  and  will  appear 
regularly  in  the  December,  January  and  Feb- 
ruary issues. 

Just  write  to  us  for  particulars  and  we  will 
gladly  send  you  full  details  and  also  a  reprint 
of  the  first  section  of  this  most  interesting 
game — absolutely  free.  Copies  of  Motion  Pic- 
ture Magazine  are  on  sale  at  all  newsstands. 

Get  Started  Now ! 

Subscribe  to  MOTION  PICTURE  MAGAZINE! 
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Editor  Mociun  Picture  Title  Game*.  M.  P.  C. 

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ISOl  Broadway, 
New  York  City. 

For  the  enclosed  SI -00  plea»e  send  me  the  next  six  issues  of  Motion  Picture 
M.iuazine  and  full  particulars  about  the  Motion  Picture  Title  Game. 

Name. . 

5?treet  Address 

Town . .  . 


State 


C  ".iii.kI.i.  .(dd  2S  cents  for 


-Forcmn.  SO  cents 


17 


Clnelval  third  decay  i$  a  form  of  decay 
common  during   preunancv   lecause  of  the 


tendency  t'  ■  anditj/.    It  results 

from  acid  the  necks  of  the 

teeth,  aloti'j  i D'^xyir  Line,  tchere  pu 
t)irf:t  teeth  anJ  «here  there  is  a  ti 
crevice.   Fermentino  food  particles  and 

aeid'forming  germs  of  (ircny  collect  here, 
because  your  tooth-hrush  can't  penetrate 
such  a  tiny  crevice.  There  is  an  old  snuing 
that  one  baby  costs  two  of  its  mother's 
teetK 


THE  EXPECTANT 

SHOULD,  BY  ALL  MEANS,  KNOW  THESE 
FACTS  ABOUT  SQUIBB'S  DENTAL  CREAM 

for  it  is  tiie  only  type  of  dentifrice  tliat  can  bring  tliese 
special  benefits  to  protect  tlie  teetli  of  motlierliood 


Many  a  woman  emerges  from  the  trying  period  of  preg- 
nancy with  her  teeth  and  gums  in  bad  condition  —  some- 
times she  loses  one  or  more  teeth.  But  this  certainly 
need  not  happen. 

During  pregnancy,  a  woman's  teeth  arc  unusually 
susceptible  to  decay  —  due,  first,  to  the  demands  upon 
the  lime  stores  of  her  body  and,  second,  to  the  presence 
of  germ  acids  in  the  mouth.  Correct  food,  including  the 
necessary  vitamins  and  mineral  salts,  and  the  regular  use 
of  Squibb's  Dental  Cream,  will  aid  in  combating  decay. 

Years  ago,  physicians  and  dentists  began  to  advise 
expectant  mothers  to  use  Milk  of  Magnesia  as  a  mouth 


■kThe  Danger  Line  is  the  line  where 
meet  teeth.    As  long  as  this  thin  edut  - 
gum  tissue  keeps  healthy,  pyorrhea  will 
occitr.  In  the  cross-section  ohovr,  fwtir*  ; 
tiny  crevice  at  each  side  of  the  tooth.  7 
arroics  shoic  it.   Food  particles  collect  li< 
ferment  and  irritate  the  gums  with  ae  ■ 
Eventually  the  delicate  gum  edge  rect^h 
and  then  The  Danger  Line  no  longer  i:n 
nishrs  protection,    \ever  let  this  hopi'fi 


I 


wash  to  combat  germ  acids. 
How  natural  then  that  to- 
day an  increasing  number 
of  both  professions  con- 
sider Squibb's  Dental 
Cream  a  valuable  aid 
during  pregnancy — 

far  beyond  the  powers  of  other  types  of  dentifrices. 

It  is  50%  Squibb's  Milk  of  Magnesia.  Each  time  you 
brush  your  teeth  with  Squibb's  you  combat  germ  acids. 
You  force  countless  particles  of  Milk  of  Magnesia  into 
the  crevices  and  fissures  of  j'our  teeth. 

One  of  the  most  vital  parts  of  the  mouth  is  the  thin 
margin  of  tissue  where  the  gums  join  the  teeth.  It  is 
called  The  Danger  Line  because  it  is  a  real  point  of 
danger  for  everybody.  Here  pyorrhea  starts.  Hevt  . 
also,  occurs  gingival  third  decay  —  so  prevalent 
(luring  pregnancy. 

Squibb's  affords  The  Danger  Line  wonderful  pro- 
tection. It  definitely  soothes  irritation  and  helps  keep 
your  gums  firm  and  sound. 

How  beautifully  Squibb's  cleans  the  teeth — and 
so  safely.  It  contains  no  grit,  no  astringents,  nothing 
which  might  injure  the  delicate  gum  edge.  Use 
Squibb's  every  day.  Your  teeth  will  keep  so  much 
more  attractive  and  healthy.  For  you'll  be  giving 
j'our  gums  the  safest  of  care  and  your  teeth  the  finest 

possible  protection  against  decay. 

Copyright  1930  by  £.  R.  Squibb  &  Sons 


18 


GRETA  GARBO 


Sirn  in  a  nt  w  light .  "tht-  woman  of  mystery  "  is  a  young  i 
unspoiled  by  ramc.  who  has  only  enviable  eyelash  shad 
undtT  her  eyes    o|K>n  for  " Inspiration  " 


Fry»r 


EVALYN  KNAPP 


At  first  she  was  in  shorts,  but  not  for  long.  J.  L 
Warner  himself  discovered  the  error.   Now  sh< 
is  being  spotlighted  in  "Mother's  Cry" 


21 


a  6  ct  z  I  )i  e  It^    I  I  Ii        {  li  e        k^P e  f  s  o  u  a  I  i  {  v 

MOT  0  ON    P  D  CTT  OJ  [RE 

CLASSIC 

■  Talks  ■ 


WHY  all  this  picking  on  Clara  Bow?  Why  aU 
this  dragging  her  down?  Since  when  has  it 
betn  a  crime  to  be  from  Coney  Island,  and  admit 
it"  Since  when  has  it  been  a  sin  not  to  be  high-brow? 


WHO'S  putting  on  the  dog?  Not  Clara.  She  is 
one  ot  the  tew  sincere  people  in  Hollywood. 
She  is,  if  nothing  else,  herself.  From  the  mob,  she 
is  of  the  mob.  She  does  not  pretend  to  be  anything 
else,  ^'ou  like  her  as  she  is,  or  you  do  not  like  her. 
Better  a  stormy  petrel  any  day  than  a  tame  pigeon. 


THE  inevitable  has  also  happened  to  Greta  Garbo. 
Poi  her  offstage  reticence  and  aloofness,  she  is 
at  last  the  victim  of  a  rumor  that  her  mind  is  a 
vacuum,  that  off  the  screen  she  cannot  talk.  Some 
of  those  <\\rft  California  grapes  have  turned  most 
sour. 


SOMETIMES,  the  better  the  box-office  title,  the 
more  disappointing  the  picture.  W  e  are  thinking 
of  "Love  Among  the  Nlillionaires"  and  "The  Office 
Wife."  The  same  old  fan  fodder,  dished  up  in  the 
same  old  way. 


WITH  the  rising  popularity  of  M-G-M's  canine 
comedies  and  Tiffany's  chimpanzee  howls, 
some  of  the  erstwhile  human  comedians  are  begin- 
ning to  look  like  white  elephants. 


ADOLPHE  MENJOU,  we  are  convinced,  is  an 
L.  exceptional  man-about-town.  Capable  of  good 
V  rench,  he  is  being  allowed  to  recover  his  .American 
fans,  beginning  with  "New  Moon."  Antonio  Mo- 
reno, who  speaks  Spanish,  is  apparently  lost  to  his 
English-speaking  fans.  Ditto  Barry -NoittMi.  from 
the  .Argentine,  a  young  sensation  in  silents. 


SPEAKING  of  Greta  Garbo  reminds  us  that  there 
was  a  plan  under  way  to  make  Marlene  Dietiich, 
Germany's  first  gift  to  the  native  talkies,  equally 
inaccessible,  equally  mysterious.  But  Marlene  in- 
sisted that  there  was  only  one  Garbo.  And  such  a 
potential  sensation  is  this  girl  that  she  had  her  way. 
She  can  be  whatever  she  wants  to  be. 


JACK  OAKIE,  making  personal  appearances  in 
Chicago,  did  a  hide-out  act  after  hours.  Local 
gangsters,  it  seems,  sometimes  ask  tribute  from 
movip  stars  (Eddie  Cantor,  among  others,  has  been 
asked).  And  thrifty  Jack,  in  case  you  didn't  krunv. 
has  a  saving  sense  of  humor. 


THE  title  of  "Frankie  and  Johnnie"  was  changed 
to  "Her  Man,"  for  fear  that  the  dear  eld  public 
would  not  know  who  Frankie  and  Johnnif  were. 
And  to  make  sure  that  Americana-lovers  would  not 
ecognize  them,  the  scene  was  shifted  to  Havana, 
md  Frarkif  did  not  kill  her  man  "because  he  done 
ler  wrong."  He  was  bumped  off  in  the  approved 
novie  manner— bv  a  handy  third  party.  .And 
/  rfir!  ■■■  v:iu}<  f"  .(  Ivippv  ending. 


PERSONAL  appearances  are,  in  general,  our  idea 
of  something  to  miss.  Those  who  make  them 
never — or  approximately  never — appear  to  advan- 
tage. They  sing,  they  dance,  or  they  wisecrack.  W  hy 
don't  they  ever  appear  in  one-act  playlets,  giving 
them  a  chance  to  lead  a  normal  existence — and  giving 
us  a  chance  to  retain  a  shred  of  our  illusions'  The 
impression  that  screen  actors  cannot  act  is  gaming 
momentum  at  every  stage  "performance."  It  will 
soon  reach  blizzard  proportions. 


Menaces 


The  crowds  that  talkies  attract:  adult,  well-dressed, 
educated.   Night  crowds.   In  the  daytime  it  is  rare  to 
see  groups  of  children  similarly  waiting  outside  talkie 
theaters 


SUPPOSE  you  had  been  making  a  neat  profit  out  of 
your  business  and  then,  quite  suddenly,  it  began 
to  decline.  In  order  to  correct  this,  you  made  a 
vital  improvement  in  your  product  that  restored 
your  profit  very  satisfactorily,  and  the  rose  tints  again 
graced  the  financial  skies.  And  then  suppose  that  your 
improvement  was  alienating  four  or  five  per  cent,  of  your 
customers,  which  reduced  your  profit  again  very  mate- 
rially. What  would  you  do? 

That  is  the  situation  of  the  motion  picture  producers 
and  exhibitors  who  have  discovered  that  talking  pictures 
are  keeping  the  children  out  of  their  theaters.  The  cry 
used  to  be  "The  movies  are  a  children's  entertainment, 
appealing  chiefly  to  eight-year-old  minds."  Now  the  ex- 
hibitors are  actually  begging  the  producers  to  make  some 
pictures  that  will  attract  the  children  and  stop  the  ap- 
palling losses  among  the  kid  fans — losses  that  threaten  the 
industry  with  one  of  the  most  serious  crises  it  has  yet  had 
to  meet.  Special  children's  matinees,  kid  comics,  animal 
shorts,  one  and  two-reel  fairy  stories,  cartoons  and  novel- 
ties designed  to  appeal  to  children  are  part  of  the  program 


Mary  Astor,  Monroe  Owsley,  Ann  Harding  and  Robert 
Ames  in  "Holiday"     the  kind  of  picture  children  do 
not  like 


The  Vanishing 

Mean 


By  CAMPBELL 


of  every  movie  house  and  studio  these  days.  And  even 
these  threaten  to  be  unavailing  to  bring  back  the  enor- 
mous child-audience  which  the  talkies  have  lost  the  in- 
dustry. 

Few  of  us  are  previsionary,  so  we  adopt  certain  develop- 
ments of  our  civilization  without  much  thought  or  knowl- 
edge of  how  these  are  eventually  to  affect  us  in  other 
directions. 

The  Audience  Changes 

THERE  came  the  talking  pictures,  for  example,  when 
audiences  stormed  the  theaters  that  were  first  to 
show  them — and  when  I  say  audiences,  I  mean  women, 
men,  adolescents  and  children  alike.  They  wanted  to  hear 
the  shadows  talk.  And  they  continued  to  storm  the 
theaters  all  through  two  satisfying  years.  But  in  January 
of  this  year  of  grace  the  exhibitors  began  to  observe  a 
change.  Not  that  there  was  any  particular  diminution 
of  interest,  but  they  noticed  that  the  composition  of  the 
audiences  was  different.  There  were  fewer  children! 

And  that  was  important,  because  to  a  considerable  de- 
gree children  draw  adults  in  their  train. 

Inquiry  developed  and  then  it  became  apparent  that 
youngsters  under  the  age  of  twelve  years  did  not  care 
greatly  for  dialogue  pictures — that  is,  the  average  example 
of  the  audible  cinema.  The  reason  was  not  far  to  seek. 
The  primitive  or  immature  mind  is  by  instinct  respondent 
to  ideas  in  action,  while  the  more  mature  mind  can  easily 
respond  to  ideas  in  words.  (Don't  be  alarmed,  for  we're 
not  going  too  deeply  into  applied  psychology.) 

And  about  the  same  time  this  fact  was  beginning  to 
percolate  through  the  producers'  minds,  it  also  became 
apparent  that  sound  pictures  were  not  the  best  possible 
medium  for  plots  of  violent  action.  Douglas  Fairbanks 
came  right  out  and  admitted  that  he  doubted  whether  his 
type  of  fast-action  picture  could  be  made  at  all  with 
dialogue,  and  on  that  account  he  was  considermg  quirting 
the  game,  so  far  as  his  own  feature  pictures  were  concerned. 


24 


th 


Movies 


Children 

Vanishing  Millions 

MacCULLOCH 


The  Cost  of  the  Loss 

XH 1  BI'I  ORS  who  know  their  theater  audieiicc:*  know 

jthat  children  of  twelve  years  and  under  constitute 
frotn  six  to  eight  per  cent,  of  the  cinema  attendance.  Get- 
ting down  to  actual  figures,  that  means  that  approximately 
H, 500,000  to  9,000,000  children  g<}  to  the  motion  picture 
houses  each  week.  In  cash,  that  means  somewhere  be- 
tween $1,250,000  and  $1,500,000  a  week  in  admissions. 
Of  course,  I'm  not  trying  to  argue  that  children  have 
^uddenlv  ceased  to  attend  the  theaters.  They  haven't, 
but  probably  child  attendance  is  forty  per  cent,  less  than 
It  was,  and  this  means  that  theater  receipts  are  lower  from 
this  cause  by  some  $25,000,000  a  year.  Without  unneces- 
sarily furrowing  the  reader's  brow,  this  sum  represents  a 
two  per  cent,  interest  on  the  total  motion  picture  theater 
investment  of  the  United  States! 

But  two  per  cent,  is  not  so  much,  you  may  say. 

Possibly  not,  but  the  lack  of  it  prevented  one  motion 
|)icture  producing  company  from  paying  its  stockholders 
any  dividend  last  .August,  so  if  you  happened  to  be  one 
i)f  that  company's  shareholders  you  may  have  a  better 
idea  of  the  importance  of  the  kids  at  the  cinemas. 

(joing  backward  just  for  a  moment:  children,  as  a  rule, 
di)  not  care  much  for  social  problems,  emotional  reactions, 
sex.  philosophy,  politics  or  education.  They  are  too  ele- 
mental to  grasp  the  complexity  of  these  things.  But 
broad,  easily  interpreted  action  interests  them  tremen- 
dously, elemental  humor  leaves  them  supine — but  not  si- 
lent—with delight.  As  Rob  Wagner  recently  pointed  out, 
the  child  likes  'cataclysm,  tumult  and  noise."  And  Mr. 
Wagner  notes  that  when  in  a  recent  picture  Cieorge  Arliss 
quite  evidently  contemplated  suicide  from  a  ten-story 
vNindow.  the  children  in  the  audience  cheered  vMldIv  at  the 
prospect  of  a  swell  soul-satisfying  squnchy  smash. 

Today's  Temptation 

.NKJRIUNAItL^  ,  a  very  large  pr«)portioii  of  talk- 
ing pictures  deal  with  just  these  abstract  intellectual 


William  Powell,  who  came  to  the  height  of  his  fame  m 
talkies,  ia  an  exception  to  the  general  rule.  On  location 
in  Chicago,  he  finds  that  he  is  still  a  hero  to  the 
youngsters 


subjects.  The  temptation  to  make  talkies  instead  of 
movies  these  days  is  great.  Stage  plays  are  transposed, 
word  for  word,  to  the  screen.  Actors  stand  about  on  sets 
discussing  their  emotions,  arguing,  exchanging  witty  rep- 
artee, and  performing  no  more  violent  action  than  drinking 
a  cup  of  tea  or  using  a  telephone.  The  old  stage  restric- 
tions of  time  and  place  and  setting  have  crept  onto  the 
screen.  "When  are  they  going  to  do  something.'"  the 
children  demand,  wriggling  with  boredom. 

Both  producers  and  exhibitors  are  awake  to  this  situa- 
tion and  some  are  willing  to  discuss  it.  Harold  B.  Franklin 
is  president  of  the  West  Coast  Theaters,  an  impressive 
aggregation  of  playhouses.  Recently  he  returned  from  a 
tour  of  the  country  inquiring  into  theater  conditions. 

"We  cannot  disguise  from  ourselves  that  the  sophisti- 
cated talking  picture  is  not  popular  with  children,"  he 
told  me.  "Neither  is  a  treatise  on  calculus — simply  be- 
cause the  young  minds  don't  understand  either  of  them. 
Once  all  was  action  on  the  screen.  A  man  drew  a  gun 
from  his  pocket  and  even  a  five-year-old  could  be  sure 
something  dramatic  was  about  to  happen  to  the  wicked 


u 


Another  scene  from  "Holiday."  made  by  Path<  for 
adults.   There  are  other  big  features  coming,  designed 
for  children 


25 


The  Children  Want  Some  Action 


tiger  all  set  to  pounce  on  the  innocent  lamb.  But  now 
when  the  man  says: 

'"Bill,  hand  me  that  rod  so  I  can  bump  off  this  var- 
mint,' they're  not  so  sure,  for  those  are  a  lot  of  words. 
And  in  many  pictures  there  is  ample  dialogue  of  a 
more  difficult  sort  with  very  little  action  to  in- 
terpret it.  Often  it  is  difficult  enough  for  adults 
to  grasp  the  ideas  behind  swiftly  spoken  language, 
so  why  need  we  be  astonished  if  the  young  child 
feels  bored.'' 

Their  Likes  and  Dislikes 

UNDOUBTEDLY,  something  is  needed  to 
provide  proper  entertainment  for  the 
child,  but — it  must  not  be  deliberately  de- 
signed for  the  immature  mentality.  Children 
do  not  like  pictures  for  children.  Most  of  them 
are  quick  and  bright  if  you  give 
them  something  to  be  quick  and 
bright  about,  but  I  doubt  if  we 
can  expect  them  to  appreciate 
the  subtleties  of  O'Neill  drama. 
Children  are  not  sophisticates, 
and  we  might  as  well  recognize 
this. 

"Probably  the  trend  toward 
'Westerns'  will  help  consider- 
ably, for  the  'Western '  is  essen- 
tially a  primitive  action  story, 
even  when  upholstered  with 
suitable  dialogue.  There  are 
horses,  lariats,  mountains,  vil- 
lains and  the  trappings  of  ro- 
mance. And  children  are  in- 
curably romantic,  if  not  always 
love-conscious.  It  is  romantic 
to  them  to  see  the  hero  rescue 
the  lovely  heroine,  and  very  sat- 
isfying to  see  the  villain  get  his 
just  deserts.  And  I  believe  some 
good,  clean,  romantically  active 
serials  would  help  a  great  deal.  But  whatever  is  done  in 
this  direction  must  have  an  appeal  also  for  the  adult  mind. 
We  can  no  longer  afford  to  make  movies  that  appeal  only 
to  children. 

"I  say  that  because  it  is  economically  impossible — or 
at  least  impractical — to  produce  pictures  for  five  or  six 
per  cent,  of  the  picture  audience.  One  picture  is  merely 
part  of  a  program,  which  means  that  its  profit  to  the 
theater  must  always  be  but  a  part  of  the  admission  price. 
The  producers  undoubtedly  are  taking  the  necessary  steps 
to  solve  this  problem." 

Mr.  Franklin's  remarks  seem  to  point  rather  unerringly 
to  elemental  drama  as  the  solution,  and  it  is  quite  possible 


Crowley 

A  "knock-out"  scene  from  "The  Spoilers" — the  kind  of 
picture  children  do  like.    They  are  bringing  back  the 
Westerns 


that  the  motion  picture  studios  have  begun  to  appreciate 
that  solution  for  themselves,  since  something  very  close 
indeed  to  sheer  melodrama  is  under  way  in  a  number  of 
them. 

One  of  the  oldest  principles  of  playwriting 
is  that  the  audience  should  do  most  of  the 
work.   For  that,  it  is  necessary  that  the  audi- 
ence use  its  imagination;  and  to  use  its  imagi- 
nation, it  must  have  some  fairly  comprehen- 
sive idea  of  an  event  to  occur,  or  a  result 
to  accrue  as  the  result  of  something  now 
happening.  If  the  action  is  pictorially  simple 
and  direct,  even  a  young  child  can  share 
with  an  adult  this  imaginative  pleasure,  and 
as  a  result  you  may  have  a  successful  piece 
of  entertainment. 

That  is  why  the  old  Bill  Hart,  or  Bill 
Farnum,  or  Douglas  Fairbanks — or  Pearl 
White — epics  had  such  a  broadijj 
appeal.  They  cut  right  across^ 
the  mentalities  of  so  many  per- 
sons of  various  ages  and  gave 
tremendous  stimulus  to  imagi- 
nation of  the  simplest  but  most 
satisfying  sort. 

And  in  the  old  silent  pictures, 
titles  were  used  to  explain  ac- 
tion where  necessary.  The  rule 
was  one  foot  of  film  to  each 
word  of  title.  So  a  nine-word 
exposition  occupied  the  screen 
for  exactly  six  seconds — ample 
time  for  an  alert  mind  to  read 
it  through  more  than  twice,  and 
sufficient  for  the  slower  mind  to 
absorb  the  simple  idea.  But 
dialogue  doesn't  work  that  way. 
If  you  doubt  that  the  average 
mind  is  slow,  ask  ten  people  an 
unfamiliar  question  quickly  and 
note  that  nine  of  them  will  ask 
to  have  it  repeated.  Dialogue  pictures  don't  permit  the 
little  auditor  to  say:  "What  did  the  man  say.  Mamma.'"' 
— at  least  not  too  often  before  the  usher  comes  down  the 
aisle  in  response  to  protests. 

How  to  Satisfy  Both? 

PATHE  quickly  appreciated  the  need  for  children's  en- 
tertainment, and  E.  B.  Derr,  in  charge  of  production 
on  the  West  Coast,  already  has  made  plans  for  a  type  that 
will  satisfy  the  youngsters  without  alienating  the  grown- 
up. He  says: 

"Juvenile  patronage  cannot  be  ignored — and  should  not 

{Continued  on  page  84) 


A  scene  outside  any  talkie  theater,  anywhere,  anytime:  the  children  have  practically  vanished,  and  in  their  places  are  adults. 
Will  producers  be  able  to  bring  back  the  first  fans  and  still  hold  the  new  ones? 


26 


If  you  see  her  once,  you  cannot  help  seeing  her  twice. 
Coming  from  Broadway  stardom,  Genevieve  Tobin  looks 
twice  as  good  as  the  usual  screen  good-looker.  Having 
scored  a  personal  hit  in  "A  Lady  Surrenders,"  she  now  is 
acting  ( please  accent  i  in  a  photographic  version  of  Sidney 
Howard 's  play.  "Half  Gods" 


27 


Sold  Dow 


By    REGINALD  TAVINER 


John  Boltb  was  recently  "borrowed"  in  exactly  the 
same  way  by  Samuel  Goldwyn  for  "Escapade."  A 
that's  where  another  feature  of  the  "borrowing"  com 
in.  Carl  Laemmle,  to  whom  Boles  is  under  contract,  didn 

"loan"  him  to  Mr.  Goldwyn  fo 
anything  like   Boles's  contract 
salary.  As  a  matter  of  fac 
it  was  about 
that  much. 

But  then,  Samuel  Gold 
wyn  doesn't  loan  his  players 
for  their  contract  salaries, 
either.  The  price  varies  with 
the    plantation  —  but  the 


Douglas  Fairbanks,  Jr., 
is  very  much  in  the 
market;  Constance 
Bennett,  a  Path6  star, 
was  "borrowed"  by 
two  other  companies; 
Lew  Ayres  went  out  on 
"loan"  after  "All 
Quiet";  and  Ben  Lyon 
thought  he  would 
never  get  back  home 


POOR  old  Uncle  Tom  was 
sold  down  the  river 
whether  he  liked  it  or  not. 
He  didn't — but  that  had  no 
.nore  to  do  with  it  then  than  a  movie  star's 
likes  or  dislikes  have  to  do  with  it  now. 

Many  a  star  and  featured  player  is  "borrowed" 
from  studio  to  studio  just  as  Uncle  Tom  was  sold 
from  plantation  to  plantation.    Producers  "own"  their 
players  just  as  baseball  clubs  own  their  teams  or  Little 
Eva's  daddy  owned  Uncle  Tom. 

The  whip  nowadays  is  the  contract.  They  sign,  and 
then  it's  up  to  the  studio.  They  have  to  work  where, 
when,  and  how  they  are  told.  If  they  don't — well,  their 
salaries  just  naturally  stop.  And  they  can't  get  a  salary 
from  any  other  producer  so  long  as  the  contract  remains 
in  force. 

Rudolph  Valentino  found  that  out.  And,  more  lately, 
Janet  Gaynor. 

The  studios  "borrow"  players  among  themselves  just 
as  next-door  neighbors  borrow  flour  or  sugar  from  each 
other  when  they're  out.  But  nowadays  the  players  usually 
like  to  be  borrowed,  because  it  is  only  the  most  popular 
ones  that  are  in  demand. 

For  instance,  Bebe  Daniels,  under  long-term  contract 
to  RKO,  has  just  finished  "Ex-Mistress"  at  Warner 
Brothers'  and  now  is  at  United  Artists',  co-starring  with 
Doug  Fairbanks,  Senior,  in  "Reaching  for  the  Moon." 

Hollywood's  New  Tourists 

^HE  was  "borrowed"  because  both  the  Warners  and 
l3  Joseph  Schenck  happened  to  need  her  particular  type. 
But  it's  long  odds  that  Bebe  herself  wasn't  asked.  Mr. 
Le  Baron  would  arrange  all  that 


players  always 
just  the  same. 

Because  of  the  ^ 
profit  in  these  "borrow- 
ings," some  of  the  most 
popular  players  in  Holly- 
wood are  beginning  to  think 
that  their  contracts  are  really 
tour-tickets  to  the  other  stu- 
dios, so  seldom  do  they  make  a 
picture  at  their  own. 

Joan  Bennett  has  just  gone  back  to  United  Artists', 
her  own  home  lot,  to  make  ner  first  picture  there  in  many, 
many  moons. 

But  perhaps,  of  all  Hollywood,  Conrad  Nagel  holds  the 
endurance  record  for  staying  "foreign."  About  every  stu- 
dio in  the  business  has  "borrowed"  him  from  M-G-M, 
where  his  contract  reposes  in  the  vault,  and  he  has  played 
at  Warners'  for  so  long  now  that  he  almost  believes  he 
belongs  there. 

He  declares  that  whenever  he  walks  in  his  sleep,  he 
instinctively  heads  for  Sunset  Boulevard  instead  of  for 
Culver  City 


28 


the  Boulevard 


Like  Uncle  T  o  m  j  Stars  Are 
Traded    Here    And    Then  There 


'There's  a  Reason" 

TUL  rial  reason  why  '"borrowing"  has  become  so 
prevalent  in  the  motion  picture  industry  is  that  there 
aren't  eiKiugh  really  top-notch  plavers  to  go  'round.  The 
studio  with  enough  big  people  to  fit  every  r6le  in  its  pro- 
ducrion  schedule  simply  doesn't  exist;  consequently.  Hol- 
|y\M)od  is  always  on  the  next-door  neighbor's  back  steps. 

Certain  players  fit  best  certain  types  of  rdles,  and  that's 
why  they  are  borrowed. 

It  isn't  only  the  players,  either. 

Personalities  behind  the  camera  are  reflected  upon  the 
screen  almost  as  much  as  those  in  front  of.it.  Directors, 
scenarists,  dialogue  writers — they  all  are  borrowed  just 
like  the  actors  and  actresses.  So  are  even  the  cameramen 
and  designers. 

Just  a  glance  at  the  pictures  coming  out  of  Hollywood 
these  days  shows  how  widespread  borrowing 
has  become. 

Dorothy   Sebastian,   under  contract  to 
M-G-.VI,  has  just  made  pictures  for 
both  Path^  and  Columbia.  Ed- 
mund Lowe,  who  ordinarily 
parks  his  make- 
up  box  at 
Fox,  has 


the  longest  single  term  away  from  their  own  studios  ^.vhen 
they  went  to  Caddo  for  "Hell's  .Angels."  Neither  of  them 
thought  that  he  ever  would  get  back. 

George  Barnes,  one  of  Hollywood's  "ace"  cameramen, 
was  borrowed  by  both  Mary  Pickford  and  Gloria  Swanson 
for  their  recent  productions.  Johanna  Mathieson.  Uni- 
versal's  designer,  is  frequently  "loaned"  for  big  costume 
films. 

Sometimes,  however,  people  are  "  borrowed "  and  not 
"  paid  back." 

Such  an  instance  was  Sue  Carol's.  Under  contract  to 
Fox,  she  was  loaned  to  RKO,  and  bv  mutual  consent  be- 
tween Mr.  Sheehan  and  Mr.  Le  Baron,  she  stayed  at 
Radio. 

Certain  personalities,  of  course,  are  never  loaned — or 
they  haven't  been  vet.  Garbo,  and  Barrymore,  and  such 
unapproachables.  Rumor  has  it,  however,  that  one  of  the 
younger  executives  did  "proposition"  Paramount  tor 
Maurice  Chevalier  for  ratner  a  naughty  film  that  he 
thought  no  one  else  could  "get  away  with,"  but  another 
actor  did  have  to  get  away  with  it,  just  the  same. 

At  least,  the  producer  hopes  that  he  did.  The  film 
hasn't  been  released  as  yet. 

Sound  pictures  have  had  a  great  deal  to  do  with  the 
present  borrowing  situation,  since  voice  quality  has  so 
greatly  narrowed  down  the  choice  of  suitable  players.  In 
the  old  silent  days,  almost  any  "type"  could  carry  the 
{Continued  on  page  8q) 


l)een   loaned   to  First 
National,    Path^,  and 
I'nited  .Artists.  Con- 
stance Bennett,  whose 
dotted  line  was  signed 
at  Pathc,  was  borrowed  by 
Warners  and  Fox.  Ann 
Harding.    Pathe   star,  has 
just  done  "The  Girl  of  the  Golden  West" 
at  First  .National,  while  .Marian  Nixon, 
Douglas  Fairbanks,  Jr.,  Jean  .Arthur,  Rita  La 
Roy,  Barbara  Kent  and  dozens  of  others  can 
seldom  be  found  where  they  belong. 

James  Hall  and  Ben  Lyon,  of  course,  served. 


Left  to  right,  Joan  Bennett, 
who  is  first  hither  and  then 
thither:  John  Bole*  and  Bebe 
Daniel*,  who  like  to  be 
"loaned";  and  Janet  Gaynor, 
who  found  *he  wa*  not  free 


29 


How  Women 


Have  Changed  Them 


B  y 

GLADYS 
HALL 


E 


re 


A  W  R  E  N  C  E 
TIBBETT  has 
changed.  "The 
Rogue  Song" 
changed  him.    The  vio- 
lent admirations  of  wom- 
en have  changed  him.  He 
admits  it.  "Why  not.?" 

The  man  I  talked  with 
several  months  ago,  just 
before  "The  Rogue  Song" 
went  into  production,  is  no 
more.  That  was  a  quiet  man, 
still   remembering  Bakers- 
field   and   lean   years,  ob- 
scurities and  sacrifices  an 
poverty  and  thin  loveline 
when  only  the  stars  we 
hospitable.     He  was  diflFi- 
dent.  He  was  dimmed.  He 
clung  to  the  commonplaces. 
His  confidence  was  cloaked 
and  guarded.  His  stride  was 
moderate.  His  laughter  was 
temperate.    He  was  fright- 
ened.  He  admits  that,  too. 

One  of  Lawrence  Tib- 
bett's  outstanding  charms  is 
his  admission  of  all  things, 
good  and  bad.  His  lusty 
admission  of  life  in  all  its 
manifold  phases.  No  mincer 
of  words  is  he.  Not  any 
more.  No  standing  with  re- 
luctant feet  on  any  rock- 
bound  shore. 

Then,  in  that  pre-"Rogue 
Song"  day,  he  was  about  to 

gamble  for  huge  stakes.  He  was  throwing  on  the  table 
all  the  cards  he  had,  to  win  or  lose.  He  won. 

He  said,  "I  was  taking  a  gigantic  risk  and  I  knew  it. 
I  stood  to  lose  everything  I  had  worked  so  hard  for, 
everything  I  had  gained.  1  had  my  public — the  Opera 
public.  Not  a  very  large  one  compared  to  the  picture 
public,  but  discriminating,  finely  critical.  I  didn't  know 
how  I  would  screen.  I  did  know  that  I  was  not  what  is 
known  as  'a  screen  type.'    I  didn't  know  how  my  voice 


Lawrence  Tihhett  says: 

We  are  all  cowards  when  it  comes  to  living. 
There  is  so  much  more  adventure  in  life  than  any  of 
us  take  advantage  of!    Because  we  are  afraid  of  some- 
thing. Our  little  reputations.  Our  "good  name."  What 
"they"  might  say. 

We  close  so  many  doors  right  in  our  own  faces!  Stand 
behind  them,  peering,  peeking,  wishing  .  .  . 

Women  do  not  like  safe,  sound,  practical  men.  Or 
rather,  I  should  say  they  do  not  love  them.  They  say 
they  do.  They  lie. 

Women  love  dangerous  men  .  .  .  destructive  men. 
Independent  women  are  the  most  fascinating  women 
of  all.    For  the  independent  woman  gives  a  man  the 
sense  of  perpetual  chase.  He  is  never  sure  of  her. 


awrence  Tibbett 
Has    C  a  s*t 
Shyness  To 
The  Four 
Winds 


would  record.  The  mike 
was  not  so  perfect,  not 
so  pliable  as  it  is  now. 
I  had  a  very  bad  scare, 
too,  in  the  very  begin- 
ning. My  recording  was 
bad.     Very  bad.  The 
high  notes  were  muted. 
The  sting  was  taken  out. 
There  was  every  chance  of 
people  saying,    Poor  Tib- 
bett, he  is  losing  his 
voice.  ..." 

Happy  to  Admit  It 

ONCE  a  rumor  like 
that  starts  circulat- 
mg,  it  takes  a  lifetime  to  live 
it  down,  if  ever.  I  was  really 
horribly  frightened.  No  suc- 
cess I  had  previously  made 
helped  me  then.  I  stood  to 
lose  everything  and  to  gain 
— nothing.  Not  even  a  con- 
tract was  assured  me  unless 
'The  Rogue  Song'  proved  to 
be  successful. 

"And  then — the  opening. 
I  am  a  different  man  since 
that  night.  I  walk  down  the 
street,  now,  and  people 
nudge  each  other  and  say, 
'There  goes  Lawrence  Tib- 
bett!' And  my  head  goes 
up!  My  heart  begins  to 
pump.  I  feel  the  blood  in 
my  veins  and  a  sense  of  tre- 
mendous elation.  Life  is 
worth  while.  Fame — publicity — are  the  very  blood  in  the 
veins  of  life.  /  love  it.  I  love  people  to  recognize  me,  to 
be  thrilled  when  they  see  me,  to  follow  me,  to  try  to  get 
glimpses.  I  am  flattered.  /  eat  it  up.  And  especially — 
especially  when  'the  people'  are  pretty  girls! 

"  I  get  a  kick  out  of  it.  Why  not?  Isn't  attention,  being 
in  the  limelight,  being  popular  and  sought-after  the  thing 
we  strive  for  from  the  very  first  time  we  crow  for  attention 
{Continued  on  page  oo) 


30 


Dyat 

Hailing  from  Montana,  where  men  may  be  men.  but  cows  are  steers. 
Gary  Cooper  stands  out  on  the  Hollywood  skyline  the  way  the  Wool- 
worth  Building  towers  over  lower  New  York.   At  the  present  time,  he 
is  being  confused  with  a  mountain  or  two  in  "Fighting  Caravans" 


31 


The  Honey  And  The  Moon 


Some  have  a  memory  of  faces,  but  Lucille  Williams  has  a  face  for  memories.  Even 
the  night  falls,  and  the  moon  is  upset.  The  Pathe  comedies  she  plays  up  to  are  all 
becoming  serious  about  marriage.  Obviously,  this  will  never  do.  Stardom  is  seen 

in  the  distance 


32 


Ch  evalier 


Maurice  Only  Seems 
To   Be  A  French 
American 

By    LLliABETH  GOLDBECK 


O 


^.Nt,  ui  Hollywood's  pet  superstitions  is  that 
Chevalier  has  become  Americanized.  Various 
things  gave  rise  to  the  myth.  One  was  the 
marvelous  performance  he  gave  as  the  Franco- 
American  Babbitt  in  "The  Big  Pond."  So  convincing 
was  the  transformation  that  it  seemed  Maurice  himself 
must  carry  pencils  on  his  ears  and  talk  slang  for  the 
rest  of  his  life. 

Another  is  that  Chevalier,  in  person,  fails  so  utterly  to 
meet  the  popular  specifications  for  a  Frenchman,  that 
people  who  didn't  nave  a  chance  to  scrutinize  him  on 
nis  arrival  get  the  impression  that  America  has  altered 
him  to  fit  her  national  ways. 

There's  his  cap,  for  instance — always  a  source  of  dis- 
jppointment  to  those  who  have  a  blind  faith  in  the 
frenchman  of  the  black  silk  hat.  .And  his  clean-shaven 
face  where,  according  to  the  traditions  of  the  industry, 
there  should  be  an  impudent  mustache! 

And  most  misleading  of  all — his  personality.  How 
disconcerting  for  those  who  expect  a  gay,  chattering, 
gesturing,  romantic,  trifling  Frenchman,  to  find  a  person 
with  all  the  outward  appearance  of  a  sober  American 
business  man ! 

The  key  to  that  enigma  is  simple.  Chevalier  is  a  great 
actor— not  of  a  part,  but  of  a  pers^mality.  It's  hard  for 
anyone  to  realize  that  a  personality  can  be  assumed — 
especially  one  so  lively,  so  spontaneous.  Everyone  who 
meets  Chevalier  is  amazed  by  the  complete  absence  of 
that  sparkle  and  eagerness  that  seem  so  innately  and 
inevitably  his  on  the  screen. 

The  Star  Hoarder 

E\  h.\  his  clyse  Iriends  admit  that  he  saves  that  radi- 
ant good  humor  and  affection  for  professional  use — 
on  the  stage,  on  the  screen,  and  for  being  a  master  of 
ceremonies.  The  brilliance  of  it  is  not  dimmed  by 
overwork. 

In  an  entirely  different  way,  his  own  private  personal- 
ity is  very  charming,  too.   Quiet,  sympathetic,  kindly, 
J  little  patient,  without  eagerness,  without  enthusi.i  ■ 
hi  is  a  contradiction  of  everything  you  believed  al 
him.   Like  the  wrong  side  of  a  lustrous  fabric. 

When  he  says.  "I  am  very  happ>,"  he  neither  looks 
hjppy,  nor  acts  happy.    He  almost  kx>ks  disappointed. 
Hut  very  sweet, 
(.'hcvalier  denies  that  he  has  become  Americanized  in 
■llywood. 

f  was  very  American  before  I  ever  came  to  America," 
1  I,  in  a  very  tentative  sort  of  English.  "The  modern 
{Continued  un  page  go) 


A  Blonde 


Where  was  Leila  Hyams  when  the  hghts  went 
out  ?  Still  in  front  of  the  camera,  cutting  a  tine 
figure    .  proving  that  even  in  darkest  Holly 
wood  a  hlontle  can  have  headlines  and  footlights, 
though  lx)th  ends  do  have  a  way  of  not  meeting 

t»i  /itMif  p.tfffgits  by  Hull   


I  .  1 

In  Thi 

£  Dark 

■ 

I 

Likr  thr  H'rl   in  the  Coles  Phillips  drawings. 
L«-ila  Hyains  proves  that  whrn  ont-  can  lost-  so 
miuh.  the  imls  justify  the  means.     AiiM  brings 
t'.  Iii»ht  the  f:ii-t   that   sincf  "  Tlu-  Bi^  Houst" 
iikI     W.-iv  lor  a  Sailor, sh«-  is  a  blonde  apart 

Case  VIII 


Court  Reporter:  Hale  Horton 


The  last  case  in  the  docket — but  not  the  least. 
Miss  Hollywood,  who  has  been  accused  of  everything 
this  side  of  treason,  now  stands  practically  accused 
of  that.  The  charge  is  Disloyalty  to  Old-Time 
Friends.  Her  plea  is  that  Loyalty  is  out  of  the  ques- 
tion. Mr.  Edmund  Goulding,  an  able  fellow,  is 
directing  her  defense. — Editor's  Note 

THE  case  of  The  People  vs.  Miss  Hollywood  has 
been  raging  for  many  months  and  even  Miss  Holly- 
wood's best  friends  admit  that  the  prosecution  has 
scored  heavily — so  heavily,  in  fact,  that  Miss  Hol- 
lywood IS  now  in  the  hospital,  on  the  verge  of  having  a 
nervous  collapse. 

The  defense  has  frantically  called  witnesses  to  attest  to 
Miss  Hollywood's  numerous  loyalties,  as  for  example,  Ben 
Lyon's  friendship  for  Hal  Howe;  Mrs.  Ben  Lyon's  {nee 
Bebe  Daniels)  adherence  to  Marie  Mosquini;  and  Frances 
Marion's  easing  Marie  Dressier  into  a  thirty-five-hundred- 
dollar-a-week  contract  when  Marie  was  presumed  to  be 
through.  They  told  of  Mary  Pickford's  retaining  on  her 
payroll  a  group  of  oldsters  from  the  old  Biograph  Com- 
pany. 

Defense  witnesses  have  testified  that  Richard  Dix  has 
"adopted"  his  cameraman  and  that  Gary  Cooper's  best 
friend  is  an  electrician  on  the  Paramount  lot;  and  that 
Cecil  de  Mille  not  only  always  makes  a  place  in  his  pic- 
tures for  James  Keckley,  but  invariably  finds  a  spot  for  a 
woman  whose  husband  was  killed  in  one  of  De  Mille's 
earlier  efforts. 

The  prosecution  has  called  a  dazzling  galaxy  of  stars, 
including  Jack  Gilbert,  Betty  Compson,  Alice  White,  Sue 
Carol,  John  Boles  and  America's  two  sweethearts,  the 
Marys  Brian  and  Pickford.  These  witnesses  have  severely 
dented  the  defense  by  swearing  that  one  must  be  self- 
centered  and  egotistical,  in  order  to  attain  any  marked 


degree  of  success;  and  when  one  is  self-centered,  one  picks 
one's  friends  efficiently. 

The  jury  has  been  so  visibly  affected  that  the  prosecu- 
tion has  grown  careless  to  a  point  where  they  even  mini- 
mize the  danger  that  might  beset  them  when  the  star 
witness  for  the  defense,  Mr.  Edmund  Goulding  is  called. 

Goulding  Enters  the  Case 

A  BURST  of  applause  fills  the  courtroom  as  Mr.  Gould- 
/\ing,  immaculate  in  English  tweeds,  strides  jauntily 
down  the  aisle,  eagerly  followed  by  his  five  secretarial 
blondes. 

Mr.  Goulding:  {bowing  from  waist) :  "Your  Honor  .  .  .  ." 

His  Honor  {standing  and  bowing):  "Mr.  Goulding.  .  .  ." 

Plaintiff's  Attorney:  "I  object!  The  court  has  no  legal 
right  to  influence  the  jury  by  showing  such  unprecedented 
courtesy!" 

His  Honor:  "The  court  admits  to  having  been  swept 
off  its  feet.  Pray,  proceed,  Mr.  Goulding.  .  .  ." 

Mr.  Goulding:  "I  have  just  left  the  hospital  where  lies 
Miss  Hollywood,  so  pale  and  wan,  but  I  might  say,  utterly 
feminine  in  her  black  lace  pajamas.  .  .  ." 

P.  A.:  "I  object  to  black  lace  pajamas  " 

His  Honor  {interrupting  viciously):  "Pray,  proceed, 
Mr.  Goulding." 

Mr.  Goulding:  "And  knowing  that  I  not  only  write  and 
direct  my  own  pictures,  but  compose  the  musical  scores  as 
well.  Miss  Hollywood  has  decided  that  I  am  versatile 
enough  to  take  over  the  defense  ..." 

He  bows  pleasantly  to  the  defense  attorney,  who  rises 
indignantly,  beckons  to  his  four  assistants  and  stalks  out 
of  the  courtroom  amid  jeers  and  catcalls.  Obviously,  Mr. 
Goulding  not  only  has  the  spectators,  but  the  jury  as  well. 
The  P.  A.  fidgets  nervously. 

Mr.  Goulding:  "So,  with  the  court's  permission,  I  shall 
now  call  myself  as  a  witness." 


36 


Holds  Open  Court 


Edmund  Gouldintg 
At  the  Bar 


The  CASE:  The  People 
vs.  Miss  Hollywood 

The  CHARGE:  Disloyalty 
To  Old-Time  Friends 

Clerk  of  Court:  " Do-you-swear-to-tell-the-truth-the- 
whoIe-truth-and-nothing-but-the-truth-so-help-yoii-God?" 

The  Surprising  Admission 

MR.  GOULDING  (waving  C  of  C  aside):  "Certainly. 
I  shall  begin  by  admitting  that  loyalty  in  Holly- 
wood is  out  of  the  question  .  .  ." 

The  P.  A.'s  mouth  drops  open.  Surprise  is  writ  largely 
on  everyone's  face. 

Mr.  Goulding  (continuing):    "In  the  first  place,  the 
essential  tools  for  a  beginner  in  Hollywood  are  friends. 
These  friends  must  be  in  the  business.  As  a  rule,  the  first 
friends  eagerly  sought  after  may  be  an  assistant 
director,  a  member  of  some  publicity  department  or 
an  outside  boy  in  the  casting  office.    But  when  the  , 
aspirant  once  gets  inside  the  studio,  these  friends 
begin  to  pall,  and  there  looms  on  the  horizon  a  new 
and    less    available    friend — the    author,  scenario 
writer,  director  or  supervisor.  Once  these  have  all  been 
conquered,  stardom  looms  in  sight,  making  it  ad- 
visable to  cultivate  the  producer  or  the  banker  in  Wall 
Street. 

"  These  friends  do  not  mix.  The  friends  of  yester- 
day are  not  the  friends  of  to-day,  and  the  friends  of 
to-dav  certainly  will  not  be  the  friends  of  to-morrow. 
Loyafty  is  out  of  the  question — and  this  fact  would  be 
accepted  by  the  newly  discarded  friends  if  the  aspirant  to 
success  only  made  it  apparent  that  he  actually  was  on  his 
way.  This  entails  a  certain  amount  of  bitterness. 

"  fhe  conquerer  of  Hollywood  might  be  compared  to  a 
tree  that  bears  new  leaves  each  Spring  and  forgets  the 
leaves  of  last  Autumn.  The  tree  would  be  smothered  if  it 
failed  to  shed  last  year's  leaves,  but  kept  them  all.  year 
after  year,  and  attempted  to  mix  them.  vVally  Reid  failed 
to  shed  last  year's  leaves.  His  heart  was  too  big.  .'Vnd 
they  choked  him  like  barnacles  clinging  to  the  bottom  of  a 
graceful  boat.  He  grew  tired,  and,  m  the  end,  useless. 
Norman  Kerrv's  heart  forbade  him  to  say  'good-bve,'  and 
now  he  trembles  on  the  threshold  of  oblivion." 

Faint  Hearts  Never  Win 

MR.  GOULDING  (questioning  himself):  "Then  Miss 
wood  drops  her  friends  through  cowardice.'" 
Mr.  Goulding  (answering  liimselj):  "On  the  contrar\-. 
It  is  no  task  for  the  chicken-livered.  this  discarding  of 
friends.  At  the  openings  of  famous  restaurants,  at  all  the 
remicres,  at  the  beaches  or  in  the  cafes.  Miss  Hollywood 
ears  slurs  suggesting  that  'She's  got  a  big  head  ...  I 
knew  her  when  ...  Oh,  that  one  .  .  .'  If  she  doesn't  ac- 
tually hear  the  remarks,  she  senses  them;  and  then  real 
courage  is  needed.  I  he  weak  ones  turn  back  .ind  apologize, 
making  extravagant  display  of  recognition.  They  are  the 
bad  siirgefins  afraid  to  cut.  Miss  Hollywood,  however, 
deriding  that  she  wa<;  there  to  st.iv,  w^ilkid  str-iighr  on 


with  her  head  in  the  air — not  a  snob,  but  a  good  business 
woman." 

Mr.  Goulding  (interrupting  himself):  "  But  do  you  mean 
to  have  us  believe  that  she  must  drop  all  of  her  friends  ?" 

Mr.  Goulding  (answering  himself):  "No,  sir,  I  don't. 
She  merely  separates  the  wneat  from  the  chaff.  With  each 
new  stride,  a  few  worth-while  friends  are  carried  along  into 
the  next  realm,  and  not  discarded  until  they  have  pro- 
claimed bv  some  word  or  act  their  inability  to  stand  the 
altitude.  For  the  success  of  Miss  Hollywood,  as  well  as  an 
aviator,  is  greatly  dependent  upon  this  talent." 

As  the  prosecution  voices  no  desire  to  cross-examine 
him,  .Mr.  Goulding  leaves  the  witness  stand  and  summons 
Clarence  Badger. 

P.  A.  (/o/f'i  voce  to  assistant):  "If  the  defense  attor- 
ney continues  in  this  strain,  he'll  hang  himself.  ;is  well  .is 
(Continued  on  page  Sj) 


Bringing  Back 


Allene  Ray,  at  top,  is  happy  to  be  starred  in  "The  Indians  Are 
Coming" — despite  the  fact  that  the  villain  (above)  is  telling 
Francis  Ford,  old  serial  favorite  (right),  "  I  can  save  her  from  sure 
death  -at  a  price!" 


The   Villain  Still 


And  Not  Silently, 


BY  REGINAL 


THE  age  of  miracles  is  not  past.  Not  i 
Hollywood,  anyhow. 
Remember  Poor  Pauline.?  And  Hysteri- 
cal Helen  ?  Not  to  mention  the  Riots  of 
Ruth,  the  Gallops  of  Grace,  the  Exploits  of  Elaine 
and  all  the  rest? 

Well,  they're  still  just  one  jump  ahead  of  the 
Clutching  Claw! 

They're  still  being  chased  around  the  burning 
decks  by  the  same  pair  of  longhorn  mustaches. 
They're  still  being  tied  to  the  railroad  tracks  by 
the  same  mocking  pearl-gray  spats.  They're  still 
being  hurtled  through  the  same  ten  hair-raising 
episodes  by  the  same  Finger  of  Fate — and  still 
teetering  on  the  edge  of  the  cliff  till  next  Saturday. 

Only  nowadays  the  Horrid  Hand  isn't  the  only 
shadow  stalking  them  from  the  background.  Now 
they  have  another  foe  to  fight,  another  peril  to 
overcome — for  the  "mike"  has  been  added  to  all 
the  rest.  The  lowly  serial,  the  dime  novel  of  the 
movies  and  the  last  stand  of  the  ten-twenty-thirt' 
has  just  made  it  unanimous. 
They've  gone  talkie,  too! 

At  first  blush  it  would  seem  that  a  serial  in  sound 
would  be  something  of  an  anachronism.  Somethin" 
like  a  prehistoric  man  picking  his  teeth  with  a  stone 
hatchet  while  he  listened  to  Amos  'n'  Andy.  O 
knocking  his  wife  loose  from  her  bearskin  step-ins 
because  she  shaved  under  her  arms  with  his  last 
razor  blade. 

But  with  the  movies,  as  the  old  hymn  has  it, 
nothing  is  impossible.  Hollywood  moves  in  mys- 
terious ways  its  wonders  to  perform. 

Indeed,  Why  Not? 

AND  anyhow,  if  sweeties  in  the  features  are  per- 
mitted to  burst  int9  a  grand-opera  farewell 
every  time  .their  lips  get  three  inches  away  from 
each  other,  why  shouldn't  the  arch-enemies  of  the 
serials  be  allowed  to  break  into  similar  screams  with 
what  they  have  to  bear.'' 

If  we  can  stand  for  the  hero  in  a  feature  whisper- 
ing such  tender  sentiments  as  "You  are  wetter  than 
the  dew  at  morn,  my  love!"  into  his  sheba's  ear, 
then  why  not  for  "Unhand  me,  Mortmorency ! 
Rawther  than  share  the  fruits  of  your  perfidy,  I 
will  yump  over  younder  precipice!"  from  the  serial 


queen 


The  answer  is — we're  going  to  have  to! 
At  the  present  time,  only  one  major  studio  has 
gone  in  for  talkie  serials — Universal.  But  the  holo- 
caust threatens.  There  are  rumors  that  Pathe,  the. 


38 


The  Thrillers 


Pursues  Her 


Either 


TA  VINER 


original  serial  producer,  is  soon  to  start  making  them 
lagain.  So  far,  only  two  have  been  made,  with  a  third 
lin  the  making  and  a  fourth  on  the  way. 

But  they  aren't  called  serials  any  more.  Oh,  no— 
they're  chapter  plays  now.  But  what's  in  a  name 
when  the  chapters  still  end  in  the  middle? 

Like  so  many  other  things  in  Hollywood,  the  first 
found  serial  just  happened  that  way.  Actually,  it  was 
an  afterthought;  the  sound,  if  not  the  serial.  It  was 
begun  as  a  silent  film,  and  for  four  davs  shot  that 
way— and  it  actually  was  called  "The  Indians  Are 
Coming!" 

Those  Indians  really  were  responsible  for  the  sound. 
Sound's  Effects 

SOMEBODY  had  the  happy  inspiration  that  Indi- 
ans who  sounded  like  Indians  would  be  much 
more  realistic  than  Indians  who  merely  looked  like 
Indians,  so  forthwith  the  mikes  were  installed  and  the 
war-whoops  preserved  for  posterity,  too. 

Such  was  the  beginning  of  the  talkie  serial.  And 
while  sound  films  themselves  are  now  three  years  old, 
the  first  sound  serial  is  scarcely  older  than  that  many 
months. 

Twenty-odd  years  ago  they  began,  but  outside  of 
the  mike,  they  haven't  changed  so  much. 

Perhaps  it  is  very  appropriate,  therefore,  that  this 
first  sound  serial  is  made  around  a  pioneer  story:  the 
covered-wagon-and-Rold-rush  epic,  with  the  same 
scalp-hunting  redskins  of  Broncho  Billy's  day.  There 
are  twelve  episodes,  each  more  blood-curdling  than 
the  last,  and  the  climax  of  the  film,  of  course,  comes 
when  the  feather-tops  attack. 

1  hey  still  circle  around  the  wagon  train  at  night  on 
their  war  ponies,  yelling  like  fiend.s  and  shooting  like 
maniacs,  just  as  they  did  in  the  first  movies  ever  made. 
And  they  still  bite  the  dust  precisely  as  they  did  then 
—and  it's  precisely  the  same  dust. 

But  they  all  do  it  noisily  now  and  it  all  brings  a 
new  thrill  in  sound,  especially  since  serial  audiences 
are  just  about  the  same  now  as  they  were  then— small 
boys  at  heart,  who  still  love  to  see  the  heroine  tied  to 
the  sr.ikc  and  rescued  just  in  the  nick  of  rime. 

They  Love  Their  Work 

IT  is  very  appropriate,  too,  that  both  Grace  Cunard 
and  Francis  Ford,  the  most  pursued  heroine  and 
the  deepest-dyed  villain  of  movie  history,  have  parts 
in  "  I  he  Indians  Are  Coming!"   They  have  endured 
since  the  Perils  of  Pauline,  the  Hazards  of  Helen,  and 
"  on.  and  they  still  endure  in  the  new  world  of  sound. 


Colonel  Tim  McCoy  and  Miss  Ray  arc  captured.  Says  the  Chief, 
"The  palefaces  must  die — catchem  heap  big  bonfirel" 


Colonel  McCoy  appears  in  time  to  warn  Miss  Ra  ,  a  .immg ; 

"The  redskins  are  on  the  warpath — we  must  Hcet" 


The  fieri)  saves  .n.      -         •'k'"  attack.  This 

Indian's  whoop  nearly  split  the  microphone 


39 


"There's  a  free-for-all  ahead,"  mutters  that  uncanny  Scot,  Ernest  Torrence. 
between  his  whiskers,  like  a  good  scout.  Not  since  he  rode  out  in  front  with  "The 
Covered  Wagon  "  has  he  had  to  see  red  a  nriile  away,  but  with  "Fighting  Caravans" 
he  proves  that  Bill  Jackson  still  knows  how  to  take  a  train  to  the  Coast 


40 


Y 


0  U 


c 


a  n 


t  Wi 


n 


If    Yo        e  E 


V  e  r 


Been  Mean  To 
Jeanette  MacDonald 
It's  Just  To  o  Bad 


B 


ELISABETH  GOLDBECK 


BECAUSE  I  had  been  informed  by  a  dot- 
ing publicity  department  that  jeanette 
I  MacDonald  had  no  faults,  she  insisted 
on  telling  them  all.  Or  rather,  she  con- 
'  ssed  all  the  faults  she  used  to  have,  and  ex- 
plained why  she's  such  a  nice,  faultless  girl  to-day. 

.According  to  Jeanette,  only  one  really  serious 
flaw  has  survived.  She  holds  grudges — that's  all. 
But  she  goes  in  for  that  with  the  zeal  that  most 
people  distribute  along  a  whole  lifetime  of  horrid 
traits.  I  have  never  seen  anyone  animated  bv 
such  a  fierce  desire  to  get  even. 

Jeanette's  greatest  thrill  in  life  is  the  day  when, 
perhaps  years  after  the  wrong  has  been  done  her, 
revenge  is  in  her  grasp.  It  means  more  to  her 
than  publishing  a  novel  or  finding  an  oil  well  in 
the  backyard  would  mean  to  most  people. 

"The  chance  always  comes,"  she  said,  "though  — 
sometimes  I  have  to  wait  a  long,  long  time.  I 
don't  really  mind  any  of  the  things  people  do  to 
me,  because  I'm  sure  I'm  going  to  get  back  at 
them  some  day — and  after  that  I  feel  all  right  about  it. 
If  never  bothers  me  again." 

I  found  her  out  on  the  porch,  amidst  slips  of  paper 
with  "Ofi  e$i  voire  frhef"  scratched  on  them,  showmg 
that  the  menace  of  the  foreign  version  has  invaded  the 
MacDonald  household,  too. 

Jeanette  is  twice  as  pretty  off  the  screen  as  on.  She's 
like  champagne.  Her  personality  is  like  that— fresh, 
effervescent.  She  even  looks  like  champagne,  golden  and 
■sparkling. 

She  Learned  When  a  Child 

EXTREMELY  frank  and  forthright,  she  has  a  sunny 
disposition  that  still  isn't  too  annoyingly  sweet.  Just 
P'  ppery  enough  to  be  stimulating. 

"I  was  a  very  naughty  child,"  she  said.  "I  did  every- 
fhing  that  was  wrong  and  mean— but  I  was  taught  lessons 
i;»t  cured  me  of  all  my  bad  habits.  I  don't  deserve  any 
'•dit  for  behaving  as  well  as  I  do  now. 
"I'm  a  strong  believer  in  retribution.  I  don't  dare  do 
vthmg  bad,  brcaii<!e  I'm  afraid  something  will  happen 


Dymr 


to  me.  just  as  I've  seen  it  happen,  always,  to  the  people 
who  have  done  mean  things  to  me.  But  that's  the  only 
thing  that  stops  me. 

"In  school.  I  used  to  be  a  terrible  liar,  but  I  was  always 
caught  and  punished.  I  stole  chalk,  too;  I  used  to  stuff 
a  few  pieces  into  the  pocket  of  my  blouse,  every  chance  I 
got,  and  cover  it  with  my  handkerchief.  At  the  end  of 
the  term — I'll  never  forget  it — my  teacher  called  me  in. 
She  said,  'Because  you've  been  a  very  sweet  little  girl,  I 
want  to  give  you  something  that  I'm  sure  you'll  like' — 
and  she  handed  me  a  whole  box  of  chalk.  Thar  was  the 
worst  punishment  I  ever  had. 

"I  was  in  a  musical  comedy  on  Broadway  that  closed 
long  before  the  costumes  were  worn  out.  I  stole  the  slip- 
pers I  had  worn,  and  took  them  home  with  me.  The  first 
time  I  put  them  on,  I  sprained  my  ankle. 

"Since  I've  been  in  pictures,  I've  had  letters  from  sev- 
eral of  my  teachers.  I  appreciate  them  very  much,  be- 
cause it  was  so  long  ago  and  I  treated  them  so  badlv.  I 
used  to  be  able  to  belch  marvclously  when  I  was  a  kid. 
{Cnnlinufd  on  page  mi) 


41 


L  O 


Close-Ups 
From  The  Coast 


Richee 


NOW  that  "Way  For  A  Sailor"  is  not  the  great 
"comeback"  his  many  friends  had  hoped  for 
John  Gilbert,  the  gossips  are  busily  discussing 
the  newly  developed  apathy  in  Jack  and  his 
lack  of  enthusiasm  in  anything  pertaining  to  pictures'. 

They  say  that  he  walked  through  the  entire  filming  with 
the  greatest  indifference.  That  never  once  did  he  exhibit 
the  slightest  flicker  of  that  old  Gilbert  fire  and  verve, 
whioh  used  to  mean  so  much  to  his  silent  pictures. 

Which  brings  to  mind  that  Jack  and  Marshall  Neilan, 
the  director,  have  one  particularly  outstanding  trait  in 
common.  They  are  the  best  "winners"  in  the  world. 
No  matter  how  dizzy  the  heights  of  their  success,  they 
remain  charming,  natural  and  balanced.  But  they  cannot 
cope  with  failure.  It  leaves  them  flat  and  disheartened, 

•      •  • 

EVELYN  Laye  introduced  a  neat  novelty  for  divorcees 
in  Hollywood. 
She  wears  her  wedding  ring  on  the  little  finger  of  the 
same  hand  where  it  formerly  rested  as  a  pledge.  The 
platmum  band  was  cut  down  to  fit  the  smaller  finger  soon 
after  Evelyn  filed  divorce  proceedings  against  Sonny 
Hale  early  in  1930. 

Evelyn  says  she  will  never  marry  again.    Maybe  she 


Lansing  Brown 


The  lady  of  the  hollow  heart:  as  Mme.  Muskat  in 
"Liliom"  and  as  Dixie  .Lee  in  "Cimarron,"  Estelle 
Taylor  (above)  is  the  first  talkie  siren  to  be  taken  seriously 

What  ho?  Here  is  George  Bancroft,  who  has  just  weath- 
ered one  Paramount  tempest,  at  sea  again — and  again 
raising  his  voice  (left),  this  time  nautically  in  "Derelict" 


wears  the  former  seal  lest  she  might  be  tempted  to  forget. 

•  •  • 

SEEN  at  Katherine  Cornell's  "first  night:" 
Marlene  Dietrich  and  Josef  von  Sternberg  seated  in 
dignified  glory  in  a  box. 

Jeanette  MacDonald  quite  the  sensation  of  "inter- 
mission" in  black  velvet  trimmed  with  blonde-fox. 

Ruth  Roland  and  Ben  Bard  standing  through  the  entire 
first  scene,  rather  than  disturb  by  their  late  arrival. 

Russell  Gleason  in  a  party  of  Los  Angeles  debutantes. 
Lew  Cody  and  Owen  Moore  smoking  between  acts. 

•  •  • 

THE  Fox  studios  have  never  quite  forgiven  Maureen 
O'Sullivan  for  not  being  a  quaint  little  Irish  lassie 
and  living  up  to  a  legendary  publicity  role. 

When  Maureen  exhibited  a  very  modern  yen  for 
theaters,  Hollywood  parties,  supper  clubs  and  a  gay 
circle  of  young  friends,  the  studio  promptly  clamped  a 
chaperon  in  her  household. 

As  it  turned  out,  the  joke  is  entirely  on  the  studio. 
Maureen  is  crazy  about  the  chaperon.  That  is,  she  was 
crazy  about  her  until  the  studio  decided  there  was  really 
no  need,  and  called  the  chaperon  oflF. 


42 


Them  Over 


Bmll 


The  diplomat:  with  Ruth  Chatterton  and  C/ara  Bow 
vying  f(x  Paramount  prices.  Ralph  Forbes  above  acta 
as  Ruth's  real  spouae  and  as  Clarm'a  reel  late  husband 

He  has  his  lighter  roofnents  acain:  having  proved  in 
Weign  versions  that  he  stUl  is  fashionable.  Adolphc 
N!enjou    right    is  lighting  up  in  Tibbetfs  "New  Moon" 


THE  rumor  persists  that  all  is  nor  going  well  m  the 
-^Tt.ince  between  Billie  Dove  and  Howard  Hughes. 
>d   expected    Billie   and    the   young  Texas 
ni  <.  to  be  marned  as  soon  as  her  divorce  papers 

were  hnal.  But  now  they  say  that  any  idea  of  wedding 
bells  has  been  postponed,  though  Mr.  Hughes  is  busy 
selecting  plavs  and  stones  which  will  star  Billie  on  her 
return  from  Europe. 

By  the  way,  did  vou  know  that  Howard  Hughes  is  the 
nephew  of  Rupert  Hughes  ' 

a      •  • 

JOAN  and  Constance  Bf^rri,  John  Considiru,  Jr.  and 
the  Marquis  de  la  Falai  at  thf  BUtmore. 

Lupe  I'fln,  in  a  fir...  jme  of  mind,  carefulh 

T  chfck  book  by  a  bank  statmunt. 
luston  and  Dick  ArUn  entertaining  at  a  "stag 
-;'v  aboard  their  partnership  \ackt. 

"lyn  Brrnt  in-  --r  krr  keels  in  the  rr- 

''oom  at  the  for  a  tardy  friend. 

'  T     irec,j,':.i  entertaining  at  a  poker 

r  kone\moon. 


Bv  DOROTHY 
M AXXERS 


N 


ORMA  Shearer,  her  sister.  Athole,  and  their  ,r.  tner 
used  to  do  extra  work  around  the  New  York 


studios  years  ago  when  Norma  was  tn.  ing  to  get  a  start. 
They  ail  three  wore  light  blue  evening  gowTis  and  were 
known  to  the  casting  directors  as  "the  three  little  girls  in 
blue."  Strangely  enough,  it  was  .\thole,  or  the  young 
mother,  who  was  usually  selected  to  do  anv  "bit"  that 
came  up.  Which  only  goes  to  prove  that  first  guesses 
aren't  always  right. 


ONE  of  the  strangest  sounds  in  Holl\-wood  is  that  of 
Edmund  Lowe  referring  to  dignified  and  socially 
impeccable  Lilyan  Tashman  as  "Lil."  Even  husbands 
should  not  be  permitted  such  out-of-character  liberty. 


JEAN  Harlow  and  Ernie  TorgUr  in  a  the-d-UU  all-hy- 
oursfhes-group  at  Marian  \ixons. 
Greta  Garbo  with  a  movir  magoiinr  under  her  arm  ok 
her  a-jy  to  her  dressing-room. 

Ramon  \ovarro  iuneking  at  t^'  ^.  '"'Us^s  iMe  in  ine 
.\f-G-.\f  cafe. 

Irene  Rick,  looking  like  ker  \:ar.^  dmugkter's  sister, 
iiHtnf  :>i  the  Blossom  Room. 

Sally  Blane  being  mistaken  for  ker  sister,  Loretta  Young, 
and  forging  ker  name  to  an  autograpk. 


43 


News  And  Views  O 


THE  people  around  the  Paramount  lot  are  beginning 
to  believe  that  Marlene  Dietrich  is  far  more  inter- 
ested in  the  arrival  of  the  postman  with  letters  from  her 
family  in  Germany  than  in  her  next,  or  last,  starring 
picture. 

The  other  day  she  was  gleefully  translating  the  in- 
formation, culled  from  the  most  recent  letter,  that  her 
young  daughter,  Maria,  was  learning  to  speak  English  so 
that  she  would  be  able  to  converse  with  Marlene  in  her 
adopted  tongue — when  she  gets  back  to  Germany. 

The  baby  seems  to  have  the  idea  that  because  "mother" 
is  speaking  English  she  has  forgotten  German  entirely. 

•  •  • 

JOAN  Crawford  begins  every  one  of  her  starring  vehicles 
with  a  Swan  Song  of  despair.  She  is  always  sure  it  is 
going  to  be  terrible,  that  the  critics  will  pan  her,  that 
someone  will  steal  the  honors  by  giving  a  better  perform- 
ance, and  that  it  is  doubtful  if  she  will  ever  make  another 
picture. 

It  isn't  until  the  picture  cleans  up  at  the  box-office  and 
the  critics  hail  her  as  a  young  Pauline  Frederick  all  over 
again,  that  she  becomes  pacified.  And  then  only  until  she 
begins  another  picture!  Joan's  moaning  begins  all  over 
again,  the  first  time  she  reads  the  script. 

•  •  • 

GUESS  whom  Walter  Huston  picks  as  the  finest 
actress  on  the  screen.^ 
None  other  than  our  pal,  Clara  Bow.  He  says  she  is  an 
instinctive  artist. 


Fryer 


They  meet  again:   Douglas  Fairbanks,  Jr.  tells  Joan  Craw- 
ford her  face  seems  familiar.   Work  separates  them  so  much 
that  they  are  Hollywood's  least  married  couple 


That's  high  praise  from  the  man  who  gives  such  ; 
superb  performance  in  "Abraham  Lincoln." 

•      •  • 

RUTH   Chatterton   and  Evelyn  Laye   in   a  mutua, 
admiration  contest. 
Ronald  Colman  getting  off  to  the  third  start  on  his  ne' 
picture. 

United  Artists  refusing  to  give  out  any  information 
Joan  Bennett's  baby  or  former  husband. 

Leatrice  Joy  and  a  very  attentive  escort  dining  at  t' 
Cocoanut  Grove. 

Gary  Cooper  inviting  his  father  to  lunch  with  him  at  the 
Paramount  cafe.  * 

...  * 

THE  five  actresses  selected  by  the  Academy  of 
Motion  Picture  Arts  and  Sciences  for  the  best  per- 
formances in  talking  pictures  for  the  year  ending  July  31 
are:  Nancy  Carroll  in  "The  Devil's  Holiday;"  Ruth 
Chatterton  in  "Sarah  and  Son;"  Greta  Garbo  in  "Anna 
Christie"  and  "Romance;"  Norma  Shearer  in  "The 
Divorcee;"  and  Gloria  Swanson  in  "The  Trespasser." 
Ann  Harding  in  "Holiday"  would  have  rated  as  a  candi- 
date in  the  voting  for  first  place  had  that  picture  been 
released  before  July  31. 

The  actors  chosen  were:   George  Arliss  in  "Disraeli;" 
Wallace  Beery  in  "The  Big  House;"  Maurice  Chevalier 
in  "The  Love  Parade;"  Ronald  Colman  in  "Bulldog 
Drummond;"  Lawrence  Tibbett  in  "The  Rogue  Song." 
By  the  time  you  read  this,  the  voting  will  all  be  over 


Dyar 


A  farewell  to  arms:  Kenneth  MacKenna  and  Kay  Francis, 
who  have  never  been  married  to  one  another  before,  find  that 
Sherman  was  right  in  "The  Virtuous  Sin" 


44 


Hollywood  Today 


and  you'll  know  which  of  these  excellent  performance'; 
jron  out  over  the  others. 

•  •  • 

PARAMOUNT  has  changed  Carol  Lombard's  name 
to  Carole  Lombard,  and  awarded  her  a  nice,  long 
contract.  The  Carole  is  supposed  to  he  more  feminine 
than  Carol. 

Remember  when  Carol,  or  Carole,  was  just  plain  Jane 
Peters  and  supposed  to  be  engaged  to  Lloyd  Pantages? 

•  •  • 

PATSY  O'Leary,  one  of  the  Mack  Sennett  featured 
starlets,  visits  the  studio  daily  between  pictures  to 
t  njoy  a  sun  bath  atop  one  of  the  big  sound  stages. 

Strolling  across  the  lot  one  day  in  a  new  flesh-colored 
bathing-suit,  she  met  Andy  Clyde. 

"How  do  you  like  my  new  sun  outfit.''"  inquired  Pat. 
"Where  is  it.'"  said  Andy. 
"Why,  I'm  wearing  it,"  replied  Pat. 
"Shades  of  Gloria   Swanson   and   Marie  Prevost!" 
retorted  Andy,  "^'ou  ought  to  be  ashamed  of  yourself." 

•  •  • 

JOHN  BoUs  growing  a  beard  for  "Resurrection." 
Carl  Laemmle,  jr.  all  puffed  up  over  being  an  "uncle." 
Lew  Ayres  breaking   all   Universal  fan-mail  records, 
follo'X'ing  his  success  in  "All  Quiet  on  the  ff'estern  Front." 

Anita  Page  parking  her  car  two  blocks  away  from  the 
M-G-M  studio  for  want  of  better  parking  space. 

Douglas  Fairbanks,  Jr.   posing  for  publicity  picture^ 


Run^rtl  Ball 

An  eye  opener:    Eddie  Quilimn  and  Miriam  Seegar  forget 
the  formula  and  register  surprise  at  each  other's  technique 
hut  that  is  how  they  mak^  '  Big  Money" 


zi-ith    Joan    Crawford.     (Sample   on    opposite  page.> 
•      •  • 

BETTY  Compson  tells  this  one — her  favorite  Scotch 
story: 

-MacPherson  wanted  to  buy  an  automobile — but  he 
hated  to  part  with  the  money.  .After  an  entire  day  spent 
in  bickering  with  a  harassed  salesman  over  accessories 
that  Mac  thought  should  be  free,  he  finally  consented  to  a 
demonstration. 

The  salesman  started  the  car  into  operation. 

"What  are  you  doing.'"  asked  Mac. 

"Throwing  in  the  clutch,"  replied  the  salesman. 

"Good,"  said  Mac.  "I'll  take  the  car!" 


THE  minute  Lily  Damita  arrives  in  Hollywood,  she  is 
always  shipped  off  to  the  wide  open  spaces.  The  last 
time  the  peppy  Parisienne  arrived,  she  was  shipped  off 
the  very  next  day  for  an  eight-week  location  trip  in  the 
wilds  of  Santa  Cruz  Island.  On  this  trip  out.  Miss 
Damita  was  met  at  the  station  by  a  representative  of 
Paramount  who  told  her  she  was  to  leave  that  evening  for 
a  th  ree  weeks'  location  in  the  desert  and  mountains  with 
Gary  Cooper  and  company. 

•      •  • 

AT  the  preview  of  Gilbert's  ''Wa\  For  A  Sailor.  "  .  John 
.  Gilbert,  Irving  Thalberg,  and  Paul  Bern  fighting  thr  ■ 
way  to  the  curb  through  a  crushing  crowd. 

{Continued  on  page  95) 


Prohibition  may  be  a  farce  to  aomc  people,  but  not  to  Slim 
Summerville  and  Harry  Langdon.  They  are  wondering  what 
the  censors  might  do  to  "See  America  Thirst  " 


45 


The  Noted  Dam 


The  Road  To  Fam 


Lillian  Roth  ( above"!  had  the  game  and 
the  ball  tucked  away,  when  Marion 
Shilling  sailed  into  her  and  held  those 
lines.  As  a  passer,  Lillian  is  backward 
(right)-  which  may  explain  why  the 
position  of  center  is  so  tempting  to  the 
rest  of  the  squad 


46 


47 


They  II  Pay  You  To  Insult  Them 


By 

HELEN  LOUISE 
WALKER 


ARE  you  a  good  insulter?   Can  you 
f\      achieve  an   attitude  of  bored 
superiority?  Can  you  hold  your 
JL.  tongue  in  your  cheek  so  that  it 

shows? 

If  you  can  do  these  things,  if  you  are  an 
expert  at  plain  and  fancy  sneering — then 
you  should  pack  your  suitcase  at  once  and 
hie  yourself  to  Hollywood.  Sneerers  are  at 
a  premium  here. 

Take  Lady  Maureen  Stanley,  who  ar- 
rived here  recently  to  assume  the  re- 
sponsibility of  the  position  of  "social  ad- 
viser" on  Ronald  Colman's  next  picture. 
That  girl  is  going  to  get  along  in  Holly- 
wood. She  knows  what  to  do  and  how  to  do  it. 

Her  job,  I  gather,  is  to  see  that  no  serious  breaches  of 
etiquette  slip  into  any  of  the  scenes  in  Mr.  Colman's  next 
opus.  That  Ronnie  uses  the  correct  fork  and  that  no  one 
drinks  tea  from  his  saucer.  She  will  furnish  the  director 
with  such  obscure  tidbits  of  information  as  the  fact  that  at 
breakfast  in  an  English  country  house,  the  first  lady  who 
enters  the  dining-room  assumes  the  responsibility  of  pour- 
ing the  tea — be  she  guest  or  hostess.  Things  like  that.  She 
will  receive  a  nice,  round  sum  of  most  desirable  American 
dollars  for  knowing  the  ritual. 

Which  is  all  very  nice  for  Lady  Stanley.  Of  course,  it 
might  occur  to  you  that  if  F'rederick  Lonsdale,  who  wrote 
the  story,  didn't  know  the  ritual,  then  he  shouldn't  have 
put  his  tale  into  that  locale  or  have  dealt  with  those  circles. 
(However,  he  must  have  been  a  little  upset  while  he  was 
writing  it.  He  kept  getting  into  fits  of  petulance  and 
scurrying  back  to  England  and  having  to  be  lured  and 
coaxed  and  petted  before  he  would  return.    From  which 


If  You  Are 
Expert  At 
Dirty  Digs,  Hie 


Yo 


u  r  s  e 


1  f  T 


o 


Lady  Maureen  Stanley  (cen- 
ter) runs  down  Hollywood — 
and  in  rolls  the  coin.  And 
Eric  von  Stroheim  (right)  and 
Charles  Bickford  (left)  make 
good  livings  by  calling  spades 
by  their  right  names 


Hollywood 


distractions,  pleasant  publicity  accrued  to 
the  picture — and  to  him.) 


The  Lady  Is  a  Showman 

OWEVER,  the  whole  proceeding 
might  seem  to  you  a  distinct  reflec- 
tion upon  Sam's  faith  in  Mr.  Lonsdale. 
To  say  nothing  of  his  faith  in  his  director.  And  even  in  Mr. 
Colman.  If  Ronald  doesn't  know  how  to  behave  "in 
society,"  then  it  might  seem  to  you  that  he  were  miscast  in 
such  a  role. 

But  I  believe  that  Sam's  lack  of  faith  in  these  prominent 
people  had  little  to  do  with  his  employmg  Lady  Stanley.  1 
think  rather  that  Lady  Stanley  simply  knows  how  to  pur 
on  a  good  show. 

She  does  not,  it  appears,  like  America.  (An  excellent 
start.)  She  does  not  like  Americans.  Nor  Hollywood.  Nor 
the  pictures  that  are  made  here.  In  fact,  she  remarked 
soon  after  arriving  that  she  thought  American  pictures 
were  "perfectly  terrible." 

The  nicest  thing  about  the  country  in  general,  and 
Hollywood  in  particular,  she  says,  is  that  we  "have  so 
much  of  that  lovely  gold!"  After  all,  even  a  Titled  Lady 
must  live.  And  there  are,  as  usual,  "the  taxes  at  home, 
von  know."  To  explain  her  bothering  with  such  crastsncss.,! 
iContinufd  nv  pngf  in-;) 


48 


New  to  these  hyar  Hollywood  hills,  not  so  famous  for  their  moonshine  as 
their  sunshine,  Richard  Cromwell  wonders  what  is  brewing  for  him.  As 
Tor  able  David,  will  he  battle  his  way  to  fame — as  did  Richard  Barthel- 
mess  (in  inset)  in  the  days  of  The  Great  Silence? 

49 


Rusaell  Ball 


When  Ann  Harding  went  on  the  stage,  her  father  wrote  her  a  letter  of  farewell.  He  thought 
he  had  lost  a  good  daughter.   But  recently  there  was  a  reconciliation.  He  knows  now — 
particularly  since  "The  Greater  Love" — how  good  an  actress  can  sometimes  be 


50 


The  Man 


You  Hate  To  Love 


Without  His 
Dress-Suit,  Lowell 
Sherman  Is  No 
Passionate 
Chiropodist 

By    FAITH  SERVICE 


I WAS  all  set  to  call  tins  storv  "  Plavmg 
With  Life." 
It  was  to  be  all  about  that  suave 
dilettante,  Lowell  Sherman,  and  his 
method  and  mannerism  of  mauling  the 
poor  jade,  Life,  about.  It  seemed  to  me 
to  be  a  swell  idea. 

It  was  prompted  by  watching  .Mr.  Sher- 
man through  a  succession  of  white-gloved 
villainies  on  stage  and  screen.  Capped  bv 
his  self-directed  performance  in  "Lawful 
Larceny."  Surely,  here  was  a  charming 
exterior  masking  a — oh,  but  I  can't  go  on. 
I  don't  know  you  well  enough.  .  . 
Anyway,  he  crabbed  m'copy. 
It  was  Robert  Browning  who  said,  "() 
make  us  happy  and  you  make  us  good." 

Mr.  Sherman,  I  am  afraid,  is  happy. 
Work  out  the  rest  for  yourself.   It  pains  me  to  say  it. 

A  shrewd  observer  recently  spoke  of  Lowell  Sherman 
another  shrewd  observer)  and  his  marriages,  and  said, 
"  Pauline  Garon  was  right  for  him  as  hf  serms.  Helene 
Costcllo  is  right  for  him  as  he  is." 

A  rrrv  astute  comment.  For  Lowell  Sherman,  like  so 
manv  charming  and  civilized  persons,  is  not  as  he  seems — 
on  the  screen.  He  says,  "It  would  be  so  monotonous, 
dear."  He  does  say  "dear."  But  not  in  the  sugar-daddy- 
on-the-make  fashion  of  old  B'way.  There  is  something 
very  kindly  about  him.  I'm  sorry,  but  there  is.  Kindly 
.uul  tolerant  and  seasoned — and  young. 

That  Is  the  Question 

II  is  one  of  this  civilized  person's  chief  contentions 
that  actors  should  not  carry  their  professional  char- 
;icters  with  them  into  real  life.  "If  you  must  be  a  pas- 
Monate  chiropodist  on  the  screen,"  he  asks,  "must  you  be 
a  passionate  chiropodist  off  the  screen.'"  And  the  answer 
to  that  seems  fairly  obvious. 

Mr.  Sherman — you  naturally  call  him  Mister  Sherman, 
.ind  not  Lowell-ole-man — maintains  that  this  is  one 
•  I  "n  why  actors  arc  held  in  faint  contempt  or  viewed 
■i  -  museum  pieces  bv  the  laity.  They  are  museum  pieces. 
Ihcy  insist  upon  being  museum  pieces.  They  will  strike 


Spurr 

their  museum  attitudes,  when  no  attitudinizing  is  called 
for.  They  persist  in  going  about  the  face  of  the  earth 
being  sheiks,  vampires.  Great  Lovers,  perpetual  ingenues, 
traducers  of  virtue,  devastating  heroes  and  what-have- 
you,  when  they  have  stepped  from  the  studio  gates  to 
the  route  the  milkman  takes    .  .    "So  amusing,  dear.  .  " 

Nor,  Mr.  Sherman  holds,  does  a  screen  hero,  to  be  a 
screen  hero,  need  to  be  comrx)unded  of  milk  and  honey. 
The  greatest  of  them  all,  \'alentino,  could  not  well  have 
been  labeled  a  mama's  boy.  He  did  not  exude  the  efflu- 
vium of  prayer-books  and  Sunday  schools.  He  was, 
really,  quite  a  bad  boy  to  begin  with,  though  he  usually 
came  out  in  the  last  reel  chastised  and  with  his  mind  on 
Higher  Things.  Which  is  the  way,  dear,  life  should  be .  .  . 
progressive. 

Why  Villains  Are  Loved 

"/CONSISTENT  virtue  on  the  screen,  dear,  is  the 
very  skim-milk  of  monotony.  Americans  love  the 
conquest  of  virtue  over  vice.  And  in  the  black  heart  of  a 
white-gloved  villain,  one  note  of  sincerity,  a  mere  sou  peon 
of  heart-break  is  more  genuinely  poignant,  more  moving, 
than  whole  reels  of — well,  we  won't  say  who,  dear — 
being  steadfast  and  dependable." 

(Continued  on  page  8o) 


51 


Around  the  World 


Ball 

JOHN  HOLLAND'S  folks  were  "in  trade."  Down 
South,  suh,  in  Greensboro,  North  CaroHna.  They 
hoped  the  same  sturdy  career  for  their  only  son. 
But  John  had  tender  spots,  instead  of  textiles,  in 
his  racing  blood.  He  had  seen  little  boys  and  immature 
youths  working  in  the  textile  mills.  They  had  lint  clinging 
to  them — all  over  their  clothes  and  hands  and  faces  and 
hair.  Besides,  they  were  pale  and  anemic  and  coughed 
badly  and  had  hollow,  young-old  eyes.  They  made  him 
distinctly  ill.  From  his  very  infancy,  John  shuddered 
away  from  textiles. 

John  was  sent  to  school.  He  was  kicked  out.  John  was 
sent  to  another  school.  He  ran  away.  John  was  sent  to 
another  school.  He  took  a  girl  horseback-riding  through 
the  Spring  woods,  in  defiance  of  his  father's  strict  orders 
to  the  contrary,  and  was  chased  out  of  town  at  the  point 
of  a  shotgun  by  his  tried,  tempestuous  parent. 

The  point  of  the  shotgun  precipitated  John  into  the 
Navy,  to  see  the  world.  Indeed,  he  did.  He  circumnavi- 
gated a  goodly  portion  of  the  globe  and  was  dead  broke 
in  every  port.  Crap  games. 

After  two  years  of  good  old  Uncle  Sam  on  the  high 
seas,  John  got  fed  up  and  obtained  leave.  He  joined  a 
prospecting  expedition  to  South  America.  The  prospecting 
was  not  prosperous.  John  set  sail  from  Rio  de  Janeiro 
with  a  thousand  dollars  in  his  jeans.   He  landed  in  New 


V>  r  0  k  e 

So  Hollywood 
Wa  s  Logical  In 
John  Holland's 
Life 

By     GLADYS  HALL 


York  City  with  fifty  cents.  Crap.  Twenty- 
five  of  the  fifty  went  for  some  sort  of  an 
official  stamp  on  his  luggage.  Twenty-five 
from  fifty  leaves — but  do  it  yourself. 

Parking  in  Parks 

JOHN  wandered  over  to  Battery  Park. 
He  found  a  dime  in  the  gutter,  probably 
dropped  there  by  some  indigent  newsy.  On 
thirty-five  cents,  John  subsisted  for  five 
days.  He  slept  on  the  park  benches  by  night 
and  was  wakened  via  the  heel-warming  proc- 
ess in  the  mornings.  The  system  was  simple. 
You  moved  on  when  the  copper  tapped  you. 
You  described  a  circle  and  you  came  back 
to  the  same  bench  again.  You  developed  a 
fondness  for  your  own  bench.  A  sort  of  pride  of  possession. 

John  says  he  didn't  get  very  fraternal  with  the  other 
park-benchers.  There  isn't  much  social  life  there,  he  says. 
People  keep  pretty  much  to  themselves. 

After  the  five  days,  John  obtained  a  job  with  the 
United  Fruit  Company.  He  checked  bananas.  Those  he 
didn't  check,  he  ate.  To  this  day,  he  says,  he  has  a 
hemorrhage  when  he  looks  at  a  nice  ripe  banana. 

During  this  interval  he  slept  in  the  Newsboys'  Rooming 
House  and  flop-houses.  You  pay  a  nickel  or  a  dime  and 
you  fling  yourself  on  the  floor  and  feel  luxurious  with  tour 
walls  around  you  and  a  roof  over  your  head.  And  plenty 
of  companionship. 

Batting  around  the  docks,  John  ran  into  a  chum  of  his. 
They  read  a  sign  that  said  things  about  enlisting  in  the 
Canadian  Army.  It  was  "something  to  do."  They  en- 
listed. 

Being  Broke  Didn't  Matter 

AND,  after  some  preliminary  training,  found  them- 
selves in  Siberia  and  for  two  years  m  Vladivostok. 
Broke.  Crap.  And  other  things.  Their  thirty  dollars  a 
month,  army  pay,  didn't  last  them  more  than  one  night 
in  the  town.  There  was  a  Russian  countess.  It  was  a 
polyglot,  tragic  place  with  broken-down  Europeans  scat- 
{Continued  on  page  S2) 


52 


wn 


ews 


amera 


Guess  who  i  be- 
low j?  What  actor 
is  going  over  the 
top  himself— and 
doing  it  with  his 
eyes  closed?  Could 
it  be  anybody  but 
that  ol'  soak, 
Charles  Ruggles, 
one  of  the  screen's 
cleanest  comedi- 
ans? 


The  old  army 
game  :  Robert 
Montgomery  (be- 
low, who  went  to 
military  school  to 
be  a  polo  player, 
is  trying  to  give 
us  the  impression 
he  went  to  Holly- 
wood for  the  same 
reason.  But  he's 
nowhere  near  his 
goal 

Hurrell 


Chinning  bars:  at  the  top,  Yola  D'Avril,  Fifi  Dorsay  and  Sandra 
Ravel  do  some  reflecting  in  a  cafi  as  "Those  Three  French  Girls"; 
above,  Chico,  Harpo,  Zeppo  and  Groucho  Marx  expose  them- 
•elvea  as  four  unhappy  cinema  actors 


Zmtrmnn»r 


53 


CINEMA    SHOTS    FROM    COAST  TO 


It's  a  hard  life;  at 
least  for  Doris  Lloyd 
(left),  a  newcomer 
who  has  her  mo- 
ments in  John  Gil- 
bert's "Way  for  a 
Sailor."  One  day 
she  may  have  linea 
like  Anna  Christie, 
and  the  next  she  may 
be  a  suspicious  dance 
hall  blonde  with  a 
Prohibition  thirst 

C.  S.  Bull 


54 


COAST  AND  BACK   TO   COAST  AGAIN 


He's  looking 
around :Lew 
Ayrcs,  rumored 
to  be  breaking 
his  heart  for  Con- 
stance Bennett, 
steps  out  on  the 
Universal  lot  with 
Jeanette  Loff 
fleft  — and  makes 
sure  the  photog- 
rapher is  behind 
him 

Would  you  know  he 
was  from  Broadway? 
Joe  Frisco,  who  has 
never  been  seen  with- 
out his  cigar  or 
heard  without  his 
stutter,  rests  in  style 
(below  ,  now  that  he 
has  crashed  the 
talkies  in  "The 
Gorilla" 


At  last  she  has 
something  to 
wear:  Noel 
Francis  'left  . 
packing  away 
her  dancing 
togs,  assures 
us  that  there 
is  nothing  se- 
riously wrong. 
She  is  just  cj- 
pecting  to  go 
somewhere 
in  "Lightnin' " 


# 


She  knew  him  when 
Frances  McCoy 
'right),  who  haa  just 
made  a  non-stop 
flight  from  Manhat- 
tan to  Hollywood, 
meets  up  with  Ted 
Healy  in  "Soup  to 
Nuts,"  and  reminds 
him  of  tho«e  happy 
Broadway  nights 
when  he  didn't  have 
to  dress  like  a  clown 
to  be  one 


Our  antique 
maiden  :  Joan 
Crawford  may 
seem  to  revel  in 
wistful  whoopee 
and  black  satin 
pajamas,  but  the 
real  revelation  is 
that  her  bedroom 
IS  furnished  in  the 
old-fashioned 
manner  (above) 

"Where  doth 
I  go  from 
here?"  The 
always  be- 
fuddled Ed 
W  y  n  n  ,  a 
panic  in  any 
year,  has 
strayed  into 
the  talkie 
version  of 
"Manhattan 
Mary"-  and 
finds  h  i  m  - 
•elf  in  an  ice 
predicament 
(right) 


The  lengths 
to  which  he 
has  gone: 
Leon  Errol, 
a  comedian 
of  long 
standing 
I  above 
now  commit  - 
ting  "Social 
Errors," 
illustrates 
how  long  a 
New  Yorker 
can  be  in 
Hollywood 


55 


Long  Sh 


By 

DOROTHY  MANNERS 

Illustrations  By  Eldon  Kelley 


THE  "big  shot"  gambler  of  them  all  is  Joseph 
Schenck,  who  gambles  with  men  and  millions 
and  pinochle  and  stock  tapes. 
The  "lucky  boy"  of  Hollywood  is  Raoul 
Walsh,  who  has  twice  collected  in  the  neighborhood  of 
seventeen  thousand  dollars  at  Agua  Caliente,  and,  in 
the  resulting  publicity,  stirred  up  more  business  for  the 
Mexican  resort  than  the  Dolly  Sisters'  winnings  at 
Monte  Carlo. 

The  most  spectacular  bridge  winnings  were  collected 
by  Bebe  Daniels  from  Samuel  Goldwyn,  to  the  amount 
of  three  thousand  samoleons. 

The  "unluckiest"  of  them  all  is  John  Gilbert.  By 
his  own  word,  he  has  never  won  even  a  stuffed  egg  at 
a  picnic  raffle,  and  he  has  been  on  the  losing  end  of  as 
much  as  hundreds  of  thousands  in  the  stock  market. 

The  biggest  "bet  taker"  is  Al  Jolson,  who  will  wager 
on  anything,  including  automobile  licenses,  golf  games, 
prize-fights  and  whether  or  not  it  is  going  to  rain  to- 
morrow. 

But  win  or  lose,  big  or  little,  they  can't  help  "taking 
a  sporting  chance"  any  more  than  they  can  help 
breathing,  or  being  in  the  movies.  The  very  sporting 
element  that  makes  them  demigods  makes  gamblers  of 
most  of  them.  They  roll  Youth  and  Talent  for  a  "natu- 
ral," and  "bury"  a  consuming  ambition  to  "draw  out" 
on  Fame.  An  uncertain  profession,  this  movie  game, 
the  greatest  chance-play  in  the  world.  A  gambler's 
game  of  down  to-day — and  up  to-morrow.  Here  yester- 
day— and  gone  forever.  Now  you  see  it,  and  now  you 
don't.  No  chance  to  play  "safe."  The  rules  would  be 
written  as  they  went  along — if  there  were  any  rules. 
Is  it  any  wonder  that  Chance  games  from  Fame  to 
Bridge  so  enthuse  these  people  of  the  "chanciest"  game 
in  the  world,  next  to  the  professional  gambler's? 

Takers  Aplenty 

I HAVE  yet  to  see  an  actor  turn  down  a  bet.  I'm 
not  saying  some  of  them  don't.   I  just  haven't  seen 
it.  And  I've  seen  plenty  taken — and  lost — and  won. 

If  the  Hollywood  gambling  stakes  seem  unduly  large, 
it  is  to  be  remembered  that  the  Hollywood  exchequer  is 
equally  in  proportion.  Samuel  Goldwyn  loses  three 
thousand  dollars  in  a  bridge  game — but  then  Samuel 
Goldwyn  is  a  man  of  considerable  fortune.  Joseph 
Schenck  drops  a  million  or  more  in  a  market  crash. 
"And  he'll  never  miss  it,"  is  the  consensus  of  Hollywood 
opinion.  Dame  Fortune  rode  with  Joseph  Schenck  in 
the  amassing  of  that  for- 
tune.    It  was  not  timidly     .      ^     .      _,  ,,,,,, 

J        J     1  Just  for  fun,  Raoul  Walsh, 

acquired,  and  what  goes  up  honeymooning  at  Agua  Cal- 
may  come  down — and  go  iente,  put  $500  on  the 
up  again — on  the  Wheels  of  double-0— and  made  $17,000 
Chance  (top).  Samuel  Goldwyn  once 

p       'i       1  •  wrote  out  a  check  to  Bebe 

tor  the  sheer  excitement  Daniels  for  $3,000  after  a 
of  winning  or  losing,  Joseph  bridge  game  (right) 


56 


The  Big  Shots 


■)9  m 


Those  In  The  Movie 
Game   Like   To  Take 
Chances 


Schcnck  luvcb  pmuchle  for  unique  and  odd  stakes.  They 
tell  the  story  of  a  pinochle  hand  Schenck  played  with 
his  old  friend  Al  Jolson,  with  a  de  luxe  apartment  as 
the  prize.  It  seems  that  Schenck  owns  an  exclusive 
apartment  building  (he  owns  several  of  them)  and  he 
said  to  Al,  who  was  looking  for  a  place,  something  to 
this  effect:  "We'll  play  a  little  game  of  pinochle  and 
if  I  win,  you'll  take  that  apartment  and  pay  double  the 
rent  for  a  year.  If  you  win,  you'll  get  it  without  charge 
for  the  same  length  of  time." 

Jolson  won,  but  whether  or  not  .^1  took  the  apartment 
I  don't  know.  He's  very  innocent  about  that  pinochle 
hand. 

"Joe  and  I  are  always  playing  some  game  for  pretty 
high  stakes,"  he  admitted  when  pressed  for  details,  "but 
we  usually  call  them  off.  Sure,  we  usually  call  them 
off,"  he  added  with  a  burst  of  inspiration. 

Lucky  Thirteen  Thousand 

AS  an  explanation,  it  saved  details — and  "crowing." 
^  No  good  gambler  likes  to  gloat  over  his  haul.  It 
just  isn't  done  except  in  a  rare  case  like  Raoul  Walsh's 
sensational  scoops  at  Caliente,  which  reached  the  news- 
papers. 

It  happened  that  Walsh  took  his  new  bride  on  a 
honeymofjn  trip  to  Agua  Caliente,  where  they  have, 
among  other  things,  an  interesting  gambling  salon.  Just 
for  the  fun  of  it,  he  dropped  a  five-hundred-dollar  bet 
on  the  oo  of  a  roulette  table;  and  the  joke  was  on  the 
Casino,  because  that  was  just  the  time  the  oo  showed 
up,  earning  the  Hollywood  director  seventeen  thousand 
dollars  and  making  a  nice  honeymoon  trip.  Hut  even 
at  best  that  was  just  Luck  riding  at  high  tide.  Raoul 
likes  to  believe  he  backed  his  judgment  with  that  race- 
horse he  bought.  According  to  the  papers,  he  purchased 
the  fleet  little  animal  for  thirteen  thousand  dollars.  The 
first  race  she  ran  earned  him  thirty  thousand,  checking 
up  another  scventeen-thousand-dollar  win  for  the  di- 
rector of  "The  Cock-Kyed  World." 

"I  don't  believe  [  have  the  makings  of  a  'big  stud' 

f ambler,"  protested  Edmund  Lowe.  The  stifFest  bets 
ever  make  are  on  football  games.  I  figure  I  have 
about  five  hundred  dollars'  worth  of  fun  out  of  the  foot- 
ball season  and  1  usually  pyramid  my  losses  to  try  to 
keep  that  much  ahead.  Last  year  I  guessed  wrong  on 
the  University  of  Southern  California  three  times.  I 
bet  Stanford  would  beat  them.  I  bet  they  would  beat 
the  University  of  California  and  Notre  Dame.  It  seems 

that  I  got  on  the  wrong  end 
of  those  decisions  each  time 
— which  meant  I  was  out 
fifteen  hundred  dollars. 

"'All  right.'  I  said  to  my- 
self,  'I'll  give  those  boys 
just  one  more  chance,'  so  I 
{Continued  on  page  (jS) 


The  "unluclcicst "  of  them 
all  IS  John  Gilbert  itopi, 
who  ha*  lost  thousands  in  the 
stockmarket.  JosephSchenck 
and  Al  Jolson  Heft'  once 
played  pinochle  with  a  de 
luxe  apartment  as  the  prixe 


57 


Believe    Him    Or  Not 


By 

HERBERT 
CRUIKSHANK 


I 


B  u  t 


T  YOU  ask  me 
the  name  of  the 
most  interesting 
man  in  America 
— if  3^ou  ask  me — the 
name  won't  be  Lind- 
bergh, Hoover,  Ca- 
pone,   Byrd,  Smith, 
Dempsey   or  Jones. 
It  will  be  that  of  a 
sparse-haired  young 
man,  with  sparkling 
eyes;  alert,  nervous 
manner;  the  light  step 
of  an  athlete;  a  face 
that  further  impresses  one  as  that  of 
a   ball-player  or  pugilist;   a  body 
sheathed  in  close-cut  clothes  that  fur- 
ther accentuate  the  muscular  appear- 
ance;   dental    equipment  that 
forces  a  perpetual  half-smile;  a 
truly  remarkable  fellow. 

He  told  me  forty  four-letter 
words  for  God.  He  told  me  about 
a  real  "father  of  his  country" — 
a  big-time  daddy  whom  888  chil- 
dren called  "Pop"  without  fear 
of  successful  contradiction  by 
their  mothers.  Of  two  mothers — 
one  eight  years  old,  the  other 
ninety.  And  of  the  latter's  hus- 
band, the  Casanova  of  Czywus- 
zyn  at  105. 

He  told  me  the  world's  longest 
cuss-word  —  "  Himmelherrgott- 
kreuzmillionendonnerwetter" — which 
had  no  effect  on  the  taxi-driver  when 
I  tried  it.  About  Ed  Ek,  whose  name 
is  the  shortest  in  America,  and  about 
a  word  of  1 84  letters  meaning  "hash." 
He  convinced  me  that  fish  climb  trees. 
That  clams  eat  men — which  is  news. 
That  birds  bark  and  sands  sing.  That 
a  man  had  been  born  with  double 
eyes — and  one  with  none  at  all.  That 

there  was  a  woman  with  a  forked  tongue.  That  the  ocean 
is  dusty.  That  there  was  a  one-armed  paper-hanger  with 
the  hives.  That  Lindbergh  was  not  the  first,  but  the 
sixty-seventh  to  make  an  Atlantic  non-stop  flight. 


Robert  L.  Ripley 
Says     He  Is 


No  Actor 


But  perhaps  you  have  seen  one 
of  the  fourteen  editions  of  his 
book,  in  which  case  you'll  know 
that  my  nomination  for  the  most 
interesting  man  in  America  goes  to  Robert  L. 
Ripley.   Believe  it  or  not!   Robert  L.  Ripley, 
artist,  author,  actor,  athlete,  world-traveler, 
radio  personality,  millionaire,  clubman  and 
hard-working  newspaper  man. 

This  Young  Man  Went  East 

IP"  might  well — and  easily — provide  his 
two  hundred  and  sixty  newspapers  with 
several  pages  of  "Believe  It  or  Not"  about 
himself.  For  instance,  he's  one  good  thing  that 
California  overlooked:  a  native  son.    They  let  him 
get  away,  rather  than  increase  the  $22.50  salary  he 
received  as  a  sports  artist  on  the  San  Francisco 
"Chronicle." 

He  boasts  he  has  twenty  million  people  working  for 
him,  for  each  day  thousands  of  letters  arrive  from 
his  readers,  telling  him  of  strange  facts  existing  all 
over  the  world. 

He  could  lock  himself  in  his  room  at  the 
New  York  Athletic  Club  for  ten  years  and, 
completely  cut  off  from  the  world,  still  sup- 
ply it  with  a  daily  "Believe  It  or  Not." 

He  has  been  called  a  liar  more  than 
any  person  in  history.  And  upon  each 
occasion  has  proved  his 
contention. 

He  is  the  world's  most 
widely  imitated  artist. 
I  suggested  Robert  Ed- 
gren,  beloved  sports 
writer  and  artist  of  an- 
other day,  was  a  minor 
offender  in  this  regard. 
"That's  okay,"  said 
"Rip,"  "I  used  to  imi- 
tate him."  There  are 
others,  however,  of 
whom  he  is  not  so  tol- 
erant. He  credits  Harry 
Hershfeld  with  getting 
him  the  job  that  marked  the  beginning  of  "the  breaks." 

He's  the  highest-paid  artist  of  the  sort  in  the  world. 
His  gross  income  is  over  one  million  dollars  a  year — and 
{Continued  on  page  88) 


Believe  "Rip"  or  not,  but  Japanese 
actresses  learned  how  to  kiss  from 
American   movies    (top).  Above, 
how  he  does  it. 


58 


Having  played  practically  everything  worth 
playing,  Marie  Dressier  is  not  yet  satisfied.  She 
now  wants  to  play  a  piano.  And  if  she  decides 
that  she  will — well,  she  will.  She  could  even 
steal  it  if  she  cared  to — just  like  she  steals  a 
picture.  That's  the  Dressier  way.  And  be  con- 
vincing about  it,  too.  Marie  is  now  resting  from 
the  serious  problems  of  "Dark  Star,"  and  might 
even  play  a  duet  with  Polly  Moran  in  "Reducing" 


59 


TAK I N  G 


Classics  Reviews  by 


HER  MAN 


Here  is  bang-up  melodrama  and  a 
fight  that  makes  movie  history.  As 
a  result,  it  can  be  catalogued  as  ace  entertainment.  It's 
about  our  old  boy-friend,  Johnnie,  and  his  girl-friend, 
Frankie.  He  was  her  man  until  a  sailor  came  along — and 
you  know  how  sailors  are.  Ricardo  Cortez  is  superb  as  a 
dagger-throwing  gigolo;  Helen  Twelvetrees  gets  a  medal  oj 
her  own  for  an  excellent  characterization;  Phillips  Holme 
steps  to  the  front  rank  of  screen  juveniles  as  the  sea  faring 
laddie,  while  for  a  bit  of  great  acting  we  doff  the  chapeau 
to  Marjorie  Rambeau.  Between  thrills  you'll  laugh  your- 
self silly  at  Jimmie  Gleason. 


A  LADY 
SURRENDERS 


Conrad  Nagel  is  good  in  this  poor 
picture.  They've  tried  to  make  Rose 
Hobart  and  Genevieve  Tobin  do  a 
Ruth  Chatterton,  and  it  doesn't 
come  ofF.  The  fable  is  about  a  misunderstood  husband  and  a 
discontented  wife.  And,  of  course,  the  wife's  best  friend.  It's 
supposed  to  be  very  smart  and  sophisticated — but  don't  be 
afraid  to  giggle,  Broadway  did.  In  spots  Mr.  Nagel  goes  coy. 
And  Mr.  Nagel's  coyness  is  not  so  good  as  Mr.  Nagef's 
seriousness.  But,  on  the  whole,  he  has  never  given  a  better 
portrayal.  The  two  new  actresses  from  Broadway  do  as 
well  as  anyone  could  with  the  situations  and  dialogue. 


WHAT  A 
WiDOWl 


Here's  Gloria  Swanson  and  a  million 
dollars'  worth  of  style  in  a  fast-paced 
comedy  that  might  be  funnier.  At  times 
the  plentiful  action  recalls  01'  Massa 
Sennett  and  the  good  old  days  when  the  bathing  girls  wore 
bloomers.  The  plot  is  about  the  romances  of  a  wealthy, 
merry  widow  and  provides  Lew  Cody  with  a  comeback 
chance  in  the  role  of  a  gay  inebriate.  Owen  Moore  is  the  hero 
and  Margaret  Livingston  a  blonde  vamp.  If  the  picture 
doesn't  advance  Glorious  Gloria  histrionically,  it  at  least 
proves  her  versatile  and  provides  an  hour  of  rather  rollicking 
entertainment. 


O  i  I  T  \5£/  A  R  n  ^  creditable  effort  to  photograph  the 
KJ  U  I  W  /%  l\  L'  stage  play  about  a  voyage  to  the 
R  O  I  I  Kl  n  hereafter,  this  one  appeals  to  the  few 

D       U  IN  rather  than  the  multitude.    It  is  a 

picture  that  lends  prestige  to  the  industry,  but  those  who 
remember  "Feet  of  Clay"  will  find  the  same  theme  better 
handled  in  the  earlier  drama.  Douglas  Fairbanks,  Jr.,  and 
Helen  Chandler  are  the  young  couple  who  attempt  suicide 
when  denied  love,  and  return  to  life  only  after  literally  rub- 
bing shoulders  with  death.  However,  the  picture  shows  a 
worthy  purpose  of  the  producers  to  strike  out  toward  some- 
thing original — something  with  an  intelligent  idea  behind  it. 


II 


The  Talkies 

Laurence  Reid  The  Celluloid  Cmk 


They've  messed  up  Molnar's  play  about  I  I  I  I  O  Jul 
the  carousel  barker  who  goes  to  Heaven     I-  I  L.  I  \J  IVi 

and  is  granted  one  day  more  on  earth  to  do  a  good  deed — and 
fails.  Originally  it  was  a  poignant,  affecting  drama  in  which 
Joseph  Schildkraut  gave  a  masterly  characterization  of  the 
misunderstood  boy  who  just  couldn't  be  good.  But  the  best 
scenes  have  been  eliminated,  perhaps  because  the  idea  of  a 
heavenly  police  court  is  a  bit  advanced  for  the  censors — or 
the  producers.  Charlie  Farrell  is  a  nice  boy — but  an  amateur- 
ish Liliom  Rose  Hobart  is  ineffably  better  than  in  "A 
Lady  Surrenders,"  and  Estolle  Taylor  hasn't  quire  enough 
footage  to  steal  the  picture. 


WHOOPEE 


Florenz  Ziegfeld  makes  his  movie 
bow  as  co-producer  of  Eddie  Can- 
tor's musical  stage  smash.  It  is  very  funny  and  very  beautiful 
providing  you  haven't  seen  the  show.  Perhaps  you'll  think 
the  wise-cracks  got  their  wisdom  with  old  age,  but  you'll  like 
Cantor  and  the  Technicolor.  There  are  two  new  songs  which 
aren't  at  all  bad.  And  the  girls  are  beautiful — but  you  can't 
meet  'em  after  the  show,  so  don't  hang  around  the  stage  door! 
Any  way  you  look  at  it,  you'll  find  color  and  movement  and 
Eddie  Cantor — and  Eddie  is  as  prominent  as  the  color.  It  is 
the  first  musical  comedy  to  come  out  of  Hollywood  with 
that   certain   something   that    Broadway  has. 


MADAME 
SATAN 


This  latest  De  Mille  "epic"  is  some- 
thing in  the  nature  of  an  antiquated 
museum  piece  decked  up  in  the  lavish 
gew-gaws  associated  with  this  direc- 
tor's production.  It  cost  plenty.  But  it  doesn't  mean  any- 
thing. I  he  story  is  about  an  angelic  wife  who  becomes  a  little 
devilish  to  win  the  affections  of  her  wandering  boy-friend. 
Reginald  Denny  dresses  up  in  a  Dennis  King  suit  for  a  masque 
ball  sequence.  Kay  Johnson  impresses  as  a  fine  but  unsym- 
pathetic actress,  and  Lillian  Roth  has  nice  legs.  The  ball 
takes  place  on  a  zeppelin.  A  nice  little  De  Mille  touch 
that  may  dazzle  you.    Or  daze  you. 


Walter  Huston,  showing  more  ver-  T  LJ  C  RAH 
satility  than  any  actor  in  Hollywood,  •  C,  U  f\\J 
turned  easily  and  surely  from  Lincoln  a 
to  give  us  his  idea  of  the  "bes'  dam  ' 
caballero  in  all  Mexico."  That  is  the  fiusron  way  -  to 
do  his  job  and  do  it  well.  Bur  he  doesn't  do  quite  so  well 
here  as  in  his  Lincoln  study.  Then,  too,  we've  had  so 
many  of  these  below-the-border  melodramas  of  the  good 
bad  man  that  this  one  seems  to  creak  a  little.  But  it 
still  holds  some  kick  and  quite  a  hit  of  shootin.'  Df)rothy 
Revirr,  Jamr«  Rennie  and  Svdnev  Blackmer  aid  the  action 
with  slighfU    less  merit. 


61 


The 
High 
Cost 
of 

Football 


HuTTell  Photos 


Someone  has  to  pay  if  a 
girl  like  Joan  Marsh  is  in 
the  stands,  and  pay,  and 
pay.  The  seats  have  to  be 
on  the  forty-five-yard  line, 
the  flowers  have  to  be 
chrysanthemums,  and  din- 
ner at  the  Ritz,  etc.  And 
the  co-edified  youth  at  her 
side  may  never  suspect 
that  she  is  thinking  only  of 
Joe  Fullback — who  told  her 
last  night  that  he  could  die 
for  her  and  dear  old  Siwash 


62 


Normal,  Though  An  Actor 


By 

ROBERT 
FENDER 


A 


NI)  to-day,  readers  of  all 
nations,  we  take  up  Klliot 
Nugent,  or  hf)w  to  be  nor- 
mal though   an  author- 
ac  t.ir.  tlliot's  history  is  closely  con- 
rn  red  with  his  new  picture.  "For 
\\v  Love  of  Lil."   That  picture 
ni./v  not  yet  have  arrived  at 
\(  ir  local  fiijoN  Palace  or  it  may 
have  come  and  gone. 

If  you  have  followed  your 
H  .llvwood,   however,  you 
uill   know  that   the  story 
(ii  lis  with  the  life  of  an  aver- 
.iL.'   Iiome-loving  American  man — a 
II   n  like  the  thirty-odd  others  on 
,r  block,  with  a  wife  and  chil- 
li    1.  a  car  that  could  stand  a  little 
•r,  and  a  golf  game  that  could 
(I  quite  a  little  improvement. 
I  '     who  is  as  kmd  and  gentle  as 
.  come,  vet  one  who  is  known 
'•ave  the  breakfast  table  occa- 
.illy  in  ruffled  m(x>d,  slammed 
r  and  all.   One  who  tries  vali- 
V  to  keep  up  with  the  modern 
kknacks  on  a  salary  that  pro- 
r  little  more  than  a  knick- 
ss  living.   One  who  laughs 
I    '     ;lits  and  makes  up. 
niir,  ;  ,1  ,,.  who  manages  to 

/(""It  through  It  all,  iinemo-   

nafly  fine  and  brave,  the  salt  of  i^BHMII^BB^Hi 

earth. 

Iliot  Nugent  IS  the  first  of  his 
i  I've  met  in  Hollywood.  Be- 

a  friend  of  his  and  mim-  mkrud  that 
.  rrf-ar   "  Nugent,"  he  said,  "  is  different." 

•.illv  different  from  his  Holly- 
;)  here  a  year 
r  he  here  ten  years  he  would  remain 
'•'r  |.,,  .il  infections. 


.An,  I 


and  a  half,  but 
immune  to  the 


A  Pound  of  Prevention 
I, MOT  could  never  "go  Hollvwood," 


never 
II  that  \  ■ 


he  "  went ' 

l\  w(H>d  or 


for  the  very 
Dover,  Ohio, 
worse,  he  will 
flicring  posti- 
<«ts  from  the 


Elliot  Nugent 
Will  Never 
Contnict  Those 
Hollywood 
Diseases 


parent  disease  of  showdom. 
There  is  enough  native  human 
nature  in  him  to  act  forever  as 
a  charm  against  the  evils  of  pro- 
fessional life. 

^  oung  Nugent  is  a  specialist 
in  human  nature.  He  is  the  aver- 
age man's  ambassador  to  Broad- 
way   and  Hollywood. 
His  "Dulcy"  and  "The 
Poor  Nut"  are  plays  of 
the  people,  by  the  people 
and  for  the  people.  I  he 
fact  that  they  may  rate 
sniffs  from  snooty  critics  doesn't 
bother  Nugent.   He  is  out.  quite 
openly,  to  supply  wholesale  en- 
jovment.    If  dilettantes  find  his 
handicraft  a  little  too  earthy, 
thev  will  just  have  to  find  it  a 
little  too  earthy,  that's  all.  He 
knows  his  business  too  well  to  be 
sidetracked  by  clever  columnists. 

He  let  me  in  on  that  business. 
( He  talks  like  a  young  college  in- 
structor. Precisely  clipped  speech 
accentuated  bv  the  use  of  his 
thin,  almost  hard  mouth  and 
delicate  hands.) 

".Average  people."  he  told  me, 
"have  to  be  pampered  in  their 
plavs  and  movies.  I  hey  won't 
stand  for  their  lives  to  be  por- 
traved  in  a  cold,  analytical  man- 
ner. They  won't  tolerate  anyone 
who  holds  the  mirror  too  closely 
up  to  life.  They  find  the  reflection  too  displeasing.  No 
one's  daily  life  is  all  that  it  might  be.  We  don't  go  to  the 
theater  or  movies  to  be  reminded  of  that  fact.  We  go  for 
entertainment. 

He  Prefers  the  Public 

FROM  the  critics'  point  of  view,  that  play  or  movie 
is  probably  best  which  allows  no  quarter  in  faithfully 
presenting  the  daily  scene.  These  fellows  would  have 
whining  wives  written  in  as  whining  wives,  and  cross,  tired 
husbands  depicted  as  they  actually  are.  Unpleasantness, 
they  sav,  figures  prominently  in  everyday  life  and  so  has 
(Continued  on  page  lOi) 

6^ 


he      eighs  and  ^eans  Commiffk 


Mathilde  Comot  rocks 
the  scales  at  375  pounds 
and  means  Big  Busi- 
ness. Frances  Dee 
weighs  118  pounds  and 
means  to  differ.  Be- 
tween them  they  can 
use  39  yards  of  negligee 
(Frances  takes  a  par 
four);  and  21  yards  of 
riding,  habit  (Frances 
goes  out  in  seven) .  They 
are  the  thick  and  thin 
of  It  in  "Along  Came 
Youth" 


Dyar  Prtrtraits 


64 


Plenty   Smart  G/rl 

Not  A  Star,  Not  A  Failure, 
Raquel  Torres  Is  On  Constant  Guard 


BY  DOROTHY  MANNERS 


I AM  afreed,"  said  Raquel  Torres,  "of  ever'  thing  of 
Hollywood.  Fiut  most  I  am  afreed  of  success — of 
failure,  of  loff,  of  friendsheeps.  I  am  even  afreed 
of  myself.  So  much  depen'  on  me.  There  is  no  one 
else  to  fight  my  battles.  No  mother,  no  father,  no  brothers. 
I  read  Clara  Bow's  story  on  the  heart-aches  of  success — 
and  I  know  stories  of  failure  by  heart.  But  belrevc  me, 
Dor'thy,  this  beezness  of  being  half-way  'long,  theez  is 
;hard,  too!" 

I  think  she  is  the  prettiest  brunette  child  I  have  ever 
seen.  Not  the  most  beautiful,  but  the  prettiest.  Her  eyes 
are  so  large,  her  lashes  so  carefully  and  effectively  mas- 
caroed.  Her  naturally  dark  skin  is  golden  with  the  right 
jtint  of  powder.  There  is  a  lushness  to  the  scarlet  fulness 
of  her  mouth  and  her  teeth  flash  white  and  «  ven  when  she 
smiles.  She  sparkles  more  than  Dolores  Del  Rio,  her 
countrywoman,  but  she  is  calmer  and  more  thoughtful 
than  Lupe. 

Around  the  studio  they  call  her  "Rakkie"  and  "keed" 
her  about  the  bright  color  of  her  clothes.  .She  does  not 
mind  that  they  "k«ed"  her.  As  long  as  they  "keed,"  it 
means  they  lofF  her.  Rut  one  leetle  misstep  and  they  do 
not  loff  her  any  more.  One  mus'  be  .so  careful  when  one 
is  ambitious  like  Rakkie,  the  little  .Mexican  girl  who  rose 
from  ushership  at  a  Grauman  theater  to  fame  in  "White 
Shadf>ws  in  the  South  Seas"  and  a  Metro-Goldwyn- 
M  a\  i-T  contract. 

The  Danger  Spot 

I AM  in  fonny  place  -I  am  not  beeg  star  and  yet 
fver'body  say:  '  Rakkie.  you  gettin'  along  fine!  You 
luckv  girl,*  they  say.  'You  gr>t  contract  with  beeg  studio 
like  .\1-G-.M.  Vou  meet  nize  people  and  they  loff  von  * 
Theez  is  what  they  tell  me--but  Rakkie  know 
many  more  theengs  in  her  heart.  Theez  contract  is 
no  gf>od  unless  Rakkie  is  plenty  smart 
girl!  There  are  so  many  theengs,  such 
leetle  theengs  that  can  undo  in  five  mecn- 
utes  wh.ir  Rakkie  build  up  in  three 
years! 

"Suppose  man  ask  me  out  to  dinner! 
I  like  man-  1  theenk  mavbe  I  like  to 
have  dinner  with  heem.     liut  first  I 
mus'  stop  and  ask  myself:  '  Is  man 
married.'   No!  Well,  then,  is  man 
got  sweetheart  who  will  hate  Rak- 
kie and  make  enemies  for  her.'' 
When  you  are  meedwav  alon'  to 
success,  one  should  not  have  ene- 
mies. Maybe  some  girl  get  mad  at 
other  girl  and  she  got  freends 
who  are  beeg  in  stuoio.  Ihr«v 
girl  tell  her  friends  about  tb. 
oth-er  girl  and  they  hate. 
rc>o.      When   beeg   part  a„ii 
<  f»me  up,  they  say.  'No'  ^ 


She  shall  not  have  theez  part  because  she  hurt  my  fren's 
feelings ! ' 

"  Mavbe  theez  girl  has  seen  man  only  once.  .Maybe 
in  her  heart  she  is  innocence.  But  people  are  queek 
to  say  she  is  bad  for  taking  man  away!  I  try  so  hard 
nftver  to  hurt  people's  feelings  and  yet  .  .  . 

"I  loff  Ramon  Novarro.    In  moovies  he  is  so 
sweet,  so  gentle,  so  kind.   I  loff  to  make  picture 
with  him — we  are  both  Mexicans — but  t  guess 
I  hurt  Ramon's  feelings  some  time  of  which  I 
do  not  know.  He  does  not  want  Rakkie  in  pic 
tiire.    I  theenk  he  does  not  like  me — and  I 
am  hurt  very  deep,  Dor'thy. 

{Continued  on  page  102) 


6.'; 


Movies 


Smiling, 
C  e  b  a  1 1  o  s 
"Angel" 


Out  of  work?  No — out 
of  Hollywood !  And 
thanks  to  Mr.  Ceballoi, 
they  still  are  in  this 
game  (right).  And  still 
have  positions  to  be 
happy  about  fbelow), 
'above)  are  still  able 
to  show  us  the  certain 
rights  that  they  have 


V 


67 


Their  Privat 


By 


DOROTHY  MANNERS 


The    Experts  Don' 
They  Preach  And 


s 


O  they  are  love  experts, 
are  theyr  W'ell,  raw- 
ther! 


Regard   those  ten- 
derly passionate  episodes  of 
their    professional  moments, 
which  have  gone  further  in 
educating  International  Xeck- 
ers  in  the  right  grips  and  holds 
than    the    compiled    works  of 
Beatrice    Fairfax.     They  even 
write  articles  about  love  as  a  scien- 
tific study.  About  their  Love  Lives 
About  Men  and  Women.  About 
How  To  Hold  A  Husband  and  How 
To  Lose  An  Unwelcome  Suitor.  How 
to  Fascinate,  Charm  and  Hog-Tie 
and  all  the  other  little  subtleties.  It's 
all  very  learned. 

But,  me,  I'm  puzzled!  I'm  befuddled  and  hazy. 
Not  about  what  they  say  of  love.  Dear  me,  no!  But 
what  they  do  about  it  in  their  private  love  practice.  Maybe 
I'm  an  old  meanie  in  bringing  it  up,  but  what  the,  as 
Constance  Bennett  might  well  say,  can  you  expect  from 
movie  writers.' 

There  was  a  time,  and  you  may  remember,  when  Greta 
Garbo  and  John  Gilbert  were  awfully  that  way  about  each 
other.  Now,  there  was  a  romance  of  experts,  if  there  was 
ever  one.  The  great  mystery  woman  of  the  screen,  in 
whose  heart  smolders  all  there  is  to  know  about  love  (adv.), 
and  her  palpitating  boy-friend,  who  is  no  slouch  in  the 
game  himself.  At  the  time  of  this  survey,  they  had  had 
one  of  their  frequent  lovers'  quarrels.  Since  they  were 
experts,  it  was  a  case  in  which  one  might  have  expected  a 
great  deal  of  technique  and  novelty  displayed  on  both 
sides. 

The  Usual  Symptoms 

ALONG  about  the  second  day  of  the  Great  Dispute, 
£\_  Donald  Ogden  Stewart,  John  V.  A.  Weaver,  Charles 
Ray  and  a  few  others,  including  John  Gilbert,  were  spend- 
ing Sunday  at  the  home  of  King  and  Eleanor  Boardman 
Vidor.  You  didn't  need  binoculars  to  see  that  Mr.  Gilbert 
was  in  a  bad  mood.  When  he  played  tennis,  he  slammed 
the  ball  as  if  he  had  some  personal  grudge  against  it. 
When  he  was  spoken  to,  half  the  time  he  didn't  hear,  and 
the  other  half  he  just  didn't  answer.  Twice,  he  left  the 
courts  and  dialed  his  own  home  with  a  vigor  that  should 
have  given  the  telephone  company  considerable  trouble. 
Once  connected,  he'd  bawl,  "Has  anyone  called  me.'" 
Prom  the  way  the  receiver  went  back  on  the  hook,  you 
might  not  have  knozcn  what  the  answer  was,  but  there  was 
no  law  against  guessing.  About  two  o'clock  in  the  after- 
noon, he  picked  up  his  racquet  and  went  home. 


Some  ten  minutes  later,  Eleanor  and  a  few  of 
the  girls  were  in  her  bedroom,  cooling  off,  when 
'phone  rang.  Not  that  I  meant  to  eavesdrop  (or,  anyway, 
that's  my  story),  but  you  know  how  clear  a  voice  will  come 
through  a  transmitter  sometimes.'  This  particular  voice 
from  the  other  end  said:  "Hul-lo.  This  is  Gree-ta."  For 
quite  some  time,  they  exchanged  pleasantries.  How  was 
Eleanor.'  She  was  fine!  How  was  Greta.'  She  was  fine, 
too!  Why  hadn't  they  seen  her  in  a  couple  of  days? 
Busy.'  Oh,  too  bad.  It  went  on  and  on  like  that.  Subtle 
was  no  word  for  it.  Finally,  that  far-away,  heavily- 
accented  voice  inquired  with  all  the  nonchalance  in  the 
world,  "Haff  you  seen  Yan.'"  Yes,  it  turned  out  that  he 
had  just  left.  "Oh,"  said  the  voice.  There  was  con- 
siderable pause.  And  then  a  slight  but  unmistakable  sigh. 
"Juss  don't  tell  heem  that  I  called."  And  that  was  that. 
Greta  Garbo  and  John  Gilbert,  the  great  love  experts.' 
Why  not  Joe  Doakes  and  his  girl,  Min.'  Is  it  any  wonder 
that  I  wonder.' 

Now  She  Talks  Baby-Talk 

OR  take  Joan  Crawford  with  her  screen  creed  of 
flapper  independence,  the  pace-setter  for  the  Teens, 
the  Love-Em-Ana-Leave-Em  philosopher  of  the  movies. 
The  girl  who  used  to  preach  to  flapperdom,  "Never  let  a 
man  see  you  are  too  much  in  love  with  him.  Suspense  is 
half  the  battle!" 

Believe  it  or  leave  it,  but  in  private  love  she  even  dis- 
joints young  Doug's  chicken  at  the  table,  because  he  hates 
to  do  it  himself! 

She  has  yet  to  accept  a  social  engagement  without  con- 
sulting him. 

When  she  lunches  with  a  girl-friend  in  Hollywood,  she 
leaves  ten  thousand  messages  so  that  he  can  find  her  at  a 
moment's  notice. 

They  talk  baby-talk  in  some  crazy  language  they  have 
cooked  up  between  them — and  any  good  love  expert  will 
tell  you  that  baby-talk  violates  the  first  principle  of  the 
game.  At  theaters  they  sit  with  their  arms  and  heads  so 
closely  together  that  someone  once  remarked  that  if  Joan 


68 


Love  Lives 


Always  Practise  What 
Picture 


Crawford  and  young 
Doug  and  Alice 
White  and  Cy  Bart- 
lett  sat  in  adjoining 
seats  in  the  front 
row,  the  four  rows 
back  of  them  would 
be  a  total  loss  so  far 


as  vision 
cerned. 


was  con- 


A- 


Top  to  bottom, 
Lupe  Velex  re»lly 
mothers  Oary 
Cooper ;  Joan  Craw- 
ford doetn't  keep 
Douglat  Fairbankt, 
Jr.,  in  tuipente; 
Richard  Arlen  calli 
Jobyna  Raliton 
"Mamma."  And 
Greta  Oafbo  and 
John  Gilbert  'in 
intet  acted  like 
Joe  Doakt  and  hit 
girl.  Min 


Cy  Tells  the  World 

LICE     is  an- 
other   of  our 
most  quoted  experts 
on    the    science  of 
love.  There  is  a  girl 
who  has  ideas.  Once 
she  was  quoted  as 
saying,  "Don't  lose  your  personality  in  any  man."  And 
then,  again :  "The  man  who  loves  me  must  love  me  as  I  am. 
I  could  not  be  other  than  I  am,  even  in  the  name  of  love." 
And  that's  all  right,  too,  as  advice.  But  in  Alice's  private 
practice  of  love,  you  sort  of  have  to  except  Cy  Bartlett 
.  .  or  where  are  you.' 
Cy  has  done  the  best  re-write  Job  to  date  on  a  Hollywood 
flapper's  philosophy  of  love.   Even  Doug's  domestication 
of  Joan  isn't  on  a  par  with  this.   Along  with  the  re- 
fining process  that  substitutes  books  for  night-clubs 
and  bridge  for  hey-hey,  Cy  has  built  up  a  competent 
and  enthusiastic  audience  in  Alice.    ' T is  wonderful 
to  see. 

She  sits  and  listens  and  nods  at  the  pearls  of  wisdom 
that  fall  from  his  lips.  She  has  put  in  as  long  as  half- 
hour  stretches  with  eyes  agog  and  head  a-bohbin'  at 
Cy's  latest  observations  on  anything  from  this  to 
that.  From  the  Government  to  the  newest  Holly- 
wood gossip.  It  was  up  in  her  press-agent's  office 
one  day  that  Alice  timidly  began  a  little  story  of 
her  own: 

"We  were  coming  back  from  Caliente,  Saturday 
.  .  ."  she  started,  " .  .  .  when  the  most  astounding 
thing  happened,"  continued  Cy.  And  continued 
and  continued. 

■  "...  and  just  when  we  thought  they  weren't 
going  to  let  us  play  bridge  on  the  train,"  put  in  Alice, 
all  excited  ana  so  carried  away  that  she  forgot  and 
interrupted. 

"Now,  let  me  tell  it,  dear."  consoled  Cy.   "I  re- 
member perfectly  what  happened."  And  he  did.  Vou 
could  tell  he  did  by  the  way  Alice  kept  nodding  her 
head  and  corroborating  his  story,  with  just  the  right 
shading  of  appreciative  mirth  and  understanding. 
{Continued  on  page  loj) 


6Q 


The  Newest 


-Boy 


Slim    Summerville   Is  In 
The  Front  Lines,  Despite 
That  Rude  Captain 

By  HELEN  LOUISE  WALKER 


WHEN  Slim  (George)  Summerville  gets  to  be  a  grand- 
father (which  is  a  funny  thought,  in  itself)  and  his 
grandchildren  cluster  'round  his  knee  and  chirp,  "And 
what  did  YOU  do  for  the  Great  War,  Grampa?" 
Slim  is  perhaps  going  to  be  just  a  leetle  mite  embarrassed. 

"We-ell,"  he  will  have  to  admit,  in  the  drawl  that  is  already 
pretty  famous,  "I  didn't  do  much  for  the  Great  War— but  the 
Great  War  did  a  lot  for  me!" 

"WHAT?"  they  will  cry,  recoiling  in  patriotic  horror.  "Not — 
a  profiteer.''  Tell  us  it  isn't  true,  Grampa!  Not  that!" 

"No!  No!"  he  will  amend,  hastily.  "Not  a  profiteer.  A  come- 
dian." 

Which  will  still  take  some  explaining. 

For,  if  it  hadn't  been  for  the  Great  War — then  there  would 
have  been  no  pictures  like  "All  Quiet  on  the  Western  Front"  to 
picture  the  horror  of  it  all.  And  if  there  hadn't  been  a  picture  like 
"All  Quiet,"  in  which  a  note  of  comedy  was  needed  to  make  the 
public  able  to  bear  it  at  all,  then  Slim  might  have  been  still  plugging 
along  as  "comedy  relief"  with  nary  a  featured  role — let  alone 
stardom  in  the  offing  for  him.  You  see.^  That's  how  things  work 
out  sometimes. 

But  I'd  better  tell  you  right  away  how  it  happened  that  he 
didn't  win  any  medals  in  the  real  War — lest  you  get  a  wrong  im- 
pression. Let  him  tell  it. 


I 


Froulich 


Long,  Long  Ago 

T  was  like  this,"  he  says.   "When  I  was  drafted  and  went 
up  to  register,  the  officer  in  charge  took  one  look  at  me  and 
said,  'My  Gawd!  Look  at  what  we're  getting  now!'  They  wouldn't 
even  take  my  name. 

"I  was  seventy  pounds  under  weight  for  my  height  .  .  .  But 
he  needn't  have  been  so  rude  about  it.  Not  that  I  was  anxious  to 
go  to  war,  you  understand.  I  just  didn't  like  his  tone!" 

One  can  hardly  blame  him.  But  if,  by  any  chance,  Slim  should 
encounter  that  rude  army  officer  to-day,  he  could  make  an  impolite 
gesture  (if  he  were  that  kind  of  a  man)  and  say,  "Yah!  Yah! 
Yah!"  Or  something  like  that. 

For  his  very — er— skinny-ness  is  worth  lots  and  lots  of  big 
round  silver  dollars  to  him  now,  although  to-day  he  is  fatter. 
Hardly  more  than  forty  pounds  under  weight,  I  should  say,  at  a 
rough  guess.  (After  his  remarks  about  that  officer,  I  didn't  like  to 
inquire  the  exact  figures.)  Anyhow,  it  is  a  little  ironic  that  the 
physical  lack  that  kept  him  out  of  the  real  army  is  the  very  thing 
that  marks  him  to-day  as  the  "typical,"  amusing  enlisted  man. 
He  looks  as  the  public  thinks  a  private  should  look.  Which  is 
swell  for  Slim! 

{Continued  on  page  loo) 


70 


The  irrepressible  Gleasons — Russell,  the  son,  and  James,  the  father — can  turn 
their  backs  on  the  camera  any  time  they  went.  Besides  being  active  actors  (they 
marf  h  op  in  "Bovnnd  Victory"),  they  are  able  authors.   Thrir  rx^ns  are  as  ex- 
pressive as  their  pans.  It  is  to  smile! 


Portrait  of  a  man  having 
difficulties  with  his  choler. 
He'd  like  to  cuss,  but  he'd 
better  knot.  Even  the 
walls  have  ears  in  Holly- 
wood, and  if  it  ever  got  out 
that  at  times  he  loses  con- 
trol of  that  Southern  ac- 
cent, how  could  Sidney 
Blackmer  ever  look  him- 
self in   the   face  again? 


72 


Lon^worth 


^hat  Do  You  Mean  -  -"STAR 


Can  Yo  u  Te  1 1  The 
Difference  Between 
Featured  Players 
And  Stars? 


By   JACK  GRANT 


IF  there  is  one  thing  about  which  picture  players  are 
supersensitive,  it  is  this  question  of  stardom.  To  the 
public  at  large,  every  actor  on  the  screen  is  a  "movie 
star."  Newspaper  headline  writers  have  literally  a 
mania  for  the  appellation — particularly,  if  the  rest  of  the 
phrase  is  "Involved  in  Scandal." 

Actually,  there  are  only  forty-four  players  to-day  who 
can  rightfully  be  called  "movie  stars." 

In  the  film  fraternity,  actors  are  as  thoroughly  class- 
conscious  as  the  army-training-camp  officers  were  in  war- 
time. Perhaps  you  remember  how  a  Second  Lieutenant 
would  visibly  swell  when  by  chance  you  called  him  Captain. 
Refer  to  a  featured  player  as  a  star,  and  you  can  get  the 
same  reaction.  But  demote,  however  inadvertently,  an 
established  star  to  the  featured  class  and  your  stock  as  a 
man-about-town  decreases  accordingly.  The  etiquette  of 
proper  designations  would  baffle  an  Emily  Post. 

Generally  speaking,  there  are  five  distinct  classifications 
of  film  acting — namely:  stars,  featured  players,  bit  players, 
extras  and  atmosphere.  The  differences  arc  more  or  less 
academically  defined. 

Stardom  is  officially  conferred  upon  an  actor  only  when 
his  popularity  and  prominence  are  deemed  more  important 
to  tne  box-omce  than  the  title  of  his  current  picture.  The 
difference  might  be  &aid  to  depend  entirely  upon  an  "in" 
or  a  "with."  Thus  when  a  picture  billing  reads  Joe  Doaks 
in  "Svmpath<itic  Sin,"  Joe  is  bein^  starred.  If  the  title 
precedes  Joe's  name  as  "Sympathetic  Sin"  with  Joe  Doaks, 
he  is  only  featured. 

Subtle  Differences 

MANY  featured  players  of  to-day  can 
never  hope  to  attain  star  rating.  Their 
names  in  a  cast  definitely  draw  some  patron- 
age, but  they  have  reached  their  pinnacle. 
Others  are  now  being  groomed  for  approach- 
ing stardom. 

The  line  that  is  hewn  between  featured  and 
bit  players  generally  depends  upon  the  amount 
of   'business"  an  assigned  part  affords.  A 


The  little  words  "in"  and  "with"  tell  the  story. 
Maurice  Chevalier  was  starred  in  "The  Love 
Parade."  Oary  Cooper,  ordinarily  starred,  was  a 
featured  player  in  "The  Spoilers."  Clara  Bow 
was  starred  in  "Love  Among  the  Millionaires" 


LOVE. 
/'PARADL 

V  JtAHEHE 

•  Mac  DONALD 

•       ERNST  [UBITSCH*^ 

REX  BEACH'S 


CARY  COOPER 

MY  JOHNSON  .  BETTY  COM»Mil 


among  the 

MILUONAIRES 


73 


Some  Like  Stardom  - 


-  But  Others? 


I   _^/) 


DOLORES  COSTELLO 

•."®[L®[SD®(!D§  ©S-ffSr 

/^ffMPHdtet         Witt)  CONRAD  NAOEL  .tf^(a4(io. 


"THUR 
APR 


.^kn-^ALL  TALKING  9*^ 

X  MARRIAGE 
PIAYGROUND 

MARY  BRIAN  w  FREDRIC  MARCH  # 


Norma  Shearer's  name  was  several  times  more  at- 
tractive than  "The  Divorcee."  The  names  of  Mary 
Brian  and  Fredric  March  meant  less  than  "The 
Marriage  Playground."  Dolores  Costello  rated 
slightly  more  than  "Glorious  Betsy" 


featured  player  may  find  his  role  cut  to  the  "bit"  classi- 
fication. As  a  salve  to  his  vanity,  the  industry  then  refers 
to  it  as  a  "featured  bit."  A  nice  custom. 

More  often,  however,  the  bit  players  are  the  ones  who 
solve  our  screen  servant  problem,  essaying  as  they  do  the 
characterization  of  butlers,  maids,  valets  and  the  like. 

Then  there  are  the  extras.  They  feel  their  prominence 
in  the  social  scale  as  keenly  as  the  rest.  At  least,  they 
are  on  a  rung  higher  than  just  "atmosphere." 
As  near  as  I  can  gather,  the  distinction  extras  assume 
from  the  mob  rests  in  the  fact  that  they  are  ordered  by 
the  dozen  rather  than  in  carload  lots.  Their  faces  in  a 
cafe  scene  may  be  indistinguishable,  but  at  least  they 
receive  pay  checks  as  individuals.  "Atmosphere"  is 
contracted  for  as  a  group,  acts  as  a  group,  and  are  paid  - 
off  each  day  in  cash — in  a  group.  They  are  merely  the 
crowd  in  the  grandstand  or  the  mob  at  the  castle  gates. 

"Why,"  you  say  at  this  juncture,  "that  isn't  difficult. 
Anyone  with  half  an  eye  can  see  who's  who  in  the  social 
register  of  filmdom.  What's  hard  about  vtV 

Upsetting  the  Formula 

UNFORTUNATELY,  there  are  several  complications 
that  must  be  taken  into  account.  The  A  B  C's  of 
stardom  are  rigidly  observed  in  Hollywood,  but  your  local 
theater  manager  frequently  upsets  the  tradition.  The 
name  of  a  sectional  favorite  means  money  to  his  box- 
office.  He  knows  who  will  draw  the  most  patronage,  so 
he  usurps  the  privilege  of  conferring  stardom  as  he  sees 
fit  in  newspaper  advertising  and  billboards. 

The  most  amusing  instance  I  know  of  such  billing 
occurred  in  the  Negro  section  of  Los  Angeles.  Oscar,  the 
colored  bootblack  at  Paramount,  has  an  enormous  fan 
following  in  this  locality.  Consequently,  a  small  theater 
literally  plastered  the  district  with  handbills  reading: 
"Tonite  Oscar  Smith  in  'Man  Power'  with  R.  Dix." 

More  recently  comes  the  report  of  a  Lynchburg,  Va., 
exhibitor,  who  made  Anita  Page  the  star  of  "Caught 
Short"  and  scarcely  mentioned  Marie  Dressier  and  Polly 
Moran  in  the  advertising.  The  marquee  of  a  Minneapolis 
theater  read  "Mitzi  Green  and  Clara  Bow  in  'Love 
Among  the  Millionaires.'"  Clara  was  lucky  to  retain 
co-stardom. 

The  studios  have  little  control  over  the  situation.  All 
they  can  do  is  to  request  adherence  to  proper  billing.  In 
the  posters  and  advertising  matter  they  distribute  and 
on  the  title  frames  of  the  release  prints,  the  billing  is 
correctly  given.  As  a  matter  of  fact,  in  the  majority  of 
cases  the  credits  are  worked  out  in  percentages. 

For  example,  the  cast  sheet  of  the  Warner  Brothers' 
production  of  "Moby  Dick"  reads  John  Barrymore  ioo%, 
title  75%,  Joan  Bennett  (featured)  50%,  Lloyd  Hughes 
and  other  members  of  the  supporting  cast  20%.  The  director 
generally  receives  20%  billing,  the  author  3%  and  the 
adapter  2%. 

All  of  which  means  that  the  star's  name  in  type  is  to  be 
full-size  and  the  picture's  title  three-quarters,  while  the 
leading  lady's  name  is  only  half  as  large.  The  director's 
billing  varies  according  to  his  box-office  draw.  Ernst 
Lubitsch,  D.  W.  Griffith  and  Cecil  de  Mille  frequently 
take  100%  and  precedence  over  the  picture's  title.  In  a 
number  of  instances  these  qualifications  in  type  per- 
centages are  written  into  the  actor's  contract. 

Now  Starred,  Now  Featured 

TO  become   even   more  involved:    Stars  sometimes 
accept  roles  in  important  productions  and  as  a  re- 
sult receive  only  feature  billing.  Generally  the  cause  of 
(Continued  on  -page  78) 


74 


Ray  Jonn 


If  there  is  one  thing  Ian  Keith  enjoys  giving,  it  is  uniform  performances. 
And  for  his  work  in  "The  Boudoir  Diplomat."  he  gets  a  medal.  That 
war  between  the  sexes,  you  know.  A  master  tactician.  Monsieur  Keith  is 
never  at  a  loss  to  know  how  to  maneuver  his  lines 


75 


Answer  Man 


BETTIE — Rudy  Vallee  was  born  in 
Island  Pond,  Maine,  July  28,  1901.  He  is  of 
French-Canadian  and  Irish  descent.  Real 
name  Hubert  Prior  Vallee.  He  is  five  feet 
eleven,  weighs  162  pounds,  and  has  curly 
blond  hair  and  blue  eyes.  Graduated  from 
Yale  in  1927.  Also  attended  the  University 
of  Maine.  Plays  several  varieties  of  saxo- 
phone, including  the  different  baritone  and 
clarinet,  also  the  drums.  Rudy  is  appearing 
as  Master  of  Ceremonies  at  the  Brooklyn 
Paramount  Theater. 


A  READER— I  recognized  your  writ- 
ing, Miss  Wax.  Sharon  Lynn  was  born 
in  Weatherford,  Texas,  about  twenty- 
three  years  ago.  Joyce  Compton  in 
Kentucky,  twenty-one  years  ago,  she 
has  blonde  hair  and  blue  eyes. 
Maureen  O'Sullivan,  Boyle,  Ire- 
land, May  17,  191 1.  Marguerite 
Churchill,  Kansas  City,  Kansas, 
about  nineteen  years  ago.  The  latest 
growing  figures  show  that  Jackie 
Coogan  shows  that  he  is  five  feet  tall, 
weighs  95  pounds  and  has  dark 
blond  hair  and  brown  eyes.  George 
Bancroft's  latest  picture  is  "Dere- 
lict," Paramount  Studios. 

A.  S. — Barbara  Stanwyck  was 

born  in  Brooklyn,  N.  Y.,  July  16, 
1907.  She  is  five  feet  five,  weighs  1 18 
pounds,  has  auburn  hair  and  dark 
blue  eyes.  Real  name  is  Ruby 
Stevens  and  she  is  married  to  Frank 
Fay.  Latest  picture  "  Illicit."  Mar- 
guerite Churchill,  Kansas  City, 
about  nineteen  years  ago,  she  is  five 
feet  six,  weighs  124  pounds,  auburn 
hair  and  brown  eyes.  Her  hobby  is 
dramatic  art  and  she  is  not  married. 
Robert  Ames,  Beta  Lugosi  and 
Helen  Chandler  have  the  leading 
r61es  in  "Dracula, "  which  is  in  pro- 
duction at  the  Universal  Studios. 

CLAUDIA  DELL  FANS— Miss 
Dell  was  born  in  San  Antonio,  Texas. 
She  attended  school  in  Mexico  for 
several  years  and  finished  at  Main 
Avenue  High  School  in  San  Antonio. 
Went  to  New  York  with  her  aunt, 
Mary  Dell,  well-known  sta^e  player, 
and  obtained  a  position  in  Ziegfeld's 
Follies  as  an  understudy  for  Irene 
Delroy.  A  season  in  London  fol- 
lowed in  which  she  played  in  "  Merry 
Mary."  Her  first  screen  appearance  — 
was  in  "Sweet  Kitty  Bellairs,"  which  Baohrmeh 
was  followed  by  "Big  Boy,"  starring 
Al  Jolson.  Miss  Dell  has  blonde 
hair  and  blue  eyes. 

NORTH  CAROLINA  NIC— You 
refer  to  Ann  Christy,  who  appeared 
in  the  Mack  Sennett  comedy  "Good- 
Bye  Legs."   Ann  was  born  in  Logansport, 
Ind.,  May  31,  1909.    She  is  five  feet  tall, 
weighs  100  pounds,  has  dark  hair  and  eyes. 
Real  name  Gladys  Cronin.    She  has  ap- 
peared in  Century,  Christie  and  Educational 


comedies  and  with  Harold  Lloyd  in 
"Speedy."  Basil  Rathbone's  latest  picture 
is  "Sin  Takes  a  Holiday,"  Pathe  Studios. 
Neil  Hamilton  in  "Network." 

DIXIE  LEE  FANS— Dixie  was  born  in 
Harriman,  Tenn.,  Nov.  4,  191 1.  In  May, 
1928,  Miss  Lee  won  a  Blues-singing  contest 
in  Chica^,  under  the  name  of  Dixie 
Carroll.  This  resulted  in  an  engagement  at 
the  College  Inn  in  Chicago.  This  was 
followed  by  a  r61e  in  the  road  of  "Good 
News."   After  six  weeks  in  that  company 


With  production  finished  on  "Ex-Mistress,"  in 
which  she  played  opposite  Ben  Lyon  who,  ais  you 
should  know  by  this  time,  is  her  husband,  Bcbc 
Daniels  is  lending  her  charms  to  the  Douglas 
Fairbanks  picture,  "Reaching  for  the  Moon" 

she  was  transferred  to  the  New  York  com- 
pany. She  later  signed  a  contract  with  Fox 
Studios  and  took  the  name  of  Lee.  Her  real 
name  being  Wllma  Wyatt,  she  is  five  feet 
three  inches  tall,  weighs  115  pounds,  has 


blonde  hair  and  brown  eyes.  Married  to 
Blng  Crosby  since  Sept.  29,  1930. 

JUNE — Edmund  Lowe  was  born  in  San 
Jose,  Cal.,  March  3,  1893.     After  being 
graduated  with  the  degree  of  master  of  arts 
from  the  Santa  Clara  University  in  his 
native  city,  Mr.  Lowe  studied  law  for  two 
years,  but  he  abandoned  the  legal  profession 
lor  the  stage.   Went  to  San  Francisco  and 
was  soon  engaged  by  the  Alcazar  Stock 
Company.  Then  he  turned  to  the  screen.  In 
addition  to  the  title  r61e  in  "The  Fool,"  he 
played  the  leading  male  rQle  in  "Is 
—        Zat  So,"  "East  Lynne,"  "The  Silent 
Command,"  "In  the  Palace  of  the 
King"  and  numerous  others.    He  is 
six  feet  tall,  weighs  170  pounds,  has 
brown  hair  and  blue  eyes.  Married  to 
Lilyan  Tashman  and  his  latest  pic- 
ture is  "The  Shepper  Newfounder." 
Fox  Studios. 

JEAN — Joan  Bennett  was  born 
in  Palisades,  New  Jersey,  Feb.  27, 
1911.  Daughter  of  Richard  Bennett 
and  Adrienne  Morrison,  sister  of 
Constance  and  Barbara  Bennett. 
Educated  at  Waterbury,  Conn.,  Ver- 
sailles, France.  Specialized  in  music 
and  languages.  Has  appeared  in  two 
stage  productions,  one  opposite  her 
father  in  "Jarnegan."  First  screen 
rdle  in  "Raffles,"  starring  Ronald 
Colman.  She  is  five  feet  two  inches 
tall,  weighs  100  pounds,  and  has 
blonde  hair  and  blue  eyes.  Appearing 
in  "Scotland  Yard,"  Fox  Studios. 

MARGARET— Renee  Adoree  was 

born  in  Lille,  France,  about  twenty- 
eight  years  ago.  She  is  five  feet  three, 
has  dark  hair  and  eyes.  Lawrence 
Gray,  San  Francisco,  Cal.,  July  27, 
1898,  five  feet  ten,  weighs  160  pounds, 
brown  hair  and  green  eyes.  You're 
wrong,  he  is  not  married.  Ralph 
Forbes,  England,  Sept.  30,  1898,  six 
feet  tall,  blond  hair  and  blue  eyes. 
Married  to  Ruth  Chatterton  and  is 
appearing  in  "Beau  Ideal." 

MARION— Remember  the  Scotch- 
man who  tried  to  buy  a  seven-passen- 
ger Austin?  Robert  Ames  was  born 
m  Hartford,  Conn.  He  is  five  feet 
ten,  weighs  155  pounds,  has  blond 
hair  and  olue  eyes.  Mr.  Ames  entered 
pictures  in  1925  and  has  appeared  in 
the  following — "The  Wedding  Song," 
"Three  Faces  East,"  "Voice  of  the 
City,"  "Rich  People,"  "The  Tres- 
passer," "Nix  on  Dames,"  "A  Lady 
to  Love,"  "Not  Damaged,"  "Double 
Crossroads,"  "Holiday,"  "War 
Nurse"  and  "Dracula."  Married  to 
Marlon  Oakes. 


FLOSSIE — Marie  Frevost  hails  from 
Sarnia,  Canada,  and  has  a  birthday  on  Nov. 
8.  She  is  five  feet  four,  about  125  pounds, 
(Continued  on  page  106) 


76 


7J  -rp-rr 


Mrs.  Ruth  D.  Maurer  of  New  York 

distinguished  exponent  of  beauty  culture 


tells  you  how  to  keep  that 
schoolgirl  complexion 


THCRi:  S  xarcdy  a 
beauty  !i|x.-cialiM  in 
all  America  who 
doesn't  know  the  name 
of  Mrs.  Ruth  D. 
Maurer;  Mrs.  Maurer, 

for  years  an  outstandmg  Ainincan  leader  in  beauty  culture, 
graduated  some  HO.OOO  pupils!  Her  influence  is  felt,  her 
opinion  respeaed,  wherever  beauty  theory  is  taught.  'Tell  us," 
wc  asked  Mrs.  Maurer,  "a  ^(mkI  plan  for  keeping  yoiiili  and 
beauty  ...  an  ea^y  plan  and  unc  dut  every  woman  can  follow." 

FiTit,  consult  an  exprrt 

"Well — first  of  all,"  she  replied,  "find  a  beauty  specialist 
in  whom  you  have  confidence 
and  ^et  into  the  habit  of  con- 
sulting her  regularly.  That  is 

every  bit  as  necessary  as  the  ^(f^^^^B      _j  i 

proper  home  care. 

"Then,  learn  a  few  plain 
truths  about  yourself.  'ITiis,  for 
instance:  that  your  skin  must 
be  kept  thoroughly  clean  if 
you  want  to  keep  that  sihtNil 


girl  complexion!" 

"And  what,"  we 
wanted  to  know,  "do 
you  consider  the  best 
w.iy  to  keep  the  skin 
clean.''" 

"Personally.  Mrs.  Maurer  anss^ercd,  "I  consider  Falmolivc 
Soap  a  primary  aid  in  attaining  a  lovely  skin  because  I  am  a 
firm  believer  in  the  virtues  of  olive  oil  for  beauty  cleansing — 
and  Palinolive.  as  you  know,  is  made  of  olive  and  palm  oils.  ' 

Mrs.  Maurer,  of  course,  advises  Palmolivc  together  with 
the  various  creams  and  cosmetics  which  she,  herself,  manufac- 
tures for  she  is  today  president  of  a  well-known  cosmetics 
firm  and  an  outstanding  authority  on  beauty  produas. 

"When  you  use  Palmolive,"  says  Mrs.  Maurer,  "work  its 
lather  gently  into  the  skin  of  faie  and  throat  with  your  hands 
or  with  a  soft  cloth;  then  rinse  with  both  warm  and  cold 
water  before  applying  make  up.  " 

And — since  Palmolive  costs  only  lU  cents  the  cake — it  is 
advi.scd  (and  used)  for  the 
bath  as  well.  To  keep  that 
schoolgirl  complexion  act  on 
cx[Hrf  advice.  Use  Palmolive. 


U  MOLIVE  RADIO  IIOtfR  HiolKmi  c*cry  «'nJfir»ti<y  i»«hi  -  Irum  y  H)  lu  >u  r  m.. 
'(TW.  ■  40  III  V  U)  p  m  (  r III  11 1  iiiMr.  7  )0  lu  M  JO  p.  in  .  Mounuin  timr,  6  )0  lo  ^0  p  m., 
Ki  c  rn.      .,,.\xi  VI  .    I      iijiuMii  iMwUicii  wiih  The  Ntliood  nrcwJiuiiiviC.tiinpiny. 


What  Do  You  Mean  - -"STAR"? 


of  such  procedure  is  what  has  become  known 
as  "blind  booking." 

At  the  beginning  of  the  film  season,  to  be 
exact,  in  June,  each  studio  announces  a 
schedule  of  the  year's  releases.  The  full 
product  is  seldom  definitely  chosen.  So  it 
is  announced  by  RKO,  for  example,  that 
Richard  Dix  will  make  a  trio  of  starring 
vehicles.  None  of  the  titles  are  given.  The 
pictures  may  not  even  have  been  selected. 
The  RKO  sales  force  have  only  this  infor- 
mation to  work  with  as  they  make  the 
rounds  of  exhibitors.  They  sell  the  three 
Dix  releases  solely  upon  the  basis  of  his 
popularity  as  a  star. 

Then  the  studio  acquires  the  screen  rights 
of  "Cimarron,"  a  best -seller  by  Edna  Fer- 
ber.  They  budget  a  million  and  a  half  dol- 
lars for  production.  It  becomes  a  "special." 
Richard  Dix,  it  is  decided,  is  the  logical 
actor  to  play  Yancey  Cravat.  But  three  Dix 
starring  pictures  have  been  sold  at  program 
prices.  RKO  must  have  higher  rentals  from 
the  larger  city  theaters  in  order  to  make  a 
profit  on  their  heavy  production  investment. 
Dix,  therefore,  is  featured,  not  starred,  in 
"Cimarron."  Previous  contracts  are 
not  violated.  The  day  is  saved. 

Bebe  Daniels  played  "Rio  Rita" 
and  "Dixiana"  under  featured  in- 
stead of  star  billing  in  like  cir- 
cumstances. Norma  Shearer  for 
sook  stardom  for  her  r61e  ir 
"The  Trial  of  Mary  Du- 
gan."  Gary  Cooper  is  only 
featured  in  "The  Spoilers." 

She  Declines,  With 
Thanks 

STELLAR  promi- 
nence is  usually 
highly  sought-after  of 
course,  but  Marie  Dressier, 
for  one,  will  have  none  of  it. 
M-G-M  recently  announced  that 
Marie  would  be  starred.  Miss 
Dressier  declined  with  thanks. 
If  it  was  just  the  same  to  the  studio, 
she  would  prefer  playing  the  parts  she 
liked,  however  small.    According  to 
the  Dressier,  this  business  of  being  a 
star  cramps  one's  style. 

Which,  I  imagine,  brings  us  to  the  advan- 
tages of  stardom,  if  any.  Naturally,  there 
are  some  special  privileges  accorded  the 
chosen  few.  Their  dressing-rooms,  for  one 
thing,  are  more  elaborate.  A  cubbyhole  in 
the  main  building  no  longer  suffices  for  their 
make-up  mirrors.  Nothing  short  of  a  suite 
of  rooms,  often  an  entire  bungalow,  can  now 
meet  their  needs.  If  you  doubt  me,  look  at 
the  sumptuous  quarters  built  for  Will  Rogers 
at  the  Fox  Hills  Studio.  Incidentally, 
Rogers  is  the  only  player  currently  on  the 
Fox  lot  who  is  granted  star  billing.  Vice- 
President  "Winnie"  Sheehan,  I  am  told, 
does  not  believe  in  stars.  To  his  mind,  the 
picture  is  the  thing. 

I  have  heard  of  one  young  lady  who  cried 
when  her  studio  elevated  her  to  stardom. 
I  cannot  pretend  to  know  what  was  in  her 
mind,  but  I  can  augur  a  guess.  Perhaps  she 
was  thinking  of  the  notably  short  span  of 
popularity  that  marks  the  average  star's 
professional  life.  A  featured  player  can  con- 
tinue working  indefinitely  in  supporting 
r61es.  Lesser  players  grow  old  gracefully, 
their  assignments  changing  step  by  step  to 
fit  their  years.  Not  so  a  star. 

The  eyes  of  the  whole  world  are  on  the 
star.  His  or  her  name  draws  the  public  to 
the  box-office.  If  the  play  is  poorly  pro- 
duced, ineptly  fitted  to  the  star's  talents, 
or  for  any  other  reason  fails  to  please,  only 
one  person  is  blamed — the  star.  After  two 
or  three  such  mediocre  productions,  popu- 

78 


(Continued  from  page  74) 

larity  is  impaired;  and  the  producer,  looking 
over  his  records  of  box-office  receipts,  says, 
"So-and-so  isn't  drawing  the  business  any 
more.  We  won't  take  up  her  option  next 
month."  The  queen  is  dead,  long  live  the 
queen. 

For  the  fans  make  stars  and  take  stardom 
away.  The  star  system  began  when  the 
public  demanded  the  names  of  the  then  un- 
identified favorites  in  the  old  Biograph  days. 


Mary  Pickford  (right)  was  the  first  star. 
Richard  Barthelmess  (left)  and  Marion 
Davies  (top)  are  always  greater  than  their 
pictures.  Will  Rogers  (bottom)  is  the  only 
Fox  star 


The  personality  hidden  by  the  producer  as 
the  "Biograph  Girl"  was  revealed  as  Mary 
Pickford,  first  lady  of  the  films. 

They  Have  to  Be  Good 

A LOT  of  twaddle  is  talked  about  put- 
ting one  or  another  personality  over 
with  the  public.  Intelligent  handling  of  bud- 
ding stars  helps  them  on  to  their  goal,  of 
course,  but  not  even  the  millions  of  a  How- 
ard Hughes  could  make  the  public  lionize 
an  uninteresting  individual.  People  simply 
refuse  to  pay  good  money  to  see  someone 


they  do  not  want  to  see.  Curiosity  may 
draw  them  once  or  twice  to  determine  why 
all  the  publicity.  Curiosity  satisfied,  inter- 
est lags. 

Producers  pretend  to  rail  against  the  star 
system.  Yet  they  continue  to  import  per- 
sonalities from  the  stage,  musical  circles, 
sporting  life  and  other  lines  of  endeavor, 
hoping  to  make  movie  stars  of  them.  Often 
these  individuals  are  accorded  stardom  in 
their  initial  appearances.  Thus  Hollywood's 
list  of  official  stars  is  temporarily  increased 
by  such  names  as  John  McCormack,  Paul 
Whiteman,  Harry  Richman,  Rudy  Vallee, 
Dennis  King,  the  Four  Marx  Brothers, 
Cyril  Maude,  Moran  and  Mack,  "Red" 
Grange  and  "Babe"  Ruth.  Some  of  them 
may  again  make  starring  features  in  Holly- 
wood, but  their  names  do  not  belong  on  the 
official  roster. 

On  the  list  of  forty-three  that  accom- 
panies this  article,  only  Amos  'n'  Andy  of 
radio  fame  have  yet  to  prove  their  screen 
starring  mettle. 

To  my  definite  knowledge,  at  least  ten 
names  will  be  added  to  our  list  in  the  near 
future.    Walter  Huston  will  be  co- 
starred  with  Dolores  Del  Rio  in  his 
next  picture  for  United  Artists.  After 
which  his  contract  calls  for  solo  star- 
ring vehicles.    Eddie  Cantor  is 
to  be  starred  by  Samuel  Gold- 
wyn  in  at  least  one  picture  a 
year  for  the  next  five  years. 
Stardom  will  be  conferred 
on  Evelyn  Laye  in  her  first 
Goldwyn  feature. 

Joan  Bennett  is  sched- 
uled by  United  Artists 
to  star  in  "Smiling 
Thru"  and  Chester  Morris 
will  be  afforded  stellar  bill- 
ing in  his  next  after  "The 
Bat  Whispers."    Dorothy  Mac- 
kaill  will  be  reinstated  to  star 
rating,  following  her  return  to 
the  First  National  banner.  That  com- 
pany is  also  contemplating  starring 
Loretta  Young,  Winnie  Lightner  and 
Joe  E.  Brown.  Lupe  Velez  is  the  fore- 
most bet  at  Universal. 

Looking  Over  the  Field 

HERE  is  little  doubt  that  those  ten 

 names    will  soon  augment  our  slim 

roll  call  of  forty-three.  If  I  were  asked — 
though  I  haven't  been — to  name  the  dozen 
featured  players  of  to-day  who  stand  in  line 
for  stardom,  my  guess  would  be  Helen 
Twelvetrees,  Claudette  Colbert,  Jeanette 
MacDonald,  Kay  Francis,  Marlene  Dietrich 
and  Kay  Johnson;  and  among  the  men, 
Charles  Ruggles,  Clive  Brook,  Robert  Mont- 
gomery, Lowell  Sherman,  Charles  Bickford 
and  John  Mack  Brown. 

It  may  be  noted  that  none  of  the  players 
just  mentioned  are  of  the  Fox  contract  lists. 
As  previously  stated,  the  powers  that  be  at 
Fox  studios  do  not  believe  in  stardom.  Be- 
cause of  this  opinion,  Janet  Gaynor,  Charles 
Farrell,  Warner  Baxter,  Victor  McLaglen, 
and  Edmund  Lowe  are  rated  only  as  fea- 
tured players.  Elsewhere  they  would  be 
stars. 

But  despite  individual  prejudices  against 
it,  the  star  system  will  endure  in  Hollywood. 
The  name  of  an  established  favorite  draws 
you  to  the  box-office  more  often  than  the 
title  of  a  picture.  It  isn't  what  is  being 
shown  at  your  neighborhood  theater,  it's 
who  is  playing  there  that  attracts  your  at- 
tention. You  say,  "Let's  go  to  see  Greta 
Garbo  in  'Romance.'"  You  seldom  say, 
"Let's  go  to  see  'Romance.'" 

These  observations  are  not  my  personal 
{Continued  on  page  loi) 


""Xkis  Ckristmas  worry  is  so  silly... 
just  give  Seventeen  to  everyone'' 


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wouUn  t  love  iSeventeen  for  Ckristmas? 
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kave  It  in  Face  Powder  too  .  .  .  an  J  even 
in  your  compact!  In  fact,  I  tkink  tliose 
tkree  would  ke  a  perfect  Ckristmas  91ft. 


ice  Wkite. 


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Clirijtmai  sliuupcri  —  )ierc'( 
Oarol — June  Oullycr — and  All 

Tl>e<e  tliree  know  wKal  girlj  like.  TKey  know  the 
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moods  of  aSeventeen. 


ut  perhaps  you  want  to  give  a  more 

n^^^l    1          r"-!!          -_J    Al-  -  ■wi 


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id 


fmartness  and  colorful  cWarm  iKat  gu  straight  to  every 
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The  Ptrjume 
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Socket 
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Rrtlia  nttne 

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$1.00 


79 


The  Man  You  Hate  To  Love 


One  would  assume,  however,  that  the 
suave  Casanova  of  stage  and  screen  would 
be  at  least  a  wee  bit  evil  off  the  stage  and 
screen.  It  isn't  quite  sporting  of  Mr.  Sher- 
man to  be  a  decent  sort.  It  really  isn't. 

One  might  justifiably  be  pardoned  for 
supposing  his  intentions  to  be  just  the  least 
bit  dishonorable.  Not  at  all.  I  am  afraid;  I 
am  very  much  afraid,  that  Mr.  Sherman 
Means  Well.  To  smash  the  Golden  Calf  of 
Mr.  Sherman  still  more  completely,  I  must 
even  go  further  and  state  that  all  the  prob- 
abilities point  to  the  fact  that  he  Does  Well. 

To  be  evil  seems  to  be  the 
farthest  thought  from  that  adroit 
mind.  Perhaps  he  has  been. 
That  sinister  straw,  at  least,  we 
may  salvage  from  the  wreck  of 
Mr.  Sherman.  For  he,  too,  has 
the  flavor  of  one  who  has  not 
spent  his  life  in  Sunday  School. 
His  ingenuous  pleasure  in  ingen- 
uous things  may  come,  now,  as  a 
robust  reaction  from  less  whole- 
some fare.  Who  knows?  He  is 
not  widely  communicative.  He 
prefers  to  discuss  the  technicali- 
ties of  his  job  and  the  pleasure  of 
working  for  Mr.  Le  Baron,  rather 
than  the  precise  shade  of  gray, 
black  or  white  of  his  own  well- 
manicured  soul. 

But  viewing  him  as  a  mummer 
only,  I  still  contend  that  we  have 
the  right  to  suppose  his  interests 
to  lie  amon^  the  more  decadent 
pleasures,  his  thrills  to  be  spiced 
with  the  condiments  of  the  erotic 
epicure.  But  viewed  as  a  man, 
denuded  of  grease-paint,  garde- 
nia and  top  hat — not  at  all.  Un- 
der that  impeccable  exterior — 
and  it  is  just  as  impeccable'ofF  as 
on,  hug  that  to  your  barren 
bosoms — there  beats  the  enthu- 
siastic heart  of  the  easily  en- 
chanted child.  Which  is,  if  you 
but  knew  it,  your  true  sophisti- 
cate. For  only  those,  says  Mr. 
Sherman,  who  are  very  stupid, 
or  only  those  who  are  preposter- 
ous poseurs,  can  ever  be  bored, 
cynical  or  disillusioned. 

In  addition,  he  maintains  that 
there  are  only  two  foods  in  the 
world  worth  eating.  One  is  ham- 
and-eggs.  The  other  is  caviar. 
Therein  lies  his  rich  and  mellow 
philosophy  of  life.  The  consum- 
mate epicure  savors  both  and 
finds  both  good — at  times.  Dif- 
ferent times. 

He  believes,  does  this  soigne  gentleman, 
in  the  femininity  and  domesticity  of  woman. 
Domesticity,  he  says,  is  what  a  man  marries 
for.   What  else?  What,  indeed? 

He  believes  in  the  economic  independence 
of  woman,  providing  the  woman  does  not 
have  to  be  independent.  Then,  he  says,  a 
inan's  pride  might  suffer  and  things  go 
flooey,  dear.  But  every  woman  should  have, 
at  least,  an  avocation.  An  interest.  Even 
if  it  chanced  to  be  paper-hanging.  It  would 
be  odd,  dear,  if  your  little  wi^  should  crave 
to  express  herself  via  paper  hanging.  But 
if  such  should  be  the  case,  your  duty  would 
be  to  develop  this  talent,  even  though, 
being  of  commoner  clay,  you  might  not  be 
able  to  follow  her  up  so  high  a  ladder. 

And  such  delightful  nonsense.  .  . 

Surely,  Michael  Arlen  "wrote"  Lowell 
Sherman.  .  . 

Mr.  Sherman  laughs,  a  robust  laugh  it  is, 
too,  when  you  ask  him  if  he  is  a  cynic, 
world-Weary,  disillusioned.     Not  even  to 


{Continued  from  page  51) 

please  a  lady  with  a  hang-dog  expression 
will  he  admit  to  any  of  these  faded  char- 
acteristics. 

On  the  contrary,  he  still  believes  in  Santa 
Claus,  adores  presents  (especially  when  they 
are  tied  up  with  paper  and  string),  and 
would  murder  anyone  who  opened  a  Christ- 
mas gift  of  his  before  the  Yule-tide  dawned. 
He  didn't  say  that  he  hangs  his  sock  up  by 
the  fireplace,  but  nothing  could  surprise  me. 
Least  of  all,  that. 

He  is  no  skeptic.  He  believes  in  marriage, 
nor  could  he  be  disillusioned.    He  admits 


Freulich 

O,  it's  always  dry  weather,  when  good  fellows  get  together:  Harry 
Langdon  and  Slim  Summerville  as  two  citizens  who  are  no  addi- 
tions to  the  pop  elation  in  "See  America  Thirst" 


that  it  is  a  gamble,  but  so  is  everything. 
Going  up  in  aeroplanes.  Poker.  Bootleg- 
gers. Things.  Nothing  is  certain.  There 
are  always  earthquakes. 

And  he  says,  "If  you  go  to  Caliente  or  to 
Monte  Carlo,  you  gamble  and  lose  or  you 
gamble  and  win.  In  either  case,  you  gamble 
again.  Why  not  apply  the  same  principles 
when  you  are  playing  for  higher  stakes?" 

When  Mr.  Sherman  goes  abroad,  he  does 
all  the  things  the  best  Cook's  Tourists  do. 
He  is  very  sorry  if  it  causes  pain  or  incre- 
dulity. It  remains  a  fact. 

He  stands  before  the  Tower  of  London 
and  wants  to  know  the  exact  spot  where  the 
Two  Little  Princes  were  mur-dered.  He 
goes  to  the  Cheshire  Cheese  and  sits  in  the 
chair  once  occupied  by  Charles  Dickens  and 
feels  little  literary  shivers  go  up  and  down 
his  sp-ine.  He  walks  in  Kensington  Gardens 
and  a  little  white  bird  keeps  him  company. 
When  in  Paris,  he  stands  with  bared  head 
at  the  tomb  of  Napoleon  and  stares  at  the 


Eiffel  Tower  and  says  "My,  my!"  with  the 
rest  of  us. 

He  and  Helene  love  to  go  to  funny  little 
places  and  eat  hot  dogs  and  hamburgers. 
They  have  favorite  little  places  where  they 
eat  h.ds  and  hs.  Helene  likes  hamburgers 
and  Lowell  likes  hot  dogs  and  this  is,  to 
date  the  only  fundamental  point  on  which 
they  have  differed. 

He  says  he  has  a  sense  of  the  grotesque^, 
but  Helene  has  a  sense  of  humor.  ji 
He  is  extremely  uxorious.  He  loves  ta' 
talk  about  the  Little  Woman.  He  narrates 
with  pride  how  she  always  looks 
as  if  she  had  stepped  forth  fresh 
from  the  well-known  band-box; 
how  she  can  motor  for  miles,  all 
in  spotless  white,  as  spotless 
when  she  reaches  her  destination' 
as  when  she  set  out  for  it;  how 
she  orders  the  maids  about  in 
their  hotel  suite  and  "keeps 
house"  no  matter  where  she  may 
be;  how  they  take  trips  to  Santa 
Barbara  together  and  play  prac- 
tical jokes  and  are  goofy. 

He  wants  to  build  a  home, 
raise  flowers  and  children,  read 
books. 

He  loves  to  go  to  Venice  (Cal. 
and  other  amusement  parks  and 
shoot  little  painted  guns  at  funny 
targets  and  win  a  pound  of  tea. 
He  adores  to  ride  on  merry-go- 
rounds  and  chute  the  chutes  and 
have  his  fortune  told  and  guess 
weights. 

He  says  that  no  one  can  make 
sandwiches  for  him  but  himself. 
Sandwiches,  he  maintains,  are 
importatit.  They  are  one  of  the 
things  of  life  that  can  be  either 
dire  or  delicious.  He  is  very  seri- 
ous about  sandwiches. 

He  says  he  is,  really,  only  in- 
terested in  his  own.  His  own 
people.  He  likes  to  be  kind,  to 
Do  Good,  but  only  after  his  Own 
are  taken  care  of. 

He  thinks  unselfishness  can 
be,  and  often  is,  more  of  a  vice 
than  a  virtue. 

Mr.  Sherman  was  discouraged 
with  Hollywood  and  with  hmi- 
self  in  Hollywood  a  while  back. 
He  felt,  however,  that  if  They 
persisted  in  paying  him  an  in- 
credible salary  for  wearing  last 
year's  dress-suit  and  cockmg  a 
significant  eyebrow,  who  was  he 
to  say  them  nay?  None  the  less, 
he  felt  bored.  He  felt  that  he 
wasn 't  getting  anywhere.  It  was  all  rather 
silly,  dear.  Then  Bill  Le  Baron  of  R.K.O. 
sent  for  him  and  Hollywood  turned  a  dif- 
ferent profile.  One  with  contour.  Purpose. 
Meaning.   Intelligence.  Opportunity. 

He  says,  "  Ruth  Chatterton  and  I  are 
our  oldest  friends." 

He  feels  sorry  for  the  little,  unwise  Clara 
Bows  and  Alice  Whites.  He  thinks  they  are 
far  more  to  be  pitied  than  scorned. 

He  disagrees  with  an  eminent  director 
who  once  rated  the  intelligence  of  the  fan 
public  at  nine  years  of  age.  Mr.  Sherman 
says  it  is  thirty  years  of  age.  Mature. 
Discriminating. 

He  loves  clothes.  He  always  wears 
white  suede  gloves.  The  roughish  kind. 
He  buys  them  in  London  because  they  are 
cheaper  there,  dear,  if  you  must  know.  He 
keeps  pairs  secreted  about  the  house  so  he'll 
surprise  himself  and  have  a  fresh  pair  when 
he  needs  'em.  He  dotes  upon  surprises,  even 
if  he  has  to  give  them  to  himself. 


80 


Just  as  EASYas  it  looks 


o 

 \ 

\ 

\ 

9 


to  become  a  popular  musician 
this  delightful,  simple  as  A-B-C  way 


ST(JP  cheating  yourself  out  of 
musical  good  times.  Stop  think- 
ing that  learning  music  is  nothing 
but  one  grinding  session  of  monoto- 
nous exercises  and  harsh-sounding 
sc.iles  after  another  .  .  .  days,  months 
and  years  of  difficult  technique  and 
dry-as-dust  theory  under  the  thumb 
of  a  private  teacher. 

Don't  let  others  talk  you  into 
believing  any  such  thing.  It's  ridic- 
ulous— absolutely!  And  we've  al- 
dy  proved  it  to  the  complete  sat- 
iction  of  over  600,000  enthusias- 
tic students  who  have  learned  to  play 
their  favorite  instrument  right  at 
home — without  a  teacher. 

You're  Never  in  Hot  Water 

1  ake  a  lcK)k  at  the  above  diagram. 
Looks  easy,  doesn't  it?  Well,  it's 
every  bit  as  simple  as  it  looks, 
first  a  note — then  a  letter.  Plenty 
of  clear  instructions  lell  you  how 
each  bar  is  played — lots  of  diagram 
pictures  show  you  how,  then  you 
do  it  yourself  and  hear  it.  Every- 
thing to  make  learning  a  joy. 
Nothing  to  make  you  lose  patience. 
No  headaches.  In  fact,  the  1*.  S. 
Schot)l  of  Music  has  made  the  read- 
ing and  playing  of  music 
so  simple  that  you  don't 
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from  another  to  begin. 


Play  Real  Tunes 
From  the  Start 

Your  first  thrill  comes 
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son. For  you  are  given 
.1  pi»-(  (•  with  a  real  melody 
to  play  by  actual  notes. 
Dreamy  waltzes,  heart- 


PICK  YOUR 


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throbbing  ballads,  stirring  marches, 
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Play  the  "Blues"  Away 

How  can  you  be  content  to  sit  around 
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do  all  the  playing— hear  them  receive 
all  the  compliments— see  them  showered 
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the  latest  syncopation.  Experience  the 
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Don't  be  afraid  to  begin 
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violin 
Clarlnal 
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Saaophon 
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Mandolin 
-Callo 


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Add  rr^< 
City 


.Sute 


81 


Around  the  World 


Broke 


(Continued  from  page  52) 


tered  here  and  there,  huddling.  You  couldn't 
whine  about  being  broke  in  \'ladivostok. 
You  couldn't  holler  about  so  simple  a  pre- 
dicament, when  you  saw  the  things  you  did 
see  and  heard  the  tales  you  heard.  When 
you  lived  amidst  it  all — people  who  had  lost 
everything  and  would  never  have  anjlihing 
again.  Because  their  spirits  were  crushed 
and  dry,  and  their  hearts  were  broken,  be- 
yond repair. 

John  came  back  from  the  War  with  not 
a  scratch  —  on 
his  body.  The 
bruises  on  his 
mind  and  soul 
are  his  own 
affair. 

He  was 
wanted  at  home. 
The  family  still 
clung  —  less 
loudly,  but  still 
persistently— to 
the  hope  of  tex- 
tiles. John  was 
softened  toward 
the  family  and 
familiar  things. 
He  decided  to 
give  it  a  try  and 
went  to  the 
North  Carolina 
Engineering 
College  to  study 
textile  engineer- 
ing. He  stayed 
one  month. 

He  couldn't 
go  it  any  more 
than  he  had 
been  able  to 
go  the  various 
schools.  It  bored 
him.  It  didn't 
make  sense.  It 
w-asn't  life,  as  he 
had  felt  it  once 
and  as  now  he  knew  it.  He  still  remembered, 
with  a  faint  nausea,  the  pale  little  stunted 
boys  he  had  seen  in  the  mills  at  home.  He 
couldn't  work  up  the  spirit  of  living  and 
dying  for  dear  old  Alma  Mater.  He  de- 
parted again  for  New  York.  The  family 
purse-strings  were  sharply  severed.  He  was 
broke  again. 

John  "stopped"  at  the  Mills  Hotel.  He 
not  only  stopped  there,  he  slung  hash  in  the 
cafeteria  of  that  hostelry,  phenomenally  in- 
expensive and  for  men  only.  He  waited  on 
"their  Majesties,  the  Bums."  He  found 
that  while  gents  are  frequently  bores  and 
boors,  bums  are  frequently  pretty  good 
fellows — and,  when  they  can  be,  lavish 
with  tips.  It  was  also  possible,  now  and 
then,  to  hand  some  down-and-outer  a 
feed  and  forget  to  collect  for  it.  That  was 
life. 

John  slung  sodas  for  a  while  in  Page  and 
Shaw's.  And  fell  in  love  with  the  hostess. 
He  stayed  in  love  with  her  for  three  years 
and  would  have  married  her,  if  it  hadn't 
been  for  the  fact  that  he  couldn't  seem  to 
work  very  long,  or  very  steadily,  not  even 
when  it  came  to  working  in  the  close  proxim- 
ity of  the  Dear  One. 

Ambition  Comes  Along 
E  chauffed  for  a  while.  Cars  for  rental 
service. 

Then  he  got  ambitious  and  landed  a  job 
fn  Wanamaker's.  selling  gents'  clothing. 
Ambition  soared  and  he  went  to  Macy's  to 
study  merchandizing. 


While  he  was  in  Macy's,  on  the  very  verge 
of  boredom,  and  still  broke,  Bijou  Fernandez 
came  scouting  for  the  Paramount  School. 
He  had  once  met  her  socially.  She  suggested 
to  John  that  he  become  a  movie  actor.  That 
was  one  thing  he  had  never  thought  about. 
And  as  he  hadn't  thought  about  it  before 
and  as  it  was  daubed  with  colors  he  had 
never  tried  before,  it  sounded  jake.  He  for- 
got about  it  again  for  several  months  and 
then  remembered  it  again.  Tests  were  made 


H 


p.  *•  A.  Photos 

Who  said  "barnyard  golf"?    This  is  "Pasture  Pool,"  and  is  Hollywood's  newest  discovery. 
First,  you  use  your  club  as  a  billiard  cue,  then  as  a  golf  stick.    The  hazards  are  barnyard 
beasts,  which  squawk  reedistically  when  the  balls  roll  down  their  throats  to  the  greens 


of  him.  They  were  rotten.  More  tests  were 
made.  They  were  even  rottener.  Things 
were  said  about  him.  He  was  wrong,  they 
told  him,  wrong  from  every  angle,  in  every 
way  a  man  could  be  wrong.  Nobody  had 
ever  been  wronger. 

Says  John,  "They  rather  oversold  me. 
Nobody  could  be  as  rotten  as  that.  I  de- 
cided then  and  there  that  I'd  be  an  actor. 
Not  because  I  was  encouraged — because  I 
was  squashed.  I  swore  an  oath  that  I'd  give 
myself  twelve  months  to  the  very  day.  If 
by  that  time  I  hadn't  succeeded — well,  it's 
a  big  world  to  be  broke  in." 

John  played  about  as  an  extra.  Nobody 
paid  much  attention  to  him.  The  middle 
of  the  twelfth  month  was  upon  him.  The 
last  week.  The  last  day.  As  if  written  for 
an  0.  Henry  ending,  on  the  very  last  day 
John  landed  a  contract  with  Fox  and  was 
sent  to  the  West  Coast. 

Broke — and  a  Breakdown 

'E  landed  in  Hollywood — broke.  He 
made  "Rich,  But  Honest"  and  "The 
Secret  Studio"  with  Olive  Borden.  And 
then  he  had  a  nervous  breakdown,  compli- 
cated with  make-up  poisoning.  His  system 
suffered  from  the  breakdown  and  his  face 
from  a  violent  rash.  He  finished  the  job 
completely  by  flooding  his  brain  with  blood. 
They  wired  his  mother  to  come  West  to 
spare  them  the  trouble  of  burying  him.  She 
did — but  he  fooled  them.  They  operated. 
An  operation  never  before  successful.  .  .  . 
"And  perhaps  it  wasn't  successful  with 


Secret 


me.  I'm  probably  crazy,  but  it's  comfort- 
able not  to  know  it." 

John's  family  left  him  with  the  idea  of 
buying  an  orange  grove  and  settling  down. 
They  offered  to  finance  it,  once  he  had  found 
his  spot.  He  motored  all  over  Southern 
California  and  had  a  gorgeous  time  looking 
at  groves.  And  then  he  got  a  call  from 
Henry  King  at  Inspiration  Pictures  to  make 
"She  Goes  to  War."  He  had  been  told  not 
to  work  for  seven  months.  He  had  been 
out  of  the  hos- 
pital scarcely 
seven  weeks. 

He  says,  "I 
w  a  s  probably 
goofy  during  the 
entire  making  of 
the  picture,  the 
hardest  one  I've 
ever  had  to 
make. They  rode 
me  like  the  dev- 
il. Every  day,  I 
expected  my 
brain  to  go  blot- 
to again.  I'm 
still  expecting 
it." 

After  which, 
John  made 
"  Black  Magic," 
"College  Co- 
quette," "Hell 
Harbor,"  "Guil- 
ty" and  "Eyes 
of  the  World." 
He  doesn 't 
know  what  he'll 
do  next.  He's 
broke  at  the  mo- 
ment. He  won't 
be  long — for  his 
step-father  re- 
cently died  and 
left  him  enough 
to  keep  him  a 
long,  long  way  from  ever  being  broke  again, 
whether  he  works  or  not. 

Not  So  Good  in  Hollywood 

BEING  broke  the  world  wide  over  has 
given  John  the  shape  and  feel  of  people. 
New  Yorkers  are  kind.  In  V  ladivostok  it 
didn't  matter.  In  Hollywood  it's  not  so  good. 
When  you  have  a  contract  and  your  health, 
you  are  hailed  at  every  turning  with  "Hello 
there,  how's  things?"  When  you  lose  your 
contract  and  your  health — and  if  you  lose 
one,  you  lose  the  other — people  suffer  from 
failing  eyesight. 

"None  of  which,"  says  John,  "matters  to 
me.  People  do  not  matter  to  me.  Collec- 
tively, I  mean.  Public  opinion  doesn't  mat- 
ter to  me.  I  can  bear  it  equally  well — when 
people  want  to  'know'  me  and  when  they 
don't.  I  can't  say  that  I  am  entirely  self- 
sufficient.  But  three  or  four  friends  to  share 
things  with  are  enough. 

"Brains  are  the  only  things  in  the  world 
that  really  interest  me — for  long.  There  are 
not  so  many  in  the  world.  People  say  that 
actors  are  particularly  deficient  above  the 
eyebrows.  Taking  the  world  as  I've  found 
it,  by  and  large,  I  should  say  that  this  de- 
ficiency is  general.  Ronald  Colman  and 
Bill  Powell — nothing  wrong  with  their  cere- 
bral processes,  either  in  quantity  or  quality. 
And  Gloria  Swanson — great.  There  is  a  girl 
who  has  been  down  more  often  than  anyone 
else  in  the  business.  But  she  always  comes  up 
and  each  time  greater  than  she  was  before. 
{Continued  on  page  gj) 


82 


Colds  and 

Cougns  spoil 


Talkie''  Films 


. .  so  Stars  End  Colds  Quickly 
Pleasant  Way  Doctors  Advise 

THE  quickest  way  to  get  rid  of  a  cold  is  nu 
longer  mere  guesswork  in  Hollywood !  For 
colds  not  only  make  stars  feel  miserable,  but 
there's  still  another  risk.  Expensive  sound 
films  may  be  spoiled  by  hoarseness  or  an 
untimely  cough  or  sneeze. 

At  the  first  sign  of  a  cold,  leading  stars  are  now 
given  a  few  pleasant  doses  of  Ayer's  Pectoral.  It  has 
been  certified  by  leading  doctors  as  the  best  of  different 
remedies  tested.  Such  stars  as  Robert  Montgomery, 
Marion  Nixon,  June  Collyer,  (jlenn 
Tryon,  .Alec  Francis,  Robert  Arm- 
strong, Roland  Drew,  Alice  White, 
James  Gleason  and  scores  of  others 
have  found  how  pleasant  Pectoral 
is  to  take — how  quickly  it  ends  a 
miserable  cold. 

Robert  Montgomery  Among 
Many  Starg  Who  l'»e  This 
Pleasant  Way  to  End  Colds 

RoBKRT  Montgomery,  for  ex- 
ample, had  a  severe  cold  whicli 


Betty  Compson, 


him  feel 
Hoarse- 


ROBT.  MONTGOMERY  ,„^,,„ 
■tirrinc  in  . 
"The  Big  Houie".  WOrk, 

Bridei",  pcss  impaired   

~h«    Divorcee  .  .         .      '  _,  WKt^"^ 

"Love  in  the    Rough".    hiS  VOICe.   1  hen 

"W.r  Nur...".  S  t  a  r  t  C  d  ^  ^ 

taking  a  spoonful  of  Ayer's  Gieri  v 
Pectoral  every  15  minutes  so  that  hib 
cold  would  be  relieved  in  time  to  re- 
sume work  at  the  studio  next  day. 

"The   quick   relief   from  Ayer's 
Pectoral  was  certainly  remarkable", 
said  Mr.  Montgomery'.   "Almost  im- 
mediately my  cold  began  to  dis- 
'  By  night.  I  was  a  great  deal 

and  the  next  morning  I 
awoke  wTth  the  welcome  freedom 
from  congestion.  In  just  a  day  or 
so  Ayer's  Pectoral  licked  the  cold 
completely  and  I  was  able  to  resume 
work  without  needless  loss  of  time." 


too   miserable  to 


BETTY  COMPSON 
ttarrtnc  in 
"die  of  Sergeant 

Criicha". 
Ciar   of  Broadway", 
"Hli  Woman". 
"Th«  Spoilen". 


MARION  NIXON 
Starring  in  "The  Singin'  Fool".  "College  Lover",  "Courage", 
"General  Crack". 

Marion  Nixon  Avoids  Spoiling  Sound  Film 

by  Ending  Her  Cold  Almost  Overnight 

MARION  NixoN  is  still  another  who  has  taken  the  ad- 
vice of  physicians  and  found  how  quickly  colds 
are  ended  by  a  few  pleasant  doses  of  Ayer's  Pectoral. 

"My  director  was  frantic",  says  Miss  Xixon,  "when 
I  arrived  at  the  studio  with  a  terrible  cold,  which  had 
started  in  my  head  and  spread  down  into  my  chest, 
was  simply  too  h()ar.>;e  to  work.  It  was  \'try  clear  that  un- 
less I  could  end  the  cold  quickly  there  would  either  be 
expensive  delay  or  the  risk  of 
coughing  or  sneezing  while  the 
photoplay  was  being  recorded. 

"Within  a  few  minutes  after  1 
was  given  a  pleasant  spoonful  of 
Ayer  s  Pectoral,  I  was  relieved  by 
its  comforting,  healing  warmth. 
That  night,  I  was  able  to  enjoy  re- 
freshing .'^leeii.  which  had  been  im- 
possible the  night  before.  The  next 
morning  I  felt  a  great  deal  better 
and  by  afternoon  my  voice  cleared 
up  so  that  T  could  continue  making 
the  picture.  In 
just  a  day  or 
^'^^^^Sf^^  so,  allthedisa- 
^^^HVi  ^  g^eeable  symp- 
toms of  my 
cold  had  dis- 
appeared en- 
firelv." 


•  K 


starring  in 
"Mile  Modiste". 
"Three  Si»teri". 
"The  Love  Doctor". 
"Toast  of  the  Legion". 
"Sweet  Kitty  Bellaira". 
"A  Man  From 
Wyoming". 
"Charlie's  Aunt". 


N  TRYON 
starring  in 
"King   of  Jait". 
"It  Can  Be  Done". 
"Broadway". 
"The    Song  Plugger", 
"Barnum   Was  Right", 
"Skinner  Steps  Out". 
"Dames  Ahoy  I" 


Ayer's  Pectoral  was  certified  by  a 
group  of  hospital  physicians  as  the 
best  of  different  widely  used  methods 
tested  for  head  colds,  coughs  and 
chest  colds.  It  it  pleasant  to  take  and 
gives  the  quickest,  surest  relief — with 
absolute  safety,  even  when  given  to 
children.  Pectoral  is  now  featured 
by  all  leading  druggists. 

83 


Menaces  of  the  Movies 


be.  And  while  I  believe  that  in  the  past, 
pictures  for  children  have  not  been  success- 
ful, I  think  this  was  because  the  child  in- 
telligence was  rated  too  low.  Children  have 
the  faculty  of  seeing  truth  with  slight  efTort, 
and  they  are  often  prone  to  detect  sophistrj' 
and  poor  drama  more  quickly  than  their 
eiders. 

"  It  is  difficult  to  tell  a  false  story  without 
false  emotions,  and  if  the  emotions  are  false, 
the  story  is  likely  to  label  itself  as  cheaply 
untrue.  Since  children  are 
direct  and  natural  in  their 
responses  where  adults 
may  incline  to  the  artifi- 
cial, they  resent  cheap  pa- 
thos. Our  efTort  will  be 
to  provide  suitable  dra- 
matic action  in  picture 
form  that  will  ring  true 
and  that  will  plainly  inter- 
pret the  simplest  basic  hu- 
man emotions,  such  as 
'Rawhide' with  Bill  Boyd, 
'The  Painted  Desert 'and 
'  North  of  the  Moon  '  on 
our  next  year's  schedule. 

"The  patronage  of 
children  is  vital  to  the  mo- 
tion picture  theater,  not 
only  because  of  the  cash 
involved,  but  because  the 
habit  of  imbibing  good  en- 
tertainment at  regular  in- 
tervals is  likely  to  persist 
in  later  years,  and  the  child 
begging  to-day  to  be  taken 
to  the  picture  theater  will 
tomorrow  be  able  to  grat- 
ify this  desire  out  of  his 
own  pocket." 

Griffith  Knows 

DW.  GRIFFITH, 
.  dean  of  all  motion 
picture  producers,  has  al- 
ways regarded  the  child 
mind  as  the  most  valuable 
gauge  of  motion  picture 
entertainment.  Recently 
he  talked  with  me  of  the 
possibility  of  driv'ing  the 
children  from  the  talking 
picture  theaters  as  some- 
thing serious. 

"Motion  pictures  are 
wholly  unlike  the  stage  or 
literature  in  almost  every 
important  phase,"  he  said. 
"To  begin  with,  the  spo- 
ken drama  has  never  made 
a  tremendous  appeal  to  children  in  the 
mass.  Occasionally  some  great  spectacle 
like  the  old  Drury  Lane  pantomimes, 
illustrating  the  familiar  fairy  tales,  might  in- 
terest the  young  ones,  but  in  the  main  the 
stage  makes  its  appeal  to  the  elders.  Be- 
sides, the  stage  can  and  does  classify  its  au- 
diences, as  does  literature.  Melodrama, 
comedy,  farce,  se.x,  poetry  or  the  classics 
can  be  produced  at  reasonable  cost  and  at- 
tract enough  patronage  to  return  a  profit 
over  the  cost.   But  the  motion  picture  is 


{Continued  from  page  26) 

different.  Its  first  expense  is  tremendous 
if  it  is  to  be  effective,  and  to  return  that 
cost  it  must  appeal  not  to  hundreds  of  per- 
sons, but  to  hundreds  of  thousands! 

"For  that  broad  appeal  to  be  possible, 
the  picture  must  be  elerhental  in  its  plot  and 
unfoldment.  Long  ago  great  playwrights 
discovered  that  five  or  six  emotions  reached 
the  generality  of  human  beings.  Then  when 
newspapers  became  entertainment  factors  in 
the  late  Nineties,  their  editors  made  the 


Gary  Cooper  is  riding  high  as  one  of  Paramount's  biggest  assets  in  the 
crusade  to  bring  back  the  children,  and  still  hold  the  adults.   He  stays 
outdoors,  and  gives  them  action 


same  discovery  that  Euripides,  Sophocles, 
Aristophanes  and  Shakespeare  had  made 
centuries  before.  They  learned  that  for  a 
tale  to  have  universal  attraction  it  must 
deal  with  love,  revenge,  wealth,  self-sacri- 
fice, high  adventure  or  the  supernatural. 
From  the  castle  to  the  cot,  those  elementals 
are  rooted  in  all  of  us." 

The  Test  of  Time 

THERE  is  a  very  useful  tip  for  all  picture 
producers.    If  we  go  back  to  Griffith's 


work  twenty-two  years  ago- — back  to  that 
old  Biograph  studio  on  Fourteenth  Street 
in  New  York — it  is  difficult  to  find  one  of 
his  efforts  that  do  not  bear  out  his  argu- 
ment. For  example,  "Judith  of  Bethulia,' 
"The  Escape,"  "The  Battle  of  the  Sexes," 
"The  Birth  of  a  Nation,"  "Broken  Blos- 
soms," "Way  Down  E^st,"  on  down  to 
"The  Drums  of  Love"  and  "Abraham 
Lincoln,"  they  all  deal  w-ith  elemental  hu- 
man emotions — which,  after  all,  constitute 
real  drama. 

Cecil  de  Mille,  it  is  safe 
to  say,  made  the  same  dis- 
covery early  in  his  career. 
Anyone  can  test  for  him- 
self the  truth  of  the  Grif- 
fith contention.  Take  the 
story  of  "Hamlet,"  tell  it 
in  modern  English  to  a 
group  of  children  —  just 
the  bare  skeleton  of  the 
story  —  and  see  the  tre- 
mendous interest  it 
arouses.  Note  the  avidity 
with  which  the  old  Bible 
stories  are  absorbed  by  the 
young  folks,  and  we're 
forced  to  admit  that  it  all 
comes  down  to  basic  emo- 
tion. 

If  the  pictures  have  to 
some  extent  lost  the  child 
patronage,  they  can  get  it 
back — and  still  keep  their 
adult  customers — by  giv- 
ing us  a  few  more  "In  Old 
Arizonas,"  "Virginians" 
and  the  like.  Even  a  "Bro- 
ken Blossom"  or  two. 

However,  as  a  final 
word,  the  falling  off  is  not 
solely  a  production  prob- 
lem. It  has  also  to  do  with 
changes  in  exhibition.  The 
rise  of  the  palatial  show- 
house,  w-ith  the  accom- 
panying decline  of  the 
little  neighborhood  the- 
ater, is  a  factor.  You  see, 
the  big  house  must  have 
a  big  admission  price  to 
pay  for  the  gold  and  mar- 
ble and  gorgeous  uniforms, 
where  the  little  house  can 
operate  on  a  small  price. 
Also,  the  big  theater  is  in 
the  crowded  centers  of 
population,  and  the  little 
theater  in  a  residential 
district. 

Parents  could  give  the  children  fifty  cents 
and  send  two  or  three  of  them  around  the 
comer  to  the  small  theater,  knowing  them 
to  be  both  safe  and  close  at  hand — and  from 
under  foot  for  a  few  hours,  but  they  can't 
send  them  downtown  at  a  cost  of  seventy- 
five  cents  each. 

Also,  "little  pitchers  have  big  ears."  And 
parents  are  not  going  to  let  their  offspring 
hear  things  beyond  their  years. 

All  in  all,  it  is  a  problem  that  is  putting 
wrinkles  in  a  number  of  lofty  movie  brows. 


You  have  been  reading  of  What  Menaces  the  Movies  from 
the  Outside:  Read  the  INSIDE  Story  Next  Month 


84 


These  Pictures  Are  For  Youl 

Twenty-four  of  them,  all  new  poses,  size  5V^  by  8  inches. 


Yes,  for  you.  Wc  know  that  thousands  of  our 
readers  are  collecting  pictures  of  the  interesting 
men  and  women  of  the  screen.  You  have  your 
favorites.  You  are  interested  in  the  new  feature 
players  who  are  at  the  height  of  their  popularity 
now.  Surely  you  will  want  their  fine  pictures. 
Here  are  the  subjects,  all  new  poses: 


Just  send  one  dollar  to  pay  for  the  next  six 
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Send  Your  Order  Noivl 


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s  ^ 


Bringing  Back  the  Thrillers 


'we  have  to  fall 


There  are  many  feature  stars  who  haven't 
lasted  a  tenth  as  long. 

Of  course,  neither  Miss  Cunard  nor  Mr. 
Ford  could  be  expected  to  play  the  leads 
after  so  many  years,  so  they  support  Allene 
Ray,  who  for  six  years  was  the  Pathe  serial 
queen,  and  Colonel  Tim  McCoy.  Serials, 
with  these  players — except  McCoy — are 
first  loves;  unlike  one-time  feature  leads  who 
have  since  "condescended"  to  serials,  they 
consider  the  to  -  be  -  continued  -  next  -  week 
thrillers  far  more  interesting  than  any  fea- 
ture could  possibly  be. 

"One  day,"  they  say, 
off  a  ten-story  building, 
jump  from  an  airplane 
down  the  smokestack 
of  a  steamer  the  next, 
and  on  the  third  be 
thrown  into  a  den  of 
lions.  What  eternal 
triangle  can  be  any- 
thing more  than  just 
geometry  compared 
with  years  of  that?" 

The  pace  of  the 
"chapter play"  is  swift 
in  the  studio  as  well 
as  on  the  screen— or  it 
used  to  be,  before  the 
mikes  were  put  on  the 
job.  In  the  silent  days, 
the  average  number  of 
scenes  shot  in  a  day 
was  around  eighty,  and 
once  a  record  of  one 
hundred  and  twenty- 
six  was  made  between 
sunrise  and  moonset, 
which  is  the  serial  day. 

But  with  the  addi- 
tion of  sound,  all  that 
is  changed. 

The  Shots  That 
Are  Heard 

DURING  the  first 
four  days'  pro- 
duction of  "The  In- 
dians Are  Coming!" 
about  sixty  scenes  were 
photographed  each 
day.  But  the  fifth  day, 
when  the  switch  was  made  to  sound,  only 
fourteen  scenes  were  taken.  And  that  was 
about  the  average  for  the  rest  of  the  picture. 

Still,  the  final  footage  is  completed  quicker 
than  it  used  to  be.  A  ten -episode  picture 
used  to  take  three  months  in  the  making; 
now  it  is  finished  in  about  four  weeks.  The 
answer  is  that  dialogue  slows  up  the  action, 
greatly  reducing  the  total  number  of  scenes. 
Then,  almost  all  the  footage  shot  is  actually 
used,  because  sound  footage  is  much  too 
expensive  to  be  thrown  away. 

The  same  thing  has  happened  in  feature 
pictures,  also.  A  sound  picture  will  run  per- 
haps one-third  to  one-half  as  many  scenes 
as  a  silent  picture  of  equal  length,  so  that 
the  action,  though  more  expensive,  is  much 
slower.  Very  few  sound  films  are  "over- 
shot" nowadays.  Dialogue  is  at  least  sup- 
posed to  be  in  continuity,  so  that  whole 
scenes  can  no  longer  be  "lifted  out"  and 
simply  thrown  away. 


{Continued  from  page  jp) 

It  is  exactly  the  same  with  serials  in 
sound. 

Pauline  still  flees  and  the  villain  still  pur- 
sues her,  but  she  neither  flees  nor  he  pursues 
so  far  or  so  fast. 

Retakes  in  serials,  of  course,  are  practi- 
cally unknown.  So  are  second  shots.  Once 
is  plenty,  and  it's  on  to  the  next  scene.  For 
this  reason,  if  no  other,  the  technical  crews 
and  cameramen  used  in  the  production  of 
"chapter  plays"  are  perhaps  the  most 
efficient  in  the  business.  They  have  to  be. 
And  the  photography  in  a  serial,  where  there 
is  much  work  and  very  little  fussing  either 


To  be  continued:  Allene  Ray  and  Colonel  Tim  McCoy  seem  about  to  meet  a 
fate  as  bad  as  death,  for  the  Chief  is  saying,  "The  law  of  the  red  man  is  im- 
mutable— an  eye  for  an  eye,  a  tooth  for  a  tooth,  and  two  palefaces  for  every 

Indian  killed" 


with  players  or  with  equipment,  is  usually 
excellent. 

What  the  Villains  Voice 

COMPARED  with  making  super-supers, 
the  production  of  serials  is  like  that  of 
Fords  against  Rolls-Royces.  It  doesn't  fol- 
low that  one  is  any  better  than  the  other; 
they  merely  cater  to  a  different  clientele. 
Then  again,  it  takes  the  profits  on  the  serials 
to  pay  for  the  supers. 

What  do  they  say  in  serials?  Just  what 
they  used  to  say  in  the  old  melos — only 
more  so.  Scripts  are  virtually  unknown; 
they  usually  make  them  up  just  about  as 
the  youngsters  make  up  their  neighborhood 
dramas  in  the  back  yard.  The  director 
knows  approximately  where  he  is  headed, 
and  that's  all  that's  necessary. 

Then  the  "inspiration"  comes  something 
like  this: 

"The  heavy  comes  in  and  grabs  you,"  the 


director  informs  the  heroine,  "and  starts 
tickling  the  soles  of  your  feet  to  make  you 
tell  where  the  diamond-studded  cowbells 
are.  You  say:  'You  can  torture  me  till  I 
swoon  dead  away,  you  yellow  cur,  but  never 
will  I  reveal  their  hiding  place!' — see?  All 
right,  we'll  make  it  a  close-up  so  that  you 
can  put  over  the  agony.  Let's  shoot  it!" 

And,  forsooth,  they  do! 

"Aha,  my  proud  beauty,"  leers  the  villain, 
"now  I  have  you  in  my  power!  Marry  me 
and  masticate  the  mortgage,  or  —  there 
comes  the  train  that  will  crush  out  your 
life!" 

But  the  audience 
hears  the  faraway 
beat  of  racing  hoofs. 
They  know  the  hero  is 
rushing  to  the  rescue 
aboard  that  bronc,  but 
the  sound  of  the 
wheels  grows  nearer, 
the  hiss  of  escaping 
steam  grows  louder. 
They  go  wild — and 
who  wouldn't? 

Why  Thrillers 
Are  Popular 

PRESIDENT  WIL- 
SON, between  for- 
mulating his  famous 
Fourteen  Points,  re- 
laxed by  reading 
detective  stories. 
That's  why  serial  au- 
diences are  not  made 
up  entirely  of  kids. 

"Unhand  her,  you 
viper!"  pants  the  hero 
as  he  slides  down  from, 
the  hurricane  deck  of 
his  hoss,  "unhand  her 
— sock!"  There  is  a 
thud  as  his  fist  con- 
nects, another  as  the 
villain  connects  with 
the  floor — and  what  is 
half  as  satisfactory  as 
a  sock  that  may  be 
heard,  as  well  as  seen? 

A  knife  hurtles  out 
of  the  darkness  and 
sticks  in  the  wall  an  inch  from  the  heroine's 
slender  neck — with  an  audible  "  plop! "  The 
sack  is  thrust  over  the  hero's  •  head — and 
his  gurgles  are  heard  from  within.  The 
secret  panel  slides  shut — with  a  muffled, 
unmistakable  "click!"  The  trap-door 
gapes  open  and  the  detective  falls  through 
with  a  crash.  That,  and  all  the  rest  of  the 
time-honored  thrills  now  have  thrills  anew. 

The  second  talkie  serial,  "Spell  of  the 
Circus,"  is  a  thriller  of  the  sawdust  rings 
with  Alberta  \'aughn  and  Francis  X.  Bush- 
man, Jr.,  featured  in  the  trapezes  and 
chicanery.  "Fingerprints,"  a  detective 
yarn  now'  in  production,  boasts  Kenneth 
Harlan  and  Edna  Murphy  as  leads,  while 
"Mutiny,"  a  sea  story  scheduled  as  the 
next,  has  not  yet  been  cast.  But  all  their 
breathlessness  now  will  be  tenfold,  for  the 
day  of  the  silent  serial  is  past.  It  had  to 
come — even  if  it  is  a  bit  tough  on  the  edges 
of  the  seats! 


You  have  been  reading  of  What  Menaces  the  Movies  from 
the  Outside.    Read  the  INSIDE  Story  Next  Month 


86 


Classic  Holds  Open  Court 

{Continued  from  page  37) 

Miss  HoUywcxjd."  (Assistant  nods  wisely.) 

In  response  to  Mr.  Goulding's  deft  quiz- 
zing, Mr.  Badger  explains  that  while  Miss 
Hollywood  undoubtedly  would  like  to  keep 
in  touch  with  her  old-time  friends,  it  is  quite 
impossible,  due  to  her  new  business  and 
studio  contacts.  He  points  out  that  so 
terrific  is  the  competition  that  if  she  should 
slip  up  ever  so  little  on  these  new  contacts, 
any  number  of  capable  players  would  eagerly 
snatch  at  her  place. 

Known  by  Their  Company 

MR.  GOULDING:  ".Mr.  Badger  is 
one  of  our  oldest  directors!  He 
knows  whereof  he  speaks!  I  feel  confident 
that  so  intelligent  a  jury  must  realize  that 
to  be  seen  in  Hollywood  with  a  comparative 
failure  gives  you  as  definite  a  black  eye  as 
being  a  failure  yourself." 

Mr.  Goulding  [dramalically):  "My  next 
witness  is  Mr-  Fred  Niblo,  who  will  tell  you 
of  the  Great  Chasm." 

p.  A.  {shouting  to  the  jury):  "A  chasm  of 
ill-gotten  gain!  I  trust  you  decent-minded 
members  of  the  jury  to  see  that  this  wanton, 
iiit  ic  enary,  gold-glutted  little  wretch,  Miss 
Hollywood,  receives  a  fitting  punishment." 

Mr.  Niblo  {equably):  "This  chasm  is  not 
widened  so  much  by  wealth  as  by  a  sudden 
(lilTt  rence  in  mentality.  Such  is  inevitable 
M  -s  Hollywood,  to  take  a  lovely  example, 
was  spurred  on  to  success  either  through 
fear  of  defeat,  because  of  a  desire  for  fame 
and  perhaps  money,  or  to  know  the  joy  of 
accomplishing  something.  Howsoever  it 
was,  she  fought  gamely.  And  during  the 
fight  she  was  much  too  busy  to  think  of 
developing  her  mental  capacities.  But  once 
she  achieved  the  heights,  she  breathed  more 
freely,  began  to  study,  to  travel,  and  in 
many  ways  to  acquire  considerable  culture 
and  learning.  While  the  ones  who  remained 
behind  either  stagnated  mentally  or  at 
least  stayed  in  the  same  old  rut--  interest- 
ing to  themselves,  perhaps,  but  deadly  to 
their  successful  friend  ..." 

Mr.  Goulding  ( facing  the  jury  and  fiercely 
pounding  hts  fists):  "And  that's  the  in- 
variable reaction!  They  impose  on  the  suc- 
cewesof  life!  Often  they  attempt  to  wheedle 
money,  and  if  rebuffed  they  become  furious 
— even  threatening!  Discarded  friends  are 
automatically  dangerous.  They  harbor 
resentment  and  enmity.  For  some  reason  or 
other,  they  feel  like  partners  discarded  in  a 
large  business  shuffle.  And  by  the  virtues 
that  originally  made  them  friends,  by  the 
very  faults  that  caused  them  to  be  dis- 
carded, thest-  people  make  vicious  enemies.' 

Two  Women  in  the  Case 
"T)  A.  "Are  we  to  understand,  Mr.  Gould- 
JT  m        ^^^^  y°"''  fAdjm  exonerates 

Miss  Hollywood  from  deserting  her  good 
friends,  Blanche  Sweet  and  Lila  Lee,  when 
they  tcmporarilv  retired  from  the  screen. 

Mr.  Goulding  >nf,if>ly\:  "Miss  Sweet  is 
here.  N'ou  may  question  her." 

P.  A.:  "Miss  Sweet,  is  it  not  true  that 
when  you  were  in  difficulties,  you  were 
cruelly  deserted  by  Miss  Hollywood?" 

MiM  Sweet:  "Surely.  1  have  no  illusions 
regarding  friendship.     Many  people  cul- 
tivated me  with  the  hope  of  taking  ad- 
■■  of  the  friendship— and  more  power 
1  .  .  .  But  1  have  since  found  that 
,„  .  '  J       were  nothing  but  artificial 

if,!  y  beginning  on  the  wrong 

b.i-  structure  was  weakened.  My 

fe  '  lids  stayed  by.  And  it  was  Miss 

Ho.  *ho  taught  me  to  distinguish 

between  friends  and  mere  ' 

This  new  anifle  causes  ,1  '  d  buzz 

•  ■  .         ■'  .\  I  III  ou(^iiout  the 
ision  Mr.  Gould- 
.  i.iii  ^  1      I   -tand. 


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MAYBELLINE  CO. -CHICAGO 


ORAff£  GIRL  P4di>Jng 


At  the  left,  one  of  the  peculiar  facts  Ripley  asks  you  to  believe.  At  the  right,  the 
globe-trotter  himself — with  baggage  labels  from  a  few  of  the  places  he  has  found 

interesting 


Believe  Him  or  Not 

{Continued  from  page  58) 


EYELASH  DARKENER 
EYE  SHADOW  —  EYEBROW  PENCIL 
Ifutant  Btautifitn  for  the  Eyts 


don't  forget  that  the  $22.50  days  are  not  so 
far  behind. 

He  has  been  abroad  almost  every  year  for 
almost  twenty.  Travel  was  his  hobby  long 
before  he  began  delving  for  "Believe  It  or 
Not's."  He  has  explored — not  visited,  but 
explored — seventy  foreign  lands. 

A  Gift  to  America 

HE  was  born  on  Christmas  Day,  and  he 
has  several  years  to  travel  before 
reaching  the  forty  mark.  He  has  been  mar- 
ried. But  isn't.  Although,  from  the  looks 
of  things,  he  soon  may  be. 

He  sold  his  first  drawing  to  "Life"  for 
eight  dollars.  Probably  too  much.  It  was 
captioned  "The  Village  Belle  Was  Slowly 
Ringing,"  and  presented  a  freckle-faced  lady 
yokel  engineering  a  clothes-wringer.  That 
was  his  first  false  step. 

He  began  his  career  on  the  San  Francisco 
"Bulletin,"  quit  the  "Chronicle"  for  the 
New  York  "Globe"  and  later  the  "Post," 
"Telegram"  and  now  the  great  Hearst 
chain  of  publications. 

He  has  been  making  "Believe  It  or  Not's" 
for  almost  ten  years.  The  first  was  an  acci- 
dent. It  was  a  dull  day  in  the  "Globe" 
sports  department,  and  "Rip"  drew  a  filler 
of  sports  oddities.  For  no  reason  at  all,  he 
called  it  "Believe  It  or  Not." 
He  never  took  a  drawing  lesson. 
He  broke  an  arm  trying  out  for  profes- 
sional baseball  with  John  McGraw.  He  has 
competed  in  numerous  handball  champion- 
ship tourneys,  and  won  the  New  York 
championship  in  1926. 

Jack  Dempsey  says  that  "Rip"  is  a  good 
boxer.  N'incent  Richards  proclaims  his  abil- 
ity at  tennis.  The  record  shows  what  he 
can  do  at  handball.  And  he  admits  his 
prowess  at  golf — believe  it  or  not! 

He  comes  of  American  stock.  His  father's 
name  is  Isaac.  His  mother,  Lily  Belle 
Yocka,  was  born  in  a  covered  wagon  during 
his  grandparents'  trek  across  the  overland 
trail  to  California. 

His  favorite  among  the  many  to  whom 
he  is  compared  is  Marco  Polo.    But  you 


can't  blame  him  when  the  others  include 
Baron  Munchausen,  Doc  Cook  and  .Ananias. 

Big  Business 

HE  employs  a  research  staff,  a  linguist 
and  several  secretaries.  Their  main 
duties  are  to  handle  the  more-than-a-million 
letters  he  receives  annually,  and  to  authen- 
ticate the  "Believe  It  or  Not's"  offered  in 
the  correspondence.  About  three  per  cent, 
find  their  way  into  the  papers. 

He  is  the  discoverer  of  that  1 56- year-old 
Turkish  trophy  recently  imported  to  Amer- 
ica. He  is  also  the  discoverer  of  the  two- 
hundred-odd  year  old  Chinaman  who  will 
soon  be  calling  the  Turk  "kid,"  if  something 
isn't  done  to  prevent  his  receiving  a  key  to 
the  city. 

He  is  the  author  of  a  number  of  books 
besides  the  "  Believe  It  or  Not's,"  which  will 
probably  become  an  annual  feature — the 
second  being  due  shortly.  Among  his  con- 
tributions to  literature  are  "Ripley's  Ram- 
bles 'Round  the  World,"  a  baseball  guide, 
a  boxing  record  and  a  book  about  his  South 
American  rambles. 

He  delivers  his  drawings  to  the  King 
Features  Syndicate  once  a  week  in  batches 
— one  for  each  day.  He  works  three  weeks 
ahead.  Quite  generally  he  postpones  his 
labors  until  the  eleventh  hour,  then  locks 
himself  in  his  room  and  is  inaccessible  to 
the  world  until  the  work  is  completed. 

He  eats  well,  but  moderately.  The  same 
goes  for  his  drinking. 

He  has  about  the  only  "racket"  that  ap- 
pears inexhaustible.  He  can  keep  it  up 
forever — and  the  public  will  continue  clam- 
oring. 

Among  his  own  favorite  "Believe  It  or 
Not's"  is  the  fact  that  Leif  Ericson,  actual 
discoverer  of  America,  landed  in  Maine  and 
called  it  \'ineland  because  of  the  excellent 
quality  of  the  wine  made  from  its  grapes. 
And,  believe  it  or  not,  Maine  was  the  first 
state  to  go  dry.  Moreover,  X'olstead,  a  lands- 
man of  Leif's,  was  instrumental  in  putting 
the  curse  of  drought  on  our  fair  land.  For, 
{Continued  on  page  loi) 


88 


Sold  Down  the  Boulevard 

(Continued  from  page  2q) 
rfile  and  loaniriK  big  stars  was  virtually  un- 
heard of;  studios  then  were  much  more 
jealous  of  exclusive  contracts  than  at  present. 

But  now,  with  the  exception  of  the  "im- 
mortals, "  it's  only  a  question  of  the  price. 

The  Wall  Street  Influence 

EVEN  the  biggest  studios  now  carry  on 
the  payroll  under  contract  only  a  frac- 
tion of  the  nuge  stock  companies  of  former 
daya,  and  with  the  growing  control  and 
"emciency"  of  Wall  Street  and  the  banks, 
it  seems  that  even  these  are  being  constantly 
pared  down.  Contract  people  nowadays 
number  for  the  most  part  only  the  biggest 
players  and  directors  and  a  few  "young- 
sters" capable  of  development — and  profit. 

Bush-leaguers,  these  last,  whom  their 
"owners"  hope  some  day  to  sell  or  loan  to 
the  majors.  Quite  outside  of  the  pictures 
they  make  at  very  moderate  salaries  to  the 
producers  who  discover  them,  there  is  as 
much  money  in  raising  a  winner  on  the 
•creen  as  on  the  race-track. 

An  outstanding  example  of  this  is  Lewis 
Ayres,  the  youn^  hero  of  "All  Quiet  on  the 
Western  Front.'  That  one  picture  moved 
him  up  from  a  banjo  player  to  a  star,  and 
his  present  five-year  contract  is  worth  a 
fortune.  After  "All  Quiet,"  he  immedi- 
ately went  out  on  "loan." 

Whenever  a  major  player  is  loaned,  the 
deal  between  the  studio  that  "owns"  the 
contract  and  the  studio  that  "borrows"  the 
player  is  fenced  around  with  inhibitions, 
prohibitions,  clauses,  codicils,  p>ostBcripts, 
ami  u'  , It -not.  A  few  bad  pictures  will  ruin 
an  .  ;  i .  er,  no  matter  how  talented  or  how 
popular  he  or  she  may  be:  so  whenever  such 
a  personality  is  loaned  there  are  more  condi- 
tions in  the  contract  than  quills  in  a  por- 
cupine. 

What's  in  the  Contracts 

THE  "loaning"  studio  does  all  it  can  to 
'  *fct  its  property.  First,  the  part 
:,iyed  must  be  approved — not  by 
Ui<  oia>er,  but  by  the  studio  to  whom  he 
or  sne  belongs.  Then,  the  "billing"  hat 
to  be  arranged — everything  from  the  play- 
er's position  in  the  cast  to  the  size  of  the 
lettermg  on  the  screen  and  the  type  on  the 
billboards  on  which  his  name  will  appear. 

The  other  players  must  be  approved  at 
fit  company,  and  sometimes  even  the  dia- 
logue and  wardrobe  are  sF>ecified. 

In  P  -  1  ase,  the  number  of  songs  that 
he  X  in  the  picture  were  set  forth, 

•ealt  .  -Mgned. 

Not  infrequently,  nearly  a  whole  cast  ii 
"borrowed."  For  'The  Little  Accident," 
Douglas  Fairbanks.  Jr.,  was  borrowed  from 
First  .National,  Anita  Page  from  M-G-M, 
Sally  Blane  from  RKO,  and  so  on. 

But  sometimes  even  the  most  popular 
players  don't  have  to  be  borrowed — the 
studios  just  give  them  away. 

Such  an  instance  was  that  of  Richard  Dix 
and  Behe  Daniels,  two  of  RKO's  biggest 
■tan.  They  were  big  stars  at  Paramount, 
too.  until  somebody  looked  at  their  salaries 
and  whistled.  They  weren't  sold  down  the 
boulevard:  they  were  shooed  down.  Then 
came  "Rio  Rita  "  for  Bebeand  now  "Cimar- 
ron" for  Dix. 

It  costs  plenty  to  "borrow  "  them  now. 
Path^  did  the  same  thing  with  Jeanette 
Loff  and  Stanley  Smith,  whereupon  Uni- 
veraal  and   Paramount,  respectively,  in- 
stantly snapped  them  up. 

It's  all  very  much  tne  same  on  all  the 
plantations  these  days,  for  the  studios  are 
all  specializing  more  and  more  upon  storiea 
and  leas  and  Teta  upon  stars.  They  buy  a 
■tory,  and  borrow  the  stars  to  fit  it,  which 
meant  a  far  better  product  upon  the  screen. 

And  as  far  as  tnr  stars  themselves  are 
concerned — well.  I'mle  Tom  is  bedecked  in 
diamonds  now 


"My  Fat  Shall  Go 

Say  That  Today — Then  Do  This 


You  know  that  it  can  go,  because  people  all 
about  you  have  reduced.  In  the  past  few 
vears,  excess  fat  has  been  disappearing  fast. 
Not  by  starvation,  not  by  over-exercise,  not 
by  harmful  drugs.  Science  has  found  a  new 
way  to  fight  fat.  Doctors  now  employ  it  the 
world  over.  They  supply  a  eland  secretion — 
a  big  factor  in  nutrition.  It  is  now  known 
that  the  lack  of  that  permits  too  much  food 
to  turn  to  fat. 

Profit  by  this  modern  knowledge.  Supply 
what  the  system  lacks.  It  is  easy,  pleasant 
and  effective.  Start  now. 

Listen  to  the  Warnings 

Doctors  everywhere  are  proclaiming  the 
dangers  of  fat.  It  is  a  blight  to  beauty,  health 
and  vitality.  It  shortens  life,  over^taxes  the 
heart,  robs  life  of  half  its  joys. 

Listen  also  to  the  warnings  against  starva- 
tion and  over-exercise.  Fignt  fat  as  modern 
doctors  fight  it — with  a  gland  food.  A  world- 
famous  laboratory  now  supplies  you  what 
they  use,  in  Marmola  prescription  tablets. 

Marmola  tablets  have  been  used  for  24 
years — millions  of  boxes  of  them.  It  has  stood 
the  test  of  time,  while  false  treatments  by 
the  hundreds  have  failed  and  disappeared. 

Users  have  told  others,  and  the  use  has 
spread.  Now  in  every  circle  one  can  see  its 


results.  The  burden  of  fat  has  been  lifted  for 
multitudes  in  a  helpful,  vitalizing  way. 

Go  do  what  they  did.  Excess  fat  is  folly  in 
these  scientific  days.  Get  a  box  of  Marmola. 
Price  X I.OO.  A  book  in  the  box  tells  you  how 
it  acts  and  why.  It  also  states  the  formula 
complete. 

MARMOLA 

PRESCRIPTION  TABLETS 
The  RishtWay  to  Reduce 


Semper  idem 

"ALWAYS  THE  SAME''  ...  a  good  slogan  for  any  one 
of  a  thousand  advertised  articles  whose  superior  qual- 
ities are  maintained  year  in  and  year  out. 

Have  you  ever  stopped  to  consider  the  time,  patience, 
skill,  money  and  experience  invested  in  every  one  of  the 
articles  you  see  advertised  in  this  magazine?  .No  mat- 
ter where  it  may  be — a  lead  pencil  or  an  expensive  auto- 
mobile— the  problems  of  maintaining  and  improving 
quality  are  constantly  in  the  minds  of  those  respon- 
sible for  their  manufacture.  Quality  must  be  main- 
tained at  all  hazards.  Quality  must  be  bettered  wher- 
ever and  whenever  possible.  Price  must  be  kept  at  a 
level  that  will  insure  the  utmost  in  value. 

Advertised  goods  must,  and  do,  live  up  to  their  ad- 
vertising. "Semper  idem" — always  the  same.  They 
cannot  afford  to  vary  in  the  least. 

Trust  advertised  goods.  Buy  them  regularly.  Read 
advertising  to  learn  what  is  new.  Read  it  to  know  what 
others  arc  buying.  Read  it  to  ascertain  how  you  can 
save  money  and  yet  get  better  merchandise. 


Read  the  advertiaementii  .  .  .  they  atand  for  quality 
merchandiae  .  .  .  aemper  idem 


89 


How  Women  Have  Changed  Them 


in  the  cradle  and  cry  if  we  fail  to  get  it? 
Isn't  that  the  secret,  burning  ambition  of 
every  small  boy  in  the  schoolroom?  To  be 
the  Big  Shot  with  the  fellows.  To  be  a  big- 
ger shot  with  the  girls.  To  excel  at  football 
or  baseball  or  track  or  dramatics  or  some- 
thing— so  that  envious  small  boys  and  ad- 
miring small  girls  may  jostle  excitedly  and 
say  'Gee,  there  goes  Bill  Smith!' 

Oblivion  Must  Be  Deadly 
"TT'S  the  same  thing  as  we  grow  up.  The 
J_  same  thing,  matured — outwardly.  We 
pretend  we  don't  like  it.  We 
pretend  we  are  bored,  sensitive 
to  publicity,  shrinking,  avoid- 
ing.   Bunk!    We  love  it!  And 
most  of  all,  we  love  it  when 
some  pretty  girl  says,  'There 
goes — Lawrence  Tibbett!' 

"To  be  conspicuous  every- 
where, never  to  have  any 
privacy  at  all,  never  to  let  loose 
for  fear  of  the  critical  public 
eye  is  tiring  at  times.  But 
everything  is  tiring  at  times. 
And  God,  how  much  more  tiring 
it  would  be  never  to  be  noticed 
at  all !  Oblivion  must  be  a  kind 
of  death.  Refined,  but  hellish  ... 

"Women,  of  course,  are  my 
greatest  audience. 

"A  great  percentage  of  my 
fan  letters  come  from  women. 
Women  in  their  thirties  and  in 
their  forties.  I  wish  I  could 
know  them  all.  I  wish  I  could 
follow  up  some  of  the  letters  I 
get.  They  are  the  very  source 
of  adventure.  Some  of  them 
promise  beautiful  adventure. 
Some  of  them  should  be  turned 
over  to  Mr.  Freud  ...  I 
couldn't  of  course.  I  wouldn't 
dare. 

"We  are  all  cowards  when 
it  comes  to  living. 

"There  is  so  much  more  ad- 
venture in  life  than  any  of  us 
take  advantage  of !  Because  we 
are  afraid  of  something.  Our 
little  reputations.  Our  'good 
name.'  Our  families.  The 
feelings  of  this  one  or  that. 
What  'they'  might  say.  False 
constructions.  Our  careers. 
Everything.  .  .  . 

The  Eternal  Need 


(Continued  from  page  jo) 

Rogue  Song,'  between  the  acts,  women  did 
not  compliment  the  production,  nor  com- 
ment on  my  voice — they  said,  'What  a  lover 
he  would  make!' 

"1  sang  just  as  well  before  I  made  'The 
Rogue  Song.'  I  had  had  my  success  at  the 
Metropolitan.  1  had  not  made  'The  Rogue 
Song'  and  everyone  was  different.  Old 
friends  of  the  family — women  to  whom  I 
was  'just  Lawrence,'  neither  very  exciting 
nor  very  stimulating — well,  they  have 
changed,  too.  Rather  hard  for  me  to  live 
up  to  that  character! 


boy  to  mother,  something  of  the  moon- 
reaching  child  to  protect. 

"Women  prefer  to  protect  rather  than  to 
be  protected. 

"When  a  woman  protects,  she  is  in  her 
native  element.  She  has  the  cradle  again. 
Her  arms  and  her  heart  are  filled.  She  likes 
to  worry  and  fuss  and  fear. 

"And  from  women  men  expect  and  care 
most  for  flattery  and  admiration,  for  com- 
fort and  pride.  Beauty,  to  a  man,  may  be 
the  least  thing  of  all — and  often  is.  Free- 
dom, to  a  man,  is  the  most  vital  quality. 

The  need  to  feel  that  he  is  free. 


4 


After  ' 
to  live 


"T"T  TE  close  so  many  doors 

VV  right  in  our  own  faces! 
Stand  behind  them,  peering,  peeking,  wish- 
ing .  .  .  It's  a  pity!  We  don't  make  the  most 
of  life.  Adventure  is  the  pulse  of  living. 
Women  are  adventure  for  men,  and  men  are 
adventure  for  women. 

"And  I  believe  that  singers  need  adven- 
ture more,  perhaps,  than  artists  in  any  other 
line.  All  artists  need  it.  Need  emotion  to 
recharge  the  batteries.  Need  adventuring 
emotionally  to  put  color  into  their  pigments, 
poetry  into  their  words,  soul  into  their  vio- 
lins. And  a  singer  most  of  all.  For  a  singer 
must  be  not  only  a  singer,  he  must  be  an 
actor,  too.  And  to  get  that  sting  into  the 
voice,  to  pour  forth  that  vehemence,  to  rise 
to  that  tremendous  pitch  and  hold  it — it 
needs  a  strain  of  wildness  for  food.  /  need 
it. 

"  It's  odd,  how  people  come  to  believe  you 
are  the  character  you  portray  on  the  screen. 
Women  who  never  paid  any  attention  to  me 
before  look  at  me  now — since  'The  Rogue 
Song' — with  different  eyes.  I  was  amused 
at  hearing  that  at  the  opening  of  'The 

90 


Hutrell 

The  Rogue  Song,"  women  expected  Lawrence  Tibbett 
up  to  his  rfile  in  real  life.   What  will  they  expect  after 
seeing  him  as  Michael  in  "New  Moon"? 


Ananias  *s  Sisters 

"TT70MEN  do  not  like  safe,  sound 
V  y  practical  men. 

"Women  do  not  like  successful  business 
men.  Competent  men.  Machine-minded 
efficient  men.  Or  rather,  1  should  say  they 
do  not  love  them.  They  say  they  do.  They 
lie.  Women  always  lie  about  the  emotions. 
They  have  been  brought  up  to  lie  about 
them,  to  disguise  them,  to  deny  them.  They 
do  not  even  know  when  they  are  doing  it. 

"Women  love  wild  men. 

"Women  love  dangerous  men. 

"Women  love  destructive  men. 

"Women  love  fanatically,  endlessly,  the 
man  who  promises  them  heartbreak  and 
homelessness.  Bitterness  and  storm.  The 
man  who  promises  them  nothing  at  all. 

"Women  love  men  who  laugh — at  things 
of  which  they  have  no  knowledge. 

"Women  do  not  like  roues.  Not  the 
jaded,  sophisticated  types.  They  love  men 
with  a  touch  of  naivete.  Something  of  the 


The  Starving  Sex 

THE  women  of  America 
are  starved  for  romance. 
For  glamour.  For  poetry.  They 
are  far  more  starved  for  poetry 
than  for  passion. 

"Women  love  to  be  wooed 
with  words.  They  get  too  little 
of  that.  The  American  man  is 
profligate  with  gifts  and  flowers. 
He  is  niggardly  with  time  and 
that  gentle,  soft  wooing  that  is 
the  rhythm  of  love.  Women 
can  live  forever  on  verbal  ador- 
ation. 

"I  believe  that  a  man  can 
love  one  woman  all  his  life  long 
if  the  woman  will  allow  love  to 
'1         cut  its  own  channels,  naturally 
I'         — naturally  changing  with  the 
inevitable  passing  of  time. 
"  No  emotion  remains  static. 
"And  few,  if  any  women, 
and  very  few  men,  understand 
emotion.  We  are  a  romantically 
educated  people.    We  see  the 
fiction  of  love — and  balk  at  the 
fact. 

"Women  think  of  emotion, 
of  love,  as  perpetual  romance. 
That  first  roseate  state  is  all 
of  love  to  them — an  aura  trans- 
figuring their  lives  as  it  does  in 
the  beginning.  They  do  not 
know  that  a  different  quality 
must  constantly  replace  the 
qualities  that  have  gone  be- 
fore. 

"Women  have  no  talent  for, 
and  no  desire  for,  companion- 
ship with  the  man  or  men  they 
have  loved. 

"And  companionship  be- 
tween men  and  women  has 
been,  it  seems  to  me,  too  often 
disregarded,  not  given  its  pro- 
per due.  Companionship  can  be,  should  be, 
the  most  beautiful  emotion  of  all.  The 
emotion  of  being  necessary,  of  having  some- 
one close  at  hand  who  is  necessary  to  you. 

"  Men  tire  of  women  who  insist  upon  per- 
petual histrionics.  Perpetual  and  fiery 
proofs  of  love.  Women  who  look  to  them  al- 
ways as  the  Great  Lover  and  are  satisfied 
with  nothing  else. 

The  Most  Fascinating  Women 

INDEPENDENT  women — economical- 
ly independent,  mentally  or  spiritually 
independent,  any  kind  of  independent  at  all 
— are  the  most  fascinating  women  of  all. 
For  the  independent  woman  gives  a  man 
the  sense  of  perpetual  chase.  He  is  never 
sure  of  her.  A  woman  who  is  independent 
is  never  wholly  subjugated.  At  any  mo- 
ment, for  any  reason,  she  can  say  'Good- 
bye.' There  is  no  stronger  hold  than  this." 

And   Lawrence   Tibbett   laughed.  He 
threw  back  his  head  and  laughed  his  lusty, 
{Continued  on  page  gj) 


They  gave  a nefr\]nv\ 


THAT'S  WHY  THEY  COT  THERE. ...SO  QUICKLY 


W  II  I  T  E 


She  pounded  pavements  .  .  .  pounded 
studio-doors  .  .  .  pounded  the  keys  of 
a  battered  typewriter.  Then  a  keen- 
eyed  director  spotted  Alice  .  .  .  and 
in  a  few  short  years  a  new  Wliite  star 
rose  in  Hollywood's  heavens. 

Luck? . . .  Luck  nothing!  Alice  White 
was  endowed  by  Nature  Avith  a  spe- 
cial charm  to  thrill  the  millions. 

OLD  GOLD,  too,  is  one  of  Nature's 
favorites.  Endowed  with  mellower, 
sweeter  tobaccos.  It  gave  to  millions 
a  brand  new  taste-thrill,  without  a 
trace  of  throat-irritation.  That's  why 
OLD  GOLD  broke  into  the  "Big-i" 
in  less  than  a  year . . .  why  today  it's  the 
country's  fastest  growing  cigarette. 


"A  slur  secrftary;  is  *hr?  //  .//.  iln-'s 

twinkling  in  the  wrong  rvU-I" 
Jn.Ht  n  ft  w  yrors  ngo  a  luitnl  jmHlurrr 
dixroverid   Aluc   Wlnte    |...uii.lm^  a 
Btuilii)  t)|M- writer.  Todny,   »lic  tlirilU 
nulliuiw  wlitn  slic  Mars  in  a  i)icturc. 


BITTER  TOBACCOS 


III  Srattlo,  01>l)  GOLD  apponred  Feb., 
V)27.  Just  tlinc  ni.milis  later  it  vas  one 
of  the  Northwest's  four  leading  cigarettes. 


"NOT 


COUGH     IN     A  CARLOAD" 


WVHN I  Lun 


by  the 
\merican  Public 


B  U  tY 


A  FIGHTER  TO  THE  END— A  LOVER  UNAFRAID! 

A  great  motion  picture  has  come  to  the  theatres  of  the  world. 
A  drama  of  love,  power,  revenge,  greed!  King  Vidor,  who  created 
"The  Big  Parade,"  has  brought  to  the  talking  screen  this  amazing 
story  based  on  the  life  of  that  notorious  "bad  man"  of  the  law- 
less West — Billy  the  Kid.  In  this  picture  M'G-M  has  produced 
for  you  the  most  thrilling  frontier  drama  ever  filmed!  You'll  want 
to  see  the  mighty  Wallace  Beery  give  one  of  the  greatest  perfor- 
mances  of  his  career — equal  to  his  masterful  triumph  in"The  Big 
House."  Never  before  have  you  felt  the  power,  the  might  and  maj- 
esty of  the  Great  West  as  you  will  experience  it  in  "Billy  the  Kid." 


Facts   and  Figures 


recalled  the  little  bit  oi  hi>tor\  ci  tiie  unt 
motion  picture  theater  in  America,  as  told 
to  nie  by  Harry  Daxns  of  Pittsburgh  a  num- 
ber of  years  ago. 

In  the  fall  of  1905,  Davis  and  a  partner 
•  led  Harris,  who  had  l>oth  been  operating 
theater  enterprises  and  Pittsburgh  real 
ite,  owned  a  small  store  on  Smithfield 
-   (•t>t  in  that  city,  in  the  business  section. 
'     '  card  about  pictures  in  motion 
e  odds  and  ends  of  equipment. 
•  Mr^.    He  opened  it  the  day 
bt-iore  I  ig  in  1905,  with  200  seats. 

Till-  initi.;  ,  .  -ni  was  "The  (ireat  Train 
kc|.l)ery  and  the  gross  receipts  for  the  first 
■-(■ven  days  were  S513.  Within  three  weeks, 
the  business  had  grown  until  the  theater 
running  from  eight  in  the  morning  until 
midnight  and  the 

Jrofits  were 
I  ,<K)0  a  week. 
That  experiment 
has  grown  into 
III-  irly  23,oe)o  pic- 
I lire  houses  in  the 
United  States. 


{Continued  from  page  14) 

about  $41,  which,  when  you  think 
of  it,  is  just  about  what  a  compe- 
tent shipping  clerk  will  earn.  .\nd 
he  was  an  exceptionally  useful 
young  citizen,  too.  The  studios 
paid  the  extra  people  just  $2,229,076 
last  year.  \  lot  of  money,  isn't  it? 
But  divide  it  up  among  17,500  of 
them  and  it  works  out  to  very  little 
more  than  40  cents  a  day. 

THKRH  seems  to  be  something  about 
money  that  causes  unpleasant  changes 
in  the  p)eople  who  handle  it.  For  years  there 
have  been  complaints  by  the  actors  that  the 
studios  gave  them  unfair  treatment  when  it 
came  to  j>a>ments  for  services  rendered. 
The  studio  heads  heard  about  it  and  it 


AND  speak- 
ing of  his- 
torical mat- 
ter*, when  I 
called  at  the 
Hollywood  of- 
fice of  CLAS- 
SIC the  other 
day,  I  bumped 
into  a  genial 
wh  I  te  -  haired 
gentleman  in 
the  corridor. 
His  name  is 
John  R.  Freu- 
ler.  who  in  the 

same  year,  I90.S,  was  a  real-estate 
■  perafor  in  Milwaukee.  That  year 
he  was  introduced  to  a  red-headed 
ex-p<»liceman  who  had  a  moving 
picture  outfit  and  two  reels  of  film. 
In  a  week  they  opened  what  they 
railed  the  (Jomique  Theater,  and 
some  weeks  they  cleared  as  much 
as  $18.  A  year  later,  he  was  a  part- 
ner in  a  film  exchange.  In  I91.S  he 
was  president  of  Mutual  Film  (;or- 
poration  which  disappeared,  but 
I  noticed  on  Freuler's  door  that  he 
is  back  in  the  picture  business. 

APPARENTLY,  it  makes  a  difTeren. , 
J.  who  steers  the  boat.  I've  just  had  .1 
look  at  the  Fox  financial  statement  of 
August  25.   Here's  the  main  item: 

l»*2<)  |l).V» 

Current  .i.-.^ets        S2.^.4i>h..s<)5  $.^0,444,121 
»"ijrr»-Tit  li  lt  ilities     4^.i(>i,5H6  12.229,245 
that  the  rnmivany  owns  altout 
re  in  priijtertv  values  than  it 
III  owes  $_^4,ooo,<¥><)  lev, 
II  whv  the  money  sharp)s 
(li  V  iili'iiil  of  altout  $9  a  share  lor 


TA.ST  week  1  talked  with  a  young 
J  man  who  does  extra  work  in  the 
-'i.  Ihih.  HecauK4-  I  was  curious 
.iixMii  his  earnings  he  told  me  very 
frankly,  reading  his  figures  from  a 
little  black  noteh<M>k.  In  se%en 
months  he  had  earned  just 
$I,.M.V7.S.  and  had  worked  I4.S  days 
to  do  it.  That  averages  a  trifle  m<»re 
than  $.S0  a  wt-ek.  hut  out  of  it  he 
had  to  spend  $.i00  renewing  his 
wardrobe,  ao  that  cut  his  net  to 


DRAWN  FROM  MEMORY 
Remember  those  comparatively  silent  days,  when  you  used  to  see  musicians  when  you  went 
to  the  movies?  And  it  was  only  now  and  then  that  you  wondered  if  what  you  were  hearing 


was  music.-i 


lK>therefl  them.  Then  the  .\cademy  of  Mti- 
tion  Picture  .\rts  and  Science*  got  a  stami 
ard  contract  into  use.  Next  it  arte<l  as  an 
arbitrator  in  cases  of  dispute  l>et\\een  the 
actor  and  the  studio.  And  after  it  had 
handleil  dozens  of  such  ca."*s  per  cent, 
of  them  in  favor  of  the  actor-  it  di.scovere<l 
-<imething.  Most  of  the  trouble  lay  with  the 
[wople  in  charge  of  the  accounting  and  cast- 
ing departments.  They  would  go  to  unheard- 
of  lengths  to  gyp  a  player  out  of  a  <lay"s 
pav.  Mind  you,  the  studio  heads  didn't 
want  that,  and  no  one  aske<l  theM-  j>e<>ple  to 

'  '  if.  The  mere  act  of  handling  money  did 
1  thing  to  thein.  and  they  had  to  l>e  ver> 
:|>ly  informe«l  that  it  wouldn't  go  down. 

1  here's  less  trouble  on  that  score  now  but 
think  how  grieved  a  studio  paymaster  must 
l>e  at  the  loss  of  such  opportunities! 

SOMETIMES  I  wonder  why  the 
bright,  snappy  girls  \*h<)  come 
to  llollywcMtd  from  all  over  the 
country  don't  think  about  some  ac- 
tivity in  the  picture  business  except 
acting,  at  least  to  bi-gin  with.  Just 
the  other  day  I  had  (K'caston  to  fre- 
quent a  film  cutting-r(M>m  for  a 
time,  and  the  smartest  cutter  I  en- 
countered was  a  girl.  She  could 
take  a  couple  of  doZ4^n  reels  of  .sound 
film  and  match  them  all  up  prop- 
erly, cut  in  this  or  that  sound  in  its 
proper  place  and  do  it  swiftly  and 
well.  I  found  out  she  got  $20  a  reel 
for  her  work. 

"You  get  along  pretty  well,  don't 
you?"  I  said. 

"Most  of  the  time,"  she  said.  "I 
thought  I  wanted  to  bust  in  on  the 
screen:  then  I  got  inti>  this  work. 
Most  weeks  1  can  make  one  hun- 


dred and  fifty  dollars.  Three  vveeks 
ago  I  cut  and  assembled  eighteen 
reels  of  film  by  working  overtime. 
That  was  three  hundred  and  sixty 
dollars." 

That  girl  makes  more  money  than 
the  average  actress  whose  salary  is 
$500  a  week — some  weeks. 

P.-\SSING  down  Romaine  Street  in  Holly- 
wood, I  happened  on  the  big  concrete 
studio  that  Howard  Hughes  is  building  to 
house  his  Multicolor  Company — an  organ- 
ization that  puts  color  into  motion  pictures. 
.■\s  the  contractors  have  been  working  day 
and  night  on  this  big  plant,  Hughes  is 
evidently  in  one  of  his  customary  hurries. 
.And  then  I  remembered  that  all  this  color 
motion  -  picture 
photography  is 
just  twenty-four 
years  old.    It  was 
in  July,  1906,  that 
Charles  Urban 
and  G.  .'Mbert 
Smith  took 
Smith's  little  boy 
and  girl  into  the 
latter's  garden  at 
Brighton,  Eng- 
land, and  ran  fifty 
feet   of  prepared 
color  film  through 
a  special  camera. 
.Six    hours  later, 
they  projected  the 
result,  and  the 
first  motion  pic- 
ture in  color  was 
born.  Eighteen 
months  later, 
Kinemacolor  had 
its  first  public 
-tntation  in  London.    This  "colored" 
:  has  grown  some  since  then  and  become 
|ijiti'  a  swell  voung  lad\. 

WHEN  things  happen  in  the 
picture  industry,  the  results 
are  often  like  an  earthquake:  new 
adjustments  occur  all  along  the 
production  line.  For  years.  "Pov- 
erty Row"  was  an  institution  in 
Hollywood.  It  was  not  specifically 
a  place,  but  rather  a  state  of  mind, 
though  (iower  .Street  and  .Sunset 
Boulevard  seemed  the  center.  ,\ 
few  economical  gentlemen  usually 
managed  to  get  a  story  on  credit  or 
promises,  get  together  a  cheap 
company — generally  also  on  prom- 
ises -and  hire  a  temporarily  idle 
big  star  for  a  day  or  tw(».  They 
turned  out  a  five  or  six-reeler  in  as 
many  da\s.  and  when  they  figured 
up,  the  effort  had  cost  anvwhere 
from  $2,.'»00  to  $5,000.  And  some- 
times these  things  clicked. 

Then  along  came  sound  and  just 
about  blasted  "Poverty  Row"  out 
of  existence.  Yt)u  see,  you  can't  do 
much  economizing  with  sound. 
The  cost  «>f  film  recording-  minus 
such  accessories  as  film  and  labo- 
ratory charges  runs  close  to  $1,000 
a  day.  The  very  thought  of  that 
figure  put  a  lump  in  the  throat  of 
the  Row  operators,  and  most  of 
them  are  occupied  elsewhere  to- 
day. .\nd  it's  rather  a  pity,  because 
they  did  set  a  pace  for  the  big 
studios  -where  the  same  quality  of 
picture  quite  frequently  cost  ten 
or  fifteen  times  as  much.  It  was 
a  good  institution. 


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Up  against  a  stone  wall:  and  Mr.  and  Mrs.  Harry  Bannister,  the  Sheriff 
and  the  Girl,  respectively,  of  "The  Girl  of  the  Golden  West,"  are  glad  to  be 
there.   It's  part  of  their  new  hilltop  home 


Classic  Holds  Open  Court 

{Continued  from  page  87) 


P.  A.  {attempting  to  conceal  his  annoyance): 
"Miss  Lee,  you,  too,  were  deserted?" 

Miss  Lee:  "Yeowss.  But  only  by  fair- 
weather  chiselers.  From  now  on  I  pick  my 
friends  canny,  like  a  Scotchman.  Miss 
Hollywood  is  not  to  blame.  It's  simply 
that  the  town  is  loaded  with  people  who 
run  around  crying:  'Do  I  k>iow  him?  Say 
we're  just  like  that!'  with  gestures — when  at 
best  the  person  has  only  met  the  star 
casually  or  interviewed  her  or  something 

In  some  confusion,  the  P.  A.  dismisses 
Miss  Lee. 

Survival  Sacrifices 

MR.  GOULDING  (expansively):  "Miss 
Hollywood  and  Miss  Lee  were  con- 
genial companions,  but  even  so  when  Miss 
Lee  dropped  out  of  pictures  temporarily, 
Miss  Hollywood  could  do  nothing  but  shud- 
der at  the  tragedy,  for  her  own  career  ab- 
sorbed her  time.  It's  the  old  cry  of  the  sur- 
vival of  the  fittest — greatly  intensified  be- 
cause of  the  competitive  congestion.  Having 
fought  their  way  to  the  top,  only  those 
prominent  players  like  Miss  Hollywood 
who  have  the  courage  to  sacrifice  their 
loyalties  can  possibly  survive. 


"In  summing  up,  let  me  point  out  that 
Miss  Hollywood  has  tried  to  keep  in  touch 
with  her  more  unfortunate  friends;  but  even 
when  she  has  not  outgrown  them  mentally, 
even  when  she  knows  these  people  are  not 
out  to  impose  on  her,  she  simply  has  no 
time  for  anything  but  much  hard  work  and 
perhaps  a  little  good  hard  play  with  her 
immediate  business  associates  and  intimate 
friends.  Being  tremendously  ambitious, 
Miss  Hollywood  is  prepared  to  make  sac- 
rifices that  engender  in  the  more  or  less 
contented  element  a  feeling  of  scorn.  But 
since  ambition  and  sacrifice  go  hand  in 
hand,  and  since  effective  ambition  is  so 
exceedingly  rare,  I  rather  fancy  that  the 
jury  will  find  that  if  Miss  Hollywood  is 
guilty  of  any  crime  at  all,  it  is  that  of 
Justifiable  Disloyalty  and  nothing  more!" 

As  great  shouts  of  approval  sweep  the 
courtroom,  mingling  with  cries  of  "You  tell 
'em,  Gouldie!"  Mr.  Goulding  bows.  The 
court  bows.  The  jury  bows  en  masse.  The 
P.  A.  frantically  clutches  the  bottom  of  his 
chair. 

After  deliberating  for  eleven  seconds,  the 
jury  brings  in  a  verdict  of  (iuilty  in  the  first 
degree  of  Justifiable  Disloyalty.  Mr. 
(ioulding  has  won  again. 


At  last  you  have  the  chance 
To  tell  producers  just  what 
You  want  and  do  not  want. 
Turn  to  Page  108  and  release 
Those  long-suppressed  desires. 


94 


LIKE  nature's  own  CLOW 


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Hips 


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in  10  days 

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and  reduces  waist  and  liit>s 
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nr., 


wl.iv  f..t  FKKE 


:  !■.  M  A.NAtiK- 

.'1      I'll.'  nt 


Looking  Them  Over 

Continued  from  page  45) 

IT  looks  as  though  Norma  Shearer  was 
planning  to  pull  a  Gloria  Swanson  and 
a  Nancy  Carroll  and  refuse  to  permit  her 
tiny  son  to  be  photographed,  or  written 
into  publicity  copy. 

The  newspaper  boys  have  been  standing 
on  one  foot  and  then  another,  patiently 
waiting  to  broadcast  the  royal  heir  to 
M-G-M  in  his  first  gurgles,  but  they  have 
been  continually  put  off. 

Now  comes  word  that  there  will  be  no 
publicity  in  regard  to  young  Thalberg,  Jr. 


RUTH  CHATTKRTON,  who  made 
_  mother-love  history  in  "Sarah  and 
Son,"  again  plays  a  mother  in  "The  Right 
to  Love" — and,  in  addition,  plays  her 
daughter.  Different  from  dual  roles  hereto- 
fore, this  will  offer  Ruth  at)  opportunity  to 
put  her  arms  around  her  other  self,  pass  in 
front  of  herself,  and,  as  the  daughter,  even 
sit  in  her  mother-self's  lap. 

This  tnagic  will  be  accomplished  by  the 
Dunning*  Process — perfected  by  Carroll 
Dunning  and  his  s<jn.  Dodge,  over  a  long 
period  of  years.  Through  this  process,  ac- 
tors can  appear  against  any  desired  back- 
ground. In  ".Anna  Christie,"  filmed  in  Hol- 
lywood, Greta  (iarbo  was  able  tcj  sail  piist 
the  skyline  of  .New  N'ork.  In  "They  Had 
to  See  Paris,"  filmed  in  Hollywood,  Will 
Rogers  was  able  to  taxi  through  authentic 
Parisian  streets.  And  now,  if  advance  ru- 
mors are  true.  La  Chatterton  is  to  be  filmed 
against  herself. 


CLARA  now  and  Rex  Ikll  entered  a 
RfiKj,  Nev.,  hotel,  and  were  spotted 
by  Will  Rogers,  who  invited  them  to  dinner. 
Afterward,  they  decided  to  do  some  small- 
time gambling.  Clara  signed  some  blank 
checks  for  chips,  which  she  thought  repre- 
sented fifty-cent  pieces.  She  lost.  A  few 
days  later,  her  bank  notifietl  her  that  checks 
for  Sl.^.jcx)  had  come  through.  What  should 
they  do:*  "Stop  fjaymcnt,"  gas|K-d  Clara  - 
and  crash!  into  the  headlines  went  the  fa- 
miliar name  agaiti.  .\xu\  along  with  it,  that 
of  Will  Rogers.  Will  <]uerul(jusly  com- 
plained, "1  don't  like  this  riiling  to  fame 
on  the  skirts  of  Clara  fiow." 


i^'ih  lieiiiley 


Raising  his  voice:  Tom  Patricola  shows 
how  theme  songs  can  be  elevated 


VOGUE  TELLS 
"WHAT  MEN  DISLIKE 
IN  WOMEN" 

"Men  no  longer  beam  with  approval,"  saya 
this  world  fanioiis  fashion  magazine,  "at  the 
sight  of  a  sriiodlgirl  complexion  guiltless  of 
any  niake-tip.  On  the  contrary  they  may  even 
fmd  it  wan  and  dull.  But  there  remains  al- 
ways the  distinction  between  art  and  artifice, 
and  a  patently  artificial  beauty  leaves  them 
qtiilr  an  cold.  Avoid  therefore  lipsticks  that 
do  not  match  on<■'^  natural  coloring."  o 

s  •  s 

Tangee,  the  world**  most  faniou.'*  lipstick, 
leaves  no  greasy  8nieur  of  glaring,  flashy 
color.  Tangee  is  entirely  difrerent  from  any 
other  lipstick.  Magically  it  lakes  on  color 
after  you  apply  it  .  .  .  and  blentU  with  your 
own  natural  coloring,  no  mutter  what  your 
indivitlual  complexion.  An<l  Tangee  never 
rubs  off  or  looks  artificial! 

Tangve  Lipstick,  $1.  Rouge  Compact,  75^. 
Crenir  Rouge,  %\.  Face  Poivder,  to  match  the 
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and  nourishes,  $1.  Day  Cream,  protects  the 
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No  matter  what 
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No  need 
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Gray  Hair 

THIS  is  the  age  of  youthi  People  want  to 
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youth.  So  nowyou  seefewer  and  fewerpeople 
with  Gray  Hair.  Do  you  know  the  secret? 
Hundreds  of  thousands  of  other  people  have 
found  it — in  a  queer  discovery  of  science — a 
liquid  that  is  as  colorless  as  water — yet  which 
imparts  color  to  Gray  Hair!  Its  name  is 
Kolor-Bakl  Not  a  sticky,  messy,  hard-to-use 
preparation  that  might  endanger  your  hair. 
But  a  clean,  safe,  liquid  that  yon  simply 
comb  into  your  hair  to  make  the  gray  go.  It 
acts  so  gradually  that  even  your  friends  won't 
realize  that  you  are  using  anything.  And  it 
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Maureen  Q'Sullivan  may  not  be  able  to  see  him,  but  that  does  not  prevent 
John  Garrick  from  kissing  only^er  cheek.  Nowadays,  they  say,  innocence  is  bliss 


Chevalier  Himself 


(^Continued  from  page  33) 


young  Frenchman  is  very  different  from  the 
old-time  type.  He  looks  American.  He  is 
clean-shaved  and  clean-cut,  and  he  com- 
bines the  French  wit  with  the  American 
humor. 

"There  is  a  great  difference  between 
them.  French  humor  I  would  describe  as 
a  smile  with  a  tear  behind  it.  American 
humor  is  a  smile  with  a  laugh  behind  it. 
Do  you  understand?" 

He  smiled  encouragingly  and  went  on 
groping  for  words  to  make  himself  clearer. 

"The  French  humor  is  with  thoughts," 
he  said,  with  knitted  brow.  "The  American 
humor  is  something  you  can  see. 

"The  old-time  Frenchman  could  under- 
stand just  a  little  of  American  humor,  but 
beyond  that  he  had  no  idea  what  it  meant. 
Now  he  can  understand  most  of  it. 

"Because  I  was  a  comedian,  because 
I  was  a  dancer,  I  went  around  with  the 
boys,  and  1  learned  that  American  spirit. 

"My  English  has  improved  a  little,  of 
course.  I  know  a  little  better  where  to  put 
the  intonations.  At  first  I  talked  English 
with  the  French  singing  intonations.  Now 
I  can  put  them  nearer  the  right  place.  But 
I  still  have  an  accent.  It's  true,  the  studio 
didn't  want  me  to  lose  it.  But  if  they  had 
said,  '  Mr.  Chevalier,  here  is  a  contract  for 
a  million  dollars  if  you  lose  your  accent' — I 
would  still  have  my  accent!  I  cannot  help 
that." 

Contrary  to  the  rumors,  he  didn't  seem 
to  use  any  slang  at  all. 

"Oh,  not  with  ladies!"  he  protested.  "But 
on  the  set,  among  men,  I  talk  a  lot  of  slang. 
Hot  slang — how  do  you  call  it?  Slang  that 
is  not  very  nice. 

"You  think  I  cannot  swear."  He  said  it 
with  a  challenge.  "Once  I  had  a  contest, 
with  an  electrician  who  has  a  reputation  in 
the  studio  for  swearing  better  than  any- 
body.  I  won. 

"  But  1  didn't  learn  that  in  America.  The 
first  English  I  learned  was  in  the  war,  from 
the  American  soldiers.  They  taught  me  to 
swear.  Before  1  knew  how  to  say,  'Good 
morning,  how  are  you?'  I  knew  all  the  bad 
words.  Then  I  came  to  America;  and  some- 
times men,  when  they  get  together,  talk  bad 
words  just  for  fun.  So  you  see  1  have  very 
complete  instruction  in  that. 


"I  will  never  be  the  American  business 
man — that  is  foolish.  But  I  have  learned  a 
great  deal  from  living  in  America.  Everyone 
should  spend  part  of  the  year  on  each  conti- 
nent. They  are  entirely  different,  like  dif- 
ferent worlds,  and  it  helps  you  to  understand 
everything." 

I  think  Chevalier  has  changed  very 
little.  He  is  still  talking  about  Mary 
Pickford  and  Douglas  Fairbanks,  and  still 
prefers  them  to  all  others. 

He  has  worked  hard  to  reach  his  present 
position,  and  terribly  resents  anyone  who 
threatens  his  dignity.  His  sense  of  humor 
does  not  come  to  his  rescue  at  such  a  time. 

"I  am  a  very  funny  fellow — "  he  said, 
"I  have  to  be  very  frank.  For  my  own 
little  dignity,  I  can't  say  anything  that  I 
don't  absolutely  mean.  I  think  the  Ameri- 
can public  is  immense.  They  have  made  me 
very  happy.  They  are  very  cruel,  but  very 
fair.  When  they  like  you,  they  express  it, 
they  say  so,  they  make  you  feel  like  one  of 
them." 

Chevalier  loves  and  treasures  the  world- 
wide fame  that  pictures  have  brought  him, 
and  never  ceases  to  be  amazed  by  it.  He 
is  one  star  who  confesses  to  reading  all  the 
fan  magazines,  and  can  even  tell  one  from 
another.  Only  one  bad  article  has  ever  been 
written  about  him — a  piece  called  "Mon- 
sieur est  Fatigue,"  written  by  a  man  ivho 
saw  Chevalier  at  the  end  of  a  hard  day, 'and 
mistook  exhaustion  for  snobbishness. 

"I  don't  mind  what  people  say  about 
me,"  Monsieur  protested  gently,  "but  1  like 
justice.  I  know  my  little  bad  things,  my 
little  weaknesses — everybody  has  those — 
and  though  1  would  rather  not  read  about 
them,  it  does  not  make  me  angry.  But  un- 
fairness I  do  not  like.  This  fellow  didn't 
say  anything  very  bad — because  I  didn't 
do  anything  very  bad  except  to  be  tired. 
But  he  tried  to  say  I  was  putting  on  the 
high  stuff. 

"I  am  not  angry,  because  those  things 
help  you  to  keep  your  balance.  You  read 
the  good  things  and  you  think,  'Well,  I  am 
pretty  fine,'  and  it  is  good  to  read  something 
hy  someone  who  doesn't  like  you.  It  does 
no  harm.  It  doesn't  matter  to  the  people 
who  like  you.  They  will  be  loyal— until 
they  don't  like  you  any  more." 


96 


Around  the  World 
Broke 

{Continued  from  page  82) 

"I  think  Lowell  Sherman  is  a  tremendous 
performer.  He  once  told  me  that  an  actor 
must  act  all  the  time,  off  stage  and  screen 
anfl  on.  Act  getting  in  and  out  of  his  car, 
strolling  down  the  boulevard,  having  his 
shoes  shined,  act  behind  closed  doors.  I'm 
afraid  he's  right. 

He  Knows  One 

I'N'E  known  only  two  men  in  the  busi- 
ness who  work  intelligently.  I've 
known  only  one  man  in  the  business  who 
ri  ally  knows  his  job.   Only  one. 

"I've  seen  only  three  great  pictures  in 
my  life,  which  isn't  much  of  a  yardstick  to 
■c'<  by.  I  seklom  go  to  pictures.  They  afford 
;:;f  only  synthetic  amusement,  and,  as  I 
li  ivc  no  desire  to  imitate  the  way  other 
|M  oplc  do  things,  they  give  me  nothing  from 
.1  !>clf-improvement  standpoint.  Anyway, 
tlic  three  great  pictures  are  "The  l^dy 
I  ii's,"  "Men  Without  Women"  and  "All 
<  'uiet  on  the  Western  Front." 

"I've  been  in  love  three  times — which 
hasn't  much  to  do  with  anything.  I've  been 
married  once.  An  error  on  my  part.  I 
didn't  know  it.  She  turned  out  to  be  a 
swell  cook.  It  lasted  two  years.  Not  one  of 
the  titrre  times. 

iii  an  actor  doesn't  satisfy  me.  Being 
'ir  would.  Some  day  1  hofx;  to  hitch 
my  wagon  to  the  one  man  I've  mentioned 
who  knows  his  job.    I  want  to  Ih.'  his  man 
Friday.  I  believe  in  the  entertainment  value 
of  the  screen — for  most  people.     It's  tre- 
'  MS.    It  has  no  rival.    I  have  some 
-as  who  hasn't?   I  want  a  chance 
t.)  A.  IK  'cm  out.  .  .  . 

"Life's  pretty  swell,  if  you  don't  take  it 
too  seriously  and  keep  away  from  make-up 
poisoning — inside  and  out." 

How  Women  Have 
Changed  Them 

{Continued  from  page  p<j) 

•it  laugh,  wild  and  strong  and  full  — 
'    At  what  he  had  s.ii(l?   At  what 
'         lid?    At  himself?    At  me? 

■       I    •   ly  man  from  Hakersfield  is 

gone. 

The  conservative  "Boy  Wonder"  of  the 
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In  his  place  is  a  wild  man,  a  dangerous 
■iirtiveman.  A  man  who  could 
I -break  and  homclessness,  bit- 
lorm.  A  man  who  could  prom- 
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'  A  m<K)n-rrarhing  child.  .A 
ing  who  hugs  his  triumph  to 
ith  great  la-ar-hugs,  lo\inv;  it. 
It  otT.  .  .  . 

1  who  laughs — at  what? 

ue  with  a  sovereign  song  in  his 

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The  Strange  Case  of  Eddie  Quillan:  he  is  what  the  chiropractors  call  a  book 
case.  When  reading,  he  tortures  his  veitebrae  by  having  his  feet,  not  his  head, 

in  the  air 

Long  Shots  With  the  Big  Shots 

{Continued  from  page  57) 


wagered  two  thousand  on  them  against 
Pittsburgh  on  the  New  Year's  game.  If 
they  won,  I  would  be  exactly  five  hundred 
dollars  ahead — and  that's  what  happened. 
I'll  probably  play  the  same  system  this 
year,  though  I  hope  I  guess  right  a  couple 
of  times  before  those  bets  get  up  in  the 
thousands." 

All  sporting  events,  particularly  football, 
prize-fights  and  golf  tournaments  usually 
find  the  film  people  interested  to  the  extent 
of  backing  up  their  guesses  with  bets.  The 
first  fistic  encounter  of  Dempsey  and  Tun- 
ney  found  the  late  Ward  Crane  a  twenty- 
five-thousand-dollar  loser.  Incidentally, 
Hollywood  took  wallopings  on  both  the 
Dempsey-Tunney  fights.  Dempsey  is  a 
prime  favorite  in  film  town. 

Hollywood  has  a  gift  for  guessing  wrong 
on  prize-fights.  In  the  first  place,  it  is 
characteristic  for  an  actor  to  bet  on  his 
"favorite"  instead  of  his  judgment.  The 
Sharkey-Schmeling  bout  won  scant  few  bets 
out  of  Hollywood.  There  wasn't  any  "fa- 
v-orite";  that  personal  element  of  seeing  a 
pal  win  was  missing. 

On  the  other  hand,  at  the  regular  Friday 
night  bouts  at  the  American  Legion  you'll 
find  Richard  Dix,  John  Boles  and  others 
"taking  corners"  at  anywhere  from  a  dollar 
to  twenty-five  dollars  a  bout.  The  last  time 
I  saw  Mai  St.  Clair  he  was  leaving  the  sta- 
dium with  two  hundred  dollars  of  some- 
body's money. 

Even  the  kids  get  a  great  boot  out  of 
what  they  love  to  call  their  "gambling." 

Joan  Almost  Broke  the  Bank 

"AS  a  gambler,"  laughed  young  Doug 
/y_Fairbanks,  Jr.,  "Joan  takes  the  cake. 
She'd  bet  a  dollar  on  anything,  but  not 
much  more  than  that. 

"The  last  time  we  were  down  at  Caliente 
I  nearly  dropped  over  when  I  saw  Joan  take 
out  a  twenty-dollar  stack  of  Black  Jack 
chips.  Believe  me,  for  her  that  was  a  terrific 
plunge.  About  an  hour  later,  I  wandered 
back  by  her  table  and  she  was  exactly 
twenty  dollars  ahead.  And  what  was  she 
doing  but  cashing  in!  I  think  she  was  more 


proud  of  that  money  than  any  she  has  ever 
earned.  You  would  have  thought  she  had 
broken  the  bank.  You  couldn't  get  her  near 
the  gambling  tables  after  that.  I  think  she 
figured  she  was  getting  away  with  their  en- 
tire profits.  I'm  not  much  of  a  gambler 
myself,  though  now  and  then  I  like  to  bet 
on  the  Southern  California  football  team. 
I  think  the  biggest  bet  I  made,  and  lost, 
last  year  was  a  hundred-dollar  fling  on  the 
U.S.C. -Notre  Dame  game." 

Sue  Carol  and  Nick  Stuart  have  their  own 
little  system  of  gambling  that  makes  them 
winners  even  when  they  lose. 

Saving  by  Gambling 
"TX  TE  make  bets  between  ourselves  on 

VV  everything  that  comes  along,"  she 
explained.  "But  we  seldom  bet  with  out- 
siders. It  keeps  the  tnoney  in  the  family, 
and  yet  we  have  all  the  fun  of  betting. 

"We  have  a  little  bank  which  is  kept  just 
for  our  gambling  splurges.  We  put  our 
bridge  winnings  in  it,  and  pay  our  losses 
from  the  same  source.  In  football  season, 
Nick  will  bet  on  one  team  and  I'll  take  the 
other.  Same  thing  goes  for  baseball  and 
prize-fights,  and  it  doesn't  matter  who  loses 
- — he  must  put  that  amount  in  the  gambling 
bank.  I  won  ten  dollars  on  the  Sharkey- 
Schmeling  fight  and  I  guess  that's  one  of 
our  largest  donations  since  we've  had  the 
bank. 

"You  see,  we  don't  bet  much.  When  we 
play  bridge,  it's  usually  with  the  kids  at  a 
tenth-of-a-cent  a  point.  Seven  dollars  and 
a  half  is  our  biggest  bridge-winning  to  date, 
and  usually  we  bet  five  dollars  apiece,  even 
money,  on  the  various  games  and  contests. 
Even  at  that  slow  rate,  you'd  be  surprised 
how  that  little  bank  gets  along.  In  six 
months  we  acquired  two  hundred  and  eighty 
dollars." 

Bebe  Daniels  is  an  expert  at  all  card 
games — particularly  contract  bridge.  To 
this  day,  Bebe  regrets  winning  such  a  large 
sum  from  -Samuel  Goldwyn,  and  she  won't 
be  satisfied  until  he  has  woti  back  the  entire 
three  thousand.  As  a  rule,  she  does  not  play 
for  such  large  stakes. 


98 


The  Answer  Man 

(Continued  from  page  76) 

il.irk  hair  and  blue  eyes.  Kenneth  Harlan, 
.New  York  City,  July  29,  1895,  si.\  feet  tall. 
Mcighs  180  p)ounds,  brown  hair  and  eyes. 
Was  married  to  Doris  Booth  in  May,  1930. 
Walter  Miller  was  born  in  1892,  six  feet 
tall,  weighs  160  pwunds,  dark  hair  and  eyes. 
Haven't  the  date  of  his  marriage  to  Eileen 
Schofield.  John  Cromwell,  Toledo.  Ohio. 

■•  two  and  a  half  inches  tall,  weighs  170 
brown  hair  antl  gray  eyes  and  is 

1  i  to  Kay  Johnson,  w  ho  is  twenty-si.\ 
M-ars  old,  five  feet  four  inches  taJl,  120 
pounds,  blonde  hair  and  blue  eyes. 

PAULINE — Eleanor    Boardman  was 

!   rn  in  Philadelphia,  Pa.,  Aug.  10,  1K96. 
!  hicated    in   C»ermantown    schools  after 
•  '  '  i.ited  from  high  school  she  at- 
'.rademy  of  Fine  Arts  where  she 
rior  decorating  and  designing. 
Misa  Boardman  later  became  an  artist's 
model  and  at  the  same  time  entered  a 
beauty  contest  conducted  by  a  motion  pic- 
ture compi'iv.  .-^fter  playing  small  parts  for 


some  ti:  given  the  leading  r61e  in 

"SouIb  which    was   released  in 

~-.  <  ;i\e  feet  seven  inches  tall, 
1  25  pounds,  has  copper  colored  hair 


.  ,  ^  ■  en  eyes.  Married  to  King  Vidor  and 
they  have  two  children,  latest  picture  is 
"The  <'ireat  Meadow,"  Metro-( ioldwyn- 
Mayer  Studios. 

C.  S.— Olive  Borden  and  Tom  Tyler 

are  not  related.   Olive's  real  name  is  Svbil 


Marian  Shockley  and  her  polka-dot  dress 
were  »pi»-'l  by  AI  Christie.  As  a  result 
shewn  upporting  Ray 

Cookr  IS    hand >  in 

L  .  .   1.  ii.i.  .  .11.  ■  ,  comedies. 


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This,  at  least,  would  be 

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(Continued  from  page  70) 


He  is  seeing  quite  a  lot  of  tretiches  now. 

Slim  has  been  in  pictures  for  fifteen  years. 
He  has  acted  in  and  directed  two-reel  come- 
dies during  most  of  that  time.  His  first 
recognition  in  feature  productions  was  in 
"Troopers  Three" — in  which,  you  remem- 
ber, he  joined  the  cavalry.  Then  came  "All 
Quiet"  and  then  "See  America  Thirst"  in 
which  he  was  teamed  with  Harry  Langdon. 
Now  he  is  back  in  two-reelers — a  sort  of 
permanent  soldier. 

His  Private  Pranks 

HE  is  quite  as  droll  off  the  screen  as  he 
is  on  it.  Lean,  awkward,  lazy — with 
a  deplorable  tendency  toward  practical 
jokes  on  the  set. 

During  the  filming  of  "All  Quiet,"  he 
made  life  miserable  for  a  certain  plump 
Teutonic  gentleman  who  was  connected 
with  the  company.  Slim  carried  a  stout 
rubber  band  and  a  supply  of  tin-foil  which, 
as  any  small  boy  can  tell  you,  makes  a 
formidable  "wad"  for  a  "sling-shot."  And 
whenever  the  Teutonic  gentleman  leaned 
over,  he  was  in  dire  danger  of  receiving  a 
tin-foil  "wad"  in  the — er — rear.  In  vain 
did  the  director  storm.  In  vain  did  the 
plump  gent  threaten  revenge.  Slim  always 
looked  so  imiocent  .  .  . 

I  visited  his  current  trench  the  other  day. 
I  explained,  nervously,  that  I  was  very  gun- 
shy  and  he  assured  me  that  there  would  be 
no  explosions.  Just  dialogue,  that  after- 
noon. 

"Don't  sit  on  the  steps  of  the  power 
truck,"  he  warned  me.  "We  have  it  elec- 
trified— just  to  play  little  pranks  on  people." 
I  thanked  him.  "If  there  should  be  a  charge 
exploded — which  I  am  sure  there  won't — 
relax  your  muscles  and  open  your  mouth," 
he  told  me.   I  concentrated  on  that. 

A  prop  man  was  complaining  that  there 
was  a  shortage  of  firecrackers,  which  were 
needed  for  some  shot  or  other.  Slim,  it  was 
explained,  had  used  them  all  up,  putting 
them  in  the  backs  of  the  pants  of  unsus- 
pecting visitors  on  the  set.  (I  began  to 
wish  I  hadn't  come!) 

It  Was  to  Laugh 

ACAMERAM.'\N    remarked,  ostenta- 
tiously, "I  guess  there  won't  be  any 
jokes  played  to-day!" 

"He  thinks  you're  my  wife!"  Slim  whis- 
pered, twinkling.  {That  was  a  revealing 
remark!) 

He  found  me  a  chair,  amid  sand-bags  and 
things.  There  was  a  brief  rehearsal.  Sud- 
denly I  saw  a  prop  man  about  to  throw  a 
switch*.  Suspicion  came  upon  me.  I  cov- 
ered my  ears,  relaxed  and  opened  my  inouth. 
There  was  a  terrific  explosion — about  ten 
feet  away  from  me.  We  were  swallowed  up 
in  a  dense  cloud  of  dust  and  smoke.  A 
large  portion  of  the  San  Fernando  Valley 
got  into  my  mouth. 

When  the  dust  cleared  a  little  and  I 
dared  open  my  eyes,  I  found  the  So-and-So 
beside  me,  shaking  with  laughter. 

"I'm  terribly  sorry!"  he  said,  belying  his 
looks.  "  I  really  didn't  think  there  would  be 
any  explosions." 

"Four  more  for  this  shot,"  murmured  the 
script  girl. 

I  was  brave.  I  bore  it.  And  when  I  went 
back  to  the  publicity  department  in  my 
clothes  that  had  been  white — and  with  my 
face  that  had  been  fairly  ditto — and  said, 
"Guess  who  this  is!"  they  all  chorused, 


"Amos  'n'  Andy!  .  .  .  Miss  Pittsburgh! ..." 

"VVell!  Well!  That's  what  you  get  for 
being  an  interviewer! 

Soldier  of  Fortune 

SU^IMERX  ILLE  led  a  vagabond  sort  of 
existence  before  he  came  to  Hollywood 
and  went  to  work  for  Sennett  as  an  extra. 
He  ran  away  from  home  while  he  was  still 
a  youngster  and  wandered  about  the  country 
learning  an  amazing  assortment  of  trades. 
He  worked  in  brickyards,  lumber  mills  and 
machine  shops.  Once  he  worked  in  a  coffin 
factory. 

And  once — just  once — he  promoted  a 
prize-fight.  It  was  a  preliminary  bout  in 
some  series  of  matches  or  other  and  he  hired 
both  the  contestants.  One  was  a  big,  tough 
taxi  driver  who  had  but  one  eye.  The  other 
was  a  little  bird  he  picked  up  on  the  street. 
It  looked  like  a  pretty  one-sided  match. 

"I  thought  I'd  better  sit  in  the  corner  of 
the  big  guy,"  Slim  says.  "And  I  bet  all 
my  money  on  him.  Do  you  know — that  big 
fellow  never  struck  a  blow!  The  little  one 
just  chased  him  'round  and  'round  the  ring 
until  I  got  so  mad  I  jumped  up  and  hit  him 
with  a  water  bucket!" 

Another  episode  in  a  prize-fight  ring  nearly 
ended  Slim's  career  at  a  very  early  stage. 
And  what  in  the  world  should  we  have  done 
then  for  a  typical  enlisted  man  to  fight  our 
mock  movie  wars? 

He  and  another  comedian  from  Sennett's 
were  to  put  on  a  comic  fistic  encounter  for  a 
charity  benefit  at  Santa  Monica.  The  cli- 
max of  the  fight,  as  planned,  was  to  come 
when  the  seconds  would  rush  into  the  ring, 
smack  the  contestants  over  the  heads  with 
break-away  bottles  and  drag  them  away. 

The  Joke  Came  Hard 

THE  bottles  were  made  of  resin.  Just 
before  the  performance,  it  occurred  to 
Slim  that  it  would  be  funnier  if  they  were 
filled  with  water.  So  he  filled  them.  Water, 
it  seems,  hardens  resin  and  makes  it  as 
solid  as  any  glass — if  not  a  little  solider! 
So  when  he  was  smacked,  the  bottle  didn't 
break.  But  his  head  did. 

There  was  nothing  make-believe  about  his 
unconscious  state.  Later  he  arose,  amid  the 
tweeting  of  the  little  birdies,  and  wandered 
unsteadily  out  onto  the  pier  nearby.  He 
was  just  on  the  point  of  stepping  off  into 
the  Pacific  Ocean  when  som^ne  saw  and 
rescued  him.  Mercy! 

Slim  will  do  a  series  of  two-reel  comedies 
in  which  he  wins  various  pretty  girls  of 
various  nationalities,  despite  the  machina- 
tions of  the  big,  tough  top-sergeant — the 
natural  enemy,  one  gathers,  of  all  privates. 

The  supervisor  on  the  series,  a  shrewd 
gentleman  named  Kaufman,  explained  to 
me  that  Slim's  chief  charm  is  his  wistful- 
ness. 

"A  comedian  must  look  helpless,"  he 
said.  "He  must  look  as  if  he  would  always 
get  the  worst  of  it.  There  must  be  a  sweet- 
ness about  him.  Then,  when  he  triumphs 
unexpectedly,  in  the  end — everyone  is 
pleased!" 

The  Chaplin  legend,  you  see,  is  still  doing 
a  lot  for  the  sad-faced  boys! 

So  far  as  I  am  concerned,  the  moment  in 
"Troopers  Three"  when  Slim  fell  oflf  his 
horse  rind  then  rose  to  give  it  a  long,  long 
look  of  hurt  reproach  was  one  of  the  bright- 
est in  recent  pictures.  Because  of  it  I  even 
forgive  him  for  those  bangs  on  the  set! 


For  an  unusual  Hollywood  diet,  which  gives  you 

That  certain  feeling  of  having  gained 
What  you  wanted  to  gain,  digest 

Motion  Picture  CLASSIC 


100 


STARS 


Believe  Him  or  Not 

{Continued  from  page  SS) 

■  '  .-ve  it  or  not,  there  really  i.s  a  prohi- 
'  III  law  kicking  around  somewhere. 

Speaking  of  Movie  Actors 

IP"  declares  the  hardest  work  he  has 
ever  done  is  under  his  Warner  Broth- 
'  •  ract  to  make  twenty-six  "Believe 
•  "  short  talking  movies.   "I'm  no 
ys  "Rip."   The  cameras  and  mi- 
iiad  him  petrified  at  first — but  now 
:  t  of  the  day's  work.  .And  what  a 
Kip"  recalls  one  that  began  at  six 
k  ill  the  morning  and  ended  about  that 

thing  in  the  movies 
.1  is,  next  to  the  super- 
kick  is  in  watching  them 


In  all 
movifs  w 

/  •      "ijn  liic  3iK)t 
-  such  as  the 


ten !  ■ 


-s  he  declares  that  the 
1 1  newspkapers  and  niaga- 
He  declares  that  news- 
Hearst  Metrotone  News 
'  '  I  infornia- 

•  or  not,  I 
■  \L  .   ..  , .  ii  -    less  than 


If  you  catch  him  off-guard,  he'll  admit 
that  hi-.  Mil  !  lit-  name  is  LeRoy. 

Ill  Ir  .•■■■iiijn  the  strangest  material  he 
'  1-.  emanated  from  the  Orient. 

that  the  ways  of  the  heathen 
'         r  .111  ;  .ither  peoples  of  far  lands  are 
lore  odd  to  us  than  are  our  customs  to 

I  :  '     I . 

H:-.  lirawings  are  as  much  in  vogue  in 
ralia,    Norway,    Japan,    Brazil  and 
lly  distant  points  as  they  arc  in  New 
W.ih<»o,  or  Hollywood.    The  papers 
s  them  arc  "protected"  within  a 
fifty  miles.     That  is.  no  other 
•  '     ■  ■•.,re. 

vvork 

a,. 


wh>  i 

ing  III. Ill  III  ,\. 
it  or  not ! 


lat  are  so  dear  to  l>oth 
r  man. 

you  a  little  idea  of 
-  the  most  interest - 
ii  you  ask  »k— l)elieve 


What  Do  You  Mean 

-"Star"? 

{Coniinuf/i  from  page  jS) 

trw.    1  lif\   iri-  l'Hiri.|f.|  upon  the 
^  of  t  h.  Ml  !m-'  ■  ■,      ■  :  Mi.iny  years 
••  premise 
•  d. 

ol  thous^inds 
irdom.  Thou- 
I  iii>  wood  to  make 
imcnt.  Figure  their 

ire  forty-tour  stars  in  Hollywood 


New  ..J  J.I  [XT  - 
Alii'i--    n  \ 


ird   \rlon  ('.«><iri^c 


I  >ougl.i>  i-aii- 


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Itching  ^tk 


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bringing  relief  from  burning,  itching  skin  torture 
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Fryer 

When  a  novel  is  in  her  hands,  Louise  Fazenda  can  be  found  in  a  novel  position. 
One  of  the  local  book-sellers'  best  customers,  she  never  has  any  back  reading  to  do 

Plenty  Smart  Girl 

{Conlimied  from  page  dj) 


The  Boy  She  Would  Have  Married 
""\^0U  remember  theez  brother  of  Ra- 

JL  mon's  who  die?  Joe?  I  loff  Joe  better 
than  any  man  in  world.  He  loff  me.  When 
we  go  to  school  long,  long  time  ago,  he  tell 
me:  'Rakkie,  when  we  finish  school,  we  get 
married.'  I  used  to  keed  him.  'Not  mar- 
riage for  me.'  I  would  say,  'W'hen  I  get 
through  school  I  go  in  the  moovies.  I  am 
goin'  see  your  beeg  brother,  Ramon,  who  is 
beeg  star  in  moovies  and  he  will  help  me 
to  be  a  star.' 

"Theez  make  Joe  very  mad.  How  he 
scol'!  He  say  he  loff  me  and  we  goin'  to  be 
married.  He  say  he  do  not  want  moovie 
star  for  wife.  He  want  Rakkie. 

"But,  Dor'thy,  I  got  to  go  to  work!  I 
got  to  make  money  to  help  out  with  family. 
So  I  get  job  as  usher  at  Grauman's  Chinese. 
Theez  job  I  do  not  like  so  much — but  it  is 
money.  Maybe  you  know  story  of  how  I 
am  discover'  as  usher  and  how  moovies  make 
test  of  me  for  'White  Shadows  in  South 
Sea'?  I  tol'  theez  story  many  times.  When 
theez  happen,  I  am  crazy  with  happiness 
and  excitement. 

"  I  go  away  for  five  months  with  company 
to  South  Seas— I  come  back  and  picture  is 
beeg  heet!  I  am  happiest  girl  in  worl'  when 
I  hear  picture  goin'  to  show  in  Grauman's, 
where  I  used  to  work.  I  am  crazy.  I  am 
excitement.  I  am  very  busy— but  theez 
does  not  make  difference  between  Joe  and 
me.  We  are  in  loff. 

Too  Happy  Perhaps 

"T  THEENK  we  mus'  have  been  too 
J[  happy!  Maybe  peoples  are  not  sup- 
pose' to  be  so  happy  as  Joe  and  Rakkie. 
Joe  becomes  ver'  seek — and  my  heart  aches 
with  worry  for  heem! 

"The  day  he  die,  I  am  at  Ramon's  house. 
I  cannot  say  how  I  hurt  inside.  Poor  Ra- 
mon— how  he  loffed  that  boy.  I  theenk 
somethin'  wonderful  and  sweet  and  lovelee 
die  in  that  family  when  Joe  die.  1  cannot 
tell  Ramon  how  I  feel.  I  take  hees  hand — 
I  try  to  tell  heem  that  way  what  my  lips 
cannot  say.  That  is  all — except  later,  when 
Mr.  Mayer  heemself  want  me  to  play  with 


Ramon  in  'The  Pagan,'  someone  tell  me  I 
will  not  play  in  part  because  I  haff  hurt 
Ramon's  feelings. 

"I  will  never  be  happy,  Dor'thy,  until  I 
know  how  I  hurt  Ramon.  He  does  not  say. 
When  1  ask  him  why  I  do  not  play  in  hees 
picture,  he  say:  'I  do  not  want  girl  with 
accent  in  my  picture.'  If  you  ever  hear  that 
Rakkie  Torres  is  goin'  to  play  in  picture 
with  Ramon  Novarro,  you  weel  know  she  is 
happies'  girl  in  world. 

"I  do  not  want  thees  should  sound  like 
sob-story,  Dor'thy.  I  am  lucky  girl  in  hav- 
ing friends  like  Dolores  Del  Rio.  She  is  so 
good  to  me.  Never  does  she  have  party  that 
Rakkie  isn't  invited.  'I  am  your  friend, 
Rakkie,'  she  say.  'Not  for  jus'  leetle  while, 
but  all  the  time.' 

Dolores  Thought  The  Same 

"  T  AM  so  glad  she  is  beeg  star.  I  am  so 
J[  glad  she  is  success.  Ever'  time  I  go 
up  to  her  beeg  house  that  is  so  beautiful  I 
theenk,  '  Will  1  ever  have  so  much  as  Do- 
lores? Will  I  ever  have  house  like  theez?' 

"  Dolores  laugh  at  theez,  always.  She  say 
she  used  to  feel  same  way  when  she  firs' 
came  to  Hollywood  and  went  to  beautiful 
houses  like  Marion  Davies  and  Mary  Pick- 
ford.  And  now  she  got  one  of  her  own,  but 
she  say:  'Beeg  house  is  not  happiness, 
Rakkie.  Happiness  is  inside.' 

"I  do  not  know  whether  I  ever  be  beeg 
success  like  Dolores.  But  I  try  hard  to  do 
my  bes'.  I  am  very  careful  with  my  money, 
Dor'thy.  I  save  and  save  and  put  away 
much  of  it.  If  I  am  not  beeg  success,  I  will 
not  have  to  worry  when  moovie  days  are 
over. 

"I  theenk  I  like  to  try  somethin'  else  be- 
sides South-Sea-girl  parts.  I  would  loff  a 
dress-up  part,  but  they  still  put  Rakkie  in 
rags.  Maybe  some  day  1  will  get  theez 
break  they  call  it.  Maybe  some  day  I  will 
wear  beautiful  clothes  and  people  will  say 
'  Raquel  Torres  is  different  from  what  I  have 
always  expec'.  She  can  do  other  theengs 
besides  wear  a  rose  in  her  hair.  She  is  good 
all-around  actress.' 

"  B  ut  now  I  wait  carefully — and  hope ! " 


102 


Normal,  Though  An 
Actor 

{Continued  from  page 

in  plays  and  movies.  Cowardice, 
friction — all    of   these  belong 
vehicle,  if  that  vehicle  is  to  be  'good 
iter." 

■  1  think  that's  probably  true,  but  I  know 
from  evrwricnre  that  the  average  person 
''  ipil  in  straight  doses. 

■>d  play  once,  but  it 
,     •,     Mt(  (l  the  piti- 
in  too  uii  1 10  a  light. 

1  niarrie<l  ■  lat  had  un- 

ainbitions.     The  wiie  wanted  to 
r  Mary  Pickford  and  the  husbanrl 
'I'-rship  in  a  certain  fraternal 

>inparati\  ely  flat  because 
in  the  auflience  theni- 
..•      [lie  natural  <lesire  to  Ije 
I  little  uraiider  than  themselves 
■  '>f  the  nifii  haci  at  one  time  or 
I  to  belong  to  some  club  or 
■  hoin.   When  tho  linht  of  hope 
'  IV.  it  went 
•  ^  of  th<jse 
but  a 
t  wit- 

.    .  t,         u.i.i  .    .  cruel 

•  by  the  way),  not  entertainment. 


H 


'MmK  would  have  saved  that.  It 
•  not  tx"  roiisidere*!  the  highest 
lit  I  think  a  lot  more 
resulte<l  if,  toward 
'      '•■  were 
thev 


Aith  thcin;  and  «.'\ i-rv  t  Inn,;  uuuld 
Th»*  (il.ivwrii;ht .  in  ■sii  M  it<  hini{ 
made 
Hut 

..,1,. 


4  him.'' 

f  Mill,  "will  put  me 


\,i.i 


n  solely  because  they  re  more  m- 

"y  I.IKR  .Tvernife  peo[>le  whon  I  urt  to 
V'.  r  ' 


I  w<in't 


I 


the 


IS  nut  the  rase. 

•iMt   


It*s 

A  Puzzling 

World! 

When,  just  as  business  hits  rock  bottom, 
And  a  dollar  bill  looks  as  large 
As  a  Magic  Carpet — 

You  have  a  real  chance 

To  pick  up.fiftecn  hundred  dollars, 

Or,  missing  that: 

$1,000  or  $500  or  $250  or  $125 

Or  one  of  365  other  welcome  sums  .  .  , 

And  no  one  has  a  better  chance 
Than  you — this  being  guaranteed. 

And  you  aren't  going  to  need  luck — 
Only  a  pair  of  open  eyes,  a  pencil. 
And  an  imagination  in  working  order. 

It's  a  puzzling  u'orld. 

From  every  State  of  the  Union, 
From  every  Province  of  Canada, 
From  Central  and  South  America, 
From  Sunny  Spain  and  Darkest  Africa, 
From  India,  Australia,  Japan, 
Word  comes  from  picture  fans 
Tliat  they  are  playing 
The  Motion  Picture  Title  Game. 

It  has  That  Certain  Something. 
It  is  tempting,  teasing, 
Amusing,  pleasing. 
Play,  not  wt>rk.  A  game — 
Not  an  endurance  contest. 

It  is  fun  to  play, 

And  if  you  win — 

What  couldn't  you  do 

With  fifteen  hundred  dollars? 

The  chance  of  a  pu::ling  lifetime 
Awaits  vou  on  Pages  40  and  41 
Of  the  December 

MOTION  PICTURE 


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Are  you  sure  of  having  your  wit  about 
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And  are  you  sure  of  seeing  them  in 
stories  that  do  them  justice? 
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You  Can't  Win 

(Continued  from  page  41) 


I'd  bend  over  my  desk  and  hold  a  book  up 
and  do  it  just  as  loud  as  I  could.  The 
teacher  never  could  tell  who  it  was,  and  it 
nearly  drove  her  crazy." 

One  of  the  letters  was  from  her,  proving 
that  there  are  more  ways  than  one  to  make 
an  impression. 

"But  you  can  see  why  I'm  such  a  model 
girl  now,  and  why  I'm  so  certain  of  get- 
ting back  at  the  people  who  have  been 
inean  to  me." 

Just  to  show  you  what  an  expert  Jeanette 
is  at  this  grudge  racket :  When  she  was  eight 
years  old,  a  little  boy  who  had  promised  to 
take  her  to  a  Hallowe'en  party  failed  to 
show  up,  and  she  was  very  mortified.  The 
next  day  in  the  school-yard,  when  she  asked 
him  why  he  didn't  come,  he  turned  around 
and  gallantly  told  her  to  go  climb  a  sour- 
apple  tree. 

Jeanette  grew  to  womanhood,  still  seeth- 
ing at  the  memory  of  that  insult.  About 
two  years  ago,  she  and  her  mother  returned 
to  Philadelphia  for  a  visit.  The  boy  inno- 
cently called  her  up  and  said  he  would  love 
to  see  her. 

Jeanette  seized  the  'phone,  her  green  eyes 
blazing. 

"Once  you  told  me  to  climb  a  sour-apple 
tree,"  she  snapped.  "Now,  how'd  you  like 
to  do  the  same  thing?" — and  she  hung  up 
with  a  bang.  She  felt  fine  after  that. 

When  she  was  in  the  chorus  of  "The 
Night  Boat,"  younger  and  less  experienced 
than  any  of  the  others,  the  company  came 
into  New  York  one  night  and  were  told  to 
get  off  at  125th  Street  instead  of  Grand 
Central.  Jeanette  didn't  know  how  to  get 
home  from  there.  She  knew  one  of  the 
principals,  who  was  sitting  beside  her,  lived 
in  the  same  block  with  her,  so  she  timidly 
asked,  "Can  you  tell  me  how  to  get  to 
Forty-Ninth  Street  from  here?"  The  woman 
gave  her  a  contemptuous  look. 

"I  really  don't  know,"  she  said.  "I'm 
taking  a  taxi." 

Years  later,  when  Jeanette  was  a  big 
leading  lady  and  the  other  woman  wasn't 
much  of  anything,  they  were  introduced 
in  a  cafe.  "  I  remember  you  very  well," 
said  the  other  woman  effusively.  "I 
don't  believe  we've  met  before,"  said  Jean- 
ette, drawing  herself  up  to  her  full  height. 
It  made  a  new  woman  of  her. 

"Of  course,"  she  admitted,  "I  shouldhave 
been  able  to  get  all  the  satisfaction  I  wanted 
from  just  having  the  opportunity  to  snub 
her,  without  actually  doing  it.  But  I'm 
afraid  I'm  not  quite  big  enough  for  that." 

She  must  have  a  long  list  of  Hollywood 
people  to  be  dealt  with  when  Fate  gets 
around  to  it. 

"People  were  very  cruel  to  me  when  I 


first  came  out,"  she  said — more  wistfully 
than  resentfully,  strangely  enough.  Her 
voice  has  a  tremulous  quality  when  she  least 
suspects  it. 

"I  thought,  'Well,  as  long  as  I'm  going 
out  there,  I'll  be  one  of  them.'  I  had  a  big 
part,  and  I  expected  to  be  welcome.  But 
nobody  at  the  studio  had  anything  to  do 
with  me.  I'm  sure  they  didn't  realize  what 
they  were  doing,  or  they  wouldn't  have  been 
so  cruel.  Not  one  of  them  spoke  to  me. 
And  I  used  to  look  right  straight  at  every 
person  I  passed  on  the  lot,  hoping  that 
someone  would  smile  at  me. 

"George  Bancroft  was  the  only  person 
who  spoke.  He  came  up  and  shook  hands 
and  said  he  hoped  I'd  be  very  happy  work- 
ing there.  Mary  Brian  used  to  smile  at  me 
sometimes,  but  they  were  the  only  ones  who 
gave  any  sign. 

"Since  then,  I've  met  people  in  Holly- 
wood whom  I  like  very  much  and  who 
have  been  lovely  to  me.  And  my  feelings 
aren't  hurt  any  more,  and  never  could  be 
again.  But  I  will  never  expect  anything  of 
Hollywood  actors. 

"There  is  such  a  great  prejudice  against 
stage  people.  I  have  been  repeatedly  at- 
tacked in  the  press  by  people  whom  I've 
never  met  and  who  have  never  even  seen 
me.  I  can't  explain  it,  but  it  doesn't  worry 
me,  because  I  know  I'll  be  given  the  oppor- 
tunity to  get  even,  sooner  or  later." 

She  began  to  smile  happily,  in  anticipa- 
tion of  her  one  vice.  It's  quite  a  feat  to  be 
able  to  talk  about  your  own  vengefulness 
for  an  hour,  and  still  give  the  impression  of 
being  completely  delightful  and  good-na- 
tured. 

The  reports  of  the  MacDonald  tempera- 
ment are  greatly  exaggerated,  according  to 
Jeanette. 

"I  don't  know  how  the  rumor  got  started. 
I  am  particular  about  my  clothes — I  think 
every  actress  is.  But  I  never  have  any 
trouble  with  them.  The  wardrobe  at  Para- 
mount is  perfectly  fine.  And  I'm  fussy  about 
my  hair,  because  I  don't  think  there's  any- 
thing that  makes  so  much  difference  in  a 
woman's  appearance,  do  you?  But  I  don't 
call  that  being  temperamental. 

"As  a  matter  of  fact,  if  I  ever  have  an 
outburst  of  temper,  everyone  on  the  set 
roars  with  laughter  at  me,  and  I  end  up  by 
apologizing,  and  feel  very  silly  and  ashamed 
of  myself.  But  that's  not  what  I  call  tem- 
perament." 

Personally,  I  like  a  girl  with  a  little  spirit. 
Jeanette  knows  what  she  wants  and  usually 
gets  it.  But  if  you  ever  happen  to  hear 
any  rumors  about  temperament  or  other 
mean  traits,  you  can  be  sure  they  aren't 
true. 


"What  are  you  laughing  at?"  barks  out  Rennie  Renfro  to  the  center  canine, 
standing  for  training  for  M-G-M's  doggy  comedies 


104 


They'll  Pay  You  to  Insult  Them 


{Continued  from  page  48) 


T 


Lady  Stanley  knows  her  stuff.   She  will 
"■  '    "1  in  a  large  way.  To  all 
is  an  excellent  contempt 
,:.  ustry  and  everyone  in  it. 
)o  surer  way  to  succes.*  and  "that 
I  l  i"  than  to  take  that  attitude. 

I'l  l    >  ers  will  pa.y  you  in  exact  propor- 
t:      \'t  .our  contempt  for  them — and  for 
ires.    The  more  superior  you  are,  the 
you  sneer  at  them,  the  better  will  be 
>  uur  jol). 

Broadway  Buzzards 

N  the  upheaval  that  followed  the  advent 
"t   t       ■  Hires,  hundreds  of  con- 

at  this  and  that  were 
ii-:  .-  .s  \'ork.  The  very  name, 

■  w  York,"  IS  imprcsai\e  to  Hollywood, 
ro  is  a  general  impression  that  New 
<:rs  consider  us  provincial  or  some- 
-     That  they  laugh  at  us  (and  not  in 
cs,  either),  that  they  look  upon  us 
as  a  Da  \  inci  might  contemplate 
iis  and  his  Jiggs.  \V'e  are  amusing. 

I-  n  M  icv  out  of  our  pro<luct. 

our  heads  in  shame  anil 
•   not  "true  artist."  We 
and  we  know  it  is  degrading, 
ines.   We  are  clo<ls.   We  are 
.J.       Mountebanks.  Buttonhole- 
rs.  There  are  wrinkles  in  our  vests  and 
'  '  '        •  ■  '    '  '  ith  crumbs. 

' >ld  all  these  things 
■■    ...  I  ,,,,  l,,„._,.r 


IIh  1,1  Mticre  they  are  wrong — at  the  111. i<- 
11     ^'  expense.  They  pay  the  sncerers  iiiorr 
■  V  than  they  ever  saw  l>efore  to  do  it — 
arc    pathetically    grateful    for  the 

It  ail  M-ems  to  be  part  of  a  curious  little 

  '  '   '  M  stop  you  from  doing  it  if  they 

II  pay  you  money  for  doing  it 


Jim's  Their  Pal  Now 

TIM  I  l  'LL^',  for  iiist.ince,  lampoone<l  the 
U:        fnr  \f  ir  -  in  iirifU.    He  laid  bare 
revealed  em- 
-.•W9.    He  was 
\ ,  1 1 0111  111 .11 1\  i'\ cry  lot. 
'>unt   iMiiKht    till'   nights  to 


t  in 

,    .    .   ;        .  ..y  it 

ith  rhaffertnn  admits  that  she  used  to 

nipt  for  mofiDii  pn  tiircs. 

I.  silent  <l.i\>  .iiid  tlu-\ 
|>f  glittering  oilers, 
I  her  piquant  and 

■•  came  along  and 


11  by  achieving  a 


lliis  VH.'M|x>iiil,  »lic  All!  |iinii,il>l)  »ur\uc. 

Charlie  Tells  Them 

Mir.RF  U  Ch  ulrs  Hm  kf  )r.|  rxrrutive* 


"lousy"  and  "fools"  and  "rotten  "  right  out 
loud.  Folks  mutter  that  he  is  "talking  him- 
self out  of  a  job."  But  I  observe  that 
directors  squabble  over  him  and  studios 
strive  eagerly  to  borrow  him — while  a  good 
many  meeker  souls  are  slinking  away  to 
return  to  the  stage  whence  they  and  he  all 
came. 

Look  at  Eric  von  Stroheim!  For  good- 
ness' sake!  No  one  could  possibly  have  less 
respect  for  the  holders  of  picture  purse- 
strings  than  he  has.  No  one  could  have  a 
greater  contempt  for  producers  and  their 
formulas,  for  commercialism,  for  restric- 
tions, for  practicality,  for  any  of  the  ac- 
cepted picture  tenets,  than  \'on. 

He  Hings  their  money,  with  grand  ges- 
tures, to  the  winds.  He  insults  them  to 
their  faces  and  to  the  Press.  He  sneers  at 
the  mentality,  the  race,  the  habits  and  the 
aims  of  all  producers.  Yet  there  is  always 
some  one  of  them  who  will  give  him  a 
job,  open  his  purse  and  attempt  to  cope 
with  \'on,  while  he  shows  them  how 
a  picture  should  be  made  in  ninety-eight 
reels. 

He  has  had  more  quarrels  with  Universal, 
perhaps,  than  with  any  other  studio.  But  he 
is  returning  there,  at  their  urgent  request 
an<l  for  plenty  of  money,  to  remake  "  Blind 
Husbands"  in  talking  pictures.  Doubtless 
there  will  be  fireworks,  hot  words,  name- 
callings,  maylK'  (goo<JyI  goody  1 1  a  little 
fighting.  And  someone  will  make  him  a 
nice,  fat  offer  as  soon  as  it  is  over.  Or  per- 
haps while  it  is  in  progress. 

Pay  Dirt 

A YEAR  ago,  there  were  in  Hollywood 
two  young  men — a  title  writer  and  a 
nress-agent  by  res()ective  professions. 
Neither  had  a  job  and  their  prosjiects 
were  growing  less  of  getting  them.  .So 
they  s.i»  f':  -1  down  and  wrote  a  book 
alMlUt  •<n\.     An    insulting  lHX>k. 

They  >  .  ,  >ple  names  by  name,  if  you 
know  what  I  mean. 

Thr-  iii.lustry  was  indignant.  It  wanted 
si  1  about  them.    They  were  "in- 

!  "biters  of  h.inds  that  fetl  them." 
I  \  idn't  fed  them  so  very 

And  then  they  sold 
til'  :  ..,..1  >  i  '  their  insulting  book  for 

a    -I"  ;  !  ular  sum  and  are  now  in  the 

•      l>.  in.-     l..-,:,v-,!     t'-.r     ..n.-ni  ,! 


Ih'Ioi  L- 1 

When  \'irta  Delm.Tr  w.is  .nt  W.nmers, 
a .  .;est 

tll.ll    '..11   I.  .  h  1    .    lil  I  ir  1  II        w  ith 

her.    "  That  is,"  they  would  add,  "if  you 

don't    mind  '..n.-    •n-iih.l'    She  insults 

nrrymir:"  was  nothing 

more  nor  !■  I  assure  you. 

They  werr  is  could  be  of  her.  She 
w.is  their  i 


on  th* 

iiKv 


liciick  w  •  man,  a-s 

That  «  .1  scream - 

urk  and  won  .\riliur  lo^ids  and  loads 


T' 


'  '    '  ■     ■  rs.  You 

■111  tralUc 
reach  .i 
III  make 
'  iiid-a-half 
iicii  you  are  ready  to  collect  in 


ill 


in  tKe  United  States 
celebrates  tKis 
year  its  Jubilee. 
Fift)>  years  ago 
one  man  and 
seven  lassies 
landed  at  tKe  Battery,  Nev? 
York  City,  the  pioneer  band 
of  a  new  eVangel.  Since  that 
day  tKe  organization  Kas  stead- 
ily advanced  to  tKe  KigK  place 
it  now  occupies  in  tKe  esteem 
of  tKe  nation.  Rel  igion  in 
action  IS  tKe  basis  of  all  Its  en- 
deavor. No  barriers  of  race, 
creed  or  color  are  recognized. 

Every  year  tKe  Army  marks 
tKe  festive  season  by  giving 
CKristmas  dinners  to  tKe  de- 
serving  poor  and  toys  to  un- 
derprivileged cKildren,  in 
addition  to  tKe  year-round 
care  of  all  wKo  seek  its  aid, 
temporal  or  spiritual. 

You  are  inVited  to  sKare  in 
tKis  beneficent  Work  by  easing 
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Name  

Address  


The  Answer  Man 


{Continued  from  page  ggi) 


Wayne's  real  name  is  Duke  Morrison. 
Dorothy  Lee  was  born  in  Los  Angeles,  Cal., 
May  23,  191 1.  Her  latest  production  is 
"  Hook,  Line  and  Sinker."  Bernice  Claire's 
latest  is  "Kiss  Me  Again."  Dennis  King 
is  five  feet  eleven  and  a  half  inches  tall  and 
weighs  155  pounds.  John  Garrick,  five  ten 
and  a  half.  Wallace  MacDonald,  five  ten, 
weighs  150  pounds. 

VIVIAN — The  trouble  with  playing  foot- 
ball is  that  you're  apt  to  get  athlete's  foot 
on  the  neck.  Ronald  Colman  was  born  in 
Richmond,  Surrey,  England,  Feb.  9,  1891. 
That  is  his  real  name.  Latest  production 
released  is  "Raffles."  Maurice  Chevalier, 
Menilmontant,  near  Paris,  France,  about 
thirty-one  years  ago.  Richard  Cromwell 
has  been  selected  to  play  the  title  role  in 
"Tol'able  David,"  which  is  in  production  at 
the  Columbia  Studios.  Richard  is  twenty 
years  old.  He  is  an  art  student  with  no 
previous  theatrical  experience.  Despite  the 
fact,  however,  Cromwell  has  a  surprising 
amount  of  natural  histrionic  ability.  He  has 
a  keen  boyish  charm,  reminding  one  of 
Charles  Ray. 

MARGARET— Bob  Steele  is  about 
twenty-seven  years  old,  six  feet  tall,  has 
brown  hair  and  blue  eyes.  Joan  Marsh  is 
about  sixteen,  has  blonde  hair  and  blue  eyes. 
Her  latest  picture  is  "Leather  Pushers." 
Dorothy  Sebastian  was  born  in  Birming- 
ham, Alabama,  April  21,  1903,  she  is  five 
feet  three,  weighs  114  pounds,  has  dark 
brown  hair  and  hazel  eyes.  That  is  Lewis 
Ayres'  real  name. 

WINIFRED— Glad  to  hear  from  you 
again!  Nancy  Carroll  has  been  appearing 
in  pictures  since  1927.  Latest  picture  "Two 
Against  Death."  Phillips  Holmes  was 
born  in  Grand  Rapids,  Mich.,  about  twenty- 
one  years  ago.  He  is  six  feet  tall,  weighs  155 
pounds,  has  blond  hair  and  blue  eyes.  Ap- 
pearing in  "Criminal  Code."  Receives  his 
fan  mail  at  the  Paramount  Studios.  Lewis 
Ayres,  Minneapolis,  Minn.,  Dec.  28,  1908, 
five  feet  eleven  inches  tall,  weighs  155 
pounds,  dark  brown  hair,  dark  blue  eyes. 
Married  to  Alice  Caddy.  Latest  production 
"Mississippi,"  Universal  Studios.  Educated 
at  the  San  Diego  High  School,  University  of 
Arizona.  Has  appeared  in  amateur  drama, 
three  years  of  singing  and  playing  with 
dance  orchestras,  plays  banjo,  guitar  and 
piano. 

ELISE — Yes,  Tom  Mix  is  going  to  return 
to  pictures.  I'll  bet  you're  glad?  Buck 
Jones  is  appearing  in  "Down  Trail,"  Col- 
umbia Studios.  Monte  Blue  was  born  in 
Indianapolis,  Ind.,  Jan.  11,  1890.  He  is  six 
feet  two,  weighs  180  pounds,  has  brown  hair 
and  eyes.  Married  to  Tove  Jansen,  they 
have  two  children,  Barbara  Ann  and 
Richard. 

NONA — Harold  Lloyd  was  born  in 
Burchard,  Neb.,  in  1883.  He  is  six  feet  tall, 
weighs  156  pounds,  has  brown  hair  and  blue 
eyes,  married  to  Mildred  Davis.  Latest 
picture  "Feet  First."  Reginald  Denny, 
London,  England,  Nov.  20,  1899,  six  feet 
tall,  weighs  180  pounds,  brown  hair  and 
hazel  eyes.  Charles  Chaplin,  England, 
April  16,  1889,  five  feet  four,  125  pounds, 
gray-brown  hair,  blue  eyes.  Loretta 
Young  has  brown  hair  and  hazel  eyes. 
Latest  picture  is  "Heart  of  the  North." 

0.  A. — Armida  was  born  in  Sonora, 
Mexico,  about  eighteen  years  ago.  She  is 
four  feet  eleven,  weighs  90  pounds,  and  has 
black  hair  and  eyes.  Real  name  is  Vendrell, 


At  this  writing  she  is  appearing  on  the  stage 
in  "Nina  Rosa,"  a  musical  production. 
Sally  Blane,  Salida,  Colo.,  July  11,  1909, 
five  feet  four  and  a  half,  weighs  117  pounds, 
brown  hair  and  hazel  eyes.  Real  name 
Betty  Jane  and  her  sisters  are  Loretta  and 
Polly  Ann  Young.  Latest  production 
"Leather  Pushers."  Josephine  Dunn, 
New  York  City,  May  i,  1910,  five  feet  five, 
119  pounds,  blonde  hair  and  blue  eyes. 

ELLEN — Bob  Custer  was  born  in 
Frankfort,  Ky.,  Oct.  18,  1900.  He  is  six  feet 
tall,  weighs  170  pounds,  brown  hair  and 
hazel  eyes.  Married  to  Elizabeth  Cudahy. 
Tom  Tyler,  Port  Henry,  N.  Y.,  about 
twenty-seven  years  ago.  Tom  wanted  to 
become  a  movie  star  in  the  worst  way,  so  he 
spent  his  savings  for  a  correspondence  course 
in  motion  picture  acting.  When  the  course 
was  completed  he  started  for  Hollywood, 
and  was  three  years  arriving  there,  as  he  had 
to  work  his  way  out.  Worked  as  an  extra 
for  two  years.  He  later  became  the  cham- 
pion weight  lifter  when  he  was  invited  to 
join  the  Los  Angeles  Athletic  Club.  Here 
are  some  of  the  films  he  has  appeared  in 
"Ben  Hur,"  "The  Only  Thing,"  "The 
Flying  U  Ranch,"  "Sonora  Kid,"  "Split- 
ting the  Breeze,"  "The  Gambler's  Game," 
and  a  number  of  others. 

BETTY  KENO— That's  Mitzi  Green's 
real  name  too!  Kenneth  MacKenna  was 
born  in  Canterbury,  N.  H.,  on  Aug.  19,  1899. 
Received  his  early  education  in  Paris.  He 
later  took  up  a  general  course  of  instruction 
at  the  Ethical  Culture  School  in  New  York 
and  finished  at  Columbia  University.  Spent 
three  years  in  a  Wall  Street  banking  house 
before  he  decided  on  a  career  behind  the 
footlights.  His  first  stage  appearance  was 
in  1919  when  he  played  the  leading  male 
role  in  "At  9:45."  Becoming  affiliated  with 
the  Theatre  Guild,  produced  and  played  the 
leads  in  "Windows,"  "Forever  After,"  and 
other  successful  productions.  During  the 
war  was  a  Sergeant  in  the  Tank  Corps, 
stationed  at  Gettysburg,  Pa.  His  first  pic- 
ture was  with  Bebe  Daniels  in  "Miss  Blue- 
beard," which  was  released  in  Feb.,  1925. 
Has  light  brown  hair  and  blue  eyes.  Hob- 
bies are  football,  hockey  and  all  outdoor 
sports. 

BLUE  EYES— Alice  Joyce  is  married 
to  James  Regan  and  has  two  daughters: 
Alice,  about  thirteen  and  Peggy,  about 
seven.  Zasu  Pitts  to  Tom  Gallery,  one 
daughter  Ann  and  an  adopted  son  Donald 
Michael.  Jack  Mulhall,  Evelyn  Winans 
and  has  one  son.  Jack  Oakie  is  not  mar- 
ried or  engaged.  Kay  Johnson  was  born 
in  Mount  Vernon,  N.  Y.,  about  twenty-six 
years  ago.  She  is  married  to  John  Crom- 
well, actor  and  director.  Miss  Johnson's 
latest  picture  is  "The  Passion  Flower." 
David  Lee's  latest  is  "The  Squealer,"  star- 
ring Jack  Holt  and  Dorothy  Revier. 
Jeanette  MacDonald  is  not  married  and 
is  appearing  in  "Stolen  Thunder." 

SUNDOWN  SLIM— I  would  suggest  you 
write  the  music  department  at  the  First 
National  Studios,  Burbank,  Cal.,  regarding 
the  composer  of  the  song  you  refer  to. 
Marjorie  Rambeau,  who  makes  her  screen 
debut  in  "Her  Man,"  again  wears  a  bracelet 
as  a  good  luck  charm  which  has  a  distinct 
connection  with  every  one  of  her  big  stage 
successes.  The  bracelet  is  formed  by  a  gold 
chain  to  which  are  attached  about  twenty 
gold  trinkets  including  goldfish,  elephants, 
old  shoes,  revolvers,  daggers,  and  a  dozen 
other  things.  Mary  Brian  is  appearing  in 
"The  Royal  Family. '- 


106 


Their  Private  Love  Lives 


{Continued  from  page  6q) 


His  Best  Friend 

I\  the  face  of  all  the  purple  publicity  in 
"    •  '  tlie  love  affair  of  Lupe  X'elez 
,"  it  is  somewhat  of  a  shock 
I    •  w  ■  love  experts "  at  the  private 

practice  of  their  own  game. 

True,  Lupe  is  likely  to  lean  over,  every 
■iid  then,  and  bite  Gary's  ear,  just  as 
-  iv  she  (Joes,  but  the  disappointment 
playful  than  passionate, 
'f  romance,  Lupe  is  per- 
'  ~i)t.-ll  out  "I  Io\e  you"  in 
1  Ciary  when  he's  'way  across 
1    '  >■  even  indulge  in  such  com- 
as neat  telephone  disputes  as  to 
■r  not  Gary  is  late  to  Lupc's  for 

iiniitT. 

'My  clock  says  six-thirty,"  Gary  alibis 

r  my  clock  says  see-ven,"  complains 
.  .  .  the  gal  who  is  supposed  to 
I  it  up  in  lov  e  .  .  .  in  other  words,  the 
!     iwer  of  the  screen. 

■y  quarrel,  she  vows  up  and  down 
•  T  speak  to  him  again,  and  then, 
■ip,  she  breaks  out  in  tears, 
l  ilts  like  dinner  parties,  she 
'    '  her  table, 
•  next  to 

I..  ..  1 :  ]  >,.)unds  him 

to  eat  more,  so  he  won't  be  so  "skecny." 


And  Some  Are  Very  Married 

IF  he  does  not  'phone  her  exactly  on  the 
appointed  time,  she  is  sure  he  has  been 
killed  in  an  automobile  accident.  She  is  in- 
variably the  first  one  to  suggest  leaving 
Hollywood  parties  because  "Garee"  has  an 
early  call.  She  mothers,  and  scolds  and 
fusses  over  him.  The  Old  Woman  Who 
Lived  In  The  Shoe,  who  had  so  many 
childreti  she  didn't  know  what  to  do,  has 
nothing  on  Lupe  in  love — in  private.  But 
hot  stuff! 
1  'm  lafhn'. 

Richard  Arlen  calls  Job>na  Ralston  "the 
little  woman,"  and  "Mamma."  She  calls 
him  "Papa"  and  banks  his  checks. 

"Remember  to  treat  your  wife  as  you 
would  a  sweetheart,  as  a  constant  source  of 
surprise  and  novelty,"  advises  Edmund 
Lowe.  But  in  private  love,  he  calls  the 
sophisticated  IJIyan  Tashman,  "Lil." 

.Any  time  after  nine  o'cl<x-k  Janet  Gaynor 
is  likely  to  crawl  up  into  Lydell  Peck's  lap 
and  doze  off  for  a  moment  or  two. 

Sue  Carol  an<l  Nick  Stuart  use  entirely 
different  straws  in  the  same  ice-crea.Ti-soda 
glass. 

If  these  "l-ove  Experts"  have  any  tricks 
that  aren't  known  to  Joe  and  Susie  Bride- 
groom the  world  over — I  haven't  spotted 
them  yet. 


Black  and  White 
Read  and  Write 

(Continued  from  fMge  l6) 


■  If  many  months  ago,  hut  some 
c'loniont    ki'pt    the  pro<luccrs 
1      Sow  that 
■  rts  have  been 

ers  have 
ing.  To 
Warner 

I  'imody 

and   apparently    it  'i-  a 

•w)  wh.it  did  the  (Jthi  r  ,  ,  do? 

>   many   musical  pictures, 
•us  sums  on  s<-enfry,  that 
t  he  word 
rs  use  a 
I 'l  ing  a  lot 
to  me  is  the 
■  -.  arc  a  flop. 
11  that  rcfietition 
.mil  in  this  day 
'  a  rapiil 
inething 
'  as 
I  in 

I    >  ...  i.  •  1   <  liter- 

•ught  a  great  deal  on  this  subjei  t 
It  in  my  mind  perhaps  much 
1    I   express   if    nn    p.i(>or.  but 
!>ro- 
ist  a 
uld 
the 

Ctadys  A.  lojcano 


vista  of  opportunity  has  been  thrown  o()en 
to  people  living  in  regions  removed  from  the 
cultural  centers. 

For  many  years  it  has  been  said  that  the 
best,  the  only  truly  "[ 
that  uscfl  on  the  pri 
the  talking  movies,  w 
surpassing  that  of  t 
tions,  may  a\  ail  i  h. 
tion.   It  is  to  Ix- 
Therein   lies  thi 

St.! 

thi 

II  i  h.i'i 
to  observe 

act    -  ' 
nil 


'iction  IS 
Now 
'  '  •  f.ir 

.1  1 


v.ii  .1 


>(  they  w  ill 
iity  of  a  I 
'  ion  ot  good  diction  throughout 
>f ates. 

when  \  \y  .:<  r, 

»IXfch  ■ 


■  ii-r 
id 
I-.1 

n  ot  the 
I  tion  is 


.Among  the  st.i: 
spoken  word  <ii 
Ann  Harding.  Dming  tiic  >eais  when  she 
was  leading  lady  of  a  stock  company  in 
Detroit  1  often  had  the  pleasure  of  hearing 
and  seeing  her.  Josephine  Kankin 


Ixtve  Scenes  Can  Be  Put  Across 


Cal. 
of  the 
Well 

lid  love 
lures  in- 


1'.(H>tl  Diction  \  ia  Talkies 

Gross  Pointe.  Mu  higan 

.  fur.  V  T  I'.  •  .  f  >..  I  I,,  ,  ,t-.  ituin 
■II  is 
ite<J 


-So  the  producers  .Tre  C'< 
lack  of  •   ' ' 

then,  ti 

scenes  li,.'    :;■■■•     n  Uu        in  | 
stea<l  of  laughing  hyenas  or  warbling  song 
biriK 

I  ii-s  can  l>e  put  across  in  the 

talk  II  IS  m  the  silent  pictures:  wit- 

ness. John  I  in  "General  Crack." 

I  am  sun-  i  ire  fired  of  this  hvs- 

teti.  J 

I  ' 

th. 

ni.i ' 
not 


fh 
ti- 
hy 


mwE 

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PIfu*  fcT  l  mo  FRFK  «n.l  »  '>.o.,t  .  hlii.Hon  Prof. 
Kwhtlng.-r'n  n.-«  b—k.  I'I  t.u-«1  V  -  l  ultur*  " 
I  have  chrck^-J  •ijb)*.-t  in  wh'.-ti  I  •ni  ni^.«t  lrit>T»«t«d. 

C  W—k  Vte*  lJ  St»«tnt  C  Stammttring  C  ^pmMii« 


1(17 


i 


WHAT 

.  .  .  Do  You  Want? 

THE  PRODUCERS  ARE  WAITING 
FOR  YOUR  ANSWERS 

WHAT,  exactly,  do  you  want?  They  want  to  know  what  you  like  and  do 

That  is  the  question  now  be-  not  like,  what  you  want  and  do  not  want, 

fore  harassed  movie  produc-  They  not  only  want  /our  advice,  they  des- 

ers.  At  present  they  are  only  perately  need  it. 

guessing.  Until  you  tell  them  what  you  Below,  we  are  asking  you  a  few  questions, 

want,  and  do  not  want,  this  is  all  they  can  do.  They  are  the  questions  uppermost  in  pro- 

They  spend  a  fortune  on  a  spectacle  ducers'  minds  in  their  present  dilemma, 

which,  judging  from  past  reactions,  the  pub-  Your  answers  to  these  questions  can  solve 

lie  wants — and  the    public    stays    away.  many  of  their  problems,  are  certain  to  in- 

They  spend  a  few  dollars  on  a  casual  pic-  fluence  future  production, 

ture— and  there  is  standing  room  only.  What  do  you  want  to  see  next  year?  What 

Thinking  that  they  have  learned  a  lesson,  don't  you  want  to  see? 

they  concentrate  on  unsensational  pictures  You  can  tell  us,  and  through  us,  the  entire 
— and  the  public  registers  a  loud  and  prompt  industry — simply  by  filling  out  the  question- 
objection,  naire  and  mailing  it  to  us.  If  you  are  also  in  a 
Frankly,  they  have  reached  a  crisis.  To  mood  to  express  your  opinions  in  a  letter, 
even  a  casual  observer,  it  is  obvious  that  by  all  means  do  so.  Remember  that  every 
many  people  are  staying  away  from  the  letter  that  the  editor  receives  is  eligible  for 
movies.  There  must  be  reasons.  And  there  the  prizes  given  monthly  for  the  best  fan 
must  be  ways  to  bring  them  back.  What  are  letters  received, 
they? 

EXPRESS  YOURSELF!  Tell  the  movie  'world  ^hat  you  think! 

1.  Do  you  want  more  talkie  revivals  of  old  silent  pictures?  

2.  Would  you  like  to  see  some  silent  pictures?  

3.  Do  you  want  more  adaptations  from  plays,  or  more  original  screen  stories?  

4.  Which  interests  you  most — comedy,  tragedy,  or  melodrama?  

5.  What  type  of  picture  bores  you?  

6.  What  type  of  picture  do  you  think  has  been  overdone?  

7.  Is  there  (1)  enough  romance  in  the  talkies  to  suit  you?  

(2)  Enough  action?  

8.  With  the  talkies,  are  you  drawn  more  to  the  theaters  by  stories  or  by  stars?  

9.  Do  you  prefer  pictures  in  color  or  in  black  and  white?  

10.  Do  you  like  the  wide  screen?  

11.  Do  you  like  musical  movies?  

12.  If  so,  which  do  you  prefer — romance,  comedy,  or  revue?  

13.  What  type  of  shorts  do  you  prefer?  (Two  reel  comedies,  cartoons,  vaudeville,  scenics,  etc.)  

14.  What  would  you  like  to  see  on  the  screen?  (List  your  favorite  plays,  novels,  or  stories.)  

15.  What  is  your  idea  of  a  good  talkie?  (Tell  us  in  your  own  words  or  cite  specific  pictures.)  


DONNELLEY  A  SONS  CO.,  CHICAGO 


108 


easij  steps  to 

'  J) INSTANT 


purchatint 
MiThfllinr  Ev»  Shadow.  mIcci 
Blue  (or  (ll  ihidM  of  blu«  anj 
«t«»  Brown  for  hairl  and 

'  -    Blackfof  dark  htnwn 
. »».  Grtrn  mav  hr 
rvra  of  all  colon 
and  »  rtpciialW  fffeclive  lor 
»vcnin«  w»ar.    Enca>«d  ii 
an  adorabiT  dainty  lold- 
linithrd  vaniry,  ii  75c. 


Mavb«llin«  prrparaiiona 
mav  obraincd  al  all 
loilci  (ooda  counicri. 
Mavbrlline  Co.,Chicafu 


oveuuGss 


•    •  • 


Millions  of  women  instantly  ^;ain  added  charm  and  loveliness  with  these  three 
delightful,  easy-to-use  Maybelline  preparations.  They  use  MaybflUm  E)f  Shadow 
to  accentuate  the  depth  of  color  of  their  eves  and  to  add  a  subtle,  refined  note 
of  charming  allure.  Four  colors;  Black.  Brown.  Blue,  and  Green. 

Then -  they  use  Mayhtll,„,  Eytlash  Darkour  to  instantly  make  their  lashes 
appear  dark,  long  and  beautifully  luxuriant- to  make  their  eyes  appear  larger 
more  briHiant  and  bewitch.ngly  inviting.  There  are  two  forms  orMaybelhne 
fcyelash  Darkener  Solid  form  and  the  waterproof  Liquid;  either  in  Black 
«)r  Drown. 

The  third  and  final  step  is  a  touch  with  Ma^Mlnu  Evhr„u  Penal  to  artistically 
Shane  'he  brows.  \  ou  will  |,ke  this  pencil.  It  is  the  clean,  indestructible  type 
and  may  be  had  m  Black  and  Brown. 

Take  these  three  easy  steps  to  instant  loveliness  nou     Begin  with  the  Eye 
Shadow,  follow  with  the  Eyelash  Darkener.  and  finish  with  the  Eyebrow  Pencil 
Then,  from  the  height  of  your  new  found  beauty,  observe  with  what  ease  you 
attained  such  delightful  results.  This  radiant  transformation  is  achieved  only 
by  using  genuine  Maybelline  products.  Insist  upon  them 


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PENCIL 


20v679  Physicians 

sayLUCKIESar* 

irritating 


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