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Copyright  N?. 


COEflUGHT  DEPOSIT. 


*    V 


Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIO-VISUAL  CONSERVATION 


at  The  LIBRARY  qf  CONGRESS 


K?V! 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 

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

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


I 


Advertising  Section 


PALS 

with 

Lloyd  Huphes 

an<0 

Dolores  del  Rio 


f>  resents 


■*- 


FIRST 


-^  /t  million-heir  who  vanished  and  a  girl  who 
C/X  waited  ....A  happy  hobo  trail  that  leads  2000 
miles  from  a  prison  yard  to  a  "dead"  man's  for- 
tune and  his  fiancee.— But  the  guns  of  the  trailing 
guards  point  to  amazing  secrets ....  and  the  eyes  of 
love  prove  sharper  than  the  searchlight  of  the  law  I 

You're  sure  to  guess  the  wrong  ending  to  this  amaz- 
ing mystery-comedy.  A  laugh  with  every  thrill  and 
a  thrill  with  every  laugh  in  a  masterly  production 
featuring  favorite  olavers. 


From  the  novel  by  Francis  Perry  "Elliott 

And  the  Play  by  Lee  Wilson  Dodd 

Adaptation  by  Olga  Printzlau 

Scenario  by  Lois  Lesson 

Directed  by  Edwin  Carewe 


-  '^fefc 


Ptctures   t~ 

?ory   of   ?? la  a -'be^tets." 

m  aWn  by  It   "^  Wet ':  van      #* 

^anCes?ts  a  «ew  p«f  outdoof  =f  tncfc 
6  for  ninch^ 


A  Hut  notional  Picture 


Every  advertisement  itu  MO'Jrf     vi&'l 


tRK   MAOAZ1*"' 


Advertising  Section 


follow  the  Crowd 

to  the  theatres  playing 


(jreater  ^Morie  Season 

Wrings  a  yeast  of  \^'      V\ll 

Entertainment  in  Warner  Productions 

(IN  commemoration  of  Greater  Movie  Season,  Warner  Bros,  offer  for  the 
/delight  of  the  American  public  an  array  of  entertainment  certain  to 
delight  the  fancy  of  every  picture  patron.  Romance,  adventure,  drama  anc? 
comedy — you'll  find  your  favorite  stars  in  roles  that  will  carry  you  to  the 
very  heights  of  enjoyment.  Truly  you  will  not  be  seeing  all  that  is  fine  in 
motion  picture  entertainment  unless  you  see  these  WARNER  BROS,  produc- 
tions.    Ask  the  manager  of  your  favorite  theatre  when  he  will  play  them. 


An  ERNST  LUBITSCH 

Production 

SO  THIS  IS  PARIS 

All  that  the  name  implies.  A  sample  of  Parisian 
life  for  those  who  have  been  there  and  those  who 
haven't.  The  splendid  cast  includes  MONTE 
BLUE,  PATSY  RUTH  MILLER  and  other 
favorites. 


Footloose  Widows 

with  LOUISE  FAZENDA 
and  JACQUELINE  LOQAN 

Life  and  laughter;  New  York  to  Palm  Beach  and 
back  again.  A  rapid-fire  comedv-drama  that  takes 
its  place  as  one  of  the  season's  most  delightfully 
efltertaiaing  pictures. 

AHEROo/7/h>BIGSNOWS 
with  RIN-TIN-TIN 

A  story  »■*  the  far  north  with  the  wonder  dog  of 

in  a  role  that  is  a  revelation  even  to 

have  seen  this  marvelous  animal  in 

pictures.    Every  lover  of  does  will 


JOHN 

BARRYMORE 

in  the  great  adventure-romance 
that  is  thrilling  the  nation 

The  SEA  BEAST 

with  Dolores  Costello 

Directed  by  Millard  Webb 


BROKEN  HEARTS 
HOLLYWOOD 

with  PATSY  RL  I  fl  MILLER 

Hollywood— that  magic  word  What  it  con. 
up  in  the  mind  of  every  aspirant  to  screen  f: 
With  one  of  the  season's  gre.>;  est  car;t  of  stai 
eluding  Louise  Dresser,  Dou  Ins  Fairbanks 
Stuart  Holmes  and  others. 

The 

Honeymoon  Exprh 

with  IRENE  RICH  ' 

From  the  play  that  swept  the  whole  count  ry/ 
in  pictures  with  a  great  cast  of  favorites,  ii  ic'J 
Willard  Louis,  Helene  Costello,  John  P| 
Jane  Winton,  Virginia  Lee  Corbin,  Harol  d  j 
win  and  others. 

The 

PASSIONATE  QU 

with  LOUISE  FAZENDA 
May  McAvoy  and  Willard  Ln 
London  and  Paris— the  world's  centers  of  I 
and  revelry.  Here  is  a  story  of  surprising! 
the  midst  of  it  all.  From  the  popular  i 
E.  Phillips  Oppenheim. 


RNER      BROS.      PRODUCTIO 


Wbf  n  you  write 


to  e0> 


■crtisers  please  mention  MOTION  PICTURE  MAGAZINE. 


^|fcff  figure  Maga. 


ac&rcw  f't»   1910 — Trademark  Registered 


Vol.  XXXII 


AU' 


Adel 


GUST,    192  6 


Number  1 


Colin  J 


fe  Whitely  Fletcher 
Editor 

Cruickshank,  Art  Director 


Criti* 


Critics 


CRITIC:  .A  person  who  is  hired  to  find 
fault  and  pick  flaws;  member  of  the  Anvil 
Chorus;  one  who  is  trained  to  see  the  fly 
on  a  barn  door  without  seeing  the  barn; 
member  of  the  I  Know  It  All  Club;  an  un- 
usually shrewd  observer  who  magnifies 
blemishes  and  minimizes  virtues,  and  who 
detects  the  fly-speck  on  a  painting  without 
detecting  the  painting;  a  destroyer;  a  Smart 
Alec;  one  who  knows  and  knows  he  knc/ws 
and  knows  that  nobody  else  knows;  a  Wise 
Guy  who  wants  everybody  to  know  he  is 
wise.      Syn:    Knocker.  1 


IN  every  branch  of  art  we  have  cer- 
tain students  and  investigators 
who  make  a  life  study  of  the  sub- 
jects and  who  become  what  we  call 
experts.  These  experts  or  specialists 
usually  start  with  a  good  background 
such  as  a  college  education  and  a  nal, 
ural  aptitude  for  the  subject,  and  tbt- 
they  devote  years  to  research  ween 
and  travel,  finally  becoming  mastork 
Then  they  collect  a  library  on  the  «rs. 
ject  and  perhaps  write  a  few  magsub- 
articles,  then  a  book  or  two,  and  pazine 
they  are  recognized  as  author? tut  last 
es. 

But  with  the  Motion  Picture  ? 
different.  Anybody  can  se-irt  it  is 
ture  and  tell  you  whether  he  lie  a  pic- 
not.  And  it  is  an  easy  mattekes  itor 
up  a  few  fine  phrases  and  wr  to  pick 
might  pass  as  a  learnf  '  and  rite  what 
woods  are  full  of  sue 
ture,  and  that  is  why 
few  good  ones. 


n 


ising 

An  Editorial  by 


Editor-tn-Chief  of  the  Brewster  Publications 


T\  scholarly  criticism.  And  the 
res,  anybody  can  review  a  pic- 
Aave  so  many  bad  critics  and  so 


VTow,  what  is  the 
■*•  ^  writing  for  a  i 
there  to  tear  down, 
be  neither  destructi1 
press  to  instruct  t" 
When  a  picture  i 
changed.     If  the  c 


/ction  of  a  Motion  -Picture  critic 
/azine  or  newspaper?     He  is  not 


/  is  lie  there  to  build  up — he  should 

/nor  constructive.     It  is  not  for  the 

|   producers  how   to  make   pictures. 

released  it  cannot   be   corrected  or 

he  should  write  or  ,tic  really  wanted  to  help  the  industry 

for  the  producer  X-  criticism  for  his  publication  and  one 

,i  guide  him  in  future  productions. 


"The  real  function  of  the  critic  is 
to  review  the  picture  and  tell 
whether,    in   his    judgment,    it    is 
good,     bad     or    indifferent.       He 
should  point  out  its  virtues  noting 
such  items  as  story  interest,  act- 
ing, characterization,  composition, 
finesse,   etc.,    so   that   the   reader   will 
be  guided  and  instructed  as  to  its  fine 
points.    After  reading  the  review,  the 
reader  will  probably  decide  to  see  the 
picture  or  no't  to  see  it.    If  the  former, 
he  or  she  will  have  in  mind  the  points 
mentioned  in  the  review  and  will  agree 
or  disagree.    Others  who  had  not  read 
the  review  will  go  home  and  look  it  up 
just  to  compare  notes. 

'"There  are  no  two  things  alike  in  this 
A  world,  not  even  two  minds  or  two 
pairs  of  eyes ;  hence,  opinions  will 
differ.  I  think  "Stella  Dallas"  a  very 
great  picture,  but  you,  my  reader,  may 
not  like  it.  Likewise  "The  Last 
Laugh,"  but  apparently  the  public  did 
not  agree  with  the  almost  unanimous 
verdict  of  the  critics  everywhere, 
which  shows  perhaps  that  we  critics 
place    too    much    stress    on    the    fine 

points  of  a  picture  and  not  enough  on  the  main  thing — 

the  entertainment  or  story  value. 

J  believe  that  the  public  would  enjoy  all  pictures  more 
if  they  learned  to  appreciate  all  the  fine  points.  Even 
the  worst  picture  has  some  good  in  it,  something  to 
admire.  Not  all  of  us  have  been  educated  up  to  enjoying 
chamber  music,  symphony  orchestras,  and  Wagnerian 
opera,  and  we  all  have  much  to  learn  about  the  fine  points 
of  a  picture.  It  is  for  the  critic  to  point  out  these  things, 
thus  adding  to  our  enjoyment.  But  most  critics  are 
knockers  pure  and  simple.  They  think  they  are  not  earn- 
ing their  salaries  unless  they  can  find  fault  and  show  how 
much  they  know. 


Published  Mi 

dnthly  by  the  Brewster  PUBLICATIONS,  Inc.,  at  18410  Jamaica  Ave.,   Jamaica,   N.   Y.     Executive   and   Editorial   Offices,    175  Duffield 
Ent^  Street,  Brooklyn,  N.  Y.     Hollywood  Office:  6064  Selma  Avenue.     Telephone,  Gladstone  3564. 

Eugene  V.  Biy^  at  the  Post  Office  at  Jamaica,  N.   Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1879.     Printed  in  the  U.  S.  A. 

vster,   President  and  Editor-in-Chief ;   Duncan   A.   Dobie,   Jr.,    Vice-President   and   Business   Manager;   E.   M.    Heinemann,    Secretary; 
\  L.  G.  Conlon,   Treasurer.     Also  publishers  of  Motion  Picture  Classic  and  Movie  Monthly. 


Subscription   $2 
$3.50.     Single  c 


a  year  in  advance,  including  postage  in  the  United  States,   Cuba,   Mexico  and   Philippines;   in  Canada,   $3.00.     Foreign  countries, 

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First  copyri,                                                                        giving  both  old  and  new  address. 

\hted  and  published  February  21,  1911.     Copyrighted,  1926,  in  United  States  and  Great  Britain  by  Brewster  Publications,  Inc. 


5 

PAG 


I 


IVi^on  Picture  M\  * 


TABLE  OF  CONTENTS 


azine 


John  Gilbert,   lummy  Meighan,  -\  [ary  Philbin, 


Cover     Tola  Negri,  from  a  photograph  by  St  cans,,  Peyton 

Editorial    \ 

The  Bulletin  Board \ 

/..j-:  minute  jottings  \ 

Gallery  of  Players 

a  de  I'utii,  Alice  J05 
Starke  and  Eleanor  Boardman 

A  Hollywood  Idyll 

I  beautiful  love  story  that  litis  ever  come  out  oj  Holt 

There's  Something  to  This  Heredity  Business 

Considering  tin-  fruit  of  the  movie's  family  tree  \ 

A  Flapper  of  1820  

An  art  study  of  Esther  Ralston 

The  Age  of  Our  Men  and  the  Innocence  of  Our  Women 

Are  the  things  on  the  screen  with  which  the  internationally  famous  Raquel  Meller  quarriju 

Lillian's  Protege 

Sandy 

Tin-  stars  gel  off  the  train  at  Alberqiierquc  .   .   .  (nnl  it  isn't  to  buy  post-cards 

The  Thing  That  Makes  Them  Great 

,  approach  the  secret  of  the  stars'  success 

He's  a  Good  Picker 

Johnny  Hints  is  more  than  a  comedian! 

Ramon  Steps  Out  of  Character 

Another  illusion  crushes 

Tia  Juana  Red 

Here  is  a  story  which  is  the  stuff  of  which  tears  are  made 

For  the  "Lemon  or  Cream?"  Hour \  Cerline  Boll 

Stars'  clothes  that  can  be  adapted  to  your  wardrobe 

One  Hundred  Years  from  Now 

"Metropolis"  a  new  film  depicts  life  a  generation  hence 
Why  Do  You  Have  Your  Fortune  Told? ;  Alice  Tildesley     37 

The  movie  people  spend  thousands  of  dollars  yearly  on  this  pastime.    .    .   .    Do  they  believe  in  it?        \ 

He  Hated  Alarm-Clocks \.. Helen  Hanemann     39 

II  .  (  .  Fields  explodes  that  old  theory  about  the  early  worm 

Hollywood  Notes \ Eugene  V.  Brewster     40 

Intimate  comment  on  the  players  with  their  backs  to  the  cameras  \ 


Eugene  V.  Brewster       5 

8 

11 

Hck  Barthelmess,    Vorma  Shearer,  Pauline 

Adele  Whitely  Fletcher     20 

22 

.      24 

25 

26 
27 

28 

30 

32 

33 

34 

36 


Beth  Norton 

Ruth  Crane 

Elizabeth  Petersen 
.  .  Herbert  Crooker 

Bert  Ennis 


I  lelen  Squires     43 


Esther  Carples     16 

48 


"See  You  in  the  Funny  Sheet" \ 42 

Colleen  Moore  ami  Lloyd   Hughes  as  Ella  Cinders  and  her  ' 

The  Good  Soldier 

just  that  .  .  . 

Grandfather's  Old  Shoes  in  the  Parlor Stephen  Gooson     44 

The  interior  decorator  of'  the  movies  fives  some  practical  advice  on  antiques 

The  Story  That  Cost  $93,000 

Theodore  Dreiser  talks  about  ".Ik  American  Tragedy"  and  American  Voiith 

Harold's  Wife 

Study  of  Mildred  I  hi  vis  Lloyd 

When  Doris  Kenyon  Pours 

Menu  a 'id  re,  ipet  for  afternoon  tea 

Chaney  Outchaneys  Chaney! 

from  "The  Road  to  Mandalay" 
..n   Assistant  Director  Forgets  Himself William  Holland 

And  tells  tales  out  of  the  studios 

She  Knows  How  to  Be  Pensive 

And  Rente  Adorie  knows  more  than  that,  to,, 
Motion  Picture  Junior 

'J  he  children's  own  pages 

He  Gets  Our  Vote  

Henry B.  Walthall  submits  his  interpretations  ,,1  "Thi    \tusic  Master" 
That's  Out 

The  truth  sugar-coated  in  humor 
Mae  Murray  

.1    new  portrait      , 

The  Pitt  ore  Parade I J 

I    ,1,, plays 

Whose  Hand? F.  Vance  lj 

Character  read,, 
"Shall  I  Go  Into  the  Movies?" Marion 

//  depends  upon  the  astronomical  sign  you  were  born  under 

On  the  Camera  Coasts  Elisabeth  ( ireer  and  M 

in  and  out  0)  thi 
Sans  Silk 

(  orinne  Griffith  continues  to  do  fairly 

Shucks,  Shirlej  I 

I '■■  r  a,  I 

Genuine  .lade  .  I  \d\ 

.1  1  lose-up  of  Adolpl  ewel  hot 

\\\  Aboard  the  Limerick  Liner!  .... 

Get  on  and  win  n  money  prize 

The  Answer  Man 

to  a  hundred  ■;■■ 

Hi's  in  1  he    \rm\    Novt 

into  khaki  for  "The  Better  '(tie" 

Say  it  with  Lei  rers 

r     hold  an  open  jorum  and  Speak  their  mind  plainly 

\  (  itj  Wade  to  Order  

I  or  i 

What  the  Stars  Are  Doing  Gertrude  i)riScoll 

He  Doesn't  Worry  Ahout  the  High  Cost  of  Living 


Hol'her  Little  102 


'6 


tfTMOTION  PICTURP 

IH0I  I  MAGAZINE      r 


afant  Supporting  Cast  Includes 

Renee\Adoree  and  Karl  Dane  of  "The 
Big  Piade",  Roy  D'Arcy  of  "The  Merry 
WidowT,  Frank  Currier  of  "Ben  Hur", 

well  as  George  Hassell  and  Edward 

:ret|Horton. 

•en  story  by   Fred  De  Gresac  based 
He:  ri   Murger's  "Life  in  the  Latin 


GILBERT 

LA  BOHEME. 

KING  VIDOR'S  production  of 
STUDIO  days  in  Paris 

GOLDEN  days  of  love,  laughter  and  tears 
AND  through  it  all 
A  great  undying  love. 
COMING  to  your  theatre 
AFTER  a  record  breaking  $2.00  run 
AT  the  Embassy  Theatre 
BROADWAY'S  most  exclusive  playhouse 

"More  stars  than  there  are  in  Heaven' 


you  write  to  advertisers  please  mention  MOTION   PICTURE  MAGAZINE. 


PAfiU 


le  Bulletin  Board 

Last  Minute  News  Gathered  as 
We  Go  to  Press 


CECIL  DE  MILLE  has  had  a  hard  time  finding  a 
story  that  nobody  else  has  the  rights  to.  After 
giving  up  "The  Deluge"  because  Warner  Broth- 
ers had  a  prior  claim  to  a  similar  story  under  the 
titk-  of  "Noah's  Ark."  he  decided  to  do  "Thirty  Pieces  of 
Silver."  a  story  of  Judas,  the  Biblical  betrayer.  But 
Famous  Players  have  announced  their  intention  of  film- 
ing "Pieces  of  Silver,"  a  picture  in  which  Emil  Jannings 
will  he  ^tarred  as  Judas.  So  De  Mille  will  not  start 
work  until  he  has  definitely  established  his  priority  in 
choosing  this  theme. 


vaguely  lovely  Vilma  Banky  was  not  satisfactory  as  thi 
"Sheik's"  heroine? 


oas 

wax  , 


M 


\i:  Murray  has  given  up  all  thoughts  of  Europe, 
now  that  her  new  contract  with  Metro-Goldwyn- 
Mayer  is  under  way.  She  has  bought  a  very  Spanish 
man-ion  on  San  Vicente  Boulevard,  for  the  conservative 
sum  of  $f>5.000.  and  the  house-warming  consisted  of  a 
very   Spanish  dinner   for  her   friends. 


W; 


WE 


'E  always  shudder  at  the  news  that  a  "military  expert" 
has  been  engaged    for  a  picture,  because  the  result 
usually  is  hits  of  drills  and  no  drama.      You  know  what 
happened  when  one  Colonel  Byam  lent  his  expert  super- 
vision to  "Ranson's  Folly."     Now  William  Yon  Brincken, 
formerly     a      Life 
Hussar    (whatever 
that    is  i     and    also 
military   attache   at 
•  rman    Em- 
has  been  en- 
as    advisor 
to  Clarence  Brown 
during   the    filming 
<>f  "The  Flesh  and 
vil."      How- 
ever, we  haw  con- 
fidence   in    John 
Gilbert's  ability  to 
any    expert 
advice,    however 
technical. 


R 


•OLPH     V.\L- 

utino    has 

a  mw  con- 

ith  John  \V. 

Jr.,    <>f 

more 
for     that 
ition        He 
is   still   at    v. 

I     the 
Sheik."     in     which 

will 
duplicate    many    of 

which     made     him 

famous     in    that 

many 

■  an   that   the 


""There  has  been  a  great  inrush  of  stars  from  the  C 
*■  of  late.  Reginald  Denny  came  on  for  the  Broadwa> 
opening  of  his  new  picture  "Rolling  Home."  Mar) 
Brian  arrived  as  a  loan  to  First  National,  for  "Duke  of 
Ladies."  Charles  ("Buddy")  Rogers,  the  latest  Lasky 
hero,  has  come  back  to  play  the  juvenile  lead  in  "So's 
Your  Old  Man";  Marie  Prevost  stepped  off  the  train 
without  explaining  the  reason  for  her  visit ;  and  Ramon 
Novarro  arrived,  incognito,  like  the  Prince  of  Wales. 
Ramon  is  taking  a  short  vacation  after  finishing  "A  Cer- 
tain Young  Man" — a  picture  in  which  he  is  much  sought 
after  by  Renee  Adoree,  Sally  O'Neil,  and  Carmel  Myers. 

Daramount  is  always  hunting  for  someone.     If  it  isn't; 
A    Theodore    Roosevelt,    it's    the    homeliest    girl    in    the/ 
world.      Two   of    the   latter   are   very    much   in   den 
for  the  new  Beery-Hatton  comedy,  "We're  in  the  £ 
Now."      It    seems    to    us,    after    looking   on    our    fe 
beings  for  many  years,  that  nothing  could  be  easie  j 
find.      But   only   beauty    flocks    to    Hollywood,    and 
casting  director  is  having  quite  a  time.     He  might 

Mary     Philbin 
'  make    up    for    tS  ' 

part. 

EYorenz     ZiE 

feld     wishes  y  ^  \ 
distinctly    unde.  x, 
stood  that  he  per-  . 
sonally    selected  [I 
Esther    Ralston   as' 
the     heroine     oil 
"Glorifying    the 
American    Girl."' 
This     is     an     e>: 
dence     of     goLtf 
faith    and    an    as- 
surance   to    movie 
patrons      that     the 
thing  will  be  done 
up  brown,  as  it  has 
been    on   the   stage 
of    the    New    Am- 
sterdam   .   r    these 
many  years. 


$  I  0.00  for  the  Best  Title  to  This  Picture 

Ymi  may  send  as  many  titles  to  this  picture  as   you  like — not 
than  ten  wordi  long.     Ail  answers  must  he  mailed  by  July  10th  and 
nu    title,    will    be    returned.      Address    them:      Title    Contest    175 
Duflield  Street,  Brooklyn,  New  York 


more 


JOIS      W   E   B   E   R 

*-*  proves  again 
that  women  can  be 
successful  direc- 
tors. Her  last  pic- 
t  u  r  e,  "Show 
World,"  was 
greeted  with  en- 
thusiasm /  and  she 
is  now  working  on 
"The  Savage  in 
Silks,"  from  the 
Ernest  Pascal 
novel,  "Egypt." 


Advertising  Section 


MAGAZINE  \ 


Mellin's  Food- 

A  Milk  Modifier 

A  nursing  mother  takes  Mellin's  Food  and  milk  between 
meals  and  at  bedtime,  resulting  in  an  increased  supply  of 
breast  milk  and  a  more  comfortable  baby. 

Another  nursing  mother,  whose  breast  milk  is  insufficient, 
uses  Mellin's  Food  and  milk  as  a  supplementary  diet  or  com- 
plemental  feeding,  and  at  once  notices  that  her  baby  is  better 
satisfied  and  that  the  gain  in  weight  increases,  as  a  result  of 
this  additional  nourishment. 

A  mother  cannot  nurse  her  little  one,  but  solves  this  prob- 
lem by  preparing  her  baby's  diet  from  milk  properly  modified 
with  Mellin's  Food,  and  is  relieved  from  all  anxiety,  being  con- 
fident that  the  selected  diet  is  full  and  complete  nourishment. 

It  is  well  to  know  about  Mellins  Food,  in  order  to  be 
ready  for  these  emergencies 

Write  today  for  our  free  book,  "The  Care  and  Feeding  of  Infants" 

Mellin's  Food  Company,     177  State  Street,    Boston,  Mass. 


->  advertisers  please   mention   MOTION   PICTURE   MAGAZINE. 


9 

PAG\ 


HMOTIOH  PICTURfT 

ntl   I  MAGAZINE      L 


Advertising  Section 


WASHINGTON     D.C. 


At  thejlj ay  flower  ,N 

115  women  Guests 

tell  why  they 

prefer  this  soap 

for  their  skin. 


oTV  IS  ONE  of  the  thrilling  sights  of  Wash- 
ington—  the  dining-room  of  the  Mayflower 
Hotel. 

Foreign  diplomats,  with  discreetly  worn 
decorations;  statesmen  and  financiers,  mili- 
tary attaches— rarely,  amid  the  black  coats, 
the  sudden  splash  of  color  from  some  Con- 
tinental uniform.  .  . 

And  everywhere  the  beautiful  women: 
women  in  dazzling  full  dress,  such  as  one 
sees  in  the  public  gatherings  of  no  other 
American  city. 

Ho\VI)()TI  II.  womenguestsof  The  Mayflower 
take  care  of  their  skin?  What  soap  do  they  find, 
pure  enough  and  fine  enough  to  trust  their  com- 
plexion to? 

We  asked  188  women  stopping  at  The  May- 
flower at  the  time  of  our  inquiry  what  toilet  soap 
they  are  in  the  habit  of  using. 

N  irly  three-fourths  answered,  "Woodbury's 
Facial  Soap!  " 

"It  suits  my  skin  better  than  any  other" — 
they  said  —  "I  think  it  is  wonderful  for  the 
comph  xion"  "  A  clears  my  skin  better  than 
any  other  soap  I  ha.r  tried — lives  up  to  all  the 
things  that  are  said  of  it "  — "/  am  sure  of  its 
parity"--"  I  have  found  it  very  helpful  in 
clearing  my  complexion" 

I  worked  out  the  formula  by 
which  Woodbury's  Facial  Soap  is  made.  This 
formula  not  only  calls  for  the  purest  and  finesl 
ingredients;  it  also  demands  greater  refinement 
in  the  manufacturing  process  than  is  commer- 
cially possible  with  ordinary  toilet  soap. 

A  25  ol  Woodbury'    la  its  a  month  or 

•nipped  a  booklet 
of  famous  skin  treatments  for  overcoming  common 
skin  d<  • 

Within  a  week  or  ten  days  after  beginning  to 

'.  oodbury's,  you  will  noti<  e  an  improt 
in  your  complexion.   G<  I  Woodbury's 

and  begin  tonight  the  treatment  your  skin 


1 


"fVhite  shoulders,  jewels — a  brilliant  kaleidoscope  of  faces" 


NOW  — Till'.     NEW     LARGE-SIZE    TRIAL    SET 


I  li.    Vndfcw  fergeiu  Co., 

1  jo*  Spring  Grove  Ave,  Cincinnati,  O 

For  the  enclosed  Z0i  pli  1 1  me  the  new 

1 1  ial  •  ikeofWoodbur/sFai  iaISoap, 
rln  Cold  Cream,  Facial  Cream  and  Powder  and 

the  booklet  "  A  Skin  You  Love  to   Tone  li." 
In      Canada,     address     The     Andrew 
'  '•..,  Limited,   1308  Shcrbrooke  St., 
I'crth,  Out. 


City . 


Copyright,  1926,  by  The  Andrew  Jergena  Co. 


.   in  motion  PICTDBB  MAGAZINE  i     guaranteed. 


LYA  DE  PUTTI 


Importations  are  the  thing  .  .  . 
And  while  our  exportation  of 
movie  stars  exceeds  our  importa- 
tion, foreign  companies  forever 
seeking  an  American  favorite  for 
their  productions,  every  now  and 
then  some  European  lady  comes 
to  our  studios.  And  there  is  al- 
ways a  great  fanfare  of  publicity. 
Lya  de  Putti  is  making  her  Ameri- 
can premiere  under  auspicious  cir- 
cumstances. For  immediately  upon 
her  arrival  she  went  to  work  under 
D.  W.  Griffith's  direction  in  "The 
Sorrows  of  Satan" 


ALICE  JOYCE 


The   producer*  do  not   item   quite   lure   what   to   do  with   Alice  Joyce.      They   recognize  her  charm  and  her  beauty 

because    they    have    never    let    her    retire    from    the    screen,   altho   she   has   several   times  attempted   to   do   so.      In 

"Stella   Dallas"    she  was  perfectly   cast.      But  as  a   general   thing,    they   do   not   seem   to    get   the   utmost   out   of   her 

personality.      Now  she  is  playing  with  W.   C.   Fields  in   "So's  Your  Old  Man" 


Ruth  Harriet  Louise 


JOHN 
GILBERT 


We  give  John  Gilbert  full  credit  for 
being  the  greatest  lover  shadowed  upon 
the  screen  in  many  a  day.  But  we 
think  more  than  this  is  contributory  to 
the  high  place  he  holds.  With 
the  public  constantly  demanding  a 
higher  standard  in  acting,  it  is  the  most 
natural  thing  in  the  world  that  John's 
stock  should  rise.  He  adapts  himself 
to  the  role  in  hand  .  .  .  not  the 
role  to  his  personality.  Goodness 
knows  that  is  done  all  too  seldom. 
This  dashing  picture  finds  him  as 
Bardelys  the  Magnificent. 


TOMMY  MEIGHAN 


There'*  lomething  about  Tommy  .  .  .  And  it  is  that  something  that  keeps  his  name  in  electric  lights  whether 
the  world  kneels  at  the  shrine  of  Latin  lovers,  college  boys,  or  men  of  "the  dangerous  age."  He  always  reminds 
us  of  thr  most  attractive  man  in  a  smart  suburb  .  .  .  And  we  especially  like  this  study  of  him.  He  might  have 
just   come   in   from   the   links   .    .    .   with   that   healthy    "dinner   ready"    look   in   his  eyes.      "Tin  Gods"   will   mark   his 

next   screen   appearance 


Melbourne  Spurr 


MARY  PHILBIN 


"Love  Me  and  the  World  is  Mine"  is  what  is  known  in  the  motion  picture  profession  as  "a  good,  box-office  title." 
It  is  the  sort  of  thing  believed  to  bring  people  to  the  theater.  Maybe  it  does  .  .  .  But  we  will  never  be  satisfied 
until  we  see  Mary  Philbin  in  another  sort  of  thing.  She  would  be  lovely  in  some  of  the  Barrie  plays, — we  can 
see  her  as  the  delightful,  whimsical  and  practical  Maggie  Shand  in  "What  Every  Woman  Knows."  We  offer  Mr. 
Laemmle,   Mary's  boss,   this  suggestion    gratis.      And   humbly   suggest   that   it   isn't   a   bad   box-office  title,    either 


DICK  BARTHELMESS 


Dick  hat  been  kind  to  either  hit  mother  or  a  dog  now  in  every  picture  he  hai  made  since  goodness  known  when. 
But  he  still  comes  out  near  the  top  in  popularity  contests.  He  is  too  fine  an  actor  to  be  submerged  in  such  trite 
repetition  and  we  hope  that  his  new  contract  with  First  National  Pictures  will  offer  him  an  opportunity  for  an- 
other   Yellow  Man  or  Tol'able  David.      Right  now  he  is  disporting  himself  in  the  studios  as  "The  Amateur  Gentleman" 


Ruth  Harriet  Louise 


NORMA  SHEARER 


That   Shearer  girl  has  gone  far,   as  people  predicted  she  would.     And  we  are  of  the  opinion  that  she  has  much 
farther  to  go.      After  all,  she  has  more  than  a  straight  nose,  and  a  shape  head  that  permits  a  variety  of  coiffures. 
She  can  act.      Her  work  improves  in  every  picture.      We  look  forward  to  her  performance  in   "Up-Stage,"   con- 
fident that  it  will  be  as  well  etched  as  those  that  have  gone  before 


Ruth  Harriet  Louise 


PAULINE  STARKE 

Personalities  do  change!      Pauline  Starke  used  to   go   in  for  the  sad,   tragic  heroines.      Now  she  is  one  of  the  most 

vivid  and  flashing  shadows  on  the  screen    .    .    .    even  if  the  photographer  did  catch  her  in  a  pensive  mood  this  time. 

Clarence  Brown   has  selected  Pauline   for   "The  Trail   of  '98" 


Ruth  Harriet  Louise 


ELEANOR 
BOARDMAN 


If  Eleanor  Boardman  succeeds  in  portray- 
ing an  old-fashioned  girl  in  "Bardelys  the 
MagnificeYit"  ...  a  girl  who  belongs  to 
the  demure  curls,  the  wasp  waist-line,  and 
the  lacy  crinolines  .  .  .  any  last  doubt 
about  her  being  an  excellent  actress  must 
be  erased.  For  Eleanor  is  the  most  mod- 
ern young  woman  we  have  ever  met.  She 
belongs  to  this  generation  of  young  ladies 
who  manage  to  keep  their  appeal  and,  at 
the  same  time,  think  for  themselves  .  .  . 
something  our  grandmothers  just  wouldn't 
have  believed  could  be  done 


A  Hollywood  Idyl 

In  Which  Mary  and  Doug  Walk  Forth,  Hand  in  Hand, 

to  Meet  Life 


By  Adele  Whitely  Fletcher 


<C  Kcyitone  View 


WHEN  we  have  heard  legends  of  years  that  have  now  slipped  into  the 
dim  centuries,  we  have  wished  mightily  that  we  did  not  live  in  such  a 
cynical  age  .  .  .  and  that  we  might  observe  some  life  that  needed  only 
years  to  make  it  legendary. 
We  wondered,  too,  if  coming  upon  such  beauty  we  would  pause  to  mark  it  or 
pass  it  by. 

Then  we  went  to  Hollywood.  And  we  listened  to  the  stories  that  the  towns- 
folk tell  of  Mary  and  Doug.  One  story  borrows  another  and  some  of  them  have 
been  told  so  often  that  they  are  already  of  legendary  character. 

Mary  and  Doug  have  found  something  which  words  are  too  brutal  to  set 
down  .  .  .  something  beyond  the  abstract  scope  of  philosophy  or  theory 
.  .  .  something  of  which  dreams  and  unreality  are  made.  But  for  all  of 
this,  they  are  not  people  who  shirk  life.  They  do  not  hide  away  behind  the 
high  stone  wall  of  their  house  or  draw  silken  curtains  to  shut  out  the 
poverty,  ugliness  and  hate  that  stalk  abroad.  Had  they  done  this  even  once, 
some  of  their  greatness  would  have  slipped  from  them.  It  has  been  proved 
that  to  be  truly  great  you  cannot  let  life  flow  over  you  but  that  you  must 
take  in  all  experience,  whether  bitter  or  sweet,  if  you  are  to  be  fortified  for 
uncertain  tomorrows.     And  Mary  and  Doug  know  this. 

There  are  nuns  who  could  tell  you  where  Mary  Pickford  is  to  be  found 
on  Christmas  mornings.  There  are  workers  in  their  studios  who  will  tell 
you  of  that  time  a  wife  was  ill  in  St.  Louis  and  money  seemed  miracu- 
lously provided  for  the  husband's  fare  home  and  a  consultation  of 
specialists. 

Always  they  are  Mary  and  Doug.     Even  in  their  Kleig-light  kingdom 
Miss  Mary  .  .  .  Mister  Doug.     We  remember  the  darkies  who  are  part- 
ners with  Doug  in  the  refreshment  stand  on  the  lot  and  their  naive  com- 
ment on  "The  Black  Pirate"  which  they  had  seen  in  the  projection  room 
that  very  morning. 

They  rarely  go  to  parties,  but  that  does  not  mean  that  they  shun  contacts. 
Nights  when  their  work  at  the  studio  is  done  they  drive  up  the  mountain 
to  their  lovely  house  with  its  stretching  gardens  and  sloping  lawns.  It  is  far 
more  like  something  out  of  New  England  than  like  anything  in  Hollywood. 
It  does  not  remotely  suggest  Spain,  Mexico  or  Italy  in  its  architecture.  There 
is  a  permanence  to  the  broad  rafters  and  heavy  timbers.  Wide  open  porches 
command  the  sunsets.  And  there  are  many  guest-rooms  where  interesting 
and  celebrated  and  titled  people  from  all  over  the  world  are  glad  to  stop. 

The  world  comes  to  them,  in  a  sense.  And  they  talk  music  with  music 
masters  .  .  .  paintings  with  artists  .  .  .  politics  with  statesmen  .  .  .  inter- 
national affairs  with  their  titled  guests. 

The  rest  of  Hollywood  rushes  from  the  studios  to  talk  motion  pictures  at 
dinner-parties  and  dances.  But  Mary  and  Doug  find  that  they  have  more  to 
bring  to  motion  pictures  if  there  is  frequent  talk  of  other  things. 

They  married  several  years  ago  and  in  doing  so  risked  the  very  thing  to 
which  both  of  them  had  dedicated  their  lives.  Predictions  that  they  had  sacri- 
ficed their  careers  for  their  love  were  many.  And  here  and  there  could  be 
heard  a  rumbling  of  disapproval.  They  are  both  too  sane  and  wise  not  to  have 
been  aware  that  they  were  risking  everything  they  had  won  professionally. 
Lesser  people  would  have  cheated  and  stolen  off  into  some  retreat,  and  the 
world  might  never  have  found  out. 

The  last  time  we  were  in  Hollywood  we  went  over  to  their  studios  to  see 
"The  Black  Pirate"  in  the  projection  room.     The  picture  was  on  the  screen 


When  they  married  several  year*  ago,  they  risked  the  career*  to  which  they  had 
both  dedicated  their  lives.  But  they  knew  that  no  matter  what  turn  life's  tourna- 
ment might  take,  they  would  be  victorious  in  a  great  sense  .  .  .  for  they  would  be 

together 


Abbe,  Paris 


Doug  has  been  away  from  Mary  one  evening  since  they  have  been  married.    That 
was  the  evening  he  joined  a  Masonic  order 


when  we  arrived  and  we  slipped  into  a  back  seat.  Just  in 
front  of  us  we  saw  a  dim  mass  of  soft  gold.  And  the 
lights  went  up  to  show  the  mass  Mary's  head  at  just  about 
the  level  of  Doug's  shoulder. 

It  was  at  the  time  that  Mrs.  Pickford  was  so  very  ill. 
Mary's  eyes  and  voice  were  heavy  with  tears  as  she  talked 
to  us  and  then  turned  again  to  study  the  second  reel  about 
to  be  projected  on  the  screen. 

Once  we  heard  her  say :  "I  would  cut  that  scene  just  a 
little  bit,  Doug.  It  will  sharpen  the  character."  And  we 
saw  Douglas  make  a  notation  on  the  drop-lighted  desk 
before  him. 

Every  time  the  lights  went  out  for  another  of  the  seven 
reels,  Doug's  hand  groped  for  Mary's.  He  knew  the 
anxiety  she  suffered,  and  his  bronzed  hand  slipped  into 
her  small  white  one  in  mute  sympathy  and  understanding. 

We  have  always  counted  it  a  privilege  to  have  known 
Mary  and  Doug.  But  after  that  morning  in  the  projection 
room  we  listened  to  the  things  Hollywood  said  of  them 
with  a  new  interest.  We  talked  to  Lillian  Gish  who  is 
their  friend.  And  to  Albert  Parker  who  was  constantly 
with  them  when  he  directed  "The  Black  Pirate."     We 


talked  to  less  than  these.     And  everywhere  we  heard  the 
same  stories. 

They  both  discard  old  premises  and  live  according  to 
their  own  wishes.  They  find  no  pleasure  without  one 
another,  so  they  are  never  separated.  Doug  has  been  away 
from  Mary  one  evening  since  they  have  been  married. 
That  was  the  evening  he  joined  a  Masonic  order. 

They  do  not  postulate  their  procedure  as  ideal.  It  is 
their  inclination.  They  are  content  and  happy  to  live 
this  way. 

In  a  day  when  sentimentality  is  looked  upon  as  a  vice, 
Mary  tells  you  that  she  has  never  taken  off  her  wedding- 
ring  and  that  she  places  tape  over  it  when  she  is  acting. 
There  is  a  sweet  gravity  about  her  dark  eyes  and  her 
curving  mouth  when  she  tells  you :  "I  like  to  think  it  has 
been  there  since  the  afternoon  when  Douglas  slipped  it  on." 

There  are  those  who  feel  that  Mary's  pictures  would  be 
greater  if  she  and  Doug  did  not  always  make  pictures  at 
the  same  time.  She  becomes  so  interested  in  the  things 
he  is  doing,  so  anxious  for  his  achievement,  that  she 
is  inclined  to  place  her  own  secondary. 

(Continued  on  page  96) 


21  P 


There's  Something  to   This 
Heredity   Business 


We  Call  Your  Attention  to  the 

Fruit  of  the  Movie's 

Family  Tree 


There  is  nothing 
we  can  say  about 
Dolores  Cost 
that  every  motion 
picture  critic  and 
feature  writer  in 
the  country  has 
not  already  said. 
She  is  about  the 
most  promising 
girl  on  the  screen 
today.  And  that 
does  not  mean 
that  she  has  yet  to 
win  her  laurels. 
She  has  won  them. 
Now  it  behooves 
her  to  keep  them. 
Something  tells  us 
that  she  will  do  so 


Helene  Costello  is 
coming  along  now 
.  .  .  also  with  fly- 
ing colors.  Do- 
lores' brilliant  rise 
put  her  in  the 
background  for  a 
short  time,  but 
Hollywood  proph- 
esies equally  in- 
teresting things 
forher.  She 
played  with  Ray- 
mond Griffith  in 
"Wet  Paint,"  you 
know 


I 


Long  years  ago  when  Maurice  Costello  was  known  to  the  public 
because  of  his  gray  curly  hair  and  his  dimples,  it  was  also  known 
that  he  had  two  daughters.  They  played  with  him  now  and  then. 
That  was  all.  Perhaps  Maurice  always  felt  that  they  would  even- 
tually   hold    high    the    name    of   Costello   again    .    .    . 


Doug  Senior 
would  do  any- 
thing in  the  world 
for  young  Doug 
if  he  would  re- 
main in  the  class- 
room and  forget 
motion  pictures 
for  a  little  while, 
but  he  has  found 
that  there  is  no 
use  talking  about 
it.  The  boy  was 
born  within  the 
smell  of  grease- 
paint. Acting  is 
in  his  blood 


Of  course,  Doug  Junior  will  succeed.  Not 
because  of  Doug  Senior's  influence,  yet 
because  of  Doug  Senior,  nevertheless.  The 
same  things  which  brought  his  father 
fame  are  to  be  found  in  his  make-up.  He 
has  ability  and  more  ...  a  vivid  smile, 
an  agile  body  and  a   romance  about  him 


< 


Ingram 


Ralph  Bushman  is 
evidently  going 
to  follow  in  his 
father's  footsteps 
in  more  ways  than 
that  of  selecting  a 
theatrical  career. 
He  is  already  a 
proud  parent ,.  .  . 
and  that  reminds 
us  of  the  large 
old-fashion  family 
of"  which  he  him- 
self is  a  part. 
Ralph  is  now  on 
the  screen  in 
"Brown  of 
Harvard" 


. 

Cm 

IB         JHM 

Nil 

The 
Bushman 


If  all  of  Francis 
X's  children  turn 
to  the  motion  pic- 
tures, the  family 
income  will  be 
something  to  puz- 
zle over  when  the 
income  tax  comes 
around 


23 
PAG 


\ 


A  Flapper  of    1820 


We  have  had  many  historical 
dramas,  but  they  have  not  always 
remained  faithful  to  things  as  they 
were.  What  is  the  importance  of  a 
battle  compared  to  the  star's  dra- 
matic opportunity  of  back  lighting? 
However,  if  this  had  not  been  the 
case,  we  would  have  a  more  or  less 
complete    film    history    by   this   time 


We  are  assured,  speaking  of  such 
things,  that  "Old  Ironsides"  will 
faithfully  reproduce  the  years  from 
1804  to  1820.  It  is  Esther  Ralston 
who  plays  Esther  ...  a  flapper  of 
those  days  when  the  younger  set 
were  called  young  ladies,  rather 
than   by  less  formal  terms 


I 


24 

GE 


The  Age  of  Our  Men  and  the  Innocence 

of  Our  Women 

Are  the  things  on  the  American  screen  with  which  the 
internationally  famous  Raquel  Meller  quarrels 


Spun- 


WE  secured  an  unusual  interview,  because  the  sun 
was  shining  that  morning,  because  Senorita 
Raquel  Meller  on  her  flowered  balcony  at  the 
Hotel  Ambassador  stopped  as  she  threaded  her 
needle  thru  some  Andalusian  bit  of  lace,  and  chose  to  smi'e 
in  the  face  of  her  fantastic  American  contract,  which  not 
only  gives  her  the  largest  sum  ever  paid  a  performer  on 
the  stage,  but  protects  her  from  such  nuisances  as  inter- 
viewers, photographers  and  unkind  critics.  The  sun  was 
shining  and  we  happened  to  be  there.  Even  so,  we  had  to 
obtain  her  opinions  translated  thru  a  third  person,  George 
Baud,  her  French  representative.  Nevertheless,  we  got 
the    facts — we    got    Senorita    Meller's    own    treasured 


opinions  on  the  cinema,  on  screen  acting  and  screen  per- 
sonalities. 

Raquel  Meller  is — oh,  take  the  word  of  two  continents 
for  it — the  most  undefinable,  glamourous  personality  in 
the  world,  and  in  France  she  is  also  a  screen  star,  and  now 
it  is  pretty  certain  that  she  will  be  one  in  Hollywood. 
Metro-Goldwyn  is  wagging  its  royal  lion's  mane,  and  a 
contract  is  in  the  process  of  being  negotiated.  This  con- 
tract will  in  all  probability  surpass  in  ingenuity  of  word- 
ing, demands  and  prerogatives  anything  ever  heard  of  on 
the  screen,  but  we  will  leave  that  subject  until  it  comes 
to  pass. 

(Continued  on  page  95) 

25 
PAG 


I 


Ruth  Harriet  Louise 


Lillian's   Protegee 


The  story  of  "The  Scarlet  Letter"  gave  Lillian  Gish,  as   Hester  Prynne,    many  scenes  with 

little  Joyce  Coad,  who  plays  Pearl.     And  Miss  Gish  believes  that  Joyce,  who  is  the  winner 

of  a  California  baby  contest,  will  win  an  esteemed  place  for  herself  on  the  screen\ 


I 


SANDY 


Cross  -  Country  Travelers 
Leave  the  Train  at  Albu- 
querque for  Exercise  ...  or 
to   Buy  Post -Cards. 

But  the  Motion  Picture 
People  Look  Forward  to  This 
Twenty-Minute  Stop  Be- 
cause of  Sandy. 


By  Ruth  Crane 


THIS  is  the  story  of  a  movie  fan. 
Of  a  little  red-headed,  blue-eyed,  freckle-faced 
kid  who,  tho  he  lives  far  from  Hollywood,  is  per- 
sonally acquainted  with  more  film  stars,  producers 
and  directors  than  any  other  fan  in  the  country. 

He  tells  them  his  joys  and  his  problems  quite  as  un- 
affectedly as  tho  they  were  his  next-door  neighbors.  He 
asks  them  interestedly  about  their  work,  he  criticizes  their 
pictures  freely  and  frankly  to  their  very  faces,  certain  that 
they  will  consider  his  opinions  of  value.  He  isn't  bold  and 
pushing.  Neither  is  he  shy.  He  is  just  superbly  unself- 
conscious.  He  believes  the  picture  people  are  just  regu- 
lar good  scouts  and  he  meets  them  on 
that  basis.    They  love  him  for  it. 

"The  motion  picture  stars  are  all 
my  friends,"  says  Sanely.  "Gosh,  I 
certainly  wouldn't  know  what  to  do 
without  my  friends  out  in  Holly- 
wood." 


He  is  a  rather  ragged  gentleman,  to 
be  sure,  but  he  wears  his  faded  blue 
overalls,  his  patched  coat  and  his 
scrubby  shoes  with  that  dashing  air 
which  sets  one  apart  from  the 
multitude 


R(j£V& 


Sandy  lives  in  Albuquerque.  New  Mexico.  I  met  him 
when  I  crossed  the  continent  recently  with  Lois  Wilson. 
As  everyone  who  has  made  the  transcontinental  trip 
knows,  Albuquerque  is  a  sprawling,  sun-baked  desert 
town  on  the  Santa  Fe,  where  the  California  Limited  makes 
a  half-hour  stop  before  it  plunges  onward  toward  Chicago. 
After  thirty  hours  of  steady 
traveling,  the  film  stars  headed  east- 
ward give  a  sigh  of  relief  as  the  train 
halts  before  the  yellow  stucco  rail- 
road station  at  Albuquerque.  There 
is  ample  time  to  stroll  up  and  down 
{Continued  on  page  93) 

27 
PAfi 


I 


In  "Stella  Dallas" 
Belle  Bennett  plays 
the  mother  as  no 
one  else  in  the 
world  could  have 
played  her 


Almost  overnight 
Jack  Gilbert  be- 
came  famous. 
Women  adored  him 
for  his  tragic  brown 
eyes.  Men  liked 
.him  because  he 
really_  could  act 


TheThingThat  Makes 


By  Elizabeth  Benneche 


IS    unhappiness    the    price    paid    for    genius    or    is    genius    the    reward    of 
unhappiness  ? 
There  is  a  thought  for  you,  you  contented,  care-free  people  who  may  be 
longing  for  fame  and  never  realizing  the  heartaches  that  so  often  come  with  it. 

Young  girls  posturing  before  mirrors  feel  that  they  are  born  to  be  great 
actresses.  They  imitate  the  little,  fluttering  mannerisms  of  a  certain  star.  They 
may  even  recapture  a  little  trick  of  hers,  a  sidelong  glance,  a  twist  of  the  shoul- 
ders, a  gesture. 

But  they  can  go  no  further.  There  is 
something  lacking  in  their  mimicry,  a  false 
note,  a  something  indefinable. 

Some  time  ago  Charlie  Chaplin  won  a  law- 
suit against  an  imitator. 

The  man  was  a  flagrant  copyist.  Little 
tricks  of  expression,  his  make-up,  his 
clothes,  including  the  derby  hat,  the  cane  and 
the  funny  shoes  were  all  the  familiar  trap- 
pings we  had  so  long  associated  with  Chap- 
lin. Not  content  with  this,  he  had  gone  so 
far  that  even  the  name  he  chose,  Charlie 
Aplin,  was  a  travesty. 

But  there  was  something  he  could  not  imitate,  and  it  is  this  something,  and 
not  the  funny  shoes  or  the  cane  or  the  mustache  that  we  love  in  Charlie  Chaplin. 

His  own  experience  had  taught  Chaplin  and  he  had  learned  his  lesson  by 
heart.  I  lis  own  heartbeats  had  marked  the  tempo.  It  was  his,  earned  by  suffer- 
ing and  heartbreaks.     No  one  could  take  it  away  from  him. 

We  can  thank  an  unhappy  childhood,  the  squalor  of  London  slums,  the 
flickering  lights  of  third-rate  music  halls,  the  sad  little  ghost  of  Hetty  Kelly  and 
the  mother  who  dwells  in  the  border  land  of  shadows  for  Charlie  Chaplin. 

In  spite  of  the  success  that  has  come  to  him,  Chaplin  is  one  of  the  most 
pathetic  men  in  the  world. 

lie  loved  greatly  .  .  .  once.     She  was  a  little  girl  who  also  played  in  the 


What  did  Charlie  Aplin 
lack  when  he  copied 
Chaplin's  derby  hat, 
cane,  funny  shoes  and 
the  little  tricks  of  ex- 
pression ? 

What  was  it  he  couldn't 
match  ? 


Max  Linder,   one  of  the  funniest  men   in  pictures,   and  h 
a  few  months  ago   .    .    .  suicides 


young  wife  died 


Mabel  Normand's 
smile  is  sweeter  and 
more  appealing  be- 
cause it  is  shadowed 
by    tragedy 


Cbaplin  has  learned 
his  lesson  by  heart 
from  his  own  ex- 
periences. His  own 
heartbeats  have 
marked   his   tempo 


Them  Great 


Petersen 


third-rate  music  halls  and  she  loved  the  shy  little 
man  with  the  cane  and  the  funny  shoes  who 
wasn't  making  a  particular  hit  with  his  audiences. 
One  day  they  would  both  be  famous  and 
happy !  They  dreamed  of  this  day  on  their  little 
excursions  around  London.  Once  they  looked  in 
at  the  gaily  lighted  windows  of  Simpson's  in  the 

Strand.  Some 
day  they 
would  dine 
there  .  .  .  and 
Hetty  would 
have  a  beauti- 
ful gown  and 
Charlie  a  dress 
suit  like  the 
toffs  were 
wearing. 

But  how  often  do 
the  dreams  of  youth 
come  true? 
Fame  of  a  sort  came  to  both  of  them.    Hetty  Kelly's 


Jack  Gilbert  has  been 
quite  as  handsome  and 
romantic  for  years,  but 
until  he  became  the 
rage  overnight  he  was 
a  comparatively  ob- 
scure leading  man. 

What  worked  this 
change? 


sister  married  Frank  Gould,  the  American  millionaire, 
and  she  wore  the  pretty  clothes  and  went  to  the  places 
she  had  dreamed  of  for  so  long. 

Charlie  Chaplin  was  creating  attention  in  Holly- 
wood. His  cane  and  funny  shoes  were  beginning  to 
make  people  laugh. 

But  it  wasn't  until  after  Charlie  had  returned  for 
Hetty,  and  arrived  just  in  time  to  see  her  coffin  carried 
thru  the  friendly  door  where  she  had  met  him  so  often, 
that  he  became  really  great. 

(Continued  on  page  87) 

Today  Gloria  Swanson  is  no  longer  bizarre  and  unreal.      She 

looks  and  acts  what  she  is   ...   a  woman   who   has  at  last 

discovered  that  life  can  hurt 


rZl 


);:mi.<.  \     Doolitl 


Dorothy 


Jobyna 


CeiK-  Knrnnia.i 


He's  a  Good  Picker 


As  a  discoverer,  Columbus  did  his  bit  when  he  went 

/  \      out  and  found  America.     Somebody  had  to  find 

£      j^   n  eventualty.     So  three  cheers  and  a  zebra  for 

Chris  !     But  what  we  are  concerned  in  right  now 

are  the  Columbuses  of  the  movies — the  men   who  have 

discovered  stars  and  placed  them  in  their  celluloid  setting. 

Just  as  Columbus  got  his  statue, 

there   shall   come   a   time   when 

the  Celluloid  Capital  will  erect 

monuments  to  these  movie  dis- 

coverers,     these     star     finders, 

Griffith,  De  Mille,  Ingram,  von 

Stroheim,  Chaplin  and  Sennett. 

More    and    funnier    Colum- 


It  Was  This  Way: 


Billie  Dove 

was  "like  the  girl  that  married  dear  old 

Dad'* 


buses!     May  I  add  the  name  of 


Johnny     Mines,     for     he     is     a 
Christopher  of  the  cinema  who 
ha-  discovered  stars  in  embryo, 
in  footlight  settings,  and  given 
them  the  golden  opportunity. 
X'.     one      would     be     more 
tied    than    Johnny   Mines  to 
find  himself  on  a  high  pedestal 
bearing  the  chiseled  inscription 
that    he    has    discovered     and 
staitcd  on  the  paths  to  fame  as 
many  -tar-  and  probably  more 
than  some  of  these  other  navi- 
jelatine  sea.     Hut 
•median 
given    some   of    our   best- 
known     twinklers     their     first 
chance    to    appear    under    the 

KJeig   lights  and   ha-   also  given   them   a  training   in    the 

id   old    school   of   comedy,    from    a   branch   of       Inch 

>ria    Swanson    emerged,    a    graduate    of     Prof     or 

minary,    no!    to    mention    Marie 

Prevost,  Phyllis  I  [aver,  et  til. 

To  the  list  of  Doctor  Hines's  Select  Cinema  School  for 

Young    Ladies    belong    the    name-,    of    Dorothy    Maekaill, 

rf\  Norma    Shearer.    Millie  i  ,ri-    ECenyon,    [obyna 


.  Dorothy    Maekaill 
had  blonde  hair,  and  a  sense  of  humor 


Jobyna   Ralston 

had  a  wicked  wink  while  she  looked  the 

sweet,  young  thing 

Jacqueline    Logan 

photographed     beautifully     from     every 

angle 

Norma  Shearer 
looked  like  a  "nice  girl"  and  an  aristocrat 

Doris   Kenyon 

could  step  out  of  a  rented  Rolls-Royce 

and  look  as  if  she  owned  it 


comedy   on   Broadway 


Ralston  and  Jacqueline  Logan — all  sweet  girl  graduates, 
and  many  of  them  ignorant  of  the  lessons  in  motion 
picture  make-up  when  they  began  under  his  tutelage. 

These  were  the  days  when  Johnny  Hines  was  beginning 
to  make  a  name  for  himself  in  the  "Torchy"  comedies,  and 
the  most  important  requisite  for  a  leading  lady  was  to 
have  a  pretty  face,  an  ingrati- 
ating personality,  a  sense  of 
comedy,  and  a  willingness  to 
learn  all  the  movie  lore  that  this 
cinema  campus  provided.  And 
before  long,  each  one  of  these 
sweet  girl  graduates  would 
confide  to  an  interviewer  that 
"comedy  is,  after  all,  the  very 
best  training  for  drama."  And 
it  is,  isn't  it? 

So  in  looking  about  for  lead- 
ing ladies  for  himself,  Johnny 
Mines  proved  that  he  was  not 
only  an  excellent  picker,  but  a 
splendid  teacher,  and  in  almost 
every  case  he  realized  that  he 
had  a  winner  under  his  wing 
who  would  go  far  in  the  picture 
world  and  perhaps  climb  up 
into  the  s-tarry  firmament  of 
electric  lights  some  day.  And 
most  of  them  have. 

At  the  time  that  Dorothy 
Maekaill  fell  under  the  eagle 
eye  of  Professor  Mines,  she  was 
playing  in  a  successful  musical 
The  comedian  was  immediately 
truck  with  her  blonde  beauty,  her  charming  personality, 
and  above  all,  her  sense  of  humor.  Me  engaged  her  at 
once  and  she  appeared  in  six  comedies  opposite  him. 

"The  moment  I  saw  Dorothy  Maekaill,  she  was  hired," 
says  Johnny  Mines.  "And  she  had  the  stuff  we  wanted 
for  comedy.  I  wanted  her  because  she  was  a  blonde  and 
I   was  a  brunette.     Yon  ^ee  it  was  an  excellent  contrast. 

/ 


Ruth  Harriet  Louise 


Jacqueline 


Norma 


Doris        Nickolas  Muray 


By  Herbert  Crooker 


And  I  wanted  her  because  a  twinkle  in 
her  eyes  told  me  she  had  a  wonderful  sense 
of     comedy.       I      was      not      disappointed. 
Dorothy  Mackaill,  even  in  her  first  work  be- 
fore the  camera,  was  one  of  the  most  tireless 
workers  I  have  ever  seen  in  a  studio.     In  spite 
of  the  hard  work,  the  hot  weather  under  the  studio 
lights,  she  did  not  lose  her  good  nature  for  a  moment. 
She  had  a  tremendous  amount  of  pep  and  everybody 
liked  her  and  was  ready  to  do  anything  for  her.     She 
realized  she  had  found  an  opportunity  to  get  into  screen 
work  and  nothing  was  too  difficult  for  her  to  undertake.     I 
need  not  say  she  made  good.    Just  look  at  the  gal  now !" 

At  the  time  Dorothy  Mackaill  was  working  with  Johnny 
Hines,  the  company  began  work  on  a  comedy  that  called 
for  another  girl,  and  the  comedian  started  out  to  find  one. 
His  search  brought  him  to  a  very  lovely  girl,  beautiful,  aris- 
tocratic and  charming.  And  she  was  just  the  type  he  wanted, 
as  she  was  a  brunette  and  would  go  well  in  company  with  the 
blonde  beauty  of  Dorothy  Mackaill. 

Long  Beach,  on  Long  Island,  was  chosen  for  the  first 
outdoor  location  for  this  new  comdey,  and  this  necessitated 
the  company's  taking  a  number  of  rooms  in  the  Nassau  Hotel 
for  dressing  purposes.  Comedy  companies  in  those  days 
could  not  afford  to  spend  a  great  amount  of  money,  so  the 
girls  were  forced  to  double  in  these  high-priced  dressing- 
rooms. 

The  pretty  brunette,  probably  ignorant  of  the  money- 
saving  plan,  demurred  slightly  at  being  thrust  into  a  room 
with  the  extra  girls.  She  complained.  Johnny  and  his 
staff  went  into  conference,  as  this  was  an  unexpected  prob- 
lem which  had  to  be  settled  with  diplomacy.  The  girl  was 
so  lovely  and  aristocratic  that  they  knew  she  was  a  nice  girl 
and  did  not  want  to  hurt  her  feelings,  and  at  the  same  time 
they  could  not  afford  any  added  expense.  To  solve  the 
problem  and  save  the  situation,  they  cut  the  role  down  so 
that  her  scenes  could  be  photographed  quickly,  and,  in  the 
lingo  of  the  studio,  the  girl  could  be  "killed  off"  early  in  the 
shooting.     Her  name  was  Norma  Shearer. 

"Norma  Shearer,"  Johnny  Hines  has  said,  "is  the  only  girl 
I  have  ever  seen  in  pictures  who  screened  beautifully  with 
practically    no   make-up.     With   only   a   slight   coating    of 
(Continued  on  page  103) 


In  looking  about  for 
eading  ladies  for  him- 
self, Johnny  has  proved 
that    he    is    an    excellent 

picker and     an     excel- 

ent  teacher 


Christopher  Co- 
umbus  may  have 
done  a  lot  when 
he  did  his  bit  dis- 
covering America. 
He  deserves  a  lot 
of  credit.  But  it's  a 
cinch  he  didn't 
have  so  good  a 
time  as  Johnny 
Hines  has  had 
making  his 
discoveries 


31  P 

PAiSlI 


Ramon  Steps  Out  of  Character 


\ 


Disillusioned  again    .     .    . 

We  believed  all  that  talk  about  Ramon  Novarro  being  shy  and 
idealistic.      And  now  look  at  him!      Shy?    Idealistic? 

It  takes  more  than  a  monocle,  a  mustache  and  a  silk  hat 
to  make  anyone  look  so  dangerous  and  .  .  .  so,  er  .  .  . 
interesting    .    .    . 

Menjou,  Stone  and  all  the  other  sophisticates  certainly  have 
a  rival. 


It  is  in  "A  Certain  Young 
Man,"  formerly  called  "Bellamy 
the  Magnificent,"  that  Novarro 
steps    out    of    character. 

The  line  forms  at  the  right 
of   the   box-office,    girls. 


I 


32 


C.  S.  Bull 


L 


The    Stuff    of    Which  Tears    Are    Made 


* 


Tia  Juana  Red 


By  Bert  Ennis 


DOWN  at  the  Tivoli,  the  gaudiest  dance  hall  in  Tia 
Juana,  they  call  her  Tia  Juana  Red.     Her  flaming 
mass  of  copper  hair  brought  her  that  cognomen 
and  obscured  her  baptismal  name  of  Esther. 
Tia  Juana,  you  know,  is  one  of  the  most  notorious  re- 
sorts in  the  world,  located  just  fourteen  miles  from  the 
lawful,   sunny  town  of   San   Diego 
lying  across  the  California  border. 
It  is  comprised  of  *  single  street, 
which  is  lined  with  one-  and  two- 
story     buildings.        Shacks     really. 
And  each  shack  houses  a  saloon,  a 
dance  hall  or  a  gambling  joint.     If 


all  three  may  be  found  under  the 


As  the  dance-hall  girl  in  "The  Shooting 
of  Dan  McGrew,"  Tia  Juana  Red  called 
heavily  upon  her  own  experience.  And 
she  shone  forth  brilliantly.  In  the  illustra- 
tion Red  is  shown  in  this  picture perhaps 

you  remember  her? 


the  proprietor  is  gr 
same  roof. 

Tia  Juana  Red  is  the  main  attraction  at  the  Tivoli.    She 

holds  forth,  singing  such  diverting  classics  as  "Red-Hot 

Poppa,  dont  you  try  to  two-time  me."     She  dances  too. 

With  whoever  among  the  motley  throng  of  tourists  exacts 

the   privilege   of    doing   a    fox-trot 

with  one  of  the  entertainers.     This 

goes  with  the  drinks. 

According  to  her  story,  Tia  Juana 
Red    was    a    stenographer    in    the 
Legislature  of  the  City  of  Spring- 
(Continucd  on  page  88) 

33 
PAG 


I 


For  the  "Lemon 


A  few  suggestions  for  social  summer  afternoons, 
whether  you  are  at  home  or  at  one  of  the  resorts 


Mary  Pickford  inclines  towards  or- 
gandie and  a  wide  brimmed  hat, 
especially  if  she  is  serving  tea  at 
home.  In  the  drawing  on  the  left, 
her  white  gown  is  worn  over  a  pink 
slip.  The  appliqued  motifs  are  of 
two  shades  of  sky  blue  and  the  vel- 
vet bow  is  of  a  darker  blue.  Inci- 
dentally, the  same  velvet  bands  her 
leghorn  hat.  Jewelry  is  apt  to  be 
annoying  on  warm  days.  Here  Mary 
wears  only  a  single  strand  of  pearls 
at  her  wrist  and  her  marriage  ring. 
Simplicity    is    the    thing    .    .    . 


I 


The  chemise  frock  which 
Constance  Talmadge 
wears  (it  was  part  of  her 
spring  trousseau)  is  ex- 
Iremely  simple  and 
smartly  new  in  line.  It 
is  fashioned  from  gray 
flannel  with  a  jrol 
appliqued  net  and  bound 
just  below  the  norm. J 
waist-line  with  a  girdle  of 
heavy  white  beads.  Il<-r 
hat  is  of  white  belting 
with  a  pin  of  onyx  and 
rhineatones.  And,  as 
usual,  she  prefers  the 
classical  opera  pumps 
.  .  .  this  time  \ 
them  with  white  bows 


~t= 


.■Mu)H'uiAJ..J>l!;aA     **w«r/\MWjVi,)  (i»v/V 


Mow  like  Lois  Moran  to 
wear  this  demure  frock  of 
French  blue  pongee!  It  is 
all  in  one  piece  and  opens 
just  enough  at  the  neck  to 
slip  into  it  without  disar- 
ranging the  hair.  The 
collar  is  tied  with  a  beige 
grosgrain  ribbon  .  .  .  and 
for  a  touch  of  color  Mis- 
tress Lois  wears  a  pale 
pink  handkerchief  in  her 
pocket 


c 


or  ^rearrt: 


?"H 


our 


By  Cerline  Boll 


The  other  day  when  May 
Allison  was  having  tea  at 
the  Ritz,  she  wore  one  of 
the  smartest  and  most  be- 
coming hats  we  have  seen 
this  season.  It  was  made 
of  a  black  milan  straw 
with  a  band  of  green 
velvet  ribbon  that  crossed 
in  front  in  the  manner 
shown   above 


Aileen  Pringle  is  always  distinguished  .  .  .  and 
casual.  With  this  frock  of  gaily  printed  mod- 
ernist flowers  on  a  gray  silk  background,  she 
carries  a  navy-blue  coat.  And  she  has  wisely 
selected  one  of  the  newest  hats  of  navy-blue 
milan  from  Reboux,  which  has  a  discreetly  wide 
brim,  wired  and  bound  at  the  edge  .  .  .  and  a 
band  of  blue  grosgrain  about  the  crown.  Be- 
cause Miss  Pringle  wishes  height,  she  adopts 
longer  skirts  than  most  people  are  wearing  .  .  . 
for  these  enhance  her  superb  carriage  and 
innate  poise 

Norma  Talmadge  also  favors  clothes  of  the 
semi-sports  genre  for  informal  occasions.  She 
is  extremely  partial  to  this  exotic  gown  of  white 
flat  crepe,  painted  in  futuristic  fashion  in  pastel 
colors.  Her  white  felt  hat  contrasts  beautifully 
with  her  dark  hair  and  vivid  complexion.  And 
orchids  on  the  shoulder  are  always  pleasant 
...    if    sometimes    impractical 

35 

PAG 


i 


One  Hundred  Years 
From  Now — 


—life  will  be  very  difficult, 
according  to  "Metropolis" 


"Metropolis"  is 
the  latest  cellu- 
loid importation 
from  Germany. 
It  is  said  to  have 
cost  one  and  a 
half  million  dol- 
lars   to    produce 


The  story  is  an  imagina- 
tive one,  dealing  with 
the  strus^le  between 
the  overlords  and  the 
workers  who  live  in 
tenements  under  the 
ground.  A  sensational 
actress,  named  Breta 
Helm,  plays  the  humble 
factory  girl  who  aspires 
to  love  the  son  of  one 
of  the  wealthy  overlords 


I 


Jimmie  Cruze  has 
superlative  praise  for 
this  production.  And 
Jimmie  has  the  repu- 
tation of  being  con- 
servative in  his 
opinions.  He  says  of 
"Metropolis,"  "it  is 
incomparably  the 
greatest  motion  pic- 
ture   ever    made" 


Why  Do  You  Have  Your  Fortune  Told? 


Some   People  Believe   in  It 

.  .  .  Others  Have  It  Done  for 

the  Fun  of  It 


The  Motion  Picture  People 

Spend  Thousands  of  Dollars 

a  Year  on  Fortunes 


By  Alice  Tildesley 


THE  fortune-telling 
trade  is  brisker  in 
Hollywood  than  in 
any  city  in  the  world, 
they  say. 

Whether  or  not  stars  be- 
lieve that  there  are  some 
who  can  read  the  future,  the 
fact  remains  that  most  of 
them  give  the  aforesaid  a 
chance  to  try.  There  is  a 
roomful  of  illustrious  "wait- 
ers" outside  the  sanctum  of 
the  crystal-gazer  Dareos  al- 
most any  hour  of  the  day  or 
evening.  A  certain  negro 
seer  used  to  make  appoint- 
ments three  weeks  ahead, 
and  a  popular  form  of  en- 
tertainment at  film  parties 
consists  of  a  palmist,  psy- 
chic or  numerologist. 

There  is  another  side.  In 
Hollywood's  busiest  cafe- 
teria, a  once-upon-a-time 
seer  is  now  engaged  in  serv- 
ing chicken  hash ;  another 
has  gone  in  for  millinery, 
and  still  another  is  in  jail — or  was,  a 
few  weeks  ago. 

Most  of  the  stars  consult  the  oracles 
for  no  better  reason  than  the  thrill 
they  get  from  what  might  happen,  be- 
cause everybody  else  does,  or  because 
somebody  invited  them ;  but  there  are 
others  who  would  not  think  of  signin 
a  new  contract  without  going  to  their 
favorite  psychic  first. 

It  was   Jane   Novak  who  told 
me  about  Aunt  Carrie  of  Vic- 
torville.    Jane  loves  having  her 
fortune  told,  and  doesn't  care 
who  knows   it.     Aunt  Carrie 
is  an  ancient  negress  of  such 
uncanny    powers    that    special 
trips  are  taken  to  her  desert 
town    by    picture    people    who 
have  met  her  on  location. 

"It's   the  thing  to   see  Aunt 
Carrie  when  you're  on  location 
near  Victorville,"  observed  Jane. 
"The    first    time    I    heard    of    her, 
several     members    of     the    company 
made  up  an  impromptu  party  and  we 
went  together  to  her  cabin. 


It  was  about  eight  years  ago  that  a  negress 
housekeeper  told  Estelle  Taylor  that  she  would 
marry   the   world's   champion   boxer   or   wrestler 


Harold  Lloyd  belongs  to  the  Ameri- 
can Society  of  Magicians  and  insists 
that  he  knows  how  to  do  all  the 
things  that  are  done  in  seances  and, 
therefore,  he  never  believes  any- 
thing 


"It  was  a  dark  night  and 
we  had  to  feel  our  way  into 
the  house.  The  doorways 
were  low  and  tall  men 
bumped  their  heads.  We 
went  thru  rooms  piled 
with  furniture — as  tho 
someone  had  hauled  it  in 
and  said :  'Now,  when  we 
want  any  of  this,  we'll  come 
get  it.'  At  last  we  entered  a 
room  lit  by  a  fire  in  a  grate 
and  were  told  to  sit  down. 

"Aunt  Carrie  was  there  in 
her  turban,  smoking  her  old 
pipe  before  the  fire.  She 
didn't  look  at  anybody,  but 
presently  she  spread  her 
cards  around,  not  in  any 
particular  way,  I  thought, 
and  began  to  talk.  She 
didn't  tell  first  one,  then  an- 
other, but  all  together.  She 
told  one  man,  whom  we  had 
all  supposed  to  be  happily 
married,  of  his  domestic  dif- 
ficulties and  how  soon  the 
trouble  would  break.  She 
told  me  of  my  own  divorce,  and  an- 
other girl,  whom  I  had  considered 
very  quiet,  some  amazing — simply 
amazing — things  that  were  then  oc- 
curring. 

"We  were   terribly  embarrassed  to 
be  told  such  facts  in  public,  but  strangely 
enough  every  one  of  them  came  true. 
"Aunt  Carrie  has  foretold  the  rising 
of  stars  who  have  been  extras  and 
the  eclipse  of  others  who  seemed 
at  the  top  of  the  heap." 
When    Jane    Novak    went    to 
Berlin    to    make    a    picture,    a 
companion    accompanied    her 
who  was  discovered  to  have  a 
gift   for  tea-cup  reading. 
"Germans  drank  coffee  before 
we  arrived,"  smiled  Jane,  "but 
after  they  heard  about  Irene, 
they  took  to  afternoon  tea,  and 
there  was  a  line  waiting  outside 
my    dressing-room    every    after- 
noon.     Irene    is    amazing.      When 
we   were   in    England,    she   read   my 
cup  one  day  and  laughed.     'There's  an 
unborn  babe  to  your  family,'  she  told  me. 

37 
PAG 


i 


OCWSIS?"^ 


i, 


Ev«    was   married,   luu    1    had   under 
she  intended  to  make  a  picture,  and 
one    had    mentioned    baby    to    me. 
However,  just   for  fun,  we  bought 
a     complete     layette     in      Paris. 
When   I   got  home,    Eve  thought 
she   would    surprise   me-    hut    1 
surprised  h< 

Margaret  Livingston  not 
only  believes  in  "fortunes"  hut 
-lie  can  tell  them  herself. 

"Jack     Gilbert      cant      come 
near  me  without  handing  me  a 
pack  of   card-."   laughed   Mar- 
garet.    "He   says    I'm   die   only 
person   who   ever   told   him   any- 
thing that  came  true.      I   modestly 
admit  it. 

"1  use  cards  a-  a  means  of  concen 
tration.  I  always  told  the 
girls'  fortunes  in  school,  and 
nobod)  seemed  to  he  able  to 
do  it  by  laying  the  cards  out 
ime  way.  It's  funny, 
tho.  1  cant  get  a  thin-  for 
myself. 

"Once  when  1  was  at  an  in- 
formal party,  something  ter- 
rihle  happened.  Vs  usual, 
someone  had  handed  me  the 
deck  and  I  was  doing  my 
stufY.  New  people  kept  com- 
ing in.  Suddenly  I  looked  up 
and  saw  a  stranger  standing 
by  the  table.  1  te  asked  me  to 
read  for  him.  Ke  shuffled 
and  cut  and  1  laid  out  the 
cards — then  I  ran  them  all  to- 
gether and  told  him  I  couldn't 
see  a  thing.  Hut  I  saw  calam- 
plainly  that  I  was 
scared  all'  night.  A  short  time 
afterwards  he  died  under 
peculiar  circumstances." 

Louis<  Fazenda  has  her 
horoscope  cast  by  a  noted 
London  astrologist  every 
other  year.  She  cant  wait  un- 
til it  comes,  -he  says,  and 
then  alter  -he  has  read  it, 
-he   forgets  all   about    it. 

It    was    Louise   who   had   the   nu 
merology  fad  last  winter.      Perfect 
strangers  used  to  -top  her  on  the 
:  rid  beg  her  for  a  reading. 
-o    I  .ouise  -proceeded   to    forget 
the  science  of  numbers  so  com- 
pletely   that    she   doesn't    know 
now     whether     she     ever     fore- 
told anything  that  came  true  or 
not. 

"Down    at     San    Diego,    when 
re  making  a  picture,  all  of 
ime   weird   some- 
bod)  who  took  flower-  from  every- 
one,"   remembered    Louise,    "When 
Ik-  i  .-him    to  my  flower,  he  said  :     Thi 
•:  i-  in  difficulties  that  are 

all     her     own     fault.        She     can 
ut    of    them.' 
All   of   which    wa-   true. 

"But      fortune-tellers     gen- 
38 


Jane    Novak    goes    way    out    to    Victorville    to 

have    old    Aunt    Carrie    tell    her    fortune.       It 

was  Aunt   Carrie   who   told  Jane   of   her   own 

divorce 


Louise 


Jack  Gilbert  says  Margaret  Livingston  is  the 
only  person  who  has  ever  told  him  anything 
that  came  true.  And  Margaret  says  she  uses 
the   cards   only   as  a   means   of   concentration 


I 


Louise  Fazenda  has  her  horoscope  cast  by  a 
noted  London  astrologist  every  other  year.  She 
cannot  wait  until  it  arrives  .  .  .  and  after  she 
has  read  it  she  insists  that  she  forgets  all  about  it 


tell    me    that     1    giggle    too    much. 
ess  I'm  serious  nobody  can  get  any- 
thing  for  me." 
When  C  live  Brook   was  making  a 
picture    with    Nataeha    Rambova, 
something  of  the  sort  was  said  to 
him.      Nataeha    is    a    great    be- 
liever  in    the   occult,   and   Clive 
was  invited  to  a  seance. 
Tho  the  medium's  Indian  con- 
trol   seemed    able    to    get    all 
sorts  of  messages  for  everyone 
else,  he  could  not  get  a  word 
for    Natacha's   leading   man. 
"Ugh !"    sputtered    the    medium, 
at  length,   "No  can  get  for  you. 
You  have  too  many  blankets  on." 
By  which  he  meant  that  the  English- 
man was  too  reserved.    . 

Tho  Georgia  Hale  insists 
that  fortune-tellers  justify 
themselves  because  they're  so 
awfully  much  fun,  John  Mil- 
jan  thinks  that  if  their  gifts 
could  be  depended  on  surely 
the  Government  or  business 
interests  would  take  advan- 
tage of  them.  At  the  same 
time,  John  Miljan  has  had  an 
experience  that  would  have 
made  a  convert  of  any  other 
man. 

When  John  was  beginning 
his  stage  career,  he  joined  a 
repertoire  company  with 
which  was  traveling  a  woman 
who  had  recently  lost  her 
husband.  She  was  a  well- 
educated  woman,  a  friend  of 
James  Whitcomb  Riley,  and 
she  read  palms  for  pastime. 

One    afternoon,    when    the 
company    was    playing    in    a 
small  town  in  Colorado,  a  girl 
stopped  in  to  have  her  hand 
read.     The  woman,  who  was 
rather      weird-looking,      took 
one     glance     at     the     hand, 
choked  and  asked  for  a  drink 
of    water.       Before    she    got 
over  her  seizure,  the  girl  left.     Then 
the   woman   cried   out   that   she   had 
seen  that  girl  meeting  with  an  acci- 
dent.    What  to  do?    What  to  do? 
While   the   company   was  trying 
to  soothe   the   seer,   word   came 
that  the  girl  had  been  killed  at 
II         the   railroad   station. 

Gloria  Swanson  has  a  favorite 

If         fortune-teller    in     New     York 

with  whom  she  sometimes  wiles 

away    idle    hours.      When    Lois 

Wilson    had    tonsilitis    and    was 

laid     up    with     face    and    throat 

bandaged,     Gloria     surprised     her 

by  sending  die  psychic  lo  amuse  her. 

Later    when    Lois    had    recovered,   the 

two     invited     the     woman     in 

again,  one  rainy  day,  and  Lois, 

unrecognized,  received  the 

same  fortune. 

{Continued  on  page  114) 


He  Hated  Alarm-Clocks 

And  Proves  That  Old  Saying  About  the  Early  Worni 
Is  Not  to  Be  Taken  Too  Seriously 

By  Helen  Hanemann 


BEHIND  the  counter  of  a  country  store,  a  soda 
jerker  jerked  at  his  saccharine  calling.  Necessary, 
but  hardly  inspiring,  the  perpetual  blending  of 
chocolate,  strawberry  and  vanilla,  of  more  choco- 
late, strawberry  and  vanilla,  of  finally  still  more,  long 
after  the  proper  count  had  been  lost.  To  be  sure,  the 
monotony  was  varied  once  ;  the  soda  clerk  tried  to  mix  a 
glassless  soda,  but  that  would  scarcely  pad  a  letter  home. 
Strong  the  personality  that  could  have  stood  out  in  this 
medley  of  syrup  bottles,  and  used,  still  fuzzy  glasses.  Yet 
this  man  succeeded.  He  belonged  definitely  to  that  small 
class  of  persons  conspicuous  anywhere,  even  behind  a 
soda  counter.  Here  stood  still  another  possessor  of  Elinor 
Glyn's  famous  "it." 

Perhaps  this  vague  quality  arose  from  the  tremendous 
solemnity  with  which  he  quizzically  effected  his 
task ;  possibly  the  secret  lay  in  the  kindliness 
with  which  he  nodded  in  the  direction  of  an 
occasional  passer-by,  a  kindly  nod  which  had 
seen  and  experienced  much  sadness,  even  aged 
a  little,  but  was  not  discouraged.  More  likely 
it  was  a  mixture  of  both  mellowed  with  a 
singular  wealth  of  charm. 

The  country  store  was  set  in  a  tiny 
portion  of  the  lot  enclosed  by  Famous 
Players  for  its  Long  Island  Studios,  and 
the  picture,  "The  Old  Army  Game," first 
starring  vehicle  of  William  C.  Fields. 
Strangely,    prophetically    enough,    Bill 
Fields,    comedy    juggler,     named    this 
present   triumph    in   previous   engagements 
with  the  "Follies."     "The  old  army  game" 
was  a  favorite  byword  of  his.     The  story 
of  his  world  pilgrimages,  of  his  ten  years 
at  the  "Follies,"  doing  a  juggling  act  against 
the  grim  fear  of  an  old  age  when  he  would 
again    wander    from   town   to   town,    from 
continent  to   continent  with   returns   which 
diminished  steadily,  has  become  almost  as 
well  known  as  that  of  his  sudden  ascent  to 
stardom.    Two  pictures,  "Sally  of  the  Saw- 
dust." and  "That  Royle  Girl."  started  pro- 
ducers outbidding  each  other  for  what  they 
realized  would  prove  the  gilded  services  of 
YV.  C.  Fields.    Anyone,  well,  almost  anyone, 
they  argued  from  the  depths  of  their  wealth 
of  hard-boiled  experience,  can  be  a  pretty 
girl,  but  a  man  like  Fields  is  a  comedian. 
There  is  further  testimony  of  these  hard- 
hoiled  gentlemen's  appreciation  in  the  fact 
that     Julian     Street's     short     story,     "Mr. 


"I  always  have  the  best  luck  with  gags 
I've  actually  seen  take  place,"  Fields  said, 
"the  little  things  that  are  totally  unim- 
portant yet  full  of  humor  and  human 
interest" 


Bisbee's  Princess,"  winner  last  year  of  the  O.  Henry 
memorial  prize,  is  being  made  into  a  picture  for  Mr. 
Fields.  It  will  appear  under  a  title  suggested  by  the 
current  favorite  maxim  of  a  wise-cracking  stage:  "So's 
Your  Old  Man." 

"I've  tried  for  years  to  break  into  pictures,"  said  Bill 
Fields,  as  they  stopped  shooting  for  a  moment,  "but  no 
one  would  give  me  a  chance.  I  dont  know  the  reason  for 
this,  except  that  managers  and  most  producers  are  alike  in 
one  respect :  they  dont  see,  once  they  like  something  you 
do,  why  you  should  want  to  try  anything  different.  'Do 
what  you're  sure  of,'  is  their  constant  advice.  So  I  was 
branded  juggler,  and  that  was  that.  At  least,  that  was 
that  until  D.  W.  Griffith  bought  the  screen  rights  to 
'Poppy,'  or  'Sally  of  the  Sawdust,'  as  it  became  known 
in  pictures.  "When  Griffith  asked  me — he'd  liked  the 
performance  I  gave  in  'Poppy' — to  take  the  same 
part  in  the  picture,  I  got  my  first  real  oppor- 
tunity. Altho 
I  had  been  in 
'Janice 
Meredith,' 
doing  exactly 
one  day's 
work,  it 
didn't  in  any 
way  count  as 
a  start.  In 
other  words, 
as  I  often  tell 
people,  it  was  only  after  I  got  my  first  real 
speaking  part  that  I  could  get  a  chance  in 
pictures." 

Flere  Bill  parked  his  cigar  stub,  and  re- 
turned to  his  ministrations  at  the  soda  foun- 
tain, or  as  one  might  better  say  in  speaking 
of  him,  to  his  soda  juggling.  And  here  I  got 
an  insight  into  one  of  the  unusual  features 
of  Fields'  work:  it  is  practically  undirected. 
There  was  an  occasional  suggestion  of 
"Bill  .  .  ."  from  Kleig  bronzed  young 
Edward  Sutherland,  who  spoke  from  the 
eminence  of  a  stool  beside  the  soda  counter 
and  from  the  deep  absorption  of  folded 
arms  and  bent  brow.  Not  that  one  is  cast- 
ing any  slurs  on  a  director  who  has  the 
good  judgment  to  leave  swell  enough  alone. 
And  so  much,  incidentally,  for  the  screen 
critics  who  say  that  the  art  of  acting  is  in 
pictures  supplanted  by  a  simian  following 
of  mechanical  directions. 

(Continued  on  page  98) 


He    dares   to    intimate    that    he    has    succeeded 

because    he    was    lazy because    he    hated    to 

get    up    early.       He    says    inherent    laziness    is 
his  chief  asset 

39 
PAG 


t 


Hollywood  Notes 


By  Eugene  V.  Brewster 


- 


I  HAVE  always  understood  that  Hollywood  is  divided 
into  cliques  and  that  one  set  claims  to  be  a  little  more 
select  than  the  other.  1  have  also  heard  that  Mr.  and 
Mrs.  Antonio  Moreno  move  in  the  best  circles  and 
that  when  they  give  an  affair  it  means  something  to  get 
an  invitation.  Well,  last  Sunday  night  I  attended  one 
of  these  Moreno  functions  and  it  was  indeed  all 
that  1  had  heard.  In  the  first  place  their 
home  is  something  of  a  palace  or 
castle.  Spanish  style,  situated  on 
the  top  of  a  young  mountain  up 
which  1  motored  on  first  speed. 
It  is  surrounded  with  walls, 
garden*-,  pergolas,  swim- 
ming   pools    and    roman- 

:ing     nooks     and 
corners.       Inside,     the 
rooms    are    spacious 
•linged.      and 
l  i  1 1  y    f  u  r- 
nished.     We  were 
told    "informal," 
but    two    or 
three      of      the 
seventy-fi  v  e 
guests  did  not 

0  b  e  y.     T  h  e 
hour   appoint- 
ed was  seven- 
thirty,   hut   we 
did    not    s i  t 
d  o  w  n    until 
about     eight- 
thirty    and    we 
did    not    get    up 
until    eleven — 
except     to     dance. 

•  en  con  r 
There  was  an  orchestra 
and  a  very  good 
vaudeville  entertain- 
ment going  on  while 
the  waiters  were  serv- 

.    and    haii'' 
Tony  and  his  charming 
wif<     gracefully    flitted 
hither   and   thither   looking    after   their 
h  was  really  a  brilliant  affair, 
and  here's  a  list  of  tin-  best-known  peo- 
ple present  as  well  a-  I  can  remember: 
Claire  Windsor, 
I. \ till.    John    Gilbert,    Florence 
Yidor.  Jack  Holt,  Mae  Murray,  Cor- 
rances    Marion.     Fred 
Thomson.  Conrad  Nagel,  George  Fitz- 
e,   Fred  Niblo,  Marion  Davies, 
[rving  Thalberg,  Earle  Williams,  Sam- 
uel Goldwyn,  Frances  Howard.  Enid  Bennett,  I 

1  ..    Richard    Barthelmess    and    Sid 


&£*& 

^fc 


Constance  Talmadge  seems  to  be  a 
most  popular  girl  so  far  as  the  male 
contingent  goes.  No  matter  where 
you  are,  you  see  the  men  seeking 
her  for  a  partner  .  .  .  and  grouped 
about  her  chair 


any  Rapf. 
Grauman. 


\T      i'   Beery  i-  noted   for  hi-  barbecues  and  when  he 
(T\         gives    one,    everybody    goes    who    is    invited,    which 


means  a  hundred  or  two.  His  ranch  is  a  few  miles  out  of 
Hollywood  and  it  is  a  real  ranch.  It  is  only  about  twenty 
acres  large  and  the  house,  barn  and  other  buildings  are 
simple  and  anything  but  pretentious,  but  very  cozy  and 
homelike.  The  affair  I  attended  was  given  for  The 
Masquers,  a  select  theatrical  club,  but  many  other  players 
were  present.  Noah  with  his  velvet  bass  voice, 
genial  smile  and  pleasant  manner  makes  a 
charming  host  and  everybody  seems  to 
love  him.  He  had  built  many  long 
tables  and  seats  and  a  dancing  plat- 
form in  the  back  yard,  and  I 
observed  smoke  coming 
from  the  ground  just  be- 
yond, which,  I  was  in- 
formed, was  where 
the  buffalo,  deer 
and  beef  were 
cooking  —  but 
j  u  s  t  how  1 
didn't  find  out. 
There  was  an 
a  p  p  e  t  i  z  i  n  g 
odor  of 
cooked  meat 
all  about,  and 
when  a  half 
dozen  men  be- 
gan shoveling 
off  the  dirt  from 
three  large  con- 
cealed holes  in 
the  ground,  we 
ill  began  to  get 
very  hungry.  Two 
or  three  feet  below 
the  surface  they  dug 
Wj  up  all  kinds  of  sticks, 

hoards  and  burlap  wrap- 
pings, and  some  gentlemen 
of    color    soon    exposed    to 
view       huge       chunks      of 
steaming    meat    which    cer- 
tainly    smelled     good.       \ 
suppose  that  somewhere  in 
the  bottom  of  those  holes  were 
smouldering  coals  on  which  the 
steaks     had     been     placed     and 
covered.      Anyway,    there    was 
'">■'•        enough  meal  to   feed  an  army, 
but  we  hundred  hungry  guests 
soon   disposed   of   it,  and    I    am   telling 
you     that     it     certainly     tasted     good. 
Even    Mrs,    Leslie    Carter   seemed    to 
enjoy  it.      Meanwhile  a  vaudeville  en- 
tertainment   was    going    on.      I    hope 
Xoah  will  pardon  me  if  I  remark  that 
;m  enormous  appetite  and  thai  he  could  not  have 
had  any  breakfast  or  luncheon  that  day.     Edgar  Norton 
ted  as  if  he  had  been  starved.      But,  would  you 
believe  it?— -the  hungriest  of  all  was  little  Georgie  Harris. 
Ronald  Colman,  Vera  Reynolds,  Charlie  Chase,  Margaret 


The  Motion  Picture  Colony 
Looks  to  Itself  for  Enjoy- 
ment and,  According  to 
Our  Social  Editor-in-Chief, 
Seems  to  Find  It 


Hollywood,  like  all 
towns  and  suburbs, 
has  caste.  And  it 
means  something  to 
be  invited  to  the 
Antonio  Moreno's. 
Their  informal 
parties  are  attended 
by  seventy-five 
guests  .  .  .  and 
dinner  lasts  from 
eight-thirty  until 
eleven,  with  dancing 
between   courses 


At  the  famous  Mont- 
martre  the  other  day 
Tom  Mix  listened  to 
the  jazz  and  was 
convinced  that  we 
have  slipped  back 
centuries.  He  feels 
our  modern  music  is 
very  similar  to  that 
enjoyed  by  Indians 
and  cannibals  .  .  . 


Livingston,  Corliss  Palmer,  Earle  Fox  and  William 
Conklin,  also  showed  signs  of  previous  starvation.  As 
for  myself,  well,  I  fear  that  my  sylphlike  figure  has  been 
endangered  if  not  quite  destroyed. 

Ounday  mornings  in  Hollywood  are  usually  devoted  to 
**■*  horseback  riding,  provided  one  has  a  horse  or  can 
ride  one.  Tom  Mix  and  his  lovely  wife  often  take  care 
of  those  who  have  boots  but  no  horses,  and  last  Sunday 
I  was  among  their  riding  guests.  We  started  from  the 
Mix  castle  at  eleven,  each  mounted  on  a  Mix  steed  and  it 
must  have  made  a  pretty  sight.  Mrs.  Mix  led  the  way, 
Kathleen  Clifford  next,  Corliss  Palmer  next,  all  in  bril- 
liant colors,  and  for  two  hours  we  rode  thru  pretty  moun- 
tain passes  and  trails  amid  the  variegated  grasses  and 
wild  flowers.  On  our  return  we  found  a  few  more  await- 
ing us,  and  then  we  sat  down  to  a  very  elaborate  luncheon 
which  was  certainly  appreciated. 

T  never  leave  Tom  Mix  without  taking  away  with  me 
*■  some  brilliant  thought.  Tom  is  a  deep  thinker  and 
when  he  opens  his  mouth  you  can  always  count  on  hear- 
ing something  worth  remembering.  He  sat  next  me  at 
the  Montmartre  cafe  the  other  evening  and  after  listening 
to  jazz  for  a  couple  of  hours  he  said:  "Modern  music 
convinces  me  that  we  have  slipped  back  a  few  centuries. 
This  music  is  quite  similar  to  the  kind  the  Indians  and 
cannibals  used  to  enjoy.  We  educate  ourselves  up  to  the 
(Continued  on  page  106) 


41  P 

PAGli 


"See  You 

In 

the  Funny 

Sheet" 


When  the  cast  of 
"Ella  Cinders"  said 
that  they  weren't  us- 
ing slang,  they  were 
being  literal 


Colleen    Moore 

as 

Ella    Cinders 


Will  "Ella  Cinders"  lead 
a  procession  of  comic- 
strip  characters  to  the 
screen?  Only  time  and 
the  box-office  receipts 
will  tell.  Suggestions 
for    stars    to    appear    as 

"Mr.    and    Mrs." "Pa's 

Son -in -Law,"     "Petey," 

and  all  the  rest,  are  now 

in   order 

Photographs  by  Freulkh 


Lloyd  Hughes 

as 

The  Iceman 


I 


42 

Gc. 


Producers  always 
used  to  think  of 
Louise  Dresser  as 
a  comedienne. 
They  would  not 
give  her  an  op- 
portunity to  play 
anything  else  until 
she  managed  to 
get  the  title  role 
in  "The  Goose 
Woman."  But  she 
always  had  the 
conviction  that 
she  was  an  emo- 
tional and  char- 
acter actress 


Despite  the  fact 
that'  she  had 
yearned  to  play 
the  part  of  the 
mother  in  "Stella 
Dallas"  she  grants 
that  Belle  Bennett 
was  exactly  the 
one  who  should 
have  gotten  it.  If 
that  isn't  being  a 
good     soldier — ? 

On  the  left  is  Miss 
Dresser's  drama- 
tic portrait  in 
"Blind    Goddess" 


The  Good  Soldier 


By  Helen  Squires 


THIS  is  the  story  of  a  soldier. 
Her  name   on   the   roll-call   is   Louise   Dresser; 
just  now  banners  are  flying  and  salvos  sounding 
for    her    creation    of    the    mother    in    "Blind 
Goddess,"  even  as  they  did  not  so  long  ago  for  her  un- 
forgetable  "Goose  Woman." 

The  way  she  learned  to  be  a  soldier  is  this: 

She  had  been  oil  Broadway  for  two  years,  and  her 
success  was  so  great  that  producers  fairly .  fought  with 
one  another  to  secure  her  services.  Was  there  a  big  part 
for  a  comedienne  ?  Get  Louise  Dresser !  Was  there  a 
snappy  new  song?  Louise  Dresser  must  sing  it!  Wait 
till  Louise  comes  on! 

No  wonder  the  young  comedienne  who  was  also  "the 
most  beautiful  blonde  who  ever  gladdened  the  eyes"  was 
in    danger    of    having    her 
lovely  head  turned. 

Charles  Frohman  and  C. 
B.  Dillingham  presented 
Louise  that  season  in  "The 
Girls  of  Gottenberg." 

Gertie  Millar,  ■  having 
starred  in  the  comedy  abroad, 
was,  as  a  courtesy,  to  be 
featured  ahead  of  Louise 
and  the  comedian,  and  since 
Gertie  was  on  the  ocean,  re- 
hearsals   proceeded    without 


That  Time  Louise  Dresser 
Was  Temperamental   .    .    . 

.  .  .  She  was  really  justified.  It  was  Charles 
Frohman  who  interrupted  her  tantrum  and 
showed  her  the  valour  of  being  a  good  soldier. 

In  this  story  you  will  see  how  that  memory 
has  followed  her  all  thru  her  life  .  .  .  even 
when  others  have  been  given  her  plum. 


her.  But  she  Was  scheduled  to  appear  at  dress  rehearsal 
when,  according  to  New  York  custom,  prominent  people 
had  been  invited  to  view  the  performance. 

Gertie  duly  arrived,  with  Paris  trunks  and  press  notices. 
So  did  dress  rehearsal.  ' 

Louise  came  on  for  her  first  song,  singing  as  only 
Louise  could  sing.  Off-stage,  she  lingered  for  a  moment 
to  watch  Gertie's  entrance.  The  chorus  fluttered  off ; 
the  orchestra  began  the  opening  bars  of  the  song,  and — 
the  understudy  came  on  ! 

Back  in  her  dressing-room,  Louise  "had  a  tempera- 
ment." Didn't  they  think  Gertie  needed  a  rehearsal? 
Why  should  she  get  away  with  this  when  Louise — 
Louise  whom  producers  fought  over! — was  expected  to 
be  on  hand? 

On  she  came  at  her  next 
cue,    and    walked    thru    the 
scene.     She  moved  mechani- 
cally   thru    her    songs,    not 
bothering  about  high  notes, 
business  or  proper  emphasis. 
Louise  and  Gertie  ap- 
peared together  in  the   sec- 
ond act,  and  this  time  it  was 
the  English  comedienne  and 
not     her     understudy     who 
entered  on  cue.    Gertie  tried 
(Continued    on    page     101) 
43 
PAG 


I 


Grandfather's  Old 


T 


Antiques  that  serve  a 
practical  purpose  are 
the  best  of  all.  The  tall 
grandfather  clocks  are 
delightful  in  hallways 
.  .  .  and  they  usually 
keep  faithful  record  of 
the    time 


HERE  may  be  sadder 
words  in  the  world,  but 

to  one  who  for  years 
has  decorated  every- 
thing from  a  movie  sol  repre- 
senting a  Russian  winter  pal- 
ace to  a  Norwegian  fishing- 
shack,  and  including  a  couple 
of  hundred  private  homes,  the 
saddest  words  1  can  think  of 
arc:  "I'm  Furnishing  my  home 
in  real  antiques." 

Not  that  I  dont  like  an- 
tiques. The  right  antiques — 
rightly  used — are  always  good, 
but  when  [  think  of  the  thou- 
sands of  sins  committed  in  the 
name  of   "antique   furniture,'' 

I  am  a  hit  saddened.     Amer- 
ican homes   today   would  be 

in    so    much    better    taste    if 

more  people  knew  the  truth 

about  antiques. 

When    we    talk    about    an- 
tiques and  plan  to  use  them 

in  the  modem  homes,  we  For- 
get   several    very    important 

points.       One    of    the    most 

vital   things  that   we  do  not 

take  into  consideration  is  the 

fact    that    our   present    living 

conditions    are    far    different 

from    the   conditions   of   any 

other  generation.     Today  the 

piano   is   almost   a   necessity. 

A   victrola  has  also  come  to 

he    regarded    as    important. 

Most  of  us  want  to  have  a 

radio  to  bring  us  in  constant 

contact      with     the     outside 

world   and   to   furnish  music 

for  dancing  and   for  amusement.     A  telephone  has  to  he 

present.     A   home   without  electric  lights   would  be  most 


The  Truth  About  Antiques 

W  hen  we  plan  to  use  antiques  in  the 
modern  home,  one  of  the  most  vital  things 
that  we  overlook  is  that  our  present  living 
conditions  are  far  different  from  the  living 
conditions  of  any  other  generation. 

We  should  not  put  furniture  into  our 
homes  just  because  we  believe  it  to  be  old. 
An  antique  is  valuable  only  if  it  has  charm 
and  beauty. 

Sometimes  we  go  so  far  wrong  in  our  quest 
for  antiques  that  we  might  just  as  well  put 
our  grandfather's  old  shoes  in  the  parlor. 


inconvenient,  Glass  is  no  longer  prohibitive  in  price,  as  it 
was  only  a  few  generations  ago,  and  all  of  us  like  our 
houses  to  have  large  windows  for  both  ventilation  and 
light.  The  modern  house  has  steam  or  hot-water  heat, 
which  makes  radiators  necessary.  Because  we  want  to  be 
comfortable,  we  like  overstuffed  furniture  and  down 
cushions. 

Radiators,  radios,  electric  lights,  victrolas — to  say  noth- 
ing of  modern  built-in  furniture  and  open  hook-shelves! 
All  these  are  comforts  that  we  would  not  dispense  with 
hut  they  are  also  comforts  that  were  not  present  in  the 
generations  when  "antiques"  cames  into  being.  This 
means  that  if  you  are  using  antique  furniture  you  must 
of  necessity  combine  it  with  new  furniture  and  unless  you 
are  clever  you  are  going  to  get  a  hodgepodge  of  old  and 
new  that  is  far  from  good. 

But  that  is  only  one  difficulty.  There  are  many  others. 
One  is  the  actual  interpretation  of  "antique"  or  "period" 
furniture.  All  furniture  is 
period  furniture!  A  piece 
of  furniture  made  today  is 
simply  furniture  of  the 
Modern  Period.  Furniture 
takes  its  name  from  the 
period  in  history  in  which  it 
was  introduced.  French  fur- 
niture of  the  Louis'  is 
"French  period  furniture." 
Georgian  furniture  may  be 
"Adam  furniture"  or  "Chip- 
pendale furniture,"  depend- 
ing on  the  designer.  Queen 
Anne  period  furniture  sim- 
ply means  furniture  designed 
in  the  time  of  Queen  Anne 
of  England. 

To  say  that  a  piece  of  fur- 
niture is  "period  furniture" 
is  incorrect.  All  furniture^ 
was  made  in  some  period, 
just  as  every  dress,  every  hat 


and  every  other  manufactured  article  was  made  in  some 
particular  time.     Period  furniture  must  he  designated  by 


To  say  that  a  piece  of  furni- 
ture is  "period  furniture"  is 
incorrect.  All  furniture  was 
made  in  some  period,  just  as 
every  dress,  hat  and  every 
other  manufactured  article 
was  made  in  some  particular 
time.  The  chest  mounted  on 
legs  on  the  left  is  of  the  Jaco- 
bean  era 


It  is  wise  for  the  person  of 
moderate  finances  to  buy  re- 
productions which  duplicate 
the  finest  points  of  any  period 
.  .  .  and  -which  may  be 
rubbed  down  so  that  they  ap- 
pear quite  old  and  mellow. 
On  the  right  is  a  chest.  Inci- 
dentally, chests  were  the  first 
pieces  of  furniture 


Shoes  In  the  Parlor 

By  Stephen  Gooson 
Interior  Decorating  Expert  for  First  National  Pictures 


the  period  in  history  in  which  it  was  made.  Our  next 
problem  in  furnishing  antiques  is  to  select  a  suitable 
period  for  the  American  home. 
Most  attractive  is  the  carved 
oak  of  Jacobean  and  Elizabethan 
days.  But,  alas,  most  of  this 
furniture,  because  of  its  great 
age  and  scarcity,  is  found  only  in 
museums,  in  exclusive  shops  and 
in  the  homes  of  people  who  have 
large  sums  of  money  to  spend  on 
furnishings.  We  may  almost 
count  out  entirely  the  sturdy  oak 
of  Jacobean  and  Elizabethan 
times  so  far  as  furnishing  a 
modern  home  in  antiques  is  con- 
cerned, for  the  few  authentic 
pieces  in  existence  are  well 
guarded.  Reproductions  of  these 
periods  may  be  had  at  moderate 
prices  and  prove  most  attractive 
in  the  modern  homes — but  we 
are  contenting  ourselves  now 
with  real  antiques. 

Above    is    a    room    in    which    old    carved    furniture,    up- 
holstered   in    a    deep    red    velvet,    finds    a    perfect    setting. 
The   paneled   walls   enhance   its   charm    .    .    .    yet   modern 
appurtenances   do   not   seem    false   notes 


The    furniture   of    the    Italian 

Renaissance  period  is  lovely  and 

much  of  it 


Every  neighborhood  has 
its  fake  antique  dealer. 
Sometimes  they  are 
tucked  away  inside  of 
an  old  farmhouse  .  .  . 
but  genuine  antiques 
are  not  picked  up  very 
easily.  Above  is  a  re- 
production of  an  old 
drop-leaf  table 


is  suited 
to  the 
average 
American 
home,  but 
this  too, 
alas,  is  be- 
c  o  m  i  n  g 
rarer  every 
year  and 
while  real 

Italian  Renaissance  pieces  may  still 
be  purchased,  they  are  hard  to  find 
and,  of  course,  must  be  bought  from 
dealers  or  private  owners  in  large 
cities.  Even  so,  the  cost  makes 
them  prohibitive  to  everyone  ex- 
cepting those  with  unlimited  sums 
of  money  at  their  command. 

Real  pieces  of  French  furniture 
(Continued  on  page  111) 


Below  is  a  delightful  room  in  which  built-in  book-shelves, 
upholstered  furniture,  and  other  modern  necessities  are 
perfectly  combined,   with   good   reproductions  of  antiques 

Photos  Richee 


Theodore  Dreiser  Says: 

The  average  American  girl  is  in 
a  sweet  dream.  She  has  a  notion 
that  she  is  all  the  candy.  She 
lives  in  a  crazy  aura  of  the  im- 
portance of  joy,  of  sex,  of  youth. 
And  gosh,  the  importance  to  a 
boy  in  our  cities  of  the  place  to 
take  a  girl  ...  of  getting  on 
with  the  fascination  stuff  .  .  . 
of  making  money. 


The  StoryThat  Cost  $93,000 

With  the  Understanding  That  the  Author  Is  to 
Approve  the  Scenario 


By  Esther  Carples 


THEY  are  going  to  put  one  of  the  greatest  books 
this  Country  has  produced  into  the  movies,  and 
from  West  Coast  and  East  ("oast  this  has  been 
the  biu  news  of  the  year.  Theodore  Dreiser  lias 
kept  his  own  gargantuan  self  in  the  background,  saying 
only  that  his  work  must  be  produced  in  fidelity  to  the 
story.  Famous  Players,  with  a  magnificent  gesture,  paid 
$93,000  for  it — ninety-three  thousand  dollars  for  a  book 
that  isn't  by  II amid  Bell  Wrighl  or  Zane  Grey,  bm  for 
a  literary  masterpiece.  It  i>  to  be  made  into  a  super  film 
thru  will  run  two  hours  and  its  direction  and  cast  will 
bold  some  of  the  big  plums  of  die  forthcoming 
"Yes,  I  got  $93,000  for  it."  said  Dreiser,  "bul  who  is  to 
be  high-hat,  I  or  the  movies?"  Well,  Dreiser  wrote  the 
book  and  Famous  Players  only  bought  it. 

To  settle  this  money  point  which  bad  been  variously 
reported,  Dreiser's  contract  read-  $93,000,  but  ten  per 
cent,  of  tliis  went  to  bis  publisher,   llor;  lit.  and 

out  of  this   Dreiser  also  paid  a  handsonn  attor 

ney.    The  whole  thing  contain-  a  certain  splendor  because 
this  wealth  bas  come  to   Dreiser  after  twenty-five  yearl 
of    pioneering    as   a    realist   in    which   time   I 
bailed,   reviled  and    suppn  ssed,  only  to  win  a  \\ 
popular    aci  laim     at     last     by     bis 
gloomiesl  tragedj   of  all.     "Il 
ie  more  than  anyon<  ." 
■  r.     "It  surprises  me,  and  it 
doesn't  matter." 

n  pub 

46 


is  not 


He   says  that    "An    American  Tragedy 
a  tract  for  anything  or  against  anything   .     .    . 
that   he   ia  not   concerned  with   capital   punish- 
ment.      That    he    is    neither    for    or    against    it 


lit-  had  better  get  one  point  right  at  the  start.  The  title, 
"An  American  Tragedy,"  is  only  a  reflective  handle  to 
the  book,  it's  putting  a  name  to  the  overtones  of  the  two- 
volume  novel  and  to  Dreiser's  appraisal  of  life.  The  book 
itself  is  full  of  life,  color,  passion,  full  of  America,  of 
its  prejudices,  wild  dreams,  illusions,  religion,  bell  hops, 
-ho])  girls,  tawdry  loves,  good  trusting  girls  and  bad,  joy 
rides,  scenic  beauties,  millionaire's  daughters  and  one 
ordinaiw  fellow.  Clyde  Griffitlis,  who  ends  up  in  the  elec- 
tric chair  and  thru  whom  we  see  how  it  is  that  in  the 
American  scene  some  3,881  murders  come  to  be  com- 
mitted annually. 

Dreiser  would  like  to  see  Erich  von  Stroheim  do  "An 
Am  rican  Tragedy."  Me  thinks  that  von  Stroheim  is  the 
onhj  one  of  the  directors  who  will  choose  the  right  cast, 
collect  people  who  will  say  inherently  I  am  this  pharacter 
and  that. 

"]  should  like  above  all,"  said  Dreiser,  "that  they  pick 
the  right  people  to  play  it.  They've  got  to  get  the  minor 
characters  in  the  book  right,  the  jurymen  who  try  Clyde, 
his  mother,  bis  family,  his  associates,  the  whole  American 
panorama  is  the  creative  force  that  impels  events.  Let 
them  read  the  book  carefully  and  get  its  psychology. 
'I  he  idea  itself  is  the  important 
thing.  Scenes  like  those  on  the 
lake  where  Clyde  drowns  his  fac- 
tory-girl  sweetheart  so  that  he  can 
be  free  to  marry  the  rich  girl, 
Sondra,  have  intrinsic  drama  and 


Who  Will  Direct  It? 


Who  Will  Play  Clyde  Griffiths? 


there  are  other  scenes,  but  I  am 
not  concerned  about  those.  'An 
American  Tragedy'  isn't  a  tract 
for  anything  or  against  anything. 
I  am  not  concerned  with  capital 
punishment,  am  not  for  it  or 
against  it.  What  is  in  the  book  is 
the  psychology  of  America,  the 
people  we  are.  It  is  this  country 
that  generates  this  type  of  boy, 
generates  this  kind  of  backwoods 
jury  to  hang  the  boy.  Von  Stro- 
heim  might  put  in  some  sub- 
versive psychology,  but  he  would 
get  the  right  spirit.  I  have  heard 
Griffith  might  do  it,  and  I  am  not 
against  Griffith  as  a  choice,  he  will 
picture  the  sweep  of  it,  I  think. 
If  some  of  the  younger  directors 
do  it,  I  should  like  to  see  two  of 
them  on  the  job  so  that  they  will 
act  as  a  check  on  the  other.  I 
dont  want  the  spiritual  values  of 
the  book  distorted.  I  dont  want 
a  sentimental  melodrama  made  of 
it,  or  a  stylized  tragedy." 

"Couldn't  an  American  Tragedy 
happen  in  any  other  country?"  we 
asked  Dreiser. 

"No,  our  American  psychology 
is  positively  our  own.  This  show 
and  bluff,  the  noble  gestures  of 
the  American  girl,  our  fairy  tale 
avoidance  and  dislike  of  reality, 
materialism,  self-indulgence,  a 
good  time,  dancing  and  having  a 
swell  time,  all  this  fan-tan  is  ours. 
The  streets  are  full  of  kids  like 
Clyde  Griffiths  and  others  in  the 


Mr.  Dreiser  mentioned  Glenn  Hunter 
for  Clyde  Griffiths,  saying:  "The  kind 
of  a  fellow  Glenn  Hunter  played  in 
'Merton  of  the  Movies'  would  do  for 
Clyde.  Clyde,  like  Merton,  lived  in 
a  mist" 


It  looks  now  as  if  Charles  Rogers,  the  most 
promising  actor  of  the  recent  Paramount 
School  of  Acting,  would  play  Clyde  Griffiths. 
They  have  tremendous  confidence  in  his 
ability   and   he   has   the  youth   so   vital   to   the 

Richee  /  ;■    .  JSMBMHMH^iu 


*\ 


book.  You  dont  find  English 
boys  or  German  have  such  damn 
full  illusions  about  life  and  about 
themselves.  The  average  Amer- 
ican girl  is  in  a  sweet  dream ;  she 
has  a  notion  that  she  is  the  candy, 
all  there  is.  She  lives  in  a  crazy 
aura  of  the  importance  of  success, 
of  joy,  of  sex,  of  youth.  It's  a 
crazy,  whirling,  dynamic  attitude. 
Gosh,  the  importance  to  a  boy  in 
our  cities  of  the  place  to  take  a 
girl,  about  getting  on  with  the 
fascination  stuff,  of  making 
money — to  the  limit  of  crime  and 
tragedy.  That  is  what  the  book  is 
about.  This  psychology  perme- 
ates our  people.  These  dreams 
and  illusions  and  successes  of  the 
rank  and  file  have  colored  our 
minds  like  an  insect  sucked  into 
greenness  himself  from  the  color 
of  the  leaves  he  feeds  on. 

"I  had  no  prejudices,  no  re- 
forms in  mind,  when  writing  'An 
American  Tragedy.'  I  have  equal 
sympathy  for  Clyde  Griffiths  and 
for  Roberta  Arnold.  They 
shouldn't  put  on  the  sympathy 
stuff  too  thick  when  it  comes  to 
Clyde,  or  on  Roberta,  either.  The 
kind  of  a  fellow  Glenn  Hunter 
played  in  'Merton  of  the  Movies' 
would  do  for  Clyde.  Clyde  like 
(Continued  on  page  107) 

Connelly 

On  the  extreme  left  of  the  lower  row 
is  Monta  Bell,  who  it  is  rumored  is  to 
direct  this  very  interesting  picture. 
Next  comes  D.  W.  Griffith,  also  con- 
sidered for  the  direction  and  approved 
by  Dreiser 


But  it  is  Eric  von  Stroheim  who  is  the 

author's  first  choice.      "He  would  get 

the   right   spirit,"   says   Dreiser 


Press  Illustrating  Service 


1 


48\ 


HAROLD'S  WIFE 


Gene  Kornman 


— wearies  of  retirement  on  Lloyd's  paltry  forty  thousand  a  week.      She  has 

been    dieting — and     considering    stories — and     the    next    thing    you    know 

you'll   see  Mildred  Davis  on  the   screen   again 


When  Doris  Kenyon  Pours 


NO  woman  is  ever  quite 
so    feminine    or    so 
charming  as  when  she 
is    bending    over    the 
tea-service,  dispensing  charm 
and  hospitality  at  one  and  the 
same  moment. 

As  a  matter  of  fact,  we 
Americans  are  reverting  to 
pre-Colonial  days   in   one 

decided  respect.  We  are  rapidly  increasing  the  typically 
English  custom  of  afternoon  tea.  It  has  become  a  rite 
in  many  households.   And  Doris  Kenyon's  is  one  of  them. 

In  the  winter  the  tea-table  is  drawn  near  the  big  fire- 
place in  the  Kenyon's  New  York  apartment.  Then  Doris 
serves  melted  cheese  on  English  muffins  .  .  .  cinnamon 
toast  .  .  .  other  such  things. 

But  in  warmer  months  she  inclines  towards  the  specks 
of  tea  sandwiches,  cut  in  all  manner  of  fascinating 
shapes  and  sizes. 

And  if  she  and  her  mother  are  in  the  country  for  the 
summer,    Doris    has 
the  tea-table  carried 
out  under  some  wide 


Afternoon  tea  is  becoming  as 
popular  in  America  as  it  has 
always  been  in  England  .  .  . 
and  Miss  Kenyon  offers  her 
favorite   tea   menu   and   recipes 


spreading  tree.  It  is  pleasant 
to  drink  tea  out-of-doors  .  .  . 
when  there  are  bordered  paths 
of  old-fashioned  flowers  .  .  . 
butterflies  skimming  thru  the 
drowsy  air  .  .  .  hazy  clouds 
sailing  overhead  .  .  .  and  a 
tree's  heavily  leafed  branches 
screening  the  sun. 

Every  hostess  has  her  own 
pet  menus.  Of  course.  There  are  the  things  she  loves 
best  to  serve  on  certain  occasions.  And  Doris  told  us 
one  day  at  tea  what  items  are  in  particular  favor  with  her. 
China  tea  comes  first,  winter  or  summer,  hot  or  iced. 
It  is  fragrant  with  a  myriad  remote  flowers  .  .  .  dream- 
dispensing.  And  it  is  lovely  to  look  at.  A  pale  amber. 
With  its  slivers  of  lemon  spiked  with  aromatic  cloves. 
The  more  kinds  of  sandwiches  the  better.  As  many 
flavors  as  shapes.     And  just  a  bite  in  each. 

Tiny  round  ones  just  the  size  of  a  slice  of  egg  and  hold- 
ing just  a  slice  of  &gg  except  for  the  speck  of  lettuce 

and  dash  of  mayon- 
naise. 
(Con.  on  page  113) 


It  is  wise  of  American  women  to  serve  afternoon  tea  .    .    .  for  no  woman 

is  quite  so   feminine   or   so    charming  as   when   she   is  bending   over   her 

tea  service  .    .    .   dispensing  charm  and  hospitality  at  one  and  the  same 

moment 


MENU 

China  Tea 
Lemon  and  Cloves  Cream 

Assorted   Sandwiches 
Tea   Cakes  Salted  Nuts 


Chaney 

Outchaneys 

Chaney 


As  Singapot  e  Joe , 
Chaney  is  required  to 
have  one  dead  eye.  He 
consulted  eye  specialists 
galore  and  finally  dis- 
covered that  he  could 
achieve  the  desired  effect 
by  coating  the  eye  with 
collodion.  Incidentally, 
he  can  only  keep  this  in 
his  eye  about  ten  min- 
utes at  a  time    .    .    . 


Lois  Moran,  Henry  B.  Wal- 
thall and  Owen  Moore  are 
also  in  the  caat  .  .  .  Miss 
Moran  plays  Singapore  Joe's 
daughter,  who  is  terrified  by 
his  advances,  not  aware  that 
he  is  her  father,  and  Henry 
Walthall  is  a  priest 


An  Assistant  Director 
Forgets  Himself 


And   Tells    What   Happened 
On  the  Set 

By 

William  Holland 


I  HELD  an  assistant's  job  for  quite  a  while  with  a  cer- 
tain producer  who  believes  that  all  human  drama  be- 
gins and  ends  with  lions.  Whether  it's  in  Africa  or 
New  York — his  characters  must  meet  up  with  lions. 
His  world  is  simply  littered  with  lions.  Well,  one  day 
after  shootin'  a  Western,  this  producer  came  in  the  pro- 
jection room  to  see  the  rough  cut  of  it.  In  the  big  scene 
where  the  heavy  was  being  chased  by  a  pack  of  wolves 
I  noticed  that  the  producer  started  to  squirm.  "Vy  should 
that  guy  be  afraid  from  dogs?"  "Those  aren't  dogs,"  we 
answered,  "they're  wolves."  "Veil,  it  looks  like  dogs,"  he 
replied  with  an  impatient  gesture,  "and  men  ain't  afraid 
from  dogs.  It  dont  look  very  dangerous — make  him  a 
lion."  "But  they  dont  have  any  lions  in  the  part  of  the 
country  shown,"  we  replied.  "Veil,  what  of  it?  We've 
got  ten  lions  on  the  lot,  haven't   we?     Take  vun  up!" 


"Coward,"  called  his  irate  wife,  when  she  discovered  hi 
in   the   lion's   cage 


On  another  occasion  when  we  were  making  a  situation 
corned)-  without  lions,  the  producer  looks  on  for  a  while, 
and  then  says:  "I  dont  see  you  usin'  no  lions  in  this  here 
picture."  We  explained  that  the  story  didn't  call  for  any 
lions.     "Veil,"  he  said,  "we  must  use  lions  !     Shave  them ! 


!     Die 


!     But  use  'em !     We're  f  eedin' 


<* 


4 


We    used    a    flock    of    bees    on    an     Andy    Gump 
comedy  at  Universal  that  almost  caused  a  panic 


Paint 
'em." 

Speaking  of  lions,  reminds  me  of  a  story  that  Charlie 
Gay,  the  famous  lion  tamer,  tells  on  one  of.  his  Zoo  assis- 
tants. It  seems  that  this  helper  was  a  small  man  who  was 
married  to  a  big  woman  who  continually  argued  with  him. 
One  night,  he  sneaked  out  of  the  house  and  didn't  turn  up 
all  night.  In  the  morning,  she  looks  around  and  finds  that 
he'd  taken  refuge  in  a  lion's  cage.  She  just  gave  him  one 
look  of  contempt,  and  said  :  "You  coward." 

A  dumb,  but  self-important  bird  arrived  from  New 
York  one  day  with  a  contract  to  cut  pictures.  It  turned 
out  that  he  had  never  seen  a  piece  of  film  in  his  life,  and 
dumb,  so  dumb  that  I  doubt  if  he  could  generate  an  idea 
if  he  were  thrown  head-long  into  the  wound  of  knowledge 
itself.  One  day,  out  of  curiosity,  he  opens  up  a  can  of 
film  that  has  just  been  laid  down  by  a  cameraman  con- 
taining stuff  shot  that  day,  but  not  developed.  Of  course, 
it  changed  'color  right  before  his  eyes  when  the  sun 
hit  it.  He  gets  sort  of  scared,  feeling  that  all  was  not  right, 
and  asks  the  cameraman  what  co1or  film  is.  Well,  after  he 
got  out  of  the  hospital ! 

We  were  usin'  a  dog  in  an  Andy  Gump  comedy,  but  he 
developed  rheumatism  right  in  the  middle  of  the  picture. 
It  slowed  him  up  so  bad  that  even  by  cranking  eight  or 
ten  we  couldn't  get  any  speed  out  of  him.  He  looked 
about  as  menacing  as  Fay  Tincher.  Well,  some  bonehead 
tells  the  humane  society  and  these  birds  with  something  to 
do  at  last,  pay  us  a  visit  and  order  the  dog  shot.  Well, 
as  they  were  old  maids,  we  get  Joe  Murphy  to  vamp  them 
and  they  finally  agreed  to  let  us  finish  the  picture  with 
the  understanding  that  the  dog  was  to  be  shot  immediately 
thereafter.  WTe  had  to  get  the  scenes,  so  we  cover  the  stage 
with  chicken  wiring  and  then  hooked  up  with  the  switch- 
board. When  the  dog  got  the  juice  shot  into  him  on  his 
entrance,  he  came  to  life  like  Joe  Murphy  does  when  a 
dame  passes  the  set.  We  got  the  scenes  in  no  time,  and 
the  laugh  is  that  the  electricity  cured  the  dog  and  we  didn't 

51 
PAG 


I 


.(, 


f, 


In  the  big  scene  where 
the  heavy  was  being 
chased  by  a  pack  of 
wolves,  1  noticed  that 
the  producer  started  to 
squirm.  "Vy       should 

that   guy  be  afraid   from 


have    to    shoot    him. 

Am  thinking  of  trying 
it  on  Joe,  too,  some- 
time. 

We  needed  a  larg< 
number  oi  whiskej 
and  gin  bottles  For  a 
Neeley  Edwards  com- 
edy, but  were  unable 
to  buy  any-  we  tried 
a)  places  without 
success.  It  seems  the 
bootleggers  had  all  of 
them.  We  decided  to 
drive  around  and  call 
COUple  of  movie 
stars  that  I  knew 
drank  now  and  then, 
figuring  1  could  get  a 
bo<  tlegger's  phone 
number  in  this  way. 
However,  we  didn't 
have  to  call  on  any 
bootleggers    alter   all, 

for  we  had  a  car  full  of  empty  hottles  after  visiting  two 
ouses.  But  that  didn't  end  our  trouble.  A  revenue  man 
spotted  the  hottles  in  the  car  while  we  were  eating  and 
figured  that  we  were  going  to  fill  up  the  bottles  later  on 
from  a  still.  We  almost  tangled  up  in  a  fist  fight.  He 
followed  ns  until  we  drove  into  the  studio  gate  and  then 
feeling  kinda  cheap,  he  beat  it  to  get  a  drink  of  gin  to 
brace  himself. 

We  used  a  flock  of  bees  at  Universal  on  an  Andy  Gump 
that  almost  caused  a  panic.  They  stung  Fay  Tincher  and 
she  had  to  use  a  pillow  whenever  she  sat  down.  The 
Director  tells  Fay  that  the  bees  wont  sting  if  she  doesn't 
strike  at  them,  and  to  give  her  confidence,  he  goes  thru 
the  scene  for  her.  However,  he  didn't  know  the  bees, 
and  the  prop-man  had  to  dig  up  another  pillow  for  the 
director.  Jack  Hbxie  was  working  in  the  next  set,  and  in 
the  big  scene  where  he  takes  little  Nell  into  his  arms  and 
is  about  to  kiss  her.  one  of  our  playful  bees  travels  over 
and  lands  on  the  girl's  lips  as  he  finally  kisses  her.  When 
stung,  he  pulls  out  a  gun  and  starts  firing — his 
director  thought  he  was  crazy  until  another  bee  sat  down 
on  his  neck.  Pretty  soon,  all  Hoxie's  cowboys  were 
dodging  bees,  and  had  to  quit  and  change  to  outside  scenes. 
The  studio  manager  orders  us  to  get  rid  of  the  bees,  but 
it  was  easier  -aid  than  done,  for  the  bees  were  good 
tad  by  now.  The  prop-man  decided  to  smoke 
hem  out   with  a   smoke-pot.      Il    was  then   the   noon 

and  all  the  stars  had  1o  pass  the 
building  from  which  the  bees  were  mak- 
ing their  hurried  exit.  And  1  don!  think 
tin  bees  missed  any  of  them  either.  I 
■  heard  such  a  squack  in  my  lift-. 
Then  a  bee,  in   re   i 


tun  prop-man 

and    he    drop-    a    lighted 
oke-pot  and  it  set  lire 
nvas  in  th 

like    the 

studio  was  going  to  hum 

ire  depart- 

I    arrived   and   had   a 

fhting    the 

time.     livery  now  and  then  when 

siung,    his 

lid    gel    aimed    in    the    wrong 

tors  looking 

s7\>        ould  gel  soaked.  Well,  after 


it's  all  over,  the  director 
calls  me  down  for  not 
having  ordered  trained 
bees.  Later  in  the  day, 
a  flower-pot  fell  from 
above  and  landed  on  hi 
head — he  still  thinks 
was   an   accident. 

We  made  a  boat  pic- 
ture at  Balboa  recently, 
but  had  a  lot  of  grief. 
On  our  way  down,  the 
car  broke  down  and  the 
prop-truck  got  lost.  Then 
the  leading  lady  dis- 
covered that  she  had  left 
part  of  her  wardrobe  at 
the  studio.  The  house- 
boat was  found  to  be  all 
wrong,  and  we  nearly 
came  to  fist  blows  with 
the  carpenters  before  we  had  the  necessary  changes  made. 
It  was  nearly  noon  by  now,  but  we  set  the  camera  up  on 
a  parallel  sunk  in  the  water  and  started  to  shoot  the  first- 
scene.  A  wind  storm  came  up  and  the  director  lost  bis 
balance  and  fell  overboard.  We  got  him  out  all  right, 
and  started  once  more,  but  the  rope  holding  the  house-boat 
to  the  pier  broke  and  the  house  started  to  drift  away. 
We  knocked  off  for  lunch  while  the  carpenters  towed  it 
hack.  However,  the  prop-man  had  forgot  to  put  the 
lunches  on  the  truck,  and  we  lost  another  hour  going  to 
town  for  dinner.  After  lunch,  we  try  our  luck  again  and 
get  a  few  scenes.  Then  we  decide  to  shoot  the  big  fire 
scene.  We  explain  the  action  to  the  fire-boat  tug  captain 
and  give  the  cue  to  the  prop-man  to  touch  a  match  to  the 
house.  The  wind  was  doing  pretty  good  by  now.  Well, 
the  house  is  set  afire  all  right  and  starts  to  drift  to  sea 
with  the  actors  at  the  windows  hollering  for  help.  The 
wind  soon  fanned  the  flames  into  a  blaze.  The  director 
who  stutters,  tried  to  tell  them  to  jump,  but  they  didn't 
understand.  He  flags  the  fire-tug  to  go  to  the  rescue,  but 
something  happened  to  their  engine  and  they  couldn't 
move.  The  director  finally  is 
able  to  holler  at  the  captain  of 
the  tug-boat,  but  this  bird  hol- 
lers hack-,  "Say,  who  in  hell  is 
running  this  boat."  Well,  the 
actors  get  wise  and  jump. 
Then  the  tug-boat  comes  to 
life  again  and  starts  for  the 
house-boat,  but  the  captain  is 
so  rattled  that  he  runs  right 
into  the  side  of  the  house-boat 
and  spills  himself  and  his  crew 
into  the  water.  Meanwhile,  it 
was  growing  dark,  and  the 
house  was  nearly  gone  in 
flames,  so  we  decided  to 
change  the  story  to  a  nicv 
quiet  bedroom  coined}'. 

\\  c  hired  a  double  to  shoot 
a  jump  off  a  building.     Every- 
thing was  made  ready  and  the 
fellow    made    a    beautiful    jump, 
hut     the     cameraman     forgot     his 
crank-handle   and    was    unable   to 
photograph  the  scene.     The  last  I 
Li^^^—p.'         heard  of  him  was  that  he  is  still 
/   \\  running. 

The    cameraman    forgot    his    crank-handle 
and    was    unable   to    photograph    the    scene 


11 


'/\\ 


Renee  Adoree 
ISN'T  the  kind  of 
a  woman  a  man 
writes  odes  to 
while  he  plays 
around  with  some- 
one else  .  .  . 


Ielbourne  Spurt 


She  Knows  How  to  be  Pensive 


SOMEONE  has  said  that  the  greatest 
wisdom  of  Providence  is  in  leaving 
little  boys  of  genius  on  the  door- 
steps of  washerwomen,  and  it  seems  that  those 
stars  who  are  saved  undue  exploitation  while  they  are 
making  their  marks,  have  also  to  thank  the  unknown 
wisdom  that  manages  such  things.  Nobody  has  pigeon- 
holed Renee  Adoree,  nobody  has  established  an  iron- 
bound  character  for  her,  so  she  has  been  free  to  play 
many  parts  and  in  many  moods.  Then  when  the  peasant 
girl  Melisande  in  "The  Big  Parade"  came  along,  the 
public  became  wide-eyed  and  discovered  something.  In 
fact  they  discovered  two  things  simultaneously — that 
Renee  Adoree  is  a  great  actress,  and  that  she  is  an  off- 
shoot from  the  usual  run  of  heroines,  and  something  of  a 
new  type.  Well,  not  a  new  type,  but 
sort  of  a  Burbank  improvement  on 
several  types.  She  filled  a  need  for 
-an  actress  with  depth,  but  without 
tragedy,  not  any  one  exotic,  or  tur- 
bulent, but  a  woman  patterned  for 
many  emotions. 

When  you  meet  her  face  to  face. 


By  Ruth  Stare 


she  is  a  strikingly  beautiful  young 
woman,  and  she  is  bantering  and  gay  and 
wise.  She  knows  how  to  be  pensive. 
There  are  many  womanly  women  on  the  screen  but  Miss 
Adoree  is  more  than  that.  She  is  intensely  feminine  and 
she  has  fire.  It's  a  combination  that  doesn't  burn,  but 
glows.  You  feel  when  you  see  her  on  the  screen  that  you 
could  never  tire  of  her,  and  you  feel  that  way  about 
people  of  her  type  in.  real  life.  She  isn't  a  woman  to  be 
worshipped  distantly,  not  the  kind  a  man  writes  odes  to 
while  he  plays  around  with  someone  else.  As  a  type  she 
makes  you  wonder  whether  the  screen  and  public  in 
experimenting  with  vamps,  were  not  really  reaching  out 
fumblingly  for  something  else,  and  that  something  else 
was  a  sensuous  woman  who  wasn't  wicked  or  sinful,  but 
someone  warm  and  earthy  and 
human. 


"You  cannot  take  a  pretty  girl  from 
behind  a  sales  counter  and  ask  her  to 
feel  things  she  has  no  knowledge  of," 
according  to  Renee.  "Even  to  play 
very  happy  roles,  you  should  have  once 
been  very  sad.  If  the  girl  has  been 
sad  ..." 


We  saw  Miss  Adoree  on  the 
second  day  of  her  first  visit  to  New 
York  in  several  years.  The  liveried 
flunkies  at  the  Hotel  Ambassador 
stood  aside  ornamental,  correctly 
{Continued  on  page  122)- 

53 
PAG\ 


I 


Motion  Picture  Junior 


Vol.  II.     No.  2 


August,  1926 


Pictured  with  Bebe  are  two  of  the  high  officers  of  the 
"Polywumpus  Club"  about  to  partake  of  some  of  the 
fruit    of    the    vine    that    Bebe    provides    for    her    young 


The  Court  of  Daniels 


By  Myrtle  Vest 


"Wisiting  hours  10  to  11 
V      That's  the  neat  little 


callers 


A.  M.     Please  meet  in  the  patio." 
placard  that  hangs  beside  the  bell  on 
Bebe   Daniels'    beautiful    Commonwealth   Avenue   home   in   Holly- 
wood.    But  if  you  are  over  fourteen,  you're  out  of  luck,  for  you 
cant  join  the  gay  gatherings  that  take  place  in  the  Daniels'  patio. 

When  the  youngsters  around  the  Daniels'  home  heard  that  Bebe 
had  returned  to  Hollywood  from  New  York,  they  fairly  stampeded 
the  house  and  yard.  Kids  dont  forget  good  times  and  good  eats, 
and  Bebe  was  known  as  the  champion  good  scout  of  the  neighbor- 
hood before  she  went  East. 

So  popular  was  Bebe  that  she  was  made  "Honorable  Poly"  of 
the  "Polywumpus  Club" — a  neighborhood  organization  headed  by 
"Sonny"  Perry  and  his  fat  little  brother,  Tommie.  How  the  name 
originated  is  unknown,  but  the  purpose  of  the  club  is  to  protect  the 
birds  and  pets  in  their  home  district.  And  on  Saturdays  and  holi- 
days to  array  themselves  in  gay  feathers  and  near-skin  chappies, 
with  huge  sandwiches  and  hunks  of  cake,  and  play  "injun"  in  the 
wilds  of  Griffith  Park. 

Bebe's  first  association  with  the  club  came  when  it  was  discov- 
ered that  her  pantry  boasted  of  the  best  three-layer  cake  in  Holly- 
wood.    The  coveted  office  resulted. 

When  it  was  first  learned  that  "Honorable  Poly  Daniels"  had 
returned,  a  grand  rush  occurred,  so  visiting  hours  were  estab- 
lished. 

Pictured  with  Bebe  are  two  of  the  high  officers  of  the  "Poly- 
wumpus Club" — Master  Bud  Jones,  known  as  Quill,  the  secretary, 
and  Master  Bill  Howard,  as  Montezurita;  the  treasurer.  They  are 
partaking  of  some  of  the  royal  fruit  of  the  vine  that  Bebe  provides 
for  her  kiddie  callers. 

Of  course,  during  school  the  hours  had  to  be  changed. 


When  I  Was  a  Little  Boy 

Willard  Louis  Tells  of  Some  Pranks  He  Played 


I 


Cay,  if  any  of  you  fellows  are  in  the  choir,  I  bet 

you    can    guess    some    of    the    things    I    did 
when  I  was  a  kid.     We  had  great  times,  all 
right. 
There  wa^  the  time  we  stuck  the  min- 
rayer-book  together   with  post- 
tamps.     Belii  ■  ng  like 
huh    angels    that   morning     each  one 
looking  slightly  more   innocent 
than  the  other.     They  never  did  find 
out     which     one    of     us     did     that. 
Pretty  soft. 

What  about  pie,  fellows?  Any 
of  you  like  it?  Huh,  1  thought 
50.  Mi,  too.  The  Ladies'  Auxil- 
iary had  a  pie-eating  contest  al  a 
I  was  right 
there  and  that's  the  only  time  in 
my  life  I  had  enough  pie.  ...  I 
got  first  prize. 

You    know    how    kids    are    always 
playing    tricks    on    each    other.      Well, 
llows    made    up   they    were    going 
ven    with    me    for    winning    that 
i  on«-    of    them    had    a    good-sport 

cousin   and    she   made   a   mince   pie— and 
let   two    of    the    kids    help   her.      They 
brought  it  to  Sunday-school  and  told  the 
teacher   it   was   for  mi    be        ■     I 
fond  of  pie. 

54 


Wasn't  Willard   Louis  the  cutest   little  tot  > 

And    wasn't    he    full    of    fun    too!       You'll 

think    so   when    you    read   his   story 


Gee,  it  looked  good,  all  brown  and  crisp,  and  mince 
pie  my  favorite  and  all.    But  she  said  I  couldn't 
have   it   until   after   Sunday-school   was   out. 
My   mouth  just   watered — 1   couldn't  think 
of    anything    but    that    pie — never    sus- 
pected anything  at  all.     But  Jennie  did. 
Jennie  was  a  little  girl  in  the  class  who 
was  sort  of  sweet  on  me.     You  know 
how    it     is.      Anyway,    she    snooped 
around   and   listened   to  them    snick- 
ering,   and    presently,    accidentally 
on  purpose,  stuck  her  finger  in  the 
pie. 

Right    after   class    she    came    and 
whispered  to  me.     I   said:   "Here, 
wait     a     minute,     fellows.       You 
didn't   think   1   was  goin'  to  eat  all 
that  pie,  did  you?     Well,  I  hope  I 
know    my    manners    better'n    that." 
And   the  teacher,  she  thought,   golly, 
Willard's  getting   good   all   of  a  sud- 
den, but  she  said  that  was  right,  always 
share  with  one  another.     So  1  nobly  cut 
the   pic   into   lots  of   little    pieces   and   un- 
selfishly  passed   it   around,   so   that   when    it 
came  to  me,  there  wasn't   a  single  piece 
left! 

I'd  a  sure  hale  to  bit  into  that  pie — 
Jennie  said  they  emptied  pepper  and  mus- 
tard and  salt  and  everything  in  it. 


The  Junior  Answer  Man 

Joe  Frank  Cobb  Answers  the  Questions  Sent  to  Him  in  Care  of  Movie,  Jr., 
175   Duffield  Street,  Brooklyn,  New  York 


""TED. — Yes,  I  enjoyed  Colleen  Moore's  perform 

ance  in  "Sally"  too.     Her   next  picture  will 
be  "Ella  Cinders."     You  can  write  to  Pola 
Negri  and  Bebe  Daniels  at  Famous  Players 
Studios,    1520   Vine    Street,   Hollywood,  :A 

California.     Milton  Sills   is   just  start- 
ing  work   in    "Paradise"    at   the    Bio- 
graph    Studios,   807  E.   175th    Street, 
New  York  City,   New  York.     Betty 
Bronson   will    appear   opposite    him. 
Remember  her  as  Peter  Pan? 


NANCY. — It     is     customary      to 
send  the  stars  twenty-five  cents  in 
payment    of    their    pictures.      We 
have     a     new     member     in     "Our 
Gang."      He    is    Skippy    Lowry,    a 
New   York  youngster.      The   other 
members     are :        Mary     Kornman, 
Jackie      Condon,      Johnny      Downs, 
Mickey    Daniels,    Husky    Haines   and 
Farina.      Our    latest   comedy   is   "Baby 
Clothes."      You    can    write     to     Ramon 
Novarro,    Lew    Cody,    Sally    O'Neil,    and 
Marion      Davies     at     the     Metro-Goldwj 
Studios,   Culver  City,  California. 


G.  RAYMOND  P.— I  am  glad  to  tell  you 
that  Baby  Peggy  is  returning  to  the  screen 
in  "April  Fool."  Other  members  of  the 
cast  include  Mary  Alden,  Eddie  Phillips, 
Max  Davidson  and  Pat  Moore. 

LAWRENCE  L.— Rin-Tin-Tin  is  owned 
by  Lee  Duncan.  Did  you  like  the  picture 
of  them  that  appeared  in  last  month's 
Motion  Picture,  Je.  ? 


The  trained  dogs  in  the  movies  are 
not  the  only  dogs  who  will  stay 
quietly  in  bed  when  they  are  sick. 
Dogs  really  know  when  they  are 
being  looked  after  .  .  .  and  they 
make  better  patients  than  some  little 
boys  and   girls 


Marguerite     de     la     Motte     at     the     Metropolitan 
Studios,   1040   La   Palmas   Avenue,   Hollywood. 
California.     Owen   Moore   is  going  to   play 
opposite     Marion     Davies     in     "The     Red 
Mill."     You  can  write  to  him  and  Ger- 
trude    Olmstead      at      Metro-Goldwyfi 
Studios,  Culver,  California. 

PAULINE  Mc— We  had  a  grand 
time  while  we  were  making  "July 
Days.'"  Mary  Pickford  was  born 
April  8th,  1893.  Jackie  Coogan 
will  be  twelve  years  old  in  Octo- 
ber. Ever  since  "The  Sea  Hawk," 
Milton  Sills  has  been  playing  in 
pictures  in  New  York.  I  thought 
"The    Sea    Hawk"    was  great,  too. 


EVELYN      S.— Mary     and     Doug 

were     married     March     28th,     1920. 

They  are  vacationing  in  Europe  right 

now.      Mary's    new    picture,    "Scraps," 

is  going  to  be  released  this  fall.     A   few 

lucky    people    who   have    seen   it    say    it    is 

her   best.      Lillian    Gish    was   born    October 

4th,  1896.    Did  you  know  that  she  and  Mary 

Pickford  are  very  good  friends?     That  was 

Baby  Mary  Louise  Miller  in  "The  Bandit's 

Baby."     You  will   see  her  in   "Scraps"  too. 

ELIZABETH  M.— Alice  Day's  little  sis- 
ter in  "Gooseland"  was  Mary  Ann  Jackson. 
She  is  just  a  little  over*  three  years  old. 

JESSIE  T. — Mary  Brian  is  eighteen 
years  old.  She  will  be  Ben  Lyon's  leading 
lady  in  "Duke  of  Ladies." 


OWEN    MOORE    ADMIRER.— Address    John    Bowers    and 


MARGIE  E. — Jackie  Coogan  is  about  to  start  work  on  "Johnny 
Get  Your  Hair  Cut." 


Do  You  Remember  What 

George  Washington   Said 

to  Betsy  Ross? 


What  could  be  more  perfect  for  a  magazine  that  comes  out 
right  near  the  Fourth  of  July  than  this  lovely  picture  of  Claire 
Windsor  as  Betsy  Ross,  the  mother  of  our  flag. 

We  are  reminded  of  that  story  about  George  Washington  and 
Mistress  Betsy.  She  was  working  on  the  flag  for  the  colonists  and 
it  was  quite  shabby.  An  old  flannel  petticoat  for  the  red  stripes. 
A  soldier's  coat  for  the  blue  field.    And  an  old  sheet  for  the  white. 

One  day  General  Washington  called  to  see  the  flag,  but  he  no- 
ticed that  the  stars  had  only  four  points.  He  didn't  say  anything 
about  it  at  the  time.  He  told  Mistress  Betsy  that  it  was  a  beaut- 
ful  flag  .    .    .  just  the  thing  to  wave  at  the  head  of  his  army. 

But  that  night  he  took  her  outdoors  and  pointed  to  the  stars  in 
the  sky.  At  first  she  didn't  understand  what  he  meant.  Then  he 
told  her  to  count  the  points.  She  did  and  her  mistake  was  cor- 
rected. 

Aren't  we  human  beings  funny?  We  can  look  at  things  all  the 
time  and  not  really  see  them.  That  is  because  we  do  not  concen- 
trate. 

The  people  who  really  teach  themselves  to  see  things  are  the 
people  who  go  the   furthest  in  this  old   world  of  ours. 


What   could  be   more  perfect   for  a   magazine  that   comes   out 

right  near  the  Fourth  of  July  than  this  lovely  picture  of  Claire 

Windsor  as  Betsy  Ross  .    .    .  the  mother  of  our  flag? 


Wescosco  Atehi 


He  Gets 
Our  Vote 


William  Fox  has  some  of  the 
greatest  plums  to  offer  actors 
and  actresses  this  year,  having 
purchased  the  screen  rights  to 
the  famous  David  Warfield 
successes.  Who  will  play  the 
title  role  in  "The  Music  Mas- 
ter"? That's  the  question! 
Here  Henry  B.  Walthall  offers 
two  studies  of  his  interpreta- 
tion of  the  role.  Does  he  get 
your    vote,    too? 


THAT'S  OUT 


By  Tamar  Lane 

I llustrations  by  Harry  Tasliey 


Good  Chance  for  Some  New  Film  Finds 

THE  studios  are  still  campaigning  for  new  screen 
faces.  If  directors  do  not  curtail  their  present 
habit  of  showing  close-ups  of  pedal  extremities,  the 
film  industry  will  soon  have  to  change  their  plans 
and  start  a  search  for  new  screen  feet. 

This  should  open  up  a  new  field  for  aspiring  amateurs. 
We  suggest  that  you  go  to  your  home-town  photographer 
at  once  and  have  a  complete  set  of  photographs  taken  of 
your  feet — both  front  view  and  profile.  The  rush  is 
liable  to  start  at  any  time. 

Get  your  home-town  paper  to  start  a  Feet  and  Fortune 
Contest. 

Dont  let  big  feet  deter  you.  Look  what  they  did  for 
Charlie  Chaplin. 

Stage  Versus  Screen 

It  is  to  be  admitted  that  the  movies  have  their  faults,  but 
in  a  fair  comparison  of  the  spoken  drama  to  the  silent 
drama,  it  will  be  found  that  the  average  stage-play  is  not 
one  bit  better  than  the  average  film,  the  average  stage  pro- 
ducer is  not  one  bit  better  than  the  average  film  producer, 
and  the  average  stage  actor  is  not  one  bit  better  than  the 
average  cinema  actor. 

The  advantage  of  the  screen  is  that  when  the  thespian 
is  a  rotten  actor,  you  only  have  to  look  at  him — you  dont 
have  to  listen  to  him. 


Dogmas  of  the  Movies 

A  ccording  to  photoplay  codes,  a  crime  is  not  a  crime 
"^  when  it  is  committed  by  the  hero  or  heroine.  Only 
a  villain  can  be  a  thief,  a  crook,  a  cheat  or  a  traitor. 

On  the  screen  a  wrong  is  only  a  wrong  when  committed 
by  the  bemustached  gentry.  The  hero  and  heroine  can 
break  any  law  or  propriety  and  yet  film  ethics  holds  them 
entirely  innocent. 

So  far  as  the  dumb  drama  is  concerned,  it  isn't  a  matter 
of  what  is  done  that  constitutes  a'  right  or  wrong ;  it  is 
simply  a  matter  of  who  does  it. 

If  the  hero  cracks  the  safe  and  purloins  the  valuable 
papers  therein,  it  is  a  fine  and  righteous  deed,  because  it 
will  save  the  heroine's  father  from  going  to  jail. 

If,  on  the  other  hand,  the  villain  pilfers  the  papers  from 
the  Mosler  to  save  his  own  hide,  the  whole  audience 
chortles  with  satisfaction  when  he  is  shot  by  the  hero 
who  has  been  lurking  stealthily  behind  the  office  door. 


Morals  for  All 

If  it  is  going  to  be  insisted  that  only  players  of  the  high- 
■  est  moral  caliber  be  allowed  upon  the  screen,  then  in 
fairness  to  the  thespian,  he,  too,  should  have  the  same 
privilege  of  demanding  that  only  those  persons  of  proper 
moral  fiber  be  allowed  to  view  him  on  the  screen. 

It  should  be  quite  within  the  actor's  rights  to  insist  that 
every  theatergoer,  before  being  admitted  to  the  cinema 
at  which  the  player's  film  is  being  shown,  must  present 
credentials  to  the  manager  to  prove  his  good  standing  in 
the  community. 

Why  not  run  the  whole  proposition  somewhat  on  the 
Henry  Ford  factory  system?  Let  every-  person  in  the 
community  be  given  a  weekly  card,  passed  by  the  Board 
of  Censors,  showing  that  he  has  strictly  adhered  to  every 
ethic,  law  and  moral  and  is  therefore  entitled  to  view  our 
upright  movie  heroes  upon  the  screen. 

An  exhibitor  up  in  Saginaw,  Michigan,  writes  in  to 
•**■  complain  about  Rudolph  Valentino.  He  says  every 
time  Rudy  gets  a  divorce,  the  ex-Mrs.  Valentino  becomes 
a  screen  star  and  the  exhibitor  loses  money  on  her. 

,  The  exhibitor  wants  us  to  make  a  personal  request  to 
Rudy  that  in  the  future  he  please  make  it  a  point  to 
marry  good  actresses,  so  the  exhibitors  can  get  back  some 
of  the  money  they  have  lost. 


Hollywood  Is  Worried 

"The   rush  of   foreign  artists  to  American  shores   can- 

tinues  at  a  great  pace. 

The  panic  is  on  in  Hollywood  studios. 

Our  American  directors  will  now  have  to  do  a  little 
thinking  if  they  wish  to  save  their  hides. 

And  some  of  our  players  will  have  to  do  a  little  acting 
instead  of  striking  pretty  poses  and  worrying  about 
camera  angles. 


Pity  the  Poor  Public 

"VY/e  take  great  pleasure  in  printing  another  little  epistle 
from  one  of  our  admirers. 
"Dear    Mr.    Lane :      I    would    suggest    that    you    and 
Herbert    Howe   get   together   and    'rave'   to    each   other 
{Continued  on  page  86) 


57P 

PAfill 


Ruth  Harriet  Louise 


! 


P58 


If  Mae  Murray  keeps  on  looking  younger — and  younger — and  younger,  the 

Children's    Societies    will    begin    investigations.       We    have    never    seen    her 

lovelier    than    in    this    new    portrait    taken    just    as    she    began    her    role    in 

"Altars  of  Desire" 


By 

Laurence  Reid 


The  Picture  Parade 


In  "Aloma  of 
the  South 
Seas,"  Gilda 
Gray  gives 
promise  of 
making  a 
place  for  her- 
self in  the  film 
sun 


You'll  like 
''Brown  of 
Harvard,"  and 
you'll  like 
William  Haines 
in  the  title  role 


Aloma  of    the  South  SeaS Romantic  Drama 

AS  no  sweet  encomiums  were  sung  for  this  romantic 
/  \  excursion  upon  the  stage,  one  could  hardly  ex- 
£  \_  pect  to  find  it  of  especial  consequence  upon  the 
screen.  The  story,  itself,  is  weak,  but  it  might 
have  had  more  melodramatic  punch.  Maurice  Tourneur, 
however,  has  done  nothing  to  pep  it  up  but  has  given  it  a 
picturesque  appeal  with  the  Porto  Rico  settings.  You 
expect  something  to  happen  in  a  half-dozen  episodes,  but 
they  evaporate  into  nothing. 

Gilda  Gray  is  the  whole  picture  and  she  gives  a  grace- 
ful, wistful  study  of  the  South  Sea  dancer  who  falls  in 
love  with  a  renegade  white  man  who  is  fast  drinking 
himself  to  death  thru  being  spurned  by  his  fiancee.  Gilda 
executes  her  colorful  dance  and  she  gives  promise  of 
making  a  place  for  herself  in  the  film  sun  if  given  the 
proper  stories. 


The  trouble  here  is  a  weak  story  which  has  been  over- 
publicized.  It  isn't  as  good  as  its  advance  notices  have 
led  us  to  believe.  William  Powell  is  the  villain  who  goes 
down  to  the  sea  in  sharks  and  he  tries  his  best  to  be  con- 
vincing. So  does  Warner  Baxter  as  the  native  lover. 
Percy  Marmont  overacts — something  strange  for  him  as  he 
invariably  gives  a  restrained   performance. — Paramount. 

BrOWn  of   Harvard Romantic  Drama 

"VV/e've  had  college  stories  and  college  stories,  but  none 
™  of  them  won  their  diplomas  until  "The  Freshman'5 
and  "Brown  of  Harvard"  happened  along.  The  last- 
mentioned  shapes  up  as  a  likely  campus  number  even  if 
its  plot  is  typical  of  the  stuff  that  made  Frank  Merri- 
well's  name  a  household  word.  One  thing  in  its  favor 
is  its  approach  to  a  real  collegiate  atmosphere.  The 
boys  dont  sit  around  a  room  decorated  with  pennants  of 
girls'  colleges,  nor  do  they  strum  their  ukuleles.     Brown 

59 
PAG 


I 


The    Brown 
pa  r  kl  i  n  g 


Dick  Barthelmess  has  had 
better  roles  and  better  sto- 
ries than  he  finds  in  "Ran- 
son's  Folly,"  but  he  is, 
nevertheless,  convincing 


emerges     here    as    a     half-way 

human  chap,  tho  it  is  unlikely 
that  he  would  continue  to  he  so 
fresh  after  he's  become  a  "soph." 

The  idea  behind  it  is  based  upon 
the   premise    that   a   youth   must   go 
thru    the    mill    in    college    just    as    he 
would  go  thru  it  in  life — if  he  would  he 
successful.     And  in  expanding  the  theme 
it   develops  along   simple   romantic  lines. 
Harvard     must     suffer     thru     Brown's 
didoes  until  he  finds  his  character. 

Meanwhile  the  college  loses  its  boat- 
race — and  Brown  loses  his  sweetheart.  There  is  a  foot- 
hall  scene  which  affords  a  rattling  good  climax.  The  role 
of  the  Harvard  hero  gives  William  Haines  a  chance  to 
act  with  considerable  spirit  and  enthusiasm — and  Jack 
Pickford  i>  sufficiently  wistful  as  his  worshipful  room- 
mate.— Mctro-Goldwyn. 

RanSOnS     Folly Romantic  Drama 

""Fins  hest  seller  of  yes- 
A  terda) .    written    by 
Richard     Harding     Davis 
is    brought    forth    on    the 
n    with    a    good    deal 
onviction.      True,    it 
offers  nothing  as  a  work 
of    moving,    absorbing 
drama.      It    is    s()    simple 
thai  a  wee  youngster  can 
"spot*'    tin-    development 
lint  the 
plot   shortcomings  are 
by    Sid- 
ney   Olcott,    die    director. 
if  ■{]]>  with 
approprial  <•  atmospl 
and     detail,     the     military 
g    it    a   certain 
it    out   of 
rdinary  rut  of  plots. 
Richa  rd    Ban  helmess 
has    had    far    better    pic- 
ture-— and   he's   done    far 
0 


-.  rby ' 
;dy. 


And 


Johnny   Hines  is   great   in  it 


Harrison  Ford  and  Marie  Prevost  are  two  rea- 
sons why  "Up  in  Mabel's  Room"  proves  as 
amusing    on    the    screen    as    it    was    on    the    stage 


Harry  Langdon  skyrockets 
into  the  limelight  in 
"Tramp,  Tramp,  Tramp." 
It  is  a  "wow"   of  a  comedy 


better   work   with   bigger   char- 
acterizations,    but     at     that     he 
makes  himself  convincing  as  the 
venturesome  lieutenant  who  has  a 
folly  or  two.     Indeed,  Folly  Num- 
ber (One)  finds  him  saving  the  post 
from    being    destroyed    by    fire,    and 
Folly  Number  (Two) — which  gives  the 
punch   to  the  picture — arrives  when  he, 
for  the  sake  of  a  thrill,  masquerades  as  a 
highwayman.      A   court-martial    develops 
from  this  bit  of  playfulness. 

There's  not  so  much  to  it,  but  suspense 
is  well  projected.  Dorothy  Mackaill  makes  the  most  of  a 
weak  role — and  the  others  in  the  cast  are  competent.  We 
give  it  a  mark  of  "moderately  good" — and  let  it  go  at 
that. — Inspiration-First  National. 

The  Brown  Derby — Comedy 

It's  a  lively,  sparkling  number  that  Johnny  Hines  has 
*■  here — one  that  should  carry  him  along  the  high  road 
to  popularity  where  he 
can  sit  hack  and  rest  on 
his  laurels — and  say  "I'm 
satisfied."  The  piece  is 
bright  with  brand-new 
gags  and  develops  spon- 
taneous laughter  from 
the  start.  If  there  are 
any  old  high  jinks  they 
have  been  dressed  up  so 
you  cannot  recognize 
them. 

What  we  like  about  it 
is  the  "snap  and  go"  of 
the  action.  Truly,  there 
isn't  a  scene  which  loses 
its  pace  and  gingery 
quality.  From  the  mo- 
ment that  Hines  inherits 
a  brown  derby  from  an 
eccentric  uncle  and  pro- 
ceeds to  overcome  his  in- 
feriority complex  by 
wearing  it  until  lie  mani- 


The  decorative  Corinne 
Griffith  gives  "Mile.  Mo- 
diste" a  certain  appeal, 
but,  like  most  musica 
comedies,  the  story  does 
not  make  the  screen   grade 


fests    a    conquering    spirit 
piece    skips    along    breezily 


the 

and 

olume  of  laughs  in  its 


releases  a 
journey. 

Much  by-play  is  created  from  the 
derby  which  almost  has  a  mind  of  its 
own  in  the  way  it  places  Hines  in  diffi- 
culties. He  gets  caught  in  all  kinds  of 
jams,  tight  and  otherwise — and  always 
comes  up  smiling.  Marital  complications 
enter  to  keep  the  pot  boiling  and  the 
w.  k.  chase  figures  for  a  climax.  In  all 
a  hilarious  number  and  surely  provoca- 
tive of  laughs. — Burr-First  National. 

Tramp,  Tramp,  Tramp — c 

LJarry  Langdon  skyrockets  into  the  limelight  with  this 
*■  feature-length  comedy.  In  taking  him  out  of  the 
two-reelers  his  sponsors  have  simply  answered  the  pub- 
lic's demand — that  he  be 
given  substantial  stories 
like  those  concocted  for 
Keaton,  Lloyd,  et  al.  It's 
a  smart  little  number — 
one  which  generates 
many  laughs  without  re- 
sorting to  imitations  of 
other  comedians'  gags  to 
get  over.  Langdon  is  a 
sure-fire  comedian — a 
comedian  with  a  sound 
knowledge  of  how  to  ex- 
tract the  utmost  humor 
from  a  situation.  He 
knows  how  to  blend  the 
pathos  with  the  fun — if 
his  wistful  expressions 
and  bashful  gestures  are 
any  criterion. 

The  star  enters  a  cross- 
country walking  contest 
— hoping  to  cop  a  $25,000 
reward  which  the  enter- 
prising     shoe     manufac- 


"Wet  Paint,"  Raymond 
Griffith  resorts  to  horseplay 
.  .  .  and  because  we  have 
come  to  expect  subtle  panto- 
mime from  him,  it  is  a  little 
disappointing 


:dy 


This   time   Reginald   Denny  and   Laura   La   Plante 

play     in     "Skinner's    Dress    Suit."        And     Denny 

again    proves    that    he    is    a     capable     comedian. 

Laura   is  especially   good,  too 


An  effort  to  produce  an- 
other "Four  Horsemen  of 
the  Apocalypse"  has  been 
made  in  "The  Greater 
Glory,"  but  the  results  are 
not    a    bit    satisfactory 


turer    has    announced    for    the 
winner.     The   laughs   get  under 
way  early  when  Harry,  thru  tak- 
ing   an    overdose    of    a    sleeping 
powder,    makes    a    bad    start.      He 
makes   up  the   lost   time   by  taking   a 
short  cut  over  a  precipice. 

There  are  thrills  as  well  as  humor  in 
the  picture.  One  of  the  big  "kicks"  ar- 
rives when  Harry,  in  avoiding  a  flock 
of  sheep,  climbs  a  fence  and  discovers 
himself  hanging  from  a  dizzy  height 
when  a  nail  catches  his  sweater.  The 
piece  is  packed  with  original  gags,  any 
one  of  which  would  suffice  for  an  ordinary  opus.  All  of 
them  carry  a  big  laugh.  We  certainly  recommend 
"Tramp,  Tramp,  Tramp."  It  is  a  "wow"  of  a  comedy. — 
First  National. 

Up  in  Mabel's  Room Farce  Comedy 

""The  bedroom  farce  has 
A  its  innings  again — and 
while  the  crisp  dialog  is 
silenced  this  story  has 
been  treated  gingerly 
enough  to  make  it  quite 
as  substantial  and  inter- 
esting as  the  stage  version 
from  which  it  was 
adapted.  Like  all  bed- 
room farces  it  calls  for 
much  activity  on  the  part 
of  its  characters  who 
must  make  hurried  en- 
trances and  exits  in  order 
to  avoid  compromises. 
And  the  more  active  they 
become  the  more  compro- 
mising become  the  situa- 
tions. Again  like  all  bed- 
room farces  a  word  of 
explanation  would  cause 
it  to  topple  over  before  it 
had  half  finished.  But 
61 
PAfi 


I 


qwssss?^ 


"The  Wise  Guy" 
is  a  very  good 
picture  .  .  .  with 
James  Kirkwood 
splendid  as  the 
fake  preacher 


You  will  see  a 
good  mystery  pic- 
ture in  "Silence" 
.  .  .  one  in  which 
H.  B.  Warner 
does  capital 
acting 


tine  characters  gesticulate  and  dodge  and  run.     And  ex- 
planations arc  avoided. 

It  is  a  bright  little  number  which  revolves  around  a 
fair  divorcee  determined  to  win  back  her  ex-husband. 
The  piece  de  resistance  is  sonic  filmy  gewgaw  which 
hubby  bought  in  Paris  to  present  to  his  wife,  altho  for  the 
purposes  of  the  plot  she  believes  he  bought  it  for  some- 
one else.  This  bit  of  lingerie  starts  the  fun  and  finishes 
it  -with  most  of  the  high  jinks  taking  place  in  Mabel's 
room  {Mabel  and  the  others  having  been  invited  to  a 
week-end  party  i. 

The  players  act  with  an  admirable  mock-seriousness — 
the  pantomime  being  thoroly  in  character.  Harrison 
Ford  and  Marie  Prevost  have  the  honors  and  display  a 
fine  adaptability  for  farce.  And.  of  course,  there  is 
Harry  Myers.  And  Phyllis  Haver.  It  is  neatly 
staged  and  the  direction  is  good. — Christie- 
Producers  Distribution  Corp. 

Mile.   Modiste Romantic  Drama 

Sometimes    the   musical    comedy 
adaptations     succeed     on    the 


"The  Rainmaker"  offers 
something  different  in 
racing  stories.  And  Wil- 
liam Collier,  Jr.,  offers  a 
most  convincing  por- 
trayal   of    the    jockey 


screen  if  they  are  well  equipped  with  plot  and  humor. 
We  have  but  to  mention  "Sally"  and  "Irene"  to  establish 
this  fact.  But  if  they  are  lacking  any  definite  story  they 
are  not  so  good — especially  when  deprived  of  their  musi- 
cal score.  That's  what  happened  with  "Mile.  Modiste" 
minus  Victor  Herbert's  charming  melodies.  An  effort 
has  been  made  to  jazz  up  the  piece  but  the  humor  appears 
to  be  dragged  in  by  the  heels. 

The  decorative  Corinne  Griffith  gives  it  a  certain  ap- 
peal— what  with  her  personality  and  the  sartorial  effects 
she  displays.  Otherwise  it  is  boresome.  The  subtitles 
strive  hard#to  put  over  the  humor  but  they  are  not  spon- 
taneous enough. 

The  original  was  not  a  very  plotty  affair.     It  served 
solely  as  a  medium    for   Herbert's  melodious   score   and 
Fritzi    Scheff's    high    notes.      So    with    the    operatic- 
matter  removed  it  doesn't  hit  on  all  cylinders. 
Miss   Griffith  sports  her  glad  togs  when 
as  a  Paris  mannequin  she  is  set   up  in 
business  by  an  American  butter-and- 
egg  man.     This  piques  the  French 
count  who  loves  her  and  who  be- 
ieves  the  worst. 


"The  Midnight  Sun"  is 
not  a  great  picture.  But 
if  you  like  Pat  CTMalley, 
to  see  him  as  the 
Grand   Duke 


Ij[{# -*aB 

» 

9 

1 

H?l      i 

Ei  2sn^ 

The  idea  of 
"Money  Talks"  is 
mostly  slap-stick 
.  .  .  and  Owen 
Moore  and  Claire 
Windsor  are  an 
interesting  team 
in    it 


There  is  nothing 
new  in  the  story 
of  "The  Wilder- 
ness W  Oman," 
but  you  are  en- 
tertained by  it 
nevertheless. 
Chester  Conklin 
walks  away  with 
the  picture 


There's  the  picture.  Otherwise  it  is  a  fashion  show. 
The  star  can  certainly  wear  gowns  exceedingly  well — and 
she  can  act  when  they  give  her  a  chance.  Willard  Louis 
indulges  in  some  ohvious  gags,  and  Norman  Kerry 
swanks  around  in  some  gay  uniforms. — First  National. 

Wet  Paint Farce-Comedy 

D  aymond  Griffith's  new  comedy  cant  be  mentioned 
**■  in  the  same  class  as  "Hands  Up"  and  "Paths  to 
Paradise,"  his  previous  fun  pieces.  For  one  thing  it  is 
crammed  with  gags  of  the  slap-stick  pattern  which  start 
from  nothing  and  get  nowhere  in  particular. 

The  introductory  title  announces  it  as  a  version  of  the 
Bard's  "Much  Ado  About  Nothing"  in  modern  clothes. 
And  a  sparkling  hour  is  promised.     But  after  a  few  mo- 
ments of  spontaneous  fun  it  gets  down  to  horse  play 
— most   of    which   concerns   auto  chases   and 
ridiculous  shootings.     If  you  accept  it  as 
straight  slap-stick  you  will  find  merit 
but  Griffith's  name  has  become  syn- 
onymous   with    subtle    pantomime. 


"Hell-Bent  fer  Heaven" 
is  not  as  good  a  motion 
picture  as  it  was  a  stage- 
play  (for  which  it  won 
the  Pulitzer  prize)  .  It  has 
suspense,  tho  .  .  .  and 
Gardner  James  gives  a 
remarkable     performance 


And  when  he  resorts  to  gags  to  gain  the  laughs  those  who 
have  followed  his  antics  are  apt  to  be  disappointed. 

The  celebrated  high  hat  comes  in  for  a  kick  or  three 
and  there  are  some  explosive  laughs  sprinkled  thru  it. 
But  in  our  opinion  it  goes  back  to  early  Sennett  when 
Mack  tossed  out  the  Keystones.  Helene  Costello  and 
Natalie  Kingston  carry  on  the  pulchritude  appeal. — Para- 
mount. 

The  Greater  Glory — Drama 

An  effort  has  been  made  to  produce  another  "Four 
■**  Horsemen"  in  this  picture,  but  the  results  are  not  a 
bit  satisfying.  Whatever  merit  the  original  story,  "The 
Viennese  Medley,"  carried  has  not  been  brought  forth 
here.  The  war  from  the  Germanic  side  is  shown  and 
while  it  is  painted  in  a  ruthless  manner  the  method 
of  treating  it  is  wrong. 
"""'•.  For   one    thing   there   are    far   too    many 

characters    and    most    of    them    have 
"von"     attached     to     their     names. 
Hence    it    is    difficult    to    identify 
them.     These  relatives  (yes,  most 
(Continued  on  page  121) 


"So    This    Is    Paris"    finds 
Monte  Blue  in  a   sophisti- 
cated   role.       It    is    a    Lu- 
bitsch  picture 


"The  Little  Irish  Girl" 
does  not  do  Dolores 
Costello  justice.  She 
is  worthy  of  a  better 
production 


WHOSE  HAND? 

Can  You  Guess  the  Owners  of  these  Hands  from  the  Character  Readings  Given? 

By  F.  Vance  de  Revere 


""This  hand  corresponds  more  accu- 
A  rately  in  type  with  the  owner's  face 
than  the  masculine  hand  in  this  series. 
It  is  a  long  hand,  with  thin  fingers, 
belonging  to  a  person  who  is  tall  and 
slim,  with  the  muscular  and  osseous 
development.  Such  a  person  would  be 
an  active,  restless  nature,  highly  am- 
bitious, with  great  determination  and 
persistency ;  one  who  never  gives  up 
and  has  great  ability  to  overcome  ob- 
stacles. She  has  a  splendid,  well-de- 
veloped thumb,  which  indicates  musical 
ability.  The  third  finger  dominates  the 
hand  and,  its  general  formation,  in 
conjunction  with  other  characteristics 
shown  in  the  hand,  gives  decided  dra- 
matic talent.  In  fact,  she  is  in  the 
vocation  for  which  she  is  besl  suited. 
The  good  breadth  of  the  palm  denotes 
a  practical  turn  of  mind,  giving  good 
judgment  Here  is  something  which 
may  interest  you.  I  analyzed  this 
young  lady,  over  a  year  ago,  and,  at 
that  time,  the  third  phalanges  of  her 
finders  were  thin,  which  indicated  a 
lack  of  interest  in  eating  and  a  poor 
appetite;  this  same  sign  was  pro- 
nounced in  her  face,  a  serious  thing 
and  a  weakness  which  might  affect  her 
health.  The  first  thing  1  noticed  this 
time  was  the  fulness  and  development 
of  these   signs  arid    I   said,  "You  have 

more     attention     to     your 
eating     and     your     appetiti 
She     laughed    and     said,     "It     is     true." 

This  young  lady  has  developed 

and  this  is  shown  in  her  hand  and  still 

more    so    in    her    fj 


I 


In  direct  contrast  to  the  other  two 
hands  illustrated  on  this  page,  is  this 
long  narrow  hand,  long  fingers  with  a 
still  longer  palm.  This  hand  belongs 
to  an  individual  of  good  height,  with  a 
face  which  has  greater  length  than 
breadth.  However,  the  owner  of  this 
type  of  hand  would,  usually,  have  a 
long  thin  face,  whereas  in  this  case  the 
face  has  good  breadth.  Notice  the  fine, 
well-shaped  thumb,  showing  strength 
of  character,  much  determination  and 
persistency,  but  unfortunately,  for  its 
owner,  there  is  a  lack  of  aggression ; 
this  makes  a  gentle,  sweet  person  and 
gives  a  charm  socially,  but  frequently 
is  a  handicap  in  business,  especially  the 
Motion  Picture  Industry  where,  un- 
fortunately, self-assertion  is  so  often 
made  necessary  if  one  is  to  gain  the 
heights.  The  waistlike  shape  of  the 
thumb  shows  a  very  tactful  person.  In 
fact,  the  whole  hand  indicates  an  affec- 
tionate, kind,  sympathetic,  highly  emo- 
tional nature.  The  firm  palm  denotes 
one  who  is  active,  restless  and  never 
lazy,  either  mentally  or  physically.  The 
lovely,  smooth  -  jointed  fingers,  with 
their  cushioned  tips  denotes  a  highly 
sensitive,  intuitive  and  inspirational 
nature  with  great  love  of  the  artistic 
and  all  that  is  beautiful.     A  person  has 

i  iation    of    both    color    and 

This    individual    would    make    a 
ecutive  of  the  type  which  gov- 
erns  and    directs    thru    respect    and    pcr- 
irm    but    not    force.     There   are 

I    hand,    giving    a 

more  diver  ified   character   than   if   the 
two  corresponded  exactly. 

i  i  ved, 


(Generally  the  outline,  size  and  for- 
VJ  mation  of  the  hand  corresponds 
with  the  person's  stature  and  the  shape 
of  the  face.  This  hand  is  one  of  the 
finest  examples  and  reasons  why  the 
usual  courses  in  Character  Analysis 
are  so  inaccurate.  This  type  hand,  with 
its  great  breadth  of  palm  and  its  un- 
usually short,  square  fingers,  with  their 
full,  thick  phalanges  and  other  char- 
acteristics would,  ninety-nine  times  out 
of  a  hundred,  belong  to  a  short,  thick- 
set man  with  a  broad,  full  face  and  a 
square  formation  of  the  head.  This 
hand  read,  without  reading  the  face, 
would  indicate  ability  as  a  surgeon, 
also  mechanical  ability.  I  believe  there 
were  mechanical  geniuses  in  his  family 
and  he  started  training  for  surgery. 
His  hand  shows  heredity  traits,  but  his 
face  shows  the  characteristics  which 
would  govern  his  abilities  and  tastes. 
Notice  how  the  first  finger,  also  the 
little  finger,  stands  apart  from  the 
others,  this  indicates  an  individual  who 
is  independent  in  both  thought  and  ac- 
tions. The  third  finger  dominates  his 
hand  and,  with  its  square  finger  tip, 
denotes  artistic  and  dramatic  sense. 
The  knotty  finger  joints  indicate  a 
philosophical  mind  and  the  long  second 
phalanx  of  his  thumb,  denotes  a  logical 
thinker,  a  person  who  reasons  things 
out.  The  third  phalanges  of  the  fingers 
are  full,  which  indicates  great  enjoy- 
ment of  the  creature  comforts  of  life 
and  one  who  likes  good  things  to  eat 
ink.  The  owner  of  this  hand  has 
a  good  mentality  and  is  a  very  interest- 
ing and  unusual  personality. 


! 


N'ote. — On  page  80  you  will  find  pictures  "I  the  slurs  zohosc  hands  were  .<    month, 

find  the  anszi'crs  in  these  character  readings. 
CA 
06. 


.hid 


1  h    you  will 


July  Sponsors  Many  Brilliant  Stars 


John    Gilbert 
July     10 


Aileen    Pringle 
July  23 


Mary    Philbin 
July    16 


Florence    Vidor 
July  23 


"Shall  I  Go  Into  the  Movies?' 

Marion  Meyer  Drew  will  cast  your  horoscope  and  tell  you  if  the 
stars  forecast  a  career  for  you  in  the  movies 


Ida  F.  L.,  January  10: 

Your  horoscope  shows  a 
good  many  difficulties  in 
your  life  at  the  present  time  ; 
one  of  the  most  real  of 
which  is  opposition  to  your 
personal  interests,  altho  the 
indications  for  health  just 
now  are  not  so  good  either. 
I  wonder  if  you  would  not 
be  better  off  in  the  long  run 
if  you  were  to  compromise 
with  circumstances  and 
adopt  some  ambition  which 
would  be  less  startling  and 
easier  to  accomplish  than 
your  dream  of  entering  the 
movies.  You  really  have 
a  good  deal  of  ability  when 
you  once  get  to  work  at  any- 
thing. You  have  practicality, 
persistence  and  a  great  desire 
for  the  good  things  of .  the 
world,  which  combined  will 
make  you  acquire  either 
reputation  or  money  for 
yourself.  But  this  is  more 
apt   to    come    thru   business   activity   than   thru    acting. 

Ruth  Lee,  May  16: 

Ruth  Lee  is  five  years  old,  but  by  no  means  too  young 
to  have  her  horoscope  read.  In  fact,  the  younger  the 
better,  for  the  sooner  we  know  our  own  capabilities  the 
better  we  are  able  to  use  them.  This  little  lady  has  imita- 
tive ability,  due  to  the  fact  that  a  strong  sign  in  her 
horoscope  is  that  from  which  most  of  our  noted  mimics 
and  impersonators  come — the  sign  Cancer.  But  she  has 
other  underlying  characteristics  which  will  crop  out  as  she 
grows  older  and  which  will  make  her  of  a  rather  serious 
and  practical  turn  of  mind.     Her  ambitions  will  lie  along 


EDITOR'S  NOTE:  The  Editor  of 
MOTION  PICTURE  MAGAZINE 
hopes  that  this  department  will  be  of 
benefit  as  well  as  entertainment  to 
its  readers,  but  neither  this  publica- 
tion nor  the  writer  of  this  department 
can  assume  responsibility  for  any 
statements  made  herein,  because  in- 
accurate data  is  sometimes  furnished, 
even  tho  the  sender  may  have  every 
reason  to  believe  it  correct. 

All  comments  made  are  based  on 
Astrological  rules.  In  order  to  apply 
these  rules  to  the  Horoscope  of  the 
individual,  the  following  facts  about 
yourself  must  be  submitted: 

Your  date  of  birth. 

Your  year  of  birth. 

City  or  nearest  town  and  county  of 
birth. 

The  hour  and  minute  of  the  day  or 
night. 

Sex. 


scientific  lines  of  thought, 
geology  and  mineralogy  ap- 
pealing to  her  greatly.  If 
this  were  my  daughter,  I 
would  give  her  a  thoro 
grounding  in  the  material 
sciences  and  then  settle  back 
and  watch  her  make  a  name 
for  herself. 

M.  C.  K.,  D.  C.  B.,  C.  E. 

ML,  Agnes  B.,  and  many 
others: 

The 


horoscope  is,  of 
course,  a  fascinating  subject 
and  nearly  everyone  in  the 
world  would  like  to  have 
his  or  her  chart  drawn  up 
and  read,  even  if  only  in  the 
brief  manner  possible  in  a 
magazine,  but  you  see,  dont 
you?  that  this  would  be  im- 
possible on  the  face  of  it, 
and  this  department  is  in- 
tended for  the  answers  to 
those  who  are  interested  in 
a  motion  picture  career  and 
wish  to  have  an  unprejudiced  word  as  to  whether  or  not 
they  have  indications  of  success  in  such  work.  I  cannot 
answer  general  questions  about  marriage,  money  matters, 
health,  and  so  on,  in  the  pages  of  Motion  Picture 
Magazine,  any  more  than  a  writer  might  expect  to  con- 
duct a  department  similar  to  this  one  in  such  a  magazine 
as  we  find  devoted  to  the  steel  industry  or  the  advertising 
business.  So  dont  feel  hurt  if  your  general  questions  are 
omitted  here  and  the  space  given  to  those  who  are  knock- 
ing on  the  gates  of  the  studios  either  in  person  or  in 
dreams. 

(Continued  on  page  108) 

65 
PAG 


I 


Now    all    of    Hollywood    has    taken    to    eany    morning 

rides,   everyone  is  trying  to  get  a  more  beautiful  horse 

than  anyone  else  has.     Here  Edmund  Lowe  and  Lilyan 

Tashman   Lowe   are  about   to   start   on   a   canter 


Both    Novarro    and    Gilbert    find    mustaches    necessary 

to    their   present    roles.      And   both    have    more   trouble 

getting  the   darn   things   to   stick   than   they   have   tying 

bow   ties 


Behind     the     camera: 
Jack     Holt     with     Mrs. 
Holt  and   the  two   chil- 
dren 


Ernest  Torrence  hates 
to  remember  the  early 
rising  he  did  when 
"Lady  of  the  Harem" 
was  being  filmed.  It 
took  the  studio  make- 
up man  hours  every 
day  to  paste  on  the 
whiskers   cl   cetera 


Gossip  of  the 

The  last  authentic  word  about  the  players 
By  Elisabeth  Greer 


ALICE  JOYCE  will  be  the  next  decorative  background  for 
/\  the  antics  of  W.  C.  Fields,  Paramount's  pet  comedian, 
/ — \  who  has  already  been  allotted  such  alluring  ladies  as 
Carol  I  )empster  and  Louise  Brooks  to  cavort  opposite 
him.  Alice  wont  do  much  cavorting,  tho,  because  she  has  the 
role  of  the  Princess  in  "Mr.  Bisbee's  Princess" — known  to  the 
screen  as  "So's  Your  Old  Man" — and  that  implies  a  certain 
amount   of    dignity.      Alice   is    rising  higher    and   higher   in   the 


Oh,  Well  .  .  . 

When  Alice  Calhoun  was  released  from  her  con- 
tract with  the  Warner  Brothers,  she  said  that  she  had 
virtually  been  a  prisoner  to  it  .  .  .  that  she  had  been 
unable  to  leave  the  city  without  permission,  etc.  She 
stated  further:  "I  am  most  happy  to  be  free  and  it 
will  be  a  long  time  before  I  tie  myself  up  to  another 
long-term  agreement." 

Within  a  week  she  had  married  Mendel  B.  Silberburg. 


nobility,  having  just  finished  work 
in  "Beau  Geste." 


as  the  lovely  Lady  Brandon 


IWIatrk  k  Costello  is  breaking  into  the  movies.  After  a  lapse 
A*A  of  many  years  he  is  returning  to  the  screen  which  once 
made  him  an  idol.  Mr.  Costello  has  been  getting  lots  of  pub- 
licity, lately,  as  the  father  of  the  beautiful  Dolores.  Last  sum- 
mer Dolores  told  us  her  father  had  never  been  to  Hollywood, 
but  when  it  became  obvious  that  she  was  there  to  stay,  he  packed 
up  and  went  out  to  join  the  rest  of  the  family.  Now  he  is  in 
the  large  and  imposing  cast  which  Columbia  Pictures  has 
assembled  for  "The  Laise  Alarm."     Mary  Carr,  Ralph  Lewis, 


I 


When  Rin  -  Tin- 
Tin  left  Holly- 
wood for  a  re- 
cent transconti- 
nental tour,  in 
typical  movie- 
star  fashion,  he 
bid  his  son  look 
after  the  family 
and  see  that  no 
one  wanted  for  a 
bone 


Km& 


f:JsL 


Camera  Coasts 

and  the  plays  in  which  they  are  to  appear 

and  Milton  Howe 


Dorothy  Revier,  George  O'Hara,  Lillian  Leighton,  John  Harron, 
and  Priscilla  Bonner  are  just  a  few  of  the  others  who  have  been 
engaged  for  this  picture,  which  Frank  O'Connor  will  direct. 

Hollywood  seems  determined  to  glorify  the  fire-fighters,  and 
more  and  more  importance  is  being  attached  to  "The  Fire 
Brigade,"  Metro-Goldwyn's  propaganda  picture  which  is  being 
made  in  co-operation  with  as  many  fire  departments  as  can  spare 
the  time.  Charles  Ray  has  the  leading  role  opposite  May  McAvoy. 


The  Week's  News  in  Hollywood 

Monday:    Pola  says  "Yes"  and  Rudy  says  "No." 
Tuesday:    Rudy  says  "Yes"  and  Pola  says  "No." 
Wednesday:    Pola  says  "I  go  to  Europe." 
Thursday:    Pola  says  "I  do  not  go  to  Europe." 
Friday:    Pola  has  dinner  with  Rudy. 
Saturday :    Rudy  has  dinner  with  Pola. 
Sunday:      A  holiday. 


I'illian  Rich's  little  sister,  Patricia,  has  arrived  in  Hollywood 
,L|  from  London,  and  will  start  work  in  pictures.  Shortly  after 
the  arrival  of  her  sister,  Lillian  left  for  New  York  to  make  a 
picture  at  the  Eastern  studios. 

Patricia  asked  no  special  favors  upon  her  arrival  in  the  cinema 
capitol,  saying  that  she  was  perfectly  willing  to  begin  at  the 
lowest  rung  on  the  ladder. 

YV/hat  is  the  correct  way  to  address  a  female  governor? 
"       The    title    of    Pauline    Frederick's    new    stellar    picture 
seemed  to  be  at  stake.     Hyatt  Daab  and  Weed  Dickenson,  the 
authors  of  the  piece,  had  called  it  "Her  Honor,  The  Governor." 


James    Kirkwood    is    going    to    play    in    "Butterflies    in 

the    Rain."       He    has    had    conferences    with    Edward 

Sloma'n,    who   is  to   direct  the  picture,    .     .     .    and   Lila 

Lee,    who   seems   to   have   forgotten   her   own   career 


Willard   Louis   has   been   in   demand   ever    since    "Beau 
Brummel."       He    is   again   with    Barrymore    .     .     .    this 
time   in    "Don   Juan."       It   is   in   a   scene   from   this   pro- 
duction that  Alan  Crosland  is  directing  him  here 


The  Monte  Blues 
certainly  do  not 
live  up  to  their 
last  name  since 
Barbara  Ann  ar- 
rived. They  both 
wear  the  paren- 
tal smile  that 
wont  come  off 
.  .  .  unless  some- 
thing goes  wrong 
in  the  nursery. 
Then  pandemo- 
nium reigns.  Yes, 
it  is  their  first 
child 


&  Underwood 


John  V.  Weaver  is  out 
in  Hollywood,  meet- 
ing the  stars  and 
working  on  scenarios. 
We  wish  he  would 
write  a  story  for 
Charlie  Ray.  He 
writes  about  the  fel- 
lows that  Charlie 
plays    best 


Every  movie  person 
■who  comes  to  New 
York  is  inveigled  into 
broadcasting.  It  is  the 
one  thing  about  the 
trip  that  they  dont 
like.  But  Renee 
Adoree  found  that  she 
couldn't  escape  it  any 
more  than  others  have 
been     able     to 

67 


t 


tBwgsssK 

S  According  to  the  well-informed  legal  powers  of  the  studio 
"Her  Honor"  is  not  the  correct  way  to  address  a  lady 
governor.     They  said  it  should  be  "Her  Excellency." 

"    Her  Excellency'  is  a  bum  title,"  said  Weed,  a  former 
newspaper  man.    "Few  people  know  the  difference." 

"But  the  people  who  do  know  the  difference  will  shriek 
their  disapproval  !"  exclaimed  the  technician. 

"Well."  mused  Weed. 
"If  you  want  those  people 
id  know  that  we  know 
better  put  '1  ler  1  [onor'  in 
quoti 

Therefore,  we  wish  to 
inform  you  that  Pauline 
Frederick  is  returning  to 
the  screen  in  the  stellar 
role  of  "  '1  ler  Honor,'  the 
( iovernor." 

Another  proof  of  the 
*""*•  old  axiom  that  pro- 
ducers are  like  a  lot  of 
sheep  is  the  rush  they've 
all  been  giving-  the  Devil 
lately.  What  with  "Hell's 
Four  Hundred-'  and  "Sor- 
rows of  Satan"  old  Nick 
was  well  on  the  way  to 
having  his  head  turned. 
And  now  Fox  is  going  to 
film  "The  Devil's  Master," 
a  Gerald  Beaumont  story 
which  John  Ford  will  di- 
rect, with  William  Russell 
and  Olive   Borden  in  the  leading  roles. 

/^  ilda  Gray's  first  picture.  "Aloma  of  The  South  Seas," 
^-*  was  usher.ed  into  the  Rialto  at  a  special  midnight  per- 
formance, 'mid  much  confusion.  Only  one  door  of  the 
theater  was  opened,  so  the  large  crowd  had  to  shuffle  in 
inch  by  inch,  uncomfortably  but  good-naturedly.  The 
ushers,  the  politest  in  New  York,  were  distractedly  wrest- 
ling with  the  problem  of  reserved  seats,  which  they  are 
not  accustomed  to.  Knowing  nothing  whatever  about  the 
numbering  of  the  seats,  they  sent  everyone  down  the 
wrong  aide  and  there  was  much  climbing  over  knees  and 
trampling  on  toes.  All  the>c  diffi- 
culties delayed  the  performance 
about  an  hour,  and  we  must  admit 
with  regret  that  the  picture  was 
hardly  worth  the  sleep  lost  by  the 
large  audience.     It  wasn't  lost  to 

one.  however,  for  one  or  two 
courageous  individuals  gave  up 
the  struggle  and  frankly  slept  in 
their  chair-,  giving  to  the  occasion 
i    pleasant  informality. 

The  high   light   of  the  evening 

die  appearance  of  Gilda  her- 
self, in  the  flesh.  Either  die  has 
improved  since  the  old  Ziegfeld 
days,  or  else  the  fact  that  she 
didn't  sing  added  enormously  to 
her  charm-  at  any  rate,  we 
thought  the  Hula  she  did  was  a 
wow.  Gilda  and  her  husband  en- 
tertained most  of  the  audi* 
their  studio  afterward-,  and  Gilda 

able  to  eat  heartily  for  the 
first  time-  that  day.  Mai  St.  (lair 
was  also  able  to  cat  heartily,  in 
spite  of  the  distracting  proximity 
68 


The    dancing    scenes    of    Greta    Garbo    and    Antonio    Moreno    in 

"The    Temptress,"    which    Mauritz    Stiller    is    directing    in    this 

photograph,    were    filmed    by    a    camera    attached    to    a    moving 

platform  which  followed  them  about  the  floor    .     .     . 


f 

l 

11"       mztfrh- 

t     L\wt  "ii 

?v%. 

■£*  .u< 

53 

1 


"Thanks  fc 
Talmadge 
ups    of    he 


of  Lenore  Ulric.     Alice  Joyce  and  her  husband,   Paul 
Bern,  May  Allison,  and  innumerable  others  were  there. 

It  our  Pacific  coast  is  ever  attacked  by  a  foreign  foe  some 
*  enterprising  director  like  James  Cruze  will  probably 
organize  an  army  and  drive  them  back  into  the  kelp  beds 
before  the  Government  has  decided  what  kind  of  powder 
to  use. 

According  to  rumors, 
and  there  are  more  in 
Hollywood  than  there 
were  in  the  A.  E.  F., 
Cruze  asked  permission  of 
the  Government  to  use 
some  marines  in  the  film- 
ing of  "Old  Ironsides." 
Before  the  necessary  red 
tape  had  been  unwound 
Cruze  had  assembled  an 
army  of  ex-service  men, 
and  was  making  pictures 
of  them  when  he  received 
word  that  his  request  had 
been  granted. 

However,  the   Govern- 
ment has  been  called  upon 
to   aid  in  the  making  of 
"Old     Ironsides"     on     so 
many  occasions   that  one 
slip  on  its  part  is  excus- 
able.    In  fact,  I  cited  the 
above  instance  because  I 
was   in   the   war,   and   at 
that  time  I  swore  that  if 
ever  I  had  the  chance  to  bawl  out  some  of  the  red-tape 
gang    I    would    relish    it    more    than    an    extra    can    of 
corned  willie. 

The  Government  has  come  to  the  rescue  of  Cruze  many 
times.  During  the  late  storms  a  Government  cutter  saved 
one  of  the  movie  ships  from  demolition.  Cruze's  latest 
request  to  use  the  radio  in  directing  his  battle  scenes  has 
been  granted.  After  all  the  Federal  authorities  have  been 
quite  liberal  in  their  co-operation  with  the  film  companies. 

P\ave  Kirkland,  director  for  Fred  Thomson,  was  en- 
*-^  gaged  in  selecting  a  leading  lady  for  Thomson's  next 
picture.  A  number  of  beautiful 
young  things  with  their  hands  full 
of  photographs  were  standing  in 
the  outer  office.  The  stenographer 
admitted  one  girl  at  a  time  to 
Dave's  inner  office. 

As  the  steno  was  about  to  usher 
in  number  seven  she  stopped, 
"Say!"  she  exclaimed,  staring  at 
the  trembling  ingenue.  "Didn't 
you  work  for  the  Portland  Cement 
Company  at  one  time?" 

"No,"  pouted  the  fair  one,  "I've 
never  even  been  there." 


The  Lasky  studios  are  still  try- 
ing to  find  someone  who  looks 
like  Theodore  Roosevelt,  to  star  in 
"The  Rough  Riders."  Tests  are 
being  made  all  over  the  country  of 
people  who  claim  to  be  Teddy's 
double.  These  tests  are  being 
forwarded  to  the  studio.  Old 
news  reels  of  Teddy  are  being  run 
for  the  purpose  of  checking  up  on 
(Continued  on  pane  119) 


the  buggy  ride,"  said  Constance 
hen  they  completed  some  close- 
in    an     old-fashioned    sleigh    for 

"Sybil" 


Harry  Jackson. 


SANS  SILK 


Corinne  Griffith  has  put  away  her  perfumed  silks   .    .    .   her  jewels.    She  has  cancelled  her  standing  order  for  orchids.    She  has 
laid  away   the   marcelling   irons    .     .     .    and   become   a   starry-eyed    peasant    child    for   the    first    half    of    "Into    Her    Kin 


gdom"      f\ 

69  P 

PAfili 


You  can  believe  it  if 
you  want  to.  But 
we  knew  Shirley 
Mason  on  the  screen 
when  she  was  a  de- 
mure little  thing 
with  pigtails  down 
her  back  and  wear- 
ing gingham  pina- 
fores .  .  .  and  it 
was  no  time  ago  at 
all.  She's  trying  to 
steal  all  of  "Don 
Juan's  Three 
Nights,"  we'll  bet  a 
hat  .  •  .  and  what 
with  Lewis  Stone 
playing  Don  Juan, 
we  cant  say  that  we 
blame  her 


Shucks 

Shirley. . . 

What  Do  You  Go  Acting 
Like  This  For  ? 


! 


G 


enuine 


Jad 


...  a  sateen  tie  is  just  about  as  likely  to 
figure  in  Adolphe  Menjou's  wardrobe  as 
an   imitation   jewel   in   his   morocco   case 

By  Holmer  Little 


A  DOLPHE  MENJOU  is  one  person  to  whom  Beau 
/  \  Nash,  Lord  High  custodian  of  knowledge  about 
£  ^  what  the  well-dressed  man  will  wear,  could  turn 
for  authoritative  word  on  style  and  taste.  The 
suave,  polished  gentleman  of  society,  so  skilfully  por- 
trayed by  Mr.  Menjou,  is  the  last  word  in  correctness  of 
his  attire  as  well  as  in  his  manner. 

A  sateen  tie  is  just  as  likely  to  figure  in  Mr.  Menjou's 
wardrobe  as  an  imitation  jewel  in  his  morocco  jewel  case. 
A  cotton  handkerchief  would  have  as  good  a  chance  of 
appearing  with  him  in  social  life  or  on  the  screen  as 
would  a  piece  of  green  glass  masquerading  as  an  emerald. 

In  short,  Mr.  Menjou  is  an  actor  with  jewels  as  genuine 
as  his  dramatic  skill. 

His  collection  of  stickpins  is  sufficiently  varied  to 
supply  the  correct  one  for  any  occasion.  There  is  no 
scurrying  messenger  sent  to  the  five-  and  ten-cent  store 
to  supply  the  need  of  the  moment.     Instead,  Mr.  Menjou 


Set    of    jade    and    diamond    studs    and    cuff    links    and 
emerald  ring  worn  in   "Sorrows  of  Satan" 


|# 


Adolphe  Menjou  is 
one  person  to  whom 
Beau  Nash,  custodian 
of  knowledge  about 
what  the  well-dressed 
man  will  wear,  could 
turn  for  authorita- 
tive word  on  style 
and  taste 


A    group    of    the    Menjou    jewels    showing    some    stick- 
pins and    rings  which   he   favors 

with  him.  A  wide  range  of  sport  styles  and  a  collection 
of  interesting  animal  designs  are  both  represented  in  his 
large  collection  of  pins. 

Smoking  becomes  a  rite,  indeed,  when  the  cigaret  is 
offered  from  the  French  envelope  case  of  platinum  that 
is  pictured.     It  is  so  well  portrayed  that  any  description 


leisurely  opens  his  jewel  case  and  the  variety  he  wishes  is 
forth  coming. 

A  lustrous  single  pearl  and  a  diamond  horseshoe  are 
two  favorites  of  his  that  have  appeared  on  the  screen 


Platinum  watch,  monogrammed  with  sapphires.    French 
cigaret  case,  envelope  design,   decorated  with  sapphires 


Oth< 


and   watch    chain    of    platinum    and 
pearls 


offered  would  be  an  ill-fated  attempt  to  gild  platinum. 
The  flap  is  bordered  with  small  square-cut  sapphires  that 
lend  a  decoration  that  is  simple  and  also  simply  grand. 
The  watches  that  Mr.  Menjou  has  chosen  are  equally 

{Continued  on  page  99) 


71  P 

PA  fill 


All  Aboard  the  Limerick  Liner 


Now    if    YOU    get    a    ticket 

this  time, 
For  completing  a  Limerick 
Line, 
You     must     watch     with 

both  eyes 
For  some  sort  of  surprise 
To   bring  back  from  a   far- 
away   clime. 

For,    like    all    of    the    stars 

nowadays, 
You      must      follow     the 
foreigners'    ways, 
And    take    up    a    hobby, 
Queer,    funny,    or 
nobby — 
But    one    that    your    friende 
will   all   praise. 


I 


Miss  Dolores  Cos 

tello 

designs 
All      her      negligees 

exquisite    lines 
She     gives     them;     and 

hues 
Of    the    strangest    she'll 

use, 

72 

\ot 

Adolphe   Menjou   has  taken   to  writ- 
ing 

Saucy   verses   in   French most 

exciting! 
Oh!      He  sure  has  a  flair 
For  a  rhyme  full  of  "dare" 


Pola  Negri's  new  hobby   is  munching 
Two  apples  at  noontime,  and  lunching 

On    one    quart    of    milk 

And   her  skin   is   like  silk! — 


New  steps  for   the  Charleston 

is  what 
Kathleen    Key    by    a    Russian 
was  taught 
For  her  hobby,  and  my! 
She  can -leap  to  the  sky! 


Noah    Beery's    pet    hobby's 

to   raise 
Pond   lilies — he  started  the 
craze, 
And  Filmdom's  gone  mad 
Over  this  pleasant  fad, 


Arc  you 

goin 

g  to   be   one 

oj     the 

lucky 

pusscni/crs 

on    The 

Limerick    Liner? 

We  have  $50. 

00  to  divide 

among 

five 

writers      of 

clever     I 

mes. 

Remember 

that    the 

line 

you    submit 

to     complete 

a     limerick 

must 

first    til 

us  you 

\ddrei 

Bro'okl- 

Answe-rMan 


ANNIE  LAURIE.— I  should  say  it  is  warm.  Douglas  Fair- 
banks, Jr.  and  Marie  Dresser  have  been  added  to  the  cast  of 
"Broken  Hearts  of  Broadway."  Thanks  for  the  card,  also  the 
forget-me-not. 

FRANCIS  B.— No,  no  George  O'Brien  and  Olive  Borden  are 
not  engaged.  You  want  me  to  tell  George  O'Brien's  secretary  to 
take  poison.     That's  nice — she  may  be  a  charming  little  girl. 

DORIS  A.— So  you  think  I  must  look  like  Bull  Montana  or 
else  I  would  publish  my  picture.  Well  I  dont!  There  was  a  pic- 
ture of  Rudolph  Valentino  in  the  November  1924  Magazine.  And 
you  saw  "The  Eagle"  five  times. 

SYLVIA  C. — What's  this*  you  are  not  sure  whether  I  am  the 
real  thing  or  not.  Well  let  me  tell  you,  young  lady,  there  is  noth- 
ing false  about  me,  not  even  my  beard  or  teeth.  Write  to  First 
National,  383  Madison  Avenue,  New  York  City. 

TEARLE  FAN.— Oh,  yes,  Conway  Tearle  is  still  around,  he  is 
playing  in  "Altars  of  Desire,"  with  Mae  Murray.  And  speaking 
without  thinking  is  shooting  without  taking  aim.  Blanche  Mehaf- 
fey  in  "Take  It  From  Me." 

BESS  AND  CORA.— What's  this,  a  duet?  Well  I  dont  think 
I  can  settle  the  argument,  but  Pola  Negri's  mother  was  Polish  and 
her  father  was  a  gypsy.     France  boasts  of  having  more  women 

-  aviators  than  any  other  country  in  the  world.     I  always  did  hear 
that  they  were  high-flyers. 

IMA  TALKER. — So  I  see.  Curiosity  is  not  the  monopoly  of 
sex.  No,  I  dont  hear  much  about  Marguerite  Clark.  Neil  Hamil- 
ton is  playing  in  "Beau  Geste." 

ANNA  M. — No,  I  have  never  been  asked  to  pose  for  shaving- 
cream  advertisements.  I  dont  know  who  said  "The  society  of 
women  endangers  men's  morals  and  refines  their  manners." 
Pauline  Garon  in  "The  Show-Off."     So  you  want  to  be  a  nurse. 

TWO  GREAT  THINKERS.— Who?  Yes,  Douglas  Fairbanks 
played  in  the  mob  scene  of  Mary's  "Dorothy  Vernon  of  Haddon 
Hall."  Did  you  see  him?  Ian  Keith  opposite  Belle  Bennett  in 
"The  Lily." 

CLAIRE. — So  you  got  a  real  thrill  when  you  saw  Marion 
Nixon.  She  and  Pat  O'Malley  in  "Spangles"  for  Universal.  I 
think  you  have  a  very  good  angle  on  the  situation,  but  a  man 
philosophizes  better  than  a  woman  on  the  human  heart,  but  she  reads 
the  hearts  of  men  better  than  he. 

VIVIAN  F. — So  you  think  my  answers  are  cute.  In  "Laddie," 
the  Gene  Stratton-Porter  story,  four  of  the  late  novelist's  relatives 
are  connected  with  the  picture.  Jeannette  Porter  Meehan,  daughter 
of  Mrs.  Porter,  adapted  the  story  which  is  being  directed  by  her 
husband,  Leo  Meehan,  and  Jeannette  and  Gene  Stratton,  both 
grand-daughters,  are  included  in  the  cast. 

LOYAL  THRU  THE  YEARS.— Your  letter  was  mighty 
interesting,  and  I  hope  to  hear  from  you  again. 

LIBERTY. — Well  the  other  magazine  that  I  answer  questions 
for  is  The  Motion  Picture  Classic, 
this  magazine's  young  sister.  Yes,  I 
wear  my  beard  all  summer.  Richard 
Dix  was  born  July  18,  1894,  six  feet, 
170  pounds,  brown  hair  and  eyes  and 
is  playing  in  "Say  It  Again." 

HILDA  H. — You  certainly  read  a 
great  deal.  I  am  still  earning  $15.00 
per,  and  I  will  be  able  to  save  when 
the  warm  weather  is  here.  The  poor 
will  do  much  for  money,  but  the  rich 
will  do  anything  for  more  money. 
Francis  X.  Bushman  and  Grace  Dar- 

-  mond  in  "The  Show  World"  for  Uni- 
versal. Ah,  but  the  tiger  is  physically 
stronger  than  a  lion.  The  silkworm 
lives  from  SO  to  73  days. 

B.  W.  S. — Your  letter  surely  spar- 
kled.    Thanks    for    the    buggy    ride. 


HEAR  YE,  HEAR  YE! 

All  you  folks  who  have  questions  to  ask,  come 
this  way  and  you  shall  be  heard — and  answered. 
I  have  learnt  a  lot  during  the  last  eighty-two 
years,  and  it's  all  yours  for  the  asking.  Been 
answering  ???  here  for  the  last  fifteen  years 
and  still  going  strong.  If  you  want  an  answer 
by  mail,  enclose  a  stamped  addressed  envelope. 
If  you  wish  the  answer  to  appear  here,  write 
at  the  top  of  your  letter  the  name  you  want 
printed,  and  at  the  bottom  your  full  name  and 
address,  and  mail  to  me,  The  Answer  Man,  care 
of  Motion  Picture  Magazine,  175  Duffield 
Street,  Brooklyn,  N.  Y. 


MRS.  M.  S. — Enjoyed  yours,  also  the  cards.  I  didn't  see  Ruth 
Roland  this  time  when  she  was  in  New  York,  but  she  phoned 
me.     I  feel  the  same  way  you  do  about  her. 

G.  C. — Pride  only  helps  us  to  be  generous ;  it  never  makes  us  so, 
any  more  than  vanity  will  help  us  to  be  witty.  So  you  like  John 
Bowers.  You  know  Mickey  Daniels  has  left  "Our  Gang"  but  has 
been  supplanted  by  another  boy,  even  more  freckled  than  he  is. 
SUE. — A  guilty  conscience  is  the  mother  of  invention.  Yes, 
Valentino  has  been  married  and  divorced  twice.  From  all  accounts, 
I  dont  think  there  will  be  a  third  time.  I  should  say  I  do  drink 
buttermilk,  and  good  and  plenty  this  warm  weather. 

NOEL. — Here  you  are  Noel,  anything  to  make  a  boy  happy  in 
his  youth.  You  want  to  know  how  "long  was  the  whip  used  by 
Douglas  Fairbanks  in  'Don  Q.' "  How  much  did  it  weigh?  What 
style  was  it?  It  is  an  Australian  bull-whip,  long,  very  slender  and 
with  a  very  sinuous  lash  fastened  to  a  short,  buttlike  handle  and 
tapering  from  an  inch  or  so  in  thickness  to  a  little  more  than  a 
small  cord  in  its  15th  or  16th  foot  in  length.  It  was  used  by 
cattlemen  in  the  early  ranch  days  of  Southern  California.  Yes, 
Douglas  is  in  Europe  at  this  writing. 

MISS  L.  D. — Speaking  of  curious  words,  there  is  one  in  the 
English  language,  the  first  two  letters  of  which  signify  a  male,  the 
first  three  a  female,  the  first  four  a  great  man  and  the  whole  a 
great  woman.  The  word  is  "heroine."  Yes,  I  think  Richard  Dix 
and  Lois  Wilson  are  an  ideal  couple.  "Lefty"  Flynn  is  playing 
in  a  series  of  two-reelers  called  "Bill  Grimm's  Progress." 

RAMON'S  SLAVE.— Well  actions  may  speak  louder  than 
words,  but  they  are  not  such  great  liars.  Ramon  Novarro  was 
born  September  20,  1899.  John  Barrymore  was  born  February 
15,  1882.  Byron  was  the  author  of  "Don  Juan"  that  has  just  been 
produced. 

DOROTHY  L. — Thanks  for  sending  me  your  Bebe  Daniel's 
Club  chats.  Anyone  wishing  to  join  this  club  write  to  Dorothy 
Lubou,  2064  Vyse  Avenue;  New  York  City. 

DOROTHY  B.— Well  I  didn't  mean  anything  personal— there's 
one  club  after  another.  Carol  Dempster  was  born  January  16, 
1902.  She  is  playing  in  "Sorrows  of  Satan."  So  it  was  in  a 
dentist's  office  that  you  first  met  our  magazine.  Owen  Moore  in 
"The  Red  Mill"  with  Marion  Davies.  He  is  also  playing  in  "The 
Road  to  Mandalay"  with  Lon  Chaney  and  Lois  Moran. 

OLIVE  NUT. — The  Juggernaut  is  supposed  to  be  a  Hindoo  god. 
He  has  a  famous  temple  in  India.  Yes,  there  is  a  Columbia  Com- 
pany, and  they  have  such  stars  as  Betty  Compson,  Bert  Lytell, 
Mary  Carr,  Ann  Pennington,  Johnnie  Walker,  Lionel  Barrymore, 
Katherine  MacDonald,  and  George  O'Hara. 

H.  B.  B. — Better  start  a  company  in  Florida  with  the  good-look- 
ing  family.     You   say  your   wife  resembles    Pauline   Starke,   and 
your  daughter  resembles  Dorothy  Mackaill,  while  your  son  wants 
to   join   Tom   Mix.     I   wouldn't   be   surprised   if    you   looked   like 
Valentino.     Guess  I  could  play  a  little 
part  in  that  picture  you  mention  my- 
self.   See  you  later.    Have  one  on  me. 
MISS     MAUDE     R.— Surely    you 
dont  ask  me  to  give  you  here  a  list 
of    all    the    pictures    Tom    Mix    has 
played    in — there   were   eight   in   1924, 
and  about  as   many   every  year   since 
he  began  in  1920.     Have  a  heart. 

AL. — No,  I  have  no  thoughts  of 
marrying.  I  should  say  my  room  is 
reasonable ;  how  could  it  be  otherwise 
on  a  $15.00  salary?  But  it  is  not  big 
enough  for  two  and  light  housekeep- 
ing. Jacqueline  Logan,  Creighton 
Hale,  Earle  Fox,  Zasu  Pitts  and 
David  Butler  in  "Wages  for  Wives," 
from  the  stage  play,  "Chicken  Feed." 
(Continued  on  page  78) 

73 

PAfi 


I 


f  ■■■■■■■■■■■I 


V 


We    have     discovered     one     of 
the     reasons     for     the     lumber 

shortage namely,     Russell 

Simpson.        You     have     heard 
about   the   long  waits   between 

scenes of   the   weary   waiting 

done  by  the  players.  Well, 
Mr.  Simpson  spends  his  time 
whittling.  He  is  the  film  col- 
ony's jack-knife  man.  Here 
you  see  him  in  the  character 
of  Siubbins,  which  he  essayed 
for   "Lovey  Mary" 


I 


74 


Advertising  Section 


■iRwMtMA6«inEURf 


UoLrs.  Hgginald 

yanderoilt 
says- 

i(. . .  together  they  constitute  as 
simple,  swift  and  effectual  a 
method  of  caring  for  the  skin 
as  has  yet  been  discovered" 


HE  lovely  younger  women  of 
society  have  learned  that  even 
in  the  proud  bloom  of  youth 
it  pays  to  keep  the  lamp  of 
beauty  filled  and  trimmed. 

Listen,  for  instance,  to  Mrs.  Vander- 
bilt: — "Youthfulness  is  the  real  pot  of 
gold  at  the  end  of  every  woman's  rain- 
bow. How  to  keep  it,  how  to  achieve  it  is 
her  goal." 

Mrs.  Vanderbilt's  beauty  is  like  a  star 
—cool,  white,  apart.  It  is  unexpected — 
and  thrilling. 

As  Miss  Gloria  Morgan  she  "danced  at 
court"  in  the  great  cap- 
itals of  Europe.  Then 
came  her  brilliant  mar- 
riage into  one  of  America's 
most  celebrated  families, 
followed  by  the  birth  of 
a  lovely  baby  girl. 

Marriage,  mother- 
hood, houses  in  New 
York  and  Newport — re- 
sponsibilities have  only 
increased  Mrs.  Vander- 
bilt's conviction  that 
beauty  must  have  wise 
care. 

"Pond's  Two  Creams," 
she  says,  "are  a  wonderful  help  to  this 
coveted  end — they  cleanse  the  skin,  keep- 
ing it  fresh  and  firm.  And  protect  it, 
giving  it  a  velvety  finish.  Together  they 
constitute  as  simple,  swift  and  effectual  a 
method  of  caring  for  the  skin  as  has  yet 
been  discovered." 

Care  for  your  skin  as  follows  daily 
Whenever  your  skin  needs  cleansing  use  Pond's 
Cold  Cream.  After  you  return  from  an  outing 
and  always  at  night  before  retiring,  pat  it  gen- 
erously over  the  surface  of  your  face,  throat, 
hands.  Let  it  stay  on  a  few  moments  that  its 
soft  fine  oils  may  sink  down,  down  into  the 


l  he  shimmer  of  white  taffeta,  the  daring  of  black  velvet  in  this  exquisite  period 
Lanvin  frock,  conspire  to  heighten  Mrs.  Vanderbilts  exotic  beauty 


The  TWO  CREAMS  which  cleanse, 
tone  and  preserve  your  delicate  skin 


skin's  deep  cells,  forcing  out 
all  dust,  dirt  and  face  pow- 
der. A  soft  cloth  or  facial 
tissue  removes  all  cream  and 
pore-deep  dirt.  To  make 
doubly  sure,  pat  fresh  cream 
on  again.  Remove  once 
more.  Finish  with  a  dash  of 
cold  water  or  a  rub  with  ice. 
If  your  skin  has  been  ex- 
posed to  sun  and  wind  or  if 
it  tends  to  dryness,  after  the 
bedtime  cleansing  pat  on 
more  Pond's  Cold  Cream 
and  leave  it  until  morning. 
It  smooths  out  all  the  un- 
lovely little  lines,  brings 
you  supple  and  fresh  to  start  the  day. 

Oiliness  means  overactive  oil  glands  and 
these  in  turn  mean  congestion  at  the  base  of 
the  pores.  Repeated  cleansings  with  Pond's 
will  eliminate  every  trace  of  oiliness  and  bring 
back  a  soft,  clear  tone— like  satin  without  the 
sheen. 

After  every  cleansing  with  Pond's  Cold  Cream, 
except  the  bedtime  one,  apply  Pond's  Vanishing 
Cream  thinly.  It  vanishes,  leaving  an  exqui- 
sitely smooth  surface,  a  translucent  loveliness. 
And  now  for  your  powder.  Whisk  it  on  and 
see  how  beautifully  it  lies  and  lingers!  You 
won't  forever  have  to  be  daubing  your  nose  in 
public.  And  go  out,  now,  without  apprehension 


for  your  skin.  Laugh  at  the  wind.  Turn  your 
nose  up  at  the  sun.  They  cannot  harm  you — 
spared,  protected,  as  you  are  by  this  delicate 
film  of  Pond's  Vanishing  Cream. 

Buy  and  try  Pond's  Creams.  See  for  your- 
self that  Mrs.  Vanderbilt  speaks  truly  when 
she  says,  "They  constitute  as  effectual  a 
method  of  caring  for  the  skin  as  has  yet  been 
discovered." 

Other  women  of  beauty  and  social  prestige 

who  have  praised  Pond's  Creams  are: 

Her  Majesty  the  Queen  of  Roumania 

The  Princesse  Marie  de  Bourbon 

The  Duchesse  de  Richelieu 

Mrs.  William  E.  Borah 

Miss  Anne  Morgan 

Mrs.  Nicholas  Longworth 

Miss  Marjorie  Oelrichs 

Miss  Elinor  Patterson 

Miss  Camilla  Livingston 

Vvpp   Ciffpr'   Why  not  try  Pond's  Two  Creams, 
i  rcc  yjjcr .  jree?   Mail  couponfor  tubes  of 
each  and  instructions  for  using  them. 
The  Pond's  Extract  Company,  Dept.  H, 
143  Hudson  Street,  New  York  City 

Please  send  me  your  free  tubes  of  Pond's  Creams. 

Na  m  e - 

Street 

City State 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


-75  P 

PAfill 


He  s  in  the 
Army  Now 


— you  know  the  rest  of  it. 

Anyway  Syd  Chaplin  gets 

into  khaki  for  "The  Better 

f01e" 


There's  a  funny  side  to  every- 
thing, even  warfare.  And 
"The  Better  'Ole"  is  it.  If  you 
dont  believe  us,  go  see  for 
yourself 


1a0£ 


Advertising  Section 


<wfwm 


Your  Powder  won't  Show 

when  you  use  a  scientifically  blended  shade  of 
Pompeian  Beauty  Powder  to  match  your  skin 


N  PICTURR 

GAZINE      j\ 


By     MADAME     JEANNETTE 

Famous  cosmetician,    retained  by   The  Pompeian 

Laboratories  as  a  consultant  to  give  authentic  advice 

regarding  the  care  of  the  skin  and  the  proper  use 

of  beauty  preparations. 


cjri 


SOFT,  delicate 
texture  —  a  lovely 
satiny  face — yet  not  a 
sign  of  powder.  What/f 
the  secret  of  her  alluring 
complexion?  Does  she 
use  powder?  She  does, 
but  a  shade  that  matches 
so  perfectly  the  tone  of 
her  skin  that  she  secures 
the  good  effects  of  pow- 
der without  seeming  to 
use  it. 

All  smart  women 
strive  for  a  natural  com- 
plexion, but  all  do  not 
achieve  it.  Not  all  wo- 
men have  found  a  pow- 
der that  really  matches  their  skin — a  powder  that 
reveals  their  natural  coloring.  Complexions 
are  not  composed  of  single  colors,  but  a  blend 
of  different  colors.  Pompeian  Beauty  Powder 
is  scientifically  blended  from  different^  colors. 
Whatever  the  tone  of  your  complex-1 
ion,  some  one  shade  of  this  powder 
matches  it  perfectly.  Select  this  shade 
from  the  directions  that  follow  in  the 
Shade  Chart. 

Pompeian  Beauty  Powder  has  gained 
its  remarkable  popularity  because  of  its 
purity,  its  exceptional  consistency,  its 
delicate  odor,  its  quality  of  adhering 
-and  its  perfection  of  shades. 


give  your  skin  a 
lovely  uniform  tone  by  using 
aselected  shadeof Pompeian 
Beauty  Powder — the  shade 
that  exactly  matches  your 

skin. 


'This  charming  type  of  American  beauty,  with  gray  eyes  and  brown  hair,  should  use 
Pompeian  Beauty  Powder  in  the  Naturelle  shade  to  emphasize  the  lovely  tone  of  her  skin. 


well- 


Shade  Chart  for  selecting 
your  shade  of  Pompeian  Beauty  Powder 

Medium  Skin:  The  average  American 
skin  tone  is  medium,  neither  decidedly 
light  nor  definitely  olive.  This  skin 
should  use  the  Naturelle  shade. 

Olive  Skin :  Women  with  this  type 
of  skin  are  apt  to  have  the  dark  hair 
and  eyes  characteristic  of  beautiful  Span- 
ish women.  This  skin  should  use  the 
Rachel  shade  to  match  its  rich  tones. 

'Pink  Skin;  This  is  the  youthful,  rose- 
tinted  skin,  and  should  use  the  Flesh 


shade  of  Pompeian  Beauty  Powder. 

White  Skin :  This  skin  is  unusual,  but 
if  you  have  it  you  are  the  only  type 
that  should  use  White  powder  in  the 
daytime. 

In  the  evening  under  artificial  light 
it  maybe  better  to  use  powder  of  lighter 
shade  than  the  one  recommended  above. 
In  case  of  doubt,  write  a  description  of 
your  skin,  hair  and  eyes  to  me  for  special 
advice. 


If  you  have  experienced  the  difficulty 
of  having  powder  look  "chalky  and 
unnatural,"  buy  a  box  of  Pompeian 
Beauty  Powder  today,  in  the  shade  sug- 
gested for  your  special  type.  At  all  toilet 
counters  60c.  (Slightly  higher  in  Can- 
ada.) Purity  and  satisfaction  guaranteed. 

Specialiste     V  ,en  Beante 

P.  S.    I  suggest  Pompeian  Day  Cream  to  protect  your  skin 
againstthe  weather, andPompeian  Bloom  for  a  touch  of  color. 


Send  for 
Liberal  Sample  of  Powder 

DO  you  not  agree  with  me  about  matching 
your  skin  tones  with  the  correct  powder 
shade?  Then  I  urge  you  to  act  on  this  advice, 
and  see  with  your  own  eyes  how  much  more 
beautiful  Pompeian  Powder  will  make  your 
complexion.  It  is  so  easy  to  make  this  test. 
Just  fill  in  the  coupon  and  send  it  to  me  with 
10c.  In  return,  I  will  send  you  a  generous 
sample  of  Pompeian  Beauty  Powder  (enough 
for  several  weeks'  use)and  in  addition  a  sample 
of  Pompeian  Bloom  containing  enough  rouge 
for  30  applications. 

It  will  never  be  easier  to  tear  offthe  coupon 
than  NOW,  before  you  turn  the  page. 


Madame  Jeanitiette,  The  Pompeian  Laboratories 
2613  Payne  Ave.,  Cleveland,  Ohio. 

Dear  Madame:  I  enclose  a  dime(10c)for  sam- 
ples of  Beauty  Powder  and  Bloom. 

Name 

Street 

Address • 

City ..State 

Shade  of  powder  wanted 


When  yon  write  to  advertisers  pie 


MOTION    PICTURE   MAGAZINE. 


77 

PAG 


I 


T AMOTION  PICrURP 
til  MAGAZINE      f 


The  Answer  Man 

(Continued  from  page  73) 


DESPERATE  AMBROSE.— How  desperate  are  you,  Am- 
brose? Yes,  1  have  heard  that  the  opal  stone  was  hard  luck, 
but  cheer  up.  The  turquoise  stone  is  supposed  to  be  a  preservative 
from  death,  and  Russian  officers  still  wear  them  in  their  rings 
for  that  purpose.  Wallace  Beery  is  married  to  Mary  Gillman. 
That  is  Gloria  Swanson's  real  name.  Mary  Pickford  was  born 
in   Canada,  and   her   real   name   is  Gladys   Smith. 

KITTY.— But  the  girlie  who  cant,  but  tries,  deserves  more  than 
the  oik-  who  can  hut  wont.  Gloria  Swanson's  next  is  "Personality." 
Fred  Thomson  is  married  to  Frances  Marion.  There  lore  he 
probably  yets  all  his  scenarios  tree. 

MARGARET    E.   C.     Well.  Lloyd   Hughes  was  horn  in  P.ishee, 
Arizona,    October  2,    1899,  and   was    married   to 
Gloria  Hope  on  fune  30,  1921. 

ALICE  OF  OLD  VINCENNES;— So  you 

are  trying  to  convince  me  that  a  woman's  love 
is  more  sincere  than  a  man's.  We  will  have  to 
chat  that  out  some  day.  You  are  right  about 
Bebe  Daniels.     No,  Nita  Naldi  is  not  married. 


MEN 

Richard    Dix 97 

Ramon    Novarro    57 

Ronald  Colman    54 

John   Gilbert    53 

Ben    Lyon    50 

Rudolph   Valentino   49 

Lloyd    Hughes     43 

William   I  laines    36 

Richard    Barthelmess    32 

Ricardo  Cortez    32 

George    O'Brien    24 

Tom    Mix    24 

Rod   La   Rocque    23 

1  .rtwrcp.ee    (  iray    20 

Buck   Jones    19 

John    Barrymore    19 

Thomas    Meighan 18 

Lon  (  hancy    17 

Clive  Brook    16 

Douglas   Fairbanks    15 

1  [arrison    Ford    14 

( lonrad    Nagel    14 

Adolphe    Menjou    14 

Jack   Holt    14 

Percy    Marmonl    14 


Watch  Them  Rise! 


Yet,    1  could  certainly   keep  a  woman   warm   with  my   whiskers — 
she  would  not  need   furs. 

FIRM  AS  A  ROCQUE.— Och!  No,  I  am  not  in  Walter 
lliers'  or   Babe  London's  class.     I'm  in  a  class  all  by  myself. 

SAMUEL  I.  O. — Well,  when  my  thoughts  dont  flow  fast 
enough,  I  step  on  her.  Lucille  Ricksen  was  born  September  2, 
1907,  and  died   March   13,   1925,  of  pernicious  anemia. 

CHAPPIE.— Blessed    are    the    Marys— Mary    Pickford.    Mary 

Astor,   Mary  Philbin,  Mary  Brian  and  Merry  Christmas.     So  you 

think  I  should  go  into  the  diplomatic  service  for  Uncle  Sam.     I'm 

too  young  and  honest   for  that  crowd.     Wasn't  it  the  letter  "L"? 

ALBERTA. — Yes,    I    am   a    man   of    few    words,   and   they   are 

usually    disagreeable    ones.      Anna    Q.    Nilsson 

is    five    feet    seven.      Perhaps    Nita    Naldi    is 

the  tallest  woman  on  the  screen.     Valentino  is 

five  feet  eleven.     Yes,  Constance  Talmadge  was 

married  to  John  Pialaglou,  but  she  is  now  Mrs. 

Alastair  Macintosh. 

GAY. — That's     easy,    Wallace     Beery,     and 


WOMEN 

Colleen    Moore    64 

Betty  Bronson    38 

Norma  Shearer    37 

Marion    Davies    36 

Mary   Pickford    33 

Gloria    Swanson 32 

Norma  Talmadge    . 31 

Bebe  Daniels    31 

Mary  Brian    25 

Clara  Bow 25 

Sally    O'Neil    25 

Esther   Ralston    24 

Mae   Murray    23 

Barbara  La  Marr   23 

Pola  Negri    21 

Vilma  Banky    21 

Madge    Bellamy 21 

Dolores  Costello    20 

Lois    Wilson    20 

Claire   Windsor    20 

Lillian  Gish    18 

Constance    Talmadge    17 

Eleanor   Boardman    15 


I 


SLIM  JIM.  So  you  like 
Mr.  Brewster's  articles.  He 
is  some  philosopher  and  pro- 
phet.    Did  you  know  that   in 

1909,  issue  of  the  (  aldron  Magazine,  Mr.   Brewster  said, 
•.'.ill   be    fought    in  the  skies,  and  after  that    in  the 
parliaments   and   coi  i     hi     was    right. 

DICK     BARTHELMESS     ADMIRER.-    He    was    born     May 
'),   1895.     Fivi  ii  think  it  is  a  shame  thai    Mrs. 

Barthelmess  lefl  him.     You  say  you  know  many  a  girl  who  would 
like    to    take    her    plan-.      Well,    you    know    when    a    girl 
in  her  head,  you  can  do  nothing  with  her. 
BERTIE  A  ent   (went:    five  cents  to   House   Peters, 

Lois   Wilson,    Lon   Chancy   and    Will    Rogers    ior   their   pho 

nl  them.  Perhaps  they  needed  the  money.  Mary 
Philbin  had  an  especially  built  celluloid  "body"  which  sh<  had  to 
wear  for  her  role  of  Unity  Blake  in  "Stella  Maris." 

VIVIAN  II.  Lout  give  up.  Perhaps  he  will  come  had:.  They 
always  do.  Harrison  Ford  was  married  to  Beatrice  Prentice;  but 
I  understand  they  haw  separated.  You  say  our  alphabet  is  too 
I  should  be  shortened,  and  you  ask  me  how.  Say,  is  this  a 
proposal?  'Ibis  is  so  sudden!  The  only  way  I  know  is  to  get 
married,    for   then    U   and    I    would   be  one.     Alas.    1   am   too  old! 

78 

AGE 


Once   more  Richard   Dix   and   Colleen   Moore   came   out   on   top. 
But    there    is   the    usual    shifting  about   among   the    other   players 


Herbert      Somborn,      the 

former    husbands    of     Gloria 

Swanson. 

C.  HENRI  DE  LANEY.— 

That's   not    so  easy.      1    dont    know   the   brand    of   cigarets    Gloria 

Swanson  smokes.     Larry  Kent  played  opposite  Alberta  Vaughn  in 

"The  Adventures  of  Mazie." 

THE  THREE  JOHNSONS.— No,  I  dont  mind  giving  the 
ages  of  the  players;  let  me  see,  Norma  Shearer  is  twenty-three, 
Richard  Barthelmess  thirty-one,  John  Gilbert  thirty-one.  Lloyd 
twenty-six,  Gloria  Swanson  twenty-nine,  Betty  Compson 
twenty-nine,  Constance  Talmadge  twenty-six  and  Tom  Mix  forty- 
six.     You're  wi 

THE  HARD-BOILED  WIDOW.— I  cant  believe  that.     Well. 
when  a  man  gi\es  to  a   woman  because  it  pleases  her  to  receive. 

hi    is  necessarily  in  love;  but  when  he  gives  because  it  pleases 

him  to  give,  he  is.     Yes,  Ben  Lyon  is  a  fine  boy.    He  was  in  to  see 

us    one    day.      Pauline    Garon    is    twenty-four,    five    feet   one   and 

104;  has  light   hair  and  hazel  eyes. 

[I ,'.  VI  /      So  you  think  Ronald  Colman  is  Hotsy  Totsy.  Hurrah! 

DIANA.— Keep   you   own    secrets,    for   nobody   else   will.      I   can 

see  you  arc  all    for  Alberta   Vaughn.     Jackie  Coogan   in  "Johnny- 

G<  i  Your  I  fair-Cut." 


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79 

PAG 


i 


Milton  Sills 


The  Answer  to"  Whose  Hands? 


Which  Appeared  in  the  July  Issue 


The  long  hand,  with  its  long  slender 
1  fingers,  belongs  to  Milton  Sills.  Such  a 
hand  would  indicate  a  lean,  muscular  per- 
son, tall  in  stature  and  with  an  oblong  face, 
and,  surely,  this  description  fits  Mr.  Sills. 
The  hand  and  face  both  show  an  active, 
restless  nature,  a  thoughtful  person  with 
a  philosophical  and  an  analytical  mind; 
one  who  thinks  things  out  clearly  and 
logically.  In  face  and  hand  alike  is 
shown  an  independent  and  a  very  in- 
dividualistic nature,  also  splendid  executive 
ability.  It  would  be  a  great  loss  to  us 
for  .Mr.  Sills  to  give  up  acting  upon  the 
screen,  but  what  an  excellent  director  he 
would  make. 


By  F.  Vance  de  Revere 


The  very  versatile  hand,  whose  owner  is 
very  individual,  belongs  to  Aileen 
Pringle.  In  her  face,  more  than  her  hand, 
are  shown  determination,  persistency  and 
good  judgment.  In  hand  and  face  alike 
is  indicated  an  honest,  fearless,  straight- 
forward nature  with  great  courage  of  her 
convictions,  a  person  who  is  independent 
in  both  her  thinking  and  her  actions ;  one 
who  is  an  excellent  judge  of  human  nature 
and  very  adjustable  and  adaptable  to  all 
conditions  and  people.  Poise,  dignity  and 
self-control  are  much  in  evidence  and  are 
dominant  characteristics.  Aileen  Pringle, 
with  her  mentality  and  ability,  if  given 
worth-while  parts,  would  overshadow  those 
who  have  been  more  fortunate. 

All  rights  reserved 
F.  Vance  de  Revere 


The  very  youthful  hand  belonging  to  on 
of  the  new  people  in  the  "Movies"  is 
the  hand  of  Gertrude  Olmstead.  Her  hand, 
as  well  as  her  face,  indicates  a  very  ver- 
satile person  with  a  number  of  possibilities. 
Vocationally,  she  could  do  well  in  several 
vocations.  In  both  hand  and  face  is 
shown  a  sensitive,  emotional  person,  espe- 
cially susceptible  to  music  and  color ;  tact, 
diplomacy  and  a  sociable,  friendly  nature, 
a  love  of  luxurious  and  harmonious  sur- 
roundings. If  Gertrude  Olmstead,  who  is 
young  and  whose  character  is  still  in  the 
formative  state,  develops  her  possibilities, 
she  will  be  very  successful. 


, 


I 


ARE  THEY  ALL  THEY  SEEM? 

Is  Valentino  a  Don  Juan  in  Hollywood? 

Is   Lillian   Gish   really   as   spiritual    and  wistful  as  she  seems  on  the  screen? 

Is    John    Gilbert    the    same    type   that  he  appears  to  be? 

Gladys    Hall 

has  written  a  frank  story  about  several  of  the  motion  picture  people  sans  the 
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81 

PAfi 


S 


YES    and    NO 


SAY  IT  WITH 

LETTERS 


Have  you  a  kick  against  the  movies?  Then  dont  suffer  in  silence. 
Write  us  a  letter  about  it.  Have  you  a  favorite  that  you  want  to  tell 
the  world  about?  Then  remember  that  it  isn't  fair  to  keep  the  good 
news  to  yourself.  This  department  is  devoted  to  your  opinions  and 
you  are  the  boss  of  this  page 


1\\  AS  verj  much  interested  in  a  letter  published  in  the  June 
Motion  Picture  in  which  the  writer  protests  against  players 
being-  cast  according  to  type.  Now,  I  think  a  review  of  the 
current  favorites  indicates  that  however  versatile  the  players 
may  be,  the  public  will  not  allow  them  to  break  away  from  those 
parts  with  which  they  are  identified. 

If  we  separated  Bill  Hart  from  his  six-shooters,  Tom  Mix  from 
his  sombrero,  Harold  Lloyd  from  his  glasses,  Mary  Pick  ford  from 
her  curls,  Charles  Chaplin  from  his  derby,  cane,  and  shoes — 
would  these  stars  continue  to  be  stars  in  our  eyes?     I  wonder. 

The  stars  today  have  become  established  by  the  individual  style 
of  their  respective  roles — and  by  the  unique  manner  in  which  they 
have  stuck  to  these  roles.  The  classic  example  is  that  classic 
comedian,  Charles  Chaplin.  Never  has  he  dared  remove  his  little 
mustache,  never  has  he  discarded  his  derby  or  baggy  trousers. 
When  so  great  an  artist  as  this  feels  it  imperative  to  stay  in  one 
well-defined  part,  the  necessity  of  creating  a  type  and  sticking  to 
it  becomes  apparent. 

What  of  Buster  Keaton  and  Harold  Lloyd?  Harold  Lloyd  was 
comparatively  unknown  until  he  found  bis  horn-rimmed  glasses, 
and  created  his  present  type.  One  of  our  best  types  was  Charles 
Ray,  the  bashful  farmer  boy.  This  type  brought  him  fame—he 
tried  to  get  away  from  it,  and  disaster  followed.  True,  he  is  try- 
ing to  come  back  in  different  parts — but  we  shall  see. 

Dick  Barthelmess  attempted  something  different  in  "The  En- 
chanted Cottage" — it  was  an  artistic  success,  but  a  box-office  fail- 
ure. Mary  Pickford  attempted  to  change  her  type  in  "Dorothy 
Vernon" — it  brought  a  storm  of  protest,  and  Mary  returned  to  the 
type  that  made  her   famous. 

Adolphe  Menjou  is  a  distinct  type — he  knows  it,  and  keeps  to 
it.     So  is  Raymond  Griffith,  and  Wallace  Beery. 

So  we   might  go  on.      Most    stars    today   are   such   because   they 
have  appreciated  the  value  of  type,  and  have  capitalized  it. 
M.  M., 

Vancouver,  B.  C. 

Nothing  Whatever — Only  Five   Husbands 

I  wonder   where   Peggy   Hopkins  Joyce  got  the  idea  that  she  is 
good-looking.      She   sure   has    it.      1    have   never    in   my    life    seen 

anybody   as    conceited   and    egotistical    as    she   is    and   with    nothing 

whatever  to  even  halfway  justify  it. 

I  went  to  see  "The  Skyrocket"  expecting  to  sec  a  marvel  of  good 

looks,  intelligence  and   acting.      I   came  away  disgusted,  to  say    the 

least.     I  am  surprised  that  such  an  in- 
telligent    and     good-looking     actor     as 

Owen  Moore  would  agree  to  play  with 

her.     That  may  not  have  been  his   fault, 

but  that    of    the    casting    director,    bow- 
She   is   vainly    trying    to   win    fame    in 

the    movies    on    her    reputation    in    real 

life.       Whatever    her     fatal    charm     for 

members  of  the  masculine  sex  maj   be, 

let  her  continue  to  pfactisc  it  on  them 

and     NOT    on    the    poor    unsu-i 

fans. 

G.   R„ 

Atlanta,   < ,. 


Is  Valentino  Through? 

T  1  in-  k     thai     I     can     name     the     few 

•     that,   I  think,  have  talenl   and 

ility.       'I  here     are     only     a     few. 

Valentino  is   finished  and  he   n 

well   "own  up."     Milton  SilL,  Thomas 

Tearle  and 
O'Brien    are    too    old    to    con 

ilities."     Lloyd  Hughes,  Rod  La 
Rocque  will  always  be  just   what  they 
£f\-ire  today, 

V&2 


V/Of'A'  opinions  on  subjects  re- 
■*  Idling  in  the  movies  and  their 
players  may  he  worth  actual  money 
to  you.  if  you  can  express  them 
clearly  in  a  snappy  letter  of  one  to 
three  hundred  words.  A  fire-dollar 
price  is  awarded  for  the  best  letter 
of  the  month,  which  will  he  printed 
at  the  head  of  this  department. 
One  dollar  is  paid  for  the  excerpts 
printed  from  others.  Write  us 
an  interesting  letter,  giving  reasons 
\tr  likes  and  dislikes.  Sign 
your  full  name  and  give  your  ad- 
dress. We  will  use  initials  only  if 
requested. 

Send    to     YES    /LVD    NO,    175 
Duffield  St.,  Brooklyn,  N.  Y. 


I  ,\  on  and  George  O'Brien  have  possibilities  as  good-looking 
young  men,  but  again,  where  is  the  talent?  Richard  Dix  will  al- 
ways give  good  comedies.  I  could  name  lots  of  others  who  will 
finish  soon,  in  my  estimation,  or  stay  the  way  they  are,  but  what  is 
the  use  when  there  are  men  who  will  do  some  more  and  better 
work  in  the  future  and  for  some  years  in  the  future,  too?  John 
Gilbert  is  either  a  fad  or  a  "stay-in."  I  think  probably  the  latter. 
Ronald  Colman  has  some  wonderful  work  ahead  of  him  if  he 
steers  clear  of  the  rocks.  But  there  is  still  John  Barrymore.  I 
will  not  say  anything  about  him  on  the  screen.  He  is  a  stage- 
actor  and  should  have  stayed  there.  He  is  too  good  for  the  screen 
in  ways.  He  cannot  bring  out  the  same  character  on  the  screen 
the  way  he  can  on  the  stage. 

I  guess  you  are  wondering  where  I  put  Ramon  Novarro.  Mr. 
Xovarro  has  to  have  a  place  to  himself.  He  will  not  fit  in  with 
any  other  actor  on  the  screen.  He  is  the  exact  man  for  the 
Prince  Charming  character.  He  is  a  real  Prince  Charming.  I 
agree  with  Mr.  Brewster  entirely  that  his  personality,  magnetism 
and  possibilities  are  the  largest  of  all  the  other  stars  put  together. 
He  did  not  win  fame  overnight.  He  has  been  working  hard  for 
seven  years. 

One  thing  I  like  about  him  personally  is  that  he  shuns  the  pub- 
licity part  of  it  all.  I  know  several  stars  that  I  have  liked  very 
well  for  that  thing  called  personality  and  then  out  comes  a  lot  of 
publicity  and  I  leave  their  vicinity  forever.  It  may  be  prejudice, 
but  I   hate  anybody  who  forces  themselves  on  the  public  eye. 

J.  M.  F., 
Ridgewood,  N.  J. 

Be  Accurate,  Please 

Tife  is  certainly  not  as  the  movies  paint  it.     Too  much  beauty  i 

evident  everywhere.  For  instance :  In  any  death-bed  or  sick- 
room scene,  the  patient  invariably  looks  very  beautiful.  No  matte 
if  it  is  a  scene  of  childbirth,  pneumonia,  heart-failure,  or  con 
sumption,  I  have  yet  to  view  the  picture  wherein  the  heroine  does 
not  look  as  if  she  had  just  stepped  from  Dorothy  Grays'  Face 
and  Hair  Parlor.  We  all  know  that  life  is  not  like  that.  I  hav 
been  confined  in  bed  myself  for  four  months  and  I  know  that 
look  sick  because  I  am  sick,  and  I  also  get  very  cross  and  irritable, 
but  alack  ...  in  the  movies  .  .  .  regardless  of  how  long  the 
invalid  has  been  an  invalid,  the  cripple  a  cripple,  etc.,  they  always 
remain  sweet-tempered,  forgiving,  happy  and  utterly  too  saccharine 
for  words.     If  life  could  only  be  that  pleasant.  .    .    . 

One  thing  more.  Please  print  Ma 
Philbin's  correct  age.  I  was  fortunat 
enough  to  have  an  article  of  min 
printed  in  Screcntand  some  time 
about  her,  as  we  arc  old  school-chums 
and  playmates,  and  she's  not  in  her 
teens.  I'm  out  of  mine,  and  she's  older 
than  T  am,  so  let's  be  frank — the  truth 
is  always   best,  N'est-ce  pas? 

Marian   Smith   Mix'thorne, 
Indianapolis,  Indiana, 


i 

ys 
ne 

2 

To 


But  On  the  Other  Hand 

T  have  beard,  frequently  too,  thai 
Valentino  has  lost  his  popularity 
Such  being  the  case,  I  ventured  to  go 
to  see  "The  Eagle"  without  booking 
my  seat  in  advance,  and  all  I  saw  were 
the  S.  R.  O.  signs-- when  there 
any   room  at  all. 

The  "French  Tango"  has  taken  Lon 
don  and  other  large  cities  by  storm.  It 
is  danced  nightly  at  the  best  hotels  to 
the  strains  of  La  Parisienne  and  Val- 
entino. 

Finally  Paris  and  London  have  given 
(Continued  on   pane   115) 


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(^".MOTION  PICTUR[ 

M0I  I    MAGAZINE      r 


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Each  24  hours  brings  me  a  stronger  and  better  hold  on 
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I  think  back  to  six  years  ago  when  catarrh  had  just 
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Read  the  letters  on  this  page  from  men  and 
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Believing  that  I  had  at  last  found 
"the  right  way,"  I  cancelled  an 
entire  season's  bookings  to  apply 
myself  diligently  to  your  idea. 

Today  my  voice  is  completely  new. 
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pierre. 


Church  Singer  Delights  Congregation 


I  cannot  help  but  say  "Thank  God"  for  everything  you  have 
done  for  me.  As  I  sang  in  church  yesterday  people  turned  to 
see  who  was  singing. 


Singer  Triumphs  Over 
Discouragement 

Did  you  think  one  year  ago  that  I  would  now  be  singing 
as  high  as  high  C"?  I  am  very  sure  that  I  didn't. 
I  often  think  of  that  hopeless  first  letter  I  wrote  to  you 
and  I  want  to  thank  you  for  the  help  you  have  given  me 
and  especially  for  the  cheering  letters  at  the  beginning 
when  I  needed  boosting  along  the  worst  way. 
Hoping  that  you  will  believe  me  to  be  ever  your  grate- 
ful friend.— Mrs.  Mary  Brown. 

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When  Ernst  Lubitsch  pre- 
pared to  film  "So  This  Is 
Paris,"  he  looked  about 
Hollywood  and  could  not 
find  any  cafes  that  looked 
wicked  enough.  They 
were  all  well  and  good  for 
that  prosperous  Western 
town.  .  .but  they 
weren't  Paris.  Then  Har- 
old Grieve  was  called  in 
to  design  the  exterior 
scenes  as  well  as  the  in- 
teriors    with     these     results 


■IHP7-.  ft 


A  City 

Made 

to  Order 


At  the  top  of  the  page  is  his  con- 
ception of  the  exterior  of  a  cafe 
on  the  Bois.  Just  above  is  a 
cafe's  dance  floor.  The  ceiling 
of  silks  and  laces  is  draped  away 
from  the  waists  of  striking  pil- 
lars in  the  guise  of  shapely  femi- 
nine limbs.  And,  on  the  left,  is 
a  room,  the  floor  of  which  is 
completely  hidden  by  mulberry 
velour  carpet,  while  the  curtains 
have  many  ruffles  of  gold  net 
edged  with  robin's-egg  blue  rib- 
bon. The  walls  are  blue-gray 
and  the  furniture  of  the  Louis 
XV  period  and  hand-painted 
with  gold  trimming.  So  this  is 
Paris    .     .     .    is   it? 


LAGS. 


Advertising  Section 


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Advertising  Section 

That's  Out 


(Continued   from   page  57) 


about  your  own  personal  favorites,  and 
devote  the  space  in  the  magazines  to  those 
players  in  whom  the  public  is  interested. 
"I  might  also  add  that  as  a  diplomat 
you  would  make  a  fine  substitute  for  a 
red  flag  at  a  bull-fight.  In  a  recent  issue 
of  Motion  Picture  you  made  the  state- 
ment that  Thomas  Meighan's  admirers 
belong  to  the  'lower  classes  of  citizenry.' 
And  now  you  make  the  statement  that 
the  film  public  is  slow  thinking  .  .  ." 

"(Signed)  One  of  the  Slow  Thinkers." 

Unfortunately  for  the  public — and  the 
slow  thinkers — Herbert  Howe  and  myself 
have  built  up  such  sound  reputations  for 
acumen  in  motion  picture  matters  that  we 
are  now  paid  immense  salaries  just  to  set 
in  print  the  things  which  interest  us. 

We  dont  even  have  to  be  diplomats. 

The  Essence  of  Comedy 

The  secret  of  the  success  of  comedy  is 
its  surprises,  a  culmination  of  an  incident 
in  just  the  opposite  direction  to  which  the 
spectator  imagined  would  be  the  outcome, 
i.  e.,  a  diminutive  comedian,  having  a 
slapstick  battle  with  a  large  and  fierce- 
looking  gent,  the  two  disappear  into  the 
next  room,  whereupon  the  walls  shake  and 
ornaments  fall  to  the  floor  in  such  a  man- 
ner that  it  leads  the  spectator  to  believe  the 
dwarf  is  being  annihilated. 


Instead,  the  little  fellow  returns,,  bear- 
ing in  his  hands  the  trousers  and  under- 
wear of  his  opponent  as  symbols  of 
victory. 

Or  a  comedian,  upon  depositing  a 
dachshund  into  a  sausage-grinder,  the 
spectator  is  led  to  expect  that  a  string  of 
frankfurters  will  come  forth,  but  instead 
a  cat  and  three  kittens  come  marching  out. 

This  Might  Help 

The  mental  reactions  of  the  reformers 
certainly  are  a  puzzle. 

They  are  always  clamoring  for  laws  to 
prevent  children  under  fifteen  from  going 
to  the  movies. 

Judging  from  many  of  the  films  we 
have  seen  lately,  something  should  be  done 
to  stop  people  over  fifteen  from  viewing 
them. 

They  Do  It  in  the  Movies 

All  burglars  replace  their  loot  and  im- 
mediately reform  upon  little  Willie's 
awakening  and  walking  in  upon  the  in- 
truder in  his  nightgown. 

Persons  confined  to  their  bed  because  of 
illness  always  look  in  the  best  of  health 
and   present  an  attractive  appearance. 

There  are  no  ordinary  men  in  the 
Sahara  desert,  all  Arabs  being  sheiks. 


Why  Doesn't  My  House  Look  Like  That? 

Have  you  at  one  time  or  another  wondered  why  your 
living-room  or  bedroom  did  not  have  the  charm  of  some  room 
you  have  seen  on  the  screen?  Perhaps  the  set  was  not  the  home 
of  a  wealthy  family  at  all.  Perhaps  there  was  nothing  in  it  that 
you  couldn't  have  in  your  own  house.  Yet  there  was  a 
difference. 

STEPHEN  GOOSON 

the  interior  decorator  for  the  rooms  used  in  First  National 
Pictures,  will  write  an  article  every  month  in  which  he  will  tell 
you  how  to  get  charm  in  your  home. 

Most  houses  suffer  because  there  is  not  enough  color  in  the 
rooms.  Most  of  us  are  afraid  we  will  overdo  things  in  this 
direction.  The  way  to  get  enough  color  in  your  rooms — yet 
not  too  much — is  simple. 

Dont  miss  Mr.  Gooson's  article  in  the 

September  Motion  Picture  Magazine 
On   the  news-stands  August  1 


fldvertlw  i 


TIKI.   MAGAZIN) 


The  Thing  That  Makes 
Them  Great 

(Continued  from  page  29)    - 

The  tears  that  had  refused  to  come  as 
he  stood  there  dry-eyed  and  inarticulate, 
are  there  in  his  pictures. 

It  is  these  tears  trembling  in  every  smile 
that  have  made  Charlie  Chaplin  the  greatest 
pldwn  in  the  world. 

And  all  the  tears  that  were  ever  shed 
before  the  camera,  haven't  one-millionth  of 
a  degree  the  poignancy  of  those  shed  where 
no  one  will  ever  see  or  ever  know. 

After  years  of  waiting,  Belle  Bennett 
has  arrived.  Her  empty  heart  and  empty 
arms  have  reaped  the  laurels  denied  to  her 
in  her  happy  youth. 

"Stella  Dallas,"  the  story  of  a  mother's 
sacrifice,  has  revealed  her  one  of  the  truly 
great  emotional  actresses  of  the  screen. 

Belle  Bennett  played  the  mother  as  no 
one  else  in  the  world  could  have  played  her. 
Her  boy  died  just  before  she  started  work 
on  the  picture.     She  is  alone  now. 

You  dont  have  to  be  ashamed  if  you 
wipe  away  a  furtive  tear  or  try  to  gulp 
down  the  hard  lump  in  your  throat.  You 
are  seeing  the  naked  soul  of  a  mother.  It 
is  her  own  heartaches  you  see  pictured 
there  in  the  cheap,  shoddy  little  mother  on 
the  screen. 

And  if  you  praise,  do  it  gently.  Applause 
may  ring  harsh  in  a  mother's  ears. 

Jack  Gilbert  was  just  as  handsome  and 
romantic  a  few  years  ago  as  he  is  today. 
But  then  he  was  a  comparatively  obscure 
leading  man  and  today  he  is  among  the 
screen  immortals. 

It  was  his  marriage  and  separation  from 
Leatrice  Joy  that  bridged  the  distance. 
Those  who  understand  him  best,  know  that 
he  hasn't  taken  his  marital  difficulties 
lightly. 

Almost  overnight  Jack  Gilbert  became 
the  rage.  Women  adored  him  for  his 
tragic  brown  eyes.  Men  liked  him  because 
he  really  could  act. 

He  has  found  himself,  but  he  has  lost 
Leatrice.  I  wonder  if  the  fame  that  has 
come  to  him  is  compensation  for  that. 

One  of  the  funniest  men  in  pictures  and 
his  young  wife  died  a  few  months  ago — 
suicides. 

He  was  Max  Linder,  the  gay,  debonair 
young  Frenchman  who  didn't  seem  to  have 
a  care  in  the  world.  He  seemed  to  have 
everything  worth  while,  a  wife  who  loved 
him  enough  to  die  with  him  as  she  proved 
so  tragically,  wealth  and  fame.  But  his 
heart  was  so  heavy  life  did  not  seem  worth 
.living. 

They  call  Mabel  Normand  the  stormy 
petrel  in  Hollywood.  Her  life  has  never 
been  free  from  sadness.  Her  name  has 
been  connected  with  one  scandal  and  trag- 
edy after  another.  She  has  lost  those 
nearest  to  her.  And  yet  Mabel  Normand  has 
a  smile  on  her  lips,  a  smile  sweeter  and 
more  appealing  because  it  is  shadowed  by 
tragedy.   . 

It  took  two  unhappy  marriages  and  the 
birth  of  her  baby  to  make  an  actress  out 
of  an  animated  clothes  model. 

For  years  Gloria  Swanson  created  a  cer- 
tain interest  because  of  her  bizarre  coif- 
fures, her  ultra  fashionable  clothes  and  the 
eccentric  uses  of  her  make-up. 

And  then  she  became  an  actress,  a  woman 
who  could  sway  her  audiences  to  smile  and 
sigh  when  si      ,  strings. 

Today   Glc  is   no  longer  bi- 

zarre and  un  iks  and  acts  what 

she  is — a  wc  is  discovered  life 

can  hurt. 

Mary   Pick  r  years  been  the 

most  consiste  n  the  screen,  but 

(Cm  age  89) 

When   you 


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Advertising  Section  , 

Tia  Juana  Red 

(Continued  from  page  33) 


field,  Illinois.  She  wanted  to  be  a  movie 
player.  And  with  this  urge  upon  her  she 
ran  away  from  home  some  five  years  ago 
and  made  the  rounds  of  the  various  agents 
in  New  York,  seeking  to  break  into  the 
golden  game  by  the  extra  route.  She  met 
with  the  usual  response  at  the  agencies. 
"Nothing   doing   today." 

Then  she  heard  about  Hollywood  and 
the  great  number  of  studios  there,  of  the 
increased  production  activities  .  .  .  and  of 
those  who  suddenly  found  themselves 
famous  and  sought  after  by  producers 
because  of  some  effective  "bit"  they  con- 
tributed  to  a   scene. 

But  the  railroads  have  a  custom  of 
charging  for  transportation  and  Red  had 
no  money.  She  knew  that  she  danced 
with  an  abandon  that  was  desirable,  for 
she  had  danced  in  amateur  theatricals 
back  in  Springfield.  She  applied  for  a 
job  as  a  dancer  at  Rector's,  then  flour- 
ishing as  one  of  Broadway's  leading 
cabarets.  She  was  hired  and  nightly  did 
the  dance  which  had  made  her  the  hit 
of  the  amateur  offerings  in  her  home 
town. 

The  girl  with  whom  she  dressed  was  a 
seasoned  veteran  who  had  had  her  fling 
under  the  studio  lamps  as  an  extra  in 
several  pictures.  And  when  she  confided 
to  her  her  ambitions  for  a  screen  career, 
this  girl  pointed  out  the  requirements  of  a 
wardrobe  necessary  for  those  who  planned 
to  beat  and  beat  upon  the  movie's  door 
until  it  swung  open  and  remained  open 
to  them.  She  told  Red  that  she  would 
need  a  variety  of  shoes,  evening  gowns, 
hats  and  all  the  little  incidentals.  To  get 
these  things  would  take  a  large  sum  of 
money. 

Then  the  Wise  One  offered  Red  a  sug- 
gestion Why  didn't  she  blow  out  to  Tia 
Juana?  Tia  Juana  was  not  far  from 
Hollywood.  The  pickings  there  were 
soft.  The  tourists  spent  money  freely  on 
the  entertainers  in  the  dance  halls  there. 
She  knew.  She  had  acquired  a  bank  roll 
there  herself.  Sure,  it  was  a  tough  life. 
But  if  your  heart  was  set  on  being  a  movie 
player  .  .  .  well,   that   was   one  way. 

Red  listened  hungrily.  And  the  next 
night  when  the  show  went  on  at  Rector's, 
she  was  in  an  upper  berth  and  on  her  way 
to  Tia  Juana  on  borrowed  money. 

Once  there,  she  did  not  have  any  diffi- 
culty in  filling  the  requirements  of  the 
Tivoli.  Her  New  York  background  gave 
her  a  superiority  and  it  is  not  difficult  to 
divert  those  who  seek  recreation  in  that 
one-street  Mexican  town,  where  the  lights 
are  turned  on  in  the  afternoon  and  are 
still  blazing  brightly  when  alarm-clocks 
awaken  the  average  citizen  to  another  day 
of  toil. 

So  Esther  became  Tia  Juana  Red.  That 
was  just  as  well.  She  was  in  a  place 
where  few  care  to  be  known  by  their  real 
names. 

Every  night  she  sang  her  numbers  and 
did  her  dances  in  the  smoky  ribald  palace 
of  pleasure.  She  told  herself  that  she 
was  singing  and  dancing  her  way  nearer 
and  nearer  the  enchanted  land  of  Kleig 
lights.      She    was    acquiring    the    coveted 


wardrobe  and  saving  her  earnings  for  the 
siege  she  planned  against  Hollywood. 
Then  her  chance  came.  .  .  . 
Arthur  H.  Sawyer,  the  discoverer  of 
Barbara  La  Marr,  who  was  always  on  the 
alert  for  new  talent,  visited  Tia  Juana  in 
a  search  for  types  for  his  next  picture, 
"The  Shooting  of  Dan  McGrew."  He 
strolled  into  the  Tivoli.  Red  was  doing 
her  stuff.  Sawyer  saw  her  at  once  and 
knew  that  she  was  the  exact  type  for 
the  dance-hall  girl  in  the  Yukon  sequence. 
His  elation  at  finding  a  perfect  type  was 
nothing  compared  to  Red's  at  being  the 
type,  however. 

The  long  nights  in  the  Tivoli.  .  .  .  The 
brushing  shoulders  with  the  riffraff  of 
the  world.  .  .  .  Her  exile  in  the  Mexican 
border  town.  ...  It  had  all  been  worth 
while.  It  had  brought  her  to  her  ambition. 
So  she  descended  upon  Hollywood, 
armed  with  her  bank  -  books  .  .  .  her 
clothes  .  .  .  even  her  car.  They  spend 
money  freely  down  there  in  Tia  Juana  and 
she  had  been  one  of  the  favorites. 

She  played  the  role  of  the  dance-hall 
girl  in  "The  Shooting  of  Dan  McGrew" 
and  gave  it  all  the  vivid  coloring,  all  the 
atmosphere  and  realism  that  the  part  de- 
manded. She  called  heavily  upon  her  own 
experience.  It  may  truthfully  be  said  that 
she  lived  the  part. 
And  she  made  good.  ... 
The  bits  she  contributed  to  her  scenes 
were  life.  They  shone  forth  brilliantly. 
She  thought  she  had  arrived.  So  did 
Arthur  Sawyer.  So  did  I,  who  happened 
to  be  publicity  director  for  the  production. 
But  the  ways  of  Hollywood  and  those 
who  control  its  film  destinies  are  strange 
and  unexplainable.  Tia  Juana  Red  armed 
with  her  stills  and  a  good  word  from  her 
producer  made  the  rounds  of  the  studios. 
She  went  to  the  big  ones  first.  Of  course. 
Then  after  a  month  or  two  she  applied 
to  the  smaller  companies.  Everywhere 
she  met  the  same  story. 

She  had  done  a  good  dancing  girl.  But 
that  had  been  easy.  Hadn't  she  simply 
been  playing  herself.  They  had  no  pic- 
tures calling  for  the  delineation  of  a 
dance-hall  girl.  But  they  would  keep  her 
name  on  file  and  let  her  know. 

Tia  Juana  Red  was  not  easily  daunted. 
She  took  quarters  in  a  modest  hotel,  in- 
vested in  more  clothes,  and  spent  some 
judicious  money  on  that  important  weapon, 
publicity. 

For  six  months  she  battered  at  the 
doors,   but  they  did  not  budge. 

Then  she  did  something  that  convinces 
us  that  sooner  or  later  her  ambition  will 
find    fulfilment. 

Her  savings  were  exhausted.  She  had 
sold  her  car.  Her  clothes  were  becom- 
ing passe.  And  she  packed  her  trunk  and 
headed  for  .  .  .  Springfield?  New  York? 
No,  Tia  Juana  and  the  Tivoli  and  for  more 
raucous  nights  of  singing  and  dancing. 
She  is  back  there  now,  saving  again.  .  .  . 
If  you  go  to  Tia  Juana,  look  out  for  a 
girl  with  hair  that  shines  like  burnished 
copper  .  .  .  listen  for  the  strains  of  "Red- 
hot  Poppa,  dont  you  try  to  two  time 
me.  .  .  ." 


When  You  Have  Dinner  Guests  .  .  . 

ARE  you  sometimes  puzzled  what  to  serve?  Almost  every  hostess  is.  That  is  why 
-  we  are  bo  glad  to  publish  the  menus  and  recipes  favored  by  the  stars.  They  have 
the  best  <<>r>k>  tfaal  money  can  secure  in  their  kitchens  .  .  .  and  they  know  the  little 
extras   thai    i>i;ik<-   dinner  parties  successful. 

We  will  print  the  menus  and  recipes  of  some  meal  every  month. 


Every  ailv.-rtis.-iiKt*  in   MOTION   PICTURE   MAGAZINE   in   guaranteed. 


Advertising  Section 


The  Thing  That  Makes 
Them  Great 

(Continued  from  page  87) 

now  her  box-office  receipts  aren't  quite  so 
heavy  as  they  used  to  be. 

She  had  everything,  beauty,  charm  and 
youth.  But  the  greatest  part  of  her  appeal 
was  her  wistfulness.  There  was  no  one 
who  could  portray  the  forlorn  little  waif, 
the  misunderstood  child,  with  the  same  de- 
gree of  tenderness  as  she. 

And  somehow,  even  after  seeing  her  in 
the  happiest  sort  of  fade-out,  you  couldn't 
help  going  away  with  a  lump  in  your 
throat. 

There  was  a  pathos  about  Mary  that 
suggested  a  little  kitten  hungry  for  affec- 
tion. 

It  would  be  an  old  story  to  reconstruct 
the  bridges  Mary  has  burned  behind  her. 
You  all  know  of  her  childhood,  incomplete 
.and  barren  as  is  the  childhood  of  most 
stage  children,  her  marriage  with  Owen 
Moore,  her  unhappiness,  the  cares  of  her 
family  that  rested  so  heavily  on  her  shoul- 
ders. 

And  then  suddenly,  miraculously,  happi- 
ness came. 

She  married  Douglas  Fairbanks,  who 
adored  her.  He  banished  the  cares  that 
had  been  pressing  against  her.  For  the 
first  time  in  her  life  there  was  someone  to 
do  things  for  her,  to  give  instead  of  take, 
to  shoulder  the  burden  she  had  been  carry- 
ing so  long. 

Today  Mary's  happiness  glows  in  her 
eyes. 

But  something  is  lost. 

Mary's  art  is  still  as  great  as  it  has  ever 
been,  but  the  wistful  little  waif  whose  eyes 
mirrored  the  sorrows  of  the  whole  world 
is  gone  forever. 

We  miss  that  little  waif.  Mary's  gain 
has  been  our  loss. 

But  somehow  we  feel  that  she  is  more 
than  compensated  for  any  loss  of  popu- 
larity that  happiness  has  brought  her. 

We  cant  have  everything,  and  who 
wouldn't  choose  happiness  if  they  had  the 
choice  of  what  they  wanted  above  every- 
thing else  in  the  world? 


Corinne  Griffith's 
Clothes 

.  .  .  occasion  admiring  com- 
ment even  in  the  well-groomed 
motion  picture  set.  She  has  a 
faculty  of  selecting  a  fragile 
smartness  that  is  most  de- 
lightful. 

Cerline  Boll 

spent  hours  studying  the  things 
Miss  Griffith  bought  on  her 
recent  trip  to  New  York  and 
she  has  sketched  them  so  that 
you  may  adapt  them  to  your 
own  wardrobe. 

They  will  appear  in  the  Sep- 
tember Motion  Picture  Maga- 
zine. 


cNpw—  a  new 

and  totally  different  way  to 

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A  way  that  will  double  the  effectiveness  of  your  make-up 
That  will  combat  oily  nose  and  skin  conditions  amazingly 
That  will  make  your  skin  seem  shades  lighter  than  before 

Please  accept  a  7-day  supply  to  try.    See  coupon  below. 


The  ONLY  way  yet  discov- 
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MODERN  beauty  science  has 
discovered  a  new  way  to 
remove  cleansing  cream — a  way 
different  from  any  you  have  ever 
known. 

It  banishes  the  soiled  towel 
method  that  all  women  detest. 
It  contrasts  the  harshness  of 
fibre  and  paper  substitutes  with 
a  softness  you'll  love. 

Now  a  test  is  being  offered. 
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It  will  prove  that  no  matter  how 
long  you  have  removed  cleansing 
cream  with  towels,  paper  substitutes, 
etc.,  you  have  never  yet  removed  it 
thoroughly  from  your  skin  .  .  .  have 
never  removed  it  properly,  or  in 
gentle  safety  to  your  skin. 

What  it  is 
The  name  is  Kleenex  'Kerchiefs  — 
absorbent — a  totally  new  kind  of  ma- 
teria^ developed  in  consultation  with 
leading  authorities  on  skin  care,  solely 
for  the  removal  of  cleansing  cream. 

It  is  the  first  absorbent  made  for 
this  purpose.    There  is  no  other  like  it. 

Exquisitely  dainty,  immaculate  and 
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White  as  snow  and  soft  as  down,  it  is 
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times  as  any  fibre  or  paper  makeshift! 

Stops  oily  skins.    Combats  imper- 
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On  the  advice  of  skin  specialists,  women 
today  are  flocking  to   this  new  way. 

It  will  effect  unique  results  on 
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tone  three  or  more  shades  whiter 
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KLEENEX 

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That's  because  old  methods  failed 
in  absorbency.  They  removed  but 
part  of  the  cream  and  grime.  The 
rest  they  rubbed  back  in.  That  is  why 
your  skin  may  seem  several  shades 
darker  sometimes  than  it  really  is. 

It  will  combat  skin  and  nose  oili- 
ness  amazingly.  For  an  oily  skin  in- 
dicates cold  cream  left  in  the  skin. 
The  pores  exude  it  constantly.  That's 
why  you  must  powder  now  so  fre- 
quently. That's  why,  too,  imperfec- 
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This  new  way  combats  those  fail- 
ures of  old  ways.  One  day's  use  will 
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Send  the  coupon 
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Kleenex  'Kerchiefs  — ■  absorbent — come  in  ex- 
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Name.. 
Addres 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


89 
PAG 


I 


What  the   Stars  Are  Doing 

And  where  you  may  write  to  them  • 

Conducted  by  Gertrude  Driscoll 


I 


Ador6e,  Renee — playing  in  Tin  Gods — Metro- 
Goldwyn,  Studios,  Culver  City,  Cal. 

Allison.  May— playing  in  Mismatei  Biograph 
Studios,  807  E.  1  75th  St.,  New  York  City,  N.  V. 

Arthur.  George  K.— playing  in  Bardelys,  The 
Magnificent — Metro-Goldwyn  Studios,  Culver  City, 

Astor,  Mary — playing  in  Forever  After — United 
Studios,  5341  Melrose  Ave.,  Hollywood,  <  al. 

Bankv.  Vilma  playing  in  The  Winning  of  Bar- 
bora  Worth— De  Mille  Studios,  Culver  City,  Cal. 

Barthelmess,  Richard  —playing  in  The  Amateur 
Gentleman — Inspiration  Pictures,  565  Fifth  Ave.. 
New  York  City.  N.  Y. 

Barr>'more,  John— playing  in  Manon  Lescaut — 
Warner  Bros.  Studios,  S842  Sunset  Blvd.,  Hollywood, 
Cal. 

Baxter,  Warner — playing  in  The  Great  Gatsby — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria.  L.  I. 

Beery,  Noah  playing  in  Paradise — Famous 
Players" Studios.  1520  Vine  St.,  Hollywood,  Cal. 

Beery.  Wallace  -playing  in  Old  Ironsides — Fam- 
ous Players  Studios.  1520  Vine  St.,  Hollywood,  Cal. 

Bennett,  Belle— playing  in  The  Lily — Fox  Stu- 
dios. 1401  No.  Western  Ave..  Hollywood,  Cal. 

Blue,  Monte — playing  in  So  This  Is  Paris — War- 
ner Bros.  Studios.  5842  Sunset  Blvd..  Hollywood, 
Cal. 

Boardman,  Eleanor — playing  in  Bardelys,  The 
Magnificent — Metro-Goldwvn  Studios.  Culver  City, 
Cal. 

Bow,  Clara — playing  in  You'd  Be  Surprised — 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood. 
Cal. 

Brian,  Mary  —playing  in  Duke  of  Ladies — Famous 
Players  Studios,  Sixth  and  Pierce  Aves.,  Astoria, 
L.  I. 

Bronson,  Betty — playing  in  Paradise — Famous 
Players  Studios,    1520  Vine  St..   Hollywood,  Cal. 

Brook,  Clive — playing  in  For  Alimony  Only — 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Holly- 
wood. Cal. 

Carey,  Harry — playing  in  Burning  Bridges — 
Pathe  Exchange,  35  \Y.  45th  St.,  New  York  City. 
N.  Y. 

Chancy,  Lon — playing  in  Tell  It  to  the  Marines — 
Metro-Goldwyn  Studios.  Culver  City,  Cal. 

Chaplin,  Charles — playing  in  The  Circus — 1412 
Lve.,  Hollywood.  (  al. 

Chaplin,  Sydney— playing  in  The  Better  Ole — 
Warner  Bros.  Studios.  5X42  Sunset  Blvd.,  Hollywood, 

Cody,  Lew — playing  in  The  Waning  Sex — Metro- 
Goldwyn  Studios.  (  ulver  City,  Cal. 

(oilier.    William     Jr.  —playing   in  Clarifying  the 

I  mnruiin  Girl — Famous    1'layers   Studios,  Sixth  and 

\ves.,  Astoria,  L.  I. 

(  olman.    Ronald     |        ing    in   The    Winning   of 

Barbara  Worth  —  De  Mille  Studios,  Culver  City,  Cal. 

<  ortez,  Ricardo    -playing  in  TheSorrows  of  Satan 

udios,  sixth  and  Pierc  e  Aves., 

;    I..  I. 

tello,  Dolores— plaving  in  The  Heart  of  Mary- 
land—-Warner     Bros.     Studio-.     5842     Sunset     Blvd., 
d.  Cal. 

Dana.    \  tola        •■  I         ■    Kitty    Kelly 

1  .  B.  O,  studio-,  7X0  Gowei  St.,  Hollywood,  Cal. 
Daniels,  B<  be  Fam- 

■  I'  llywood,  Cal. 
Daviet       Marion      playing     in     Thi      Red     Mill 

<  ioldwyn  Sludii  •  :>!. 

Del  Kio    Dolores     playing  in  What  Pria 
—Fox  Studios,  I  101    No.  Western  Ave.,  Holl 

Dempster.     (   art, I 
I..  1 . 

in  no-.    Reginald  7 

i"    or.     Dorotb]     playing  in  .S,fi<,r  Dan 

Hollywood,  (  .d. 

Di\.       Hi.  hard  rbatk  — 

I 
I..    I. 
I'ollo 

trabia   Prod.,  loOO  Br.. 

Heart     oj 


Hollywood— Warner    Bros.    Studios,    5842    Sunset 
Blvd..  Hollywood,  Cal. 

Fairbanks,  Douglas— latest  release,  The  Black 
Pirate — Pickford-Fairbanks       St  udios,       Hollywood, 

Cal. 

Fazenda,  Louise — plaving  in  The.  Passionate 
Ones! — Warner  Bros.  Studios,  5X42  Sunset  Blvd., 
Hollywood,  Cal. 

Fields,  W.  C— playing  in  So's  Your  Old  Man— 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria.  L.  I. 

Ford,  Harrison — playing  in  The  Nervous  Wreck — 
Metropolitan  Studios,  1040  Las  Palmas  Ave.,  Holly- 
wood. Cal. 

Carbo,  Greta — playing  in  The  Flesh  and  the  Devil 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Gibson,  Hoot — playing  in  The  Man  in  the  Saddle 
— Universal  Studios,  Universal  City,  Cal. 

Gilbert,  John — playing  in  The  Flesh  and  Die  Devil 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Gish,  Dorothy — playing  in  London — Herbert 
Wilcox  Prod.,  London,  England. 

Gish,  Lillian — playing  in  Annie  Laurie — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Goudal,  Jetta — playing  in  Her  Man  O'  War — 
Cecil  De  Mille  Prod..  Culver  City,  Cal. 

Gray,  Gilda — latest  release,  Aloma  of  the  South 
Seas — Famous  Players  Studios,  Sixth  and  Pierce 
Aves.,  Astoria,  L.  I. 

Gray,  Lawrence — playing  in  Kid  Boots — Famous 
Players  Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Griffith,  Corinne— playing  in  Tin  Pan  Ally— 
1040  Las  Palmas  Ave.,  Hollywood,  Cal. 

Griffith,  Raymond— playing  in  You'd  Be  Sur- 
prised— Famous  Players  Studios,  1520  Vine  St., 
Hollywood,  Cal. 

Haines.  William — playing  in  Tell  It  to  the  Marines 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Hamilton,  Neil— playing  in  Diplomacy — Famous  • 
Players  Studios.  1520  Vine  St.,   Hollywood,  Cal. 

Hines,  Johnny — playing  in  The  Dancing  Mayor — 
C.  C.  Burr  Prod.,  135  W.  44th  St.,  New  York  City, 
N.  Y. 

Holt,  Jack — playing  in  Forlorn  River — Famous 
Players  Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Hughes,  Lloyd — playing  i n Forever  After — United 
Studios,  5341  Melrose  Ave.,  Hollywood,  Cal. 

Joy,  Leatrice — playing  in  For  Alimony  Only — 
Cecil  De  Mille  Studios.  Culver  City,  Cal. 

Joyce,  Alice — playing  in  So's  Your  Old  Man — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Keaton,  Buster — playing  in  The  General — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Kenyon,  Doris— plaving  in  Mismales — Biograph 
Studios,  807  E.  175th  St.,  New  York  City,  N.  Y. 

Kerry,  Norman — playing  in  Love  Me  and  the 
World  Is  Mine — Universal  Studios,  Universal  City, 
Cal. 

Kirkwood,  James — playing  in  Butler  flies  in  Hie 
Rain — Universal  Studios,  Universal  City,  Cal. 

Langdon,    Harry — playing    in    The    Yes    Si  an — 

United  Studios,  5341  Melrose  Ave.,  Hollywood,  (  ..1. 

La  Plante,  Laura — playing  in  lUillnlli,  \  in  the 
Rain — Universal   Studios,   Universal   City,  Cal. 

Llovd,  Harold — playing  in  The  Mountain  Lad — 
1040  I. a-    Palmas  Ave.,   Hollywood,  '  al. 

Louis,  Willard — playing  in  I  h,  IJom  Mai  -War- 
ner   Bros.    StUdiOS,    5X42    Sunset    Blvd.,     Hollywood. 

Cal. 

Love,    Beule      ,ii  i    in-   m    )  nung  April — Cecil  De 

Mill.-  Stud  ity,  Cal. 

Lowe,  Kdmund — playing  in  What  PriceGloryl— 
Fox  .Studios,   1101    No.    Western  Ave..   Hollywood, 

<   al.' 

Lyon,  Ben— playing  in  Dm)  Biograph 

Studios,  X07  E.  175th  St.,   New  York  City,  N.  Y. 

Mackaill,   Dorothy — playing  in  Subway  Sadie — 
i.h  Studios,  xo7  E.  175th  St.,  New  York  (  ity, 

MacLean,  Douglas — playing  in  Ladies  First — 
Famo  '0  Vine  Si.,   Hollywood, 

Mason,  Shirley—playing  in  Don  Juan'  Three 
Sights     United  studios.  5341   Melro  - 

wood,  (;il. 

Mc"Avo\ .    M  i  The  Fire  Brigi 

Metro-Goldwyn  Studios,  (  ulvei  <  ity,  I  al 

Meifthan,   Thomas      playing   in    / 

ou-  Playcri  Studio  ,  Sixth  and  Pierce  Aves.,  Astoria, 

I.   I. 


Menjou,  Adolphc — playing  in  The  Sorrows  of 
Sain  a — Famous  Players  Studios,  Sixth  and  Pierce 
Aves.,  Astoria,  L.  I. 

Miller,  Patsy  Ruth— playing  in  So  This  Is  Paris 
—Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Holly- 
wood, Cal. 

Mix,  Tom — playing  in  Western  Society — Fox  Stu- 
dios, 1401  No.  Western  Ave.,  Hollywood,  Cal. 

Moore,  Mat — plaving  in  Married  Alive — Fox  Stu- 
dios, 1401   No.  Western  Ave.,  Hollywood,  Cal. 

Moreno,  Antonio — playing  in  The  Temptress — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Murray,  Mae — playing  in  Altars  of  Desire — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Nagel,  Conrad— playing  in  The  Waning  Sex — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Negri,  Pola — playing  inGood  and  Naughty — Fam- 
ous Players  Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Nilsson,  Anna  Q- — playing  in  Sinners  in  Para- 
disc — United  Studios,  5341  Melrose  Ave.,  Hollywood, 
Cal. 

Nissen,  Greta — completed  The  Love  Thief — Uni- 
versal Studios,  Universal  City,  Cal. 

Novarro,  Ramon — playing  in  A  Certain  Party — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

O'Brien.  Eugene — playing  in  Fine.  Manners — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L..I. 

O'Brien,  George — playing  in  Fig  Leaves — Fox 
Studios,  1401  No.  Western  Ave.,    Hollywood,  Cal. 

O'Hara,  George  —  playing  in  Cook's  Tours  — 
F.  B.  O.  Studios,  780  Gower  St.,  Hollywood,  Cal. 

O'Neil,  Sally — playing  in  The  Waning  Sex — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Philbin,  Mary — playing  in  Love  Me  and  the  World 
is  Mine — Universal  Studios,  Universal  City,  Cal. 

Pickford,  Mary — playing  in  Sparrows — Pickford- 
Fairbanks  Studios,  Hollywood,  Cal. 

Pitts,  Zasu — playing  in  The  Wedding  March — 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Prevost,  Marie — playing  in  Almost  a  Lady — 
Metropolitan  Studios,  1040  Las  Palmas  Ave..  Holly- 
wood, Cal. 

Ralston,  Esther — playing  in  Glorifying  the  Ameri- 
can Girl — Famous  Players  Studios,  Sixth  and  Pierce 
Aves.,  Astoria,  L.  I. 

Ray,  Charles — playing  in  The  Fire  Brigade — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Rich,  Irene — playing  in  The  Door  Mat — Warner 
Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood,  Cal. 

Shearer,  Norma — playing  in  Up-slage — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Sherman,  Lowell— playing  in  Love's  Magic — 
Famous  Plavers  Studios,  1520  Vine  .St.,  Hollywood, 
Cal. 

Sills,  Milton — -playing  in  Paradise — Biograph 
Studios,  807  E.  175th  St.,  New  York  City,  N.  Y. 

Starke,  Pauline — playing  in  The  Mysterious  Is^ 
land — Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Stone,  Lewis— playing  in  Midnight  Lovers — 
United  Studios,  5341  Melrose  Ave.,  Hollywood,  Cal. 

Swanson,  Gloria— completed  Fine  Manners — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria.  L.  I. 

Sweet,  Blanche — playing  in  Diplomacy — Famous 
Players  Studios,  1520  Vine  St.,   Hollywood,  Cal. 

Talmadge,  Constance— playing  in  Sybil — 7200 
Santa  Monica  Blvd.,  Hollywood,  Cal. 

Talmadge,  Norma  -^latest  release,  Kiki — 7200 
[onica  Blvd.,  Hollywood,  Cal. 

Tearle,  Conway— playing  in  Utars  oj  Desire — 
Metro-Goldwyn  Si  udios,  (ulver  City,  (  al, 

Terry,  Alice— latest  relea  Mare  Nostrum — 
Metro-Goldwj  n  er  (  ity,  Cal. 

Torrance,  Ernesi  -completed  Mantrap  —Famous 
Players  Studios,  1520  Vine  St.,    Hollywood,  Cal. 

Valentino,  Rudolph— playing  in  Son  of  the  Sheik 

Hlvd.,  Hollywood,  (  al. 
Vidor,  Florence— coinpleied   Lo?,-,   M.iri,   -Earn- 
ers Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Wilson,  Lois— playing  in    The  Show-Off— Famous 

Stui -■.  Sixth  and    Pierce    Aves.,    Astoria 

i     I. 

Windsor,  Claire— playing  in  Tin  Hals  — Metro- 
Goldwyn,  Culver  City,  Cal. 

Worthing,   Helen   Lee — playing  in  Lew    Tyler's 

rech-Arl  Studios,   44th  St.,  New  York  City, 

N.  Y. 


CE 


^N  hen  you've  taken 

a  plunge  in  the  cool,  bracing  surf — 

and  battered  and  wet  with 

spray,  you  climb  out  on 

the  welcoming  sand 

— have  a  Camel! 


Camels  contain  the  very  choicest  tobaccos  grown  in  all  the  world. 
Camels  are  blended  by  the  world's  most  expert  blenders.  Nothing  is 
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WHEN  the  surf  is  running 
in  from  the  sea.  And  you 
plunge  in  to  shoulder  aside 
the  foam  -  topped  rollers. 
When  you  climb  out,  glow- 
ing, and  join  the  crowds  on 
the  beach — have  a  Camel! 

For  after  healthful  exer- 
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grows — they  never  tire  the 
taste.  Camels  are  the  expert 
blend  that  did  away  with 
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So  this  sparkling  day  as 
you  start  for  the  cool,  rest- 
ful beach.  When  with  meas- 
ured strokes  you  have  tried 
your  strength  against  the 
breakers  —  know  then  the 
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ever  made  into  a  cigarette. 

Have  a  Camel! 


©  1926 


Our  highest  wish,  if  you 
do    not    yet    know     and 
enjoy    Camel   quality,    is 
that   you    may   try   them. 
We    invite    you    to    com- 
pare   Camels    with     any 
other   cigarette    made    at 
any  price. 
R.  J.  Reynolds 
Tobacco   Co. 
Winston-Salem,  N.  C. 


erm 


lira 


Omjhadeslor  ail 

everywhere  that  women  go,  you  will 

find  Pum-Kin  Rouge.  It  helps  you  look  your 

best.  At  all  Owl  drug  stores;  at  nearly  all  good  drug 

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Address  The  Owl  Drug  Company, 
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!®ra 


with  mirror 
and puff" 


tA  National  Institution 


Advertising  Section 


Sandy 


(Coiitiuucc'  from  page  27) 


the  platform,  to  send  telegrams,  to  buy 
pottery  from  the  gaily  shawled  Indians 
who  squat  in  the  sunshine,  their  wares 
spread  before  them. 

As  our  dusty  train  came  to  a  stop,  Lois 
said,  "I  have  a  movie  fan  here  named 
Sandy.  .  I  wonder  if  he  will  be  at  the 
station  to  meet  me?" 

.  "A  movie  fan,"  I  shrieked.  For  a  crowd 
had  collected  to  meet  Lois.  At  least  three 
hundred  of  Albuquerque's  citizens,  ranging 
in  age  from  five  to  seventy-five  years, 
swept  her  from  my  side  the  instant  we 
descended  from  the  train. 

"Miss  Wilson,  will  you  give  me  an  auto- 
graphed photograph?" 

"Miss  Wilson,  will  you  write  your  name 
in  my  autograph  album?" 

"Miss  Wilson,  wont  you  stand  over  here 
in  the  light,  please,  and  let  us  take  your 
picture?" 

I  made  a  dash  for  freedom,  leaving  Lois 
at  the  mercy  of  her  public.  Some  ten 
minutes  later  I  saw  her  coming  toward 
me  down  the  platform.  Many  of  her 
admirers  still  trooped  behind  her,  at  a 
slight    distance. 

But  hand  in  hand  with  her  strolled  a 
young  gentleman  of   about  thirteen  years. 

He  was  a  rather  ragged  young  gentle- 
man, to  be  sure,  but  he  wore  his  faded 
blue  overalls,  his  patched  coat,  his  scrubby 
shoes  with  that  dashing  air  which  sets 
one  apart  from  the  multitude.  His  freckled 
face  was  ashine  with  joy.  His  tumbled 
red  hair  seemed  simply  standing  on  end 
with  enthusiasm.  No  boulevardier,  stroll- 
ing with  his  lady,  more  gay  than  this 
young  man.  No  knight,  returning  tri- 
umphant from  the  tournament,  more  proud 
and  happy  in  his  lady's  smile. 

"This  is  Sandy,"  said  Lois.  And  she 
was  smiling  gaily,  too. 

"Well,  I'm  certainly  glad  to  meet  you 
if  you  are  a  friend  of  Miss  Wilson's,"  an- 
nounced Sandy  briskly,  with  a  friendly 
grin  which  revealed  uneven  but  very  white 
teeth. 

"Sandy  is  the  best-known  film  fan  in 
the  country,"  explained  Lois.  "He  meets 
the  California  Limited  every  day  and  has 
become  acquainted  with  every  star,  pro- 
ducer and  director  who  travels  over  this 
route." 

jt  "Yes,  I  guess  I  know  them  all,"  said 
Sandy,  as  we  three  resumed  the  promenade. 
"I'm  awful  glad  to  see  them,  too,  and 
they're  always  glad  to  see  me,  it  seems." 

"I  thought,"  teased  Lois,  "that  you  had 
forgotten  me,  Sandy.  Really  you  were 
very  late  in  getting  down  to  the  station 
today." 

"Well,  it's  this  way,  Miss  Wilson."  said 
Sandy  seriously.  "I  had  to  help  my  mother 
this  afternoon,  so  I  couldn't  start  as  soon 
as  usual.  I  live  over  by  the  sawmills," 
he  explained  to  me  courteously,  "and  it's 
a  two-and-one-half-mile  walk.  But  you 
must  know,  Miss  Wilson,"  he  added  with 
naive  flattery,  "that  I  wouldn't  think  of 
missing  the  train  when  you  are  on  it.  Let's 
see,  the  last  time  I  saw  you  you  were 
with  Miss  Blanche  Sweet.  How  is  she 
these  days?" 

Assured  that  Blanche  was  enjoying  good 
health,  he  then  proceeded  to  tell  us  much 
exciting  news  about  himself.  He  was 
now,  it  seemed,  the  possessor  of  a  Boy 
Scout  suit. 

"It  fits  fine.  Gee,  I  wish  you  could  see 
.me  in  it,  Miss  Wilson." 

"I  wish  I  could,  Sandy,"  said  Lois  sin- 
cerely. "You  were  telling  me,  the  last 
time  I  came  thru,  that  you  were  planning 
to  go  to  the   Scout  camp.     Did  you  go?" 


"Yes,  I  did.  We  fellows  had  a  great 
time  up  there.  The  only  trouble  was 
that  I  missed  my  mother.  I  got  pretty 
lonesome  for  her.  I  did  a  lot  of  think- 
ing while  I  was  up  at  the  camp,"  he 
continued,  "and  it  just  seemed  to  me  that 
I  never  could  live  without  my  mother. 
Dont  you  feel  that  way  sometimes,  Miss 
Wilson,  when  you  are  away  from  your 
mother  on  these  trips?" 

"Yes,  Sandy,"  Lois  replied.  "I  know 
just  exactly  how  you  felt  about  it." 

"I  guess  I  could  live  without  my  father," 
said  Sandy,  "but  I  certainly  wouldn't  know 
what  to  do  if  anything  ever  happened  to 
my  mother.  It's  her  birthday  pretty  soon 
and  I'm  saving  up  to  get  her  a  three-dollar 
box  of  candy."  His  blue  eyes  shone  joy- 
ously. "I  guess  she'll  be  pleased  about 
that  all  right,  wont  she!" 

One  suspects  that  the  shabby  Sandy's 
mother  might  appreciate  a  more  practical 
gift  than  a  box  of  candy,  but  who  would 
have  the  heart  to  suggest  this  to  her  gay, 
eager  son?     Neither  Lois  nor  I,  surely. 

"Say,  Miss  Wilson,"  was  the  next  re- 
mark. "I  saw  'The  Vanishing  American' 
a  little  while  back  and  I  certainly  was 
terribly  disappointed  in  it." 

I  glanced  over  to  see  how  Lois  would 
take  this  devastatingly  frank  criticism,  and 
found  that  she  was  truly  interested  in 
Sandy's  point  of  view. 

"What  didn't  you  like  about  the  pic- 
ture?" she  asked. 

"Well,  your  work  was  all  right,  and  I 
liked  Mr.  Dix,  too.  But  the  picture  wasn't 
a  bit  like  the  book.  I  read  the  book  first, 
and  so  the  picture  disappointed  me." 

"After  this,"  I  suggested  frivolously, 
"I'd  advise  you  to  see  the  pictures  first, 
and  then  read  the  books  from  which  they 
are  adapted.     It  may  lessen  the  shock." 

Sandy  considered  this  line  of  action  for 
a  moment,  and  then  nodded  his  red  head. 

"I  guess  maybe  that  would  be  best,"  he 
said.  "But  I  dont  care  much  for  fiction 
and  these  popular  novels  anyway.  I  like 
mostly  books  about  travel  and  adventure. 
I'm  reading  a  fine  book  now  about  a  man 
named  Livingston  who  went  into  Darkest 
Africa.  You  ought  to  read  it  some  time. 
Then  I  like  books  about  Boy  Scouts  and 
what  they  do,  and  books  about  girls,  too," 
he  added  generously,  "if  they're  Girl 
Scouts." 

I  expressed  my  regret  that  neither  Lois 
nor  myself  were  Girl  Scouts  and  then, 
being  very  much  interested  in  this  utterly 
unique  young  person,  inquired  if  he  worked 
for  a  living. 

"Yes,  I  sell  newspapers,  but,  of  course, 
there's  not  much  money  in  that,"  said 
Sandy.  "Albuquerque  isn't  a  very  big  place. 
Our  population  here  is  just  thirty  thousand 
and   that   includes   the   outskirts." 

Sandy,  you  see,  is  right  there  with  the 
details  concerning  his  native  town,  and 
I'll  wager  he  is  accurate,  too. 

"I'll  only  be  here  a  year  longer,  tho," 
he  continued.  "Carl  Laemmle  and  I  had 
a  long  talk  the  other  day,  when  he  stopped 
off  here,  and  he  promised  that  next  year 
he  would  take  me  out  to  Hollywood.  They 
say,"  he  looked  up  keenly  now  at  both 
of  us,  "that  Mr.  Laemmle  is  a  man  who 
always  keeps  his  promises." 

I  had  a  quick  vision  of  this  shabby 
newsboy,  talking  as  frankly  and  uncon- 
cernedly with  the  president  of  the  Univer- 
sal Film  Corporation  as  he  now  talked 
with  us.  Laemmle,  too,  has  come  under 
ftis  charm,  it  would  seem.  What  road 
may  not  be  opened  to  this  young  Dick 
Whittington?     Particularly  since  it  is  often 


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Now  what  you  see  when  that  film  is 
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Trial  Size 


Advertising  Section 

said  in  Hollywood  that  Air.  Laemmle  never 

docs  break  a  promise. 

"But  what  are  you  going  to  do  when 
you  gel  to  Hollywood,  Sandy?" 

"Why,  I'm  going  to  become  a  motion 
picture  actor."  he  replied  with  perfect 
assurance.  "That's  what  Mr.  Laemmle 
is  going  to  do  for  me.  Isn't  it  wonderful, 
the   friends   1  have  in  Hollywood!" 

Sandy  was  as  radiant  as  tho  the  Gates 
of  Promise  already  swung  wide.  Indeed, 
in  his  eyes,  they  do.  Has  not  Mr.  Laemmle 
spoken  ? 

"But  why  do  you  wish  to  become  an 
actor,   Sandy  ?" 

"Because  I  dream  of  so  many -things," 
replied  this  astonishing  child,  "and  if  I'm 
an  actor,   all  my  dreams  will  come  true." 

Lois  and  I  exchanged  a  glance.  We 
know  so  many  actors  whose  dreams  have 
not  come  true.  But  again,  in  the  face  of 
such  blissful  faith,  we  could  not  tell  Sandy 
so. 

Sandy  was  now  looking  up  and  down 
the  platform,  evidently  seeking  someone. 

"Isn't  .Miss  Griffith  on  this  train?"  he 
questioned.  "I  heard  that  she  was,  and 
I'll  be  sorry  to  miss  her." 

Indeed,  Corinne  was  reported  to  be  on 
the  train,  but,  as  we  told  Sandy,  we  had 
not  caught  a  glimpse  of  her  so  far.  He 
then  inquired  after  the  Talmadge  sisters, 
Mary  Pickford,  Douglas  Fairbanks  and 
Bill  Flart,  all  friends  of  his  and  of  whom 
he  was  interested  in  hearing  reports.  He 
spoke  of  them  exactly  as  tho  they  were 
next-door  neighbors  who  had  been  out  of 
town  for  a  little  while. 

"Bill  Hart  is  my  pal,  and  he's  a  great 
pal  for  a  fellow  to  have,"  he  said.  "He 
certainly  knows  a  lot  about  the  West. 
Every  time  I  see  him  he  tells  me  stories 
about  the  Indians  and  cowboys,  and  the 
two-gun  sheriffs  who  used  to  shoot  from 
the  hip.  He's  going  up  to  the  Scout  camp 
with  me  some  time.  The  fellows  will 
certainly   like   Bill   Hart." 

The  first  section  of  the  Limited  rolled 
out  of  the  station.  Ours  would  follow, 
so  escorted  by  Sandy  we  turned  toward 
the  train.  But  before  we  had  joined  the 
crowd  clambering  aboard,  Lois  paused, 
opened  her  hand-bag  and  drew  out  a  dollar 
bill. 

"Sandy,"  she  said,  smiling  down  at  her 
shabby  young  cavalier,  "here  is  a  dollar 
to  help  pay  for  that  box  of  candy  for 
your  mother." 

Sandy  stopped  dead  in  his  tracks.  His 
face  went  white  under  the  freckles.  There 
was  a  hurt  look  in  his  blue  eyes  as  he 
stared  up  at  Lois.  He  drew  in  his  breath, 
and  then  said  in  a  hoarse  little  voice,  "I 
cant  take  money  from  you,  Miss  Wilson. 
I  cant  take  money  from  you." 

I  loved  him  for  the  brave  manliness  of 
that  moment.  It  takes  a  tremendous  pride 
and  courage  to  refuse  a  crisp  new  dollar 
bill,  if  one  is  a  ragged  little  newsboy  to 
whom  dollar  bills  come  all  too  seldom. 
And  remember,  this  strange,  precocious 
<  lnl'1  is  without  doubt  keen  enough  to  know 
that  he  could  exploit  his  naive  charm  with 
the  warm-hearted,  generous  film  stars,  if 
to  do  so. 

lint  Sandy  refuses  their  money  and  wins 
their  love  and  respect  instead. 

"A-a-aboard.  A-a-aboard,"  called  the 
porters.       Steam    hissed.      The    long    line 


of  Pullman  coaches  lurched  slightly. 
"A-a-aboard." 

The  tense  last  moment  had  arrived. 
But  I  stood  silent  at  Lois'  side,  watching 
the  unexpected  little  drama  being  played 
out  by  a  famous  motion  picture  star  and 
a  tattered  thirteen-year-old  boy  who  lives 
"out  by  the  sawmills"  in  Albuquerque, 
Xew  Mexico. 

Lois  smiled  down  on  the  child  and  then 
put  one  hand  on  the  shoulder  of  his 
patched  jacket. 

"Sandy,"  she  said  gently.  "I  love  little 
boys  who — who  go  without  many  of  the 
things  other  boys  have,  in  order  to  give 
presents  to  their  mothers.  Unselfish  boys," 
said  Lois,  and  suddenly  bent  over  to  brush 
his  touseled,  upstanding  red  hair  with  her 
lips,   "like  you." 

She  thrust  the  bill  into  his  reluctant 
hand,  and  we  made  a  dash  for  the  train, 
Sandy  at  our  heels. 

"But  Miss  Wilson!  A  whole  dollar! 
Why  that's  more  money  than  I've  had  in 
an  entire  year!"  he  cried  protestingly. 

However,  Lois  had  won,  and  back  in 
her  drawing-room  we  looked  out  of  ,the 
window  to  see  Sandy,  his  face  ashine  once 
more,  gazing  eagerly  up  at  us. 

He  waved  at  us,  called  to  us,  tho  we 
could  not  hear  what  he  said.  We  waved 
back,  "Good-bye  .  .  .  Good-bye." 

The  train  started,  Sandy  running  along 
the  platform  under  our  window.  The 
happy  grin  was  vanishing  from  his  face. 
He  was  saying  good-bye  to  one  of  his 
"motion  picture  friends,"  as  he  calls  the 
film  stars. 

Reaching  the  end  of  the  platform,  Sandy 
had  to  stop.  As  the  train  flashed  by,  one 
grubby  little  fist  was  pressed  furiously 
over  a  very  blue  eye. 

Is  it  possible  that  the  most  famous  film 
fan  in  the  country  was  close  to  tears  as 
he  caught  a  last  glimpse  of  Lois  ?  Perhaps. 
Tho,  no  doubt,  he  would  have  explained  to 
any  fellow  Boy  Scout  who  happened  by 
that  it  was  just  a  cinder. 

"That  child  has  the  rarest  gift  for 
friendship  I  have  ever  known,"  said  Lois, 
as  our  train  swept  away  from  Albuquerque 
and  on  into  the  sunset  desert.  "There 
seems  to  be  no  hero-worship  in  his  affec- 
tion for  us.  To  him,  the  film  players  are 
just  nice,  friendly  people  whom  he  likes. 
He  confides  in  us  so  naturally,  so  un- 
affectedly, that  we  cannot  help  being  won 
over  to  him." 

We  speculated  then  on  the  probability 
of  Carl  Laemmle's  taking  Sandy  to  Holly- 
wood, to  make  a  film  actor  of  him.  It's 
quite  within  the  bounds  of  possibility. 
Sandy  has  poise  and  assurance,  and  the 
friendly  grin  on  his  freckled  face  would 
endear  him  to  the  film  fans,  without  doubt. 

Already  this  remarkable  youngster  has 
made  no  small  mark  for  himself,  in  win- 
ning the  friendship  of  the  leading  stars, 
producers  and  directors  in  the  motion  pic- 
ture realm.  Who  can  say  how  soon  his 
charm  may  extend  beyond  the  confines 
of  his  native  town,  with  its  "thirty  thousand 
population,  including  the  outskirts"  to  de- 
light, entertain  and  amuse  his  fellow  film 
fans   everywhere? 

Sandy,  the  film  fan,  may  indeed  become 
Sandy,  the  film  star,  in  time.  If  so,  may 
all  his  dreams  come  true,  as  he  so  firmly 
believes  they  will. 


Are  the  Stars  Beautiful? 

"jVTKXT  month  INikol  Schattenstein,  the  famous  Russian  portrait  painter,  answers 
-  -  '  tlii-  question.  He  has  painted  many  of  the  screen  stars  .  .  .  and  you'll  be 
interested  in  the  new  things  he  has  to  say  about  women  and  the  thing  that  makes 
them  beautiful. 


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The  Age  of  Our  Men  and  the 
Innocence  of  Our  Women 

(Continued  from  page  25) 

Meanwhile  Senorita  Meller  has  looked 
upon  the  American  screen  and  made  ob- 
servations. Translated  from  Spanish  to 
French  to  English: 

".You  have  many  fine  artists  on  the 
screen,  but  the  men  are  too  old,  many  of 
them  are  too  old.  They  play  youth  and 
they  have  lines  about  their  mouths  and 
eyes.  Good  acting  can  make  the  same  man 
any  kind  of  a  personality,  the  tyrant,  the 
saint,  a  thief,  a  fool,  but  a  mature  person 
cannot  play  extreme  youth.  Youth  is  one 
quality  that  dies  and  cannot  be  recalled. 
The  screen  is  not  wholesome  with  older 
lovers  always.  They  make  love,  but  not 
like  youth.  Your  girls  are  too  innocent, 
your  men  too  wise." 

"Would  Senorita  Meller  say  that  an 
artist  is  restricted  by  his  physical  self?" 

"Yes,"  Raquel  Meller  would  say.  "Yes." 
Casting  according  to  type  is  simply  follow- 
ing nature.  But  within  the  limits  of  his 
physical  self  an  actor  can  be  many  different 
people.  She  herself  is  fourteen  different 
women  in  one  performance,  singing  in 
fourteen  different  songs,  but  she  does  not 
choose  roles  that  are  not  for  Raquel  Meller. 
Look  what  forgetting  nature  has  done  to 
the  French  stage,  she  said.  Old  men  play- 
ing boy's  parts,  fat  men  playing  the  spi- 
ritucl.  Fantastic,  ridiculous.  Art  is  to 
make  clear  a  soul,  not  to  change  the  body. 

Senorita  Meller  declared  that  she  loves 
the  screen  so  much  that  she  would  give 
up  her  singing  for  it.  Whereupon  Mon- 
sieur Baud,  who  has  learned  infinite  tact 
from  having  been  the  manager  for  Bern- 
hardt, Rejane,  Duse,  the  Guitrys,  smiled 
cordially  and  said,  "Oh,  but  she  could  not," 
in  a  manner  that  let  in  the  whole  world 
as  lamenting  this  possibility,  which  it 
would. 

And  what  parts  will  she  play,  this  most 
rapturous,  beautiful,  and  mystic  lady.  It 
is  just  as  well  to  get  in  some  adjectives 
rashly  about  Senorita  Meller's  beauty  be- 
fore the  avalanche  starts  in  movie  circles. 
You  look  upon  her  photographs  and  she 
is  exotic,  handsome,  undeniably  Spanish,  a 
portrait  merely.  When  she  arrived  in  New 
York  at  last,  the  ship-news  reporters,  who 
aren't  taken  in  by  anything,  not  even  the 
ravings  of  critics,  said  frankly  they  couldn't 
see  it.  This  writer  felt  the  same  way, 
until  midway  into  Senorita  Meller's  per- 
formance one  evening,  and  then  became 
ecstatically  willing  to  shout  with  the  rest. 
It  all  depends  on  how  she  screens.  On 
the  stage  she  works  miracles  of  person- 
ality. You  will  swear  that  her  eyes  are 
green  and  brown  and  blue  and  jet-black, 
that  she  is  really  a  larking  peasant  girl  at 
heart,  that  she  is  a  grandee's  donna,  that 
she  is  the  most  dramatically  lovely  woman 
you  have  ever  seen,  that  it  isn't  her  art, 
it's  her  beauty,  that  it  isn't  her  beauty,  it's 
her  acting.  The  critics'  estimate  of  her  is 
just  as  much  a  free-for-all. 

The  pictures  she  has  made  abroad  are 
"The  White  Gypsy,"  made  in  Spain;  "Les 
Opprimes,  the  Oppressors,"  made  in 
France,  and  these  others  made  in  France — 
"The  Imperial  Violet,"  "The  Promised 
Land,"  "The  Night  Watch,"  "Carmen." 
The  Selwyns,  New  York  theatrical  pro- 
ducers, have  purchased  "The  Imperial  Vio- 
let," but  not  one  of  her  pictures  has  been 
released  in  this  country  so  far,  and  she  is 
therefore  a  mysterious  quantity  as  a  screen 
personality. 

"Not  the  big  films,  not  superfilms,"  said 
Miss  Meller.  "I  do  not  want  to  play  in 
those.  If  the  scenery  is  big,  the  artist 
(Continued  on  page  97) 


UAIP/ 

Marvelous,  unbelievable  radiance 
for  your  hair,  by  the  use    of 

a  touch  of  henna  in  the  shampoo 


C~\fOT  until  you  have  seen  in  your 
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can  you  believe  what  a  miracle  of  beau- 
ty just  a  touch  of  henna  in  the  shampoo 
can  perform.  This  secret  is  used  in  the 
boudoirs  of  the  world's  most  famous 
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strewn  with  innumerable  gleaming 
lights  by  the  beauty-magic  of  this  famous 
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can    create    this    amazing    miracle    by 


using  a  touch  of  henna  in  the  shampoo. 
There  is  only  one  shampoo  that  contains 
just  the  right  touch  of  henna  to  work  the 
miracle  for  you.  It  is  HENNAFOAM 
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95 

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The  Witchery 
of  Starry  6yes 


lures  and  beguiles  as  she  bobs  up  from  the 
waves.  Tiny  drops  of  water  quiver  at  the 
very  tips  of  her  thick  lashes,  sparkling  as 
dew  in  the  summer  sunshine. 

It  is  the  heavy  sweep  of  long,  dark  lashes 
that  makes  her  eyes  so  alluring.  You  can 
invest  your  eyes  with  this  fascinating  lure  by 
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In  1907 

Folks  Began  to 

Get  Slender 


Marmola  Prescription  Tablets  were  perfected 
in  1907.  Look  about  you  and  note  the  result. 
Mark  how  slenderness  prevails,  how  rare  is  ex- 
cess fat.  When  Marmola  came  18  years  ago,  at 
least  ten  times  as  many  people  overweighed. 

Marmola  combats  the  cause  of  the  trouble, 
which  usually  lies  in  a  gland.  No  abnormal 
exercise  or  diet  is  required.  Simply  take  four 
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The  method  is  prompt  and  pleasant. 

Users  of  Marmola  have  told  others  about  it 
until  millions  have  learned  the  farts.  Now  peo- 
ple are  taking   over  100,000   boxes   monthly. 

Fat  is  a  blight  to  beauty,  health  and  fitness. 
It  adds  years  to  age.  Everyone  so  handi- 
capped should  learn  how  to  correct  it. 

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The  Pleasant  Way  to  Reduce 


I 


MARMOLA 

2-235  General  Motors  Bldg. 
DETROIT.  MICH. 


Melbourne  Spurr 

There  are  those  who  feel  that  Mary's  pictures  would  be  greater  if  she  and  Doug 
did   not   always   make   pictures   at   the   same   time.      She   becomes   so   interested   i 
the  things  he  is  doing,  so  anxious  for  his  achievement,  that  she  is  inclined  to  pla 
her   own    secondary 


A  Hollywood  Idyl 

{Continued  from  paye  21) 


When  she  was  working  on  "Scraps,"  it 
was  neccessary  to  build  a  swamp  on  the 
very  edge  of  the  lot  and  this  was  a  great 
distance  from  where  Doug  was  working 
with  his  pirates.  He  had  a  telephone  in- 
stalled on  her  set.  But  if  he  left  the 
studios,  he  walked  over  to  toll  Mary 
good-bye,  nevertheless. 

They  always  make  location  trips  to- 
gether  if  they  are  for  more  than  one  day. 
If  it  is  Doug's  company  that  goes,  Mary 
halts  work  on  her  production  so  that  she 
may  accompany  them.  And  the  reverse  is 
true. 

They  are  wise  to  hold  dear  such  a 
pro  ious  thing.  Rut  it  is  the  desire  on 
their  part  to  do  these  things  that  is 
idyllic. 

I  land  in  hand,  they  walk  forth  to  meet 
life.       And     no     matter     what     turn     life's 


tournament  takes,  they  will  always  be 
victorious  in  a  great  sense  .  .  .  for  they 
will  be  together." 

There  is  something  symbolic  in  the 
golden  Mary  and  the  bronzed  and  gal- 
lant Doug  .  .  .  something  reminiscent  of 
the  medieval  knights  who  rode  forth 
bearing  a  holy  pennant  because  of  a 
ladye.  .  .  . 

And  Doug  will  tell  you  that  it  was  thru 
Mary  that  he  became  a  Christian.  .  .  . 

Let  the  cynics  prate  of  love's  being  a 
myth  .  .  .  and  of  all  the  other  silly  things 
about  which  they  prate  so  ceaselessly  and 
stupidly. 

We  have  seen  what  we  have  seen.  We 
know   what   we  know. 

Out  of  the  chaos  of  grease-paint,  masks, 
press-agentry  and  the  shifting  scenes  of 
Hollywood,   an   idyl   has   come. 


A    Map    of    Hollywood 


t 

There  is  Buch  a  craze  for  copies  of  the  old-fashioned  maps  these  days  that  we 
think  it  altogether  fitting  and  proper  thai   we  publish  one  of  Hollywood. 

You'll  see  the  studios — the  home-  of  lhe  stars  sprawling  all  over  the  mountains — 
the  Pacific  Ocean  overcrowded  with  yachts  and  bathing  girls. 

\ ii*l   you'll   Bee  the  whole  of  Hollywood   blocked  out  before  your  amazed  eyes. 

Wait  for  the  September  MOTION  PICTURE  MAGAZINE  ! 


Something  DIFFERENT 

for  Bobbed  Hair 

There  is  a  tremendous  differ- 
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fully attractive  and  becoming, 
while  others,  well — -which  kind 
is  yours? 

I  wish  you  could  picture  the 
becoming  kind  I  have  in  mind  — 
the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the 
color  is,  but  it's  full  of  those  tiny 
dancing  lights  that  somehow  sug- 
gest auburn,  yet  which  is  really  no 
more  actual  color  than  sunlight. 
It's  only  when  the  head  is  moved 
that  you  catch  the  auburn  sugges- 
tion —  the  fleeting  glint  of  gold. 

You  have  no  idea  how  much 
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Advertising  Section 

The  Age  of  Our  Men  and  the 
Innocence  of  Our  Women 

{Continued  from  page  95) 

becomes  too  small.  In  a  super-film  like 
'Ben-Hur'  you  cannot  really  act.  In  the 
picture,  'The  Big  Parade,'  that  is  differ- 
ent, because  it  is  so  near  our  time,  and 
because  the  story  has  been  made  very 
simple.  King  Vidor  used  the  first  prin- 
ciple in  art — good  selection.  You  will  get 
big  pictures  by  coming  close  to  life  and  in- 
terpreting it  only  thru  a  very  small  cast. 
"Costume  pictures  must  be  made  differ- 
ently, and  I  want  to  play  in  costume  pic- 
tures. They  do  not  age.  It  is  a  pity  to 
make  good  pictures  that  will  die  in  a  few 
years  because  the  styles  in  clothes  and 
hair-dressing  have  changed.  It  makes  the 
best  acting  ridiculous.  In  Paris  I  saw  re- 
cently the  picture,  'Forfeiture,'  with  Fanny 
Ward  and  Sessue  Hayakawa.  A  few  years 
ago  it  was  a  big  success,  and  today  every- 
body laughs  because  Miss  Ward's  waist- 
line  is    different." 

When  Sehorita  Meller  acts  before  the 
screen,  Hollywood  will  learn  some  new 
temperamental  demands  as  to  filming  real- 
ity. Miss  Meller  will  act  in  costume  and 
genre  production,  but  if  the  producers  think 
that  Miss  Meller  will  romanticize  the 
past,  well  let  them  just  think  they  can. 
When  Miss  Meller  played  Carmen  be- 
fore leaving  France,  she  stripped  Carmen 
of  all  traditions  and  made  her  a  ragged 
mountain  wench,  and  a  thief.  "Pola  Negri 
did  not  know,"  said  Miss  Meller,  "but  a 
gypsy  smuggles  lace,  but  would  never 
think  of  wearing  it." 

The  great  Spanish  beauty,  imperious  as 
a  queen,  keeps  herself  secluded,  with  her 
two  Spanish  maids,  her  Pekingese,  her 
fabled  casket  of  jewels  three  feet  long, 
her  two  cars  that  stand  at  the  door  and 
are  never  used.  It  makes  one  giddy  to 
think  of  the  material  for  fan  stories  when 
Miss  Meller  enters  the  screen  aristocracy. 
She  may  still  keep  her  vows  and  not  give 
interviews,  but  there  is  the  story  of  her 
birth  in  a  traveling  troupe,  her  years  as  a 
factory  lacemaker,  the  two  miracle  years 
when  she  became  blind  and  sang  or  begged 
in  the  streets  and  the  miracle  in  a  convent 
of  her  returning  sight.  Not  the  mysteri- 
ous Count  Domski  in  the  background  of 
Pola  equals  the  picturesqueness  of  the  Ar- 
gentinian husband  of  Sehorita  Meller,  Go- 
mez Garillo,  who  carried  her  off  to  South 
America  and  imprisoned  her  in  his  em- 
battled mansion. 

On  the  stage  she  sings  her  famous  song, 
the  "Violetera,"  and  throws  bouquets  of 
real  violets  into  the  audience.  Sehorita 
Meller  also  had  a  few  fragrant  posies  to 
throw  to  our  screen  actors.  Upon  seeing 
Renee  Adoree  in  "The  Big  Parade,"  she 
wrote  a  public  appreciation  of  Miss  Adoree, 
saying  that  Miss  Adoree  had  the  great 
soul  of  a  true  artist.  She  likes  Belle  Ben- 
nett, especially  in  the  latter  half  of  "Stella 
Dallas."  Lillian  Gish,  according  to  Ra- 
quel  Meller,  is  a  fine  artist  despite  her 
mannerisms.  John  Gilbert  got  her  acco- 
lade, but  Gilbert  should  not  play  young 
boys,  he  is  too  sophisticated.  The  thing 
Miss  Meller  has  to  bring  to  the  screen, 
if  it  is  carried  over  by  the  camera,  is  a 
clarity  and  nakedness  of  emotion  such  as 
no  other  actress  possesses.  She  uses  very 
few  gestures,  her  pantomime  is  wonderfully 
reserved,  but  she  can  create  characteriza- 
tions that  are  real  with  a  sort  of  world 
pang  that  makes  the  fate  of  a  single 
character  universal.  She  sings  a  little  song 
about  a  girl  of  the  streets,  a  flower  of  sin, 
and  you  see  the  myriad  lives  of  many  such 
girls.  You  see  nature  revealing  thru  flesh 
where  inwardly  some  nerves,  some  springs 
of   life   are   lax  and  malformed. 


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He  Hated  Alarm  Clocks 

(Continued  from   page  39) 


When  Fields  had  once  more  returned, 
as  in  the  bleachers,  some  astute  admirer 
asked  how  it  felt  to  become  a  star,  and  at 
that,  overnight.  \V.  C.  Fields,  then,  was 
to  epitomize  his  triumph  with  a  few  well- 
chosen  words,  cue  if  ever  for  an  avalanche 
of  ego.  I  liked  the  man,  and  I  shivered. 
It  wasn't  pleasant  to  foresee  the  swift  shat- 
tering of  a  favorite  ideal.  With  a  trace 
of  that  smile  which  is  going  so  large  just 
now  among  the  fans,  Bill  briefly  replied: 
"It  doesn't  feel  any  different.  Acting  is 
acting  the  world  over.  It  doesn't  suddenly 
change  just  because  you  happen  to  have  a 
better  part." 

"But  dont  you  miss  all  the  hands  you 
used  to  get  at  the  theater?"  It  was  my 
turn  to  scintillate. 

"Not  a  bit,"  was  the  swift  reply.  "That's 
all  there  was  to  it,  the  applause;  seeing  if 
I  could  make  each  audience  laugh  harder 
than  the  one  that  went  before  and  then 
the  next  one  louder  than  that.  I  always 
go  to  see  my  pictures  two  or  three  times, 
and  if  people  laugh,  I  am  perfectly  satis- 
fied. In  fact,  I  love  this  work.  There's 
always  something  different  here.  I  used 
to  get  sick  of  doing  the  same  thing  night 
after  night,  year  after  year.  I  dont  want 
to  go  back  to  the  stage — not  for  a  long 
time,  anyway.  There' re  so  many  things 
I'd  like  to  try  out  in  pictures  first.  I 
want,"  continued  the  seasoned  showman 
with  surprising  naivete,  "to  do  some  slap- 
stick comedies,  and  also  some  work  c^f  a 
more  subtle  character." 

"Mr.  Fields,"  interposed  one  of  the  stu- 
dio staff  who  had  been  listening,  "knows 
all  there  is  to  be  known  about  gags.  No 
matter  which  one  they  think  of  using,  he 
can  tell  you  just  where  and  when  and  by 
whom  it  was  originated.  He  can  even  list 
the  number  of  times  it's  been  used  since." 

"Oh,  I  only  know  what  I've  seen  around 
at  shows  in  my  spare  time,"  Fields  depre- 
cated. "The  gags  I  really  meant  were  a 
lot  of  little  incidents  I've  watched  on  the 
street,  things  totally  unimportant,  but  full 
of  humor  and  human  interest.  I've  always 
had  the  best  luck  with  gags  I've  actually 
seen  take  place." 

"I  know  one  good  gag  of  yours,  that 
never  took  place  on  the  stage  or  street," 
said  I,  looking  at  it  admiringly. 

"Oh,  my  mustache !"  and  to  the  accom- 
paniment of  a  chuckle,  Mr.  Fields  exhibited 
his  first  sign  of  pride.  "That  is  my  own 
idea.  Want  to  see  how  it  works  ?"  He 
undamped  a  bit  of  mustache  to  which  had 
been  attached  a  substantial  hook-eye.  "I 
got  tired  of  taking  the  glue  off  my  face, 
and  I  think  this  is  just  as  good,  even  a 
little   funnier." 

Once  we  bad  agreed  on  that,  Bill  fell 
into  a  confidential  mood: 

"Say,  do  you  know  what's  responsible  for 
any  success   I've  had?" 

"Great  industry  and  talent,  combined  with 
an  undying  desire  to  get  ahead?"  I  nodded 
a  sagacious  head. 

"Not  a  bit  of  it.  It's  been  a  case  of 
pure  laziness.  I  went  on  the  stage  as  a 
kid  of  eleven — I'd  run  away  from  home, 
you  see-,  and  I  never  went  back — so  that 
I  could   sleep  late   in  the  mornings.     Now 


I'm  in  the  movies  partly  because  I've 
changed  and  hate  going  to  bed  late.  There's 
little  doubt  that  if  I'd  persisted  long 
enough  I  could  have  got  someone  to  give 
me  a  chance  in  pictures  before  this,  but  I 
didn't,  again  because  of  inherent  laziness — 
my  great  failing,  or  merit,  or  whatever  you 
want  to  call  it.  And  a  good  thing  the 
delay  was,  too.  I'm  that  much  surer  of 
myself,  and  just  that  much  better  qualified 
for  my  new  work.  Of  course,  I  did  very 
little  talking  on  the  stage,  and  the  training 
that  I  got  in  pantomime  is  invaluable  to 
me  now.  .  .  .  Speaking  of  lines,  I  used 
to  have  a  very  hard  time  with  managers 
I  told  you  how  difficult  it  was  to  sell  the; 
a  new  idea.  Well,  they  were  sure  of 
as  a  comedy  juggler,  and  just  as  the  pn 
ducers  had  on  that  account  been  unwill 
ing  to  try  me  out  in  pictures,  so  the  man- 
agers were  opposed  to  my  trying  anything 
but  a  dumb  act.  When  I  wrote  lines  into 
my  acts,  they  always  told  me  to  cut  them. 
Sometimes  I'd  hold  back  a  good  deal  right 
thru  the  dress  rehearsal  to  the  first  night. 
I  remember  one  special  time  when  I  did 
this  here  in  New  York,  and  all  the  big 
critics  gave  me  good  notices  the  next  morn- 
ing. Still  the  manager  told  me  to  shorten 
my  act.  In  this  show,  a  big  success, 
friend  of  the  manager  told  him,  on  hear- 
ing this  news :  'Cut  out  Fields'  laughs  and 
you  close  your  own  show.'  "  Fields  spoke 
now  with  lowered  voice,  and  his  eyes 
brightened  as  do  those  of  every  tried 
trouper  when  he  recounts  his  triumphs.  The 
outcome  of  the  conversation  between  the 
adviser  and  manager  had  apparently  been 
a  great  comfort  to  the  Fields  of  that  time, 
a  lonely,  discouraged  Fields  who,  looking 
into  the  future,  was  beginning  to  see  a 
drab  continuity  of  unalleviated  juggling. 

"You  see,"  he  continued,  "too  much  com- 
edy distracts  attention  from  the  love  inter- 
est. That's  what  they  really  meant  when 
they  said  that  too  many  laughs  held  back 
the  show.  It's  just  the  same  in  pictures, 
Much  of  my  work  was  eliminated  from  a 
film  recently  because  it  diverted  attention 
from  the  star." 

I  asked  Mr.  Fields  if  he  didn't  feel  rec- 
onciled to  being  a  star,  since  it  meant  that 
from  now  on  he  could  be  as  funny  as  he 
chose  without  discouragement. 

"Oh,  well,  I  never  said  I  didn't  like  it," 
and  again  he  chuckled. 

And  with  that  the  interview,  as  had 
work  for  the  day,  automatically  ended.  I 
watched  Mr.  Fields  as  he  ambled  down  the 
set.  There  was  comedy  in  every  line,  in 
the  hang  of  his  costume,  the  tilt  of  his 
silk  hat.  There  was  comedy,  and  a  hint, 
too,  of  wistfulness. 

Just  then  Carol  Dempster's  head  peered 
thru  her  dressing-room  door: 

"Hello,  Pop,"  she  called.  It  was  a  form 
of  speech  which  she  has  carried  over  from 
"Sally  of  the   Sawdust." 

There  was  an  interchange  of  smiles  and 
greetings,  then,  suddenly,  he  was  gone. 

And  I  only  restfained  myself  in  time 
from  calling  after  him:  "Good-bye,  Pop. 
litre's  everlasting  luck  to  'The  Old  Army 
dame.'  " 


i 


The  Editor  Gossips 

W^ITfl  <he  return  of  Adele  Whilely  Fletcher  lo  the  editorial  chair  of  the  Motion 
*'   PICTURE    M\(;azijsk,   we   are    glad    to    announce    that    once    more   the    editor   will 
gossip  in  <nir  pages  ...  in  this  department  are  the  fascinating  little  things  that  nevei^ 
ordinaril)    find   ilirir  way   into   print  .  .  .  the  confidences  of  tea-tables  .  .  . 
Look  for  this  popular  page  next  month  .  .  . 

In  the  September  MOTION  PICTURE  MAGAZINE 


98 


MAGAZINE  la  guaranteed. 


Advertising  Section 


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Genuine  Jade 

{Continued  from  page  71) 

unique  and  appropriate.  One  has  a  round, 
very  thin  platinum  case  with  a  string  of 
sapphires  all  around  the  edge.  For  .  full 
dress,  the  watch  Mr.  Menjou  prefers  is 
shown  in  the  pictures.  The  initials  are 
done  in  tiny  sapphires.  The  chain  he  wears 
with  formal  dress  is  made  of  tiny  platinum 
links  among  which  four  pearls  are  set  at 
intervals.  In  all,  there  are  five  chains  from 
which  Mr.  Menjou  makes  his  selection  and 
of  those  for  informal  wear  one  is  fash- 
ioned of  heavy  and  the  other  of  long, 
slender  links. 

A  very  fine  Russian  emerald  in  a  setting 
which  combines  diamonds  with  the  emerald 
is  a  ring  which  Mr.  Menjou  usually  wears. 
With  it  he  wears  the  narrow  guard  ring  also 
pictured.  His  other  rings  are  varied,  one 
emblematic,  a  gold  seal  ring,  and  one  set 
with  an  amethyst,  his  birth  stone. 

"These  cuff  links,"  said  Mr.  Menjou  as 
he  showed  me  a  gold  pair  with  Chinese 
characters,  "are  some  I  value  very  much. 
My  brother  sent  them  to  me  from  the 
Orient  and  those  characters  spell  my  name. 
Perhaps  they  aren't  the  most  legible  iden- 
tification tag  I  could  wear,  but  I  use  them 
more  than  any  other  pair  for  business 
wear." 

Carved  jade  surrounded  by  rose  dia- 
monds and  mounted  in  platinum  is  Air. 
Menjou's  newest  full-dress  set.  It  is  of 
unsurpassed  grandeur  even  among  his  no- 
tably choice  sets.  Included  in  the  jade 
set  are  two  studs,  four  waistcoat  buttons, 
and  the  double  links.  The  photographs 
represent  the  design  charmingly  but  can 
give  no  hint  of  the  real  beauty  of  the 
gems. 

For  dinner  dress,  Mr.  Menjou  prefers 
black  pearl  buttons  of  fleur-de-lys  diamonds 
set  in  black  pearl. 

The  use  of  pearls  Mr.  Menjou  strongly 
commends  for  those  of  very  simple  tastes 
and  others  who  are  limited  to  the  purchase 
of  perhaps  only  one  set.  "Buy  pearls,"  he 
said.  "They  are  always  good  for  fine 
quality.  In  fact,  they  represent  conserva- 
tive as  well  as  correct  taste,  and  con- 
servative is  the  key-note  to  good  taste 
in  dress.  It  applies  equally  to  clothes  and 
j  ewelry. 

"As  for  jewelry,  per  se,"  he  continued, 
"I  considered  well,  as  a  man  of  business, 
its  merits  as  an  investment  before  I  bought 
many  pieces.  I  have  decided  that  it. is  an 
investment  that  pays  good  dividends  in 
giving  years  of  service  in  wear,  and  be- 
sides that,  it  has  a  constantly  increasing 
intrinsic  value." 


Love  in  the  Movies 


Impetuous  love 

Caveman  love 

Bashful  boy  love 

Sophisticated  Love 

Intense  love 

Next  month  Chamberlain  offers 
his  impressions  of  these  five 
varieties  of  celluloid  love. 

His    drawings    are    delightful. 


Ivory-^    ie 

in  3  Days! 

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Every  woman  who  wants  a  glorious  com- 
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NOW.  .  .  .  a  New  Kind  of  Lotion 
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NOW  you  can  have  the  smooth,  flawless  complexion 
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must  be  soft,  smooth  and  white.  My  marvelous  discov- 
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Freckles  and  Tan  Vanish! 

All  trace  of  freckles,  tan,  blackheads,  roughness  and 
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Test  this  preparation  on  your  arm,  hands,  or  on  your 
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Advertising  Section 

The  Prize  Winners  Are: 


One   popular   star  you   will  sec. 
As  you   wander  around   .nay   Paree, 
Is   Mae   Murray,  of  course, 
On   a    dashing   black   horse, 
"Sitting    Pretty"   we   all    must   agree. 

Mrs.  Howard  Wallace  Hanson, 
Germantown,    Philadelphia,   Pa. 

To  the  countrj    you'll  go   For  a   da 
And    will    find    there    Rence    Adoree. 
As  a   peasant   coquette, 
She's   the   snappiest   yet, 
And   you'll    loathe    to   go   home,    so   they   say. 
Marie  Lonergan, 
Chicago,    Illinois. 


Norma    Talmadge    will    sell    you    the    news, 
And    tho    wearing    old    garments    and    shoes. 

She'll   look   cunning  and   cheeky 
As   the   street  gamine   Kiki, 
With   each    •'Echo"   a   song   if   you   choose. 
L.  Hammond, 
Northport,  L.  I. 

At  the   Palace  of  Versailles   dont  miss 
Our    Gloria    dressed    up    like    this. 
Can   you  guess?      It's  so   plain. 
Why    she's    Madame   Sans-Gene! 
A    laundress   like   her   would   lie   bliss. 

Leontine  Brennan, 
New  Orleans,   La. 


o 


Pauline   Garon   will    tell   some  wild   stories 
Of    Francis    MacDonald's    new    glories; 
For  an  Apache   is   he, 
And    as   fierce   as   can   be! 
That's    the    type    sent    to    reformatories. 

Milton  McAllister, 
San   Antonio,   Texas. 

N    page    72    of    this   issue   you    will    find    five    more    limericks    needing    last    lines. 
There  is  a  prize  of  $10.00  for  the   best  last  line  submitted  for  each   of  them. 


A  Dear   (Deer)   Attraction 


is  the  prize-winning  title  for  the  picture  which  appeared  on  page  72  of  the 
June  issue.    It  was  contributed  by  M.  Carhart,  New  York. 


CHARLES  RAY 
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Advertising  Section 
The  Good  Soldier 

(Continued  from  page  43) 

to  play  up,  but  Louise  refused.    Like  a  bad 
child,  she  sulked  thru  the  scene. 

A  little  man  at  the  back  of  the  theater 
stopped  the  music.  Hj  walked  up  the  aisle 
to  the  steps  from  pit  to  stage  and  mounted 
them,  beckoned  to  Louise,  who  had  de- 
fiantly watched  him  come,  and  backed  her 
against  the  wall  of  the  set. 

"Louise,"  he  said,  gently,  "I  want  you  to 
be  a  good  soldier.  Some  day,  you  know, 
you're  going  to  be  a  general." 

He  was  Charles  Frohman.  .    .    . 

"I've  never  forgotten  it!"  cried  Miss 
Dresser,  her  wide-set  blue  eyes  tender  with 
memories  of  dear  "C.  F."  "I  went  to  Gertie 
at  .once  and  apologized.  Whenever  I've 
been  tempted  to  be  cocky,  I've  remembered 
what  that  great  little  man  said  to  me — and 
mentally  saluted." 

But  before  Charles  Frohman  ever  saw 
•her,  Louise  Dresser  was  enrolled  in  the 
ranks  of  good  soldiers. 

Her  father  died  when  she  was  fourteen, 
leaving  his  widow  and  children  nothing  but 
loving  memories.  Since  the  little  girl  was 
gifted  with  a  golden  voice,  not  unnaturally 
she  found  her  way  to  local  opera  houses,  in 
a  more  or  less  amateur  fashion. 

A  big  benefit  held  in  a  Columbus  theater 
where  Louise  was  a  tremendous  favorite 
brought  her  in  touch  with  two  show  girls 
from  New  York  who  promised  to  find  her 
a  real  job  some  day. 

"People  often  say  those  things  and  sel- 
dom do  more,"  observed  Miss  Dresser, 
across  the  luncheon  table,  "but  behold  the 
exception !  One  day,  when  I  was  nearly 
sixteen,  a  letter  came  asking  me  to  join 
a  musical  show  in  Boston. 

"Nothing  would  do  but  I  must  go.  My 
poor  mother  led  an  awful  life  until  she 
agreed  and  we  got  the  money  together  to 
buy  a  ticket  to  New  York,  where  I  was  to 
be  met  by  the  'impresario.'  There  wasn't 
money  enough  to  get  a  berth  so  I  sat  up 
all  night,  arriving  next  day,  tired  out  and 
scared  to  death. 

"A  man  in  an  overcoat  that  fell  quite 
to  his  heels,  a  near-mink  collar  and  a  high 
silk  hat  met  me.  He  could  have  doubled 
for  Mephisto  without  make-up. 

"Jack  says" — Jack  is  Miss  Dresser's  at- 
tractive husband — "Jack  says  my  guardian 
angel  must  have  been  right  there  that  day, 
for  Mephisto  took  me  to  a  house  on  Four- 
teenth Street  that  is  worse  than  can  be 
imagined.  Up  two  flights  of  narrow  stairs 
we  went,  my  poor  little  legs  shaking  so 
they  could  hardly  carry  me,  to  a  bit  of  a 
room  with  a  queer,  carpet-covered  folding 
bed. 

"  'Rest  awhile,'  Mephisto  directed.  'We 
go  on  by  boat  tonight.' 

"The   minute   he    left   the    room,    I    fell  j 
down   beside   that   carpet-covered   bed  and  | 
prayed   every    prayer   I   knew.      I    know   I 
said  'Now   I  lay  me'  six  times !     Then  I 
crawled  up  on  the  bed  and  slept. 

"At  Boston  he  took  me  to  a  boarding- 
house.  I  explained  to  the  landlady  that 
I'd  never  been  away  from  my  mother  be- 
fore and  begged  her  to  let  me  sleep  with 
her,  not  to  leave  me  alone !  She  put  me 
with  her  daughter. 

"Then  came  the  blow.  The  'musical 
show'  turned  out  to  be  a  burlesque.  I 
didn't  even  know  what  the  word  meant. 
I'd  never  seen  a  pair  of  tights  in  my  life. 
For  four  miserable  weeks  I  stuck  it  out. 
My  clothes  were  thin  and  I  wasn't  used  to 
New  England  winds,  so  I  had  pneumonia. 

"Some  day  I  am  going  to  tell  you  about 
the    wonderful   woman   who   took   care   of 
me   then — took   me,   a   little  unknown  bur- 
(Continued  on  page  105) 


!  rJrreslstiNc 

\  is  the  charm  of '"' 
\  a  smooth  clear  skin 


^^Ootherelementof  beauty 
has  the  alluring  appeal 
of  a  fresh,  velvety  skin, 
glowing  with  health  and 
color.  Every  man  admires 
it  and  nature  intended  every 
woman  to  possess  it. 

But  no  skin,  however  lovely,  will 
retain  its  beauty  unaided  and  thou- 
sands of  women  have  found  the  solu- 
tion of  their  problem  in  the  daily  use 
of  Resinol  Soap.  There  are  three  ex- 
cellent reasons  why  this  soap  appeals 
so  strongly  to  the  woman  who  wishes 
to  preserve  or  restore  the  fresh,  youth- 
ful charm  of  her  complexion. 

First,  it  is  a  decidedly  pleasing  toilet 
soap  giving  a  quantity  of  creamy, 
pore-searching  lather  that  invigorates 
while  it  cleanses. 

Then  its  ingredients  are  absolutely 
pure  and  wholesome.  There  is  no  trace 
of  free  alkali — that  harsh,  drying 
chemical  which  makes  so  many  ordi- 
nary soaps  injurious  to  the  skin  and  hair. 
But  best  of  all,  it  contains  the  sooth- 
ing Resinol  properties  which  give  it 
that  distinctive,  refreshing  fragrance 
and  rich  color,  and  cause  it  to  keep  the 
skin  clear  and  velvety. 

RESINOL  OINTMENT  is  a  ready  aid 
to  Resinol  Soap.  In  addition  to  being 
widely  used  for  eczema,  rashes,  chaf- 
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you  write  to  advertisers  pleas 


ition   MOTION   PICTURE   MAGAZINE, 


101 
PAG 


I 


GMOT10N  PICTURP 
Ml  I  MAGAZINE    T- 


Advertislng  Section 


Irene  Rich,  Clive  Brook,  in  Compromise, 
a  Warner  Brothers  production 

Their  hair  defies 
summer  breezes 

IONG  evenings,  hatless,  out- 
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Name.  .  , 
Address . 


Why 


air 


Blonde 

Requires  a 
Special   Shampoo 

Nothing  attracts  more  attention  than  hoau- 
tifiilly  blonde  hair.  Thai  is  why  blondes  al- 
ways have  ;i  charm  all  their  own.  The  only 
unfortunate  thing  about  blonde  hair  is  thai 
it  has  a  aatural  tendency  to  darken.  Btreab 
or  fa«ic  as  one  grows  older,  'linn  blonde 
hair  is  anything  hut   beautiful.     Bui   now  a 

way  has  been  found  to  correct  the  natural 
darkening  of  blonde  hair.  Von  simply  sham- 
pour  hair  with  Blondex,  a  new  shampoo 
for  blonde  hair  only.  Blondex  nol  onlj  i  eeps 
hair  from  darkening — bu'fl  actually 
back  the  original  golden  beauty,  even  t"  the 
mosl  Caded  and  darkened  blonde  hair.  Blondex 
is  not  a  dye     contains  no  Injurious  chemicals. 

Over    hall     a     million     users.       Money    l.aik    if 

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Albert  Prisco  puts  his  whole  family  to  work  in  the  movies  whenever  the  first  of 
the   month    comes   'round.       That    makes   it   all   very    simple 

He   Doesn't  Worry  About   the   High   Cost 
of  Living 

By  Holmer  Little 


(~WER  in  what  is  so  frequently  called 
"Sunny  Italy,"  Albert  Prisco  found  a 
huge  cloud  between  him  and  the  sunshine. 
Somehow  or  other  things  never  went  just 
right   for  Albert. 

One  reason,  and  a  very  good  one,  was 
that  Albert  and  his  good  wife,  Frances  had 
a  house  that  overflowed  with  children  of 
a  lull  assortment  of  ages  and  sizes.  If 
you  asked  Frances  suddenly  how  many 
"bambinos"  she  had,  she  usually  had  to 
stop  and  count  them  up.  There  were  thir- 
teen, which  is  quite  a  flock  when  the 
shoes  are  wearing  out  and  the  baker  and 
milkman  and  all  that  sort  of  thing  have 
to  be  taken  into  consideration.  To  take 
care  of  a  brood  like  that  is  a  real  assign- 
ment for  any  man. 

So  Albert  decided  the  chances  would  be 
better  in  far  America.  He  sailed  the  in- 
tervening seas  and  after  getting  settled  in 
New  York  sent  over  for  his  family  of 
fourteen.  When  they  steamed  slowly  up 
the  harbor  to  New  York  on  a  bright  and 
sunny  day,  they  figured  that  they  surely 
were  coming  to  a  country  of  gold,  success, 
and  good   fortune. 

Down  at  No.  419  East  106th  Street,  they 
settled  in  a  little  home  and  Albert  found 
that  he  had  to  scratch  gravel  mighty  hard 
even  in  opulent  America  to  keep  the  shoes 
going   and   the   rent   paid. 

One  day  he  conceived  a  brilliant 
idea. 

That  night  he  announced  it  to  his 
wife. 


"There  is  the  moving  pictures,  Mama," 
he  explained. 

"We  no  can  read,  no  understand,  no 
money  to  buy  tickets,"  she  came  back, 
thinking  he  meant  to  take  the  family  out 
to  a  little   theatrical   treat. 

Then  he  explained  that  he  meant  work. 
So  the  next  day  he  registered  his  brood 
with  a  casting  agency. 

Meanwhile,  up  at  First  National's  New 
York  studios,  a  picture  called  "Puppets" 
was  in  the  making.  There  was-  a  scene 
showing  a  crowd  in  a  little  puppet  theater 
supposed  to  be  in  New  York's  lower  East 
Side.  Italian  types  were  wanted,  a  hun- 
dred of  them.  And  a  call  went  out  to  the 
casting  agency  to  send  in  a  crowd. 

The  next  day  the  crowd  came.  A  fair 
share  of  it  included  Albert,  his  wife, 
Frances,  and  their  thirteen  children,  Emily, 
Leon,  Maggie,  Salvatore,  Agnes,  Tony, 
Adrian,  Rose,  Annie,  Fannie,  Foncy, 
Charlie,  and  Vinci,  all  moving  picture 
extras,  all  drawing   real   pay  checks. 

For  two  days  they  took  part  in  the  pic- 
ture, cheering  Milton  Sills  as  he  went  thru 
his  starring  part  as  the  master  of  the  pup- 
pet theater.  It  was  a  great  two  days  for 
this   little  group. 

When  it  was  all  over  Albert  called  at 
the  paymaster's  office  and  collected  two 
days'  pay  checks  for  fifteen  people,  or  a 
total  of  thirty  days'  work  for  one  man. 

"Good  business — this  picture  business," 
lie  said  as  he  pocketed  the  money  and  saw 
plenty  of  shoes  for  some  time  ahead. 


Have  You  an  Idea  for  a  Movie? 

TTAVING   an    idea    is   the   first    thing   .  .  .   But   how   to   present   it   to   the    film 
companies  so  that  it  will  reach  the  proper  person  is  another  thing. 

Agnes  Christine  Johnston,  a  brilliant  scenario  writer,  who  knpws  how  the 
wheels  go  round  in  scenario  departments,  gives  a  few  valuable  suggestions  which 
anyone  who  lias  ;iii  idea  for  a  movie  will  be  interested  in  reading. 

Look  for  this  story  in  the  September  Motion  Pjcture  Macazine.' 


M    ill    MOTION-    PICTURE    MACA/.INI 


Advertising  Section 


(EMOTION  PICTU 

11101   I    MAGAZINE 


He's  a  Good  Picker 

(Continued  from  page  31) 

powder  dabbed  on  her  fine  features,  she 
faced  the  camera  in  those  exteriors  and 
was  an  exquisite  picture  of  beauty  and 
charm." 

It  seems  that  a  wicked  wink  got  Jobyna 
Ralston  in  the  movies  and  gave  her  her 
preliminary  training  that  prepared  her  for 
her  present  roles  opposite  Harold  Lloyd. 
In  seeking  for  a  girl  to  play  opposite  him, 
Johnny  Hines  wanted  one  with  lovely 
eyes,  and  one  of  these  eyes  had  to  wink 
naughtily.  The  scene  was  a  drug-store, 
with  the  comedian  as  the  clerk.  A  sweet 
young  thing  enters  with  a  cinder  in  her 
eye,  and  Johnny,  seeing  beauty  in  distress, 
via  the  blinking  optic,  welcomes  a  flirta- 
tion over  the  soda-fountain. 

Dozens  of  girls  were  tried  out  for  this 
scene,  and  none  of  them,  strange  to  say, 
could  wink  the  right  eye  with  all  of  the 
finesse  that  was  demanded.  Jobyna  Ral- 
ston was  playing  in  a  musical  comedy  on 
Broadway  around  that  time  with  hopes 
for  a  chance  in  the  movies.  Johnny  Hines 
happened  to  see  her  in  the  show. 

"Gosh !"  he  said  to  himself,  or  words 
to  that  effect,  "that  girl  ought  to  screen 
like  the  so-called  and  elusive  million 
dollars !" 

But  could  she  wink !  Jobyna  was  sent 
for,  her  wink  qualified  as  an  entrance 
examination,  and  she  soon  received  her 
diploma,  which  paved  the  way  for  bigger 
and  better  things   for  Jobyna. 

Johnny  Hines  knew  a  ravishingly  pretty 
girl  in  the  "Follies."  Her  name  was  Billie 
Dove.  He  sent  for  her  and  asked  her  if 
she  would  like  to  lend  her  beauty  to  the 
uplift  of  the  silent  art  and  she  assented. 
Billie  Dove  was  chosen  by  the  comedian 
because  she  was  the  sweet  type  of  girl 
that  was  at  that  time  becoming  so  popular 
on  the  screen.  Not  the  Broadway  type, 
nor  the  flapper,  but  the — well,  a  popular 
song  of  days  gone  by  describes  Billie  Dove 
aptly  in  its  chorus  by,  "I  want  a  girl,  just 
like  the  girl  that  married  dear  old  Dad!" 
That  was  Billie  Dove  as  Johnny  Hines 
saw  her  and  gave  her  her  chance.  Per- 
haps you've  heard  of  Billie.  Let's  see? 
She's  playing  opposite  Doug  Fairbanks  in 
"The  Black  Pirate." 

"Have  you  ever  come  across  a  girl," 
Johnny  suddenly  asked,  "who  was  abso- 
lutely beautiful  from  every  angle?  No 
matter  what  way  she  faced  the  cameras, 
her  loveliness  registered?  Such  a  girl 
came  into  our  studios  and  got  her  first 
experience  before  the  motion  picture 
camera.  She  hadn't  walked  from  studio 
to  studio  with  the  hopes  of  obtaining 
extra  work.  She  came  to  us  and  she  got 
her  first  job.  I'll  never  forget  the  first 
day  that  motion  picture  make-up  was  in- 
troduced  to  Jacqueline   Logan " 

Now  all  the  time  that  these  girls  were 
learning  their  movie  lessons  and  stepping 
out  into  the  great  big  world  in  search  of 
fame  and  fortune,  Johnny  Hines  was 
progressing.  He  had  established  himself 
as  a  first-rate  comedian  in  the  "Torchy" 
comedies.  Other  comedians  were  flirting 
with  feature  -  length  pictures,  so  why 
shouldn't  he? 

Before  Johnny  began  with  "Sure-Fire 
Flint,"  he  determined  to  start  off  with  a 
bang  that  could  be  heard  around  the  cellu- 
loid world.  He  began  thinking  about  a 
leading  woman.  It  had  to  be  someone 
who  would  lend  class  and  distinction. 

"For  that  picture,"  the  comedian  ex- 
plained, "I  had  to  have  a  girl  who  could 
step  out  of  a  rented  Rolls-Royce  and  look 
as  tho  she  owned  it.  I  had  to  have  a  girl 
who  would  walk  into  a  lavish  library  set 


Ample  argument 

THE  OLD  CHINESE  proverb  says,  "One  picture 
is  worth  ten  thousand  words."  By  much 
the  same  reasoning . . .  and  it  is  sound  reason- 
ing, too  .  .  .  the  best  argument  for  Fatima 
is  Fatima.  Taste  one  .  .  .  for  just  one 
taste    is   worth   a    bookful    of   description 


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MOTION  <PICTU<RE 

The  Smart  Motion  Picture  Periodical 

Ike 
S^fooas  of  Cnaplin 

A  short  time  ago  a  writer  of  repute 
went  to  Hollywood  with  the  mam  pur- 
pose of  interviewing  Charlie  Chaplin  for 
a  magazine  with  a  huge  circulation. 
He  waited.  He  kicked  his  heels.  He 
had  arrived  at  a  time  when  Chaplin 
was  in  no  mood  to  be  asked  questions. 
And  he  returned  to  New  York  without 
an  audience. 


This  is  just  one  of  the  incidents  which 

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tells  in  his  graphic  and  understanding 
character  study  of  Charlie  Chaplin.  The 
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built  by  tbe  studio  carpenters  and  make 
the  audience  feci  that  it  was  real  and  that 
she  read  it — regularly;  Suddenly  the 
name  of  a  girl  occurred  to  me.  We  had 
worked  together  in  the  days  of  the  World 
Film  Company.     Doris  Kenyon. 

"And  Doris  Kenyon  was  the  girl  who 
helped  me  put  over  this  feature  comedy. 
It  might  be  said  that  we  graduated  to- 
gether into  bigger  and  better  things.  We 
shared  the  rewards  of  glory  when  the  pic- 
ture went  over  with  a  bigger  bang  than 
we  thought  our  torch  would  produce." 

In  his  forthcoming  First  National  pic- 
ture, "The  Brown  Derby,"  Johnny  Hines 
lias  given  Diana  Kane  her  first  chance 
really  to  shine  opposite  a  star.  Heretofore 
Diana  has  been  usually  cast  as  a  vamping 
lady,  and  the  comedian  has  given  her  the 
opportunity  to  show  off  her  girlish  good 
looks,  humor,  and  the  charm  that  this 
pretty  sister  of  Lois  Wilson  possesses. 
Now  that  Diana  has  her  comedy  diploma, 
she  bears   watching. 

When  this  inquiring  reporter  pinned 
Professor  Hines  down  and  demanded  the 
secret  of  his  success  as  a  discoverer,  the 
modest  young  man   replied  with  a  smile : 

"I  am  not  bragging.  I  will  take  on  all 
comers  at  the  Charleston,  but  I  dont 
claim  to  be  a  Columbus.  However,  I  dont 
deny  that  all  of  my  leading  ladies  have 
been  beauties.  And  yes — here's  one  rule 
■ — they've  got  to  be  good  troupers." 

To  which  I  simply  must  add — dont  stop 
me — that  Chris  Columbus  may  have  done 
a  lot  when  he  did  his  bit  as  a  discoverer. 
He  deserves  a  lot  of  credit.  But  it's  a 
cinch  he  didn't  have  such  a  good  time  as 
Johnny  Hines ! 


This  snap-shot,  taken  of  Aileen  Prin- 
gle  and  Ben  Lyon  while  they  were  on 
location  for  "The  Great  Deception," 
reminds  us  of  that  old  song  about  a 
bicycle  being  built  for  two.  If  you 
remember  it,  too,  you're  not  as 
young   as   you    used   to   be 


104 


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I  he  Good  Soldier 

{Continued  from  page  101) 

lesque  actress,  into  her  own  home !  .  .  . 
Some  day.    .    .    . 

"When  I  recovered,  I  looked  for  work 
and  didn't  find  it.  I  wouldn't  eat  at  her 
house  then.  I  was  too  proud.  I  had  a 
meal  ticket  that  bought  a  meal  a  day 
for  a  week  and  I  spent  ten  cents  a  day  on 
chocolate.  The  ticket  ran  out  on  a  Tues- 
day, and  the  chocolate  money  lasted  until 
Thursday,  and  I  was  invited  to  Sunday  din- 
ner with  my  wonderful  woman.    .    .    . 

"Sunday  came.  I  managed  to  get  to  the 
table,  eat  my  soup  and  faint.  I'd  starved 
too  long.  .    .    . 

"After  that  came  a  chance  to  sing  at  the 
museum — nine  shows  a  day.  Girls  say  to 
me  now :  'You  wouldn't  take  so-and-so, 
would  you?'  I  took  what  came,  no  matter 
how  hard,  gritted  my  teeth  and  stuck  until 
I  reached  Broadway — and  stayed  there  nine 
years  !" 

Mr.  and  Mrs.  Jack  Gardner  have  been 
married  eighteen  years,  and  never  have  let 
stage  or  screen  come  home  with  them. 

They  came  to  the  Coast  because  Louise's 
mother  couldn't  live  in  the  East,  and  stayed 
because  Louise  broke  into  pictures. 

It  was  a  hard  climb,  this  picture  trail, 
but  the  good  soldier  didn't  falter.  She 
knew  she  could  be  an  emotional  and  a 
character  actress,  but  nobody  else  knew  it. 
Producers  thought  of  her  as  a  comedienne, 
until  "The  Goose  Woman." 

"Now  they' think  of  me  as  a  player  of 
mothers,"  said  Miss  Dresser.  "I  dont  want 
to  be  labeled. 

"The  best  thing  about  pictures  is  that 
everything'  is  for  the  good  of  the  picture. 
When  I  first  got  in,  I  didn't  understand 
this.  George  Mel  ford  delighted  me  by 
asking  me  to  do  Red's  wife  in  'Salomy 
Jane.'  I  had  a  scene  in  which  I  ran  cursing 
and  screaming  down  a  long  hill  to  reach 
my  husband,  who  was  about  to  be  hung.  It 
was  my  big  scene  and  my  only  one.  We 
made  it  in  a  canyon,  with  hundreds  of 
people  looking  on. 

"'This  is  what  pictures  should  be!'  I 
thought.     'One  whole  scene!' 

"I  saw  the  rushes  and  the  thing  looked 
as  I  had  imagined  it.  I  could  have  wept 
with  joy.  My  chance!  Jack  and  my 
mother  went  with  me  to  the  opening  of  the 
picture.  I  waited  for  my  scene  breath- 
lessly. It  came.  I  saw  myself  standing  at 
the  top  of  the  hill,  beginning  to  run — then 
they  cut  to  another  sequence. 

"I  couldn't  bear  it.  I  got  up,  dragging 
my  cloak,  walked  over  my  family,  felt  my 
way  out,  wandered  blindly  down  the  street, 
crying  like  a  child.  I  remember  I  stood  by 
a  bakery  window,  saying :  'I  mustn't  cry 
like  this !'  and  not  stopping. 

"But  I  saw  that  cutting  my  scene  helped 
the  picture.  I'm  no  PoUyanna,  but  I've 
lived  long  enough  to  know  that  things 
work  out  for  the  best. 

"When  I  read  'Stella  Dallas,'  I  yearned 
to  play  the  part.  I  took  the  book  to  Jim 
Cruze  and  begged  him  to  do  the  picture  and 
let  me  have  Stella.  Up  to  the  last  minute, 
I  fought  for  the  part,  and  I  was  broken- 
hearted when  I  lost  it. 

"Yet  look  at  Belle  Bennett.  Wasn't  she 
exactly  the  right  one  to  play  it?" 

Louise  Dresser  is  always  eager  to  tell 
you  of  the  good  work  of  others.  How 
gifted  is  Lois  Moran !  Dolores  Costello, 
with  that  eerie  something  that  transcends 
technic!  Ernest  Torrence — "He  has  not 
even  touched  the  heights  he  could  reach." 
Esther  Ralston  was  so  easy  to  work  with, 
"so  in  sympathy  with  me,  that  I  felt  when 
she  came  into  my  arms  that  she  really  and 
truly  belonged  to  me !"  .   .    . 

There  you  have  the  good  soldier.  A  gen- 
eral, indeed. 


Careful,  conscientious  training  by  members 
of  our  faculty  made  this  possible.  Today, 
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Hollywood  Notes 

(Continued  from  page  41) 


point  of  appreciating  symphony  orchestras, 
grand  opera  and  chamber  music,  and  then 
we  slip  back  to  the  crude  jangle  and  dum- 
dum-dum  of  our  primitive  ancestors." 
And   Tom   is  quite  right. 

I  have  been  wondering  who  are  the  most 
popular  players  in  Hollywood,  but  have 
come  to  no  definite  conclusion.  In  some 
sets  a  certain  player  is  very  popular,  but 
this  very  popularity  makes  him  or  her 
unpopular  in  the  other  sets.  Among  the 
men  everywhere  Constance  Talmadge 
seems  to  be  the  most  popular — at  least,  they 
all  seem  to  want  to  dance  with  and  be 
around  her.  Of  all  the  places,  studios  and 
parties  I  have  been  to,  not  once  have  I 
met  Rod  La  Rocque,  nor  even  heard  his 
name  mentioned.  Corinne  Griffith  is  an- 
other who  does  not  seem  to  mix,  and  I 
have  seen  her  only  once. 

IV/Fost  of  the  best  two-reel  comedies  in  the 
world  come  from  the  Hal  Roach  stu- 
dios out  in  Culver  City  near  the  M.  G.  M. 
and  Cecil  De  Mille  studios,  including 
many  with  "bathing  beauties."  I  used  to 
have  the  notion  back  East  that  these  young 
ladies  were  not  always  Sunday-school  girls 
and  that  therefore  the  atmosphere  of  these 
studios  was  not  quite  like  that  of  a  Method- 
ist prayer-meeting.  I  recently  had  a  long- 
talk  with  Billy  Joy,  brother  of  Leatrice 
Joy,  who  has  just  severed  his  long  connec- 
tion with  the  Hal  Roach  studio.  Among 
other  things,  he  said :  "One  thing  about  the 
Roach  lot  is  that  it  is  clean  and  above  re- 
proach in  every  respect.  Any  child  or 
young  girl  would  be  just  as  safe  there  as 
at  home  and  Hal  Roach  has  always  insisted 
on  keeping  everything  on  a  high  plane 
mentally,  morally  and  physically." 

Ieatrice  Joy  is  not  married  and  has  no 
'-'  official  manager,  but  she  has  a  brother 
who  lives  with  her,  and  greater  love  than 
this  hath  no  man.  Talk  about  idolatry  and 
devotion — well,  Billy  Joy  could  certainly 
give  Sidney  Carton  lessons,  and  he  has  all 
but  laid  down  his  life  for  his  sister.    They 


say  that  one  must  live  with  a  person  to 
know  that  person,  and  therefore  Billy 
ought  to  know  Leatrice  about  as  well  as 
anybody ;  and  if  she  is  all  that  Billy  says 
she  is,  Leatrice  Joy  comes  about  as  near 
the  perfect  woman  as  anybody  I  have  ever 
met  or  heard  or  read  about.  And  it  must 
indeed  be  a  happy  home — the  Joy  home 
which  is  well  named — the  smiling,  happy, 
always-cheerful  Leatrice,  the  fond,  doting 
mother,  the  loved  and  loving  child  of  the 
unfortunate  Gilbert  marriage  and  the  idol- 
izing brother.  And  when  they  invited 
Corliss  Palmer  and  me  to  dine  with  them 
at  the  Ambassador,  I  accepted,  curious  to 
know  if  all  the  wonderful  things  Billy  had 
said  about  Leatrice  were  true.  And  now, 
after  an  evening  with  Leatrice,  I  am  con- 
vinced that  Billy  is  no  relation  of  Ananias 
— that  everything  he  said  was  true. 

T  said  to  Louise  Fazenda  the  other  night 
at  a  party  given  by  Bess  Meredyth,  the 
scenarist,  "I  have  been  wondering  why  you 
are  not  starring  in  feature-length  come- 
dies, like  Chaplin,  Lloyd  and  Keaton." 
Her  eyes  sparkled,  she  straightened  up  and 
said  earnestly,  "I  wish  you  would  tell 
Harry  Warner  that."  I  told  her  I  would, 
but  that  I  would  require  nine-tenths  of  her 
salary  as  my  share  of  the  spoils.  She  said 
I  could  have  ten-tenths,  so  I  promptly  went 
over  to  another  corner  where  Harry  and 
his  wife  were  sitting  and  made  an  elo- 
quent appeal  to  the  Warner  magnate.  But 
to  my  surprise  and  delight  he  said  that 
they  had  already  planned  to  star  Louise 
with   Willard   Louis. 

I  was  sitting  in  the  publicity  office  of  the 
Hal  Roach  studio  talking  to  the  young 
lady  in  charge,  when  Joe  Cobb  and  Farina 
rushed  in  demanding  some  lollypops  or  all- 
day  suckers — or  whatever  you  call  them. 
The  young  lady  was  reluctant  but  was 
finally  compelled  to  go  to  a  closet  and 
deal  out  the  candies.  I  afterwards  talked 
with  Director  MacGowan,  and  he  said  that 
the  gang  frequently  goes  on  strike  like 
that,  refusing  to  go  on  with  their  work 
until  they  are  sweetened  up. 


Shoemakers'    wives   may    go   ill   shod,   but   movie   magnates'    wives   not   only    go 
the  movies   regularly — they  also  adore  appearing  in   them.      Mrs.   Earl   Hudson 
seen  here  with   Mrs.   Dorothy  Walker  in  a  scene  from   "Mismates" 


106 


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The   Story  That  Cost 
$93,000 

(Continued  from  page  47) 

Merton  lived  in  a  mist.  I  do  not  hold  a 
brief  for  anyone  in  the  book,  they  are  all 
of  their  time,  of  this  .day.  I  do  not  want 
the  film  to  preach  anything.  If  the  life 
of  the  book  is  set  down  it  will  have  what 
lessons  anyone  wants  to  find  in  it.  If 
we  could  get  an  answer,  to  anything,  if 
we  could  say  do  so  and  so  and  you  will 
reform  the  world  and  change  human  na- 
ture, it  would  be  wonderful.  But  no  one 
sits  in  at  the  council  table  in  »heaven. 
I  do  not  think  man  regulates  life,  life 
regulates    man." 

"Do  you  think  the  American  public  will 
like  the  film  story  altho  it  is  a  tragedy?" 

"If  they  picture  the  book  faithfully  and 
get  in  all  its  moods,  I  think  the  Amer- 
ican public  will  like  it.  'An  American 
Tragedy'  is  different  in  psychology  from 
other  American  films  only  in  so  far  that 
it  shows  that  sometimes  in  the  mist  we 
live  in  some  individuals  cant  pay  up  for 
their  illusions.  Otherwise  the  gilt  is  there, 
our  success  dreams  and  our  love  dreams, 
that  is  what  I  wrote  about." 

There  is  another  thing  that  Dreiser 
would  like  to  see  in  the  filmed  'An  Amer- 
ican Tragedy'  and  that  is  some  of  the 
beauty  of  our  industrial  civilization.  "A 
sheriff  arresting  a  man,  a  court  scene,  the 
human  drama  of  labor  issuing  like  cool 
molasses  out  of  a  perpetual  jug,  they  all 
have  beauty.  When  they  picture  our  grand 
hotels,  the  mill  town,  the  line  of  hundreds 
leaving  a  factory  at  the  whistle,  they 
should  get  the  sombre  mechanistic  dance 
of  it  in." 

Dreiser  likes  the  movies,  he  is  not  afraid 
that  they  cant  picture  his  novels,  but  he  is 
going  to  keep  a  grip  on  his  works  until  he 
sees  the  scenario.  There  is  a  clause  in  the 
contract  between  Famous  and  Dreiser  that 
says  Famous  may  get  out  of  doing  the  job 
if  they  want  to,  and  Dreiser  must  approve 
the  scenario.  "It  is  a  silly  attitude  to  say 
that  the.,  movies  cannot  do  great  things," 
said  Dreiser.  "The  film  'Greed'  is  one  of 
the  momentous  things  in  any  medium,  and 
so  is  'The  Cabinet  of  Caligari'  and  some  of 
Chaplin's  films.  That  funny  little  fellow 
Chaplin  always  horning  in  on  situations 
that  physically  and  psychically  would  know 
him  not,  an  aspiring  pauper  of  physical  and 
spiritual  cowardice — it  is  great  life." 

"The  movies,"  said  Dreiser,  "are  Amer- 
ica's ra-ta-ta,  the  calliope  ahead  of  the 
circus.  The  movies  are  doing  the  utmost  to 
spread  our  American  psychology  and  the 
world  s,eems  ready  for  it.  I  dont  think 
that  they  like  American  movies  from  Su- 
matra to  China  because  our  heroines  are 
so  beautiful,  but  because  of  the  psycholo- 
gy the  pictures  carry.  No  other  people 
have  ever  dreamed  such  wholesale  riotous 
dreams.  We  go  all  over  the  world  with 
our  shout  of  'take  a  chance,'  that  success 
is  in  money,  in  big  buildings,  that  there  is 
love  for  everyone,  a  swell  time  for  every- 
one. No  other  people  have  ever  dared 
even  to  think  such  a  psychology.  I  dont 
know  how  we  got  this  mental  attitude,  out 
of  the  soil  and  air  over  us  I  suppose.  We 
get  broken  on  our  illusions  and  pick  our- 
selves up  and  start  in  all  over  again.  I 
remember  saying  to  Mr.  Woolworth,  Why 
do  you  want  to  build  the  Woolworth  build- 
ing?' and  he  replied  that  he  wanted  to  be 
the  man  who  put  up  the  biggest  building. 
In  Durham,  North  Carolina,  in  Dallas,  in 
Omaha,  in  Wichita,  they  want  big  hotels. 
The  hotels  may  not  pay,  but  they  have  to 
have  a  fine  hotel.  Our  automobile  busi- 
ness is  built  by  people  buying  cars  on  the 
(Continued  on  page  115) 


They  Used  To 
Call  Me 

"Weary 
Winifred" 


The  personal  story  of  a  woman  who 
never  was  really  sick,  yet  always 
ailing — and  how  she  made  herself  into 
a  being  of  super-health  and  strength. 


IN  New  York  City  there  lives  a  woman  who 
has  such  amazing  vitality  that  she  is  the 
envy  of  all  her  friends.  Yet  not  so  long 
ago  they  used  to  call  her  "Weary  Winifred." 
Winifred  has  asked  us  to  publish  her  story  for 
the  benefit  of  the  thousands  of  other  women 
who  may  be  helped  by  it.  It  is  printed  here 
in  her  own  zvords,  as  an  open  letter  to  all  women 
who  are  discouraged  with  their  physical  burdens. 

"The  strangest  thing,"  she  says,  "is  that  I 
never  realized  that  there  was  anything  the 
matter  with  me.  My  life,  I  thought,  was  that 
of  the  '  ordinary  wife  and  mother.  But  some- 
how, I  never  seemed  to  catch  up  with  myself. 
If  I  stayed  up  late  one  night  I  could  hardly 
drag  myself  out  of  bed  the  next  morning.  I 
had  to  cancel  engagements  frequently,  not  be- 
cause I  was  ever  really  sick,  but  simply  because 
I  was  too  weary  to  make  the  effort.  I  looked 
tired,  acted  tired,  and  was  tired. 

"My  looks  began  to  show  the  effect  too.  My 
neck  began  to  look  stringy  and  hollow.  My 
cheek  muscles  sagged,  my  complexion  was  'pasty' 
and  colorless.  My  figure  began  to  look  dumpy. 
My  age — which  was  only  thirty-five — began  to 
feel  like  fifty.  Life  was  becoming  'just  too 
much  for  me' — and  I  didn't  know  why.  Of 
course  I  did  things  about  this  state  of  affairs. 
I  tried,  in  various  ways,  to  gain  strength,  and 
yet  reduce  my  weight,  changing  from  one  thing 
to   another.      I    'fussed'    with    everything. 

"Yet  with  all  these  little  ailments  I  was  not 
really  sick.  There  was  nothing  organic  the 
matter  with  me.  And  so  it  never  occurred  to 
me  that  I  was  not  a  normal  woman.  I  just 
thought  that  I  was  the  victim  of  ills  that  a  great 
many  unfortunate   women   were   heir   to. 

"But  one  day,  something  happened  that  made 
me  'sit  up  and  take  notice.'  I  read  an  article 
telling  the  story  of  Annette  Kellermann's  life — ■ 
of  how  she,  who  is  called  the  world's  most  per- 
fectly formed  woman,  was  once  a  puny,  ailing 
girl,  always  in  ill  health  and,  in  fact,  so  de- 
formed as  to  be  practically  a  cripple.  The  story 
of  how  she  dragged  herself  out  of  her  misery 
and  actually  made  of  herself  the  lovely  creature 
of  glorious  health  and  beauty  that  she  is  today 
was  a  revelation  to  me.  Indeed,  I  was  so  lost 
in  admiration  for  this  wonderful  woman  that  I 
wrote  her.  In  response,  I  received  not  only  a 
charming  personal  letter,  but,  far  more  impor- 
tant,  one   of  her   special  little   lessons. 

"That  lesson  opened  my  eyes  to  the  fact  that 
it  is  totally  unnecessary  for  women  to  suffer  as 
they   do — unnecessary   for   them  to   be   continually 


incapacitated  by  petty  little  ailments — unneces- 
sary for  them  to  look  old  and  haggard  and  worn. 
That   was   the   beginning   of   my   re-creation. ' 

"Today  I  am  practically  never  tired.  I  am 
never  nervous  or  irritable.  I  never  have  any 
of  the  petty  ailments  from  which  so  many  women 
suffer.  I  look  fifteen  years  younger,  instead 
of  fifteen  years  older,  than  most  other  women 
of  my  age.  My  step  is  springy,  my  eyes  are 
bright,  my. skin  is  firm  and  clear,  and  my  body 
is  slender  and  has  the  free,  lithe  grace  of  a 
young    girl. 

"And  because  I  know  there  are  thousands  of 
women  who  are  now  living  as  I  did,  miserable 
imitations  of  real  women,  and  because  I  know 
that  every  one  of  them  can  actually  be  a  new 
woman,  with  health  and  beauty  such  as  they 
never  knew  existed,  I  cannot  too  strongly 
recommend  that  they  take  this  simple  way  out  of 
their   troubles.     It  is  so  easy!" 


$1.00  FOR  ANY  LESSON  AND  MONEY 
BACK  IF  DISSATISFIED 

Miss  Kellermann's  experience  in  correcting 
ailments  and  developing  the  figures  of  thousands 
and  thousands  of  women  is  now  available  to  you. 
If  you  are  inclined  to  obesity  or  leanness;  if 
you  have  lost  your  graceful,  girlish  lines;  if  you 
want  to  improve  your  health,  your  carriage,  or 
your  complexion,  you  will  be  glad  to  hear  of  the 
wonderful   new   offer   she   is   making. 

She  has  prepared  a  series  of  new,  individual 
lessons,  each  of  which  gives  the  methods  that 
have  been  proved  successful  thousands  of  times. 
For  a  short  time  she  is  offering  you  the  special 
advice  YOU  need  at  the  low  price  of  only  $1.00 
each    for   any   of    her   lessons   you   may  want. 

For  this  small  sum  you  can  regain  the  charms 
you  may  have  lost,  and  repair  the  outstanding 
defects  in  your  figure.  But  you  do  not  risk 
even  this  small  amount.  All  Miss  Kellermann 
asks  is  that  you  make  ten  days'  faithful  trial 
of  any  of  her  lessons  which  you  order.  Then,  if 
you  are  not  perfectly  satisfied  that  you  can 
easily  improve  yourself  under  her  direction, 
return  the  lesson  or  lessons,  and  receive  your 
money  back  by  return  mail.  There  is  no  cost, 
unless  you  are  convinced  that  you  are  actually 
receiving  the  benefit  you  seek.  Check  on  the 
coupon  the  things  you  would  like  to  have 
improved  in  YOUR  figure,  and  mail  it  today. 
Enclose  only  $1.00  for  each  lesson  you  want. 
Annette  Kellermann,  Inc.,  Dept.  388,  225 
West    39th    Street,    New   York    City. 


Annette  Kellermann,  Inc.,  Dept. 


225  West  39th  Street,  New  York 


Arches  of  feet  fallen 


□  Hips  too  large 

□  Abdomen  protrudes 

□  Waist  too  large 

□  Busts  heavy  and  hanging 

□  Double  chin 

□  Arras  too  fleshy 
D  Neck  fat  and  flabby 

Dear  Miss  Kelltrmann:  Please  send  me  your  lessons  for  correcting  the  defects  I  have  checked  above.  I  enclose  $1.00 
for  each  lesson  I  need,  with  the  understanding  that  you  will  return  my  money  at  once  if  I  am  dissatisfied  and  return 
the  lessons  within  ten  days.  If  I  do  not  enclose  money  with  this,  you  may  send  the  lessons  C.  O.  D.,  and  I  will 
pay  the  postman   the  amount,    plus   a  few  cents  postage. 


□  Calves  heavy 

□  Ankles  too  thick 

□  Too  fat  in   back   of  neck 

and   between    shoulders 

□  Thighs  too  fleshy 

□  /     " 


D  Legs  bowed 

□  Busts    flat    and    undevel- 

oped 

□  Neck   thin   and   scrawny 

□  Hollows  at  base  of  neck 
D  Arms  too  thin 


3  Ankles  too  bony 

3  Slouching  posture 

3  Stooping  carriage 

3  Wrinkles  in  face 

3  Skin   sallow   or  colorless 

3  Puffs  under  eyes 


Address 

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Try  10  Day*  I  HI  I 


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CLUZELL1 

f>.j)t.  58,    45  U.  57th  St.,    Nov  V.,rk  Cltj 


'Shall  I  Go  Into  the  Movies?" 


(Continued  from  paye  65) 


Alfred  V.  S.,   October  2: 

"Voir  letter  is  extremely  interesting'.  I 
can  imagine  that  in  a  typical  small  town 
you  might  well  be  considered  peculiar,  but 
here's  a  secret— s-s-s-h,  dont  let  anybody 
hear — most  people  with  artistic  ability  or 
ambitions  are  thought  "peculiar,"  but  what 
do  you  care?  Would  you  rather  be  dumb 
or  have  the  dumb  ones  think  you  queer? 
Your  chart  shows  much  musical  and  artis- 
tic ability,  but  I  really  think  Nature  in- 
tended you  for  the  speaking  stage,  altho 
without  the  time  of  birth  I  am  not  quite 
certain  of  this.  You  are  making  a  mistake 
to  sell  your  services  for  less  than  the  regu- 
lar wage,  because  your  chart  shows  the 
ability  to  ask  and  get  a  good  deal  of  money. 
Things  will  change  very  much  after  1929, 
and  my  advice  to  you  is  to  try  your  wings. 

Ellena  S.   A.,  July  25: 

It's  undoubtedly  true  that  you  have  screen 
possibilities,  but  let's  look  over  the  situa- 
tion impartially.  Acting  for  the  camera  is 
a  definite  art,  with  tricks  and  twists  that 
are  learned  only  thru  experience.  A 
woman  of  mature  years  with  no  stage  or 
screen  experience  is  terribly  handicapped  in 
getting  even  a  chance  to  learn  the  tech- 
nique, to  say  nothing  of  establishing  herself 
in  worth-while  parts.  Mary  Carr,  Louise 
Dresser,  Belle  Bennett  and  others  who  play 
the  roles  of  women  of  experience,  have  had 
long  years  of  arduous  training  before  they 
achieved  success,  and  for  a  woman  to  break 
in  at  an  age  when  she  should  be  reaching 
the  top  is  rather  difficult.  It's  too  bad  that 
youth  is  the  great  asset  in  stage  work,  for 
youth  so  quickly  passes  into  maturity,  but 
that  does  not  alter  the  facts.  Try  to  find 
contentment  in  work  with  children  or  an- 
imals ;  you  could  raise  fancy  stock  or 
pet  dogs  successfully.  Unfortunately,  the 
folder  did  riot  reach  me,  so  I  do  not  know 
if  this  is  what  you  are  doing  at  present. 
Your  work  lies  in  the  country. 

L.  A.,  August  5: 

T  think  you  may  keep  on  doing  fairly 
well  in  motion  picture  work  until  late 
this  year  or  early  in  1927,  but  along  about 
February  of  next  year  you  are  going  to 
make  a  change  which  will  prove  disastrous 
to  your  career  and  effectually  stop  your 
progress  for  about  two  and  one-half  years. 
It  looks  to  me  as  if  you  were  going  to 
marry  at  this  time  and  that  your  choice 
of  a  husband  would  not  approve  of  your 
presence  on  the  set.  So  think  it  over. 
Dont  say  that  nobody  told  you.  As  a  mat- 
ter of  fact,  1  think  you'll  finally  settle 
"ii  some  other  form  of  work,  possibly 
something  connected  with  money  or  politics. 

M.  M.  M.,  August  18: 
Vou'll  get  back  into  pictures  as  soon  as 
you  make  an  effort  to  do  so  now,  your 

ts  being  rather  bright  for  such  work. 
You  will  make  your  greatest  success  when 
you  are  about  thirty  years  of  age  in  a 
very  emotional  and  dramatic  role.  Mean- 
while, drill  away  at  the  regular  routine 
and    dont    let    your    natural    impulsiveness 

n  you  to  such  an  extent  in  the   future. 

Peggy,  April   30: 

"Vor  have  a  brilliant  future  in  film  work 
or  in   stage   work.     You  are  not  choos- 
ing   a    very    good    time    to    start,    but    you 
haw    a     lol    of    dogged    perseverance    and 
much   physical   energy,   so   maybe  you    wonl 
mind  tramping  around    from  office  to  office, 
ome   of    the   a  pirants    do.      I    do    no1 
ii  e    Oil    this    business 


thoughtlessly  ;  I  am  convinced  that  you  can 
make  good  in  the  movies  or  else  I  would 
not  advise  your  giving  up  your  present 
work.     Your  next  big  year  will  be  1928. 

E.  D.  B.,  December  31: 

I  cannot  always  get  an  answer  in  the 
magazine  one  mentions,  you  know,  beT 
cause  very  few  people  give  time  for  print- 
ing and  distributing  when  they  specify  the 
issues  in  which  they  want  their  answers  to 
appear.  I  hope  this  is  not  too  late.  You 
possess*  great  imagination,  energy,  variety 
of  interests  and  personality,  but  you  do  not 
concentrate  nor  do  you  consider  practical 
details.  I  dont  know  why  you  have  lived 
in  seclusion — you  seem  just  the  type  of 
woman  that  would  kick  over  the  traces 
whenever  the  idea  seized  her.  If  that  re- 
stricting Saturn  in  the  part  of  the  horo- 
scope governing  your  career  has  been  what 
has  saved  you,  you  can  consider  yourself 
born  under  a  lucky  star !  I  am  not  going 
to  flatter  you  by  telling  you  that  you  were 
meant  to  be  a  dramatic  queen,  for  you  were 
not.  If  I  were  you,  I  would  use  my  per- 
fectly good  brain  and  splendid  powers  of 
visualization  in  teaching  or  writing. 

Miss  T.  L.,  November  22: 

Yes,  you  can  write.  It's  possible  that 
you'd  be  able  to  write  scenarios,  but 
that  is  a  field  that  one  approaches  by  a 
roundabout  path  usually.  Make  a  name 
for  yourself  in  fiction  and  Hollywood  will 
offer  you  thirty  thousand  dollars  to  write 
a  plot,  but  perfect  yourself  in  the  planning 
of  such  things  and  the  powers  that  be  will 
yawn  and  ask  you  if  you  wouldn't  like 
a  nice  job  dredging  for  oysters  in  the 
Mojave  Desert.  Seriously,  and  because 
you  have  ability,  get  a  job  on  a  newspaper, 
and  work  at  it  for  two  or  three  years. 
Save  your  money  and  then  get  into  a  stu- 
dio, preferably  as  film  cutter  or  office  as- 
sistant. In  other  words,  get  an  idea  of 
construction  and  be  on  the  inside  when  the 
director  is  tearing  his  hair  for  some  story 
ideas. 

P.  Z.  F.,  April  10: 

Prancing  for  yours,  not  screen  work— 
possibly  eccentric  dancing  or  some  spe- 
cial form  of  this  difficult  art,  not  the 
e  very-day  ballroom  dancing  which  has 
passed  for  so  long  as  the  highest  example 
necessary  for  stage  or  screen  appearance. 
You  have  a  sense  of  humor  which  is  bound 
to  show  in  your  work.  Go  to  see  some 
of  the  Russian  or  Swedish  ballet  perform- 
ers, because  your  tendency  is  in  that  direc- 
tion. Your  horoscope  is  quite  unique  and 
would  repay  you  for  any  time  you  might 
put  upon  a  study  of  it. 

Lillian  B.,  January   12: 

Yoitr  outlook  upon  life  is  very  serious, 
even  inclined  to  he  melancholy,  while 
your  personality  is  a  very  sensitive  and 
idealistic  one.  I  think  your  chief  interest 
will  lie  in  religion  or  psychic  development; 
rather  unusual  interests,  but  very  powerful 
in  your  nativity.  Any  form  of  artistic 
work  which  you  might  take  up  would  be 
tinged  with  these  qualities  and  therefore 
distinctive,  altho  perhaps  not  widely  popu- 
lar. I  believe  you  would  do  well  in  de- 
signing or  painting,  or  even  interior  dec- 
orating. Do  not  attempt  to  deal  directly 
with  the  public,  because  this  is  not  your 
forte. 

J.  E.  W.,  July  16: 

V"""  are  not  adapted  temperamentally  for 

the  screen ;  too  bad,  but  better  now  than 

aftei    you    have   put    in   a   lot  of    time  and 


i,t    in    moi  ION 


i  RE   MAGAZINE   Is  guaranteed. 


Advertising  Section 


WJK/SFI 


money  trying  to  establish  yourself  thereon. 
I  want  to  give  you  a  few  words  for  your 
lasting  good,  and  here  they  are :  Forget 
all  about  winning  prize  contests,  and  con- 
centrate upon  hard  work  to  get  you  where 
you  want  to  arrive.  Motion  picture  work 
looks  to  you  like  a  lot  of  easy  money  with 
very  little  responsibility.  Of  course,  that's 
the  way  it  looks  to  a  good  many  people, 
but  that's  not  all  of  it.  Most  of  the  people 
in  pictures  think  that  teaching  school,  run- 
ning a  restaurant  or  taking  in  washing  is 
a  fine  job  compared  with  what  they  have 
to  do.  You  belong  in  a  bank,  grocery 
store,  clothing  establishment  or  other  place 
where  you  will  deal  with  the  public  direct. 
You  will  make  money  in  life,  but  not  in  the 
movies. 

B.  B.,  December  17: 

VV/ell,  I  certainly  admire  your  courage 
and  ambition !  Let's  see,  you're  seven- 
teen and  writing  a  book  and  planning  two 
more,  and  then  intend  to  go  on  the  stage. 
The  funny  thing  is  that  I  believe  you  can 
do  it.  Only  dont,  for  your  own  health, 
attempt  too  much.  You  have  a  very  deli- 
cate nervous  system  and  will  get  farther 
eventually  if  you  take  a  slower  pace.  I 
doubt  if  your  book  will  be  published ;  keep 
it  three  years  and  then  rewrite  it.  Mean- 
while, study  and  practise  your  writing.  I 
do  not  like  the  name  you  have  adopted  as 
well  as  your  first  and  last  names  for  pro- 
fessional work.  And  as  for  your  career — 
nothing  but  high  spots  ! 

S.  I.  W.,   October   18: 

T^HE  fact  that  you  look  like  a  famous 
male  star  might  be  a  handicap  in  actual 
screen  work  rather  than  an  asset,  but, 
strange  to  say,  resemblances  often  disap- 
pear entirely  in  the  eye  of  the  camera, 
people  who  look  alike  actually  photograph- 
ing very  differently,  due  to  little  variations 
of  feature  or  coloring.  Your  horoscope 
shows  great  artistic  appreciation,  particu- 
larly in  literary  work,  but  your  best  occu- 
pation will  be  connected  with  travel  or 
transportation. 

J.  P.  N.,  January  21: 

I'd  like  to  have  time  and  the  space  to  give 
you  the  interpretation  that  your  chart 
really  deserves.  You  have  much  ability  but 
you  are  a  stage  actor,  not  a  motion  picture 
light.  You  will  probably  never  make  a 
great  deal  of  money  and  you  may  never 
be  widely  famous,  but  your  life  will  be  one 
which  will  be  full  and  satisfying  in  other 
lines  and  probably  rather  influential.  You 
have  some  very  splendid  qualities,  notably 
kindliness,  originality,  initiative  and  self- 
reliance,  but  you  stand  in  your  own  way 
thru  lack  of  self-control  in  the  emotional 
department.  Go  out  on  the  speaking  stage 
as  soon  as  you  can ;  perhaps  you  wont  be 
able  to  make  a  good  connection  this  year, 
but  1927  should  be  far  better. 

Beatrice  D.,  August   18: 

$o  far  as  height  goes,  there  is  nothing 
at  all  to  stand  in  the  way  of  stage  or 
screen  success,  personal  appearance  having 
far  less  to  do  with  these  things  than  the 
outside  world  imagines.  But  there  are  in- 
dications in  your  chart  of  other  things  in 
store  for  you.  For  one  thing,  there  is  a 
marriage  in  your  life  which  is  quite  un- 
usual and  can  be  made  a  very  wonderful 
experience,  inasmuch  as  your  partner  prom- 
ises to  be  a  man  of  high  character,  repu- 
tation and  ability.  But  you  seem  to  oppose 
him  and  thwart  him,  and  this  you  should 
not  do.  Your  possible  public  success  is 
not  worth  jeopardizing  your  domestic  hap- 
piness for,  so  make  your  husband's  attain- 
ments your  own  in  the  old-fashioned  way 

When  you  wri 


"Let  Us  Taste  Life  While  WeMay 


ICTURI7 

INE      ft 


"Doushka,"  he  whispered,  "Life  is  so 
short.  Let  us  taste  it  while  we  may!" 
And  the  princely  stranger,  who  had  sud- 
denly appeared  out  of  the  soft  shadow  of 
the  warm,  sensuous  Egyptian  night,  bent 
and  kissed  her  lips. 

She  struggled  against  the  intoxicating 
emotion — tried  vainly  to  resist — to  push 
him  away — but  he  again  gathered  her 
intohis  arms  and  most  tenderly  kissed  her. 

All  power  of  movement  seemed  to  de- 
sert her.  She  only  knew  that  she  was 
wildly  happy,  that  this  was  heaven,  and 
she  wished  it  would  never  end. 


Thus  Elinor  Glyn  sets  the  stage  and 
plants  the  situation  very  early  in  her 
startling  novel  "His  Hour" — one  of  the 
10  thrilling  dramatic  stories  that  you 
may  now  secure  at  an  unheard  of  low 
price. 


10  Great  $2^2  Novels 
b9  ELINOR  GLYN 

NOW  YOURS  -Ml  For  (MvQ*fo 

M      -   IF  YOU 

mmm  act  now 


Think  of  it.  Ten  $2.00  novels — 
actually  sold  in  the  original  edition 
for  $20.00 — all  for  only  $2.98.  This 
is  the  most  amazing  book  bargain 
a  bargain  that  has  ab- 


ever  offered 
solutely     astounded 
world. 


the    publishing 


Elinor  Glyn's  Masterpiece 

But  that  is  not  all. 
Included  in  the  10  vol- 
umes is  Elinor  Glyn's 
latest  sensational  suc- 
cess —  "This  Passion 
Called  Love" — a  pow- 
erful treatise  on  this 
burning  subject  that 
everyone  wants  to  read. 
The  regular  bookstore 
price  of  this  great  work 
alone  is  $2.00  a  copy. 

How  Can  We  Do  It? 

How  can  we  give  you  a 
complete  set  of  10  fascinating  volumes 
for  the  absurdly  low  price  of  only 
$2.98  for  all?  This  wonderful  offer 
is  made  possible  only  by  paying  Eli- 
nor Glyn  a  few  pennies  royalty — by 
economically  printing  an  enormous 
quantity  of  books  at  one  time  and 
by  selling  in  great  quantities  at  small 
profit. 

These  10  Volumes  are  not  tiny 
paper  booklets  with  soft  covers — 
they  are  handsomely  bound  in  genu- 
ine Royal  Blue  Cloth  with  stiff 
board  covers — artistically  stamped 
in  gold — finely  printed  from  FULL- 
SIZE    PLATES   on    high-grade   An- 

te  to  advertisers  pi 


IO  Volumes 

Here  They  Are 

The  Price  of  Things 
Guinevere's  Lover 
The  Man  and  the  Moment 
His  Hour 
Love  Itself 
The  Reason  Why 
Red  Hair 

The  Point  of  View 
The    Seventh    Command- 
ment 

And  Elinor  Glyn's 

Latest  Book 

The    Passion    Called    Love 


tique  book  paper.     \~A 

Actually     better 

looking      books 

than  the  original  $20.00  edition! 

Send  No  Money 

Simply  mail  the  cou- 
pon and  the  books  will 
be  shipped  to  you  at 
once.  When  they  ar- 
rive pay  the  postman 
only  $2.98  (plus  a  small 
amount  for  postage). 
If  you  are  not  delighted 
with  your  purchase, 
simply  return  the  books 
within  five  days,  and 
your  $2.98  will  be 
promptly  refunded. 
So  don't  put  it  off — 
but  fill  in  and  mail 
the  coupon — Nozv.  The 
Authors'  Press,  Deft. 
857,  Auburn,  NewYork. 


The  Authors'  Press,  Dept.  857, 
Auburn,  New  York. 

Please  send  me  the  set  of  Elinor  Glyn's  famous 
books  in  10  volumes.  On  arrival  I  will  pay  the  post- 
man only  ?2.98,  plus  a  small  amount  for  postage, 
with  the  understanding  that  I  may  return  the  books 
within  5  days  if  not  satisfied,  and  you  will  refund 
my  22.98. 


Name. 


Address. 


City State .  . 

I M PORTA  NT:  If  you  may  not  be  home 
postman  calls,  send  cash  in  advance.  Price 
U.  S.  A.  23.50  cash  in  advance. 


ohen  the 
utside  of 


lse  mention  MOTION   PICTURE'  MAGAZINE. 


109 
PAG\ 


I 


dBMnSPE 
Writers  are  born, 
not  made 

Call  it  magic,  madness,  what  you  will — > 
something  of  the  creative  frenzy  must  be 
inside  you  before  you  can  be  trained  to 
write  what  editors  need.  Trained  by  the 
Palmer  Institute  of  Authorship,  that  imag- 
ination can  build  itself  into  stories  that  sell 
at  fair  prices  to  magazines;  sell  later,  at 
larger  prices,  to  motion  picture  directors; 
may  even  be  reproduced,  edition  after  edi- 
tion, in  books  of  popular  short  stories.  As 
a  Palmer-trained  writer,  you  are  your  own 
wizard  and  your  own  chief.  Palmer  train- 
ing, though  by  mail,  is  uniquely  personal. 
It  can  develop  your  peculiar  kind  of  talent 
till  you  produce  at  regular  profit.  Send 
coupon.     No  salesman  vnll  call  upon  you. 

PALMER      INSTITUTE      OF     AUTHORSHIP    I 
Palmer  Building,  Hollywood,  Calif.      9-H  I 

Clayton   Hamilton,  President 
Frederick   Palmer,    Vice-president 
Please    send    me,    without    any    obligation,    details   | 
about  the  course  I  have  checked. 

□  Short   Story  Writing 

□  EiiKlish    and    Self-Expression  . 
D  Photoplay  Writing                                         | 

Name 

I 

Address | 

All   correspondence  strictly  confidential 


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We  are  going  to  pay  our  subscription  agents 
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which  sounds  so  dull  but  which  after  all 
is  more  satisfying  than  a  life  spent  in 
loneliness. 

F.  N.  S.,  July  15: 

I_Ikrk  you  have  a  beautiful  chart  for 
appearing  before  a  public,  winning 
their  favor,  enacting  dramatic  parts,  and 
giving  the  world  some  real  artistic  crea- 
tions, and  what  you  want  to  do  is  write, 
while  oilier  people,  without  an  atom  of 
intelligence  as  to  what  makes  for  stage 
or  screen  personality,  want  to  act  while 
in  reality  they  can  write !  T  cant  account 
for  it,  and  if  anyone  can  I  wish  he  or 
she  would  tell  me  about  it.  You're  wasting" 
your  time  in  the  law  office,  but  your  theater 
may  lead  to  something.  You  have  a  big- 
year  in  1933. 

William  F.   B.,  July   1: 

YY/hile  dancing  as  such  is  not  often  used 
in  motion  picture  portrayals,  it  is 
almost  invaluable  in  developing  grace  of 
movement  and  bodily  control,  two  things 
which  register  very  strongly  in  the  films. 
Your  horoscope  is  excellent  for  dramatic 
work,  practically  as  strong  a  chart  in  this 
respect  as  any  that  I  have  studied.  You 
should  do  very  well  in  parts  demanding  the 
expression  of  force  and  virility.  Dont  be 
afraid  to  let  yourself  go  and  put  plenty 
of  pep  into  your  work. 

Isabel   C,   February    8: 

"Vou  have  literary  ability  of  some  un- 
usual  sort — possibly  critical  ability,  pos- 
sibly humor  or  satire.  Keep  on  trying  to 
sell  your  book ;  you  have  a  splendid  period 
this  summer  and  fall  for  such  things,  but 
revise  it  if  it  has  been  the  rounds  without 
getting  favorable  notices.  I  think  you  can 
write  for  the  movies,  but  make  a  name 
elsewhere  first.  People  in  the  motion  pic- 
ture profession  cannot  tell  gold  unless  it 
has  the  stamp  of  the  mint  on  it. 

Roma,  April  28: 

I  doxt  think  you  have  a  great  deal  of 
acting  ability,  but  I  know  that  your 
personality  would  register  and  carry  you 
along  pretty  well  in  parts  suited  to  your 
distinctive  qualities.  If  you  can  afford  it, 
it  would  be  worth  while  to  get  yourself 
the  most  striking  and  dashing  gown  you 
could,  and  make  the  rounds  of  the  studios. 
Remember  you  must  get  by  on  your  ap- 
pearance, not  on  your  experience  or  argu- 
ments. And  there's  lots  of  competition  in 
looks  in  Hollywood. 

Miss  D.  L.  G.,  November  11: 

Jet's  settle  this  question  of  looks  again. 
Do  you  honestly  think  that  Lillian  Gish, 
Gloria  Swanson  or  Constance  Talmadge 
would  be  considered  "pretty"  by  people 
who  saw  them  in  ordinary  clothes  without 
special  lighting  and  costumes  designed  to 
show  off  their  good  points.  The  fact  is 
that  these  women  arc  intelligent  and  force- 
ful personalities,  and  thai  is  what  counts, 
not  the  baby  stare.  Your  own  case  does 
not  in  the  least  depend  upon  looks.  You 
have  a  very  intense  emotional  nature  and 
much  independence  and  originality.  1  do 
not  think  you  are  an  actress,  however,  and 
would  suggest  that  you  make  yourself  one 
of  those  invaluable  secretaries  that  all  big 
men  either  in  or  out  of  the  movies  have  to 
have. 

V.  M.  T.,  August  29: 

VouB  very  strange  handwriting  attracted 
1  my   attention   and   while    I   do  not    judge 

the  acting  abilities  by  that  means,  still  one's 
annol    help    seeing    the    curlicues    and 

ruffles  with  which  you  adorn  a  page.     Why 

flout  you  stop  that?  You  are  a  nice  sen- 
girl   with  a   lot  of  critical  ability  and 


Y 


great  will-power  and  determination,  but 
no  one  would  ever  think  it  to  look  at  your 
letter.  You  can  either  write,  such  things 
as  technical  articles,  advertising  or  news- 
paper reports,  or  you  would  make  a  splen- 
did nurse,  having  the  executive  ability 
helpful  in  managing  a  large  hospital  or 
sanitarium.  No  movies  for  you,  except 
as  a  means  to  get  rid  of  your  spare  change. 

Robert  F.  LeW.,  April   16: 

YY/hile  I  dont  criticize  you  in  the  least 
VV  for  loving  and  admiring  screen  actors 
and  actresses,  and  wishing  to  emulate  their 
work,  still  I  dont  believe  that  this  is  going 
to  appeal  to  you  as  the  most  congenial 
work  you  could  do  yourself  when  you 
are  ten  years  older.  The  technical  reasons 
are  too  "long  to  give  here,  but  there  has 
been  an  influence  in  your  chart  lately  that 
has  emphasized  all  your  interest  in  such 
things,  but  this  is  a  temporary  affair  with 
you.  You  will  do  best  in  some  form  of 
engineering  work,  preferably  architecture 
or  the  construction  of  bridges,  dams  and 
so  on. 

Betty,  October  28: 

ou  have  an  interesting  little  daughter 
here.  She  is  talented,  intense,  emotional 
and  very  demonstrative  and  sensitive.  Her 
temper  can  make  her  ill,  and  she  is  in 
langer  of  wearing  out  her  delicate  nerves 
at  all  times.  Teach  her  to  control  those 
emotions  or  else  they  will  always  control 
her  to  her  own  lasting  unhappiness.  She 
possesses  dramatic  ability,  and  will  prob- 
ably make  use  of  it  in  some  public  way 
in  later  life.  Do  not  force  her  into  a  pre- 
mature expression,  however,  as  she  has  not 
the  constitution  for  it. 

Aileen  R.,  March  20: 

There  is  apparently  a  very  happy  and 
financially  favorable  marriage  in  your  horo- 
scope, which  seems  due  within  the  next 
two  years.  I  cannot  see  that  the  films  hold 
out  any  opportunities  for  you  and  would 
discourage  any  attempt  upon  your  part  to 
enter  this  line  of  work.  Try  to  stay  put 
for  a  time  and  let  fortune  catch  up  with 
you;  you  seem  to  have  been  moving  about 
so  fast  for  the  past  year  that  it  would 
be  practically  impossible  for  you  to  keep 
friends  or  dollars  either.  The  year  1927 
should  mark  a  big  advance  in  your  life, 
so  wait  for  it. 

Robert  V.,  August  5: 

You  are  a  man  of  great  emotional 
personal  magnetism  and  executive 
This  would  make  you  an  ideal  direct 
even  give  you  success  in  character  parts, 
altho  you  might  have  difficulty  in  beini 
cast  properly.  Your  experience  upon  the 
stage  would  make  this  problem  somewhat 
easier,  but  the  description  you  give  of  your- 
self might  make  the  average  casting  direc- 
tor want  to  place  you  in  rather  minor 
roles  at  first.  I  have  great  faith  in  your 
ability,  however,  and  feel  that  success  will 
crown  your  efforts.  The  present  year  is 
none  too  active  a  period  for  you,  how- 
ever, and  it  might  be  better  for  you  to 
look  to  the  future  for  marked  advances. 

W.  R.,  January   11: 

The  strong  Mars  influence  in  your  birth- 
chart  denotes  a  large  store  of  personal 
force  which  must  in  some  way  be  expressed 
in  your  stage  and  screen  work.  The  ex- 
perience you  have  had  already  must  have 
shown  you  this.  I  would  suggest  that  you 
specialize  in  parts  where  passion  and  im- 
pulse are  leading  characteristics — possibly 
"heavy"  parts,  but  those  villainous  thru 
impulse  rather  than  thru  careful  planning. 
The  year  1927  will  be  a  highly  favorable 
one  for  you  and  I  expect  to  see  your 
picture  in  all  the  papers  at  that  time. 


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Grandfather's    Old    Shoes 
in  the   Parlor 

{Continued  from  page  45) 

of  the  periods  of  the  Louis',  The  Direc- 
toire  and  Empire  are  far  more  easy  to 
secure.  Every  antique  shop  in  every  large, 
city  has  a  few  genuine  pieces  of  French 
furniture — and  a  hundred  imitations.  If 
you  hunt  around  and  have  the  money  to 
spend,  you  undoubtedly  can  get  as  much 
French  furniture  as  you  desire.  But,  after 
you  get  it,  what  then?  In  spite  of  the 
fact  that  French  furniture  may  be  easily 
acquired,  it  usually  isn't  at  all  appropriate 
after  you  acquire  it.  The  luxuries  of  the 
Louis'  are  not  duplicated  in  our  present 
civilization.  The  delicately  painted  and 
enameled  walls  which  proved  a  suitable 
background  for  the  enameled  and  gilded 
and -carved  furniture  is  absent,  as  are  silk 
and  panniers,  white  wigs  and  the  stately 
minuet.  Much  French  furniture  in  its  day 
was  lovely.  Personally,  I  have  never  been 
fond  of  furniture  of  the  period  of  Louis 
XVth,  for  its  rococo  curves  do  not  please 
me.  However,  much  of  the  furniture  of 
the  days  of  Louis  XlVth  and  Louis  XVIth 
was  lovely — and  is  lovely  today  if  prop- 
erly used.  American  homes  today,  even 
homes  which  are  formal  and  stately,  ex- 
cepting for  an  occasional  ballroom  or  a 
reception-room,  do  not  need  French  furni- 
ture. * 

So  we  have  come  down  to  the  furniture 
of  American  origin,  and  this,  on  the  whole, 
is  what  most  people  mean  when  they  say 
they  are  "furnishing  in  antiques." 

I  do  not  like  to  think  of  some  of  the 
things  that  pass  for  American  Colonial 
furniture.  I  have  seen  more  hideous  homes 
done  in  Early  American  than  in  any  other 
period.  Collecting  antiques,  if  you  mean 
by  that  gathering  what  you  think  are  au- 
thentic examples  of  Colonial  furniture,  is 
one  of  the  greatest  affectations  in  America 
today. 

Do  you  think  me  soulless  ?  Perhaps  you 
think  I  do  not  appreciate  the  traditions  that 
surround  this  early  furniture  nor  the  fur- 
niture itself.  It  is  because  I  do  love  Amer- 
ican furniture  and  appreciate  American 
traditions  that  I  want  to  call  a  halt  against 
the  undiscriminating  use  of  what  passes 
for   antique    furniture   today. 

When  I  was  very  young  I  learned  a 
valuable  lesson  in  furniture.  I  found  an 
old  table  in  the  yard  of  a  poor  family 
and  purchased  it  from  them  for  fifty  cents. 
I  took  it  home  in  great  delight.  After 
spending  many  hours  cleaning  and  polish- 
ing it,  I  brought  an  older  man,  a  con- 
noisseur of  the  arts,  in  to  see  it.  He  ques- 
tioned me  about  my  table,  and  when  he 
found  that  I  had  spent  only  a  small  sum 
for  it  and  that  I  wouldn't  be  too  disap- 
pointed, he  said : 

"Yes,  my  boy,  your  table  is  old.  I  grant 
that.  But  would  you  put  a  pair  of  your 
grandfather's  old   shoes   in  the  parlor?" 

Then  he  pointed  out  to  me  that  the 
table  was  bad  in  line  and  poor  in  work- 
manship, that  it  was  made  of  cheap  wood 
and  had  nothing  to  recommend  it  except  a 
problematic  age.  That  awoke  in  me  a  de- 
sire to  learn  about  furniture  and  to  de- 
cide for  myself  whether  a  thing  was  good 
or  bad.  I  have  often  since  applied  the 
test  of  "grandfather's  old  shoes." 

Everything  that  you  put  into  your  home 
should  have  both  beauty  and  use.  If  you 
can  get  a  good  piece  of  antique  furniture 
that  is  lovely  in  line  and  color,  and  sub- 
stantial and  useful  as  well,  there  is  every 
reason  why  you  should  use  it.  But  there 
is  no  reason  at  all  why  you  should  put 
into  your  home  ugly  pieces  of  furniture 
just  because  they  are  old. 


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Advertising  Section 

This  fad  tor  collecting  antiques!  What 
horrible  atrocities  are  committed  because 
of  it!  How  many  countless  homes  are 
made  hideous!  The  truth  is  that  the  bet- 
ter class  of  Colonial  furniture  is  beautiful 
and  charming  and  useful  as  well.  It  is 
made  of  lovely  wood,  exquisitely  fashioned. 
It  is  gracefully  shaped  and  beautifully  pro- 
portioned. But,  alas,  for  many  years  now 
collectors  have  been  gathering  it  together. 
There  have  been  SCOUtS  out  in  nearly  every 
by-path  looking  for  these  lovely  pieces. 
Early  English  and  Dutch  furniture  that 
found  its  way  to  America  has  been  just 
as  eagerly  sought.  Colonial  pieces  have 
always  been  considered  good.  Except  for 
a  short— and  awful — Mid-Victorian  period 
— Colonial  furniture  has  held  its  own.  But, 
after  all,  there  must  be  an  end  to  the  num- 
ber of  good  pieces  of  antique  furniture  in 
existence,  and  this  is  what  has  happened 
in  America.  There  are  still  remote  places 
where  good  Colonial  pieces  can  be  picked 
up  for  almost  nothing — but  these  places 
grow  fewer  each  year.  Unless  you  are 
living  in  a  remote  district  that  has  not 
been  honeycombed  by  professional  buyers 
or  can  afford  to  pay  a  very  good  market 
price,  you  stand  little  chance  of  getting 
good   Colonial  pieces  today. 

Most  of  the  people,  then,  who  are  buy- 
ing antiques  are  buying  very  poor  stuff 
indeed — if  they  are  getting  old  things  at 
all.  You  wouldn't  put  into  your  house  the 
pieces  of  furniture  used  today  by  the  very 
poorest  people  that  you  know.  These  people 
may  be  most  excellent  folks,  but,  alas, 
tho  I  am  quite  aware  that  it  shouldn't  be 
so,  cheap  things  are  not  especially  good- 
looking.  You  wouldn't  go  into  the  slums 
and  carry  away  hideous  chairs  and  tables 
and  poorly  made,  flimsy  chests  of  drawers, 
I  am  sure,  and  yet  that  is  precisely  what, 
in  a  way,  people  are  doing.  They  are 
buying  crude  farm  furniture  and  because 
it  was  made  a  few  generations  ago  are 
putting  it  into  their  living-rooms.  Grand- 
father's shoes  in  the  parlor ! 

Every  neighborhood  lias  its  fake  an- 
tique dealer.  Sometimes  these  dealers  are 
tucked  away  inside  of  an  old  farmhouse 
and  it  looks  to  the  unsuspecting  buyers  as 
if  they  were  finding  genuine  antiques.  It's 
too  bad,  but  genuine  and  valuable  antiques 
are  not  picked  up  this  easily. 

Farmhouse  furniture,  if  it  is  well  made, 
has  its  uses.  If  you  are  furnishing  a 
summer  cottage  or  the  simplest  sort  of  a 
home,  you  might  make  a  place  for  it.  If 
your  home  is  of  the  better  class,  I  see  no 
reason  why  you  should  introduce  into  it 
crude  furniture,  ugly  in  design,  poor  in 
line  and  workmanship  and  made  of  inferior 
wood,  just  because  it  was  made  in  an 
earlier   dav. 


The  modern  home  is  not  complete  with- 
out some  stuffed  furniture.  A  daven- 
port, comfortable  overstuffed  chairs,  these 
things  are  part  of  the  necessary  furnish- 
ings of  a  home,  if  you  want  it  to  look 
well  and  to  be  comfortable.  You  cant 
find  these  in  antiques,  whether  the  antiques 
be  farmhouse  furniture  or  furniture  from 
better  homes.  This  means  that  it  is  almost 
impossible  to  have  a  correct  Colonial  home. 
When  you  think  how  much  higher  our 
ceilings  are  today  than  were  the  ceilings 
in  the  average  Colonial  home,  and  how 
much  larger  are  our  rooms,  to  say  noth- 
ing of  the  modern  inventions  that  we  have 
already  discussed,  you  can  see  how  im- 
possible it  is  to  be  "in  period"  and  have 
a  home  that  is  attractive,  too. 

The  solution?  Oh,  that's  easy  enough. 
So  easy  that  it  seems  incredible  that  more 
people  have  not  taken  advantage  of  it. 
Pick  out  the  period  that  you  like  best, 
one  that  combines  beauty  and  comfort  and 
that  is  appropriate  to  your  own  living  con- 
ditions. With  this  put  modern  overstuffed 
furniture  and  well-selected  modern  acces- 
sories. Buy  your  period  furniture  in  good 
reproductions!  Buy  reproductions  that  are 
copies  of  the  best  things  made  in  that 
period.  If  you  have  the  opportunity,  pur- 
chase antiques,  but  take  the  word  of  those 
who  have  made  a  life  study  of  furniture 
and  buy  antiques  that  are  well  and  strongly 
made  and  come  originally  from  homes  with 
similar  surroundings  to  that  in  which  the 
piece  will  be  placed. 

Your  home  will  be  far  more  attractive 
and  certainly  far  more  livable  done  in 
reproductions  and  modern  additions  than 
if  furnished  with  stiff  and  homely  farm 
furniture  made  for  people  of  other  days, 
who  were  without  taste  and  without  the 
luxuries  and  comforts  which  modern  life 
has  introduced.  Antiques  are  excellent  and 
suitable  antiques  can  find  their  way  into 
your  home — but  be  sure  that  they  are  suit- 
able— and  that  they  are  the  real  antiques 
as   well. 

Every  day  my  friends  come  to  me  and 
show  me  atrocities,  either  imitations  or 
pieces  that  are  old — and  ugly — and  say 
proudly :  "Here's  an  antique  I  found.  I 
am  furnishing  my  home  in  antiques." 
Usually  I  haven't  the  courage  to  tell  them 
the  truth — for  one  cant  lose  all  one's 
friends  by  truthfulness,  but  I  have  told 
the  truth  here  both  for  the  benefit  of  my 
own  friends  and  for  the  benefit  of  the 
thousands  who  want  lovely  homes,  but  who 
have  an  idea  that  antiques  are  the  things 
to  buy.  So — do  not  put  furniture  into 
your  home  just  because  you  believe  it  to 
be  old.  An  antique  is  valuable  not  because 
of  its  age  but  because  of  its  charm  and 
its   beautv. 


The  Children's  Page 

T 

HIS 

is  the  only  motion  picture  publication  which 

sets 

apart  a  special  department  for  juvenile  movie 

fans. 

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e  you  will   find  Motion   Picture,   Junior, 

on  pages 

:,i 

and 

55.      There  are  one  or  two  short  stories 

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l'|i    ii   i:i.    MAGAZINI 


Advertising  Section 


When  Doris  Ken  yon  Pours 

(Continued  from  page  49) 

Diamond  shapes  .  .  .  with  a  paste  of 
cream  cheese,  olives  and  nuts. 

Small  squares  .  .  .  with  watercress  and 
cucumber  fillings. 

Hearts  ...  a  layer  of  devilled  tongue 
between  them. 

Doris  often  serves  sweet  sandwiches,  too. 
There  are  thin  slices  of  white  bread  rolled 
with  a  marmalade  of  oranges  and  grape- 
fruit. Incidentally,  the  secret  of  rolling 
bread  successfully  is  having  it  quite  fresh 
and  being  careful  not  to  tear  the  slices 
when  the  crusts  are  being  cut. 

The  tea  cakes  have  been  a  favorite  with 
the  Kenyons  ever  since  those  by-gone  days 
when  they  lived  in  the  little  parsonage 
next  to  the  father's  church.  Mrs.  Kenyon 
made  them  then.  And  she  has  taught  a 
succession  of  cooks  to  make  them  since. 

They  are  also  tiny  affairs,  frosted  in 
delicate  pistachio  and  lemon  yellow  and 
chocolate. 

Doris  asked  her  mother  for  the  recipe 
of  these  cakes  and  Mrs.  Kenyon  insists  that 
they  are  so  simple  to  mix  up  that  the  most 
inexperienced  cook  need  not  fear  to  try 
them. 

For  the  cakes  themselves  you  cream  two- 
thirds  of  a  cup  of  butter  with  two  cups 
of  sugar,  being  careful  to  add  the  sugar 
gradually.  Then  you  add  four  well-beaten 
eggs  .  .  .  then  one  cup  of  milk  .  .  .  and 
three  and  one-quarter  cups  of  flour,  four 
teaspoonsful  of  baking  powder  and  one- 
quarter  of  a  teaspoonful  of  mace. 

Bake  the  cakes  in  tiny  individual  tins, 
well  buttered. 

For  the  chocolate  frosting  you  add  one 
egg  to  one-third  of  a  cup  of  flour,  one- 
eighth  of  a  teaspoonful  of  salt  and  one- 
half  a  cup  of  sugar.  Into  this  you  pour 
one  cup  of  scalded  milk.  Cook  about 
fifteen  minutes  in  a  double  boiler,  stirring 
constantly  until  the  mixture  thickens.  Then 
add  a  half  teaspoon  of  vanilla  and  one 
square  of  unsweetened  chocolate  which  has 
been  melted  in  a  saucepan  over  hot  water. 

For  the  lemon  frosting  you  proceed  in 
the  identical  manner,  substituting  one- 
quarter  of  a  cup  of  lemon  juice  instead  of 
the  vanilla  and  melted  chocolate. 

And  for  the  pistachio  icing  you  heat 
one-half  a  cup  of  sugar  and  one-eighth  of 
a  cup  of  milk,  letting  it  slowly  come  to  a 
boil  and  boiling  it  about  six  minutes.  You 
then  break  about  one-eighth  of  a  pound 
of  marshmallows  into  small  pieces  and  melt 
in  a  double  boiler,  adding  one  tablespoonful 
of  hot  water.  You  cook  this  mixture  until 
it  becomes  smooth  and  then  add  the  sugar 
and  milk  gradually  while  you  stir  con- 
stantly. After  this  you  add  a  few  drops 
of  the  extract  of  almond  and  one-third  of 
a  cup  of  pistachio  nuts,  blanched  and 
chopped,   and  leaf  green  to  color  it. 


Have  You  Sometimes 
Wondered  What  This 
World  Is  Coming  To...? 

...  if  so  turn  to  page  36  and 
you  will  see  one  version  of  life 
one  hundred  years  from  now. 
"Metropolis"  is  an  imported 
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Why  Do  You  Have  Your 
Fortune  Told  ? 

(Continued  from   payc  38) 

"But  I  dont  believe  in  fortunes,  so  I 
dont  remember  what  they  say,"  mourned 
Lois,  "I'll  never  be  able  to  check  up  on 
her !" 

Norma  Talmadge  is  like  a  little  girl 
when  she  visits  a  fortune-teller.  She 
throws  herself  into  her  roles  on  the  screen. 
She  loves   the   mystery   of   it. 

I  took  her  to  see  "Zara,"  the  seer  who 
read  the  hands  of  Mark  Twain  and  other 
celebrities  (this  for  a  scientific  story  of 
Zara's)  and  it  was  more  fun  than  a 
Grauman  first  night. 

"I  adore  fortunes,"  sighed  Norma,  after 
we  had  ruined  our  cuffs  and  stained  our 
finger  nails  with  the  hand-print  ink-roller, 
used  all  the  soap  and  disfigured  the  towels. 
"It's  like  eating  hot  dogs  and  pop-corn  on 
boardwalks,  going  to  country  fairs  and 
circuses,  where  no  one  knows  you  and  you 
can  just  be  you.  .  .  .  But  if  they  dont  tell 
me  I'm  going  to  travel,  I  always  come 
out  saying:     'She  wasn't  any  good!'" 

Constance,  too,  is  always  racing  off  to 
see  a  new  fortune-teller,  dragging  all  her 
friends  there  while  the  mood  lasts,  en- 
joying it  with  all  her  might  and  then 
forgetting  all  about  it. 

The  famous  astrologer,  Evangeline 
Adams,  has  consulted  the  stars  for  more 
than  one  screen  luminary.  John  Roche, 
one  July  day,  when  seeking  a  between- 
seasons  engagement,  met  her. 

"You  may  as  well  spend  the  summer 
out  of  town,"  she  observed,  "There  is 
nothing   for  you  before  October." 

John  paid  no  attention  to  her  warning, 
but  it  was  not  until  September  29th  that 
he  signed  for  his  first  picture  with  Vita- 
graph,  the  next  day  also  signing  for 
Belasco's  "Deburau,"  in  which  he  played 
on  Broadway  for  the  New  York  run. 

Some  eight  years  ago,  a  negress  house- 
keeper told  Estelle  Taylor  that  she  would 
marry  the  world's  champion  boxer  or 
wrestler. 

"I  didn't  know  who  the  champion  of 
anything  was,"  said  Estelle,  "but  I  gath- 
ered it  was  Jack  Johnson,  who  didn't  seem 
the  right  color.  Then  it  was  Jess  Willard 
— or  maybe  I  was  a  year  or  so  behind 
the  times  then  and  it  was  always  Jess 
Willard.  He  was  married  and  it  didn't 
seem  quite  the  thing  for  me  to  set  my 
heart  on  him.     So  I  laughed  and  let  it  go. 

"When  I  met  Jack  Dempsey,  I  suddenly 
remembered  the  prediction.  It  was  in  an 
antique  shop  where  we  were  both  buying 
stuff,  and  I  blushed  and  dropped  whatever 
I  had  and  he  picked  it  up,  just  like  the 
ingenue  in  the  first  reel.  He  made  an 
engagement  to  see  me  again — and  I  was 
lost." 

Harold  Lloyd  belongs  to  the  American 
Society  of  Magicians  and  insists  that  he 
knows  how  to  do  all  the  things  that  are 
done  in  seances  or  what  have  you,  and 
therefore  he  never  believes   anything. 

Charley  Chase  says  that  he  was  having 
the  time  of  his  life  conducting  mystic 
parties,  tipping  tables  and  raising  spooks, 
until  one  night  Harold  Lloyd  came  over 
and  stopped  the  show.  Harold  knew  the 
answer   to   everything. 

"He's  getting  dressed  for  magic !"  they 
whisper  to  each  other  at  the  Lloyds'  when 
Harold  takes  an  extra  half -hour  to  get 
ready.  There  must  be  places  for  things 
to   disappear    into,  you   know. 

"But  that's  not  the  same  thing  as  fore- 
telling what's  ahead!"  argues  Georgia, 
who  cant  point  to  any  specific  thing  that 


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has  happened  to  her  "But  it's  going  to— 
give  it  time !" 

There  is  the  prophecy  of  Dareos  that 
Charles  Farrell  has  the  brightest  future 
of  any  boy  in  Hollywood,  and  that  other 
prophecy  made  by  several  seers  that  Dor- 
othy Dwan  will  be  the  mother  of  twins — 
yet  to  come  true. 

Victor  McLaglen  toured  the  world  with 
his  brother  before  the  war,  and  heard 
strange  forecasts  of  the  coming  years. 

Near  the  Tower  of  Silence  of  the 
Parsees,  an  ancient  cult  of  fire-wor- 
shippers, a  fakir  offered  to  tell  the  for- 
tunes  of  the   "white  sahibs." 

Among  other  things,  the  old  man  said 
that  a  war '  was  coming,  in  which  both 
brothers  would  fight,  the  elder  being 
killed.  Their  father,  he  said,  was  a  "high 
priest"  of  a  tribe  across  the  sea — he  was 
a  retired  minister  in  London.  And  Victor 
would  be  near  death  twice,  first  by  knife 
and  then  by  water. 

The  brother  was  killed  in  the  British 
fighting  near  German  East  Africa.  Victor 
was  stabbed  by  an  Arab  while  serving  as 
British  Provost  Marshal  in  Mesopotamia, 
the  native  having  been  sentenced  to  jail 
by  the  court  over  which  Victor  presided. 
Several  years  later.  Victor,  while  playing 
in  "The  Hunted  Woman,"  almost  lost  his 
life  in  the  Yuma  dam. 

The  tales  of  one  star  may  send  others 
flocking,  and  the  tales  of  another  may 
keep  them  away. 

But  say  what  you  will,  and  believe  them 
or  not,  the  fortune-telling  trade  is  doing 
well  in  Hollywood. 


The  Story  That   Cost 
$93,000 

{Continued  from  page  107) 

instalment  plan,  borrowing  money  on  the 
Morris  plan  and  buying  automobiles.  But 
they've  got  to  have  a  car.  It  may  be  taken 
away  from  them,  the  furniture  grabbed, 
but  they've  had  a  car.  Everyone  takes  a 
chance  and  hustles  around  to  make  good. 
They  take  a  chance  and  figure  that  nothing 
much  more  can  happen  to  you  but  to  be 
locked  up,  and  you'll  get  out  of  that  in 
time.  They've  got  to  get  the  feel  of  all 
this  into  the  film  of  'An  American 
Tragedy,'  or  it  wont  be  true  to  life. 

"I  dont  think  I  am  a  gloomy  fellow," 
Dreiser  wound  up.  "Some  of  us  are  born 
mentally  honest,  and  some  are  born  men- 
tally optimistic  or  dishonest.  I  am  not 
talking  in  'An  American  Tragedy.'  I  have 
only  set  down  what  I  have  observed.  What 
I  myself  think  about  life  is  nobody's  busi- 


Yes  and  No 

(Continued  from  page  82) 

us  an  entire  change  in  millinery  and  chris- 
tened their  new  creation  Valentino. 

If  this  is  losing  popularity,  I  wish  I  could 
lose  mine. 

Dorothy  E.  Stone, 

Manchester,  England. 

A  Poem 

Disease  listen  to  my  plaint:    Why  do  the 
film  folks  in  some  parts  look  like  what 

they  ain't? 

For   example,    I   will   give   parts   played 

by    Charlie    Ray.      Does    he    manicure   his 

finger  nails  so  he  can  rake  the  hay? 

And  then,  again,  a  movie  queen  on  her 

broom  so  weary  leans.     Can  you  tell  me 


You  Want  This  Book! 

"BEHIND  THE  SCREEN" 

(Illustrated) 
by  Samuel  Goldwyn,  the  well-known  producer 


'VpHARLIE  CHAPLIN  and  his  moods; 
Mary  Pickford  and  Douglas  Fairbanks, 
drawn  together  by  their  complete  absorption  in 
pictures ;  the  beginnings  of  the  romance  between 
Geraldine  Farrar  and  Lou  Tellegen — and  the 
beginning  of  its  end;  the  rivalry  between 
Pauline  Frederick  and  Farrar;  the  fiasco  of 
Mary  Garden  in  films;  the  discovery  of  Valen- 
tino; the  rise  of  Harold  Lloyd;  the  unhappy 
isolation  of  Eric  von  Stroheim;  the  eccentricities 
of  Elinor  Glyn — these  are  some  of  the  topics  to 
regale  the  eager  devourer  of  'fan'  food." 

"COHERE  js  mtense  drama  in  Mr.  Goldwyn's 
description  of  the  scene  in  which  Geraldine 
Farrar,  sensing  the  company's  disappointment 
in  the  results  of  her  pictures,  voluntarily  tore  up 
a  contract  worth  $250,000." 

"TIN  appearance,  so  typically  feminine,  Mary 
Pickford  gives  to  the  romance  of  business 
all  of  a  man's  response." 

Order  This  Now 


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THE  SCREEN." 


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"ublie School  Moaic. Violin.  <:<irii<-t.  Mandolin. 
Banjo  or  Iteed  Orifan— and  we  v. .  .    Catalog 

with  details  of  courne  you  want.     Send  n»w. 

~  UNIVERSITY    EXTENSION   CONSERVATORY 

j\      '.<i')  bivKcl-Myi-ro  DuildioK  Chicago.  Illinois 


Advertising  Section 

why    such    close-ups    are    taken    of    bhose 
scenes ': 

Why  not  make  up  the  hands  to  suit  the 
part  that  is  portrayed?  For  farmer  boys 
dont  manicure,  nor  does  a  hard-worked 
maid. 

I'.i  n  v  White, 
Melrose  Highlands.  Massachusetts. 

Can  This  Be  Lew? 

VY/nv — oh,  why  isn't  Lew  Cody  chosen 
"  for  more  pictures?  To  my  estimation, 
he  is  one  of  the  best  actors  on  the  screen, 
and  I  think  he  proved  it  in  "His  Secretary" 
and   "Monte   I  arln." 

I  le  is  far  from  having  traces  of  conceit, 
and  does  not  proclaim  himself  a  great 
artist  like  some  of  the  other  male  stars, 
lie  acts — and  at  the  same  time  has  that 
refined  appearance.  He  is  truly  the  Ameri- 
can type  of  hero. 

I'll  vote  for  Mr.  Cody  any  time,  because 
he  is  a  safe  bet — and  let's  hope  that  direc- 
tors soon  take  the  hint. 

Perhaps     Motion     Picture     Magazine 
will  give  us  an   interesting  interview  with 
Mr.  Cody,  and  a  full-page  portrait  of  the 
most  wonderful  actor  on  the  screen. 
Mrs.  Henry  C.  Raynor, 

Baltimore,  Maryland. 

The  Foreign   Invasion  Doesn't 
Reach   Inland 

YV/hat  becomes  of  all  the  foreign  films 
about  which  one  reads  as  being  shown 
in  New  York?  They  are  acclaimed  by  the 
critics  of  that  city,  but  why  dont  the  so- 
called  provinces  get  a  peek  at  'em? 

It  am  thinking  particularly  of  "Grass" 
and  "'Siegfried,"  two  of,  to  quote  someone, 
"the  most  inspiring"  films  of  1925.  Neither 
of  these  pictures  was  exhibited  in  the 
smaller  large  cities  of  this  country. 

The  only  foreign  film  since  Pola  Negri's 
"Mad  Love"  and  Lubitsch's  "Loves  of 
Pharaoh"  to  be  shown  in  Washington  was 
"The  Last  Laugh." 

Here's  for  better  circulation  of  foreign 
films.  Most  of  them  are  good,  tho  not  so 
good  generally,  as  the  home-made  product. 

Some  others  that  were  not  generally  ex- 
hibited were  "Othello"  and  "The  Cabinet 
of  Dr.  Caligari." 

And  here's  a  bouquet  for  Dick  Barthel- 
mess — because  Lois  Moran  is  no  longer 
his  leading  lady. 

R.  L  J.,  . 

Washington,  D.  C. 

Syd,  Dont  Get  Artistic 

I  DONT  know  how  Syd  Chaplin's  director, 
Chuck  Reisner,  goes  about  his  work. 
But,  judging  from  the  results  (usually 
bubblingty  funny  pictures),  one  imagines 
>  that  Mr.  Reisner  gathers  his  cast  around 
him,  tells  them  the  general  details  of  the 
plot,  and  then  gives  them  carle  blanche  in 
carrying  it  out.  At  least,  that  is  what  the 
general  enthusiasm  and  spontaneity  of 
comedy  suggest. 

Incidentally,    I    hope   no    one    ever   tells 

Syd   that   he   is    an    artist.      We   dont    want 

to     murmur     regretfully,     "Another     good 

dian  gone  wrong."     But  then.  Syd  is 

just     "another    comedian."      To    my 

mind,   lie   is   the  best    we   have,   and  judging 
from     the     enthusiasm     of     the     audi 
viewing  his  pictures,   I'm  not  alone  in  my 
opinion. 

M  rss    \  I  k  \     I  l<><, i  I.. 

Richmond,  <  ialifornia. 

Cut  Out  the  Dieting 

I    \   i    a   girl   that    goes  to  the  movies  five 
times  a  week,  and  always  sit  in  the 

row    to  ood    look.      And    what     I 

t    is  this,  thai    I   do  not   see  why  a 

movie  star  should  get  credit  when  someone 


else   takes  the  dangerous   parts  instead  of 
letting  the  star  herself  do  it. 

Quite  awhile  ago  I  saw  Anna  Q.  Nilsson 
in  "Flowing  Cold"  at  Loew's  State  Thea- 
ter where  someone  else  doubled  for  her. 
And  who  got  the  credit  for  it?  The  movie 
star.  I  do  not  think  it  is  fair  in  any  way. 
Lately  I've  been  so  disgusted  with  pic- 
tures that  I  just  go  once  every  two  weeks. 
I  was  also  very  disgusted  with  that  picture, 
"The  Beautiful  City."  The  only  decent 
picture  Pve  seen  lately  is  the  "Sea  Beast." 
I  would  like  to  see  Ramon  Novarro  pla\ 
with  Norma  Shearer  in  a  good  romantic 
picture. 

What  I  see  in  some  of  the  pictures  is 
that  movie  stars  are  so  thin  that  it  doesn't 
look  like  they  had  a  square  meal,  their 
clothes  look  like  a  hanger.  I  like  Bessie 
Love — she  is  nice  and  plump.  That's  what 
I  think  of  the  movies. 

Gregoria  Gonzales, 
Los  Angeles,  California. 

|  have   long   wished   that   someone   would 

have  the  courage  to  say  what  they  really 
think  about  Lillian  Gish.  She  has  always 
impressed  me  as  being  like  a  mechanical 
toy,  which  must  be  wound  up  before  it  will 
perform;  and  not  a  very  good  one,  at  that, 
since  she  must  be  wound  up  so  many  times, 
over  and  over  again,  before  she  is  finally 
ready  to  go. 

Lillian  Gish  may  be  a  great  technician, 
but  she  is  not  a  great  actress,  nor  a  great 
artist.  All  her  actions,  her  mannerisms, 
her  self-conscious  posturings  and  little 
tricks,  appear  to  be  purely  mechanical. 
How  could  she  portray  any  real  human 
emotion  when  she  herself  feels  none?  How 
could  she  give  us  a  warm,  vital,  magnetic 
performance,  when  she  herself  is  neither 
warm,  vital,  nor  magnetic?  One  cannot 
give  out  that  which  they  do  not  possess. 

Norma  Talmadge,  Mary  Pickford,  and 
others,  are  also  great  technicians,  but  they 
have  something  besides  technique.  They 
have  personality,  sympathy,  love,  mag- 
netism. They  have  warm,  pulsating  blood 
in  their  veins.  They  can  portray  human 
emotions  because  they  themselves  are  hu- 
man, and  have  human  hearts  in  their 
breasts  instead  of  some  kind  of  a  me- 
chanical ticking  clock. 

Lillian  Gish's  face  shows  not  a  line  or 
mark  of  any  kind  of  emotion.  Her  fea- 
tures are  painted  on  as  flatly  and  smoothly, 
and  are  as  expressionless  and  blank  as 
those  of  a  rag  doll.  Why  should  her  face 
show  emotion,  when  she  herself  feels 
none  ? 

All  the  more  credit  belongs  to  John  Gil- 
bert and  his  art,  that  he  should  be  able  to 
give  such  a  charming,  and  compelling,  and 
glowing  performance,  after  being  obliged 
to  rehearse  his  scenes  tiresomely  and  me- 
chanically, not  only  day  after  day,  but 
week  after  week,  while  Lillian  was  getting 
her  little  actions  and  expressions  learned 
by  heart  well  enough  to  be  able  to  go 
thru  with  them  without  making  a  mis- 
take when  the  camera  was  finally  allowed 
to  turn.  One  wonders  how  John  Gilbert 
could  still  act  spontaneously  after  all  those 
parrotlike  rehearsals.  And  indeed,  one 
wonders  how  he  could  make  any  kind  of 
convincing  love  to  a  wooden  image. 

Lillian  Gish  has  never  given  hut  one 
good  performance,  and  she  has  Griffith  to 
thank  for  that.  I  mean  the  child  in 
"Broken  Bossoms."  She  has  been  running 
around  in  circles  and  biting  her  fingers 
ever  since.  But  there  is  something  more  to 
acting  than  running  around  in  circles.  I 
for  one  have  long  ago  grown  tired  of  her 
shop  worn  little  tricks.  At  one  time  I 
reached  the  stage  where  I  could  laugh  at 
her,  but  I  am  too  bored  to  even  do  that 
now.  Miss  C.  G., 

Portland,  Oregon. 


I 


116 


lent  in   MOTION    PICTtlRE    MAGAZINE   La   Riiaranteed. 


Advertising  Section 


W^™™\ 


A  Guide  to  Current  Pictures 

Which  are  now  being  shown  thruout  the  United  States 


<T^ 


A  Certain  Gentleman 

Cleverest  society  comedy  of  season.    Novarro  won- 
derful.    (Metro-Goldwyn-Mayer) 
Aloma  of  the  South  Seas 

More  was  expected  here.    Simple  story  never  gets 
anywhere  and  plot  disappears.    Gilda  Gray  makes 
debut  and  flashes  ability.     (Paramount) 
Barrier,  The 

Rex  Beach's  story  is  done  again — and  shapes  up 
as  fairly  good.     Not  much  suspense,  but  plenty  of 
action.     Somewhat   overacted.     (Metro-Goldwyn) 
Bat,  The 

A  corking  good  mystery  melodrama  which  keeps 
you  keyed  up  with  excitement  from  beginning  to 
end.      Carries   a    good    pace   and    is   well    acted. 
(United  Artists) 
Behind  the  Front 

A  burlesque  on  the  late  unpleasantness  in  Europe, 
executed   with    much    broad    slap-stick.     Wallace 
Beery  and  Raymond  Hatton  put  it  over.     (Para- 
mount) 
Ben-Hur 

The  masterpiece  supreme  of  all  time,  containing 
all  the  elements  of  a  100  per  cent  picture.    (Metro- 
Goldwyn)— E.  V.  B. 
Beverly  of  Graustark 

The  best  seller  should  sell  well  as  a  picture.  Dif- 
ferent from  the  story  in  characterization,  but  full 
of  high  lights  and  color.  Marion  Davies  immense 
in  her  gay  masquerade  as  the  prince.  (Cosmopoli- 
tan-Metro Goldwyn) 
Big  Parade,  The 

Truly  one  of  the  great  pictures  of  the  screen. 
The  Great  War  reproduced  with  remarkable 
fidelity.  Sweeping  and  stirring  in  its  scenes  and 
acting.  John  Gilbert  and  Renee  Adoree  create 
marvelous  performances.  (Metro-Goldwyn) 
Black  Pirate,  The 

Fairbanks  has  created  another  rich  picture — one 
unfolding  spectacular  romance  and  adventure. 
Done  in  natural  colors.  Doug  at  his  best  and  sup- 
ported by  a  great  cast.  Dont  miss  it.  (United 
Artists) 
Blackbird,  The 

Lon  Chaney  is  grotesque  again  in  a  picture  not  up 
to  "The  Unholy  Three."  Has  some  thrills  and 
carries  suspense,  but  somehow  fails  to  grip  you. 
Renee  Adoree  good  as  heroine.  (Metro-Goldwyn) 
Blind  Goddess  The 

This  one  is  worked  out  pretty  well  and  contains 
quite  a  lot  of  suspense  with  its  murder  and  court- 
room scene.     Enough  action  to  satisfy.      (Para- 
mount) 
Broadway  Boob,  The 

Glenn  Hunter  in  a  first-rate  small-town  story  with 
Antrim    Short    supplying    comedy.       (Associated 
Exhibitors) 
Brown  of  Harvard 

The  straight  college  story  has  yet  to  be  made.  The 
characterization  is  hardly  convincing  and  there  is 
too  much  hokum.  Is  partly  saved  by  rousing 
climax  showing  football  game.  Just  fair.  (Metro- 
Goldwyn) 
Cave  Man,  The 

The  coal  heaver  enters  society  and  becomes  a  pol- 
ished diamond.     Obvious  and  very  much  single- 
track  in  idea,  tho  it  has  its  moments  of  appeal. 
(Warner  Brothers) 
Clothes  Make  the  Pirate 

A  burlesque  in  which  the  laughs  are  achieved  in 
too  strained  a  manner.    Leon  Errol's  droll  comedy 
is,  in  the  main,  satisfactory.     Pleasing  enough,  tho 
it  doesn't  ring  the  bell.     (First  National) 
Cobra 

Valentino  in  a  new  role — not  a  lover — suave  and 
polished  as  ever.    Nita  Naldi  miscast.    Fairly  good 
drama,  but  not  up  to  "The  Eagle."     (Paramount) 
— E.  V.  B. 
Cowboy  and  the  Countess,  The 

Buck  Jones  takes  his  outfit  to  Europe  and  gives  fair 
entertainment  in  a  Lochinvar  role.     (Fox) 
Dancer  of  Paris,  The 

The  Michael  Arlen  story  with  Dorothy  Mackaill. 
Disappointing    even    to    Arlen    admirers.       (First 
National; 
Dancing  Mothers 

Mother  goes  to  bat  for  her  headstrong  daughter. 
Pays  the  piper  herself  to  keep  daughter  safe.    Done 
with  good  drama  and  competently  played.     (Para- 
mount) 
Desert  Gold 

Another  Zane  Grey  story  and  just  about  the  dullest 
of  the  lot.  Plenty  of  heroics  and  villainy  executed 
in  the  same  old  style.     (Paramount) 


Devil's  Circus,  The 

A  strong  religious  motif  here,  which  brings  happi- 
ness out  of  tragedy.  Bound  up  with  a  spirit  of  re- 
demption. Good  circus  background  and  fairly 
good  symbolism  effected.  Well  acted  by  Norma 
Shearer  and  Charles  Emmett  Mack.  (Metro- 
Goldwyn) 

Dixie  Merchant,  The 

J.  Farrell  MacDonald  in  a  delightful  character 
study  based  on  Barry  Benefield's  novel,  "The 
Chicken- Wagon  Family."     (Fox) 

Don't 

Slap-stick  stuff  from  the  pen  of  Rupert  Hughes — 
the  idea  presenting  a  strong-willed  flapper  who  tells 
her  father  where  to  get  off.  Just  fair.  .(Metro- 
Goldwyn) 

Eagle,  The 

Valentino  comes  back  with  a  bang,  but  Vilma 
Banky  shares  the  honors.  You  will  like  this 
romantic  drama.     (United  Artists) — E.  V.  B. 

Ella  Cinders 

Is  Colleen  Moore's  best  characterization  since  "So 
Big."     Charming   comedy,    replete   with    laughs, 
pathos  and  interest.     Harry  Langdon   plays  small 
part  in  it. 
First  Year,  The 

An  amusing  story  of  married  life  with  Matt  Moore 
and  Kathryn  Perry  as  the  young  couple.  Matt 
Moore  is  splendid.     (Fox) 

Flaming  Frontier,  The 

Does  not  come  up  to  expectations.  Depicts  Cus- 
ter's last  fight  and  has  good  atmosphere,  but  the 
big  moments  are  few  and  far  between.    (Universal) 

Foot  Loose  Widows 

Starring  Fazenda  best  farce  comedy  of  season  ex- 
cellent direction  and  cast  including  Jacqueline 
Logan.     (Warner) 

For  Heaven's  Sake 

Harold  Lloyd  has  another  rollicking  number,  one 
that  is  rich  in  gags  and  humor.  Not  quite  up  to 
"The  Freshman,"  but  excellent  enough  to  be 
considered  one  of  the  best  bets  of  the  season. 
(Paramount) 

Freshman,  The 

Harold  Lloyd's  funniest  picture — and  by  all  odds 
his  greatest.  Has  everything  and  will  please  any 
type  of  picturegoer.     Dont  miss  it.     (Pathe) 

Gold  Rush,  The 

After  two  years  we  expect  something  better  from 
Charlie  Chaplin.  However,  you  will  probably  like 
it,  but  not  nearly  so  well  as  "The  Kid,"  etc.  (United 
Artists)— E.  V.  B. 

Golden  Strain,  The 

Pretty  weak  drama  starring  Kenneth  Harlan. 
Hobart  Bosworth  gives  the  best  performance. 
(Fox) 

Grand  Duchess  and  the  Waiter 

A  light  and  fluffy  piece  of  entertainment,  done  with 
much  adroitness  and  subtlety.  Is  clever  in  every 
way — and  capitally  played  by  Menjou  and  Vidor. 
(Paramount) 

Great  Love,  The 

Broad  comedy  this,  which  centers  around  the  antics 
of  an  elephant  to  restore  peace  and  happiness  to  a 
heroine  in  distress.  Too  trivial  for  the  adults. 
(Metro-Goldwyn) 

Hell-Bent  f  er  Heaven 

Feud  story  with  emphasis  placed  upon  characteri- 
zation. Good  enough  for  its  type.  Contains  a 
thrill  or  two.  Finely  acted  by  Gardner  James. 
(Warner  Brothers) 

Her  Sister  From  Paris 

A  rollicking  comedy  this,  based  as  it  is  upon  the 
wife  who  masquerades  to  bring  back  her  wayward 
husband.  Constance  Talmadge  is  delightful  in  a 
dual  role,  and  the  support  is  good.    (First  National) 

His  Secretary 

Norma  Shearer's  best  since  "He  Who  Gets 
Slapped."  Willard  Louis  fine,  also  Cody  and  Karl 
Dane.  Excellent  comedy.  (Metro-Goldwyn) — 
E.  V.  B. 

Ibanez'  Torrent 

A  very  good  picture  of  love  and  its  tragic  con- 
sequences in  Spain.  Has  unusual  ending.  Good 
atmosphere  and  plenty  of  interest.  Finely  acted. 
(Cosmopolitan-Metro-Goldwyn) 

Irene 

A  first-rate  companion  piece  to  "Sally"  is  this 
latest  Colleen  Moore  picture.  The  Cinderella  pat- 
tern executed  with  good  comedy  and  romance. 
And  the  star  is  immense.     (First  National) 


%e  This  famous  Beauty 
JVtethod  at  Home 

0  Guarantee  lfoua  Clear,  Soft  Skin 


j^Y"* 


MY  METHODS,  which  you 
can  use  yourself  at  home, 
make  it  possible  for  you  to 
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real  beauty. 

It  is  so  easy  when  you  just  know  how — 
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I  Actually  Guarantee 
Results 

I  am  so  sure  that  my  methods  will  correct 
coarse  pores,  wrinkled,  pimply  or  oily  skin, 
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I  have  seen  the  wonderful  benefits  my 
methods  have  had  for  others  and  I  know 
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Send  Coupon 

for  Expert  Beauty  Advice 

Send  the  coupon  below  to  me  personally 
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LUCILLE  YOUNG 

Lucille  Young  Bldg.,  Room  1264,  Chicago 

Please  send  me  by  return  mail,  your  Free  Booklet 
"MAKING    BEAUTY   TOURS." 


When  you  write  to  advertisers  please   mention  MOTION   PICTT'TIE 


I     City..... 
MAGAZINE. 


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Advertising  Section 

Johnstown  Flood,  The 

The  film  version  of  the  Johnstown  disaster  is  re- 
corded with  excellent  realism.  The  flood  scene  is 
immense  and  the  suspense  puts  it  over.  A  good 
melodrama.     (Fox) 

Just  Suppose 

Richard  Burthelmess  tries  the  mythical  kingdom 
story — and  gets  away  with  it  fairly  well.  A  finely 
mounted  picture — the  acting  and  settings  com- 
pensating for  a  weak  plot.    (Inspiration) 

Kiki 

Norma  Talmadge  makes  this  screen  version  of  the 
play  a  right  interesting  number.  Has  more  slap- 
stick and  comedy  than  original,  but  none  of  it  is 
overdone.     (First  National) 

La  Boheme 

Opinions  differ  whether  this  is  great  or  ordinary. 
Anyway  it  is  beautifully  produced  and  you  ought 
to  see  it  and  judge  for  yourself.  (Metro-Goldwyn- 
Mayer) 

Let's  Get  Married 

A  light,  but  fast-moving  picture  giving  Richard 
Dix  plenty  of  amusing  high  jinks  to  prove  himself 
a  first-rate  comedian.  Put  over  to  the  tune  of 
capital  comedy.     (Paramount) 

Little  Annie  Rooney 

The  same  old  twelve- year-old  Mary  Pickford  and 
not  a  year  older.  Laughter  and  tears.  While  not 
an  elaborate  or  well-done  production,  it  "gets" 
you.    (United  Artists) — E.  V.  B. 

Little  Irish  Girl,  The 

Much  too  somber  for  Dolores  Costello.  Hasn't 
enough  plot  and  incident  and  never  leaves  its 
obvious  groove.    Just  average.    (Warner  Brothers) 

Man  Upstairs,  The 

A  diverting  mystery-comedy  adapted  from  Earl 
Derr  Bigger's  "The  Agony  Column."  Monte  Blue 
is  the  very  likable  hero.     (Warner) 

Masked  Bride,  The 

Mae  Murray  returns  to  a  moth-eaten  type  of 
story  and  her  frenzied  style  of  acting  here.  Noth- 
ing much  to  interest  you.     (Metro-Goldwyn) 

Memory  Lane 

Fair  entertainment  in  a  story  featuring  Eleanor 
Boardman,  Conrad  Nagel  and  William  Haines. 
(First  National) 

Merry  Widow,  The 

Mae  Murray  and  John  Gilbert  100  per  cent,  in  a 
wild,  passionate  romance  full  of  action  and  interest. 
Excellent.      (Metro-Goldwyn) — E.  V.  B. 

Mike 

Very  much  to  the  hokum — which  means  that  it 
should  have  been  compressed  into  three  reels. 
Episodic,  but  has  certain  amount  of  color.  (Metro- 
Goldwyn) 

Miss  Brewster's  Millions 

Slap-stick  comedy,  dynamic  action  and  Bebe  Dan- 
iels, cutting  up  capers  as  a  fair  spendthrift,  make 
this  an  enjoyable  number.  Amuses  and  entertains. 
(Paramount) 

Mile.  Modiste 

Mostly  a  fashion  show — as  plot  is  extremely  thin. 
Relies  upon  settings  and  costumes  for  appeal. 
Corinne  Griffith  needs  stronger  stories.  (First 
National) 

Moana 

A  beautiful  and  impressive  drama  of  tribal  life  in 
the  South  Seas.  An  epic  of  land,  sky  and  water 
that  deserves  to  rank  with  the  best.  See  it. 
(Paramount) 

Money  Talks 

Affords  Owen  Moore  the  opportunity  to  masquerade 
in  feminine  clothes  and  gets  away  with  it  in  good 
style.  Light,  but  fairly  amusing.  (Metro- 
Goldwyn) 

My  Own  Pal 

Tom  Mix  and  his  pony,  Tony,  do  their  stuff  again 
— with  lots  of  incident  and  action  to  keep  it  going. 
Familiar  plot,  but  it  has  its  moments.     (Fox) 

New  Klondike,  The 

Tom  Meighan,  for  once,  has  a  good  picture.  Good 
take-off  on  the  real-estate  situation  in  Florida. 
Il.is  humor  all  the  way.  Look  into  this  one. 
(Paramount) 

Night  Cry,  The 

Rin-Tin-Tin  in  his  very  best  picture  and  that's 
saying  a  lot.  Little  Mary  Louise  Miller  in  extraor- 
dinary performance.     (Warner) 

Oh,  What  a  Nurse 

Syd  Chaplin  has  gone  in  for  more  feminine  attire. 

Doubles  as  the  woman  who  writes  advice  to  the 

lovelorn.     Fairly  complicated— and  quite  amusing. 

Should  get  the  laughs.     (Warner  Brothers) 
Old  Loves  and  New 

Another    sheik    picture    by    the    author    of    "The 

Sheik."      Presents    the    triangle    situation    in    the 
ii    and    should    interest    audiences    thru    its 

well-developed    action,      Well    played    by    Lewis 

Stoni  tional) 

Other  Women's  Husbands 

Monte    Blue    and    Marie    I'revost    work    out    their 

problem  with  the  aid  of  Huntly  Gordon  and  Phyllis 
Haver.     Pretty  likely  to  please  you.     (Warner) 

Partners  Again 

Abe  and  Maivruss  go  into  the  automobile  business 
and  are  not  so  funny,  nor  so  successful  as  when 
they  "partnered"  in  the  movies.  Mostly  illustrated 
Bubtitli  s.    (United  Artists) 


Every  advertisement  in  motion  picrrnrc  MAGAZINE 


Prince  of  Pilsen,  The 

Nothing  much  to  it.  Relies  almost  entirely  upon 
subtitles.  Scenes  become  repetitious  as  there  is 
no  variety  of  plot.    (Producers  Distributing  Corp. ) 

Rainmaker,  The 

Starts  off  as  a  race-track  story  and  develops  into  a 
hectic  melodrama.  Has  oodles  of  action  and  holds 
interest.  Well  played  by  William  Collier,  Jr  ,  and 
others.    (Paramount) 

Ranson's  Folly 

Old-fashioned  and  Dick  Barthelmess  not  at  his 
best.    Plenty  of  thrills,  however.     (First  National) 

Road  to  Yesterday,  The 

A  beautiful,  romantic  drama  introducing  Cecil  De 
Mille,  with  Joseph  Schildkraut  and  Vera  Reyn- 
olds. Elaborate  and  splendid,  but  long  drawn 
out.     (Producers  Distributing  Corp.) — E.  V.  B. 

Royle  Girl,  That 

The  latest  Griffith-Carol  Dempster  melodrama 
with  plenty  of  thrills,  including  a  cyclone.  Rather 
long  drawn  out  but  good.     (Paramount) — E.  V.  B. 

Sandy 

Madge  Bellamy  in  a  versatile  role  and  the  best 
thing  she  has  ever  done.     (Fox) 

Sea  Beast,  The 

John  Barrymore.  Yes,  also  Dolores  Costello, 
whales,  ships,  etc.,  but  mostly  Barrymore.  Grue- 
some and  thrilling  but  long  drawn  out.  A  big,  if 
not  great,  picture.     (Warner) — E.  V.  B. 

Sea  Horses 

A  sea  thriller  involving  tropical  storms,  a  typhoon, 
jungle  life,  schooner  hokum  and  what-not.  An 
exciting  hair-raiser.  Good  for  weak  pulses. 
(Paramount) 


Silken  Shackles 

An  absurd  story  with  Irene  Rich  as  the  flirtatiou 
wife.     (Warner) 

Silence 

Crook  melodrama  has  interesting  plot  and  plent 
of  suspense.     Affords   H.  B.  Warner  the  r61e 
played   upon   the   stage   and    he   gives  good  pi 
formance.     (Producers  Distributing  Corp.) 

/ 


mi? 
ity 

f 


Skinner's  Dress  Suit 

A  successful  picture  of  some  seasons  ago  has  been 
made  over  again — and  the  results  are  pleasing. 
Light,  but  amusing,  and  Reginald  Denny  and 
Laura  La  Plante  perfectly  at  home  in  their  parts. 
(Universal) 

Social  Celebrity,  A 

A  bright  little  number  which  is  exceedingly  frothy 
and  hardly  substantial  enough  for  feature  length. 
But  due  to  good  direction  it  amuses  and  interests 
all  the  way.  Adolphe  Menjou,  Louise  Brooks  and 
Chester  Conklin  help  in  making  it  enjoyable. 
(Paramount) 

Stage  Struck 

Far  below  what  you  expect  from  Gloria  Swanson. 
A  glorified  slap-stick  comedy  done  to  the  tune  of 
romance.  Carries  a  sprinkling  of  laughs  but  is 
tiresome  and  overdone.      (Paramount) 

Stella  Dallas 

The  greatest  emotional  drama  ever  produced. 
Belle  Bennett  wonderful — so  are  they  all.  You  will 
weep,  but  they  will  be  tears  of  joy.  (Samuel 
Goldwyn)— E.  V.  B. 

That's  My  Baby 

Once  this  piece  gets  started  it  packs  a  mirthful 
wallop.  MacLean  acts  with  plenty  of  spirit  and 
his  support,  consisting  of  Harry  Earles,  the  midget, 
is  excellent.    A  neat  comedy.     (Paramount) 

Three  Faces  East 

A  clever  mystery  melodrama   touching  upon  tb 
pastime  of  spy  catch  spy.     Excellently  treated  a 
acted — and    chock-full    of    suspense.      (Produce 
Distributing  Corp.) 

Tough  Guy,  The 

The  children  will  like  this  Western  with  Fred  Thom- 
son and  Silver  King.     (F.  B.  O.) 

Tramp,  Tramp,  Tramp 

One  of  the  funniest  comedies  that  ever  reached  the 
screen.  Surely  places  Harry  Langdon  right  up  in 
the  front  ranks.    Dont  miss  it.    (First  National) 

Untamed  Lady,  The 

Just  about  tlie  weakest  picture  Gloria  Swanso: 
has  had.  Is  far-fetched  and  ridiculous  in  most  c 
its  scenes.     Pass  it  up.     (Paramount) 

Up  in  Mabel's  Room 

Farce-comedy  develops  according  to  Hoyle,  but  it 
is  well  handled  and  entertains  all  the  way.  First- 
rate  cast  here  with  Marie  Prevost,  Harrison  Ford 
and  Harry  Myers.  (Producers  Distributing 
Corp.) 

Volga  Boatman,  The 

Certainly  contains  some  highly  beautiful  scenes, 
executed"  in  the  De  Mille  manner.  The  story,  how- 
ever, doesn't  convince,  as  there  is  too  much  reliance 
upon  happiness  and  sentiment.  Fairly  well  acted. 
(Producer^  Distributing  Corp.) 

Wanderer,  The 

From  an  artistic  standpoint  perhaps  the  greatest 
dramatic  spectacle  ever  produced.  Very  beautiful 
and  elaborate,  even  if  not  gripping.  (Paramount)  — 
E.  V.  B. 


" 


Wet  Paint 

Raymond  Griffith  again — this  time  in  unadul- 
terated slap-stick.  Not  up  to  previous  pictures, 
tho  it  releases  some  laughs.     (Paramount) 

"Whispering"  Smith 

A  good  railroad  melodrama,  this — one  which  is  al- 
ways obvious  but  which  carries  a  sting  in  the  way 
the  hero  does  his  stuff.  Convincing  in  its  acting — 
with  H.  B.  Warner  as  the  star.  (Producers  Dis- 
tributing Corp.) 

Why  Girls  Go  Back  Home 

Neat  little  romance  of  the  girl  who  leaves"  the  fire- 
side in  pursuit  of  actor.  Reveals  some  lifelike 
touches  and  is  capably  acted  by  Clive  Brook  and 
Patsy  Ruth  Miller.     (Warner  Brothers) 


Advertising  Section 

Wilderness  Woman,  The 

Something  different  in  the  plot  of  the  primitive 
woman  who  gets  a  taste  of  civilization.  Has  its 
hokum,  but  is  thoroly  entertaining.  Chester 
Conklin  and  Aileen  Pringle  see  to  that.  (First 
National) 

Yankee  Senor,  The 

Tom  Mix  and  Tony  cutting  up  melodramatic 
capers  again.  The  familiar  tale  of  rescuing  the 
heroine  from  the  hombres.  Exciting  enough  and 
pleasing  to  the  eye.    (Fox) 

Yellow  Fingers 

Olive  Borden  gives  a  remarkable  performance 
in  this  romantic  story  of  the  South  Sea  Isles. 
(Fox) 


Gossip  of  the  Camera  Coasts 

{Continued  from  page  68) 


every    little    mannerism    of     the     former 
President. 

'""Tim"  Holt  bought  a  horse. 

Young  Jack  Holt,  junior,  looks  like 
a  bird  on  a  buffalo  when  he  climbs  astride 
his  new  pinto  pony  and  tries  to  emulate  his 
famous  dad. 

The  pony,  which  appeared  in  "The 
Vanishing  American,"  cost  a  lot  of  money, 
one  hundred  dollars.  Tim  wanted  to  buy 
it  eight  months  ago,  but  his  father  told 
him  he  would  have  to  earn  his  own  money. 
The  resourceful  young  Tim  worked  for 
eight  long  months  weeding  the  gardens  of 
Florence  Vidor  and  Ernest  Torrence.  He 
also  made  extra  money  picking  up  snails. 
Thru  his  various  enterprises  he  managed 
to  get  the  hundred  dollars.  No,  he 
doesn't  want  to  break  into  pictures,  he 
wants  to  play  polo. 

The  opening  of  "La  Boheme"  at  the 
Forum  Theater  in  Hollywood  brought 
forth  many  a  beautiful  star  to  witness 
John  Gilbert's  latest  in  the  city's  most 
beautiful  theater.  Claire  Windsor's  beauty 
really  outdazzled  that  of  the  theater,  and 
brought  many  a  gasp  of  admiration  from 
us  local  boys. 

Fred  Niblo  was  master  of  ceremonies 
again.  Fred  seems  to  be  the  only  one  who 
can  star  at  this  job.  Before  making  intro- 
ductions he  apologized  for  taking  the  spot- 
light again,  saying,  "I  would  like  to  pro- 
duce a  great  picture  myself,  but  I  am  so 
busy  acting  as  master  of  ceremonies  at  the 
openings  of  King  Vidor's  great  pictures 
that  I  cant  find  time." 

The  audience  tittered  at  the  scene  show- 
ing Lillian  Gish  tripping  thru  the  daisy 
fields,  but  applauded  when  Gilbert  enacted 
the  scene  in  which  he  demonstrates  to 
Mimi  the  action  of  his  play. 

After  the  show  Gilbert  and  other  mem- 
bers of  the  cast  bowed  to  the  assemblage. 

J-Javing  dinner  with  a  couple  of  big  boys 
like  Ernest  Torrence  and  Jack  Holt  at 
the  Montmartre  makes  an  ordinary  fellow 
feel  like  David  must  have  felt  when  he  met 
his  first  giant.  You  are  always  shooting 
your  conversation  skyward,  and  the  only 
part  of  the  room  you  see  is  the  ceiling. 

"Ernie,"  as  Jack  calls  him,  was  planning 
to  leave  for  Scotland  but  had  canceled  his 
reservations  because  of  the  strike.  He  left 
immediately  after  the  trouble  was  settled. 

Torrence  said  his  contract  with  Para- 
mount had  expired  and  that  he  planned  to 
free-lance  after  making  a  sojourn  back 
to  the  land  of  the  bonnie  bright  blue 
heather. 

At  the  Warner  Brothers  studio  I  visited 
the  big  "leg"  set  where  Ernest  Lubitsch 
was  directing  a  mob  of  five  hundred  in  a 
big  cafe  scene. 

Everything  bore  out  the  semblance  of 
a  female  leg.  The  legs  on  the  tables  were 
decidedly  feminine.  The  pillar  to  the  room, 
the  canes   and   everything  that   could  pos- 


sibly look  like  a  leg  did.  When  I  arrived 
all  the  five  hundred  extras  were  doing  the 
Charleston,  and  animated  legs  flew  in  all 
directions.  I  thought  I  had  died  and  gone 
to  heaven.  I  dont  remember  the  name  of 
the  picture,  but  it  might  have  been  "Old 
Ironclad." 

IV/Tany  were  the  typewriter  ribbons  used 
on  sob  stories  about  Ben  Turpin  and 
his  devotion  to  his  sick  wife.  Ben  gave 
up  his  screen  career  to  care  for  her,  and 
when  she  died  Ben  was  much  written  of 
as  the  sad  little  clown  who  made  others 
laugh  while  stifling  his  own  tears — you 
know  the  old  line.  Alas,  for  those  wasted 
typewriter  ribbons !  Ben  has  shown  char- 
acteristic masculine  resiliency  and  within 
a  year  after  Mrs.  Turpin's  death  has  re- 
established himself  on  the  screen  and — 
here's  the  point  of  the  story — is  planning 
to  take  unto  himself  a  new  wife!  The 
lady's  name  is  being  kept  a  close  secret 
by  Mr.  Turpin,  but  he  states  that  they 
met  at  the  California  Lutheran  Hospital 
during  his  wife's  illness.  No  date  for  the 
wedding  has  been  announced,  but  the  bride- 
to-be  is  wearing  a  large  diamond,  so  Ben 
evidently  means  it. 

The  mystery  of  what  became  of  Dagmar 
Godowsky  when  she  disappeared  from 
the  screen  is  at  last  cleared  up.  Any 
fans  who  are  also  night-club  addicts  may 
see  her  at  the  Fifth  Avenue  Club,  where 
she  presides  as  "Mistress  of  Conversation." 
Quite  an  unusual  job  for  one  who  received 
her  training  in  the  silent  drama.  Her 
duties  consist  in  combining  "the  sophistica- 
tion of  the  salon  with  the  gaiety  of  the 
night  club."  We  think  it  would  be  worth 
a  trip  to  the  Fifth  Avenue  Club  to  see — 
or  hear — Dagmar  functioning. 

Cociety  people  just  cant  seem  to  learn 
their  lesson — they  insist  on  going  into 
the  movies.  The  latest  aspirant  from  the 
social  register  is  Mrs.  John  Harriman,  a 
tall  and  presumably  beautiful  brunette,  who 
began  her  career  as  an  extra  at  the  Para- 
mount Studio.  Things  looked  hopeful  for 
Mrs.  Harriman  when  D.  W.  Griffith,  unable 
to  find  a  Sybil  for  "The  Sorrows  of 
Satan,"  finally  selected  this  neophyte  for 
the  role.  But  one  of  the  first  things  to 
break  yourself  of,  in  the  movie  business, 
is  the  habit  of  thinking  that  just  because 
you  were  offered  a  job,  or  promised  a  job, 
or  even  contracted  for  a  job,  you  are  really 
going  to  get  that  job.  Dont  be  silly,  Mrs. 
Harriman !  You  didn't  have  a  chance,  when 
Lya  De  Putti  came  along,  with  a  little 
more  fame  and  a  little  more  pull. 

So  now  Alice  Harriman  is  going  abroad 
to  see  if  UFA  has  a  greater  sense  of  honor 
than  our  American  producers. 

Innumerable  fans  have  asked  whether  or 
not  Lon  Chaney  had  a  son.  And  now 
the  facts  are  out — he  not  only  has  a  son, 
but  a  son  of  marriageable  age  and  inclina- 
tions.   Creighton  Tull  Chaney  was  wedded 


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to    Miss    Dorothy    Hinckley   not    long   ago, 

in  Hollywood.  Those-  arc  wry  bare  facts 
■ — with  not  even  an  inkling  as  to  whether 
Creighton  and  Dorothy  are  also  in  the 
movies — or  what. 

YY/allacic  Beery  and  Raymond  Hatton, 
who  were  such  a  mirth-provoking  team 
in  "Behind  the  Front,"  are  turning  their 
joint  attention  to  another  branch  of  the 
service.  Their  next  picture  will  be  "We're 
in  the  Navy  Now."  Our  navy  is  getting 
awfully  popular  in  Hollywood,  what  with 
Metro-Goldwyn  making  "Tell  It  to  the 
Marines"  and  Warner  Brothers  planning 
a  war  picture  called  "Across  the  Pacific." 
Claire  Windsor  has  the  leading  feminine 
role  in  "Tell  It  to  the  Marines."  Lon 
Chaney  and  William  Haines  are  said  to 
have  roles  of  equal  importance.  But  it's 
easy  to  see  who  will  get  the  girl. 

Arlette  Marchal,  the  vivacious  young 
French  star,  who  was  imported  by 
Paramount,  is  playing  an  important  part 
in  Marshall  Xeilan's  next  picture,  "Diplo- 
macy." I  am  always  astounded  by  the 
utter  frankness  of  these  foreigners. 

"It  is  so  different  over  here,"  she  said. 
"You  rush,  rush,  rush !  You  have  time 
to  do  nothing.  I  can  understand  why  the 
foreign  people  are  not  happy  here.  They 
are  not  used  to  so  much  rush.  I  like  it 
very  much  and  everything  you  do  here  is 
in   such  a  big  way." 

The  few  flashes  that  one  has  been  able 
to  get  of  Arlette  Marchal  in  "Madame 
Sans-Gene"  and  "The  Cat's  Pajamas"  show 
that  she  possesses  a  personality  and  talent 
that  will  burst  forth  in  a  box-office  triumph 
when  her  opportunity  comes. 

(Character  men  are  receiving  more  and 
more  recognition  by  the  producers. 
Raymond  Hatton  and  Wallace  Beery,  who 
have  always  played  supporting  roles,  are 
being  co-starred  in  comedies. 

The  latest  announcement  is  that  Jean 
Hersholt  has  been  signed  by  Carl  Laemmle 
to  star  in  four  pictures  a  year.  Hersholt 
recently  completed  the  principal  role  in 
"The  Old  Soak."  He  will  be  remembered 
for  his  clever  characterizations  in  "Creed" 
and  "Don  Q." 

Lon  Chaney  is  the  one  who  really 
smashed  traditions  by  becoming  the  first 
starring  character  man.  Now  Barrymore 
comes  to  the  movies  and  does  nothing  but 
characterizations.  John  Gilbert  has  revolted 
and  is  crying  for  parts  with  a  touch  of 
character. 

Antonio  Moreno  may  become  the  repre- 
**■  sentative  for  one  of  his  native  Spanish 
companies.  Ardavin  Brothers,  Spanish  pro- 
ducers, have  asked  Moreno  to  become  their 
official  American  representative.  Tony  has 
accepted  the  job  tentatively  and  will  make 
arrangements  for  the  showing  of  "La 
Bejarana"  in  this  country.  The  film  has 
had  a  long  run  in  one  of  the  large  houses 
of    Madrid. 

Daymond  Griffith  suspects  her  of  having 

great  ability  as  a  comedienne.    That  is 

what  he  told  me  about  Clara  Bow.     Two 

days  later  he  had  engaged  her  to  play  the 
leading  role  in  his  next  picture,  "Yon'd 
I'.e  Surprised." 

The  versatile  Mr.  Griffith  is  the  author 
of  the  story.  In  fact,  he  does  nearly  every- 
thing but  grind  the  cameras  on  himself. 
It  will  be  remembered  that  Ray  wrote  a 
number    of    original   comedies    for    Douglas 

MacLean.  He  also  worked  as  a  comedy 
in. hi  with  Mack  Sennett.  Hay  has  at 
various  times  occupied  practically  every 
position  in  a  motion  picture  company,  so 
he  is  quite  qualified  to  be  the  boss  of  his 
■■■■tiny. 


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LIere's  good  news  for  the  Answer  Man! 
He'll  never  have  to  rack  his  brains 
again  over  the  question,  "What  is  my 
screen  favorite's  favorite  sport?"  whe 
Weiss  Brothers  Artclass  Pictures 
their  new  series  of  one-reelers.  These 
tures  introduce  "all  the  famous  stars,' 
show  each  one  at  his  favorite  recreation. 
So  if  you  want  to  know  how  John  Gilber 
keeps  that  youthful  figure,  and  how  Rich- 
ard Talmadge  does  those  stunts  without 
breaking  his  neck  again,  look  out  for  this 
series. 

JTvidently  Ralph  Ince  didn't  consider 
*-"'  himself  a  complete  success  as  a  leading 
man,  because  after  "Yellow  Fingers"  was 
released  he  went  back  to  directing.  He 
will  be  responsible  for  "The  Return  of  the 
Lone  Wolf,"  a  story  which  was  first  filmed 
some  years  ago.  Billie  Dove,  after  cele- 
brating her  birthday  in  New  York,  went 
back  to  the  Coast  to  co-star  with  Bert 
Lytell  in  this  production. 

A  fter  keeping  Ramon  Novarro  busy  on 
•*"*■  "Ben-Hur"  for  a  few  years  and  then 
bringing  him  back  to  the  screen  with  that 
feeble  comedy,  "The  Midshipman,"  Metro- 
Goldwyn  has  at  last  decided  to  do  right 
by  their  handsomest  star.  "Old  Heidel- 
berg," starring  Ramon,  is  on  the  ambi- 
tious M.  G.  M.  program  for  next  fall. 
This  is  a  picture  which  Ramon  has  longed 
to  make,  but  which  for  a  time  was  men- 
tioned as  a  vehicle  for  John  Gilbert. 

The  doctor  took  a  few  stitches  in  Shirley 
Mason's  head  after  she  was  thrown 
from  her  horse  and  landed  wrong  end  to. 
Shirley  was  on  location  at  Lone  Pine  at 
the  time  of  the  accident,  and  the  doctor 
who  did  the  needle  work  must  have  dropped 
a  stitch,  for  the  actress  had  to  have  it 
done  over  when  she  arrived  in  Hollywood. 


"Tom  Mix  is  to  have  a  different  director 
on  each  picture  he  makes  during  the 
coming  year.  The  Fox  company  will  have 
their  megaphone  wielders  lined  up  in  ro 
tating  order  to  handle  the  Western  sta 
W.  Roy  Neill  will  be  the  first  to  dire 
Mix. 


; 


I 


During  the  past  year  the  Fox  compan; 
went  on  a  buying  orgy,  and  purchase* 
all  the  well-known  stage-plays  and  bes' 
sellers  they  could  find.  Now  they  find 
themselves  short  of  directors. 

Along  with  their  stcry  buying  the  Fo: 
company  has  made  an  ambitious  effort  t< 
find  new  feminine  stars.  Three  of  th 
girls  who  have  been  selected  by  Fox  will 
undoubtedly  be  famous  before  the  end  of 
another  year.  They  are  Olive  Borden, 
Jaynet  Gaynor  and  Joan  Renee. 


It  is  very  confusing  for  a  star  to  have  six 

doubles. 

John  Gilbert  discovered  that  while 
making  "Bardelys  the  Magnificent." 

Six   men   were   employed   to   double   fo 
the    famous   star.      There   was    much   tal 
among  them.     One  of  the  men  approachei 
the  real  John  Gilbert,  thinking  he  was  just 
another  double. 

"Say,"  said  the  double,  "it's  a  wonder 
to  me  why  this  guy  Gilbert  doesn't  do  some 
of  his  own  work." 


le 


Q\vf.\  Moore  was  telling  how  he  let  one 
of  the  royalty  down  easy.  A  countess 
was  working  in  a  picture  with  Owen.  She 
was  very  enthusiastic  over  her  new  work 
"Oh!"  she  exclaimed.  "This  is  delightful 
I  just  know  there  is  something  big  for 
me  here!" 

"It  may  oe  the  gates  to  the  studio, 
Countess,"  said  Owen,  stretching  his  arrr 
upward  to  indicate  the  size  of  the  gates, 


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tfT,M0TI0N  PICTURI7 

InBI   I    MAGAZINE       K 


The  Picture  Parade 

(Continued  from  page  63) 


of  them  are  related)  make  various  en- 
trances and  exits  and  become  involved  in 
all  kinds  of  situations— from  the  triangle 
to  the  mother-love  idea.  Naturally,  it  all 
spells  confusion. 

The  director  has  striven  for  too  much 
detail.  He  should  have  aimed  for  a  simple 
treatment  and  built  the  picture  from  some 
well-chosen  strokes.  By  presenting  sym- 
bolic touches  of  the  four  horsemen  gallop- 
ing across  the  sky  he  brings  back  memo- 
ries of  the  original  steeds  and  their  riders— 
and  the  new  impression  is  not  so  good. 

A  large  cast  of  players  has  been  selected, 
but  not  one  has  been  able  to  do  anything 
in  the  way  of  characterization  because  of 
the  plot  ramifications  and  the  frenzied 
manner  in  which  the  figures  are  handled. 
Jean  Hersholt  contributes  the  outstanding- 
performance. — First  National. 

Skinner's  Dress  Suit — Romantic  Comedy 

""They've  lugged  this  story  to  the  movie 
mill  again.  It  earned  its  laurels  several 
years  ago  with  Bryant  Washburn  as  the 
chap  with  the  evening  togs.  At  that  time  it 
proved  to  be  something  entirely  different 
from  the  general  run  of  light  comedies. 
Today  it  doesn't  look  so  novel,  tho  it  stands 
to  the  credit  of  the  director,  William  Seiter, 
and  the  star,  Reginald  Denny,  for  pepping 
it  up  with  amusing  by-play  in  which  the 
Charleston   figures   importantly. 

There  isn't  so  much  weight  to  it.  And  it 
skips  about  at  times  without  head  or  tail. 
But  it  never  is  boring.  Denny  is  a  capable 
comedian  with  most  any  kind  of  material — 
and  he  cuts  up  capers  with  all  the  abandon 
of  a  trouper  who  is  sure  of  himself.  Laura 
La  Plante  and  a  host  of  others  are  present 
and  most  of  them  seem  to  get  keen  enjoy- 
ment from  it — especially  the  La  Plante 
person.  This  is  the  type  of  story  which 
fits  her.  And  she  should  remain  in  light 
comedies  and  not  venture  in  emotional 
numbers  like  "The  Midnight  Sun." — Uni- 
versal. 

The  Wise  Guy — Drama 

■"There  was  quite  a  run  on  the  crook  story, 
as  it  concerned  fake  preachers  after  "The 
Miracle  Man"  was  produced.  Sensing  the 
popularity  of  that  work,  every  picture 
mogul  did  his  "darnedest"  to  cash  in  on 
its  appeal.  The  idea  was  used  so  often 
that  it  tired  the  public  and,  naturally,  it 
was  dropped.  Now  it  has  cropped'  up 
again  and  makes  a  rattling  good  picture — 
one  that  is  logically  developed — and  which, 
making  allowances  for  dramatic  license,  is 
consistent  and  convincing. 

There  could  be  no  better  choice  than 
James  Kirkwood  for  the  role  of  the  fake 
preacher  who  conducts  a  mission  on  wheels. 
He  has  surrounded  himself  with  some  "re- 
ligious" talent  who  are  just  as  shady  as 
himself.  And  so  he  saves  souls  by  preach- 
ing with  sincerity  in  his  voice.  And  like 
the  central  figure  in  "The  Miracle  Man." 
he  really  gets  religion  by  falling  in  love 
with  a  girl. 

There  is  a  healthy  moral  lesson  behind 
the  picture  and  it  is  well  balanced  with 
humor  to  keep  it  from  becoming  too  drab  in 
its  plot.  Kirkwood  gets  good  assistance 
from  George  Marion,  George  Cooper  and 
the  others. — First  National. 

Silence — Melodrama 

The  shadow  of  the  noose  looms  very  large 
in  this  melodrama  starring  H.   B.  War- 
ner.     Upon    the    stage    it    provided    many 
anxious  moments  thru  its  suspense  and  the 


restrained  emotion  contributed  by  Warner. 
Xow  that  he  is  playing  the  same  role  of 
the  burglar  upon  the  screen,  he  is  giving 
the  picture  the  benefit  of  his  shadings  and 
moods.  The  film  follows  the  play  in 
practically  all  of  its  essentials.  The  prolog 
shows  the  condemned  man  waiting  for  the 
noose  to  be  slipped  around  his  neck.  His 
lawyer  pleads  with  him  to  tell  who  really 
committed  the  murder.  But  the  crook  is 
obstinate  and  refuses  even  when  they  per- 
form a  psychological  third  degree  upon 
him. 

Then  the  real  plot  opens  and  explains  in 
terms  of  more  or  less  tense  action  and  in- 
cident why  the  crook  is  in  jail.  Twenty 
years  of  a  hectic  life  elapse — years  in 
which  crime  and  punishment  and  what-not 
are  ever  flirting  with  the  burglar. 

"Silence"  is  a  good  mystery  picture  and 
is  capitally  acted  by  Warner.  The  director 
has  taken  advantage  of  all  of  its  melo- 
dramatic trimmings  by  keeping  in  mind 
the  value  of  suspense. — Producers  Distrib- 
uting  Corp. 

The    Rainmaker — Melodrama 

Comething  different  in  racing  stories  is 
unfolded  here — one  which,  while  not 
so  original  in  its  theme,  manages  to  release 
some  novelty  in  its  characterization  and 
the  manner  in  which  the  scenes  are  manipu- 
lated. Certainly  it  doesn't  lack  for  dra- 
matics— there  being  enough  of  the  element 
known  as  action  to  supply  an  old-fashioned 
serial.  Not  only  is  there  a  racing  episode 
to  start  it  off,  but  it  continues  with  its 
punch  when  -a  fire  and  epidemic  are  added 
for  good  measure. 

Naturally,  this  all  builds  a  plot  which 
becomes  truly  "in-tri-kut"  and  difficult  to 
accept  as  real.  But  no  one  can  deny  that 
it  fails  to  tickle  the  pulse.  The  hero  is  a 
jockey  who  knows  how  to  pick  a  mud 
horse  and  ride  it  to  victory  on  a  rainy 
day.  His  barometer  is  his  arm,  which 
having  been  wounded  in  the  war,  gets 
rheumatic  enough  to  tip  him  off  on  the 
approach  of  inclement  weather. 

The  racing  episode  gets  over  quickly — 
and  the  following  scenes  introduce  the  ro- 
mance and  the  melodrama.  Indeed,  the 
love  interest  enters  and  stays  with  the  dra- 
matic moments  to  the  finish.  William  Col- 
lier, Jr.,  gives  a  most  convincing  portrayal 
of  the  jockey.  He  succeeds  in  admirably 
blending  the  pathos  with  the  humanities. 
Georgia  Hale  is  satisfactory  as  the  girl, 
while  Ernest  Torrence  gives  a  perfect 
characterization  of  a  "diamond-in-the- 
rough." — Paramount. 

Why  Girls  Go  Back  Home — 
Romantic  Drama 

Ane  would  think  that  this  was  a  home- 
^  and-fireside  melodrama  to  judge  from 
its  title — a  melodrama  in  which  Pop  and 
Mom  wait  patiently  for  their  erring  daugh- 
ter to  return  by  the  light  of  the  parlor 
lamp.  In  a  measure  this  is  true,  but  the 
director  has  wisely  seen  the  obviousness  of 
it  in  time  to  brighten  it  up  with  humor  and 
humanities.  While  the  plot  gets  out  of 
hand  occasionally,  it  doesn't  take  itself  too 
seriously.  Where  it  errs  is  in  the  method 
employed  to  drive  its  message  home. 

The  girl  of  the  title  pursues  an  actor  to 
New  York  after -he  has  trouped  in  her 
town.  When  the  thespian  gets  on  the  front 
pages  she,  having  become  a  chorus  girl, 
falsely  announces  her  engagement  to  him. 
(Continued  on  page  123) 


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She  Knows  How  to  Be  Pensive 

(Continued  from  page  53) 


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English,  the  elevator  stopped  and  Miss 
Adoree  came  out.  She  was  a  symphony 
in  gray,  April,  pussy-willow  gray.  She 
is  an  exquisite  person,  really  quite  ex- 
quisite, and  her  eyes  are  large  and  strange 
and  of  a  clear  cobalt  blue.  She  is  more 
slender  than  she  appears  on  the  screen. 
Face  to  face,  she  is  not  the  cuddly,  chubby 
French  peasant  woman,  not  the  darling- 
bundle  of  kissable  femininity  that  she  is  in 
some  of  her  pictures.  It  is  only  when  she 
talks  that  these  moods  of  character  come 
out.  She  talks  rather  as  you  would  im- 
agine Constance  Talmadge  would,  viva- 
cious, blunt,  riding  over  preliminaries,  and 
engaging. 

Miss  Adoree  has  been  many  things  in 
her  life,  a  circus  performer,  and  a  French 
one  at  that,  and  the  circus  is  different 
there.  Small,  intimate  cirques,  not  our 
biggest  show  on  earth.  The  troupe  is  a 
band  of  shrewd,  gaily  shrewd,  vagabonds, 
You  get  the  flavor  of  the  many  things  she 
has  been  in  in  her  irregular  and  beautiful 
smile.  She  has  a  mouth  that  says  pluckily 
and  wistfully,  "and  that's  that,"  and  "oh, 
let's  not  be  serious  over  it."  She  is  so 
much  the  woman  in  an  elemental  all-em- 
bracing way. 

When  some  of  our  other  actresses  play 
serious  roles,  you  feel  that  they  would  be 
beaten  down  if  the  hero  should  not  arrive, 
if  things  did  not  straighten  out,  but  when 
you  see  Miss  Adoree  in  similar  parts,  you 
feel  that  she  would  come  out  all  right  no 
matter  what  happened.  She  has  in  her 
personality  what  psychologists  place  above 
everything  else,  security,  a  sort  of  sex 
appeal  that  is  deeper  than  sex  attraction 
alone.  She  became  heroic  in  "The  Big 
Parade"  because  of  that  quality,  but  she 
was  a  somewhat  similar  person  in  the 
"Blackbird"  and  in  every  other  role  she 
has  played. 

"I  think,"  said  Miss  Adoree,  "that  in 
order  to  be  a  fine  actress,  one  docs  not 
need  a  colorful  past,  but  one  should  have 
suffered  once,  anyway,  very  much.  Once 
is  enough.  You  cannot  take  a  pretty  girl 
from  behind  a  sales  counter  and  ask  her 
to  feel  things  she  has  no  knowledge  of. 
Even  to  play  very  happy  roles,  you  should 
once  have  been  very  sad.  It  makes  the 
gaiety  more  human.  I  dont  believe  there 
is  as  much  technic  to  acting  as  some 
actors  and  directors  would  have  you  be- 
lieve. When  you  really  sink  into  a  char- 
acter, it  is  because  you  are  in  an  emotional 
transport  and  let  go  of  your  own  identity. 
The  finest  acting  must  be  spontaneous  and 
unconscious,  even  when  you  know  the 
effect  you  want  to  produce.  You  will  act 
a  thing  right,  if  you  feel  it  right,  and 
that's   the   important   thing." 

Miss  Adoree  dined  on  grapefruit  juice 
and  omelette  aux  hcrhes  and  showed  at 
the  same  time  just  how  little  of  a  French 
accent  and  mannerisms  a  real  French 
woman  employs  when  she  has  become 
partly  Anglo  -  Saxon.  Well,  not  one 
French  phrase,  not  one  sigh  over  dear 
Paree. 

We  asked  Miss  Adoree  outright  what 
i  pe  she  thought  she  was,  and  she 
shrugged  her  shoulders  and  answered 
"sympathetic"  and  let  it  go  at  that.  She 
made  several  startling  confessions:  That 
she  does  not  want  to  become  a  star,  but 
remain  a  featured  player,  that  she  does  not 
travel  with  an  entourage,  not  even  a  single 
maid,  that  she  possesses  no  wardrobe  to 
Speak  of,  that  she  likes  to  save  her  money, 
and  tb.it  she  docs  not  own  a  mansion  in 
Beverly  Hills,  and  that  her  home  in  Wil- 
shire  Avenue  in  Hollywood  is  a  bunga- 
low of  only  six  rooms.     She  made  several 


expressive  gestures  about  her  ears,  where 
no  earrings  dangled,  and  about  her  wrists, 
where  there  were  no  tiers  of  bracelets. 
"Oh,  I  couldn't  play  the  part,"  she  said. 
"Not  ermine  on  my  dressing  gown  every 
morning  for  breakfast."  She  confessed 
further  that  Louis  B.  Mayer  has  found 
in  her  one  actress  whom  he  can  convince 
that  good  parts  are  more  to  be  desired 
than  riches,  and  that  she  lets  him  get  away 
with  it. 

"Every  time  I  go  to  Mr.  Mayer  to  tell 
him  I  ought  to  have  more  money,  he  gives 
me  so  many  good  reasons  why  I  could  not, 
and  Mr.  Mayer  talks  so  well,  and  I  hate 
arguments  so  much,  that  pretty  soon  I  find 
myself  agreeing  with  him." 

"But  you  look  as  if  you  could  go  right 
up  to  Mr.  Clemenceau  and  tell  him  what 
you  think " 

"Yes,  Clemenceau,"  she  answered  smil- 
ingly, "but  not  Mr.  Mayer." 

You  gather  she  must  be  the  life  of  a 
studio  cast. 

She  is  so  sure  of  herself  as  a  woman. 
When  they  were  filming  "La  Boheme," 
there  was  a  round-table  discussion  one 
day  as  to  the  kind  of  person  Mimi  really 
was.  They  asked  Lillian  Gish,  and  Lil- 
lian thought  Mimi  was  spiritual.  "Oh, 
no,"  Miss  Adoree  contradicted.  "Mimi 
was  just  like  Musette,  only  Mimi  was  sick 
and  Musette  was  not."  Renee  Adoree  has 
Gallic  salt,  she  sees  life  as  it  is,  and  she 
smiles  at  it  and  shrugs  her  shoulders  like 
a  good  Frenchwoman.  The  whole  intrigu- 
ing charm  of  Renee  Adoree  is  the  type 
of  woman  she  is.  No  Frenchwoman  wants 
to  be  anything  but  a  woman,  in  fact  almost 
every  woman  when  she  grows  up  to  full 
emotional  maturity  wants  to  be  just  that. 

She  and  John  Gilbert  are  the  prize  ad 
libers  in  Hollywood.  Between  King 
Vidor,  Gilbert  and  Adoree,  "The  Big 
Parade"  grew  up  like  Topsy.  Tod  Brown- 
ing gave  her  the  same  freedom  in  "The 
Blackbird."  "I  cant  rehearse,"  she  said, 
"it  kills  me.  I  think  about  a  role  before 
I  play  it,  but  when  I  am  before  the  camera 
I  do  not  want  to  think,  only  feel."  She 
likes  to  work  with  John  Gilbert,  he  is  "so 
pleasant,"  and  Vidor  is  pleasant  and  Tod 
Browning  is  cheerful  and  natural.  "You 
can  laugh  with  them,"  she  explained,  "not 
serious  like  a  dungeon."  She  likes  Holly- 
wood. It  is  a  "mild  pleasant  little  Mid- 
Western  town."  But  people  in  the  pro- 
fession should  not  marry  —  too  much 
temperament  and  too  many  temptations. 

She  has  not  had  a  hard  time  in  pic- 
tures. She  came  to  this  country  six  years 
ago  and  went  on  the  stage.  She  played 
in  "The  Strongest"  and  with  Emma  Dunn 
in  "Sunny"  and  in  "Oh,  Uncle"  and  "Oh, 
What  a  Girl"  and  in  "The  Dancer."  In 
musical  comedy  she  used  her  skill  as  an 
acrobatic  dancer  and  was  told  it  did  not 
matter  how  she  sang.  Between  engage- 
ments she  got  an  offer  to  play  for  Fox 
and  took  it.  That  was  the  beginning  of 
her  movie   career  and  she  stayed  on. 

Miss  Adoree  is  happy  that  the  public 
has  not  restricted  her  as  to  type.  Best  of 
all  that  they  have  not  pigeon-holed  her 
as  to  nationality.  "When  directors  do  all 
the  acting  for  the  cast,  they  become  stale 
after  a  few  pictures.  If  I  play  French 
girls  all  the  time,  T  shall  forget  how  to  be 
one." 

She  is  in  New  York  playing  with 
Tommy  Meighan  in  "Tin  Gods."  Renee 
Adoree  is  not  troubled  about  her  future 
career.  Louis  Mayer  knows  she  wants 
good  parts,  that  she  has  shrewd  intelli 
gence— and  a  gift  of  the  gods  in  the 
movie   maelstrom — artistic   integrity. 


122 

Gf. 


p  ry  advertisement   in  MOTION   PICTURE   MAGAZINE   Is   guaranteed. 


Advertising  Section 


The  Picture  Parade 

(Continued  from  page  121) 


Which  disconcerts  the  young  trouper  and 
his  press-agent. 

However,  it  shapes  up  as  moderately  in- 
teresting. Clive  Brook  is  the  reason  for 
the  title.  He  succeeds  in  making  his  acting 
felt,  even  if  he  doesn't  command  much  sym- 
pathy. Patsy  Ruth  Miller  is  the  bucolic 
heroine  and  Myrna  Loy  is  also  present  with 
that  "It" — or,  what  Elinor  Glyn  calls  per- 
sonality.— Warner  Brothers. 

The  Midnight  Sun — Drama 

""This  is  nothing  more  or  less  than  a  simple 
*  love  triangle  against  a  Russian  back- 
ground— a  background  which  could  just  as 
well  have  employed  an  American  setting. 
Heavily  exploited  as  a  vivid  story  of  Russ 
passion  and  intrigue  as  it  concerned  life  in 
Petrograd  before  the  World  War,  it  fails 
to  live  up  to  its  advance  notices.  There  is 
nothing  about  it  suggestive  of  Russia  ex- 
cept the  uniforms  of  the  soldiers. 

The  central  figure  is  played  by  Laura 
La  Plante.  She  is  the  Midnight  Sun — the 
premiere  danseuse  of  the  Russian  ballet. 
And  right  there  the  sponsors  err  in  estab- 
lishing her  as  an  American.  These  ballet 
girls  are  enlisted  almost  from  the  days  of 
their  infancy.  It  is  her  fancy  to  play  a 
Grand  Duke  against  a  captain  of  industry. 
And  in  carrying  out  her  intrigue,  she  de- 
velops a  romance  with  a  lowly  officer  of 
the  G.  D.'s  guard.  That's  all  there  is  to 
it.  Some  hints  are  given  that  it  may  soar 
to  dramatic  heights,  but  the  situations  are 
then  neglected. 

The  direction  is  old-fashioned — and  truly 
suggestive  of  an  early  Biograph  period, 
particularly  in  its  last  scenes  with  their 
conventional  chases  and  rescues.  Money 
has  been  lavished  upon  the  picture,  but  it 
has  been  inadvisedly  used.  Miss  La  Plante 
belongs  in  light  comedies.  The  best  work 
is  contributed  by  Pat  O'Malley  as  the 
Grand  Duke  and  George  Seigmann  as  the 
wealthy  Tartar.  Both  strive  to  humanize 
their  roles. — Universal. 

Money    Talks — Farce  Comedy 

£"Wen  Moore  is  the  latest  to  take  up  the 
comedian's  privilege  of  disporting  him- 
self in  feminine  togs.  He  wears  frills  and 
flounces  pretty  well,  tho  he  doesn't  get  as 
much  burlesque  as  usual  out  of  his  assign- 
ment. In  his  role  of  a  young  go-getter 
who  gets  into  business  and  matrimonial 
entanglements  he  squeezes  every  ounce  of 
fun  from  his  role. 

The  piece  is  not  substantial — and  natu- 
rally, it  slackens  a  bit  here  and  there.  But 
just  as  it  seems  about  to  spend  itself,  a 
bright  bit  of  "business"  is  introduced  and 
it  recovers.  The  idea  is  mostly  slap-stick 
— what  with  Moore  cutting  up  didoes.  He 
manages  to  bluff  his  way  thru  his  ability 
to  put  up  a  good  front.  Eventually  the 
other  half  of  the  romance,  played  charm- 
ingly by  Claire  Windsor.  The  characteri- 
zation and  the  speed  of  the  gags  are  the 
■  trticular  high  lights.  Bert  Roach  assists 
e  Moore- Windsor  combination  with  some 
irthful   by-play. — Metro-Goldwyn. 

|  heWildernessWoman — Comedy  Drama 

j.^vERYBODY  has  grown  accustomed  to  see- 
W£  ing  a  girl's  reactions  to  city  life  after 
he  has  left  a  primitive  home  environ- 
ment— and  truly  the  idea  is  not  so  new  nor 
riginal.  But  if  such  a  story  carrying 
ich  a  personality  is  worked  out  deftlv,  it 
u./ariably    gets    over.      That's    what    has 


happened  here.  The  novel  twist  is  the 
heroine's  starting-point — Alaska. 

Some  first-rate  scenes  are  introduced  to 
keep  one  interested.  Indeed,  the  visit  of 
the  girl  and  her  crude  Pa  takes  on  the 
form  of  a  sightseeing  tour  of  New  York — 
a  tour  dotted  with  all  kinds  of  little  tricks 
of  deportment  and  etiquette.  This,  natu- 
rally, spells  much  amusement — especially 
since  the  role  of  the  parent  is  played  by 
Chester  Conklin.  Did  you  see  how  he 
spiced  up  the  Negri  number — "A  Woman 
of  the  World"  ?  He  enlivens  the  fun  here, 
too — with  his  keen  sense  of  burlesque. 

If  the  picture  serves  no  other  purpose,  it 
manages  to  keep  to  its  tack  and  serves  up  a 
pleasant  relaxation  from  worries  and  an- 
noyances. It  may  be  a  trifle  far-fetched 
for  the  sophisticates — but  even  those  pat- 
ronizing people  must  admit  that  it  is  re- 
freshing. A  point  in  its  favor  is  its  lack 
of  pretentions.  Conklin,  of  course,  walks 
away  with  the  acting  honors  with  his 
sketch  of  the  Alaskan  prospector.  Aileen 
Pringle,  seemingly,  enjoys  every  scene  she 
has  with  him. — First  National. 

Hell-Bent  fer  Heaven — Melodrama 

TJpon  the  stage  this  story  earned  a  high 
mark — even  winning  the  Pulitzer  prize 
a  couple  of  seasons  ago.  This  was  due  to 
its  sound  characterization  and  the  logic  of 
its  drama.  Here  the  director  has  tried  to 
compensate  for  the  dialog  by  introducing 
some  typical  picture  action.  Nature"  • 
those  who  witnessed  the  original  will  be 
disappointed.  But  those  seeing  it  for  the 
first  time  will  find  moments  of  interest 
in  it. 

The  stage  cant  approach  the  movies  in 
recording  melodramatic  punches  such  as 
the  breaking  of  the  dam  and  the  subse- 
quent flood  scene.  Here  they  are  employed 
for  all  they  are  worth.  Yet  at  the  same 
time  the  director  has  effected  worth-while 
characterizations  from  the  mountaineer 
feudists. 

The  central  character  is  an  unbalanced 
youth  whose  aberrations  run  to  religion 
and  sex.  Intensely  jealous  of  a  young 
man,  lately  returned  from  the  war,  he  con- 
trives to  upset  the  latter's  romantic  plans 
by  re-establishing  fie  feud  and  attempting 
to  exterminate  everyone  who  has  stood  in 
his  path.  There  are  moments  of  suspense 
here — and  the  atmosphere  is  highly  credit- 
able. So  are  the  performances  of  the  youth 
and  the  mother  by  Gardner  James  and 
Evelyn  Selbie. — Warner  Brothers. 

The  Little   Irish  Girl — Melodrama 

Tf  there  is  one  girl  who  has  been  knocking 

at  the  gates  of  stardom,  that  girl  is 
Dolores  Costello.  Now  she  has  arrived — ■ 
and  this  picture  doesn't  do  her  justice.  Her 
appealing  personality  is  as  pronounced  as 
ever,  but  she  doesn't  have  the  opportunity 
to  do  anything  in  a  histrionic  way — even  if 
she  is  cast  as  a  crook.  The  trouble  is  the 
director  has  allowed  too  much  sweetening 
matter  to  enter  the  scheme  of  things — with 
the  result  that  the  story  is  syrupy  and 
lacks  the  punch  anticipated. 

The  pretty  star  plays  one  of  those  re- 
formed crooks  and  what  moments  she  has 
are  mostly  given  to  looking  sad. 

The  plot?  Well,  it's  bound  up  with  the 
idea  of  selling  a  suburban  hotel  famous 
for  its  mineral  springs. 

We  hope  to  see  the  Costello  person  in 
some  picture  more  worthy  of  her  person- 
ality and  talent.  This  one  is  not  so  good. 
— Warner  Brothers. 


^M°msra 


Ann,  eat  your 
breakfast 

Here's  cream  taken  from  a 
bottle,  and  breakfast  food  got 
out  of  a  box.  I  haven't  tasted 
them  yet,  but  I'm  not  afraid 
to  ask  you  to  eat.  And  in  the 
bathroom  is  new  tooth-paste 
to  use  on  your  teeth.  Here's 
medicine  to  take  before  you 
start  off  to  school.  .  .  .  . 
Dont  forget  to  wash  your 
hands — that's  a  fresh  bar  of 
soap — and  maybe  dust  your 
face  with  powder.  No,  it 
wont  hurt  the  skin.  This  list 
of  things  I've  seen  advertised 
— stop  and  give  it  to  your 
father.  He'll  bring  them  home 
tonight.  Some  of  them  old, 
some  of  them  new  .  .  .  but 
what  a  civilized  thing!  To 
buy  on  faith  and  use  on  faith 
and  never  be  betrayed ! 

Read  the  advertisements. 
Their  honesty  is  as  clear  as  a 
mirror.  You  can  believe  in 
them  as  surely  as  you  believe 
in  yourself.  You  can  follow 
their  directions  with  utmost 
faith.  You  can  use  their  prod- 
ucts with  confidence — you'll 
want  to  use  them  again.  Theirs 
are  facts  proved  and  accepted. 
Use  their  news. 

« 

When  guided    by  adver- 
tisements you  can 
buy  with  faith 


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123 
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Advertising  Section 


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a 


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from  him.11  Thousands  of  people  know  this  dear  old  fellow,  and  his  depart- 
ment is  one  of  the  finest  in  any  magazine. 

For  over  fifteen  years  Motion  Picture  Magazine,  the  pioneer  and  the  oldest 
magazine  of  its  kind,  has  fearlessly,  accurately  and  authoritatively  presented 
the  news  of  the  great  motion  picture  industry  to  the  millions.  Under  the 
experienced  and  able  leadership  of  Eugene  V.  Brewster,  its  Editor-in- 
Chief,  it  has  become  a  powerful  influence  for  all  that  is  good  and  progressive 
on  the  screen.     The    editorial  staff  are  the   leaders   in  their   profession. 

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8  7  6 


GOLDEN  ANNIVERSARY 


19^6 


WORLD      FAMOUS 
CANDIES 


CRISPY  Diana  "Stuft"  Confections  are  as  essential  to  the  picnic 
as  the  sandwiches  themselves.  They  are  the  perfect  summer 
candy.  The  taste-tempting  deliciousness  of  these  thin  .  .  .  crispy  .  .  . 
sugar  shells  "Stuff"  .  .  .  with  pure  .  .  .  luscious  fruit -jams  .  .  .  nuts 
and  marmalades  .  .  .  has  never  been  equalled.  The  shells  are  paper- 
thin,  to  hold  more  of  the  tempting  fruit-jams  we  make  ourselves. 

These  tidbits  are  best  for  children— and  go  four  times  as  far.  Each 
pound  contains  160  pieces  — 21  varieties— a  taste  for  every  tongue. 

Have  Diana  "Stuft"  Confections  handy  for  every  summer  occasion. 
Keep  a  supply  at  home  always.  Sealed  in  air-tight  glass  jars,  2XA  oz., 
20c;  4  oz.,  30c;  9  oz.,  50c;  16  oz.,  75c  — or  in  2,  3  and  5  lb.  air- 
tight decorated  tins.    Pacific  Coast  prices  are  only  slightly  higher. 

Look  for  the  name  "Bunte"  —  it  means  50  years  of  quality  candy- 
making.  Demand  the  genuine.  Choose  from  1200  Bunte  Candies. 


Candy — The  Universal 
Gift — Appropriate  and 
appreciated  always 
—  Bunte   Brothers 


BUNTE  BROTHERS    *    CHICAGO 

[ANA 


A  Suggestion  —  Try  Happy 

Home  Mixture,  too  —  the 

Bunte  Candy  avith  hard 

and  " 'Stuft"  centers 


<*<* 


tuft 


** 


C o  nfe  ctions 


1    I    I 


O    ll    0    II 


Z\(ow— This  hard-milled  soap,  used  every  day 
. . .  keeps  skin  young  and  lovely 


Below— 
The  lines  and  coarse 
pores,  worse  than 
birthdays  to  betray  a 
s  age. 


There  is  radiant,  happy  beauty 
in  a  skin  that  has  the  fresh  satin' 
smoothness  that  Nature  gave  it 
— and  intended  it  to  keep. 

But  so  many  skins  have  been 
robbed  of  their  fine^textured 
loveliness.  So  many  show 
coarsened  pores,  and  blemishes, 
instead  of  the  clear,  smooth 
beauty  that  every  girl  longs  for. 
And,  Oh!  the  heartaches  and 
the  disappointments  that  result 


A  Bool;  of  Beauty  Seeds 
This  unusual  booklet  has  been 
endorsed  by  an  authority  on 
beauty.  Every  statement  is 
approved  by  an  eminent  skirt 
specialist.  Send  for  your  copy 
and  a  trial  cake  of  Cashmere 
Bouquet  Soap.  Fill  out  the 
coupon. 


J&M 


a? 


& 


name.  . 

A<t<lrt„  


from  poor  complexions.  Only 
the  girl  who  suffers,  knows. 

Soap,  of  Course — 'But 
the  Right  Soap 

All  up'tO'date,  scientific  advice  on  the  care 
of  the  s\in  urges  the  daily  use  of  soap  and 
water.  It  is  the  kind  of  soap  you  use  that 
ma\es  all  the  difference  between  safe 
cleansing  and  the  danger  of  coarsened, 
blemished  s\in. 

Cashmere  Bouquet  is   made  especially 

for  the  face,  hands  and  tender  skin  of  the 

neck.    It  is  "hard'nulled,"  which  means 

that  it  is  put  through  spc 

rial    pressing    and    drying 

processes    that   give   each 

cake     an     almost     marble 

firmness.     It   is 

not  the  least  bit 

squdgy.      This 

special  hardness 

is  what  makes  it 

safe.    Cashmere 

Bouquet     lather 


Above — 

Close-up   of  a   velvet 

smooth  skin. 

No       "age-lines 

coarse  pores. 

penetrates  deep  into  the  pores,  searches 
out  dust  and  dirt  and  rinses  away  in' 
stantly  and  completely.  No  undissolved 
soap  remains  in  the  pores  to  mix  with 
dirt  and  stifle  the  tiny  openings.  That 
is  why  skins  cared  for  with  Cashmere 
Bouquet  keep  their  youthful  texture  and 
remain  beautiful. 

Try  This  Treatment — 
Watch  Results 

Wet  the  face  with  warm  water.  Work  up 
a  thick  Cashmere  Bouquet  lather  on  the 
hands.  A  wash  cloth  is  too  harsh  for  some 
skins.  Massage  this  soothing  lather  into  the 
skin  with  the  fingertips  until  the  skin  feels 
refreshed  and  alive.  Rinse  in  warm  water, 
in  order  to  remove  all  traces  of  soap  while 
the  pores  are  still  open.  Follow  with  a 
dash  of  clear  cold  water.  Pat  the  face  dry 
with  a  soft  towel.  If  the  skin  is  inclined  to 
be  naturally  dry,  rub  in  a  little  Colgate's 
Charmis  Cold  Cream. 

Many  beauty  secrets  told  in  booklet! 


ing  fragrance  of  Cash- 
mere Bouquet  is  obtain- 
able also  in  Colgate's 
Talc,  Face  Powder, 
Perfume,  Toilet  Water, 
Sachet,  Bandoline  and 
Brillantine. 


//    Establi 


vG 


Established  1806 


Brett  Litl.o.Co.N 


RAZY  QUILT 

A  Bid  Human 
o 

Stoiy 


Have  You  an  Idea 
ForAMovie? 


SeePaOe  28 

o 


Thev 


Are  Not  What  Thev  Seem 


IDEALS  of  BEAUTY 


Physical  Perfection 


That  Schoolgirl 
Complexion 


If    you    wish    to  gain    th 
natural  rule  in  skin  care 


em,  follow   nature's   laws — and,  above  all,  this 
which  has  proved  its  effectiveness  to  the  world 


PALMOLIVE  is  a  beauty  soap 
made  solely  for  one  purpose; 
to  foster  good  complexions. 

In  France,  home  of  cosmetics, 
Palmolive  is  the  second  largest 
selling  soap  and  has  supplanted 
French  soaps  by  the  score.  In 
beauty-wise  Paris.  Palmolive  is  the 
"imported"  soap. 


RIGHT  living,  right  diet  and  proper 
.  exercise  are  the  factors  leading  ex- 
perts urge  for  physical  perfection.  For 
skin  perfection  these  experts  urge  natu- 
ral ways  in  skin  care. 

Thus,  on  expert  advice,  the  artificial 
beauty  methods  of  yesterday  have  largely 
been  discarded. 

Foremost  beauty  authorities  have  found 
beauty  insurance  starts  with  proper  cleans- 
ing of  the  skin.  They  urge  the  soothing 
lather  of  olive  and  palm  oils  as  blended 
in  Palmolive  as  the  safe,  natural  way  in 
skin  care.  Most  of  the  pretty  skins  you 
see  today  are  due  to  it. 

Use  Palmolive  according  to  the  simple 
rule  here  given.  Note  the  difference  a 
single  week  will  make.  It  is  nature's  for- 
mula  to  "Keep  That    Schoolgirl    Com- 


Start  today  with  this  simple  care 
Note  how  your  skin  improves 

Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thor- 
oughly, first  with  warm  water,  then 
with  cold.  If  your  skin  is  inclined 
to    be   dry,  apply   a   touch    of  good 


cold  cream  -  that  is  all.  Do  this  regularly, 
and  particularly  in  the  evening.  Use 
powder  and  rouge  if  you  wish.  But 
never  leave  them  on  over  night.  They 
clog  the  pores,  often  enlarge  them. 
Blackheads  and  disfigurements  often  fol- 
low.   They  must  be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treat- 
ment given  above.  Do  notthink  any  green 
soap,  or  one  represented  as  of  olive  and 
palm  oils,  is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies 
what  it  does  for  their  faces.  Obtain  a  cake 
today.  Then  note  what  an  amazing  dif- 
ference one  week  makes. 

Soap  from  trees! 

The  only  oils  in  Palmolive  Soap  are  the 
soothing  beauty  oils  from  the  olive  tree, 
the  African  palm,  and  the  coconut  palm  — 
and  no  other  fats  whatsoever.  That  is  why 
Palmolive  Soap  is  the  natural  color  that  it 
is  for  palm  and  olive  oils,  nothing  else, 
give  Palmolive  its  natural  green  color. 

The  only  secret  to  Palmolive  is  its 
exclusive  blend  and  that  is  one  of  the 
world's  priceless  beauty  secrets. 


Ri'Util  Price 


'ALMOLIVE    COMPANY    <D< 


p . ) ,    CHICAGO, 


Advertising  Section 


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Well  remembered  and  loved  for  his  per- 
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type  of  role.  "Fig  Leaves"  is  a  gorgeously  dressed 
photoplay,  beautiful  girls  in  lavish  imported  creations  shown 
in  Full  color,  and  a  novel   scene  in  the  Garden  of  Eden.    Directed  by 
Howard  Hawks,  with  Phyllis  Haver,  Andre  de  Beranger  and  other  good 
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3 

PAG 


I 


Advertising  Section 


/it1 


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THIS  week 

MORE  people  will  see 
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THAN  all  other 
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PUT  together. 


I 


Lofo 

CHANEY 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


JUi.27'26 


Cl  B706547 


Vol.  XXXII 


Motion  Pidture  Magazine 

Founded  by  J.  Stuart  Blackton  in  19 10 — Trademark  Registered 

SEPTEMBER,    1926 

Adele  Whitely  Fletcher 
Editor 

Colin  J.  Cruikshank,  Art  Director 


Number  2 


A   P 


rophecy 


THE  first  motion  pictures 
were  less  than  one  reel  in 
length,  that  is,  there  was 
less  than  one  thousand  feet 
of  film  to  them  and  they  required 
only  about  a  quarter  of  an  hour 
to  be  shown  on  the  screen.  It 
was  easy  for  the  pioneer  producers 
early  in  the  present  century  to  dis- 
cover that  a  story  could  well  be  longer 
than  one  reel,  and  so  came  the  two-reel 
pictures  and  the  well-remembered  an- 
nouncement— "One  moment  please 
while  we  change  reels."  Then  came  the 
still  longer  pictures,  until  finally  the 
theaters  were  all  showing  "features." 


|7ive  or  six  years  ago  a  feature  had 
*■  to  be  just  five  reels  long — no  more, 
no  less,  and  a  longer  or  shorter  picture 
was  practically  unsalable.  Today  the 
average  length  is  seven  and  a  half 
reels  (7,500  feet)  for  purely  commer- 
cial reasons,  the  theater  manager  esti- 
mating that  he  must  fill  his  theater  so 
many  times  a  day  and  to  do  so  the 
, program  must  not  be  too  long.  Hence, 
he  prefers,  say,  a  feature  that  will  run 
about  an  hour  and  a  half,  and  allowing 
a  quarter  of  an  hour  for  a  news  reel  and  half  an  hour  for 
a  two-reel  comedy,  he  can  draw  one  audience  at  two,  an- 
other at  four,  another  at  six,  another  at  eight,  and  another 
at  ten  and  thus  making  a  good  profit.  And  those  theaters 
which  have  only  two  performances  a  day  generally  open  at 
two-thirty  and  close  up  at  five,  and  in  the  evening  open  at 
eight-thirty  and  close  at  eleven.  Thus,  believing  that  every 
audience  requires  about  the  same  program,  such  as  a  pro- 
log feature,  news  reel  and  comedy,  the  theater  demands 
features  that  are  not  more  than  eight  reels  in  length. 

'"This,  of  course,  is  all  wrong.  Commercialism  prevails. 
•*■  Art  is  suppressed.  Because,  some  stories  are  naturally 
three  reels  long,  and  some  are  naturally  just  twelve  reels 


An  Editorial  by 

Editor-in-Chief  of  the  Brewster  Publications 


long,  and  so  on,  which  necessi- 
tates tiresome  padding  or  destruc- 
tive cutting  down.  This  accounts 
largely  for  the  present  surplus  of 
poor  pictures.  True  it  is  a  pity, 
and  a  pity  it  is  true,  that  theater 
patrons  are  thus  placed  at  the 
mercy  of  commercialism,  and  appar- 
ently have  no  redress  and  no  means  of 
even  expressing  their  demands.  In 
literature  we  have  short  stories  and 
novels,  and  readers  may  choose.  In 
the  speaking  theaters  we  have  full- 
length  plays  and  vaudeville  or  short 
acts,  and  in  opera  we  have  long  sub- 
jects and  short  ones.  Some  people 
enjoy  reading  short  stories  and  seeing 
several  short  plays,  while  others  pre- 
fer long  ones.  The  time  will  come 
when  we  shall  have  "vaudeville  movie 
houses,"  where  patrons  may  see  half 
a  dozen  short  subjects  including  two- 
and  three-reel  dramas.  And  right 
around  the  corner  will  be  a  theater 
where  they  can  see  one  long  drama  or 
comedy  from  eight  until  eleven — and 
nothing  else,  not  even  a  prolog.  And 
picture  stories  will  be  told  in  exactly 
the  number  of  feet  that  they  naturally 
require,  and  the  exhibitor  will  have  nothing  to  say  about 
the  length.  And  the  big  producers  will  make  short 
comedies  with  the  same  sets  and  casts  that  they  now  de- 
vote only  to  features.  And  pictures  will  cost  less  to 
produce,  and  will  be  given  to  the  exhibitor  at  a  lesser 
price.  And  the  actors  will  receive  lesser  salaries  and  do 
more  work.  There  wont  be  so  much  waste  and  loss  of 
time;  the  whole  industry  will  be  reconstructed  on  sound 
economic  principles  and  rest  on  a  strong  financial  basis. 
And  you,  my  readers,  you  who  make  the  industry  pos- 
sible, by  contributing  your  dimes  and  dollars  at  the  box- 
offices,  will  have  your  say.  You  will  not  be  at  the  mercy 
of  selfish  exhibitors,  and  you  will  find  a  way  to  register 
your  likes  and  dislikes  and  get  what  you  want. 


Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,   Jamaica,   N.  Y.    Executive   and   Editorial   Offices,    175  Duffield 

Street?  Brooklyn,  N.  Y.     Hollywood  Office:  6064  Selma  Avenue.     Telephone,  Gladstone  3564. 

Entered  at  the  Post   Office  at  Jamaica,   N.   Y.,  as  second-class  matter,   under  the  act  of  March  3rd,  1879.     Printed  in  the  U.  S.  A. 

Eugene  V.   Brewster,   President  and   Editor-in-Chief;   Duncan   A.   Dobie,    Jr.,    Vice-President   and   Business   Manager;    E.    M.    Heineraann,    Secretary; 

L.  G.  Conlon,   Treasurer.     Also  publishers  of  Motion  Picture  Classic 

Subscription  $2.50  a  year  in  advance,  including  postage  in   the  United  States,   Cuba,   Mexico  and   Philippines;    in   Canada,   $3.00.     Foreign   countries, 
$3.50.     Single  copies,  25  cents,  postage  prepaid.     U.  S.  Government  stamps  accepted.     Subscribers  must  notify  us  at   once   of  any   change  of  address, 

giving  both  old  and  new  address. 
First  copyrighted  and  published  February  21,  1911.     Copyrighted,  1926,  in  United  States  and  Great  Britain  by  Brewster  Publications,  Inc. 


5 

PAG 


I 


Motion  Picture  Magazine 


TABLE  OF  CONTENTS 


Cover — Rudolph  Valentino  from  a  painting  by  Flohri 

A  Prophecy 5 

A  Eugene  V.  Brewster  editorial 
The  Bulletin  Board 8 

The  news  as  ice  went  to  press 

Gallery  of  Portraits 11 

Camera  studies  in  gravure  of  Carmel  Myers,  William  Haines,  Norma  Talmadge,  Bebe  Daniels,  Rod  La  Rocque,  Belle  Bennett,  Aileen  Pringle 
and  Raymond  Griffith 

The  Fake  Princess Janet  Reid     19 

The  true  story  of  the  little  stenographer  who  posed  as  a  Spanish  princess  in  Hollywood 

Crazy  Quilt Adele  Ormiston     20 

The  first  instalment  of  a  big,  human  story  of  motion  picture  people 

Mr.  and  Mrs.  Maurice  Flynn  of  Hollywood 23 

A  domestic  portrait 
They  Are  Not  What  They  Seem Gladys  Hall     24 

A  series  of  exposes  of  the  stars 
Hollywood Chamberlain     27 

The  Movie  Capital — with  apologies  to  John  Held  and  the  old-fashioned  map  makers 

Have  You  an  Idea  for  a  Movie? Faith  Service     28 

Agnes  Christine  Johnston  Gives  14-karat  advice  about  the  marketing  of  scenarios 

In  Spite  of  the  Fact  That  He  Looks  Like  Wally  Reid.    .  Win.  K.  Gibbs     29 

Presenting  Wally's  double,  Kent  Meade 

Do  the  Women  of  the  Screen  Lack  Beauty? Selma  Robinson     32 

Nikol  .Schuttenstein,  the  noted  portrait  painter,  makes  some  radical  statements  and  so?ne  interesting  observations 

Have  You  Enough  Color  in  Your  Home? Stephen  Gooson     34 

A  practical  article  on  interior  decoration 

Home,  Sweet  Home  of  the  D'Arcys 36 

With  a  surprise  ending 

He  Didn't  Like  Europe Catharine  Brody     37 

Buck  Jones  gives  an  original  travelogue 
The  Screen  Hall  of  Fame 38 

Presenting  a  group  of  favorites  in  their  favorite  role 

Gilda  Gray  Tells  How  She  Does  Her  Stuff Dunham  Thorp     40 

An  interview 

Anna  and  Alice 42 

An  intimate  photograph 

Hollywood  Notes Eugene  V.  Brewster     43 

Paragraphs  of  social  importance  from  the  most  famous  suburb  in  the  world 

Motion  Picture  Junior 44 

The  children's  own  magazine 
The  Movies  Sub-deb 46 

A  photograph  of  Lois  Moran  and  her  mother 

All  Aboard  the  Limerick  Liner 47 

Complete  these  last  lines  and  win  a  prize 

This  Is  Not  a  Press- Agent's  Story 48 

But  the  truth  about  how  a  man  was  discolored  to  play  Teddy  Roosevelt  in  "The  Rough  Riders" 
Who  Made  Charlie  Chaplin  ? LeRoy  Green     49 

The  almost  forgotten  truth  about  Syd  Chaplin's  achievement 

The  Keaton  Children 51 

Delightful  portraits 

Morning,  Afternoon  and  Evening  a  la  Mode Cerline  Boll     52 

Corinne  Griffith's  new  wardrobe  suggests  a  variety  of  smart  ideas 

It's  a  Girl! 54 

A  marked  contrast  in  portraits  inspired  by  Leatrice  Joy's  extreme  bob 

Alice  Joyce  Suggests  This  Luncheon 55 

There  Is  an  Infinite  Variety  to  the  Motion  Pictures  That  Come  to  the  Screen  This  Autumn 56 

.  Scenes  from  the  new  offerings 

The  Great  Gatsby 58 

In  the  person  of  Warner  Baxter 

That's  Out Tamar  Lane     59 

The  funny  side  of  serious  things 

The  Picture  Parade 60 

An  up-to-date  guide  to  the  latest  motion  pictures 

It  All  Began  When  Charlie  Caught  La  Meller's  Violets 64 

The  Editor  Gossips A.  W.  F.     65 

Of  Ramon  Novorro — Corinne  Griffith  and  Paul  Bern 

How  Long  Arc  They  Stars? Norman  L.  Sper     66 

amazing  facts! 
On  the  Camera  Coasts  Elizabeth  Green  and  Milton  Howe     68 

I'.nal  and  Social  motion  pi/lure  circh     illu  rlrated  with  the  latest  pictures 

Say  It  with  Lettera  The  Readers     71 

iniom  on  a  variety  of  int  ■ 

Little  .    .      But,  Oh  My!  72 

Snap-shoti  from  a  California  b,a,h 

Shall  I  Go  Into  the  Movies?  Marion  Morgan  Drew     73 

A  stronomical  rt 

The  Illinois  Thunderbolt  Strikes  Hollywood  ...  74 

.  id   "Red"  Grange  in  the  studio 
Whose  Hand  ? F.  Vance  de  Revere     78 

Can  you  guess  the  o-«>  .  a  tings? 

The  Answer  Man ...  His  Much  Imitated  Self     80 

Anweri  to  qu  with  wiidom  and  wit 


\GL 


Advertising  Section 


We  Guarantee  to 
Improve  You*  Vbic 


Glad  to  Tell  Everybody  What 
Your  Course  Did 

I  shall  certainly  be  delighted  to  tell  anyone 
what  your  course  did  for  me.  In  fact,  I  have 
been  telling  people  for  the  last  three  years  and 
started  several  people  in  the  work  in  Japan. 

When  one  lives  in  New  York,  as  I  do  now, 
and  sees  the  number  of  wholly  unqualified 
people  who  are  teaching  singing,  it  seems  as 
if  there  ought  to  be  some  test  for  teachers.  I 
think  that  learning  ten  operatic  roles,  one 
after  another,  is  a  pretty  good  test  of  the  con- 
dition of  a  person's  throat,  don't  you?  My 
voice  doesn't  seem  to  have  suffered  in  the 
least  from  it. 

Florence  Mendelson, 

New  York  City. 


Wouldn't  Part  With  Course 
for  $1,000.00 

I  have  a  great  deal  to  say  about  this  won- 
derful course,  and  want  you  to  know  that  I  am 
a  happy  man  since  taking  it  up.  I  needed 
your  course  badly,  very  badly.  Being  a 
teacher,  I  have  to  speak,  at  times,  quite  loud, 
and  the  strain  on  my  throat  was  acutely  felt, 
and  hoarseness  followed.  My  voice  is  abso- 
lutely clear  and  resonant  now,  in  fact,  I  have 
no  words  to  thank  you  enough. 

I  wouldn't  part  with  my  Course  for  a 
thousand  dollars, 

Julio  C.  De  Vosconcellos, 

New  Bedford,  Mass. 


Realizes  the  Dream  of  Her  Life 

A  feeling  of  thankfulness  comes  over  me  to 
think  I  have  found  such  an  opportunity  to 
cultivate  my  voice.  It  is  the  one  great  thing  in 
my  life  to  develop  a  beautifulvoice,  and  tothink 
that  it  is  daily  improving  through  your  won- 
derful method  brought  right  to  my  own  door. 

I  will  now  make  you  happy  by  saying  it 
is  certainly  the  best  investment  I  ever  made. 
Florence  M.  Clarke, 
1488 11th  Ave.,  Vancouver.  B.  C. 


Lost  Voice  Restored — Sings 
Better  Than  Ever 

I  am  very  glad  to  be  able  to  inform  you 
that  the  study  and  practice  of  your  exercises 
is  making  a  great  change  in  my  voice. 

You  may  appreciate  what  this  means  to 
me  when  I  tell  you  that  an  illness  while  in 
France,  weakened  my  throat  to  such  an  extent 
that  I  feared  I  would  never  sing  again.  How- 
ever, after  studying  your  lessons,  I  find  that 
I  can  sing  better  than  ever,  in  fact,  I  was  told 
by  a  friend  who  had  heard  me  sing  at  a  re- 
ception that  I  had  never  been  in  better  voice 
than  I  am  now, 

J.  Ralph  Bartlett, 
Newton,  N.  H. 


Read  how  to  do  it  in  "PHYSICAL 
VOICE  CULTURE",  the  greatest  book 
ever  written  on  voice  building.  It  will 
show  you  the  one  scientific,  tested  way 
to  build  a  powerful  singing  or  speaking 
voice.  Send  coupon  below  for — 

JreeVook! 


THE  four  letters  on  thi'3  page  tell 
amazing  stories  of  vocal  develop- 
ment. They  are  from  men  and 
women  who  have  learned  that  Physical 
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>P 

PA  "II 


The  Bulletin  Board 

The  Very  Last  Word  in  News 


,  ARRY  POLLARD,  Universal  director,  has  had 

I    to  give  up  all  hope  of   finishing  "Uncle  Tom's 

J    Cabin."      He    began    work    on    this    revival    last 

winter,  but  had  to  abandon  it  because  of  illness. 

company  has  waited  several  months  for  his  recov- 

with  the  overhead  piling  up,  and  as  he  is  still  un- 

roved,  Lois  Weber  has  been  selected  to  finish  the  pic- 

.    Miss  Weber  has  just  made  a  great  success  of  "The 

•riage  Clause,"  and  was  about  to  start  work  on  "The 

sation  Seekers." 

larry  Pollard  played  Uncle  Tom  in  the  first  film 
sion  of  "Uncle  Tom's  Cabin,"  and  it  has  been  his 
at  ambition  to  direct  the  picture.  The  cast  will  re- 
in unchanged — with  Pauline  Frederick,  Marguerita 
cher,  and  in  all  probability  Charles  Gilpin,  the  negro 


vin  Cobb  has  gone  to  Hollywood  with  a  double  pur- 
pose. He  will  write  a  comedy  for  Cecil  De  Tvlille  en- 
led  "Turkish  Delight,"  which  describes  what  happens 

Turkey  when  the  harem  is  let  loose.  And  he  will. also 
?pare  the  script  for  Metro-Goldwyn's  pictorial  version 

the  building1  of  the  Panama  Canal. 


ance  to  recommend  him  as  a  foil  for  the  lovely  Norma. 
A  few  years  ago  Oscar  was  one  of  the  most  ingratiating 
personalities  on  the  musical-comedy  stage,  but  his  charm 
either  has  faded  or  does  not  photograph. 

Plenn  Hunter,  having  been  suggested  by  Theodore 
^"*  Dreiser  but  ignored  by  Famous  Players  as  a  candi- 
date for  the  leading  role  in  "An  American  Tragedy,"  is 
going  abroad.  He  will  star  in  a  screen  version  of 
"L'Aiglon,"  the  play  that  Maude  Adams  made  famous 
on  the  speaking  stage.  It  will  probably  be  directed  by 
Dudley  Murphy,  known  to  American  film  fans  only  thru 
his  "Ballet  Mecanique,"  which  gives  very  little  hint  of 
what  the  young  man  can  do  with  a  dramatic  story. 

Cince  musical  comedies  seem  to  furnish  such  good  ma- 
^  terial  for  the  screen,  First  National  has  decided  to 
convert  "Lady,  Be  Good"  to  the  uses  of  Dorothy 
Mackaill.  Frances  Agnew  is  now  busy  on  the  scenario. 
One  has  come  to  look  for  Jack  Mulhall  in  the  cast  of 
any  Dorothy  Mackaill  picture,  and  he  does  not  dis- 
appoint this  time.  Lloyd  Hughes  will  also  have  an 
important  role. 


1  ois  Moran  has  signed  a  contract  with  Famous  Players 
*-*  and  will  begin  work  with  them  as  soon  as  "The  Duke 


*  ilda  Gray  and  her  first  picture,  "Aloma  of  the  South 
**  Seas,"  played  at  the  Rial  to  in  New  York  for  six 
iumphant  weeks.     The  question  is  whether  Gilda's  pic-      of  Ladies"  is  completed.     Her  first  picture  will  be  "God 


ire,  without  Gilda  and 
er  shimmy  in  the  flesh, 
;ould  have  lasted  even 
,vo  weeks.  And  her  pro- 
.ucers  apparently  dont 
vant  to  find  out — for 
ley  are  sending  Gilda 
loijig  with  the  picture  on 
.  tour  of  the  United 
States. 

Alice  Harriman,  the 
**  society  woman  who 
had  movie  ambitions  and 

who  was  given  her  first 
part  in  '"Sorrows  of 
Satan,"  died  suddenly  in 
Europe  of  septic  poison- 
ing. She  had  gone  abroad 
to  act  with  the  UFA 
company  in  Germany. 

/~\scar  Shaw,  the  mu- 
^  sical-comedy  favor- 
ite who  once  in  a  while 
appear-,  in  pictures,  is  be- 
ing mentioned  as  leading 
man  for  Norma  SI 
in  her  next  picture,  "Up- 
stage," to  be  directed  by 
Mont  a  Bell.  Oscar 
worked  with  Mr.  Bell  as 
the  small-town  lover  in 
"The  King  on  Main 
Street,"  and  as  we  re- 
member it,  there  was 
fy  nothing    in    his    pe  form- 

'h 


$10.00  for  the  Best  Title  to  this  Picture 


You  may  send  as  many  titles  to  this  picture  as  you  like — 
not  more  than  ten  words  long.  All  answers  must  be 
mailed  by  September  10  and  no  titles  will  be  returned. 
Address  them:  Title  Contest,  175  Duffield  Street, 
Brooklyn,  New  York,. 
(Walter  Hicrs  in  <•/•-••-    '  Up") 


Gave  Me  Twenty  Cents,' 
to  be  directed  by  Herbert 
Brenon. 

Mr.  Brenon  is  still 
busy  on  "The  Great 
Gatsby,"  in  which  Lois 
Wilson  appears  for  the 
first  time  with  shorn 
locks.  Lois'  is  a  bob  in 
name  only  tho,  for  it  is 
not  at  all  boyish  and  the 
effect  from  the  front  is 
exactly  the  same  as  be- 
fore. It  has  given  Lois  a 
new  gesture,  for  she  in- 
sists that  she  feels  quite 
nude,  and  keeps  stroking 
the  back  of  her  head  ex- 
perimentally. 

pViROTHv  Hughes  has 
been  making  rapid 
strides  toward  success  of 
late.  Her  small  part  in 
''Sorrows  of  Satan"  was 
followed  by  a  role  in 
"Glorifying  the  Amer- 
ican Girl,"  and  when  this 
is  completed  she  will  join 
Adolphe  M'enjou  and 
Alice  Joyce  in  the  cast 
of  "The  Ace  of  Cad's." 
Like  so  many  of  her 
cinema  sisters,  Dorothy 
hails  from  the  chorus, 
and  she  has  all  that  this 
implies.. 


Advertising  Section 


OrMQTiON  PICTUI 

Inell   I    MAGAZINE 


Di  Message 
From  E.WHammons 
To  the  readers  of 
Motion  Picture  Magazine 


IF  you  were  connected  with  the  great  motion 
picture  industry— if  you  were  a  star  or  a 
director  or  a  business  executive — what 
would  be  your  greatest  ambition?  Would  your 
fondest  dream  be  that  some  day  you  would  be 
responsible  for  the  "biggest  and  grandest" 
spectacle  the  screen  had  ever  produced? 

Perhaps  on  first  thought  you  will  quickly 
answer  "yes,  of  course."  But  that  isn't  my 
chief  ambition — and  it  never 
has  been.  I'd  like  to  tell 
you  why. 


The  motion  picture  industry, 
in  my  opinion,  has  one  function 
to  perform  that  is  more  impor- 
tant than  any  other  consideration 
— to  provide  you  and  the  rest  of 
the  great  picture -loving  public 
with  consistently  fine,  wholesome 
entertainment  and  amusement. 
Of  course,  you  want  to  see  the 
fine  big  feature  spectacles.  But 
you  also  want  to  be  sure  that 
whenever  you  care  to  spend  an 
evening  at  the  "movies,"  you  can 
count  on  having  a  fine  evening's 
entertainment  all  through  the 
whole  show. 

And  that's  why  it  always  has 
been  my  chief  ambition  to  have 
Educational  provide  for  you  the 
finest  possible  entertainment  in 
the  comedies,  novelties  and  other 


ROMANCE  PRODUCTIONS 

HAMILTON  COMEDIES 

LUPINO  LANE  COMEDIES 

BOBBY  VERNON  COMEDIES 

JIMMIE  ADAMS  COMEDIES 

BILLY  DOOLEY  COMEDIES 

CHRISTIE  COMEDIES 

MERMAID  COMEDIES 
(Jack  White  Productions) 

JUVENILE  COMEDIES 

TUXEDO  COMEDIES     CAMEO  COMEDIES 

LYMAN  H.  HOWE'S  HODGE-PODGE 

FELIX  THE  CAT  CARTOONS 

ROBERT  C.  BRUCE  SCENIC  NOVELTIES 

CURIOSITIES  LIFE 

The  Movie  Side-show       Cartoon  Comedies 

KINOGRAMS 
The  NEWS  REEL  Built  Like  a  Newspaper 


EDUCATIONAL  FILM  EXCHANGES,  INC. 

E.  W.  Hammons,  President 

Executive  Offices,  370  Seventh  Ave.,  New  York,  N.  Y. 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


Short  Features  that  make  up  "The  Spice  of  the  Pro- 
gram." In  the  many  years  that  Educational  has 
played  a  part  in  the  motion  picture  industry,  it  has 
never  handled  a  long  feature  picture,  and  I'm  mighty 
proud  of  the  fact  that  it  has  grown  to  its  present 
position  among  the  leaders  of  the  industry  through 
specializing  in  the  briefer  pictures  that  go  to  balance 
the  ideal  picture  program  and  that  provide  such  a 
large  part  of  your  film  entertainment. 

You  have  shown  that  you  want — that  you  demand — 
the  finest  entertainment  all  through  the  show;  and 
that's  why  most  of  the  country's 
better  theatres  are  showing 
Educational  Pictures  today - 
That's  also  the  reason  why  the 
Greater  Movie  Season  that  is 
just  beginning  will  bring  to  the 
screen  for  your  entertainment  a 
still  bigger  and  finer  group  of 
Educational  Pictures. 

Your  favorite  theatres  can  tell 
you  what  Short  Features  they 
are  going  to  show  as  well  as 
which  longer  feature.  And  if 
you'll  consider  them  all  in  de- 
ciding "where  to  go,"  you'll  find 
that  you  get  more  consistent  en- 
joyment out  of  your  movie  eve- 
nings. You'll  be  impressed  by  the 
beauty  and  story  value  of  the 
Romance  Productions  in  natural 
colors ,  such  as  "  The  Vision . ' '  You'll 
always  get  a  hearty  laugh  out  of 
any  of  Educational' s  comedies 
or  cartoons.  Any  program  is  a 
better  show  that  includes  some  of 
the  Short  Features  that  make 
up  "The  Spice  of  the  Program." 

9 
PAG 


I 


(Ft 


eMTcA^E  Advertising  Section 

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at  midnight  and  ending  with  break- 
fast at  dawn;  teas,  receptions,  pri- 
vate theatricals,  the  opera,  the  the- 
atre, the  dressmaker,  the  caterer, 
engagements  packed  on?  into  another 
like  a  conjurer's  puzzle  •  ■  • 

Until  the  society  woman,  aban- 
doning her  calendar,  takes  a  run  to 
Atlantic  City  for  a  few  days' perfect 
relaxation  in  that  golden  air. 

From  New  York,  Philadelphia, 
Washington  —  even  from  as  far  as 
Pittsburgh  and  Chicago  they  come 

—  lovely  creatures  in  Paris  frocks, 
thronging  the  brilliant  promenades 
of  the  Ritz  and  Ambassador  hotels. 

HOW  do  these  women,  who 
can  afford  the  most  costly 
personal  luxuries,  take  care  of 
their  skin  ? 

What  soap  do  they  find,  pure 
enough  and  fine  enough,  to  trust 
their  complexion  to? 

One  hundred  and  ninety-four 
women  stopping  at  the  Ritz  and 
the  Ambassador  at  the  time  of 
our  inquiry,  gave  us  their  answer 
to  these  questions. 

One   hundred  and  sixty-four 

—  over  three-fourths  —  said,  "  I 
use  Woodbury's  Facial  Soap  for 
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"  My  skin  was  so  irritated  by 
ordinary  soap." 

"Other  soaps  which  I  had  given 
a   fair  trial  had  failed  —  Wood- 
bury's has  greatly  helped  me." 
"Because  once  I  find  something 


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"All  my  friends  who  have  good 
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"Because  of  the  amount  of  soap 
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burgh, I  find  Woodbury's  leaves 
the  skin  as  smooth  as  possible." 

These  are  a  few  of  the  reasons 
they  gave. 

A  SKIN  specialist  worked  out 
the  formula  by  which  Wood- 
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only  calls  for  the  purest  ingredi- 
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bury's one  is  conscious  of  this 
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Every  Woodbury  user  recognizes 
something  individual  and  unique  in 
the  feeling  of  Woodbury's  on  her  skin: 
mild,  soothing,  and  at  the  same  time 
tonic  and  gently  stimulating. 

A  25-cent  cake  of  Woodbury's  lasts 
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Ruth  Harriet  Loui: 


CARMEL  MYERS 


Carmel  is  hard  to  classify.  After  seeing  "Ben-Hur"  we  knew  she  was  never  intended  to  be  a  vamp — yet  she 
continues  to  be  cast  in  these  roles.  In  this  blonde  study  only  the  back  denotes  the  siren.  The  face  might  be 
Claire  Windsor    looking   starry-eyed   and   ingenuous.       Carmel   will   next   be   seen   in    "Tell   It   to   the   Marines" 


Ruth  Harriet  I.o 


WILLIAM  HAINES 


Bill  is  looking  very  collegiate  since  the  triumph 
of  "Brown  of  Harvard."  His  brilliant  perform- 
ance in  that  picture  entitles  him  to  a  place  in 
the  very  front  rank.  Yet  in  "Lovey  Mary" 
his  role  is  negligible,  and  in  "Tell  It  to  the 
Marines"  he  plays  second  lead,  with  Lon 
Chancy.      Someone   is   not    using   good   judgment 


NORMA  TALMADGE 


Irving  Chidnoff 


In  spite  of  the  tumultuous  success  of  "Kiki,"  Norma  Talmadge  will  have  no  more  of  comedy. 
Convinced  that  straight  drama  is  her  forte,  she  has  chosen  "The  Sun  of  Montmartre"  for  her  next 
picture.  Norma  has  threatened  to  retire  from  the  screen  in  three  years,  but  we  refuse  to  begin 
worrying  yet.  In  the  meanwhile,  she  has  on  her  program  such  eagerly  awaited  offerings  as  "The 
Darling  of  the  Gods"   and   "The  Garden  of  Allah" 


Muray 


BEBE  DANIELS 


Bebe  persists  in  riding,  even  tho  she  was 
thrown  in  the  course  of  her  last  canter  and  was 
seriously  ill  for  many  weeks.  It  takes  more  than 
a  horse  to  upset  Bebe.  She  has  to  be  more  or 
less  of  a  daredevil  in  her  new  position  as  Para- 
mount's  premiere  comedienne.  Her  next  picture 
will  be  "The  Campus  Flirt,"  in  which  we  will  see 
one  more  movie  director's  conception  of  college 
life 


Melbourne  Spurr 


ROD  LA  ROCQUE 


Fox    couldn't    afford    to    cast    Rod    as      Sergeant .  Quirt    in    "What    Price    Glory,"    tho    he    was    their 

first  choice  for  the  role.      Maybe  that's  why  Rod  looks  so  sombre.    There  are  disadvantages  in  being 

a  high-priced   star.      He  is  working  hard   now  on   "Gigolo" 


BELLE  BENNETT 

"Stella    Dalla»"    established    "Billy    Bennett's    mother"  as  one  of  the  finest  actresses  on  the  screen,  and 

she    will    gather    more    glory    in    Universale    production   of   "The   Fifth   Commandment."      With   her   in 

this  study  is  her  son  Theodore,  who  comes  as  quite  a  surprise  to  everyone 


AILEEN  PRINGLE 


Joseph  Hergesheimer  has  publicly  declared  her  the  most  fascinating  woman  in  Hollywood.  Elinor 
Glyn  long  ago  proclaimed  that  she  had  "It."  Yet  Aileen  Pririgle  has  never  quite  caught  the.  fancy 
of  the  public.  Perhaps  she  has  never  had  a  role  which  could  illuminate  her  personality.  Perhaps 
her  charm  is  too  still  and  deep  to  be  captured  on  the  screen.  At  any  rate,  fame  eludes  her.  She 
is   playing   with   Thomas   Meighan   and   Renee   Adoree   in    "Tin   Gods" 


RAYMOND  GRIFFITH 

We  were  beginning  to  despair  of  Ray  Griffith.  For  the  past  few  months  his  formula  for  making 
pictures  seems  to  have  been — plenty  of  Ray  Griffith,  and  never  mind  the  story.  But  at  last  he 
has  realized  that  one  man  doesn't  make  a  picture.  His  next  will  be  a  straight  drama  in  which  mys- 
tery,  murder,   and  plot  will   mingle  with  Ray's  irresistible   comedy.      The  title  is   "You'd   Be  Surprised" 


3^®^ 


<^<L 


By 
Janet  Reid 


We  see  Helen  Otero,  stenographer,  at  the  gorgeous  dinner  tables  making  her  brave, 
bright  stand,  laughing  to  cover  her  shudders.  We  see  her  in  her  hotel  room  counting 
over   her   money   and   wondering    whether   she    dare   buy    an    orchid    for    her    gown    .     .     . 


HERE  is  a  really,  truly  story  of  Make-Believe  for 
you    ...    a   story  about   Poor   Little   Princess 
Pretend.     The  only   part  of   the   story  that   re- 
mains   shrouded   in   mist    is    the    ending    .     .     . 
whether  or  not  it  is  a  Happy  Ending  must   be  left  to 
Time  and  the  gods.  .    .    . 

It  was  in  the  month  of  May, 
1926.  A  modern  story  of  Make- 
Believe,  you  see. 

Hollywood  was  going  its 
painted  plutocratic  way.  There 
hadn't  been  a  sensation  in  months. 
And  then,  all  at  once,  there  blaz- 
oned into  the  film  foreground  the 
blue-blooded  fact  that  a  Princess 
of  Spain,  a  daughter  of  the  blood 
royal,  was  at  the  Hotel  Biltmore 

in  Los  Angeles  and  that  her  avowed  desire  was  to  "get 
into  the  movies,"  that  Mecca  of  the  humble  born,  the 
royal  born  and  the  Great  Middle  Classes.  That  touch- 
stone which  makes  Julie  O'Grady  and  the  Colonel's  Lady 
veritably  sisters  under  their  skin. 

No  one  was  very  much  surprised.  It  takes  a  great  deal 
to  surprise  Hollywood.  But  everyone  was  thrilled. 
After  all,  even  in  Hollywood,  Princesses  of  Spain  do  not 


come  every  day.  Princesses  of  Spain  who  say  that  their 
heart's  desire  is  to  play  opposite  to  Valentino,  Antonio 
Moreno  and  Ramon  Novarro. 


Hollywood   "took 
ganza.      Hollywood 


The  true  story  of  the 
little  stenographer  who 
posed  in  Hollywood  as 
a   Spanish   princess 


up"  the  Princess  Beatriz  de  Bra- 
entertained  her  as  befits  Royalty. 
It  dined  her  and  wined  her.  It 
obtained  movie  tests  for  her.  She 
had  come  to  see  the  Golden  Apple 
of  the  Hesperides  (Hollywood) 
and  the  Golden  Apple  quivered 
and  was  about  to  drop  into  her 
outstretched  palm. 

The  Best  People  were  her  hosts 
and  hostesses.  Mr.  and  Mrs. 
Antonio  Moreno,  Mrs.  Arthur 
Wright,  Mr.  Eugene  V.  Brewster. 
Leatrice  Joy  and  her  brother.  It 
never  occurred  to  any  one  of  them  that  this  little  lady 
was  other  than  she  purported  to  be. 

Now  and  then  it  appeared  odd  that  a  daughter  of  royal 
Spain  should  appear  in  a  frail  little  frock  of  no  particu- 
lar pretension.  But  what  of  that?  It  is  an  integral  part 
of  royal  blood  to  know  impoverishment.  Now  and  then 
it  was  delicately  hinted  that  her  Spanish  was  not  of  the 
{Continued  on  page  95)  I 

19 

PAfil 


A  Fascinating  Story  About 


Illustrations  by 
Henry  Pilgrim 


Jf     *-«* 


Prize  Offer 

Why  is  this  new  novel 
about  motion  picture 
people  called  "  Crazy 
Quilt"?  Two  hundred 
dollars  in  prizes  is 
offered  for  the  best 
explanation.  See  page 
1 22  for  details. 

The  Editor 


Crazy 
Quilt 


i 


Till*'    aroma   of    an    Habana   cigar   never   failed   to 
startle  Judith  into  an  unwelcome  memory  of  that 
afternoon.     And  years  later  when  she  rememhered 
the  big  mahogany-filled  office  and  the  dusty  band  of 
sunshine   shifting   thru   the   curtain,    she   was   to   remain 
grateful    that    the   short,    fat   hand   of    Marcus   Goldstein 
had  not  touched  her. 

She  had  asked  to  see  him  in  a  brave  moment.    She  had 
seen  her  rushes  on  the  screen  and  the  knowledge  that  she 


20 


Fascinating  People— By Adele  Ormist 


on 


gardenias  is  a  criminal,"  he  said,  looking  at  the  fresh  fl< 


inned  on  her  dress 


had  etched  the  bit  she  played  with  finesse  had  girded  her 
with  courage. 

Ordinarily,  of  course,  she  would  never  have  been 
allowed  in  the  sacred  precincts  of  the  projection-room. 
But  the  director  had  been  called  away  and  had  asked  his 
assistant  to  look  over  the  film.  The  assistant  had  invited 
Judith  to  come  in  and  have  a  look  at  herself. 

"Yours  will  be  the  face  on  the  cutting-room  floor,"  he 
announced. 


And  Judith  knew  enough  about  motion  picture  parlance 
and  motion  pictures  to  realize  that  he  was  giving  her  a 
compliment  and  telling"  her  the  truth.  Anyone  undiplo- 
matic enough  to  steal  a  scene  from  a  star  might  expect  to 
be  surgically  removed  from  the  footage. 

Marcus  Goldstein  had  seen  the  rushes  too.  And  he  had 
immediately  recognized  Judith  as  the  girl  who  had  waited 
for  his  car  to  pass  in  the  studio  driveway  the  day  before. 
He  had  made  a  note  of  her  then.    He  bad  admired  her. 

21 

PAfi 


I 


She  Was  an  Extra  Girl 


He  Was  a  Press-Agent 


"Who  is  she?"  he  asked  Sam  Bond,  the  director,  with 
whom  he  saw  the  film  that  afternoon. 

"Her  name  is  Tower,  1  think  .  .  .  that's  right,  Jack?" 
Sam  Bond  had  sought  confirmation  from  his  assistant 
director. 

"Yes  sir,"  Jack  said,  "Judith  Tower  is  her  name." 

There  had  keen  a  non-committal  grunt  from  Marcus 
Goldstein  and  at  that  moment  nothing  else  had  been  said. 
But  a  few  minutes  later  he  asked  if  the  Tower  girl  was 
new  at  the  game  and  if  he  should  know  her. 

Sam  Bond  believed  she  was  new  at  the  game. 

"She  has  a  freshness  about  her  that  makes  me  think  she 
is  kind  of  new."  he  had  explained.  As  a  matter  of  fact, 
he  had  actually  thought  this.  But  even  if  he  had  not,  he 
would  have  said  something  to  this  effect.  It  was  evident 
that  this  girl  was  going  to  find  favor.  Being  on  the  safe 
side  had  always  been  Sam  Bond's  long  suit. 

When  Marcus  Goldstein  had 
shortly  quit  the  projection- 
room,  both  men  had  looked  at 
each    other    significantly. 

"You'll    direct    Miss   Tower 
again,"  Jack 
vouchsafed. 

"It's  a 
safe  bet  that 
someone  on 
this  lot  will," 
Sam  agreed. 

Both  of 
them  knew 
the  proclivi- 
ties of  the 
president  of 
the  Excel- 
sior Film 
Company. 
They  made 
production 
in  his  stu- 
dios difficult. 
Favorites. 
Capricious 
women.  Al- 
w  a  y s  the 
])  ossibility 
they  would 
not    be    able 

to  act  and  thai  the  director 
would  be  the  one  blamed. 
'I  wo  or  three  productions 
had  been  ruined  al  about  this 
time  .and  the  directors  had 
subsequently  been  let  out. 

It  would  have  been  diffi- 
cult to  say  whether  Goldstein 
bad  left  the  ladies'  under- 
wear business  because  of  the 

prcity  girls  in  the  motion  picture  studios  .  .  .  or  whether 
lie  had  found  the  pretty  .^irls  merely  an  added  attraction. 

Back  in  his  office.  Goldstein  had  been  thinking  how  for- 
tunate it  was  thai  his  commercial  and  predatory  instincts 
lay  alongside  of  each  other  this  time. 

And  his  office  boy  had  announced  Judith  Tower. 

lb-  had  been  a  little  surprised-     Naturally.     And  he  was 
relieved  that   it  would  be  unnecessary  for  him  to  manu- 
facture  a    pretext    for   an    interview.     It    was    infinitely 
better  this  way.     It  placed  her  at  a  disadvantage. 
(?\      I  li.^  quick  little  eyes  watched  her  as  she  entered  hi-  room 
i  J  22 

J.A&t 


tety 

e  1  f 

n  g 

lea- 

;les 

s 

ine. 


and  took  the  chair  he  indicated  beside  his  desk.  He  made 
allowances  for  the  severity  of  her  gray-tailored  suit  and 
the  small  felt  hat.  He  had  imagination.  He  knew  how 
she  might  look  in  the  jewels  and  furs  he  could  give  her. 
He  pictured  her  roundly  turned  slenderness  in  a  Lelong 
gown.  And  he  thought  how  beautifully  white  her  hands 
would  look  wearing  those  pigeon-blood  rubies  in  his  safe 

deposit 

He  s 
h  i  m  s  e 
w  a  1  k  i 
down  thea 
ter  aisles 
with  her 
first  nig 
She  wo 
wear  ermine 
What  el 
Expensive? 
What  of  it? 
He  had 
made  a  large 
fortune  in 
this  Aladdin 
business. 
Pretty  girls 
had  made  it 
for  him.  He 
would  spend 
something 
on  pretty 
girls. 

He    could 
see     himself 
sitting    with 
her,    tete-a- 
tete,    at    a 
small     table     at 
the  Ritz  Carlton 
at   luncheon. 
Everyone     went 
there.     Such 
prices !    And  the 
head  waiter  always  ex- 
pecting you  to  slip  him 
a  crisp  bill  if   you   ex- 
pected a  table  held 
you.      But    it    was 
part  of  the  game, 
profits   warranted   such 
extravagances. 

He  saw  her  in  a  fra- 
gile negligee  pouring  his  cocktai 

Judith  stirred  uncomfortably  in  her  chair.  She  knew 
that  he  had  only  partially  heard  what  she  was  saying.  And 
she  wished  that  he  would  not  look  at  her  that  way.  She 
had  seen  her  father's  friends  look  at  race-horses  in  some- 
thing the  same  manner.  Suddenly  she  wanted  to  bide  her 
audacious  red  mouth.  She  lowered  her  green  eyes.  She 
thought  not  even  the  fulness  of  a  nun's  robe  could  suf- 
ficiently hide  her  body.  This  man  made  her  acutely  con- 
scions  of  every  moving  curve. 

When  she  paused,  he  did  not  attempt  to  break  the 
silence. 

"If  I  could  become  a  member  of  your  stock  company, 
at  even  a  small  salary,"  Judith  broke  the  interminable  lull, 
"I  feel  sure  I  would  please  you.  .  .  ." 

She  found  that  her  voice  was  playing  queer  tricks.     It 
(Continued  on  page  76) 


If  Judith  found  his  compli- 
ment impertinent,  she  gave 
no  sign.  But  she  sensed  that 
his  hand,  studded  with  a 
arge  and  flashing  diamond, 
was     reaching    towards     her 


W.  F.  Seely 


The  gridiron  has  not  been  the  same  since  Lefty  Flynn  married  Viola 
Dana  .  .  .  for  Lefty  now  spends  his  days  in  the  studios.  He  is  with  the 
little  woman,  for  one  thing.  It  is  more  lucrative  too,  of  course.  Lefty 
comes  to  the  screen  next  in  "Mulhall's  Great  Catch"  And  Viola  in 
"Kosher    Kitty    Kelly" 


Mr.    and   Mrs.    Maurice    Flynn,    of  Hollywood 


23 

PAG 


I 


Charlie  Ray  has  lived  far 
from  the  old  swimmin' 
hole  in     a     house 

staffed  with  correct  func- 
tionaries ...  he  has  been 
concerned  chiefly  with 
ultra-tonsorial  appearances 


Harold  Lloyd  doesn't  wear 
his  horn-rimmed  glasses, 
and  instead  of  being  care- 
free, he  is  a  serious  and 
industrious  business  man, 
a  doting  father  and  pro- 
tective   husband 


Gene  Kornman 


They  Are  Not  What  They  Seem 


PICTURE  people  are  para- 
doxes. Some  of  'em.  The 
answer  might  be  "So's  your 
old  man  ..."  but  we'll  let 
that  pass. 

This  is  going  to  be  a  series  of 
indecent  exposures. 

We're  about  to  remove  the 
mask>  and  show  you  real  faces, 
minus  make-up,  minus  Kleig 
lighting. 

Xo  doubt  you've  all  heard,  or 
suspected,  that  most  people  are 
not  what  they  seem.  Not  quite. 
You  may  or  may  not  have  be- 
lieved it.     Thai's  as  may  be. 

To  point  our  subject  we  will 
take  one  of  the  most  perfect  para- 
doxes at  hand — Valentino. 

We  all  have,  or  had,  a  pretty 
consistent  picture  of  Valentino, 
The  Sheik.  The  Latin  Don  Juan. 
Romeo.  Orlando.  Any  and  every 
highly  flavored  great  lover  of  fic- 
tion or  history  lined  him  to  a  T. 

Bui  he's  not  really.  lie  has 
another  side.  Mis  true  side. 
I  [ere  is  it : 

I  le  loves  to  potter  around  the 
house.  He  loves  to  make  little 
thing-  with  chisel  and  hammer 
and  saw.  Smoking  table-.  Sew- 
ables.  Chairs.  Boxes,  lie's 
handy  at  electrical  wiring.  He 
can  hang  pictures  with  finish  and 
dispatch.  He  know-  how  to 
manipulate  a  vacuum  cleaner  and 
sling  a  wicked  dishtowel.  He  ad- 
mires the  Mother  in  Woman.  Hi- 
marriage  split  on  the  rock  of  no 
children.  He  couldn't  conceive 
and   wouldn't   endure   the   state  of 

t marriage    without    the    sound    of 
24 


By  Gladys  Hall 

Some  'eroes  and  'eroines 
are  what  they  seem.  But 
many  are  not.  It  is  of  the 
latter  we  write  .  .  .  re- 
moving their  masks  and 
showing  their  real  faces, 
minus  make-up  and  minus 
Kleig  lighting 


Mary   Pickford   is   not   the    curly-headed   little 
girl    .     .     .    she   is   mature   of   mind   and   very, 
very    wise.       She    is    pre-eminently    the    prac- 
tical,   intelligent   woman    of   business 

K.  Kalinin 


little  feet  pattering  up  and  down 
the  halls.  Domestic.  Thus  the 
Valentino. 

Perhaps  the  next  most  pointed 
paradox  is  illustrated  by  Adolphe 
Menjou.  He  comes  so  easily  to 
our  mind  that  it  seems  a  shame  to 
mention  him.  Like  taking  advan- 
tage of  too-easy  a  situation.  You, 
of  course,  think  of  Adolphe  as 
the  sophisticated,  no,  the  super- 
super  sophisticated  Man  About 
Town;  the  risque,  the  blase,  the, 
no,  the  super-super  blase.  "An 
exquisite.  A  connoisseur.  A 
cynic.  Weary.  Disillusioned. 
Passionless  and  profane.  Et 
cetera,  et  cetera,  ad  eroticism. 
(Look  that  up  in  your  dictionary. 
We  did.) 

Nay,  nay  and  again  nay.  Here 
comes  the  paradox.  Adolphe  is  a 
gentle,  persistent  soul,  long  suf- 
fering and  of  great  patience.  A 
kindly  man  who  wears  he 
rimmed  spectacles  that  slip 
to  the  middle  of  his  nose, 
talks  earnestly  about  his 
who  dotes  upon  his  mother, 
was  a  bit  in  awe  of  the  Wife, 
homey,  folksy  sort,  comfortable, 
dependable  and  secure.  He  is  a 
case  of  high  artistry  in  that  he  can 
give  to  the  world  so  consummate 
a  portrait  of  the  role  he  is  called 
upon  to  play  and  still  remain 
Adolphe  Menjou  himself;  a  horse 
(if  we  may  employ  the  vulgar- 
ism)  of  another  color. 

By  way  of  contrast,  let  us  con- 
sider the  paradox  of  Mary  Pick- 
ford. 

Mary  is,  to  her  Public,  which  is 


.1 


A  Story  About 

the  Picture 

People  Who 

Are  Paradoxes 


A  Series 

of 
Unexpected 
Exposures 


the  World,  the  beauty  of  Young  Ro- 
mance. The  golden-haired  child  with 
wistful  eyes  and  dreaming  mouth. 
She  is  America's  Sweetheart;  the 
golden  dreams  of  Business  Men. 

Yes  and  no.     Largely  no. 

Mary  is  a  practical,  poised,  intelligent  woman  of  busi- 
ness. She  has  great  executive  ability.  She  has  a  perfect 
sense  of  balance  and  the  stamina  to  maintain  it.  She  is 
level-headed  and  capable  of  driving  a  bargain  if  neces- 
sary. She  is  the  devoted  wife  and  the  devoted  daughter. 
She  is  sensible,  sane,  serene.  She  is  mature  of  mind  and 
very,  very  wise.  She  is  philosophic  and  logical  beyond 
the  imagining  of  any  Golden  Sweetheart  the  world  has 
ever  known.     Thus  Mary.   . 

Lillian  Gish  is  a  popular  paradox  of  the  first  water. 
We  think  of  her  as  the  Lily  Maid  of  some  Astalot  or 
other.  We  think  of  her  as  Elaine,  fragile  and  frail.  A 
mere  filament.  We  pray  every  night  that  the  North  Wind 
will  never  assail  Lillian  lest  it  blow  her  to  radiant  dust. 
We  think  of  her  as  detached  from  the  world  of  "reality, 
helpless,  clinging,  inestimably  delicate. 

This  is  not  the  real  Lillian  Gish.  Not  at  all.  Lillian  is 
as  healthy  as  Sandau.  She  is  as  strong  as  finely  tempered 
steel.  She  is  as  unresisting  as  pure  fiber  silk.  She  is 
economical  to  a  cent.  Definite.  Deliberate.  She  has 
immense  resources  of  courage  and  the  full  determination 
to  use  them.     She  is  not  to  be  deluded   nor   deceived. 


Then    there    is   Valentino,    the    sheik 

.     .     .     who  potters  about  the  house 

and    can    hang    pictures    with    finish 

and  dispatch    .     .     . 


John  Gilbert 


]  Dean  Carsey 


When  she  has  rights  she  will  defend 
them  with  the  gentle  ferocity  of  .  .  . 
of  Lillian.  She  is  completely  the  mis- 
tress (even  the  master)  of  herself  and 
of  all  the  circumstances  of  her  life, 
personal  and  professional.  S'  truth. 
.  ah,  magic !  .  .  .  what  springs  from 
our  hearts  to  our  lips  when  this  throbbing  name  comes 
to  us  .  .  .  this  Flame  of  Romance  .  .  .  the  beautiful, 
ardent,  splendid  sad  lover  every  woman  curses  Fate  for 
denying  her.   .    .    . 

Well,  John  Gilbert  is  a  business  man.  He  prefers  the 
aft  of  the  megaphone  to  the  fore.  In  case  you  are  not 
a  sailor  accustomed  to  nautical  terms  we  will  explain 
that  John  prefers  directing  to  acting.  (At  least  he  did 
six  months  ago).  He  saves  his  money.  He  also  invests 
it.  Impossible  to  think  of  Prince  Danilo,  of  Rodolphe, 
saving  against  a  rainy  day.  But  he  does.  He  figures  out 
his  own  career  in  terms  of  dollars  and  cents  and  consults 
the  calendar  in  doing  so.  He  estimates  success  exactly 
for  what  it  is  worth,  staying  power  and  all,  and  not  for 
what  Mr.  Webster's  dictionary  says  it  is.  He  wants  to 
be  happily  married  and  believes  in  home  life,  children 
and  mowing  the  front  lawn. 

John  Gilbert  suggests  Ronald  Colman.  Not  that  we 
need  anyone  or  anything  to  suggest  Ronald  Colman  to 
us.  Who  are  we  to  be  able  to  forget  him?  But  because 
they  are  such  close  friends,  such  warm  admirers,  the  one 


Kenneth  Alexander 


S'truth    .     .     .    Lillian    Gish    is 

as    strong    as    finely    tempered 

steel.      She   defends   her   rights 

with  a   gentle  ferocity- 


It  may  be  difficult  for  you  to 
think  of  Prince  Danilo  .  .  . 
of  Rodolphe  saving  against  a 
rainy  day  .  .  .  but  John  Gil- 
bert does.  And  he  wants  to 
be  happily  married  and  have 
children  and  mow  the  front 
lawn 


Ronald  Colman  is  a  para- 
dox, too.  He  is  a  man's 
man.  He  spends  his  spare 
time  off  in  the  woods, 
roughing   it 


If  you  treasure  your  illu- 
sions, read  no  further.  For 
Adolphe  Menjou  is  a 
homey,  folksy  sort,  com- 
fortable, dependable  and 
secure 


I 


of   the  other.     Ronald  appears   on 
screen   as   the   profound   and   deeply 
passionate  lover.     He  is  the  force 
that  runs  deep.     He  is  the  symbol 
of  love  when  love  is  Great.     He 
is  the  perfect  type  of  the  One 
Love.       The    man    who    causes 
weary,   disillusioned    women   to 
think,    "Ah,    if    it    might    have 
been  him — how  different  every- 
thing would  be !" 

Ronald  Colman  is  a  paradox, 
too.     He  is.  really,  a  man's  man. 
If   you  know  what    I    mean.      It 
was    for    him    that    John    Gilbert 
prophesied    the    greatest    and    most 
enduring  success  of  any  man  on  the 
screen   today.      He   loves   to   take   his 
spare  time,  between  pictures,  and 
go    off    into    the    woods    with    a 
couple     of     other     men,     fishing 
tackle,  a  gun  and  a  dog.     He  isn't 
a  hermit,  as  has  been  said.     He  is 
too  sane  a  person  for  such  a  pose. 
He  even  takes  the  girls  out  now 
and  then,  goes  to  night  clubs  and 
revues.     But  he-  does  it  mostly  in 
the  company  of  men  and   from  a 
man's  point  of  view. 

Another  contrast — Harold 
Lloyd. 

Harold  Lloyd  seems  to  you 
what  he  once  seemed  to  US  .  .  . 
simply  and  entire])-  a  care-free 
boy,  having  larks  and  scrapes 
every  minute  of  his  time.  Horn- 
rimmed and  happy. 

Well,  he  doesn't  wear  the  horn- 
rim-  in  everyday  li  fe.  That 
to  make  a  difference  t  >  begin 
with.  It  is  the  outward  symbol 
of  the  inward  paradox,  lie  isn't 
a  care- free,  boisterous  boy,  but  a 
sober,  serious,  industrious  man 
making  picture-,  and  money  and 
calculating  very  carefully  and 
with  a  greal  deal  of  anxiety  at 
what  his  next  move  should 
be,   pi<  tonally.      lie    is    the    doting 

26 


Tom    Mix,    from    the   Great    Open    Spaces   you 

have    read   about,    has    a    penchant    for    cream 

tailoring   and    scarlet    do-das    .     .     .    and   he   is 

always  ablaze  and   a-glitter  with   diamonds 


Everyone   knows  that  Charlie  isn't  the  funny 

little  man  with  the  derby.      He  is  brilliant  and 

moody    .     .     .    either  exuberant  and  optimistic 

or    morbid   and   pessimistic 


father    and    the    fond,    protective    hus- 
band.    He   is   also  the  artist   or  he 
couldn't  be  so  distinctly  a  paradox. 
While  in  the  field  of  comedy  it  is 
impossible  to  pass  over  the  king 
of   them   all.      Charlie    Chaplin. 
Who   is,   perhaps,   the    greatest 
paradox  of  all  the  picture  peo- 
ple.     It   is,    however,    all    but 
unnecessary   to   tell  the  world 
about   Charlie  since  the   world 
has  heard  so  often  that  Charlie 
hankers  to  play  Hamlet  or  Na- 
poleon— or  both.    Such  informa- 
tion  must  have  set  you  thinking 
...  a  little. 
Charlie,    really,    is    the    genius-type. 
te    doesn't    conform    to    any    mould. 
He    certainly    does    not    conform 
wholly    to    the    funny    little    man 
with  the  derby,  the  cane  and  the 
big  shoes.     Not  unless  you  realize 
that   in    that    funny    little    man   is 
invested    all    the    piteous    futility, 
the  wistful  frustration  of  all  piti- 
ful, frustrated  gallant  people.     At 
any   rate,   Charlie   is   brilliant  and 
moody,   he   is   brilliant   and   fitful, 
he    is    morbid    and    pessimistic    or 
he    is    exuberant    and    optimistic. 
He  goes  in  for  intellectual  things. 
He  is  high-sky  up  or  he  is  the  re- 
verse   down.       Whoever    it    was 
who      said      that      Comedy      and 
Tragedy  are  akin  must  have  had 
a   foreknowledge  of  the  birth   of 
Charlie. 

We  run  to  contrasts  .  .  .  Tom 
Mix  comes  next  in  our  portraits 
of  paradoxes. 

We  dont  know  whether  we  can 
go  on  with  this  paradox  or  not. 
Our  vocabulary  is  limited  and  we 
have  a  strong  aversion  to  dying 
of    laughter.      It    is    painful    and 

undignified.      BUT 

We   expected   Tom   to    be    one 
of      these      Where-Men- Are-Men 
(Continued  on  page  87) 


HOLLYWOOD  AND  ENVIRONS 

With   the   craze   for   old   maps  what   it   is  today,    what   could   be   more   interesting  than   this    impression 
of  the  movie  capital  and  the  surrounding  country  done  in  the  topographical-pictorial  manner  employed 

by    the    old    map    makers? 


27 
PAS 


I 


Have  You  an  Idea  for  a  Movie? 


By 

Faith  Service 


I 


ONCE  upon  a  time  there  was  a  little  girl  and  she 
went  to  Packer  Institute  in  the  Borough  of 
Brooklyn.  She  was  just  a  schoolgirl,  as  the  say- 
ing goes.  She  made  fudge  and  joined  little 
clubs  and  went  to  the  movies  now  and  then,  for  pastime. 
Then  one  day  she  found  herself  and  her  mother  and 
her  younger  sister  in  rather  more  than  "reduced  circum- 
stance-." The  little  family  were  downright  poor.  None 
of  them  were  prepared  to  do  hattle  with  the  world  and 
the  wolf.  They  lived  in  one  room  in  a  hoarding-house 
and  subsisted  upon  pea  soup  and  rice  contributed  by  a 
kindly  landlady. 

It  was  up  to  our  heroine. 

She  thought,  first,  of  newspaper  work.  She  went  the 
beaten  rounds  from  paper  to  paper,  but  none  would  give 
her  a  job. 

n,  suddenly,  clearly,   from  out  the  sky  it  came  to 
her.     She  thought,  "I'll  write  a  movie!" 

She  might  just  as  well  have  thought  that  she  would  get 
the  golden  apples  of  the  Hesperides  for  all  the  experi- 
he  had  had  of  either  venture.  But  when  this  idea 
came  to  her  it  came  as  a  revelation,  a  "hunch."  She  fol- 
lowed her  hunch  or  the  voice  of  her  guardian  angel  or 
the  prompting  of  her  subconscious;  whichever  it  may 
have  be<  n.  .   .   . 

hadn't  the  faintest  notion  of  how  to  write  a  movie. 
This  was  back  in  the  day-  when  Vita- 
graph  igll  in  the  film  field, 
when  Maurice  Costello  was  the  Man 
of  the  Hour,  when  J.  Smart  Blackton 
was  pioneering. 

Our  heroine  betook  herself  to  Vita- 
28 
oe. 


14- Karat  Advice 

Agnes  Christine  Johnston  can  tell 
you  how  to  go  about  marketing  that 
idea  you  have  .  .  .  and  her  advice  is 
14-karat.  It  is  bona-fide  stuff  for 
she  is  on  the  inside  and  she  knows 
how  the  wheels  go  around.  More  than 
this  she  used  to  market  her  own 
original  stories. 


The  story  of  Agnes  Christine  John- 
stone told  here  is  a  human  story. 
She  is  a  woman  with  three  king- 
doms— motherhood,  wifehood  and  a 
career 


graph  and  asked  for  a  job.     There  was  no  job  for 
a   schoolgirl   with  a  retrousse   nose  and  the   appear- 
ance of  a  sub-deb.     But  she  did  manage  to  get  hold 
of  a  script.     She  took  the  script  home  and  studied  it 
carefully.     She  got  the  hang  of  how  the  thing  was  done. 
Then  she  took  pen  in  hand  and  wrote  an  original  story. 
She  called  it  "Tried  for  His  Own  Murder."     She  put  it 
into    script    form    and — she    sold    it    to    Vitagraph    for 
Maurice  Costello. 

She  admits  that  to  sell  your  first  original  story  is  a 
wow.  She  says  she  nearly  fainted  when  she  got  the 
check. 

She  again  went  to  Vitagraph  and  applied  for  a  job  in 
the  scenario  department.  Despite  the  success  she  had 
had,  there  was  no  job  in  the  script  department.  But  she 
did  get  a  job — typing.  She  didn't  know  how  to  type — 
but  what  of  it?  She  used  two  fingers  and  managed  to 
keep  pace  with  the  accomplished  stenographers.  Mean- 
while she  waited  and  watched  and  wrote.  Every  now 
and  again  she  sold  another  original  story.  And  she  came 
at  last  to  the  attention  of  Commodore  Blackton  who  was, 
she  says,  always  interested  in  beginners. 

Thus  began  the  career  of  Agnes  Christine  Johnston 
who  is  today  under  contract  to  Metro-Goldwyn-Mayer, 
their  "best  bet"  and  at  a  starry  salary. 

Between  the  days  of  two-finger  typing  and  the  bril- 
liantly contractual  Now  there  is  a  sturdy  record  of  such 
screen  successes  as  "Daddy  Long  Legs"  with  Mary 
Pickford,  "The  Tower  of  Lies"  with  Lon  Chaney  and 
Norma  Shearer,  "Beverly  of  Graustark"  with  Marion 
Davies,  "The  Female,"  "Barbara  Frietchie,"  "Confes- 
sions of  a  Queen,"  "The  Denial,"  "Forbidden  Paradise" 
and  many  others.  At  present  Miss  Johnston  is  at  work 
on  "Mary  of  Vassar"  for  Marion  Davies. 

One  thing  has  led  to  another  .  .  .  and  she  says  of  her 
own  career,  "It's  been  marvelous  .  .  . 
it  seems  too  good  to  be  true.  ..." 


Agnes  Christine  Johnston  is  the 
**    woman    with    "three    kingdoms," 


for  hand  in  hand  with  this  vigorous  and  victorious 
career  there  have  gone,  too,  the  careers  of  wifehood  and 
motherhood.  Agnes  Christine  is  Mrs.  Frank  Dazey  in 
private  life,  the  mother  of  two  little  Dazey  children  and 
the  expectant  mother  of  a  third.  A  woman  of  three 
kingdoms  indeed !  A  woman  to  emulate.  A  woman  to 
be  encouraged  by,  for  she  has  done  what  many  say  can- 
not be  done  and  she  has  done  it  all  gallantly  and  gaily 
and — successfully.  She  is  happy  in  her  home.  She  is 
happy  in  her  children.  She  is  happy  in  her  work.  She 
has  her  problems,  needless  to  say,  but  she  meets  them 


W^SPR 


sanely  and  intelligently  and  they  become  solvable.  She 
has  gone  out  to  meet  life  from  every  fundamental  angle 
and  Life,  like  a  good  sport,  has  "come  across." 


1 


LIere  is  Agnes  Christine's  advice  to  other  girls  (or 
*  A  boys)  faced  by  the  spur  of  necessity,  the  ambition  to 
create  or  any  one  of  the  numerous  goads  to  a  career. 

"Necessity  is  most  important"  she  said,  "that  is  one  of 
the  many  reasons  why  I  feel  that  children  do  not  hamper 
(Continued  on  page  94) 


In  Spite  of  the  Fact  That  He 
Looks  Like  Wally  Reid 


NATURE  is  said  never  to 
duplicate,  but  sometimes 
an  example  of  her  handi- 
work is  so  nearly  identi- 
cal with  other  achievements  as 
to  be  almost  parallel — so  near 
alike,  in  fact,  that  a  deft  touch 
of  human  skill  removes  all  dis- 
similarity. Hollywood  has  an 
example  that  typifies  both  the 
foregoing  statements  and  that 
example  is  human,  a  motion  pic-, 
ture  actor,  if  you  please,  whose 
name  is  destined  to  shine  in  elec- 
tric lights  if  prognostications  of 
the  "wise  uns"  may  be  credited. 
He  is  Kent  Meade.  Nature's 
part  in  this  instance  lies  in  the 
fact  that  she  fashioned  Meade 
almost  identically  as  she  did  that 
much  loved  and  sadly  lamented 
star  who  held  such  a  lure  for 
picture  fans  a  few  years  ago — 
the    late    Wallace    Reid.       The 


Kent    Meade    Hopes 
Succeed 

By  William  K.  Gibbs 


to 


Above  is  a  photograph  of 
Wally — on  the  left  and  right 
are  two  photographs  of  Kent 
Meade.  Could  you  tell  them 
apart? 


When  these  pictures  were 
taken  to  Dorothy  Daven- 
port Reid,  widow  of  Wally, 
she  looked  them  over  and 
said:  "This  must  be  a  set  of 
photographs  Wally  never 
showed  me.  And  I  dont  re- 
call the  clothes  as  any  he 
ever   wore" 


Photograph       above       by       Evans. 
Photographs,     left     and     right,     by 


skill  of  a  noted  plastic  surgeon 
is  the  "third  dimension"  so  to 
speak,  of  this  narrative. 

Kent  Meade — brought  to  Hol- 
lywood a  little  experience  in 
things  theatrical  gained  with  a 
stock  repertoire  company  in  Salt 
Lake  City  and  way  points  of 
Utah,  and  an  ambition  to  climb 
the  cinema  ladder.  The  experi- 
ence counted  for  little,  but  the 
ambition — well — it  took  him 
consistently  to  studio  casting  of- 
fices where  rebuffs  are  common 
and  where  each  one  usually  de- 
flates, little  or  much  depending 
on  the  will  of  the  rebuffed,  that 
"toy  balloon  of  desire"  we  are 
wont  to  call  our  goal,  or  ideal. 
But  Meade's  ambition  just 
wouldn't  deflate;  it  rode  high 
and  he  kept  his  eyes  fixed  on  his 
goal  without  wavering. 

(Continued   on  page  94) 


ove  in 


th. 


ovies 


Caveman  love — Wallace  Beery 


Intense  iove — 

Richard  Bar- 

thelmess 


Showing  how  some 
of  our  popular  lead- 
ing men  portray  the 
great  emotion  on 
the  screen 


By 

Chamberlain 


. 


Impetuous  love — John 
Gilbert 


/  'h&s<^-L/i«'(i 


i>-S\sS\^ 


i 


)) 


v       A  Y  /  \ 


Bashful  boy  love — Charlie  Ray- 


Sophisticated  love — Adolphe 
Menjou 


4m 


- 


L/ 

/ 


¥ 


d> 


31  P 

PASli 


&)  Do  the  Women  of  th» 


tenstein      con- 
siders     GretE 
Nissen    an    ami 
ing    type    becai 
she    is    as    exoti 
an     Oriental     in 
of       her       Scandinavian 
blondeness.        He     feels 
that     Nazimova     has 
claim    to   beauty    . 
a  tragic  way 


THE  cor  feet,   the 
proper      way      to 
begin    an    article    on 
beautiful    women 
would    be    to    give    an    explicit 


The  movies  have 
many  pretty  girls  .  .  . 
but  strictly  speaking, 
there  is  not  a  real 
beauty  among  them" 


definition    (if    that   much   press-agented, 
much  misunderstood  quality.    For  quality 
it  is,   something  so   intangible,   so   elusive 
that   one    cannot    say,    "This    is    it."      One 
senses  it  somehow  and  says  instead,  "I   feel 
that  it  is  here,"  apologetically,  for  in  the  pres- 
ence  of   absolute    beauty,    one   becomes    humble. 
Definitions  are  unavailable;  as  well  try  to  capture 
a  star,  or  imprison  a  breath  of  perfume. 

Beauty  may  lurk  in  the  lacy  spread  of  wrinkles 
on  an  aged   face.     Beauty  may  be  the  line  of  a 
girl's  slender  throat.     Beauty  may  be  a  trick  of 
personality,  a  charming  play  of  expression,  grace- 
ful  movement   or  tenderness.      Beauty  is   not   a 
matter  of  perfection  in   features  or  complexion. 
It  bears  no  relation  to  prettiness.     Beauty,  to  go  further, 
would  probably  not  win  a  beauty  prize.    All  of  which  is 
by  way  of  preamble  to  the  disclosure  that  the  movies  are 
noticeably  poor  in  really  beautiful  women. 

Nikol  Schattenstein,  the  noted  portrait  painter,  who  is 
as  much  devoted  to  the  moving  picture  as  he  is  to  the 
painted  one,  is  authority  for  the  statement.  Anyone  who 
has  dealt  as  much  in  beauty  as  this  gifted  artist  has  can 
qualify  as  an  expert  on  the  subject,  but  Mr.  Schatten- 
stein prefer-  to  speak  only  for  himself.  "This  is  merely 
my  opinion,  you  understand,"  he  explains.  "We  all  have 
our  conception-  of  beauty  and  it  is  an  exceedingly  wise 
or  exceedingly  stupid  man  who  attempts  to  choose  for  the 
world.  Your  choice  is  as  good  as  mine  and  mine  is  no 
better  than  the  next  person's.  It  is  banal  but  true  to  say 
that  beauty  is  a  relative  quality,  that  it  varies  with 
phy,  with  environment,  with  experience,  with  any 
of  the  influences  that  help  to  shape  human  character. 
32 


Pola    Negri    qualifies    in 

an     almost     barbarian 

way.     Mr.  Schattenstein 

considers  her  a   vivid, 

gorgeous    woman 

with  a   face  that  is 

capable     of     ex- 

p  r  essing      the 

great  variety  of 

her  moods 


He  thinks  Mary 
Philbin  beautiful 
because  emotions 
sweep  across  her 
face  like  a  song 
over     harp-strings 


Screen  Lack  Beauty? 


According    to     artistic 
standards,        Pauline 
Starke    is    beautiful, 
but  she  does  not  be- 
long wholly   in   th 
century.     She   has 
that  beauty   that 
is    found    in 
Botti  cell 
painting 


"Marion  Davies 
has  a  radiance 
that  puts  her  we 
to  the  front 
among  women  of 
animation.  Her 
coloring  is  part 
of  the  live,  glow- 
ing quality  of  her 
beauty" 


He      ranks 
both     Alice 
Joyce     and     Flor- 
ence Vidor  high  .   .   . 
He  attributes  a  patri- 
cian     quality      to      Miss 
Vidor  .  .  .     And  he  feels 
that     there     is     a      rich, 
haunting    beauty     about 
Alice   Joyce 


<J  The  Turk  considers 
avoirdupois  essential  to 
beauty.  The  American 
considers  it  a  tremen- 
dous handicap. 

"Absolute    beauty    is 
as  rare  as  genuine  genius — tho  one  hears 
of  a  person  with  extraordinary  talent  being 
called  a  'genius,'  or  one  of  exceptional  good 
looks    labeled    a    'beauty.'      Strictly    speaking, 
there  is  not  a  real  beauty  in  the  movies,  but  per- 
haps it  would  be  better  in  this  interview  to  limit 
ourselves    to    the    more    common    definition    of 
beauty. 

"To  me  beauty  cannot  exist  without  animation. 

Nothing  makes  a  woman  more  beautiful  than  that 

sparkle  which  shows  itself  in  her  eyes,  her  smile, 

her  mouth,  her  gait,  her  whole  bearing.     I  dont 

mean   that   a   woman   must    dance   about   like   a 

dragon-fly.      No,    animation    manifests    even    in 

repose.      I   suppose   that   what    I    call   animation 

someone  else  would  call  variety,  nuances  in  mood 

that  give  an  ever-changing  interest  to  a  familiar  thing." 

The  motion  pictures  are  filled  with  pretty  faces,  sated 

with  them,  cluttered  with  them.     They  are  like  so  many 

dolls,  each  with  its  own  particular  expression  as  firmly 

fixed  as  if  it  had  been  painted  on  in  a  toy-shop.     Nikol 

Schattenstein  speaks  of  expressions  as  "masks"  and  the 

majority  of  movie  stars  are  blessed  with  but  a  single  mask, 

he  believes. 

Of  all  the  hundreds  of  pretty  girls  who  take  part  in  the 
vast  parade  of  pictures  there  is  only  a  small  percentage 
who  can  qualify  as  real  beauty.  But  the  fact  that  this 
minority  is  being  honored  by  stardom  and  that  it  is  con- 
stantly expanding  is  an  encouraging  sign  that  the  so-called 
infant  industry  is  kicking  off  its  pink  wool  booties  and 
growing  up. 

Mr.  Shattenstein  declined  at  first  to  name  the  beauties 
(Continued  on  page  102) 

33 


I 


Have  You  Enough  Color 

The  home  that  is  cheerful  and  colorful  and  charming 
is  the  home  where  you  will  find  happiness 


THE  average  home  has  the  same  difficulty  that  the 
average  individual  has.  in  at  least  one  particular — 
the  home  and  individual  both  far  too  frequently 
lack  color.  And  lacking  color,  they  lack  charm  and 
graciousness  and  beauty  as  well.  The  color  that  you  in- 
troduce into  your  home  is  as  definitely  a  part  of  the  per- 
sonality of  the  home  as  the  color  of  an  individual,  whether 
that  color  is  happiness,  charm,  gaiety  or  beauty  of  soul. 

Most  people  are  afraid  of  color  in  the  home.  They  hear, 
mysteriously,  of  color  schemes,  but  they  do  not  know  quite 
what  color  schemes  mean.  They  hear  of  colors  that  blend 
or  complement  each  other,  and  that  seems  even  more  mys- 
terious. The  result  is  that  because  they  are  afraid  to 
introduce  brilliancy  into  their  homes  because  they  might 
make  a  mistake,  they  put,  instead,  drab  things  together 
and  it  is  not  surprising  when  the  whole  effect  becomes 
most  uninteresting  and  dull. 

Recently  I  visited  the  homes  of  two  newly  wedded 
couples.  The  first  bride  had  far  more  money  to  spend 
than  the  second,  but  either  she  was  afraid  of  color,  did 
not  understand  color,  or  did  not  care  for  brilliant  colorful 
things  around  her.  She  bought  changeable  silk  curtains 
in  dull  tans  and  blues  for  her  living-room — and  the  effect 
was  brown.  Her  two  bedrooms  were  both  done  in  dull, 
mousey  silks,  loo.     The  walls  were  gray,  her  floor  cover- 


ings a  dull  taupe,  and  her  davenport  and  cushions  were 
just  as  colorless.  The  result  was  an  austere  room.  It  was 
correct  enough,  to  be  sure.  The  shapes  of  the  pieces  of 
furniture  were  not  bad.  If  reproduced  in  a  black-and- 
white  photograph,  the  whole  effect  would  have  been  good, 
but  seeing  it  for  the  first  time  as  it  was  in  its  real  colors,  I 
realized  that  the  whole  thing  was  drab.  There  was  no 
real  beauty  anywhere.  It  was  toneless  and  cheerless  an 
spelled  neither  hospitality  nor  charm. 

The  second  home  was  far  simpler — and  what  a  differ- 
ence here !  There  was  a  bright  breakfast  set  in  colored 
enamel  and  a  bowl  of  jonquils  at  the  window.  A  little 
nest  of  red  lacquer  tables  was  placed  next  to  a  taupe  arm- 
chair and  the  curtains  were  soft  green  chintz  deliciously 
sprigged  in  white,  vermilion  and  yellow.  There  were  gay 
cushions  and  a  chair  that  reflected  the  green  of  the  cur- 
tains. The  lamps  of  inexpensive  parchment  were  a  soft 
cream  yellow  and  they  were  light  and  cheerful  too.  The 
whole  room  seemed  to  say,  "What  good  times  we  have 
here!  Isn't  this  a  cheerful  place  in  which  to  live!"  Life 
became  immediately  more  worth  while  because  of  this 
pleasant  little  home. 

You  must,  of  course,  decorate  your  home  according  to 
its  size  and  proportion,  but  from  the  simplest  little  cottage 
to  the  most   dignified  mansion,  color  judiciously  applied 


° 


! 


In  this  room  which  we  used  in  a  recei 

A    neutral    rug    covered    the    floor     .      . 

upholstered    chairs 


icture  we   kept  a   simplicity,  but  there  was  cheerful   color, 
but    there    was    bright    color    in    the    curtains     .     .      .     the 
.  the    scatter    rug   and    the    lamp-shade 


In  Your  Home? 


By  Stephen  Gooson 


Motion  Picture  Magazine  Offers  a 
Valuable  Service 

Stephen  Gooson  furnishes  all  sets  used  in  First 
National  productions.  For  years  he  has  worked 
out  his  theories  and  is  acknowledged  as  one  of  the 
greatest  experts  on  interior  decorating  in  America. 

Every  month  he  will  offer  a  simple  article  on 
decoration  in  the  home  and  his  readers  will  un- 
questionably be  benefited  by  his  practical  sugges- 
tions and  explanations.  THE  EDITOR 


COLOR  CHART 


will    add    a    value    that    can    be    achieved    in    no    other    way. 

"I'd  use  color,"  exclaims  the  young  bride,  or  even  the  more 
experienced  matron,  "if  I  knew  what  colors  to  use  and  where  to 
put  them."  So  the  average  woman  wanders  around  in  the  shops, 
doesn't  know  what  to  buy  and  ends  by  buying  something  that  is 
serviceable  even  if  not  attractive.  You  cant  do  your  shopping 
carelessly  and  without  a  definite  plan  and  hope  to  achieve  a  room 
or  a  home  that  is  satisfactory  as  a  whole.  If  you  were  buying 
a  hat,  you  would  buy  it  to  harmonize 
with  the  rest  of  your  costume.  In  buying 
things  for  your  home,  you  must  think  of 
harmony,  too. 

There  is  no  reason  why  you  cant  put 
color  in  a   room  and  put  it  in   cor- 
rectly   if    you    learn   the    simplest 
things    about    color    and    color 
combinations.     The   secret   of 
using  color  is  to  use  grayed 
colors — that  is,  colors  that  /.& 

are  neutralized  by  the  ad- 
dition of  gray — in  large 
quantities  and  use  pure 
color  —  that    is,    color 
that     is      brilliant — in 
smaller  quantities.    No 
one    would     want     a 
bright  red  davenport 
or  a  huge,  brilliantly 
colored    chair    unless 
he    was     quite     sure 
how    and    when    these 
were  to  be  introduced. 
This    same   orange   and 


Keep  this  color  chart  for 
reference.  If  you  use  the 
colors  it  recommends,  your 
color  problem  will  be  solved. 
The  simple  way  of  reading 
this  chart  is  explained  in  the 
text 


this  same  green  in  brilliant  but  smaller 
splashes  would  be  far  more  appropriate  in 
the  average  home.  Soft  orange — that  is 
grayed  orange — can  be  used  in  large  quanti- 
ties. Orange  that  is  grayed  and  light- 
ened enough  might  even  become 
cream.  Sometimes  it  becomes  buff. 
Grayed  red  becomes  soft  and  at- 
tractive-looking. Light  grayed 
green,  too,  may  be  used  suc- 
cessfully as  a  background 
color.  All  right  then — 
grayed  colors  in  large 
quantities  and  brilliant 
colors  in  small  patches. 
What  colors  to  use  ? 
That's  simple  enough, 
I  am  sure.  To  make 
a  correct  color  scheme 
all  you  have  to  do  is 
to  choose  one  color — 
and  then  choose  the 
complement  of  that 
color.  Use  one  color 
(Continued  on  page  117) 


Very  often  it  is  practical  to 
et  your  chintz  or  cretonne 
curtains  suggest  the  color 
scheme  of  the  room  in  which 
they  hang.  The  designs  of 
this  material  are  supplied  by 
splendid    artists 

35 

PAfi 


t 


Home,  Sweet  Home 
of  the  D'Arcys 


The  Roy  D'Arcys  went  up 
into  the  foot-hills  to  build 
their  home.  They  wanted 
to  capture  the  sunsets  in 
their  own  back  yard.  Ro- 
mantic! 
is    with 


1 


The  living-room 
walled  with  book- 
shelves .  .  .  and 
shaded  lamps  comple- 
ment   the    easy    chairs 


Turn  to  Page  88  for  the  Other  Side  of  the  Story 


36 


.  ^ 


HE  DIDN'T  LIKE  EUROPE 


Buck   Jones    Gives   an 
Original  Travelogue 

By  Catharine  Brody 

Drawings  by  Eldon  Kelley 


IT  does  take  courage— to  say  what  you  think  when 
you    are    thinking    differently    from    most    people 
you  know.     The  movie  folks  had  been  treking  to 
Europe  for  years.     And  Mr.  and  Mrs.  Buck  Jones 
had   listened  to    their   enthusiastic    descriptions    when 
they  came  back  and  gave  dinner  parties  so  they  could 
talk  about  their  travels. 

Then  Buck  and  Mrs.  Buck 
crossed  the  pond,  as  some 
say.  .    .    . 

And    to    think,     forgetting 
that    Fox    had    crowned    him 
humorist  with  the  title-role  in 
"Lazybones,"     we     once 
thought  Buck  Jones  was  just 
a      broncho-busting      cowboy 
star,   merely    another   he-man 
from   the   wide   open    spaces ! 
And  to  think  that  we  thought 
this  up  to  the  exact  moment 
(even   a   few   minutes   after) 
Mr.  Jones  appeared  for  lunch. 
He  wore  a  sad  expres- 
sion and  a  light  over- 
coat, checked  in  a  cross 
between  purple  and  old 
rose.     He  said  that  he 
had    a    headache    and 
had   been   to    Philadel- 
phia. 

"And  you've  also 
been  to  Europe, 
haven't  you  ?"  gently 
suggested  the  enter- 
prising  publicity    man. 

"Yes,     to     Europe," 


IES-BERGERE 


"Listen,"      says 
time   I   see   any 
looking     over 
getting      their 
their      tweed      o 
caps  all  swelled 
laughing 
thei 


In  Paris,  Buck  says,  they  dont  send  a 
porter  for  your  baggage  until  just 
before  train  time.  Then,  when  your 
bill  is  full  of  items  you  never  heard  of, 
you    cannot    stop    to    argue 


admitted    Mr.    Jones   with    a    sigh. 
"Just  got  back." 

There  wasn't  anything  else  to 
say,  so,  we  said  it,  with  a  sigh,  too. 
"And  what  do  you  think  of  Europe, 
Mr.  Jones. 

Buck  Jones  turned  his  handsome 
manly  countenance  full-square 
upon  us.  He  began  to  laugh. 
"Ha-ha-ha !"  he  laughed.  "Ha. 
Ha?    Ha."    Just  like  that. 

"Listen,"  he  said  confidentially, 
as  it  were,  "Any  time  I  see  one  of 
these  birds  lookin'  over  boat  sail- 
ings, gettin'  their  baggage  and  their 
tweed  overcoats  'n'  their  caps  for 
the  boat  together,  all  swelled  up, 
yes,  sir,  we're  off  to  Europe,  I  feel 
like  going  up  to  them  and  laughing 
right  out  in  their  faces  !" 

"How  long  were  you  in 
Europe?"  we  gasped. 

"Well,"  said  Buck  Jones,  "lessee. 
Two  days  in  London  coming  and 
two  days  going  back,  that's  four,  and  a  week  in 
Paris,  that's  eleven,  and  two  days  around  the 
battlefields,  and  a  clay  here  and  there,  well,  I 
reckon  about  fifteen  days,  in  all." 

So  then  it  all  came  out.  It  seems  that  the 
Joneses,  Mr.  and  Mrs.,  who  was  a  trick  rider 
herself  once  under  the  name  of  Odille  Osborne, 
set  out  for  Europe,  "all  swelled  up"  and  the  re- 
cipients of  a  great  deal  of  valuable  advice,  such 
as,  for  instance,  not  to  go  up  to  one  of  the  Lon- 
don bobbies  who  wear  helmets  and  coats  to  their 
ankles  and  ask  where  one  could  find  a  police- 
man, for  London  bobbies  have  no  sense  of 
humor  to  speak  of,  at  least,  so  Buck  Jones  says. 
All  went  well  for  several  hours  in  London,  until 
Mr.  Jones  set  out  to  give  King  George's  stables 
(Continued  on  page  104) 

37 
PAG 


Buck,  "any 
of  these  birds 
boat  sailings, 
baggage  and 
vercoats  and 
up,  I  feel  like 
right  out  in 
r   faces" 


t 


THE  SCREEN  HALL  OF  FAME 


JOHN    GILBERT 
'The  Big   Parade' — absolutely.      All   of   us   lived  thru 
the   war,    and    the    glory   and   terror   of   it   stay   with   us. 
I  felt  that  I  grew  with  my  part.      It  was  not  just  a  two- 
dimensioned     drama.        It    was    life    and    worth     while" 


RAMON    NOVARRO 
"  'Scaramouche'    is   my    favorite.       A   picture   that   has 
had  the  long  runs  this  one  has  had   must   have   some- 
thing   real    behind    it.       I    like    costume    stuff,     and    I 
enjoyed   doing  this  one   most 


JOHN 
BARRYMORE 

"I  like  elemental 
stuff,  so  'The  Sea 
Beast'  is  the  pic- 
ture I  like  best. 
There  is  no  more 
pioneering  in 
three-masted 
schooners.  I  love 
the  sea  and  always 
hoped  to  do  'Moby 
Dick'  onthescreen. 
Now  here  it  is" 


MILTON    SILLS 
"Anybody  could  select  my  fa- 
vorite   role    and    be    right    the 

first    time 'The    Sea    Hawk.* 

It  was  a  man's  part  in  a  man- 
sized  picture   ...   a  part  you 
could   get   your  teeth  in" 


POLA  NEGRI 
"Carmen — oh,  yes,  Car- 
men. I  understood  her.  1 
loved  her.  I  was  her.  It  was 
like  playing  on  an  organ  with 
innumerable  stops.  Every 
emotion  could  be  touched 
upon.  And  the  premiere  in 
Berlin  .  .  .  on  the  last  day  of 
the  reign  of  Kaiser  Wilhelm  II" 


NORMA 
TALMADGE 

'Smilin'  Thru  is 
my  choice.  It  is 
the  picture  which 
more  nearly  ap- 
proached ray 
vision  of  the  thing 
it  was  going  to  be. 
I  feel,  too,  that  it 
is  the  most  artistic 
thing  I  have  ever 
done,  and  I  should 
like  to  be  remem- 
bered in  this  role" 


Donald  Biddle  Keyea 


A  Dozen  Stars  Name  Their  Favorite  Role 


MAE    MURRAY 
"I  believe  in  happiness,  and  I  'would  rather  be  remem- 
bered  for   brilliance   and   joy   than    for   bitterness    and 
power.       My    passion    is   beauty,    and    I    feel   that    'The 
Merry  Widow'  is  the  most  beautiful  thing  I  have  done" 


LEATRICE   JOY 
"  'Manslaughter'     .     .     .    because    my    part    called    for 

the  comedy  touches  I  love yet  gave  me  a  chance  at 

tragedy   and   unlimited   scope   for  what    I    call    'human 
drama.'      That  is  the  sort   of  thing  I  adore" 


COLLEEN 
MOORE    • 

"That's  easy!  'So 
Big,'  of  course.  A 
great  story  by  a 
great  author  with 
a  part  for  me  in 
which  I  broke  out 
of  flappers  and 
stopped  being  a 
'type.'  God  bless 
it!" 


RUDOLPH 
VALENTINO 

'The  Four  Horse- 
men' has  an  epic 
sweep.  It  deals 
with  the  greatest 
event     of     modern 

times the    war 

and  it  deals  with 
it  gloriously.  Julio 
won  me  my  first 
friends  and  so  is 
very  close  to  my 
heart" 


COR1NNE  GRIFFITH 
"  'Black  Oxen,'  that  romance  of  lavender-scented 
youth,  held  the  combination  of  mystery  and  tears  and 
love-barred-out  that  I  am  always  looking  for  and 
seldom  find.  I  want  to  be  remembered  for  this  unless 
I    do    something    better" 


HAROLD  LLOYD 
"I  choose  'The  Freshman.'  It  has  the  spirit  of  youth, 
which  is  a  lot  more  elusive  than  people  think  .  .  . 
and  there  is  a  sympathetic  appeal  about  it  that  I  like. 
I  enjoy  a  character  with  plenty  of  work  in  it,  and  this 
was   marvelous  from   that  angle" 


Gilda  Gray  Tells   How 


By 

Dunham  Thorp 


Drawing  by 
De  Pauw 


.  .  One,  Two, 
That's  Not  Dancing!" 
According  to  Gilda 


"One>  Two,  Three 
Three! 


w: 


8 

lA 


'HAT  is  dancing? 

"One,    two,    three,    kick"  —  and    the    ballet- 
master's  rod  flung  across  the  floor?    "One,  two, 
hree,  get  set" — and  a  jump  in  the  air,  with  the 
legs  spread  apart?     "One,  two,  three" 

— Or  is  dancing  something  else  again  than -merely  the 
product  of  a  long,  arduous,  and  often  deadening,  training 
— something  done  to  express  the  emotions  surging 
within  oneself? 


40 

ACE 


She   Does   Her   Stuff 


These,  and  other,  thoughts  danced  vague  and 
hazily  thru  my  mind  as  I  wended  my  not  so 
weary  way  to  meet  the  perfectly  chosen  person 
from  whom  to  find  their  answer :  Maryanne 
Michalska — now  Mrs.  Gil  Boag,  but  better 
known  as  Gilda  Gray — whose  South  Sea  Island 
dance  is  said  by  Samoans  themselves  to  have 
caught  "the  essential  spirit  of  our  race." 

I  arrived  and  met  this  lady,  who  laughs  at  the 
fact  that  a  "blonde  Polack"  has  been  made  a 
Samoan  princess.  For,  be  it  known  that  she 
who  plays  Aloma  in  this  picture  ("Aloma  of  the 
South  Seas")  is  also  the  Samoan  princess  Fetuoa 
(the  morning  star,  the  evening  star,  the  only  star 
that  shines),  a  title  conferred  upon  her  by  the 
royal  Samoan  house  because : 

"They  say  I've  done  more  thru  my  dancing  to 
advertise  Samoa  than  any  other  person.  That, 
when  the  South  Seas  are  mentioned,  one  natu- 
rally couples  them  with  me — same  as  pork-'n'- 
beans." 

And  she  told  me  of  the  ceremony  within  the 
walls  of  the  old  Moro  castle :  of  the  governor's 
declaration  of  half-holiday ;  of  the  children's 
parade ;  of  the  ancient  Polynesian  ritual.    .    .    . 

All  of  which  happened  in  Porto  Rico ;  and  all 
{Continued  on  page  88) 


V 


V 


"I  never  took  a   dancing  lesson 

in    my    life,"     she    says.       "Nor 

have    I    ever    attended    a    recital 

by  a  Pavlowa   or  Fokina" 


Gilda  does  not  want  to  be 
labeled  merely  as  a  South 
Sea  dancer.  And  she 
laughs  at  the  fact  that  a 
"blonde  Polack"  should 
have  been  made  a  Samoan 
princess  as  she  has  been 
in  her  first  motion  pic- 
ture, "Aloma  of  the  South 
Seas" 


Back  in  the  old  Kalem  days  Anna  O.  Nilsson  and  Alice  Joyce  had  dressing-rooms  next  door 
to  each  other. 

Now  they  rarely  see  each  other— unless  Anna  comes  to  New  York  to  shop  or  Alice  goes  to 
California  to  make  a  picture. 

This  photograph  was  made  while  they  visited  together  at  Anna  Q's  ranch  the  last  time  Alice 
was  in  California. 


'42 





Hollywood  Notes 

Paragraphs  of  Social  Importance  from  the  Most  Famous  Suburbia 

in  the  World 


PERHAPS   you   picture         By  EUGENE    V.   BREWSTER 
Charles  Ray  as  a  thin,   raw- 
boned,    gawky    country    boy. 

Well,  you're  wrong.  The  first  impression  he  gives 
you  when  you  meet  him  on  the  street,  at  a  reception  or 
on  the  tennis-court,  is  that  he  is  about  six  feet  tall,  grace- 
fully built,  pleasant  face,  good-looking  and  very  smartly 
dressed.  I  have  read  sob  stories  about  the  tragic  career 
of  Charles  Ray,  but  to  see  him  and  talk  to  him  is  to 
dispel  all  thoughts  of  any  lasting  unhappiness  in  his  life. 


Antonio  Moreno  seems  to  be  in 
greater  demand  than  ever  since 
"Beverly  of  Graustark."  Several 
companies  are  bidding  for  his  services  on  a  contract 
basis,  but  he  told  me  that  he  preferred  to  free-lance,  as 
he  is  now  doing,  because  then  he  can  pick  his  own  plays 
and  parts.     Wise  Tony !     N'est-ce  pas? 


"HThe  nose  is  formed  for  spectacles ;  therefore  we  wear 
*•  spectacles,"  Voltaire  makes  the  professor  say  in 
"Candide."  When  I  first  looked  upon  Jack  Duffy,  who 
was  doing  a  two-reel  comedy  over  on  the  Christie  lot,  I 
thought  he  was  at  least  sixty  and  that  his  spectacles 
seemed  to  grow  on  his  nose.  And  he  was  very,  very 
funny,  altho  I  observed  that  he  was  extremely  spry  for  an 
old  man.  Later  on  I  saw  the  real  Jack  Duffy  (who,  by  the 
way,  is  Kate  Price's  brother)  and  I  could  hardly  believe 
that  he  was  the  aforesaid  old  man.  In  fact,  he  is  a  regular 
fellow  in  every  respect  and  a  good  one,  and  he  cant  be 
much  over  thirty. 


"If  monsieur  will   be   so  gracious "   he   said,   as   he 

*  mounted  the  stool  beside  me  and  nearly  pushed  me 
off.  I  turned  from  my  sandwich  and  "Eastside"  and 
saw  a  strange-looking  specimen  of  humanity :  "To  what 
fortunate  circumstance  do  I  owe  the  honor  of  this  intru- 
sion ?  Prithee,  who 
art  thou,  my  lord  ?"  I 
asked.  He  then 
smiled  sweetly  under 
and  around  his  walrus 
mustache  and  replied : 
"Charlie's  Aunt."  I 
couldn't  see  the  slight- 
est resemblance  to  Syd 
Chaplin,  but  it  was  in- 
deed he,  in  his  "Better 
'Ole"  make-up. 


Pertrude  Astor 
^"*  seems  to  be  com- 
ing to  the  front  lately, 
having  been  quite  suc- 
cessful in  a  line  of 
parts  that  are 
quite    similar  g 

— the  chorus-  "'4 
girl-actress 
type — that  has 
brought  her  '•  ■'•* 
into  promi- 
nence. She  is 
excellent  in 
this  type  of 
thing. 


' 


John  Barrymore  must  be  a  sort  of  recluse.  He  is  here, 
of  course,  somewhere,  but  nobody  seems  to  know 
where.  I  haven't  met  him  or  met  anybody  who  has  met 
him.  Ditto  Rod  La  Rocque.  And  it  seems  to  me  that 
the  people  who  are  talked  about  and  seen  around  here  the 
most  are  the  ones  we  see  the  least  of  on  the  screen  and 
in  the  magazines. 

*       *       * 

C*  ardner  James  seems  to  have  taken  Richard  Barthel- 
^-*  mess'  place  with  Inspiration  Pictures.  I  am  told  that 
the  two  ran  a  sort  of  race  in  "A  Certain  Gentleman"  and 
that  the  former  won  out.  But  perhaps  Dick  is  more  than 
satisfied  because  he  has  signed  up  with  First  National. 
His  last  picture,  "Ranson's  Folly,"  was  a  rather  sad  affair 
when  I  saw  the  preview,  and  Gardner  made  quite  an  im- 
pression in  Blackton's  "Hell-Bent  fer  Fleaven."  By  the 
way,  Warner  has  a  rather  unique  handbill  out.  On  the 
front  in  large  red  letters  is  "Go  to  Hell,"  but  as  you 
unfold  it  the  words  "Bent  fer  Heaven"  follow. 


CH 


arlie  Chaplin  is 


-'> 


Sunday  afternoons 
noons  in  less  famo 
gagements  at  the  country 


n    Hollywood    are    identically    the    same    as    Sunday    after- 
amous  suburbs.      There  are  tennis  tournaments    .     .     .    golf  en- 


:Iub 


impromptu  suppers  because  the  servants 
go  out    ... 
Gardner     James,     Patsy     Ruth     Miller,     Theodore     von     Eltz    and     Eugene     V. 
Brewster  were  among  the  players  entered  in  the  Blackton  Tennis  Tournament 


impromptu       entertain- 
ers    in     Hollywood. 
Whatever     the     game, 
whether     dancing,     re- 
citing,   singing,    imitat- 
ing,   acting,   acrobating 
or     nonsense,     Charlie 
does    his    bit    with    re- 
markable    cleverness. 
The  other  night  I  saw 
him     do     a     burlesque 
imitation     of     John 
Barrymore    as    Hamlet 
and     he     kept     us     in 
roars   of    laughter.      A 
Russian     was     present 
and  he  was  induced  to 
do    a    scene 
from    Romeo 
and     Juliet    in 
Russian,    and 
Charlie    played 
Juliet.    I  could 
not    tell    what 
either  of  them 
were   talking 

(Continued 
on    page    112) 
43 
PAG 


I 


Motion  Picture  Junior 


Vol.  II.     No.  3 


September,  1926 


The  Junior 

Answer 

Man 

Joe  Frank  Cobb  Answers 
the  Questions  Sent  to  Him 
in  Care  of  Movie,  Jr.,  175 
Duffield    Street,    Brooklyn, 
New  York 


ELEANOR    DIETT.— I    like    Rin-Tin-Tin's    pic- 
tures, too.     Lee  Duncan  is  his  owner.     I'm  sure 
if  you  write  to  Mr.  Duncan  at  Warner  Bros.' 
Studios,  5842  Sunset  Boulevard,  Hollywood, 
California,  he  will  be  glad  to  send  you  a 
picture  of   Rin-Tin-Tin. 

■  AUGUSTA.— Gee,  wasn't  "The  Bat" 
a  "creepy"  picture?  That  was  Louise 
Fazenda  who  played  Lizzie  Allen. 
Sally  O'Xeil's  next  picture  will  be 
"A  Certain  Young  Man"  with 
Ramon  Novarro.  Our  latest  comedy 
is  "Thundering  Pleas."  I  hope  you 
like  it. 

PATSIE    L.— Richard    Headrick    and 

Virginia  Marshall   have  been  appearing 

in  Fox  pictures.    You  can  write  to  them 

in    care    of     Fox     Studios,     1401     North 

Western    Avenue,    Hollywood,    California. 

And  Jackie   Huff  and    Muriel   Frances   Dana 

are    at    Warner    Bros.'    Studios,    5842    Sunset 

Boulevard,   Hollywood,   California. 


Snookums 
movies,    you 


the 


know 


JUANITA.— That  was  little  Billy  Kent  Schaffer  in  "The  Home- 
maker."     His  next  picture  will  be  "Lost  at  Sea,"  in  which  Jane 
Novak  and  Huntly  Gordon  are  featured. 

MAY. — You  can  write  to  Thomas  Meighan  at  the  Famous  Play- 
ers' Studios,  Sixth  and  Pierce  Avenues,  Astoria,  Long  Island, 
where  he  is  playing  in  "Tin  Gods." 


MARY     LI.— Carol     Dempster,     Esther     Ralston 

and  Florence  Vidor  are  all  at  the  Famous  Players' 

Studios,  Sixth  and  Pierce  Avenues,  Astoria,  New 

York.     Mary  and  Doug  are  vacationing  in  Europe 

at  the  present  time.    Anna  Q.  Nilsson  is  at  First  National  Studios, 

Burbank,   California.     Bessie  Love's  next  picture  will  be  "Lovey 

Mary." 

MARY. — You  can  write  to  Richard  Barthelmess  at  the  Clune 
Studios,  5360  Melrose  Avenue,  Hollywood,  California.  Ramon 
Novarro  is  at  the  Metro-Goldwyn  Studios,  Culver  City,  California. 


A  Talk  With  the  Holt  Children 


I  was  being  interviewed  by  young  Jack  Holt,  Jr.,  known  in  his- 
Laurel  Canyon  neighborhood  as  Tim.  I  had  come  to  the  Holt  back 
yard  with  the  express  idea  of  getting  Tim's  views  on  the  picture  situ- 
ation, but  instead  he  put  me  on  the  defensive  immediately  after  our 
introduction. 

"Do  actors  eat?"  he  asked. 

I  replied  that  I  had  never  known  his  father  to  go  without  food, 
and  the  neighbors,  Mr.  Ernest  Torrence  and  Miss  Florence  Vidor, 
appeared  well  fed. 

"I  didn't  know,"  said  Tim,  poking  a  chubby  fist  in  his  right  eye, 
"until  I  saw  in  a  picture  that  actors  didn't  eat." 

Because  of  this  astounding  bit  of  information  which 
young  Tim  had  just  gleaned,  he  refused  to  state 
whether  lie  would  become  a  picture  actor  or  not.  He 
seemed  to  think  the  greatest  accomplishment  in  his 
lif'    would  be  to  ride  a  horse  like  "Daddy." 

"Imogene  can  ride,  too,"  said   Tim,  pointing  to  his 
JJF  elder    sister,    who    was    sitting   in    the   shade   of   a   tree 

"^^  reading,  "but  Daddy  says  I  ride  better." 

'■".lizahcth  Marshall  Holt,  Tim's  younger  sis- 
ter, was  rather  aloof.  When  asked  about  her 
irospectiye  career,  she  shyly  put  one  hand  up 
to  her  ear  and  bowed  her  head  and  whispered 
something.  Tim  walked  over  to  his  sister  and 
took  her  hand  in  an  understanding  manner. 
She  jerked  away  from  him. 

"Betty  says  no,"  said  Tim.  "Let's  go  look 
at   the   goldfish." 

There  is  little  doubt  but  what  Charles  John 
Holt,  Jr.,  will  grow  up  to  be  a  regular 
two-fisted  American  boy.  He  is  prin- 
cipally concerned  with  horses.  As  he 
remarked  to  his  mother  the  other  day 
{Continued  on  page  103) 

Tim     and     Jack     Holt     and     Betty 


When  We  Were  Very  Young  in  the  Movies 


Verses  for  all  photographs  on  this  page  are  done 

with  apologies  to  A.  A.  Milne,  who  wrote  "When 

We  Were  Very  Young" 


Ernest  Registers  Objection 

"WThat  is  the  matter  with  Mike,  the  mule? 
His  ears  are  hack,  and  he's  kicking  too. 
There's  nothing  that  anybody  can  do — 
What  is  the  matter  with  Mike,  the  mule? 


Jerry  in  the  Movies 

Terry  asked 

His  mother. 
His  mother  asked 
The  Movie  Man: 
"Couldn't  you  make  some  comedies 

With  Jerry  in  the  Zoo?" 
His  mother  asked 
The  Movie  Man, 
The  Movie  Man 
Said:     "Certainly! 
I'll  go  and  tell  the  animals 

And  see  what  we  can  do." 


Puppy  and  I 

T   MET  a  Puppy  as  I  went  walking, 

We  got  talking, 

Puppy  and  I. 
"Where  are  you  going  this  nice,  fine  day?' 

(I  said  to  the  Puppy  as  he  went  by). 
"Up  to  the  Fox  lot  to  work  in  a  play." 

"I'll  come  with  you,  Puppy,"  said  I. 


Kenneth  Alexander 


The  Movies 
Sub-deb 


I 


An 


Lois  Moran  comes  from  Pennsyl- 
vania, where  her  father  was  a 
prominent  physician.  It  was  after 
his  death  that  she  studied  dancing 
and  entered  the  ballet  of  the  Paris 
Opera.  She  has  just  signed  a  new 
contract  which  will  keep  her  in  the 
studios  for  some  time  to  come. 
And  her  next  appearance  upon  the 
screen  will  be  framed  in  "God 
Gave  Me  Twenty  Cents."  Her 
mother    is    with    her    here 


* 


The     new     Swedish     beauty,     La 

Garbo, 
Has     radical    notions    of     garb-O. 
All    her    modesty    needs 
Is   a   few   strings   of    beads 


Are  yon  going  to  be  one  of  the 
lucky  passengers  on  The  Limerick 
Liner?  We  have  $50.00  to  divide 
among  five  writers  of  clever  lines. 
Remember  that  the  line  you  submit 
to  complete  a  limerick  must  rhyme 
with  the  first  two.  Send  as  many 
as  you  like  before  August  20th. 
Address:  Limerick  Contest  775 
Duffield   Street,   Brooklyn,    A'.    Y. 


Tho   they   say  to  be  seen  while 

in    tears 
Is     a     thing     every     pretty     girl 

fears, 
Florence    Vidor    refused 
To   look   gay   or   amused 


If  Mae  were  a  Japanese  miss 
She    would     have    to    wear     c 

tumes   like   this. 
As   her   legs   and    her   arms 
Are    her    principal    charms. 


Pauline     Starke     thought,     "I'm 

far    too    demure. 
Without     sex    appeal fame 

cant    endure." 
So   she  proved   she   had   "It" 
And  at   once   made   a   hit 


With     the    price     of    Bebe's 

bouquet 
Most  girls  a  month's  rent  could 

pay 
And    still    have    enough 
For  a  coat  and  a  muff 


All  Aboard  the  Limerick  Liner 


August  Prize  Winning  Limericks  on  Page  84 


^JW 


47 

PAG 


E 


THIS  IS  NOT  A  PRESS-AGENT'S  STORY 


THEY  could  not  find  anyone  who  looked  enough 
like  Theodore  Roosevelt  to  portray  the  famous 
Teddy  in  "The  Rough  Riders."  So  Famous 
Players-Lasky  offered  a  reward  of  five  hundred 
dollars  to  anyone  who  brought  them  a  man  who  re- 
sembled T.  R.  enough  to  play  the  part. 

Such  an  advertisement  appeared  in  the  program  of 
Grauman's  Los  Angeles  Theater  and  a  woman,  coming 
out   of    the   theater,   saw   Frank    Hopper   passing.      She 


Eugene  R.  Richee 


asked  him  if  he  would  go  to  the  studios  with  her,  ex- 
plaining the  situation. 

Mr.  Hopper  went.     And  he  got  the  part. 

The  first  thing  he  had  to  do  was  reduce  twenty-five 
pounds.  But  he  was  paid  five  dollars  every  time  the 
scale  dropped  one  mark. 

At  the  time  of  his  discovery  Mr.  Hopper  was  a  book 
agent,  but  he  is  not  without  knowledge  of  acting,  having 
played  in  a  stock  company  in  Montana. 


48 


Who  Made  Charlie  Chaplin? 


By  Le  Roy  Green 


It  is  an  odd  little  yarn, 
this  of  the  two  Chaplin 
brothers  from  an  English 
poor-farm.  It  is  a  little 
cruel  ...  a  little  funny. 
It  might  have  come  from 
either  Theodore  Dreiser  or 
the  "American  Magazine" 
if  it  had  not  come  from  life. 


"1 


Above  is  the  scene  in  Presi- 
dent Freuler's  office  when 
the  big  Mutual  contract 
with  Charlie  was  signed. 
Reading  from  left  to  right 
are  John  R.  Freuler,  Presi- 
dent of  the  Mutual  Film 
Corporation,  Syd  Chaplin 
and    Charles   Chaplin 


There  was  a  rumor  that 
Charlie  paid  Syd  to  keep 
him  off  the  screen  because 
of  professional  jealousy.  Syd 
scoffs  at  this  idea 


UNDOUBTEDLY,  the  answer  to  "Who  Made 
Charlie?"  is:  the  World  and  his  wife  and  his 
little  fat  boy  who  paid  their  dimes  into  nickel- 
odeons and  recognized  genius  in  the  illusive 
derby  and  the  timid  feet. long  before  George  Jean  Nathan, 
Thomas  Burke  and  some  of  the  other  boys  got  around  to 
it.  But  "Who  made  the  world  make  Charlie?"  is  another 
question  and  another  story. 

Anyway,  it  is  an  odd  little  yarn,  this  one  of  the  two 
brothers  from  an  English  poor-farm,  a  little  cruel,  a  little 
funny,  and  it  might  have  come  from  Theodore  Dreiser 
or  the  "American  Magazine"  if  it  hadn't  come  from  Life. 


Briefly,  it  is  the  story  of  an  idea  of  Syd  Chaplin's,  the 
boy  who  made  the  trap  that  lead  the  world  to  beat  the  path 
to  Charlie's  door. 

If  Syd  ever  wanted  to  quit  the  Warner  Brothers  for 
free-lance  management  of  young  folks  with  talent,  he 
would  need  the  Armory  for  an  anteroom.  Making  mighty 
oaks  from  little  acorns  grow  is  a  sleight-of-hand  trick 
with  Syd.  Under  the  bonnet  of  "Charley's  Aunt"  lies  a 
brain  that  for  sheer  shrewdness  of  judgment  has  few 
equals  and  even  fewer  superiors  in  the  industry. 

Syd,  some  people  will  tell  you,  is  merciless  where  money 
is  concerned.     Others  say  he  is  canny.     Some  call  him 

49 

PAfi 


t 


asr 


a  wise  little  guy."  But  there  are  a  few 
who  know  that  Syd  remembers  from  bitter 
experience  that  ten  pennies  make  a  dime. 
and  one  dime  makes  a  loaf,  and  one  loaf 
equals  three  meals  a  day — it  you've  got  it — 
and  they  often  didn't  have  it, 
Syd  and  Charlie,  in  those  bleak 
days  oi  the  English  music-halls. 

They  were  doing  "turns" 
then  in  a  London  comedy,  not  a 
particularly  brilliant  comedy 
but  a  comedy  just  the  same. 
They  did  flops  and  falls  and 
handsprings  and  tumbles,  and 
the  English  cabbies  with  mouths 
full  of  tobacco  wads,  and  house 
dames  with  beer  pails,  and  la- 
dies of  the  morning-noon-and- 
nigbt  flocked  to  the  halls  to  guf- 
faw at  the  funny  boys.  They 
slapped  their  thighs  and  held 
their  sides  and  shook  the  rafters 
until  a  canny  little  manager 
with  a  mustache,  seeing  the  pos- 
sibilities of  the  two,  particularly 
the  "little  fellow,"  offered  to 
bring  Charlie  to  the  States  as 
the  featured  comedian  of  "A 
Night  in  a  London  Dance 
Hall."  Charlie  who  was  flat- 
tered to  be  the  featured  any- 
thing in  anything  at  all,  agreed. 
Syd  stayed  behind. 

America  loves  to  laugh  and 
pays  well  for  the  privilege.  She 
was  good  to  Charlie.  Taxi 
drivers  with  chewing-gum, 
housewives  with  shopping  bags, 
and  "kids"  flocked  to  the 
cheaper  vaudevilles  to  laugh  at 
the  droll  boy  who  oddly  enough 
could  be  quite  funny  and  look 
quite  sad.  They  slapped  their 
thighs  and  held  their  sides  and 
shook  the  rafters  until  it  pene- 
trated to  the  comedy  lot  of  a 
Mr.  Mack  Sennett,  who  was 
starting  out  in  "pitchurs"  and 
was  in  the  market  for  bathing 
girls    and    first-rate    comedians. 

Mack  heard  Charlie  was  fun- 
ny, so  lie  wired  him.     lie  said 
in  effect  "I'll  take  you  on  at   a 
salary  of  $175  per  week  if  that 
atisfactory  to  you."     It  was 
so   satisfactory  to   Charlie  that 
he  swooned  and  was  ill  for  two 
days  from  the  sheer  munificence 
of    the    thing.       When    he    was 
fully  recuperated  but  on  a  light 
diet  in  order  to  avoid  a  setback,  Charlie  did 
a    little    wiring   himself.      Me    senl    word    to 
that  there  was  a  gold-mine  in  th     pic- 
ture business — then   known   as  the  movies. 
But   Syd,  who  had   run   into  a  gold-mine  of 
his    own    in    the    form    of    a    good    weekly 
salary,  couldn't  see  the  movies— YET. 

Charlie   went    to    work    for    Sennett.      He 
found   a   derby   in   die   pro])   room  that    was 
later  to  become  a   symbol.      Me    found   shoes,   loo  big    fol- 
ium, and   baggy  trousers  and  a  cane  and   a  temperament 
<T\that  were  one  day  to  inspire  the  praise  and  critical  atten- 

LAGS. 


s      Syd      i 
Adventures 


Below 
"Gussle's 

one  of  a  series  of  old 
Keystones  he  made 
.  .  .  it  was  after  this 
that  he  retired  to  look 
after  his  brother's 
financial    interests 


Now  Syd  has  branched 
out  pretty  well  for  him- 
self. He's  funny  too. 
And  he  has  a  nice  con- 
tract with  Warner 
Brothers.  Everything 
sitting  pretty.  Above 
is  Syd  as  he  appears 
next  in  "The  Better 
•Ole" 


tion  of  the  loftiest  brows  of  two  continents. 
He    founded   an   international   character — a 
pathetic  little  tramp   who   had   a  talent   for 
doing  the  wrong  thing  at  the  right  time  to 
do  the  wrong  thing.    Charlie  was  a  figurante 
from     the     Sahara     Desert     to 
Walla  Walla,  Washington,  and 
points    East.       He    was    more 
than   an   actor   or   a   comedian. 
He    was    a    personality.       His 
moods  and  his  whims  were  dili- 
gently recorded.     His  opinions 
respected. 

Syd,  in  England,  read  about 
it.  He  read  in  a  movie  maga- 
zine that  a  man  named  Charlie 
Chaplin  was  making  America 
resound  with  laughter,  and  for 
a  man  who  was  making  Amer- 
ica resound  with  laughter  a  pal- 
try $175  per  week  didn't  look 
so  big  to  Syd. 

It  looked  like  an  insult  when 
he  arrived  in  New  York  and 
saw  the  lines  that  flocked  to  the 
places  showing  Charlie's  pic- 
tures. It  looked  even  more  so 
when  he  found  out  that  stage 
favorites  of  the  New  York  the- 
aters were  drawing  thousands 
of  dollars  a  week. 

So  Syd  stood  on  a  street 
corner  and  put  two  and  two 
together  and  got  plenty  out  of 
it.  He  reasoned  that  if  Charlie 
could  draw  audiences  to  theaters 
all  over  the  country,  he  was  a 
hundred  times  more  valuable 
than  a  legitimate  star  who  could 
fill  only  one  house.  Therefore 
the  managers  of  the  picture 
houses  could  be  made  to  pay 
more  to  the  producers  who 
could  be  made  to  pay  more  to 
the  stars — and  Charlie  in  par- 
ticular. Which  was  what  might 
be  called  a  bright  idea  consider- 
ing that  film  at  that  time  was 
being  sold  like  string  sausage, 
so  much  the  foot,  no  matter 
who  the  star  or  what  the  story. 
He  took  his  idea  out  to  Holly- 
wood and  Charlie  and  Sennett. 
It  was  jake  with  Charlie  but 
Sennett  couldn't  see  it.  Syd 
asked  what  Sennett  could  do 
for  Charlie  and  Sennett  said  he 
didn't  think  he  could  do  much 
more  than  he  was  doing  in  the 
money  line,  so  Syd  said  "Thank 
sou"  and  took  his  plan  and  Charlie  over  to 
Essanay  at  ten  thousand  a  week.  (Ten  pen- 
nies make  a  dime,  one  dime  makes  a  loaf, 
one  loaf  makes  three  meals  if  you've  got  it. 
They  had   it   now.) 

With  Charlie  sitting  pretty  for  the  dura- 
tion of  that  contract,  time  weighed  heavily 
on   Syd's  hands.     He  got  an  offer  to  make 
a    picture   called    "The    Submarine    Pirate" 
md  accepted.      Me  seemed  satisfied. 
But  genius  such  as  Charlie's  needed  constant  attention 
(Continued  on  page  85) 


All  photos  by  Spurr 


THE    KEATON    CHILDREN 


5,P 

PAfili 


Morning,    Afternoon    and 


There  is  an  air  about  this 
gown  of  which  the  Prin- 
ce»  Mary  might  approve 
.  .  .  yet  it  is  decidedly  a 
la  mode.  Fashioned  of 
white  chiffon,  over  a 
foundation  of  white  satin, 
it  has  godets  of  old  ivory 
silk  lace  which  give  the 
fashionable  circular  mo- 
tion in  both  front  and 
back.  All  the  other  in- 
serts, including  the  waist- 
band, are  of  the  same  lace. 
The  neck  line  is  round  in 
the  back  and  higher  than 
it  is   in   the  front 


An  interesting  new  material 
has  been  used  in  this  two- 
piece,  semi-sports  dress.  It 
is  a  kind  of  wool  alpaca  in 
yellow,  with  collar  and  pock- 
ets stitched  with  silver  and 
yellow  thread.  The  borders 
are  almond  green.  In  the 
back  are  two  groups  of  pin 
tucks  which  give  the  blouse  a 
slightly  fitted  appearance. 
And  the  pattern  of  the  soft 
silk  tie  is  printed  in  soft 
pastel    colors 


! 


The  coat  below  is  a  masterpiece  in 
leather  ...  of  Venetian  red, 
with  summer  ermine  of  beige  color. 
It  is  lined  with  a  silk  crepe  of  the 
same  color  which  shows  on  the 
revers  when  the  collar  is  open. 
The  belt  is  drawn  thru  two  brass 
rings  at  the  left  side.  A  circular 
godet  at  either  side  of  the  front 
gives  the  slightest  flare 


""FHE  same  subtlety  of  tone  and 
•*•  suavity  of  manner  that  char- 
acterize Corinne  Griffith  character- 
ize her  wardrobe. 

She  favors  soft  reds,  greens 
wood  browns,  and  much  beige  foi 
her  town  clothes  and  pastel  shades 
for  evening  wear  and  sports. 

Because  she  is  neither  a  decided 
blonde  nor  brunette,  having  green 
eyes,  fair  skin  and  brown  hair,  she 
may  wear  almost  any  color.  But 
whatever  the  color  she  favors,  it 
is  certain  to  be  of  a  subdued  tone 


Very,  very  nautical  in 
spirit  is  this  navy  blue 
twill  frock  that  has  a 
white  flannel  collar  with  a 
naval  emblem  embroi- 
dered in  red  and  gold  in 
each  corner.  Then  there 
is  gold  braid  at  the  cuffs 
and  on  the  suede  belt. 
Even  the  brass  buttons 
that  fasten  the  white  flan- 
nel cuffs  have  anchors  on 
them 


Evening    a    la    Mode 


Cerline  Boll 

Presents 

Corinne  Griffith's 

New  Wardrobe 


w 


To  the  left  is  a  one-piece 
frock  of  orchid  satin-back 
crepe.  There  is  an  under- 
skirt over  which  is  worn  a 
tunic,  box-plaited,  which 
opens  in  the  front.  The 
back,  however,  is  quite 
flat.  The  scalloping 
around  the  bottom  of  the 
simulated  jumper  extends 
up  the  sides  to  the  pock- 
ets .  .  .  and  the  triple 
collar  and  cuffs  and  the 
ties  are  of  a  pastel-green 
chiffon 


The  coat  above  is  of  a 
beige  silk  serge  with  a 
long  wide  scarf  attached. 
The  front  is  made  rather 
circular  by  strips  sewn  to- 
gether, which  widen  at  the 
bottom  and  are  scalloped. 
This  is  worn  on  informal 
summer  occasions,  over  a 
gown  of  the  same  material 
which  is  trimmed  with 
coral  satin  and  coral  beads 


The  coat  of  the  very  swagger  walk- 
ing costume  shown  below  is  made 
of  moleskin  dyed  a  navy  blue  .  .  . 
the  latest  experiment  in  fur.  With 
this  Miss  Griffith  usually  wears  a 
dark-blue  crepe-satin  dress  with 
lingerie  collar  and  cuffs 


The  gown  above  is  a  flat 
crepe,  with  wine-colored 
tulips  in  three  shades 
printed  on  its  white 
ground.  There  are  five 
circular  godets  across  the 
front  and  the  string  belt, 
attached  at  the  sides,  is 
tied  in  back.  A  wine- 
colored  chiffon  scarf  is 
part  of  the  gown  .  .  .  and 
a; coat  of  the  same  color 
in  velvet  and  made  like 
the  other  wrap  on  this 
page  beautifully  comple- 
ments this   costume 


53 

PAfi 


t 


! 


Photographs 

by  G.  Maillard 

Kesslere 


You  cannot  be  sure  th^se  days  .  .  .  Who  would 
believe  that  the  striking  head  above  was 
Leatrice  Joy.  Her  extreme  and  modish  bob 
so  delighted  Manhattan  photographers  that 
they  beseeched  her  for  sittings  .  .  .  There  is 
a  far  hail  between  this  ultra-modern  effect  and 
the    crinolined    study    .    .    . 


Alice  Joyce  Suggests  This  Luncheon 


Luncheon  Menu 


Honeydew    Melon 


Iced  Consomme 


Lamb  Chop* 


Fresh    Peas 


Potatoes   Saute 


Cold   Asparagus,   Vinaigrette 


Bavarian  Cream 


Demi-Tasse 


Photograph  of  Alice  Joyce  (Mrs. 
James  Regan)  taken  in  her  city 
home  especially  for  MOTION  PIC- 
TURE MAGAZINE  by  Russell  Ball 


BREATHES  there  a  man  with  soul  so  dead  he  could 
look  at  Alice  and  think  of  bread  .  .  .    ! 
The  above  does  not  even  deserve  the  apology  of 
"poetic  license.    It  came  to  us  spontaneously  and  we 
couldn't  help  it. 

Moreover,  it  will  not  interfere  with  the  menu  at  all,  for 
while  a  man  might  well  forget  mundane  bread  in  gazing 
upon  Alice,  the  ladies,  God  bless  'em,  can  always  "nibble," 
even  when  they  are  dieting  their  best. 

And  since  all  of  us  have  to  plan  breakfasts,  luncheons, 
and  dinners  for  our  families  and  for  guests,  it  does  rather 
help  to  know  what  the  stars  plan  when  we  get  down  to 
our  more  earthly  recipes. 

•  We  asked  Alice  Joyce  what  her  favorite  luncheon  menu 
is,  or  one  of  them.  She  confided  in  us  that,  quite  fre- 
quently, when  she  eats  at  home,  alone,  it  is  crackers  and 
milk,  but  she  admitted  that  this  would  not  look  so  well 
in  print  as  a  luncheon  menu. 

"When  you  have  the  girls  in  for  luncheon  .  .  ."  we 
urged. 

Then  she  told  us. 

"There  is  one  luncheon  menu,"  she  said,  "that  I  very 
often  order  for  myself  or  for  chance 
guests.  Taking  it  in  all,  I  think  it  is 
about  my  favorite." 

We   publish   this   menu   verbatim. 
(Continued  on  page  107) 

55 

PAfi 


t 


"Fine  Manners"  is 
the  last  picture  that 
Gloria  Swanson  will 
make  for  Para- 
mount. Months  were 
spent  filming  this 
tale  of  an  actor  who 
loves  a  girl  with 
atrocious  manners 
and  endeavors  to  re- 
form her.  Eugene 
O'Brien  is  the  actor 
in  the  case    .     .     . 


type  ot 
role  for  Norma 
Shearerl  There 
seems  no  boundary 
to  this  actress'  ver- 
satility. In  "The 
Weaker  Sex"  she 
portrays  a  lawyer. 
She  is  shown  hare 
pleading  in  defense 
of  her  client.  If  we 
know  anything 
about  men,  she  wins 
the  case    .     .     . 


Judging  from  the 
oval  photograph 
above,  "The  Temp- 
tren"  is  well 
named.  Altho  Greta 
Garbo  has  only  been 
on  the  American 
screen  for  a  short 
time,  she  enjoys 
quite  a  vogue.  The 
admiring  trio  is 
composed  of  Tony 
Moreno,  Armand 
Kaliz  and  H.  B. 
Warner 


"So  This  Is  Paris" 
has  considerable  to 
recommend  it. 
Monte  Blue  for  one 
thing.  Patsy  Ruth 
Miller  for  another. 
And  the  sparkle  and 
ultra-sop  histication 
of  Lubitsch  direc- 
tion  for  another 


There    Is   an    Infinite    Variety    to    the    Motion 


i 


Marion  Daviea  has 
always  been  aeen  to 
best  advantage  in 
human  roles.  And 
"The  Red  Mill"  of- 
fers her  just  the  sort 
of  thing  in  which 
she  excels.  She 
should  make  an  en- 
c  h  an  ting  Tina. 
George  Seigmann 
plays  her  cross 
Uncle  William 


Who  else  but 
Adolphe  Menjou  for 
Satan  in  "The  Sor- 
rows of  Satan"?  D. 
W.  Griffith  is  re- 
ported well  pleased 
with  the  finished 
version  of  the 
Marie  Corelli  novel. 
Carol  Dempster  is 
the  girl  and  Ricardo 
Cortez     is     the     boy 

and  Lya  de 
Putti    is    also    in    the 

cast 


"You  Never  Know 
Women"  is  the  pro- 
found title  of  the 
picture  in  which 
Lowell  Sherman, 
Joe  Bonomo  and 
Florence  Vidor  are 
shown  above.  Joe 
Bonomo  is  a  strong 
man,  insanely  jeal- 
ous of  his  flirtatious 
wife     .  and    a 

source    of    amuse- 
ment    to     the     other 
characters 


"Variety"  comes  to 
us  from  the  German 
studios.  It  finds  its 
interest  in  the  tri- 
angle idea,  but  the 
treatment  of  the 
theme  is  intelligent 
and  original  and  re- 
sults in  a  compelling 
story.  Emil  Jan- 
nings  and  Lya  de 
Putti  are  the  fea- 
tured  players 


Pictures  That  Come  to  the  Screen  This  Autumn 


57 

PAG 


i 


THE  GREAT  GATSBY 

.    .     .    hat  been  a  successful  character.      He  was  a   best  seller  when  he  made  his  first  public  appear- 
ance  between   the   covers  of  the   F.   Scott   Fitzgerald  novel.      Then  he  made  his  stage  debut  and  there 
was  a  continual  line  at  the  Broadway  box-office.      And   now  he   is   to   try   his   fortune   on   the   screen. 
Warner   Baxter,    judging   from   this   photograph,    will    do    well    by    Gatsby. 


! 


58 

at 


THAT'S  OUT 

The  Funny  Side  of  Serious  Things 
By  Tamar  Lane 


They  All  Fall  for  Hollywood 

THE  Motion  Picture  Theater  Owners  of  America 
have  just  finished  holding  their  big  annual  conven- 
tion. It  was  held  in  Hollywood  this  year  and  the 
exhibitors  gathered  with  the  avowed  purpose  of 
finding  some  way  to  combat  the  trust  and  save  themselves 
from  being  wiped  out  of  the  film  business. 

During  their  stay  in  Hollywood,  however,  most  of  the 
theater  owners  were  so  busy  shaking  hands  with  Tom 
Mix  and  rubbing  elbows  with  John  Gilbert,  Raymond 
Griffith,  Monte  Blue  and  other  film  celebrities  that  they 
forgot  all  about  the  trust  and  its  so-called  menace  to  their 
theaters. 

Not  much  was  accomplished  at  the  convention,  but  the 
theater  owners  had  a  good  time.  When  they  get  back  to 
their  home  towns,  some  of  them  may  be  lucky  enough  to 
find  that  they  still  own  their  theaters. 
*  *  * 
The  moral  of  the  above  note  is  :  Motion  picture  ex- 
hibitors are  human.  They  came  into  Hollywood  like 
lions,  but  they  went  out  like  lambs. 


"The  next  time  that  Michael  Arlen  visits  Hollywood,  he 
will,  no  doubt,  be  presented  with  a  brown  derby  in- 
stead of  a  green  hat. 

Arlen's  literary  reputation  made  him  quite  the  man  of 
the  hour  on  his  recent  trip  to  the  film  colony.  Holly- 
wood film  moguls,  whose  estimate  of  high-grade  literature 
is  based  upon  reading  weekly  copies  of  the  Saturday 
Evening  Post  and  the  Sunday  cartoon  supplement  of 
their  favorite  daily  newspaper,  expected  Arlen  to  revo- 
lutionize   scenario   writing   with   a    few    original    stories. 

In  view  of  the  fact  that  Arlen  had  failed  to  include  any 
original  matter  in  the  literary  work  on  which  he  based 
his  reputation,  it  is  not  quite  clear  how  producers  cal- 
culated he  might  inject  originality  into  the  silent  drama. 

Nevertheless,  they  were  willing  to  pay  him  fancy 
prices  to  teach  Hollywood  a  few  new  tricks.  Film  fans 
get  their  chance  to  see  some  of  Arlen's  scenario  work  in 
"The  Dancer  of  Paris."  Now  that  they  have  viewed  it, 
they  will  understand  why  Hollywood  no  longer  looks 
upon  Arlen  as  the  Moses  who  will  lead  them  out  of  the 
wilderness. 


Why  Not  Be  Consistent? 

I  see  where  the  club  women  are  at  it  again..    At  their 

recent  convention  in  Atlantic  City  they  sent  forth  the 
announcement  and  advice  that  American  women  should 
refuse  to  view  any  picture  which  they  did  not  consider 
proper  for  their  children  to  see. 

That's  fine.  Now  let  the  club  women  apply  the  same 
sort  of  sound  common  sense  to  all  other  matters  of  daily 
routine. 

In  future,  all  mothers  should  confine  their  reading 
matter  to  nursery  rhymes,  their  diet  to  malted  milk  and 
paregoric,  their  wearing  apparel  to  rompers,  and  their 
conversations  to  marbles  and  mumbly-pegs. 

So  long  as  we  are  going  to  have  censorship,  why  not 
make  a  good  job  of  it  and  censor  everything? 


TJ^hile  we  are  on  the  subject  of  censorship,  it  may 
v"  please  some  of  our  readers  to  know  that  "The  Wise 
Guy,"  one  of  the  cleverest  pictures  turned  out  of  Holly- 
wood in  recent  months,  has  been  rejected  by  the 
censors. 

If  the  producers  spend  about  a  hundred  thousand  dol- 
lars to  remake  the  picture,  and  cut  out  all  the  sense  in  it, 
the  censors  say  that  they  will  allow  the  picture  to  be 
shown  in  the  land  of  the  free  and  the  home  of  the  brave. 


Ain't  Life  Terrible? 

LJollywood    is    getting    all    excited.       Somebody    has 
started  the  rumor  that  the  big  film  moguls  are  form- 
ing a  combine  with  the  intention  of   cutting  down   star 
salaries. 

It  will  be  a  terrible  blow  when  that  day  arrives. 
It  will  be  a  pitiful  sight  to  see  some  of  our  poor  screen 
(Continued  on  page  105) 

59 
PAG 


I 


The   Picture   Parade 


i 


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if 

y 

*3f« 

>«illo 

Mm  In 
lande  d 
Elnzig 

icher 
mortale 

pez  in  die 
es  Fingers. 

nderWelt 

DON   JUAN— Romantic  Drama— 90% 

rHIS  production  is  a  far  hail  from  "The  Sea  Beast."  It 
presents  the  romantic,  profiled  John  Barrymore.  And  it  places 
him  in  the  years  to  which  he  so  utterly  belongs.  The  story  is 
laid  in  the  days  of  the  Borgias  and  one  intrigue  after  another 
builds  a  plot  mighty  with  suspense. 

Of  course,  Barrymore  in  the  titular  role  has  many  amorous 
adventures.    And  not  the  least  of  these  is  with  L/itcrezia  Borgia. 

Nothing  flavored  with  high  romance  is  omitted.  There  is  a 
two-sword  duel  which  Barrymore  fights  with  the  daring  and 
enchantment  for  which  we  have  always  adored  him.  He  is 
thruout  all  that  we  have  come  to  expect  him  to  be. 

Praise  should  be  given  Estelle  Taylor  who  plays  Lucresia 
Borgia.  She  is  a  fascinating  actress.  Mary  Astor  is  a  fragile 
and  beautiful  heroine.  Willard  Louis  offers  delicious  comedy. 
And  Montague  Love  is  also  excellent. 

Alan  Crosland  has  done  splendidly  with  the  direction. 

SAY    IT    AGAIN-Comedy-80% 

rHE  good  old  Graustark  pattern  comes  to  light  as  a  merry 
burlesque  here.  While  the  director,  Gregory  La  Cava,  does 
not  trespass  too  far  away  from  the  mythical  kingdom  boundaries 
— he  sees  to  it  that  it  goes  on  a  bright  holiday  most  of  the  while. 
He  becomes  romantic  at  the  start  in  establishing  the  plot,  swings 
into  burlesque  in  introducing  the  crown  prince  as  a  Detroit 
sausage  manufacturer — together  with  his  royal  entry  into 
Spezonia — and  finishes  with  a  battle  royal  and  the  inevitable 
romantic  clinch. 

A  good  time  should  be  enjoyed  by  all  at  this  picture.  Patrons 
will  laugh  over  Chester  Conklin  trying  to  look  like  a  prince — 
and  not  getting  away  with  it. 

It  is  set  to  a  fast  pace — the  scenes  being  well  timed — and 
carrying  a  kick  or  two  all  the  way.  The  subtitles  are  provoca- 
tive of  laughter,  tho  with  the  Spezonian  language  represented  by 
spelling  English  backwards  they  become  somewhat  monotonous. 
The  burlesque  far  outshines  the  romance.  Richard  Dix  plays  the 
American  hero  who  doubles  as  the  prince  with  fine  abandon — 
and  "Gunboat"  Smith  shows  a  bag  of  comedy  tricks  as  his  aide- 
de-hokum.  Alyce  Mills,  the  new  leading  woman,  does  her  bit 
charmingly. — Paramount. 

VARIETY-Drama-95% 

E1  MIL  TANNINGS  again  demonstrates  that  he  is  supreme  as  a 
•*-'  pantomimist  in  this  simple,  but  powerfully  dramatic  triangle 
— which  is  enacted  against  the  background  of  a  Berlin  music- 
hall.  As  in  "The  Last  Laugh,"  he  submerges  his  personality  so 
that  one  sees  beyond  the  environment  of  the  character  portrayed 
— and  discovers  the  soul  of  the  man. 

The  same  invisible  forces  which  guide  a  man's  conduct  take 
him  in  charge  and  wreck  him.  Boisterous,  playful,  cunning, 
proud,  a  big  mastiff,  sure  of  himself  and  his  strength — he  plays 
upon  his  emotions  and  becomes  so  much  animated  stuffing  in  the 
hands  of  the  wily  temptress — whose  passion  is  men. 

The  story  builds  in  typical  Teutonic  fashion — marching  in- 
exorably to  its  pre-destined  tragic  climax.  The  director  hasn't 
missed  a  single  point  in  fashioning  the  story  as  an  impressive 
study  of  realism  and  his  figures  stalk  life-like  across  the  screen. 

The  brutish  cavalier  of  the  carnival  renounces  his  marital 
vows.  A  woman,  soft  and  sensuous,  with  big,  limpid  eyes  comes 
into  his  life.  She  is  the  live  who  destroys  his  Eden.  The  slattern 
he  calls  his  wife  bows  down  with  grief  and  humiliation.  And  her 
man  runs  away  with  his  new  mistress — runs  away  to  reap  the 
age-old  insults  of  his  careless  friends  who  have  knowledge  of  his 
degradation.  There  is  your  triangle — shot  with  varied  shadings 
of  true  character  building,  It  is  told  in  the  Hash-hack  style  with 
Jannings  fcacing  the  Court:  as  the  hitter  memories  unfold. 

Here  is  a  picture  which  paints  human  wreckage  in  its  natural 
color  of  gray.  Thru  it  all  Jannings  stalks  as  a  human  being. 
And  not  Ear  behind  him  in  the  conception  of  what  she  represents 
is  Lya  de  Putti. — Ufa-Paramount. 


A   GUIDE   TO   THE  GOOD   PICTURES 

1A/E  will  publish  our  reviews  in  a  uniform  size  so  that  they  may  be  filed  for  future  reference.     They 
by  critics  whose  viewpoints  are  unbiased.      The  ratings  should  be  of  special  assistance. 
Ratings:  Excellent,  95%;  Good,  80%;  Fair,  70%;  Poor,  50% 


are  written 


THE  SON  OF  THE  SHEIK-Drama-80% 

/N  "The  Sheik,"  that  romantic  drama  played  on  hot  desert 
sands,  Rudolph  Valentino  did  much  to  add  a  new  word  to  our 
vernacular.  Youths  who  pull  a  heavy  line  are  still  classified  as 
sheiks  by  the  feminine  contingent.  But  if  this  word  was  be- 
coming passe,  we  prophesy  that  Valentino  in  "The  Son  of  the 
Sheik"  will  do  something  to  revive  it.  Which  is  one  way  of 
saying  that  this  will  be  a  popular  production. 

E.  M.  Hull,  author  of  both  these  sheik  novels,  might  be  said  to 
know  her  stuff.  And  the  same  might  be  said  of  Valentino  .  .  . 
the  director,  George  Fitzmaurice,  and  Vilma  Banky. 

Again  Valentino  wears  the  robes  of  the  Arabians  .  .  .  again 
he  dashes  over  desert  sands  on  a  full-blooded  steed.  And  again 
there  is  a  fair  lady  in  distress.     Else,  why  a  sheik? 

There  is  a  beauty  to  the  entire  production.  And  if  it  adds 
nothing  of  unadulterated  art  to  the  screen,  it  certainly  adds  an 
entertainment  value.  Surely  Valentino  need  have  no  doubt  of 
the  appeal  of  his  most  famous  character.  Zorro's  son  made 
screen  history  for  Douglas  Fairbanks — and  the  sheik's  son 
should  carry  on  Rudolph's  popularity. — United  Artists. 

ELLA  CINDERS— Romantic  Comedy- -70% 
'T1HIS  picture  is  right  up  the  street  where  Colleen  Moore  lives. 
■*  With  her  sense  of  the  ridiculous  she  makes  this  rustic 
Cinderella  a  real  character  study.  The  first  impression  of  the 
famous  cartoon  strip  was  that  it  couldn't  be  done  in  the  movies — 
that  it  didn't  have  enough  stuff  in  it.  But  translated  into  celluloid, 
it  more  than  holds  up — and  makes  good. 

We  see  Ella  winning  the  beauty  prize — we  see  her  making  off 
to  Hollywood — we  see  her  getting  sick  on  the  train  as  a  heap 
big  Injun  orders  her  to  smoke  one  of  his  cigars — we  see  her 
crashing  the  studio  gate  successfully — and  actually  getting  a 
contract  for  feature  roles. 

Call  it  hokum  if  you  will — but  it  is  the  kind  of  hokum  that 
registers  with  nine  persons  out  of  ten  who  do  not  pose  as  hard- 
boiled.  There  is  pathos  in  Ella's  every  move  and  the  humor  is 
well-distributed  in  the  studio  scenes.  Here  was  a  chance  for  the 
director  to  overdo  it.     But  he  keeps  his  balance. 

Colleen  makes  Ella  the  eccentric  "step-child"  she  is  in  the 
comic  strip — and  Lloyd  Hughes,  playing  a  movie  counterpart  of 
"Red"  Grange,  makes  a  competent  foil  for  the  star.  You  should 
enjoy  the  picture — not  only  for  its  appealing  characterization, 
but  also  for  its  homey  incident  which  is  most  colorfully  pre- 
sented. The  frail  idea  might  have  been  spoiled,  but,  thanks  to 
sympathetic  treatment,  it  takes  on  real  value. — First  National. 

GOOD    AND    N AUGHT Y-Romantic  Comedy-80% 

C^VERY  other  director  on  the  Lasky  lot  has  been  assigned  to 
■*-'  direct  Pola  Negri — so  it  was  quite  to  be  expected  that  Mai 
St.  Clair  would  have  his  opportunity  of  trying  to  make  a  worthy 
picture  for  her.  He  has  succeeded  where  others  have  failed. 
Whatever  magic  he  used  is  not  known,  but  he  has  directed  her 
as  if  in  sympathy  with  her  moods.  The  result  is  a  brisk  little 
hodge-podge  of  comedy  and  fine  manners. 

Now  the  idea  is  not  so  new.  It  is  nothing  else  but  the  dowdy 
secretary  yarn  dressed  up  with  novel  trimmings.  The  girl, 
looked  upon  as  a  hopeless  old  maid  by  her  alert  employer,  be- 
comes piqued  over  his  partner's  wise-cracks  anent  her  ugliness. 
So  she  makes  herself  over  in  a  jiffy — too  much  of  a  jiffy  to 
ring  true — and  follows  the  boys  to  Florida — in  order  to  save 
the  more  acceptable  from  a  wily  vampire  or  three. 

What  transpires  in  the  boom  state  is  what  makes  up  the  "kick" 
to  the  picture.  It  is  all  done  to  the  tune  of  fast  and  breezy 
action — with  Ford  Sterling  nearly  stealing  the  honors  with  his 
assortment  of  gags.  Leave  it  to  him — a  graduate  of  the  Sennett 
school — to  know  what  to  do  with  a  scene  when  he  sees  it.  But 
St.  Clair  has  brought  forth  Pola  as  a  comedienne,  and  that  is  the 
big  achievement  of  the  picture.  The  public  has  almost  despaired 
of  seeing  the  star  in  a  story  that  fits  her  histrionic  stature. 
"Good  and  Naughty"  is  Pola's  best  American  film. — Paramount. 


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MISS    NOBODY— Romantic  Comedy— 50% 

rHE  excuse  for  this  picture  is  in  giving  Anna  Q.  Nilsson 
the  chance  to  masquerade  in  masculine  clothes.  Otherwise 
it  is  a  frail  little  piece — which  tugs  at  its  romantic  strings 
and  very  nearly  breaks  them.  That's  how  brittle  is  the  plotting 
of  the  idea — which  concerns  a  spirited  society  girl,  made 
penniless  by  her  father,  assuming  a  masculine  make-up  in 
order  to  get  on  in  the  world. 

Attired  in  makeshift  clothing,  she  meets  a  party  of  tramps 
and  the  following  scenes  are  devoted  to  enlivening  it  with  gags 
and  snappy  subtitles.  Miss  Nilsson  has  a  lot  of  fun  in  her 
disguise.  While  the  romance  is  having  its  innings,  there  are 
interludes  given  up  to  the  slap-stick  of  the  other  tramps.  Mr. 
Hero  proves  to  be  in  disguise,  too.  The  film  isn't  substantial 
enough  for  five  reels.  What  few  moments  it  has  belong  to 
Miss  Nilsson.  Walter  Pidgeon  is  competent  enough  as  the 
vouth  who  rides  the  brake-rods  with  her. — First  National. 


LOVEY    MARY— Heart-Interest  Drama— 80% 

A  LICE  HEGAN  RICE'S  beloved  character  becomes  hu- 
■**  manized  on  the  screen — the  result  of  a  sympathetic  treat- 
ment of  the  story  and  the  able  acting  of  a  well-balanced  cast. 
There  is  much  sentiment  here,  but  it  isn't  the  kind  that  be- 
comes mawkish.  Indeed,  it  becomes  almost  lifelike  and  so 
well  are  the  humanities  distributed  that  the  spectator  will  feel 
as  if  he  is  an  actual  inhabitant  of  the  Cabbage  Patch. 

Bessie  Love  plays  the  title  role — and  extracts  a  lot  of  color 
and  feeling  from  it.  She  is  a  bit  kittenish  at  the  start,  but 
later  gets  right  into  the  characterization.  It  is  our  opinion 
that  without  competent  players  the  story  would  not  have  much 
to  carry  it.  But  it  is  so  finely  acted  that  the  obvious  high 
marks  are  eliminated.  Mary,  an  orphan  girl,  adopts  her  way- 
ward sister's  little  boy — and  the  interest  is  found  in  her 
troubles  in  rearing  him.  Patrons  will  enjoy  Bessie  Love,  Vivia 
Ogden,   Mary  Alden  and  William  Haines. — Metro-Goldwyn. 


I 


THE    FLAME    OF   THE     YUKON-Melodrama-50% 

C HADES  of  Dorothy  Dalton  and  her  original  flame!  Here 
»-J  comes  the  old  melodrama  of  the  Alaskan  honky-tonk — all 
:  up  in  new  trimmings — and  with  Seena  Owen  in  the 
title  role.  But  the  modern  version  docs  not  place  its  ancestor 
under  an  eclipse.  There  have  been  too  many  similar  ideas 
ground  thru  the  movie  mill.  However,  the  title  is  magnetic. 
it  suggests  quick  trigger-lingers — and  mad  passion.  Which 
doubtless  inspired  the  sponsors  to  employ  it  again. 

The  anticipated  fireworks  do  not  go  off.  Indeed,  the  action 
is  rather  mild  compared  to  the  original.  If  you  know  your 
Alaskan  melodrama  at  all.  it  is  easy  for  you  to  guess  that  the 
girl  repents  and  reforms — guided  as  she  is  by  the  elevating  in- 
fluence of  romance.  The  punch  scene  introduces  one  of  those 
knock-'em-down  and  drag-'em-out  fights.  There  is  a  young 
trouper  in  the  picture  who  will  bear  watching.  1 1  is  name  is 
Id  'way. — Producers  Distributing  Corp. 

62 


THE  MARRIAGE  CLAUSE-Drama-80% 

MANY  pictures  have  been  plotted  around  the  life  behind 
the  footlights,  but  "The  Marriage  Clause"  comes  closer 
to  realities  than  any  celluloid  work  we've  ever  seen.  The  story 
is  not  the  usual  excursion  into  the  life  of  some  chorine  who 
has  to  fight  constantly  to  keep  the  bestial  manager  in  his  place. 
It  is  motivated  around  a  bigger  idea  than  that. 

Everyone  knows  that  some  managers,  to  keep  their  stars, 
stipulate  that  they  must  not  marry.  Upon  this  premise  the 
star  signs  on  the  dotted  line.  She  has  made  good  because  of 
the  constant  sympathy  and  friendly  advice  offered  her  by  the 
stage  manager.     They  fall  in  love,  but  must  wait  three  years. 

The  drama  soars  and  touches  real  humanities. 

It  brings  Lois  Weber,  the  only  woman  director,  back  to 
the  megaphone — and  she  demonstrates  that  her  art  has  broad- 
ened during  her  absence.  Billie  Dove,  as  the  star,  gives  a 
most  sympathetic  performance. — Universal. 


FOOTLOOSE   WIDOWS-Comedy-Romance-50% 

rHE  main  title  is  about  the  most  commendable  feature  of 
this  picture.  True,  some  of  the  players  try  to  catch  some- 
thing of  the  spirit  of  the  plot,  but  their  work  is  wasted  upon 
a  story  which  has  barely  enough  substance  to  carry  thru  three 
reels. 

The  idea  involves  a  couple  of  gold-diggers  who  work  in  a 
modiste  shop  in  New  York.  The  owner,  being  in  love  with 
the  more  personable  of  the  girls,  permits  both  of  them  to 
borrow  sufficient  finery  to  make  a  hit  at  his  little  party. 
These  fair  hombrcs  then  proceed  to  place  New  York  and  their 
boss  far  from  their  immediate  presence.  They  hop  to  Palm 
Beach  for  the  express  purpose  of  trapping  a  millionaire. 

What  results  is  a  time-worn  treatment  of  hackneyed  situa- 
tions. The  film  is  burdened  with  a  set  of  weak  titles — which 
do  not  furnish  any  humor  to  the  commonplace  scenes.  Louise 
Fazenda  succeeds  in  being  colorful. — Warner  Brothers. 


THE  PALM  BEACH  GI RL-comedy-70% 

A  BOUT  everything  happens  here  that  could  possibly  happen 
■*"*  in  a  picture  built  upon  a  racing  finish.  The  director  is 
forced  to  rush  it  thru  to  the  tune  of  frenzied  action  until  the 
girl  from  the  Corn  Belt  speeds  her  boy  friend's  motor-boat 
past  the  wire  a  winner.  The  idea  is  based  upon  the  lively 
plan  of  keeping  it  in  perpetual  motion.  Yet  despite  its  speed, 
it  manages  to  lag  in  its  pace. 

The  irrepressible  imp  from  Ioway  comes  to  visit  her 
relatives  and  is  introduced  by  one  of  the  oldest  gags  that 
ever  was  ground  thru  celluloid.  Poking  her  head  of  the? 
train  window,  a  passing  tugboat  blackens  her  face.  And. 
so  it  goes  from  one  gag  to  another  thru  six  dizzy  reels. 

Bebe  Daniels  and  Lawrence  Gray  have  their  hands  full  in 
obeying  the  laws  of  gravity.  Miss  Bebe  and  her  leading  man 
succeed  in  making  it  interesting.  But  the  idea  is  nothing  to 
make  a  great  fuss  over. — Paramount. 


PARIS—Romantic  Melodrama— 70% 

THHE  story  of  the  Paris  underworld  is  given  another  cellu- 
■*  loid  treatment.  Which  is  that  of  the  apache  and  the 
gamine  who  loves  him  for  his  cruelty.  This  theme,  seem- 
ingly, never  grows  old.  It  furnishes  Charles  Ray  with  a  dif- 
ferent characterization — and  his  study  is  the  only  novel  twist 
in  the  picture.  He  plays  a  young  giddy  American  who  falls 
hard  for  the  girl  of  Montmartre  and  succeeds  in  establishing 
her  in  his  house  until  her  lover  gets  out  of  jail. 

As  mentioned  above,  this  surprise  finish  adds  a  novel  touch 
in  a  story  which  doesn't  get  off  the  beaten  track.  True  it 
carries  interest  here  and  there — what  with  its  fights,  its  at- 
mosphere— and  its  character  sketches — but  these  hardly  com- 
pensate for  the  lack  of  originality  and  humanity  in  the  treat- 
ment of  the  plot.  Joan  Crawford  adds  spirit  to  the  role  of 
the  girl — and  Douglas  Gilmore  is  as  much  in  character  as  any 
apache   who   stalks    our   stage   and    screen. — Metro-Goldwyn. 


ROLLING     HOME— Romantic  Comedy-70% 

rHE  homely  and  thoroly  tried-and-true  story  of  the  son 
whose  mother  thinks  him  a  millionaire — and  who  returns 
to  the  native  hearth  with  the  guilty  conscience  that  he  is 
broke,  is  lugged  forth  again  here.  It  is  rather  creaky  stuff 
for  this  star  who  has  climbed  into  popularity — not  only  for 
his  personality,  but  for  the  high  calibre  of  stories  which  have 
been  his  allotment. 

The  action  introduces  plenty  of  complications  for  the  central 
figure.  Speeches  are  made  from  platforms — draped  with  the 
flag — and  when  it  appears  likely  that  he  will  be  exposed  as 
a  big  fraud,  oil  is  discovered  in  the  village  square.  He  is 
given  credit  for  giving  the  town  its  boom — and  he  stays  to  fall 
in  love  and  win  the  girl.  Naturally,  with  such  a  story  Denny 
cannot  employ  his  usual  pace.  But  at  that  it  remains  a  pretty 
fair  sort  of  picture.  The  star  and  Marion  Nixon  see  to 
that. —  Universal. 

63 
PAG 


I 


It  All  Began 
When  Charlie 

Caught  La 
Meller's  Violets 


By 

Milton  Howe 


I 


CELEBRITIES  of  the  motion  picture  world 
applauded  with  enthusiasm  for  fifteen  minutes 
after  the  final  curtain  had  been  lowered  on  the 
first-night  performance  of  Raquel  Meller,  the 
Spanish  song-bird.  A  greater  reception  has  never  been 
accorded  anyone  by  the  stars  of  the  motion  picture  world. 
Senorita  Meller  at  first  gave  but  two  performances  and 
at  both  of  them  the  house  was  sold  out  at  ten  dollars  a  seat. 
Later  in  the  week  she  appeared  under  the  auspices  of 
Charles  Chaplin  and  other  motion  picture  folk  in  a  special 
performance  at  El  Capitan  Theater  in  Hollywood. 

The  first  night  the  famous  Spanish  artist  played,  all  the 
stars  of  filmdom  were  present.  Of  course,  Antonio 
Moreno  was  there  to  greet  the  Senorita  from  his  native 
land.  Pola  Negri  made  a  couple  of  entrances,  but  she 
caused  no  more  comment  than  if  she  were  entering  her 
own  front  door. 

Rudolph  Valentino  sat  in  a  box  the  first  night  and  the 
(Continued  on  page  115) 


It  was  uncertain  whether  or  not  Raquel  Meller  would 
sign  a  motion  picture  contract  when  she  went  to  Cali- 
fornia. And  the  news  that  her  first  appearance  on  the 
American  screen  will  be  under  Charlie's  direction  is 
excellent   news   indeed 


International  Ncwsrcel 


64 


The 

Editor 

Gossips 


Once  again  Ramon 
Novarro  comes  to 
New  York  incognito 
.  .  .  and  he  tells  of 
a  girl  he  used  to 
meet  at  twilight  in  a 
Mexican   plaza    .     .     . 


with  Ramon  Novarro  .  .  .  Corinne  Griffith  .  .  .  Paul  Bern 


IN  the  parked  plazas  it  was  pleasant  after  school.  The 
girls  would  walk  about  the  curving  paths.  And  they 
sometimes  seemed  like  butterflies  in  their  pale 
dresses  when  dusk  came.  Their  mothers  or  duennas 
would  sit  embroidering  or  talking  on  benches  among  the 
twilight  flowers. 

"We  boys  would  walk  around  and  around,  each  one  of 
us  hoping  to  meet  one  girl.  Always  in  every  boy's  heart 
there  was  the  image  of  one  girl. 

"Sometimes  when  you  passed  her  she  would  smile. 
That  meant  great  happiness.  You  would  hurry  your 
steps  so  that  you  might  pass  her  soon  again.  But  if  she 
did  not  smile  at  you  but  was  so  interested  in  talking  with 
her  friend  that  she  seemed  not  to  see  you,  why  then  you 
were  very  sad. 

"The  girls  and  boys  still  have  those  romantic  evenings 
in  Mexico." 

It  was  Ramon  Novarro  talking.  He  had  come  to  New 
York  incognito.  He  had  not  wanted  his  telephone  to  ring 
constantly  with  requests  for  interviews  or  photographic 
sittings.  He  had  traveled  three  thousand  odd  miles  to  get 
away  from  motion  pictures  and  being  a  star.  He  wanted 
to  see  a  few  of  the  new  plays  and  to  hear  some  music. 

And  while  he  had  talked,  the  traffic  of  Park  Avenue 
had  groaned  and  honked  and  slithered  on  fifteen  stories 
below. 

We  think  that  life  today  is  what  it  is  in  spite  of  people. 
We  of  this  century  have  created  a  Frankenstein  monster 
in  the  modern  pace.  We  are  in  such  a  nervous  state  that 
we   constantly    fear   that   we   will   miss .  something.      We 


have  taken  even  romance  by  the  heels.  And,  of  course, 
to  misquote  the  immortal  words  of  Fannie  Hurst,  "the 
dust  has  dropped  off  the  butterfly's  wings  and  the  dew 
has  dropped  off  the  rose." 

"What  would  happen,  do  you  suppose,"  Ramon  asked 
us  humorously,  "if  we  presumed  to  make  the  gestures 
made  years  ago  .    .   .  if  we  resurrected  old  graces?" 

It  would  have  been  difficult  to  say. 

However,  in  a  comparative  degree,  Ramon  Novarro 
has  stepped  back  and  permitted  the  mad  modern  pace  to 
pass  him.  Hollywood  calls  him  a  recluse.  He  does  not 
attend  countless  dinner-parties  and  tennis  tournaments 
and  dances.  But  he  is  not  a  recluse.  He  has  merely  not 
entered  the  social  life  of  what  might  be  called  his  group. 

Away  from  the  studios  he  looks  for  recreation  in  his 
own  way.  He  has  a  few  friends  and  evening  after  eve- 
ning drifts  into  midnight  as  they  sit  talking  of  an  odd 
variety  of  things.  He  reads  .  .  .  not  what  is  being  read 
but  what  interests  him.  It  may  be  an  adventure  of  old 
whaling  days  .  .  .  or  a  semiscientific  book  about  the 
professors  who  went  down  into  the  tropics  to  fight  a 
plague  ...  or  the  autobiography  of  some  musician. 
And  he  almost  always  goes  to  the  Hollywood  Bowl  be- 
cause there  is  good  music  to  be  heard  there. 

How  few  of  us  actually  do  the  things  we  want  to  do. 
It  takes  a  courage  to  seek  your  individual  interest  regard- 
less of  what  everyone  else  is  doing  ...  to  eschew  any 
social  group  so  that  you  find  it  unnecessary  to  maintain 
any  standard  or  group  interests. 

(Continued  on  page  89) 

65 

PAfl 


t 


Theda  Bara  is  trying  to  come 
back  in  comedies.  This  old 
picture  finds  her  as  Cleo- 
patra. Remember  what  a 
great    success    that    was? 


Spurr 

Henry  B.  Walthall  is  still  the  fine 
actor  he  was  as  the  memorable 
Little  Colonel  in  "The  Birth  of  a 
Nation."  Today  he  is  a  featured 
player 


Ga'ea 
Florence  Turner  is  playing 
roles  of  slight  importance. 
She  was  one  of  the  greatest 
old-time  favorites  known  as 
"The  Girl   with   the   Big  Eyes" 


How  Long  Are  They  Stars? 


ong  /Are 

By  Norman  L.  Sper 


i 


STARS  that  are  clustered  in  the  motion 
picture  firmament  today  are  shin- 
I    ing   far  more  brilliantly  and  are 
enduring   in   public    favor   much 
longer  than   those  who   shone   so   re- 
splendently   in   the   pioneer   days   of 
the  misty  past.  ••' 

The  stars  of  today  are  having  an 
average  run  of  from  six  to  seven 
years  as  stellar  lights  in  the  com- 
paratively new  heaven  of  entertain- 
ment, while  in  the  earlier  days  the  \ 
Luster  of  the  leaders  dimmed  in  a  frac- 
tion of  more  than  four  years. 

This    does    not    mean    that    these 
stars  become  totally  obscured  in  the 
film  firmament  but  rather  that  their 
brilliance   was   dimmed   by  the  radi- 
ance   of    the   new   arrivals    and   that 
they    become    secondary    plan- 
ets   to   the    new    constellations 
the  producer-astronomers  had 
ered. 

There  are  exceptions,  of 
course,  a  few  of  the  stars  of 
today  appeared  on  the  horizon 
from  ten  to  fifteen  year-  ago 
and  arc  -till  shining  bril- 
liantly, but  these  can  be 
counted  on  the  fingers  of  one 
hand.  Relentless  time  and  the 
fickle  fancy  and  the  short 
memory  of  the  public  have 
led  the  others — or  rather  most 
of  them — down  into  the 
depths  of  oblivion. 

Stardom    is   at   besl     hort 
lived   in   motion    pictures.      In 
66 


Apeda 
Most  people  in  motion  picture  circles 
believe  that  Mabel  Normand  has  a 
good  opportunity  to  regain  the  place 
she  lost  thru  a  series  of  unfortunate 
circumstances 


Mae   Marsh    failed 


fully 


!    back    and 
retirement 


some  cases  it  is  like  the  flitting  cloud  that 
dissolves  after  passing  over  the  surface 
of   the   cinema   world.      Stardom   with 
.         others  is  more  tangible,  more  durable, 
more  impressive.     It  adds  to  its  bril- 
liance after  it  appears  on  the  horizon, 
grows    in    splendor    following    the 
orbit  to   its   zenith   and   then   fades 
gloriously   into   a   sunset  of   golden 
memory  as  it  sinks  beyond  the  west- 
ern border  of  time. 
Tho  the  world  has  seemed  to  believe 
otherwise,    the    stars    of    the    cinema 
heaven  are   eclipsed   and   fade   into   vir- 
tual obscurity  quicker  than  do  those 
of    its    nearest    rival    in    American 
favor — baseball. 

The  average  length  of  stardom  to- 
day, as  already  stated,  is  between 
six  and  seven  years.  The 
mm  average  life  of  the  great  stars 
of  the  diamond  is  between  ten 
and  twelve  years.  In  the  case 
of  the  famous  Ty  Cobb,  it  has 
extended  beyond  twenty.  The 
great  Cy  Young  pitched  mar- 
velous baseball  nearly  twenty 
years.  Zack  Wheat  is  still  a 
.300  hitter  and  a  glowing  star 
of  the  diamond  after  eighteen 
years'  service.  The  lamented 
Christy  Mathewson  and 
Adrian  Anson,  Joe  McGin- 
nity,  Larry  Doyle,  Mike  Don- 
lin,  who  is  now  in  Hollywood 
and  very  successful  as  a  mo- 
tion picture  actor,  and  others 
enjoyed   stardom  on  the  dia- 


peace- 


There   are  not   more  than   five  people   on  the  screen  who  have 
been  able  to  hold  their  stardom  for  more  than  ten  years 


mond  that  extended  over  a 
period  of  more  than  twelve 
years. 

But  the  cinema  stars  with 
long  records  of  public  favor 
are  few— Mary  Pickford, 
Harry  Carey,  Charles  Chap- 
lin, Douglas  Fairbanks, 
Norma  Talmadge  and  per- 
haps a  few  others.  These 
have  enjoyed  stardom  for  ten 
years  or  more.  How  many 
others  can  claim  to  have  re- 
mained stars  for  so  great  a 
period  of  time?     Few  indeed. 

A  distinction  must  be  noted 
here.       There     are     at    least 
thirty-five  actors  and  actresses 
who  have  been  in  public  favor 
ten  years  or  more.     Some  of 
these   have   been   stars.      But 
their  period  of  stardom  was 
comparatively     short-lived,     they     were 
eclipsed  by  the  brilliance  of  newly  dis- 
covered constellations  and  retrogressed 
back  into  the  ranks  of  featured  play- 
ers.    Many  of  these  are  still  great 
favorites  today,  but  their  light  has 
been  receding  and  is  still  receding 
rapidly  and   soon  they  too   will  be 
just  a  memory. 

But  all  the  while,  as  these  other 
stars  rose  brilliantly  and  then  faded 
slowly  into  minor  parts  or  obscurity, 
me  greater  satellites  remained  fixed  in 
their  positions  and  several  at  least  are  as 
brilliant  today  as   ever  and  perhaps,  in 
one  or  two  instances  more  so. 

As  we  turn  back  the  pages  of  cinema 


Mary  Pickford  has  retained 
her  high  place  longer  than 
anyone  else  on  the  screen. 
For  fifteen  years  now  she  has 
been  an  idol 
Lindstedt 


This  is  the  twelfth  year  of  Norma  Talmadge's  star- 
dom. She  was  first  successful  on  the  old  Vitagraph 
lot.  And  today  she  appears  younger  and  more 
beautiful  than  in  this  old  still  from  "The  Battle 
Cry   of   Peace" 


Charlie    Chaplin    has    had 

eleven   years   of   success.     And 

he    is    greater    today    than    he 

ever  was 

Douglas  Fairbanks  is  just  ending 
his  tenth  year  of  stardom.  But  the 
way  things  look  now,  Doug  has 
many  years  of  even  more  brilliant 
achievement    ahead    of    him 


history,  we  find  that  the  star- 
dom    period     of     the     other 
favorites    ran    from    two    to 
seven  years,  except  in  the  in- 
stances already  noted.     There 
is  an  element  of  the  tragic  and 
pathetic     in     comparing     the 
lives  of  these  stars  in  the  old 
days     with     their     existence 
now.       The     lovable     Mabel 
Normand,    who    starred     for 
seven    years,    is    seeking    re- 
establishment  in  public  favor. 
She  is  attempting  a  comeback 
in  two-reel  comedies.     Henry 
Walthall    is    now    a    featured 
player.   Mae  Marsh  has  failed 
to  come  back.     William   and 
Dustin    Farnum    occasionally 
play.    Marguerita  Fisher  takes 
parts  now. 
Florence  Turner,  one  of  the 
greatest  of  old-time  favorites,  is  playing 
roles     of     more    or    less     importance. 
Maurice  Costello,  the  matinee  idol  so 
greatly   beloved  by  the  girl   fans,   is 
playing      minor      parts.         Antonio 
Moreno  holds  his  own  to  a  certain 
extent  by  being  featured.     Francis 
X.    Bushman,   who   left  the  screen 
for  a  time,  is  still  being  featured  in 
big  casts.  Theda  Bara  is  in  comedies. 
Florence  Lawrence  failed  in  a  come- 
back.    Charles  Ray  is  fighting  desper- 
ately to  regain  his  old  place  in  the  sun. 
Bryant   Washburn  appears   in   an   occa- 
sional picture.      Pearl   White   could  not 
(Continued  on  page  97) 


Remember  the  old  A.  B. 
(American  Biograph)?  It 
was  then  that  Harry  Carey 
came  into  prominence.  To- 
day, thirteen  years  later,  he 
is   still   a    drawing-card 


Now   Helene   Costello   has   done   it.     But   she   was   not   a   willing   victim 
to   the   shears.      She   loathed    having   her   hair   bobbed   and    would    not 
have    thought    of    it    if    it    had    not    been    for    her    role    in    "The    Honey- 
moon   Express"    which    demanded    short    tresses 


CHARLIE  CHAPLIN— without  his  cane,  his  hat,  his 
classic  shoes  and  baggy  trousers.  Without  any  of  those 
funny,  pathetic  symbols  which  to  the  public  have  been 
the  very  essence  o\  Chaplin,  but  from  which  Chaplin  has 
always  longed  to  escape.  This  is  what  next  winter  will  bring 
to  the  screen.  Everyone  has  always  known  of  Charlie's  ambition 
to  play  in  serious  drama,  to  create  the  role  of  Napoleon  on  the 
screen,  to  act  the  tragedy  which  his  spirit  knows  so  well. 

Raquel  Meller  has  inspired  Charlie  to  make  his  dream  an 
actuality.  The  Spanish  singer  captivated  Hollywood  as  she  did 
New  York,  and  was  offered  incredible  sums  by  various  moving- 
picture  companies,  to  make  one  picture.  Attracted  by  the 
genius  of  Chaplin  and  the  fact  that  his  offer  of  $120,000  for 
twelve  week-'  work  was  just  a  little  larger  than  any  other, 
Meller  signed  a  contract  to  make  a  picture  under  his  direction 
next  winter.  It  will  be  a  story. of  the  Napoleonic  regime,  with 
Mile.  .Meller  as  Josephine,  and  Chaplin,  at  last,  in  the  role  of 
Napoleon. 

He  is  greatly  daring,  and  we  await  the  outcome  with  some 
misgiving,  it  is  hard,  even  for  a  great  artist,  to  live  down  a 
cane  and  a  hat  and  such  very  large  shoes,  and  it  may  be  the  old 
story  of  the  man  who  finds,  in  the  attainment  of  his  ambition, 
only  defeat.  But  whatever  the  results,  this  will  bring  together 
two  of   the  greatest  personalities  of   the   modern  world. 


A  not  her  of  those  mythical  kingdom  romances  was  per- 
**  petrated  in  .Hollywood.  Mae  Murray  took  unto  her- 
self a  fourth  husband,  a  native  of  the  Republic  of 
Georgia,  who  calls  himself  David  Divani.  David  is  just 
twenty-seven,  and  until  now  has  been  quite  guiltless  of 
any  marriages.  He  is,  of  course,  a  film-actor  now,  but 
they  say  that  back  in  the  old  country  he  was  a  Prince. 
Which  should  make  Mae  a  Princess.  The  ceremony  was 
performed  under  the  auspices  of  that  perennially  roman- 
tic couple,  Rudy  and  Pola,  at  a  church  in  Hollywood 
whose  name  is  withheld   from  the  curious  public.     The 


N 


ews 


of  th 


By  Elizabeth  Greer 


Prince    is    reputed   to   be    wealthy,    but    that    can   make    little 
difference    to    Mae,    who    has    just    bought    a    nice    little    ten 
room    bungalow    in    Beverly    Hills    and    is    able    to    suppo 
anyone    in    what    might    well    be    luxury    to    which    they,  are 
unaccustomed. 


5 


•"The  filming  of  "Old  Ironsides"  is  going  forward  with  a  little 
more  realism  than  the  director  intended.  While  a  battle 
scene  was  being  shot  off  the  coast  of  Catalina,  a  cannon  ex 
ploded  on  board  the  old  frigate  Constitution  and  caused  the 
death  of  one  man  and  the  serious  injury  of  two  others.  Six 
men  were  in  the  rigging  of  the  ship  when  the  blast  occurred. 
It  blew  down  two  huge  masts,  and  the  men  were  sent 
hurtling  to  the  deck  many  feet  below.  Three  of  them 
were  only  slightly  injured.  The  man  who  was  killed  is 
unidentified. 

ITrich  von  Stroheim  has  picked  another!  When  his  next 
•  picture,  "The  Wedding  March,"  is  released,  you  will  hear 
much  of  a  new  discovery,  Fay  Wray.  She  has  been  selected 
by  the  famous  little  Austrian  director  to  play  the  important 
feminine  role  in  ibis  picture.  She  is  very  young  and  in  her 
mannerisms  bears  a  striking  resemblance  to  Mary  Philbin. 
Previous  to  the  von  Stroheim  engagement,  Fay  Wray  had  been 
playing  small  parts  and  bits  in  Universal  pictures. 


Eleanor   Boardman    has   actually    had   an    opportunity    to    enjoy    her 

new    home.       She    had    a    few    weeks'    holiday    when    she    completed 

"Bardelys    the    Magnificent"     before    she    began     "Tell     It    to    the 

Marines" 


Camera  Coasts 


Down    at    the    Santa    Monica    Swimming    Club,    Shirley    Mason    and 

Viola  Dana  amused  the  week-enders  by  their  impersonation  of  "The 

Volga   Boatman" 


Christ,  depicting  him  as  a  human  being  without  allusion  to  the 
spiritual  symbols  such  as  the  halo  and  the  long  white  robes. 

De  Mille  also  announced  that  he  would  not  film  "The 
Deluge,"  after  paying  a  handsome  price  for  the  suggestion  to  a 
Long  Beach  schoolteacher  who  won  the  idea  contest  which  he 
sponsored  in  a  local  newspaper.  The  fact  that  Warner  Broth- 
ers announced  that  they  would  film  a  picture  called  "Noah" 
may  have  had  something  to  do  with  De  Mille's  decision  to  can- 
cel the  production. 

VY/hen  last  I  saw  Patsy  Ruth  Miller,  she  had  just  undergone 
*'  one  of  those  operations  where  the  surgeon  cuts  out  the 
tonsils  and  carves  a  few  frescoes  on  the  roof  of  the  mouth. 

However,  the  operation  seemed  to  have  no  effect  on  Pat's 
ability  to  yell,  for  when  I  saw  her  she  was  screaming  bloody 
murder  and  whacking  a  villain  over  the  head  with  a  couple  of 
fists.  She  is  playing  in  "Broken  Hearts  of  Hollywood,"  and 
when  I  crashed  onto  the  set  at  Warner  Brothers  she  must  have 
been  enacting  the  scene  where  the  hearts  are  broken.  The 
young  man  who  was  playing  the  villain  suffered  an  awful 
pummeling  at  the  hands  of  Pat.  In  fact,  the  hair  pulling  was 
so  apparent  that  I  believe  .the  poor  young  actor  will  have  to 
play  bald-headed  roles  for  a  while. 


Dola  Negri  is  to  have  a  new  director,  Maurice  Stiller, 
*■  who  was  relieved  at  the  Metro-Goldwyn-Mayer  studios 
by  Fred  Niblo  after  he  had  started  work  on  "The  Temp- 
tress." Stiller  has  suffered  the  fate  that  overcomes  most 
foreign  directors  when  they  come  to  Hollywood.  He 
was  unable  to  grasp  an  understanding  of  the  business  and 
technical  end  of  making  a  motion  picture  in  an  American 
studio. 


and  Milton  Howe 


D  aymond  Hatton  had  about  decided  to  give  up  his 

picture  work  and  become  an  animal  trainer  when  the 

animal  died.     Ray  captured  a  baby  sea-lion  on  the  rocks 


Cyd  Chaplin  tells  this  one  on  "Chuck"  Reisner's  young 
*^  son.  "Chuck"  had  just  finished  directing  Chaplin  in 
"Oh,  What  a  Nurse."  One  evening  at  home  he  was  com- 
plaining because  he  had  been  unable  to  get  a  theater  in  which 
to  preview  the  picture.  His  young  son  who  attends  a  school 
devoted  exclusively  to  the  children  of  Christian  Scientists 
asked  his  father  the  name  of  the  picture. 

"  'Oh,  What  a  Nurse'  is  the  title,  sonny,"  replied  "Chuck." 
"Well,  I  was  just  thinking  you  might  preview  the  picture 
at  our  school,"  said  junior,  "but  the  title's  all  wrong." 

'"There  was  one  murder  in  Hollywood  this  month.  Peter 
A  the  Great,  the  dog  star,  was  killed  when  he  was  shot  thru 
the  neck  by  a  man  who  entered  into  an  argument  with  his 
master. 

The  dog's  owner  and  trainer  was  paying  a  visit  to  another 
man  who  is  a  dog-fancier:  An  altercation  took  place  be- 
tween the  two  men  and,  according  to  reports,  as  Peter's 
master  started  to  drive  away  in  his  machine,  the  other  man 
pulled  a  revolver  and  began  firing  at  the  departing  car.  One 
of  the  shots  struck  the  dog  in  the  neck  and  he  died  shortly 
after. 

"The  King  of  Kings"  is  the  title  of  Cecil  B.  De  Mille's 

next  picture.     It  is  to  be  a  story  surrounding  the  life 

of  Christ.     De  Mille  plans  to  present  the  human  side  of 


Everywhere  Mary  and  Doug  go  they  are  met  with  ovations 
and  other  manifestations  of  their  universal  popularity.  A  great 
reception    was    accorded    them    when    their    train    got    into    Berlin 


s  i 


t! 


mar  his  beach  house  at  Mussel  Rock.  The  animal  evi- 
dently had  been  in  a  fight  with  another  sea  monster,  for 
it  was  badly  scarred  and  wounded.  Kay  nursed  it  along 
on  fre>h  fish  and  had  it  catching  a  ball  on  its  nose  when 
it  developed  the  hiccoughs  and  died.  He  had  planned  to 
use  the  sea-lion  in  the  next  picture  he  is  to  make  with 
Wallace  Beery,  "We're  in  the  Navy  Now:" 

Ray  and  Wally  haven't  started  on  their  navy  comedy. 
Some  director  is  always  shouting  for  their  services  in 
other  pictures.  At  present  Nation  is  working  with  Jack 
Holt  in  "Forlorn  River,"  and  Beery  is  playing  a  featured 
role  in  "( )ld  Ironsides." 

If  nothing  else.  Corinne  Griffith  strives  for  contrast  in 
1  her  film  productions.  She  never  wearies  us  with  the 
same  type  of  picture.  Having  completed  "Into  Her 
Kingdom,"  a  tale  of  Russian  court  life,  she  will  make 
"Tin  Tan  .Alley."  Following  this  story,  which  is  sug- 
gestive of  the  jazz-music  realm,  she  will  make  the  screen 
version  of  that  lovely 
operetta,  "The  Lady  in 
Ermine."  Svend  Gade, 
who  directed  her  in  "Into 
Her  Kingdom."  will  he 
czar  of  the  megaphone 
on   the   latter   production. 


TThere  is  a  general 
stampede  on  the  part 
of  producers  to  make 
sequels  to  their  success- 
ful pictures.  Douglas 
Fairbanks  must  have 
been  the  instigator  of  this 
practice  when  he  filmed 
"The  Son  of  Zorro"  as  a 
sequel  to  "The  Mark  of 
Zorro."  Valentino  fol- 
lowed with  "The  Son  of 
the  Sheik."  Harry  Carey 
i-  making  a  sequel  to  one 
of  his  pictures.  If  Para- 
mount will  only  film  "The 
Son  of  the  Covered 
Wagon"  and  Metrb-Gold- 
wyn- Mayer  make  "The 
Brother  of  the  Big 
Parade,"  the  sequel  will 
he  complete. 

I  f  any  of  these  pictures 
ha\(  a  soul,  it  must  he 
very  embarrassing  to 
them,  i  have  been  play- 
ing a  sequel  role  ever 
my  big  broth<  r  de- 
cided to  write  magazine 
stories.  I  have  been 
"The  Kid  Brother  of 
Herb  I  [owe"  for  s()  iong 
that  I  have  ordered 
following  epitaph  en- 
graved on  my  headstone  : 
"Here  lies  the  sequel  to 
I  [erb  I  lowe.  May  hi 
an  early  release  from  the 
pla<  e  he  is  goii 

John  Gilbert  is  ahout 
to  don  the  toga  for  an- 
other big  role.  He  wiH 
play  the  stellar  part  in 
"Pled,  and  The  Devil" 
70 

GL 


which  Clarence  Brown  will  direct.  Brown  was  recently 
signed  by  Metro-Goldwyn-Mayer  after  he  had  turned  out 
several  big  successes  for  Joseph  Schenck.  He  is  an  able 
successor   to   King   Vidor,    who   has   directed    Gilbert   in 

practically  all  the  star's  big  hits. 


B 


i 

*  • 

1 

I                        4^*T 

aknum   must  have  included  actors  when  he  said  that 
we  all  love  to  be  ham  foozled.     Monte  Banks  fell  for 
one  of  his  own  gags  in  a  Hollywood  restaurant. 

Monte  had  just  swallowed  the  last  bit  of  dessert  when 
the  waitress  said,  "Pardon  me,  but  you  look  just  like 
Monte  Banks.  That's  a  compliment  because  I  think  he's 
a  great  actor." 

Monte  smiled  but  said  nothing  and  left  a  dollar  tip. 
As   the   actor   was   going   out   the    door,   the   waitress 
walked  up  to  the  table,  pushed  the  plate  away,  picked  up 
the   dollar  and   nonchalantly   dropped   it  into   her  apron 
pocket. 

"Actors  are  awful  saps,"  she  said,  shrugging  her  shoul- 
ders. "That's  the  fifty- 
first  time  I've  pulled  that 
easr." 


What  is  wrong  with  this  picture?  A  first  guess  might  be  the 
electric  lights  which  William  K.  Howard  is  using  as  a  supple- 
ment  to   the  California   sunlight.       (Wait   until   the   Chamber   of 

Commerce    hears   of   this.) 

The    scene    being    filmed     is    for     "Gigolo"     in    which     Rod     La 

Rocque    and    Jobyna    Ralston    will    hold    the    screen 


Price  Glory"   promises  to   be  another   great   war  picture. 

Raoul    Walsh    is    directing    Sammy    Cohen,    Ted    McNamara    and 

Dolores   Del   Rio   in    this   episode.      This   was   the   stage-play   that 

brought    Lawrence    Stallings    his    first    fame,    you    know     .      .      . 

long  before  he  wrote  "The  Big  Parade" 


YYThat  I  call  a  very, 
™  very  feline  remark 
was  made  by  a  prominent 
actress  when  she  ob- 
served another  equally 
prominent  actress  trip- 
ping across  the  floor  at 
the  Montmartre.  "Yes, 
she's  all  right,  but  the 
only  thing  I  have  seen 
her  do  well,  is  wear  her 
shoes." 

\Y7ord  received  from 
Yy  Mary  Pickford  and 
Doug  state  that  they  are 
getting  tremendous  re- 
ceptions from  the  for- 
eigners. In  Rome,  says 
Mary,  the  crowds  surged 
about  them  making  it 
necessary  for  her  and 
Doug  to  do  their  old 
acrobatic  stunt.  Doug 
put  her  on  his  shoulder 
and  made  a  bee-line  for 
the  post-office  which  was 
near  by.  The  postmaster 
did  not  recognize  them 
and  slammed  the  doors, 
which  I  dont  think  was 
much  of  a  compliment  to 
our  American  idols,  be- 
cause postmasters  only 
close  their  doors  that  way 
when  they  think  bandits 
are  coming. 

Mary  said  that  Doug's 
picture,  "The  Son  of 
Zorro,"  was  very  popular 
in  Italy.  One  reason  for 
the  picture's  appeal  is 
that  Doug  wears  a  black 
shirt,  which  is  the  symbol 
of  the  Fascisti,  and  he 
champions  the  cause  of 
right.  One  of  Mary's 
pictures  was  awarded  a 
(Continued  on  page  114) 


YES   and   NO 


SAY  IT  WITH 

LETTERS 


Have  you  a  kick  against  the  movies?  Then  dont  suffer  in  silence. 
Write  us  a  letter  about  it.  Have  you  a  favorite  that  you  want  to  tell 
the  world  about?  Then  remember  that  it  isn't  fair  to  keep  the  good 
news  to  yourself.  This  department  is  devoted  to  your  opinions  and 
you  are  the  boss  of  this  page 


Defending  the  Foreigners 

1  WOULD  be  gratified  if  this  letter  were  printed  merely  to  con- 
tradict the  impression  R.  H.,  of  Minneapolis,  created  against 
foreign  talent. 
I  wonder  what  impulse  actuated  R.  H.  to  write  such  a  letter. 
Well,  yes,  it  was  a  "kick"  against  the  movies,  but  the  writer  cer- 
tainly was  bashful  about  signing  her  or  his  full  name  under  such 
an  article. 

Does  she  or  he  know  that  competition  merely  adds  a  zest  to  the 
game,  and  if  foreign  actors  and  actresses  are  the  chief  cause  for 
such  an  upheaval,  I  would  say,  let  'em  in  by  all  means !  And  if 
foreign  talent  is  superior  to  the  home-sweet-home  product — tough 
luck — this  is  a  battle  of  the  survival  of  the  fittest,  and  if  a  person 
who  cant  read  or  write  English  is  capable  of  pushing  a  native  of 
"my  country  'tis  of  thee"  to  the  side  in  order  to  reach  the  heights 
of  stardom,  that's  person  we  should  pay  to  see — she  or  he  has  that 
IT,  Madame  Glyn's  well-known  saying. 

As  for  R.  H.  having  seen  sixty-five  pictures  within  the  last  three 
months,  I've  seen  more  than  that  amount  in  the  funny  papers. 

Still   speaking  about   the   home   z's.    foreign  talent 

Say,  if  you  had  the  chance  to  buy  a  Ford  or  a  Rolls-Royce  at 
the  price  of  the  Ford,  which  would  you  buy?- 
So  would  I. 

Mike  Bernard, 
Akron,  Ohio. 

They  Know  the  Public  Likes   It 

T  witnessed  the  portrayal  of  "The  Sea  Beast"  this  evening  and 
was  disgusted  at  the  exaggerated  passion  displayed  in  the  love 
scene  in  the  garden  at  Mauritius.  Who  is  responsible  for  this? 
Actor  or  director?  If  directors  think  the  public  like  to  witness 
such  passionate  osculation  instead  of  dignified  love  scenes,  such 
directors  have  a  very  poor  sense  of  their  responsibility. 

John  Nuding, 
Woodhaven,  New  York. 

Dick  Steals  Mae's  Stuff 

(""  loria  Swanson  used  to  be  my  favorite  actress.  I  suppose  she 
still  is,  but  she  wont  be  if  she  doesn't  have  a  good  picture  soon. 
"Stage  Struck"  was  good,  but  I  cant  say  that  for  "The  Untamed 
Lady,"  and  I  am  sure  "Fine  Manners"  wont  be  very  good  with 
Eugene    O'Brien   as    her    leading   man. 

Richard  Barthelmess  was  my  favor- 
ite actor,  but  "Just  Suppose"  changed 
my  mind  somewhat.  In  "Just  Suppose" 
he  was  just  like  Mae  Murray,  always 
posing. 

As  a  matter  of  fact,  I  think  that  alt 
of  the  pictures  this. year  are  punk,  with" 
the  exception  of  "The  Big  Parade," 
"Ben-Hur,"  "The  Merry  Widow," 
"Tramp,  Tramp,  Tramp,"  and  a  few 
others. 

George  Williams,  Jr., 
Shelter  Island,  New  York. 


Page  Arthur  Rankin 

I-Iere's  boosting  an  unknown!  The 
blond  boy  in  "The  Volga  Boat- 
man," who  saves  Fcodor's  life  by  sac- 
rificing his  own.  Congratulations.  I 
have  seen  the  above  three  times  for  the 
express  purpose  of  watching  your  act- 
ing and  am  delighted  with  the  natural- 
ness of  it.  Not  only  when  you  were 
the  center  figure,  but  in  every  detail 
your  expression  was  excellent  and 
wholly    una ff acted    in    that    you    didn't 


VfOUR  opinions  on  subjects  re- 
*■  lating  to  the  movies  and  their 
players  may  be  zvorth  actual  money 
to  you,  if  you  can  express  them 
clearly  in  a  snappy  letter  of  one  to 
three  hundred  words.  A  five-dollar 
prize  is  awarded  for  the  best  letter 
of  the  month,  which  will  be  printed 
at  the  head  of  this  department. 
One  dollar  is  paid  for  the  excerpts 
printed  from  others.  Write  us 
an  interesting  letter,  giving  reasons 
for  your  likes  and  dislikes.  Sign 
your  full  name  and  give  your  ad- 
dress. We  will  use  initials  only  if 
requested. 

Send    to    YES   AND   NO,   175 
Duffield  St.,  Brooklyn,  N.  Y. 


look  as  tho  a  director  were  shouting  instructions  at  you  continually 
as  so  very  many  minors  do.  I  do  not  know  how  to  identify  you 
other  than  as  "The  Blond  Boatman,"  but  at  any  rate  here's  to  your 
success !     I'm  all  for  vou. 

J.  H., 

Pittsburgh,   Pennsylvania. 

An  Art  Collector 

pToR  nearly  a  year  I  have  been  a  subscriber  to  Motion  Picture, 
and  I  have  saved  all  the  portraits  on  the  covers.  On  the  wall 
in  my  room  there  is  a  blanket  to  which  I  have  pinned  these  pic- 
tures, and  it  really  looks  very  attractive — the  colors  are  so  cheer- 
ful. In  fact,  they  are  a  permanent  institution  in  our  home  and 
the  family  would  be  lonesome  without  them.  I  am  myself  greatly 
interested  in  art,  and  I  think  that  the  portraits  by  Marland  Stone 
are  worthy  of  special  mention.  He  not  only  paints  very  well,  but 
his  color  schemes  are  magnificent,  and  Motion  Picture  is  very 
fortunate  to  have  his  work  on  its  cover.  I  sincerely  hope  that 
Mr.  Stone  will  be  the  one  to  paint  Pola  Negri's  likeness  for  the 
cover  of  the  September  issue,  because  she  deserves  the  best  por- 
trait in  the  whole  world. 

Jessie  Kahles, 
Spring  Valley,  N.  Y. 

Try  Again 

ITans,  dont  give  up  if  you  dont  get  an  answer  to  the  letters  you 

write  to  your  favorite  stars. 

About  two  months  ago  I  wrote  to  my  favorite  actress,  Lois 
Wilson,  but  received  no  answer.  About  two  or  three  weeks  ago 
I  tried  again,  and  this  time  I  received  not  only  a  letter,  but  also 
her  autographed  picture.  I  was  very  much  surprised  when  I  re- 
ceived the  picture,  for  in  my  letter  I  had  not  asked  for  one. 

Even  if  your  favorites  dont  reply,  remember  that  they  are  too 
busy  to  attend  to  their  correspondence,  especially  when  they  get 
so  much,  but  they  appreciate  your  letters  just  the  same. 

R.  O., 
Adel,  Iowa. 

A  Directory  of  Directors 

T  have  read  Motion  Picture  Magazine  for  many  years  and  have 
enjoyed  each  number.  In  a  recent  number  I  read  where  direc- 
tors are  coming  into  their  own  more 
and  more.  This  is  very  true,  and  the 
public  is  becoming  interested  in  the  di- 
rectors more  every  day.  No  doubt 
many  would  like  to  know  what  picture 
such  and  such  a  director  is  working  on. 
Of  course,  in  different  parts  of  the 
magazine,  that  can  be  learned,  some- 
times, not  always.  Now  you  have  a 
department  called  "What  the  Stars  Are 
Doing,"  in  which,  by  the  way,  the  name 
of  William  Haines  should  be  included. 
Couldn't  you  also  have  a  similar  de- 
partment for  directors.  It  would  be 
very  convenient  and  I'm  sure  it  would 
be  appreciated  by  many. 

John  T.  Cuff, 
New  York  City. 


Questionnaire 

YY/ill     somebody    please    answer    the 
following  questions : 
Why  do  the  critics  persist  in  knock- 
ing  Colleen    Moore's   acting?      Because 
most  of  her  vehicles  are  comedies  does 
not  prove  that  she  cant  act.    For  she  can. 
(Continued  on  page  121) 


71  P 

PAflU 


Is  ^^v 


^u 


IT 
tat,  ^" 


Little-But,  Oh  My! 


Snapshots  Ta\en  on 
a  Californian  Beach 


i 


Mary  Hay  Barthel- 
m  e  s  s  has  been 
spending  these 
months  with  her 
father.  And  need- 
less to  state,  she  is 
always  the  most  ad- 
mired little  girl  on 
the  sands.  She  is 
pretty  enough  .  .  . 
but  that  is  not  the 
reason    .    .    . 


Intern 


Richard  Barthelmess, 
pere,  and  his  side 
partner,  Ronald  Col- 
man,  are  usually  with 
her.  The  feminine  con- 
tingent at  the  shore 
find  Mary  a  perfect  ex- 
cuse for  starting  a 
conversation    .    .    . 


72 

r.r 


"Shall  I  Go  Into  the  Movies? 


» 


Let  Marion  Morgan 
Drew  cast  your  horo- 
scope and  tell  you  if 
the  stars  forecast  suc- 
cess for  you  on  the 
screen 


Mrs.  J.  M.,  Son  born  Decem- 
ber 12: 

Your  son  should  make  a  first-rate 
advertising  man,  editor,  publisher  or 
critic.  He  might  become  connected 
with  the  movies  in  one  of  these 
capacities,  for  the  stars  say  that  the 
literary  side  of  motion  picture  pro- 
ducing will  come  into  far  greater 
prominence  after  the  year  1929  than 
has  ever  been  the  case  before.  In 
case  his  tastes  change  about  taking 
up  some  form  of  literary  work  and 
he  decides  to  develop  his  talent  for 
athletics,  I  believe  he  could  make  a 
success  as  a  professional  athlete  if 
he  sticks  to  it.  One  of  his  great 
troubles  in  whatever  career  he 
adopts  will  be  a  tendency  to  have 
too  many  side-lines  with  the  result- 
ing neglect  of  the  main  source  of  the 
bread  and  butter. 

Fay  P.,  August  3: 

This  is  the  most  sensible  letter 
that  has  come  into  this  office  in  many 
a  day.  In  addition  to  your  deter- 
mination to  have  money  enough  to 
support  yourself  for  a  time  in 
Hollywood  and  a  thoro  training  in 
some  sort  of  work  which  is  valuable 
in  screen  presentation,  let  me  urge 
you  also  to  consider  the  proper  in- 
troduction to  the  studio  managers. 
Dont  join  the  mob  that  storm  the 
outer  offices,  but  think  up  some  plan 
whereby  you  can  meet  higher  offi- 
cials or  bring  yourself  directly  to 
their  attention.  I  am  going  on  the 
conviction  that  you  ARE  suited  for 
the  screen,  as  shown  by  the  positions 
of  the  Sun  and  Moon  in  your  horo- 
scope. You  have  brains  enough  to 
make  you  successful  in  business  life, 
but  whoever  told  you  that  you  were        m 


Eleanor    Boardman    was    born    August  19, 

1898.        Colleen      Moore      on      August  12, 

I  902,  and  Hobart  Bos-worth  on  August  I  1 , 

1867 


EDITOR'S  NOTE:  All  com- 
ments made  in  this  department 
are  based  on  Astrological  rules 
but  neither  the  writer  of  this 
department  nor  this  publication 
can  assume  responsibility  for 
statements  made  therein,  be- 
cause inaccurate  data  is  some- 
times furnished,  even  tho  the 
sender  believes  it  to  be  correct. 

You  must  send:  your  date  of 
birth  .  .  .  your  year  of  birth 
.  .  .  city  or  nearest  town  and 
county  of  birth  .  .  .  your  sex 
and  the  hour  and  minute  of  the 
day  or  night  when  you  were 
I       born. 

cut  out  to  be  the  busy  little  bee  in 
somebody's  office  must  have  had  his 
or  her  introduction  to  astrology 
about  ten  minutes  before  meeting 
you. 

T.  F.  E.,  November  21: 

I  hesitate  to  offer  suggestions  as 
to  how  a  physician  might  work  up  a 
connection  with  the  movies  in  which 
his  physical  education  would  be  use- 
ful. A  lot  of  movies  do  need  a  doc- 
tor, to  be  sure,  but  of  a  somewhat 
different  type.  You  have  some  won- 
derfully good  configuration  in  your 
nativity,  but  I  could  hardly  advise 
you  to  change  your  profession  at 
this  stage  of  the  game.  The  year 
beginning  with  your  next  birthday 
will  be  a  hectic  one  for  you.  Wait 
until  that  is  over  before  taking  any 
chances  at  new  occupations. 

Catherine  D.,  April  25: 

Things  look  pretty  good  for  you 
where  you  are  just  now,  and  I  would 
not  advise  you  to  force  changes. 
Your  chart  for  the  coming  year  in- 
dicates travel,  but  let  this  seek  you 
out,  as  it  will  do.  Your  natal  posi- 
tions are  such  that  you  would  have 
difficulty  when  you  leave  one  good 
position  or  favorable  connection  for 
a  new  field.  Make  a  reputation  in 
your  fashion  work,  then  move  to 
New  York.  It's  less  of  a  jump  from 
New  York  to  Hollywood  than  from 
Philadelphia  to  New  York,  just  as 
(Continued  on  page  108) 


Clara    Bow    was    born    on    August    8,     1905, 
and    Norma    Shearer    on    August     1 0,     1 904 

73 
PAG 


I 


Th. 


Illi 


inois 


No  one  ao  spectacular  as  Harold  "Red" 
Grange  could  possibly  elude  the  motion  pic- 
ture producers.  And,  considering  the  con- 
tracts they  wave  as  bait,  who  would  want 
to>  His  first  picture  is  fittingly  called  "Half 
Back" 

Ena   Gregory   is   the   girl.       (You    could   hardly 

recognize      her      from      the      picture      above.) 

And    Sam    Wood    is    the    director 


Thunder- 
bolt 

Strikes 
Hollywood 


I 


Advertising  Section 


«°K« 


The  Lovely  Young  Daughter  of 

Mrs.  Jerome  Napoleon  Bonaparte 


UST  a  year  and  a  half 
ago,  Miss  Barbara  Stre- 
beigh, charming  blonde 
debutante  daughter  of 
Mrs.  Jerome  Napoleon 
Bonaparte,  made  her  bow  to  society. 

She  adored  the  deluge  of  social  events  that 
followed.  But  Barbara  Strebeigh  also  loves 
the  out-of-doors.  So,  after  a  brilliant  season 
of  dinner-dances,  costume  balls,  charity  bazaars 
and  after-theatre-supper-parties,  she  bought  a 
-  trunkful  of  smart  new  clothes  and  went  West 
to  that  gorgeous  winter  playground  that 
stretches  along  the  California  coast  from  San 
Diego  to  Santa  Barbara. 

Golf  in  crisp,  yet  balmy  air;  tennis  in  a  salt 
breeze;  riding  in  the  brilliance  of  California 
sunshine;  driving  her  car  through  the  finest 
forests  in  the  world.  All  this  she  adores  even 
more. 

But  whether  in  the  formal  atmosphere  of 
her  mother's  New  York  drawing  room,  on  a 
.Steamer  de  luxe  bound  for  a  season  in  Europe, 
or  engaging  in  the  sports  she  loves  so  well, 
Barbara  Strebeigh  holds  to  the  standards  of 
her  group  and  class.  She  dignifies  her  youth 
and  loveliness  by  taking  those  subtle  pains 
with  her  toilet  that  the  well-born  girl  is  brought 
up  to  know. 

POND'S  Two  Creams,  used  daily,  are  the 
method  she  pursues,  because  as  she  says, 
"They  keep  the  skin  exquisite."    You  should 


points  out  that  the  care  of  the 
is  an  important  social  duty 


skin 


"  r  1  ''HERE  is  one  personal  obligation  that 
J-  follows  a  girl  wherever  she  goes — the 
care  of  her  skin.  With  Pond's  Two  Creams 
this  is  easily  accomplished.  Swiftly  and 
surely  they  work  to  keep  the  skin  exquisite. 
That  is  why  their  use  has  become  a  habit 
with  the  girls  of  the  younger  set.''' 


"\^<»>Atapa    Si 


«^* 


fe&V&JL&Pv 


use  them  yourself  every  single  day  as  follows: 
First  Step:  Whenever  your  skin  needs  cleansing, 
apply  Pond's  Cold  Cream  generously.  Leave 
it  on  a  few  moments  so  that  its  pure  oils  may- 


penetrate  every  pore.  With  a  soft 
cloth  wipe  off  the  Cream— and  such  a 
lot  of  dirt  comes,  too,  you'll  notice! 
Repeat  the  treatment,  finishing  with 
a  dash  of  cold  water  or  a  rub  with  ice 
to  close  the  pores.  On  retiring  give 
your  skin  this  same  thorough  cleansing  with 
Pond's  Cold  Cream  and,  if  your  skin  is  dry, 
leave  some  of  the  cream  on  until  morning. 
When  you  waken,  your  face  will  be  clear,  fresh, 
and  free  from  lines. 

Second  Step:  After  every  cleansing  with  Pond's 
Cold  Cream  except  the  bedtime  one,  smooth  over  your 
skin  a  wee  trifle  of  Pond's  Vanishing  Cream.  You 
will  love  the  soft  even  finish  it  gives  your  skin,  the 
velvety,  glowing  tone.  And  you  will  notice  that 
your  powder  clings  to  your  skin  with  a  new  smooth- 
ness, and  that  it  stays  on  too.  Used  before  you  go 
out,  Pond's  Vanishing  Cream  protects  your  skin 
from  hot  sun  and  wind  and  from  the  harsh  grit 
of  soot  and  dust. 

Begin  today  to  follow  the  method  pursued  by  the 
beautiful  younger  women  of  society.  Pond's  Cold 
Cream  now  comes  in  extra  large  jars,  both  creams 
in  two  smaller  sizes  of  jars  and  in  tubes. 

PrPP  Ciffpr  Mail  coupon  for  free  tubes  of  these 

J.  rcc  \jjj  cr    Two  jamous   Creams,  and  folder 

of  instructions  for  using. 

The  Pond's  Extract  Company,  Dept.  J, 

143  Hudson  Street,  New  York  City. 


The  Two  Creams  the  younger  set  is  using 
When  you  write  to  advertisers  please  mention  MOTION  PICTURE 


Name. 
Street- 
City— 


MAGAZINE. 


75 

PAfll 


Crazy    Quilt 


! 


had  lost  its  liquid  smoothness.  It  was 
jerky  and  uncertain  and  halting.  The  ob- 
vious interest  that  Mr.  Goldstein  displayed 
intimidated  rather  than  emboldened  her. 

Again  lie  seemed  in  no  hurry  to  make 
his  reply.  He  mended  a  broken  tobacco 
leaf  with  his  tongue.  Judith  was  never 
to  forget  him  as  he  sat  there  during  that 
minute. 

"So,"  lie  said  finally.  "You  are  modest 
for  Mich  a  beautiful  girl." 

If  Judith  found  his  compliment  impert- 
inent, she  gave  no  sign. 

"1*11  tell  you."  he  went  on.  "You're  not 
so  much  on  the  screen.  But  maybe  I 
could  do  something  for  you.  ^  lay  be. 
.Maybe  not." 

"Why,  1  am  surprised  that  you  remem- 
ber my  work  at  all,"  Judith  became  hope- 
ful "I  .  .  .  why,  I  hardly  had  anything  to 
do.  Isn't  it  encouraging  that  you  do  re- 
member me,   Mr.   Goldstein?" 

The  heavy  shoulders  shrugged  depre- 
catingly. 

"No.  Xo.  That's  my  business,  re- 
membering. Everything.  The  directors 
on  this  lot  cant  fool  Marcus  Goldstein. 
They  are  all  scared  of  the  way  I 
remember." 

He  laughed  with  the  pleasure  of  a  child. 

"Why  I  remember  things  I  seen  in  film 
rushes  for  weeks  and  nobody  can  argue 
with  me  about  them.  When  a  director  has 
worked  for  me  a  little  while,  he  gets  it 
into  his  head  that  I  remember." 

Judith  thought  she  ought  to  say  some- 
thing complimentary  but  she  could  think 
of  nothing  to  say  that  would  top  his 
opinion  of  himself.  Certainly  he  appeared 
to  need  no  reassurance  about  his  remark- 
able ability. 

"There  are  too  many  on  the  payroll 
now,"  he  told  her  "but  if  I  say  you  go 
on  and  get  trained  for  the  big  parts,  then 
you  go  on.  It  is  a  gamble  for  me  to  take 
on  a  girl  like  yourself.  You  may  make  a 
star  and  then  again  you  may  not.  I  al- 
ways like  to  feel  that  I  am  getting  some- 
thing for  my  interest.  Understand?  I 
like  to  feel  that  a  girl  appreciates  it  when 
I  groom   her    for  a   later  stardom." 

Judith  sensed  that  his  hand,  studded 
with  a  large  and  flashing  diamond,  was 
reaching  towards  her.  She  withdrew  her 
hand  from  where  it  lay  on  the  edge  of 
the  desk  and  pretended  to  adjust  her  hair. 
But  Goldstein  was  not  at  all  phcased.  He 
proceeded  to  take  a  pencil  and  make  a 
variety  of  squares  and  circles  on  a  scratch 
pad. 

"If  you  did  do  any  good  at  all,  you'd 
•■"on  need  lot-,  of  money.  Maid.  Auto- 
mobile. Clothes,"  h<-  enumerated  the  ex- 
"It  would  take  more  than  we 
would  he  paying  you  at  first.  Have  you 
money   you   could    use?" 

Judith  for  the  minute  did  not  quite 
d.  She  had  a  sense  of  the  con- 
closing    in    upon    her,    co 

ok  her  head :     "I  have  no  money 

demand-,"      die     admitted. 

"Hut    I  . llling    to    get    along 

Goldstein  brought  the  conversation  back 

:i  grounds  without  any  parley. 

he    informed    her.      "I    like    you 

too.     And  when   I   like  a  j_'irl    I'm  not  going 

to    have    her    in   a    position    SO   a-    directors 

resh    with    her.      See? 

Now   if  they  know   you  are   Mar' 

■  irl— then   you're  safe." 
76 
ce. 


{Continued  frcm   pat/c  22) 

Judith  was  not  afraid  of  him  but  she 
wished  she  had  never  come  and  that  her 
anger  would  not  fog  her  brain  so  that  she 
could  not  deal  with  the  situation. 

"Do  I  understand  that  you  are  offer- 
ing .  .  ." 

Goldstein  shook  his  head  affirmatively 
and  enthusiastically.  She  understood 
after  all.  Slick  of  her,  trying  to  be  so 
innocent.  He  reached  over  with  the  now 
obvious  intention  of  patting  her  hand. 

She  stood  up,  facing  him. 

"if  I'm  not  your  girl,"  she  emphasized 
his   term,    "what   then?" 

"What  would  be  then?"  he  asked  her. 
"fs  it  something  for  nothing  you're  asking 
of  me  now?" 

He  was  not  quite  so  friendly.  Yet  there 
was  still  a  slight  playfulness  in  his  man- 
ner. He  was  not  quite  ready  to  make  it 
impossible  for  her  to  change  her  tactics. 
He  left  a  slight  opening  for  her  to 
reconsider. 

But  he  might  have  spared  himself  the 
trouble. 

It  had  become  evident  that  she  was 
silent  only  because  she  had  no  words  with 
which  to  address  him.  Her  eyes  were  as 
eloquent  as  she  was  inarticulate. 

"Such  highfalutin  notions  will  never 
get  you  nowhere,"  he  warned  her  now  that 
he  was  certain  that  there  was  no  reason 
for  diplomacy.  "You  want  something 
from  me.  You  should  be  willing  to  be 
agreeable.  What  man  will  be  such  a  fool 
as  to  take  a  chance  on  you  for  nothing. 
You  think  you're  a  lot,  Miss  Tower. 
Business  .  .  ." 

His  hands  were  outstretched  with  a 
typical   gesture. 

"You're  too  silly  minded  for  this  busi- 
ness," he  went  on,  buzzing  for  the  boy  to 
show  her  out. 

Now  Judith  spoke.  This  last  indignity. 
His  manner  indicated  that  he  rather  than 
she  had  put  an  end  to  the  interview. 

"You,  Mr.  Goldstein,"  Judith  said  and 
a  hatred  charged  her  voice,  "you  are  too 
horrible  for  this  or  any  other  business. 
You  are  not  as  big  as  the  position  you 
hold.     You  wont  be  able  to  keep  it." 

Marcus  Goldstein  squirmed  a  little  in 
his  big  chair. 

"I  will  be  somebody  without  any  help 
from  you.  And  someday  you  will  be 
nobody." 

The  overgrown  youth  who  served  as  an 
intermediary  between  a  forever  seeking 
world  and  the  Excelsior  Film  Corporation 
opened  the  door. 

Goldstein  hardly  raised  his  eyes  from  a 
contract  he  had  picked  up. 

"The  lady  is  going,"  he  said. 

"Did  he  get  fresh  with  you?"  the  boy 
asked  Judith  as  she  passed  him.  He 
seemed  very  curious  and  a  little  hopeful. 
"Did   he,   huh?" 

Judith  laughed. 

"No  indeed,  what  makes  you  think 
so?"  she  said.  "lie  was  a  perfect 
gentleman." 

The  youth  saw  her  eyes  dark  with 
anger. 

"So's  your  old  man,"  he  said.  Judith 
miled. 

i  med  to  make  it  worse.  It  was 
not  that  she,  by  some  fluke  of  the  chemi- 
cals of  sex,  had  appealed  to  the  man. 
appeared  to  do  so.  A  new  on.  <\  ei  y 
few  months  no  doubt.  She  wondered  if 
he  looked  as  if  she  would  entertain  such 
a  proposition. 

Now    she    was    embarrassed    before    the 


others     still     waiting     in     the     anterc 
Some   of   them   had   been   there   when 
had    come    in.      They    probably    construed 
her   immediate   audience   in   one   way   and 
one   way   only. 

She  was  glad  when  the  door  of  the 
private  suite  closed  behind  her  and  she 
was  out  in  the  general  office. 

She  found  herself  envious  of  the  secre- 
taries, the  bookkeepers,  the  file  clerks  who 
were  going  about  their  duties.  They  had 
boy  friends  and  they  would  eventually 
marry  and  live  moderately  well  in  some 
apartment  or  a  tiny  house  in  some  suburb. 
They  would  get  those  things  that  they 
wanted  from  life. 

Not  that  Judith  would  have  actually 
changed  with  them,  despite  her  momentary 
pangs  of  envy.  She  knew  instinctively 
that  this  was  not  her  pattern.  She  be- 
longed elsewhere.  The  monotony  of  such 
a  life  would  beat  the  desires  out  of  her. 
It  would  wear  down  her  spirit.  She 
wondered  if  her  great  grandmother  had 
something  to  do  with  her  burning  urge  to 
be  an  actress.  She  thought  it  most  likely. 
Judith  had  read  that  tendencies  skipped 
generations. 

She  had  always  adored  hearing  stories 
about  that  grandmother.  As  a  child,  when 
she  went  to  visit  her  mother's  mother  in 
the  big  brick  house  in  the  city,  she  had 
loved  the  canary-yellow  plush  album.  It 
had  the  photographs  of 'Lola  Chase  in  it. 
That  had  been  the  great  grandmother's 
name  before  she  married  great  grand- 
father. She  had  been  an  actress  and  her 
name  had  known  glamour  in  old  New 
York. 

There  was  one  photograph  that  had 
shown  the  lovely  Lola  Chase  with  her  pet 
monkey. 

Another  showed  her  bundled  in  soft 
furs  in  her   golden   sleigh.     .   .   . 

But  best  of  all,  Judith  had  loved  the 
one  in  which  she  wore  the  darling  little 
poke  made  of   fresh  violets. 

All  of  the  mad  things  her  great  grand- 
mother had  done  before  she  had  met  her 
great  grandfather  had  always  thrilled 
Judith.  After  she  had  married  she  had 
not  mattered  any  more.  The  family  had 
always  gone  to  great  trouble  to  explain  to 
Judith  that  it  was  only  in  her  youth  that 
Lola  Chase  had  been  so  vain  and  foolish. 
She  had  later  given  up  the  stage  and 
settled  down  into  a  sweet  Christian  wife 
and  mother. 

Judith  had  always  thought  that  a  great 
pity.  Who  would  want  to  trade  a  bonnet 
of  fragrant  purple  violets  for  a  stiff 
taffeta  affair  .  .  .  probably  of  a  brown 
color  .  .  .  that  must  be  immediately 
brushed  and  put  up  in  the  hat  box  after 
Sunday  service?     Who  could  bear  it? 

Besides  the  great  grandmother  memories 
and  that  afternoon  in  Marcus  Goldstein's 
office,  Judith  Tower  was  always  to  re- 
member The  Funeral.  That  had  come  in 
between.  It  was  not  a  sad  memory.  She 
thought  of  it  as  a  great  event.  And  it 
had  been  weeks  after  her  mother's  death 
before  Judith  had  known  a  sense  of  loss. 
Death  had  been  new  ...  strange.  At 
twelve  years  of  age  she  had  found  it  ab- 
sorbing and  exciting  to  have  her  house 
overflowing  with  relatives  and  friends  and 
flowers.  Never  in  all  her  life  had  she 
known  more  attention.  Some  uncle  or 
aunt  was  forever  weeping  over  her  and 
giving  her  a  penny  or  a  nickel  and  calling 
her  "a  poor,  motherless  little  chick." 
(Continued  on  page  86) 


\    J 


Advertising  Section 


(^".MOTION  PICTUR[ 

ItlOl   I    MAGAZINE       t 


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Eight  in  every  10  women  in  the  better  walks 
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Winn  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


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PAfl 


i 


WHOSE  HAND? 

Read  the  Character  Analyses  and  See  If  You  Can  Guess  the  Owners 

of  These  Hands 

By  F.  Vance  de  Revere 


This  masculine  hand,  with  its  long 
fingers,  corresponds  in  outline  and 
general  formation  with  its  owner's 
face  and  figure,  belonging  to  a  man 
tall  in  Mature  with  broad  shoulders 
and  with  breadth  to  the  central  portion 
of  his  face.  The  squareness  of  his 
palm  indicates  a  practical  turn  of  mind, 
good  judgment  and  splendid  business 
sense ;  a  person  who  thinks  clearly  and 
whose  reasoning  is  logical.  The  sec- 
ond joint  of  his  thumb  also  indicates  a 
logical  thinker.  The  thumb  is  long 
and  well  developed,  showing  a  strong 
will  and  much  determination.  The  first 
joint  show*  a  very  frank,  outspoken 
nature,  too  bonest  and  frank,  at  times, 
for  his  own  good.  The  waistlike  for- 
mation of  the  thumb  shows  one  who  is 
kind  and  considerate  of  others.  The 
thumb  bends  hack  and  is  supple,  indi- 
cating great  love  of  luxury  and 
beautiful  surroundings,  a  generous  na- 
ture and  '.ne  very  adaptable  to  people 
and   cii  quickly   at    home   in 

whatevei  ■     is    thrown.      The 

COtlic-shaped  fingers,  with  their  smooth 
joints,  denote  a  highly  inspirational 
nature  and  great  love  of  the  artistic 
and  all  that  is  beautiful,  also  good  eon 
onal  ability.  Sue],  shaped  fin 
re  found  on  successful  actors. 
orators  and  singers  who  follow  a 
purely  emotional  life  and  on  those  who 
leari  a  public  life.  The  owner  of  thi, 
hand   would   make  an  excellent   director. 

AH  right    reset  red, 
oce  'lc  Revere 


Motice  the  long  fingers  of  this  hand, 
which  denote  a  love  of  order  and 
beauty  in  everything,  with  a  fine  sense 
of  details ;  such  a  person  would  be  ap- 
preciative and  quick  to  notice  atten- 
tions, and  this,  with  other  qualities 
found  in  the  hand,  would  indicate  a 
gentle  manner,  quiet  in  temper,  con- 
fiding and  instinctively  trusting  every 
one  who  is  kind  to  her ;  a  very  emo- 
tional nature  and  an  individual  who 
feels  deeply  and  is  very  sympathetic 
and  understanding.  The  straight,  firm 
development  of  the  thumb  denotes  a 
conscientious  nature  and  a  person  of 
good  moral  consciousness.  The  square- 
ness and  breadth  of  the  palm  show  a 
practical  turn  of  mind  and  much  com- 
mon sense.  The  very  many  lines 
spreading  like  a  net  over  the  surface 
of  the  hand  denote  an  intensely  ner- 
vous, sensitive  nature,  one  who  worries 
over  things  and  frequently  crosses  her 
bridges  before  she  comes  to  them. 
While  I  am  not  analyzing  the  hand 
from  the  standpoint  of  palmistry,  I 
cannot  help  but  notice  the  unusual 
markings  when  observing  a  hand.  In 
this  hand,  you  will  notice  a  cross  clearly 
defined  in  the  center  between  the  head 
and  heart  line.  This  strange  mark  de- 
note, mysticism,  occultism  and  super- 
stition. Such  people  like  to  have  their 
fortunes  told  and  are  interested  in  the 
unusual.  The  long  fingers  with  the 
qUare  palm  show  culture,  this  with 
liion  finger-tips,  indicate  great 
■lit.  The  dominate  fourth  finger 
shows    the    artistic    inclinations. 

All  rights  reserved, 
F  Vance  de  Revere 


Tf  this  hand  runs  true  to  type,  it  would 
indicate  a  person  who  is  tall  in  stature 
with  a  broad  face.  This  hand,  with  its 
conic-shaped  fingers,  represents  the  ar- 
tistic temperament  and  denotes  an  in- 
dividual who  is  easily  influenced  by 
color,  music,  tears,  sorrow,  joy  or  elo- 
quence more  than  any  other  type,  a 
very  emotional  nature,  one  who  is 
readily  thrown  into  the  depths  of  de- 
spair or  rises  to  the  greatest  heights 
of  rapture.  She  is  in  the  vocation  for 
which  she  is  best  suited.  The  long 
finger-nails  indicate  an  impressionable 
and  an  artistic  nature,  one  who  would 
be  fond  of  poetry  and  music.  Long- 
nailed  persons  are  inclined  to  be  vision- 
ary ajid  shrink  from  looking  facts  in 
the  face,  especially  facts  which  are 
distasteful.  The  square  formation  at 
the  base  of  the  thumb  shows  musical 
ability.  The  second  finger  denotes  a 
thoughtful  nature,  one  who  is  almost 
morbid.  The  third  finger,  being  nearly 
as  long  as  the  second,  indicates  a  na- 
ture which  looks  at  life  as  a  lottery; 
one  who  gambles  with  all  things,  life 
and  danger,  but  also  indicates  one  who 
is  endowed  with  strong  artistic  instincts 
and  talent.  The  spatulate  termination 
of  her  third  finger  gives  decided  dra- 
matic talent  and  sensational  power  to 
move  and  appeal  to  audiences.  This 
hand  is  deeply  emotkyial,  its  owner 
would  he  quick-tempered  and  speak  her 
mind,  but  it  would  be  a  flash  and  soon 
over  and  quickly  forgotten,  for  hers 
is  a  sympathetic,   affectionate  nature. 

All  rip;hts  reserved, 
F.  Vance  dc  Revere 


t! 


Eontn  9  Note.— On  pa<je  84  you  will  find  photographs  <>(  the  stars  xvhosc  hands  were  analyzed  last  month. 

find  the  answers  to  these  character  readings. 

78 


And  next  month  you  will 


Advertising  Section 


OrMOTION  PICTURE 

IIWI   I    MAGAZINE       V 


£for  Expert  Beauty  cAdvice 

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Here  are  but  a  few  of  the  many  enthusiastic  letters  received  every  day 
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Dear  Miss  Young:  I  received  your  wonderful 
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hardly  an  eyelash  before  using  your  Method. 
— Yours  very  truly,  M.M.  A.,  San  Anselmo,  Cal. 

Complexion  Like  a  Rose 

Dear  Lucille  Young:  I  was  troubled  with  a 
bad  complexion,  but  after  using  your  Methods 
for  three  weeks,  my  complexion  is  like  a  rose. 
Although  I  have  used  many  things  for  bleaching 
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Reading,  Pa. 

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condition  and  thank  you  for  your  kindness. 
Your  methods  are  the  finest  I  have  ever  used. 
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A  World  of  Good 

My  dear  Friend:  Just  a  line  to  tell  you  that 
your  Methods  have  done  me  a  world  of  good, 
as  my  face  is  clearing  up  very  readily. — Yours 
very  truly,  P.  C,  La  Salle.  Mich. 

Hair  Beautifying  Method  Fine 

Dear  Lucille  Young:  Your  Hair  Beautifying 
Method  is  fine.  My  daughters  and  I  used  it 
and  found  it  is  just  what  you  said,  also  your 
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So  Happy,  Must  Tell  the  Secret 

Dear  Miss  Young:  I  received  your  letter  and 
your  Methods,  and  am  very  happy  and  grateful 
to  you.  I  was  so  anxious  to  try  your  Method 
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Kenosha,  Wis. 

Methods  Wonderful 

Dearest  Miss  Young:  I  don't  know  how  to 
express  my  thanks  to  you,  but  I  do  thank  you 
a  thousand  times.  I  cannot  see  how  you  can 
almost  give  these  grand 
Methods  away.  I  think  they 
are  wonderful. —  Your  friend, 
A.  T.,  Shippensville,  Pa. 


Like  a  Magic  Wand 

Dear  Miss  Young:  I  received  your  Methods 
three  days  ago  and  want  you  to  know  that  I  see 
a  wonderful  change  already.  What  a  relief! 
Everything  you  sent  me  acts  like  a  magic  wand. 
I  am  proud  to  have  listened  to  your  good  advice. 
—Yours  faithfully,  Mrs.  H.  E.,  Jr.,  Yorktown 
Heights,  N.  Y. 

No  Equal 

Dear  Madam  Lucille:  I  received  your  Beauty 
Methods  and  firmly  believe  you  sent  me  more 
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they  claim  your  Methods  have  no  equal.  I  wish 
I  could  have  the  pleasure  of  meeting  you  to 
express  my  appreciation  and  thank  you  from 
the  bottom  of  my  heart. — Your  friend,  M.  M., 
Elizabeth,  N.  J. 

Pimples  Have  Vanished 

My  dear  Friend:  I  had  a  real  bad  case  of 
pimples  and  since  I  tried  your  Methods  I  seldom 
have  any  at  all.  Everyone  wants  to  know  what 
I  have  been  using  and  I  can  gladly  recommend 
Lucille  Young's  Methods. — Truly  your  friend, 
G.  P.,  San  Saba,  Texas. 


Method  Book-FREE! 

Just  let  me  know  you  are  interested  and  I  will  be  very  glad  to  send  you  a  free  copy  of 
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there  is  no  obligation.  Just  mail  me  the  coupon.  But  do  it  today.  Why  delay  finding 
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=  Lucille  Young,  Suite  12-66  Lucille  Young  Bldg.,  Chicago,  111. 

1  Dear  Miss  Young:    I  will  be  glad  to  have  you  tell  me  all  about 

=  your  Beauty  Methods  which  I  can  use  at  home  to  correct  all 

=  blemishes  of  complexion  and  to  beautify  my  skin,  eyes,  hair  and 

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(Do  NOT  send  any  money  with  this  coupon 


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79 


t 


Answer  Man 


i 


WYNNE  S. — Here  we  arc  on  another  warm  da)'.  Between 
the  Atlantic  Ocean,  quarts  of  buttermilk  and  an  electric  fan,  I 
am  trying  to  keep  cool.  So  you  are  voting  for  Ramon  Novarro, 
not  because  be  is  a  fan  thriller,  but  because  he  is  an  artist.  Claire 
Windsor  and  Conrad  Xauel  have  the  leads  in  "Tin  Hats." 

\\i  (OD-AVENUE,  LOXDOW— A  ripple  of  laughter  is  worth 
a  flood  of  tears,  so  laugh  at  me  all  you  like.  I  can  see  all  England 
is   for  Valentino.     He  is  playing  in  'The  Son  of  the  Sheik." 

DIXIE  MILLY. — No,  George  O'Brien  is  not  married.  Sorry 
you  didn't  get  an  answer  before,  but  space  forbids.  Priscilla  Dean 
is  playing  in  "West  of  Broadway."  No,  we  are  not  all  perfect. 
Perfection  is  made  up  of  trifles,  but  perfection  is  no  trifle. 

SKI  III  EC.  TOKYO.— Well,  the  best  part  of  beauty  is  that 
which  no  picture  can  express.  It  is  not  so  easy  to  get  in  pictures, 
and  especially  when  you  are  in  Japan.  You  will  have  to  write 
to  the  players  direct.  Leah  Baird  and  Maurice  Costello  are  both 
playing  in   "The    Kalse   Alarm."     Write  me  again. 

WALK  ACE  BELL. — So  I  am  a  mystery  to  you.  I  certainly 
am  over  eighty  years  old,  and  live  in  a  hall-room.  You  think  it's 
the  "bunk,"  well  it's  where  I  retire  anyway.  Vera  Reynolds  was 
born  in   1903. 

CURIOUS  GIRL. — Your  toast — "The  soldiers  of  America. 
Their  arms  our  defense,  our  arms  their  reward;  fall  in,  men,  fall 
in."  Not  so  bad.  No,  Pola  Negri  has  never  been  the  wife  of 
Charlie  Chaplin.  It  was  a  close  call.  Mary  Pickford  has  four 
pictures  scheduled,  not  including  the  one  she  is  to  make  with  Doug. 
One  is  "Cash,"  which  deals  with  the  experiences  of  a  cash  girl  in 
a  five-and-ten-cent  store;  another  is  a  New  England  story  by  a 
well-known  writer  and  two  others  are  originals,  written  espe- 
cially  for  the  screen. 

MISS    M.    T„    VERSAILLES,    FRANCE.— How's    the    little 

French    girl   today?      So    it's    Norma    Shearer    you    like.      She    is 

five   feet   three,  weighs    110  pounds,  has  dark  hair  and  blue  eyes. 

No,  she  hasn't  a  cast  in  her  eye.     She  has  been  in  pictures  about 

ars.     Yours  was  great. 

SEQUOIA. — Well,  love  reckons  hours  for  months,  and  days 
for  years;  and  every  little  absence  is  an  age.  No,  I'm  not  sure 
Richard  Dix  and  Lois  Wilson  will  marry.  Who  can  be  sure! 
That    was    George    O'Brien    and    Madge    Bellamy    in    "The    Iron 

LEGI    SOLF. — That   may  be  true,  but  the  American  girls  may 

glance  down  all  the  time,  but  the  corners  of  their  eyes  are 

well  trained.     Norma   Shearer  is  playing  in  "Polly  with  a  Past." 

Stewart     and     Edmund     Lowe     in     "The     Lodge     in     the 

Wilderness"  for  Tiffany. 

■IIOXY    M..    SINGAPORE.— No,    I    have   never   been   in 
untry.      I    haven't   traveled    so    much.      So    Fred   Thomson 
and   his    horse    Silver    King   arc   your    favorites.      You're   right,   a 
11  confess  hi-    faults,  but  never  his   follies. 
HELAYNE  F.— Yes,  I  like  hi 
but      I     dont     make     eno 
to  bet  on  them,  and  whal  little 
■  .    I   dont   want   to  lose.     Thanks 
for    the    bo..'  t<  Ho    is 

1  ollege     Widow." 
rry    and    Lillian    Gish    in 
"Annie  Laurie."     Write  me  any  time. 
(  EL  JANEO    I  Du- 

playing    now,    and    her 
•      but   .Vice." 
nd     v.  hat     a     man     desin 

VORK.— Thanks 

for  tin-   box   of    Ricoros.      1   had   many 
yon.       Yes,     Kon 

irried,  but  In-  h  '■■i<-  i    not 
a     pi..  ike-up. 

Edmund  Cai  doux. 

80 

G£ 


HEAR  YE,  HEAR  YE! 

All  you  folks  who  have,  questions  to  ask,  come 
this  way  and  you  shall  be  heard — and  answered. 
1  have  burnt  a  lot  during  the  last  eighty-two 
years,  and  it's  all  yours  for  the  asking.  Been 
answering  ???  here  for  the  last  fifteen  years 
and  still  going  strong.  If  you  want  an  answer 
by  mail,  enclose  a  stamped  addressed  envelope. 
If  you  wish  the  answer  to  appear  here,  write 
at  the  top  of  your  letter  the  name  you  want 
printed,  and  at  the  bottom  your  full  name  and 
addnss.  and  mail  to  me,  The  Answer  Man,  care 

of  Motion  Pictuhe  Macazine,  175  Duffield 
Street,  Brooklyn,  IV.  Y. 


l'MA  XARTIST. — It's  no  secret.  Your  drawings  were  very 
good  likenesses.  Harry  Earles  was  the  dwarf  in  "The  Unholy 
Three"  and  wasn't  he  splendid?  That  picture  will  always  stand 
out  in  my  memory.  Your  story  is  like  the  drowned  man  who  was 
sought  to  be  identified  by  a  marked  impediment  in  his  speech. 
PEARL  C,  JERSEY  CITY.— Here's  one  for  you: 
If  you  your  lips  would  save  from  slips, 

Five  things  observe  with  care ; 
Of  whom  you  speak,  to  whom  you  speak, 
And  how,  and  when,  and  where. 
So  you  have  just  seen  a  revival  of   "Rosita"  and  think   Mary 
Pickford  was   great.     You  cant   understand  why   Mary  continues 
to  play  child  roles.     I   can,  the  public  want  them.     So  you   like 
Ray  Griffith.     Thanks  for  yours. 

GlL  DE  B. — Your  letter  was  mighty  interesting.  You  remind 
me  of  the  following — Never  speak  unless  you  have  something  to 
say,  and  always  stop  when  you  have  done.  So  you  dont  think  I 
am  as  old  as  I  pretend.  How  can  my  readers  doubt  me?  H.  B. 
Warner  was  Gloria  Swanson's  leading  man  in  "Zaza."  Betty 
Bronson  was  born  in  1906.  Eleanor  Boardman  is  playing  opposite 
John  Gilbert  in  "Bardelys  the  Magnificent."  Marion  Davies  in 
"The  Red  Mill."     See  you  later,  Gil. 

BOARDMAN'S  ADMIRER.— That's  all  right,  Initiative  is  the 
art  of  making  the  fullest  use  of  somebody  else's  ideas.  Eleanor 
Boardman  was  born  August  19,  and  she  has  brown  hair  and  gray 
eyes.     No,  Ben  Lyon  is  not  married. 

W.  R.  S. — Many  are  called,  but  few  get  up  on  the  first  call. 
So  you  think  I  am  a  twin  brother  to  Santa, Claus.  I  am,  except 
that  he  works  only  once  a  year  while  I  never  cease  to  work.  Doris 
Kenyon  was  born  September  5,  1898,  and  she  never  ventured  on 
the  rocky  sea  of  matrimony.  She  expects  to  be  married  soon  to 
Milton  Sills. 

CHARLES  W.  C— That  was  a  beautiful  tribute  you  wrote 
about  Barbara  La  Marr  and  you  dont  think  it  is  right  that  detri- 
mental articles  be  published  about  her  now.  I  haven't  read  any. 
So  you  think  I  seem  to  grow  older  in  every  picture. 

BANJO  EYES.— That's  right,  the  hairs  of  my  head  are  all 
numbered.  Mary  Brian  in  "Behind  the  Front."  Yes,  E.  H. 
Sothern  played  for  Vitagraph  pictures  some  ten  years  ago.  Lloyd 
Hughes  had  had  no  stage  experience  when  he  went  into  pictures 
as  an  extra  in  1917,  and  two  years  later  he  was  starred  in 
"Homespun  Folks." 

TINY  B.— Allene  Ray  is  at  the  Fine  Arts  Studio,  4500  Sunset 
Boulevard,  Los  Angeles,  California.  She  is  playing  in  "Snowed 
In."  After  six  months'  search,  Frank  Hopper  has  been  chosen  to 
play  the  role  of  Teddy  Roosevelt  in  "The  Rough  Riders."  Mr. 
Hopper  was  representing  a  book  concern  in  Los  Angeles  at  the 
time  he  was  selected  and  was  told  that  if  he  lost  twenty-five 
pounds  he  would  receive  $5.00  cash  for  each  pound  he  lost,  in 
addition  to  his  regular  salary.  Dont 
tell  me  it  doesn't  pay  to  be  a  book- 
seller? 

ROSA  RIO  S.  R.  CEBU.— Write 
to  Gloria  Swanson  at  522  Fifth 
Avenue,   New  York  City. 

MRS.  W.  E.  G.,  COLUMBUS.— 
Yes,  I  like  color,  and  the  girls'  gowns 
of  today  are  certainly  colorful.  You 
know  a  grain  of  iodine  will  color 
seven  thousand  times  its  weight  of 
water.  William  Haines  is  at  the 
Metro-Goldwyn-Mayer  Studios,  Cul- 
ver City,  California.  He  was  born  in 
1901,  six  feet  tall,  brown  hair  and 
hazel  eyes.  Playing  in  "Tell  It  to  the 
Marines." 
CHUA  K.  H.,  SINGAPORE.— So 
(Continued   on   page   82) 


Advertising  Section 


OnMOTION  PICTUR 

M0I   I    MAGAZINE 


Miss  Anderson's  Statement 

When  I  arrived  at  the  Kaufmann  &  Fabry 
Studio  my  hair  was  straight,  as  you  may  see 
in  the  picture  at  the  left.  I  had  very  little 
faith  in  any  of  the  so-called  hair-wavers  and  ex- 
pected I  would  have  to  visit  my  hairdresser 
before  keeping  my  other  posing  appointments. 
To  my  delight,  as  you  will  see  from  the  center 
photograph,  it  was  not  necessary.  My  hair 
was  perfectly  waved.  I  have  proved  that 
Maison  Marcellers  will  save  time,  money  and 
the  bother  of  waiting  to  have  one's  hair  mar- 
celled. (Signed)      Evelyn  Anderson. 


KAUFMANN  &  FABRY  CO. 

Commercial  Photographers 

CHICAGO 

Maison  de  Beaute,  Chicago,  Illinois. 

I,  Edward  J.  Cook,  hereby  certify  that  these  are  actual  photo- 
graphs taken  by  me  while  Miss  Evelyn  Anderson's  hair  was  mar- 
celled with  Maison  Marcellers.  The  one  at  the  left  shows  Mis; 
Anderson's  hair  as  she  entered  my  studio.  That  at  the  right  shows 
the  Maison  Marcellers  in  place.  The  center  photograph  shows  Miss 
hair  as  it  appeared  30  minutes  later. 

(Signed)      Edward  J.  Cook. 

Subscribed    and    sworn 
to  before  me  this  24th 
day  of  March,  1926. 
Emma  W.  Stolzenbach, 
Notary  Public. 


NOTICE  TO 
READERS 

Chicago   representa- 


lanaz 


of 


tive  of  thi: 
and  representa 
over  100  other  publish- 
ers witnessed  a  success- 
ful and  satisfactory 
demonstration  of  these 


Marvelous  New  Method 

makes    any  hair   naturally   wavy 


No  more  "appointments' 
No  more 


"wave"  expense. 


.  No  more  tiresome  treatments  .  . . 
.  No  hot  irons  to  dry  out  your  hair 


Now  you  may  have  as  lovely  a  marcel  as  the  finest  beauty 
parlor  possibly  can  give — in  your  own  home — when  you 
want  it,  and  at  a  trifling  cost. 

WHERE  is  the 
woman,  in  this 
busy  day,  who  can 


afford  from  her  little 
sure  all  the  time  it  takes 
to  make  appointments, 
arrange  her  convenience 
to  suit  someone  else's 
schedule,  go  through  the 
usual  experience  of  wait- 
ing many  minutes,  and 
then  submit  to  a  long 
drawn-out  process? 

Women  will  do  that,  to 
have  their  hair  marcelled, 
so  insistent  is  the  real  need 
for  loveliness. 

But  that  exasperating 
method  is  no  longer  neces- 
sary. It  is  rapidly  becom- 
ing obsolete  • —  wherever 
this  amazing  new  inven- 
tion called  the  Maison 
Marcellers  makes  its  way. 
Just  30  minutes  with  the  ^ 

Maison  Marcellers,  once  a  week — in  your  own 
home — and  your  hair  is  always  at  its  wavy 
loveliest  and  best. 

A  $1.50  marcel  any  time 
for  a  few  cents 

Moreover,  how  many  women  really  can 
spare  the  money,  £1.00,  SI. 50  or  more,  for 
waving  done  the  ordinary  way?  Isn't  it  a 
fact  that  even  on  a  liberal  allowance,  these 
inroads  are  too  heavy,  with  the  usual  result 
that  you  forego  many  a  marcel  that  you 
know  you  ought  to  have? 

Here  again,  the  Maison  Marcellers  are 
literally  one  of  the  greatest  boons  ever  con- 
ferred on  womankind. 

The  woman  who  owns  a  set  of  Maison 
Marcellers  may  keep  her  hair  at  all  times  in 
the  full  glory  of  its  beauty,  at  a  cost  of  a  few 
cents  for  each  complete  marcel. 

And  the  menace  of  hot  irons 
eliminated  forever 

Finally,  this  invention  is  the  most  protective 
of  hair  quality,  texture  and  lustre  ever  intro- 


Before  putting  this  Marcelling 
Outfit  on  the  market,  we  asked 
fifty  women  to  try  it  out  and  give 
us  their  opinion.  Without  ex- 
ception, they  were  most  enthu- 
siastic about  it.  Here  are  part 
of  some  of  the  letters  we  received. 

Miss  M.  S.,  Chicago:  I  recently 
had  a  permanent  wave  put  in  my 
hair  and  since  then  have  had  lots 
of  trouble  making  my  hair  look 
right.  But  with  your  Maison 
Marcellers  I  no  longer  have  to 
bother  with  water  combs  and 
now  my  hair  is  always  beauti- 
fully marcelled. 

Miss  K.  W.,  Chicago:  I  have 
had  my  hair  marcelled  so  much 
that  it  was  beginning  to  get  ter- 
ribly dry  and  scraggly.  Since  I 
have  quit  applying  heat  to  my 
hair,  it  Is  quickly  regaining  its 
old  lustre  and  beauty.  I  think 
your  marcelling  outfit  is  won- 
derful. 

Mrs.  A.  K.,  Memphis:  I  am 
cursed  with  thin,  straight  hair 
that  is  unusually  hard  to  wave. 
I  have  tried  many  home  marcel- 
ling outfits,  but  have  always 
been  disappointed  until  your 
Maison  Marcellers  came.  Now  I 
can  easily  keep  my  hair  in  a 
dandy  marcel,  just  the  way  I 
want  It.  I  can't  say  too  much 
for  your  new  invention. 


duced  into  modern  hair 
culture. 

It  does  away  with  the 
old-fashioned  curlers  and 
so-called  "wavers" — with 
dangerous  curling  irons 
that  sear  the  hair  and  dry 
the  scalp — with  all  the 
muss  and  fuss  of  the  old- 
fashioned  water-waving 
combs. 

In  eliminating  the  hot 
iron  peril  alone,  the  Maison 
Marcellers  are  worth  their 
weight  in  gold  to  any 
woman  who  prizes  the 
natural  health  and  beauty 
of  her  hair. 

Your  mirror  will  tell 
you  this  is  true 


Nothing  that  we  could  say 
about    the    results   which 
""  thousands  of  women  today 

are  obtaining  with  the  Maison  Marcellers 
would  tell  so  complete  a  story  of  their  value 
as  the  photographs  above.  Note  them  well. 
Then  read  carefully  the  sworn  affidavit  of 
one  of  Chicago's  most  reputable  photog- 
raphers, as  to  the  circumstances  under 
which  those  photographs  were  taken.  They 
could  be  duplicated  anywhere — and  are 
being  duplicated  everywhere  the  Maison 
Marcellers  are  in  use. 

Maison  Marcellers  will  give  you  any  kind 
of  marcel  you  want — shingle  bob,  Ina  Claire, 
horseshoe  wave  or  pompadour,  center  or 
side  part.  They  will  do  this  whether  your 
hair  is  soft  and  fluffy,  coarse  and  straight, 
long  or  short.  Regardless  of  the  kind  of  hair 
you  have,  they  will  give  you  the  most  beau- 
tiful marcel  imaginable.  We  guarantee  this 
absolutely,  and  you  are  the  sole  judge  of  your 
own  satisfaction  with  them. 

Our  most  liberal,  limited-time 
offer  to  you 

In  order  to  establish  this  revolutionary  in- 
vention   in    the    favor   of   women    all   over 


America,  we  offer  the  first  10,000  sets  of 
Maison  Marcellers  at  a  price  which  hardly 
covers  the  cost  of  making,  packing  and 
advertising- — only  $2.98,  plus  a  few  cents' 
postage ! 

This  includes  a  new  and  authentic  marcel 
fashion  chart,  and  a  complete  set  of  Maison 
Marcellers.  Nothing  more  to  buy.  Just 
dampen  the  hair  with  water  and  place  the  Mar- 
cellers in  your  hair  according  to  directions. 

Take  advantage  of  this  special  offer  right 
away,  because  it  may  be  withdrawn  at  any 
time. 

Send  no  money — 
just  mail  the  coupon 

Even  at  this  special  price  you  need  not  risk 
a  penny.  Just  sign  and  mail  the  coupon. 
In  a  few  days,  when  the  postman  brings 
your  outfit,  just  deposit  #2.98  with  him 
(plus  a  few  cents'  postage).  And  when  you 
put  in  your  first  marcel,  you'll  say  it  was 
the  best  purchase  you  ever  made  in  your 
life,  for  your  hair  waving  troubles  are  ended. 
Every  time  you  use  this  outfit,  you'll  get 
better  and  better  results  and  you'll  never 
have  to  spend  your  good  time  and  money 
for  marcels  again. 

After  you  have  tried  this  marvelous  new 
marcelling  outfit  for  5  days,  if  you  are  not 
delighted  with  results — if  it  doesn't  give 
you  the  most  beautiful  marcel  you  ever 
had  and  improve  your  hair  in  every  way — - 
simply  return  the  outfit  to  us  and  your 
money  will  be  refunded  quickly  and  cheer- 
fully. But  don't  put  it  off.  Be  among  the 
first  to  take  advantage  of  this  special  in- 
troductory offer.  Fill  in  and  mail  the 
coupon  today! 

Maison  de  Beaute 

711  Quincy  Street  Chicago,  Illinois 

"coupon" 

'  Maison  de  Beaute, 

711  Quincy  St.,  Dept.  37,  Chicago,  111. 

I  Gentlemen:   Please  send  me  your  newly  invented 

|  marcelling     outfit,      including     Maison     Marcellers. 

.  Marcel  Style' Chart,  and  complete  directions,  which 

!  I  agree  to  follow.      I  agree  to  deposit  $2.98  (plus  post- 

1  age)  .with  the  postman  when  he  makes  delivery.     If  I 

I  am  not  delighted  with  results  I  will  return  the  outfit 

|  within  5  days  and  you   are  to  refund  the  purchase 

■  price  without  argument  or  delay. 


/ 


When  you  write  to  advertisers  please   mention   MOTION   PICTURE   MAGAZINE. 


NOTE:   If 

comes. 
Marcel 

AZINE. 

/ou  expect  to  be  out  when  the 
enclose   $3.10   with   your  order 
ing  Outfit  will  be  sent  postpaid 

postman 
and   the 

81 
PAG 

arasspf 


The  Answer  Man 


(Continued  from  page 


you   liked   Mary  Astor  in  "Oh   Doctor."     Fred  Thomson  has  the 
lead  in  "The  Lone  Hand." 

KITTEN  KET. — Thanks  for  the  gum.  What  do  you  mean,  I 
must  have  a  birthday  every  other  leap-year.  Lois  Wilson  is  five 
feet  five.  So  you  resemble  Greta  Garbo.  Gaston  Glass  is  in  the 
cast  of  "The  Romance  of  a  Million  Dollars"  with  Alyce  Mills  and 
Glenn  Hunter.     See  you  later. 

A  BILLIE  DOVE  FAN.— You  flatter  me.  It  was  Burns  who 
said  "I  pick  up  favorite  quotations  and  store  them  in  my  mind  as 
ready  armor,  offensive  and  defensive,  amid  the  struggle  of  this 
turbulent  existence."  I  dont  know  why  Billie  Dove  calls  herself 
Billie,  but  her  right  name  is  Lillian  Dove.  She  was  born  in  New 
York  City,  May  14.  1903. 

BETTY  D.  AUCKLAND.— Well,  by  igno- 
rance we  mistake,  and  by  mistakes  we  learn. 
LKnd  Hughes  was  born  October  21,  1889,  and 
is  six  feet  tall,  brown  hair  and  gray  eyes.  He 
is  married  to  Gloria  Hope. 

DIXEY    FAN.— Richard    Dix   was   born   in 


WOMEN 

Anna   Q.   Nilsson    80 

Colleen    Moore    60 

Gloria    Swanson    46 

Clara  Bow    43 

Norma  Talmadge 42 

Dolores   Costello    39 

Bebe  Daniels 38 

Norma   Shearer    36 

Vilma  Banky 31 

Pola    Negri    31 

Mae   Murray 31 

Betty    Bronson 30 

Marion    Davies    30 

Mar>'  Brian    27 

Sally    O'Neil 26 

Esther   Ralston 25 

Constance    Talmadge    24 

Mary   Pickford    23 

Renee  Adoree    23 

Corinne    Griffith     22 

Lois    Wilson 21 

Madge  Bellamy    21 

Greta    Garbo    20 

Claire  Windsor   18 


Watch  Them  Rise! 


70 


45 


ticularly    after    seeing    "The    Vanishing    American."      So    do    I. 
PELL. — How's   everything   out  your  way  ?     Sure  was   glad  to 
hear  you  liked  the  magazine. 

NINETEEN. — The  State  of  Washington  was  named  after 
George  Washington,  and  Nevada  is  a  Spanish  word  meaning 
"snow-clad."  Universal  City  was  started  by  Carl  Laemmle  in 
1912  when  he  bought  a  large  tract  of  land  in  San  Fernando  Valley 
not  far  from  Hollywood.  The  walled  studio  city  was  opened  in 
1914.  Bertram  Grassby  was  born  in  Lincolnshire,  England,  forty- 
six  years  ago.     He  is  six  feet  seven  and  weighs  175  pounds. 

HARRIE  FAN. — Sweet  are  the  uses  of  adversity  may  all 
be  true,  but  I  am  inclined  to  think  the  uses  of  prosperity  are 
sweeter.  Oh,  yes,  in  another  month  I'll  be 
getting  fifteen  dollars  per.  Hoop  la!  Harri- 
son Ford  was  married  to  Beatrice  Prentice, 
but  not  any  more.  Born  in  Kansas  City  on 
March  16. 

T.    S.    M.,    LONDON.— Cherio,    old    Top; 
Yes,  you  refer  to  "The  Prince  Chap." 


MEN 

Richard   Dix    99 

John   Gilbert    73 

Ramon   Novarro    61 

Ronald    Colman    57 

Rudolph  Valentino    48 

Ben    Lyon 44 

William    Haines    40 

Lloyd    Hughes    35 

William  Boyd    31 

Richard    Barthelmess    30 

John  Barrymore    30 

Ricardo   Cortez    27 

George    O'Brien    23 

Neil    Hamilton .  21 

Douglas   Fairbanks    20 

Lon    Chaney    18 

Conrad   Nagel    18 

Harrison    Ford    17 

Tom    Mix    17 

Lawrence  Gray    16 

Rod   La  Rocque    16 

Thomas    Meighan    16 

Jack    Holt    15 

Clive    Brook    14 

Norman   Kerry    14 


40 


10 


Once  more  Richard  Dix  and  A 
But    there    is   the   usual    shifting 


Minneapolis.  Lois  Wilson 
born  February  24,  1895. 
Marie  Prevost  in  "For  Wives 
Only"  a  screen  version  of 
last  year's  stage  success.  "The  (  ritical  Year." 

DOPS.— Yes,  a  great  many  of  Walter  Scott's  works  have  been 
don:-.  Billie  Dove  and  Bert  Lytell  in  "The  Lone  Wolf  Returns." 
Evelyn  Brent  in  "Flame  of  the  Argentine"  with  Orville  Caldwell. 

LILLIAN  PARTO.— Yes,  in  the  May  1925  issue  of  the 
Magazine.  1  think  you  can  secure  it  direct  from  our  Circulation 
Department. 

HENRY   L.   R. —  I   dont   renumber  your  inquiry,  but  if  you  had 
cd   the   question   again,    1    would   have   been  glad   to   help  you 
right  now. 

BETTY  ANNE.— That  was  a  beautiful  picture  of  your  pony, 
Betty,      Doris    Kenyon   in    "The    Unguarded    Hour."      You    must 

write  tO   m< 

OMPRISE. — Sorry,  but  I  cannot  get  thai  address  for  you, 
as  I  rarely  retain  the  letters  from  my  readers  after  1  have 
answered  them. 

ANDEA. —  Hire  a  hall!     1   am   no  poor  fish,  but  you  can   (hop 

me  a   line  once  in  a   while,  but   dont   write  a  book  each  time.     And 

(T\  you  think   Richard   Dix   is  a  symbol  of  American   Manhood,  par- 

y  ki 

LAGL 


nna  Q.   Nilsson   came  out  on  top. 
about    among   the   other    players 


Old  Faithful. — See  you 
are  right  on  the  dot.  I  cer- 
tainly do  drink  my  butter- 
milk regularly.  Lawrence 
Gray  is  with  Famous  Players,  you  know.  Just  run  in  any  time  you 
are  over  this  way. 

VERA  D.  H.— Shsss!  In  the  Pathe  serial,  "The  Green 
Archer,"  not  even  the  members  of  the  cast  knew  who  the  archer 
who  shoots  the  death-dealing  arrows  was  until  the  picture  was 
finished.    Dont  you  tell  anyone.    John  Barrymore  was  born  in  1882. 

PUTCHIE  T. — Yes,  and  on  their  own  merits  modest  men  arc 
dumb.  You  ask  a  hard  question,  but  I  believe  "He  Who  Gets 
Slapped"  took  in  the  most  money  of  all  pictures  shown  on  Broad- 
way in  1924.  For  the  week  ending  November  fifteenth,  it  grossed 
$70,468.  Greta  Nissen  is  only  twenty,  and  she  is  well  toward  the 
top  already. 

GLADYS  FAN. — No,  child,  I'm  far  from  famous.  Fame  is 
the  sweet  perfume  of  discovered  greatness.  Just  address  them 
at  Famous  Players.  Ronald  Colman  is  playing  with  Alice  Joyce 
in  "P.eau  Gcste." 

SWEET    SIXTEEN.— Thanks— you   are   so   kind   to   me. 

MARY  S.  HOLLYWOOD.— All  right  for  you.  I  sent  you  a 
letter  and  it  was  returned.     Sorry,  but  I  cant  send  you  my  picture. 


Advertising  Section 


«°KlURf 


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AMOTION  PICTURp 
Itl   I  MAGAZINE      L 


Advertising  Section 


TheSliadoW 

Perhaps  it's  a  gray  hair,  a 
wrinkle  or  a  trace  of  flabbiness. 
Just  a  little  hint,  but  its  flicker- 
ing shadow  across  your  mirror 
awakens  a  longing  for  youth — 
a  longing  to  have  and  to  hold 
its  appearance  over  the  years 
to  come.  Let  us  prove  how 
simple  it  is  for  you  to  gratify 
this  longing. 

GOURAUD'S 

0P'ENTAl 
CREAIvr 

"Beauty's  Master   Touch" 

renders  an  entrancing  appear- 
ance of  youthful  freshness.  It 
gives  to  your  complexion  that 
subtile,  alluring  touch  of  Orien- 
tal Beauty  with  all  its  mystic, 
seductive  charm. 

The  highly  astringent  prop- 
erties of  Gouraud's  Oriental 
Cream  keep  the  skin  firm  and 
smooth,  discouraging  wrinkles 
and  flabbiness.  Its  antiseptic 
action  maintains  a  pure,  clear 
complexion,  eliminating  tan, 
freckles,  muddy  skins,  redness, 
etc.  A  permanent,  lasting  im- 
provement to  your  skin  and 
complexion  awaits  you.  Com- 
mence its  use  today. 


Send  10c.  for  Trial  Size 

Ferd.   T.  Hopkins  &  Son 

430  Lafayette   St. 

New  York 


The  Answer  to  " Whose  Hands?" 
in  the  August  Issue 

By  F.  Vance  de  Revere 


Eugene  O'Brien 

The  hand  with  great 
breadth  of  palm  and  un- 
usually short,  square  fingers 
with  full,  thick  phalanges, 
did  not  run  true  to  type, 
for  instead  of  a  short, 
thick-set  man,  it  belonged  to 
a  very  tall,  well-built  man 
named  Eugene  O'Brien.  In 
face  and  hand  alike  are 
shown  a  person  who  is 
logical  in  his  thinking,  also 
an  impulsive,  emotional, 
sensitive  nature,  a  reserved 
person  who,  at  times,  is  shy. 
The  face  shows  a  very  in- 
spirational nature  with  vivid 
imagination  and  qualities 
which  would  be  useful  in 
writing.  The  face  and  hand 
are  so  entirely  opposed  that 
it  would  make  a  complex 
nature. 

All  rights  reserved, 
F.  Vance  de  Revere 


Dorothy  Mackaill 

'T'he  long  hand,  with  thin 
fingers,  belonging  to  a 
person  who  is  tall  and  slim, 
with  the  muscular  and 
osseous  development,  was 
Dorothy  Mackaill's  hand.  Her 
hand  corresponds  accurately 
with  her  type  and,  in  most 
of  the  details,  the  same 
characteristics  are  found  in- 
hand  and  face  equally  well 
developed.  This  gives  added 
strength  to  the  character- 
istics and  makes  a  nature 
more  readily  understood. 
Her  dominate  traits  are  a 
strong  will,  much  determi- 
nation, persistence,  inde- 
pendence, courage  of  her 
convictions,  industriousness 
and  an  ambitious  nature. 
She  has  won  her  present 
success  thru  her  ability, 
good  judgment  and  common 
sense. 

All  rights  reserved, 
F.  Vance  de  Revere 


a 


May  Allison 

The  long  narrow  han 
with  its  long  fingers  an 
still  longer  palm,  which  was 
in  direct  contrast  to  the 
other  two  hands  appearing 
with  it,  belongs  to  'May 
Allison.  The  face  is 
harmonic,  indicating  ability, 
vocationally,  in  a  variety  of 
lines.  This  is  not  indicated 
in  the  hand.  However,  in 
hand  and  face  alike,  we  find 
indications  of  an  active, 
restless  nature ;  an  individu- 
al who  is  very  sensitive, 
emotional,  highly  intuitive, 
sympathetic,  charitable, 
gentle  and  kind,  but  lacking 
in  aggression.  Strength  of 
character,  determination 
and  persistence  are  shown 
in  both  face  and  hand. 
Likewise,  appreciation  of 
both  color  and  music. 
All  rights  reserved, 
F.  Vance  de  Revere 


The  Prize  Winners  Are 


Bcbe    Daniels   a   wager    will    ray, 
That    she   made    with    a    senor   one   day, 
A    donkey    she'll    ride 
Dressed   up   like   a   bride, 
There'll    be    "kick"    in    the   act    critics   say. 
Sarah   C.    Mayo, 

Atlanta,    Ga. 


If   you're   keen   about   men   who   are    Spanish, 
Senor    Tony    Moreno    will    banish 
All    thoughts — goodness   knows! 
Of   American    Beaux. 
What's  the   use?     When  the  reel's   done   he'll 
vanish. 

Mks.   Claudia  Peters, 
Ottawa,   Ontario,   Canada. 


Pola    Negri    says    she'll    masquerade, 
As   Carmen   the   bold   gypsy   maid; 
With    her    gay    tambourine, 
She    will    dance    for   the    queen, 
And    for    hearts    "castanet,"    the    sly    jade. 
Mrs.   J.   Parker, 
330   No.    14th  St., 
Lincoln,    Nebr. 


Tf     there's    one    senorita    who's    sweeter 
Than   Miss  Astor,  then  we'd  like  to  meet  her; 
Every  grandee  in   Spain 
Has   wooed    her    in   vain, 
On  a   pedestal   we'd    like   to   seat   her. 

L.    Foren, 
New  York,  N.  Y. 


Ricardo   Cortez   looks   much   more 
Like   your  dream  of  a   Toreador 
Than   any    you've   seen 
On    the    stage    or    the    screen 
But    his    "bull"    comes    in    "sacks"    from    the 
store. 

Milton    McAllister, 
San   Antonio,   Texas. 


Last  Call  Before   the  Drop 

is  the  prize-winning  title  for  the  picture  which  appeared  on  page  72  of  the 
July  issue.     It  was  contributed  by  H.  L.  Crutchfield,  Miami,  Florida. 

advertisement  in  MOTION   PICTURE   MAGAZINE   is  guaranteed. 


Who  Made  Charlie  Chaplin? 

(Continued  from  page  50) 

and  Syd  felt  his  time  and  efforts  be- 
longed to  his  brother.  Perhaps,  too,  the 
intrigue  of  the  business  end  of  the  baby 
industry  was  in  Syd's  blood.  He  was  an 
agent  with  genius  on  the  market.  A  dealer 
in  a  rare  talent.  Close-ups  and  long 
shots  must  have  seemed  tame  in  com- 
parison. And  that  is  the  only  reason  Syd 
left  the  screen  again  to  assume  manage- 
ment of  his  brother's  affairs.  He  scoffs 
at  the  idea  that  Charlie  paid  him  to  keep 
out  of  the  field  because  of  professional 
jealousy. 

Syd  was  flirting  with  Big  Stakes  and 
the  jade  gave  in. 

Where  other  managers  would  have  been 
content  to  rest  on  the  commission  from 
ten  thousand  dollars  a  week,  Syd  figured 
it  could  be  improved  upon.  He  did  as 
nice  a  little  piece  of  bidding  as  you'd  ever 
want  to  see  with  Mutual  and  almost  before 
Charlie  realized  what  was  happening,  ne- 
gotiated the  contract  that  was  heard 
around  the  world — the  terms  being  $750,000 
for  twelve  two-reelers  with  a  $150,000 
cash  bonus.  Nice?  What?  The  pub- 
licity resulting  from  that  deal  was  the 
lever  that  raised  salaries  to  the  exorbitant 
sums  now  enjoyed  by  Mix,  Swanson,  Tal- 
madge  and  the  other  big  leaguers. 

Time  and  the  golden  contract  went  on 
until  it  seemed  to  the  shrewd  Syd  propi- 
tious to  make  another  move.  A  cor- 
poration was  appearing  on  the  horizon 
known  as  First  National.  First  National 
controlled  a  large  chain  of  theaters  and 
Syd,  realizing  the  sensible  plan  of  their 
distribution  program,  promoted  a  deal  for 
Charlie  involving  one  million  seventy- 
five  thousand  dollars  for  eight  pictures. 
Charlie  got  the  money  and  Syd  had  the 
fun. 

Charlie's  moves  from  First  National  are 
too  well  known  to  need  repeating  here. 
His  successful  affiliation  with  United 
Artists,  also  engineered  by  Syd,  his  per- 
sonal recognition  as  one  of  the  outstanding 
artists  of  the  age,  his  cultural  advance  are 
by  words.  Great  men  do  him  homage. 
Great  thinkers  respect  his  opinions.  The 
boy  from  the  English  gutters  has  found 
castles  in  Beverly  Hills. 

Well,  you  hear  it  said  that  Charlie's 
brother  Syd  is  branching  out  pretty  well 
for  himself  now.  He's  funny,  too.  Nice 
contract  with  Warner  Brothers.  Every- 
thing sitting  pretty. 

Which  makes  a  nice  ending  for  a  story 
about  the  man  who  made  the  world  make 
Charlie. 


Advertising  Section 


FREE: 

A  wonderful  little  book  that 
gives  new  beauty  secrets.  Free, 
with  every  jar  of  Ingram's  Milk- 
weed Cream. 


«0TMK'iURR 


« 


Tour 
Simple  'Ways 

to  improve  your  skin 
—NOW! 

By  FRED  INGRAM  Jr.,  ph.c. 
B.  Sc.,(Pharm.) 


I.  From  16  to  30  you  need  from  7H  to 
8  hours  sleep — at  least  four  nights  out 
of  seven.  At  30  to  50,  6H  to  7  hours 
will  do  with  a  daily  short  rest  after 
lunch  or  just  before  dinner.  If  you 
would  have  beauty  after  30 — get  your 
rest.  No  cream  or  cosmetic  can 
compete  with  loss  of  sleep. 

And  you  simply  must  eat  each  day 
either  lettuce,  celery,  cabbage,  carrots, 
spinach,  oranges,  white  cherries,  grape- 
fruit, lemons  or  tomatoes.  Your  doc- 
tor will  tell  you  just  what  combina- 
tions are  good  for  you  personally. 
Sleep  and  these  foods  are  a  sure 
foundation  for  beauty. 

II.  For  the  arms,  neck,  shoulders  and 
hands — at  least  once  a  day,  lukewarm 
water  and  any  good  soap  (Ingram's 
Milkweed  Cream  Soapisfine).  Then  use 
Ingram's  Milkweed  Cream  on  hands, 
arms,  neck  and  shoulders.  Rub  it  in 
gently.  Don't  rub  it  off.  Use  only  at 
night  before  retiring — wear  old  gloves 
on  hands.  You  will  be  astonished. 
Your  friends  will  comment  on  the  re- 
markable change  in  the  appearance  of 
your  skin  with  this  simple,  common 
sense  treatment.  Under  no  conditions 
use  any  other  cream  while  you  are 
making  this  test. 

III.  For  the  face,  give  our  cream  two  ' 
weeks'  exclusive  use.  Write  the  date 
on  the  label  so  that  you  may  watch  re- 
sults carefully.  Use  no  other  cream  of 
any  kind.  Wash  your  face  at  night 
with  lukewarm  water  and  Ingram's 
Milkweed  Cream  Soap.  Rub  cream  in 
gently;  don't  rub  it  off.  Use  morning 
and  night,  using  water  only  at  night  to 
cleanse  face.  Blotches,  blemishes, 
blackheads,  redness,  tan,  wind-  and 
sunburn  will  go  if  you  follow  the  diet 
suggested  and  use  Ingram's  Milkweed 
Cream  exclusively. 

Women  today  will  tell  you  this 
simple  treatment  gets  results.  We 
have  thousands  of  letters  over  a  period 
of  40  years  that  back  up  our  state- 
ments. And  today  thousands  are  en- 
joying the  beauty  insurance  which 
this   simple  method  brings. 

IV.  If  you  have  a  good  beauty  shop 
operator,  stay  with  her,  but  insist  that 
she  use  your  own  jar  of  Ingram's 
Milkweed  Cream.  Infections  are  dan- 
gerous. Not  one  woman  in  a  hundred 
has  a  scientific  beauty  operator. 

We  are  always  glad  to  answer  ques- 
tions— to  help  those  who  have  been  un- 
successful in  their  search  for  skin  love- 
liness. Particularly  those  who  want  to 
protect  their  beauty  over  a  long  period 
of  years. 

If  you  are  in  doubt,  take  no  chances. 
Do  your  own  facials,  arm,  neck,  hand 
and  shoulder  treatments  at  home.  We 
will  teach  you  how  in  our  little  book 
that  comes  with  each  jar  of  Ingram's 
Milkweed  Cream. 


i 


ff 


rum'4 


Is  It  Worth  While? 

Fame  has  an  intoxication  ...  a 
glamour.  It  brings  wealth,  too,  especially 
if  you  are  a  motion  picture  star. 

But  is  it  worth  the  price  you  pay  for  it? 
And  do  you  know  the  full  measure  of  the 
price  that  is  paid,  always? 

Gladys  Hall  and  Adcle  Whitcly  Fletcher, 
the  double  interviewers,  selected  Gloria 
Swanson  as  the  subject  of  one  of  their 
original  and  amusing  one-act  playlets  .  .  . 
and  she  talks  on  this  subject  and  many 
other    interesting    ones. 

Dont  miss 

We  Interview  Gloria  Swanson 

In  the  October  Motion  Picture 

Magazine 

On  the  News-stands  September  1st. 

When  you  write  to  advertisers  please  mention  MOTION   PICTURE  MAGAZINE, 


Lovely  Skin 

in  two  weeks 
—this  easy  way 

See  blemishes  go — skin  grow  lovely. 
Here  is  beauty  insurance ! 


ERE  is  a  simple,  NEW  method. 
One  that  thousands  of  beautiful 
women  have  used  for  ten  years  or  more. 
Lovely  skin  is  so  important  to  your 
Now  every  woman  can  have  it- — 'quickly, 
easily.  This  way,  every  woman  can  appear  5 
to  10  years  younger.  For  blemishes  do  actually 
vanish — often  in  two  short  weeks  I 

Read  the  four  common-sense  beauty  secrets 
in  the  column  at  the  left.  Then  obtain  a  jar  of 
Ingram's  Milkweed  Cream  at  your  favorite 
store.  Get  it  in  the  50  cent  or  dollar  size.  The 
dollar  size  is  more  economical. 

You  and  your  friends  will  notice — a  remarkable 
improvement  within  two  weeks.  And  remember: 
You  need  only  one  cream  .  .  .  Ingram's! 


beauty. 


Frederick  F.  Ingram  Co. 

Established  1885 
Windsor,  Ont..  421  Tenth  St.. 

Canada  Detroit,  Mich. 


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Advertising  Section 


tjhereis  a  difference 
worth  knowing  I 


TRE-JUR 

face  Powder 

JOLI-MEMOIR.E     FRACRANCE 

oCiin/jle— Generous  sired  package  in 
your  own  favorite  shade  sent  for  10c.  in 
stamps  or  coin.  The  House  of  Tre-Jur, 
Inc.,  19  West  18th  Street  .  .  .  New  York. 


1 


Three  Trial  Tubes  of  a  G]S[ew 
Imported  cPoudre  Cream  for  15c 

A  marvelous  cream  that  softens,  whitens 
and  beautifies,  combined  with  a  powder 
that  will  not  rub  off— Velouty  de  Dixor. 
Imported  from 
France  in  three 
shades.  White,  Ivory 
and  Natural. 

Protects  and  Finishes 

Prepared  for  day  and 
evening  use,  this 
cream  imparts  the 
softness  of  velvet  to 
the  skin,  and  a  powder 
finish  that  will  not 
rub  off.  Protects 
against  sun  and  wind 
burn.  On  sale  at 
belter  beauty  parlors 
and  department 
stores.  Send  1"><-  for 
trial  tubes  of  three 
different  shades. 

HYMAN   &   OPPENHEIM 
105  E.i-  l    16th  Street  NEW  YORK,  N.  V. 


Crazy  Quilt 

{Continued  from  page  76) 


She  knew  now  that  she  had  dramatized 
herself  when  anyone  had  been  looking. 
Always  dramatics.  They  were  her  life. 
They  were  frequently  much  realer  to  her 
than  reality. 

Her  worst  memories  had  followed  this 
by  about  three  years.  Her  father  had 
married  again.  Judith  felt  it  was  not  be- 
cause he  had  loved  her  stepmother  but 
because  he  had  been  utterly  dependent. 
The  second  Mrs.  Colvin  Tower  had  been 
little  assistance,  rather  a  hindrance.  She 
had  completely  lacked  Judith's  mother's 
gift  for  management.  The  scant  family 
income  ceased  to  include  a  luxury  now  and 
then.     It  often  failed  to  cover  necessities. 

Debts.  Because  the  house  money  was 
always  being  used  to  buy  furbelows. 
Then  another  derbied  head  would  climb 
the  hill  from  town. 

Until  her  dying  day  Judith  was  to  have 
a  horror  of  debt.  Her  memories  of  the 
tower  room  in  that  old  mansard  roof 
house  were  too  humiliating  ever  to  be 
forgotten. 

At  first  the  room  had  been  her  play- 
room. Then  when  she  grew  older,  she 
had  turned  it  into  a  study  and  she  read 
there  during  the  afternoons.  The  windows 
commanded  a  view  of  the  town  of  West- 
port  for  almost  a  full  mile  down  the  hill. 
It  was  a  watch  tower  from  which  Judith 
gave  frequent  warnings  of  approaching 
creditors.  She  came  to  recognize  them 
by  their  inevitable  derby  hats.  On  warm 
summer  days  the  derbies  would  be  pushed 
back  on  the  heads  mounting  the  crest  of 
the  dusty  hill. 

Often  Judith  had  thought  and  dreamed 
of  escaping  into  the  city.  But  she  had 
never  done  more  than  this.  She  had  no 
money,  for  one  thing.  And  the  very  fact 
that  she  was  about  seemed  to  make  life  a 
little  easier  for  her  father.  She  managed 
to  keep  the  house  in  order  and  every  now 
and  then  she  did  something  to  straighten 
out  money   matters. 

But  when  the  opportunity  to  get  away 
had  come,  she  had  taken  it  without  hesita- 
tion. Her  mother  had  left  twelve-hundred 
dollars  for  her  in  the  care  of  old  Calvin 
Wiggins.  He  had  given  it  to  her  on  her 
birthday  with  a  note  from  her  mother. 
Judith  knew  a  sense  of  unreality  about  it. 
It  was  as  if  her  mother's  tired  hand  had 
reached  over  from  Eternity  to  help  her 
out  of  a  difficulty. 

The  letter  had  read: 

"My  dear  Judy  : 

"At  eighteen  you  are  old  enough  to 
know  what  you  wish  to  do  with  your  life. 
Looking  at  you  now,  you  are  very  much 
like  my  grandmother  must  have  been.  You 
are  always  acting  when  I  come  upon  you 
in  your  playroom  or  in  the  garden.  What 
is  more,  you  promise  to  grow  into  a 
lovely  woman  and  I  am  sorry  that  I  shall 
not  be  there  to  see  you  on  your  eighteenth 
birthday. 

"West port  has  narrow  boundaries.  And 
even  if  you  are  to  marry  and  spend  your 
life  here,  I  feel  that  you  will  be  happier  if 
you  have  had  some  opportunity  to  get 
away  before  you  decide.  Whatever  it  is  I 
will  have  saved  for  you,  it  will  not  be 
much.  Hut  perhaps  it  will  be  enough  to 
tide  you  over  any  decision  you  make.  It 
may  be  enough  to  give  you  the  courage 
to  do  the  tiling  you  want  to  do.  That  will 
be  something. 

"The  doctor  says  T  may  live  for  several 
years.  Bu1  often  I  feel  so  weary  that 
1  do  not  think  I  will  survive  the  day.  I 
have  not  told  your  father  that  it  is  willed 
that    1    shall    not    grow    old    with    him.      I 


wonder  if  he  will  have  married  again. 
Men  are  so  helpless  without  a  woman  to 
look  after  them.  Always  love  him, 
But  remember  first  of  all  that  each 
us  must  carve  our  own  lives. 

Your  mother, 
Westport,  June  30th,  1914    Grace  Tower 

There  had  been  no  word  of  love.  Per 
haps  Grace  Tower  had  known  what  a 
shadowy  figure  she  would  be  to  her 
daughter   when  the  note  was   delivered. 

Judith  wondered  how  her  mother  had 
saved  that  twelve-hundred  dollars. 

She  never  knew  how  it  had  been  bleeded 
from  the  economy  of  mended  and  re- 
mended  gloves  ...  of  cardboard  inner- 
soles  in  worn-out  shoes  ...  of  little 
things.  It  had  been  saved  almost  entirely 
of  dimes  and  quarters  and  of  every  penny 
that  had  come  to  Grace  Tower  in  change 
from  the  day  that  Judith  was  born. 

She  had  known  the  limits  of  the  man 
she  loved  so  devotedly. 

Mrs.  Tower  had  had  vituperation  for 
Judith  when  she  left.  But  her  harassed 
father  had  not  blamed  her  in  his  heart. 
Nor  had  he  blamed  his  wife  for  being 
incensed  when  the  entire  twelve-hundred 
escaped  her.  Like  so  many  men,  unfit  to 
face  the  exigencies  of  life,  Colvin  Tower 
blamed  himself  for  all  that  was  wrong  in 
the  lives  of  his  loved  ones.  And  he  al- 
ways seemed  to  understand  the  trials  to 
which  they  were  subjected  because  of  his 
shortcomings. 

Judith  would  not  have  blamed  her  step- 
mother either  had  she  heard  the  things 
she  had  said.  She  felt  wretched  about 
going.  But  she  knew  from  the  moment 
that  she  read  her  mother's  letter  that  she 
would  go.  She  could  not  remain  now 
that  this  opportunity  had  come  to  her  .  .  . 
and  at  such  a  cost. 

Chapter  II 

Tt  had  not  been  Judith's  background  that 
1  had  fitted  her  for  the  life  she  immedi- 
ately experienced  upon  her  arrival  in  New 
York.  It  had  been  some  instinct  within 
her  that  had  propelled  her  in  the  right 
direction. 

That  afternoon  in  Marcus  Goldstein's 
office  had  come  after  Judith  had  been  in 
New  York  for  about  ten  months.  There 
was  five-hundred  dollars  left  in  the  bank. 
Despite  frugal  living  in  the  hall  bedroom 
of  an  old  brown-stone  rooming-house  with 
sterno-cooked  meals  and  laundry  done 
surreptitiously  in  the  wash  bowl,  there 
had  been  many  inroads  upon  the  exchequer. 

There  had  been  the  problem  of  clothes. 
Judith  would  have  gone  without  sufficient 
food  in  order  to  be  smartly  dressed.  She 
had.  But  the  skimping  had  never  de- 
pressed her.  There  were  no  more  derbied 
men  climbing  a  hill  into  her  life. 

She  had  made  a  few  casual  friends 
among  the  other  girls  who  posed  for  mag- 
azine illustrations.  Unlike  Judith,  many 
of  these  girls  had  no  reserve  fund  upon 
which  they  might  fall  back  for  clothes 
and  other  extras.  She  knew  how  many 
of  them  had  strutted  about  in  fur  coats 
the  winter  before  when  they  had  been 
hungry.  And  she  had  seen  any  number  of 
them  give  up  drug-store  luncheons  so  that- 
twinkling  legs  might  wear  silk  tops. 

She  wondered  how  some  of  them  lived. 
She  knew  how  others  did. 

Sometimes  she  was  lonely  for  masculine 
company.     The  Westport  boys  had  flocked 
to  her  house  ever  since  she  had  been  per- 
mitted   to    receive    their    attentions.      The 
{Continued  on  page  93) 


86 

GE 


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^M°3MSUB 


They're    Not   What  They 
Seem 

(Continued  from  page  26) 

types.  Of  course.  Naturally.  A  spurred 
and  booted  sage-brush  swashbuckler.  A 
cactus  creature.  From  out  the  Great 
Open  Spaces.  Redolent  of  the  place  where 
the  West  begins.  .  .  Lo,  Tom  was  tricked 
out  in  pale  cream  tailoring  and  scarlet 
do-das.  He  was  ablaze  and  a-glitter  with 
diamonds.  He  was  ensconced  in  a  padded, 
luxurious  hotel  suite.  He  talked  about  his 
Good  Example  to  Little  Boys.  There  was 
no  sign  of  Tony  and  nothing  could  be  less 
like  cactus. 

There  is  Charlie  Ray  .  .  .  you  have  all 
seen  Charlie  as  the  tattered  boy  at  the  old 
swimmin'  hole  .  .  .  overalled  .  .  .  bare- 
footed .  .  .  wistful,  adolescent  eyes  .  .  . 
simple.  .  .  .  You  think  to  yourself, 
"There  is  the  real  Charlie  Ray.  What  an 
unaffected,  down-to-the-earth  person  he 
must  be."  Not  at  all.  Charlie  spent  many 
a  week,  many  a  month,  many  a  year, 
"making  the  grade"  in  Californian  society. 
He  ate,  slept  and  dreamed  the  Western 
Four  Hundred.  It  was  his  goal,  the  end 
of  his  desire.  Far  from  the  old  swimmin' 
hole  and  all  that  goes  with  it  was  his  house, 
staffed  with  correct  functionaries,  his  cars, 
his  ultra-tonsorial  appearances,  the  ends 
and  aims  of  his  existence.  We  do  hear 
that  Charlie  has  learned  better,  but  cer- 
tainly there  was  a  time  when,  if  the  word 
perfection  may  be  applied  to  anybody,  it 
might  have  been  to  Mister  Ray  as  "the 
Perfect  Paradox." 

Well,  now  you  must  see  more  or  less 
what  we  mean.  We  could  go  on  giving  you 
other  examples,  but  we  haven't  got  the 
heart.  Just  to  make  you  feel  better,  and 
also  the  better  to  illustrate  what  we  mean, 
||e  will  tell  you  that  there  are  numerous 
'eroes  and  'eroines  who  are  precisely  what 
they  seem  .  .  .  Lois  Wilson.  Anna  Q. 
Nilsson.  May  McAvoy.  Dick  Barthel- 
mess.  Conrad  Nagel.  Pola  Negri.  Con- 
stance Talmadge.  Colleen  Moore.  Rich- 
ard Dix. 

But  the  others — the  others  are  picture 
paradoxes.  Take  it  or  leave  it  from  one 
who  knows. 


$200  For  Your 
rinion 


Opi 


Why  is  "Crazy  Quilt"  a  Per- 
fect  Title  for   This   Story 

About  Motion  Picture 
People  ? 

On  page  twenty  of  this  issue 
a  fascinating  story  begins, 
called  "Crazy  Quilt." 

If  you  haven't  read  the 
story,  do  so  now  .  .  .  and  see 
if  your  opinion  as  to  why  this 
is  an  appropriate  title  for  a 
story  of  motion  picture  people 
doesn't  win  a  prize. 

The  Editor 


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That  will  double  and  triple  the  effec- 
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Modern  beauty  science  has  found 
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It  will  prove  that  no  matter  how 
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That's  because  old  methods  failed  in 
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It  will  correct  skin  and  nose  oiliness. 
For  an  oily  skin  indicates  cold  cream 
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the  first. 

A  dull,  splotched,  or  otherwise 
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and  they  are  unable  to  function  prop' 
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Gilda  Gray  Tells  How  She  Does  Her  Stuff 


(Continued  from  page  41) 


of  which  is  very  fine,  but — "On  with  the 
dance." 

"You   are   self-taught?" 

"Ab-so-lutely !  Never  took  a  lesson  in 
my  life!" 

No  polite  manceuvering  to  avoid  taking 
a  definite  stand  in  this!  In  fact,  Miss 
Gray  is  most  plain-spoken  in  the  voicing 
of  her  abysmal  scorn  of  the  usual  and 
"approved"  method  of  teaching  the  dance — 
the  time-honored    "one,   two,   three,  kick." 

"I  just  get  up  and  dance  what  I  feel — 
that's  all.  I  dance  in  the  way  that  comes 
most  natural — and  that's  what  the  people 
I  dance  for — the  masses,  not  the  classes — 
want.  They  dont  want  a  stilted  and  un- 
natural  thing   like   the   toe-dance. 

"And  if  you  dont  believe  me,  compare 
my  salary  with  that  of  a  good  classical 
dancer.  And  the  box-office  docs  tell  what 
the  people  want. 

"People  aren't  'classical' ;  they're  alive, 
and  I  give  them  their  feelings — feelings 
as  alive  as  they  are." 

If  she  did  anything  but  "just  dance," 
this  would  not  be  so,  and  she  realized  this 
early  in  her  life,  when  she  first  danced  in 
a  barroom  cabaret. 

Realizing  it,  she  has  been  careful  that 
she  should  not  dance  anything  that  is  not 
natural  to  herself.  She  has  never  at- 
tended a  recital  by  a  Pavlowa  or  Fokina 
to  see  if  she  could  learn  more  of  the  tech- 
nique of  her  art — for  the  emotions  of  life, 
not  an  isolated  "technique,"  are  to  her 
the  true  spirit  of  the  dance. 

"It  wasn't  that  I  just  stayed  away — I'd 
have  fought  if  anyone  had  tried  to  make 
me! 

"And  even  if  it  wasn't  for  that,  I 
wouldn't  give  ten  cents  to  see  the  best 
classical   dance   going.     'One,    two,   three; 


one,  two,  three' — and  they  call  that  danc- 
ing!" 

It  is  natural  that  a  lady  who  never 
studied  the  dances  of  the  South  Seas  until 
after  she  had  created  her  own  version  of 
them;  a  lady  who  never  dances  the  same 
steps  twice  because  her  feelings  are  never 
twice  the  same,  should  see  red  when  told 
that  dancing  consists  of  learning  certain 
steps  and  formulae  by  heart. 

But  how  about  that  "imp  of  the  perverse," 
artistic  temperament?  If  she  dances  what 
she  feels,  what  does  she  dance  when  she 
doesn't  feel  like  dancing? 

"Well,  it's  usually  only  when  I'm  sick 
that  I  dont  feel  like  dancing.  Then,  I 
grouch  about  and  curse  everything — until 
the  moment  I  appear  upon  the  stage.  Then 
it  all  leaves  me,  and  the  music  takes  its 
place — and  I  have  only  emotions  reacting 
to  the  music  and  the  audience.  There  is 
nothing  left  in  the  world  but  the  music 
and  the  audience." 

This  taking  of  oneself  from  out  the 
every-day  world  into  a  world  of  emotions 
and  the  spirit  worked  very  well  for  the 
nymphs  who  danced  thru  the  groves  and 
across  the  hillsides  of  early  Greece;  and 
it  even  works  upon  the  stage — but  what 
about  such  earthly  considerations  as  the 
proper  placing  of  lights  and  the  camera? 
For,  after  all,  dancing  in  a  picture  is  not 
of  much  use  unless  caught  by  ol'  eagle 
eye. 

"Technical  difficulties?  But  I  dont  use 
'technique.'  " 

"Not  of  your  dance — I  mean  the  placing 
of  cameras,  and  so  on." 

"I  just  danced  and  didn't  worry  about 
that.  There  are  plenty  of  scenes  where 
you  cant  see  my  face — and  I  dance  in  and 
(Continued  on  page  101) 


Home,  Sweet  Home  of  the  D'Arcys 

(Continued  from  page  36) 
BUT 

The   first  of  the   month   comes  around   every   few  weeks.      You   know 
how  it  is! 


Every  advertisement   la  MOTION  PICTURE  MAGAZINE  Is  guaranteed. 


Advertising  Section 


(fl-MOTION  PICTUR[ 

inOl   I    MAGAZINE       Y 


The  Editor  Gossips 

(Continued  from  page  65) 

We  have  always  said  that  Ramon 
Novarro  did  not  belong  to  this  generation. 
But  he  has  adjusted  to  it  .  .  .  even  if  he 
does  some  day  take  the  gold  he  has  earned 
and  saved  and  go  off  to  a  villa  many 
kilometers  out  of  some  European  city. 
Italy  perhaps   ...  or  Spain.  .    .    . 

The  intervening  years  have  not  taken 
from  him  that  simplicity  of  spirit  he  knew 
as  a  schoolboy  who  walked  at  twilight  in 
the  plazas. 

"The  trouble  with  Corinne,"  Alice  Joyce 
complains  and  we  agree  with  her,  "is  that 
she  never  gives  you  an  opportunity  to 
simply  sit  and  watch  her.  She  always 
embarrasses  me  by  turning  swiftly  and 
finding    my    eyes    glued   on   her." 

That  is  generous  of  Alice.  But  really 
she  has  small  grounds  for  complaint. 
When  you  look  like  Alice  Joyce,  all  you 
need  to  satisfy  your  aesthetic  and  sensu- 
ous sense  is  a  large  mirror. 

But  we  understand  how  she  feels  about 
Corinne  Griffith.  In  our  opinion  she  and 
Corinne  are  the  two  most  beautiful  women 
on  the  screen. 

Which  reminds  us  of  Corinne's  em- 
barrassment when  Liberty  Magazine  re- 
cently advertised  ''The  Most  Beautiful 
Woman  in  the  World,"  on  the  cover  and 
inside  went  into  a  eulogistic  description 
of  her. 

She  was  in  New  York  at  the  time  and 
when  we  asked  her  if  she  had  seen  Liberty 
she  was  obviously  confused  .  .  .  and  a 
little  doubtful  as  to  whether  we  were  mak- 
ing fun  of  her. 

"I  laid  the  magazine  down  on  the  table 
yesterday  when  a  friend  came  in  for  tea," 
she  said  with  that  amused  little  laugh. 
"She  picked  it  up  and,  after  glancing  at 
the  cover,  began  to  turn  the  pages. 

"I  made  some  excuse  and  went  into  the 
other  room.  She  never  did  read  the  story 
but  several  times  she  picked  up  the  maga- 
zine and  glanced  thru  it  and  several 
times   I  made  an  excuse  and  an  exit." 

Also,  altho  Alice  did  not  mention  it,  it 
is  a  rare  treat  to  observe  Corinne  engaged 
in  a  business  conference.  It  puts  to 
ridiculous  route  all  your  images  of  square- 
jawed,  tailored  business  women.  She  is 
never  so  agitated  as  the  average  person 
gets  over  bridge.  Always  she  is  wholly 
social  and  charming.  But  in  the  end  it 
is  quite  likely  that  she  has  gained  her 
points. 

Paul  Bern  .quarrels  with  the  things 
Racquel  Meller  said  in  our  last  issue 
about  Pola  Negri's  Carmen.  La  Meller 
insisted  that  Pola  erred  in  wearing  lace. 
"The  gypsy  steals  lace  but  never  wears 
it,"   she  explained. 

We  mentioned  this  comment  to  Paul 
Bern  when  we  met  him  at  a  week-end 
.party  at  Thyra   Samter  Winslow's. 

"I  disagree  in  that  criticism  of  Pola's 
Carmen,"  he  said  very  definitely.  "An 
artist  must  create  a  character  that  is  uni- 
versally understandable.  Most  of  us  un- 
derstood Pola's  gypsy  better  because  she 
did  wear  lace.  Only  a  few  found  that  her 
Jacy  finery   robbed  her  of  realism." 

We  are  always  interested  in  the  dif- 
ferences of  opinion  between  sincere  artists. 
No  minute  detail  is  too  unimportant  to 
evoke   intense   interest. 

Perhaps  this  is  why  they  are  artists. 


A  great  factor  in  health  is 
good  digestion — getting  the  most 
benefit   possible  from  our  food. 

Doctors  tell  us  chewing  gum, 
used  after  meals,  helps  the  stom.' 
ach  in  its  work  and  has  a  great 
effect  in  overcoming  digestive 
troubles. 

Dentists  say  chewing  gum  keeps  the 
teeth  clean  and  prevents  decay  by  remov 
ing  food  particles  that  linger  in  the 
mouth. 

The  result  is  a  sweet  breath  that  is 
evidence  of  care  for  one's  self  and  con' 
sideration  for  others — the  final  touch  of 
refinement. 

WRIGLEY'S  is  the  other  word  for 
"chewing  Gum" — only  the  best  of  ingre' 
dients  go  into  it. 

The  joy  of  the  lasting  sweet  and  the 
flavor  of  WRIGLETS  after  every  meal 
are  additional  reasons  why  you  should  get 
its  benefit  and  pleasure. 


This  sanitary  wax  package 
— sealed  tight — 


delivers  all  of  the  original  good- 
ness of  WR1Q LEY'S  to  you. 


When  you  write  to  advertisers 


mention  MOTION   PICTURE   MAGAZINE. 


89 


t 


What  the  Stars  Are  Doing 

And  where  you  may  write  to  them 


Conducted  by  Gertrude  Driscoll 


Adoree,  Renee— playing  in  The  Flaming  Forest— 
Metro-Goldwyn  Studios.  Culver  City,  Cal. 

Allison,  May — playing  in  Mismates — Biograph 
Studios,  807  E.  175th  St.,  New  York  City,  N.  Y. 

Arthur,  George  K. — playing  in  Bardelys  The 
Magnificent — Metro-Goldwyn  Studios,  Culver  City, 
Cal. 

Astor,  Mary— playing  in  Former  After— First  Na- 
tional Studios,  Burbank,  Cal. 

Bankv,  Vilma— playing  in  The  Winning  of  Bar- 
bara Worth — Dc  Mille  Studios,  Culver  City,  Cal. 

Barthelmess,  Richard — playing  in  The  Amateur 
itan — Inspiration  Pictures,  565  Fifth  Ave., 
New  York  City,  X.  Y. 

Barrvmore,  John — playing  in  Manon  Lcscaut — 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Baxter,  Warner — playing  in  The  Great  Gatsby — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria.  L.  I. 

Beery,  Noah — playing  in  Paradise — Famous 
Players  Studios.  152(1  Vine  St.,  Hollywood,  Cal. 

Beery,  Wallace — playing  in  Old  Ironsides — Fam- 
ous Players  Studios,   1520  Vine  St.,  Hollywood,  Cal. 

Bennett,  Belle— playing  in  The  Fifth  Command- 
ment— Universal  Studios,  Universal  City,  Cal. 

Blue,  Monte— playing  in  Across  the  Pacific— War- 
ner Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Boardman,  Eleanor — playing  in  Tell  It  to  the 
Marines — Metro-Goldwyn  Studios,  Culver  City, 
Cal. 

Bow,  Clara — playing  in  You'd  Be  Surprised — 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Brian,  Mary — playing  in  Duke  of  Ladies — Famous 
Players  Studios,  Six:h  and  Pierce  Aves.,  Astoria, 
L.  I. 

Bronson,  Betty — playing  in  Paradise — Famous 
Players  Studios.  1520  Vine  St.,  Hollywood,  Cal. 

Brook,  Clive — playing  in  For  Alimony  Only — 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Holly- 
wood, Cal. 

Carey,  Harry — playing  in  Burning  Bridges — 
Pathe-  Exchange,  35  W.  45th  St.,  New  York  City, 
N.  V. 

Chaney.  Lon — playing  in  Tell  It  to  the  Marines — 
I  ioldwyn  Studios,  Culver  City,  Cal. 

Chaplin.  Charles — playing  in  The  Circus — 1412 
La  Brea  Ave.,  Hollywood,  Cal. 

Chaplin,  Sydney— playing  in  The  Belter  Ole— 
Warner  Bros.  Studios.  5842  Sunset  Blvd.,  Hollywood, 

Cody,  Lew— playing  in  The  Gray  Hal — Metro- 
n  Studios,  Culver  City,  Cal. 

Collie-.  William  Jr.— playing  in  Glorifying  the 
American  Girl — Famous  Players  Studios,  Sixth  and 
Pierce  Aves.,  Astoria,  L.  1. 

Colman,  Ronald — playing  in  The  Winning  of 
.    Worth      I).    Mille  Studios,  Culver  City,  Cal. 

Com-/..  Ricardo  playing  in  TheSorrows  of  Satan 
—  Famous  Players  Studio's,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

(ostcllo,  Dolores — plaving  in  The  Heart  of  Mary- 
land—-Warner     lit..-.     Studio-.    5842    Sunset    Blvd., 

Dana,   Viola  ing  in    Kosher    Kitty   Kelly — 

I-.  B  i  0  1  rower  St.,  Hollywood,  (  al. 

Daniels.    Bebe     playing   in   The  Campus  Flirt  - 
os,  I  520  Vine  St..  Hollywood, 

Da\i<-.,  Marion  playing  in  The  Red  Mill  — 
Goldwyn  Studios,  <  ulvei  (  ity,  <  al. 

Del    Kir,.    Dolores      pi:, vine   in    What    Prid   Glory'' 

i  Studios,  1401    '■•     '•'•  •   tern   We.,  Hollywood, 
IK-mpsiir.     (  .ami      playing     in     /< 

dios,  !-i.\th  and   Pierci 
Astoria,  L.  I. 
Dcnnj    Reginald — playing  in  Tain  UFron 

i>,  -.ore.  Dorothy  ttlar  Dan 

Ave,  Hollywood,  <  al. 
Dfx,     Kic  bard  '  -  •     I  [uartet 

bcth   and    Piero 
L.  I- 
Dora,    BilHe— playing    in     Kid   Boots — Famous 

-• 
Drewr.    i  dvI  ■  Bri  ft<  n    Hearli    of 

Studios,    5812    Sunset 


t 


Fairbanks,  Douglas — latest  release,  The  Black 
Pirate — Pickford-Fairbanks  Studios,  Hollywood, 
Cal. 

Fazenda,  Louise — playing  in  The  Red  Mill — 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Fields,  W.  C. — playing  in  So's  Your  Old  Man — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Ford,  Harrison — playing  in  The  Nervous  Wreck — 
Metropolitan  Studios,  1040  Las  Palmas  Ave.,  Holly- 
wood, Cal. 

Garbo,  Greta — playing  in  The  Flesh  and  the  Devil 
—Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Gibson,  Hoot — playing  in  The  Texas  Streak — 
Universal  Studios,  Universal  City,  Cal. 

Gilbert,  John — playing  in  The  Flesh  and  the  Devil 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Gish,  Dorothy— playing  in  London— Herbert 
Wilcox  Prod.,  London,  England. 

Gish,  Lillian — playing  in  Annie  Laurie — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Goudal,  Jetta — playing  in  Her  Man  O'  War — 
Cecil  De  Mille  Prod.,  Culver  City,  Cal. 

Gray,  Gilda — latest  release,  Aloma  of  the  South 
Seas — Famous  Players  Studios,  Sixth  and  Pierce 
Aves.,  Astoria,  L.  I. 

Gray,  Lawrence — playing  in  Kid  Boots — Famous 
Players  Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Griffith,  Corinne — playing  in  Tin  Pan  Ally — 
1040  Las  Palmas  Ave.,  Hollywood,  Cal. 

Griffith,  Raymond— playing  in  You'd  Be  Sur- 
prised— Famous  Players  Studios,  1520  Vine  St., 
Hollywood,  Cal. 

Haines,  William — playing  in  Tell  It  to  the  Marines 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Hamilton,  Neil — playing  in  The  Great  Gatsby — 
Famous  Players  Studios,  6th  and  Pierce  Aves.,  As- 
toria, L.   I. 

Hines,  Johnny — playing  in  The  Dancing  Mayor — 
C.  C.  Burr  Prod.,  135  W.  44th  St.,  New  York  City, 
N.  Y. 

Holt,  Jack— playing  in  Forlorn  River — Famous 
Players  Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Hughes,  Lloyd — playing  in  Forever  After — First 
National  Studios,   Burbank,  Cal. 

Joy,  Leatrice — playing  in  For  Alimony  Only — 
Cecil  De  Mille  Studios,  Culver  City,  Cal. 

Joyce,  Alice — playing  in  The  Ace  of  Cads  — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Keaton,  Buster — playing  in  The  General — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Kenyon,  Doris — playing  in  The  Blonde  Saint — 
First  National  Studios,  Burbank,  Cal. 

Kerry,  Norman  —  playing  in  Annie  Laurie  — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Kirkwood,  James — playing  in  Butterflies  in  the 
Rain — Universal  Studios,  Universal  City,  Cal. 

Langdon,  Harry — playing  in  The  Yes  Man — First 
National  Studios,  Burbank,  Cal. 

La  Plante,  Laura — playing  in  Butterflies  in  the 
Rain — Universal  Studios,  Universal  City,  Cal. 

Lloyd,  Harold — playing  in  The  Mountain  Lad — 
1040  Las  Palmas  Ave.,  Hollywood,  Cal. 

Louis,  Willard— playing  in  The  Door  Mat — War- 
ner Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Love,  Bessie— playing  in  Young  April — Cecil  De 
Mille  Studios,  Culver  City,  Cal. 

Lowe,  Edmund — playing  in  What  Price  Glory? — 
Fox  Studios,  1401  No.  Western  Ave..  Hollywood, 
■ 

Lyon,  Ben — plaving  in  Duke  of  Ladies — Biograph 
Studios,  807  E.  17511!  St.,   New  York  City,  N.  Y. 

Ma<  ka ill.    Dorothy — playing    in    The   Charleston 
Biograph  Studios,  807  E,  175th  St.,  New  York 

(ity.  N.  Y. 

MacLean,  Douglas — playing  in  Ladies  First — 
Famou  Pla  ei  Studios,  1520  Vine  St.,  Hollywood, 
<  al, 

Mason,  Shirley —  playing  in  Upstream  —  Fox 
mo  I   No.  Western  Ave.,  Hollywood,  Cal. 

McAvoy,  May  -playing  in  The  Fire  Brigade — 
Metro-Goldwyn  Studios,  Culver  City,  Cal- 

Meighan,  Thomas  —  playing  in  Tin  Gods  — 
1- anion  Players  Studios,  Sixth  and  Pierce  Aves., 
I..  I. 

Menjou,  Adolphe— playing  in  The  Ace  of  Cads — 
l-am-  idioi  .    Sixth    -"id     Pierre    Aves., 

Astoria,  L.  1. 


Miller,  Patsy  Ruth— completed  So  This  Is  Paris 
—Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Holly- 
wood, Cal. 

Mix,  Tom— playing  in  The  Arizona  Wildcat — Fox 
Studios,  1401  No.  Western  Ave.,  Hollywood,  Cal. 

Moore,  Mat — playing  in  Diplomacy — Fox  Stu- 
dios, 1401  No.  Western  Ave.,  Hollywood,  Cal. 

Moreno,  Antonio — playing  in  The  Temptress — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Murray,  Mae — playing  in  Altars  of  Desire — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Nagel,  Conrad — playing  in  Tin  Hats — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Negri,  Pola — playing  in  The  Hotel  Imperial — 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal.       - 

Nilsson,  Anna  0- — playing  in  The  Masked 
Woman — First  National  Studios,  Burbank,  Cal. 

Nissen,  Greta — completed  The  Love  Thief — Uni- 
versal Studios,  Universal  City,  Cal. 

Novarro,  Ramon — playing  in  The  Great  Galeoto  — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

O'Brien.  Eugene — playing  in  Fine  Manners — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

O'Brien,  George — playing  in  The  Devil's  Master 
— Fox  Studios,  1401  No.  Western  Ave.,  Hollywood, 
Cal. 

O'Hara,  George  —  playing  in  Cook's  Tours  — 
F.  B.  O.  Studios,  780  Gower  St.,  Hollywood.  Cal. 

O'Neil,  Sally— playing  in  The  Waning  Sex— 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Philbin,  Mary — playing  in  The  Man  Who  Laughs 
— Universal  Studios,  Universal  City,  Cal. 

Pickford,  Mary — playing  in  Sparrows — Pickford- 
Fairbanks  Studios,  Hollywood,  Cal. 

Pitts,  Zasu — playing  in  The  Wedding  March — 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Prevost,  Marie — -playing  in  Almost  a  Lady — 
Metropolitan  Studios,  1040  Las  Palmas  Ave.,  Holly- 
wood, Cal. 

Ralston,  Esther — playing  in  Glorifying  the  A  ineri- 
can  Girl — Famous  Players  Studios,  Sixth  and  Pierce 
Aves.,  Astoria,  L.  I. 

Ray,  Charles— playing  in  The  Fire  Brigade — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Rich,  Irene — playing  in  His  Official  Wife — War- 
ner Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Shearer,  Norma — playing  in  Up-stage — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Sherman,  Lowell — playing  in  You  Never  Know 
Women^—  Famous  Players  Studios,  1520  Vjne  St.,  Hol- 
lywood, Cal. 

Sills,  Milton— playing  in  Paradise — Biograph 
Studios,  807  E.  175th  St.,  New  York  City,  N.  Y. 

Starke,  Pauline — playing  in  The  Mysterious  Is- 
land— Metro-Goldwyn  Studios,   Culver  City,  Cal. 

Stone,  Lewis — playing  in  Midnight  Lovers — First 
National  Studios,  Burbank,  Cal. 

Swanson,  Gloria — completed  Fine  Manners- 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria.  L.  1. 

Sweet,  Blanche — playing  in  Diplomacy — Famous 
Players  Studios,  1520  Vine  St.,    Hollywood,  Cal. 

Talmadge,  Constance — playing  in  The  Duchess 
of  Buffalo— 7200  Santa  Monica  Blvd.,  Hollywood, 
Cal. 

Talmadge,  Norma — playing  in  A  Son  of  Mont- 
marlre — 7200  Santa  Monica  Blvd.,  Hollywood,  Cal. 

Tearle,  Conway — playing  in  Altars  of  Desire — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Terry,  Alice — latest  release,  Mare  Nostrum — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Torrence,  Ernest — completed  Mantrap — -Famous 
Players  Studios,  1520  Vine  St.,   Hollywood,  Cal. 

Valentino,  Rudolph — playing  in  Son  of  the  Sheik 
— 7200  Santa  Monica  Blvd.,  Hollywood,  Cal. 

Vidor,  Florence — completed  You  Never  Know 
Women— Famous  Players  Studios,  1520  Vine  St., 
Hollywood,  Cal. 

Wilson,  Lois  — playing  in  The  Great  Gatsby  — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Windsor,  Claire— playing  in  Tin  Hats  —Metro- 
Goldwyn,  Culver  City,  Cal. 

Worthing,  Helen  Lee— playing  in  Lew  Tyler's 
Wives— Tech-Art  Studios,  44th  St.,  New  York  City, 
N.  Y. 


w 


hen  vacation  time 
has  come  again — and  you're 
off  in  your  car  for  the  land 
of  carefree  outdoors 
— have  a  Camel! 


Camels  are  sold  wherever  civilization  has  its  stores.     If  going  into  the 

deep  woods  or  far  back  in  the  mountains  where  trade  and  people  have 

not  come,  better  take  several  cartons  of  Camels  with  you.     You'll  find 

"Have  a  Camel"  the  password  to  friendliness,  everywhere. 


WHEN  glad  vacation  time 
again  is  here.  Ah,  then  — 
when  straight  ahead  lie  the 
great  woods  and  sparkling 
waters  of  your  own  out- 
doors— have  a  Camel! 

For  each  happy  day  is 
more  satisfying,  more  rest- 
ful for  the  companionship 
of  Camels.  Camels  have 
never  been  known  to  tire 
the  taste — they  are  made  of 
such  choice  tobaccos.  Cam- 
els are  so  perfectly  blended 
that  they  never  leave  a  cig- 
aretty  after-taste.  Rolled 
into  Camels  is  the  utmost 
in  cigarette  goodness  and 
enjoyment. 

So  as  you  start  away  for 
a  deserved  vacation.  As  the 
long  road  calls  you  on  to 
unexplored  land.  When 
each  day  you  feel  more  joy- 
ously rested — taste  then  the 
perfect  contentment.  When 
it's  your  right  to  be  happy, 
have  the  best  cigarette 
made,  regardless  of  price. 

Have  a  Camel! 


©  1926 


Our  highest  wish,  if  you 
do  not  yet  know  and 
enjoy  Camel  quality,  is 
that  you  may  &y  them. 
We  invite  you  to  com- 
pare Camels  with  any 
cigarette    made    at    any 

price. 

R.  J.   Reynolds   Tobacco 

Company 

Winston-Salem,  N.  C. 


V 


Qri&jkadejbr  ail  atm/DleocionJf 


This  is  the  rouge  that  so  many  women 
like  so  well  that  they  will  use  no  other. 
At  all  Owl  drug  stores  and  Owl  agen- 
cies; at  nearly  all  good  drug  and  depart- 
ment stores;  or  by  prepaid  mail,  75c. 


Address  The  Owl  Drug  Company, 
61 1  Mission  Street,  San  Francisco; 
6th  and  Broadway,  Los  Angeles; 
Clark  and  Madison  Streets,  Chicago; 
53  West  23rd  Street,  New  York 


75> 

'with  mirror 
dpuff 


am 


*A  National  Institution 

NEW  YORK      CHICAGO      LOS  ANGELES 
SAN  FRANCISCO 


N 


Advertising  Section 


Crazy  Quilt 

(Continued  from  page  86) 


men  she  met  at  the  studios  were  commer- 
cial photographers  and  property  boys. 
Several  times  when  she  had  taken  a  'bus 
ride  up  Fifth  Avenue,  attractive  men  had 
watched  her  with  evident  interest.  But 
Judith  had  no  place  to  entertain  them. 
And  during  her  days  she  was  either  pos- 
ing or  hurrying  about  trying  to  get  some- 
thing to  do  the  next  day.  Nights  she  was 
exhausted. 

On  the  afternoon  after  her  encounter 
with  Marcus  Goldstein,  Judith  took  the 
'bus  up-town.  It  was  extravagant.  The 
trolley  or  the  subway  would  have  cost 
only  five  cents.  She  wanted  fresh  air  be- 
cause her  head  ached  and  because  little 
fresh  air  found  its  way  into  her  tiny 
bedroom. 

A  man  opposite  her  picked  up  her  hand- 
kerchief for  her  eagerly  when  it  dropped 
from  her  purse.  But  she  thanked  him 
absently.  Her  mind  was  focused  on  the 
future.  If  other  men  in  authority  were 
going  to  be  like  Marcus  Goldstein,  it  would 
not  be  simple.  There  was  barely  a  living 
to  be  eked  out  of  modeling.  Her  bank 
balance  was  dwindling.  And  there  were 
hundreds  of  pretty  girls  who  applied  for 
every  extra  girl  ever  needed  in  the  movies. 
She  realized  also  that  there  would  always 
be  directors  and  assistant  directors  ready 
to  take  advantage  of  their  ability  to  help 
girls. 

Against  this  she  weighed  other  things. 
Goldstein  had  remembered  her  work.  That 
proved  to  her  that  she  had  screened  as 
well  as  she  had  thought.  The  profession 
was  large  and  there  were  still  others  to 
whom  she  might  apply  for  work  even  if 
some  of  the  men  in  power  were  of  the 
Goldstein  ilk.  Other  girls  had  gotten 
ahead  without  pandering  to  obnoxious  old 
men.     She  had  the  same  chance. 

The   scales   seemed  to   balance. 

Judith  went  to  bed  almost  immediately 
upon  her  return  home.  She  wanted  to  be 
fresh  the  following  day.  And  the  next 
morning  at  seven  o'clock  she  felt  able  to 
face  the  world  again.  She  had  her  reg- 
ular breakfast  of  milk  with  an  egg 
beaten  up  in  it  and  began  to  dress. 

The  gray  suit  was  carefully  brushed. 
A  white  blouse  was  ironed.  And  the 
shape  of  the  gray  felt  hat  was  bent  a  little 
differently  by  her  expert  fingers.  Beneath 
the  hat's  tilt  her  young  face  with  the 
painted  mouth  seemed  lovelier  than  ever. 
She  had  a  breadth  to  her  cheeks  and  an 
insouciance  to  the  tilt  of  her  chin.  Her 
eyes,  sea-green,  were  grave.  And  if  she 
brushed  her  long  hair  long  enough,  copper 
gleamed  in  the  brown. 

Of  course,  she  might  not  get  past  the 
door-man.  That  was  always  a  possibility. 
Walking  thru  Fifty-ninth  street  on  her 
way  to  the  subway,  she  prayed  that  the 
"No  Casting  Today"  sign  would  not  be 
out. 

The  day  was  chilly  for  late  May.  Only 
the  pastel  hyacinths  in  the  window-boxes 
of  the  Hotel  Plaza  and  the  coats  of  the 
cabbies  parked  outside  which  appeared 
slightly  green  in  the  sunshine  corrobor- 
ated the  calendar  and  convinced  New 
Yorkers   that  it  was   really   Spring. 

The  subway  was  crowded  at  first. 
Judith  pushed  her  way  in  and  swung 
from  one  of  the  straps  with  hundreds  of 
other  swinging  bodies.  The  air  was  thick 
and  heavy.  It  made  you  yawn.  But  finally 
the  cars  thinned  out  and  Judith  sank  grate- 
fully into  a  vacated  seat. 

She  ijvatched  the  faces  across  the  aisle. 
Ycrnes/  Old.  A  girl  scarcely  adolescent 
&p  Mjg  a  wedding-ring  and  holding  a  tiny 


baby  wrapped  in  a  blue  blanket  with  white 
bunnies  on  it. 

There  was  a  fat  darky  with  three 
children,  evidentally  off  on  a  holiday. 
Their  group  was  a  colorful  spot  in  the 
car.  Pink  hats.  And  red.  And  three 
bright  blue  coats  with  black  and  white 
shoes.  Such  broad  grins  every  time 
Judith  caught  their  eyes.  And  such  nudges 
and  savage  .  squeaks  .  of  embarrassment 
when  she  waved  good-by  to  them  as  the 
train  ground'  into  her  station  and  she 
started  for  the  door. 

Near  the  subway  station  she  stopped  at 
a  little  flower  stand  and  bought  a  white 
gardenia  which  she  pinned  on  her  coat 
lapel.  It  was  a  touch.  And  it  made  her 
feel  better.  She  adored  the  creamy  white 
petals  and  the  heavy  intoxicating  odor. 
Roses  and  daisies  and  violets  and  those 
flowers  belonged  to  the  country.  But 
gardenias  and  orchids  were  of  New  York. 
Hot-house  blooms.  Fifty  cents  was  not 
to  be  thrown  away  but  every  now  and 
then  Judith  found  herself  doing  some- 
thing like  this  as  if  to  make  up  to  her 
spirit  for  all  "'the  economy  and  pinching 
that  had  gone  on   for   weeks   beforehand. 

The  studios  were  a  block  farther.  She 
quickened  her  steps.  If  they  were  cast- 
ing, she  wanted  to  be  there  as  early  as 
possible.  She  wondered  how  some  of  the 
extras  ever  managed  to  get  to  the  studios 
so  early.  No  matter  how  early  she  ar- 
rived, there  were  always  some  before  her. 
She  was  beginning  to  recognize  their 
faces. 

On  the  Excelsior  lot  she  knew  several 
girls  who  had  been  making  the  rounds  of 
the  studios  for  years.  Two  of  them  had 
given  up  any  hope  of  ever  gaining  any  rep- 
utation and  now  took  anything  that  came 
along.  The  other  day  they  had  been 
playing  character  bits. 

From  the  outside  the  studios  might  have 
been  a  loft  and  office  building.  Judith 
knew  from  experience  at  these  and  other 
studios  the  motley  group  that  would  be 
waiting  inside. 

There  would  be  a  terrible  woman  with 
a  little  girl  whose  head  would  be  heavy 
with  Mary  Pickford  curls.  She  would 
have  a  smile  too  and  she  would  turn  _  it 
on  -and  off  with  about  as  much  spontaneity 
as  a  water  faucet.  She  would  do  all  her 
little  tricks  every  time  a  director  passed. 
There  would  be  no  misty  childhood  about 
her.  She  would  walk  with  little  mincing 
and  affected  steps.  She  would  talk  with 
an  affected  naivete  and  simplicity  that 
would  mock  the  naivete  and  simplicity 
that  should  belong  to  a  slim  five  years. 

Her  mother  would  reach  after  her  and 
twist  a  curl  about  her  finger  or  whisper 
something  in  her  ear  or  pull  down  a  ruffle 
of  her  lace  dress  every  few  minutes. 

There  would  be  old  men  with  white 
mustaches,  in  case  a  banker  was  needed. 
Some  of  them  would  wear  cut-away  coats 
and  striped  trousers.  They  found  these 
more  necessary  than  practical  sack  suits. 
Their  stock  in  trade. 

Judith  was  sure  the  usual  types  would 
be  there  before  she  passed  thru  the  door. 

"They're  shooting  a  country-club  se- 
quence today.  The  McAllister  company. 
Uland's  the  star." 

The  girl  next  to  whom  Judith  sat 
offered  this  information.  Judith  was  en- 
couraged. 

"They'll  need  some  of  us  then,  I  sup- 
pose," she  said,  noticing  that  the  girl  was 
pretty  in  an  undistinguished  way. 

"God,  I  thought  this  was  real  looking 
(Continued  on  page  99) 


raMBRSR 
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FILM .  .  .  the  trouble  maker 

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It  clings  to  teeth,  gets  into  crevices 
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Have  You  an  Idea  for  a  Movie? 


(Continued  fr 

;i  woman's  career.  They  may  hold  her 
hack  for  a  time,  but  they  also  create  the 
strongest  desire  a  woman  can  have — to  get 
things  for  her  children.  Advantages.  New 
frocks. 

"If  the  career  is  to  write  for  the  screen, 
the  best  way  to  get  a  story  across  is  to 
write  an  original  one  if  possible.  Send 
in  two  versions  of  it.  A  brief  resume  of 
it.  An  'ad,'  so  to  speak.  A  selling  angle. 
With  this  send  a  treatment,  which  is  a  de- 
tailed synopsis.  The  'ad'  always  gets  to 
the  producer.  If  you  have  sold  your  idea 
he  will  read  your  treatment.  And  there 
you  are. 

"Be  sure  to  write  in  picture  form  and 
not  in  fiction  form.  It  is  a  good  stunt  to 
write  the  sentence,  'I  can  see,''  before 
every  paragraph ;  then  you  will  have  some 
certainty  that  you  are  writing  stuff  that 
can  be  photographed.  It  will  help  you  to 
learn  to  write  picturable  material. 

"If  you  cant  write  an  original  story, 
you  can  take  a  good  magazine  story  or  a 
book  that  appeals  to  you  for  picture  pro- 
duction. It  may  be  that  the  company  to 
which  you  send  this  story  or  book  may 
have  purchased  it  already.  That  needn't 
matter.     It  is  your  angle  that  matters. 

"Write  your  treatment  of  this  story  or 
book  just  as  you  would  write  it  for  your 
original  story.  Write  your  brief  'ad,'  too. 
Give  your  angle  on  the  story.  It  may  be 
the  one  angle  that  will  most  appeal  to 
them.  Always  remember  that  it  is  the 
angle  that  counts. 

"It  is  always  good  to  be  well  read.  Fre- 
quently, and  for  all  the  zeal  of  the  reading 
departments,  stories  and  books  are  over- 
looked or  certain  picturable  angles  of  them 
are  overlooked.  My  sister  recently  recom- 
mended a  novel  by  one  of  the  Russian 
novelists.  She  recommended  it  for  Val- 
entino. Mr.  Schenck  paid  her  well  for  the 
suggestion.  The  book  was  not  copy- 
righted, and  Mr.  Schenck  got  it  for  what 
he  paid  my  sister. 

"There  are,  then,  these  things  to  do : 

"Select  your  story.  Write  your  detailed 
treatment,  putting  the  material  into  pic- 
turable form.  Write  your  brief  ad  of  your 
story.  Send  it  to  the  company  most  in  the 
market  or  with  a  star  best  suited  for  the 
story  you  have  done." 

After  all,  it  is  performance  that  counts. 
Agnes  Christine  Johnston  has  "performed." 
Such  being  the  case,  her  advice  is  bona-fide 
stuff.     14-karat.     A-l. 


I  n  Spite  of  the  Fact  That  He 
Looks  Like  Wally  Reid 

(Continued  from  page  29) 

One  day  when  Kent  had  reached  a  film 
set  requiring  a  group  of  "extras,"  a  director 
singled  him  out  for  a  "bit."  That  director 
admits  he  couldn't  tell  exactly  why  he 
chose  Meade  at  the  moment,  but  before 
the  day  was  over  he  confided  that  his  es- 
teem for  \\all\-  Reid,  whom  he  had  many 
times  directed,  prompted  him  to  select 
Meade.  The  more  he  watched  Meade,  the 
mon  apparent  did  the  marked  resemblance 
become— not  only  physically,  in  stature,  but 
in  personality  as  well. 

Who    cannot     recall    the     famous     Wally 


om  page  29) 

Reid  brow,  that  could  wrinkle  in  frowns 
so  fiercely,  yet  seem  to  smile  humorously 
even  while  so  doing?  Meade  was  called 
upon  to  "strut  his  stuff,"  as  it  were,  for 
this  director,  yet  he  never  admitted  to  the 
megaphone  wielder  at  the  time  that  he 
knew  why  he  was  being  so  tried  out.  For 
Kent  Meade,  be  it  known,  has  no  desire  to 
be  considered  a  "double"  for  the  late  star. 
He  hadn't  then  ;  he  hasn't  now. 

This  director  finally  burst  '  forth  :  "Do 
you  know  you  are  enough  like  Wally  Reid 
to  be  him — a-a-ah — with  one  exception — 
your  nose!     That  isn't  exactly  right!" 

"I  know  it,"  replied  Meade,  "but  I've 
never  said  anything  publicly  about  it.  I'd 
rather  anyone  interested  would  find  it  out 
for  themselves." 

The  news  soon  spread.  Meade  was  un- 
concerned, but  that  was  hardly  true  of  any- 
one else.  In  fact,  his  appearance  not  only 
was  a  sensation  to  others  on  the  set,  but 
almost  a  shock — a  shock  because 
player  so  much  resembled  the  late  Wall 
Reid  that  his  appearance  confounded  the 
senses  of  many  who  saw  him.  To  some 
the  late  lamented  star  verily  seemed  to 
have  returned  to  earth — the  same  face,  the 
same  smile,  the  same  frown,  the  same  per- 
sonality generally. 

Photographs  of  Meade  were  taken  cas- 
ually to  Dorothy  Davenport  Reid,  widow 
of  the  dead  film  star.  She  looked  them 
over  and  remarked : 

"This  must  be  a  set  of  photos  Wally 
never  showed  me.  I  dont  recall  the  clothes 
as  any  he  ever  wore." 

That  convinced  the  producers  that 
Meade's  resemblance  to  Wally  Reid  was 
not  hallucination,  but  fact.  But  the 
humped  nose !  That  stood  in  the  way  of 
a  complete  resemblance — a  Wally  Reid 
reincarnate. 

They  determined  that  a  Meade  brow  was 
not  a  Reid  brow,  a  Meade  smile  was  not  a 
Reid  smile,  unless  the  nose  was  to  lose 
the  bridge  bulge.  At  their  suggestion, 
Kent  Meade  became  a  patient  of  the  na- 
tionally known  plastic  surgeon  who  gave 
Jack  Dempsey  his  new  "beezer"  to  take 
the  place  of  the  once-ugly,  bashed-in  nose. 

Thus,  the  one  little  discrepancy  with 
which  Nature  endowed  Kent  Meade  and 
withheld  from  Wally  Reid  was  remedied. 
Today  the  resemblance  is  flawless. 

In  "Hearts  and  Fists,"  Meade  has  one 
of  the  principal  roles,  supporting  John 
Bowers  and  Marguerite  de  la  Motte. 
Critics  have  commended  Meade's  portrayal, 
especially  for  the  wonderful  fight  he  puts 
up  against  a  hulking  villain — and  wins. 
This  fight  has  been  acclaimed  as  being 
worthy  of  comparison  with  the  famous 
fight  in  "The  Spoilers,"  which  attests 
Meade's  prowess  as  an  athlete. 

New  contracts  have  just  been  signed  by 
Meade  and  he  will  be  featured  in  a  series 
of  productions.  He  declares  he  is  going 
to  win  whatever  renown  comes  his  way, 
not  because  he  looks  like  Wally  Reid,  but 
in  spite  of  it.  However,  fame  is  crowding 
closer,  and  when  Kent  Meade  has  climbed 
to  the  top  rungs  of  the  cinema  ladder 
known  as  success,  it  goes  without  saying 
that  the  fans  and  the  critics  and  the  wags 
and  all  the  others  too,  will  adopt  race-track 
parlance  and  voice  statements,  the  sub- 
stance of  which  will  be: 

"He  won  by  a  nose!" 


He    IS     a    Man  ! 


i     so   much   lalk   nowadays  about   nun 
impressed    tin-    sophisticated,    modern    intei 
Faitb   Service's  appraisal  of   liim. 

in  the  October  motion 
On  I  hi'  news-stande 


be.   .    .   .      Reginald 
New    York^    Read 


Every  advertisement   In   MOTION    PIOTOBB   MAGAZINE   is  guaranteed. 


Advertising  Section 


tfr.MOTioN  pictuot 

iH0l   I    MAGAZINE       \ 


The  Fake  Princess 

{Continued  from  page  19) 

purest.  But  what  of  that?  Even  a  Prin- 
cess may  lapse  into  the.  vernacular.  Do 
not  our  best  sub-debs  say  "So's  your  old 
man"  ? 

And  after  all,  who  are  the  proletariat 
to  pick  flaws  in  the  daughter  of  a  hundred 
kings  ? 

The  proletariat  may  not,  but  to  the 
lordly  and  skeptical  persons  known  as 
Consuls  blue  blood  is  blue  only  when  it 
is  verified  and  charted  by  such  cold  things 
as  credentials,  et  cetera. 

There  began  to  stir  in  Hollywood  the 
ugly  tongues  of  Rumor  and  Suspicion, 
those  two  Ogres  who  have  demolished  so 
many  lovely  Princesses  and  laid  waste  so 
many  phantoms  of  delight. 

It  was  rumored  that  the  Spanish  Consul 
was  seeking  admission  to  the  Princess  de 
Braganza  and  that  he,  or  is  it  "they,"  was 
being,  to  employ  a  vulgarism,  "stalled." 
The  Duenna  of  the  Princess  was  explain- 
ing that  Her  Highness  was  much  fatigued 
from  her  long  trip,  from  the  entertaining 
that  was  being  done  in  her  behalf,  that 
Her  Highness  would  see  the  consul  "to- 
morrow." That  sad  Maiiana.  Tomorrow 
didn't  seem  to  want  to  come.   .    .    . 

The  rumors  persisted,  gathered  strength 
.  .  .  the  little  facts  of  the  frail  frock 
.  .  .  the  one  trunk  .  .  .  the  faulty  ac- 
cent. .   .    . 

What  was  it  all  about?  Was  this  girl 
under  the  spell  of  some  enchantment? 
Was  she  in  disguise?  Was  there  a  mys- 
tery, a  hoax?  Well,  what  .  .  .  ivho  was 
she? 

Then,  one  ominous  day,  the  truth  broke. 
.The  revelation  was  made.  The  Princess 
Beatrix  de  Braganza  of  Spain  was  plain 
Helen  Otero,  a  stenographer  from  San 
Francisco. 

Hollywood  gasped,  sputtered,  reeled, 
staggered,  condemned,  shrugged,  laughed, 
gossiped.  Hollywood  didn't  know  quite 
how  to  take  the  expose.  The  joke  was  on 
.  .  .  well,  who?  Hollywood  or  the  Prin- 
cess Beatrix  de  Braganza? 

One  woman  in  Hollywood  knew  how  to 
"take  it,"  as  she  knows  how  to  take  every 
situation  that  arises — like  a  thorobred. 
One  woman  said  "She  needs  me  more 
now,  as  a  friend,  than  ever  she  needed  me 
as  a  hostess."  This  woman  was  Mrs. 
Antonio   Moreno. 


Quch  is  the  surface  story  of  the  Poor 
Little  Princess  Pretend.  But  we  ask 
you  now  to  do  a  thing  never  required  of 
you  in  the  usual  fairy-story  of  ladies  fair 
and  gallant  knights.  We  ask  you  to  peep 
behind  the  painted  arras  and  tell  us  what 
you  see.  .  .  .  We'll  tell  you  what  we 
see.  .  .  .  We  see  a  poor  little  girl  who 
staked  her  All  on  a  glittering  dream.  We 
see  a  girl  who  made  a  gallant  stand,  a 
magnificent  gesture,  who  played  an  Ace 
card — and  lost. 

We  see  Helen  Otero,  stenographer,  sit- 
ting in  her  room  at  the  Biltmore  Hotel, 
shivering  with  fear  in  her  garment  of 
Illusion,  wondering,  dreading,  fearing  the 
time  when  the  flimsy  veil  would  be  torn 
from  her  and  she  would  stand  revealed 
and  exposed.  We  see  her  at  the  gorgeous 
dinner-tables  of  Hollywood,  making  her 
brave,  bright  stand,  laughing  to  cover  her 
shudders,  accepting  the  kindnesses  show- 
ered upon  her  with  inward  spasms  of  re- 
pentance and  terror.  How  many,  many 
times  she  must  have  felt  like  crying  out 
to  Mrs.  Moreno,  "Oh,  dont  be  so  kind  to 


24 

Great 

Columbia 

Pictures 


If  it's  a 
Columbia 
Picture — 
it's  a  Qem 


COLUMBIA  Pictures  guarantee  the  kind  of  enter- 
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Just  as  these  pictures  star  many  of  filmdoim's  favorites — 
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playwrights  —  Richard  Harding  Davis,  Rupert  Hughes, 
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There  are  many  hours  of  entertainment  ahead  for  Columbia 
Picture  fans.  Insist  upon  your  local  theatre  showing  Columbia 
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COLUMBIA    PICTURES    CORPORATION 

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Studios:  Qeneral  Offices: 

Hollywood,  California  1600  Broadway,  New  York 


/ 


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f 


(Ft 


"Shame  on  women 
who  are  always 
weak  and  ailing" 

—  oAnnette  Kellermann 


is  a  child  I  was  so  de- 
ormed  as  to  be  practically  a  crip- 
l  was  bow-legged  to  an  ex- 
degree;  I  could  neither 
stand  nor  walk  without  iron 
braces.  Xo  one  ever  dreamed 
that  some  day  I  would  become 
famous  for  tin-  perfect  propor- 
tions of  my  figure,  the  champion 
woman  swimmer  of  the  world, 
starred  in  great  feature  films.  \  et  that  is  exactly 
what  has  happened.  My  experience  certainly  shows 
tint  no  woman  need  be  discouraged  with  her  figure, 
her  health,  or  Iter  complexion.  '1  lie  truth  is,  tens  of 
thousands  of  tired,  sickly,  overweight,  or  under- 
weight women  have  already  proved  that  a  perfect 
in  I  radiant  health  can  be  acquired  in  only 
15  minutes  a  day,  through  the  same  methods  as  I 
myself  use  1.  These  startling,  yet  simple  methods 
can  now  be  use  J  in  your  own  home.  Is  it  any  won- 
der that  1  say  "shame  on  women  who  are  always  weak 
and  ailing"!1 

I  invite  any  woman  who  is  interested  to  write  to  me. 
I  will  gladly  prove  to  you — and  by 
only  a  ten-day  trial— that  you  can 
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rosy  from   the  inside  instead  of 
from  the  outside;  how  to  freshen 
and  brighten  and  clarify  a  muddy, 
sallow   face;    how    to   stand   and 
walk   gracefully;    how   to  add   or 
re  novo  weight  at  any  part  of  the 
body:      hips,      busts,      neck,      anus, 
shoulders,  chin,  limbs,    waist,  abdo- 
men;   how    to    be    full    of    health, 
strength  and  energy  so  that  you  can 
enjoy  life  to  the  utmost;  how  to  be 
free  from  the  many  ailments  due  to 
physical  inefficiency;   in  short,   how 
to  acquire  perfect  womanhood. 

Just  mail  the  coupon  below  or 
write  a  letter  and  1  will  send  you 
at  once  mid  without  charge  my  in- 
illustrated  new  book, 
•The  Body  Beautiful."  I  will  also 
explain  about  my  special  Demon- 
stration Offer.  Just  tear  off  the 
coui>on  now,  and  mail  it,  before  my 
present  supply  of  free  books  is  ex- 
hausted. Address  Annette  Keller- 
mann. Suite  No.  389,225  West  39th 
Street,  New  York  City. 


Annette  Kellermann,  Suite  389 
225  West  39th  St.,  New  VorK 

Dear  Miss  Kellermann:  Please  send  me,  entirely  free 
of  cost,  your  new  book.  "The  Body  Beautiful."  1  am 
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me    ...    I    am   an    impostor    ...    a 

laker.    .    .    .  !" 

We  sec  her  in  her  room  at  the  Biltmore 
counting  over  her  scanty  sum  of  money, 
wondering  whether  she  could  dare  to  buy 
an  orchid  for  her  one  gown,  wondering 
whether  she  could  manage  a  pair  of  scarlet 
slippers  as,,  surely,  a  Princess  of  Spain 
should.  Wondering  whether,  or  rather 
when,  the  dread  Spanish  Consul  was  going 
to  obtain  final  proof  of  her  identity  and 
tear  from  her  shrinking  figure  the  thin 
little  veils  of  glamour  she  had  drawn 
about   her. 

It  must  have  been  a  shining  dream.  It 
was  a  daring  one.  We  take  off  our  hats 
and  make  a  deep  salaam  to  the  girl  who 
had  the  courage  so  greatly  to  dare.  There 
is  in  all  of  us  a  well-spring  of  response 
to  the  spirit  of  Adventure.  The  spirit  of 
Adventure  raised  glittering  spears  in  the 
spirit  of   Helen   Otero. 

The  dream,  the  plot,  the  plan  must  have 
slowly  formed  and  slowly  matured  in  the 
brain  of  the  girl  who  tapped  keys  for  the 
Western  Union  Telegraph  Company  in 
San  Francisco. 

To  go  to  Hollywood  ...  to  get  in  the 
movies  ...  to  make  vast  sums  of  money 
...  to  return  to  Spain  where,  at  any 
rate,   she   was   born.    .     .    .      Yes,  but    so 


many  girls  go  to  Hollywood  .  .  .  more 
beautiful  girls  .  .  .  more  experienced 
girls  .  .  .  what  had  she  to  go  with? 
What  hostages  could  she  give  to  Fortune? 
And  then  the  Great  Idea  .  .  .  back  of  her, 
vaguely,  there  was  Royal  Blood  .  .  .  she 
had  always  thought  so  .  .  .  when  her 
mother  had  died  back  in  1920  there  had 
been  letters  of  condolence  from  notables 
of  Spain  .  .  .  she  had  always  thought  that 
she  was  a  Princess  .  .  .  she  had  always, 
believed  that  the  blue  blood  of  Spam 
flowed  in  her  veins.  .  .  .  Very  well,  she 
would  take  the  blue  blood  of  Spain  to 
Hollywood  ...  a  Princess  would  gain 
ingress  to  the  studios  of  Valentino,  An- 
tonio Moreno  and  Novarro  where  little 
Helen  Otero  might  never  be  admitted. 
Thus  the  purple  plan.   .    .  -. 

This  was  the  dream  of  Helen  Otero  as 
she  tapped  the  stenographic  keys.  This, 
no  doubt,  is  the  dream  of  hundreds  of  girls 
living  in  little  hall  bedrooms,  eking  out  a 
scanty  existence  on  twenty  dollars  a  week. 
Few  of  them  have  the  courage  to  do  what 
Helen  Otero  did.  Few  of  them  could  have 
reigned  a  Princess  even  for  so  short  a 
space  of  time. 

This  is  the  story  of  Poor  Little  Prin- 
cess Pretend.  The  dream  she  dared— 
and  lost. 


A    portrait    of    the    little    stenographer    who    fooled    the    social    and    professional 
circles    of    Los    Angeles 


Wally  Reid's  Double 


Did  you  see  the  photographs  of  Kent  Meade  on  page  29?  If  not,  turn  to  this  page 
now  .  .  even  Dorothy  Davenport  Reid  thought  his  photographs  were  pictures  of 
Wally  that  she  had  never  seen. 

Nature  seldom  duplicates  her  handiwork  so  perfectly! 


MOTION   PICTUBB   MAGAZINE   is  guaranteed. 


Advertising  Section 


W2MFF 


How    Long   Are   They 
Stars? 

(Continued  from  page  67) 

continue  to  shine,  so  she  retired  and  is  now 
promenading  the  Paris  boulevards.  Betty 
Blythe  is  playing  in  pictures  abroad. 
Miriam  Cooper  is  working  for  the  smaller 
companies.  Dorothy  Phillips  proved  suc- 
cessful in  her  return  to  the  screen,  she  is 
now  a  featured  player  with  Metro-Gold- 
wyn-Mayer.  Alice  Joyce  seems  to  have 
made  a  fairly  strong  comeback.  And  so 
the  list  could  go  on. 

Irrespective  of  these  there  are  other 
stars  who  occupy  a  unique  position  in  the 
cinema  world,  Pauline  Frederick,  H.  B. 
Warner,  Blanche  Sweet  and  a  few  others 
who  for  various  reasons  were  off  the 
screen  for  a  while  and  then  returned,  to 
resume  again  the  high  position  that  they 
enjoyed  before.  These  three  in  particular 
are  conceded  great,  with  marvelous  powers 
of  adaptability  and  personalities  that  insure 
them  long  success. 

The  accompanying  table  discloses  that 
seven  years  was  indeed  a  long  period  to 
remain  a  star  in  the  other  days.  But  the 
records  of  the  stars  of  today  and  their 
popularity  indicate  that  they  will  remain 
in  that  exalted  position  indefinitely  and  that 
the  span  of  stardom  is  increasing. 

Gloria  Swanson  has  enjoyed  five  years, 
of  stardom  to  date  with  but  little  diminish- 
ing of  her  popularity  and  drawing  power. 
Betty  Compson  is  in  her  sixth  year.  Bebe 
Daniels  her  fifth.  Harold  Lloyd  has  in- 
creased his  popularity  in  his  six  years  of 
laugh  producing.  Mae  Murray  has  been 
shining  seven  years  and  is  still  brilliant. 
Richard  Barthelmess,  Lewis  Stone,  Colleen 
Moore,  Bessie  Love,  George  Walsh,  Buster 
Keaton,  Priscilla  Dean,  Milton  Sills,  Pola 
Negri  and  others  have  already  exceeded  the 
years  of  stardom  achieved  by  many  of  the 
great  favorites  of  the  past  and  give  every 
indication  of  continuing  their  success  for 
years  to  come. 

There  have  recently  appeared  above  the 
meridian  several  new  stars  whose  ability 
and  popularity  tend  to  the  belief  that  sev- 
eral of  them  at  least  will  occupy  stellar 
positions  for  years  to  come.  Norma 
Shearer  perhaps  heads  this  list.  Laura  La 
Plante  gives  promise  for  many  years  of 
brilliance. 

Producers  admit  the  life  of  stardom  is 
lengthening,  that  it  will  continue  to  grow 
but  that  .only  those  with  the  consuming 
soul  and  fire  of  genius  will  in  the  future  be 
able  to  retain  their  stellar  position.  Beauty 
has  relinquished  first  place  to  ability  in 
stardom  today.  But  the  girl  who  possesses 
both  beauty  and  charm  and  ability  will  in 
the  long  run  outshine  the  one  with  just  the 
ability  unless,  of  course,  that  ability  be  of 
the  type  that  characterized  Duse  and  Bern- 
hardt on  the  legitimate  stage. 

So  today  the  cinema  universe  continues 
to  revolve  with  constant  changes  in  the  star 
constellation  and  nobody  is  able  to  agree 
upon  who  is  the  center — the  sun — of  the 
firmament.  Some  say  Mary  Pickford. 
Others  Swanson.  Others  Norma  Tal- 
madge  and  Charles  Chaplin.  But  irrespec- 
tive of  these  discussions  and  disputes,  the 
salient  fact  remains  that  the  stars  of  today 
are  lasting  longer  than  their  predecessors 
with  few  exceptions  and  that  ability  and 
ability  alone  will  elevate  girls  and  youths 
to  the  dizzy  heights  where  fame  and  for- 
tune abound. 


(Ml  ik 


e  perjiimei  eyJimhia 
ii)ill  nobjiDeeten— 


"All  the  perfumes  of  Arabia  will  not  sweeten 
this  little  hand,"  mourned  guilty  Lady  Mac- 
beth. 

A  pitiful  plaint,  full  of  tragic  meaning  for 
her  .  .  .  And  is  there  not,  perhaps,  a  meaning 
in  it  for  the  modern  woman,  too — in  quite 
another  sense?  .  .  . 


Perfumes — so  subtle,  so  compelling  in  their 
place!  Yet  the  rarest  fragrance  of  the  per- 
fumer's art  cannot  sweeten  what  is  not  by 
nature  sweet. 

Soap  and  water  itself  cannot  counteract  the 
unpleasantness  of  one  condition  that  is  com- 
mon to  everyone.    Bromidrosis! 

It  is  hard  to  believe  that  you  can  offend  with 
underarm  odor.  Yet  how  many  refined,  attrac- 
tive women  do  have  about  them  this  unmis- 
takable odor! 

As  for  excessive  moisture — Hyperidrosis — 
imagine  trying  to  look  neat,  chic,  well-groomed, 
with  horrid  half-moons  of  stain  under  the 
arms!  Even  the  best  dry  cleaning  can  never 
take  them  out. 

Underarm  moisture  and  odor  are  not  easy  to 
combat.  The  perspiration  glands  here  are 
stimulated  to  unusual  activity  by  heat,  excite- 

THE  ODORONO  COMPANY,  i 
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ment,  nervousness.  Clothing  and  the  hollow 
of  the  underarm  prevent  normal  evaporation 
of  moisture. 

It  is  a  physiological  condition  which  phy- 
sicians say  can  and  should  be  corrected  by  local 
application.  The  Journal  of  the  American 
Medical  Association  says,  "No  harm  comes 
from  stopping  the  perspiration  under  the  arms. 

There's  just  one  sure  effective  way  to  get  the 
best  of  old  enemy  Perspiration.  Not  perfumes, 
not  creams  and  powders,  not  even  scrupulous 
cleanliness.  A  scientific  corrective  of  the  con- 
dition that  causes  it  is  needed.   Odorono! 

Odorono  is  an  antiseptic,  astringent  liquid 
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It's  just  like  a  lovely  toilet  water  and  twice 
a  week  is  all  you  need  to  use  it.  You'll  never 
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other  protection  for  your  clothing. 

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D  Accountancy  (including C.P.A. )DCivil  Service 
DNicholson  Cost  Accounting  DRailwav  Mail  Clerk 
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□  Private  Secretary  □High  School  Subjects 
QSpanish              □  French            □illustrating 

TECHNICAL    AND     INDUSTRIAL    COURSES 


C  Salesmanship 

□  Advertising 

□  Better  Letters 

□  Show  Card  Lettering 

□  Stenography  and  Typing 

□  Business  English 


□  Electrical  Engineering 

jElectrlc  Lighting 
D  Mechanical  Engineer 

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3 Concrete  Builder 

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^Surveying  and  Mapping 

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Stars  of  Today 

NAME  YEARS    STARRED  NOW 

Gloria  Swanson 5  still  starring  at  top  of  list 

Richard  Barthelmess  7  still  growing  in  popularity 

-Monte  Blue 3  semi-star — great  feature  player 

Laura  La   Plante 2  just  reaching  her  heights 

Lon  Chancy 4  going  strong  for  M-G-M 

Lew  Cody  5  featured  player 

Betty  Cotnpson  6  still  starring 

Viola  Dana   4  featured  player 

Bebe  Daniels  5  co-star — and  stars  in  productions 

Priscilla   Dean    8  still  a  star  for  P.  D.  C. 

Richard  Dix   6  starring  with  Famous 

Pauline   Frederick 7  on  and  off  screen — still  in  demand 

Hoot  Gibson 4  star  of  Western  Features 

Corinne  Griffith    7  at  the  top — very  popular 

Johnnie   Hines    4  starring — First  National 

Jack   Holt    5  name  still  heads  casts 

Leatrice  Joy    3  starring  with  De  Mille 

Xorman  Kerry   4  co-star  and  heading  casts 

Buster   Keaton    5  star  comedian 

Shirley  Mason 5  featured  player 

Douglas    MacLean 4  starring  at  head  of  own  company 

Conway    Tearle    9  starring  and  being  featured 

Alice   Terry    4  all  star  casts  abroad 

Rudolph   Valentino    6  still  on  top 

Florence  Vidor  4  heading  casts  and  featured  roles 

George  Walsh    7  coming  back  strong  as  star 

Thomas    Meighan    8  star — now  co-starring  with  Norma 

Raymond  Griffith  2  starring  with  Lasky 

Adolphe    Menjou    3  starring  and  big  featured  roles 

Harold  Lloyd   6  one  of  the  leading  comedians 

Bessie  Love  3  now  playing  featured  roles 

Bert   Lytell    4  featured  player 

Colleen  Moore  7  going  strong — big  star 

Alae  Murray   7  star  and  co-star  with  M-G-M 

C'armel  Myers    4  featured  roles  with  M-G-M 

Conrad  Nagel   4  featured  player — heading  casts 

Ramon  Novarro   4  star  of  big  productions  M-G-M 

Pola  Negri    7  star  Lasky — 3  years  abroad,  4  here 

Anna  Q.  Nilsson   3  featured  player 

Mary   Philbin    2  new  star  still  climbing 

Marie   Prevost    4  starring  and  heading  casts 

Irene  Rich   2  just  recently  attained  stardom 

Edith  Roberts    3  featured  player 

Milton   Sills    7  featured  with  First  National 

Lew  Stone   6  featured  player 

Blanche  Sweet   7  came  back  featured — now  star 

Lillian  Gish   8  star  and  co-star 

Dorothy  Gish    6  featured  player 

John  Gilbert 3  star  with  M-G-M 

Ronald  Colman    1  new  star 

H.   B.  Warner    3  returned  from  stage — now  at  top 

Richard  Talmadge 2  heading  own  company — climbing 

Seena  Owen    3  starring  now  for  P.  D.  C. 

Norma  Shearer    1  climbing  very  strong 

Marion  Davies   6  starring  with  M-G-M 

Tom    Mix    7  Fox's  best  star 

Mary  Pick  ford   15  heading  own  company — Europe 

Harry  Carey   13  still  a  star — going  strong 

Norma  Talmadge    12  star— United  Artists 

Charles   Chaplin    11  heading  own  company 

Douglas  Fairbanks    10  heading  own  company — Europe 


Stars   of  Yesterday 

NAME                                vi.AKS    STARRED  NOW 

Clara  K.   Voting   7  retired  screen — on  stage 

Arthur  Johnson    4  deceased 

Henry  Walthall    5  featured  player 

.Mae   Marsh   5  occasionally  plays 

Bobby    llarron    4  deceased 

( Continued  on  page  100) 


98 


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«°ffi 


Crazy  Quilt 


(Continued  from  page  93) 

until  you  came  in,"  she  said  frankly,  notic- 
ing Judith's  fresh  gardenia  in  contrast  to 
the  somewhat  dusty,  artificial  one  pinned 
on  her  dress.  "A  real  gardenia,  no  less. 
Some  class.  That's  country-club  stuff, 
all  right.    .  .  ." 

Judith  smiled.  "Yours  will  look  as  good 
as  mine  if  we  get  in,"  she  said  moving 
over  on  the  bench  built  around  the  wall. 
A  young  man,  evidentally  a  Gentleman  of 
the  Ensemble,  had  come  in  and  seated  him- 
self now. 

"Country-club  stuff  today,  I  under- 
stand .  .  ."  he  said. 

Judith  smiled  affirmatively.  There  was 
an  informality  here.  There  was  an  eager- 
ness and  hopefulness  that  bound  the  ill- 
assorted  types  together. 

A  very  smartly  gowned  girl  of  about 
eighteen  came  in  and  walked  assuredly  to 
the  old  doorman. 

"Mr.    McAllister?"   she   queried. 

"Appointment?"  the  doorman  wanted 
to  know. 

The  girl  said  that  she  had. 

"I  am  to  work  in  the  country-club 
scenes,"  she  explained.  "Mr.  McAllister 
asked  me  to  come  over." 

"Are  you  Miss  Estabrook?"  the  door- 
man asked. 

She  was. 

The  man's  manner  altered. 

"Here,  Boy,"  he  called.  "Show  Miss 
Estabrook  the  dressing-room  McAllister 
reserved  for  her.  He  will  show  you  the 
way,  Miss." 

When  she  had  followed  the  boy  thru 
the  door  into  the  studio,  there  was  a 
whisper  of  disapproval  among  the  waiting 
extras. 

"Wouldn't  that  jar  you?"  the  girl  next 
to  Judith  asked.  "Some  society  dame  Mc- 
Allister met.  She  gets  the  job  for  a  lark 
and  we  need  the  money  and  may  lose  out. 
That's  life  all  right." 

Judith  found  herself  agreeing  with  the 
girl.  It  probably  did  mean  that  one  less 
extra  would  be  chosen.  She  smiled  sym- 
pathetically. 

"Several  of  us  still  have  a  chance,"  she 
said  consolingly. 

At  this  juncture  the  casting  director  .  .  . 
a  spare,  stoop-shouldered  man  with 
spectacles  .  .  .  pushed  back  the  door  of 
his  window  and  looked  over  the  assembled 
company.  By  this  time  there  were  many 
standing.  The  bench  had  ceased  to  ac- 
commodate them  all. 

Judith  tried  to  look  composed.  She 
would  have  loathed  appearing  as  nervously 
eager  and  anxious  to  please  as  some  of 
the  others  seemed.  Immediately,  when  that 
window  had  opened,  a  tremor  had  run 
thru  the  crowd. 

Several  bolder  extras  went  up  to  the 
window  and  asked  if  there  was  anything 
for  them.  He  hardly  seemed  to  see  them 
as  he  shook  his  head  negatively. 

After  a  few  minutes  he  said : 

"The  ones  I  pick  out  go  to  the  extras' 
dressing-rooms  for  scenes  with  the  Mc- 
Allister  company.      Country-club   stuff." 

He  choose  two  or  three  men.  Judith 
knew  a  sense  of  suffocation.  He  might 
not  select  her.  He  had  not  seemed  to  see 
her  at  all.  She  looked  up.  He  selected 
her  and  five  other  women.  Judith's  com- 
panion was  not  one  of  them. 

"I  knew  he  would  tell  you  to  go  in," 
she  said  as  Judith  started  for  the  door. 

"Maybe,  he'll  pick  you  yet,"  Judith 
suggested  but  the  girl  shook  her  head. 

She  was  right.  After  selecting  one  of 
the  white  mustached  men,  the  casting 
|  rector  hung  out  the   fatal   "No   Casting 

T)day"  sign  and  slammed  the  window. 
(Continued  on  page  109) 


C.       E.        COMER, 

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where  it  manufactures  all  of 
its  merchandise.  The  busi- 
ness has  been  built  on  the 
policy  of  giving  exceptional 
values  to  customers,  and  fair, 
square  treatment  to  its  repre- 
sentatives. 


If  you  are  looking  for  the  big  chance- — your  real  op- 
portunity to  make  money — this  is  it.  If  you  have  the 
ambition  and  the  vision  to  go  after  £500  to  £1,000  a 
month  profit  for  yourself,  then  you  will  realize  that 
this  is  the  one  opportunity  you  have  been  looking  for. 

Stylish,  Long  Wearing  Suit 

Now  read  this  carefully.  Get  it !  On  the  left  is  a  pic- 
ture of  a  suit  of  clothes.  It's  a  good  suit  of  clothes — 
stylish— good  looking.  It  fits.  It  holds  its  shape.  The 
pattern  is  excellent.  Thousands  of  men  in  your  local- 
ity need  this  new,  modern,  sensible,  low  priced  suit. 

Wears  Like  Iron! 

Listen !  The  treatment  tftis  suit  will  stand  is  almost 
unbelievable.  It  is  made  entirely  of  a  special  cloth 
that  is  amazingly  strong,  durable,  tough  and  long- 
wearing.  It  is  unaffected  by  treatment  that  would 
ruin  an  ordinary  suit. 

Tremendous  Demand 

And  now  we're  making  this  wonder  suit  in  tremendous 
quantities — rnot  one  at  a  time — but  by  the  thousands. 
All  that  modern  machinery  and  efficient  methods  can 
do  to  produce  big  value  at  small  cost  is  applied  in 
making  the  new  Comer  suit. 

And  finally,  we  are  using  the  same  modern  efficiency 
in  selling  it — direct  from  factory  to  wearer  through 
our  local  representatives.  The  result  is  amazing.  It 
brings  this  suit  to  the  wearer  at  a  price  that  is  revolu- 
tionary— a  price  that  every  one  can  afford  to  pay — 
a  price  that  makes  it  the  greatest  clothing  value  in 
years. 

An  Amazing  Suit  for  Only  $9.95 

Think.  £9.95  for  a  good  suit  of  clothes.  You  can  see 
immediately  that  every  man  is  a  prospect.  Every 
community  in  America  is  swarming  with  opportuni- 
ties for  sales.  And  now  if  you  are  interested  in  making 
money  we  want  to  show  you  how  you  can  make  it. 
We  are  appointing  men  in  every  locality  to  represent 
us — to  take  orders.  That's  all.  We  furnish  all  in- 
structions. We  deliver  and  collect.  But  we  must 
have  local  representatives  everywhere,  through  whom 
our  customers  can  send  us  their  orders. 
Experience  is  not  necessary.  We  want  men  who  are  ambitious — 
industrious  a,nd  honest.  Men  who  can  earn  $30  or  $40  a  day 
without  getting  lazy — men  who  can  make  $1,000  a  month  and 
still  stay  on  the  job.  If  you  are  the  right  type — you  may  be  a 
bookkeeper,  a  clerk,  a  factory  worker,  a  mechanic,  a  salesman, 
a  farmer,  a  preacher,  or  a  teacher,  that  makes  no  difference — 
the  opportunity  is  here  and  we  offer  it  to  you. 

A  Few  Hours'  Spare  Time 
Will  Convince  You 

If  you  feel  you  want  to  devote  only  spare  time  to  the  work, 
that  is  satisfactory  to  us.  You  can  earn  $10  to  $20  a  day  in  a  few 
hours.  You  will  find  in  a  few  days  that  it  will  pay  you  to  give 
this  work  more  time — for  your  earnings  will  depend  entirely  on 
how  many  men  you  see. 

Territories  will  be  filled  rapidly.  Orders 
are  now  coming  in  a  flood.  Men  are 
making  money  faster  and  easier  than  they  even  hoped.  So  don't 
delay.  Write  today  for  complete  descriptions,  samples  of  cloth 
and  full  information.  Do  it  now.  Don't  send  any  money.  Capi- 
tal is  not  required.  Just  fill  out  the  coupon  and  mail  it  for  all 
the  facts. 

C.  E.  Comer,  Pres.,  THE  COMER  MFG.  CO. 
Dept.  V-318,  Dayton,  Ohio 


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IE  BARRETT  EY1 

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an  J 1 1 
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Wh.it  Slwll  1  Do 
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THE  BARRETT  INSTITUTE 


Stars   of  Yesterday 

{Continued  from  page  98) 

NAME  YEARS    STARRED  NOW 

Fred   Mace 4  deceased 

Mabel    Normand    7  coming  back,  Hal  Roach  comedies 

Dustin  Farnum   6  retired — occasionally  plays 

William  Farnum   6  occasionally  plays 

Frank  Keenan   3  on  stage 

Agnes  Ayres    4  plays  in  casts 

Marguerita  Fisher   3  trying  to  come  back 

Mary  Miles  Minter   6  retired 

James  Kirkwood   8  stage 

Vivian  Prescott   3  not  known 

Bryant  Washburn   6  plays  in  casts 

Marion  Leonard  4  not  known 

Florence  Lawrence   4  tried  to  come  back — does  anything 

Francelia  Billington  3  casts — minor  roles 

Owen   Moore    8  featured  player— M-G-M  contract 

Tom   Moore    7  featured  player  under  contract 

Mat   Moore   7  featured  player  under  contract 

Alice  Hollister   3  retired — but  coming  back — casts 

Marguerite   Snow    .   4  came  back  but  retired — married  again 

Pearl  White    6  promenading  Paris  Blvds — retired 

Ruth  Roland   7  in  business  world — real  estate 

Antonio   Moreno    5  coming  back,  prominently  featured 

Maurice  Costello   6  now  playing  minor  parts 

Max   Linder    5  deceased 

Billy  Quirk 3  occasionally  plays  stage,  screen 

Charles   Ray    7  co-star — trying  to  come  back 

Francis  X.  Bushman  6  featured  player  in  big  casts 

Theda  Bara  5  retired — returns  in  comedies 

Wesley    Barry    5  outgrew  child  parts,  still  playing 

Ben  Alexander   2  breaking  into  juvenile  parts 

Jackie  Coogan    4  growing  up — cant  find  parts 

Betty  Blythe   4  now  in  Europe — stage  and  screen 

Herbert  Rawlinson   4  playing  in  casts 

Wallace  Reid   7  deceased 

Alice   Brady    3  occasional  picture — stars  on  stage 

Miriam    Cooper    3  occasionally  in  pictures 

Ethel  Clayton   4  comedies — off  and  on,  vaudeville 

Dorothy    Dalton     6  married  and  retired 

William  Desmond   6  plays  featured  roles 

Eddie   Polo    6  playing  minor  pictures — Europe 

Elliot   Dexter    3  vaudeville 

Ella  Hall   4  small  parts — small  companies 

Elaine  Hammerstein   ■■ .   4  featured  player — small  companies 

Wanda  Hawley    4  leads  for  independents 

J.  Warren  Kerrigan   7  featured  player — occasionally 

Cleo  Madison   4  character  roles 

Katherine  McDonald    1  cosmetic  business,  Hollywood 

Mary   McLaren    2  plays  supporting  parts  occasionally 

Alice  Joyce 5  retired — returned — now  with  Lasky 

Eugene  O'Brien   3  playing  in  support  of  stars 

Ann   Forrest    3  making  pictures  abroad 

Tom  Santschi  4  now  in  two-reel  Westerns — casts 

Baby   Peggy    1  outgrew  child  roles 

Dorothy  Phillips    6  now  featured  player  with  M-G-M 

Kathlyn  Williams   7  abroad — pictures  now  and  then 

Mary  Anderson   3  not  known 

Ann   Schafl'er    2  character  parts 

Mary  Charleston   3  Mrs.  Henry  Walthall 

Florence  Turner    5  character  roles  and  small  parts 

Beverly  Bayne   6  casts  and  good  parts 

May   Allison    5  trying  come  back— getting  good  parts 

Anita   Stewart    7  stars  and  featured  player 

1  tarold  Lock  wood   5  deceased 


Who  Is  the  Best  Dressed  Woman  on  the  Screen? 

Corinne  Griffith? 

To 


Gloria  Swanson?     Norma  Talmadge?     Alice  Joyce; 

The  leading   modistes   of   New   York   give   their   opinion    on   this   question 
the   October   Motion   Picture   Macazine  .  .  .  and   the    reasons   for  their   choi' 


100 


Every  advortli 


'ICTTJBB   MAGAZINE    is   guaranteed. 


Advertising  Section 


«° 


Gilda  Gray  Tells  How  She 
Does  Her  Stuff 

(Continued  from  page  88) 

out    of    shadow    as"  one    naturally    would, 
camera  or  no  camera." 

"How  about   close-ups?" 

"There  are  very  few." 
! ! !,    (My   only   comment.) 

"And  retakes?  Dont  you  become  a  bit 
tired  and  mechanical  after  the  hundred- 
and-first  time?" 

She  laughed. 

"Yes,  they  tried  that.  But  I  refused  to 
do  anything"  more  than  twice." 

Again  : —  ! ! ! 

Havelock  Ellis,  perhaps  the  greatest 
anthropologist  now  living,  has  said  the 
dance  is  the  original  source  from  which 
the  art  of  acting  flows. 

Tho  she  probably  did  not  analyze  or 
reason  it — for  she  is  not  an  "intellectual" 
— Miss  Gray  was  cjuite  quick  to  feel  the 
relationship  between  these  sister  arts. 

And  perhaps  this  relationship — that  each 
is  the  expression  of  emotions  thru  the 
physical  person — is  the  explanation  of  a 
rather  intriguing  fact :  that,  tho  she  has 
acted  for  the  first  time  in  this  picture  (all 
her  stage  appearances  have  been  dancing), 
one  is  aware  of  no  amateurishness  at  all, 
she  is  most   obviously   "competent." 

Her  expression  of  the  reason  may  seem 
elementary;  but  it  is  in  just  such  elemental 
things  that  so  many  of  the  camera-fodder 
brethren  and  sistren  are  woefully  lacking. 
They  erect  an  edifice  of  the  most  gorgeous 
elaboration — but  its  foundations  would  not 
pass  the  most  casual  glance  of  the  laxest 
city  building  inspector. 

"I  think  I  found  a  secret;  or,  rather,  I 
took  over  the  secret  of  my  dancing  to  the 
screen.  It  is  this  :  think,  or  feel,  the  part 
you  are  playing. 

"If  you're  a  mother,  be  a  mother;  if 
you're  a  savage,  be  a  savage — but  I  sup- 
pose it'll  be  said  I'm  'wild'  enough  with- 
out having  to  play  a  part. 

"If  you're  thinking  about  how  the  lights 
affect  your  appearance,  the  camera  shows 
it — ab-so-lutely !" 

She  mused  a  moment. 

"Lots  of  stars  have  been  'made'  by  the 
success  of  one  picture  like  this — and  it's 
ruined   them ! 

"Dont  misunderstand  me.  What  I 
mean  is  this :  we  have  a  .star  named 
Smith,  and  he  plays  in  three  pictures.  In 
the  first,  we  have  a  Smith  lumberjack;  in 
the  second,  a  Smith  prize-fighter ;  in  the 
third,  a  Smith  policeman — and  there  is 
really  not  the  slightest  difference  between 
them.     It's   always   Smith   playing. 

"I've  got  to  watch  my  own  step,  too. 
I'm  not  a  'South  Sea'  dancer ;  I'm  a 
'dancer' — and,  I  hope,  an  actress.  I  dance 
South  Sea  dances ;  but  also  Polish, 
Charleston,  Spanish — I'll  give  you  any  old 
kind  you  name.  And  I  intend  to  do  the 
same  on  the  screen.  Any  story  that  seems 
good ;  whether  it's  South  Sea  or  an  Amer- 
ican   drawing-room    comedy. 

"Any  good  story — even  if  there  is  no 
dance  in  it !" 


Grace  Corson 

Fashion  Expert  Extraordi- 
nary— begins  her  contribu- 
tions to  the  Motion  Pic- 
ture Magazine  with  the 
October  issue. 


The  Telephone  and  the  Farm 


There  was  not  a  farmer  in  the 
world  fifty  years  ago  who  could 
talk  even  to  his  nearest  neighbor 
by  telephone.  Not  one  who  could 
telephone  to  the  doctor  in  case  of 
sickness  or  accident.  Not  one  who 
could  telephone  for  the  weather 
report  or  call  the  city  for  the  lat- 
est quotations  on  his  crops.  Not 
one  who  could  sell  what  he  raised 
or  buy  what  he  needed  by  tele- 
phone. A  neighborly  chat  over 
the  wire  was  an  impossibility  for 
the  farmer's  wife  or  children. 

In  this  country  the  telephone 
has  transformed  the  life  of  the 
farm. 

It  has  banished  the  loneliness 
which  in  the  past  so  discouraged 


the  rural  population  and  drove 
many  from  the  large  and  solitary 
areas  of  farms  and  ranches. 

It  is  a  farm  hand  who  stays  on 
the  job  and  is  ready  to  work 
twenty-four  hours  every  day. 

The  telephone  has  become  the 
farmer's  watchman  in  times  of 
emergency. 

It  outruns  the  fastest  forest 
or  prairie  fires  and  warns  of  their 
approach.  It  has  saved  rural 
communities  from  untold  loss  of 
lives  and  property  by  giving  am- 
ple notice  of  devastating  floods. 
Three  million  telephones  are  now 
in  service  on  the  farms,  ranches 
and  plantations  of  the  United 
States. 


American  Telephone  and  Telegraph  Company 
and  Associated  Companies 


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Do  the  Women  of  the  Screen  Lack  Beauty? 


{Continued  from  page  33) 


of  the  screen.  "Criticism  that  does  no 
good  is  best  kept  to  oneself,"  he  said. 
"Surely  it  is  kindest  not  to  remind  women 
that  they  are  not  beautiful,  especially  since 
telling-  them  cannot  make  them  lovelier. 
I '.ut  if  you  promise  to  write  nothing  about 
those  who  arc  not  so  fortunate  as  to 
possess  beauty ?" 

I  promised. 

"Well,  before  I  say  anything  about 
beautiful  motion  picture  actresses,  I  must 
pay  a  tribute  not  to  a  woman,  but  to  a 
man,  whom  I  consider  the  most  striking- 
looking  of  all  actors,  Douglas  Fairbanks," 
Mr.  Schattenstein  said.  "To  me  he  is  the 
type  that  Goya  loved  to  paint,  bold, 
swarthy,  dashing,  glowing  with  life. 
There  is  something  richly  colorful  about 
him,  whether  he  appears  in  the  boots  of  a 
pirate  or  the  tailored  camel's  hair  coat  of 
the  modern  sportsman.  Chaplin,  too,  in 
character  or  as  himself,  manifests  an 
inner  beaut}'. 

"Among  the  women,  I  should  place 
Florence  Vidor  high  on  the  list.  She  has 
a  patrician  quality — class,  if  you  prefer  to 
call  it  that,  sweet  dignity.  I  should  not 
hesitate  to  call  her  a  real  beauty.  Pola 
Negri  also  qualifies  as  a  beauty,  but  of  a 
vital,  almost  barbarian  sort.  Her  wide, 
Slavic  cheek-bones,  her  dark  eyes,  and 
the  wild,  tempestuous  personality  make  her 
an  actress  of  many  masks.  In  Europe, 
several  years  ago,  when  I  saw  Miss  Negri's 
pictures,  I  did  not  care  much  for  her ;  she 
seemed  flatter  then,  less  interesting.  But 
she  has  developed  into  a  vivid,  gorgeous 
woman  with  a  great  variety  of  moods  and 
a  face  capable  of  expressing  them. 

"Pauline  Starke,  tho  not  so  versatile, 
has  the  same  sort  of  beauty  that  is  in  a 
Botticelli  painting.  She  does  not  seem  to 
belong  wholly  in  this  century.  Greta 
Nissen  is  an  amusing  type  of  beauty,  for 
despite  her  Scandinavian  blondeness  and 
the  anticipation  of  coldness  that  one  is  led 
to  expect  of  her,  she  is  as  exotic  as  an 
Oriental ;  she  has  an  exquisite  figure,  too, 
besides  her  attractive  face.  Mary  Philbin 
I  consider  a  real  beauty,  because  she  is  an 
actress  of  many  masks.  Her  face  is  sen- 
sitive and  intelligent,  and  emotions  sweep 
across  it  like  a  song  over  harp-strings. 

"Marion  Davies  has  a  radiance  that  puts 
her  well  to  the  front  among  women  of 
animation.  It  is  a  pity  that  Miss  Davies' 
coloring  can  not  be  reproduced  upon  the 
screen,  for  it  is  all  part  of  the  live,  glow- 
ing quality  of  her  beauty.  I  have  painted 
her  portrait  nine  times,  and  she  has  never 
looked  twice  the  same.  Nazimova,  quite 
the  opposite  type,  is  beautiful  in  a  tragic 
way.  Her  head,  with  its  strong  features 
and  mop  of  black  hair,  is  leonine,  almost 
massive.  She  is  dynamic,  forceful,  keenly 
intelligent  and  appreciative  of  fine  things. 
Bebe  Daniels  has  an  interesting  face  of 
the  Spanish  type  and  really  beautiful  eyes. 
Could  any  woman  ask  more? 

"Actresses  like  Dolores  Costello,  Betty 
Bronson,  and  Clara  How,  I  would  call 
promising  rather  than  actually  beautiful. 
After  life  has  had  a  hand  in  determining 
their  appearance,  they  may  be  beautiful. 
Little  Miss  Bronson  is  very  pretty,  very 
charming,  but  at  present  I  can  hardly  say 
much  more.  It  would  be  interesting  to  see 
her  ten  years  from  now,  however. 

"Another  woman  of  haunting,  rich 
beauty  is  Alice  Joyce.  There  is  an  under- 
current of  fineness  in  her.  She  has  the 
quality  that  Florence  Vidor  has,  but  in  a 
more  somber  mood.  Miss  Vidor  is  light, 
facile,  smartly  sophisticated.  Miss  Joyce 
i  thoughtful,  deep  and  sympathetic.  You 
could     not     call    either    of    these     women 


pretty ;  taken  feature  for  feature,  they 
probably  would  not  measure  up  to  any 
prescribed  standard  of  good  looks,  and  yet 
they  have  without  any  doubt  what  is 
known  as   beauty." 

It  takes  such  little  things  to  mar  beauty, 
Nikol  Schattenstein  declared.  There  is  one 
blonde  actress  he  mentioned  whose  face 
was  spoiled  for  him  because  of  its  hard- 
ness. He  laughed  when  I  told  him  he  had 
guessed  correctly.  Other  faces  have  a 
streak  of  coarseness  that  betrays  itself  in  a 
looseness  about  the  mouth.  Some  show 
the  signs  of  dissipation  about  the  eyes — 
only  a  touch  is  enough  to  destroy  the  illu- 
sion of  youthful  beauty.  Some  are  osten- 
tatious and  assume  a  role  in  life  that  they 
were  never  meant  to  play. 

"I  suppose  that  no  woman  can  be  beau- 
tiful if  she  is  affected,"  I  suggested. 

Mr.    Schattenstein    shook   his    head. 

"Not  necessarily.  It  depends  on  the 
woman  and  on  the  affectation.  Some  af- 
fectation can  be  as  quaint  as  the  powdered 
wigs  and  sandalwood  fans  of  two  centuries 
ago.  Intelligent  affectation  is  merely  as- 
suming little  graces  that  act  as  a  sort  of 
decoration.  But  lumbering,  stupid  affecta- 
tion— maturity  trying  to  masquerade  as 
short-skirted  youth,  youth  trying  to  be 
blase,  worldliness,  arrogance,  assumed  so- 
ciety manners — that  is  the  kind  that  robs  a 
woman  of  charm.  Many  stars  are  guilty 
of  such  breaches  of  good  taste  and  it  has 
the  effect  of  making  what  would  otherwise 
be  beauty  be  merely  tawdry  prettiness." 

The  real,  the  essential  part  of  beauty, 
Mr.  Schattenstein  discovered  while  he 
groped  for  words  to  define  the  quality,  is 
individuality.  That  is  why  he  prefers  the 
fascinating  irregularities  of  Clare  Eames' 
profile  (which  he  saw  when  she  played 
Queen  Elizabeth  in  "Dorothy  Vernon  of 
Haddon  Hall")  to  a  dozen  animated 
cameos,  and  the  sparkle  of  Doug  to  all 
the  pallid  preening  of   human  peacocks. 


Of  Douglas  Fairbanks,  Nikol 
Schattenstein  says:  "He  is  the 
most  striking-looking  of  all  actors. 
To  me,  he  is  the  type  that  Goya 
loved  to  paint  .  .  .  bold,  swarthy, 
dashing    and     glowing    with     life" 


102 


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(fiT, MOTION  PIClURr 

inei  I   MAGAZINE      h 


Motion  Picture  Junior 

A  Talk  with  the  Holt  Children 

(Continued  from  page  44) 

remarked  to  his  mother  the  other  day 
when  they  were  riding  past  a  ranch  where 
hundreds  of  horses  were  grazing  on  the 
hillside,  "Gosh,  isn't  it  a  shame  all  those 
ponies  are  going  to  waste,  mother?" 

By  this  time  Tim  had  introduced  me  to 
the  goldfish  pond.  "Do  you  like  gold- 
fish ?"  he  queried,  as  he  lay  flat  on  his 
stomach  and  made  a  dive  with  one  hand 
in  an  effort  to  capture  one  of  the  silvery 
creatures  from  the  pool. 

"I  told  mother  I  wanted  a  Pierce- 
Arrow  when  I  grow  up."  Tim  made  an- 
other industrious  dive  for  a  fish.  "She 
says  I  wont  get  one,  tho  .  \  .  unless  I 
go  to  work." 

At  this  juncture  Betty  came  running 
across  the  lawn,  pursued  by  one  of  Jack 
Holt's  Great  Danes.  The  dog  looked  as 
if  he  could  swallow  Betty  with  one  mouth- 
ful. Tim  sprang  to  his  feet  and  rushed  to 
rescue  his  little  sister.  He  gave  the  dog 
a  violent  kick  in  the  ribs,  driving  it  away, 
then  turned  to  caress  Betty,  who  was  on 
the   point  of   tears. 

When  he  discovered  that  sister  would 
survive,  he  turned  to  me.  "That's  our 
new  dog,"  he  said  proudly.  "Daddy 
brought  him  home  yesterday.  Have  you 
a  dog?" 

I  replied  that  unfortunately  I  was  de- 
prived of  the  pleasure.  "You  oughta 
have  a  dog,"  said  Tim.  "Betty's  afraid  of 
him,  but  he  wont  hurt  ya.  Dogs  are  all 
right  if  you  dont  let  'em  run  around  and 
tear  up   the  neighbor's   flower  gardens. 

"Didja  see  my  picture  in  the  magazine, 
didja?  It  didn't  look  like  me,  tho,  did 
it?"  And  Tim  shook  his  head  in  the 
negative.  Thruout  the  interview  this  is 
the  only  time  Tim  revealed  himself  as 
having  possible  talent .  as  a  motion-picture 
actor. 

"Say,  where  do  you  live?  You  should 
come  over  and  see  us  some  time."  Tim 
wiped  the  wet  hand,  which  he  had  used 
to  spear  the  goldfish,  and  shook  hands. 
Betty  did  a  little  courtesy,  with  one  finger 
in  the  corner  of  a  broad  smile. 

I  hastened  to  the  boulevard  where  the 
gossip  on  every  screen  celebrity  runs  hot. 
I  inquired  about  Betty  and  Tim,  thinking 
they  might  have  been  posing  during  my 
interview. 

"They're  _  the  cutest  youngsters  in  all 
Hollywood,"  is  the  only  answer  I  received 
to '  my  nefarious  queries. 

The  Holt  children  are  a  great  spiritual 
tonic.  I  arrived  home,  experiencing  the 
same  reaction  as  when  Betty  Bronson  as 
Peter  Pan  asked  me  if  I  believed  in 
fairies.  A  talk  with  Tim  and  Betty  is 
better  than  any  99  44/100  per  cent, 
cleansing  .  .  .  they  leave  you  feeling  that 
maybe  the  world  is  not  such  a  rotten 
planet  after  all. 


Tell  the  Children! 

The  children  in  the  family- 

will    be     delighted    with    the 

prizes     offered     next     month. 

Full    details    will    appear    in 

Motion   Picture  Junior. 

Setting  the  Vace! 

It's  a  difficult  matter  to  set  the  pace 
and  keep  it.  Yet  that  is  just  what 
The  Classic  has  marked  out  for  itself 
ever  since  it  entered  the  publication 
field.  It  is  the  one  de  luxe  magazine 
of  the  film  world.  As  everyone  is  in- 
terested in  motion  pictures,  The 
CLASSIC  is  the  one  publication  to  sup- 
ply the  demand — for  brilliantly  writ- 
ten articles.  It  is  dedicated  to  the  idea 
of  furnishing  its  readers  with  live 
topics  and  live  pictures.  Its  contribu- 
tions are  free  of  bunk  but,  on  the  other 
hand,  treat  of  films  and  the  people  as- 
sociated with  films  in  an  authoritative 
and  fearless  manner.  The  Classic  is 
not  only  the  most  beautiful  publication 
of  the  screen,  but  it  is  also  the  most 
original. 

When  you  glance  over  its  list  of  con- 
tributors, you  will  recognize  the  fore- 
most writers  of  the  screen — writers 
who  know  every  angle  of  picture  pro- 
duction—and who  give  you  first-hand 
knowledge  of  what's  going  on  in  the 
celluloid  world.  There  are  Eugene  V. 
Brewster,  the  founder  of  the  Brewster 
Publications,  Adele  Whitely  Fletcher, 
Gladys    Hall,    Milton    Howe,    Harry 

Carr,  Tamar  Lane,  H.  W.  Hanemann,  Don  Ryan,  Don  Eddy 
—and  a  host  of  others.  These  all  write  for  The  CLASSIC — 
most  of  them  exclusively. 

There  will  be  several  fine  scintillating  articles  in  the  Sep- 
tember issue — as  well  as  a  complete  assortment  of  beautiful 
pictures.  Don  Ryan  will  tell  you  about  the  Foreign  Directors. 
The  article  places  the  cards  right  on  the  table  in  regard  to  the 
foreign  invasion. 

The  September  CLASSIC  will  also  continue  Henry  Albert 
Phillips'  interviews  with  famous  European  writers,  in  which 
they  talk  about  their  impressions  of  the  screen. 

There  will  also  be  interesting  articles  about  W.  C.  Fields,  the 
new  comedy  star,  Reginald  Denny,  and  Lewis  Milestone,  the 
director. 

And  dont  fail  to  read  about  Hollywood's  Pet  Extravagances 
and  The  Great  Athletes  of  the  Screen. 

Read  the  CLASSIC.  It  supplies  you  with  accurate  and  interest- 
ing information  of  all  the  varied  activities  of  the  film  world. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


103 


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Advertising  Section 


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He  Didn't  Like  Europe 

{Continued  from  page  37) 


and   all   the   King's   horses   the   once-over. 

"Thought  I'd  see  a  wonderful  sight," 
explained  Mr.  Jones.  "Well,  we  came  to 
the  first  stable  and  the  first  troop  of 
horses,  what  they  call  a  troop.  Back  here 
when  we  say  a  troop  we  mean  around  fifty 
to  sixty  horses.  They  get  ten  horses  and 
it's  a  troop.  I  took  one  look  at  these  here 
horses — no  wonder  they  cover  them  up 
with  fancy  blankets  and  ribbons  and  such. 
The  groom  said  to  me,  right  proud,  'Here 
is  a  young  horse.'  'How  young?'  I  said. 
'Oh,  thirteen  years  old!'  Judgin'  by  that 
horse's  teeth,  he  might  have  been  any- 
wheres  from  thirteen  to  thirty." 

So  Mr.  Jones  gave  up  looking  at  the 
King's  horses.  He  went  on  to  see  the 
chariots,  instead,  chariots  in  which  kings 
of  the  old  days  had  ridden,  hundreds  of 
years  ago. 

"One  tourist,  he  was  from  Ioway,"  said 
Buck  Jones,  "He  says  to  the  guide, 
'Where's  the  horses  that  used  to  draw 
these  chariots?'  The  guide  jest  walked 
off,  very  dignified.  Man  from  Ioway  was 
right  sore,  too,  because  he  wouldn't  answer 
a  straight  question." 

However,  that  was  the  only  laugh  the 
Joneses  could  get  out  of  London.  London 
was  really  nothing  to  them,  so  they  went 
on  to  Paris,  but  there  isn't  anyone  can 
tell  Buck  Jones  that  Paris  is  "devine." 

"They've  forgotten  they  had  a  war  over 
there,'"  he  says  vigorously,  "and  that  they 
begged  for  our  help.  They  look  at  you 
as  if  you  didn't  belong.  They  spend  their 
time  working  out  gags  to  get  your  money 
away  from  you.  You  get  off  the  boat 
and  you  see  all  the  porters  lined  up  look- 
ing for  the  soft  ones.  Minute  I  came  off 
they  had  me  spotted.  The  whole  line 
turned  to  me,  as  one  man — there !  So  I 
picked  out  a  porter.  He  hadn't  walked  a 
couple  of  steps  when  he  sets  down  the 
bags  and  makes  motions.  Dil  and  I  cant 
talk  the  language,  but  I  get  what  he 
wanted  all  right.  I  handed  him  twenty 
francs.  That's  his  cue.  He  sets  down  the 
bags,  walks  away,  and  then  you  must  find 
yourself  another  porter.  That's  the  relay 
gag. 

"Another  good  gag  they  got  in  Paris  is 
when  you  leave  a  hotel.  They  dont  send 
a  porter  for  your  baggage  till  fifteen  min- 
utes to  train  time.  Your  bill's  full  of 
items  you've  never  heard  of  before,  but 
you  cant  stop  to  argue,  because  you've  got 
to  catch  your  train,  and  they  know  it. 
You  get  down  to  the  train — whew!  just 
made  it!  All  of  a  sudden  a  bird  from 
the  hotel  comes  rushing  up  with  a  bill  for 
excess  baggage,  maybe  five  dollars  or  so. 
You  cant  stop  to  figure,  there's  your  train 
about  to  leave,  so  you  pay  it,  and  when 
you  come  to  look  the  bill  over,  it's  a  pound 
of  excess  baggage  at  around  twenty-five 
cents. 

"Met  a  man  in  Paris.  Lived  there  a 
year,  talks  French  like  a  native.  Fine ! 
That's  what  we  certainly  needed,  Dil  and 
I.  I  know  now  how  these  immigrants  feel 
when  they  come  over  here,  not  knowing 
the  language — you  stand  around,  not 
knowing  how  to  ask  which  way  to  go, 
people  push  you,  holler  things  at  you,  you 
lookin'  pleasant  at  them,  not  knowin'  what 
kind  of  things  they're  saying  about  you. 
This  bird  who  knows  French  and  I  we 
go  to  see  the  Eiffel  Tower.  Comin'  home 
in  a  taxi,  the  guy  says,  'You  lei  me  pay 
the  bill,  You'll  tip  the  chauffeur  too 
much.'  So  I  stood  along  and  watched  how 
a  man  that  knew  the  language  managed 
these  things. 

"Maybe  it  was  French  he  talked,  but  the 


chauffeur  looked  at  him  just  the  way  he 
looked  at  me.  when  I  talked  English.  He 
starts  giving  the  man  an  argument.  Not 
enough  !  This  guy  who  talks  French  like 
a  native  gave  him  back  an  argument.  The 
gendarme  comes  up  and  gives  them  both 
an  argument  for  blocking  the  traffic.  They 
kept  it  up  that  way  for  half  an  hour. 
That  was  the  best  laugh  I  had  in  Paris." 

But  the  battle-fields  were  the  worst. 
Taking  the  advice  of  their  friend  who 
spoke  French,  the  Buck  Joneses  went  to 
one  of  the  battle-field  towns  without  mak- 
ing a  reservation  at  a  hotel.  They  landed 
finally  in  a  second-rate  inn,  at  dinner-time, 
weary  and  famished.  But  neither  of  them 
spoke  French  and  no  one  in  the  hotel 
spoke  English.  Buck  looked  at  the  menu 
card  and  said  to  Dil,  "You  order  first." 
Dil  said,  "No,  you  order  first."  Finally, 
by  using  the  eeny-meeny-meiny-mo  system 
they  stuck  their  fingers  at  some  item  on 
the  card.  The  waiter  brought  a  very 
juicy,  red  beefsteak.  But !  Buck  Jones 
had  been  warned  that  some  places  in 
France  served  horse-meat.  He  had  looked 
at  this  horse-meat  and  remembered  it  as 
very  juicy,  very  red.  No  dinner  was  eaten 
by  Mr.  and  Mrs.  Jones  that  night. 

They  rose  early  to  see  that  battle-field. 

"All  we  had  to  eat,"  related  Buck,  "was 
a  cup  of  coffee  apiece.  We  had  that  be- 
cause I  saw  a  guy  drinking  coffee  in  the 
dining-room  and  I  pointed  to  him.  Dil 
was  pretty  tired,  she  said  she'd  sit  in  the 
car.  I  was  having  a  good  time,  loping 
over  the  battle-field,  inspecting  trenches ; 
then  I  picked  up  a  jaw-bone  of  some  bird 
they  forgot  to  bury.  I  come  loping  back 
to  the  car.  Look,  Dil,  see  what  I  found ! 
She  keels  over.  'Let's  go  back  to  Paris,' 
she  said." 

So  they  went  back  to  Paris.  And  by 
that  time  things  were  so  bad  that  on  the 
slightest  provocation  Buck  would  throw 
things  out  of  the  window.  He  began  by 
throwing  his  hat  out  of  the  window. 
Wandering  into  one  of  the  shops,  he  had 
been  induced  to  buy  a  French  hat.  He 
wore  it  back  to  the  hotel  a  little  tenta- 
tively and,  taking  Dil  by  surprise,  asked 
her  what  she  thought  of  it. 

She  said,  "Hmmmmmm,"  according  to 
Buck,  and  he  was  so  infuriated  at  the  ad- 
vantage the  French  salesman  had  taken  of 
him  that  he  snatched  it  off  his  head,  as  he 
stood  by  the  window,  and  first  thing  you 
know,  why,  the  hat  was  out  of  sight 
below. 

"But  Dil  said  it  had  a  band  on  it  that 
she  liked.  She  wanted  that  band.  So  I 
went  down  to  the  man  at  the  desk  and  told 
him  the  wind  blew  my  hat  out.  He  looked 
at  me.  I  dont  think  that  guy  believed  me. 
Anyway,  I  had  the  whole  staff  lookin'  for 
that  hat — found  it,  too,  worse  luck." 

The  habit  of  throwing  things  out  of  the 
window  culminated  in  this  fashion.  Buck 
Jones  and  Dil  had  had  enough  of  Paris, 
after  a  week;  they  were  going  on  to  Ber- 
lin.   Buck  went  down  to  buy  his  tickets. 

"They  cost  two  thousand  francs.  _  I  had 
my  pockets  stuffed  so  full  of  their  darn 
money,  there  wasn't  room  for  more. 
I  unloaded  the  bunch  of  paper  onto  the 
desk ;  it  was  short  about  twenty  francs. 
I  said,  'Take  the  money,  send  the  tickets 
around  to  the  hotel,  and  I'll  give  you  the 
twenty  francs !'  The  man  never  answered. 
Just  stuck  the  tickets  back.     That  got  me 

their  sarcastic  way  of  doing  things.  I 
went  back  to  the  hotel,  and  changed  every- 
thing T  had  into  francs.  Came  back, 
plumped  it  all  down  on  the  counter  and 
got  the  tickets.     As   I   was   leaving,  good 


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and  sore,  I  happened  to  see  a  folder  on 
this  chap's  desk — sailings.  I  looked  at  it 
— the  Berengaria  leaves  in  two  days — psst ! 
I  threw  the  tickets  out  the  window.  'We 
sail  on  the  Berengaria,'  I  said  to  Dil. 
We  did." 

And  was  Buck  Jones  glad  to  see  the 
Statue  of  Liberty  again?  He  was.  And 
was  he  glad  to  drop  into  the  circus  at 
Madison  Square  Garden  and  talk  over 
old  times  with  the  pals  who  had  once  been 
fellow  cowboys?  He  was.  And  will  he 
be  tickled  to  death  to  see  his  own  stable 
of  horses,  that  dont  have  to  be  tricked  out 
in  fancy  blankets,  as  every  moviegoer  who 
has  seen  Silver,  et  al.  on  the  screen, 
knows?  He  will.  However,  the  Euro- 
pean trip  was  not  quite  wasted,  for  Buck 
took  occasion  to  find  out  why  the  Prince 
of  Wales  falls  off  his  horse  so  much. 

"I  met  a  man  who  watched  him  ride," 
he  explained.  "He  says  the  Prince  flaps 
his  legs  against  the  sides  of  the  horse, 
kicks  the  horse.  No  wonder  he  has  no 
grip." 


«0TMK'NCIURR 


That's  Out 

{Continued  from  page  59) 

celebrities  struggling  along  on  only 
twenty-five  hundred  dollars  a  week,  and 
reduced  to  only  eight  servants  in  a  big, 
Beverly  Hills  mansion. 

Carey's  Twelve-Year  Limit 

The  exhibitors  themselves  supplied  a 
good  many  laughs  during  their  stay  in  the 
film  colony,  but  Harry  Carey  was  probably 
responsible  for  one  of  the  most  humorous 
quips. 

Carey  proved  himself  to  be  somewhat  of 
a  Will  Rogers  when  it  came  to  making- 
witty  remarks. 

Upon  being  introduced  to  the  exhibitors, 
Carey  said: 

"There  now  stands  before  you  the  only 
motion  picture  star  whom  you  have  all 
heard  about  but  never  seen.  The  pro- 
ducers who  handle  my  pictures  state  that 
no  one  over  twelve  years  of  age  ever  looks 
at  them.  And  I  can  see  that  you  have  all 
passed  that  age  limit,  so  you  had  better 
take  a  good  look  at  me  while  you  have  a 
chance." 

Wanted:  New  Vaudeville  Faces 

It  begins  to  look  as  tho  the  Paramount 
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of  an  .incubator  for  future  screen  stars. 

After  spending  many  months  preparing 
them  for  a  career  upon  the  screen,  Para- 
mount cast  its  school  graduates  into  one 
film  and  then  proceeded  to  give  them 
lengthy  bookings  thruout  the  country  as 
vaudeville  actors. 

Now,  if  someone  will  only  start  a  good 
school  for  vaudeville  artists,  perhaps  we 
can  find  a  way  of  unearthing  a  few  new 
screen  faces. 

Where  Art  Thou,  Romeo  ? 

What's  the  matter  with  the  film  industry 
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Alice  Joyce  Suggests  This 
Luncheon 

(Continued  from  page  55) 
And  now  for  the  recipes — 

Honeydew  Melon 

This  needs  no  recipe.  It  is  attractive 
when  served  in  balls  in  a  sherbet  glass 
.  .  .  but  the  main  thing  is  to  have  it  very- 
cold.  Little  scoops  may  be  purchased  in 
any  department  store  for  achieving  the 
ball  effect. 

Iced  Consomme 

The  simplest  consomme  to  prepare  is 
quite  as  delicious  as  the  more  difficult 
recipes.  Take  one  pound  of  a  round  of 
beef  and  cut  in  one-inch  cubes  and  brown 
one  half  of  this  in  some  marrow  from 
the  marrow  bone.  Then  put  the  other 
half  of  the  beef  in  a  kettle  with  one 
quart  cold  water  and  add  one  pound  of 
veal  cut  in  pieces,  the  browned  meat  and 
about  one  quarter  of  a  pound  of  marrow 
bones. 

Let  this  stand  for  about  a  half-hour 
and  then  heat  slowly  to  the  boiling  point. 
Then  let  it  simmer  for  about  three  hours, 
being  careful  to  remove  any  scum  that 
forms   on   top   of   the   kettle. 

Now  add  one.  quarter  of  a  quart  of  the 
liquor  in  which  a  fowl  has  been  cooked 
and  let  this  simmer  two  hours. 

Cook  about  two  thirds  of  a  cup  of 
diced  carrot,  turnip,  celery  and  onion  in 
butter  for  five  minutes.  Then  add  this 
to  soup,  adding  :  speck  of  bay  leaf,  cloves, 
thyme,  marjoram   and   parsley. 

Cook  the  entire  mixture  about  an  hour 
and  a  half  .  .  .  strain  .  .  .  cool  quickly 
.  .  .  remove  remaining   fat  and  clear. 

This  will  jell  slightly  when  it  is  suffi- 
ciently iced  and  it  will  make  a  delicious 
summer   soup. 

Lamb  Chops 

Rib  chops,  frenched  are  daintiest.  And 
they  are  always  best  if  broiled  with  a 
little  drawn  butter,  pepper  and  salt. 


The  secret  of  cooking  fresh  peas  is  to 
use  as  little  water  as  possible.  Just 
enough  to  cover  them.  There  are  now 
modern  utensils  which  cook  vegetables 
directly  over  the  flame  without  any  water 
and  the  difference  in  the  taste  is  sur- 
prising. Most  of  us  know  that  peas  can 
be  made  greener  and  more  inviting  to  the 
eye  if  a  pinch  of  ordinary  cow-brand 
soda  is  put  into  the  water,  and  the  lid 
left  off  the  pot  while  cooking. 

Sauteed  Potatoes 

These  are,  of  course,  potatoes  warmed 
over.  In  other  words,  cold  boiled  potatoes 
cut  in  one-third-inch  slices,  sprinkled  with 
salt  and  pepper  and  a  little  onion  juice,  if 
desired,  and  then  put  into  a  hot  and  well- 
greased  frying  pan  and  browned,  first  on 
one  side  and  then  on  the  other. 

Cold  Asparagus,  Vinaigrette 

This  is  asparagus  boiled  and  chilled  and 
served  with  the  vinaigrette  sauce.  Cooks 
differ  in  the  proportions  used  in  this  sauce 
but  a  very  pleasant  concoction  is  6  table- 
spoonfuls  olive-oil,  1  tablespoonful  of 
cider  or  Taragon  vinegar,  1  tablespoonful 
chopped  pickle,  1  teaspoonful  chopped 
(Continued  on  page  115) 


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107 

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Dr.  Jeanae  M .  P.  Walter,389  FifloAye..  N.Y. 

108 


-illso    IF    filled 

Mall  card 


Advertising  Section 

"Shall  I  Go  Into  the  Movies?" 

(Continued  from  page  73) 


some  cynical  Frenchman  once  said  that  it 
was  easier  to  rise  from  the  slums  than 
from  the  suburbs.  You  ought  to  make 
money  this  year  regardless  of  your 
address. 

Norma  Z.,  May   26: 

YKS»  I  believe  you  have  talent.  Person- 
ally,  I  would  prefer  writing  for  you  or 
some  connection  with  publicity,  but  there  is 
also  some  dramatic  talent  shown  in  your 
horoscope.  This  present  year  does  not 
seem  the  most  favorable  time  imaginable 
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are  there  for  you,  together  with  some  lack 
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would  advise  you  to  tackle  the  stage  rather 
than  the  movies,  and  to  wait  one  year  be- 
fore doing  even  that. 

Ethel  F.,  July  27: 

Dy  all  means,  stay  on  the  stage  and  go  on 
with  your  dancing.  You  have  ten 
chances  of  success  there  to  one  in  the 
movies,  simply  because  of  the  strong  posi- 
tions in  the  part  of  your  chart  which  gov- 
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of  next  August  things  will  change  for  you 


and  during  that  month  and  the  two  immedi 
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pulse just  now,  you  will  progress  by  leaps 
and  bounds — both  literally  and  figuratively. 

Harold  S.,  January   1: 

Y°u  are  young  enough  to  change  you 
mind,  thank  goodness,  for  you  are  an 
other  who  is  carried  away  by  a  temporary 
admiration  for  the  life  of  the  stage  an- 
screen  as  you  think  it  to  exist,  and  in  later 
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i 


Mr.  and  Mrs.  Wesley  Barry 


Mrs.  Barry,    nee  Julia  Wood,  first  met  Wesley  when  they  played  together 

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on   the   screen? 

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Crazy  Quilt 

(Continued  from  page  99) 

Judith's  heart  ached  for  those  who  had 
not  been  included.  But  she  did  not  turn 
to  see  the  philosophical  acceptance  of  the 
inevitable  that  she  knew  would  settle  over 
their  faces  as  they  straggled  out. 

The  girls  selected  hurried  to  one  large 
dressing-room.  The  men  to  another.  A 
costume  mistress  in  the  girls'  room  with 
a  varied  assortment  of  summer  dresses, 
sweaters  and  skirts,  eyed  the  girls 
shrewdly.  She  handed  out  garments  of 
appropriate  sizes. 

Judith  was  given  a  sport  dress  of  beige 
color  and  a  small  hat.  Suitable  shoes.  She 
changed  rapidly  and  seated  herself  at  the 
long  community  dressing-table  to  apply 
her  make-up.  There  was  the  smell  of 
stale  greasepaint  and  powder  in  the  room. 
Judith  loved  that  smell.  She  knew  that 
the  room  was  too  permeated  with  it  ever 
to  be  aired  out. 

She  loved  to  mascaro  her  eyebrows  and 
eyelashes.  She  loved  to  smooth  the  pale, 
pale  yellow  paint  over  her  warm  skin  and 
to  trace  faithfully  the  outline  of  her 
mouth  with  the  scarlet  lip-salve.  She  did 
it  expertly,  with  more  aptitude  than  other 
girls  who  had  been  doing  it  for  years. 
She  never  smudged  her  make-up.  There 
was  a  cunning  in  her  long  fingers. 

"Gee,  but  you  get  it  on  smooth,"  the  girl 
next  to  her  said.  "I  always  take  years  and 
then  dont  get  it  on  the  way  you  do." 

Judith  hesitated.  She  had  learned  that 
these  girls  were  sometimes  frank  in  admit- 
ting their  lack  until  you  gave  advice. 

"I  find  it  works  better  if  I  put  on  only 
a  little  at  a  time  ...  just  a  thin  coating," 
Judith  finally  explained.  "I  haven't  much 
color  in  my  cheeks,  you  see,  so  it  does 
not  take  much  greasepaint  to  cover  it." 

She  walked  over  to  the  lockers  and 
placed  her  own  clothes  in  one  of  the  parti- 
tions. Then  she  put  the  key  in  her  make- 
up box.  All  studios  did  not  make  such 
adequate  provision  for  the  extras'  clothes. 

She  found  her  way  to  Stage  six  where 
the  McAllister  company  was  to  work. 
The  cast  was  not  yet  on  hand. 

The  director  was  suggesting  a  slight  re- 
arrangement of  the  lounge  furniture.  It 
was  an  interior  scene  with. a  -vista  of  the 
veranda  outside  of  the  French  windows. 
Pleasant. 

The  studio's  interior  decorator  was 
standing  with  the  director.  He  ordered 
the  chintz  curtains  drawn  back. 

"We  want  a  sweep  of  the  veranda.  Fix 
up  a  tree  or  something  outside  there  .  .  . 
just  to  the  left  of  that  wicker  chair  .  .  . 
so  it  can  be  seen  thru  the  windows."  he 
ordered  a  property  man. 

A  minute  later  the  man  came  back  with 
a  great  branch  of  a  tree  which  was  effici- 
ently nailed  to  a  post  so  that  it  might  be 
seen   from  the  lounge  window. 

The  extras  stood  about.  The  director 
looked  them  over  and  indicated  who  was 
to  come  on  swinging  a  tennis  racket  .  .  . 
who  was  to  come  on  followed  by  an  at- 
tendant with  golf   clubs. 

He  went  over  to  his  chair  beside  the 
camera.     The  cameraman  was  loading. 

"All  right,  take  your  places,"  he  said. 
And  to  the  assistant  director :  "Grady, 
show  them  what  I  want.  Come  on  now. 
Act  like  ladies  and  gentlemen.  Dont  be 
afraid  of  the  furniture.  I  want  a  couple 
to  be  dancing  to  the  radio.  See_  if  that 
tall  blond  fellow  and  that  girl  in  beige 
can  dance  well  together." 

Judith  knew   no   other   girl    wore  beige. 

"I'm  sure  I  can  dance  all  right,"  she  told 
the  assistant  director. 

"Try    it    out,"    he    advised    as    the    tall 


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Advertising  Section 

blond  man  came  over.  He  turned  on  a 
phonograph. 

'•().  EC,"  called  McAllister.  "Dance 
around  a  few  turns.  The  camera  will  pick 
you  up  dancing.  Understand.  Then  you, 
with  the  racquet.     You  come  in." 

Inez  Uland,  the  star,  came  on  the  set. 
A  maid  followed  her.  McAllister  arose 
and  greeted  her.  Judith  admired  the  soft 
rose  chiffon  gown  and  the  large  black 
lace  hat  she  was  wearing. 

"Is  Miss  Estabrook  anywhere  about?" 
McAllister  asked  and  the  girl  who  had 
been  the  source  of  speculation  in  the  outer 
office  came  up.  He  introduced  her  and 
Miss  Uland,  and  another  chair  was 
brought. 

Then  he  showed  Miss  Estabrook  how  to 
come  on  the  scene  with  Miss  Uland.  They 
were  to  order  tea  at  a  side  table  near  the 
fireplace. 

"We'll  rehearse  it  once,"  he  agreed. 
"Everybody  know  their  business?  All 
right.     Go  ahead." 

Another  man  came  on  the  set.  He  was 
rather  attractive,  Judith  noted  as  she 
waited  for  the  rehearsal  to  begin.  Miss 
Uland  was  brushing  fresh  powder  over 
her  make-up  while  her  maid  held  the 
large  make-up  box  with  the  mirror  back. 

"Who  is  he?"  she  asked  her  partner.  _ 

"Harvey  Dunn,"  he  told  her.  "He  is 
assistant  publicity  director.  Clever  fellow, 
I   understand.     Writes   very  well." 

Judith  looked  at  him  again.  She  de- 
cided that  he  had  bearing.    He  had  a  well- 


built  frame,  curly  black  hair  and  big- 
brown  eyes.  His  chin  was  small  and 
pointed.  "Too  bad,"  Judith  thought,  "still 
he  is  attractive." 

"All  right.  Rehearse  it  now,"  McAllister 
called  and  the  stagehands  cleared  the  set 
as  Miss  Uland  and  Miss  Estabrook  came 
on  and  the  extras  proceeded  to  go  thru 
their  motions. 

Judith  danced  with  her  partner.  They 
danced  well  together. 

"All  right,"  shouted  McAllister.  "We'll 
take  it. 

"You  with  the  golf  clubs,  dont  come  in 
quite  so  soon  after  that  pair  with  the 
tennis  racquets.  It  will  look  like  a  sport 
ing  outfit  display  if  you  follow  on  each 
other's  heels. 

"Talk    a    little    more    vivaciously    when 
you  enter  and  pass  the  camera.     It  may 
a  hard  day's  work  to  you  people  bul 
got  to   look  like   fun  on  the  screen 
me?" 

Everyone     laughed.       Laughing     at    t' 
director's  good  lines  was  part  of  the  game. 

"Quiet,"  he  called  now.  "Lights.  Ready? 
he  turned  to  the  cameraman  as  the  scene 
was    flooded    with    a    greenish    glare    and 
there    was    a    sputtering    and    a    sizzling 
overhead. 

"ACTION!" 

The  camera  began  to  grind.  The  as- 
sistant director  put  on  a  record  off-stage 
as  Judith's  partner  appeared  to  tune  in  on 
the  radio.  Then  they  started  their  dance. 
The  couple  with  the  tennis  racquets  came 


A  Camera  With  Sea  Legs 


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in,  talking  vivaciously  enough  to  please 
even  McAllister. 

"All  right  now  .  .  .  come  on,  Miss  Uland 
and  Miss  Estabrook."  His  voice  rose 
above  the  phonograph  music  .  .  .  above 
the  grinding-  of  the  camera  .  .  .  above  the 
hammering  on  the  next  stage.  "Now 
dodge  the  dancers.  Laugh.  Now,  walk 
over  to  that  table  in  the  recess  by  the 
fireplace  .  .  . 

"Hey,  you  with  the  golf  clubs,  are  you 
dead.  Come  on  for  God's  sake.  Film 
costs   money.      That's    right. 

"Now  you  dancers  stop.  Go  over  to 
that  other  table.  Fine.  Play  up  to  him 
a  little  more  there.     You  like  him. 

"Waiter,  hurry  up  and  take  one  of  the 
orders  .   .  . 

"Cut.     Lights  out!" 

The  lights  sizzled  out  and  the  camera 
stopped  grinding. 

Judith  was  elated. 

"They  cant  cut  us  out  because  I  looked 
at  the  'script  and  the  scene  where  Miss 
Uland  brings  that  girl  here  to  tea  is  im- 
portant to  the  story.  Lucky  break  for 
both  of  us." 

Judith  admitted  that  it  was. 

They  took  the  scene  again.  The  foreign 
negative.  After  that  they  moved  the 
camera  up  for  close-ups  of  Miss  Uland 
and  Miss  Estabrook  at  the  tea-table. 

Judith  walked  over  to  the  sideline,  ad- 
justing the  gardenia  on  her  shoulder.  She 
tried  to  find  an  advantageous  position 
where  she  might  watch.  Inez  Uland  was 
not  a  bad  actress  and  Judith  wanted  to 
take  advantage  of  watching  her  at  work. 

"Are  you  in  the  cast?"  someone  asked 
and  Judith,  turning,  saw  Harvey  Dunn 
standing  beside  her. 

She  shook  her  head.  "Thanks  anyway," 
she  said,  laughing. 

He  made  no  motion  to  go. 

"The  man  who  started  this  vogue  for 
artificial  gardenias  is  a  criminal,"  he  said 
looking  at  the  flower  on  her  shoulder. 

Judith  responded  quickly  to  his  humor. 
She  had  always  felt  that  way  about  arti- 
ficial gardenias  herself. 

"If  I  ever  do  attain  the  height  and 
affluence  of  being  in  the  cast,"  she  said  a 
little  whimsically,  "I  shall  have  a  standing 
order  at  my  florist  for  a  fresh  gardenia 
every  day.  Even  when  they  are  a  dollar 
apiece." 

She  pronounced  this  last  sentence  with 
a  rather  awed  importance  and  Harvey 
Dunn  laughed  sympathetically. 

"You'll  be  in  the  cast,  I  have  no  doubt," 
he  said. 

Judith  felt  a  little  uncomfortable.  She 
liked  Harvey  Dunn  immensely.  She 
wanted  to  talk  to  him.  But  she  knew  that 
the  extras  were  watching  her  suspiciously. 
No  one  was  ever  given  credit  for_  a 
natural  action  in  the  studios.  Everything 
you  did  was  immediately  accredited  with 
an  ulterior  motive.  She  could  imagine 
what  they  were  saying. 

Mr.  Dunn  snapped  his  fingers.  "You 
can  help  me,  I'll  bet,"  he  said  enthusias- 
tically. And  Judith  looked  puzzled.  She 
wondered  how  she  could  help  anyone  .  .  . 
certainly  how  she  had  it  in  her  power  to 
do  anything  for  this  very  contained  young 
person. 

"I  have  an  idea  for  a  little  sketch  for 
one  of  the  motion  picture  magazines,"  he 
went  on  to  explain.  "It  deals  with  an 
extra  girl.  Perhaps  you  could  help  me 
with  the  copy  .  .  .  give  me  one  or  two 
impressions." 

"Why,  if  you  think  I  could  I  would  be 
happy  to,"  Judith  said.  She  did  not  dare 
hope  he  would  use  her  name  in  his  sketch. 
Publicity.  Already  she  knew  the  magic 
of  that  word.  It  had  built  fortunes  just 
(Continued  on  page  118) 


" 


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I  have  the  honor  to  announce  the  most 
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Advertising  Section 


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Hollywood  Notes 

(Continued  from  page  43) 


about  and  I  know  Charlie  does  not  speak 
a  word  of  Russian,  but  his  Russian 
sounded  just  as  good  as  the  other  fel- 
low's, only  it  was  funny. 


Qam  Goldwyn  is  building  a  regular  city 
as  called  for  in  "The  Winning  of 
Barbara  Worth"  and  it  will  be  a  perma- 
nent one  after  the  picture  is  finished.  It 
will  cost  only  the  mere  trifle  of  $100,000. 
Now's  the  time  to  buy  lots  there.  A 
little  buys  a  lot. 


Y^hile  they  were  filming  "Old  Iron- 
sides"  the  other  day  and  the  frigate 
Constitution  had  just  gone  into  action, 
they  tell  me  that  a  huge  American  eagle 
appeared  and  circled  over  the  ship  from 
which  James  Cruze  was  directing.  Draw 
your   own  conclusions. 


T  was  over  in  Culver  City  the  other  day 
making  a  brief  tour  of  three  studios 
there,  the  first  being  Cecil  De  Mille's, 
when  a  pretty  young  lady  stopped  me  and 
said:  "Dont  you  remember  me?"  I  had 
to  admit  that  I  did  not,  whereupon  she 
said,  "I  was  in  your  Fame-  and  Fortune 
Contest  a  few  years  ago,  and  you  photo- 
graphed me  several  times — but  I  didn't 
quite  win  the  contest."  I  then  remem- 
bered her,  altho  I  photographed  about  a 
thousand  other  girls  that  year.  She  has  a 
nice  De  Mille  contract  and  I  think  you  will 
hear  from  her — Mabel  Coleman.  Not  an 
hour  later  on  the  M.  G.  M.  lot  a  tall, 
dark,   handsome   young   man   said,    "Hello, 


Mr.  Brewster."  I  said,  "Hello,"  and  made 
believe  I  knew  him  well,  but  for  the  life 
of  me  I  couldn't  just  place  him.  He  saw 
that  I  was  puzzled  and  said,  "Dont  you 
remember  Maurice  Kains,  who  was  the 
only  man  on  your  final  honor  roll  in  the 
last  Fame  and  Fortune  Contest?"  Then 
it  all  came  back  to  me  and  I  shook  his 
hand  warmly,  and  then  again  when  he  nr- 
formed  me  that  he  had  a  five-year  con- 
tract with  M.  G.  M.  He  looks  even  better 
today  than  he  did  when  he  made  his  first 
appearance  before  my  cameraman — and 
that's  saying  something. 


""This  is  apparently  to  be  a  year  of  super 
special  pictures.  The  only  ones  in  sight 
to  match  "Ben-Hur,"  "Stella  Dallas"  and 
"The  Big  Parade"  are  "Old  Ironsides," 
"What  Price  Glory"  and  "Beau  Geste." 
But  here  are  a  few  that  have  not  been 
taken  yet — please  dont  all  speak  at  once : 

Les    Miserables 

Helen  of   Troy  and   Paris 

Ivanhoe 

Paradise    Lost 

Paul   and   Virginia 

Frankenstein 

Hiawatha 

Anthony  and    Cleopatra 

Hamlet 

The    Boston    Tea    Party 

Pocahontas  and  Captain  John  Smith 

George   Washington 

Faust 

Aucassin   and    Nicolette 

The    Merchant   of   Venice 

The    Houseboat    on    the    Styx 

II    Trovatore 

And  why  not   a  series   of   The  World's 
Great    Love    Stories,    beginning    with    the 


The  First  Photograph  of  Robert  Leonard  and 
Mrs.  Robert  Leonard  the  Second 

This  photograph   was   taken   immediately   after   the   summer   wedding   of 

Gertrude    Olmstead    and    Bob    Leonard.       From    1.    to    r.    are    Mrs.    Mary 

Leonard,   mother  of  the  groom,  Robert  Z.   Leonard;  Mrs.  Robert  Leonard 

and  Mrs.   Minna   Olmstead,   the   mother   of   the   bride 

International  Newsreel 


12 


1»24  Sunnystde  Ave.,  Chicago, 


Every  ndvertlflement  In  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Bible  story  of  Ruth — about  ten  in. all? 
And  all  the  grand  operas  and  Shakespear- 
ian plays. 

*       *      * 

""The  Fox  Company  pays  Tom  Mix  fif- 
A  teen  or  twenty  thousand  dollars  every 
week,  and  good  salaries  to  a  few  hundred 
other  players  and  directors,  yet  their  state- 
ment to  the  Government  shows  a  surplus 
of  $12,029,239.    Not  so  bad ! 


T  loyd  Hughes  is  the  most  unassuming, 
democratic,  good-natured,  natural  fel- 
low I  have  met  out  here.  Of  course,  he  is 
very  fine -looking  and  dresses  well,  but 
there  is  something  remarkably  frank, 
wholesome,  and  easy  about  him  that  places 
him  in  a  class  by  himself.  While  he  is 
not  at  all  effeminate,  he  strikes  one  as  be- 
ing a  one-hundred-per-cent.  young  man, 
with  no  bad  habits  and  perfectly  trust- 
worthy and  honest.  I  cant  imagine  him 
lying,  or  posing,  or  putting  on.  He  is  just 
what  he  looks  to  be  on  the  screen,  appar- 
ently an  ideal  young  man. 


""There  are  about  20,000  people  here  en- 
gaged  in  the  movie  industry.  And 
every  actor  and  actress,  I  think,  believes 
that  sooner  or  later  the  lightning  will 
strike  him  or  her  and  make  a  new  star, 
just  as  it  struck  Belle  Bennett  in  "Stella 
Dallas." 


At  the  Blackton  Tennis  Tournament  last 
Sunday  I  noticed  among  the  good 
players  Lionel  Belmore,  who  is,  as  you 
know,  fat,  gray  and  sixty.  Yet  he  gets 
around  almost  as  lively  as  the  young  fel- 
lows. And  as  for  Richard  Neill,  well,  he 
plays  like  a  champion  and  has  all  the 
strokes.  So  has  Ralph  Ince  the  director. 
Patsy  Ruth  Miller  is  quick  on  her  feet 
and  graceful,  but  she  plays  only  a  fair 
game.  .Charles  Ray  and  Montague  Love 
are  about  in  the  same  class,  both  playing  a 
good  fast  game.  As  for  me,  well  I  beat 
Belmore,  anyway. 


Everywhere  Charlie  Chaplin  goes  he  is 
the  life  of  the  party.  So  is  Syd  Chap- 
lin, but  they  never  seem  to  go  to  the  same 
parties  together,  altho  they  are  the  best  of 
friends.  I  attended  a  party  at  Kathleen 
Clifford's  and  you  should  have  seen  the 
stunts  Syd  and  Larry  Semon  pulled  off. 
They  were  making  coins  disappear  in  mid- 
air and  then  they  would  discover  them  in 
queer  places — such  as  in  the  mouths  or 
slippers  of  some  of  the  guests.  These  two 
when  together  are  a  whole  show  in  them- 
selves. You  may  not  see  much  of  Kath- 
leen Clifford  on  the  screen  just  now  but 
she  is  very  much  in  evidence  in  Hollywood 
all  the  time. 


nr.HERE  is  an  atmosphere  of  inspiration 
and  confidence  over  on  the  De  Mi  lie  lots 
these  days,  owing  no  doubt  to  the  tie-up 
with  the  Keith-Albee  people  whereby  they 
are  to  have  a  large  number  of  first-run 
houses  and  plenty  of  money  besides.  They 
have  abandoned  the  plan  of  doing  "The 
Deluge"  (Noah's  Ark)  because  the 
Bible  is  not  copyrighted,  and  the  patents 
on  the  ark  must  have  expired  by  this  time. 
Anyway,  the  great  success  of  "The  Ten 
Commandments"  seems  to  make  the  pro- 
ducers think  that  the  good  old  book  has 
more  than  one  good  story  left  in  it,  and 
we  will  probably  have  sooner  or  later, 
Adam  and  Eve,  Cain  and  Abel,  Daniel  in 
the  Lion's  Den,  Ruth's  Romance,  The  Star 
of  Bethlehem,  The  Lord's  Supper,  The 
Sermon  on  the  Mount,  and  so  on. 

When  you 


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Are  You  Reading 

"CRAZY  QUILT"? 

J l  Begins  on  Page  20 


News  of  the  Camera  Coasts 


(Continued  from  page  70) 


big  silver  loving-cup,  being  judged  tbe 
besl    film  of  tbe  year. 

In  view  of  the  tremendous  ovations  ac- 
corded Mary  and  Doug  in  the  foreign 
countries,  I  suggest  that  if  ever  we  need 
a  king  and  queen  in  America  they  be  given 
first  chance  at  the  golden  seats,  for  they 
know  how  to  act  in  a  crowd  and  dont  need 
an  expensive  bodyguard. 

Arlette  Marchal,  the  famous  French 
^^  beaut}',  is  playing  her  first  leading 
role  in  an  American-made  picture.  She  is 
working  opposite  Jack  Holt  in  "Forlorn 
River." 

Mile.  Marchal  came  to  this  country  at 
the  suggestion  of  Gloria  Swanson.  She 
worked  with  Gloria  in  "Madame  Sans- 
( rene,"  and  the  star  thought  her  one  of  the 
most  promising  actresses  she  had  seen,  so 
she  forthwith  suggested  to  Paramount 
that  they  sign  her.  After  seeing  her 
work  in  "Madame  Sans-Gene,"  the  Para- 
mount officials  obtained  her  signature  and 
are  now  grooming  her  for  stardom.  To 
date,  she  has  had  little  to  do  but  acquaint 
herself  with  American  methods  of  film 
production.  She  played  a  small  role  in 
"The  Cat's  Pajamas"  and  "Born  to  the 
West."  She  was  then  assigned  the  diffi- 
cult role  of  Zicka  in  "Diplomacy"  and 
did  so  well  that  it  was  decided  she  should 
play  the  lead  in  Jack  Holt's  picture.  Al- 
tho  she  captured  the  Aix  LeBain  beauty 
contest  in  France,  being  judged  the  most 
beautiful  French  girl  out  of  a  list  of  three 
hundred  entrants,  she  is  considered  a  typi- 
cal American  type. 

I-Iarry    Carey   is    credited   with   the    fol- 
lowing   line   which   he    used    during   a 
speech  made  before  a  group  of  exhibitors. 
"Gentlemen  prefer  blondes,"  said  Harry, 
"but  blondes  are  not  so  particular." 

Vou've    heard    of    the    plumber's    helper 

who  spent  two  days  hunting  for  a  left- 
handed  monkey-wrench.  That  story  has 
its  parallel  in  the  picture  business. 

Jack  Holt  and  Raymond  Hatton  were 
just  starting  work  in  a  new  Western  pic- 
ture when  Ray  spied  a  Broadway  cowboy 
trying  to  put  his  chaps  on  backwards. 

Jack  and  Ray  approached  the  youngster. 
"Are  you  all  fitted  up,  son?"  inquired 
Jack. 

"Oh,  yes,  yes,   Mr.  Holt." 

"Everything  fit?"   asked   Ray. 

"Oli,  yes,  yes,  Mr.  Hatton." 

"And  have  you  had  your  saddle  fitted?" 
continued  Ray. 

The  startled  young  extra  gasped,  "No, 
No.    Where?" 

"Go  down  and  see  the  blacksmith,"  Ray 
advised. 

The  blacksmith  sent  the  young  aspiring 
actor  to  the  carpenter  and  the  carpenter 
sent  him  to  the  painter,  and  by  this  time 
he  is  probably  iii  a  glass  factory  trying 
to  get  someone  to  blow  him  a  saddle. 

JACK  HOLT  took  his  young  son,  Tim,  on 
location  with  him  to  Utah  where  ex- 
terior scenes  will  be  filmed  for  "Forlorn 
River."  It  is  Tim's  first  experience  on  a 
■i on  trip.  According  to  reports,  Tim 
may  play  a  small  part  in  the  picture  with 
his  father. 

LJoLLYWOOD   may   have   its   queer   individ- 
uals   but    some    of     the    boys    coming 
from    tbe    provinces    of     Iowa    and     New 
York    have   a    few   unusual   dents    in   their 

■:i       Bow's      troubles       with       Robert 


Savage  have  provided  the  moving  pictur 
world   with   lots   of    fun.      In   fact,   I 
quit  reading  Andy   Gump  since  Oar; 
her  gentleman  friend  started  actir 

A    jury    declared    young    Savage    san 
after  he  had  cut  his  wrists  with  a  razoi 
and  let  the  blood  drop  on  Clara's  picture 
Savage   blamed   his   actions   on   the    "soft 
Southern    California    moon,"    but    I    don 
believe  it  was  the  moon  that  was  soft 
a  matter  of  fact,  us  Californians  ar 
readily  affected  by  the  sun  if  you  wi 
the    advertising    we    send    out.      Th 
added  that  "In  the  spring  the  yrjung  man 
sappy."    So   take  it  all   in  all,  it  is  really 
the     wonderful     California     weather    that 
makes  saps  and  geniuses. 

I  remember  a  man  who  suffered  the 
same  kind  of  moon  stroke.  He  used  to 
write  poems  to  Claire  Windsor  when  I 
was  handling  her  publicity.  He  used  to 
tuck  them  under  the  front  door.  I  saw 
Claire  last  week  and  the  conversation  re- 
lated to  this  young  Yale  student  who  was 
writing  poems  to  Clara  Bow.  Claire  said 
that  if  she  was  Clara  she  would  be  thank- 
ful that  they  didn't  teach  the  art  of 
making  bombs  at  Yale. 

Dudolph  Valentino  plans  to  make  an- 
other  trip  abroad  when  he  completes 
his  next  picture.  He  is  at  present  working 
on  "The  Son  of  the  Sheik."  When  he 
finishes  this  opus  he  will  take  a  short 
vacation  touring  about  California  waters 
in  his  new  boat. 

The  last  time  Rudy  went  frolicking 
over  the  water  in  his  boat  the  valves  of 
the  motor  stuck,  the  waves  leaped  higher 
and  Rudy  and  his  party  barely  escaped  a 
salt  bath.  It  is  said  his  next  picture  will 
be  the  screen  version  of  a  new  Ibaiiez 
novel. 

Tt  looks  as  if  Samuel  Goldwyn  will  be- 
come  one  of  these  "by  permission"  pro- 
ducers. Of  late  Ronald  Colman  and 
Vilma  Banky  have  appeared  in  pictures 
which  carry  the  line  that  the  players  are 
performing  "by  permission  of  Samuel 
Goldwyn." 

Sammy  stepped  out  and  discovered  two 
worthwhile  stars.  He  had  no  sooner 
landed  them  than  all  the  rest  of  the  pro- 
ducers wanted  to  borrow  them.  His 
intentions  were  to  keep  Colman  and 
Banky  together  in  a  series  of  big  features, 
but  his  brother  film  makers  have  been 
paying  big  money  for  the  use  of  them.  It 
is  no  more  than  justice  that  Goldwyn 
should  be  credited  when  these  stars  are 
used. 

AdolpHE  Menjou  and  his  director,  Mai 
^  St.  Clair,  who  have  really  become  quite 
a  famous  little  team,  have  decided  to  get 
along  without  each  other  for  a  while.  Per- 
fectly friendly,  and  all  that — only  they 
both  thought  they  needed  a  little  change. 
And  I  can  quite  understand  that,  after 
viewing  their  latest  and  feeblest  drama, 
"A  Social  Celebrity."  St.  Clair,  for  many 
months,  has  been  slated  to  direct  "The 
Ace  of  Cads,"  Michael  Arlen's  story  in 
which  Menjou  is  to  be  starred.  But  his 
name  has  now  been  erased,  and  Luther 
Reed,  erstwhile  scenario-writer  for  Para- 
mount, is  the  substitute.  This  change  was 
made  at  tbe  instigation  of  Mr.  Menjou 
who  has  not  only  a  sublime  faith  in  brand 
new  directors,  but  also  quite  a  gift  fo 
delecting  the  talented  ones. 

This   leaves   Mai    St.   Clair    free  to  help 
Thomas  Meighan  make  a  good  picture,  if 
(Continued  on  page  116) 


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Address 

Start  with '. Issue. 


Advertising  Section 

Alice  Joyce  Suggests  This 
Luncheon 

(Continued  from  page  107) 

chives,  Vi  tablespoon  ful  chopped  green 
pepper,  1  tablespoonful  parsley  and  a  dash 
of  salt  and  pepper. 

Bavarian  Cream 

For  a  quick  Bavarian  cream  use  one 
lemon,  grated  rind  and  juice,  one  cup  of 
white  wine  (orange  juice  may  be  sub- 
stituted), two  thirds  of  a  cup  of  sugar, 
four  eggs,  two  teaspoonfuls  granulated 
gelatine  and  two  tablespoonfuls  cold 
water. 

This  is  a  large  quantity  and  if  the 
recipe  is  halved  it  will  serve  an  ordinary 
luncheon. 

First  mix  the  lemon,  wine,  sugar  and 
yolks  of  eggs  together.  Then  stir  vigor- 
ously over  a  fire  until  the  mixture  thick- 
ens. After  this  add  gelatine,  which  has 
been  soaked  in  cold  water.  Then  pour 
this  over  the  whites  of  the  eggs  which 
have  been  beaten  stiff.  Set  in  a  pan  of 
ice-water  and  beat  until  it  is  thick  enough 
to  hold  its  shape.  Now  turn  into  a  mould 
lined  with   lady-fingers.     Chill. 

"All  told,  this  is  a  very  well-rounded 
luncheon  and  one  of  which  I  am  ex- 
tremely fond."     Miss  Joyce  explained. 


WKISPS 


It  All  Began  When  Charlie 
Caught  La  Meller's  Violets 

(Continued  from  page  64) 

Sefiorita,  during  one  of  her  songs,  tossed 
a  gay  bunch  of  violets  up  to  Rudy.  The 
sheik  missed  the  easy  throw  and  was 
credited  with  an  error  by  the  sport  editors 
in  the  audience.  The  actress  crossed  her- 
self when  she  saw  that  Rudy  had  fumbled. 
The  next  night,  however,  there  was  a 
different  gentleman  sitting  in  the  box.  It 
was  Charles  Spencer  Chaplin  who  was  on 
the  receiving  end  for  the  violets.  When 
she  cast  a  nosegay  in  his  direction,  the 
famous  Charlie  almost  fell  out  of  his 
box,  making  a  marvelous  left-hand  stop  of 
the  Senorita's  throw.  And  now  he  has 
signed  her  at  $120,000  for  twelve  weeks. 
He  will  direct  her  and  it  is  likely  that  they 
will  film  the  life  of  Emperor  Napoleon 
in  which  Charlie  will  co-star. 

Raquel  Meller's  conquest  of  Hollywood 
is  complete.  She  is  now  the  toast  of  the 
boulevard.  Altho  she  is  not  a  great  vocal 
artist,  Sefiorita  Meller  possesses  such  a 
quantity  and  quality  of  charming  feminine 
personality  that  she  wins  the  heart  of  any 
audience  the  moment  she  steps  on  the 
stage.  By  a  mere  nod  of  the  head  and  a 
twitch  of  the  hand  she  conveys  a  char- 
acter that  it  would  take  pages  of  writing 
to  describe. 

There  is  little  doubt  of  her  being  a 
successful  movie  favorite,  for  she  has  all 
the  requisites  necessary  to  stardom. 


Are  You  Married? 

If  so,  how  do  you  and  your  husband  arrange 
the  family  finances?  More  divorces  start  in 
little    squabbles   over   the   wife's    allowance. 

The  wives  of  several  prominent  motion  pic- 
ture stars  have  solved  this  problem  .  .  .  and 
it  is  a  problem  ...  in  several  different  and 
satisfactory   ways. 

Read  WAGES  FOR  WIVES,  by  Catharine 
Brody   in  the 

October  MOTION  PICTURE  MAGAZINE 

On   the   news-stands    September   1st 


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You  Want 
This  Book! 

"BEHIND  THE 
SCREEN" 

(Illustrated) 

by  Samuel  Goldwyn,  the 
well-known  producer 


"/pHARLIE  CHAPLIN 
^=^  and  his  moods;  Mary 
Pickford  and  Douglas  Fairbanks, 
drawn  together  by  their  com- 
plete absorption  in  pictures;  the 
beginnings  of  the  romance  be- 
tween Geraldine  Farrar  and 
Lou  Tellegen — and  the  begin- 
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tween Pauline  Frederick  and 
Farrar;  the  fiasco  of  Mary  Gar- 
den in  films;  the  discovery  of 
Valentino;  the  rise  of  Harold 
Lloyd ;  the  unhappy  isolation  of 
Eric  von  Stroheim;  the  eccen- 
tricities of  Elinor  Glyn  —  these 
are  some  of  the  topics  to  regale 
the  eager  devourer  of  'fan'  food." 

"PjnlHERE  is  intense  drama  in 
■^  Mi.  Goldwyn's  description 
of  the  scene  in  which  Geraldine 
Farrar,  sensing  the  company's 
disappointment  in  the  results  of 
her  pictures,  voluntarily  tore  up 
a   contract   worth   ^250,000." 

TT\     appearance,     so     typically    II 
■^    feminine,    Mary    Pickford     | 
to  the   romance  of  business 
all  of  a  man's  response." 

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a    copy    of    "BEHIND 


Underwood  &  Underwood 
Lois  Wilson  has  bobbed  her  hair!  Everyone  in  film  circles  is 
very  much  surprised  because  Lois  always  said  she  would  not  bob 
her  tresses  if  she  was  the  one  woman  in  the  world  with  long  hair. 
However,  Lois  did  not  submit  to  the  shears  because  she  changed 
her  mind  .  .  .  but  because  she  hankered  after  the  role  offered  her 
in   "The  Great  Gatsby."       And  this  role  demanded  a  bobbed  head 


News  of  the  Camera  Coasts 

(Continued  from  page  114) 


possible.  They  are  working  now  on 
the  story,  which  is  an  adaptation  of 
Maugham's  "The  Land  of  Promise,"  and 
has  been  tentatively  titled,  "The  Cana- 
dian." 

"Dain,"  that  glorious  play  of  Jeanne 
Eagels  and  the  missionary,  which  needs 
no  introduction  since  its  long  tour  of  the 
United  States,  has  been  more  or  less  for- 
gotten by  movie  producers  in  the  last  few 
years.  Because  it  was  banned  from  the 
screen  by  Will  Hays,  and  after  the  first 
few  screams  of,  protest  everyone  settled 
back  and  said  "Well,  that's  that."  But 
now  the  producers  of  "Rain"  are  making 
a  bid  to  Mr.  Hays  for  leniency.  The  play 
has  arrived  in  a  Los  Angeles  playhouse, 
minus  all  its  cuss  and  other  objectionable 
words,  apparently  in  the  hope  that  Papa 
Hays  will  see  it  and  cry,  "Come  back,  all 
is  forgiven  !"  And  if  he  does,  I  nominate 
Dolores  Costello  for  the  role  of  Sadie 
Thompson. 

Deatrice   I. n. i. if.,  the  English  comedienne 

who  finally  fell  for  the  movies,  is  going 

to    have    the    very    best    of    everything    for 

her  debut.      Iler  director  will  be  no  less  a 

.in   Sam   Taylor,  who  has  directed 

the     Harold     Lloyd     comedies     for     many 

tii  hiding    "The    Freshman."      And 

an  original   story   has  been   written    for  her 

by   Marc  Connelly,  who  looks  like  an  egg, 

in    the  best  sense  of   the    word,   and    is  one 

of    our    really    amusing    humorists.      Mr. 

Connelly,    you    remember,    is    one    of    the 

authors   of   "Beggar  on    Horseback,"   and 

is    now    even    better    known    as    the    author 

of    'The     Wisdom    Tooth."      The    Lillie 

script  will  be  the  first  product  of  his  trip 

to   I  lolly  wood. 

Gloria  Swanson  has  packed  up  her  woes 


and  left  the  Paramount  studio  for  good 
after  finishing  "Fine  Manners,"  which 
cost  the  company  a  number  of  thousand 
dollars  more  than  they  had  bargained  for. 
Gloria  contends  that  the  delay  was  due 
to  ill  health,  and  that  she  is  now  on  the 
verge  of  a  nervous  collapse  brought  on  by 
too  much  work  and  too  much  cruel 
criticism.  She  has  not  even  had  the 
strength  to  drive  around  to  the  United 
Studios  and  inspect  the  surroundings  in 
which  she  will  work  when  her  new  con- 
tract starts.  I  hope  Gloria  will  take  a 
nice  long  rest  and  be  in  good  form  to  act 
in,  direct,  and  supervise  her  first  picture 
as  a  United  Artist. 

""The  Rosson  brothers,  by  the  way,  have 
both  gotten  their  chance  as  directors 
recently.  Richard  was  called  in  to  finish 
"Fine  Manners"  and  was  pronounced  the 
most  satisfactory  of  the  several  directors 
engaged  on  that  picture.  And  Arthur 
Rosson  is  handling  the  megaphone  for 
Ray  Griffith  in  his  new  mystery  comedy, 
"You'd  Be  Surprised."  Dorothy  Sebas- 
tian, by  the  way,  seems  to  be  replacing 
Clara  Bow  as  Ray's  leading  woman. 
Clara  was  so  busy  with  engagements  and 
suicides. 

Dauamount  has  bought  the  screen  rights 
lo  "The  Last  of  Mrs.  Cheyney,"  the 
Lonsdale  comedy  in  which  Ina  Claire  has 
been  delighting  New  York  this  winter. 
Now  everyone  is  waiting  for  Jesse  Lasky 
to  make  up  his  mind  whether  he  will 
adapt  it  to  the  uses  of  a  male  or  a  female 
star.  For,  strange  to  say,  this  amusing 
story  is  equally  suitable  for  either.  Roland 
Young's  part  in  the  stage  version  was 
subordinated  to  Ina  Claire's,  .but  the  man 
could  easily  be  made  the  dominant  figure. 


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Advertising  Section 

Have  You    Enough   Color 
in  Your  Home? 

{Continued  from  page  35) 

and  its  close  relatives  in  fairly  large 
quantities  and  use  the  complementary  color 
in  smaller  and  more  brilliant  bits. 

How  to  find  which  colors  to  use?  Oh, 
that's  easier  still.  Here  is  a  color-scheme 
finder  for  you.  Simple  enough,  isn't  it? 
It's  just  a  color  circle  from  which  you  can 
make  your  own  color  plans.  The  color 
directly  opposite  another  color  is  its  com- 
plement— and  that's  all  there  is  to  it. 
Choose  a  color  !  Choose  its  complement ! 
There  you  are !  There  are  other  ways  of 
making  color  schemes — one  more  subtle 
way  which  introduces  a  triangle  of  colors 
— but  using  one  color  and  its  complement 
is  more  than  satisfactory  for  making  a 
color  scheme  to  fit  in  the  average  home. 

Now  let's  see  how  we'll  go  about  choos- 
ing a  color  scheme.  Shall  we  say  that 
orange  and  blue  are  your  favorite  colors? 
They  are  the  favorites  of  many,  I  know. 
You  will  choose  orange,  then  for  your  main 
color  because  blue  is  too  cold  a  color  to 
be  used  in  large  quantities.  Orange  when 
it  is  grayed  and  lightened  a  lot  becomes 
a  soft  rich  ivory.  This  can  be  used  for 
your  wall  color.  For  furniture  you  will 
use  mahogany,  which  is  red-orange.  For 
a  davenport  you  may  use  tan  or  brown  or 
a  figured  linen  showing  orange  and  red. 
Your  curtains  may  be  chintz  with  a  cream 
background  and  flowers  of  orange  red  or 
yellow  and  bits  of  blue  and  green.  Or  you 
may  put  your  complementary  color  in  cur- 
tains and  have  straight  hanging  curtains 
of  blue  silk  or  you  may  bind  your  curtains 
with  blue.  Your  lamp-shades  should  be 
orange  or  cream.  By  introducing  a  pair 
of  bright  blue  cushions,  a  chair  covered  in 
blue  or  in  blue  and  tan  stripe,  and  pieces 
of  blue  pottery,  your  room  will  have  color 
and  beauty,  and  the  colors  will  be  per- 
fectly selected  and   well  blended,   too. 

If  you  are  taking  green  for  your  color 
scheme,  you  will  find  that  red  is  the  com- 
plementary color.  If  you  want  your  walls 
red,  they  should  be  a  very  pale  reddish 
buff.  If  you  take  green  for  your  main 
color,  your  walls  should  be  a  very  pale 
green  slightly  grayed  and  with  more  blue 
than  yellow  in  it.  Your  curtains  may  be 
yellow  or  soft  henna  or  a  red  and  white 
print.  Your  chair  coverings  may  be  tan, 
henna,  dull  red  or  orange  and  figured  or 
striped,  introducing  blue-green,  yellow- 
green  and  yellow.  A  brilliant  red  lacquer 
table,  a  red  glass  candy  jar,  one  chair 
covered  in  red  either  in  striped  figure  or 
plain  material  and  cushions  of  blue,  red 
violet,  orange  yellow  and  blue  violet, 
orange  red  and  blue  green — all  of  these 
may  be  worked  out  the  same  way.  And 
remember,  too,  that  no  matter  what  color 
scheme  you  have  selected,  you  ma}'  put 
bits  of  all  other  colors  into  your  room. 
Every  color  in  small  quantities  may  nearly 
always  be  introduced  into  every  room 
without  altering  the  color  effect.  How  else 
would  it  be  possible  to  bring  in  flowers 
and  books  and  gay  frocks.  The  old- 
fashioned,  two-color  scheme,  such  as  rose 
and  gray,  has  gone  clear  out  of  style. 

In  picking  out  a  color  scheme,  be  sure 
that  you  choose  a  very  light  soft  color  for 
your  background.  Your  ceilings  should 
be  an  even  lighter  tone  of  this  same  color, 
your  floors  should  be  much  darker.  The 
rule  of  light  walls,  lighter  ceilings  and 
darker  floors  is  an  old  rule  in  decoration 
and  one  that  can  never  be  ignored  if  you 
want  satisfactory  results. 

Your  rugs  need  not  be  colorful,  for 
neutral  rugs  are  good,  but  they  should  not 
be   too   dark.     Usually   one-piece    rugs   of 


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117 
PAfi 


\ 


She  doesn't 
know  how 
you  do  it! 

You  feel  a  little  embarrassed 
and  sorry  for  her.  She  looks  so 
admiring  and  helpless,  so  envi- 
ous,  and    so — so — ineffective! 

Her  clothes  are  always  so  bad, 
poor  little  thing.  And  she  pays 
too  much  for  them.  Her  home 
is  furnished  with  all  the  wrong 
things.  She  seems  to  have  a 
genius  for  wasting  money.  When 
she  goes  out  to  buy  anything, 
soap  or  silverware,  or  lingerie  or 
lamps,  she's  sure  to  turn  up  with 
something  nobody  ever  heard  of 
before  and  doesn't  want  to  hear 
of  again. 

She  is  that  eager,  but  not  very 
bright,  little  woman  who,  "my 
dear,  doesn't  ever  read  adver- 
tisements." Who  doesn't  know 
what  to  buy,  or  where  to  find  it, 
or  what  to  pay  for  it.  Who 
doesn't  know  values  and  cant 
compare  them.  Who  doesn't 
know  that  when  a  new  style,  or 
a  new  convenience,  or  a  new 
anything  arrives,  one  sees  it  first 
in   the  advertisements. 

One  really  gets  a  little  vexed 
with  her — 

Hut  let's  not  waste  too  much 
time  on  her.  It's  about  time  for 
you,  dear  lady,  to  have  your  look 
thru  the  advertisements. 


% 


Tell  your  friends  not  to  over- 
look the  advertisements 


Advertising  Section 

taupe,  wel  sand,  tan  or  soft  green,  make 
the  most  satisfactory  Hour  coverings,  for 
by  keeping  them  neutral  you  can  put  all 
sorts  of  colors  with  them  to  achieve  har- 
monious results.  If  your  floors  and  walls 
are  neutral,  you  may  introduce  more 
brilliancy  in  the  furnishings  than  would 
be  possible  otherwise. 

You  might  keep  your  davenport  —  or 
your  largest  piece  of  furniture — fairly 
neutral,  too,  but  these  need  not  be  so  color- 
less nor  so  dull  as  your  floor  covering. 
Tan,  soft  green,  a  dulled  orange  and  a 
pleasant  shade  of  blue  are  all  good  for 
davenports,  as  are  blocked-printed  linen  in 
tans,  oranges  and  greens  in  any  har- 
monious  colorings. 

One  of  your  chairs  might  be  covered  in 
the  brilliant  color  that  you  are  using  as 
your  complementary  color.  This  could  be 
a  solid  color  or  could  be  a  stripe  contain- 
ing also  the  other  colors  that  you  are 
using  in  your  scheme. 

Be  sure  that  your  sofa  cushions  are 
brilliant.  Pillows  of  plain  colors  in  satin 
or  taffeta  are  far  smarter  than  cushions 
made  of  figured  or  changeable  or  flowered 
material.  They  should  be  quite  plain  and 
the  less  ornaments  they  have  on  them  the 
better.  Plain  boxings  and  perhaps  a  con- 
trasting piping  are  all  the  ornaments  that 
your  pillows  will  need.  The  old-fashioned 
puffed  and  ruffled  cushion,  which  was 
neither  comfortable  nor  good-looking,  is 
not  being  used  in  the  smarter  modern 
homes.  Have  enough  pillows  so  that  your 
guests  may  be  quite  comfortable  and  even 
extra  ones  can  be  in  readiness  for  an  over- 
flow of  guests  where  some  may  have  to 
sit  on  the  floor.  It  is  quite  smart  these 
days  to  have  pillows  in  pairs  and  by  choos- 
ing three  colors  from  your  color  schemes 
you  may  achieve  six  cushions  that  will 
blend  together  and  will  give  the  keynote 
to  the  color  scheme  in  your  home. 

Painted  furniture  is  one  of  the  best 
ways  to  introduce  color.  Some  painted 
furniture  should  be  used  in  every  home. 
It  is  inexpensive  and  attractive  and  often 
gives  the  home  just  the  needed  touch  of 
brilliancy.  A  breakfast  set  done  in  green 
and  blue,  a  gate-leg  table  in  blue,  mustard 
or  lacquer  red,  a  nest  of  tables,  a  secre- 
tary, as  well  as  small  occasional  table,  all 
these  when  lacquered  in  brilliant  colors — ■ 
when  the  right  colors  are  used — help  the 
home  remarkably. 

For  the  main  bedroom  in  your  home  you 
might  prefer  mahogany  to  enamel  and  if 
this  is  so,  you  may  bring  color  in  the  room 
by  draperies,  bed-covering  and  rug.  For 
the  other  bedrooms,  I  can  think  of  noth- 
ing nicer  than  enamel.  Blue-green  enamel 
with  an  orange  stripe  is  charming.     So  is 


soft  blue  enamel  striped  in  black.  A  putty- 
colored  bedroom  with  green  curtains 
with  a  simple  design  in  green  on  the  furni- 
ture is  delightful  both  in  summer  and  in 
winter.  By  using  your  color  scheme  you 
can  plan  a  dozen  painted  bedrooms. 

Some  decorators  get  their  color  scheme 
from  a  bit  of  chintz  combining  the  colors 
in  the  room  as  they  find  them  in  the  ma- 
terial that  they  admire.  This  is  a  very 
good  way  to  get  a  color  scheme,  for  there 
is  little  chance  to  make  an  error.  How- 
ever, you  must  remember  to  keep  your 
large  areas  dull  and  neutral  and  your  small 
areas  brilliant.  Other  color  schemes  may 
be  obtained  from  flowers,  butterflies  or 
autumn  leaves — and  I  know  one  decorator 
who  achieved  a  charming  living-room  by 
following  the  colorings  on  a  caterpillar. 
It  was  pale  cream,  green  and  black  and 
had  spots  of  brilliant  red — a  lovely  com- 
bination for  either  a  caterpillar  or  a 
room. 

So,  now  you  know  about  color  and  I 
am  sure  you  will  no  longer  be  afraid  of 
it.  Cretonnes  are  most  inexpensive  and 
you  can  find  most  charming  ones  these 
days  with  lovely  fresh  warm  colors  in 
them.  Printed  linens,  glazed  chintz,  soft 
silks,  all  these  come  in  the  most  charming 
colors  imaginable.  Even  the  heavier  stuffs 
— brocades,  taffetas,  velours,  come  in  good 
colorings  after  you  know  what  to  choose. 
These,  together  with  any  painted  furni- 
ture, will  enable  you  to  introduce  color 
most  effectively. 

One  thing  more — an  important  one  thing 
— and  that  is  flowers.  The  home  with  a 
low  bowl  of  blossoms  or  a  graceful  vase 
full  of  flowers  is  always  homelike  and 
attractive.  You  needn't  spend  a  great 
amount  of  money  for  flowers.  Carefully 
nurtured  buds  that  you  buy  at  a  florist 
shop  are  not  a  bit  more  charming  than 
the  flowers  you  can  find  by  taking  a  half- 
hour's  stroll  thru  the  woods.  If  you  have 
your  own  garden  to  choose  from,  you  are 
indeed  enviable.  In  winter  when  it  is 
difficult  to  get  fresh  flowers,  you  may  get 
sprays  of  leaves  and  berries  and  even 
fantastically  shaped  branches.  These 
simple  decorations  are  far  more  effective 
and  far  more  beautiful  than  more  expen- 
sive ornaments. 

We  are  living  in* a  colorful  age.  The 
year  1926  is  alive,  vital,  amusing  and  in- 
teresting. We  can  reflect  this  activity  in 
a  very  fine  way  by  introducing  color  into 
our  homes.  By  bringing  in  color  we 
bring  in  life  and  cheerfulness  and  the  joy 
of  living  and  we  express  a  hospitality  that 
we  can  express  by  no  other  method.  The 
home  that  is  colorful  and  charming  is  the 
home  where  you  will   find  happiness. 


tty- 
and 
mi- 


Crazy  Quilt 

(Continued  from  payc  111) 


as  the  kindred  notoriety  had  squandered 
them. 

"Attention  everybody,"  McAllister 
called  and  Judith  had  to  go  back  to  the 
set. 

"I'll  tell  you  what.  Have  luncheon  with 
me.  I'll  be  back  here  when  the  company 
quits.     All  rij>ht?" 

Judith  said  that  it  was.  She  walked  on 
the  set  with  a  feeling  of  interest  and  ad- 
venture. This  was  luck.  She  thoughl  how 
valuable  any  contact  inside  a  studio 
would  be.  She  knew  how  everyone  on  the 
A  favor  with  the  members  of  the 
publicity  and  advertising  departments, 

Bui  she  found  herself  less  interested  in 
what  Harvey  Dunn  could  do  for  her  than 
in    Harvey    Dunn   himself. 

lie  was  a  person  she  could  talk  to.  She 
felt    that    she    had    known    him    for    a   long 


time.  He  made  her  think  of  interesting 
things  to  say.  It  was  not  often  that  any- 
one interested  Judith  so  much.  And  he 
liked   her  too.     That   was  quite  evident. 

In  the  next  scene  she  had  nothing  to 
do.  She  sat  at  a  card  table  and  acted 
gay.  It  was  not  difficult.  She  felt 
gay  .    .    .  and  young  .   .    .  and  optimistic. 

The  company  stopped  for  luncheon  at 
twelve-thirty.  Harvey  Dunn  was  waiting 
when  Judith  came  off  the  set  and  they 
went  down  to  the  cafeteria  together.  To- 
day, however,  Judith  did  not  cat  at  the 
bar.  Dunn  led  her  to  a  table  over  in  a 
corner  and  a  waitress  took  their  order. 
This  in  itself  was  a  boon.  Judith  ordered 
a  vegetable  luncheon  and  decided  that  it 
had  enough  nutriment  to  save  her  the  cost 
of  a  dinner  that  night. 

She    liked    Mr.    Dunn    more   than   ever. 


fMl8 
A<3£ 


Every  adrertiiement  in  MOTION  PIOTUBB  MAGAZINK  is  guaranteed. 


Before  the  luncheon  was  over  she  had 
told  him  about  the  modeling  she  had  done 
for  magazine  illustrations  .  .  .  about  her 
determination  to  get  on  .  .  .  and  of  how 
encouraged  she  had  been  about  the  rushes 
in   the    Excelsior    projection-room. 

"That  Goldstein  is  a  fine  mess,"  Dunn 
said.  "There  are  some  extra  girls  who 
will  not  work  on  his  lot.  It  is  a  crime 
that  a  man  like  that  should  have  it  in  his 
power  to  help  girls  get  ahead.  His  pic- 
tures are  cheap.  But  he  makes  lots  of 
money." 

Judith   said  nothing.     .   .   . 

McAllister  came  over  to  their  table  to 
speak  to  Dunn  about  a  story  on  Miss 
Estabrook  working  in  the  picture  and  he 
introduced  Judith. 

"Miss  Tower  is  working  in  your  com- 
pany today,"  he.  explained. 

McAllister  nodded.  "You  did  that  danc- 
ing bit  this  morning,"  he  said,  placing  her. 

"That  mean  anything?"  Dunn  wanted 
to  know.  "Miss  Tower  has  been  helping 
me  out  with  a  few  extra-girl  impressions 
for  a  story  I  am  doing.  I  might  be  able 
to  mention  her  name  in  it  somewhere  and 
to  say  she  worked  under  you." 

McAllister  beamed. 

"Great.  I  guess  we  can  fix  Miss  Tower 
up  with  a  little  something  extra.  That  bit 
warrants  it.     I'll  see  Grady  about  it. 

"And  I'll  tell  Miss  Estabrook  to  stop 
in  and  see  you  before  she  goes.  She  is 
somebody  in  Long  Island  society,  you 
know.  Story  in  it  for  the  local  papers 
anyhow." 

"Fine,"  agreed  Dunn.  "Dont  forget 
about  Miss  Tower." 

Judith  turned  to  thank  him  after  Mc- 
Allister had  gone. 

"Glad  to  do  it,"  he  said.  "You  deserve 
something  extra  for  that  bit  but  you 
probably  wouldn't  have-  gotten  it  if  you 
had  not  asked  for  it." 

Their  conversation  reverted  to  the  im- 
pulse that  made  people  of  every  descrip- 
tion in  every  walk  of  life  eager  to  go  on 
the  screen. 

"I  wish  you  could  see  some  of  the  pic- 
tures submitted  in  motion  picture  beauty 
contests,"  Dunn  said.  "There  must  be 
something  wrong  with  me.  I  have  never 
had  the  slightest  desire  to  do  anything  of 
that  sort.  I'm  not  the  type,  I  know.  But 
as  I  just  said,  that  doesn't  seem  to  matter 
if  you  get  the  fever.  Some  pictures  sub- 
mitted have  been  unbelievable.  The 
people  have  had  no  claim  to  good  looks  at 
all. 

"I  suppose  I  work  out  my  desires  in 
trying  to  do  scenarios.  They  have 
promised  me  another  'script  this  year. 
That  work  is   fascinating  .   .   ." 

Mother  Hall  came  over  from  her  table 
to  speak  to  Mr.  Dunn.  Judith  was  inter- 
ested in  meeting  her.  She  had  often  seen 
her  on  the  screen  and  in  the  studios. 

"Well,  how  is  our  mother  today?" 
Dunn  asked. 

"Very  well.  Very  well.  And  how  is 
my  boy?"     Mother  Hall  wanted  to  know. 

"Fine,"  he  said.  "And  Mother  Hall  do 
you  know  Miss  Tower?  She  works  on 
this  lot.  She  is  in  Mr.  McAllister's 
company  today.  You  know  Mother  Hall, 
of  course,  Miss  Tower." 

Judith  who  had  instinctively  arisen 
when  she  was  presented  to  the  older 
woman  said  that  of  course  she  knew  her, 
and   Mother   Hall  beamed. 

"How  do  you  do,  Mrs.  Hall,"  Judith 
smiled  graciously. 

"Hear  the  child.  Mrs.  Hall.  Why  the 
idea.  Call  me  Mother  Hall.  Everyone 
does.  I  call  all  the  people  on  this  lot  my 
children  and  indeed  I  feel  that  they  are. 
Isn't  that  true,  Harvey?" 


Advertising  Section 

"It  is  indeed,"  Harvey  Dunn  replied  and 
Judith  caught  an  amused  twinkle  in  his 
brown  eyes.  "Your  mother  heart  has 
room  for  all  of  us.  That  has  been  said 
before   if    I'm   not   mistaken." 

She  went  away  and  Judith  asked  if  she 
really  was  a  motherly  sort  of  person. 

He  did  not  answer  for  a  minute.  Then 
he  said.     "She  thinks  she  is." 

"How  cryptic?"  Judith  told  him. 
He  laughed  at  her  but  with  kindness. 
"You're  going  to  have  a  great  many  dis- 
illusions, young  woman,"  he  warned  her. 
"When  I  see  you  sitting  there  so  im- 
pressed by  all  of  this,  I  want  to  stand  be- 
tween you  and  life." 

Judith  smiled.  She  hoped  she  was  not 
showing  how  much  she  liked  this  man. 
She  knew  she  was  due  back  on  the  set. 
"It  is  one  twenty-five,"  she  told  him.  "I 
must  not  keep  them  waiting  or  I  wont  get 
any  pay  check  at  all.  Thank  you 
again  .  .  ." 

Harvey  Dunn  consulted  his  wrist-watch 
and  then  arose  for  her  to  take  her  de- 
parture. "Mine  says  one  thirty,"  he 
seemed  surprised  that  it  was  so  late.  "But 
say,  I  want  to  see  you  again.  I  must  see 
you.  I  have  to  stand  between  you  and 
life,  you  know.  I'll  be  up  on  the  stage 
before  you  leave.  You  go  along.  I'll  see 
you  later." 

Judith  went  upstairs  to  the  set  with 
happiness  beating  in  her  heart.  She 
thought  she  had  never  seen  a  nicer  person. 
And  Harvey  Dunn  calling  for  his  check 
was  thinking  something  of  the  same  thing. 
He  wondered  what  her  background  was. 
She  had  a  patrician  quality  .  .  . 

The  cafeteria  had  cleared  out.  Most  of 
the  companies  were  on  the  sets  again  by 
this  time. 

But  a  couple  still  sat  at  a  table  behind 
Harvey  Dunn.  He  caught  a  fragment  or 
.  two  of  their  conversation  when  the 
waitress  went  for  his  change. 

"Tower  is  her  name,"  he  heard  one  girl 
say.  "Goldstein  of  Excelsior  thinks  she 
is  pretty  _  too.  Surest  thing  you  know. 
She  gets  into  his  private  office  before  you 
can  say  Jack  Robinson.  You  know  what 
that  means  !  And  if  you  could  have  seen 
her  face  when  she  came  out  of  there  yes- 
terday  .   .   .     Well,   .   .   ." 

Harvey  Dunn  felt  as  if  someone  had 
slapped  him  across  the  face. 

He  felt  a  fool.  He  remembered  that  she 
had  been  strangely  non-committal  when  he 
had  knocked  Goldstein.  That  accounted 
for  it  then.  She  certainly  didn't  look  the 
part.  But  there  couldn't  be  any  mistake. 
The  girl  knew  her  name  and  everything. 
Goldstein  .  .  .  that  pig,  of  all  people  in 
the  world. 

He  hated  the  girl  who  had  been  talking. 
And    when    the    waitress    returned    with 
his     change,     he    couldn't    get    out    quick 
enough. 

He  laughed  bitterly.  For  he  remem- 
bered that  he  had  told  her  he  wanted  to 
stand  between  her  and  life. 

"God,  what  a  fool  I  am,"  he  thought 
making  his  way  across  the  studio  yard. 
"Just  let  a  pretty  face  come  my  way  and 
my  reason  deserts  me  .  .  ." 

Idle  gossip  often  shatters  lives!  Does 
Harvey  Dunn  let  this  fragment  of  gossip 
he  overhears  outweigh  his  oivn  opinion  of 
Judith   Tower? 

And  what  happens  when  Judith  returns 
to  the  set? 

The  next  instalment  is  particularly 
dramatic — and  shows  how  the  wheels  go 
around  behind  the  scenes  in  motion 
pictures. 


tfTMOTION  PICTURR 

=  E 


BATHASWEET 


secret 

of  beautiful 
skin! 


The  most  important  clue  to  true  skin- 
beauty  lies  in  the  fact  that  no  "ring"  of 
dirt  is  left  around  either  wash  bowl  or  bath 
tub  when  Bathasweet  is  used. 

"But,"  you  exclaim,  "what  can  that 
have  to  do  with  beautiful  skin?"  Just  this: 

Beauty  specialists  agree  that  blackheads 
and  most  other  skin  blemishes  are  due  to 
pores  that  have  become  clogged,  often  by 
their  own  secretions.  The  remedy  is  a 
more  perfect  cleansing  method,  and  Batha* 
sweet  offers  the  best  method  that  has  yet 
been  devised.  Its  softening  action  enables 
water  to  dissolve  dirt  more  freely  and  hold 
it  in  solution,  as  evidenced  by  the  absence 
of  the  "ring."  When  you  use  Bathasweet 
even  the  tiniest  recesses  of  the  pores  are 
quickly  cleansed.  And  the  dirt  is  not 
washed  back.  As  a  consequence  skin 
blemishes  disappear  and  soon  your  skin 
takes  on  a  clear,  healthful  loveliness  such 
as  it  never  knew  before. 

The  Luxury  of  the 
Perfumed  Bath! 

No  other  road  to  skin-beauty  is  so  sure,  so  easy,  or 
so  pleasant  as  this.  The  soft,  limpid  water  feels  so 
good!  And  then  the  delight  of  washing  and  bathing 
in  water  sweet-scented  as  a  flower  garden — that 
leaves  about  you  a  subtle,  almost  scentless,  personal 
fragrance  that  is  the  very  height  of  daintiness !  What 
luxury  can  vie  with  this? 

Yet  Bathasweet  costs  so  little!  25c,  50c,  $1,  and 
$1.50  at  Drug  and  Department  Stores.  It  has  been 
used  by  gentlewomen  for  over  20  years.  Will  you, 
too,  try  it? 


FREE 


A  can  sent  free  if  you  mail  this  cou- 
pon with  name  and  address  to  C.  S. 
Welch  Co.,  Dept  MI.,  New  York. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


119 
PAG 


I 


Advertising  Section 


The  Secret  of  a  Good  Magazine 


MOTION    PICTURE     MAGAZINE 

Is  Released  on  News-stands  the  First  of 
Every  Month 

In  this  magazine  you  will  find  the 
latest  nous  .  .  .  the  most  beautiful 
photographs  .  .  .  unbiased  revietvs  of 
pictures  .  .  .  excellent  fiction  .  .  .  in- 
valuable information  on  fashions, 
beauty  and  interior  decorating  .  .  .  and 
human    interest    features. 

If  you  go  to  the  movies,  you  will 
UKUlt    this    magazine    in    your    home. 

There  are  features  in  it  to  interest 
every  member  of  the  family 

CLASSIC 

Is  Released  on  News-stands  the  Fifteenth  of 
Every  Month 

Because  it  is  printed  entirely  in 
rotogravure  it  is  possible  for  the 
CLASSIC  to  offer  a  surpassing  beauty 
in  its  pages. 

It  is  a  unique  and  smart  publication. 
And  a  sophisticated  angle  on  every- 
thing of  interest  that  occurs  in  either 
professional  or  social  motion  picture 
circles  will  be  found  between  its  covers 


GLADYS    HALL 

Miss    Hall    (above)     is    probably    the    greatest 

motion     picture     writer.       Her    feature    stories 

.  .  .  her    interviews  .  .  .  and    her    fiction    are 

unexcelled 


LAURENCE    REID 

Mr.  Reid  (right),  formerly  editor  of  Movie 
Monthly,  is  now  editor  of  the  Classic.  Before 
his  association  with  the  Brewster  Publications 
he  was  editor  of  the  review  department  of 
the  Motion  Picture  News.  He  brings  years 
of    experience    and    success    to    his    work 


VVitzcl 


DWINELLE  BENTHALL 

Miss   Rcnthali    (above)    is  one  of  the   Rrewstcr 

Publications      representatives      in      Hollywood, 

baa    antra*    t<>    "II    of   the    studios. 

Ha*     perspective     on     things     cinematic     is     re- 
freshing   and    original 


E.    R.    Richee 


...  is  no  secret  at  all.  A 
publication  is  as  great  as  its 
staff. 

In  recognition  of  this  fact, 
the  Brewster  Publications 
have  signed  the  greatest 
editors  and  writers  in  the 
motion  picture  field  under 
exclusive  contracts.  • 


EUGENE  V.  BREWSTER 
Mr.  Brewster  is  the  world's  first  motion  pic- 
ture editor  and  one  of  the  greatest  authorities 
on  motion  pictures.  He  will  continue  to  give 
the  Brewster  Publications  the  same  personal 
supervision  that  has  placed  them  foremost  in 
their   field 


ADELE  WHITELY  FLETCHER 
Miss  Fletcher  (left)  enjoys  great  prestige 
both  as  an  editor  and  writer.  She  returns  to 
her  post  as  supervising  editor  of  the  Brewster 
Publications  and  as  editor  of  the  Motion 
Picture  Magazine 


Nickolas 
Muray 


GRACE  CORSON 

Miss  Corson  is  one  of  the  most  distinguished 
artists  in  the  world  of  fashion.  For  years 
she  was  associated  with  Harper's  Bazar.  She 
will  conduct  fashion  pages  monthly  in  MOTION 
Picture  Magazine 


DORIS  DENBO 
Miss  Denbo  (below)  knows  the  motion  pic- 
ture studios  as  you  know  your  country  club. 
And  the  things  she  writes  of  motion  pictures 
and  motion  picture  people  are  peppered  with 
sophisticated    enthusiasm 


DOROTHY  MANNERS 
Miss  Manners  (left)  is  recognized  as  one  of 
the  finest  journalists  in  motion  picture  circles. 
She  has  both  the  ability  to  find  the  hidden 
story  and  to  present  it  in  its  most  attractive 
form 


120 


Every  advertisement  In  MOTION  PICTURK  MAGAZINE  is  guaranteed. 


Advertising  Section 


WW®* 


Yes  and  No 

(Continued   from   page   71) 

Why  doesn't  Jack  Gilbert  shave  his 
mustache?  A  mustachioed  actor  looks 
more  like  a  villain  than  a  hero. 

Why  does  Gloria  Swanson  receive  so 
much    publicity  ? 

Why  dont  they  star  Lloyd  Hughes? 
Many  far  less  popular  actors  have  been 
starred. 

Where  did  they  get  that  stuff  about 
Jetta  Goudal's  romantic  life  during  her 
childhood  ?  Not  that  I  do  not  like  the 
Goudal,  for  I  do.  She  is  altogether  fas- 
cinating and  charming. 

Where  has  Rosemary  Theby  disappeared 
to?  Someone  tell  her  to  come  back,  right 
away. 

Why  didn't  somebody  think  of  putting 
Madge  Bellamy  in  a  flapper  role  before 
"Sandy"    came    along? 

What  is  there  interesting  in  Adolphe 
Menjou's  acting? 

Why  wasn't  Charles  Farrell  discovered 
sooner?  The  boy  is  some  actor,  I'll  tell  the 
world.    Keep  it  up,  Charlie,  we're  for  you ! 

These  are  but  the  questions  that  come  to 
an  interested  fan's  mind — a  fan  who  would 
like  to  see  them  answered  in  his   favorite 
magazine — Motion    Picture. 
Dan  Rohrig, 

Harmony,  Indiana. 

The  No's  Have   It  ! 

TF  I  wanted  to  tell  of  all  the  actors  and 

actresses  I  like,  I  should  need  reams  of 
paper,  so  I'll  just  mention  that  Ian 
Keith  is  first  of  them  all,  William  Haines 
next,  and  then  a  batch  of  about  a  score. 

Now  for  some  to  whom  I  say  "NO" 
very  emphatically.  Firstly  Norma  Tal- 
madge.  Perhaps  it's  wrong  to  judge  by 
one  film — I  have  seen  her  only  in  "Grau- 
stark"  and  I  never  want  to  see  her  again ! 
She  did.  nothing  but  loll  up  against  door- 
ways and  wait  for  the  photographer. 

Next,  your  equally  advertised  Gloria. 
Why  in  heaven  doesn't  someone  teach  her 
how  to  make  up  naturally?  Her  face  in- 
variably looks  like  a  caricature — dead 
white  with  black  splodges  for  features — -I 
never  see  her  but  I  feel  desperately 
anxious  to  scrub  her.  And  she  minces  so 
and  purses  up  her  mouth. 

Next  Corinne  Griffith,  or  as  we  call  her 
—she's  never  happy  but  when  she's  sad. 
Also  Mae  Murray,  whom  I  have  avoided 
seeing,  because  her  photographs  alone  annoy 
me  in  the  extreme  with  her   eternal  pout. 

Blanche  Sweet  is  another.  I  have  seen 
her  only  in  "His  Supreme  Moment,"  a  pic- 
ture that  was  sheer  piffle  anyway,  and  she 
did  nothing  but  pose;  and  one  day  I'll  send 
her  a  slide  to  keep  her  hair   back. 

Now  to  object  to  items  in  actual  pro- 
duction. In  "My  Son,"  Nazimova  came 
from  her  sitting-room  dressed  in  a  plain 
dress,  thru  a  single  doorway  to  her  shop, 
and  behold !  She  wore  a  flowered  dress. 
Similarly,  in  "The  Sea  Beast,"  a  very  fine 
picture.  Dolores  Costello  left  her  house  in 
a  flowered  dress  and  reached  the  quay  in 
a  plain  one.  And  Dolores  likewise  was  in 
advance  of  her  age  in  gazing  at  a  photo 
of  Barryfnore  taken  on  his  perch  up  the 
mast — marvelous  for  outdoor  photography 
in  those  early  days ! 

I  did  hear  of  eucalyptus-trees  in  Sher- 
wood Forest  (Robin  Hood),  and  very  few 
films  seem  to  get  English  atmosphere  into 
so-called  English  interiors.  They  are 
generally  so  terribly  obviously  American 
film  sets,  and  very  elaborate. 

I  could  say  a  lot  more,  as  there  are 
about  thirty  people  I  like  to  each  one  I 
dont! 

Bess  Defries,  London  England. 


WAY 


FOREVER/ 


Now  every  woman  may  have  the 
same  beautiful  wavy  hair  as  have  New 
York's  elite.  R.  Louis,  in  his  famous 
salon  across  from  the  Hotel  Plaza, 
long  guarded  the  secret  of  his  won- 
derful system  for  water -waving  the 
hair.  Now  he  has  released  this  inven- 
tion, through  us,  to  everyone  who 
desires  the  highest  artistic  beauty 
known  to  the  coiffeur. 


<5. 


What  Experts  Say 

Experts  tell  you  not  to  marcel  the  hair. 
They  know  the  danger  of  heat  to  its  deli- 
cate structure.  So  they  state  that  the  best 
as  well  as  most  beautiful  way  is  the  water- 
wave.  They  also  tell  you  that  this  is  the 
only  correct  way  to  keep  your  permanent 
wave  in  condition.  And  now,  for  the  first 
time,  real  water-waving  is  made  practical  in 
the  home. 

Waves  Set  Automatically 

Like  the  trained  fingers  of  an  expert, 
Waveasy  Clips  automatically  direct  and 
shape  each  wave.  Then  the  waves  set 
quickly  and  firmly.  You  get  large,  loose 
waves  or  narrow  tight  waves,  as  you 
wish.  And  each  'one  is  perfect.  So  lovely 
that  your  friends  will  marvel. 


WAVEASY 

AUTOMATIC    WATER  WAVING 

CLIPS 


HIS  is  not  a  makeshift.  It 
is  not  one  of  these"fads" 
that  come  and  go.  Hundreds 
upon    hundreds   of  leading 
hairdressers  throughout  the 
country  have    purchased    it 
for  use  in  their  shops.  They 
know  it  is  the  greatest  hair 
waving  invention  of  the  cen- 
tury. Yet  it  is  so  very  simple 
that  you,  in  your  own  home, 
can  win  the  same  beauty  for  your 
hair  that  you  could  acquire  in  the 
R.   Louis  Salon.    The  method  is 
remarkably  quick  and  easy.   Read 
the  details  in  full. 

Any  Style  of  Coiffure  for 
Any  Kind  of  Hair 

Here  at  last  is  your  chance  to  have  any 
of  the  glorious  coiffures  you  have  dreamed 
of.  Whether  your  hair  is  long  or  short, 
coarse  or  fine,  dry  or  oily— these  clips  will 
give  it  the  splendor  of  a  finished  hair- 
dresser's wave.  And  the  wonderful  part  of 
it  is  that  they  work  automatically.  No 
effort  or  practice  required. 

Mate  This  Test  At  Our  Risk 

We  guarantee  that  Waveasy  Clips  will 
give  you  the  most  beautiful  wave  you  have 
ever  put  in  your  hair.  Not  only  were  they 
the  sensation  of  the  big  hairdressers'  con- 
vention in  New  York,  but  they  will  be 
equally  desired  by  all  women  who  see  you. 

So  do  this.  Fill  out  and  mail  the  coupon 
below.  When  the  clips  arrive,  try  them. 
Notice  that  they  are  both  scientific  and 
simple.  Observe  their  feather-light  weight, 
their  automatic  action  and  their  perfect 
comfort.  Then,  with  waves  set,  look  in 
your  mirror.  Ycu  will  now  see  why  even 
great  hairdressers  exclaim  with  delight. 

Then,  if  you  do  not  agree  that  this  is 
the  most  wonderful,  safest,  easiest  and 
best  method  of  hair~waving  you  have  ever 
known,  return  the  clips  to  us  and  your 
intly  refunded  in  full. 


ill, 


I   RUFFIO  ET  FILS, 

683  Fifth  Avenue,  Dept. 
New  York,  N.  Y. 
I 


FREE 

TRIAL 

COUPON 


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Send  me  at  once  a  complete  set  of  Waveasy  Auto- 

I  matic  Water  Waving  Clips  with  full  directions.    I  will 

I  deposit  $4-90  with  the  postman  on  receipt.   If,  after  five 

I  days'  trial,  I  am  not  completely  satisfied,  you  will  return 

|  my  money  in  full. 
I 

I  Name 


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We   are  going  to  pay  our  subscription   agents  $300,000.00   during  the  next  year  in 
commissions  and  prize  money  for  securing  subscriptions  to  Motion  Picture  Maga- 
zine and  Motion  Picture  Classic — and  we  want  you  to  earn  some  of  it,  too. 
This  is  your  opportunity.     The  job  is  an  easy  one.     You'll  like  it.     Just  write-to  us 
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Write   Today! 

BREWSTER  PUBLICATIONS,  Inc.  175  Duffield  St.,   Brooklyn,  N.  Y. 


When  you  write  to  advertisers  pit 


itiou   MOTION   PICTURE   MAGAZINE. 


121 

PAfi 


f 


Advertising  Section 


Aviation 

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We  Will  Pay  for  the  Best  Com- 
positions on  Why  "Crazy  Quilt" 
Is  a  Fitting  Title  for  a  Story 
About  Motion  Pictures  and 
Motion  Picture  People 


ON  page  twenty  of  this  issue  a  new  novel  begins.     It  is  called  "Crazy 
Quilt"  and  it  finds  its  human  drama  in  motion  picture  people.    We  are 
offering  two  hundred  dollars  in  prizes  for  the  best  compositions  of  not 
more  than  three  hundred  words  which  express  opinions  as  to  why  "Crazy 
Quilt"  is  a  perfect  title  for  this  story. 

The  rules  are  simple,  but  we  urge  you  to  read  them  carefully. 


Rules  of  Contest 


1.  No  person  may  submit  more  than  one  composition. 

2.  This  contest  is  open  to  all  people  except  employees  of  Brewster  Publi- 

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4.  Write  on  one  side  of  the  paper  only. 

5.  List  your  name  and  address  at  the  head  of  every  sheet  of  paper  used. 

6.  Address    compositions    to    Crazy    Quilt    Editor,    175    Dufheld    Street, 

Brooklyn,  N.  Y. 

7.  No  communications  about  the  contest  will  be  answered. 

8.  No  compositions  will  be  returned. 

9.  Compositions  may  be  sent  any  time  up  to  February  1,  1927.     But  we 

suggest  that  you  read  the  entire  serial  before  submitting  your  com- 
position. It  will  run  for  six  months,  concluding  in  the  February 
issue,  so  you  will  receive  hints  about  the  title  from  time  to  time. 

10.  In  the  event  of  two  or  more  letters  being  of  equal  merit,  equal  prizes  will 

be  given  the  writers. 

11.  The  two  hundred  dollars  will  be  divided  as  follows: 

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Advebtising  Section  WWE'S^P, 

Who  Is  the  Best  Dressed  Woman 

on  the  Screen? 

Three  Famous  Dressmakers  Make  Amazing  Statements  and 

Give  Their  Ideas  on  Dress 


Madame  Frances — Harry  Collins — Maybelle  Manning — 

Those  are  names  to  reckon  with  in  the  world  of  fashion.  A  gown  from  their  ateliers 
costs '  hundreds  of  dollars.  They  dress  prominent  women  in  stage,  screen  and  society 
circles. 

Whom  do  they  name  as  the  best  dressed  women  on  the  screen? 

Whom  do  they  criticise? 

What  do  they  say  about  autumn  styles? 

And  what  do  they  advise? 

Do  not  miss  this  remarkable  and  frank  feature  next  month. 

We  Interview  Gloria  Swanson 

By 
GLADYS  HALL  and  ADELE  WHITELY  FLETCHER 

The  double-interviewers,  famous  for  their  delightful  one-act  playlets  in  which  they 
co-star  with  the  star,  talked  with  Gloria  Swanson.  They  asked  her  all  the  questions  you 
would  like  to  ask  her. 

This  is  unquestionably  the  finest  interview  with  Miss  Swanson  ever  published — ■ 
and  the  most  interesting  double  interview  on  which  G.  H.  and  A.  W.  F.  ever  collab- 
orated. 

For  Married  Women  Only 

An  amusing  and  at  the  same  time  interesting  story  on  the  way  in  which  the  wives 
of  movie  stars  manage  their  finances. 

Does  your  husband  turn  over  his  entire  salary  to  you? 

Do  you  pay  the  bills  and  keep  the  remainder  of  the  weekly  income  for  yourself? 

Or  does  your  husband  pay  the  bills  and  give  you  an  allowance? 

Divorces  frequently  begin  when  there  are  family  disputes  about  money.  Read  this 
story  in  which  several  wives  explain  their  several  arrangements  regarding  money  mat- 
ters and  the  reason  why  they  believe  their  plan  is  best. 

There  Are  Features  in  MOTION  PICTURE  MAGAZINE  for  the  Whole  Family 
The  October  Number  Reaches  the  News-stands  September  First 

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"It's    a  Real   Thrill.' 


)) 


"To  receive  a  letter  from  the  Answer  Man.  His  answers  in  Motion 
Picture  Magazine  are  so  witty — and  he  knows  everything  and  every" 
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from  him."  Thousands  of  people  know  this  dear  old  fellow,  and  his  depart' 
ment  is  one  of  the  finest  in  any  magazine. 

For  over  fifteen  years  Motion  Picture  Magazine,  the  pioneer  and  the  oldest 
magazine  of  its  kind,  has  fearlessly,  accurately  and  authoritatively  presented 
the  news  of  the  great  motion  picture  industry  to  the  millions.  Under  the 
experienced  and  able  leadership  of  Eugene  V.  Brewster,  its  Editor^' 
Chief,  it  has  become  a  powerful  influence  for  all  that  is  good  and  progressive 
on  the  screen.     The    editorial   staff  are  the   leaders   in  their  profession. 

A  clean,  wholesome  magazine  for  the  entire  family 

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124 


ement  In 


PICTUBB  MAGAZINE  is  guaranteed. 


h 


ere 


is  the  Caress  of  soothing  Almond  in^> 
Princess ,cPat  complexion  Powder/ 

NOT  ONLY  DOES  THIS  NEW  INGREDIENT  GIVE  A  SOFTER,  MORE  CLINGING  POWDER 
BUT    ONE    THAT    GUARDS    AGAINST    COARSE     PORES,    BLACKHEADS    AND    DRYNESS 


PRINCESS  PAT  Face  Powder  is  a  de- 
parture, something  different.  Every 
woman  will  want  to  try  it  because 
of  newness  alone.  This  natural  curios- 
ity can  be  gratified  by  sending  for  free 
sample.  One  of  the  things  you  will 
discover  is  that  Princess  Pat  stays  on 
as  never  a  powder  did  before. 
Now  as  to  the  New  Ingredient  which 
accounts  for  Princess  Pat  being  so 
different.  It  is  Almond,  and  it  replaces 
the  rice  or  corn  starch  of  familiar  use 
in  face  powder.  It  has  been  possible 
with  Almond  to  produce  an  entirely 
new  degree  of  fineness.  This,  in  turn, 
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ward evidence  of  a  delightful  powder 
is  noticeable  immediately. 
But  of  immensely  greater  importance, 
is  the  beneficial  effect  of  Princess  Pat. 
Heretofore  women  have  not  expected 
powder  to  improve  the  skin.  It  was  not 
definitely  made  with  that  result  in  view. 


How  Princess  Pat  Powder 

Benefits  the  Skin 

Here  you  have  the  idea  which  iden- 
tifies Princess  Pat — the  idea  of  aban- 
doning the  starch  formulas,  handed 
down  from  grandmother's  days,  and 
finding  in  Nature's  storehouse  a  new 
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And  now  the  difficult  problem  of 
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is  an  accomplished  fact.  The  new  pro- 
cess is  exclusive  with  Princess  Pat.  You 
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A  frequent  cause  of  coarse  pores  and 
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ali  possibility  of  irritation  must  be  prevented. 
Thus  Princess  Pat  Face  Powder — containing  no 
starch — fulfills  the  latest  requirements  of  science. 
It  cannot,  through  fermentation,  cause  black- 
heads or  roughened  skin  texture.  The  most 
tender  skin  gratefully  accepts  Princess  Pat,  no 
matter  how  often  or  freely  it  is  used. 

Thus  Princess  Pat  Powder  is  to  be  preferred  for 
two  reasons.  Its  inimitable  fineness  and  soft, 
velvety  texture  are  a  revelation  as  powder  is 
ordinarily  judged.  And  the  presence  of  Almond 
aids  materially  in  keeping  the  skin  soft,  pliant 
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weeks'  use  of  Princess  Pat  Powder. 

Ask  for  PRINCESS  PAT  Face  Powder  today— at 
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^1~YPP  ^e  s^a^  ta^c  fteasure  *n  sending  you  free 
J  a  generous  sample  of  this  new  Almond  Base 

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D  Flesh        □  White       D  Brunette 
Olde  Ivory  (The  "Naturelle"  for  that  "Peaches 
and  Cream  Complexion.") 


Name  (Print)  .. 

Street 

City  and  State 


v> 


Your  Whole  Appearance 

Depends  upon  Your  Hair 

Without  beautiful,  well-kept  hair,  you  can  never  be  really  attractive.     Soft,  silky  hair  is  the 
most  ALLURING  CHARM  any  woman  can  possess. 

It  makes  the  plainest  features  appear  soft  and  sweet.  Fortunately,  beautiful  hair  is  no  longer 
a  matter  of  luck.    You,  too,  can  have  beautiful  hair  if  you  shampoo  it  properly. 


PROPER  shampooing  is  what  makes  your 
hair  soft  and  silky.  It  brings  out  all  the 
real  life  and  lustre,  all  the  natural  wave 
and  color,  and  leaves  it  fresh-looking,  glossy 
and  bright. 

When  your  hair  is  dry,  dull  and  heavy,  life- 
less, stiff  and  gummy,  and  the  strands  cling  to- 
gether, and  it  feels  harsh  and  disagreeable  to 
the  touch,  it  is  because  your  hair  has  not  been 
shampooed  properly. 

While  your  hair  must  have  frequent  and  reg- 
ular washing  to  keep  it  beautiful,  it  cannot 
stand  the  harsh  effect  of  free  alkali  which  is 
common  in  ordinary  soaps.  The  free  alkali 
soon  dries  the  scalp,  makes  the  hair  brittle  and 
..ruins  it.     That  is  why  thousands  of  wot 


or*n, 


everywhere,  now  use  Mulsified  cocoanut  oil 
shampoo.  This  clear,  pure  and  entirely  grease- 
less  product  brings  out  all  the  real  beauty  of 
the  hair  and  cannot  possibly  injure.  It  does  not 
dry  the  scalp  or  make  the  hair  brittle,  no  matter 
how  often  you  use  it. 

If  you  want  to  see  how  really  beautiful  you 
can  make  your  hair  look,  just  follow  this  simple 
method. 

A  Simple,  Easy  Method 

FIRST,  wet  the  hair  and  scalp  in  clear,  warm 
water.  Then  apply  a  little  Mulsified  cocoa- 
nut  oil  shampoo. 

Two  or  three  teaspoonfuls  will  make  an  abun- 
dance of  rich,  creamy  lather.  This  should  be 
rubbed  in  thoroughly  and  briskly  with  the 
finger  tips,  so  as  to  loosen  the  dandruff  and 
small  particles  of  dust  and  dirt  that  stick  to  the 
scalp. 

After  rubbing  in  the  rich,  creamy  Mulsified 
lather,  give  the  hair  a  good  rinsing.  Then  use 
another  application  of  Mulsified,  again  working 
up  a  lather  and  rubbing  it  in 
briskly  as  before.  After  the 
final  washing,  rinse  the  hair 
and  scalp  in  at  least  two 
changes  of  clear,  fresh,  warm 
water.   This  is  very  important. 


Just  Notice  the  Difference 

YOU  will  notice  the  difference  in  your  hair 
even  before  it  is  dry,  for  it  will  be  delight- 
fully soft  and  silky.  The  entire  mass,  even 
while  wet,  will  feel  loose,  fluffy  and  light  to  the 
touch  and  be  so  clean  it  will  fairly  squeak 
when  you  pull  it  through  your  fingers. 

After  a  Mulsified  shampoo  you  will  find  your 
hair  will  dry  quickly  and  evenly  and  have  the 
appearance  of  being  much  thicker  and  heavier 
than  it  really  is. 

If  you  want  to  always  be  remembered  for 
your  beautiful,  well-kept  hair,  make  it  a  rule  to 
set  a  certain  day  each  week  for  a  Mulsified  co- 
coanut oil  shampoo.  This  regular  weekly  sham- 
pooing will  keep  the  scalp  soft  and  the  hair  fine 
and  silky,  bright,  fresh-looking  and  fluflFy,  wavy 
and  easy  to  manage. 

You  can  get  Mulsified  cocoanut  oil  shampoo 
at  any  drug  store  or  toilet  goods  counter,  any- 
where in  the  world.  A  4-ounce  bottle  should 
last  for  months. 


More  than  a  Shampoo, 

ifM  "BEAUTY  INSURANCE" 


Mulsified 

Cocoanut  Oil  Shampoo 


Mail  This  Coupon  and  Try  it  FREE 

THE  R.  h.  WATKINS  COMPANY  26M-33 


.  WATKINS  COMPANY 

1270  West  3rd  Street,  Cleveland,  Ohio 


Name 

Address State. 


Canadian  address:  462   Wellington   St.,   West.   Toronto,  2-Ontario 


If 


OrTORFR-?5CTS 


The  Secret 

°f 
Personality 


re  The  Best  Dressed  Women  On 

Th^  SrrPPn AndWhv? 


METRO- 

GOLDWYN- 

MAYER 

WEEK 

SEPT.  12th 

TO 
SEPT.  18th 


I're  mlea  by 

IOSEPH  M    SCHENCK 

From  the  play  produced  l»v 

George  Choos  vMtli  Selwyn  &Co 

H.,.,k  by  Stanley  Brightman 

ami  Auitin  Melford 

I  \  ni  •.  bv  Douglas  Furber 

Muiic  by  Philip  Braham 

American  Murk  l>v 

W  altei  L.  Rotemoni 

Adapted  bv 
Ballard   MacDotuld 

Vdaptaiion  by 
I'juI  ( ierard  Smith 

AlrM-rr   BnashiTK 

Charl. 

//  '■ 
HI     IKK   KEATON 

A  Mel' 


BUSTER  KEATON  in 
BATTLING  BUTLER 

BUSTER  Keaton 

THAT  great  giggle  getter 
LANDS  the  biggest  knockout 
OF  his  frozen-faced  career 
IN  Battling  Butler! 
FROM  the  opening  gong 
TO  the  final  flop 
EVERY  round's  a  riot! 
AND  Sally  O'Neil  falls  too— 
FALLS  hard  for  Buster  Keaton! 
DO  you  know  why? 
YOU  ought  to! 
READ  on  the  right  .... 


"More  stars  tluni  there  are  in  I  leaven" 


You  can  win 
one  of  these 

Valuable 
Prizes 

Can  you  answer 

Norma  Shearer 's 

questions? 

Do  you  "glance"  or 
Do  you  really  see? 

EVERY  Metro-Goldwyn-Mayer 
fan  has  a  chance  to  win  one 
of  the  valuable  prizes  I  am 
offering  this  month.  All  you  have 
to  do  is  to  keep  your  eyes  open 
and  your  mind  alert  when  you  go 
to  see  a  Metro-Goldwyn-Mayer 
picture.  Don't  be  a  "glimpser" — 
be  a  "seeker".  You  may  be  one 
of  the  winners. 

To  the  person  who  writes  the  best 
answers  to  all  the  questions  in  this 
column,  I  will  present — if  it  be  one 
of  the  fair  sex — the  hand  bag  I  use 
in  "The  Waning  Sex"  and  a  cash 
prize  of  350.  If  a  man  is  the  lucky 
one,  Buster  Keaton  will  present 
and  sign  the  boxing  gloves  he  uses 
in  "Battling  Butler"  together  with 
a  cash  prize  of  $50. 

To  the  next  fifty  lucky  ones,  I  will 
send  my  personally  autographed 
photograph  finished  in  a  sepia  style 
suitable  for  framing. 

(Jo  to  it  and  best  of  luck. 


~n 


Yours  cordially, 


Norma' s  six 


questions 


Iln  what  Metro-Goldwyn-Mayer 
picture  does  a  Mollusk  play  a 
prominent  part?  Who  is  the  di- 
rector? 

2  Who   plays    Musette    in    La 
Boheme? 

3  In    what    picture    does    Sally 
O'Neil  fall   for  Buster   Keaton 
and  why? 

4  In  what  Metro-Goldwyn-Mayer 
picture  does  Lon  Chaney  play 
the  part  of  Singapore  Joe?  Describe 
his  "make-up"  in  not  more  than 
fifty  words. 

5  Where  are  the  Metro-Goldwyn 
Mayer  Studios? 

6  What    animal    is    the    King  of 
Beasts  and   where  is  he  most 
often  seen? 

Write  your  answers  on  one  side  of  a 
single  sheet  of  paper  and  mail  to 
Metro-Goldwyn-Mayer,  1542 
Broadway,  New  York.  All  an- 
swers must  reach  us  by  October 
15th.  Winners'  names  will  be 
published  in  a  later  issue  of  this 
magazine. 

In  the  event  of  ties,  each  tying 
contestant  will  be  awarded  a  prize 
identical  in  value  with  that  tied  for. 


Advertising  Section 


First— the  Story! 

It  is  of  prime  importance  in  all" 

FOX    PICTURES 

So  here,  in  a  new  group  just  arriving  at  the 
theatres,  we  find  two  stage  successes,  one 
of  the  present  and  one  of  past  years,  a  novel 
by  a  "best-selling"  author  and  an  original 
story  by  a  "top'notch"  popular  fiction  writer 

"The  Pelican  will  pluck  her  breast  to  feed  her  young" 
— says  the  old  legend.  This  theme — a  young 
mother's  choice  between  her  true  happiness  and  her 
son's  self-centered  demands — inspired  the  title,  The 
Pelican,  for  the  stage  play  by  F.  Tennyson  Jesse 
and  H.  M.  Harwood  from  which  is  drawn  the  pox 
picture 

"MARRIAGE   LICENSE?" 

Do  you  note  the  question  mark?  Alma  Rubens,  the  mother;  Walter  Pidgeon, 
a  lover;  Walter  McGrail,  the  husband,  and  Richard  Walling,  the  son,  are  all 
exquisitely  molded  into  the  fabric  of  the  photoplay  staged  by  Frank  Borzage, 
one  of  the  screen's  most  dependable  directors.  A  poignant  and  absorbing 
recital! 

Consider  The  Lily!  No;:  the  flower  of  the  field — but  one  of  the  flowers  of 
stage  perfection.  Adapted  and  presented  by  David  Belasco  from  the  drama 
by  Pierre  Wolff  and  Gaston  Leroux,  a  few  years  ago  this  play  was  the  sensa- 
tion of  the  American  stage.     As  a  Fox  picture 

THE    LILY 

has  been  given  a  fine  production.  Belle  Bennett,  who 
so  distinguished  herself  in  Stella  Dallas,  plays  the  title 
role — in  France  a  "lily"  is  a  girl  who  passes  through  life 
without  the  realization  of  her  love.  Victor  Schertzinger 
directed  this  picture;  Ian  Keith  and  Reata  Hoyt  are  in 
the  supporting  cast.  ' 

"MF 


Gerald  Beaumont,  one  of  the  aces  of  short  fiction,  com- 
posed a  story  of  manhood,  courage,  faith,  steadfast- 
ness; its  inspiration — the  vision  of  a  pure  and  tender 
young  girl.     In  the  Fox  Picture 

THE    BLUE    EAGLE 

John  Ford  (who  directed  "The  Iron  Horse")  has  set 
this  story  on  the  screen  so'  as  to  quicken  your  heart 
and  grip  your  emotions.  George  O'Brien,  Janet  Gay- 
nor,  Margaret  Livingston,  William  Russell,  Robert 
Edeson — the  distinguished  cast  tells  its  own  tale!  You 
should  see  George  O'Brien  and  "Big  Bill"  Russell  in 
action! 

"MP 

"Harold  MacGrath  has  everything!"  So  the  critics  say 
of  this  author  of  more  than  a  dozen  actual  best-sellers, 
and  in  this  photoplay  which  we  have  called 

WOMANPOWER 

We  find  MacGrath  at  his  best.  Harry  Beaumont,  who 
directed  "Sandy,"  has  used  Ralph  Graves,  Kathryn 
Perry,  Margaret  Livingston,  Ralph  Sipperly  and  others 
in  a  thrill-plus-laughter  picture  you  will  keenly  enjoy. 
The  title  tells  the  story — some  power  this! 


WIL  L I A  M        YoM  Mwst  Surely  See  • 

"What  Price  Glory" 
"7th  Heaven" 
"The  Music  Master" 

^  TT>TTO  "3  Bad  Men" 

1  ■LC'XIJRES  "One  Increasing  Purpose 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE 


/THMOTION  PICTURfT 
Unil  I  MAGAZINE     L- 


Advertising  Section 
\  .  .  to  see  oursels  as  others  see  us!" — Robert  Burns 


^ 


*$ 


O* 


\\  follow  yourself  />. 


Could  you  come  home  be- 
hind yourself  from  the  bridge 
club  some  afternoon,  what 
would  you  see?  .  .  .  A  lady  (a 
little  larger  than  you  thought 
you  were)  in  the  dress  you 
gave  so  much  time  and  effort 
to  choosing.  .  .  .  But  hardly 
the  dress  you  expected  you 
were  wearing.  This  one  rises 
up  where  it  shouldn't,  pulls 
in  where  it  ought  not  to.  In- 
stead of  being  effective,  its 
lines  are — bad.  Instead  of 
curves,  you  can  actually  see 
ridges  where  your  corsets  end ! 

If  this  could  happen  to  you, 
don't  blame  your  dress  or 
your  figure.  But  do  see  that 
you  have  a  foundation  gar- 
ment that  fits  you  perfectly 
before  you  wear  the  dress 
again. 

The  new  Bon  Ton  Founda- 
tion Garments  are  perfectly 
designed,  perfectly  cut,  per- 
fectly  finished.  They  fit  your 
figure  and  make  certain  that 


A  new  Bon  Ton  Brassiere  Cor- 
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rayon  tricot.  Elastic  gore  in 
the  kin  front  and  elastic 
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your  clothes  will  fit. 
lutely  smart  and  in  the  mode, 
they  are  planned  each  season 
to  suit  each  season's  fashions. 
Among  the  girdles  and  ban- 
deaux, the  Brassiere  Cor-Sets 
and  the  Step-ins;  the  Back- 
lace  and  Front-lace  Models 
and  the  special  styles  is  a  type 
of  garment  for  every  type  of 
figure. 

You  will  be  charmed  with 
the  appearance  of  the  gar- 
ments themselves,  as  well  as 
their  fit  and  comfort.  And  in 
keeping  with  the  tradition  of 
this  famous  old  concern, 
prices  are  reasonable  for 
highest  quality  merchandise. 
Royal  Worcester  Corset  Com- 
pany, Worcester,  Mass. 


BonTbn 


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A  new  Bon  Ton  Girdle 
of  Paisley  effect  brocade 
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els. For  the  larger  figure. 


Rv«ry  advertisement   in  MOTION   PICTURE   MAGAZINE    i 


MG28'2S 


C1B7Q8444 


-A. 


Vol.  XXXII 


Motion  Piclure  Magazine 

Founded  by  J.  Stuart  Blackton  in  1910 — Trademark  Registered 

OCTOBER,    1926 

Adele  Whitely  Fletcher 
Editor 

Colin  J.  Cruikshank,  Art  Director 


Number  3 


Building  a  City  to  Make  a  Movie 


WHEN  a  man  invites 
you  to  visit  him  for  a 
few  days  out  on  the 
great  desert  of  Nevada, 
you  naturally  wonder  if  there  is 
not  some  ulterior  motive.  Is  the 
man  lonesome,  or  is  he  trying  to 
punish  you  for  some  alleged  offense 
real  or  imagined?  The  desert  is  about 
eighty  miles  long  by  twenty  miles 
wide  and  without  a  vestige  of  foliage, 
with  no  water  on  or  in  the  ground, 
and  no  sign  of  life — not  even  a  vul- 
ture or  a  snake,  and  with  the  nearest 
human  habitation  twenty  miles  dis- 
tant. When  I  received  such  an  in- 
vitation from  my  old  friend  Samuel 
Goldwyn  in  the  middle  of  summer,  I 
tried  to  recall  some  unintentional  in- 
jury I  had  done  this  good  person ;  but 
found  none.  I  looked  up  the  matter 
and  found  that  the  temperature  on 
this  desert  averages  twenty  degrees 
below  zero  in  winter  and  one  hundred 
and  fifteen  above  in  the  shade — if 
there  is  any- — in  the  summer.  Fur- 
thermore, I  discovered  that  blinding 
sand-storms  were  a  frequent  occur- 
rence— at  least  one  a  day — and  that  it 
takes  a  good  two  days  to  get  there  from  Hollywood  and 
requires  changing  cars  in  the  middle  of  the  night.  A 
lovely  place  to  spend  a  vacation,  thought  I !  But  when 
Sam  told  me  his  program  and  what  was  going  on  out 
there,  I  decided  to  take  a  chance,  for  I  had  not  for- 
gotten that  this  man  Goldwyn  had  a  faculty  for  doing 
marvelous  and  unexpected  things,  and  that  only  recently 
he  had  startled  the  world  with  the  greatest  emotional 
drama  ever  shown  on  the  screen — "Stella  Dallas."  I 
went !    And  I  shall  never  regret  it. 

T  arrived  at  1.30  A.  M.,  with  nothing  to  be  discerned 

but   sky   and   sand,   and    a    dust-covered   auto    in    the 

dark.     The  road  was  deep  with  dust,  yet — hope  springs 


An  Editorial  by 


Editor-in-Chief  of  the  Brewster  Publications 


eternal  in  the  human  breast. 
Soon  we  arrived  at  a  small  city  in 
the  middle  of  the  desert — a  city 
that  had  been  built  in  a  night,  as 
it  were,  just  for  a  movie.  I  was 
heartlessly  informed  that  the  ris- 
ing siren  would  blow  at  five, 
breakfast  at  five-thirty.  Cheerful 
news !  My  tent,  however,  was  large, 
comfortable  and  cool,  and  I  lost  no 
time  in  embracing  Morpheus.  When 
that  siren  awakened  me,  the  sun  was 
well  up  and  it  was  already  getting 
very  warm.  After  breakfast  I  looked 
around.  Activity  everywhere.  On 
every  side  were  hundreds  of  tents, 
and  just  around  the  corner  a  city 
street,  with  stores,  banks,  saloons  and 
dwellings,  representing  the  city  of 
Kingston,  conceived,  founded  and 
builded  by  Samuel  Goldwyn  just  for 
the  making  of  "The  Winning  of  Bar- 
bara Worth,"  from  Harold  Bell 
Wright's  novel.  About  a  mile  distant 
was  another  similar  city  called 
Barba,  which  was  a  necessary  part 
of  the  story  because  Kingston  is 
destroyed  by  a  flood  and  the  inhabi- 
tants promptly  build  a  new  city  called 
Barba.  I  marveled  at  it  all  and  asked  hundreds  of 
questions  about  the  difficulties  of  getting  food,  water 
and  other  supplies  daily  to  this  army  of  workers  in  the 
center  of  Nowhere  in  No  Man's  Land.  Then  I  was  in- 
troduced to  the  mayor,  who  turned  out  to  be  Henry 
King,  the  director  of  "Stella  Dallas,"  then  to  the  beautiful 
Vilma  Banky,  next  to  handsome  Ronald  Colman,  and 
eventually  to  about  six  hundred  other  "citizens."  That 
day  I  watched  them  make  a  few  scenes  under  the  broil- 
ing sun  on  that  vast  expanse  of  desert  sand.  At  night 
they  gave  us  a  real  picture  show  and  all  the  citizens  were 
present.  And  such  citizens !  Most  of  them  were 
natives  of  the  surrounding  country,  all  carefully  selected 
{Continued  on  page  87) 


Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,   Jamaica,   N    Y.    Executive  and   Editorial   Offices,   175  Duffield 

Street,  Brooklyn,  N.  Y.     Hollywood  Office:  6064  Selma  Avenue.     Telephone,  Gladstone  3564. 

Entered  at  the  Post  Office  at  Jamaica,  N.   Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1879.     Printed  in  the  U.  S.  A. 

Eugene  V.  Brewster,  President  and  Editor-in-Chief;  Duncan   A.   Dobie,   Jr.,    Vice-President   and  Business  Manager;    E.   M.   Heinemann,    Secretary; 

L.  G.  Conlon,  Treasurer.     Also  publishers  of  Motion  Picture  Classic 

Subscription  $2.50  a  year  in  advance,  including  postage  in  the  United  States,  Cuba,   Mexico  and  Philippines;   in  Canada,  $3.00.     Foreign  countries, 

$3.50.     Single  copies,  25  cents,  postage  prepaid.     U.  S.  Government  stamps  accepted.     Subscribers  must  notify   us  at   once  of  any  change  of  address, 

giving  both  old  and  new  address.  /f 

First  copyrighted  and  published  February  21,  1911.     Copyrighted,  1926,  in  United  States  and  Great  Britain  by  Brewster  Publications,  Inc. 


5 

PAS 


I 


Motion  Picture  Magazine 

TABLE  OF  CONTENTS 

Cover — Estelle  Taylor  by  Marland  Stone  from  a  photograph  by  Richter  Studios 
Building  a  City  to  Make  a  Movie Eugene  V.  Brewster      5 

An  editorial 

The  Bulletin  Board 8 

The  news  as  we  went  to  press 

Gallery  of  Players 11 

Gravure  camera  studies  of  Lois  Wilson  and  Diana  Kane,  Joseph  Schildkraut,  Gilda  Gray,  Alice  Terry,  Conway  Tearle,  Phyllis  Haver, 
Greta  Garbo  and  Adolphe  Menjou 

Is  Personality  IT? B.  F.  Wilson     19 

The  Indescribable  Something  is  Now  Described 

When  Good  Fellows  Get  Together 21 

A  snapshot  of  the  beach  party  at  Constance  Talmadge  Macintosh's 

Who  Are  the  Best  Dressed  Women  on  the  Screen? — and  Why? Faith  Service     22 

The  Makers  of  the  Modes  lift  the  veil  of  Vanity  Fair  and  a  few  well-guarded  secrets  escape 

The  South  Seas  on  the  Subway 25 

Proving  that  nothing  is  impossible  in  the  movies 

Historical  Films .Ken  Chamberlain     26 

Presenting  a  few  opportunities  for  drama  which  the  producers  appear  to  have  overlooked 
We  Interview  Gloria  Swanson Gladys  Hall  and  Adele  Whitely  Fletcher     28 

The  most  amusing  interview-playlet  ever  written 

In  a  London  Studio 30 

The  Paul  Whitemans  visit  Dorothy  Gish 
Crazy  Quilt Adele  Ormiston     31 

//  you  like  fiction,  lead  this! 

Corned  Beef  and  Cabbage  Behind  a  Ming  Screen Elizabeth  Petersen     34 

The  movie  people  do  not  try  to  live  up  to  all  that  is  written  about  them 
Charlie  Goes  Under  the  Big  Top 36 

Scenes  from  "The  Circus,"  the  next  Chaplin  picture 
The  Unpardonable  Sin Doris  Denbo     37 

A  little  nonsense  about  Hollywood's  pet  aversion 
Wages  for  Wives Catharine  Brody     38 

Two  sides  of  the  important  money  question 

As  Others  See  Us Grace  Corson     40 

One  of  the  greatest  fashion  artists  in  America  adapts  the  stars'  clothes  to  the  average  pocketboek 

A  Suburban  Gentleman 42 

A  new  portrait  from  Harold  Lloyd's  biennial  sitting 

Famous  Tricks Selma  Robinson     43 

Mannerisms  are  all  right.     But  a  little  of  them  goes  a  long  way 
He  IS  a  Man Janet  Reid     45 

A  human  story  about  Reginald  Denny 

Motion  Picture,  Junior 46 

With  a  new  prize  contest  for  the  boys  and  girls  of  fourteen  and  under 

It  Happened  Very  Suddenly .  . .' 48 

But  now  Mae  Busch  is  Mrs,  Cassell  and  we  present  a  new  portrait  of  her  and  her  husband 
Making  the  Living-Room  Livable ; Stephen  Goosen    49 

A  practical  article  on  decoration  for  your  home 

"Rich"  Steals  Red  Grange's  Stuff 51 

Presenting  Mr.  Dix  in  the  title  role  of  "The  Quarterback" 

Girls  Will  Be  Girls 52 

Comparing  erstwhile  stage  favorites  and  their  coiffures  to  movie  stars  and  the  boyish  bob 

Bebe  and  Her  Modern  Sir  Walter  Raleigh 54 

Bebe's  engaged  to  be  married.     What  will  all  the  men  do  now,  poor  things! 

A  Carol  Dempster  Breakfast 55 

//  you  are  not  hungry  in  the  morning,  you  need  nourishment,  nevertheless.     Carol  Dempster  suggests  a  light  breakfast 

A  Forecast  of  the  New  Screen  Plays 56 

Shows  that  the  winter  screens  will  have  entertainment  for  you  whatever  your  preference 

From  Stoke-hole  to  Dick  Barthelmess'  Shoes 58 

This  may  sound  like  a  Horatio  Alger  title  but  it  is  the  true  story  of  Gardner  James 
Hollywood  Notes Eugene  V.  Brewster     59 

On  the  celebrities  with  their  backs  to  the  camera 
The  Picture  Parade The  Staff     60 

Read  these  reviews  and  you  will  be  able  to  shop  for  your  motion  picture  entertainment 

The  Limerick  Liner 64 

More  la\l  lines  needed  / 

What  Is  Trumps? Dorothy  Manners     65 

They  play  bridge  in  the  film  circles.     Indeed  yes.     And  howl 
Bachelor  Hall  66 

Ben  Lyon  proves  there  is  safety  in  numbers 
The  Editor  Gossips  A.  W.  F.     67 

On  the  tragedy  of  stardom  -  "Variety"  and  Betty  Blythe 
On  the  Camera   Coasts  68 

News  of  the  players  hoth  on  the  set  and  off 
That's  Out Tamar  Lane     71 

-    d  "Dor  than  humorously 

"Shall  I  (,o  Into  the  Movies?" • Marion  Morgan  Drew     74 

Ailvue  given  with  the  help  of  thi 

Sa>  Ft  With  Letters  ■     '6 

Our  reader:  have  their  toy— and  it  proves  mighty  interesting 

Whose  Hand?....  F.  Vance  de  Revere     78 

i  guess  the  nam<  their  character  reading? 

The  Answer  Man •  .  •  •  Himself     80 

What  the  Stars  Are  Doing , Gertrude  Driscoll     90 


\OL 


Advertising  Section 


The  Secret  of  Caruso's 
Amazing  Vocal  Power 

THIS  IS  AN  AGE  OF  MARVELS.   Wonderful  scientific  discov- 
eries have  changed  our  mode  of  living  and  our  mode  of  thinking. 

One  discovery  of  tremendous  benefit  to  all  humanity  is  the  discovery 
of  the  principle  of  voice  control  by  Eugene  Feuchtinger,  A.  M. 

His  resulting  system  of  voice  development  revolutionized  old  methods,  and 
changes  voice  development  from  a  little  understood  art  to  an  exact  science. 

More  than  that,  it  brings  a  Perfect  Voice  within  the  reach  of  every  man  and  every 
woman  who  desires  a  stronger,  richer  voice  for  either  singing  or  speaking. 

Prof.  Feuchtinger's  method  is  founded  on  the  discovery  that  the  Hyo-Glossus 
muscle  controls  the  voice;  that  a  strong,  beautiful  voice,  with  great  range,  is  due 
to  a  well  developed  Hyo-Glossus — while  a  weak  or  a  rasping  voice  is  due  to  under- 
development of  this  vital  vocal  muscle.  A  post-mortem  examination  of  Caruso's 
throat  showed  a  superb  development  of  his  Hyo-Glossi  muscles.  But  it  required 
years  of  training  under  the  old  method  to  produce  this  development. 

You  can  develop  your  Hyo-Glossus  in  a  much  shorter  time  by  Prof.  Feuchtinger's 
wonderful  scientific  method.  You  can  take  this  training  under  the  direction  of  the 
Professor  himself,  wherever  you  may  live.  And  the  cost  is  SO  low  that  it  is  within 
the  reach  of  every  ambitious  man  or  woman. 

100%  Improvement  in 
Your  Voice— guaranteed 


The  Songbird  of  the  ages,"  Enrico  Caruso.  The 
richness,  the  fullness,  the  beauty  and  the  as- 
tounding power  of  his  voice  was  due  to  the  excep- 
tional development  of  his  Hyo-Glossus  muscle. 


Eugene  Feuchtinger,  musician-scientist,  who 
discovered  the  function  of  Hyo-Glossus  in  voice 
production,  and  whose  famous  "Perfect  Voice" 
system   has   developed   thousands   of  voices. 


Diagram  of  the  Normal  Throat  showing  the 
Complete  Vocal  Mechanism.  Your  throat  looks 
like  this.  So  did  the  throat  of  the  great  Caruso. 
Professor  Feuchtinger's  system  of  silent,  scien- 
tific exercises  will  develop  your  vocal  organ  to 
its  full  strength. 


Professor  Feuchtinger's  method  is  far 
simpler,  far  more  rapid,  far  more  certain 
in  results  than  the  tedious,  hap  hazard 
methods  of  ordinary  vocal  instructors. 
His  unqualified  success  with  thou- 
sands of  pupils  proves  the  infallibility 
of  his  method. 

Under  his  direction,  your  voice  will  be 
made  rich,  full  and  vibrant.  Its  over- 
tones will  be  greatly  multiplied.  You 
will  add  many  notes  to  its  range  and 
have  them  clear,  limpid  and  alluring. 
You  will  have  a  voice  that  is  rolling 
and  compelling  and  so  strong  and 
magnetic  that  it  will  be  the  marvel  of 
your  associates. 

Professor  Feuchtinger  ABSOLUTELY 
GUARANTEES  an  improvement  of 
100  per  cent— a  REDOUBLEMENT  of 
your  voice!  If  you  are  not  absolutely 
satisfied  that  your  voice  is  doubled  in 
volume  and  quality,  your  money  will 
be  refunded.    You  are  the  only  judge. 

You  Do  Not  Know 
Your  Real  Voice 

Until  you  have  tried  the  Feuchtinger  sys- 
tem, you  cannot  know  the  possibilities  of 
your  vocal  gifts.  Physical  Voice  Cul- 
ture PRODUCES  as  well  as  DEVEL- 
OPS the  true  voice.  It  corrects  all  strain 
and  falsetto  and  makes  clear  the  won- 
derful fact  that  any  normal  person  can 
develop  a  fine  voice  if  correctly  trained. 
Thousands  of  delighted  graduates 


testify  to  this  —  many  of  them  great 
vocal  successes  who,  before  coming  to 
Professor  Feuchtinger,  sang  very  poor- 
ly or  not  at  all.  Among  Professor 
Feuchtinger's  pupils  are  grand  opera 
Stars,  concert  singers,  speakers,  preach- 
ers, actors  and  educators. 

I        E! 

The  Wonderful  New  Book 
"Physical  Voice  Culture" 

Send  the  coupon  below  and  we  will  send 
you  FREE  this  valuable  work  on  voice  cul- 
ture. Do  not  hesitate  to  ask.  Professor 
Feuchtinger  is  glad  to  have  us  give  you  this 
book,  and  you  assume  no  obligation  what- 
ever by  sending  for  it.  You  will  do  yourself 
a  great  and  lasting  good  by  studying  this 
book.  It  may  be  the  first  step  in  your  career. 
Do  not  delay.    Send  the  coupon  TODAY! 

Perfect  Voice  Institute 

1922  Sunnyside  Ave.,  Studio  12-67,  Chicago 

|   Perfect  Voice  Institute 

I      1922  Sunnyside  Ave.,  Studio  12-67,Cbicago,  111. 

|  Dear  Prof.  Feuchtinger;  Will  you  please  send  me  a 

=  copy  of  your  new  free  book  "Physical  Voice  Cul- 

=  ture  ".I  understand  that  this  book  is  free  and  there 

|  is  no  obligation  on  my  part.    I  am  interested  in 

|      D  Singing   Q  Speaking      G  Stammering    D  Weak  Veiee 


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7 

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I 


The  Bulletin  Board 


RUDOLPH  VALENTINO  backed  everyone  else 
oil  the  movie  pages  when  he  challenged  a  Chicago 
newspaper  editorial  writer  to  a  duel.  When  Rudy 
was  on  his  way  East  for  the  opening  of  "Son  of 
the  Sheik,"  the  Chicago  paper  took  the  opportunity  to 
publish  an  editorial  called  "Pink  Powder  Puffs,"  in  which 
Rudy  was  blamed  for  various  styles  and  customs  which 
the  writer  thought  unbecoming  to  he-men.  Rudy  offered 
to  prove  by  combat  that  he  was  the  better  man,  proclaim- 
ing that  the  wrist  under  a  slave  bracelet  can  deliver  as 
wicked  a  punch  as  an  undecorated  one.  Great  was  the 
publicity  which  followed,  but  almost  everyone  agreed  that 
Rudy  could  back  up  his  statements,  and  so  far  the  identity 
of  the  newspaper  writer  remains  a  mystery. 

Rudy  received  an  overwhelming  ovation  at  the  opening 
of  his  new  sheik  picture,  proving  that  a  man  isn't  out  just 
because  a  few  dismal  prophets  say  he  is. 

Hope  Hampton,  she  of  the  flame-colored  hair,  returned 
from  Europe  not  long  ago  with  the  announcement 
that  she  will  temporarily  forsake  the  screen.  Hope  has  an 
idea  that  opera  is  her  forte,  and  has  arranged  to  appear 
in  a  Shubert  operetta  called  "The  Proud  Princess."  To 
get  in  training  for  her  debut  as  a  singer  she  gave  several 
concerts  aboard  the  Leviathan  on  her  way  home,  and  the 
reception  she  got  doesn't  seem  to  have  discouraged  her. 
The  Italian  Government  has  just  decorated  Hope  for  the 
technical  execution  of  her  latest  picture,  "Marionettes," 
which  is  done  in  color. 

Coxstaxce  Bexxett,  who  retired  from  the  screen  a 
few  months  ago  when  she  married  Phil  Plant,  is  be- 
ginning to  tire  of  a  quiet  home  life.  When  she  married 
she  insisted  that  she  would  never  return  to  the  screen,  but 
now  she  has  begun  to  wonder  who  will  give  her  her  next 
part. 

This  was  to  be  expected. 


IWTildred  Davis  Lloyd  has  again  begun  to  talk  about 
1V1  returning  to  the  screen.  Her  last  attempt  petered  out 
because  no  one  could  find  a  story  to  suit  Mildred, 
but  now  "An  Old  Fashioned  Girl,"  by  Louisa  M.  Alcott, 
has  been  bought  for  her.  She  will  release  thru  Famous 
Players-Lasky,  and — lest  the  public  has  forgotten  Mildred 
Davis  during  these  years  of  retirement — she  will  be  billed 
as  Mrs.  Harold  Lloyd. 

/^•omic  strips  are  having  their  day  in  moving-pictures, 
^  now  that  the  musical  comedies  have  been  just  about 
exhausted.  Colleen  Moore  did  "Ella  Cinders,"  Marion 
Davies  is  busy  on  "Tillie  the  Toiler,"  and  George  Mc- 
Manus,  who  is  most  famous  as  the  creator  of  "Bringing 
Up  Father,"  has  gone  to  Hollywood  to  watch  the  filming 
of  two  of  his  strips.  They  are  "The  Newly  weds  and 
Their  Baby"  and  "Let  George  Do  It,"  both  being  pro- 
duced by  Stern  Brothers. 

"Personality"  will  not  be  Gloria  Swanson's  first  pic- 
*    ture  for  United  Artists,  after  all.     She  has  decided 
to  remake  "The  Eyes  of  Youth,"  in  which  Clara  Kimball 
Young  appeared  a  number  of  years  ago. 

C"stelle  Taylor  is  under  contract  to  Feature  Produc- 
■Li  tions,  and  will  play  leads  in  the  pictures  which  this 
company  releases  thru  United  Artists.  It  is  very  probable 
that  she  will  play  with  Rudolph  Valentino  in  his  story 
of  Benvenuto  Cellini.  Estelle  gave  an  impressive  per- 
formance with  John  Barrymore  in  "Don  Juan." 

E^lorence  Vidor  is  on  her  way  East  to  star  in  "The 
*  Popular  Sin,"  an  original  story  by  Monta  Bell.  Mai 
St.  Claire  is  directing.  St.  Clair  and  Florence  Vidor  are  a 
happy  combination,  as  was  demonstrated  in  "Are  Parents 
People?"  and  "The  Grand  Duchess  and  the  Waiter." 
"The  Popular  Sin"  deajs  with  divorce. 


$10.00  for  the  Best  Title  to  this  Picture 

You  may  scud  as  many  titles  to  this  picture  as  you  like — not  more  than  ten  words  long.  All 
answers  must  be  mailed  by  October  20  and  no  titles  will  be  returned.  Address  them:  Title 
Contest,  175  Dufficld  Street,  Brooklyn,  New  York. 

(Courtesy  Christie  Sport  Girls  Scries) 


Advertising  Section 


hD||yjOT10N  PICTURF7 

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fat,  protein,  sugar  and  mineral  salts,— elements 
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4 

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Advertising  Section 


LOVELY  STRAINS  OF  NEWEST,  MOST  SEDUCTIVE  JAZZ  .  .  .  THRU 


102 

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Lovely  tingling  strains  of  newest,most 
seductive  jazz— if  they  might  never  end! 

Thrill  of  the  ballroom  floor,  so  glim- 
mering, so  enticing— if  one  might  dance 
on  and  on  forever!  To  be  grown-up  at 
last  —  a  debutante  the  recipient  of  bou- 
bonbons,  sophisticated  compli- 
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A  breathless  — a  dazzling  existence. 

again  will  it  seem  so  important 

to  look  well,  to  be  at  one's  best, 
on   each    new   engagement   alert,  starry- 
eyed,  with  a  skin  smooth  as  a  shell,  radi- 
ant and  fresh  as  morning. 

lo  they  do  it?    How  do  these  en- 
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10 
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We  asked  224  New  York  and  Boston 
debutantes  what  soap  they  use  for  the 
care  of  their  skin— and  why. 

Nearly  half  answered,  "Woodbury  s 
Facial  Soap!" 

"It's  /i/c-giving,"  they  said.  "It  makes 
my  skin  clear  and  soft"  .  .  .  " I  like  it  better 
than  any  other  .  .  .  "  "It's  a  marvelous 
soap/or  the  skin."  -  = 

A  skin  specialist  worked  out 
the  formula  by  which  Wood- 
bury's is  made.  The  formula 
not  only  calls  for  the  purest  in- 
gredients; it  also  demands 
greater  refinement  in  the  manu- 
facturing process  than  is  com- 
mercially possible  with  ordi- 
nary toilet  soap. 


A  25c  cake  of  Woodbury's  Facial  Soap  lasts 
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LOIS  WILSON 

and 
DIANA  KANE 


Diana  was  careful  to  change  her  name  so 
no  one  would  suspect  her  of  trading  on  the 
reputation  of  her  sister,  Lois.  But  now  that 
she  has  become  a  success  in  her  own  right 
in  "The  Brown  Derby,"  they  can  do  a  sister 
act  for  the  photographers.  Tho  Lois  decided 
to  bob  her  hair  and  be  gay  and  modern,  she 
just  couldn't  change  her  character,  so  they 
have  cast  her  as  the  good  sister  in  "Love 
'Em  and  Leave  "Em" 


Spurr 


JOSEPH  SCHILDKRAUT 


The    younger    Schildkraut    is    not    above    playing   a    villain  now  and  then,   when  the  leading  role  isn't  within 

hi*    graap.      So    he   will   appear   as   Judas  Iscariot   in   Cecil    De    Mille's    ambitious   picturization    of   the    life    of 

Christ,    to    be    called    "The    King    of    Kings" 


GILD  A  GRAY 


Gilda  Gray  has  in  a  few  short  years  spanned  the  gap  from  Polish  immigrant  to  Samoan.  Princess — which 
is  an  honorary  title  South  Sea  Islanders  have  bestowed  on  her  because  of  her  tropical  shimmy.  In  the 
interim  she  has  been  the  toast  of  New  York's  theaters  and  night  clubs,  and  now  threatens  to  extend  her 
triumph   to   moving   pictures.      She   is   touring  the   country  with  her  first  film,  "Aloma  of  the  South  Seas," 

which  broke  records  on  Broadway 


Harry  Lath  man 


ALICE  TERRY 


Alice  recently  said  good-bye  to  Rex  Ingram  and  their  two  villas  in  Nice,  and  turned  her  languorous  eyes 
toward  Hollywood.  She  will  stay  only  for  the  duration  of  one  picture,  but  that  will  be  long  enough,  we 
hope,    to    bring    romance    back    to    the    screen.       For    she    is    to    play    again    with    Ramon    Novarro,    in    "The 

Great   Galeoto" 


wmmsmm 


Seely 


CONWAY  TEARLE 

Conway  is  one  of  a  little  group  of  Peter  Pans  who  now  invigorate  our  screen.  The  years  may  roll 
by,  but  these  youngsters  dont  turn  a  hair  as  they  continue  to  play  sheiks,  juveniles  and  collegians.  And 
the  fans  love  it!      Try  to   guess  who  the  others  are.      You  will  nejtt  see  the  plaintive  Mr.  Tearle  in  "Altars 

of  Desire" 


Seely 


PHYLLIS  HAVER 


Odd  that  it  ahould  have  taken  producer*  »o  long  to  appreciate  Phyllis,  when  only  a  glance  would  aeem 
to  suffice.  She  and  Marie  Prevost  were  bathing  girls  together,  and  Marie  has  been  a  star  these  many 
years.  But  not  until  this  summer  did  Metropolitan  pictures  give  Phyllis  a  dotted  line  to  sign,  and  the 
lead    in    "The    Nervous   Wreck."       It    may   be   just   one     more    of    the    far-reaching    results    of    Anita    Loos's 

ultimatum  about  blondes 


MMMMi 
Ruth  Harriet  Louise 


GRETA  GARBO 

In   the   midst    of   numberless   complaints   abo>  "o  reign   invasion  of   Hollywood,   there   is   not   one  voice 

to  deny   Greta  a   welcome.      Even   the   most    :onnxmed  Americans  acclaim  her.     We  are  feverishly  awaiting 

her  performance  opposite  John  Gilbert  in  "The  Flesh  and  the  Devil" 


Seely 


ADOLPHE  MENJOU 


Thi 

that 


s    is   a    portrait   of  Mr.    Menjou    trying   to   look   like     he    Devil.      Adolphf    rejoices    with    the    rest    of    us 
t,    with    the    completion    of    "Sorrows   of   Satan,"    I  ning    to    his    accustomed    type    of    role.       In 

"The  Ace  of  Cads"  he  \  ero  in  disguise 


Is  Personality  IT? 


By 
B.F. 

Wilson 


Elinor  Glyn,  who  discovered  IT 


Underwood  &  Underwood 
George    Jean    Nathan,     who    discov- 
ered   the    secret    of    personality 


WHAT  is  this  personality 
stuff  they  all  seem  to  be 
talking  about? 
"He's  got  the  most 
wonderful  ^  personality,"  you  will 
hear  some  one  say.  Or,  "She's 
not  a  bit  pretty,  homely,  in  fact, 
but  my  lord,  what  a  personality !" 
I  looked  the  word  up.  My 
thesaurus  ignores  it.  Webster 
passes  over  it  lightly  with  the 
cryptic  definition:  "Distinction  of 
person:  individuality."  But  with 
it  the  annals  of  history  are  writ- 
ten ;  it  unlocks  all  doors,  it  sways 
kingdoms  and  rules  legions.  Its 
reach  is  boundless,  and  its  influ- 
ence is  high  and  wide  as  the  hori- 


John  Gilbert 


Has  the  secret  of  per- 
sonality been  discov- 
ered? If  you  consider 
modern  celebrities,  you 
will  agree  with  George 
Jean  Nathan  that  per- 
sonality is  nothing  in 
the  world  but  Elinor 
Glyn  s   famous    IT 

THREE   GREAT   PERSONALITIES 

Raquel   Meller 


zon.  The  winds  rush  across  bare, 
limitless  oceans  to  carry  tales  of 
it;  the  earth  seems  to  absorb  into 
its  depths  the  vibrant  message  of 
its  force ;  and  the  very  trees  bow 
their  heads  before  its  omnipotence. 

This  may  sound  somewhat  lyri- 
cal for  a  prosy,  every-day  world, 
but  few  can  grasp  the  full  sig- 
nificance of  this  unseen,  elusive, 
not-to-be-labeled,  peculiar  gift 
which  providence  has  seen  fit  to 
bestow  on  her  favorites.      _^ 

Recently,  a  young  Spanish  mu- 
sic-hall singer  came  over  for  her 
first  visit  to  America.  )  Her 
manager  decided  that  even  the 
newspaper  reporters   would  have 


The    Prince    of  .Wales 

International  Newsreel 


19  P 

PAfili 


The  Indescribable 

Something  Is  At 

Last  Described 


Charlie  Chaplin  seems  to 
know  instinctively  how  to 
attract  women.  He  is  seen 
above  with  the  Chariot 
Revue    girls 


to  pay  the  full  admission  price  of  twenty-five  dollars  to 
see  her.  In  spite  of  this  public  challenge  to  local  feeble- 
mindedness (he  might  as  well  have  come  right  out  and 
said  he  knew  there  was  one  born  every  minute),  the 
house  was  packed  at  the  premiere  performance.  Viewed 
thru  the  diminishing  mirror  of  the  price  per  seat,  every 
member  of  the  audience  saw  a  pretty  young  woman  with 
no  particular  voice,  who  sang  a  number  of  songs  in  an 
alien  tongue.  There  was  no  elaborate  scenery,  or  any 
gorgeous  costumes.     But — what  a  personality! 

Raquel  Meller  is  the  epitome  of  personality.  Both  on 
the  stage  and  on  the  screen,  she  possesses  a  peculiar  force ; 
a  terrific  appeal,  which  makes  all  who  see  her  helpless  be- 
fore her  charm. 

On  the  morning  after  her  first  appearance,  the  critics 
raved  about  this  newcomer.  As  a  man,  they  proclaimed 
her  a  "Second  Duse,"  "greater  than  Bernhardt,"  the 
greatest  artist  Europe  has  today ;  and  in  each  panegyric 
outburst  the  word  personality  was  so  over-worked  that 
it  must  have  laid  down  and  died  from  sheer  exhaustion. 

But  as  usual,  it  took  our  famous  dramatic  Peck's  Bad 
Boy,  George  Jean  Nathan,  to  hit  the  nail  smack  on  the 
head  with  his  little  hammer.  "The  answer  to  all  this 
hullabalooing  about  Meller ;  all  the  caterwauling  and  yelp- 
ing that  my  esteemed  confreres  have  been  indulging  in, 
is  nothing  in  the  world  but  sex  appeal.  She  has  IT,  as 
Madame  Glyn  would  say,  to  the  wth  degree.  She 
{Continued  on  page  106) 


THREE   MORE   PERSONALITIES  TO  RECKON  WITHv 

Adolphe  Menjou  Dick    Barthelmess  John   Barrymore 


The  charm  and  appeal  of 
Lowell  Sherman's  fascina- 
tion make  audiences  be- 
lieve in  the  feeble-minded- 
ness  of  the  unwilling 
heroine 


I 


20 


Bangs 


When  Good  Fellows  Get  Together 


A  Snapshot 

of 

Constance 

Macintosh's 
Beach  Party 


It  was  Sunday.  A  group  dropped  in  at  Dick 
Barthelmess'.  Another  group  dropped  in  at 
Constance  Talmadge  Macintosh's.  Dick  called 
up  Connie  and  asked  her  to  come  over.  She 
said  she  couldn't,  but  for  Dick  to  bring  his 
party  over  to  her  beach  house  at  Santa  Monica. 
He  did.  Count  the  stars.  .  .  .  Reading  from 
left  to  right  on  the  fence  are  Roscoe  (Fatty) 
Arbuckle,  Mae  Murray,  Ward  Crane,  Virginia 
Valli,  Ronald  Colman,  Bessie  Love,  Jack  Pick- 
ford,  Rudolph  Valentino  and  Pola  Negri.  (The 
last  two  would  be  together.)  Scattered  thru 
the  middle  row  are  Louella  O.  Parsons,  Carmel 
Myers,  Alan  Forrest,  Bert  Lytell,  Claire  Wind- 
sor, Dick  Barthelmess,  Constance  Talmadge, 
Beatrice  Lillie,  Josephine  Lovett,  Julanne  John- 
stone, Agnes  Ayres,  John  S.  Robertson  and 
Marshall  Neilan.  And  scattered  thru  the  bot- 
tom row  are  Antonio  Moreno,  Prince  David 
Divani  (Mae  Murray's  husband),  Charles  Lane, 
Alf  Goulding,  Marcel  de  Sano,  Manuel  Reachi 
(Agnes  Ayres's  husband),  H.  D'Abadie  D'Ar- 
rast,  Natalie  Talmadge  Keaton,  Captain  Alastair 
Macintosh  (Connie's  husband),  Mrs.  Antonio 
Moreno    and   Blanche    Sweet 


pagM 


Maybelle   Manning 

"No  one  person  is  so  limited 
that  only  one  style  becomes 
them.  But  every  one  has  a 
general  type  of  thing  that 
most    becomes    them" 


Harry  Collins 

"It  is  advisable  for  a  woman 
to  study  the  tone  of  her  skin, 
the  color  of  her  hair  and  her 
eyes,  and  then  select  a  few 
becoming  colors  and  stick  to 
them" 


I 


22 


is  everything.  An 
eighth  of  an  inch  may  make 
a  frock  all  right  ...  or  all 
wrong" 


the  Best-Dressed 

The  Makers  of  the  Modes  lift  the 
Veil  of  Vanity  Fair  and  a  few 
carefully    guarded    secrets    escape 


GREAT   dressmakers   are   like  great   doctors — they    frequently   disagree. 
We  ought  to  know,  for  we  have  spent  the  last  few  envious  days  in 
the  gilded   salons   of   Madame   Frances,   Harry   Collins   and   Maybelle 
Manning. 
They  are  the  three  great  surgeons  of  Style. 

We  have  seen  creations  the  like  of  which  would  turn  any  Ugly  Duckling  ever 
born  into  a  Ziegfeld  Follies  girl  overnight. 

We  have  gleaned  and  garnered  the  pearls  beyond  price  that  have  dropped 
from  the  lips  of  these  creators  of  beauty,  these  arbiters  of  fashion,  these  Last 
Words  in  the  costuming  of  the  female  form  divine. 

Each  one  of  them  agreed  in  one  particular!  If  you  ever  happen  to  have  a 
few  thousand  dollars  to  spend  on  a  couple  of  simple,  but  chic  little  frocks,  you 
may  care  to  know  what  is  expected  of  you  and  what  is  not  expected  of  you  when 
you  enter  the  portals  of  Vanity  Fair. 

Well,  you  are  NOT  expected  to  say  what  you  want.  It  is  "the  thing"  for 
you  to  abandon  all  personal  notions,  tastes  and  tendencies  when  ye  enter  there. 
For  instance,  if  you  cherish  the  fond  illusion  that  you  look  particularly  fetching 
in  a  straight-line  gown  of  Chinese  red,  put  the  thought  firmly  behind  you. 
Your  cue  is  to  say,  not  "I  want  so-and-so"  but  "What  do  I  want?" 


It    was    Irene    Castle    whom     Harry 

Collins   selected    as   an   outstandingly 

well-dressed  woman 


fashions 


Of  Alice  Joyce,  Madame 
Frances  says:  "She  dresses 
with  charm  and  always  in 
the  right  thing  for  the  right 
time  and  place.  She  can  wear 
any    color" 


;    -.] 


r 


X- :  ^ 


Women  On  the  Screen— and  why? 


Maybelle      Manning      says      of      Norma      Talmadge: 

"Norma    dresses   very   badly   in   the   daytime   and   at 

night  she   is  lovely,    usually   wearing   filmy,    shivery 

white   or  flittering  white  and   silver" 


If  you  do  not  go  with  the  plastic  idea  of  placing  your- 
self in  their  hands,  you  had  better  stay  at  home  or  do  your 
shopping  in  department  stores  or  go  to  dressmakers  who 
have  not  achieved  international  fame.  They  know  what 
you  want  and  what  is  best  for  you  better  than  you 
know  yourself.  That  is  the  alpha  and  omega  of  the 
knowledge  you  need  to  have  if  hubby  ever  blows  you 


By 

Faith 
Service 


Kessltre 

"If  I  were  asked  to  select  a  highly  in- 
dividualized type,  I  would  certainly  se- 
lect Miss  Swanson,"  said  Harry  Collins, 
"but  not  as  the  best-dressed  woman  cf 
the  screen" 

to  a  Frances,  a  Harry  Collins,  or  a  Maybelle  Manning. 

We  paid  our  first  visit  to  Mr.  Harry  Collins.  Gentle- 
men First  is  our  slogan. 

We  were  received  via  the  portals  of  a  charming  old 
house  in  the  east  fifties.  Of  course,  in  none  of  these  places 


Madame  Frances  says  that 
Corinne  Griffith  dresses  ex- 
tremely well  .  .  .  and  that 
she  has  a  dignity,  a  certain 
pomp    and    circumstance 


"Carol  Dempster  knows  her  type 
and  sticks  to  it,"  said  Maybelle 
Manning.  "Quaint,  olden  things 
.  .  .  ivory  and  old  lace  .  .  .  tight 
bodices  and  full  skirts  are  Carol's 
things" 


Miss  Manning  thinks  that  Bebe 
Daniels  is  beginning  to  dress  ex- 
tremely well.  She  says  that  Bebe, 
tending  towards  the  Oriental  in 
type,   wears  ivory  beautifully 


m 


f^ 


FA 


V.        ! 


/  /"n 


■^J&^JP 


"Being  well  dressed  does  not  depend  upon  money — 
it  depends  upon  the  way  a  woman  puts  on  her  clothes' 


is  there  any  sign  or  token  of  the  lowly  vocation  known  as 
dressmaking.  No,  indeed.  Yon  would  never  know  that 
you  were  at  a  dressmaker's  unless  you  were  told  and  then 
you  wouldn't  he  sure.  Von  would  think  that  you  had 
dropped  in  to  an  exclusive  tea,  minus  the  tea. 

Mr.  Collins,  dark,  compact,  hrisk  and  businesslike, 
escorted  us  to  his  private  office  by  means  of  a  self -oper- 
ating elevator. 

We  faced  him  across  a  flat-topped  desk  as  we  might 
have  faced  one  of  the  gentlemen  on  Wall  Street,  an  editor 
or  an  attorney.  The  pretty  ladies  and  the  atmosphere  of 
social  dalliance  were  left  behind  on  the  ground  floor. 
Here  was  the  workshop   whence  emanate  the   creations. 

He  said,  "You  want  to  know  about  the  women  of  the 
screen;  whether  or  not  they  are  well  dressed;  why  they 
are  well  dressed. 

"Well,  motion  picture  people  should  be  well  dressed. 
Of  all  the  people  in  the  world  they  have  the  least  excuse 
for  being  anything  else.  There  is  no  possible  excuse  for 
them  being  anything  but  well  dressed. 

"It  is  our  belief  that  any  woman  can  be  well  dressed 
if  she  looks  at  herself  often  enough  in  a  mirror.  That 
is  the  first  secret  of  good  dressing. 

"It  comes  down,  of  course,  to  seeing  ourselves  as  others 
see  us.  And  that  is  precisely  what  the  screen  people  can 
do,  times  innumerable. 

"A  girl  on  the  screen  will  be  cast  as  an  ingenue,  let  us 
say.  She  will  find  that  the  bouffant  or  ingenue  type  of 
dressing  suits  her  excellently  or  does  not  suit  her  at  all. 
Thereafter  she  will  either  adhere  to  that  type  of  dressing 
with  modifications  or  she  will   forever  eschew  it. 


"One  of  the  main  tests  of  a  gown  is  that  gown  in  mo- 
tion. There,  too,  the  girl  on  the  screen  has  the  advantage, 
for  she  sees  herself  in  motion  as  well  as  static  and  can 
judge  from  every  angle  and  posture. 

"There  is  a  particular  essence  about  being  well 
dressed.  It  does  not  depend  upon  money.  It  depends 
upon  the  way  a  woman  puts  on  her  clothes. 

"How  many  times  in  the  Ritz  or  elsewhere  do  we  look 
up  instinctively  as  some  woman  enters  the  room.  We  do 
not  know  why  our  eyes  follow  her,  but  they  do.  It  may 
not  be  because  she  has  striking  beauty.  It  will  probably 
be  because  of  some  certain  air  with  which  she  wears  her 
clothes,  which,  again,  may  be  of  the  simplest. 

"Every  woman  should  compromise  with  style.  If  the 
normal  waistline,  for  instance,  does  not  become  you  and 
the  normal  waistline  happens  to  "be  the  vogue,  the  clever 
woman  can  suggest  the  normal  waistline  and  yet  pre- 
serve the  line  that  is  most  becoming  to  her. 

"There  are  no  laws  of  fashion. 

"There  are  principles  of  good  taste  and  the  first  of 
these  is  to  adapt  fashion  to  your  own  particular  type  and 
requirement.  The  woman  who  wears  a  style  because  it  is 
in  the  mode  is  stupid  and  doesn't  know  the  first  elements 
of  good  dressing  and  what  is  more,  she  wont  look  in 
the  style. 

"Learn  what  becomes  you  and  then  wear  it — you  can 
always  compromise  with  fashion. 

.   "Many  people  take  a  type,  a  definite  type,  and  proclaim 
her  the  best-dressed  woman  of  the  screen,  the  season  at 
Newport,  or  wherever  it  may  happen  to  be. 
{Continued  on  page  111) 


Diana  Kane  used  to  dress  very  badly,  according  to  Miss 
Manning.  She  had  a  faculty  for  getting  the  wrong  hats. 
But  now  they  have  persuaded  her  to  wear  simple  things 


Madame    Frances    says:     "If   you   are   as    indi- 
vidual   as    tiny    Anita    Loos,    you    have-  to   be 
more     than     ordinarily     careful     to     preserve 
that   individuality" 


Nickolas  Muray 


The  South  Seas  on  the  Subway 


Ray  Rockett  built  a  native  hut  on  the  studio  lot    .    .    .    planted 
a  few  palm-trees  and  tropical   shrubs    .     .     .    sent  out  a  call  for 

a  few  dark-skinned  girls  and  boys and  presto!  the  Polynesian 

setting    for    "Paradise"    was    ready.       No    wonder    traffic    was 

congested    on    the    bridge    seen    below.       New    Yorkers    never 

expected    to    find   the    South    Sea    tropics    sprouting    right    over 

their   own   subway 


- 


It  is  nothing  short  of 
miraculous  what  a  few 
palm-trees  will  do.  The 
shore  scene  above  was 
taken  on  the  very  civ- 
ilized City   Island 


25 

PAG 


I 


There  is  a  chance  for  Mack  Sennett 
to  make  a  historical  film.  The 
first  bathing  gal  parade  held  in 
Pawtucket,  July,  1894,  or  there- 
abouts 


.-*■: 


HISTORICAL  FILMS 


By  Ken  Chamberlain 


Some 


High    Points 
in  American  History 
that    the    Producers 
Have  Overlooked 


Ernest  Torrence  and  Dick 
Barthelmess  could  repeat  their 
"Tol'able  David"  triumph  in 
a  film  depicting  the  first  suc- 
cessful counterfeiting  of  the 
Gordon  Gin  label  in  the 
American   moonshine   industry 


26 


And   the   blase   young   lady   who   first   pub- 
licly smoked  a  cigaret   might  be  shown  on 
the    screen   by   Mae   Murray 


/      / 


Raymond    Hatton    would    be    the    ideal    actor    to 
portray    the    dare-devil    who    first    ate    an    oyster 


D.  W.  Griffith  might 
use  Charley  Murray 
in  another  New  Eng- 
land historical  film, 
to  immortalize  the 
hero  who  first  played 
golf    on    Sunday 


We  Interview  Gloria  bwanson 


The  Cast 


Gloria   Swanson 

Gladys  Hall  and 
Adele  Whitely  Fletcher 

.  j  A  studio  office-boy — prob- 

Ljl,ulc    " 1  ably  a  potential  Valentino 


Madame  la  Marquise  do  la  Falaise  de  la  Coudraye. 
We    


Otln 


Stage-hands  .  .  .  stars 
.    .    .    taxi-cab  driver 


directors  .  .  .  cameramen 
.    gate-keeper,  ct  cetera 


Scene  I.-  The  lint  ranee  to  Famous  Players-Lasky 
Long  Island  Studios. 

A  taxi-cab  rattles  suicidally  up  to  the  imposing  white 
marble  portals.  Gladys  Hall  and  Adele  Whitely  Fletcher, 
clinging  to  the  running-board  in  an  accustomed  fashion, 
alight,  consulting  wrist  watches  that  have  never  gone  and 
never  will  go,  but  if  you  should  take  such  portents  of 
Time  seriously,  it  is  about  four  o'clock  of  a  balmy  after- 
noon. 

As  they  reluctantly  dole  out  the  taxi-driver's  fare,  IV. 
C.  Fields  hurries  past.  A  girl  who  would  be  commonly 
described  as  "cute"  stops  him  in  the  doorway  and  calls 
her  identity  to  his  mind.  He  remembers  tier  .  .  .  they 
talk.    .    .   .' 

Two  or  three  hopeful  Thespians  stand  about  waiting 
for  the  office-boy  to  conic  back  and  tell  them  "He's  in 
conference."  They  have  heard  this  every  day  for  years 
'but  dout  seem  to  mind.  Hope  springs  eternal  in  the 
movie  breast.    .    .    . 

The  studio's  St.  Peter  looks  up  resignedly  as  the  in- 
terviewers breathlessly  approach  his  dictatorial  desk.  He 
is  so  used  to  breathless  approaclics. 


St.  Peter  (alias  the  gatekeeper)  :    Whojawantasee? 

G.  H.  and  A.  W.  F.  (conversant  with  such  cold  water 
and  answering  firmly  and  in  harmonic  unison)  :  Miss 
Swanson — by  appointment. 

St.  Peter  (still  unimpressed  .  .  .  still  superior)  : 
You're  late,  ladies.  We  expected  you  at  three.  Well  .  .  . 
Here,  boy,  take  these  ladies  to  Miss  Swanson's  set. 
Maybe  she  hasn't  gone  yet.    .    .    . 

The  interviewers  exeunt  after  the  disappearing  youth. 

Scene  II. — The  Big  Stage. 

A  bird's-eye  view  of  this  stage  would  show  many  com- 
panies at  work.  Perhaps  there  Were  interesting  things  to 
see  .  .  .  there  usually  are  .  .  .  but  the  guide  appointed 
to  the  interviewers  appears  to  be  an  emulator  of  Nurmi 
and  what  with  keeping  from  falling  over  cables,  crashing 
into  lights  and  colliding  with  stars  and  near-stars,  the  in- 
terviewers find  some  slight  difficulty  in  navigation.  It 
may  be  their  age. 

There  docs  come  to  them  the  mad  tattoo  of  hammers 
and  the  shifting  of  scenes  .  .  .  the  dull  grinding  of  the 
cameras  .  .  .  voices  speaking  lines  which  never  will 
be  heard  .  .  .  directors  calling  instructions  .  .  .  the 
tinkle  of  pianos    .    .    .    the  wail  of  violins    .    .    .    now  and 


There    is    something    about     Gloria     Swanson — eclat     or     distinction     or 

whatever   you    wish    to    term    it that    makes   you    feel    silly    in    a    big   hat 

an'd    curled    hair.       She    is    simple    in    her    clothes    and    her    manner    of 

wearing    them.       It    is    Eugene    O'Brien    who    is    with    Gloria    below    in    a 

scene   from    "Fine    Manners" 


An  Interview  Playlet  in  One  Act  and 

Five  Scenes 


Drawing 

hy 

John 
Decker 


She  says  she  will  not 
mind  old  age.  It  is 
the  intermediary  stage 
she  dreads,  the  grow- 
ing old 


G.   H. 


The  Playlet  Interviews 

"Motion  Picture  Magazine"  announces 
that  the  interview  playlets  will  once  more 
appear  exclusively  in  its  pages  where 
they  first  won  their  popularity* 


A.  W.  F. 


then  the  command  "Silence!"  .  .  .  now  and  then  an  extra 
girl  proclaiming,  "but  I  just  said  to  him,  I  said,  I'm  cer- 
t'nly  the  type  and  then.   .  .   ." 

The  boy  goes  on.   .  .   . 

Turning  one  of  innumerable  futuristic  comers,  the  in- 
terviewers come  upon  Lois  Wilson  sitting  outside  the 
camera  lines  garbed  trimly  in  a  pale  gray  suit  with  smart 
felt  hat.  .  .  .  Ailccn  Pringle  is  glimpsed  in  a  scene, 
resplendent  as  only  Aileen  can  be  in  a  gown  of  shimmer' 
ing  silver  sequins  ...  a  dinner  table  is  laid  zvith  the 
pale  lavender  cloth  common   to  studios.  .  .  .      Thomas 


Mcighan's    latest    "Tin    Gods"    is    being    filmed.    .    .    . 

The  boy  goes  on  .  .  .  no  time  to  call  greetings  .  .  . 
no  vestige  of  time  for  so  much  as  the  traditional  Hail  and 
Farctvcll   .    .    . 

The  Boy  {briefly)  :    Look  out  for  the  paint. 

This,  injunction  was  evidently  intended  for  Gladys  Hall, 
who  has  run  on  with  head  pivoted  backward  in  a  weak 
attempt  to  locate  Tlwmas  Mcighan,  who  MIGHT  be  tin- 
godding  in  the  vicinity. 

Adele    Whitely    Fletcher    (her   efficiency    keeping 
{Continued  on  page  94) 

29 

PAG 


I 


Paul  Whiteman  is  a 
movie  actor  now. 
And  a  very  good 
one,  too,  according 
to  our  latest  advices 
from  England,  where 
he  played  in  "Lon- 
don" with  Dorothy 
Gish.  The  lady  on 
In  I '-ft       is      Mrs. 

Whit':rnan,     who     is 
lovely     enough     to 
consider    a    career    in 
the    movies   herself 


■  l  i  by  Abbe 


In  a  London  Studio 


This  is  another 
Limehouse  story 
by  Thomas  Burke. 
Let  us  hope  that 
it  brings  Dorothy 
some  portion  of 
the  fame  which 
Mr.  Burke's 
"Broken  Blos- 
soms" brought  to 
her    sister,    Lillian 


I 


A  Drama  of  the 
Studios  That 
Was  Enacted 
Behind  the 
Cameras 


Illustrations 

by 

Henry 
Pilgrim 


They  drove  home 
thru  Central  Park  in 
an  old  hansom  cab. 
It  was  Elysian.  Judith 
marveled  that  life 
could  be  so  glorious- 
ly perfect 


Synopsis 

of 

Preceding 

Chapters  on 

Page  84 


By 

Adele  Ormiston 


Quilt 


JUDITH  reached  the  stage  just  in  time  to  dust  some  definitely  selected  for  forward  positions  and  once  again 
powder  over  her  make-up  before  McAllister  called  she  was  given  a  bit  of  business, 
the  company  for  the  first  scene.  And  once  on  the  •  Every  atom  of  her  mind  and  body  was  gloriously  alive, 
set  she  worked  steadily.  As  the  afternoon  pro-  The  fascinating  chaos  of  the  studio  all  about  her  .  .  . 
gressed,  she  felt  that  both  McAllister  and  Grady  were  grease-paint  ...  a  camera  grinding  .  .  .  and  Harvey 
showing    her    a    marked    attention.      Twice    she    was      Dunn's  lounging  figure  about  to  appear  on  the  side-lines 

31 
PAG 


f", MOTION  PICTURF 
U   I  MAGA2II.E     I- 


I 


$200  in  Prizes 

Why  do  you  think  * 'Crazy 
Quilt"  is  an  altogether  fitting 
and  proper  title  for  this  story  of 
the  motion  picture  studios? 
Write  us  your  opinion.  Two 
hundred  dollars  in  prizes  is  of- 
fered for  the  best  letters.  See 
page  72  for  further  details. 

The  Editor. 


any  moment.    Judith's  heart  knew  the  weight  of  a  bubble. 

At  five  o'clock  she  began  to  watch  the  entrance  thru 
which  Mr.  Dunn  had  appeared  that  morning'.  At  five- 
thirty  she  began  to  grow  apprehensive.  She  wondered 
when  the  offices  closed.  She  wondered  when  the 
company  would  stop  work.  She  was  angry  with  herself 
for  letting  the  appearance  or  the  non-appearance  of  one 
Harvey  Dunn  matter  to  her  so  tremendously,  but  it 
continued  to  be  important. 

When  McAllister  was  rehearsing  Miss  Uland  for  a 
closeup,  Judith  managed  to  have  a  word  with  Grady. 
She  knew  that  it  was  impolitic  to  seem  anxious  to  get 
away.     Too  many  were  willing  to  stay  until  all  hours. 

But  she  felt  that  she  must  know  how  long  they  were  to 
work.  Perhaps  Mr.  Dunn  knew  they  would  be  late. 
Instinctively  she  made  her  voice  casual  when  she  asked: 
"Are  we  going  to  complete  this  sequence  tonight?" 

"Bet  your  life,"  Grady  informed  her.  "God,  they're 
stingy  around  here  lately." 


WWWtin 


The  other  men  had  not  seen  the  note  fal 
of  that.     And  if  she  pretended  to  drop  he 


She  felt  confide 
handkerchief   .    , 


IC7URR 

IDE      K 

nt     fi» 


Then  he  remembered  that  this  girl  was  friendly  with 
Dunn.  He  modified  his  remark.  "You  cant  blame  them, 
of  course,"  he  said.  "So  many  directors  loaf  on  the  job. 
It  is  business.  Now  their  economy  wave  is  at  a  peak. 
"McAllister  will  finish  with  this  set  tonight.  You  can 
count  on  that.  Then  they  can  strike  it  and  build  the 
yacht  cabin  while  we  are  on  location  tomorrow. 

"No  time  is  lost  when  a  director  gets  a  bonus  for 
finishing  his  productions  in  record  time." 

He  went  off  to  see  about  some  detail  and  Judith  was 
again  called  to  the  set. 

Six  o'clock.  .  .  .  She  was  almost  too  nervous  to 
grasp  the  situation  as  McAllister  explained  it.  She 
wondered  why  Harvey  Dunn  had  not  come  up  on  the 
stage  as  he  had  said  he  would.  She  knew  he  had  not  been 
around  all  afternoon.  For  she  had  been  watching, 
eagerly. 

For  the  first  time  since  her  arrival  in  New  York, 
Judith    found    herself    more    concerned    in    an    outside 


interest    than    in    her    career.      At    six-thirty    McAllister 
stopped  work. 

Almost  immediately  the  set  cleared  of  people.  The 
extras  hurriedly  collected  their  pay  checks  from  Grady 
and  disappeared.  Judith  deliberately  waited  until  the 
others  had  gone  before  she  asked  for  her  check.  She 
saw  that  it  paid  her  fifteen  dollars  for  the  day's  work  but 
this  seemed  inconsequential.  Yesterday  it  would  have 
been  momentous.  But  that  was  yesterday  .  .  .  and  today 
Harvey  Dunn  had  said  he  would  come  up  on  the  stage  to 
see  her  and  he  had  not  done  so.     Judith  was  miserable. 

She  could  not  linger  in  the  studio  any  longer  Grady 
was  gathering  up  the  thumbed  directorial  'script,  a  sheaf 
of  notes  and  a  small  megaphone. 

The  stage  otherwise  was  deserted.  Late  afternoon 
shadows  had  crept  thru  the  windows  as  the  great  lights 
had  sputtered  out. 

Judith  wondered  if  she  could  have  misunderstood  Mr. 
Dunn.  Or  had  he  said  he  would  see  her  later  in  a  care- 
less moment  and  proceeded  to  forget  all  about  her. 

She  started  down  the  stairs  to  the  dressing-room. 

Suddenly  she  was  very  tired.  The  tautness  of  nerves 
and  spirit  which  she  always  knew  when  a  camera  began 
to  .grind  had  wearied  her.  And  her  disappointment  had 
been  more  important  than  she  admitted  to  herself. 

She  smeared  her  face  with  the  cold-cream  and  kneaded 
it  in  her  skin.  Around  and  around.  Her  fingers  circled 
her  face  with  a  slow  monotony.  She  wiped  off  the 
mascaro  slowly. 

The  wardrobe  mistress  was  waiting  impatiently  for 
her  to  finish  with  her  dressing.  She  must  remain  until 
every  girl  left,  so  that  she  could  lock  the  room. 

She  asked  Judith  to  hurry.  Judith  obliged.  She  was 
surprised  to  notice  how  slowly  she  had  been  making  her 
preparations.  It  was  now  almost  seven  o'clock.  There 
seemed  no  longer  any  reason  to  dally.  He  had  gone 
home  without  even  attempting  to  see  her  again.  She 
took  a  perverse  pleasure  in  forcing  this  fact  upon  her 
consciousness. 

Nevertheless,  as  she  walked  down  the  corridor  that  led 
past  the  offices,  she  hoped  that  she  would  hear  her  name 
called.  And  all  the  way  to  the  subway  she  imagined  that 
she  heard  hurrying  steps  behind  her  and  planned  just 
,what  attitude  she  would  assume  if  he  should  overtake 
her.'" 

She  was  mystified  as  well  as  hurt.  She  supposed  this 
was  what  they  called  a  "stand-up."  It  was  unpleasant, 
whatever  else  it  was.  Judith  was  unaccustomed  to  hav- 
ing men  fail  her.  It  had  never'  happened  before.  And 
never  before  would  it  have  concerned  her  one  hundredth 
so  much. 

She  stopped  at  the  little  delicatessen  store  around  the 
corner  from  her  house. 

"A  combination  sandwich,  a  pint  of  milk  and  one  fresh 
egg-" 

The  large  German  woman  knew  Judith  and,  as  she 
turned  heavily  to  fill  the  order,  she  asked  "Been  working 
in  the  movies  today?" 

Judith  briefly  said  that  she  had.  Usually  she  was  eager 
to  talk  about  her  experiences  and  Mrs.  Schmalz  was 
disappointed.  It  was  pleasant  to  hear  about  that 
unbelievable  world. 

"You  look  kind  of  peaked,"  she  said.  "Hard  work, 
I  suppose.  But  I  dont  ever  remember  seeing  you  look 
so  sort  of  all  in  before." 

"We  were  late  tonight."     Judith  explained.     "We  had 
(Continued  on  page  72) 

33 
PAG 


i 


Corned  Beef  and  Cabbage 


I llusiration  by 
MacGregcr 


It  Would  Be  Difficult  for  the  Screen 
Stars  to  Live  Up  to  All  That  Is 
Written  About  Them.     And  They 

Do  Not  Try 


By 

Elizabeth  Petersen 


i 


N   a   darkened   little   Picture   House, 
was    fading    into    the   usual    happy 


Alma  Rubens 
ending  in  the 
arms  of  a  handsome  leading  man.  Exotic  in  her 
dark-eyed  loveliness,  she  seemed  some  legendary 
princess  far  removed  from  the  audience  yearning 
towards  her. 

The  girl  in  the  row  behind  me  sighed  dreamily. 
"Isn't  she  just  too  gorgeous   for  words,"  she  whis- 
pered to  the  prosaic  young  man  beside  her,  ''could  you 
imagine  her  ever  having  to  cook  or  wash  dishes  or — 
or  anything,"  she  concluded  vaguely. 

The  young  man  could  not.  Who  could  associate  the 
lovely  Alma  with  every-day  happenings  ? 

The  evening  before  I  had  been  her  guest  for  dinner 
in  one  of  those  exclusive  and  expensive  hotels  facing 
Central  Park.  Her  mother  was  cooking  it  as  an 
especial  treat  and  certain  familiar  odors  were  wafted 
from  behind  the  exquisite  Ming  screen  which  I  knew 
concealed  the  famous  Ruben  electric  grill.  And  what 
do  you  suppose  we  had  for  dinner — corned  beef  and 
cal  )1  >age ! 

Corned  beef  and  cabbage  and  the  jade  of  old  Cathay 
— the  magical  beauty  of  a  screen  fashioned  for  some 
ancient  emperor  and  behind  it  an  electric  grill,  modern, 
efficient,  prosaic — the  humdrum  order  of  every-day 
and  the  lure  of  the  centuries. 

Somehow  it  accentuated  the  fact  that  there  isn't  so 

much    difference   between   generations    and    things 

and  people,  and  that  kings  and  queens  and  movie 

stars  aren't  so  different   from  us  mortals  after  all. 

For  in  spite  of  the  fabulous  tales  that  drift  to  us 

from  the  studios,  the  stars  are  very  human. 

Jackie  Coogan  may  be  the  idol  of  every 

child's  dream   and   yet   he  has   to   learn  his 

spelling  and  fractions  and  go  to  bed  at  eight 

just  like  any  other  little  boy  or  girl  of  his 

a£e- 

Conrad  Xagel  is  an  usher  in  a  Christian 
Science  Church  and  Mabel  Ballin  does  her 
own  upholstering  most  of  the  time  and  oc- 
casionally sews  shirts  for  her  husband, 
Hugo  Ballin,  the  director. 

You  may  think  Gloria  Swanson  too  dec- 
orative a  person  to  have  anything  in  com- 
mon with  a  woman  of  the  slums  and  yet 
the  tie  that  binds  them  is  the  strongest  in 
the  world.     They  are  both  mothers. 

The  sophisticated,  dazzling  Gloria  counts 
her  happiest  moments  those  devoted  to  her 
babies  and  takes  a  sensible  and  active  part 
in  their  care.  She  has  the  true  mother 
hcarl  and  it  isn't  alone  her  own  baby  Gloria 


Behind   a  Ming  Screen 


Anna    Q.    Nilsson    insists   that    she   was    less    attractiv 

to  John  Gunnerson   when  he  discovered  that   she  was 

not     an     enigmatic     and     bewildering     person     from 

another   world 


Many    a    good    old-fashioned    dinner    of    corned 
beef  and   cabbage   has  been   cooked   on   an  elec- 
tric   grill    behind    a    Ming   screen   in   the   Rubens 
apartment 


)r  Joseph,  the  little  boy  she  adopted 
nspires  her  tenderness. 

One   hot   day    Gloria    Swanson    was 
^oing  thru  an  important  scene  when  a 
)aby  on  a  nearby  set,  fretful  from  the 
leat    and    the    glare    of    the    Kleigs, 
vailed  its   discomfort    and    unhappi- 
less  to  the  studio  at  large.     Gloria 
was  visibly  affected.     She  tried  to 
*o   on    but   couldn't.      The    spark 


who 


She 


ivas    gone 
tense,  upset. 

Suddenly  she  stopped 
short  and  before  any- 
body realized  what  was 
happening,  she  had 
taken  the  baby  from 
the  arms  of  its  dis- 
:racted  mother  and  was 
crooning  a  little  melody 
such  as  only  mothers 
know,  to  the  tiny  mite. 
Gradually  the  crying 
stopped,  the  little  fin- 
gers clutching  at  her 
dress  relaxed,  and  a 
tiny  golden  head 
rested  blissfully  on  her 
shoulder. 

Somehow  it  was  like 
looking  deep  into 
Gloria's  soul. 

Years  before  Estelle 
Taylor  became  Mrs. 
Jack  Dempsey  she  was 
buying  fine  linen  and 
satiny  damask  for  her 
hope  chest  just  as  mil- 


was     nervous, 


lions  of  girls  are  doing  all  over  the  world. 
Many  of  her  fellow  actors  smiled  to  see 
the  fascinating  Estelle  embroidering  ini- 
tials  on  guest  towels   and   napkins   be- 
tween scenes  at  the  studio  but  she  kept 
right  on  doing  it,   for  her  hope  chest 
meant  just  as  much  to  her  as  it  would 
to  you  or  me. 

Before  Jack  Barrymore  arrived  in 
1        Hollywood  he  was  classified  as  "High 
;        Hat"  and  temperamental.    Rumor  had 
I        preceded  him  and  his  caustic  wit,  his 
a        erotic    impulses    and    temperamental 
\         outbursts    were   the   talk   of    Holly- 
\         wood.     Then  he   came  and   every- 
body   was    astonished   to    find    him 
both  simple  and  unassuming.    Given 
old  comfortable  clothes  and  a  fish- 
ing   rod,    he    was    absolutely 
content.   His  cronies  at  the  studio 
were    counted    among   the    stage 
hands,   the   electricians    and   the 
cameramen.     Some  of  them  had 
worked  with  him  on  Broadway 
and  with  these  there  was  remi- 
(Continucd  on  page  104) 


Jack  Barrymore  has  a  repu- 
tation for  being  tempera- 
mental. But  given  comfort- 
able old  clothes  and  a  fishing 
rod,  he  is  absolutely  content. 
On  the  left  is  John  on  the 
bowsprit  of  his  schooner 
Mariner,  which  he  captained 
in  a  race  from  California  to 
Honolulu.  He  had  a  crew 
of  fourteen  gentlemen 
adventurers 

35 

PAfi 


? 


Charlie  Goes  Under 
the  Big  Top 


Charlie  Chaplin  planned  to  go  to  the 
for  the  locale  of  his  next  picture.  It 
"Th<    _ 


Paris   boulevards 
was   to   be    called 
Boulevardier."      He  thought  a  lot   could   happen  to 
man  out  walking  in  Paris    .    .     . 


•  .  .  but  he  changed 
the  Chaplin  mind  and 
took  Mr.  Barnum's  fa- 
mous tanbark  for  his 
stage.  He  must  have 
decided  that  even  more 
could  happen  to  a  man 
in  a  circus.  At  any 
rate,  knowing  Charlie, 
we  feel  confident  that 
"The  Circus"  is  we 
named 


In    a     way,    Charli 
his  first  idea,  for  the  pro- 
tagonist of  this  new  story 
is  a   man-about-town.     He 
becomes    mixed    up    with 
pink  lemonade,  peanuts,  popcorn  and  other 
circus     accoutrements     because     of     a     girl. 
And  the  girl  in  the  case  is  Merna  Kennedy 


The  Unpardonable  Sin 


A  little  nonsense  about  the  pet  aversion 
of  Hollywood 


By 

Doris 
Denbo 


• 


RUDY 
"It  is  a  horrible,  slimy  thing!" 


-     «W 


RONALD 
"Anyone   that    has   that   thing 
attached    to    him    and    his    ca- 
reer is  SUNK!" 


JACK 

"It's     fatal!        That's 

what  it  is!" 


IT'S   fatal!    That's 
what  it  is !"  says 
John      Gilbert, 
with    angry    em- 
phasis. 

"It's  Hollywood's 
crudest  curse !"  says 
Valentino  between 
closely  pressed  lips. 

"It's  a  KILLER!" 
says  Ramon  Novarro, 
with  a  solemn  shake 
of  his  head. 

"They  tried  to 
fasten  the  beastly 
thing  to  me!"  says 
Ronald  Colman  with 
an  ominous  shake  of 
his  head.  "IF  they 
had  succeeded  —  I 
rould  have  surely 


RAMON 

"I    would    never    live 

thru   it   if  it   ever   did 

hit  me" 


been  a 


goner 


One  by  one  I  asked 
them  in  surprise — 
"WHY?" 


John  Gilbert  Answered: 

"Because  when  the  report  begins  going  around  that  you 
are  one  of  THOSE!  It's  just  FATAL!  That's  all! 
Men  avoid  you  like  poison  and  turn  their  noses  up  at  you 
as  tho  you  were  something  distasteful.  Women  go  crazy 
and  forget  that  it  may  be  a  false  report  and  that  you  are 
NOT  what  that  horrible  thing  represents !" 

Valentino  Answered  : 

"Because  it's  a  horrible,  slimy  thing  that  gives  one  out ! 
It  fastens  itself  to  you  like  a  vapor  and  saps  all  the 
originality  and  spirit  out  of  one's  being.  One  can  never 
prove  he  is  a  real  artist  while  he  is  reported  to  have 
that  malady." 

(Continued  on  page  108) 

37 


i 


Buck  Jones,   seen   on    tKe   right   with   his  fam 
ily,    suggests    wages    for    husbands 


ages 


By  Catharine 


Above  are  the  Ernst  Lu- 
bitsches  under  their  own 
tree,  registering  suburban 
felicity.  On  the  right  are 
the  Tom  Mixes,  who  look 
to  a  manager  for  their 
weekly   allowances 


I 


THE  question  of  whether  a  wife  shall  or  shall  not  receive  a  regular 
and  separate  compensation  for  her  services,  just  as  her  husband 
receives  a  wage  from  his  employers,  has  been  a  burning  one  lately 
Highbrow  publications  have  printed  articles.     Doris  Stevens  has 
called  a  mass  meeting.     Arthur  Garfield   Hays  has  argued   against  it. 
Various  modern  young  married  women  have  argued  for  it. 
But  Hollywood  has  found  the  answer. 

As  Buck  Jones,  the  merry  cowboy  star,  says,  out  there  where  he  lives,' 

wages    for    wives    is   too    old-fashioned    a    slogan    for   anything.      The 

right-up-to-the-minute-one  is  wages  for  husbands.     Buck  Jones  knows. 

He  turns  all  his  own  salary  over  to  his  wife,  for 

good  reason.     She  doubles  it   for  him. 

A  census  of  some  of  the  better  halves  of 
the     best-known     and     happiest     movie 
couples,     where     the     wives     are    non- 
professionals and  what  you  might  call 
dependent,  if  you  didn't  know  better, 
shows  that  they  have  each  worked  out 
their    own   method   of    dealing    with 


A  census  of  some  of  the  better 
halves  of  the  happiest  movie 
couples  where  the  wives  are 
dependent  and  have  worked 
out  their  own  method  of 
family  finances 


38 


"*% 


On    the    left    are    the    Warner    Baxters.       Sh« 
was    Winifred    Bryson,    you    know 


..'.;■■     '  ■ 


Wi 


ives 


Brody 


wages  for  wives.     They  dont  worry  about  it  any  longer,  no  more  than 
they  do  about  whether  or  not  they  shall  bob  their  hair. 

The  Conrad  Nagels,  that  model  young  couple,  have  as  ever  worked 
out  a  model  way  of  handling  their  affairs. 

"I  have  never  thought  of  a  wage  for  myself,"  says  the  pretty  and 
practical  Mrs.  Nagel,  ''because  it  isn't  necessary.  I  have  whatever 
Conrad  has.  We  have  worked  out  our  handling  of  our  joint  money 
together. 

"We  divide  Mr.   Nagel's   salary  into   four  parts.     Three-fourths  of 
this  goes  into  the  savings  account  and  into  investments  and  Under  no 
circumstances  is  this  touched.   We  live  on  the  other 
one-fourth.     This  is  put  into  a  joint  checking 
account  and  we  both  draw  against  this  for 
the  things  we  need,  both  for  our  house- 
hold expenses  and  for  our  personal  ones.  J^JM 

"If  we  want  to  buy  something  that 
costs  more  than  we  can  afford  from 
{Continued  on  page  100) 


The  question  of  whether  a 
wife  shall  or  shall  not  receive 
a  regular  compensation  for  her 
services,  just  as  her  husband 
does,,  has  been  a  burning  one 
lately.  Here  are  several  solu- 
tions 


The  Conrad  Nagels  are  a 
model  young  couple  who 
divide  Conrad's  salary 
into  sections,  one  section 
of  which  is  saved,  no  mat- 
ter what  circumstances 
arise.  Mrs.  Charlie  Ray, 
pictured  on  the  left  with 
Friend  Husband,  thinks  it 
absurd  for  a  wife  to  have 
to  go  to  her  husband 
every  time  she  needs 
money 


39 

PAG 


I 


Extreme  scarfs  will  be  the 
mode.  Norma  Shearer  wears 
one  of  yellow  and  black  with 
a  long  tailored  coat.  And  a 
tarn    of   black   felt! 


Every  wardrobe  demands  a  utility  frock. 
Pauline  Starke's  is  a  Kasha  plaid  in  red, 
gray  and  blue.  Her  soft  gray  felt  hat  with 
one  of  the  new  two-toned  bands  of  red  and 
blue  complements  this  frock  perfectly 


Dorothy    Mackaill's    coat    of   a 

hand-woven     fabric     with     the 

pointed    fox    collar    and    cuffs 

is   very    striking 


I 


Fashion  s    Trend  for   Autumn 


40 


High  crowns  .  .  . 
very  high.  And 
with  this  smart 
silk  felt  and  new 
sloping  crown  Lea- 
trice  Joy  wears 
diamond    initials 


Perhaps  it  is  our  ego 
that  so  favors  our 
names  and  initials  em- 
broidered and  be- 
gemmed on  everything. 
On  this  two-toned 
scarf  "Mae  B"  is  em- 
broidered in  silver  on 
black 


Gloria  Swanson 
has  bags  in 
sets.  They  are 
of  fine  green 
lizard  with 
square-cut 
emeralds  for 
initials  and 
"catch."  The 
bracelet  is  of 
large  square 
diamonds      and 


Pajamas,  as  every- 
one knows,  have 
displaced  the  neg- 
ligee. Pauline 
Starke's  pajamas 
are  of  printed  silk 
and  brilliant  with 
their  Chinese 
design 


By  Grace  Corson 


Grace  Corson  is  a  fashion  artist  of  great 
prestige.  She  was  previously  associated 
■with  Harper's  Bazaar  and  her  entree  to 
the  Fifth  Avenue  shops  and  ateliers,  to- 
gether with  her  motion  picture  contacts, 
makes  her  the  ideal  fashion   editor  of  the 

MOTION  PICTURE  MAGAZINE 


An  Open  Letter  to 
a  Country  Cousin 

Nezv   York — on  a  very  warm   day. , 

ON  your  head  be  it,  my  darling ! 
You'Ve  begged  for  "brutally  frank" 
advice  about  your  appearance  and 
clothes  and  you  shall  certainly  have  it,  but 
next  time— for  I've  just  a  half  hour  before 
I  leave  to  see .  Florence  Vidor  off  for  the 
Coast,    and   trains   wont   wait. 

Norma  Shearer  appeared  the  other  day 
in  a  long  semi-fitted  coat  and  tiny  felt  beret 
and  wearing  the  best  looking  scarf  I've 
seen,  of  heavy  black  and  yellow  silk.  Four 
of  us  have  sworn  to  copy  it  in  some  terrific 
material.  We  could,  you  know,  simply  by 
having  it  hemstitched  with  picot  edges. 

And  Polly  Starke's  brief  little  frock  of 
novelty  wool  plaid  is  much  like  one  I  lived 
in  until  exasperated  friends  took  up  a  col- 
lection for  a  new  one,  fearing  it  would 
drop  off.  Why  dont  you  have  one  like  it 
for  school?  I  wore  mine  for  walking, 
shopping,  lunching,  etc.,  almost  constantly. 

Dorothy  Mackaill's  coat  is,  of  course,  too 
grown-up  for  you,  dear,  but  would  be  very 
smart  for  Joyce,  our  high  hat  cousin,  she 
is  so  graceful  and  superior ! 

You  might  tell  her,  by  the  way,  that  hats 
here  are  very  tall  and  narrow  at  the  top 
these  days,  but  have  much  broader  brims — 
{Continued  on  page  101) 


ersonaJ 


Advi 


vice 


If  you  have  a  personal  problem,  do 
not  hesitate  to  write  Miss  Corson 
about  it.  Address  all  letters  to  Miss 
Grace  Corson,  Motion  Picture  Maga- 
zine, 1  75  Dufneld  Street,  Brooklyn, 
N.  Y.  A  stamped  and  addressed  en- 
velope should  be  enclosed  for  the 
reply.  Be  sure  to  give  a  description 
of  your  height,  weight  and  coloring. 
And,  if  possible,  send  a  full-length 
photograph.  The    Ed.tor# 


"Anna  Q.'s"  lat- 
est boy-cut  is 
long,  with  the 
hair  brushed 
straight  back 
over  the  ears 


Florence  Vidor 
is  wearing  an 
odd  set  of  dull- 
gold  carven  ear- 
rings and  neck- 
lace. Not  for 
the  younger   girl 


Gloria's  bracelet 
is  superlatively 
smart.  It  is  a 
deep  cuff  of 
diamonds.  These 
large  cuffs  have 
become  far  more 
popular  in  Paris 
than  the  numer- 
ous narrow 
bands 


The  short  cape 
promises  to  be  a 
feature  of  the 
coming  season. 
Aileen  Pringle's 
evening  wrap  is 
of  crushed  red- 
gold  lame  with  the 
fur  a  dyed  fox  of 
the   softest   apricot 


41  P 

PAGli 


A   Surburban   Gentleman 


i 


Harold  Lloyd  has  none  of  the  flamboyance  of  the  actor.  He  is  for  all  the  world  like  a  suburban 
gentleman.  When  his  day's  work  is  done,  he  hurries  home  to  Mildred  and  Gloria.  And  the  most 
difficult  thing  a  motion  picture  editor  has  to  do  is  prevail  upon  him  to  sit  for  new  portraits.  This  is 
from  the  biennial  sitting.  His  next  picture  is  laid  in  the  mountain  country,  but  it  is  not  a  feud 
story    .     .     .    rather  a  yarn  based  on  an  inferiority    complex    like    "Grandma's   Boy" 


/     ' 


y 

«: 


Gloria's  imitation  of  Mary's 
childlike  pout  and  tossing  curls 
was  one  of  the  finest  bits  of  bur- 
lesque ever  seen  on  the  screen. 
For  the  moment  the  piquant 
Swanson  face  looked  exactly  like 
the    angelic    Pickford    one 


Famous 
Tricks 


You  never  can  tell  about  mannerisms.     Sometimes  they  are 

delightful  and  charming.     But  beware!     A   little 

of  them  goes  a  long  way 

By  Selma  Robinson 


AT  a  tea  recently,  I  met  Mr.  So  and  So,  the  noted 

/\  cartoonist,  who  invited  me  to  look  over  the  cari- 
/  \  catures  he  had  made  of  some  famous  ■  movie 
stars.  His  walls  were  hung  with  autographed 
sketches  of  Menjou,  Barrymore,  Gloria  Swanson,  and 
other  famous  personages.  What  impressed  me  was  the 
way  he  grasped  the  essential  characteristics  of  these  actors 
in  a  few  strokes ; 
Gloria,  for  instance, 
was  represented  by 
a  slanting  eye,  a 
sharp  tilted  nose 
and  a  sweep  of  hair, 
but  she  was  unmis- 
takable. John. 
Barrymore's  por- 
trait was  a  long  line 
for  forehead  and 
nose  and  a  curved 
line  for  his  hands ; 
the  suave  Adolphe 
was  there  in  a  neat 
mustache,  elevated 
brows  and  a  sneer- 
ing mouth. 

"It's  easy  to  cari- 
cature them,  isn't 
it?"  I  asked.  "They 
have  such  distinc- 
tive   faces.  The    next    time    you    see    Claire 

"I       dont       Catch  Windsor,     watch     that     slow, 

their      faces.         It     is  drowsy  drop  of  her  eyelids    .         . 

,1      •         ,     •     ,  ,.      ,  as    it    the    weieht    or    her    lashes 

their    tricks    that  was  too   muchs  to   bear.     It-S  a 

make     the     carica-  lovely  gesture 


tures,"  he  said.     Then  as  I  looked  a  little  bewildered,  he 

explained:     "Their  tricks  of  expression,  I  mean.     All  the 

good  stars  have  tricks." 

"You  mean  tricks  ?     The  stars  are  guilty  of  tricks  ?"  I 

asked.    He  nodded,  surprised  that  I  should  be  surprised. 

"Watch  for  them  yourself." 

I   did,   and   discovered  that  he   was   right.     The   stars 

have  tricks,  some  of 
which  they  know 
about,  others  which 
are  as  unconscious 
a  part  of  themselves 
as  breathing.  The 
little  tricks  they  em- 
ploy are  perhaps 
their  most  fascinat- 
ing assets  and  at  the 
same  time  among 
their  most  annoy- 
ing. They  have 
helped  many  actors 
on  to  stardom  and 
they  have  been  re- 
sponsible for  oust- 
ing many  old  stars 
from  their  pin- 
nacles. 

As  a  rule  tho,  the 
Stars  dont  know 
they  use  any  tricks. 
The  movement  of  a 
hand,  the  toss  of  a 
head,  the  side-wise 
glance,  and  other 
43 
PAG 


Russell  Ball 
Tommy  Meighan  uses  a  trick 
motion  with  his  right  hand.  But 
Tommy  himself  is  not  aware  of 
it.  Herbert  Brenon,  his  director, 
called   it  to   attention 


i 


Norman  Trevor,  whom  Mr.  Brenon  was  directing  jnst  then  in  "The  Song 
and  Dance  Man,"  has  a  trick  that  his  fans  never  see — a  habit  of  wetting 
his   lips   with   his   tongue.     "That's   one   I   must   watch,"    Mr.    Brenon 
pointed  out,  "and  also  his  way  of  cupping  his  chin  in  his  hand." 
There  are  tricks  and  tricks,  some  as  appealing  as  a  baby's  little  ways, 
and  others  absolutely  maddening  in  their  cheap  and  obvious  imita- 
tion of  some  other  actor's  or  actress's  natural  gesture.     When  is  a 
trick  charming?     "When  it  is  natural,"  Mr.  Brenon  thinks,  "or 
rather  when  it  is   natural   and  appropriate.      Some  actors  are 
simply  full  of  tricks,  but  happily  in  some  cases  the  audience 
loves  them  and  wouldn't  do  without  them.     Take   Richard 
Dix.     He  abounds  in  what  you  call  tricks.     This  gesture  of 
craning  his  neck  as  if  his  collar  were  too  tight,  and  the 
comical  way  of  thrusting  his  chin  forward  and  popping 
his  eyes.    But  they  are  tricks  that  the  audience  demands 
and    without    which    Richard    Dix    couldn't    possibly 
be  himself. 
"Ernest  Torrence   is   another  actor  with   manner- 
isms, but  he  is   such  an  excellent  artist  that  he 
>         curbs  them  when  he  loses  himself  in  a  part.     Mr. 
Von  Stroheim  tempered  Mae's  tricks  when  Torrence   has   an  amused   trick  of   expression 

which  you  have  often  seen  in  his  pictures,  a 
popping  twinkle  in  his  eye  and  a  one- 
sided, screwed-up  smile.  Percy  Mar- 
mont,  another  superlative  artist,  has 
tricks  that  never  reach  the  screen 
because  he  forgets  himself  in  the 
character    he    is     to     portray.       Neil 

\    Hamilton   has    a    trick   posture   that 
must  be  guarded  against,  altho  it  is 
extremely  graceful." 
\It  would  never  do  for  a  director 
to  brush  all  the  tricks  from  an 


1 


^e^tures 
are  what 
I  mean  by 
tricks  ;  per- 
haps     man- 
n  e  r  i  s  m  s 
would  be  more 
accurate.        For 
the  most  part  the 
"trick"    is    natural. 
I    met    Thomas 
Meighan     and     asked 
him     whether     he     had 
any  tricks.     He  thought 
for     a     while     and     then 
shook  his   head.      Couldn't 
think    of    a    single    one.      A 
little  later  I   put  the  question 
to  Herbert  Brenon,  the  direc- 
tor,  and    asked   him    whether 
Mr.  Meighan  used  any  tricks. 
Mr.    Brenon   thought   a  while 
and  answered  affirmatively. 

"Tommy  uses   a   trick   mo- 
tion with  his  right  hand.     I  cant  quite 
explain   it,   but    fans   all   over  the   world 
know   it."     And   the   great   director  tried 
to  imitate  the  short  choppy  motion.     "Of 
course,   he   wouldn't   know  it.      It's  too  inti- 
mate a  part  of   him.'     I   could  tell  you  about 
many  tricks  that  stars  dont  even  suspect  they 

s,  and   many  they  must  perpetually  guard  - 
against.     They,  and  we,  too.     That's  one  of   the 
j  roblems  that  beset  a  director's  life,  watching  for  a 
too  frequent  outcropping  of  mannerisms.     As  I  say, 
they  are  such  a  personal   part  of  the   star's  make-up 
that  we  must  be  continually  on  the  alert  to  spot  them. 

"Now,   there's   Betty  Bronson,  who  has  an  altogether 
delightful  trick  of  clapping  her  hands  when  she  is  pleased 
with   something.      It  is   a  charming  mannerism,   and  when 
she  uses  it  in  real  life,  it  is  as  pretty  a  gesture  as  you  would 
like  to  sec.     lint  in  pictures  it  would  be  disastrous  to  let  her 

er  hands  thru  six  reels  of  film.     Betty  has  another  trick 
so  winning  and  so  characteristically  her  own  that  I  let  her 
■   wonl  read  what  I  have  to  say  about  it,  for  if  she 
should  deliberately  use  it.  it  would  lose  half  its  charm.     She  has  a 
way  of  tucking  her  tongue  against  her  teeth  that  is  inimitable,  and 
er  thai    fvistful,  mischievous  look.     Anna  Q.  Nilsson  has  what 
might   call  a  trick  of  throwing  her  head   forward  and   up;   very 
charming." 
44 


actor,  any  more  than  it  would 
do  for  a  mother  to  brush  out 
a     particularly     whimsical 
curl  from  her  child's  hair. 
They     both     have     a 
peculiar  charm,  but 
while  a  head   full  of 
curls  is  by  no  means 
objectionable,    an 
actor    with    noth- 
ing    but     tricks 
is,   especially 
bad     ones. 
Mr.  Brenon 
illustrated 
{Con.   on 
page 
82) 


C£. 


Reginald  Denny  says  his  present  status  seems 
like  a  dream.  He  is  sure  he  will  awaken  some 
Blue  Monday  to  find  that  he  has  been  the 
victim  of  a  delusion  of  grandeur.  Below  are 
Mr.  and  Mrs.  Denny  as  they  appeared  at  a 
recent  Hollywood  First  Night 


HE  IS  A  MAN! 


WE  found  Reginald 
Denny  in  his  suite 
at  the  Hotel  Plaza 
surrounded  by 
some  half-dozen  admiring 
newspaper  women,  each  one 
with  pad  and  pencil  in  hand, 
each  one  hanging  upon  the 
words  that  dropped  casually, 
nonchalantly,  from  the 
Denny  lips. 

There  were  some  half- 
dozen  men  about,  too,  each 
one  there,  apparently,  to 
gaze  upon  the  Denny  per- 
son and  to  imbibe  each 
syllable  and  gesture. 

A  test  for  a  strong  man — 
but  Denny  met  it. 

He  was  bronzed  and 
laughing  and  diffident  and  trying  not  to  be  shy.  He  has 
amazingly  blue  eyes,  girls,  with  that  whimsical  expression 
in  them,  a  humorous  quirk  to  his  mouth,  and  he  wore  a 
double-breasted  dark  blue  suit  and  looked  like  the  Great 
Outdoors. 

His  manner  seemed  to  say,  "Oh,  come,  now,  this  is 


There  used  to  be  a  boarding  house 
in  New  York  kept  by  a  Mrs.  Bond. 
Adolphe  Menjou,   Tony  Moreno, 
Reginald    Denny,    Ernest    and 
David  Torrence  and  Eulalie  Jen- 
sen lived  there.    They  seldom  had 
the    weekly    board    money.      But 
there  were  poker  games  and  Mrs. 
,    .    .    Reginald  Denny  tells 
days  in  this  old  boarding 
house  in  this  story 


Bond, 
of  the 


awfully  nice  of  you  .  .  .  but 
really,  dont  you  know,,  let's 
be  ourselves.  .    .    . " 

There  were  tall  glasses  of 
iced  drinks  about,  a  ton  box 
of  Sherry's,  cartons  of  ciga- 
rets.  When  embarrassed, 
Reginald  would  pass  the 
Sherry's,  light  someone's 
cigaret  and  lapse  back  into 
his  chair,  or  on  the  edge  of 
his  chair,  really,  with  a 
"Bring  on  the  next"  expres- 
sion. Questions  were  fired  at 
him  like  shrapnel  and  he  met 
them  as  he  met  the  shrapnel 
during  the  World  War. 

What    is    more,    Reginald 

has  come  to  stay.    We'll  tell 

you  why.   .    .    . 

He  is  of  the  new  era  of  screen  stars,  his  head  is  not 

among  the  clouds,  his  well-shod  feet  do  not  disdain  the 

humble  earth,  he  knows  what  he  is  about  and  why  he  is 

about  it,  he  estimates  people  and  things   for  what  they 

are  worth,  including  himself. 

(Continued  on  page  109) 

45 
PAG 


£ 


Motion  Picture  Junior 


Vol.  II.    No.  4 


October,  1926 


The  Junior 
Answer  Man 


ry\\     V.     F.— Mickey     McBan     and 
rothy    Brock  have  been  added  to 
the  cast  of  "Risky  Business,"  in  which 
Vera    Reynolds    is   starred. 
HELEN    M.    K.— Colleen    Moore    is 
my    favorites,    too.     How    did 
you   like  "Ella    Cinders"?     Now  she  is 
working   on    "It    Must    Be   Love,"    with 
Malcolm    McGregor.      You    can    write 
to  her  at    First   National   Studios,  Bur- 
bank,   California. 

THE  MAX  IX  THE  BROWN 
DERBY.— I'm  sure  Mickey  Daniels 
and  Mary  Kornman  will  send  you  their 
pictures  if  you  write  to  them  at  Hal 
Roach  Studios,  Culver  City,  California. 
May  McAvoy  is  playing  in  "The  Fire 
Brigade,*'  with  Charlie  Ray.  Write  to 
them  at  Metro-Goldwyn  Studios,  Cul- 
ver City,  California. 

MARY  ELLEX.— William  Haines 
was  born  in  Staunton,  Virginia.,  Janu- 
ary 1,  1900.  He  is  playing  in  "Tell  it 
to  the  Marines,"  with  Eleanor  Board- 
man  and  Lon  Chaney. 

ELIZABETH  L.— Buddy  Roosevelt 
is  with  Artclass  Pictures,  1540  Broad- 
way, Xew  York  City,  New  York. 
Universal  Pictures  have  their  studio 
at  Universal  City,  California.  Their 
executive  offices  are  located  at  730 
Fifth  Avenue,  Xew  York  City,  Xew 
York. 

DOT. — Lawrence  Gray  was  born 
July  28,  1898.  Gloria  Swanson  was 
Lorn  March  27,  1898.  Gloria's  next 
picture  will  be  "Fine  Manners."  Doug- 
las Fairbanks'  birthday  is  May  23, 
too. 

LILLUMS.— You  can  write  to  Col- 
leen   Moore  at   First   Xational    Studios, 


It  will  be  very  trying  for  Joan  Duncan's 
friends  when  she  returns  to  Chicago  .  .  . 
the  fact  that  she  played  with  Jack  Coogan 
during  her  visit  to  Hollywood  will  give  her 
importance 

The    Gang's    reward    for    good    work    in    the 

summertime    is   a   trip   to   the   beach,    where 

they  have  races  along  the  water's  edge 


Joe  Frank  Co  bb  Answers 
the  Questions  Sent  to 
Him  in  Care  of  Movie, 
Jr.,  1 75  Duffield  Street, 
Brooklyn,  New  York 

Burbank,  California.  Betty  Bronson, 
Mary  Brian  and  Esther  Ralston  are  at 
Famous  Players  Studios,  Sixth  and 
Pierce  Avenues,  Astoria,  New  York. 
Vera  Reynolds,  Leatrice  Joy  and  Ed- 
mund Burns  are  at  the  Cecil  De  Mille 
Studios,  Culver  City,  California. 
Constance  Talmadge  is  honeymooning 
in  Europe  at  just  the  present  time. 
Her  latest  picture  is  "The  Duchess 
of  Buffalo." 

JERRY.— I'm  glad  you  like  the 
"Our  Gang"  comedies.  Of  course,  we 
are  going  to  miss  Mickey  Daniels,  but 
he  promises  to  come  around  to  the 
studios  to  see  us  when  he  is  not 
busy  working  on  a  picture.  Baby 
Peggy's  next  picture  is  "April  Fool." 
Perhaps  you  can  get  a  picture  of  her 
at  the  Chadwick  Studios,  Sunset 
Boulevard  and  Gower  Street,  Holly- 
wood, California.  You  can  write  to 
Mary  and  Doug  at  the  Pickford-Fair- 
banks  Studios,  Hollywood,  California. 
Farina  is  at  the  Hal  Roach  Studios, 
Culver  City,  California.  Esther  Ral- 
ston, Betty  Bronson,  Thomas  Meighan, 
Alice  Joyce  and  Lya  de  Putti  are  at 
the  Famous  Players  Studios,  Sixth  and 
Pierce  Avenues,  Astoria,   Long   Island. 

KITTY  F. — I  am  sorry  I  do  not 
know  Virginia  Marshall's  birthday. 
You  can  write  to  her  at  the  Fox  Stu- 
dios, 1401  No.  Western  Avenue,  Holly- 
wood,  California. 

MRS.  H.  V.  C. — You  can  secure  the 
information  you  desire  by  writing  to 
the  Publicity  Department  of  Warner 
Brothers  at  5842  Sunset  Boulevard, 
Hollywood,   California. 


DRAW  FELIX 


And  Win 
a  Prize 


Make  Your  Drawing  Here 


Sharpen   Your  Pencils! 

Every  Young  Artist  May 

Enter  1  his  Contest 


List  of  Prizes 

For  Girls 

First  Prize :       A    dressed    Felix    doll     (standing    about    one 
foot  high). 

Second   Prize :  A    large    wooden    Felix    with    jointed    limbs 
(standing   about   eight   inches   high). 

Third  Prize :      A  walking  Felix  made  of  metal. 

Fourth   Prize:  A  Felix  scooter   (Mechanical  toy  on  wheels). 

For  Boys 

The  boys'  prizes  will  be  the  same  as  the  girls',  except  that 
the  first  prize  will  be  an  undressed  Felix  known  as  the 
Carnival   Felix. 


given  to  the  twelve 


Also  twelve  Felix  Junior  dolls  will 
next  best  artists. 

And  in  addition  to  all  of  these  prizes,  the  Pat  Sullivan 
StudidS  will  award  a  signed  original  drawing  of  Felix  the 
Cat  to  each  of  the  prize  winners  and  also  to  the  next  twenty- 
five  contestants  whose  drawings  are  worthy  of  honorable 
mention. 


List  of  Rules 


1.  Any  boy  or  girl' fourteen  years  old  or  younger  may  enter 
this  contest. 

2.  All  drawings  must  be  mailed  by  the  fifteenth  of  Sep- 
tember. 

3.  Address  your  drawings  to  Felix  Contest  Editor,  175 
Duffield  Street,   Brooklyn,  New  York. 

4.  Pen  or  pencil  may  be  used. 

5.  Make  your  drawing  in  the  space  provided  on  this  page 
or  on  another  sheet  of  paper  of  the  same  size. 

6.  Mr.  Pat  Sullivan,  the  artist  who  draws  Felix,  will  be  the 
judge. 

7.  In  the  event  of  two  drawings  being  of  equal  merit,  two 
prizes  will  be  given. 

8.  Neatness  will,  count,  but  the  deciding  factor  will  be  the 
clever  idea  back  of  the  drawing. 

9.  It  is  not  necessary  to  draw  Felix  as  he  appears  on  this 
page.  You  may  draw  him- in  any  position  you  wish  .  .  . 
and  give  him  any  expression  you  desire.  You  may  find 
it  helpful  to  see  Felix  on  the  screen  at  your  neighbor- 
hood theater.  Also  there  are  other  drawings  of  Felix  in 
the  back  of  this  magazine. 

10.  No  drawings   will   be   returned. 


Contest    at 
Borgfeldt    C\ 


anqcd    thru     coitrtc, 
ipany    and    the    Ed:. 


if    Pat    Sulli 
onal    Film    E. 


47 

PAG 


t 


mammmmmmmmm&immmtimm 


Ruth  Harriet  Louise 


It  Happened  Very  Suddenly 

Mon  Dicu!  More  marriage  news!  It  must  be  the  earthquakes.  Mae  Busch  said,  "It  happened  very 
suddenly,"  which  may  sound  like  someone  recountinp  the  events  of  an  automobile  accident  .  .  .  but 
Mae   was    referring    to    her    marriage    to    John    Earl    Cassell,    a    civil    engineer,    at   Riverside,    California 


Go  into  your 
living-room  and 
try  to  look  at  it 
■with  the  eyes  of 
a  stranger.  It 
may  be  shabbier 
than  you  had 
supposed    it 


Group  comple- 
mentary pieces 
of  furniture  if 
the  size  of  your 
room  permits  it 
.  .  .  as  in  this 
scene  from  a 
recent  produc- 
tion   .     . 


Making  the  Living-Room  Livable 


By 

Stephen  Gooson 


Mr.  Gooson  is  an  interior  decorator  of  pres- 
tige with  years  of  experience  behind  him.  He 
is  responsible  for  the  charm  of  the  sets  used  in 
First  National  productions.  Every  month  he 
will  offer  a  practical  article  on  decoration  in 
the  home. 


Each  comfortable 
armchair  should 
have  an  occa- 
sional table  near 
it.  And  these 
tables  should  be 
strong 


Lamps,  if  careful- 
ly chosen,  are 
most  important 
adjuncts  to  a 
room.  But  they 
may  be  unbecom- 
ing and  absolutely 
useless 


THE  living-room  is  the  most  important  center  of 
the  home.  Every  housewife  I  know  pays  some 
attention  to  the  appearance  of  her  living-room — 
but  not  enough  attention  and  often  not  the  right 
kind  of  attention,  at  that. 

It's  so  easy  to  furnish  the  living-room  with  a  few 
necessary  pieces  of  furniture,  to  add  a  lamp  or  two  and 
toss  a  few  cushions  on  the  couch — and  think  that  the 
living-room  is  finished.  The  result  may  be  a  room  that 
is  fairly  comfortable,  but  when  furnished  in  such  a  hap- 
hazard way  it  is  quite  likely  to  be  lacking  in  both  charm 
and  beauty. 

The    hostess    should    remember    that    her    living-room 

49 
PAG 


I 


There  is  a 
peaceful 
charm  to  this 
corner  of  Cecil 
B.  De  Mille's 
living-room. 
And  notice 
how  the  dra- 
peries follow 
the  lines  of  the 
window 


1  oo  mar.y  peo- 
ple neglect 
comfortable 
p  i  1 1  o  v/  s  and 
cushions 


Donald  Bi.lclle  Keyes 


"Every  Hostess  Should  Remember  That  Her  Living-Room 

Represents  Her' 


says 
Stephen 
Gooson 


Books  conven- 
ient on  open 
shelves  are  a 
lovely    part    of   a 


room  s      ft 


,h- 


ings.  Stiff  rows 
of  books  behind 
glass  doors  may 
be  neat,  but  they 
do  not  spell  hos- 
pitality      and 


represents  her.  She  is  judged  more  by  her  living-room 
than  by  any  room  in  the  house.  A  living-room  means 
hospitality — and  it  must  speak  for  itself  and  represent 
the  charm  and  culture  of  the  family.  The  days  have 
passed  when  any  old  sort  of  living-room  will  do.  We 
all  have  learned  too  much  about  decoration  to  accept  a 
room  that  is  without  beauty.  It's  so  easy,  however,  to 
get  into  the  habit  of  neglecting  the  home,  that  is,  of  taking 
it  for  granted,  because  the  living-room  has  passed  muster 
in  the  past  is  no  reason  why  it  may  not  need  to  be  done 
over  now. 

Go  into  your  living-room  and  try  to  look  at  it  with  the 
eyes  of  a  stranger.  What  do  you  see?  Are  the  cushions 
shabbier  than  you  supposed  them  to  be?  Are  the  furni- 
ture coverings  duller  and  less  interesting?  Are  the  walls 
a  bit  dingy?  1  am  sure  you  will  notice  half  a  dozen 
things  that  can  be  changed  and  without  a  great  expendi- 
ture of  money.  A  living-room  to  be  really  livable  should 
be  comfortable  and  beautiful,  too,  and  reflect  the  family 
that  lives  in  it.     It  should  be  charming  and  hospitable. 

If  I  had  only  a  small  amount  of  money  to  spend  on  a 
living-room — and  alas,  those  days  so  many  of  us  are 
pressed  lor  money  because  there  are  so  many  things  to 
do  with  whatever  money  happens  to  be  available — I 
should  put  my  money  into  two  things — walls  and'  slip 
covers.  1  do  not  say  that  these  are  the  most  important 
things  in  a  living-room,  but  I  do  say  that  these  can,  with 
the  least  amount  of  money,  transform  a  living-room  and 
make  it  far  more  lovely. 

Walls  are  backgrounds.  If  you  realize  how  important 
a  background  is  in  a  picture,  you  must  of  necessity  real- 
ize  that  ii  is  just  as  important  in  a  home,  for  the  walls 
of  a  home  form  the  background  for  everyone  who  comes 
into  il.  If  I  wanted  my  living-room  to  be  attractive,  I 
would  bo  sure  first  of  all,  then,  that  my  background  was 
correct  and  good-looking. 

It  doesn't  make  much  difference  what  material  you  use 
(Continued  on  page  114) 


Richard  Dix  will  pursue  the  pigskin  in  his  next 
picture,  for  he  plays  the  title  role  in  "The  Quar- 
terback." It  promises  to  be  a  picture  faithful  to 
the  autumnal  game  of  the  gridiron  in  every 
detail,  for  it  is  from  the  typewriter  of  W.  0. 
McGeeghan,  the  sporting  writer  on  the  New 
York  Tribune,  who  should  know  about  such 
things.  Esther  Ralston  is  the  girl  .  .  .  and 
if  we  know  anything  about  girls  at  football 
games,  she  will  wave  a  pennant  .  .  .  and  wear 
a  large  chrysanthemum   .    .    . 


"Rich"  Steals 

Red  Granges 

Stuff 


sip 

PA  Gil 


GIRLS  WILL 


It  might  be  well  to  preserve  these 
mother  the   next   time  she  waxes 

when  she 


When  Isabel  Vane  trod 
the  boards  in  New  York 
theaters,  one  thing 
was  demanded  of 
woman's  crowning 
glory — it  must  be  suf- 
ficiently long  and  thick 
to  cover  the  padding 
that  was  laboriously 
pinned  about  the  head. 
Mary  Astor  is  our  ar- 
gument in  favor  of  the 
boyish  bob  versus  this 
pasae    coiffure 


Old    Photo- 
graphs  by 
Courtesy  of 
Harold 
Seton 


Hartsook 


Sarony  &  Co. 


The  younger  girls  did  not  at- 
tempt to  carry  the  entire 
weight  of  their  hair  upon 
their  head.  They  compro- 
mised and  wound  one  portion 
in  a  braid  that  was  pinned  up, 
while  the  other  half  hung 
down  their  back.  Some  of 
these  people  with  a  flair  for 
figuring  how  many  nickels  it 
would  take,  laid  end  to  end, 
to  encircle  the  globe,  might 
figure  how  many  hours  Clara 
Bow  will  save  during  her  life- 
time because  she  does  not 
arrange  her  hair  as  Kate 
Bateman   did 


W.  &  D.  Downey 


No  wonder  the  ladies  had  a 
reputation  for  never  being  on 
time.  Imagine  trying  to 
achieve  this  Grecian  effect  of 
Julia  Neilson's,  as  half  the 
feminine  population  of  New 
York  did  when  Miss  Neilson 
was  a  stage  favorite.  Speak- 
ing of  such  things,  Helene 
Costello  has  no  cause  to  re- 
gret the  recent  clipping  of 
her  tresses 


Harold  Dean  Caraey 


52 


BE  GIRLS 

pages  and  show  them  to  grand- 
sentimental  about  the  fair  sex 
was  a  girl. 


The  Boyish 
Bob  Versus 
Curls,  Rats 
and  Trans- 
formations 


A.  Bogardus 


The  fringe  and  coro- 
net effect  was  quite 
the  thing.  But  it 
meant  that  the  parts 
in  your  hair  had  to  be 
very  correct.  Judg- 
ing by  this  old  picture 
of  Carlotta  Patti,  the 
sister  of  Adelina,  this 
was  no  simple  matter. 
Billie  Dove's  worst 
problem  is  getting  the 
little  curl  in  front  of 
her  ear  to  stay  in 
place 


Spurr 


If  you  lean  towards  the 
bang,  take  your  choice  be- 
tween the  boyish  bang  that 
the  piquant  Louise  Brooks 
wears  and  the  spit  curl 
fringe  of  Emma  Stockman. 
Now  we  understand  why 
they  used  to  wear  the  hats 
on  the  very  back  of  their 
heads.  It  would  have  been 
a  pity  to  hide  such  artistic 
efforts 


Gurney  &  Son 


Words  fail  us 
when  we  look  at 
this  picture  of 
Ida  Devere.  Pad- 
ding and  curls 
had  to  be  held 
exactly  in  place 
by  a  net.  And 
this  was  appli- 
qued  with  jet 
flowers.  Virginia 
Valli's  chic  bob 
would  seem  more 
practical  if  you 
planned  to  move 
about  now  and 
then 


George  P.  Hommel 


Bebe  and  Her  Modern  Sir  Walter  Raleigh 


With  Char- 
lie Paddock 
and  Bebe, 
on  the  left, 
is  Thomas 
Hall 


A  LL  the  favorite  bachelors  of  Hollywood  have  been 
/  \  running  after  Bebe  Daniels  for  years.  But  it 
£  j^  took  a  professional  runner  to  catch  up  with 
her.  You  have  all  heard  of  Charlie  Paddock, 
whose  specialty  is  pole-vaulting  but  who  is  a  crack  all- 
round  athlete.  After  his  triumphs  in  the  West,  it  was 
inevitable  that  he  would  be  offered  a  part  in  the  movies, 
always  hospitable  to  celebrated  figures. 

His  first  role  was  with  Bebe  in  "The  Campus  Flirt." 
He  made  the  most  of  this  and  saw  that  Bebe  got  safely 
home  from  the  studios  every  night  without  being  way- 
laid by  any  of  the  aforementioned  bachelors. 

Then  one  day  it  rained.     Charlie  carried  Bebe  across 

a   mud   puddle   to   her   dressing-room.      That   settled   it. 

-  Charlie,  like  Sir  Walter  Raleigh,  knows  how  queens  feel 

about  mud  puddles.    And  when  soon  after  this  he  asked 

Bebe  to  marry  him,  she  said  she  would. 

The  only  thing  that  makes  us  skeptical  is  that  Bebe 
insists  upon  a  twelve  months'  engagement.  Who  ever 
heard  of  anyone  staying  engaged  for  a  year  in  Holly- 
wood?    To  the  same  person,  we  mean. 

And  mud  puddles  are  not  to  be  found  every  day.  (See 
the  advertisements  of  the  All-Year-Round-Club  of 
California.) 


A  Carol  Dempster  Breakfast 

For  those  who  breakfast  simply  for  energy's  sake  and  do  not 

enjoy  the  morning  meal 


CAROL  DEMPSTER  is  one  of  the  ever  increasing 
majority  who  take  their  breakfasts  light. 
Gone  are  the  days — gone  for  most  of  us,  at  any 
rate — when  we  sat  down  to  fruit,  ham  and  eggs, 
if  not  a  minute  steak  with  hashed  brown  potatoes  or  a 
couple   of   chops,   hot   breads,   country   sausage,   several 
cups  of  coffee,  et  cetera,  et  cetera. 

There  may  still  survive  in  Merrie  England  the  custom 
of  breakfasting  heavily,  but  it  does  seem  to  be  dying  out 
in  this  country ;  certainly  it  is  expiring  so  far  as  the 
screen  folk  are  concerned. 

The  diet  craze  may  have  something  to  do  with  it,  but 
not  in  Carol's  case. 

She  assures  us  that  her  "penchant"  for  a  light  break- 
fast has  nothing  to  do  with  reduction. 

It  was  an  unnecessary  assurance,  since  Nature  has 
taken  care  of  Carol  by  fashioning  her  of  a  wand-like 
slenderness. 

Besides,  we  have  had  afternoon  tea  with  Carol  often 
enough  to  know  that  she  has  no  fear  of  lobster  salad  (one 
of    her    favorite    later-in-the-day    dishes)     nor    yet    of 
{Continued  on  page  121) 


BREAKFAST  MENU 

Blackberries  in   Cream 
With  Brown  Sugar 

Toasted  Whole  Wheat  Bread 

Coddled  Egg 

Coffee 


Like  the  farm- 
er she  is,  Carol 
insists  upon 
strictly  fresh 
eggs,  and  she 
gives  the  infal- 
lible test  for 
deter  min  i  n  g 
the  freshness 
of  what  the 
cross- word 
puzzles  call  the 
breakfast    fruit 


Carol  says  this 
breakfast, 
which  she  only 
varies  when 
blackberries 
are  not  in  sea- 
son, contains 
much  energy 
and  at  the 
same  time  is 
light  enough 
to  permit  im- 
mediate     exer- 


55 

PAS 


\ 


A  Forecast  of  the 


The  war  furnished  a  tap- 
estry against  which  many 
authors  continue  to  move 
their  characters.  Both 
"The  Yes  Man"  and  "Te}| 
It  to  the  Marines" 
harken  back  a  few  years 
to  the  days  of  turmoil. 
In  "The  Yes  Man,"  Harry 
Langdon  promises  to  be 
as  seriously  comic  as  ever 
under  a  military  head- 
gear .  .  .  and  Lon  Chaney 
and  Eleanor  Boardman 
are  the  shuttles  that 
weave  the  drama  of  "Tell 
It    to    the    Marines" 


The  Great  Gatsby's  title 
role  should  give  Warner 
Baxter  the  opportunity 
to  invest  himself  with 
glory  that  has  been 
coming  to  him  for  some 
time.  If  you  read  the 
F.  Scott  Fitzgerald  novel 
or  saw  the  stage  play, 
you  will  agree  that 
Lois  Wilson  should  be 
charming  as  Daisy  .  .  . 
and  Neil  Hamilton  a 
pleasant  note  as  Nick 
Carraway,  who  brings 
Daisy  and  Gatsby  to- 
gether after  her  mar- 
riage 


I 


One  thing,  "The  Honeymoon  Express"  will  offer  several 
surprises.  Helene  Costello  is  the  elder  daughter  with 
the  boyish  bob.  The  erstwhile  child  actress,  Virginia 
Lee  Corbin,  is  a  petulant  flapper.  And  Irene  Rich  ages 
to  the  years  of  gray  hair,  spectacles  and  wrinkles  for 
her    portrayal    of    a    harassed    mother 


If  "The  Show  Off"  is  half  the  amusing  presentation 
that  it  was  on  the  stage,  it  would  be  a  pity  to  miss  it. 
New  Yorkers  paid  speculators'  prices  to  laugh  over 
the  father  who  played  the  title  role.  And  the  cast 
virtually  insures  a  good  production.  In  this  scene 
are  Gregory  Kelly,  Claire  McDowell,  Louise  Brooks 
and  Ford  Sterling 


New  Screen  Plays 


■ 


In  our  opinion,  Marshall  Neilan  does  well  to  cast 
Blanche  Sweet  in  his  productions.  She  is  one  of  the 
most  compelling  and  interesting  shadows  on  the 
screen.  Neil  Hamilton  plays  with  her  in  "Diplo- 
macy," which,  it  is  promised,  will  be  something  of  a 
special    production 


Andre  Beranger,  Mae  Murray  and  Conway  Tearle  are 
the  three  corners  of  the  triangle  in  "Altars  of  Desire." 
And  you  just  know  what  complications  will  follow 
when   Conway   bursts   in   upon   this   pretty   little   scene 


57 

PAG 


I 


From  the  Stoke-hole  to  Dick 

Barthelmess' 


About  a  year  ago  Gard- 
ner James  arrived  in  the 
Los  Angeles  harbor  as 
a  coal-heaver  aboard  a 
tramp  steamer.  Today 
he  is  under  a  five-year 
contract  and  being 
groomed  to  fill  Dick 
Barthelmess'   shoes 


Sho 


es 


That  Is 
the  Story 

of 
Gardner 

James 


A  LITTLE  over  a  year  ago  Gardner  James, 
a  young  Irish  lad,  arrived  in  the  Los 
Angeles  harbor  aboard  a  tramp  steamer. 
He  had  served  as  a  coal-heaver  on  the 
voyage  from  New  York. 

Today  he  holds  a  five-year  contract  with 
the  Inspiration  Pictures.     Dick  Barthelmess 
is  leaving  them  at  the  expiration  of  his  con- 
tract and  Gardner  James  is  to  be  groomed 
for  Dick's  place  on  their  program. 
Talk  about  the  Horatio  Alger  novels 
James  was  on  the  New  York  stage  as  a 
child.     But  he  knew  the  lure  of  a  sea  and  as  soon 
as  he  was  old  enough  he  shipped  on  a  boat  that  was 
going  around  the  world.     He  worked  his  way  up 
from  cabin-boy  to  deck-hand  and  then  to  third  mate. 
He  was  twenty-three  when  he  finally  returned  to 
New  York.    And  he  was  broke.     He  wanted  to  try 
his  hand  at  theatricals  again  .  .  .  not  on  the  stage 
but  on  the  screen.     But  he  had  no  money  to  get  to 
Los  Angeles.    He  signed  up  on  the  first  vessel 
bound  for  California — as  a  coal-heaver. 

It  was  ten  days  after  he  landed  on  the 
Pacific  coast  that  J.  Stuart  Blackton  gave  him 
his  first  role  .  .  .  Lord  Rollo  in  "The  Happy 
Warrior."  His  work  in  this  picture  was 
promising  and  Mr.  Blackton  cast  him  in  "Hell 
Bent  fer  Heaven." 

{Continued  on  page  107) 


Hollywood 
Notes 

On  Several  Famous  People 

By  Eugene  V.  Brewster 


Von  Stroheim  Steps  Before  the  Cameras  Again 

I  SAT  in  a  comfortable  chair  in  the  back  of  a  colossal 
and  gorgeous  cathedral,  where  some  five  hundred 
barons,  dukes,  generals,  captains,  cardinals,  priest- 
esses, duchesses,  soldiers,  choir  boys,  honor  maids  and 
what  not  were  participating  in  a  wedding.  Beside  me  sat 
Mrs.  Erich  von  Stroheim.  In  front  of  us,  her  husband 
was  being  married  to  Zasu  Pitts.  There  was  music,  but 
it  was  far  from  being  a  cathedral  pipe  organ — only  a  little 
studio  orchestra  playing  "Here  comes  the  bride"  in  jazz 
tempo.  The  costumes  were  brilliant,  and  the  scene  was 
dazzlingly  beautiful  and  impressive.  I  smoked  on,  and 
talked  on  to  pretty  Mrs.  Erich  while  the  camera  by  our 
side  clicked  on.  After  Erich  was  duly  married  he  ran 
to  a  dressing-room  and  in  a  few  minutes  returned  dressed 
in  boots,  trousers,  and  sleeveless  B.  V.  D.'s,  and  began 
directing  another  scene  in  "The  Wedding  March." 

"Could  your  husband  ever  be  as  cruel  and  villainous 
as  his   screen  impersonations  make   him  out  to  be  ?"  •  I 


%rn 


In  film  circles 
they  feel  that 
"The  Wedding 
March"  will  ex- 
cel "The  Merry 
Widow."  That 
remains  to  be 
seen.  It  has  no 
John  Gilbert,  but 
it  has  Von  Stro- 
heim's  new  star, 
Fay    Wray 


leading  ed- 
itors and  critics 
were  asked  to 
name  the  ten 
best  directors. 
Erich  von  Stro- 
heim received 
the  most  votes. 
But,  not  satis- 
fied with  this 
achievement,  he 
will  again  step 
before  the  cam- 
era in  "The 
Wedding  March" 


asked  Mrs.  Von.  She  laughed  and 
said  that  after  living  with  him  for 
eight  years  she  ought  to  be  competent 
to  know  him  as  he  really  was,  and 
that  no  better  man  ever  lived — gener- 
ous, courteous,  sympathetic  and  con- 
siderate to  a  fault,  if  such  is  possible.  "Only  yesterday," 
she  continued,  "that  officer  over  there  blundered  terribly 
and  spoiled  a  big  scene  five  times,  but  Erich  did  not  once 
lose  his  temper.  He  spoke  to  the  fellow  with  great  kind- 
ness and  the  sixth  time  it  was  O.  K." 

A  moment  later  Erich  came  over  to  us.  He  clicked 
his  heels,  of  course.  The  long  deep  scar  across  his  fore- 
head had  been  accentuated  and  he  looked  the  strong, 
fascinating  personality  that  he  is.  He  stands  about  five 
feet  seven  and  is  powerfully  built.  His  eyes  are  large, 
brown,  deep-set  and  brilliant.  His  nose  is  large  and 
straight  and  he  carries  himself  as  if  born  to  command. 
And  he  does  command,  but  not  like  a  commander 
— his  large  flock  of  associates  and  helpers  follow  and 
obey  like  so  many  idolaters.  It  is  no  joke  running 
a  cathedral  and  a  royal  wedding,  and  half  a  thou- 
sand extras,  but  Erich  and  Harry  Carr  seemed  to  be 
succeeding  admirably,  while  Pat  Powers,  the  producer, 
walked  around  approvingly.  They  all  tell  me  that  "The 
Wedding  March"  will  beat  Erich's  last,  "The  Merry 
Widow,"  but  that  remains  to  be  seen.  It  has  no  John 
Gilbert,  yet  it  has  an  Erich  von  Stroheim — also  a  brand- 
new  star,  Fay  Wray. 

I  asked  von  Stroheim  what  he  thought  of  the  verdict 
■*•  recently  handed  in  by  the  leading  editors  of  the  United 
States,  who  were  asked  to  name  the  ten  best  directors, 
Erich  receiving  the  most  votes,  129,  Vidor,  121,  Griffith, 
114,  De  Mille,  81,  etc.  Von  blushed  and  modestly  said, 
"They're  all  wrong — but  I'm  doing  my  best."  And  he 
does  his  best.  He  works  about  twenty-four  hours  a  day. 
He's  on  the  lot  about  fifteen,  on  the  average,  and  he's 
working  the  other  ten,  too — even  when  he  sleeps. 

T  have  been  introduced  to  Edgar  Fawcett  seven  different 
times,  and  after  each  handshake  we  laugh,  as  he  says, 
"So  I  fooled  you  again !"  You  see  he  has  a  differ- 
ent make-up  and  costume  every  time  and  he  steps  into 
these  varied  portrayals  so  well  that  I  cannot  keep  track 
of  him. 

{Continued  on  page  122) 

59 
PAG 


I 


The  Picture   Parade 


■ 

Eg£  -»»U 

■I 

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p^__ 

« 


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^^ff  A 

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^^F" 

60 


MEN   OF  STEEL-Drama-80% 

A  MOVING,  rugged  story  is  on  view  in  "Men  of  Steel"  It  has 
a  solidarity,  a  compactness  about  it  which  is  suggested  thruout — 
and  the  characterization  provides  the  motivation  of  the  plot.  Sym- 
bolism is  suggested,  too.  As  the  raw  ore  enters  the  crucible,  to 
emerge  as  steel — the  symbol  of  strength — so  the  raw,  stolid  workman 
becomes  thru  a  refining  process  a  power  in  the  community. 

That's  the  idea  behind  this  picture,  regardless  of  any  plot  ramifica- 
tions. Some  may  scoff  at  its  obvious  treatment,  and  its  melodramatic 
fireworks  (they  do  become  a  trifle  far-fetched)  which  build  to  a  con- 
ventional finish — but  these  scoffers  will  have  missed  the  simplicity  of 
its  theme,  the  ruggedness  of  its  action,  and  the  lusty  vigor  of  its 
characterization. 

Life  in  the  raw  (is  exposed  here — the  life  of  men  who  work  with 
their  hands.  Their  background  comprises  giant  shovels  and  cranes, 
flaming  furnaces  and  chimneys.  Work,  titanic  work,  is  being  carried 
on — and  it  is  this  work  which  dwarfs  the  romance  and  makes  the 
film  a  forceful,  compelling  drama. 

The  impression  gathered  is  one  of  a  surging  realism  which  swallows 
up  its  hokum.  The  energy  of  America  is  being  released — and  that 
idea  will  probably  be  accepted  by  most  of  those  who  see  it.  As  for 
entertainment,  it  presents  a  kaleidoscopic  sweep  of  events — moving 
graphically  and  directly  to  a  climax. 

Milton  Sills  suggests  a  true  son  of  the  workshop,  a  grimy  laborer — 
who  has  the  force  and  energy  to  rise  above  his  environment.  It  is 
only  when  he  becomes  too  immaculate  in  his  triumph  that  he  misses 
the  realities.  The  others  in  the  cast  are  excellent — especially  Doris 
Kenyon,  Victor  McLaglen  and  George  Fawcett. — First  National. 

YOU  NEVER  KNOW  WOMEN 

— Romantic  Drama — 80% 

yHE  German  influence  is  suggested  in  this  picture.  There  is 
thought  behind  it — not  only  in  the  treatment  of  the  plot,  but  in  the 
handling  of  the  camera  to  record  true  characterization.  William 
Wellman,  who  directed  the  opus,  may  now  go  to  the  head  of  the 
class.  He  ha^  taken  a  conventional  yarn  of  unrequited  love  and 
woven  it  into  something  which  carries  the  quality  of   freshness. 

The  jtiece  is  smart  and  sophisticated,  even  tho  it  sings  a  sort  of 
dying  swan  song  for  its  theme.  A  Russian  troupe,  patterned  after 
the  more  or  less  famous  Chauvc  Souris,  takes  up  the  background. 
The  principal  male  member,  a  magician  who  also  indulges  in  tricks 
a  la  Houdini,  discovers  himself  accepted  as  a  big  brother  instead  of  a 
lover  by  the  leading  actress  of  the  troupe.  She  has  responded  to 
the  ardent  advances  of  a  gay  philanderer  who  votes  in  America. 

Do  you  catch  the  simplicity  of  the  idea?  Surely  it  is  obvious  and 
becomes  hokumized  toward  the  end,  but  it  succeeds  in  capturing  the 
fancy  and  holding  it.  The  camera  shoots  the  action  from  many 
angles — the  theater  shots  being  exceptionally  well  executed. 

The  picture  serves  as  Florence  Vidor's  entry  among  the  stars.  She 
gives  her  usual  sympathetic  performance — and  her  supporting  cast 
includes  such  seasoned  troupers  as  Lowell  Sherman  and  Clive  Brook. 

A  right  clever  film,  this — with  a  place  for  everything — and  with 
everything  in  place. — Paramount. 

BIGGER    THAN  BARNUM'S-Romantic  Drama-70% 

'T'HE  title  is  the  strongest  point  about  this  picture.  But  it  surely 
exaggerates  its  contents.  What  is  unfolded  must  be  cataloged  as 
an  obviously  simple  circus  yarn — that  barely  gets  out  of  the  "Rollo" 
series  in  the  way  its  figures  and  plot  are  handled.  The  title,  however, 
has  "box-office"  written  all  over  it.  Take  it  away,  and  there  is 
nothing  left  but  a  romantic  feud  which  is  settled  under  a  one-ring  top. 

It  concerns  a  tight-rope  act — the  troupers  being  an  old-timer,  his 
son  and  a  girl.  Neither  of  the  men  is  in  favor  of  the  girl's  risking 
her  life  eighty  feet  in  the  air — especially  when  the  act  is  billed  as 
working  without  a  safety  net.  So  the  despicable  villain  "goes  Des- 
mond" and  offers  to  double  for  the  old  man.  When  the  latter,  thru 
pride,  tries  to  do  his  stuff,  he  falls"  and  becomes  crippled. 

Thus  the  story  builds  to  its  conflict  between  the  girl  on  one  side 
and  l  he  heroic  aerialist  and  the  villain  on  the  other.  She  brands  the 
good  youth  a  coward,  but  he  proves  his  mettle  when  he  walks  a 
raph  wire  and  saves  his  dad  from  perishing  in  a  hotel  fire. 

Outside  of  one  or  two  thrills,  the  piece  hasn't  much  to  recommend 
it.  It  follows  too  closely  on  the  heels  of  "Variety"  to  be  accepted  as 
a  real  slice  of  circus  life.  However,  there  is  an  audience  for  it.  And 
Viola  Dana  and  Ralph  Lewis  are  competent  enough.— Film  Bookiiu) 
Office. 


A   GUIDE   TO   THE  GOOD   PICTURES 

TA/E  will  publish  our  reviews  in  a  uniform  size  so  that  they  may  be  filed  for  future  reference, 
by  critics  whose  viewpoints  are  unbiased.      The  ratings  should  be  of  special  assistance. 
Ratings:  Excellent,  95%;  Good,  80%;  Fair,  70%;  Poor,  50% 


They  are  written 


SO    THIS   IS   PARIS-Farce-70% 

ZJERR  LUBITSCH  has  descended  to  the  American  level,  and 
given  us  a  picture  as  full  of  forced  situations,  crude  humor  and 
poor  taste  as  our  very  worst  native  product.  He  has  even  sunk  a 
little  below  the  American  standard  of  light  comedy,  which  has  been 
raised  considerably  in  the  past  year.  "So  This  Is  Paris"  is  a  social 
comedy,  a  quadrangle,  a  light  affair  of  marriage  and  flirtation  and 
jealousy,  which  must  depend  entirely  on  the  clever  handling  of  situa- 
tions for  its  humor  and  interest.  It  aspires  to  equal  "The  Marriage 
Circle"  in  complexity  and  ingenuity.  But  it  does  not  do  this.  Where 
Lubitsch  was  risque,  he  is 'now  merely  vulgar. 

There  are  some  interesting  technical  effects  in  the  dance  sequence, 
and  one  or  two  bright  moments  when  you  smile  in  spite  of  yourself. 
Monte  Blue,  who  has  behaved  like  a  gentleman  in  so  many  Lubitsch 
pictures,  reverts  to  type  under  the  influence  of  Libyan  Tashman.  And 
Andre  Beranger  will  amuse  only  those  who  have  never  seen  him. 
Patsy  Ruth  Miller,  however,  behaves  credibly  and  with  appeal  in  a 
dreadful  role.  This  is,  as  the  title  indicates,  a  tale  of  Paris.  But 
Lubitsch  sets  out  to  tell  it  with  a  most  terribly  American  cast,  and  a 
set  of  slangy  subtitles  calculated  to  destroy  the  last  shred  of  illusion. 
Even  to  one  who  has  never  been  there,  it  is  quite  obvious  that  this 
is  not  Paris. — Warner  Brothers. 

M  ANT  RAP— Romantic  Comedy— 80% 

Lf/TIOEVER  seized  upon  the  chance  to  take  the  bunk  out  of  West- 
vv  eras  is  deserving  of  a  gold  gewgaw  of  some  kind.  Here  is  Sin- 
clair Lewis'  story — which  more  or  less  satirized  the  great  open  spaces 
— coming  to  light  on  the  screen,  with  most  of  its  spirit  intact.  In 
other  words,  the  sponsors  have  worked  on  the  premise  that  intelligence 
is  abroad — that  it  stalks  among  the  movie  patrons  now  and  then. 

As  a  result,  we  have  a  clever  take-off  on  the  great  open  spaces — a 
take-off  on  a  love  triangle — in  which  the  wronged  husband  refuses 
to  take  the  law  in  his  own  hands,  but  looks  philosophically  upon  the 
amatory  inclinations  of  his  spouse. 

And  who  could  be  a  better  choice  for  the  little  manicurist  from  the 
city  than  Clara  Bow?  When  the  big,  primitive  backwoodsman  comes 
forth  from  the  tall  pines  to  taste  a  bit  of  adventure  in  the  city,  he 
becomes  smitten  with  the  ways  of  the  spirited  girl.  And  whisks  her 
back  to  the  open  country— to  God's  vast  cathedral — where  she  pro- 
ceeds to  vamp  all  the  boys  in  general  and  a  chap  from  the  city  in 
particular. 

The  appealing  points  of  the  picture — its  humor  and  charm — arise 
from  her  reactions  to  her  primitive  friends  and  settings.  In  the  end, 
she  vows  to  be  a  good  girl,  having  become  fed  up  with  city  slickers. 

The  piece  is  decorated  with  pithy  and  pointed  subtitles — and  the 
acting  is  a  treat,  particularly  Miss  Bow's  performance  and  the  char- 
acter study  by  Ernest  Torrence  as  the  backwoods  husband. — Para- 
mount. 

THE  ROAD  TO  MANDALAY-Mdodrama-70% 

/^UTSIDE  of  the  technical  arrangements,  the  marks  of  production, 
^  so  to  speak,  which  concern  the  settings,  atmosphere,  camera 
angles — and  the  straightforward  progress  of  the  story — this  picture 
cannot  be  called  any  "great  shakes."  True,  it  gives  Lon  Chaney 
another  opportunity  to  tuck  a  weird  characterization  away  in  his 
gallery,  but  the  plot  is  so  sordid  and  morbid  that  were  it  not  for 
the  grip  of  th;  star's  uncanny  performance  it  would  in  all  likelihood 
be  dismissed  as  a  crass  caricature  of  life. 

Chaney  saves  it,  however.  He  appears  as  a  one-eyed  derelict  of 
Singapore,  who  rises  from  the  depths  only  whenever  he  comes  in 
contact  with  his  pure  and  undefiled  offspring — a  girl  reared  in  a 
sanctuary  of  sweetness  and  light. 

Chaney  effects  his  characterization  by  using  some  chemical  in  his 
eye — and  the  story  goes  that  the  process  was  so  painful  that  the  drug 
could  only  be  used  two  hours  at  a  time.  This  eye  of  his  fascinates 
from  the  same  line  of  reasoning  that  a  bird  is  fascinated  by  a  snake. 
Watching  it,  together  with  his  play  of  facial  muscles,  you  can 
understand  the  grip  he  has  on  you.  And  that's  about  all  there  is  to 
the  story. 

It  builds  to  a  most  morbid  finish — when  the  girl  kills  her  father, 
ignorant  of  his  identity.  There  is  a  flash  of  redemption  in  the  plot — 
built  around  the  one-eyed  man's  partner,  who  becomes  a  disciple  of 
good  morals  when  he  falls  in  love  with  the  daughter. 

Tod  Browning  can  be  depended  upon  for  thrilling  melodramas. 
He  measures  out  suspense  in  large  doses.  If  his  story  was  as  good 
as  his  direction,  he  would  have  another-  "Unholy  Three"  on  his 
hands. — Metro-Goldwyn. 


Mwsn 


PUPPETS  -Romantic  Drama-80% 

LJ  OT  Latin  love  and  vengeance  are  expended  in  this  tale  of 
•*•*  New  York's  little  Italy.  It  suffices  as  entertaining  thruout 
most  of  its  scenes.  It  is  only  toward  the  conclusion  that  the  story 
spends  itself  and  finishes  in  a  blaze  of  hokum. 

S.mie  may  say  that  Milton  Sills  is  not  the  type  to  play  a  son 
of  Sunny  "It.''  But  by  good  make-up  and  a  fair  expression  of 
Latin  gestures,  he  makes  a  first-rate  characterization.  It  is  Sills' 
job  to  enlist  under  his  adopted  colors  for  the  late  war.  He 
reminds  a  "stay-at-home"  or  two  that  the  girl  he  leaves 
behind  is  his  particular  property.  And  seals  his  warning  with 
a  knife. 

When  he  returns  home  to  his  puppet  show,  the  romance  still 
lingers    in    his    heart,    tho    events    haven't    proved    very    peaceful. 

The  picture  tries  to  steal  some  of  the  thunder  of  "The  Dark 
Angel" — and  doesn't  get  awaj'  with  it. 

Still  it  is  an  entertaining  picture — one  carrying  its  share  of 
story  interest. — I-'irst  National. 


THE  CLINGING  VINE-eo% 

DEGGY  WOOD  talked  her  way  thru  the  stage  version  of  "The 
Clinging  Vine"  with  creditable  success.  But  we  cant  imagine 
what  makes  P.  D.  C.  or  Leatrice  Joy  go  in  for  this  brand  of 
stuff.  The  story,  if  it  can  be  so  termed,  has  to  do  with  Miss 
Joy  in  the  role  of  "A.  B.,"  an  efficient  and  entirely  sexless  young 
woman  with  flat-heeled  shoes  who  runs  the  office  she  works  in 
and  the  Boss,  otherwise  known  as  Grandpa.  The  well-known 
Robert  Edeson  is  unhappily  cast  as  Grandpa,  an  elderly  gentle- 
man with  a  passion  for  golf  and  a  consuming  belief  in  the  abilities 
of  "A.  B."  "A.  B."  goes  up  to  Grandpa's  country  place,  bristling 
with  brief  cases.  There  she  gets  into  the  clutches  of  Grandma,  a 
coy  young-old  type.  Grandma  "takes  'A.  B.'  in  hand"  and  trans- 
forms her,  miraculously,  into  feminine  exhibit  No.  1.  She  likewise 
tells  her  that  in  order  to  make  the  grads  with  men  she  must  perr 
petually  flutter  her  eyelashes,  cling  and  tell  them  how  wonderful 
they  are.  She  DOES.  She  then  meets  Tom  Moore,  Grandpa's 
grandson.     They  fall  in  love  .    .    .   and  ...  oh,  but  why  go  on? 


I 


GIGOLO- Drama— 80% 

U  FERBER'S  story  of  the  dancing  men  of  the  Paris  cafes 

ii    a    livelihood   by    lips    from    fat    dow- 

a   character   study   of   an 

in    boy    bruised    and    maimed    by   both    life   and   the    war. 

Probably  fear  of  the  censors  made  hi    dancing  days  briel   indalmosl 

incidental  to  tin-  plot,  but   the  sequence  lasts  long  enough  to  give 

Rod  La  opportunity  to  do  an  unusually  effective  tango. 

Briefly,  concerns    a    smalltown    boy    transplanted    to 

Paris  by  an  Europeanized  moth'!-  and  her  new  husband.     Bi 

Husband  deserts  the  mother.     Mother  dies.     Boy,  wounded 
and  peni  iigolo  in  a   Paris  cal  irl   from 

all    town    finds   him   and   saves    him. 

cterizations    thruout    are   excellent.      Particularly   the 
work  of   Louise   Dresser  as  the  woman   who  was  al 
old.    Rod  i-  consistent!     good,  and  Jobyna  Ralston  i       veet    >    the 
girl  he  left  behind. 

el  lent  ly  directed  by  William  K.   Howard. — Pro 
Distributing  Corp. 

62 

as. 


THE   SPEEDING     V EN  US-Romantic  Drama-70% 

DO  you  recall  the  Wally  Reid  stories — wherein  he  dashed  across 
the  continent  in  a  fast  roadster  to  beat  the  Limited  carrying 
the  villain  or  the  irate  father  of  his  sweetheart?  Well,  this 
picture  is  cut  from  the  same  pattern,  tho  it  is  minus  the  dash  and 
pai  i  li    of  the  lamented   Wally's  films. 

Instead  of  bavins  a  breezy  youth  as  its  protagonist,  we  have  a 
spirited  girl.  And  it  is  her  job  of  driving  a  gearless  car  from 
Detroit  to   Los  Angeles  in  order  to  foil  the  villain. 

The  piece  hasn't  much  variety  of  scene  and  follows  a  single 
track  road  in  its  race  across  the  screen.  After  introducing  the 
whys  and  wherefores  of  the  plot  and  establishing  its  characters, 
it  swings  into  action— and  develops  a  fair  amount  of  interest. 
The  motor  hike -becomes  monotonous  because  it  is  unrelieved 
by   any   humor. 

Priscilla  Dean  is  the  girl  at  the  wheel— and  accompanying  her 
as  mechanician  is  Dale  Fuller.  All  fair  enough  if  you  are  not 
looking  for  masterpieces  every  time  you  visit  the  nickelodeon. — 
Producers  Distributing   Corp. 


%wwm 


SUNNY  SIDE    UP-Romantic  Comcdy-70% 

A  FIRST-RATE  idea  is  back  of  this  picture,  but  it  hasn't  been 
made  the  most  of.  For  one  thing,  too  much  emphasis  is 
placed  upon  subordinating  the  plot  so  that  Vera  Reynolds  may 
frolic  before  the  camera.  Not  being  a  comedienne,  the  girl  doesn't 
get  very  good  results. 

As  to  the  idea,  it  projects  a  young  madcap  who  is  employed  in 
a  pickle  factory.  She  is  the  cut-up,  the  wise-cracker — and  she 
knows  it.  When  a  theatrical  producer  sees  her  putting  on  her 
high  jinks,  he  signs  her  to  appear  in  his  musical  comedy.  She 
is  still  the  madcap  on  the  opening  night.  Forgetting  her  lines  and 
having  no  stage  presence,  she  ad  libs — and  gets  away  with  it. 

At  this  point  the  story  sags  for  want  of  any  situations.  To 
revive  it  again,  a  triangle  is  introduced — one  having  to  do  with 
the  theatrical  man's  spouse  having  a  verbal  battle  with  the  fair 
pickler.     But  the  situation  merely  affords  temporary  relief. 

Miss  Reynolds'  comedy  talents  are  too  uneven  as  yet  for  her  to 
carry  such  a  story  by  herself. — Producers  Distributing  Corp. 


THE  TWO-GUN  MAN-Mchdrama-70% 

CHADES  of  Bill  Hart!  Here  comes  Fred  Thomson  loaded 
*"*  down  with  artillery  and  he  starts  his  guns  a-poppin'  from  two 
quick  trigger  fingers.  But  Bill  Hart  in  his  palmiest  days  never 
had  a  horse  like  Silver  King — and  it  is  this  same  noble  steed 
which  saves  the  picture. 

True,  it  is  flavored  with  a  moth-eaten  plot  which  places  Thom- 
son in  the  role  of  a  pseudo-rustler  out  to  get  some  real  rustlers. 
Yet  it  contains  what  the  Dons  of  Oxford  would  call  the  punch. 
Fred  comes  home  from  the  trenches  to  discover  his  aging  father 
evicted  from  his  home  and  the  mortgage  about  to  be  foreclosed. 

Doubling  as  Dad  he  tosses  the  bandits  to  the  right  and  left  of 
him — then  mounts  the  saddle  and  saves  the  heroine,  aside  from 
capturing  the  ringleader.     The  chase  is  picturesquely  staged. 

You  can  spot  the  finish  from  the  opening  scene,  but  nevertheless, 
it  keeps  your  attention  glued  to  the  screen.  Particularly  ex- 
citing is  Thomson's  marksmanship.  The  high  spots,  however,  con- 
cern  the   star's   episodes   with   his   horse. — Film   Booking    Offices. 


HER  HONOR  THE  GOVERNOR-Drama-70%     THE  OLD  ARMY  GAME-Romantic  cOmedy-60% 


DAULINE  FREDERICK  steps  out  in  front  again  in  a  picture 
built  around  the  safest  and  surest  theme  that  ever  graced  a 
stage  or  movie  plot.  We  are  paging  the' element  known  as  mother 
love.  It  is  not  conceived  on  the  simple  yet  grandiose  scale  of 
"Stella  Dallas."  Indeed,  it  takes  a  wide  cut  out  of  melodramatic 
cloth — and  defies  logic  in  a  number  of  instances. 

Yet,  thru  the  intelligent  playing  of  Miss  Frederick— who  con- 
tributes her  emotions  as  well  as  her  poise  and  restraint,  the  film 
takes  on  a  certain  appeal. 

Elected  to  the  office  of  chief  executive  of  her  state,  she  runs 
afoul  of  politicians  who  frame  her  when  she  refuses  to  "yes" 
them.  They  make  her  son  appear  illegitimate  and  succeed  in 
impeaching  her.  And  when  the  boy  tries  to  defend  his  mother's 
good  name,  one  of  the  skulking  politicians  is  accidentally  killed. 
The  boy  is  convicted  of  first  degree  murder  in  a  scene  which  is 
easily  the  high  light  of  the  picture. 

Old  stuff,  you  say?  Right.  Yet  it  contains  its  moments. — Film 
Booking  Offices. 


LJ  ERE  is' a  distinct  disappointment.  After  W.  C.  Fields  started 
the  comic  ball  a-rolling  in  "Poppy,"  we  expected  to  see  him 
reveal  some  more  of  his  funny  antics  in  his  own  individual  style. 
It  isn't  the  comedian's  fault  so  much  as  it  is  the  plot  behind  him. 
There  just  isn't  any.  So  they  introduce  some  of  his  gags  which 
formerly  decorated  the  Follies.  Upon  the  stage  these  episodes 
crackled  with  mirth,  but  on  the  screen  one  is  reminded  of  the 
fact  that  most  of  them  have  been  done  some  time  or  other. 

These  gags  are  used  as  a  frame  for  the  plot — but  the  picture 
is  so  episodic  that  it  simply  fails  to  register. 

If  you  care  to  know  the  meaning  of  the  title,  it  is  defined  as 
"never  give  a  sucker  an  even  break."  So  Fields  flits  from  one 
gag  to  another,  occasionally  playing  the  sucker  himself  and  at 
times   making   suckers   of  the  other  players. 

The  decorative  Louise  Brooks  acts  as  the  '  romantic  ballast. 
But  she  adds  nothing  to  the  picture  other  than  a  pleasing  figure 
and  a  pretty  pout.  Fields  is  a  real  comedian.  Will  someone  do 
him  the  honor  of  writing  a  suitable  story  for  him  ? — Para 


PAfiU 


All  Aboard  the  Limerick  Liner 


August 

Prize  Winning 

Limericks 

on 
Page  88 


Tho  Connie  is  married  again, 

She    still    has   a    way   with    the    men, 

And,    as   proof,    she    got    Lew 

To  pose  for  this  view 


Bobby    Vernon's    been    known    to    devour 
Buckwheat   cakes   for  one   solid   hour, 

But   he    later   atones 

With   dyspepsia  and  groans, 


Ben  Turpin's  the  Queen 

of   the  Vamps, 
For     he     has     reversible 
lamps. 
With  just  one  pair  of 
eyes 
He     can     flirt    with     two 
guys 


Arc  you  going  to  be  one  of  the 
lucky  passengers  on  The  Limerick 
Liner?  We  have  $50-00  to  divide 
•  five  writers  of  clever  lines. 
nber  that  the  line  you  submit 
to  complete  a  limerick  must  rhyme 
with  the  first  two.  Send  as  many 
as  yon  like  before  September  soth. 
Address:  Limerick  Contest  175 
Dufficld  Street,   Brooklyn,   N.    Y. 


Says    Miss    Crawford, 

"A    kick's    com- 

me  il  faut 

If     I     just     keep     my 

eye  on   my  toe." 

But  please  tell   me 

■who 
Would     have     eyes 
for    Joan's    shoe 


What  Is  Trumps? 

They    play    bridge    in    the    film 
colony.     Indeed,  yes.     And  how! 

By  Dorothy  Manners 


WE   play   bridge   in   Hollywood. 
Indeed,  yes.    And  how ! 
We    play    for    blood    and    a 
quarter  of  a  cent  a  point. 

Trumps  are  counted  even,  and  four 
aces  in  a  no-trump  hand  score  100. 

We  dont  say  "What  are  trumps?" 
We  say  "What  is  trump?" 

Work,  or  is  it  Works,  has  supplanted 
Hoyle  as  our  authority  and  when  your 
partner  doubles  a  one  bid,  you  are  forced 
to  declare  your  strongest  suit — and  play 
it.  If  he  hasn't  all  the  face  cards  in  his 
dummy,  after  that,  any  jury  will  acquit 
you. 

I  guess  our  best  players  are  Bebe 
Daniels  and  Eddie  Sutherland  and  Jim 
Kirkwood  and  Lila  Lee  and  Larry  Semon 
and  Dorothy  Dwan  and  George  Mel  ford 
and  his  wife  and  the  Walter  McGrails 
and  the  Arthur  Rossons.  But  they  are 
experts,  a  few  of  them  even  able  to  keep 
score,  so  in  a  stricter  sense  it  cant  be  said 
that  we  beginners  really  play  with  them. 
When  in  doubt  with  experts,  it  is  always 
best  to  "pass." 

Sometimes  a  bunch  of  us  get  together 
and  spend  a  whole  evening  at  bridge,  go- 
ing as  high  as  three  or  four  tables  pro- 
gressive.   But  that  is  always  more  or  less 


Dorothy 


James       Y      Ki 


Keyes 


•kwood 


in  the  nature  of  a  party  and  I  dont  think 
people  play  bridge  well  at  a  party  because 
•if  a  player  is  going  to  progress  from  table 
to  table  he  ought  to  be  able  to  get  up 
from  his  chair  at  a  moment's  notice. 

We  usually  play  just  one  table,  tho. 
And  that's  a  lot  nicer.  Because,  gracious, 
bridge  is  just  a  game,  anyway,  and  if  you 
are  going  to  get  any  fun  but  of  it,  you 
want  to  be  able  to  talk,  and  listen  to  the 
radio,  and  answer  the  phone  and  crack  ice 
or  practise  the  St.  Louis  hop  or  any  of 
the  other  things  that  are  liable  to  come 
up  during  the  course  of  an  evening  at 
cards. 

I  think  the  nicest  games  I  know  are 
played  at  the  home  of  a  certain  Leading 
Lady.  She  is  married  to  a  man  known 
as  Her  Husband,  which  is  practically 
ideal,  as  that  makes  one  couple  on  hand 
all  the  time. 

The  last  time  I  was  over  at  her  house 
the  Leading  Lady  and  Her  Husband  and 
a  Comedian  Between  Pictures  and  a  Di- 
rector on  Salary  got  up  a  table.  The  rest 
of  us,  including  relatives  and  other  pro- 
fessional onlookers,  grouped  ourselves 
around  the  players  to  watch.  For  the 
rest  of  this  discussion  on  the  fine  and 
(Continued  on  page  117) 

65 


t 


Photographs  by  Talbot 


A  Word  of  Advice  to  Young 
Men  Who  Wish  to  Escape 
Matrimony 


It  must  be  that  there 
is  something  in  that 
old  wives'  tale  about 
safety  lying  in  num- 
bers. Take  Ben 
Lyon,  for  an  ex- 
ample. Was  there 
ever  such  a  Lothario? 
The  press  is  always 
linking  his  name 
with  that  of  some  fa- 
mous and  beautiful 
lady.  Yet  Ben  still 
keeps   bachelor    hall 


THE  EDITOR 
GOSSIPS 


Of  the  things  that  do 
not  ordinarily  find 
their  way  into  print 


WE  were  lunching  with  one  of  the  girls 
who  is  just  coming  into  prominence  on 
the  screen.    Across  the  dining-room  sat 
another  girl  we  knew.    A  few  years  ago 
every  magazine  editor  sent  interviewers  to  learn 
what  this   latter  girl   thought   about   every   sub- 
ject under  the  sun  .  .  .  from  cabbages  to  kings.     Her 
new  photographs  graced  the  pages  of  all  magazines  and 
newspapers.    And  her  arrival  in  New  York,  once  or  twice 
a  year,  resembled  the  triumphal  procession  of  a  conqueror, 
of  a  Caesar.    Now  she  is  passe. 

There  was  something  poignant  about  it  .  .  .  something 
tragic  and  fated.  Looking  from  one  to  the  other,  we  felt 
as  we  feel  when  we  look  from  an  old  person  to  a  baby. 
One  so  inevitably  mirrors  the  tomorrow  of  the  other. 

In  the  case  of  the  stars,  the  span  is  very  short.  It  is  not 
more  than  a  slim  decade  at  the  most  and  more  likely  a  few 
swift  years.  That  is  the  tragedy  of  stardom.  To  people 
in  most  strata  of  life  .  .  .  in  most  pursuits  and  profes- 
sions .  .  .  the  crest  of  achievement  comes  with  full  ma- 
turity. It  is  in  the  rounded  years  that  you  stand  at  the 
top  of  your  hill. 

But  while  motion  picture  stars  are  in  their  twenties  or 
their  thirties  at  the  very  latest,  they  are  the  most  that  they 
ever  will  be.  The  rest  of  their  days  must  be  spent  in  being 
less  than  they  were  before. 

We  think  of  a  simile.  It  is  like  giving  a  lovely  child  a 
nursery  filled  with  bright  and  new  toys  of  wonderful 
ingenuity  and  marvelous  designs.  The  child  learns  to 
accept  each  toy  as  its  very  own.  Then,  night  after  night, 
phantom  hands  reach  into  this  room  and  remove  the  glit- 
tering delights  until  the  room  seems  quite  bare. 

It  may  be  difficult  for  the  average  mortal  who  worries 
now  and  then  about  the  grocer  or  bootlegger  bill  to  know 
a  sympathy  for  those  with  a  financial  security.  They  may 
say  that  it  is  better  to  have  had  a  few  shining  years  than 
never  to  have  experienced  the  sweets  of  fame  at  all. 
We  wonder  ? 

When  we  were  in  Hollywood  several  months  ago,  we 
marveled  over  its  youth,  possessed  of  wealth  and  those 
pleasantries  of  living  that  gold  brings.  We  thought  that 
nowhere  else  in  all  the  world  was  youth  so  enthroned. 
In  other  places  youth  must  walk  a  treadmill  .  .  .  shuttle 
back  and  forth  from  work  every  day  in  order  that  Age 
may  be  secure.  But  this  is  not  so  in  Hollywood.  Rolls- 
Royces  .  .  .  fragile  gowns  .  .  .  castles  of  uncertain  ar- 
chitecture on  the  seven  hills  .  .  .  here  these  things  are 
youth's  very  own.    And  it  is  good  to  see. 

But  what  about  the  other  side  of  the  story?    Is  the  gall 


G.  L.  Manuel  Freres 


You  could  not  make  Betty 
Blythe  careful  to  preserve 
her  illusion.  She  has  a 
good  time.  And  she  has 
it  in  her  own  way,  regard- 
less  of    appearances 

of  being  less  than  you  have  been  thruout  the  years  that 
normally  belong  to  a  full  fruition  too  great  pay  for  a  few 
golden  moments? 

We  think  that  only  those  who  have  lived  on  the  sunlit 
heights  and  now  walk  slowly  thru  twilight  places  can 
properly  answer. 

NTew  York  in  midsummer  is  frequently  something  to  be 
•^  avoided.  One  day  in  August  the  thermometer's  red 
thread  climbed  to  ninety  something  and  the  trains  out  of 
the  city  were  too  crowded  to  be  considered. 

So  Betty  Blythe  and  Gladys  Hall  and  we  sought  the 
jade  waters  of  the  Shelton  pool.  Betty  parked  her  rose- 
chiffon  gown  and  her  rose  hat  and  parasol  in  one  of  the 
lockers.  The  suit  given  her  by  the  matron  was  too  large. 
The  shower  washed  her  face  of  its  make-up.  But  Betty 
did  not  seem  to  care.  She  dived  into  the  waters,  swam 
a  length  and  came  over  to  the  marble  side  smiling. 

Her  face  was  gay  under  the  bright  bathing  hat.  Her 
long  arm  holding  to  the  ledge  sparkled  with  drops  of 
water.  Betty  was  having  a  jolly  time.  And  Betty  was 
having  a  jolly  time  in  her  ozvn  zvay. 

(Continued  on  page  123) 

67 


I 


News  of  the  Camera  Coast 


Pedestrians  passing  one  of  Los  Angeles'  busiest 
corners  gazed  in  amazement  at  this  antiquated 
wooden  Indian  standing  in  front  of  a  cigar 
store.  But  the  Indian,  on  investigation,  proved 
not  to  be  wooden,  but  Frank  Lackteen.  Frank 
was  winning  a  bet  from  William  Boyd,  made 
during  the  filming  of  "The  Last  Frontier,"  in 
which    he    wears    this    redskin    outfit 


I 


IT  is  said  that  Lillian  Gish  is  to  have  the  role  of  Lorelei 
in  "Gentlemen  Prefer  Blondes."     This  has  stirred  up 
much  wrath  in  the  hearts  of  those  who  liked  the  book. 
"If  Lillian  Gish  is  to  have  the  lead  in  'Gentlemen 
Prefer  Blondes,5  "  said  the  hotel  clerk,  "I  cease  to  be  a 
gentleman." 

"Heaven  knows,"  said  a  little  gold-digger,  living  in  my 
hotel,  "the  girl  has  talent,  but  if  Mr.  Eisman  were  living 
I  e  would  never  pick  her  to  educate.     I  know  lots  of  Mr. 
Eismans    and     Miss 
Loreleis     living     right 
here  in  Hollywood  who 
wouldn't    even   have   to 
-;c  p  out  of  character  to 
do  the  part." 


T  ERS     from     fans 

L'  have  been  coming 
into  the  Paramount 
Studio,  demanding  that 
Jack  Pick  ford  he  given 
difficult     role     of 

;!i  "An  An- 
'iragedy."  So  Jack  is 
mentioned  for 
the  part,  and  some  peo- 
ple insist  it  is  already 
hi-,  altho  this  is  really 
DOl  more  definitely  set- 
tled than  that  Mai  St. 
Qair  will  direct  tin's 
much-disputed    picture. 

robably  is  jn-t  as 
to    play    Clyde, 

as     Mai     is     to 

GS 

01 


Remember  Carlyle  Blackwell?  He  was  recently  married  to  Mrs. 
Leah  Barnato,  the  daughter  of  the  wealthy  diamond  merchant, 
under  whose  will  she  inherited  a  vast  fortune.  The  best  man  was 
William  Gardner,  formerly  British  Consul  in  New  York.  This 
picture   shows   the   wedding   party 


It  looks  as  if  Charlie  Chaplin  would  fulfill  his 
desire  at  last.  For  years  and  years  Charlie  has 
longed  to  play  Napoleon.  And  now  that  role 
will  fall  to  his  lot  if  his  plans  for  a  production 
with   Raquel  Meller   go   thru   as   scheduled 


Daymond  Hatton  returned  home  the  night  of  his  birth- 
A^-  day  to  find  a  surprise  party  awaiting  him. 

Mrs-.  Hatton  gave  the  dinner  with  a  navy  setting.  Ray- 
mond's next  feature  picture  with  Wallace  Beery  is  to  be 
"We're  In  the  Navy  Now,"  which  accounted  for  the 
maritime  fixtures.  Little  papier-mache  sailors  with 
marshmallow  heads  acted  as  place  cards.  The  salted 
almonds  sailed  along  next  to  the  salad  dishes  in  rowboats, 
and  the  ice  cream  was,  served  in  big  candy  sailboats. 

Two  minutes  before  the  dinner  bell  rang  calling  all 
hands  to  come  and  get  it,  the  guests  bowed  their  heads  in 

silent  tribute  to  Wally 
Beery  who  had  been  in- 
vited but  couldn't  come 
because  he  was  at  Cata- 
lina  working  with  the 
company  making  "Old 
Ironsides." 


|7o  x  Films  have 
opened  their  East- 
ern studio  for  the  first 
time  in  many  years. 
Allan  Dwan  presides  at 
its  reopening,  also  cele- 
brating the  beginning 
of  his  contract  as  a  Fox 
director.  Madge  Bel- 
lamy, who  recently 
spent  several  weeks  in 
European  capitals,  has 
returned,  to  star  in  the 
first  Eastern  produc- 
tion. "Summer  Bache- 
lors." Allan  Forrest 
and  Hale  Hamilton  are 
also  in  the  cast. 


By 

Elizabeth 

Greer 

and 

Milton 

Howe 


The  Latest 

News 

of 

Social  and 

Professional 

Circles 


Y; 


When    Tony    Moreno    is    not    being    romantic    under    Metro's    Kleig 

lights    .     .     .    and   when   Milton   Howe   is   not   banging  his   typewriter 

in   order  that   we   go  to  press  on  time    .     .     .    they  are  to   be  found 

in  the  swimming  pool  on  the  Moreno  estate 


ou    may    remember 

Gloria  Gordon  as 
the  girl  who  was  badly 
hurt  in  an  accident  just 
as     she    had    got    her 

first  real  chance  on  the  screen.  She  had  to  give  up  her 
part  in  "The  Romance  of  a  Million  Dollars"  and  it  was 
some  time  before  she  recovered  from  her  injuries.  But 
J.  G.  Bachmann,  the  producer,  didn't  forget  about  her, 
and  the  minute  she  was  completely  well  he  signed  her  up 
for  another  picture.  She  has  just  left  for  Hollywood,  to 
play  the  lead  in  "Studies  in  Wives,"  the  first  American 
picture  to  be  made  by  Doctor  Arkatov,  the  European, 
who  was  a  co-director  of  "The  Cabinet  of  Doctor 
Caligari." 

/"•lara  Bow  has  suddenly  taken  everyone  by  storm.  Her 
^  two  latest  pictures,  "The  Plastic  Age"  and  "Man- 
trap," appeared  on  successive  weeks  on  Broadway,  and 
the  critics,  especially  the  masculine  ones,  got  out  all  their 
most  vivid  and  rhapsodic  adjectives  and  admitted  that 
Clara  is  no  longer  what  she  used  to  be.  The  innocent 
cause  of  all  this  excitement  is  on  her  way  to  New  York  to 
play  opposite  Adolphe  Menjou  in  "The  Ace  of  Cads." 
So  no  doubt  there  will  be  a  stampede  of  writers  to  the 
Paramount  studio,  eager  to  find  out  from  the  lady  herself 
how  it  all  happened. 


Pox, 
1    stor 


incorrigible 
y-buyers  that 
they  are,  have  acquired 
the  screen  rights  to 
"The  Vagabond  King," 
which  has  flourished  as  a  musical  comedy  on  Broadway  all 
winter.  Dennis  King,  that  Shakespearian  actor  who  occa- 
sionally lends  his  gifts  to  musical  shows,  gave  a  very 
interesting  performance  as  Francois  Villon,  the  vagabond 
poet.  So  he  is  being  approached  as  the  most  likely  candi- 
date for  the  screen  role. 

f~\  ne  thing  about  the  motion  picture  people.  They  do 
^^  believe  in  marriage.  Let  those  who  will  prate  about 
single  blessedness. 

Eddie  Sutherland  and  Louise  Brooks  joined  the  long 
list  of  summer  newlyweds.  Coming  to  New  York  all  the 
three  thousand  miles  from  California,  Eddie  wired  Louise 
to  meet  him  at  the  Municipal  building.  She  did  .  .  . 
And  one  of  the  speediest  romances  ever  known,  even 
among  the  film  folk,  was  culminated. 

Eddie  was  married  to  Marjorie  Daw  once  upon  a  time, 
you  know. 

It  is  with  deep  regret  that  the  Motion  Picture  Maga- 
*  zine  marks  the  passing  of  Willard  Louis.  The  screen 
is  poorer  indeed  because  of  his  death.     He  was  ill  only  a 


"Hold  It,"  called  the  still 
photographer  .  .  .  and 
Harry  Langdon  and  Ger- 
trude Astor  tried  to  oblige. 
The  occasion  is  the  filming 
of    "The   Yes   Man" 


When  Ben  Turpin  took  out 
a  marriage  license  to 
marry  Babette  Deitz,  he 
wore  dark  glasses  and  gave 
his  correct  surname,  Ber- 
nard. But  he  had  to  re- 
move the  glasses  to  sign 
the  document.  He  was 
recognized.  And  every- 
where that  the  Turpins 
went  on  their  honeymoon, 
news  photographers  and 
reporters  pursued  them 

Pacific  &  Atlantic 


69 
PAG 


I 


<J5 


^MOTION  PICTURP 
III   I  MAGAZINE     L. 


Rin-Tin-Tin   and   Nanette   are   bringing    up   their   family   in    the    exclusive    Beverly    Hills 

section,   as  befits  their  stellar   station.      "A  Hero   of   the   Big  Snows"    will   frame   their 

next   appearance   upon    the   screen 


x£ 


be 


He  has  determined  not 
known  as  Mae  Murray's  hus- 
band. So  you  will  see  David 
Manor  seeking  fame  thru  his  own 
efforts  in  support  of  Madeline 
Hurlock 


Filming  scenes  in  pi 
this  railroad  station 
is    directing   Willard 


! 


short  time  with  typhoid  pneumonia  and  his   friends  had 
hoped  and  believed  that  he  would  recover. 

C          riMES  fame  is  a  two-edged  sword.     Take  the  case 
^  of  Ramon  Novarro.  .  .  . 

ersal  offered  Metro-Goldwyn-Mayer  a  large  sum 
of    money   if   they    would    release   Ramon   to   them   long 
j  for  him  to  play  Romeo. 
And  Cecil  B.  De  Mille  was  known  to  express  interest  in 
having  Ramon  play  Christ  in  "The  King  of   Kings." 

Ramon    was    eager    to    play    both    roles.      Bui     Metro 
did    not    see   thing-    thai    way.      They    are    planning    an 
ambitious  program  for  this  young  actor  and  they  wished 
p    him    safely    within    the    confines    of    their   own 
tops. 
Incidentally,  ■-peaking  of  the  program  ahead  of  Ramon, 
he  will  do  "Old   Heidelberg"  after  "The  Great  fialeoto" 
nd   following  this   v. ill  come  Conrad's  "Romance." 
70 


mmmmmm 

blic  has  disadvantages.      Crowds,   etc.      So  Warner  Brothers   built 
in    the   studios    for    "The   Passionate    Quest."       J.    Stuart    Blackton 
Louis.      It   was    one    of    the    last   scenes   filmed   before    Mr.    Louis' 
fatal  illness 


I_J  ere  is  a  real  mother-in-law  story — with  a  point  to  it. 
A  A  Larry  Semon,  feature  comedian,  has  again  proved 
himself  to  be  a  very  clever  young  man.  He  not  only 
makes  splendid  comedies,  hut  he  can  handle  a  mother- 
in-law. 

The  comedian  and  his  charming  wife,  Dorothy  Dwan, 
were  guests  of  Dorothy's  mother,  Nancy  Dorothy  Smith, 
al  the  Writer's  Club,  in  Hollywood  recently.  Larry  was 
called  on  to  make  a  speech  about  his  rollicking  comedy  of 
the  war,  "Spuds." 

Everyone  in  Hollywood  knows  that  Mrs.  Smith  has 
always  acted  as  Dorothy's  manager  and  publicist.  After 
the  marriage,  Larry  came  under  her  capable  banner,  and 
now  Mrs.  Smith  also  handles  the  production  publicity  as 
well.  The  strongest  friendship  exists  between  the  three 
and  their  loyalty  to  each  other  is  one  of  the  outstanding 
spots  of  film  home  life. 

( (  ontinued  on  page  85) 


THAT'S  OUT 

The  Funny  Side  of  Serious  Things 
By  Tamar  Lane 


proved   that   so    far   as   actual   facts   are   concerned,   the 
director  has  been  the  thing. 

The  scenario  writer  is  at  a  disadvantage.     If  the  pic- 
'  ture  turns  out  good,  the  director  grabs  all  the  credit  for 
it.     If  it  proves  to  be  a  lemon,  the  director  asserts  that 
he  was  provided  with  a  poor  story. 

The  producers,  however,  are  beginning  to  discover  that 
they  are  being  buncoed. 


Far  Fetched 

SAW  a  picture  the  other  night  in  which  an  assistant 
director  was  shown  taking  pity  upon  a  poor  extra 
girl   and   giving   her   a   twenty-dollar   bill,   to   help 
keep  the  wolf  away  from  the  door. 
We  wish  to  protest  such  inconsistencies  in  films.     As- 
sistant directors  dont  do  such  things.     Besides,  whoever 
heard  of  an  assistant  director  having  twenty  dollars  all 
at  once? 


m^m. 


When  Silence  is  Golden 

A  man  in  Albany  was  arrested  for  talking  out  loud  in 
"**■  a  theater,  during  the  showing  of  "Too  Much 
Money." 

We  dont  blame  the  management  of  the  theater  for  its 
action.  The  culprit  no  doubt  woke  all  the  patrons  from 
a  nice,  sound  sleep. 


Director's  Power  Will  Wane 

"VY/hile   the   director  will   always  be  a  most   important 
v"  factor  in  the  making  of  a  picture,  everything  indi- 
cates that  in  the  near  future  he  will  have  to  bow  consid- 
erably to  the  scenario  author. 

While  producers  have  long  been  exclaiming  that  "the 
story  is  the  thing,"  in  reality  their  weekly  payrolls  have 


Something  is  Going  to  Happen 

YY/e  also  note  that  Warner  Brothers  are  going  to  make  a 
V"  film  entitled  "What  Happened  to  Father." 

This  opens  up  another  virgin  field  for  rival  producer's. 
M-G-M  can  produce  "What  Happened  to  Mother," 
Universal  can  make  "What  Happened  to  Sister,"  and 
Paramount  can  rush  forward  with  "What  Happened  to 
Uncle  John." 


Another  Screen  Face 

Deter  the  Hermit,  one  of  Hollywood's  most  noted 
A    characters,  has  finally  embarked  upon  a  screen  career. 

Peter  is  the  only  person  in  captivity  who  ever  out- 
talked  Elinor  Glyn. 

If  Peter  can  act  as  he  can  talk,  he  ought  to  make  a 
great  hit  in  the  films. 

The  Ten  Best  Directors 

QNE     HUNDRED     AND     FIFTY-EIGHT     critics     thrUOUt     the 

^^  country  recently  cast  their  ballots  as  regards  the  ten 
greatest  screen  directors. 

Here  are  the  ten  megaphone  wielders  who  received  the 
most  votes :  Erich  von  Stroheim,  King  Vidor,  Ernst 
Lubitsch,  D.  W.  Griffith,  James  Cruze,  Cecil  B.  De  Mille, 
Malcolm  St.  Clair,  Rex  Ingram,  Charlie  Chaplin  and 
Herbert  Brenon. 

Not  a  bad  selection.  But  should  F.  W.  Murnau,  Victor 
Seastrom  and  Joseph  von  Sternberg  be  substituted  for 
some  of  those  on  the  list? 

{Continued  on  page  97) 


71  P 

PAGli 


<w 


Crazy    Quilt 


to  finish  all  the  scenes  in  the  set  we  were 
using.     It  is  an   Inez   Uland  picture." 

"My,  she's  a  pretty  thing,"  Mrs.  Schmalz 

said  as   she  went   to  the  cash   register    to 

make  Judith's  change.     "I  always  go  when 

she's    at    the    movies.       She    plays    in    seal 

I  ictures,  too." 

"I  hope  this  will  be  a  good  one."  Judith 

-..id.   turning   to  go.     She  was  glad  to  get 

out  of  the  -tore.     Tonight   she  did  not  find 

yment   in   any   of    the   little   things   that 

usually    i  leased   "her.     As    a    rule,    she    liked 

ilk  about  her  work.     It  was  fun  having 

le    think   you    were    dif- 

nt    because   you    were   an 

actrc-s. 

Why  had  Harvey  Dunn 
failed  to  keep  his  word? 
Why?      Why?      Why? 

Judith  could  think  of 
nothing  else.  And  before 
the  evening  was  over  she 
admitted  to  herself  that  her 
ppointment  was  because 
■  i  Harvey  Dunn  himself 
and  not  because  of  anything 
he  could  do  to  help  her  in 
the    studios. 

Then  she  wondered  if  she 
had  shown  him  how  well 
-he  liked  him  with  his  crisp 
hair,  his  big  brown  eyes 
and  his  long,  loose  frame. 
Perhaps  he  had  been  aware 
of  her  extraordinary  inter- 
est and  felt  it  only  discreet 
to  keep  a  distance.  This 
thought  was  the  most  hu- 
miliating one  yet.  Perhaps 
that  is  why  Judith  suddenly 
accepted  it  as  an  explana- 
tion of  everything.  She 
immediately  decided  that 
she  could  never  go  back  to 
the  Acme  Studios.  And 
idering  that  she  felt  the 
way  about  the  Ex- 
celsior lot,  it  made  the  fu- 
ture  appear   very   difficult. 

Marcus  Goldstein  .  .  . 
Harvey   Dunn  .  .  . 

In  that  second  she  hated 
both  of  them  with  a  great 
fury  generated  by  her  de- 
sire to  succeed.  And  that 
night  she  dreamed  lit  fully 
of  their  two  figures  pushing 
her  back  .  .  .  back  .  .  .  away 
from  the  glitter  and  bril- 
liance of  Xew  York  .  .  .  back 
to  the  mansard  roof  at 
Westport  .  .  .  back  to  the 
r  room  and  those  hor- 
rible derbied  heads  mount- 
ing the  hill  from  the  neighboring  town. 
voke    with    tears    in    her    i 

f    r<  -t.     That    amounted   to   al- 

•  an   illness   with  Judith.     For  she  bad 

■  ptionally  healthy  young 
•ure,    awakening    to    the    morning     re- 
freshed   and    ready    for    whatever    the    day 
might   bring. 
Today  she  fell  no  urge  to  arise.     What 
there    to    live     for?       She    had    e.xpc- 
i  d     far    more    disastrous    disappoint- 

•  .   but    for   the    first    time   in   Iter   nine- 

she    was    inert    with    thi 
of  futility. 

Il     thing    to   do   was   g<  t    up  and 

go  to  the  magazine  studios.    She  knew  that. 
They    might    be   casting    for    illustrations. 

rT\Or   she  might   go  to  the   remaining  motion 

'  0  72 

.AGE 


{Continued  from  page  33) 

picture  studios  in  the  blast,  the  Feature 
Studios  on   Long   Island. 

While  she  was  thinking  about  this  and 
doing  nothing  whatever  about  it.  the  pay 
telephone  in  the  hall  below  rang.  Judith 
found  herself  immediately  alert.  Her  heart 
gave  a  sickening  pound.  .  She  jumped  out 
of  her  bed  and  opened  the  door  on  a  crack. 
She  listened.  Someone  answered  it.  Then 
she  heard  them  begin  a  friendly  conversa- 
tion.    .And  her  apathy  returned. 

"I  seem  to  be  losing  my  sanity,"  she 
thought.      "How    could    he    telephone    me, 


$200 


in 


rizes 


OX  page  thirty-one  of  this  issue  is  a  story  called 
"Crazy  Quilt."  It  finds  its  human  drama  in  motion 
picture  people.  We  are  offering  two  hundred  dollars 
in  prizes  for  the  best  compositions  of  not  more  than  three 
hundred  words  which  express  opinions  as  to  why  "Crazy 
Quilt"   is  a  perfect  title  for  this  story. 

The    rules    are    simple,    but    we    urge   you    to    read    them 
carefully. 


Rules  of  Contest 


1.  Xo  person  may  submit  more  than  one  composition. 

2.  This  contest  is  open  to  all  people  except  employees  of 
Brewster   Publications   and  their   relatives. 

3.  Xo    composition    must    run    over    three    hundred    words. 

4.  Write  on  one  side  of   the   paper  only. 

5.  List  your  name  and  address  at  the  head  of  every  sheet 
of  paper  used. 

6.  Address  compositions  to  Crazy  Quilt  Editor,  175 
Dufneld  Street,  Brooklyn,  N.  Y. 

7.  Xo  communications  about  the  contest  will  be  answered. 

8.  Xo  compositions  will  be  returned. 

9.  Compositions  may  be  sent  any  time  up  to  February  1, 
1927.  But  we  suggest  that  you  read  the  entire  serial 
before  submitting  your  composition.  It  will  run  for 
six  months,  concluding  in  the  February  issue,  so  you 
will    receive    hints    about    the    title    from    time   to    time. 

10.  In  the  event  of  two  or  more  letters  being  of  equal  merit, 
equal  prizes  will  be  given  the  writers. 

11.  The    two   hundred   dollars    will    be    divided    as    follows: 

Prizes 

$100 First  Prize 

50 Second  Prize 

25 Third  Prize 

10 Fourth  Prize 

5 .  .  .  .Fifth,    Sixth    and    Seventh  Prize 


even  if  be  wanted?  He  does  not  know 
where  I  live.  By  this  time  he  may  have 
forgotten   my    name." 

She  slipped  into  her  bathrobe  and  went 
to   see   if   the  bathroom   was  available. 

Chapter  HI 
'I  bat  morning  Harvey  Dunn  reached  the 
studios  a  little  before  ten  o'clock.  Pub- 
licity and  advertising  men  are  all  alike. 
They  arrive  at  their  offices  late  and  never 
■  i  in  to  go  home. 

lie  wandered  aimlessly  about  the  office, 
lie  smoked  a  cigaret.  lie  consulted  with 
his  (diief  about  the  syndication  of  some 
fashion  pictures.  Then  he  went  out  and 
looked  at  the  schedule  board.  The  McAl- 
lister company  had  gone  on  location.    They 


were      evidently      thru      with     yesterday's 
sequence. 

"Damnation,"    muttered    Dunn. 
He   made   his    way   over   to   the   extras' 
dressing-rooms.       The     matron    was     busy 
cleaning  some  garments. 

"Hello,    Mr.    Dunn."      She    greeted    him 
with  an  odd  mixture  of  cordiality  and  im- 
patience.    "What  can  I  do  for  you?     Mind 
if  I  clean  these  while  you  talk?     I  have  to 
see  if   I  can   remove  the  stains  before  the 
dry-cleaners  call  for  the  weekly  batch." 
Harvey   hesitated.     He   leaned   his   body 
against     the    door     and    in- 
dulged    in    a     few     half- 
hearted jibes  about  economy 
regimes. 

He  lit  a  cigaret. 
The  matron  began  to  look 
at  him  suspiciously. 

"You  ain't  come  to  call 
on  me  socially  now,  have 
you?"  she  asked. 
Llarvey  laughed. 
"Maybe,"  he  said.  "But 
I  hoped  you  would  have  a 
message  for  me." 

The  spot  was  obstinate. 
She  rubbed  it  vigorously. 

"Who  would  be  "giving 
me  messages  for  you  ?"  she 
asked. 

"I  thought  perhaps  an 
extra  girl  named  Miss 
Tower  had,"  he  explained. 
Something  of  his  accus- 
tomed peace  of  mind  came 
back  in  the  mere  mention  of 
Judith's  name.  "She  worked 
with  the  McAllister  com- 
pany yesterday.  I  got  some 
copj-  from  her  for  a  story 
I'm  writing  on  extra  girls. 
I  thought  she  might  have 
left  some  word  for  me. 
However,  it  does  not  mat- 
ter." 

After  years  in  the  theater 
and  studios,  Mrs.  Brophy 
knew  something  about  hu- 
man nature.  "It  doesn't 
matter,  you  try  to  tell  me," 
she  said.  "Go  along  with 
you.  It  doesn't  matter,  hey? 
That's  why  you  walked  that 
lazy  body  of  yours  all  the 
way  over  here." 

"You're  a  suspicious  per- 
son," Harvey  announced. 

"I   wasn't  born  suspicious, 
dont    suppose,"    she    philoso- 
phized,     "but      years      with 
people  do  things  to  you." 
llarvey      was      always 
amused   by   Mrs.   Brophy.     He  lit   another 
cigaret. 

Xow  she  was  on  her  favorite  topic  of 
conversation,  the  carelessness  of  the  girls. 
"Just  look  at  that  table,"  she  scolded. 
"Wouldn't  you  think  they  had  maids  to 
^ick  up  after  them  when  they  were  at 
home?     Wouldn't  you?" 

Her  rheumatic  finger  indicated  the  long 
community    dressing-table. 

Harvey  looked.  Then  he  walked  over 
slowly.  There  on  one  end  of  the  table 
was  a  heavy,  brown  wad.  He  picked  it 
up.  Yesterday  it  had  been  a  creamy,  waxy 
gardenia. 

He    left    Mrs.    Brophy    continuing    her 
dirge  of   complaint  and  went  back  to  his 
(Continued   on  page   84) 


Advertising  Section 


OrMOTION  PICTURF 

InOI   I    MAGAZINE       t 


HM  Victoria.  Eugenia 

Queen  ofSpain 


A  recent  portrait  of  Her  Majesty,  Victoria 

Eugenia,  Queen  of  Spain,  here  reproduced 

by  gracious  permission  of  Her  Majesty 

to  the  Pond's  Extract  Company  t 


HER  MAJESTY,  Victoria  Eugenia, 
Queen  of  Spain,  is  granddaughrerof 
Queen  Victoria,  niece  of  King  Edward 
VII,  and  cousin  to  the  reigning  King 
of  England.  When  as  a  Princess  of  the 
British  royal  household  she  married 
the  dark  imperious  King  of  Spain,  she 
was  "a  beauty  from  the  North,  with 
pale  golden  hair,  wild  rose  complexion 
and  eyes  of  malachite  blue."  Today  as 
Victoria  Eugenia,  Queen  of  Spain,  and 
mother  of  six  lovely  children,  sTxCio 
more  beautiful,  more  regal  than  ever. 

THE  silver  Tiffany  jars  below,  en- 
graved with  the  royal  monogram 
and  filled  with  Pond's  Cold  and  Van- 
ishing Creams,  were  recently  sent  by 
the  Pond's  Extract  Company  as  a  gift 
for  Her  Majesty's  dressing  table.  Her 
Majesty,  who  uses  the  creams,  has  ex- 
pressed her  royal  pleasure  in  them. 


The  silver  jars  recently  sent  for  Her 
Majesty's  use  on  her  dressing  table. 

TRY  these  delicate  creams  of  which 
Her  Majesty  has  signified  her  ap- 
preciation—Pond's Cold  Cream  for 
cleansing  the  skin,  Pond's  Vanishing 
Cream  for  an  exquisite  finish,  a  founda- 
tion for  powder  and  complete  protec- 
tion against  exposure. 


FREE  OFFER:  Mail  coupon  for  free 
tubes  of  Pond's  Two  Creams  and  directions 
for  using. 

The  Pond's  Extract  Company,  Dept.  K 
143  Hudson  Street,  New  York  City 

Please  send  me  free  tubes  of  Pond's  Two 
Creams. 

Name 

Street _ 


City_ 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


73 

PAG 


I 


"Shall  I  Go  Into  the  Movies? 


9* 


Doris  Kenyon.  Sept.  5.  1897 


PatO'Mallcy.  Sept.  3.  1892 


May  McAvoy.  Sept.  8.  1901 


Have  your  horoscope  cast  by  Marion  Morgan  Drew  and  see 
if  the  stars  forecast  success  for  you  on  the  screen 

Mary  V.  M.,  February  1 : 

So  you  want  to  be  a~  photoplay wright  ?  Well,  you  have  one  qualification  that  a 
good  many  aspirants  lack,  and  that  is  that  you  at  least  can  spell  and  punctuate. 
You  have  no  idea  of  the  number  of  people  who  try  to  write  photoplays  without  being 
able  to  express  themselves  intelligibly.  As  for  the  astrological  end  of  it,  your  horo- 
scope is  hardly  one  which  shouts  aloud  your  literary  ability.  You  have  great  ap- 
preciation and  emotion,  but  not  many  of  the  points  for  which  we  look  when  deciding 
upon  a  literary  career.  But  I'd  advise  you  to  try  your  hand  at  it,  anyway,  taking 
the  road  around  Robin  Hood's  barn — in  other  words,  master  fiction  writing  first,  re- 
serving photoplay  rights  to  all  your  output,  and  then  after  making  some  impression 
on  the  literary  world,  hand  over  your  published  stories  to  an  agent  to  place  for  you. 

Dr.C.F.N.,JuIyl5: 

Inasmuch  as  you  understand  Astrology,  let's  have  a  technical  answer.  Your 
chart  is  one  which  verifies  thruout  a  choice  of  a  medical  or  professional  career,  for 
instance,  your  Sun  in  the  house  of  health,  your  Moon  in  the  house  of  trusts  and 
legal  matters,  and  Jupiter,  the  physician's  planet,  rising  at  your  birth.  Why  change  ? 
Motion  pictures  are  a  Neptunian  occupation,  with  strong  twelfth  house  affiliations — 
the  ancients  called  the  twelfth  house,  the  "House  of  Shadows,"  altho  the  movies 
were  not  invented  until  ages  afterward.  There  is  nothing  very  powerful  in  either  the 
twelfth  house  or  the  position  of  Neptune  in  your  chart,  the  present  ambition  prob- 
ably coming  from  the  progression  of  your  Moon  thru  the  House  of  Shadows.  Keep 
away  from  the  jumping  celluloid,  Doctor.  Some  of  us  have  to  pay  our  two  bits 
in  at  the  box-office,  you  know. 

Adeline  L.,  January  8: 

The  day  has  passed  when  the  prime  requisite  for  a  motion  picture  career  was  a 
baby  stare  and  natural  curls.  I  dont  discourage  people  who  claim  to  be  unbeautiful 
— at  least,  not  for  that  reason.  I  would  advise  you  not  to  set  your  heart  upon  acting, 
however,  for  there  is  a  restriction  evident  in  your  expression  which  would  make  it 
very  hard  for  you  to  give  out  to  the  public  the  full  force  of  your  inner  emotion. 
Your  best  field  of  work  is  writing.  When  you  can  hide  behind  a  typewriter  you  will 
have  no  difficulty  in  giving  voice  to  sentiment,  emotion  or  fancy,  whereas  in  per- 
sonal appearance  the  thought  that  you  might  be  showing  the  world  your  secret  shrine 
would  stifle  you.  Read  everything  you  can  and  write  as  much  as  possible.  Dont  be 
discouraged  if  you  cannot  sell  your  stuff  at  once,  for  only  the  great  genius  has  much 
to  tell  the  world  until  he  or  she  is  about  forty. 

A.  E.C.,  February  29: 

(Yes,  that  date's  right!)  My  dear  sir;  I  am  an  astrologer,  not  a  mind-reader.  I 
have  absolutely  no  way  of  guessing,  forecasting,  prognosticating  or  deducing  what  par- 
ticular form  of  work  you  may  have  in  mind  when  you  write  me  that  you'd  like  to 
know  what  I  can  say  about  what  you're  thinking  of.  People  get  wild  fancies  every 
day  about  careers  and  such,  and  the  horoscope  has  nothing  whatever  to  do  with  such 
notions.  What  we  can  see  is  what  one  OUGHT  to  do,  not  what  he  or  she  may  drift 
into  or  think  would  be  a.  nice  easy  way  to  earn  a  million  dollars.  Now,  what  you 
(Continued  on  page  89 ) 


EDITOR'S  NOTE:  All  comments  made  in  this  department  are 
based  on  astrological  rules,  but  neither  the  writer  of  this  depart- 
ment nor  this  publication  can  assume  responsibility  for  statements 
made  therein,  because  inaccurate  data  is  sometimes  furnished, 
even  tho  the  sender  believes  it  to  be  correct. 

You  must  send :  your  date  of  birth  .  .  .  your  year  of  birth 
.  .  .  city  or  nearest  town  and  county  of  birth  .  .  .  your  sex  and 
the  hour  and   minute  of  the  day  or   night   when   you   were   born. 


74 


Advertising  Section 


IfWI  I  MAGAZINE      r 


Natural - 
Looking 
Complexions 

are  the  result  of  using 
Pompeian  Beauty  Powder. 
It  is  scientifically  blended 
match    the    shade    of 


your 


skin. 


C7 ^HENEVER  you  are 
\jL> out-of-doors  you 
should  be  especially 
careful  to  select  the 
correct  shade  of  pow- 
der and  to  apply  it 
evenly. 


SHADE     CHART 
for  selecting  your  shade  of 
Pompeian  Beauty  Powder 

Medium  Skin:  The  average 
American  skin  tone  is  medium, 
neither  decidedly  light  nor  defi- 
nitely olive.  This  skin  should  use 
the  Naturelle  shade. 
Olive  Skin:  Women  with  this 
type  of  skin  are  apt  to  have  dark 
•hair  and  eyes.  This  skin  should 
use  the  Rachel  shade  to  match  its 
rich  tones. 

Pink  Skin:  This  is  the  youthful, 
rose-tinted  skin(not  the  floridskin) 
and  should  use  the  Flesh  shade. 
White  Skin:  This  skin  is  unusual, 
but  if  you  have  it  you  should  use 
White  powder  in  the  daytime. 
In  case  of  doubt  about  the  shade 
you  require,  write  a  description  of 
your  skin,  hair  and  eyes  to  me  for 
special  advice. 

Pompeian  Beauty  Powder  is  60c  a 
box.  Also  comes  in  compact  form 
in  a  dainty,  hinge-cover  box  with 
mirror  and  puff.  (Slightly  higher  in 
Canada.)    Satisfaction  guaranteed. 


'U^wi£AA£ 


Specialists 


in  Beauti 


P.  S.     I  also  suggest  that  you  use  Pompeian 

Day  Cream  as  a  foundation  for  your 

Pompeian  Beauty  Powder. 

When  you  wr 


'By  MADAME  JEANNETTE 

Famous  cosmetician,  retained  by  The  Pompeian 

Laboratories  as  a  consultant  to  give  authentic 

advice  regarding  the  care  of  the  skin  and  the 

proper  use  of  beauty  preparations. 

CTK  SOFT,  delicate  texture — a  lovely 
C/i.  satiny  face  —  yet  not  a  sign  of 
powder.  What  is  the  secret  of  her  allur- 
ing complexion?  Does  she  use  powder? 
She  does,  but  a  shade  that  matches  so 
perfectly  the  tone  of  her  skin  that  she 
secures  the  good  effects  of  powder  with- 
out seeming  to  use  it. 

All  smart  women  strive  for  a  natural 
complexion,  but  all  do  not  achieve  it. 
Not  all  women  have  found  a  powder 
that  really  matches  their  skin — a  powder 
that  reveals  their  natural  coloring.  Com- 
plexions are  not  composed  of  single 
colors,  but  a  blend  of  different  colors. 
So  it  is  only  natural  that  the  shade  of 
powder  to  match  your  complexion  must 
also  be  a  blend. 

Pompeian  Beauty  Powder  is  scientifi- 
cally blended  from  different  colors. 
Whatever  the  tone  of  your  complexion, 
some  one  shade  of  this  powder  matches 
it  perfectly.  Select  this  shade  from  the 
directions  in  the  shade  chart. 

Pompeian  Beauty  Powder  has  gained 
its  remarkable  popularity  because  of  its 
purity,  its  exceptional  consistency,  its 
delicate  odor,  its  quality  of  adhering 
well — and  its  perfection  of  shades. 


The  type  of  beauty  that  combines  reddish  brown 

hair  with  sea -gray   eyes    requires  the   'Naturelle 

shade  of  Pompeian  Beauty  Powder. 

Send  for 
Liberal  Samples 

C  \  ~SO  you  not  agree  with  me  about  match- 
I  J  ing  your  skin  tones  with  the  correct 
powder  shade?  Then  I  urge  you  to  act  on  this 
advice,  and  see  with  your  own  eyes  how  much 
more  beautiful  Pompeian  Powder  will  make 
your  complexion. 

It  is  so  easy  to  make  this  test.  Just  fill  in  the 
coupon  and  send  it  to  me  with  10c.  In  return, 
I  will  send  you  a  generous  sample  of  Pompeian 
Beauty  Powder  (enough  for  several  weeks'  use) 
and  in  addition  a  sample  of  Pompeian  Bloom 
containing  enough  rouge  for  30 
applications.  It  will  never  be 
easier  to  tear  off  the  coupon 
than  NOW,  before  you 
turn  the  page. 


Madame  Jeannette,  The  Pompeian  Laboratories 

2614  Payne  Ave.,  Cleveland,  Ohio 
Dear  Madame : 

I  enclose  a  dime  (10c)  for  samples  of  Beauty 
Powder  and  Bloom. 


Name  ■ 


Street 
Address- 


City 

Shade  of  powder  wanted  ? 


te  to  advertisers  pica? 


,-ntion   MOTION   PICTURE   MAGAZINE. 


75 


\ 


Say   It   With   Letters 


Have  you  a  kick  against  the  movies?  Then  dont  suffer  in  silence. 
Write  us  a  letter  about  it.  Have  you  a  favorite  that  you  want  to  tell 
the  world  about?  Then  remember  that  it  isn't  fair  to  keep  the  good 
news  to  yourself.  This  department  is  devoted  to  your  opinions  and 
you  are  the  boss  of  this  page 


I 


Another  Ten 

NAMING  the  ten  most  beautiful  women  on  the  screen  is  no 
easy  job,  but  nevertheless  I  am  going  to  have  my  say  even 
if  I  am  in  danger  of  a  million  or  more  brickbats  being 
burled  at  me.  I  shall  name  the  ten  most  beautiful,  in  my 
opinion. 

Gloria  Swanson.  Many  people  say  she  is  not  beautiful.  What, 
then,  is  beauty?  Has  she  not  personality,  versatility,  a  perfect 
form  and  a  beautiful  face?  Her  eyes  alone  would  put  her  in 
first  place.  And  she  is  a  wonderful  actress  as  well.  A  beauty, 
a  mother,  a   marquise  and  an  actress!     Vive  la  Gloria! 

Pola  Negri.      She    should  have   lived   when   Du    Barry  did,    for 
Pola  does  not  belong  to  this  modern  age.     Her  beauty  lies  in  her 
aloofness,  her  cold  manner,  and  her  stateliness.     But   I  know  that 
she   is   a   lovable   woman   as   well   as   a 
great  actress. 

Corinne  Griffith.  She  has  been 
called  the  most  beautiful  woman  in  the 
world.  Like  the  orchid,  she  is  beauti- 
ful but  nothing  more.  I  cannot 
imagine  her  cooking  a  dinner  or  play- 
ing  tennis. 

Vilma  Bank}'.  Here  we  have  the 
beauty  from  the  land  of  the  midnight 
sun.  A  gorgeous  blonde,  with  great, 
wondrous  eyes.  And,  a  manner  that 
makes  you  love  her. 

Norma  Shearer.  Your  childhood 
sweetheart  grown  up,  and  just  the  way 
you  wanted  her  to  be.  She  looks  best 
in  flimsy  white  dresses  and  big  pic- 
ture hats.  A  girl  you  could  be  proud 
of. 

Florence  Vidor.  She  looks  and  acts 
like  a  grand  duchess  should.  And  yet 
there's  a  merry  little  twinkle  in  her 
eye  ! 

Lois  Wilson.  A  sweet,  sensible  girl 
that  makes  delicious  fudge,  has  a  good 
time  even  if  she  doesn't  drink  and 
smoke. 

Renee  Adoree.  Straight  from  Paris 
and  oh  !  so  charming  !  Talks  with  a  de- 
lightful  accent  and  has  beautiful  eyes. 

Mae  Murray.  Dancing  feet  and 
laughing    eyes!       Sparkling    with    pep,    and    lots    of    personality. 

Xorma  Talmadge.  An  old-fashioned  bouquet  in  one  hand  and 
thumbing  her  nose  with  the  other !     We  will  always  love  Norma. 

Aileen  Pringle.  She  stiould  always  have  a  tiger-skin  handy  and 
wear  long,  slinky,  black  gowns. 

Now  for  the  brickbats,  and,  let  us  hope,  a  few  bouquets ! 

Gates    Hebbard, 
New  York  City. 

A  New  Crop  of  Critics,  Mayhap 

A  ftf.r  reading  the  various  critic,'  reviews  on  "La  Boheme,"  and 
their  unanimous  opinion  thai    Lillian   fiish   was  a  distinct  dis- 
appointment   in   the    role   of    Mimi,    I've  been   wondering  just   what 
!    expected    of   her.      A    combination,   no    doubt,   of    Bern- 
hardt.  D  Adoree   and    Pauline    Frederick.     If   so,  the 
fans   could    have   readily    told    them    that    Lillian    is   not,   and    never 
Sin-  has  always  been  simply  an 
appealing  child,  a  very  lovely  picture  and  a  competent  actress,  and 
a-    Mimi   she  wa     jusl   a-  appealing,  jusl  as  lovely  and  entirely  as 
competent  an  aetres>  as  she  has  always  been. 

'lb'    critic  ,    in   this    instance,    have   done   just    what    they   have 

■  ided  the   fans  about — raising  an   idol  on  a   pedestal,  only  to 

topple   it   over   when    tin;.-    'jrew   tired   of    it   -  or    saw   their    mistake 

in  placing  it  there      They  are  the  ones  who  started  the  talk  of 

Lillian's  being  the  screen's  greatest  artiste — not  the   fans,  and   now 

76 


I'm 


"VfOUR  opinions  on  subjects  re- 
*■  letting  to  the  movies  and  their 
players  may  be  worth  actual  money 
to  you,  if  you  can  express  them 
clearly  in  a  snappy  letter  of  one  to 
three  hundred  zvords.  A  five-dollar 
prize  is  azvarded  for  the  best  letter 
of  the  month,  which  will  be  printed 
at  the  head  of  this  department. 
One  dollar  is  paid  for  the  excerpts 
printed  from  others.  Write  us 
an  interesting  letter,  giving  reasons 
for  your  likes  and  dislikes.  Sign 
your  full  name  and  give  your  ad- 
dress. We  zvill  use  initials  only  if 
requested. 

Send  to  SAY  IT  WITH  LET- 
TERS, 175  Duffield  St.,  Brooklyn, 
N.   Y. 


they  are  anxious  to  take  the  title  away  from  her.     However, 
pretty  sure  that  her  position  with  the  general  movie  public  remains 
the  same. 

As  to  Lillian's  not  being  spontaneous  enough  as  Mimi,  I  found 
her  calm  poise  a  pleasant  relief  to  the  other  players'  tempestuous 
actions.  Had  she  joined  in  the  general  hysteria  of  the  rest  of  the 
cast,  I'm  afraid  the  film  would  have  been  in  danger  of  blowing 
up  from  spontaneous  combustion. 

D.  H.  C, 
San  Francisco,  California. 

When  Beauty  Isn't  Truth 

I'd  like  to  reply  to  a  letter  published  in  the  August  Motion  Pic- 
ture Magazine  in  which  the  writer  complains  that  there  is  not 
enough     realism    in    the     movies,     that 
"too    much    beauty    is    evident    every- 
where." 

Now,  I  think  that's  exactly  why  we 
go  to  the  movies— to  find  the  beauty 
we  miss  in  our  own  lives — to  escape 
from  too  much  reality.  We  go  to  the 
movies  to  get  something  we  cannot 
find  during  the  day,  something  we 
cannot  find  at  home  —  life  turned 
topsy-turvy,  ideal  heroes,  ridiculous 
adventures,  hair-breadth  escapes,  lux- 
ury, happy  endings,  miraculous  repent- 
ances. 

We,  who  spend  our  days  in  humdrum 
routine,  doing  things  that  must  be 
done — wish  for  an  hour  at  night  of 
make-believe.  I  think  the  movies 
should  be  an '  escape — not  a  teacher. 
They  should  be  to  us  grown-ups  what 
fairy  stories  are  to  children  ...  a 
magic  carpet  carrying  us  away  from 
the  grime  and  grind  of  life  as.  it  is, 
into  a  land  of  beauty,  magic,  and 
make-believe.  For  my  part,  I  want  to 
see  my  heroines  happy,  beautiful  and 
contented.  It  may  not  be  life,  but  I 
think  it's  what  the  majority  of  us  need 
and  want. 

I  think  the  improbable  is  the  life 
of     pictures ;     that     the     public     wants 

the   things   that   do   not   happen   in    real    life — the    other   side   of 

routine. 

M.  M., 
Vancouver,  B.  C. 

Welcome  for  Mabel 

T  am   writing  you   for  the  benefit  of  one  of  our  oldest  stars.     I 

have  never  in  all  the  years  I  have  been  a  fan  written  either  to    '| 
my    favorites   or   the    magazines    until    this    time   and    I'm   an   old 
timer  myself. 

Altho  I  was  an  admirer  of  some  of  the  others  who  have  ceased 
to  be,  there  is  none  I  mourn  so  completely  as  the  one  whose  pic- 
ture, I  understand,  is  the  only  one  Pola  Negri  keeps.  I  believe  in 
everyone  having  a  fair  chance,  and  this  is  why  I  have  come  to 
the    front   for  Mabel  Normand.     We  need  her. 

Let's  not  be  so  narrow  as  to  neglect  her  longer.  We  are  mod- 
erns and  need  her-  because  she  is  a  great  actress  >and  this  is  why 
we  pay  our  hard-earned  half-a-dollar — to  be  entertained,  and  not 
because  our  entertainers  were  on  a  party  or  failed  in  church 
attendance  last  year.  So  long  as  they  work  for  our  fifty  cents 
and  ?>ive  us  good  work  for  our  money — 'miff  said.  Come  to  the 
front,  Mabel  fans.  1  am  sure  many  of  you  have  missed  "The  little 
slim  Princess"  as  much  as  I,  so  let's  get  together  on  it. 

Mrs.   E.  G.  M., 
Samaria,  Michigan. 


Advertising  Section 


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77 

PAfi 


i 


WHOSE  HANDS? 

Can  You  Guess  the  Owners  of  These  Palms  After  Reading  the 

Character  Analyses? 

By  F.  Vance  de  Revere 


TThis  hand  belongs  to  one  of  the  very 
young  and  very  new  girls  in  the  mo- 
vies. It  belongs  to  a  person  who  is 
very  individual  and  different,  one  who 
is  not  readily  or  easily  understood  by 
others.  An  individual  whose  nature 
appears  simple,  yet  in  reality  is  com- 
plex. A  person  who  can  be  most  affec- 
tionate and  also  very  cold  and  distant ; 
one  interested  in  human  nature,  yet  one 
who  prefers  to  be  alone  rather  than  in 
constant  company  of  others;  one  who 
lives  in  the  clouds  of  a  world  of  her 
own.  An  individual  who  would  be 
greatly  interested  in  the  psychic,  the 
occult,  or  anything  unusual.  This  square 
hand,  with  its  square  fingers,  shows 
urcat  power  of  concentration  and 
ability  to  carry  out  plans,  a  very  seri- 
ous nature,  one  who  takes  life  seriously 
and  people  literally  and  usually  would 
not  be  gifted  with  a  great  sense  of 
humor.  A  very  honorable  person;  one 
orderly,  punctual,  dependable 
and  rather  formal  and  conservative, 
with  great  respect  for  law  and  order. 
Such  a  hand  loves  to  systematize  things, 

derly,  and  do 

like     any     irri  gul  or     departure 

'inc.      People   with 

this    type    of    hand    admire    fine    things, 

in  a  general  way,  but  they  must  be  dis- 

1    and    contril 
(oin fort  and  convenience.      Not  demon? 
Strative    but    very    fond    of 
to  her   and  devoted   to  her    fan  il 
friends.   Great  independence  of  thought 
and  a  very  ambitious  nature   is 

Severe 


I_Iere  we  have  a  long  hand,  with  long 
slender  fingers,  whose  owner  would 
be  a  tall,  lean,  muscular  man  with  an 
oblong  face.  This  hand,  with  its 
square  palm  and  long,  square-tipped  fin- 
gers, would  indicate  an  orderly  punc- 
tual, dependable  person  who  would  be 
apt  to  be  conservative  and  would  usu- 
ally have  great  respect  for  law  and 
order  and  would  conform  to  conven- 
tions. The  owner  of  this  hand  would 
be  a  thinker  inclined  to  be  silent  and 
secretive.  The  long  fingers  with  the 
square  finger  tips  would  indicate  that 
he  is  a  man  who  is  very  careful  over 
little  matters  and  would  notice  quickly 
the  little  things  which  would  pass  by 
unnoticed  by  a  different  type.  He 
would  be  very  patient  over  details  in 
any  work  he  attempted  to  do  and  very 
serious  and  conscientious  about  his 
work.  The  first  and  third  finger  being 
even,  would  denote  an  ambitious  na- 
ture. The  spatulated  finger  tip  of  the 
third  finger  shows  dramatic  talent  and 
artistic  taste.  The  little  finger  stand- 
ing, apart  from  the  others,  shows  in- 
dependence of  thought  more  than 
action,  for  he  would  conform  to  con- 
ventions. The  square  formation  at  the 
base  of  the  thumb  shows  musical  abili- 
ty. The  thumb  shows  love  of  luxury 
and  a  distaste  for  economy.  The  waist- 
like  formation  of  the  thumb  denotes 
tact  and  a  person  who  usually  says  the 
right  thing  at  the  right  time.  This 
hand  shows  an  honest,  loyal  person, 
affectionate  and  kind  with  a  good  un- 
derstanding of  human  nature,  also  de- 
cided mechanical  ability. 

All  rights  reserved, 

I ■'.  Vance  <lc  Revere 


The  owner  of  this  hand  would  accom- 
1  plish  things  by  the  use  of  her  brain 
rather  than  by  her  hands.  There  is 
every  indication  of  a  reserved,  cautious, 
almost  shy  individual,  extremely  sensi- 
tive, with  a  refined  nature,  preferring 
quality  to  quantity  in  all  things  and  all 
people.  The  long  first  finger  shows 
executive  ability ;  one  who  likes  to  lead 
and  dominate  situations ;  this  being 
done  thru  others,  respecting  her  ideas 
and  opinions  rather  than  thru  force. 
The  conic  fingers  with  their  lovely, 
smooth  joints  denote  a  highly  inspira- 
tional nature.  The  tip  of  the  thumb  is 
delicately  rounded,  and  rather  thin  in 
proportion  to  the  rest  of  the  hand, 
showing  a  good  imagination,  great  love 
of  beauty  and  the  fine  arts,  with  de- 
cided artistic  tastes  but  lacking  ability 
to  represent  with  her  hands.  The 
second  phalange  of  the  thumb  is  longer 
than  the  first,  denoting  one  who  reasons 
things  out  but  frequently  lacks  the  cour- 
age and  will  to  carry  out  plans  and 
ambitions.  In  this  case,  the  thumb  is 
long  and  well  shaped,  showing  determi- 
nation and  a  strong  will  but  great  dis- 
taste for  friction  and  quarrels.  The 
supple  thumb  indicates  a  love  of  ease 
and  luxury  and  the  full  base  denotes  an 
affectionate  disposition  but  with  other 
characteristics  shown  in  this  hand, 
would  indicate  that,  while  she  has  an 
affectionate  disposition  and  feels  deep- 
ly, she  would  not  be  demonstrative. 
The  whole  hand  indicates  love  of  ease 
and  luxury,  a  very  emotional  nature, 
affectionate,  with  the  maternal  instinct 
highly    developed. 

All  rights  reserved, 
K.  Vance  de  Revere 


I 


Eimtok's  Note. — On  page  X8  you  will  find  photographs  of  the  slurs  whose  hands  were  analysed  last  month. 

find  the  answers  to  these  character  readim/s. 

78 


,  I  ml  next  month  von  ivill 


Advertising  Section 


WSJ 


What  the  World  Expects 
of  Women  Today 


In  society — in  business — demands  the  discarding  ofma\eshift  hygienic  methods 

TO 


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adding  the  convenience  of  disposability 


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THE  lives  of  women  today  are  different 
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out a  second's  thought.  You  meet  every  day 
in  confidence  .  .  .  unhandicapped,  at  your  best. 

These  new  advantages 

This  new  way  is  Kotex,  the  scientific  sanitary 
pad.  Nurses  in  war-time  France  first  dis- 
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It  absorbs  and  holds  instantly  sixteen  times 
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No  laundry.  As 
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If  you  have  not  tried  Kotex,  please  do.  It 
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Many  ills,  according  to  leading  medical 
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Only  Kotex  is  "like"  Kotex 

In  purchasing,  take  care  that  you  get  the 
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You  can  obtain  Kotex  at  better  drug  and 
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the  Regular  and  the  Kotex-Super.  Cellu- 
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Utter  protection  — 
Kotex  absorbs  16 
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it  deodorizes,  thus 
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tection. 


\Wf'"' 

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Easy  to  buy  any- 
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When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


No  laundry — discard  as 
easily  as  a  piece  of  tissue 


79 

PAfi 


t 


Answe-bMan 


i 


SCARAMQUCHE.— Glad  you  like  our  magazine  and  that  you 
think  the  pictures  are  so  clear.  Speaking-  of  printing,  there  are 
some  38,000  printing  plants  in  these  United  States.  Yes,  I  like 
Ramon  Xovarro  very  much. 

ELEANOR  A. — I  dont  know  why  Colleen  Moore  is  not  on  the 
thermometer  list.  She  is  playing  in  "Twinkletoes,"  from  Thomas 
Burke's  "Limehouse  Nights."  Malcolm  McGregor  is  not  a  star, 
but  he  is  playing  in  "It  Must  Be  Love"  with  Colleen. 

AMY  G. — Your  letter  was  forwarded. 

EVELYN  H. — That's  some  joke.  You  say  a  circus  had  just 
come  to  town.  The  duck,  frog,  sheep  and  skunk  all  wanted  to  go 
see  it.  The  admission  was  one  dollar.  How  many  of  them  got  in? 
Answer  :  The  duck  because  he  had  a  bill,  the  frog  because  he  had 
a  greenback,  the  sheep  because  he  had  four  quarters,  the  skunk 
couldn't  get  in  because  he  only  had  a  scent.  Hurray !  Dorothy 
Gish's  first  picture  under  her  contract  with  British  National  is 
"London,"   and   she  has   signed   Will   Rogers   to  play   in  her  next. 

CATHERINE  I.  L.— It  is  pronounced  "Kick-ee."  Tell  your 
mother  Conway  Tearle  was  born  in  1880,  and  that  I  resemble  him 
very  much. 

CHARLOTTE,  L.  N.— Thanks  for  the  picture  of  the  whole 
family.     Mary   Brian  in  "Behind  the  Front." 

JACKIE  C. — Kenneth  Casey  certainly  has  his  own  orchestra 
and  plays  over  the  radio.  He  is  not  playing  in  pictures  right 
now.     Your  letter  was  very  interesting.     Run  in  again  some  time. 

COLLEEN  T. — Glad  to  hear  from  you  these  warm  days.  Your 
letter  was  great.  Ruth  Roland  is  to  play  the  role  of  a  chorus  girl 
in  "The  Masked  Woman,"  featuring  Anna  Q.  Nilsson,  Einer 
Hanson  and  Holbrook  Blinn. 

MISS  DOROTHY  P.— Yes,  indeed,  Ben  Lyon  was  born  in 
1900.  I  cant  very  well  tell  you  how  many  cars  he  owns,  nor  do  I 
know  "whether  he  ever  takes  any  girls  out."  Richard  Dix  was 
1m .in  in   1894.     As  for  Ramon  Novarro,  he  was  born  in  1899. 

CORINNE  M. — So  you  think  I  am  an  old  man  of  102  years 
old,  and  still  running  wild.  Well,  I'm  still  in  the  ring,  but  not  the 
running  ring.  Charles  Ray  is  playing  in  "Thirty  Days"  with 
Gertrude  Olmstead  and  T.  Roy  Barnes. 

FLAPPER  NELLIE.— That's  right,  some  people  think  that  a 
baby  brightens  up  the  home — it  does,  and  some  homes  have  lights 
burning  all  night.  Yes,  Harrison  Ford  was  married  to  Beatrice 
Prentice,  and  born  March  16,  1894.  No,  tell  your  friend  she's 
out — Raymond  Griffith  is  not  deaf  and  dumb,  tho  he  cannot  speak 
above  a  whisper,  due  to  strain.  Warner  Baxter  is  married  to 
Winnifred   Bryson  and  born  in   1892.     Run  in  again  some  time. 

GREEN  EYES. — Why,  Xatacha  Rambova  is  starring  in  a  pic- 
ture being  made  in  Nice,  France,  which  she  will  finance.  Ernest 
Truex  is  to  star  in  a  series  of  two-reel  comedies.  So  you  dont 
think  I  am  as  old  ;i>   1   look.     Cut  you  should  see  the  way  I  feel? 

NOSY  FARREL. — I  think  the  players  will  answer  your  letters 
in  time.  You  know  they  are  very  busy 
at  the  studios.  Famous  Players- 
Lasky  are  not  going  to  produce 
"Glorifying  the  American  Girl,"  be- 
t  too  much  money. 
Ziegfeld,    who 

production,   i^   in  $1  50. odd.  ha>  ing 
ceived    that    amount    at    the    time    the 
contract  was  signed.     It  may  be  made 
later  tho. 

WALTER  K.— Well  I  should  say 
we  are  very  well  acquainted-  Douglas 
Fairbanks,  Jr.,  is  19  years  old.  Jack 
Holt  i^  about  six  feet  tall.  Richard 
Barthelmess'  next  will  In-  "Four 
heathers." 

VISSIA.— I    should    like    to    be    in 
your  country  right  now.     Enid  B 
was  born  in  Australia,  not   XV 


22,   1896,   so  you  now  have  her 
is  about  22.     You  must  write  to 


HEAR  YE,  HEAR  YE! 

All  you  folks  who  have  questions  to  ask,  come 
this  ivay  and  you  shall  be  heard — and  answered. 
I  have  learnt  a  lot  during  the  last  eighty-two 
years,  and  it's  all  yours  for  the  asking.  Been 
answering  ???  here  for  the  last  fifteen  years 
and  still  going  strong.  If  you  want  an  answer 
by  mail,  enclose  a  stamped  addressed  envelope. 
If  you  wish  the  answer  to  appear  here,  write 
hi  tin'  top  of  your  letter  the  name  you  want 
printed,  and  at  the  bottom  your  full  name  and 
address,  and  mail  to  me,  The  Answer  Man,  care 
i>j  Motion  Picture  Magazim:,  775  Duffield 
Street,  Brooklyn,  I\.  Y. 


land,  and  the  date  was  Januan 
birthday.  Her  sister  Katherine 
me  again. 

KRAZY  KAT. — You  say,  be  considerate  of  the  unfortunate — 
even  a  tombstone  will  say  good  things  about  a  fellow  when  he  is 
down.  Righto !  Sessue  Hayakawa  was  born  in  Tokio,  Japan, 
in  1889.  Fie  went  to  college  in  Japan,  also  at  the  University  of 
Chicago.  He  has  .black  hair  and  eyes,  weighs  159  pounds.  You 
refer  to  "Beau  Brummel." 

J.  B. — Yes,  thank  you,  it  is  Noah  Beery  instead  of  Wallace  in 
"Beau  Geste."  Vilma  Banky  is  5  feet  6.  That  is  her  right  name. 
"June"  comes  from  Junius,  a  Roman  tribal  or  family  name.  As  for 
gasoline — it  is  a  liquid  with  which  to  clean  pocketbooks. 

PUZZLES. — You  have  the  right  idea,  and  I  am  glad  you  wrote 
to  me.  But,  you  asked  the  wrong  one  when  you  ask,  "How  long 
does  it  take  a  star  to  answer  a  letter?"  There  is  no  special  time 
limit.  William  Boyd's  last  pictures  were  "The  Volga  Boatman" 
and  "Eve's  Leaves."  His  next  are  "Her  Man  o'  War"  and 
"The  Yankee  Clipper." 

PATSY'S  ADMIRER.— You've:  got  the  idea,  but  as  Judge 
Landis  once  said  "The  road  to  hell  has  some  beautiful  scenery, 
but  it's  not  much  of  a  place  to  speak  of  after  you  get  there." 
Patsy  Ruth  Miller  was  born  June  22,  1905.  The  war  between 
Tripoli  and  the  United  States  lasted  from  June  10,  1801,  to  June 
4,  1805. 

FRANKIE. — Well,  the  reason  you  didn't  see  Helene  Chadwick 
in  "What  the  Stars  are  Doing"  is  because  she  is  not  playing 
steadily  right  now.  She  was  born  in  Chadwick,  N.  Y.,  in  1897, 
5  feet  7,  light  hair  and  brown  eyes.  She  was  married  to  William 
Wellman  at  one  time. 

A  HARRY  LANGDON  FAN.— A  collision  is  two  things  which 
come  together  unexpectedly,  such  as  twins.  Yes,  I  like  Harry 
Langdon.  Esther  Ralston  is  playing  with  Richard  Dix  in  "The 
Quarterback."  This  picture  is  being  directed  by  Fred  Newmeyer, 
who  directed  Harold  Lloyd's  football  picture,  "The  Freshman." 
ENZEDDER. — What  do  you  mean,  calling  me  an  "old  fraud," 
and  an  "old  wretch."  You  thought  you  were  going  to  learn  all 
about  me  in  my  interview.  Ha,  ha,  you've  got  another  guess 
coming.  Better  not  talk  about  the  English  actors.  Wait  until  you 
see  the  German  player,  Lya  de  Putti,  in  "Variety. "  Boy,  oh  boy ! 
NIAGARA'S  SWEETHEART.— I  suppose  all  the  honey- 
mooners  are  at  Niagara  right  now.  Yes,  I  like  Dolores  Costello. 
Enjoyed  your  letter  very  much.  Some  day  we  will  see  your  name 
on  Broadway. 

MICKEY  HUNT.— I  dont  know  what  kind  of  skins  make  the 
best  shoes,  but  banana  peels  make  the  best  slippers.  Eugene 
O'Brien  expects  to  return  to  the  stage  in  a  comedy,  "Steve's 
Return,"  a  sequel  to  his  former  stage  vehicle  in  which  he  appeared 
in  1922.  Anita  Stewart  is  also  deserting  the  screen  for  the  stage. 
S.  S.  K.  AMBITIOUS.— I  should 
say  you  are  ambitious.  I  am  sorry, 
however,  that  I  cannot  help  a  Turkish 
girl  from  the  City  of  Constantinople 
to  get  into  pictures.  You  say  you  are 
22  years  old,  156  centimeters  tall  and 
weigh  46  kilos.  Blonde  with  dark 
eyes  and  have  long  hair.  I  wish  there 
was  something  encouraging  I  could 
tell  you — but  I  can't. 

ASTRI,  OSLO,  NORWAY.— 
Thanks  for  the  pressed  violets.  Also 
for  the  beautiful  pictures  of  yourself, 
and  one  of  Mary  and  Douglas  when 
they  were  in  Norway.  Sorry,  but  I 
haven't  Paul  Ellis'  address.  He  free- 
lances. You  write  a  beautiful  letter, 
and  1  hope  to  hear  from  vou  soon 
again. 


C£ 


Advertising  Section 


JT.M0TI0N  PICTURI 

11101   I    MAGAZINE 


^e  Woman  Who  Works  Youth  Miracles 

On  Society's 
Most  Famous  Faces 


First  Dorothy  Gray 
won  fame  in  counter- 
acting  the  most 
prominentsign  where 
age  shows  first  on  a 
woman's  face — the 
double  chin.  Then 
she  discovered  the 
ether  two  telltale 
signs  of  departing 
youth.  Then  her 
scientific  treatments 
for  youth  prolonga- 
tion hive  made  her 
one  of  the  world's 
most  famous  beauty 
specialists. 


67%  of  all  women  past  25  and  90%  past 
35  reveal  one  or  more  of  these  conditions 


DOROTHY  GRAY 

Coming  to  New  York  ten  years  ago,  the  daughter  of  a 
noted  doctor  and  scientist,  Dorothy  Gray,  by  the 
application  of  a  new  method  of  scientifically  restoring  a 
youthful  chin  line,  soon  became  one  of  the  most  famous 
beauty  specialists  in  the  world,  numbering  among  her 
clientele  scores  of  the  greatest  names  in  the  inter* 
national  social  register. 


T"^H  ERE  are  three  places—  weak  places 
—on  a  woman's  face  which  unerringly 
reveal  one's  years.    Correcting  them 
makes  a  difference  that  is  almost  unbelievable. 

A  double  chin  is  a  glaring  sign  of  depart- 
ing youth.  So  are  wrinkles  around  eyes  and 
mouth.  So  are  flabby  or  withered  facial 
muscles. 

By  developing  unique  treat-  '3 
merits  and  scientific  prepara- 
tionsforerasingthem,  Dorothy 
Gray  became  beauty  mentor  to 
scores  of  the  most  important 
women,  socially  and  financially, 
both  in  Europe  and  America. 
Scarcely  an  important  name  in 
the  international  social  register 
but  has  yielded  to  her  amazing 
ministrations. 

67%  of  all  women  past  25, 
according  to  experts,  show  one 
or  more  of  these  three  facial 
conditions.  Almost  90%  of 
women  past  35  reveal  them. 
Ordinary  beauty  methods  have 
failed  in  correcting  them.  That 
is  why  the  battle  against  age, 

regardless  of  precautions  taken,     .<$ 

has  largely  been  a  losing  one. 

Now  by  the  perfection  of  new  and  radi- 
cally different  treatments  and  preparations, 
it's  been  proved,  virtually  beyond  question, 
that  those  conditions  are  responsive  to  cor- 
rection. 

In  proof  of  it  experts  now  point  out  that 
those  percentages  do  not  apply  to  the  wealthier 
women  except  in  a  small  degree.  It  is  shown 
that  while  almost  95%  of  the  ultra-wealthy 
women  of  America  look  years  younger  than 
they  are,  the  average  woman  past  25,  in  or- 


dinary walks  of  life,  looks  from  5  to  10  years 
older  than  she  is. 

Why?  It  isn't  worry,  household  cares, 
motherhood,  but  lack  of  scientific  youth  pro- 
tection. Correct  means  have  mostly  been 
denied  them. 


one  s    years,    a    crime 


looking    older   than 
against  oneself. 

Telltale  signs  of  facial  age  can  be  erased. 

Send  Coupon  for  Personal 
Advice— FREE 
Dorothy  Gray  preparations  are  now  on  sale 
at  the  toilet  goods  counters  of  the  better  de- 
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under  very  definite  and  easily  followed  in- 
structions. 

l(J »•         Note  the  coupon  below. 

1     xx  r  1      a  Check  and  fill  it  out  carefully. 

3  Telltale  Places  Which  Reveal  a  Woman  s  Age   Then  mail  it. 


What  the  Dorothy  Cray 

Treatments  Are 

Their  objective  is  strengthening  certain  facial 


Correct  Them  and  You  Ta\e  Tears  Away 


« 


1 


A  Double  Chin 


Wrinkles  and  Lines 


Flabby  Muscles  and 
Crepy  Throat 


Dorothy  Cray's  preparations  with  complete  directions  for  treatments  can 

be  obtained  at  the  leading  department  stores  and  quality  drug  stores 

throughout  the  country. 


Exact  and  detailed  instruc- 
tions  for  individual  treatment 
will  be  sent  you  without  charge. 

Each  skin  requires  a  certain 
treatment.  That  is  why  no 
general  directions  are  given 
here.  Once  your  condition  is 
understood  and  the  method  of 
correction  suggested  by  Miss 
Gray,  you  can  follow  it  at 
home  as  satisfactorily  as  in 
Miss  Gray's  own  establish- 
ments in  New  York  (753  Fifth 
Avenue)  or  at  Atlantic  City 
(1637  Boardwalk),  San  Fran- 
cisco (The  White  House)  or 
Washington,  D.  C.  (1009  Con- 
necticut Avenue.) 


muscles  which,  by  weakening,  result  in  flab- 
biness,  in  lines  and  wrinkles.  Thin  and  with- 
ered faces  can  be  made  plump — sallow  skins 
can  be  made  white — the  actual  color  of  youth 
can  be  restored — lines  and  crow's-feet  around 
the  eyes  can  be  erased — double  chins  can  be 
reduced  .  .  .  absolutely — drooping  throat 
muscles  can  be  overcome. 

The  Dorothy  Gray  methods  banish  them, 
results  in  most  cases  being  almost  beyond 
belief.    Today,  looking  one's  age  is  a  folly; 


1  63) 


DOROTHY  GRAY,  753  Fifth  Avenue, 
New  York,  N.  Y. 
Please  tell  me  how 

□  to  treat  a  double  chin. 

□  to  erase  wrinkles  and  lines. 

□  to  treat  flabby  muscles  and  crepy  throat. 


Name 

Street 

City State. 


I 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


81 


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r  free  trial  botW 
W.  I    YOUNG,  lac 

'-nrini'fii-l.l    Mail 


Absorbine  jr 


JOr 

(uts-Skin 

eruptions 

Always  treat  cuts'  and  ab- 
rasions at  once.  Prevent  any 
chance  of  infection.  Treat 
skin  eruptions  promptly 
and  regularly,  to  hasten 
their  healing  and  to  guard 
against  trouble  from  infec- 
tion. 

Absorbine,  Jr.  assists  na- 
ture by  first  cleansing  the 
wound  and  killing  the 
germs,  and  then  soothing 
and  healing  the  affected 
tissue.  Absorbine,  Jr.  re- 
lieves pain  quickly.  Never 
be  without  Absorbine,  Jr. 
in  the  medicine 
cabinet. 


P    2 

Iage 


THE  ANTISEPTIC    LINIMENT 


Advertising  Section 

Famous  Tricks 

{Continued  from  page  44) 


the  Favorite  trick  of  a  bad  actor,  an  awk- 
ward gesture  of  the  hands,  as  if  asking- 
alms.  Probably  in  sonic  remote  stock 
company,  the  actor  was  taught  to  hold  his 
hands  that  way  when  he  didn't  know  what 
else  to  do  with  them,  and  he  never  re- 
covered from  it. 

An  outstanding  example  of  tricks,  good 
and  terribly  had,  is  Mae  Murray,  or  more 
truthfully  was  Mae  Murray,  for  in  "The 
Merry  Widow"  she  shows  herself  to  be  an 
unquestionably  fine  actress.  "The  Girl 
with  the  Bee  Stung  Lips,"  they  used  to 
call  her  way  back  when  she  was  in  the 
Follies  and  she  probably  took  the  appella- 
tion too  seriously,  for  every  one  of  her  pic- 
tures showed  the  same  pout,  whether  she 
was  supposed  to  be  a  Russian  Countess  or 
a  virtuous  chorus  girl.  You  remember  it, 
dbnt  you?  And  Mae  had  another  trick  of 
kicking  her  heels  back  or  waving  her  fore- 
finger to  register  coyness,  a  habit  no  doubt 
acquired  thru  dancing.  She  started  her 
career  as  a  dancer,  you  know.  Von  Stro- 
heim  had  many  unkind  things  to  say  about 
the  well-known  pout  and  after  a  few  bit- 
ter quarrels,  he  made  her  give  up  some  of 
her  tricks  and  try  some  real  acting. 

Xobody  thinks  of  ethereal  Claire  Wind- 
sor as  possessing  any  tricks,  but  she  has 
one  that  registers  every  time  it  is  used, 
which  is  pretty  often.  Watch  next  time 
that  slow,  drowsy  way  she  drops  her  eye- 
lids, as  if  the  weight  of  her  lashes  was 
too  much  to  bear.  It's  a  lovely  gesture. 
John  Gilbert  is,  so  far  as  I  can  discover, 
guilty  of  only  one  trick.  I  doubt  whether 
he  knows  it,  tho  it  characterizes  him  off 
the  screen  as  well  as  on.  His  walk.  In  a 
way,  it  is  a  key  to  his  whole  personality, 
as  tricks  often  are.  It  is  a  springy,  dash- 
ing walk,  as  fascinatingly  alive  and  expres- 
sive as  his  face  is.  His  directors  know 
his  fans  like  him  to  walk  that  way  and 
they  dont  check  it. 

One  of  the  swiftest  rising  stars  in  mo- 
vies is  a  creature  of  alluring  tricks,  Con- 
stance Bennett.  The  Lorelei  of  German 
folk  lore  must  have  looked  like  Constance, 
I  think.  She  has  sex  appeal  to  a  higher 
degree  than  any  other  film  actress,  tho 
the  tricks  she  uses  are  remarkably  simple, 
as  simple  and  as  baffling  as  the  lure  of 
any  ancient  siren.  She  looks  at  you  with 
half-closed  eyes  that  say  "You  wont  dare" 
while  her  lips  and  her  provocative  chin 
say,  "Wont  you,  please?"  Then  the 
blonde  Connie  has  a  slight  wriggling  ser- 
pentine  movement   of   her    shoulders. 

You've  heard  of  the  new  verb  "Pring- 
ling"  and  you  know,  of  course,  that  it  best 
describes  a  gesture  that  Aileen  Pringle 
is  fond  of  using,  a  little  too  fond,  it  some- 
times seems.  She  flares  her  nostrils,  ele- 
vates her  eyebrows,  tilts  her  chin  and 
draws  herself  to  the  full  height  of  her 
magnificent  figure.  Try  it  before  your 
mirror.  One  director  told  me  he  liked  it. 
Another  abhorred  it.  So  there  you  are. 
Both  Xormas,  Shearer  and  Talmadge, 
are  devoid  of  tricks,  so  far  as  I  could 
learn  from  their  directors  and  others  who 
arc;  most  familiar  with  their  acting.  Mary 
Pickford  has  a  pet  trick  and  it  look  clever 
Gloria  Swanson  to  discover  it,  as  he 
mstrated  in  her  picture,  "Coast  of 
Folly."      Gloria's    imitation    of    Mary's    Fa 

: ut    and   tossing  curl 

'.in     of    tin-    finest    bits    of    burlesque    I've 
in  th     ci     H,  and  Foi  the  njomenl  the 
piquanl    Swanson    face  looked  exactly   like 
the   angelic    Pickfoi'd   one. 

Valentino  seems  to  he  without  manner- 

i   in  ,     e>  cept      for     the     smouldering     look 

in    his    eyes.      But    he   cant   help    that.      I  le 

born    that    way.      Lois    Wilson    is    In- 


most unaffected,  unmanneristic  person  I 
can  think  of,  except  Alice  Joyce,  who 
equals  her  for  naturalness.  Lillian  Gish  is 
at  once  an  actress  devoid  of  tricks  and 
an  actress  beset  by  them.  Miss  Gish  is  so 
thoroly  herself  at  all  times  with  her  placid 
smile  and  her  wistful  eyes,  yet  she  and  her 
parts  are  so  completely  lost  in  each  other 
that  the\'  become  inseparable  and  you  cant 
tell  whether  the  tricks  belong  to  her  or  the 
part  she  is  playing. 

Speaking  of  Lillian  Gish  brings  us  to 
1).  W.  Griffith,  who  is  rich  in  tricks.  Mr. 
Griffith  has  been  accused  of  purveying 
hokum,  but  what  of  it?  He  is  what  is 
called  "of  the  theater,"  meaning  that  he  is 
well  versed  in  the  little  tricks  that  strike 
the  hearts  of  audiences.  Mr.  Griffith's 
heroines  are  strangely  alike.  They  are  all 
wistful,  hoydenish,  wan-faced  and  fl'uttery. 
Lon  Chaney  has  carried  trickery  to  a 
fine  art.  Trick  faces,  trick  make-up,  trick 
costumes  and  trick  characters  have  become 
identified  with  Mr.  Chaney  in  his  por- 
trayals of  unusual  roles.  Still,  one  would 
not  call  him  a  man  of  tricks  because  he 
does  not  have  a  limited  set  of  mannerisms 
which  he  carries  from  picture  to  picture 
as  any  actor  might.  Instead,  he  adopts  for 
the  course  of  the  picture  those  idiosyn- 
cracies  which  the  man  he  is  acting  would 
use — quite  a  different  thing. 

Raymond  Griffith,  Paramount's  funniest 
star,  was  at  first  in  danger  of  overdoing 
a  few  little  mannerisms  that  he  has  over- 
come by  this  time.  It  is  difficult  to  de- 
scribe what  they  were,  a  twist  of  the 
mustache,  a  smile  that  showed  all  his 
teeth  and  a  way  of  leaning  on  his  cane. 
Among  actors,  there  are  two  who  seem 
to  me  to  be  free  from  tricks.  One  is 
Richard  Barthelmess,  an  artist  if  ever 
there  was  one,  and  Ramon  Novarro,  whose 
only  "trick"  is  the  way  he  thrusts  his  head 
forward  or  back. 

Tricks  properly  used  are  to  an  actor 
what  style  is  to  a  writer,  is  the  original 
viewpoint  of  Frank  Tuttle,  one  of  our 
brightest  young  directors  who  has  worked 
with  such  stars  as  Menjou  and  Bebe 
Daniels.  Imagine  Michael  Arleu  without 
his  literary  tricks.  Wouldn't  he  be  flat 
and  lifeless?  That  is  precisely  what  Mr. 
Tuttle  thinks  of  mannerisms  in  an  actor. 
"It's  funny  that  the  two  actors  who  are 
said  to  have  mannerisms  should  be  such 
ardent  admirers  of  each  other's  art,"  said 
Mr.  Tuttle.  "John  Barrymore  and  Adolphe 
Menjou.  As  a  matter  of  fact,  those  same 
people  who  criticize  them  are  more  in- 
terested in  Barrymore  than  in  the  play. 
Some  one  aptly  said,  'It  is  Hamlet  in  John 
Barrymore,  not  Barrymore  in  Hamlet) 
Menjou  has  an  individual  way  of  expres- 
sing himself,  which  some  people  call 
tricks.  After  all,  how  many  ways  are 
(lure  of  expressing  an  emotion?  You 
show  surprise  differently  than  I  do.  That 
is  your  way  of  doing  it,  and  as  often  as 
you  are  surprised  you  will  wear  that  same 
expression.  The  same  is  true  of  an  acta 
The  same  is  true  of  Menjou. _  He  show 
surprise,  and  his  lips  part  while  he  rais 
his  eyebrows.  He  shows  disillusionmei 
and  his  mouth  turns  down  at  the  corners 
knowingly.  But  lie  feels  every  one  of  his 
emotions,  for  Air.  Menjou  is  too  great  an 
actor  merely  to  simulate  an  expression 
Very  often  the  real  trouble  lies  in  the  pic- 
tures that  artists  like  Menjou _  are  as- 
signed. Given  a  story  with  a  limited  num- 
ber of  moods,  how  can  an  actor  help  re- 
peating  his  expressions?  But  as  for  tricks 
—  I'd  as  soon  have  champagne  without  a 
kick  as  an  actor  without  tricks.  They're 
nothing  more  nor  less  than  his  style." 


is 
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«0TS 


pirn    -&i!  % 


Sensational  offer— almost  a  year  to  pay!  An  outfit  of  77  pieces— and  a  7  piece  set  of  Genuine 
Cut  Glass  FREE,  if  you  order  now — at  a  price  you  could  not  equal  in  your  home  town  even  for 
spot  cash.  We'll  ship  this  complete  outfit— 84  pieces  in  all — direct  to  your  home  on  30  days  trial 
for  only  $1.00  down.  Examine  the  quality,  the  beauty,  the  durability  of  each  piece.  After  trial, 
if  you  are  not  delighted  with  the  bargain,  send  the  outfit  back  and  we'll  refund  your  dollar  plus 
all  transportation  charges  you  paid. 

^tfS&fSSj   -w»    lkM\  ™AtSU*.&'&rH.  If  you  decide  to  keep  the  outfit,  start  paying  only  $2.< 

''■''■  '  HijM  monthuntilyou'vepaidourrockbottomprice-only$19.95. 
inmn    •£&  &V*na*>uara  »2»*34t  forthe  entire  77  piece  outfit  with  the  7  piece  Cut  Glass  Set 
REE.  84.pieces  in  all — only  $19.95—  and  almost  a  year  to  pay !    Where  else  can  you  find  a  bar- 
£\       £*     sv  •    4.         #      gain  like  that  and  on  such  liberal  terms  ? 

°^5*i*^E*l:  Semi  C®iip©m  NOW 

everyday.    And,  if  you  act  at  once,     ^^  ii 

the  7  piece  Genuine  Cut  Glass  set  is  We  have  made  up  only  a  limited  number  of 

free  besides  -  84  pieces  in  all !  these  combination  outfits  for  this  special  sale. 

AA     PJero    Rimol-hiu-rS  Send  the  coupon  quick,  while  this  offer  lasts. 

_.              „      \x      .,,•*,    Pf*?j    ■        ,  Only  $1.00  deposit  brings  the  outfit  on  30  days' 

Dinner  Set  §£&»£ S  inTitTa?  trial.    Satisfaction  guaranteed  or  your  money 

colors.    Each  piece  is  twice  fired   and  has  a  snow    back.     (We  do  not  ship  C.  O.  D.) 

flake  white  glaze  of  great  brilliancy  which  cannot   ^■■■■■■■■■■■■■■■■■■■■■■■■■■B 

^,^.6&^&&t£^Xa^?*  I  Straus  &  Schram»  Dept.  1527, Chicago, 111. 

oatmeal  nappies,  6   in.  diameter;  6  salad  plates,  6  in.  ■  Enclosed  find  $1.  Ship  spwi,.    -i    ■,..  Dieee  Combination  Outfit, 

diameter;  1  meat  platter,  10X  ta.  long;.l  roundlvegetable  ■  Sal.'?* KJE?i  h  '  ,  '  m^nth"6 

dish,  9  in.  diameter;  1  cream  pitcher,  1  sugar  bowl  ■  fled,  lam  to  return  theO I  witE  the  7-pieee  cut  glass  set  within  30 

and  cover  (2  pieces);  1  butter  plate;  1  utility  bowl,  lpt.;  ■  days  and  you  are  to  refund  my  money  and  a 

1  pickle  dish,  6  in.  in  diameter.   Each  piece  has  a  dainty  b  charges  I  paid. 

blue  edge  and  is  beautifully  shaped.  I — I  77-piece  Combination  Outfit.  No._G8741A,  519.95. 

26-Piece  Silver  Set  ^if^^^Sl  5 


7-piece  Genuine  Cut  Glass  Set  FREE. 


_     eyo 

_  pattern  and  popular  polished  finish.    tBL-a     _    Ar , 

plated  on  nicke]   silver  base.    Made  for  us  by     1  Name. 


Straus 
&  Self! 

Dept.1527      Chicago,  111. 


Each 

William  Rogers. !  Ltd."  Set  consists  of  G  knives,  6  forks 

6  teaspoons,  1  sugar  shell,  1  butter  knil'e.    Packed  in  handy  flannel  roll 


PieceTableCIoth  and  Napkins  SoSWl!  ■ 


e  linen  finished    ■  Shipping 
cotton  in  pure  snow  flake  white  that  will  launder  beautifully.    All 
edges  neatly  scalloped  with  overlapped  etitch  in  blue.    Both  tablecloth  and  nap- 
kins have  band  painted  design  of  Bluebirds  and  Apple  Blossoms  in  their  natural 
color,  absolutely  guaranteed  fast  colors.    Harmonizes  perfectly  witb  dish  set. 
Anil  remember:     The  7-Plece  Genuine  Cut  Glass  Set  is  FREE,  if 
you  send  at  once.   Shipping  weight  of  entire  outfit  about  60  lbs. 
Order  by  No.  G8741A.     Sl.OO  with  coupon;  $2.00  monthly;   a  Married 
Total  Arise  $19.95. 


Post  Office State.. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


83 

PAG 


I 


,p 


Crazy    Quilt 


I 


office.  He  tried  his  level  best  to  concen- 
trate on  the  story  about  extra  girls;  At 
other  times  he  had  been  able  to  forget 
whatever   disturbed    hifn   by    concentration 

on  his  work.  But  not  today.  He  remem- 
bered too  well  Judith's  young,  painted 
mouth  as  she  had  talked  and  laughed  with 
him.  He  remembered  this  far  better  than 
the  things  she  had  said. 

"JUDITH— JUDITH  TOWER  — 
JUDY." 

He  thumped  the  typewriter  keys  with 
this  brilliant  result,  and  then  pulled  the 
paper  from  the  machine  and  tore  it  into 
hits.  The  men  in  the  office  would  never 
give  him  peace  if  they  found  him  at  this 
schoolboy's  trick. 

There  was  a  din  all  about  him.  Six 
typewriters  were  banging  out  the  news  of 
future  casts  and  productions 
for  the  Sunday  papers.  He 
thanked  his  stars  lie  was  on 
the  special  stuff  which  he 
could  do   in   his   own  time. 

He  asked  the  telephone 
operator  for  the  casting  di- 
rector's office. 

"Hello,  Jim,"  he  said.  "Do 
me  a  favor,  will  you?  See  if 
you  have  an  extra  girl  named 
Judith   Tower   listed?" 

He  held  the   wire. 

Jim  came  back  and  said 
there  was  no  record  of  such 
a  name. 

"That's     funny,"     he     said. 
"She    worked    here    yesterday 
..iih      the      McAllister 
company." 

He  banged  down  the  re- 
ceiver. 

"You  didn't  expect  to  get 
any  information  from  them, 
did  you?"  an  old  newspaper 
man  at  the  next  desk  asked. 
"It  is  nothing  less  than  mar- 
velous the  way  they  can  al- 
ways avoid  knowing  what 
you  want  to  know." 

"Darn  inefficient,  I'd  call 
it,"  Harvey  agreed. 

But  when  the  man  sought 
to  prolong  the  conversation, 
Harvey  left  his  desk.  He 
was  in  no  mood  for  fellow- 
ship. He  went  out  to  the 
booth  in  the  corridor  and 
railed  the  Excelsior  Film 
Company. 

When  the  casting  director's 
office    answered,    he    manufac- 
tured   a    hasty    excuse    and    asked    for    Ju- 
dith's     address      and      telephone      number. 
They   gave    it    to  him. 

Then  he  determined  that  he  would  not 
do  anything  with  it. 

However,   instead   of  going  back  to  his 

office,  he  wandered  about  the  lot  and  sev- 

eral    times    looked    into    the    outer    office   in 

he   had    come    in.      lie    also    did    his 

to  visualize  the  neighborhood  in  which 

ed. 

The  only  thing  he  could  contemplate  with 

any  interest  was  going  to  see  her.     But  he 

knew   this    was    utterly    preposterous.      lie 

fraid   she   would  think   he   was  crazy. 

She  had   been   pleasant   enough  the  day  be- 

iul  il  bad  been  a  professional  matter. 

"God,  she  may  be  a  married  woman  for 
all  I  know."  he  thought.  And  an  icy  finger 
traced  his  spinal  cord.  He  went  directly 
to   the   telephone.      He   called    the   number. 

84 

G£ 


(Continued  from   page  72) 

A  harsh,   metallic   voice   answered. 

"Is  Miss  Tower  at  home?"  he  asked. 

"Just  a  minute,"  the  Voice  said,  and  he 
heard  it  call  "Miss  Tower  —  telephone, 
Miss  Tower." 

There  was  a  pause.  And  he  noted  they 
had  called  her  Miss. 

"Guess  she's  out,"  the  Voice  told  him. 
"Any  message?" 

"Er — er,  is  this  the  maid?"  Harvey 
asked,  determined  now  to  learn  something 
definite  before  he  was  cut  off. 

"No,"  the  Voice  seemed  slightly  puzzled 
and  amused,  he  thought.  "This  is  a 
rooming-house.  I  am  one  of  the  roomers." 
Then  again  (curiosity,  of  course),  "Any 
message?" 

Harvey  said  there  was  no  message  and 
the  instrument  clicked. 


What  Happened  in  the  First  Chapter 

yUDITH  TOWER  lives  in  a  small  town  near  Nezv 
York.  Her  mother  dies  when  she  is  twelve.,  and 
she  is  brought  up  by  her  father  and  stepmother, 
in  an  atmosphere  of  scrimping  and  debt.  On  her 
eighteenth  birthday  she  receives  $1,200  left  her  by  her 
mother  with  a  letter  urging  her  to  use  it  to  launch  her- 
self on  any  career  she  may  choose.  Judith  goes  to  Nezv 
York  with  the  purpose  of  getting  into  the  movies.  She 
spends  most  of  her  money  on  clothes,  and  lives  frugally 
and  miserably,  earning  a  little  money  as  an  artist's 
model.  After  ten  months  she  gets  a  small  part  in  an 
Excelsior  picture,  and  proves  her  beauty  and  ability. 
Marcus  Goldstein,  the  producer,  who  is  much  attracted 
to  her,  sends  for  her  and  offers  to  groom  Iter  for  star- 
dom, but  on  terms  which  she  cannot  accept.  By  re- 
pelling his  advances  she  ruins  her  chances  in  that  stitdio. 
The  next  day  she  gets  zvork  as  an  extra  with  another 
company.  She  falls  into  conversation  with  Harvey 
Dunn,  a  young  publicity  man,  who  asks  her  to  give  him 
material  for  an  article  on  extra  girls.  They  lunch 
together  in  the  studio  restaurant,  and  are  drawn  to 
each  other.  Harvey  introduces  her  to  McAllister,  the 
director,  who  has  noticed  her  on  the  set  and  promises 
to  give  her  a  bit  that  afternoon.  Judith  returns  to  the 
set,  and  Harvey  lingers  at  the  table,  promising  to  see 
her  again  on  the  set  before  she  leaves.  He  hears  her 
name  mentioned  by  a  girl  at  the  next  table,  who  has 
seen  Judith  promptly  admitted  to  Goldstein's  office,  and 
misunderstood  it.  She  insinuates,  with  much  assurance, 
that  Judith  is  accepting  the  attentions  and  help  of  Gold- 
stein, who  is  notorious  for  making  pretty  women 
famous.     Harvey  is  stunned  by  this  revelation. 


But  still  he  found  no  peace. 

And  at  two  o'clock,  on  his  way  back 
from  lunch,  he  decided  that  he  would  put 
into  action  the  plan  that  had  buzzed  in  his 
head  all  the  morning.  He  stopped  at  a 
florist  shop  and  ordered  a  corsage  of  gar- 
denias. In  the  box  he  dropped  his  card, 
on  which  he  impulsively  wrote:  "Will  you 
take  dinner  with  me  tomorrow  evening?" 

Having  done  this,  he  hurried  back  to 
his  office  and  waited  for  the  telephone  to 
ring. 

The  flowers  were  delivered  at  Judith's 
door  at  about  three-thirty,  a  half  hour  be- 
fore she  returned  home  after  a  dreary  day. 
She  was  climbing  the  dark  stairs,  covered 
with  the  hideous  red  patterned  carpet  that 
she  loathed,  when  a  blondined  head  poked 
<nit  of  a  rear  door  on  the  third  floor.  A 
kimonoed   figure   followed  it. 

".Miss  Tower?"  the  Voice  asked. 


Judith  said  she  was. 
"A    man    telephoned    you    this    morning. 
He    had    the    nerve    to    ask    if    I    was    the 
maid.     He  wouldn't  leave  a  message." 

Judith  thanked  the  girl.  She  wondered 
if  it  could  have  been  Harvey  Dunn.  She 
wished  she  had  not  gone  out.  The  blonde 
head  disappeared  as  soon  as  it  was  evi- 
dent that  no  information  was  to  be  of- 
fered. But  not  before  a  shrewd  inven- 
tory had  been  taken  of  everything  Judith 
wore. 

On  one  thing  Judith  had  determined 
that  day.  She  was  not  going  back  to  West- 
port.  She  was  going  to  let  it  be  known 
that  she  was  the  great-granddaughter  of 
the  famous  Lola  Chase.  It  might  help.  It 
would  make  a  good  press  story.  And  it 
was  things  like  this,  Judith  had  discovered, 
that  were  needed  to  focus 
official  attention  upon  you. 
She  felt  confident  that  atten- 
tion was  all  that  she  needed. 
Her  conviction  that  she  was 
a  potential  star  was  some- 
thing instinctive  .  .  .  some- 
thing far  beyond  either  con- 
ceit or  vanity. 

She  had  planned  to  write 
her  father  for  the  photo- 
graphs of  Lola  Chase  that 
were  in  the  old  album.  They 
had  been  relegated  to  the 
storeroom  of  the  Westport 
house. 

Judith  had  unlocked  and 
opened  the  door  of  her  room 
before  she  was  conscious  of 
the  box,  for  the  hall  was 
dark  in  the  late  afternoon. 

Again  her  heart  misbe- 
haved. Plump  .  .  .  plump  .  .  . 
plump.  .  .  .  She  did  not  know 
who  could  have  sent  her 
flowers.  But  she  knew  that 
it  was  too  much  to  be  borne 
if  he  had  not  sent  them.  All 
day  she  had  gone  about  the 
streets  hoping  to  meet  him. 
She  had  imagined  a  chance 
encounter  on  Broadway.  She 
thought  once  that  she  saw 
him  just  ahead  of  her.  She 
had  hurried.  .  .  . 

The  florist's  paster  on  the 
lid  confirmed  her  hopes.  Her 
fingers  trembled  as  she  un- 
tied the  cord.  The  address 
was  in  the  neighborhood  of 
the  Acme  studios. 

She  dropped  her  hands  into 
the  mists  of  paper  and  brought  forth  gar- 
denias, three  of  them  tied  with  a  silver 
bow.  But  without  even  stopping  to  look 
at  them,  she  searched  further  for  a  card. 
There  it  was.  "Will  you  take  dinner 
with  me  tomorrow  evening?"  she  read. 
And  on  the  other  side,  engraved  in  old 
English,  were  two  words  magic  enough  to 
transform  a  weary  girl  into  a  radiant  crea- 
ture— "Harvey    Dunn." 

She  flew  down  the  stairs  to  the  tele- 
phone. And  when  the  operator  at  the  stu- 
dios answered,  she  could  scarcely  speak. 
Her  throat  was  choky  and  throbbing. 

"Mr.  Dunn,  please,"  she  said,  thankful 
that  she  was  not  altogether  inarticulate. 

Then  his  voice  came,  "Mr.  Dunn  speak- 
ing." 

"This     is     Judith      Tower,"      she      said. 
"Those      gardenias"  —  the      Voice's      door 
(Continued  on  page  86) 


Advertising  Section 


(TrMOTION  PICTUR 

lllOl   I    MAGAZINE 


News  of  the  Camera  Coast 

(Continued  from  page  70) 

"For  years,"  began  the  comedian  in  ad- 
dressing the  writers,  "I  have  produced 
comedies  about  mothers-in-law,  written 
gags  on  them  and  told  jokes  on  them. 
When  Dorothy  and  I  were  married,  every- 
one kidded  me  about  having  a  mother-in- 
law  of  my  own.  I  solved  the  difficulty 
by  making  her  my  press  agent  so  she 
could  talk  about  me  all  she  liked  without 
hurting  me.  If  she  hadn't  liked  me,  I 
would   have   gotten   publicity   anyway." 

Knowing  how  much  Larry  admires  his 
mother-in-law,  the  speech  is  now  on 
record  in  the  film  colony. 

Dalph  Ince,  the  director,  and  brother 
of  the  late  Thomas  Ince,  was  married 
last  month.  The  bride  was  Lucilla  Men- 
dez,  daughter  of  a  former  president  of 
Venezuela.  The  couple  announced  their 
intention  of  taking  a  honeymoon  trip  to 
the   Hawaiian  Islands. 

Anna  May  Wong's  young  brother  was 
^^  arrested    for   bootlegging   firecrackers. 

James  Norman  Wong  was  officially 
charged  with  illegally  transporting  fire- 
crackers to  Santa  Monica  for  a  Fourth  of 
July  celebration.  There  is  a  Los  Angeles 
ordinance  that  prohibits  the  transportation 
of  certain  classes  of  firecrackers,  and 
Anna  May's  brother  was  caught  red 
handed. 

As  Tony  Moreno  remarked  when  he 
was  asked  where  he  intended  to  spend  the 
Fourth,  "I  shall  call  up  my  bootlegger," 
said  Tony,  "order  a  case  of  firecrackers 
and  celebrate  the  birth  of  liberty  in  my 
back  yard." 

Incidentally,  Tony  has  started  a  new 
one  at  the  Metro-Goldwyn  Studios.  Tony 
is  playing  the  leading  role  in  "Flaming- 
Forests,"  and  this  time  dons,  the  trappings 
of  an  officer  in  the  Northwest  Mounted 
Police.  Renee  Adoree  is  to  play  opposite 
Tony  in  this  production  which  is  to  be 
filmed  in  Montana. 

Joseph  von  Sternberg,  the  young  direc- 
tor, whom  Charlie  Chaplin  discovered 
making  an  artistic  picture,  "The  Salvation 
Hunters,"  with  a  steam  shovel  in  the 
cast,  was  married  to  Riza  Royce,  who 
played  in  the  New  York  stage  production 
of  "Dancing  Mothers." 

The  people  of  the  motion  picture  busi- 
ness must  be  entertained  with  some- 
thing other  than  motion  pictures.  We  are 
fortunate  when  the  producers  bring  from 
New  York  a  few  after-dinner  speakers. 

The  latest  acts  to  arrive  have  been  in 
the  persons  of  Irvin  S.  Cobb,  Marc  Con- 
nelly and  Robert  Benchley.  They  all 
came  here  for  the  purpose  of  injecting 
something  into  the  movies.  Regardless 
of  whether  they  contributed  any  new 
thoughts  to  the  cinema,  they  contributed 
much  to  the  entertainment  of  the  film 
folk  with  some  masterful  after-dinner 
speeches. 

At  a  recent  meeting  of  the  Wampas  two 
of  these  gentlemen  were  present.  At  the 
same  Wampas  meeting  the  organization 
was  celebrating  the  recovery  of  four 
brother  press  agents  who  have  been  in 
the  hospital  ever  since  the  Florida  boom 
died  out. 

When    Marc    Connelly    was    introduced, 

he   was   asked  to   give   his   impressions   of 

Calif ornians.     He  replied  that  he  thought 

the   gathering    before    him   was    a    repre- 

( Continued  on  page  90) 


Sn  Paris,  Cutex  manicure  preparations 
are  used  more  than  any  other] 


I  he  Sophisticated  Papjsienne 

chooses  this  smart  polish 


/dA  femme  elegante  .  .  .  they  call 
&—>  her  in  Paris.  The  woman  who 
cleverly  emphasizes  each  smart  de- 
tail of  her  grooming. 

Never  does  she  use  this  special  em- 
phasis to  more  flattering  advantage 
than  at  her  finger  tips — drawing  ad- 
miring eyes  to  note  their  exquisite 
perfection.  Gleaming,  tinted  nails. 
Cuticle  shaped  in  perfect  ovals — re- 
vealing the  lovely  Half  Moons. 

Those  lovely  ovals  of  smooth  cuti- 
cle she  achieved  by  the  simplest, 
daintiest  method  ever  conceived — 
Cutex,  the  dainty  antiseptic  liquid 
that  removes  every  bit  of  old  dead 
skin  and  easily  shapes  the  new. 

For  the  final  touch  of  radiance  it 
is  the  enchanting  rose  of  CutexLiquid 
Polish  that  gives  her  nails  their  charm- 
ing accent.    She  simply  brushes  it 

Send  ioc  for  Introductory  Sizes 


over  her  nails — and  there  it  stays  till 
her  next  manicure.  It  spreads  thin 
and  smooth.  Does  not  crack  or  peel 
off*.  And  is  so  smart! 

The  complete  manicure 

Thoroughly  wash  your  hands  and  file  the 
nails.  With  orange  stick  and  cotton 
dipped  in  Cutex  free  the  dead  dry  cuticle 
from  the  nails  and  clean  under  the  nail 
tips.  Then  follow  with  Cutex  Cuticle 
Cream.  Give  your  hands  a  final  rinsing. 
Now  brush  Cutex  Liquid  Polish  evenly 
over  each  nail.  It  is  in  two  lovely  shades 
— natural  and  the  new  Deep  Rose. 

All  Cutex  preparations  are  35c  each — sets 
60c  to  $5.00 — wherever  toilet  goods  are  sold. 

Or,  send  ioc  with  coupon  for  introductory 
bottles  of  Cutex  Liquid  Polish  (natural)  and 
Cutex  Liquid  Polish  Remover.  If  you  live 
in  Canada,  address  Northam  Warren,  Dept. 
M-10,8  5  St.  Alexander  Street,  Montreal. 
Northam  Warren  — New  York,  Paris, 
London. 


Northam  Warren,  Dept-M-lO 

1 1 4  W.  17th  St.,  NewYork  City,  N.  Y. 

I  enclose  ioc  in  stamps  or  coin  for 
generous  bottle  of  Cutex  Liquid  Polish 
and  Cutex  Liquid  Polish  Remover. 


Coupon 
today! 


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85 

PAfi 


\ 


<K 


MKiTE 


Crazy    Quilt 


opened  on  a  crack — "arc  lovely."  Judith 
was  unaware  of  her  eavesdropper.  "Thank 
you  so  much." 

"Glad  you  like  them,"  he  said.  "But 
how  about  tomorrow?" 

"Why,  that  will  be  splendid."  Judith 
said. 

"I'll  call   for  you  about  seven." 

"At  seven  then."  Judith  repeated  the 
hour.  She  wanted  things  to  be  definite 
this  time.    "Good-bye." 

The  rear  door  closed  softly. 

And  Judith,  hanging  up  the  receiver, 
wished  she  had  asked  him  if  she  should 
dress.  She  wondered  why  it  was  that  she 
had  always  been  so  very  adequate  with 
other  men  about  whom  she  cared  nothing. 
And  why  it  was  that  the  very  sound  of 
Harvey  Dunn's  voice  dispelled  her  poise. 

She  pulled  aside  the  curtain  covering 
her  dresses  which  hung  on  pegs  in  the 
wall.  It  was  not  difficult  to  make  a  selec- 
tion. There  was  a  dull  black  crepe  with 
the  wide  lace  collar  and  cuffs.  Judith  had 
worn  that  lace  set  as  a  little  girl. 

There  there  was  a  dull  green  chiffon 
dress  with  a  low  V-neck  and  wide,  flowing 
sleeves.  It  was  something  of  a  cross  be- 
tween an  afternoon  and  dinner'  dress. 
Judith  thought  this  would  be  lovely  if  she 
wore  the  gardenias  with  it. 

Impulsively  she  crammed  on  her  hat. 
She  repacked  the  corsage  carefully.  Then 
she  hurried  down-stairs  and  down  the 
street  to  the  little  florist  shop. 

"Would  it  be  possible  for  you  to  keep 
these  in  your  ice-box  until  tomorrow  at 
about  this  time?"  she  asked  the  man.  "I 
will  pay  you."     Her  words  came  in  a  rush. 

The  man  looked  at  her  adamantly.  Her 
eyes  were  less  grave  than  usual  and  there 
was  almost  a  pink  flush  in  her  cheeks. 

He  hesitated.  Perhaps  he  knew  that 
Romance  had  come  into  his  shabby  shop. 
"Give  them  to  me,"  he  said,  and  it  was  al- 
most as  if  he  was  going  to  oblige  her 
against  his  will. 

"1  wont  be  responsible  if  they  dont 
keep,"  he  said.  "Cant  tell  about  garde- 
nias." 

"I  understand."  Judith  said.  She  was 
a  little  embarrassed  now.  She  had  done 
it  all  so  impulsively.  She  had  thought  of 
nothing  except  the  way  the  gardenias 
would  serve  that  green  chiffon  dress. 

"I  do  appreciate  it,"  she  assured  the 
man.  "I  know  it  is— well,  a  little  unusual. 
But  they  were  sent  to  me  and  1  did  not 
know  how  else  to  keep  them.  I'll  call  for 
them  tomorrow  at  about  this  time." 

Walking    home,     she    hummed     a    little 
-he  thought  she  had  forgotten.     Once 
mor<  loriously  alive.    She  had  so 

many    plans.      There    was    so    much    she 
wanted    to    do.      She    thought    she    would 
poo    her    hair    thai    night,       It    always 
looked  better  if  it  was  done  tb 
Her   nails   did,   too. 

Suddenly    she    remembered    that    lie    had 

made  no  explanation  or   apolog;    aboul    the 

night  befoi  surprised  tl 

had    completely    overlooked    this.      If    any 

•  r    known    had    pre- 

r<  le  sly,  she  would 

refused  to  ,.     luil  with 

Harvey    Dunn,    her    standards    crumbled. 

With    Harvey    Dunn,    just    everything    was 

rlift' 

"I  I'  J     look   out   there."   someone 
and    Judith    jumped    out    of    the    way    of    a 
delivery  motor.      In  the  very  center  of  the 

tl,    with    the    suddenness   of   a   thunder- 
OS. 


(Continued  from  page  84) 

bolt,  she  realized  that  she  was  in  love  with 
Harvey  Dunn.  Blindly,  unreasonably,  glo- 
riously and  insanely  in  love. 

Until  this  minute  she  had  doubted  the 
very  existence  of  love  at  first  sight.  And 
now  it  had  descended  upon  her  like  a 
silver  haze. 

While  she  shampooed  her  hair  and  while 
she  manicured  her  nails,  she  thought  about 
it.  She  fell  asleep  thinking  of  it  and  woke 
to  the  immediate  happy  consciousness  of  it. 

The  day  went  quickly.  She  had  several 
things  to  do.  She  wrote  her  father  and 
asked  him  to  send  the  pictures  of  Lola 
Chase.  She  felt  that  she  understood  this 
woman  now.  She  could  imagine  giving  up 
the  stage  for  a  man  you  loved  the  way 
she  loved  Harvey. 

In  the  afternoon  she  went  to  one  of  the 
smartest  hairdressers  in  town  and  paid 
one  dollar  and  a  half  to  have  her  hair 
marcelled  in  wide  waves.  Judith  knew 
places  where  they  would  wave  your  hair 
for  half  of  this  price.  But  there  was  no 
comparison  between  the  frizzes  they  gave 
and  the  way  in  which  her  hair  now  clung 
smoothly  about  her  head. 

The  gardenias  had  not  faded,  except  to 
lose  a  first  freshness.  And  Judith  knew 
they  would  have  looked  this  way  after  she 
had  worn  them  for  an  hour  or  two  any- 
way. 

At  six  forty-five  she  was  entirely  ready 
and  doing  her  utmost  to  read.  But  she 
went  over  a  passage  innumerable  times 
without  getting  any  sense  from  it  and 
finally  put  down  the  book.  And  in  spite 
of  the  fact  that  she  was  sitting  there  wait- 
ing to  be  called,  she  jumped  when  Mrs. 
Clabby,  the  landlady,  shrieked  up  the 
stairs  : 

"Miss  Tower !      Gentleman  to  see  you." 

Judith  had  considered  the  advisability  of 
asking  Mrs.  Clabby  to  come  up-stairs  and 
announce  Harvey  quietly,  but  she  had  al- 
most immediately  discarded  this  idea.  She 
had  decided  that  it  would  be  a  silly  affec- 
tation. The  house  was  very  evidently  a 
second-rate  rooming-house.  And  it  was 
doubtful  if  Mrs.  Clabby  could  have  been 
prevailed  upon  to  do  anything  but  shriek 
in  her  usual  manner. 

Judith  called  back  that  she  would  be 
down  immediately. 

She  fastened  the  gardenias  at  her  waist. 

A  few  months  before,  in  a  moment  of 
unprecedented  extravagance,  she  had  bought 
a  few  yards  of  a. silver  crepe,  printed  with 
a  conventional  wave  design  in  varying  and 
vivid  shades  of  green.  She  had  edged  this 
with  a  wide  fringe.  The  result  was  an 
effective  wrap.  And  this  she  flung  over 
her  shoulders  with  all  the  magic  of  a 
naturally  smart  woman. 

Judith  knew  that  she  was  beautiful.  But 
she  was  entirely  impersonal  in  her  con- 
viction. The  only  effect  it  had  upon  her 
was  to  make  her  sure  of  herself. 

Harvey  Dunn  awaited  her  in  the  narrow 
hallway.  And  when  he  saw  her  coming 
down    thru    the    faintly    lit    spaces,    he    was 

lad  that  he  had  worn  a  tuxedo.  He  had 
been  a  little  dubious  as  to  the  advisability 
of  this,  not  knowing  what  she  would  do. 
Bui  he  had  finally  decided  that  she  would 
have  suggested  an  informal  attire  if  she 
i:'  i  pai  ed  i"  dress. 
Wain  Judith's  heart  pounded  a  choke 
into  her  throat.  Again  there  was  that  ache 
and   (  on:  1 1  i(  lion    in   hack   of    lier  eyes. 

lie    thoughl    she   was    "A    Princess   in   a 
ning-house"  and  put  this   phrase  away 


in  a  corner  of  his  mind,  aware  that  it  was 
a  good  movie  title. 

"Would  you  like  to  go  to  the  Ritz?"  he 
asked.  "Motion  picture  people  go  there 
a  great  deal  and  I  thought  you  might  be 
interested." 

He  laughed.  "It  is  funny,"  he  said,  "the 
way  all  of  us  motion  picture  people  go 
around  looking  for  each  other  whenever 
we  are  away  from  the  studios.  And  if 
we  dont  look  each  other  up,  we  go  to  the 
movies.     Talk  about  a  cabman's  holiday !" 

Judith  was  glad  that  she  had  dressed  and 
that  months  aj,o  she  had  bought  those 
yards  of  printed  crepe. 

"The  Ritz  sounds  delightful,"  she  told 
him. 

"Well,  there  is  good  music  there.  And 
the  food,  of  course,  is  excellent,"  he  said, 
as  they  went  to  a  cab  waiting  outside. 

Judith  marveled  at  such  affluence  and 
wondered  whether  Mrs.  Clabby  would  see 
them  and  think  that  Judith  could  afford 
to  pay  more  for  her  room.  Mrs.  Clabby's 
rates  were  as  much  as  she  thought  she 
could  get. 

She  felt  now  that  she  should  say  some- 
thing to  him  about  his  failure  to  appear  the 
other  evening,  but  feared  to  mention  it 
lest  she  break  this  perfect  spell. 

"You  are  a  very  curious  person,"  he  told 
her,  as  their  cab  turned  down  Fifth  Ave- 
nue. "You  look  utterly  poised  and  so- 
phisticated. Yet  I  have  a  feeling  that  you 
are  incapable  of  coping  with  the  world  in 
which  I  find  you.  Do  your  looks  belie 
the  real  you?     I  wonder." 

Judith   laughed  throatily. 

"They  do  and  they  dont,"  she  said  spon- 
taneously, with  her  habitual  frankness. 
"I  know  just  what  you  mean  about  me,  I 
think.  My  strains  of  maturity  and  so- 
phistication are  uneven.  Perhaps  everyone 
is  like  that.  But  how  acute  of  you  to 
make  such  an  observation !" 

He  shook  his  head.  At  first  Judith 
thought  he  was  not  going  to  say  more  and 
she  wondered  why  he  had  grown  so 
serious. 

"I  am  not  unduly  acute,"  he  said.  "We 
are  always  able  to  sense  things  about 
people  we  love.     I  love  you,  you  know." 

Judith  hoped  he  would  say  it  again. 

"You  love  me,  too,  dont  you?"  he  asked 
her. 

She  looked  up  and  his  eyes  held  her. 

"Yes,"  she  said  simply,  "I  do  love  you, 
very  much." 

When  Judith  was  to  think  of  this  inter- 
lude afterwards,  she  was  always  to  marvel 
at  the  utter  simplicity  of  it.  Conventions 
.  .  .  civilization  .  .  .  and  the  years  upon 
years  that  had  gone  into  the  building 
of  society  were  swept  aside.  It  was 
elemental,  primitive  and  fundamental. 
for  all  their  sophisticated  trappings  and 
the  twentieth  century  thru  which  they 
were  riding,  they  were  purely  a  man  and 
his  woman.     It  was  like  that. 

He  did  not  speak  again.  But  reaching 
for  her  hand,  which  seemed  at  the  same 
moment  to  reach  for  his,  he  found  it  cold 
and  warmed  it. 

The  immaculately  white-uniformed  at- 
tendant at  the  Ritz  Carlton  marquee  held 
the  door  for  ihem  to  alight.  Harvey  helped 
Judith  out  and  they  smiled  at  one  another. 
With  them  now  there  seemed  no  need  for 
words. 

"I'll  be  waiting  here,"  he  said,  as  Judith 
went  into  the  dressing-room  to  leave  her 
( (  'ontinued   on  paye  93) 


Building  a  City  to  Make  a 
Movie 

(Continued  from  page  5) 

by  Henry  King  for  parts  in  the  picture. 
It  was  a  great  sight  to  see  them  all  huddled 
together  on  the  floor  watching  themselves 
on  the  screen.  There  were  mountaineers, 
cowboys,  Indians,  trappers  and  ranchers 
of  every  description,  and  all  in  all  the 
queerest-looking  specimens  I  had  ever 
encountered.  They  had  never  seen  a  cam- 
era before  they  were  brought  here  to 
become  temporary  citizens  of  this  mush- 
room city.  When  you  see  them  on  the 
screen  you  will  say  that  they  are  great, 
very  great,  actors — raw,  crude,  but  per- 
fectly natural;  and  that  not  even  Wallace 
Beery  and  the  like  could  have  done  any 
better.  They  not  only  looked  and  acted 
their  part,  but  they  were  the  part. 

I  was  never  quit^  sure  that  Mr.  Goldwyn 
had  not  blundered  in  spending  nearly  a 
million  dollars  in  selecting  that  God- 
forsaken desert  of  desolation  on  which  to 
build  a  city  just  for  a  few  scenes  in  a 
movie,  until  I  saw  the  result  on  the  screen. 
But  the  finished  product  dispelled  every 
doubt.  All  the  enormous  expense,  sacri- 
fice and  suffering  of  a  very  large  company 
seemed  fully  justified.  "The  Winning  of 
Barbara  Worth"  was  not  fully  edited  and 
titled  when  I  saw  it,  but  if  it  is  equal  to 
its  promise,  it  will  be  a  world-beater.  It 
is  the  true  story  of  a  part  of  our  national 
development,  following  the  "Covered 
Wagon"  epoch,  and  thus  it  has  more  than 
an  entertainment  value. 

■"This  editorial  is  not  only  to  praise  "The 
Winning  of  Barbara  Worth,"  but  to 
call  attention  to  the  fact  that  motion  pic- 
tures are  entering  upon  a  new  era — upon 
an  epoch-making  era  in  which  nothing  is 
too  good,  too  great,  too  colossal  or  too 
daring  for  a  producer  to  undertake  if  it 
will  insure  the  perfection  of  the  modern 
motion   picture. 


Are  There  Children  in 
Your  Family? 

If  there  are  boys  or  girls  in 
your  house,  fourteen  years 
old  or  younger,  tell  them  to 
look  at  page  46  of  this 
issue.  There  is  a  Felix-cat 
contest  that  will  delight 
them. 

-ayb 
-~urt,  you 


Advertising  Section 

One  of 

the  Evidences 

ofi  Refinement 

Good  taste  and  good  health 
both  demand  sound  teeth,  a 
clean  mouth  and  sweet  breath* 

The  use  of  Wrigley's  chewing 
gum  takes  care  of  this  important 
item  of  personal  hygiene  in  a 
delightful,  refreshing   way. 

Wrigley's  does  its  work  by  remov* 
ing  particles  of  food  from  between 
the  teeth,  by  stimulating  the  flow  of 
digestive  juices,  and  by  the  antiseptic 
action  of  the  flavoring  extracts  for 
which  Wrigley's  is  famous — "The 
Flavor  Lasts!" 

It  removes  odors  of  dining  or 
smoking  from  the  breath. 

These  facts,  so  freely  attested  by 
doctors  and  dentists  alike,  are  making 
the  use  of  Wrigley's  a  thrice  daily 
routine  of  people  of  refinement. 


after  every  meal! 


Comes  to  you 

fresh  and  full-flavored 

in  its  sanitary 

sealed  wax  package 


AFTERBWERY  ■  meal 


G66 


.'iition   MOTION    PICTURE    MAGAZINE. 


87 

PAG 


f 


Advertising  Section 


asy 
RemoveSummer 
Blemishes  ^~ 

Tan,  freckles,  muddy  complex- 
ions and  coarse,  wind  roughened 
skins  are  passe  for  Fall  and 
Winter  social  activities.  Correct 
this  condition  now.  Wipe  out 
your  summer  blemishes  and  in 
their  place  give  to  your  skin  a 
pure,  soft,  pearly  appearance 
of  alluring  beauty.    Let 

GOURAUD'S 

OP|ENTAl 
CREAMS 

"Beauty's  Master   Touch" 

prove  to  you  the  value  of  "Corrective 
Beautifying."  In  a  moment's  time  it 
renders  a  bewitching  appearance  to 
your  complexion  that  cannot  be  dup- 
licated by  any  Powder,  Cream  or 
Lotion.  Its  effective  astringent  and 
antiseptic  action  discourages  blemishes, 
wrinkles  and  flabbiness.  The  weak 
points  of  your  appearance  are  yielding 
to  its  corrective  properties  as  you  enjoy 
the  immediate  effect  of  a  new  beauty 
to  your  skin  and  complexion . 

Gouraud's  Oriental  Cream  is  ready  to 
add  years  of  youth  to  your  appearance. 
Try  it  today.  Made  in 
White,  Flesh  and  Rachel, 
also  Compacts. 

nd  JOc.  for  Trial 

Ferd.  T.  Hopkins  &  Son, 
430  Lafayette  St 
Hew  York 


Answers    to   September's  "Whose  Hands' 


""The  feminine  hand,  with 
■*■  long  fingers,  belonging  to 
an  individual  with  a  gentle 
manner,  quiet  in  temper, 
confiding  and  instinctively 
trusting  every  one  who  is 
kind  to  her,  belongs  to  Lois 
Wilson.  From  just  these 
few  descriptive  lines  it 
would  seem  that  every  one 
could  have  guessed  it  was 
Miss  Wilson,  for,  off  the 
screen  as  well  as  on,  she  is 
all  of  these  things.  Her 
face  and  hand  do  not  wholly 
correspond  in  detail,  altho 
both  show  a  conscientious, 
sympathetic,  kind,  gentle 
nature  and  both  show  abil- 
ity. Vocationally,  Miss  Wil- 
son could  do  well,  with 
training,  in  most  any  work 
she  would  feel  equal  to 
undertake. 

All  rights  reserved, 
F.  Vance  de  Revere 


HThe  very  masculine  hand, 
with  its  long  fingers, 
which  corresponded  in  out- 
line and  general  formation 
with  its  owner's  face  and 
figure,  belonging  to  a  tall, 
well  -  built  man  with  good 
breadth  to  the  central  por- 
tion of  his  face,  was 
Thomas  Meighan's  hand. 
Both  face  and  hand  alike 
show  a  sensitive,  kindly  na- 
ture, highly  inspirational 
with  great  love  of  the 
artistic  and  all  that  is  beau- 
tiful. Honesty  and  sincerity 
of  purpose,  determination, 
persistency  and  a  strong 
will,  a  social  nature,  good 
conversational  ability  and  a 
person  not  easily  swayed,  a 
generous  person,  tactful  and 
very  sociable  and  adjustable 
to  people.  He  has  executive 
as   well   as   dramatic   ability. 

All  rights  reserved, 
F.  Vance  de  Revere 


Prize  Winners  for  Limericks   Published   in 
August  Magazine 


""The  feminine  hand  which 
1  belonged  to  a  person  of 
good  height,  with  a  broad 
face,  was  the  hand  of  Renee 
Adoree.  A  very  versatile 
person,  highly  emotional, 
sympathetic,  with  strong  ar- 
tistic instincts  and  talent. 
Love  of  music  and  musical 
ability  are  shown  in  face 
and  hand  alike.  The  face 
shows  more  practicability 
than  the  hand  but,  both  face 
and  hand,  show  well-de- 
veloped dramatic  talent,  in 
fact,  the  qualities  which 
make  the  successful  actress 
are  dominate  in  face,  and 
hand.  Renee  Adoree's  face 
is  almost  harmonic,  giving 
ability  to  fit  into  several 
vocations  successfully,  but 
her  present  vocation  is  the 
one  she  is  best  suited  to. 

All  rights  reserved, 
F.  Vance  de  Revere 


New    steps    for    the    Charleston    is    what 
Kathleen    Key   by   a    Russian   was   taught 

For    her    hobby,    and    my! 

She    can    leap    to    the    sky! 
There'll      be      countless      "star  -  gazers"      'tis 

Miss  Dolores  Costello  designs 
All    her   negligees — exquisite   lines 

She    gives    them;    and    hues 

Of  the  strangest  she'll  use, 
When    she    dons    them    the    rainbow    resigns. 

thought. 

W.    Milo   Price, 

Atlanta,    Ga. 

Miss    Nellie    Halpin, 

Memphis,    Term. 

Noah    Beery's   pet    hobby's   to    raise 
Pond    lilies    -he    started    the    craze, 
And    Filmdom's    gone   mad 
Over    this    pleasant    fad, 

Adolphe    Menjou    has    taken    to    writing 
Saucy    verses    in    French — most    exciting! 

Oh!      He   sure   has  a   flair 

For   a    rhyme    full    of    "dair" 

"Blooming    idiots"    is   the   right    phrase. 

It    is    per    "verse"    and    cant    stand    reciting. 
Miss   C.    Elia, 
Waterbury,    Conn. 

William    I)i  l'i  u  . 
W.    Philadelphia,   Pa. 

1'ola    Negri's    new    hobby    is    munching 
Two    apples    at    noontime,    and    lunching 
On  one  quart  of  milk— 
And     her    skin    is    like    silk!  — 
II.  me    her    "meal    ticket"    shows    little    punch- 
ing. 

M.    TlEDEM, 

Eldred,  New  York. 


The  Usual  Morning  Tie-up 


is  the  prize-winning  title  for  the  picture  which  appeared  on  page  8  of 
the  August  issue.  It  was  contributed  b-y  William  Lawrance^  lfcJameda, 
( California. 


Every  advertisement  in  motion  PICTUBE  magazine  is  guaranteed. 


93) 


Advertising  Section 


"Shall  I  Go  Into  the 
Movies" 

{Continued  from  page  74) 

SHOULD  do  is  to  study  art,  what  partic- 
ular branch  of  this  subject  being  beyond 
my  power  to  determine  when  I  have  no 
time  of  birth  to  figure  upon.  But  you  have 
a  good  year  in  1927  and  if  you  get  to  work 
on  some  tangible  artistic  effort,  you  can 
get  ahead  at  that  time. 

A  dele  F.,  September  19: 

Like  most  people  born  in  the  signs  Virgo 
and  Libra — the  months  of  September  and 
October,  roughly  speaking — you  are  too 
sensitive  and  discriminative  for  your  own 
good.  You  are  not  satisfied  with  less  than 
perfection,  and  as  perfection  is  rarely 
found  in  this  mundane  sphere,  you  can  see 
just  about  what  your  own  chances  are  of 
ever  being  contented  unless  you  modify 
your  requirements.  Not  a  great  deal  will 
come  your  way  until  about  1931,  but  after 
that  time  there  is  much  incident  and  great 
development  in  your  life.  I  would  sug- 
gest advertising  or  publicity  work  for  you, 
either  in  motion  picture  circles  or  in  com- 
mercial lines,  but  with  the  ultimate  am- 
bition to  travel  and  interview  famous 
people  in  foreign  countries.  Your  life 
wont  be  commonplace,  so  dont  give  up 
hope  just  yet. 

Edith  S.,   October  24: 

I'd  have  to  preach  an  entire  sermon  to 
you  to  tell  you  some  of  the  reasons  why 
you  wont  be  contented  or  even  successful 
until  you  change  some  of  your  ideas.  You 
have  a  complex  character  and  a  good 
many  qualities  which  need  a  firm  hand  on 
the  steering-wheel.  Try  not  to  expect 
too  great  a  material  reward  or  too  speedy 
appreciation  of  your  efforts  until  you  have 
performed  some  genuine  service.  All  re- 
turns, whether  these  be  spiritual,  intellec- 
tual or  material,  come  from  the  effort  and 
service  of  someone.  Sometimes  people  can 
do  so  much  for  humanity  that  their  chil- 
dren and  their  children's  children  reap 
these  returns.  But  a  mere  effort  to  get, 
regardless  of  what  is  given,,  eventually 
results  in  sackcloth  and  ashes.  You  have 
plenty  to  give;  try  working  very  patiently 
and  thoroly  in  chemistry  or  medicine.  It's 
possible  that  chemical  research  might  lead 
you  into  some  form  of  motion  picture  ac- 
tivity, but  not  in  the  spectacular  side  of  it. 

A.  L.  C,  May  19: 

I  think  you  have  a  pretty  fair  chance 
to  get  somewhere  in  motion  picture  acting 
■ — at  any  rate,  better  than  you  have  along 
strictly  intellectual  lines.  You  are  not  the 
student  type  and  are  a  wise  girl  to  realize 
your  capabilities.  The  sign  Taurus  gives 
you  personal  magnetism  while  your 
Moon's  position  in  the  sign  Sagittarius 
gives  you  enthusiasm  and  energy.  This 
is  a  good  combination  for  an  actress.  You 
may  have  a  little  difficulty  in  marriage, 
but  if  you  will  wait  ten  years  before  get- 
ting very  close  to  the  altar  you  have  a 
better  chance  of  happiness  in  this  respect. 

R.  E.,  May  13: 

Stay  in  musical  comedy.  I  cannot  see 
anything  in  motion  picture  work  for  you 
but  antagonism  and  disappointment.  You 
have  an  opportunity  for  a  brilliant  mar- 
riage in  about  three  years ;  take  it.  Make 
up  your  mind  that  your  husband  will  be  a 
person  of  decision  and  that  it  will  be  your 
part  to  adapt  yourself  to  his  ideas.  You 
can  do  this,  altho  it  may  take  some  plan- 
ning. Maybe  the  results  will  be  worth 
the  effort,  you  know. 

When  you  w 


They've  Found  Now 

that  the  way  you  remove  cleansing  cream 

has  an  almost  unbelievable  influence 
on  the  color  and  firmness  of  your  skin 


Please  accept  7-day  supply  to  try 

The  new  and  totally  different      / 
way  experts  urge         § 


LARGELY  on  the  advice  of  beauty     I 
_j  and  skin  specialists,  thousands 
of  women  have  turned,  with  some  re- 
markable effects  on  the  skin,  to  a  new 
way  of  removing  cleansing  cream. 

With  its  use  darkish  skins  seem  shades  \ 
lighter  than  before. 

Oily  skin  and  nose  conditions  are  curbed 
amazingly. 

Dry  skins — skins  that  tend  to  "flake" — 
are  largely  overcome. 

Scores  of  skin  imperfections — many  traced 
to  improper  ways  of  removing  cleansing 
cream — are  combated. 


Virtually  every  important  beauty  au- 
thority urges  this  method.  Virtually  every 
prominent  motion  picture  and  stage  star 
before  the  public  today  employs  it.  It 
marks  a  new  era  in  skin  care. 

/-day  supply  given 

Just  mail  the  coupon  and  a  full  7-day  sup- 
ply will  be  sent  you.  It  will  prove,  no 
matter  how  long  you  have  used  cold  cream, 
you  have  never  yet  removed  it  properly, 
have  never  removed  its  germ-laden  matter 
completely  from  your  skin. 

What  it  is 

This  new  way  is  called  Kleenex  'Kerchiefs 
• — absorbent.  A  new  kind  of  material — dif- 
ferent from  any  other  you  have  ever  seen — 
developed  in  consultation  with  leading  au- 
thorities in  skin  care  solely  for  the  removal 
of  cleansing  cream. 

It  comes  in  exquisite,  aseptic  sheets  of 
handkerchief  size.  You  use  it,  then  dis- 
card it. 

It  is  the  first  method  ever  known  that 
removes  all  cleansing  cream,  all  dirt  and 
germ-laden  matter  from  the  pores. 

No  more  soiled  towels 

Soft  as  down  and  white  as  snow,  it  is 
27  times  as  absorbent  as  an  ordinary 
cloth  towel. 

It  ends  the  "soiled  towel"  method 
that  is  dangerous  to  skin  beauty. 


KLEENEX 

ABSORBENT 

'KERCH!  EFS 

To  Remove  Cold  Cream — Sanitary 

te  to  advertisers  please  mention  MOTION  PICTURE   MAGAZINE. 


~\ 


It  avoids  the  hardness  of  paper  make- 
shift ways.  It  is  made  by  one  of  the  world's 
leading  makers  of  absorbents. 

ISIo  oily  skins 

Because  it  removes  all  dangerous  mat- 
ter and  grease  from  the  pores,  it  combats 
greasy  skin  and  nose  conditions.  A  greasy 
skin  often  indicates  cold  cream  left  in  the 
skin  which  the  pores  constantly  exude. 

A  blemished  skin  usually  indicates  a 
germ  condition  of  the  pores.  You  must 
clean  them  out.  Old  ways — towels,  etc. 
— won't  do  it.  They  remove  but  part  of 
the  cream  and  dirt,  rub  the  rest  back  in. 

Thus  your  skin  not  only  is  endangered, 
but  may  seem  several  shades  darker  than 
it  is. 

In  two  or  three  days  this  new  method 
will  prove  itself. 

Send  the  coupon 

Just  detach  the  coupon.  Use  it,  by  all 
means.  You'll  be  delighted  with  what 
it  brings. 


X 


Kleenex  'Kerchiefs 
—  absorbent  —  come 
in  exquisite  flat  hand- 
kerchief boxes,  to  fit 
your  dressing  table 
drawer  .  .  .  in  two 


Boudoir  size,  sheets  6 
by  7  inches  .  .  35c 
Professional,  sheets 
9  by  10  inches   .  65c 


7-DAY  SUPPLY— FREE 

KLEENEX  CO., 

167  Quincy  St.,  Chicago,  111.  M-10 

Please  send  without  expense  to  me  a  sample 
packet  of  KLEENEX  'KERCHIEFS— absorbent— 
as  offered. 


PA/SU 


Advertising  Section 


jar  th^\wib^ 

— this  lovely  tinted  lustre! 

Surely,  never  before  have  nails  been 
so  important!  The  ordinary  mani- 
cure is  no  longer  enough.  The  nails 
must  now  have  this  special  finish, 
this  new  gleaming  loveliness. 

Such  is  Fashion's  edict!  And 
eagerly  the  woman  of  chic  is  hasten- 
ing to  obey.  Glazo,  a  wonderful 
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vogue  that  has  spread  to  every  cor- 
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No  more  need  of  the  old-time 
bothersome  buffing  that  gives  such 
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A  quick  brush  of  Glazo  Liquid 
Polish  across  the  nails,  and  at  once 
they  assume  themostalluringlustre, 
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This  instant  Glazo  finish  lasts  a 
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or  turn  an  ugly  brown.  Make  sure 
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Comes  with  separate  remover 

Glazo  gives  you  one  more  advantage 
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with  separate  remover.  This  rc- 
mover  not  only  insures  best  results, 
J. ut  Bavea  the  poli  h  itself. 

ct time  you  go  out,  ask  your 
dealer  for  Glazo.  50c  everywhere. 
The  Glazo  Compam  .610  Blair  Ave. 

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GLAZO 

Nails  stay  polished 
longer  -  no  buffing 

-arv 

Try  GLAZO  Cuticle 

1 

-<  uticle 
and 

and  healthy 


News  of  the  Camera  Coast 


(Continued  from  page  85) 


sentative  crowd,  because  they  had  turned 
out  to  celebrate  the  recovery  of  three 
press  agents.  Then  Marc  launched  into 
his  speech  as  to  what  was  wrong  with  the 
movies.  He  said  the  brainy  writers  of 
the  East  never  could  understand  the 
movies  unless  they  came  out  here.  He 
attributed  their  lack  of  knowledge  to  the 
fan  magazines  and  other  motion  picture 
publications  that  are  supposed  to  print 
articles  about  the  movies.  He  said  if  the 
wise  men  of  the  East  only  had  more  en- 
lightenment on  the  subject,  we  might  get 
them  interested  in  coming  out  here  to 
help  us  along  in  solving  our  problems. 

These  remarks  of  Mr.  Connelly  have 
prompted  me  to  publish  a  few  lines  for 
the  edification  of  New  York's  big  brainy 
and  bashful  playwrights  who  only  seem  to 
know  what  they  read  in  the  papers. 

In  the  first  place,  the  New  York  play- 
wright coming  to  Hollywood  will  discover 
to  his  amazement  that  no  one  has  heard 
of  him!  He  will  have  to  start  building 
up  a  reputation  again  by  making  after- 
dinner  speeches.  When  he  has  made 
enough  of  these  so  the  Hollywood  folk 
know  him  by  his  first  name,  he  will  be 
welcomed  into  the  fold  and  given  a 
script.  The  first  snag  he  will  strike  is 
when  a  scenario  writer  who  has  never 
been  to  New  York  will  tell  him  that  his 
ideas  are  all  wrong  because  he  is  now 
dealing  in  movies,  not  speakies.  This 
kicks  him  in  the  pride  and  he  goes  out 
and  makes  another  after-dinner  •  speech 
just  to  make  sure  he  hasn't  lost  any  of 
his  oldtime  ability.  After  two  more 
scripts  he  learns  that  he  is  dealing  in  an 
entirely  different  medium  for  hokum.  He 
makes  another  after-dinner  speech  about 
the  movies  being  a  different  medium  for 
art  and  returns  to  New  York. 

I  sincerely  hope  this  aids  New  York 
playrights  who  are  contemplating  visits  to 
Hollywood,  and  may  I  add  that  the  Will 
Hays's  organization  advises  those  coming 
to  Hollywood  to  have  enough  money  to 
keep  them  in  food,  clothes  and  drink  for 
six  months  ...  at  least ! 

After  Marc  had  gone,  Irvin  S.  Cobb 
took  the  stand,  as  the  newspapers  say,  and 
kept  his  audience  howling  with  mirth  for 
the  next  half  hour.  Irvin's  troubles  didn't 
seem  to  be  so  acute  nor  so  painful  as 
Marc's.  He  characterized  a  movie  super- 
visor (the  man  who  supervises  the  story 
and  tells  the  author  what  a  poor  job  he 
is  doing  so  the  scribe  wont  feel  like  ask- 
ing for  more  money),  by  saying  that  the 
gentleman  reminded  him  of  a  goldfish 
swimming  restlessly  around  and  around, 
asleep  all  the  time,  but  with  his  eyes  open. 

I  didn't  have  the  opportunity  of  hearing 
Robert  Benchley,  who  was  brought  here 
for  the  same  purpose  as  Cobb  and  Con- 
nelly. However,  I  have  obeyed  that  im- 
pulse and  am  a  three  year  paid-in-advance 
subscriber  to  his  magazine,  so  I  shall 
probably  get  his  reactions  from  the  pages 
of  his  journal. 

Daymond    I  I. mo.     returned     from    loca- 
X   lion   with  the  Jack   Holt   company  with 
the   following  description  of  the  meal:    he 
enjoyed : 

"We  had   chicken   every  day,"   said   Kay, 

'tailed    the    bird    in    Maryland    and 

!ii    him    west.      The    first    day    it    was 

i  ir-,  land'  on  the  menu  card. 

id     day     it     was     Thicken      St. 

Louie.'      The    third    day    we    had    'Chicken 

a  la  Cleveland'  and  the  lasl  appearance  of 

the  bird   was  under  the  title,   'Chicken  a  la 

!  loll.'    with    the   spurs   on  " 


Debe  Daniels  tells  me  of  a  conversation 
she  overheard  on  a  train  coming  west 
from  New  York.  The  two  men,  who 
were  evidently  princes  coming  to  Holly- 
wood to  get  married  because  Bebe  des- 
cribed them  as  having  frayed  cuffs  and 
voices  like  Shakespearian  actors,  were  dis- 
cussing the  merits  of  Anita  Loos'  new 
book,   "Gentlemen   Prefer   Blondes." 

"I  can  see  nothing  to  this  trash,"  said 
one,  "It  aint  even  good  English." 

"The  new  home  of  the  Paramount  Com- 
pany is  a  beautifully  arranged  studio. 
The  executive  building  is  one  of  the  finest 
office  structures  in  the  West.  The  build- 
ing housing  the  stars'  dressing-rooms  is 
an  odd  affair  with  a  different  style  of 
architecture  on  the  exterior  of  each  dress- 
ing-room. This  not  only  produces  a 
unique  effect,  but  provides  the  company 
with  exteriors  which  may  be  used  as  sets 
for  pictures. 

Several  stages  have  been  constructed, 
and  new  equipment  installed  thruout  the 
plant.  The  studio  covers  an  immense 
area.  This  is  the  only  objection  the 
players  seem  to  have  with  their  new  home. 
In  the  old  Lasky  Studio  there  was  one 
little  street  on  which  the  stars  congre- 
gated to  exchange  the  gossip  of  the  day, 
and  now  there  are  so  many  streets  the 
players  cant  find  their  buddies  when  they 
want  to  gossip.  It  is  comparable  to  the 
small  town  boy's  trip  to  the  big  city  .  .  . 
main  street  is  gone. 

I  have  heard  actors  refer  to  the  im- 
mense plant  as  "The  World's  Fair 
Grounds,"  but  they  always  do  so  with  a 
certain  amount  of  pride  in  their  organi- 
zation which  started  in  a  small  country 
barn  on  Vine  Street. 

J7  sther  Ralston   is  to  have  the  leading 
role   in    "The   Rough   Riders." 

f  eorge  Lewis,  the  youngster  whom  Ed- 
ward  Sloman  picked  from  the  extra 
ranks  to  play  the  leading  role  in  "His 
People,"  will  enact  the  principal  part  op- 
posite Mary  Philbin  in  Sloman's  next  pic- 
ture, which  is  to  be  the  screen  version  of 
the   European   play,   "Lea   Lyon." 

So  long  as  we  are  singing  tributes  to 
directors,  we  might  as  well  compose  a 
hymn  of  praise  to  Edward  Sloman,  who 
is  undoubtedly  the  best  director  the  Uni- 
versal company  has  on  its  program.  Slo- 
man has  introduced  us  to  three  new  screen 
faces  this  year.  George  Lewis  was  get- 
ting an  extra's  pay  check  until  the  di- 
rector gave  him  the  leading  role  in  "His 
People."  Blanche  Mehaffey,  a  former 
comedy  girl,  created  such  a  favorable 
impression  in  the  same  play  that  one  of 
the  large  companies  immediately  signed 
her  to  -a  five-year  contract.  In  "The  Old 
Soak,"  Sloman  again  brought  forth  a  new 
find  in  June  Marlowe,  who  previously  had 
been  working  in  dog  pictures,  where  one 
must  have  a  pair  of   fangs  to  get  a  close- 


I  understand  Metro  -  Goldwyn  -  Mayer 
contemplate  the  making  of  a  film  play 
based  on  the  life  of  Louis  XIV,  and  have 
already  assigned  one  of  their  seventy-two 
writers  to  work  out  the  script. 

It  is  rumored  that  Paramount  will  make 
a  film  based  on  the  life  of  Josephine,  at 
one  i niie  the  wife  of  Napoleon. 

I  know  several  actors , who  could  carry 
out  the  role  of  Louis  to  perfection,  but 
there  is  only  one  actress  to  portray 
Josephine  and    she   is   Florence  Vidor. 


irory  advcrtlocmcnl   in  MOTION   PICTURE  MAGAZINE   is  guaranteed. 


_L, 


w* 


hen  Indian  summer 
days  are  come — and  <with  gay 
companions  you  saunter 
over  the  friendly  fields 

— have  a  Camel! 


No  other  cigarette  in  the  world  is  like  Camels.  Camels  contain  the 
choicest  Turkish  and  Domestic  tobaccos.  The  Camel  blend  is  the 
triumph  of  expert  blenders.  Even  the  Camel  cigarette  paper  is 
the  finest — made  especially  in  France.  Into  this  one  brand  of  ciga- 
rettes is  concentrated  the  experience  and  skill  of  the  largest  tobacco 
organization  in  the  world. 


WHEN  Indian  summer 
days  are  here.  And  the 
smoky  haze  lies  over  the 
fields.  When  the  merry 
notes  of  the  horn,  sounding 
after  the  coach  and  four, 
remind  you  of  other  days 
— have  a  Camel! 

For  life  is  never  so  com- 
plete, so  joyous  as  when  a 
lighted  Camel  sends  up  its 
fragrant  smoke.  On  city 
street  or  country  road,  in 
any  season  of  the  year,  no 
other  cigarette  was  ever  so 
rich  and  fragrant — so 
smooth  and  mellowy  mild. 
When  you  become  a  Camel 
smoker,  there's  no  end  to 
your  enjoyment,  for  they 
never  tire  the  taste.  You'll 
never  get  choicer  tobaccos, 
more  superbly  blended, 
than  you  get  in  Camels. 

So,  this  perfect  autumn 
day  as  your  trail  leads  over 
the  fields  or  along  the  turn- 
ing road — 

Have  a  Camel! 


©  1926 


Our  highest  wish,  if  you 
do  not  yet  know  Camel 
quality,  is  that  you  try 
them.  We  invite  you  to 
compare  Camels  with  any 
other    cigarette    made   at 

any  price. 

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Company 

Winston-Salem,  N.  C. 


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ty/  National  Institution 


Advertising  Section 


CfrMOTiON  PiCTURr 

3ne)l    I    MAGAZINE       F 


Crazy  Quilt 

(Continued  from  page  86) 

wrap   and   he   went   to    check   his   hat   and 
stick. 

The  room  into  which  Judith  stepped  was 
sweet  with  a  hundred  mingling  perfumes 
from  France.  There  was  a  haze  of  pow- 
der and  scented  cigaret  smoke  in  the  air. 
A  maid  watched  to  see  that  the  women  did 
not  leave  their  gleaming  rings  on  the 
basin. 

As  Judith  returned  to  Harvey,  she  no- 
ticed that  a  tall  girl  was  talking  with  him. 
He  introduced  them.  "Miss  Royce,"  he 
said.     "This  is  Miss  Tower." 

The  girl  acknowledged  the  introduction 
and  made  no  move  to  leave.  She  was 
pretty  in  a  brittle  way.  She  glittered 
harshly. 

"Is  Miss  Tower  a  professional,  Harve?" 
she  asked.  Judith  thought  her  manner 
with  Harvey  slightly  possessive. 

"I  hope  to  be  some  day,"  she  said,  an- 
swering for  herself. 

Miss  Royce  smiled  at  her,  but  again  she 
addressed  her  remarks  to  Harvey. 

"You  will  help  Miss  Tower  at  the  stu- 
dios, of  course,"  she  said.  Her  tone  was 
mocking.  Judith  was  made  to  feel  an 
outsider. 

Harvey  answered  this  time,  saying :  "I 
do  not  think  that  Miss  Tower  will  need 
any  assistance  to  get  on.  She  has  all  the 
ingredients  of  success." 

He  seemed  anxious  to  get  away. 

"Who  is  she?"  Judith  asked  as  they 
walked  away. 

"Joy  Royce.  She  is  on  the  stage,"  he 
said,  but  made  no  further  explanation. 
And  Judith  was  far  too  happy  to  bother 
with  questions.  Harvey  loved  her.  That 
was  enough. 

They  passed  thru  the  large  salon. 
Groups  of  beautifully  gowned  women  and 
men  in  correct  black  and  white  sat  about 
smoking.  There  was  moderate  light 
laughter.     There  was   muted  conversation. 

The  orchestra  was  playing. 

Judith  and  Harvey  walked  up  the  few 
heavily  carpeted  marble  steps  to  the  en- 
trance of  the  large  oval  dining-room. 
Here  tables  crowded  together,  patterning 
the  scene  with  circles  of  white  damask. 
They  were  set  with  silver  and  rose-shaded 
candelabra.  There  were  flowers.  And 
glass  walls  extended  the  scene. 

Harvey   consulted   with   the   head-waiter 
and   they   were    shown    to    a   table    at    the 
golden     railing    of     the     platform    which - 
circled  the  room. 

The  menu  was  in  French.  That  made 
it  difficult.  Judith's  French  was  sketchy, 
a  mere  high-school  French.  But  the  waiter 
made   suggestions. 

They  ordered.   .    .    . 

Honeydew  melon.  Filet  of  sole,  mar- 
guery — the  marguery  sauce  being  a  delect- 
able concoction  of  cream,  mushrooms, 
chopped  lobster  and  chives.  Asparagus. 
Browned  wisps  of  potatoes.  A  salad  of 
alternate  slices  of  avocado  and  grapefruit. 
Cccur  flottant  merveilleux  aux  fruits.  This 
last  was  a  sweet  worthy  of  its  poetic 
name  —  Floating  heart,  marvelous  with 
fruits.     Demi-tasse.     Cigarets. 

"Do  you  suppose  that  waiter  is  really  so 
intensely  interested  in  what  we  order?" 
Judith  asked  naively. 

And  Harvey  laughed  and  laughed.  Per- 
haps he  laughed  because  he  was  so  gor- 
geously happy  and  because  he  and  Judith 
were  alive. 

The  room   crowded. 

"There  is   Goldstein  of   Excelsior,"  said 
Harvey.      Judith     turned    to     watch     the 
heavy-set  Jew  follow  a  waiter  to  a  promi- 
nent table.     A  lovely  young  girl  was  with 
(Continued  on  page  98) 


Her  Romance 

Came  A     True 


QMiss 

IDALIAN, 

GAMBLE 

^^MANcE^Hollywoodtontest 


wins. 


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(Continued  from  page  29) 


pace  with  her  feci,  which  is  some 
FEAT):  The  appointment  was  NOT 
for  three.  It  was  for  three-thirty,  any- 
way, and  everyone  who  rides  in  taxis  is 
half  an  hour  late.  It's  expected  of  them. 
(Her  voice  is  plaintive,  which  is  not  her 
line  at  all.) 

G.  H. :  Whatjasay?  Funny,  Tommie 
wasn't  on  that  set,  dontcherthink  ? 

A.  W.  F.:  I  KNOW  that  St.  Peter 
was  wrong.     I  said  three-thirty  distinctly. 

Look,  there's  Louise  Brooks.  She  has  a 
unique    personality.      I    predict    things    for 

G.  H.:  Where?  Oh,  yes.  Isn't  her 
hair  straight?  You  have  to  be  so  good 
looking  to  wear  your  hair  straight.  I 
dont  see  how  you  can  predict  when  you 
are  doing  a  Marathon  forty  leagues  long. 
What  is  this,  a  labyrinth?  Who's  the  man 
with  Louise  Brooks? 

A.  W.  F.  (officiously):  I  know  who 
you  mean  but  I  just  cant  call  the  name  to 
mind. 

The  Boy  (pausing  at  eternal  last  on  the 
dark  rim  of  a  dismantled  set) :  The 
Swanson  company  should  be  here.  Looks 
like  they  are  thru  for  the  day. 

G.  H. :  Well,  that's  as  may  be,  but  if 
they  are  I'm  thru  for  life.  It's  up  to  you, 
fleet  Miss  Fletcher,  to  so  notify  the 
powers-that-be. 

A.  W.  F.  (zvho  is  obviously  unperturbed 
by  this  cataclysmic  threat  again  consults 
the  pitiful  circlet  she  totes  about  on 
her  wrist):  My  watch  says  only  fifteen 
to.  Anyway,  the  appointment  wasn't  for 
three.  She  cant  have  gone  yet.  My  luck 
couldn't  run  like  this  all  day. 

Stage-Hand  (evidently  struck  by 
the  dramatic  quality  of  the  little 
group):    Looking  for  Miss  Swanson? 

G.  H.  O  A.  W.  F.  in 
whisper) :  They  dont  call 
her  Madame  La  Marquise  in 
the  studios,  you  see.  You 
said  I'd  have  to  say  the  whole 
title  every  time  I  opened  my 
mouth.  The  more  I  go 
around  with  you  the  less 
stock  I  take  in  .  .  . 

A.  W.  F.:  Oh,  what  dif- 
ference does  it  make  what 
they  call  her  if  she  isn't  here 
to  be  called  anything?  The 
point  is  not  what  she  is 
called  but  whether  she  is 
here  .  .  .  you  do  prattle  on 
more  about  nothing  .   .   . 

The  Boy  (imperturbably)  : 
Know  where  she  is?  (To 
stage-hand.) 

Stage-Hand:  She's  down 
on  the  lower  stage.  We're 
striking  this   set. 

Boy  (starting  off  at  the 
Nurmi  nib  once  more):  This 
way,   ladies   ... 

Again  the  interviewers  fol- 
loxv  on,  down  flights  of  cir- 
cular stairs,  around  more  sets, 
along  corridors  variously  and 
pompously  inscribed  .  .  . 


same  shade  is  crushed  dozvn  on  her  head 
with  that  casualness  that,  alone,  is  ele- 
gance. A  sheer  white  blouse,  short- 
vamped,  gray  suede  shoes  complete  the 
costume. 

A.  W.  F.  (taking  quite  a  manner  unto 
herself,  goes  over  to  the  blue  figure)  : 
How  do  you  do,  Miss  Swanson.  We  were 
so  afraid  we  had  missed  you.  May  I  pre- 
sent Miss  Hall  .  .  .  Gladys  Hall? 

Gloria  Swanson  :  How  do  you  do. 
Wont  you  sit  down.  I'll  be  thru  almost  at 
once  and  then  we  can  go  to  my  dressing- 
room  and  talk. 

The  interviewers  seat  themselves  with 
what  they  feel  to  be  proper  dignity  and 
decorum  under  what  you  might  call 
Court  circumstances  and  watch  the  tiny 
Marquise  as  she  confers  with  the  various 
men  over  the  various  details.  Every  item 
she  suggests  is  sedulously  noted.  A  slight 
difference  here.     An  alteration  there. 

G.  H. :  I  noticed  her  eyes  first.  Amaz- 
ing eyes.  And  her  pocketbook.  It  isn't  so 
terribly  different  from  mine  and  mine 
came  from  Best's — $3.95 — in  fact,  I  think 
you  gave  it  to  me,  'Dell. 

A.  W.  F. :.  What  difference  there  is  is 
certainly  terrible — I  agree  with  you  there. 
Do  you  like  the  color  blue  she  is  wearing? 

G.  H.     (trying  out  the  subtle  sensation 


Scene  111.—//  drawing- 
room  set  in  which  curd  tables 
arc  grouped  with  chairs.  There 
are  three  <>r  four  men  arrang- 
ing small  tables,  ornaments, 
etc. 

In  the  center  of  this  scene 
dial  citriously  dominating  it 
stands  a  small  definite  figure 
clad  in  powder  blue,  coat  and 
skirt.    .1  close  felt  hat  of  the 


"I  am  accused  of  being 
everything  from  'high 
hat*  down  the  scale. 
It  makes  one  fearful 
of  just  how  one  should 
behave  to  the  mem- 
bers of  the  press," 
says  Gloria.  Another 
scene  from  "Fine 
Manners'* 


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of  appraising  a  Marquise)  :  Uh-huh.  I 
>  mean,  chawming. 

A.  W.  F.  (compassionately)  :  Oh,  dont 
try  so  hard.  You'll  get  along  better  if 
you  dont.     I  do  like  her  hat. 

Miss  Swanson  (coming  over  to  them)  : 
Now  I've  finished.  Would  you  like  to 
come  to  my  portable  dressing-room?  The 
regular  dressing-rooms  are  so  far  from 
the  sets.  When  I  came  out  of  the  hospital 
they  gave  me  this  .  .  .  (Miss  Swanson  and 
the  interviewers  thereupon  enter  what  re- 
sembles a  moderate  Pullman  drawing- 
room  on  wheels,  with  full-length  couch  at 
one  end  and  full-length  dressing-table  at 
the  other.  The  maid  unlocks  it  for  them 
and  opens  the  tiny  windows.) 

Scene  IV. — The  interior  of  the  dress- 
ing-room. At  one  end  the  aforementioned 
dressing-table  before  which  a  boudoir 
chair  stands  and  upon  which  is  the  usual 
lavish  paraphernalia  of  the  tricks  of  the 
trade  .  .  .  lip-sticks  .  .  .  puffs  .  .  .  rouge 
pots  .  .  .  creams  .  .  .  grease  paint  .  .  . 
mascaro  .  .  .  salves  .  .  .  other  ointments 
and  unctions  .  .  . 

At  the  other  end  of  the  little  roorn^  is 
the  long  couch  upholstered  in  a  pastel 
taffeta.  The  four  windows  are  likewise 
draped  in  taffeta.  But  it  is  none  the  less 
a  casual  little  room  without  any  great 
attempt  at  pretentiousness. 

Gloria  Swanson  (facing  the  tivo  in- 
terviewers zvho  have  seated  themselves  on 
the  lounge) :  These  portable  dressing- 
rooms  are  blessings.  By  the  time  you 
have  traveled  the  length  and  breadth  of 
the  studio  six  or  seven  times  a  day  often 
wearing  heavy  costumes  you  are  exhausted. 

A.  W.  F.  (sympathetically) :  You've 
been  ill  lately,  too   .  .   . 

Gloria  Swanson  :  Yes.  A  nervous 
breakdown.  It  was  probably  a  very  good 
thing  for  me.  It  has  made  me  realize  that 
I  must  take  care  of  myself;  that  I  cant 
just  go  and  go  without  taking  stock  at  all. 
I  had  never  before  this  really  thought 
about  my  body  or  what  it  needed.  I  feel 
differently  about  it  now. 

A.  W.  F. :  I've  always  heard  that  you 
were   a   particularly   healthy   person. 

Gloria  Swanson  :  I  was.  That  was 
just  it.  I've  worn  out  other  members  of 
my  companies  for  years  working  long 
after  they  felt  like  giving  up.  But  I 
suppose  for  some  time  I've  been  doing  it 
on  nervous  energy.  I  think  I  was  stupid 
about  such  things.  I  didn't  really  think. 
But  this  horrible  session  I  have  come 
thru  of  feeling  as  tho  I  simply  couldn't 
make  any  move  at  all  has  given  me  a 
warning,  probably  just  in  time.  Now  I'm 
w.atching  what  I  eat  and  I'm  going  to  bed 
not  later  than  ten  o'clock. 

G.  H. :  This  is  your  last  picture  for 
Famous  Players,  isn't  it? 

Gloria  Swanson  :  Yes.  Then  I  work 
on  the  same  basis  as  Mary  and  Doug  and 
Charlie  and  the  others.  Which  means, 
then,  that  I  will  be  able  to  do  what  I  want 
in  the  way  I  want.  Hereafter  if  I  am 
not  well,  I  wont  work.  If  I  feel  disposed 
to  make  a  picture  in  Japan  for  any  known 
or  unknown  reason,  I'll  make  it  there  .  .  . 
there  is  considerable  responsibility  but 
there  is  also  liberty  .  .  . 

A.  W.  F. :  You  have  always  taken  a 
great  deal  of  responsibility  in  production 
at  any  rate,  haven't  you? 

Gloria  Swa»nson  :  Yes,  I  have.  That's 
why  I've  worked  so  hard.  I  could  have 
come  to  the  studios  and  turned  my  face 
this  way  and  that  at  the  directors'  com- 
mands .  .  .  that  wouldn't  have  taken  any 
particular  degree  of  strength  .  .  . 

G.  H.  and  A.  W.  F. :  But  you  wouldn't 
have  been  so  successful  .  .  . 

Gloria  Swanson  (her  trim  blue  shoul- 
ders   eloquently    expressing    her    doubt): 


Advertising  Section 

Perhaps  .  .  .  perhaps  not.  ...  I  suppose 
it's  a  great  deal  the  way  you  are  made  .  .  . 
the  way  you  work.  I've  always  been  in- 
tensely serious.  I  never  could  see  the 
funny  side  of  things.  I  hated  being  in 
comedies.  When  I  was  a  child  I'  never 
even  wanted  to  see  a  comedy.  I  couldn't 
laugh  at  them.  I've  always  dramatized 
things  .  .  .  even  work.  .  .  . 

And  so  when  I  began  to  get  on  I  wanted 
especially  to  get  to  the  top.  I  would  never 
leave  the  studio  at  nights  until  I  had  seen 
my  rushes,  even  tho  that  meant,  and  means 
that  there  is  really  no  time  for  dinner,  no 
time  to  dress  for  going  out.  Then  be- 
tween pictures  there  are  always  stories  to 
be  read,  costumes  to  be  seen  to  and  the 
domestic  regime  that  is  so  vitally  im- 
portant to  me.  .  .  . 

G.  H. :  You  supervise  the  children  your- 
self a  great  deal,  dont  you? 

Gloria  Swanson  :  All  I  can  possibly 
find  time  for.  I  spend  every  minute  I  can 
with  them  and  find  the  minutes  only  too 
few. 

G.  H. :  If  you  had  to  give  up  your 
fame — or  your  family — your  motherhood 
— can  you  say  which  you  would  sacrifice 
now  that  you  have  both? 

Gloria  Swanson  :  Oh,  my  career,  in 
an  instant.  I  have  never  been  so  peaceful, 
so  happy,  so  near  to  what  I  imagine 
angels  must  feel  like  as  I  was  when  little 
Gloria  was — very  little.  I  think  a  woman 
hasn't  really  lived,  isn't  a  woman  at  all, 
until  she  has  had  a  child.  I  hope  to  have 
others,  at  widely  spaced  intervals,  so  that 
as  I  grow  old  there  will  always  be  a  child 
in  my  house. 

A.  W.  F. :  Shall  you  mind  growing  old, 
do  you  think? 

Gloria  Swanson  :  Yes,  I'll  mind 
growing  old.  I  cant  visualize  myself  at 
all  in  that  intermediary  stage.  I  can  see 
myself  quite  perfectly  as  a  nice,  very  old 
lady  .  .  .  but  middle  age  ...  I  do  shrink 
from  that.- .  .  . 

G.  H. :  You  wouldn't  want  to  give  up 
the  fame  you  have  won,  would  you?  You 
couldn't  quite  say  that?  I  mean,  is  there 
a  heavy  price  to  pay? 

Gloria  Swanson  :  You  do  pay  for 
fame.  No  doubt  about  it.  I  cant  say 
whether  it  is  worth  while  or  not.  Of 
course,  there  is  such  a  great  difference  be- 
tween fame  and  notoriety.  The  sad  part 
being  that  so  many  people  get  the  two 
hopelessly  confused.  I  have  had  such 
unkind  publicity,  such  sensationalism. 
Would,  for  instance,  a  man  be  suing  me 
for  some  preposterous  sum  of  money  be- 
cause I  am  supposed  to  have  slapped  his 
face  or  something  of  the  ridiculous  sort  if 
I  were  not  Gloria  Swanson  ...  or  not 
Gloria  Swanson  especially  but  a  movie 
star.  .  .  .  Would  any  little  move  I  make 
be  so  construed  that  it  appears  as  a  front 
page  story  if  I  were  not  "famous"  ? 

I  am  accused  of  being  everything  from 
"high  hat"  down  the  scale.  It  makes  one 
fearful  of  just  how  one  should  behave  to 
members  of  the  press.  I  suppose  I  have 
hurt  a  great  many  feelings  .  .  .  that  is 
another  penalty  of  fame.  I  have  a  fero- 
cious memory  for  names.  I  can  always 
remember  a  face  but  I  cant  seem  to  at- 
tach the  right  name  to  the  right  face.  I 
know  that  I  have  hurt  a  great  many  feel- 
ings in  that  way.     It  is  difficult.  .  .  . 

G.  H. :  Is  that,  or  is  this  why  you  keep 
the  children's  pictures  out  of  the  papers? 

Gloria  Swanson  (in  her  calm,  definite 
way) :  Yes.  I  want  them  to  lead  normal 
childhood  lives.  I  do  not  want  my  little 
girl  to  go  to  school  and  be  known  as 
"Gloria  Swanson's  daughter."  I  do  not 
want  her  to  go  to  school  and  be  be- 
leaguered with  questions  about  her  mother. 
Perhaps  stories  about  me  that  will  not  be 
true   but   that    will   do    something    to    the 


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child.  When  they  grow  up  .  .  .  then  they 
arc  free.  1  trust  that  I  will  not  be  one  of 
the  kind  of  women  who  try  to  live  their 
lives  over  in  the  lives  of  their  children, 
but  while  they  are  little  and  incapable  of 
making  wise  choices  for.  themselves  we 
feel  that  the  wise  one  is  to  keep  them  in 
the  country  as  much  as  possible  with 
tutors  and  governesses  so  that  they  will 
hear  as  little  as  possible  about  "Gloria 
Swanson   this-and-that." 

I  believe  in  public  schools  for  children. 
Thoroly.  I've  thought  it  all  out  very 
carefully  and  if  I  thought  she  would  be 
allowed  to  be  herself  in  any  degree  I 
shouldn't  hesitate  to  send  her  too,  but  we 
have  decided  against  it  for  the  reasons  I 
have  given  you.  And  then,  too,  suppose 
the  newspapers  involved  me  in  a  scandal 
and  my  daughter  was  in  school  and  com- 
pelled to  defend  me,  her  mother?  Oh,  no, 
I  want  to  keep  her  away  from  all  this  for 
as  long  a  time  as  I  can  .  .  .  she  must 
have  her  chance  to  be  an  individual  and 
not  be  in  any  sense  submerged  by  such  at- 
tention as  is  publicly  drawn  to  me.  .  .  . 
When  she  is  older  I  shall  probably  send 
her  to  school  abroad,  in  France  or  in 
Switzerland  where  it  doesn't  matter  who 
you  are.  .  .  . 

A.  W.  F.  (in  what  is  supposed  to  be  her 
best  humorous  vein) :  You  dont  seem  to 
care  for  the  publicity  bestowed  upon  you 
by  the  Great  American  Public? 

Gloria  Swanson  :  It  doesn't  matter 
much  whether  I  care  for  it  or  not.  It 
isn't  publicity  I  resent — it  is  notoriety. 
That  is  what  I  have  been  getting.  But  I 
quite  realize  that  there  is  nothing  I  can  do 
about  it. 

G.  H. :  You  might  do  what  Maude 
Adams  did  .  .  .  you  know,  the  cloistral 
stuff  .   .  .  seclusion  and  all  that.  .  .  . 

Gloria  Swanson  (smiling  her  rather 
morbid  smile):  I  did  and  they  said  that 
I  was  dead.  An  uncle  of  mine  went  into 
a  barber  shop  and  was  commiserated  with 
by  the  manicurist  who  assured  him  that 
he  was  mistaken  in  supposing  me  alive, 
that  she  had  seen  the  funeral  and  all  the 
details.  Even  when  I  materialized  in  full 
view  of  the  reporters  they  said  that  they 
knew  I  must  be  me,  or  words  to  that  effect, 
but  how  could  I  prove  it?  It  was  an 
interesting  abstraction.  Even  my  mother's 
statement  to  the  certain  effect  that  I  was 
I  was  discountenanced.  It  was  observed 
that  she  was  making  the  statement  in  the 
interests  of  Famous  Players.  It  finally 
came  to  an  end  but  not  until  I  had  been 
considerably  puzzled  as  to  how  I  could 
prove  that  I  was  really  I  and  not  a  double 
engaged  to  live  my  life  for  me. 

There  are  a  great  many  penalties  at- 
tached to  Fame,  if  that  is  what  you  call 
it.  .  .  .  I  have  too  little  home  life  .  .  . 
and  as  for  social  activities  .  .  .  well,  the 
last  time  Mr.  De  Mille  was  in  town  I  got 
away  early  one  afternoon  to  pay  him  a 
visit.  I  went  into  the  Ambassador  Hotel 
.ili' nil  five  and  heard  music  playing.  "Adi," 
I  thought,  "there  must  be  a  big  party  in 
progress  here  .  .  .  isn't  this  very  gay  .  .  ." 
and  then  it  dawned  upon  me  that  it  was 
merely  tea  time  and  that  men  and  women 
were  having  tea  and  dancing  .  .  .  that 
things  like  that  really  do  go  on  .  .  .  and 
I  thought  how  nice  it  would  be  to  go  to 
ome  afternoon  .  .  .  and  dally  .  .  .  and 
li  ... 

When  I  go  away  for  a  weekend,  my 
ho  tess  will  say  to  me,  "Do  you  play 
re?"  "No,"  I  am  obliged  to  say,  "I 
dont  play  bridge.  You  see,  1  haven'1 
time.  I  .-in]  too  tired  in  the  evenings.  You 
ha  v.-  to  play  so  awfully  well  these  days  if 
you  play  at  all."  She  will  look  a  little 
doubtful  and  then  say  to  me,  brightly, 
"<  ,oH  ?  I  uppo  e  ou  golf?"  "No"  r 
say,    rather   stupidly,    "I    dont    golf.      You 


see,  I  haven't  time.  Sundays,  when  I  am 
home,  I  like  to  be  with  the  children,  to 
play  with  them.  .  .  ."  "Tennis,  then?" 
"No,"  I  say,  "I  dont  play  tennis  ...  if 
you  will  just  let  me  read  .  .  .  and  sit  .  .  . 
I  shall  be  quite  happy.  .  .  ." 

I  am  assured  that  the  average  public 
has  no  notion  of  the  way  in  which  we 
people  of  the  screen  really  work. 

A.  W.  F. :  I  do  think  that  one  of  the 
saddest  things  in  life  is  the  way  most  of 
us  have  to  work  in  our  youth  .  .  .  give  up 
the  fun-things  ...  so  that  we  may  be  se- 
cure financially  in  our  old  age. 

Gloria  Swanson  :  It's  quite  true.  Last 
week  my  husband  and  I  were  at  West 
Point  and  I  cant  tell  you  how  I  felt  as  I 
sat  and  watched  the  young  girls  and  the 
cadets  .  .  .  how  out  of  it  all  .  .  .  my  main 
thought  was  that  I  should  like  to  send 
Joseph,  my  little  adopted  son,  to  West 
Point  when  he  grows  up.  I  mentioned 
this  to  my  husband  who  laughed  and  said 
that  I  was  anticipating  a  great  deal,  con- 
sidering the  fact  that  Joseph  is  three.  But 
it  was  from  the  mother's  point  of  view 
that  I  was  seeing  West  Point. 

A.  W.  F. :  You  dont  know  what  story 
you'll  do  first  for  United  Artists,  do  you? 

Gloria  Swanson  :  No.  I  have  three 
in  mind.  When  I  finish  here  next  week  I 
am  going  up  to  the  country  and  live  in 
sweaters  and  rusticate  for  a  few  weeks 
and  then  I'll  come  back  and  get  things 
going. 

G.  H.  (rising,  obviously  because  it  is 
her  duty) :  It  has  been  so  pleasant  .  .  . 
meeting  you,   Miss   Swanson.  .  ,  . 

Gloria  Swanson  (rising  also):  And 
meeting  you.  I  hope  you'll  both  come  in 
some  evening  about  six  so  that  you  may 
see  the  children.  They  come  to  town  a 
couple  of  days  a  week. 

G.  H.  and  A.  W.  F.  (in  the  well  known 
and  long  rehearsed  unison) :  We  will. 
We'd  love  to. 

Gloria  Swanson  :  Do,  please.  I'll 
look  for  you.     Good-bye.  .  .  . 

The  interviewers  exeunt  as  the  maid 
announces  that  Miss  Szvanson's  car  is 
waiting. 

Scene  V. — The  interior  of  a  taxicab 
bound  suburbiaward  on  Long  Island. 

The  interviewers  settle  themselves  as 
comfortably  as  the  resources  at  their 
command  permit  and  prepare  to  discourse 
upon  the  merits  versus  the  demerits  of 
the  Marquise,  etc. 

G.  H.  (in  a  somewhat  surprised  tone  of 
voice):     I  liked  her  ...  a  great  deal. 

A.  W.  F. :  Well,  what's  strange  about 
that  ?    Why  shouldn't  you  ? 

G.  H. :  I  dont  know.  It's  funny  .  .  . 
she's  almost  the  only  celebrity  I've  never 
interviewed  before  and  I  had  got  the  im- 
pression that  she  was  up-stage  and  un- 
approachable and  not  exactly  human  and, 
of  course,  I  make  humble  demand  of 
humanity  of  anyone  I  meet  .  .  .  but  she 
is  quite  the  contrary  from  what  I  had  ex- 
pected. Decidedly  human.  Very  much 
of  a  lady.     Intelligent.     Direct. 

A.  W.  F. :  Yes,  all  of  those  things. 
You  know,  she  reminds  me  of  Mary 
Pick  ford.  I  mean  in  essence.  The  same 
matter  of  fact  manner.  .  .  the  same  direct 
method  of  dealing  with  vital  problems  .  .  . 
the  same  quiet  acceptance  of  her  fame 
which  is  infinitely  better  than  mock 
modesty.  .  .  . 

G.  H. :  And  no  less  than  any  of  these 
sterling  qualities  is  the  way  in  which  her 
eyes   arc   set.  .  .  . 

A.  W.  F. :  And  what  color  .  .  .  what 
would  you  say  .  .  .  aquamarine.  .  .  .? 

(',.  II.:  Some  girls  with  her  features 
.  .  .  because  I  hey  are  not  the  features 
(Continued  on  page  107) 


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That's  Out 

(Continued  from  page  71) 
Who  Won  the  War  ? 

"The     British,    are     adversely     criticising 

"The  Big  Parade,"  claiming  that  it  con- 
tains too  much  American  propaganda  and 
that  it  should  be  entitled  "How  America 
Won  the  War." 

In  Australia  the  production  has  been 
banned  entirely,  because  it  failed  to  show 
Australian  troops  in  the  action. 

The  fact  that  the  picture  is  supposed  to 
concern  itself  with  some  American  dough- 
boys and  their  experiences  on  the  Amer- 
ican front  seems  to  have  been  -completely 
overlooked. 

Next  we  expect  to  hear  of  objections 
from  the  Italians,  the  Japanese,  the  Rus- 
sians, the  Belgians,  the  Scottish  High- 
landers and  the  Hottentots,  because  the 
American  doughboys  were  not  pushed  into 
the  background  to  show  the  activities  of 
other  countries. 

Also,  why  not  a  ban  on  the  part  of 
Germany  because  "The  Big  Parade"  at- 
tempts to  prove  that  the  Germans  lost  the 
war. 

Why  Be  Original  ? 

The  producers-  run  so  short  on  good  box- 
office    titles    that    whenever    one    com- 
pany   thinks    up    a    good    title,    the    other 
companies    rush    forward   to   emulate   it. 

First  we  had  "While  New  York  Sleeps." 
Then  came  'While  Paris  Sleeps."  Now 
along  comes  Warner  Brothers  with  "While 
London  Sleeps." 

To  make  a  complete  job  of  it,  _  will 
some  producer  kindly  present  us  with  a 
super- feature  entitled  "While  the  Audi- 
ence  Sleeps"? 

What's  This  ?     Real  Art  Films  ? 

A  new  era  of  artistic  films  is  promised 
^  to  those  discriminating  picture-goers 
who  yearn  for  a  higher  grade  and  more  in- 
telligent form  of  silent  drama  than  they 
are  now  getting. 

Out  in  Hollywood,  The  Photoplay 
League  has  been  formed  for  the  definite 
purpose  of  showing  artistic  films  to 
selected  audiences.  None  but  members  of 
The  League  are  allowed  to  witness  their 
programs.  Children  and  all  persons  con- 
nected with  censor  boards,  or  favoring 
censorship  of  any  kind,  are  forever  barred 
from  becoming  members   of   The   League. 

Attempting  to  cater  to  patrons  over  the 
twelve-year  mental  limit  is  risky  busi- 
ness and  cuts  the  number  of  those  eligible 
for  membership  down  to  a  minimum. 

However,  The  Photoplay  League  is 
making  marked  progress  and  soon  there 
will  be  a  branch  theater  in  every  prominent 
city. 

Our  Two  Best  Bets 

Just  to  show  how  easy  it  is  to  foretell  our 
future  big  screen  favorites,  I  will 
herewith  set  forth  the  names  of  the  two 
most  promising  undeveloped  young  actors 
on  the  screen  today. 

Gilbert   Roland. 

Don  Alvarado. 

As  conclusive  evidence  of  the  utter  in- 
competence of  the  studio  heads  to  know 
real  screen  discoveries  from  inferior 
talent,  it  is  interesting  to  note  that  both 
of  these  young  players  have  been  released 
by  companies  who  had  them  under  con- 
tract at  small  salaries. 

Alvarado  was  released  by  Warner  Broth- 
ers and  Roland  by  Famous  Players-Lasky. 

The  real  laugh  will  come  when  a  year 
or  two  hence  both  of  these  companies  will 
be  glad  to  offer  Don  Alvarado  and  Gilbert 
Roland  ten  times  the  salaries  they  were 
drawing  at  the  time  of  their  release. 


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97 
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I 


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(Continued  from  page  93) 


I 


98 


him.     But  Harvey  was  talking-,  and  Judith 
could  consider  nothing  else. 

''Did  you  wonder  why  I  did  not  come 
up  on  the  stage  the  other  night  as  I  said 
1  would?"  Harvey  asked  "Or  did  you 
forget  that  I  had  said  I  would  be  up  to 
see  you  later  on?" 

"I  waited  for  you,"  Judith  said  without 
artifice,  "but  you  did  not  come.  I  wanted 
to  ask  you  about  it  tonight,  but  I  was 
afraid  it  would  break  this  beautiful  spell 
if  I  mentioned  it." 

Harvey  restrained  himself.  He  wanted 
to  reach  over  and  take  her  hand. 

"You  darling,"  he  said.  "What  an  idiot 
I  was.  What  a  blithering  idiot.  I  dont 
deserve  you.  I  overheard  something  and 
believed  it.  Someone  said  you  had  entree 
to  Goldstein's  office.  ..." 

Judith's  eyes  darkened  to  the  color  of 
the  sea  on  a  cloudy  day. 

"You  thought  tliat  of  me?"  she  asked, 
but   he   interrupted    her. 

"I  told  you  I  was  an  idiot,  Judith.  Say 
you  forgive  me,  love.  Say  it,"  and  when 
she  hesitated  he  pleaded  with  her.  "Say 
you  forgive  me.     Now!" 

She  had  been  hurt*  by  his  suspicions,  but 
she  could  not  resist  his  begging  eyes.  She 
did  forgive  him.  Oh,  she  did.  And  Har- 
vey held  her  hand  beneath  the  long  table- 
cloth. 

At  a  nearby  table  were  debutantes  with 
young  bloods.  They  were  all  very  gay. 
Their  little  young  bodies  were  wrapped  in 
heavy  silks  and  frail  chiffons.  Their  slight 
young  arms  were  brilliant  with  bands  of 
jewels  and  synthetic  jewels.  They  glit- 
tered so  it  was  impossible  to  tell  which 
were  which. 

Judith  noticed  that  they  suddenly  seemed 
concerned  with  the  entrance  to  the  room. 
She  turned,  too. 

"There  is  Sonia  Solana,"  Harvey  super- 
fluously remarked,  for  the  actress  was  un- 
mistakably herself. 

She  stood  almost  defiantly.  Her  cloak, 
fashioned  of  a  beaten  tissue  of  gold,  was 
dazzling.  Her  black  hair  was  brushed 
sweepingly  back  from  her  oval,  ivory  face. 
Her  black  eyes  were  set  in  purple  shadows. 
About  her  forehead  was  a  golden  band 
studded  with  a  large  ruby.  About  her  high 
throat  was  another  band  of  gold.  And  her 
feet,  small  and  perfect,  were  sandalled  in 
what  also  seemed  beaten  gold  rather  than 
leather. 

"Do  you  know  the  man  with  her?" 
Harvey  asked,  pleased  over  Judith's  fas- 
cinated enthusiasm.  Judith  shook  her 
head. 

"Heath  Thomas."  Harvey  named  one  of 
the  wealthiest  men  in  America  and  the 
scion  of  an  old  family. 

"Who  could  blame  him?"  Judith  asked, 
with  what  Harvey  thought  an  extraordi- 
nary generosity.  Women  did  not  usually 
admire  Sonia. 

"There  is  someone  who  blames  him," 
and  Harvey  nodded  in  tbe  direction  of  the 
debutantes'  table.  Judith  noticed  that  one 
girl  deliberately  ignored  the  stir  that  the 
couple  in  the  doorway  bad  caused.  A 
moment  later  this  girl  and  her  escort  left 
the  room,  it  was  evident  that  they  were 
not  returning.  The  waiter  rearranged  the 
table. 

"Good  Lord,  she  wont  stay  with  them 
here,"  Harvey  said.  "She  is  Phyllis 
I  nomas,  his  cousin.  The  entire  family  is 
in  a  furore  over  it.  lie  was  to  have  mar- 
ried Phyllis'  friend,  I  understand.  But 
just  before  th  engagement  was  announced 
he  became  interested  in  Sonia  and  the 
girl  has  sailed   for    Europe." 


Judith  was  interested.  This  was  the 
life  she  had   dreamed   about. 

"Still,"  she  said,  "I  like  Sonia  Solana." 

"You  wouldn't  like  her  if  you  really 
knew  her,"  Harvey  said.  "She  has  a 
viperous   tongue." 

Judith  smiled  at  him.  "Would  you  have 
me  believe  all  the  tales  that  have  been 
written  about   her?"   she  asked. 

Harvey    shook    his     head.      "The    most 
amazing  story   is   true,"   he   said.     "But 
has  never  been  published.     She  is  madly 
love  with  Harry  Crane." 

"Not  that  nice  person  who  always  play 
the  abused  husband?"  Judith  seemed  ir 
credulous. 

"That  nice  person,"  Harvey  in: 
"They  went  about  together  last  ye; 
Harry  never  was  in  love  with  her. 
he  does  not  meet  her  at  trains  .and  whe 
he  does  not  send  her  telegrams  and  pa; 
her  other  such  attentions,  rhe  is  broken 
hearted.  She  has  told  one  or  two  friends 
that  she  will  never  marry  until  he  does." 

"It  sounds  unbelievable,"  Judith  ex- 
claimed. 

"It  is  unbelievable,"  Harvey  granted. 
"Harry  wishes  to  God  she  would  marry 
Heath  Thomas  or  any  of  the  other  hun- 
dred men  who  are  so  mad  over  her.  All 
he  wants  is  to  be  let  alone.  The  funny 
part  of  it  all  is  that  he  is  probably  the 
only  man  upon  whom  Sonia  has  ever  smiled 
who  has  not  been  willing  to  die  for  her. 

"It  is  tragic.  It  is  ironic.  But  it  is  no 
crazier  than  a  hundred  other  patterns  in 
this  motion  picture  game.  It  is  a  phantas- 
magoria, '  for  the  greater  part.  There  is 
no  rhyme  or  reason  for  half  of  it.  But 
somehow  everything  seems  to  work  out 
into  a  whole.  It  has  color  and  interest. 
That  is  why  we  love  it  so,  I  suppose." 

Judith  was  quiet  when  Harvey  finished 
talking.  She  looked  over  to  the  table 
where  Sonia  Solana  and  the  aristocratic 
Heath  Thomas  were.  He  was  bending 
over  the  table,  talking  earnestly.  There 
was  supplication  in  his  manner.  But  Sonia 
was  leaning  back  indolently  in  her  chair 
and  appeared  to  be  smoking  rather  than 
dining.  Every  time  Judith  looked  in  their 
direction  a  tendril  of  smoke  rose  from 
the  end  of  Soma's  cigaret  in  its  long, 
golden  holder. 

"Tell  me  about  yourself,"  Harvey  asked 
Judith,  impatient  with  her  interest  in  Sonia 
Solana  and  Heath  Thomas.  "Tell  me  all 
about  the  years  when  I  did  not  know  you. 
How  did  you  happen  to  come  to  New  York 
so  determined  to  be  a  motion  picture 
actress?" 

"Not  particularly  a  motion  picture  ac- 
tress," Judith  began,  "but  an  actress."  She 
reached  again  beneath  tbe  long  cloth  for 
Harvey's  hand  and,  holding  it  preciously 
in  her  own,  she  began  her  story.  First 
she  told  of  her  childhood  visits  to  the  big 
brick  house  in  the  city  and  of  the  canary- 
yellow  photograph  album  with  the  photo- 
graphs of  Lola  Chase.  Then  she  told  him 
about  her  mother's  letter  and  the  enclosed 
funds 

Hers  was  a  more  intriguing  story  than 
Harvey  had  expected  to  hear. 

"I  have  heard  of  Lola  Chase,"  he  told 
Judith.  "As  a  matter  of  fact,  I  read  some- 
thing about  her  the  other  night  in  an  old 
theatrical  history.  She  will  not  be  re- 
membered by  anyone  today,  but  the  pho- 
tographs will  reconstruct  her  glamoui*  and 
they  will  help  you  tremendously.  Every 
newspaper  writer  will  be  tickled  .to  death 
to  get  one  of  those  pictures  and  a  story 
about  you. 

"You  are  right  in  thinking  they  will 
open    the    way    for    you,    Judith.      Hut    this 


lent  in   MOTION  PICTURE   MAGAZINE   is  guaranteed, 


will  bring  the  fame  that  I  know  belongs 
to  you  sooner  than  I  had  expected.  I 
am  so  afraid  I  will  lose  you." 

"I  couldn't  bear  it  if  you  should,  Har- 
vey," she  told  him  whimsically. 

"You  dear,  you,"  he  said,  looking  over 
at  her.  "Do  you  know  that  I  am  a  poor 
man?  Tonight  I  wanted  things  to  be  per- 
fect.' But  we  could  not  frequent  places 
like  this  on  my  salary.  I  earn  one  hun- 
dred and  twenty-five  dollars  a  week,  Judith 
dear.  That  may  sound  like  a  great  deal 
to  you  now,  but  suppose  you  do  get  on — 
do  you  think  you  would  be  sorry  that  you 
h;id  married  a  humble  P.  A." 

"I'll  marry  you  just  as  soon  as  you'll 
have  me,  Harvey,"  she  said.  "I  would 
not  want  the  success  that  you  think  I  may 
have  if  I  had  to  take  it  alone." 

"The  day  after  tomorrow,  then,"  Harvey 
said.  "And  God  Bless  the  future  Mrs. 
Harvey  Dunn."  - 

They  drove  home  in  an  old  hansom  cab. 
But  first  they  went  thru  Central  Park.  It 
was  Elysian.  Harvey  held  her  in  his  arms 
and  whispered  adorations  in  her  ear.  And 
she  marveled  that  life  could  be  so  glo- 
riously  perfect. 

Long  after  he  had  left  her  in  the  dark 
hallway,  and  long  after  she  was  in  bed, 
she  continued  to  marvel  that  Harvey  Dunn 
should  love  her  so..  With  the  feel  of  his 
kisses  still  on  her  lips,  she  dropped  off  to 
sleep. 

Chapter  IV 

The  following  morning  Harvey  was  at 
the  studios  long  before  his  usual  ten 
o'clock  arrival.  Before  nine-thirty  he 
had  looked  up  the  film  shot  in  the  country- 
club  set  two  days  before  and  had  arranged 
with  the  operator  in  the  projection-room 
to  show  it  before  McAllister  saw  the 
rushes  of  the  location  trip  the  day  before. 

Then  he  found  McAllister  and  told  him 
the  story  of  Judith  and  Lola  Chase. 

"There  is  a  great  publicity  story  in  it," 
Harvey  said,  "and  if  she  is  any  good  at 
all,  I  am  sure  that  Mr.  Irving  will  be  in- 
terested in  her.  If  he  gives  her  one  of 
those  option  contracts,  he  does  not  stand 
to  lose  anything.  You  might  as  well  get 
in  on  this  and  be  the  little  Columbus  who 
discovered  her." 

McAllister   was   interested. 

"I  did  not  see  the  rushes  of  that  coun- 
try-club stuff,"  he  admitted.  "Grady  looked 
it  over  for  me.  Finishing  productions  in 
schedule  time  is  no  joke.  But  come  on 
down  into  the  projection-room  and  let's 
see  if  we  can  locate  that  film.  I  have  to 
look  at  yesterday's  stuff  anyway." 

Harvey  explained  that  he  had  already 
found  it.  "I  thought  you  might  want  a 
look  at  it  before  I  showed  it  to  Mr. 
Irving,"  he  said. 

The  operator  was  waiting  for  them  and 
a  minute  after  they  seated  themselves  in 
the  projection-room,  Judith  and  her  part- 
ner danced  across  the  screen.  Harvey 
knew  she  was  effective.  And,  making 
allowances  for  his  personal  interest,  he 
felt  that   she  had  great  potentialities. 

"She  seems  to  have  something,"  McAl- 
lister granted.  "She  photographs  very 
well  indeed.  A  little  schooling  and  I  think 
she  would  be  quite  capable  of  handling 
bigger  things." 

They  watched  the  remainder  of  the 
footage  in  silence.  Judith  was  prominent 
in  one  or  two  more  scenes,  and  every  time 
she  appeared  it  seemed  to  Harvey  that  she 
was  the  most  compelling  shadow  upon  the 
screen.     She  had  appeal. 

"All  right,"  agreed  McAllister  when  the 
lights  went  up.  "You  can  announce .  me 
as  her  Columbus  if  you  want  to.  I  rather 
think  it  will  reflect  credit  upon  me.  I  re- 
member now  that  I  noticed  her  in  the  stu- 
(Contimied  on  page  103) 


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LIQUID  ARVDN 


Wages  for  Wives 

(Continued  from  page  39) 


that  one- fourth,  we  use  the  good  old  in- 
stalment plan  that  has  solved  many  finan- 
cial problems.  I  keep  a  budget  system  of 
everything  that  is  spent,  for  reference 
when  income  tax  time  comes  around  and 
for  our  own   personal   reference." 

Mrs.  Noah  Beery  is  a  wife  who  thinks 
such  a  slogan  as  wages  for  wives  is 
laughable. 

"A  silly,  a  preposterous  idea,"  she  calls 
it.  "Any  woman  who  has  been  happily 
married  for  many  years,  as  I  have,  and 
has  shared  all  sorts  of  difficulties,  financial 
and  otherwise,  with  her  husband,  knows 
that  the  services  she  has  rendered  to  him, 
if  you  like  to  call  them  services,  are  not 
computable  in  money.  And,  vice  versa, 
about  those  he  has  rendered  to  her.  When 
we  were  poor  troupers  we  took  what  little 
money  we  had  and  spent  or  saved  it  to- 
gether day  by  day,  and  we  do  this  now.  I 
know  what  I  need  to  run  my  household  and 
for  myself  and  the  boy,  and  this  I  get  and 
put  into  my  own  checking  account.  Mr. 
Beery  takes  care  of  savings  and  invest- 
ments." 

Buck  Jones,  on  the  other  hand,  offers 
the  question  of  wages  for  husbands  as  a 
point  that  really  ought  to  be  considered,  in 
some    instances. 

•  "My  wife,"  he  admitted,   ''is  very  much 
better  at  handling  money.     I  turn 
my    weekly    pay    check    over 
to    her,     and    I'm    never 
sorry.     So  far  she  has  ,..  ■• 

always     at     least 
doubled    my    salary 
by     money     she 
makes  in  real  es- 
tate and  horse- 


The      Georg 
K.   Arthurs  be- 
lieve    in     the 
budget     system 


trading.  No,  I  dont  have  to  ask  her  for 
my  wage  every  week.  We  have  a  joint 
checking  account.  But  it's  all  wrong  to 
think  that  all  women  cant  take  care  of 
money  and  haven't  any  sense  about  it. 
Lots  of  them  know  more  about  it  than 
lots  of  men,  and  a  man  who  has  no  money 
sense  and  is  married  to  a  woman  who 
possesses  this  sense  couldn't  do  better  than 
turn  the  old  pay   envelope  over  to  her." 

A  number  of  other  Hollywood  husbands 
seem  to  believe  with  Buck  Jones  that  their 
money  is  better  left  to  their  wives.  Chuck 
Reisner,  Sydney  Chaplin's  director,  for 
instance,  turns  all  his  salary  and  financial 
matters  over  to  his  wife.  All  their  prop- 
erty and  checking  account  is  in  her  name. 
Mr.  Reisner  has  a  small  checking  account 
of  his  own  upon  which  to  draw  for  his 
personal  expenses — his  wage.  In  this  way, 
he  thinks  that  he  simplifies  matters  in  case 
of  his  death,  protects  his  family  and  frees' 
himself    from   worry   about    finances. 

Mrs.  George  K.  Arthur  is  one  of  the 
few  wives  who  says  aye  to  the  wage,  in 
a  sense. 

"I    emphatically    believe    in    a    personal 
allowance  and  budget  system,  a  wage  of  a 
sort,"  she  declared.     "Ever  since  Mr.   Ar- 
thur and  I  have  been  married  we  have  kept 
a  record  of  everything  we  have  spent.     I 
believe  in  and  wanted  an  allow- 
ance that  I  could  do  just  as  I 
pleased  with,  and  I  have 
one.      I    put    this    into 
my  own  checking  ac- 
count    each    month 
and    draw    on    it 
(Continued  on 
page   102) 


The       Noah 

eerys  are  an 
old-fashio  n  ed 
couple  and 
whatever  one 
does  is  agree- 
able to  the 
other 


•ry  advertl    ment   in  MOTION  PICTUBE  MAGAZINE  Is  guaranteed. 


As  Others  See   Us 

(Continued  from  page  41) 

like  this  one  of  Leatrice  Joy's,  but  dont  let 
me  catch  you  wearing  one,  your  face  is  too 
round  and  sweet. 

That's  an  amusing  trick  of  Mae  Busch's, 
isn't  it?  Having  her  scarf  ends  embroid- 
ered "Mae  B."    "May-be"? 

But  the  smartest  things  I've  seen  this 
month  are,  of  course,  Gloria  Swanson'a 
new  Paris  bags  and  bracelet.  She's  tired 
of  being  "laid  up  for  repairs,"  it  doesn't 
give  her  any  chance  at  all  to  enjoy  them 
and  they  really  are  unusual. 

The  bags  are  of  varying  sizes  but  iden- 
tically alike,  with  jeweled  clasps  and  ini- 
tials. She  may  have  more  made  in  other 
jewels  and  colors;  beige  and  pale  topaz,  or 
gray  with  moonstones  or  tiny  diamonds. 

But  I'm  glad  she's  resting,  for  the  last 
time  I  saw  her,  at  the  Long  Island  studio 
during  the  last  scenes  of  "Fine  Manners," 
she  looked  very  badly.  Deep  tired  shadows 
under  her  eyes,  and  a  general  air  of  weary 
drooping  until  time  for  the  "garden  gate 
in  the  moonlight"  scene  and  then,  of  course, 
she  "snapped  into  it,"  her  odd  green  eyes 
glittering  in  the  weird  lights  and  clowned 
with  Eugene  O'Brien  until  poor  Dick 
Rosson  almost  gave  up  trying  to  get  the 
necessary  heart-and-flowers  atmosphere ! 

However,  to  get  back  to  clothes — her 
bracelet  is  a  deep  cuff  of  diamonds  so  much 
newer  than  the  collection  of  narrower  ones. 
Of  course,  she  would  have  one,  isn't  it — 
er — heart-breaking  to  be  poor?  Especially 
since  Paris  seems  to  have  decided  to  wear 
diamonds  instead  of  pearls. 

"Amazing — colossal!"  as  Jack  Gilbert 
says.  Do  you  remember  my  writing  about 
him?  He'd  just  finished  "The  Merry 
Widow"  and  came  up  to  my  studio  with 
that  trick  mustache.  But  did  I  tell  you 
how  he  lost  it  ?    Ah-h-h  !  ! 

However,  this  isn't  giving  you  any  ideas, 
or  is  it? 

This  little  croquis  of  Anna  Q.'s  latest 
boy-cut  is  to  show  you  how  much  more 
flattering  it  is  to  wear  it  long  and  brushed 
back  than  cropped  so  close  that  you  look 
like  a  wet  rabbit. 

Funny,  isn't  it,  how  everyone  does  it 
now,  and  do  you  remember  the  wave  of 
horror  that  swept  from  coast  to  coast 
when  first  she  did  it  for  "Ponjola"? 

I  must  hurry  or  I'll  never  get  to  the  train 
— but  just  a  word  about  Ail  ecu  Pringle's 
wrap.  It  would  be  ideal  for  Joyce,  and  the 
short  cape  promises  to  be  very  good  this 
season,  so  tell  her  about  it. 

Oh !  and  Florence  Vidor's  earrings  and 
beads — they  were  so  striking  with  her  tea- 
gown  of  long  trailing  metallic  material — 
they'd  also  be  gorgeous  for  Joyce  when  she 
goes  back  to  her  simple  little  ten-room 
duplex ! 

I'll  try  to  write  her  soon  and  tell  her 
about  two  more  house-gowns  that  I'm 
wearing  myself — Bcbe  wanted  to  have 
some  like  them  but  she's  not  a  sky-scraper 
like  me,  so  I  designed  some  others  for  her. 

Must  rustle  now — my  best  to  Patsy. — 
"G." 

P.  S. — Will  tell  you  more  about  how 
Jack  lost  his  mustache  if  "A.  W.  F."  will 
let  me  ! — "G." 


If  you  are  beginning  to 
think  about  a  winter  ward- 
robe and  wondering  how  to 
look  smart  on  a  limited  in- 
come, be  sure  to  see  Grace 
Corson's  pages  next  month. 


Advertising  Section 


What  Elizabeth  Richey  Dessez — 
whose  portrait  appears  at  the 
right — has  to  say  on  this  much 
discussed  question  is  of  particular 
interest  in  view  of  her  combined 
social  and  professional  experience. 
For  she  grew  up  among  Virginia 's 
fine  social  traditions  and  is  now 
a  successful  business  woman,  being 
Director  of  the  Educational  De- 
partment of  Fathe— internation- 
ally famous  motion  picture  concern. 


«° 


© 


'o  good  Looks  coiAtitfor 
or  against  a  business  vjomaiu 


'I  know  of  no  occupation  in 
which  good  looks  are  not  of 
value  to  a  woman  in  their  effect 
upon  others,  and  in  the  assur- 
ance and  self-confidence  which 
they  gi\e  her.  Good  looks  are 
not  dependent  upon  beauty  of 
feature  or  coloring  ....  the 
good  looks  of  perfect  grooming 
are  within  the  reach  of  every 
woman.  Good  looks  have  to  be 
backed  up  by  capability  to  be 
of  any  permanent  value  but  a 
general  smartness  and  alertness 
in  appearance  indicates  an  effi- 
ciency that  can  be  applied  to  a  job 
as  well  as  to  one's  appearance." 

CORRECT  care  of  the  skin  is  the  first  and 
most  important  step  toward  the  good 
grooming  Mrs.  Dessez  recommends.  A  few 
cents  invested  in  a  jar  of  Daggett  &  Rams- 


dell's  Perfect  Cold  Cream— a  few  minutes 
faithful  care  every  day— and  your  skin  will 
begin  to  take  on  that  clean,  fine,  whole- 
some look  that  is  called  "well-groomed". 

D  &R  Perfect  Cold  Cream  is  so  good  for 
the  skin  because  it  is  so  beautifully  made 
—blended  with  all  the  skill  of  36  years  of 
experience.  For  Daggett  &  Ramsdell  is  a 
famous  old  firm,  which  has  devoted  its 
chief  energies  for  many  years  to  the  per- 
fection of  this  one  exquisite  cream. 

D  &  R  Perfect  Cold  Cream  is  suitable  both 
for  cleansing  and  moulding.  For  best  re- 
sults apply  with  a  bit  of  cotton  wrung  out 
in  cold  water.  Use  it  always  before  retiring 
and  as  often  during  the  day  as  occasion 
demands.  It  not  only  cleanses  the  pores, 
but  refines  the  texture  of  the  skin.  Don't 
subject  your  skin  to  the  strain  of  a  lot  of 
different  applications.  Choose  this  one 
sure  treatment  that  has  been  found  bene- 
ficial by  so  many  lovely  women. 

For  those  who  want  a  powder  base  that 
really  makes  the  powder  stick,  tryD&R's 
new  Perfect  Vanishing  Cream.  As  dainty, 
as  pure,  as  fine  in  every  way  as  the  cold 
cream.  If  you  don't  already  know  these 
two  creams  intimately,  send  in  the  cou- 
pon for  free  samples.    Do  it  now ! 


DAGGETT  &  RAMSDELL 

Also  makers  of  Perfect  Shaving  Cream, 
Ha-Kol  (Headache  Cologne) ,  Perfect  Cold  Cream  Soap 


D  &  R  PERFECT 
COLD  CREAM 


D  &  R  Perfect  Cold  Cream  comes  in  3  5 -cent, 
60-cent,  and  $1.00  jars.    Also  a  large  fat  jar 
for$1.50.  Perfect  Vanishing  Cream  ^,*~" 

in  35-cent  and  60-cent  jars. 
Both  creams  in  inex-  „ 

pensive  tubes.         ^  -*  ** 


D  &  R  PERFECT 

VANISHING  CREAM 


DAGGETT  &  RAMSDELL 

>14  West  14th  St.,  New  York  City 
165  Dufferin  St., Toronto,  Canada 


Please  send  me  free  trial  tubes  of  your 
** "  two  creams.  MP-10-26 

^»^  Name 

Address. 

dvertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


D 


101 
PAfiLi 


03 


Advertising  Section 


Laborless 

^and  safer 


The  toilet  bowl  must  be  kept 
sanitary.  It  is  dangerous  to 
neglect  it.  But  there  is  no  need 
to  resort  to  old-fashioned  scour- 
ing and  scrubbing.  Sani-Flush 
keeps  the  toilet  bowl  glistening 
white.  It  eliminates  all  the  work. 
And  it  does  a  more  thorough  job 
because  it  cleans  the  hidden  trap 
which  no  brush  can  reach. 

All  you  need  do  is  to  sprinkle 
Sani-Flush  in  the  bowl.  Follow 
the  directions.  Then  flush.  You 
will  see  every  mark,  stain,  in- 
crustation vanish.  Foul  odors 
disappear. 

Sani-Flush  is  a  necessity  in 
every  home.  Keep  it  always 
handy  in  the  bathroom. 

Buy  Sani-Flush  in  neiv  con- 
venient punch-top  can  at  your 
grocery,  drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.   35c  in  Canada. 


Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products  Co. 
Canton,  Ohio 


Reduce  and  Shape  Your  Lambs 
with  Dr.  Walter's  Medicated 
Rubber  Stockings  and  Anklets 

Licht  or  dark  rubber.    For  over  20  y 
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matism  promptly.  Worn  nexl  to  the 
induce  natural  heat,  stimulate  the  c 
end  (five  a  neat  and  trim  appearanc< 
Five  wonderful  support  t.nd  ire  a  protection 
against  cold  and  dampness.  Anklets  fl, 
extra  high  (9.  Stockings$12.  Send  check 
or  money  order— no  cash.  Write  for  Booklet. 


Dr. 


M.P.WaIter,389FifthAve.,N.Y. 


CRAY  HAIR 

Bobbed  or  Long 


Jr  us d   i      Doi  alpor rubi 

C  Com 


1 


j  d  at  home.    14  shades.  P.  P.  $1-60. 

(    White  Henna  for  lightening  hair  grown    y 
:.     dark,  $2.25.  Pilocarpine  Hair  Tonic  ioow-    fi 

7     ,rlul«timulant      iS.OO.  lie      . 

)    B.  PAUL,  Dept.  8-J,  21  W.  39th  St.,  N.Y.C.  I 
4s«  AT  ALL  DRUG  AND  DEPARTMENT  STORESaSSt 


Wages  for  Wives 

{Continued  from  page  100) 


for  all  household  and  personal  purposes. 
If  1  draw  more  heavily  one  month  than 
usual,  as  sometimes  happens  in  a  home  or 
a  business,  I  dont  forget  it.  1  make  it  up 
by  economizing"  next  month.  I  say  that  I 
owe  myself  money  and  I  return  this  out  of 
next  month's  allowance.  You  have  to  be 
honest  and  accurate — keep  up  your  end — 
with  this  system,  or  it  falls  down." 

But  Mrs.  Ernst  Lubitsch,  a  very  lovely 
and  much-adored  and  deferred-to  wife,  is 
an  old-fashioned  woman  who  opens  her 
eyes  wide  at  discussion  of  such  a  petty 
detail  as  money.  "I've  a  joint  checking 
account  with  Mr.  Lubitsch  and  my  own 
personal  account,  and  when  I  need  more 
I  just  ask  for  it,"  she  laughed.  "I'm 
allowed  all  the  money  I  want." 

Mrs.  Lars  Hansen,  wife  of  the  famous 
Swedish  screen  star  who  was  brought 
over  for  Lillian  Gish's  latest  picture,  like 
Mrs.  Jones,  handles  the  money  end  of 
their  matrimonial  partnership.  She  was  a 
well-known  actress  herself  on  the  Euro- 
pean stage,  and  this  is  her  first  experience 
with    being    a    dependent    woman. 

"In  Sweden,"  she  explained,  "my  hus- 
band and  I  both  worked  and  received  in- 
dependent salaries.  So  we  kept  separate 
accounts  of  our  money,  and  arranged  with 
a   housekeeper  to   manage  our  home. 

"Now  we  have  had  to  adopt  a  new 
method.  I  manage  the  house  and  all  his 
affairs.  Every  week  I  collect  his  salary, 
bank  it,  keep  books  and  handle  all  details. 
This  leaves  him  free  to  study  his  roles 
and  act  without  having  to  worry  about 
money  matters  at  all,  and  it  is  really 
better  for  him.  I  believe  that  no  actor  or 
actress  while  working  should  be  bothered 
with  business  affairs.  I  think  that  actors 
with  non-professional  wives  usually  fol- 
low the  system  Lars  and  I  do.  Further- 
more, in  the  case  of  most  husbands  and 
wives — I  never  saw  a  man  who  could  save 
money  as   a  woman  can." 

The  Tom  Mixes,  however,  have  found 
that  neither  the  man  nor  the  woman  in 
their  case  can  save  money  or  attend  to  its 
handling  at  all.  Therefore,  they  turn  it 
all  over  to  a  business  manager,  who  takes 
care  of  bills,  investments,  and  everything. 
Whenever  Tom  Mix  or  his  wife  is  in 
need  of  money,  they  have  to  go  to  this 
manager  for  it.  One  of  his  duties  is  to 
inform  them  when  they  have  overdrawn 
the  weekly  budget  on  which  they  decided 
beforehand. 

"And,  believe  me,"  says  Tom,  "he  does 
it  !" 

Mrs.  Warner  Baxter,  Winifred  Bryson 
that  was,  simply  asks  for  money  as  she 
needs  it. 

"I  always  hated  to  think  about  appor- 
tioning my  own  salary  and  all  that,  when 
I  was  working,"  she  confessed,  "and  I'm 
glad  enough  to  leave  it  to  my  husband 
now.  1  suppose  it  wouldn't  work  with  a 
stingy  husband,  but  if  yours  isn't,  why 
should   you   worry?" 

Mrs.  Edward  Connelly  shakes  her  head 
over  the  new-fangled  schemes  of  young 
married  people. 

"These  tilings  dont  come  up  when  you 
have  been  married  for  as  many,  many  years 
as  Mr.  Connelly  and  I  have  been  married. 
We  have  always  had  one  purse.  We  have 
never  had  any  trouble  or  discussion  Over 
financial  problems.  I  never  feel  thai  I 
have  to  ask  Mr.  Connelly  for  anything. 
Whatever   he   lias    is   mine,    and    vice    versa, 

and  our  accounts  have  always  been  joint. 
I  have  no  allowance.  I  donl  keep  a  budget. 
I  take  what  I  want  from  the  common 
purse  and  never  have  to  explain  to  Mr. 
Connelly  even   for  my  hobbies.     If  I  want 


to  entertain  a  group  of  poor  old  ladies 
every  week  and  take  them  riding  or  do 
whatever  they  think  they  would  enjoy,  I 
can  simply  take  the  money  I  need  for  this 
and   Mr.   Connelly  wants   me  to." 

"I've  never  had  an  allowance,"  smiled 
Mrs.  Tod  Browning,  the  wife  of  the  direc- 
tor, "a  wage  or  what  you  might  call  it. 
Mr.  Browning  and  I  really  do  pay  each 
other  wages,  however. '  I  mean  by  that 
we  limit  ourselves,  and  together  decide 
what  we  shall  use  for  household  and  other 
expenses.  We  have  a  joint  checking  ac- 
count and  into  this  we  put  a  certain  per- 
centage of  what  he  makes.  This  is  a  joint 
wage  that  limits  both  of  us.  The  rest  is 
put  into  a  joint  savings  account  that  we 
both  know  we  have  access  to  if  we  need  it." 

"I  think  wages  for  wives  are  silly  and 
impractical,"  says  Mrs.  Charles  Ray.  "But 
I  think  having  to  ask  your  husband  for 
money  every  time  you  need  something  is 
just  as  silly  and  impractical,  even  when 
the  husband  is  generous. 

"When  we  were  first  married  and  hadn't 
thought,  of  course,  of  making  any  ar- 
rangements, I  was  terribly  embarrassed 
about  this  financial  situation.  I  had  never 
had  to  ask  anyone  for  money  and  I 
thought    I    should    dread    it. 

"I  remember  the  first  thing  I  bought 
for  myself  after  we  were  married  was  a 
hat.  I'd  heard  a  lot  of  funny  stories,  the 
kind  that  go  the  rounds  about  what  hap- 
pens when  the  wife  comes  home  with  a 
too  expensive  purchase,  and  I  was  almost 
afraid  to  see  Mr.  Ray  that  night.  Of 
course,  I'd  spent  too  much  money — I  never 
knew  any  woman  who  didn't  on  a  hat. 

"I'll  never  forget  what  he  said  then,  'It 
isn't  my  money.  It's  our  money.'  I 
never  felt  any  embarrassment  after  that, 
and  it  gave  me  far  more  of  a  sense  of 
responsibility  than  if  he  had  insisted  that 
I  be  economical.  I  always  tried  to  keep 
within  a  certain  limit  after  that,  but  every- 
thing was  joint  and  we  both  took  what 
we  needed.  After  our  trouble,  when  Mr. 
Ray  went  bankrupt,  we  had  to  be  extremely 
careful,  we  both  had  to  be,  not  I  alone. 
We  worked  out  a  budget  together,  and  kept 
and  still  keep  within  its  limits.  I  think  if 
husbands  trusted  their  wives  in  money 
matters  as  they  would  a  business  partner, 
instead  of  treating  them  like  irresponsible 
children,  there  wouldn't  be  any  trouble.  I 
must  say,  I  think  most  actors  with  non- 
professional wives  do  this." 

Mrs.  Monta  Bell  says  what  is  the  last, 
but  not  by  any  means  the  least  sensible 
word  on  the  subject. 

"I  think  a  rule  about  such  a  thing  is 
worthless.  And  if  there  ever  is  a  law  or 
even  a  custom  setting  wages  for  wives,  I 
know  that  I'll  land  in  the  poorhouse.  It 
depends  on  the  individual.  Some  women 
and  men,  too,  cant  keep  tabs  on  money. 
It's  no  use  expecting  them  to  keep  within 
anything.  The  person  with  the  most 
money  sense,  husband  or  wife,  should 
look  after  the  person  with  the  least. 

"Now,  I'm  not  a  very  shining  example, 
I'm  afraid,  of  what  an  economic  wife 
should  be.  We  deposit  a  certain  amount 
for  household  expenses,  and  J  try  to  keep 
within  it,  but  I'm  afraid  I  overdraw  many 
limes.  However,  Mr.  Bell  doesn't  seem 
to  mind.  He  really  expects  me  to  over- 
draw now,  and  is  prepared  for  the  blow. 
How  he  arranges  it,  I  dont  know,  and  I'm 
willing  to  leave  it  all  to  him.  He  knows 
I  manage  as  well  as  I  can,  and  1  know 
that  if  I  got  a  certain  definite  amount, 
like  a  wage,  and  was  in  honor  bound  not 
to  ask  for  more — well,  I'd  probably  starve, 
no  matter  how  much  I  got,  that's  all." 


102 


Every  advertieerocnl    in   MOTION   PICTUEE  MAGAZINE   is  guaranteed. 


Advertising  Section 


Crazy  Quilt 

(Continued  from  page  99) 

dios  the  other  da}'  and  selected  her  for 
that  dancing  bit.  I  gave  her  prominence 
in  the  other  scenes,  too,  you'll  notice." 

"Now  to  convince  Mr.  Irving,"  Harvey 
announced.  "You  come  along  with  me, 
Mac.  He  will  take  your  word  for  her 
ability  before  he  takes  mine." 

McAllister  did  not  especially  relish 
urging  Mr.  Irving  to  sign  anyone  to  a 
contract.  But  he  went  along.  His  own 
contract  was  nearing  expiration  and  he 
felt  that  this  publicity  at  this  time  would 
be  valuable.  And  if  the  girl  did  turn  out 
as  well  as  she  promised,  it  would  give  him 
an  excellent  argument  when  they  ap- 
proached a  new  contract. 

Mr.  Irving  was  in  his  office.  When  his 
secretary  announced  Mr.  Dunn  and  Mr. 
McAllister,  he  had  them  shown  in  imme- 
diately. 

Harvey  told  their  story,  calling  upon 
McAllister  for  comment  at  what  he  be- 
lieved to  be  psychological  moments.  Mr. 
Irving  listened  to  all  they  had  to  say  and 
finally   agreed  to  look  at  the  film. 

"Run  it  slowly,"  Harvey  instructed  the 
operator.  "Mr.  Irving  wishes  to  watch 
someone." 

He  said  nothing  while  the  film  was 
being  shown,  but  he  found  himself  grow- 
ing more  nervous  every  minute.  He  was 
looking  at  Judith's  performance  thru  Mr. 
Irving's  shrewd  eyes.  But  he  still  thought 
her  highly  promising. 

"You  are  sure  about  her  being  related 
to  Lola  Chase?"  Mr.  Irving  asked  when 
the  film  had  been  shown. 

Harvey  explained  that  there  was  no 
doubt  about  this  being  true. 

"Miss  Tower  and  I  are  engaged  to  be 
married,  Mr.  Irving,"  Harvey  announced, 
aware  that  McAllister  registered  sur- 
prise. "She  told  me  about  this  relation- 
ship in  a  personal  conversation.  I  think 
it  undoubtedly  accounts  for  her  stage 
presence  and  heir  personality.  She  will 
have  the  photographs  I  mentioned  in  a  day 
or  two.  They  are  in  an  old  album  in  her 
Westport  home.  She  has  already  sent  for 
them." 

Again  there  was  a  silence.  Mr.  Irving 
puffed  on  his  expensive  cigar  and  con- 
sidered the   matter   seriously. 

Harvey  signaled  to  McAllister  to  say 
something. 

"The  girl  has  promise,"  McAllister  said. 
"If  you  are  at  all  interested  in  her,  Chief, 
I  can  give  her  that  third  part  in  this 
picture.  It  would  be  all  right  to  have  her 
in    the    country-club    sequence." 

Harvey  blessed  McAllister  in  that 
minute. 

"She  shows  promise,  all  right,"  Mr. 
Irving  agreed.  "But  people  often  fool 
3rou.  I  wish  we  could  see  her  in  some- 
thing else.  Maybe  her  effectiveness  in 
these  scenes  is  one  of  those  flukes." 

"She  has  not  done  anything  else  on  this 
lot,"  Harvey  explained.  "But  the  Excel- 
sior people  were  interested  in  her.  How- 
ever, you  understand  the  conditions  that 
exist  over  there  sometimes." 

Mr.  Irving  smoked  in  silence. 

"Very  well,"  he  said  finally,  "have  the 
young  lady  come  in  to  see  me  this  after- 
noon. At  three-thirty.  We  will  give  her 
a  chance.  You  know  the  option  contract, 
Harvey.     Willing  to  have  her  sign  that?" 

"Certainly,  sir,"  Harvey  agreed.  "I 
thank  you  for  your  interest  and  do  not 
think  you  will  regret  it.  I  am  confident 
that  Miss  Tower  will  prove  an  asset  to 
this  company." 

(Continued  on  page  116) 


%m^mu% 


'AMOUS 

Deer 

..how  they're  kept 
free  from  corns . . 


THE 
>  1926 


Florence  O'Denish  awn  's  Famous  Dancing  Feet 

"Keeping  lit,  to  a  dancer,  means 
first  of  all  keeping  the  feet  in 
trim.  Tight  ballet  shoes  and 
strenuous  dancing  are  apt  to 
irritate  the  tender  cuticle  of 
the  toes.1-'  So  writes  the  well' 
known  dancer,  Florence  O'Deiv 
ishawn. 

c 'Blue = jay  is  an  indispensable 
friend.  It  keeps  corns  and  cal- 
luses away." 

1     1 

And  what  a  delightful  way  to  end  a  corn!  A 
cool  and  velvety  cushion  fits  over  the  corn 
and  stops  the  pain  at  once.  Usually  one  plaster 
conquers  the  corn  in  48  hours.  But,  if  obsti' 
nate,  a  second  plaster  vanquishes  the  most 
stubborn  offender  ....  At  all  drug  stores. 

Blue=jay 

SAFE     AND     GENTLE     WAY     TO     END     A     CORN 


Be  sure  to  Read  "CRAZY  QUILT99— page  31 


Try  the  New 

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Corned  Beef  and  Cabbage  Behind  a  Ming 

Screen 


{Continued    Tom   page  35) 


niscing  about  the  old  days.  There  was 
only  (me  type  of  person  that  found  him 
unapproachable  and  that  was  the  occa- 
sional star  who  took  himself  and  his  posi- 
tion   seriously. 

There  have  been  all  sorts  of  stories 
told  about  Pearl  White.  Those  who  do 
not  know  her  must  be  entirely  confused 
about  her.  Sophisticated  and  almost  boy- 
ish in  her  frankness,  one  would  never 
suspect  her  of  the  deep  well  of  sentiment 
that  is  hidden  beneath  her  casual  manner. 

One  incident  in  particular  will  never  be 
forgotten  by  those  who  witnessed  it.  The 
studio  property  man  had  forgotten  to  pro- 
cure an  old  shawl  for  a  certain  director. 
It  happened  that  an  important  bit  of  busi- 
ness centered  about  it  and  the  property 
man  found  himself  in  hot  water.  Then 
some  one  had  an  idea.  An  old,  worn 
shawl  such  as  the  one  required  had  been 
seen  in  Pearl  White's  dressing-room. 
The  problem  was  solved ! 

But  when  the  prop  man  tried  to  explain 
the  situation  to  Miss  White's  maid,  an 
excited  flow  of  French  and  gesturing 
hands  told  him  she  did  not  understand. 
The  shawl  was  lying  over  the  back  of  a 
chair,  a  humble,  somewhat  rusty  black 
shawl  without  intrinsic  value,  and  the 
prop  man  felt  no  qualms,  whatever,  as 
he  snatched  it  off  the  chair  and  started  off. 

He  had  barely  arrived  on  the  set  when 
a  husky  voice  angrily  challenged  him.     It 


was  Pearl  White,  her  brown  eyes  like 
glowing  coals  in  her  white  face.  A  tor- 
rent of  angry  words  flowed  from  her  lips, 
her  hands  strained  as  she  clasped  the  re- 
captured shawl.  Then  suddenly  she  re- 
laxed, softened.  A  half-shamed  smile 
played  about  her  lips  as  she  explained. 

"I'm  sorry  I  lost  my  temper  .  .  .  but 
you  see  the  shawl  ...  it  was  my  mother's. 
It's  my  only  remembrance  of  her." 

You  probably  think  a  screen  star's  life 
is  filled  with  dinners  and  dances  and  ex- 
citement, but  there  is  one  who  until  a 
year  or  so  ago  led  as  tranquil  a  life  as 
any  convent-bred  school  girl.  Of  course, 
that  was  before  Bessie  Love  learned  the 
Charleston  and  blossomed  into  a  perfectly 
gorgeous  flapper  possessing  the  elusive 
"it"  to  an  alarming  degree.  Her  parents 
were  of  the  old  school  and  did  not  believe 
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are  as  simple  and  sometimes  as  humble 
as  our  own. 

The  same  sorrows  crowd  their  lives. 
Even  death  exacts  his  toll,  striking  some 
of  them  in  their  youth  and  happiness. 

Bobby  Harron,  Olive  Thomas,  Wally 
Reid  and  Barbara  La  Marr  were  all  vic- 
tims of  tragic  deaths.  Three  sisters  lost 
their  husbands  one  after  the  other  in  re- 
lentless succession,  so  that  the  superstitious 
spoke  of  the  jinx  stalking  the  Flugrath 
sisters.  Viola  Dana,  Shirley  Mason  and 
Edna  Flugrath  were  at  the  same  time 
young  widows  carrying  on  with  smiling 
lips  that  masked  their  hearts,  heavy  with 
despair.  Dorothy  Phillips  lost  everything 
when  Allan  Holubar  died,  husband,  direc- 
tor, friend  and  counsellor. 

Scandal  has  broken  the  lives  of  others. 

Roscoe  Arbuckle,  Mabel  Normand, 
Mary  Miles  Minter,  Edna  Purviance, 
Francis  X.  Bushman  and  Beverly  Bayne 
have  all  suffered  from  the  censorship  of 
the  public. 

Charlie  Ray  lost  everything  he  had, 
over  a  million  dollars,  and  is  starting  all 
over  again,  a  gallant  loser  that  has  won 
the  respect  of  everyone. 

When  Anna  Q.  Nilsson  divorced  John 
Gunnerson,  the  Los  Angeles  business  man 
she  had  married  scarcely  a  year  before, 
everybody  was  amazed.  She  was  so  beau- 
tiful, so  witty,  so  gracious  and  he  was  so 
much  in  love  with  her.  It  seemed  in- 
credible that  their  romance  should  have 
gone  on  the  rocks. 

Anna  Q.  tells  the  reason  with  a  wry 
smile  that  cannot  disguise  the  hurt  in  her 
voice. 

"He  wanted  the  motion  picture  star, 
not  the  real  me  at  all,"  she  explains,  "out 
on  my  ranch  I  like  to  forget  the  lights 
and  the  artificiality  of  the  studio.  I  put 
on  a  gingham  dress  and  cook  and  wash 
dishes.  It  is  the  life  I  love.  But  in  doing 
this  I  lost  my  husband.  In  donning  that 
simple  little  frock  I  killed  the  illusions  he 
had  created  about  me.  After  all,  I  wasn't 
any  different  from  the  ranchers'  wives 
who  were  our  neighbors.  I  wasn't  an 
enigmatic,  bewildering  person  of  another 
world.  I  was  only  a  woman  doing  the 
homely  little  tasks  that  fall  to  the  lot  of 
most  women.  I  dared  to  be  myself  .  .  . 
and  it  killed  his  love." 

Perhaps  if  the  truth  were  known  there 
are  others  who  feel  the  same  way  that 
Anna  Q.  does,  who  dont  want  to  be  idols 
with  crowds  worshiping  at  their  feet, 
who  want  to  be  just  men  and  women 
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(Continued  from  page  20) 


radiates  sex  appeal.  She  reaches  right 
out  and  wallops  you  in  the  solar  plexus 
with  her  sex  appeal,  and  I,  for  one.  got 
more  than  my  twenty-five  dollars'  worth 
in  seeing  more  sex  appeal  confined  in  the 
figure  of  one  woman  than  I  have  ever  seen 
before   in   all   my   life,   including    Sundays." 

This  must  be  the  key  to  the  meaning  of 
the  word  personality.  Take  your  favorite 
screen  players.  What,  if  it  isn't  the  old 
S.  A.,  would  be  the  answer  to  the  tremen- 
dous popularity  of  Adolphe  Menjou? 
Jack  Barrymore?  John  Gilbert?  Dick 
Barthelmess?  Lowell  Sherman?  Ray- 
mond Griffith? 

Women  all  adore  Menjou.  They  have 
made  him  a  famous  star,  a  high-priced 
player,  an  independent  one  with  whom 
producers  have  to  deal  in  soft  tones,  all 
within  the  space  of  a  few  (I  think  three, 
to  be  exact)  short  years.  How  and  why? 
They  crowd  the  movie  theaters  at  his  every 
picture.  '  They  write  letters  in  shoals  to 
the  studios  where  he  works.  They  pay  a 
small  fortune  yearly  for  his  photograph, 
in  order  to  fan  the  fever  of  their  admira- 
tion into  higher  waves  by  looking  at  his 
face. 

At  the  theaters  where  Menjou's  pictures 
are  shown,  the  line  is  long,  and  always 
forms  to  the  left,  hours  before  the  other 
movie  houses  begin  to  fill  up.  The  women 
love  him.  They  see  in  him  the  personifi- 
cation of  what  a  lover  should  be.  He 
knows  how  to  handle  women,  they  feel. 
How  to  caress  them.  Just  exactly  how  to 
treat  the  feminine  sex.  When  he  kisses 
his  celluloid  sweetheart,  they  get  a  vica- 
rious thrill  which  sends  them  home  with 
a  new  sensation  tingling  at  their  spine. 
They  dont  give  a  continental  damn  whether 
his  morals  are  wrong  or  not.  He  started 
out  to  be  the  big  bad  boy  of  the  screen, 
but  heavens !  he  made  vice  so  attractive 
after  two  or  three  pictures,  and  seduction 
so  pleasant,  that  it  is  my  private  opinion 
he  was  changed  into  a  screen  hero  for 
the  safety  of  the  nation. 

Strangely  enough,  Menjou  has  very  much 
less  personality  off  the  screen  than  on. 
I  saw  him,  and  was  with  him  at  a  party 
the  other  night.  He  is  charming,  to  be 
sure.  He  plays  the  piano  like  a  profes- 
sional. He  dances  the  Charleston  almost 
as  well  as  Georges  Carpentier,  and  yet — 
the  old  cosmic  power  is  not  nearly  so 
evident  as  it  is  from  the  silversheet. 

Charlie  Chaplin,  on  the  other  hand,  pos- 
sesses infinitely  more  personality  off  the 
screen  than  on.  To  be  in  his  society  is  as 
safe  for  a  woman's  peace  of  mind  as  sitting 
on  top  of  a  lighted  barrel  of  dynamite.  He 
is  a  great  genius  on  the  screen.  Off,  he 
is  a  great  and  powerful  personality.  He 
fascinates  you  with  the  same  hypnotic 
effect  a  snake  possesses  over  a  charmed 
bird,  lie,  loo,  seems  to  know  instinctively 
just  how  and  what  to  do  to  attract  women. 
I  dont  mean  to  say  that  wherever  he  goes 
he  steps  on  the  bodies  of  victims  who  are 
bowled  over  merely  from  talking  with 
him,  but  1  do  mean  to  say  that  if  per- 
1m      is   sex  appeal,  Charlie  has  it! 

When  Jack  Barrymore  played  in  "The 
Jest,"  women  fainted  in  the  theater  from 
heer  emotional  exhaustion.  lie  packed 
the    house    every     day    and    twice    weekly 


matinees  with  women,  women,  women. 
Old  women,  middle-aged  women,  young 
women,  flappers  and  schoolgirls.  Women 
from  the  shops,  from  society  homes,  from 
the  country,  from  factories ;  school-marms, 
suffragettes,  housewives  from  the  dumb- 
waiter district.  White,  black  and  tan. 
His  appeal  was  universal.  I  saw  with  my 
own  eyes,  a  finely  featured,  gray-haired, 
lavender-and-old-lace  lady,  who  had  been 
wheeled  down  the  aisle  in  a  wheel-chair, 
gasp  and  blush  with  the  same  zest  that 
the  bob-haired  Broadway,  knee-skirted 
flapper  sitting  next  to  her  gasped  and 
blushed  thru  the  six  inches  of  rouge  on  her 
face.  When  Barrymore  played  Hamlet, 
it_  was  the  same  old  story.  His  version 
of  the  famous  melancholy  Dane  was  a 
fascinating  Don  Juan  with  the  blues. 
Women  flocked  to  the  big  barn  of  a  thea- 
ter, namely,  the  Manhattan  Opera  House, 
in  such  droves  that  extra  police  and  fire 
reserves  had  to  be  kept  constantly  on  tap 
for  service. 

John  Gilbert  has  become  a  star  within 
the  past  year.  All  due  to  the  fact  that  he  is 
a  good-looking,  fine  figure  of  a  man,  and 
the  Dream  Prince  of  a  thousand  hundred 
movie  fans.  He  is  a  Great  Lover,  and 
what  woman  would,  even  if  she  could, 
resist  the  tremendous  appeal  of  his  per- 
sonality ? 

There  are  many  different  shades  of  this 
power,  evidently.  Dick  Barthelmess  has 
it,  but  in  an  entirely  different  manner  from 
Adolphe  Menjou.  Dick  appeals  to  the 
maternal  instinct  in  women ;  to  the  youth- 
ful lover-hero  worship  in  flappers.  He 
is  what  is  known  as  "a  darling."  Women 
dont  gasp  when  Dick  makes  love.  They 
just  want  to  fondle  him.  But  his  dark 
eyes  and  romantic  manner  thrill  them  to 
the  same  extent  that  Jack  Barrymore's 
cave-man  tactics  with  his  sweetheart  do. 
They  would  adore  having  Jack  bruise  their 
arms  in  rough  caress;, they  would  adore 
holding  Dick's  curly  jdark  head  against 
their  breasts. 

Lowell  Sherman  is  another  movie  villain 
who  turned  vice  into  thrilling  pleasure  for 
his  female  admirers.  Hundreds  and  hun- 
dreds of  fans  thruout  the  country  glowed 
with  delightful  emotion  when  Lowell 
knocked  the  hero  out  cold,  and  ran  off 
with  the  fainting  heroine.  The  charm  of 
Lowell,  the  appeal  of  his  fascination, 
seemed  to  make  audiences  believe  in  the 
feeble-mindedness  of  the  unwilling  heroine. 
How  could  any  woman  resist  such  a  man? 
Why  try  to  ward  off  those  bewitching 
attentions?  Why  not  succumb  at  once  to 
the  spell  of  his  fascination?  It  seemed  so 
silly,  and  more  than  one  popular  leading 
lady  who  carried  her  virtue  to  the  point  of 
excess,  so  far  as  the  fans  were  concerned, 
lost  a  great  many  followers  because  of 
Iter   stupidity. 

Outside  the  screen  world,  the  word  per- 
sonality It's  been  made  an  international 
link  by  the  Prince  of  Wales.  It  doesn't 
necessarily  mean  that  a  man  or  woman 
who  possesses  this  charm  has  to  be  seen 
to  be  appreciated.  Word  of  mouth  ad- 
vertisement carry  the  news  from  one  end 
of  the  earth  to  the  other,  and  a  man  may 
live  in  the  darkest  corner  of  the  earth 
and  still  he   famous  if  he  has  it! 


HAUNTED    HOUSES 


Even  if  you  do  not  believe  that  houses  can  he  haunted,  it  is  curious  the  way  some  houses 
seem  to  house  one  traged}   after  another. 

There  i-  Such  a  bouse  on  a  hillside  far  above  Hollywood  .  .  .  and  what  sorrow  has  come 
to  those  who  have  bad  the  temerity  to  live  there. 

Head  about  it  in  the   November  Motion  Picture  Macazine. 


G£ 


isemcnl   in   motion    PICTURE  MAGAZINE  is  guaranteed. 


We  Interview 

Gloria  Swanson 

(Continued  from  page  96) 

of  little  flappers,  you  know  .  .  .  wouldn't 
dare  to  wear  their  hair  brushed  severely 
back  the  way  she  does.  .  .  . 

A.   W.   F. :     Or  wear  such  a  close  hat 
.  .  .  but  she  has  such  eclat  .  .  .  such  dis- 
tinction .  .  .  what  they  call  an  air.  .  .  . 
'    G.  H. :     She's  the  type  that  makes  you 
feel  silly  in  a  big  hat.  .  .  . 

A.  W.  F. :  I  know  .  .  .  and  curled 
hair.  .  .  r  She  is  as  simple  in  her  clothes 
and  her  manner  of  wearing  them  as  she 
is  in  her  method  of  dealing  with  life.  .  .  . 

G.  H. :  Fler  children  do  matter  most  to 
her,  you  see.  She  wasn't  just  talking. 
You  can  always  tell.  She  wouldn't 
trouble  to,  I'm  sure.  There  was  the  most 
vital  interest  charging  her  voice  when  she 
talked  of  them. 

A.  W.  F.  (nodding  amicably,  for  once): 
Of  course,  there  isn't  any  use  in  our  writ- 
ing what  she  said  about  looking  forward 
to  old  age  and  living  in  France  in  peace 
.  .  .  none  of  the  people  who  envy  her 
her  twelve  thousand  a  week  above  all  else 
that  she  has  will  believe  that  anyone  could 
want  that  time  to  pass  away.  .  .  . 

G.  H.  (weakly):  Did  you  say  twelve 
thousand?  Well  .  .  .  they  would  believe 
her  if  they  could  see  her  eyes  and  hear 
her  voice  when  she  talks.  .  .  .  Let's 
write  it  anyway.  .  .  .  Twelve  thousand 
a  week,  did  you  say? 

A.  W.  F. :  Some  such  fabulous  amount 
under  the  new  contract,  I  understand. 
Dear,  dear,  I've  been  thinking  all  along 
that  this  was  a  cut-rate  cab  and  now 
look  at  the  meter.  .  .  . 

G.  H.  (meekly):  I  was  going  to  sug- 
gest a  soda.  .  .  .  Just  a  cheap  one  with- 
out ice-cream,  you  know.  .  .   . 

A.  W.  F.  (firmly,  stopping  the  cab)  : 
Not  today.  And  we  can  walk  the  rest  of 
the  way  home.     It's  only  three  miles. 

The  curtain  descends  upon  two  little 
pillars  of  dust. 


From  the  Stoke-hole  to 
Dick  Barthelmess'  Shoes 

(Continued  from  page  58) 

At  a  preview  of  this  picture,  J.  Boyce 
Smith,  the  general  manager  of  Inspiration 
Pictures,  saw  him  and  offered  him  a  role 
in  "The  Amateur  Gentleman."  Before  he 
had  completed  his  second  day's  work  in 
this  picture,  he  was  offered  the  long-term 
contract   .    .    .   which  he  signed,  of  course. 

If  you  put  such  happy  drama  into  fiction, 
people  would  say  it  was  far-fetched. 


Society   Girls   Do    Not 

Make  Good  in  the 

Movies ! 

They  have  come  from  Newport 
.  .  .  Park  Avenue  .  .  .  and  Southamp- 
ton and  other  stamping  grounds  of 
the  elite.  And  they  have  returned 
from  the  Kleig  light  kingdom  with- 
out any  laurels. 

What  is  the  answer?  They  have 
beautiful  clothes  .  .  .  good  looks 
and  charm  of  manner! 

See  the  November  Motion  Pic- 
ture Magazine. 


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! 


Address 
108 

ce. 


The  Unpardonable  Sin 

(Continued  from  page  37) 


Ramon  N<  iva  rro  A  x  s  wered  : 
"I  have  never  had  it,  but  they  do  say  it 
is  contagious  and  that  its  power  of  sug- 
gestion is  fearful!  My  last  picture  in 
title  and  story  definitely  Rave  this  sugges- 
tion and  they  have  changed  the  title  and 
some  of  the  story.  I  would  never  live 
thru  it  if  it  ever  did  hit  me!" 

Ronald  Colman  Answered: 
"Anyone  that  has  that  thing  attached  to 
him  and  his  career  is  sunk!" 

Chorus  : 
"ft  makes  a  man  effeminate,  'pretty,' 
silly,  useless,  and  a  sap!  It's  Hollywood's 
stigma  !  Nfo  scandal  ever  sticks  so  close 
or  tenaciously  and  has  such  lasting  and 
destructive   force!" 

Me: 

"Look  at  all  the  great  lovers  of  history — 
they  were  empire  builders,  not  weaklings 
and — saps!" 

All  this  excitement  and  vehemence  was 
caused  by  asking  these  Hollywood  favor- 
ites why  they  so  strenuously  objected  to 
the  title,  "Great  Lover." 

I  found  John  Gilbert  on  the  set  in  cos- 
tume for  Bardelys  in  "Bardelys,  the  Mag- 
nificent." He  could  not  run  away!  When 
I  slung  the  question  at  him  again,  he 
looked  thoroly  disgusted.  Sternly  he  said, 
"Pardon  me,  my  dear,  but  I  did  think  you 
had  more  sense  than  to  speak  that  blood- 
curdling word  to  me ! 

"I  never  want  to  be  called  a  'Great 
Lover' !  I  hate  the  very  name  and — in 
fact,  I  think  1  shall  positively  refuse  to 
talk  about  it  even  to  you — friend  that  you 
have  always  been  to  me !" 

"Phew!"  thought  I,  "what  sort  of  a 
story  am  I  out  on,  anyway?"  I  went,  but 
I  called  back  over  my  shoulder  at  him, 
"I  dont  care,  John ;  you  were  the  screen's 
greatest  lover  in  'His  Hour'!" 

He  drew  his  sword  and  lunged  at  me, 
saying,  "Be  that  your  last  utterance, 
■\Yoman,  and  be  it  said  John  Gilbert  slayed 
for  his  honor  !" 


I  lis  sword  missed — and  1  was  soon  miss- 
ing—from his  set.  Seeking  the  gentler, 
and  more  charitable  disposition  of  Ramon 
Xovarro,   I   wandered  over  to  his   set. 

Ramon  laughed  outright.  "I  object 
mainly  because — I  am  not  one!  Solemnly 
at  each  eve  \  pray  that  1  shall  never  be 
one!  This  picture  depicts  a  lover.  1  leaven 
forbit  I  be  a  great  one!" 

He  left  my  side  at  this  moment  to  go 
into  as  "Great  Loverish"  a  scene  as  one 
could  imagine  and  over  the  heroine's  shoul- 
der he  murmured  softly — "Don*-  tell  on 
me!"  I  could  bear  no  more,  so  I  left, 
throwing  him  a  knowing  smile.  He  looked 
anxiously    after   me. 

A  few  days  later  I  was  conversing  with 
Ronald  Colman.  Finding  him  in  a  jovial 
and  friendly  mood,  I  sprang  the  fatal 
question. 

The  laugh  on  his  face  melted  like  magic 
and  he  said,  "Have  you  ever  heard  what 
I  do  to  people  that  mention  that  Holly- 
wood terror  to  me?  They  tried  that 
silly,  terrific  slander  on  me  once,  and  the 
Reds  of  Russia  had  nothing  on  me  when 
it  came  to  revolutions.  Samuel  Goldwyn, 
too,  saw  that  I  was  rapidly  going  mad, 
frothing  at  the  mouth  and  all  of  that  sort 
of  thing — so  he  called  it  off.  No  one  has 
dared  mention  it  to  me  since.  I  was  just 
beginning  to  like  you,"  he  frowned,  "but — 
well,  you  must  know  you  have  committed 
Hollywood's  unpardonable  sin,  and  suffer 
the  consequences   you  must!" 

Now  every  time  I  see  any  of  these 
"Great  Lovers  of  the  screen"  they  look- 
suspiciously  at  me  and  say.  "You  haven't 
another  to  spring  like  that — Hollyivood 
stigma — one,  have  you?" 

I  haven't — not   right  now! 

The  life  of  an  interviewer  in  Holly- 
wood is  a  queer  one.  One  just  gets  every- 
one eating  out  of  one's  hand  and  then  one 
has  to  spring  a  "Great  Lover"  thing.  They 
turn  in  maddened  fury  and  bite  the  same 
hand  that  they  were  feeding  out  of !  What 
a  life! 


Who    are    they?       We'll    tell    you    this    much:     they    are    two    famous    comedians. 
Turn  to  page    122  for  the  answer 


•ry   a.lv.rti  -<  ,,..  nt    in    MOTION    PICTURE    MAGAZINE    is 


Advertising  Section 


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He  I 


s  a 


M 


an  ! 


{Continued  from  page  45) 

He  has  a  sense  of  humor. 

He  says  his  present  status  seems  "like 
a  dream"  ;  that  he  is  sure  he  will  awaken 
some  Blue  Monday  to  find  that  he  has 
been  the  victim  of  a  delusion  of  grandeur 
and  that  he  will  have  to  hustle  along  and 
look  for  a  job  if  he  wants  to  eat. 

He  has  had  to  do  so  much  of  just  that. 

We  came  into  the  scene  as  Reginald  was 
finishing  the  story  of  his  life. 

A  stern  life,  really.  We  gathered  that 
he  has  been  one  of  the  Poor  Unfortunates, 
an  actor  out  of  a  job.  He  has  been  in  this 
state  for  more  weeks  on  end  than  made 
him  comfortable. 

In  1912,  two  years  before  he  married, 
he  lived  in  a  little  boarding-house  on 
Fifty-fifth  Street  and  Eighth  Avenue, 
New  York.  This  hostelry  was  kept  by 
an  estimable  female,  yclept  Mrs.  Bond. 
"She  was,"  said  Mr.  Denny,  "perfect  of 
her  type.  I  have  never  seen,  on  the  stage 
or  in  the  movies,  a  more  typical  person." 

In  this  little  boarding-house  dwelt  also 
Adolphe  Menjou,  Ernest  Torrence,  Tony 
Moreno,  David  Torrence,  Eulalie  Jensen 
and  other  then-unheard-of 's.  Not  one  of 
them  ever  had  the  weekly  board  money, 
with  the  exception  of  Miss  Jensen. 

Needless  to  state,  this  condition  did  not 
"sit  very  well"  with  Mrs.  Bond.  She  was 
belligerent  about  it.  She  was  particularly 
belligerent  to  Reginald  because  Reginald 
persisted  in  being  light-hearted  and,  as 
everyone  knows,  it  is  insulting  to  be  light- 
hearted  when  you  haven't  any  money  for 
your  board.  Mrs.  Bond  took  it  as  a  direct 
personal  injury  to  herself.  She  picked  on 
Reginald. 

She  would  make  the  breakfast  table 
merry  and  start  the  day  auspiciously  by 
saying  loudly,  "By  next  Monday  the  front 
room  on  the  first  floor  will  be  vacant!" 
This  ejaculation  would  be  accompanied  by 
a  meaning  glance  in  the  unmistakable  direc- 
tion of  Reginald. 

This  desperate  condition  was  patched 
along  by  means  of  the  poker  games  in- 
dulged in  by  the  somewhat  precarious 
boarders,  including  Ernest  and  David 
Torrence,  Reginald,  Tony,  Mr.  Menjou — 
and  Mrs.  Bond.  The  instant  one  of  the 
boys  won  a  poker  game,  Mrs.  Bond,  a  vul- 
ture, would  seize  upon  the  winnings,  pocket 
them  and  keep  them  as  payment  for  back 
board.  No  matter  how  big  the  pot,  no 
matter  who  won  it  or  how  often,  it  in- 
stantly and  righteously  reverted  to  the 
capacious  pocket  of  Mrs.  Bond.  By  such 
means,  however,  did  they  manage  to  es- 
cape the  yawning  park  bench. 

Mr.  Denny  confided  to  me,  later  on, 
that  while  in  New  York  this  time  he  went 
in  search  of  the  old  boarding-house  and 
the  martial  Mrs.  Bond.  "She  is,"  he  said, 
"the  one  woman  in  New  York  I  really 
wanted  to  see.  But  she  was  gone,  the  old 
house  was  gone,  my  sentimental  pilgrim- 
age to  the  shrine  was  unrewarded." 

Hard  times    ...   he  had  plenty  of  'em. 

When  he  married,  in  1914,  he  returned 
to  Mrs.  Bond's,  that  being  the  cheapest 
place  he  knew  of.  And  he  didn't  have 
much  more  to  start  the  marital  venture 
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mony. His  wife,  Irene  Haisman,  was 
seventeen.  And  their  sole  possessions  were 
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"Are  you?"  we  asked,  after  we  had 
managed  to  corner  him,  to  isolate  him, 
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"No,"  he  said;  "how  could  I  be?  Or 
anyone  else?  1  dont  believe  that  any  per- 
sonality can  'succeed'  another.  Poor  Wally 
.  .  .  he  was  the  victim  of  too  much 
friendship,  too  much  publicity.  He  was 
the  perfect  example  of  what  not  to  do — off 
the  screen. 

"As  a  matter  of  fact,  I  think  the  screen 
actors  and  actresses  of  today  are  improv- 
ing. They  are  getting  more  common  sense, 
a  saner  point  of  view.  They  aren't  taking 
themselves  so  seriously.  It's  a  great  mis- 
take to  take  yourself  too  seriously,  whether 
you  are  a  screen  player  or  a  plumber. 

"There's  no  doubt  about  it  that  it  takes 
a  pretty  hard  head  to  stand  up  under  the 
money  we  make,  the  excitement  and  pres- 
sure we  live  under  in  the  studios,  the  press 
stones  that  go  out  about  us,  the  flattery 
we  receive,  all  the  'yes'  men — and  women. 

"On  the  stage  it's  different.  We  put  on 
a  part  as  one  puts  on  a  coat,  and  when  we 
step  from  the  stage  we  take  it  off  again 
and  are  ourselves.  For  instance,  if  you 
see  a  man  on  the  stage  purporting  to  be 
a  wild  Westerner  shooting  beans  or  some- 
thing from  a  tree,  you  know — and  he 
knows — that  he  is  not  a  Westerner,  wild 
or  otherwise,  and  that  he  probably  couldn't 
shoot  a  clay  pigeon  at  an  inch  range. 

"But  on  the  screen  so  many  of  us  come 
to  believe  that  we  really  are  the  type  we 
play. 

"If  a  woman  gains  a  reputation  as  a 
siren,  a  vampire,  she  begins  to  believe 
that  she  is  one  and  that  she  must  go 
about,  in  private  life,  wrecking  homes 
and    husbands. 

"If  a  man  plays  a  sheik  on  the  screen, 
he  seems  to  think  that  he  must  continue  to 
sheik  it — even  in  the  home. 

"Then  this  publicity  ...  a  man  may  have 
to  play  in  a  polo  game  in  a  picture.  The 
chances  are  that  he  cant  play  polo  at  all 
and  that  a  substitute  does  it  for  him.  None 
the  less,  the  press  departments  send  out 
.stories  to  the  effect  that  So-and-So  is  a 
crack  polo  player,  an  athlete  of  amazing- 
prowess,  the  winner  of  fifty  silver  bath- 
tubs. That's  all  right  .  .  .  what  isn't  all 
right  is  that  So-and-So  really  believes  that 
he  is. 

"I  believe  that  this  condition  is  changing. 

"I  think  a  great  deal  of  the  notoriety 
and  sensationalism  that  got  abroad  was 
due  to  the  persons  concerned.  Subcon- 
sciously, no  doubt,  they  felt  that  that  sort 
of  thing  was  expected  of  them,  that  it  was 
good  for  them  and  they  let  it  fly. 

"There  is  all  the  difference  in  the  world 
between   publicity   and   notoriety. 

"In  poor  Wally's  case  ...  if  they  had 
let  him  alone  after  working  hours,  let  him 
be  himself,  rest,  relax  .  .  .  but  no,  it  was 
'good  publicity'  for  him  to  appear  here, 
there,  everywhere.  After  work  we  are 
all  tired  out.  The  lights  alone  are  enough 
to  exhaust  anyone.  '  We  get  up  at  six  un- 
less we  are  temperamental  geniuses  and  do 
not  appear  at  the  studio  until  ten  or  eleven. 
And  we  work  all  day  and  sometimes  into 
the  night.  When  we  are  thru  we  are 
dog-tired.  If  we  must  go  out,  the  only 
way  we  can  manage  it  is  to  take  something 
to  give  us  pep.     And  there  you  arc! 

"I  wont  do  that.  When  I  am  thru  at 
five  o'clock  I  go  home,  rest,  dine  and  go 
to  bed.  I  get  up  early  and  take  a  lot  of 
exercise.  I  try  to  keep  in  condition  and 
to  keep  on  realizing  that  no  one  can  burn 
the  candle  at  both  ends  and  expect  it  to 
keep  on  burning." 


We  said,  "Are  you  one  of  a  family  of 
actors?     Is  it  hereditary?" 

"Yes.  My  father,  grandmother  and 
grandfather  were  all  in  the  profession. 
When  I  was  seven  I  remember  seeing  my 
paternal  grandmother  play  the  leading  role 
in  'The  Great  Millionaire,'  an  old  Drury 
Lane  melodrama.  She  was  known  on  the 
stage  as   Mrs.   Henry   Leigh." 

"Ah,"  we  said,  "the  Barrymore  com- 
plex  ..." 

"Without  the  genius,"  said  Reginald, 
modestly. 

"Not  temperamental?"  we  queried. 

"Haven't  a  right  to  be.  Very  few  have. 
Take  Barrymore  ...  he  has  the  right 
to  be  temperamental.  He  has  genius,  and 
genius  is  usually  a  bit  off  balance  ...  in 
the  right  direction,  professionally.  His  is 
the  real  thing.  He  cant  help  it.  He 
doesn't  want  to  go  off  in  the  fits  or  spasms 
or  whatever  it  is  you  do  when  you  have 
fits  of  temperament.  That's  the  real 
thing — when  you  cant  help  it.  Most 
people  can  help  it,  and  there's  no  excuse 
for  them." 

"Do  you  suppose,"  we  said,  "that  so 
many  screen  marriages  fail  because  of  all 
this  .  .  .  temperament  .  .  .  too  much  of 
everything  .  .  .  what  we've  been  talking 
about?     Yours  hasn't  failed,  you  see." 

"No  marriage  need  fail,"  said  Air. 
Denny,    "providing  .  .  ." 


"Yes 


yes 


"There  is  a  sense  of  humor." 

"Is  that  what  has  kept  your  marriage 
successful  and  intact?" 

"Partly.  Partly  affection.  A  great  deal 
because  we  went  thru  such  bitterly  hard 
times  together.  I  couldn't  begin  to  tell 
you  what  my  wife  has  been  thru,  poor 
kid.  The  strongest  bond  in  the  world  is 
the  bond  of  suffering  together.  And  we 
have  suffered.  You  wouldn't  believe  the 
things  .  .  .  After  we  were  married  we 
joined  the  Bandman  Opera  Company  and 
toured  India.  We  played  in  musical  come- 
dies in  Bombay,  Calcutta  and  Singapore. 
We  entertained  Rajahs.  We  introduced 
the  turkey  trot  and  the  bunny  hug  to 
Hindus  and  Brahmins.  We  were  stranded 
there.  We've  been  jobless.  We've  just 
about  starved.  While  I  was  away  at  war 
my  wife  had  the  baby,  all  alone.  After 
that  she  had  a  splendid  chance  to  return 
to  the  stage,  and  just  when  she  was  to 
begin  had  a  severe  nervous  breakdown. 
They  say  that  sympathy  is  akin  to  love. 
I  certainly  have  a  great  deal  of  sympathy 
for  the  things  she  has  been  thru  and 
admiration  for  the  good  sport  she  has 
been.     It  was  pretty  tough. 

"She's  a  great  little  actress,  too  .  .  .  not 
to  act  the  modest  young  man,  but  she 
really  is  a  bigger  actress  than  ever  I  will 
be  an  actor.  She's  done  a  great  many  fine 
things.  Took  Mary  Hay's  part  in  'Mar- 
jolaine'  one  time  .  .  .  many  things.  If 
she  were  in  the  East,  she'd  be  working  all 
the  time.  But  my  work  is  on  the  Coast — 
and  there  you  are.  It's  pretty  hard  on 
her,  when  she  was  on  the  stage  for  so 
long." 

Well,  it  may  be  awfully  hard.  We  have 
no  doubt  that  it  is,  but  not  to  make  a 
personal  remark,  there  must  be  consider- 
able compensation  in  being  Mrs.  Reginald 
Denny.  Not  because  he  is  playing  the 
Big  Time,  to  employ  a  vaudevillian  expres- 
sion, not  because  he  is  set  for  the  Pinnacle, 
but  because  he  is  a  man,  human  and  hu- 
morous, sane  and  sympathetic,  dependable 
and  strong.     A   hero  and  a  husband. 


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SPECIALIST 

Binghamton,  N.  Y 


Advertising  Section 

Who  Are  the  Best-Dressed 
Women  on  the  Screen? 

{Continued  from  page  24) 

"On  the  screen,  many  say.  that  Miss 
Swanson  is  the  best  dressed  of  the  women. 
She  is  a  type.  If  I  were  asked  to  select  a 
highly  individualized  type,  I  would  cer- 
tainly select  Miss  Swanson,  but  not  as  the 
best-dressed  woman  of  the  screen. 

"One  has  to  have  a  more  general  ex- 
ample — Miss   Castle,   for  instance. 

"Dress  is  more  elastic  today  than  it  used 
to  be.  There  are  no  longer  'best  dresses.' 
Nor  are  there  'summer  dresses'  and  'win- 
ter dresses.'  A  printed  georgette  may  be 
worn  in  the  spring  and  summer  and  may 
also  be  worn  under  a  wrap  in  the  fall  and 
winter. 

"It  is  always  advisable  for  a  woman  to 
study  the  tone  of  her  skin,  the  color  of 
her  hair,  her  eyes,  and  then  select  a  few 
becoming  colors  and  stick  to  them.  All 
colors  cannot  be  becoming  to  all  women. 

"Many  women  do  not  trust  to  their  own 
judgment.  When  they  come  to  us,  they 
should  not  trust  to  their  own  judgment. 
It  is  our  business  to  supply  the  judgment. 
Often  women  come  to  us  and  say,  T  want 
so-and-so.  I  want  it  made  a  certain  way, 
in  a  certain  color.'  We  try  to  dissuade 
them,  but  to  no  avail.  When  the  costume 
is  complete,  they  do  not  like  it. 

"But  I  will  say  that  the  majority  of 
girls  and  women  who  come  to  us  know 
that  we  are  here  for  the  purpose  of  telling 
and  not  being  told,  and  they  say  to  us, 
What  do  you  suggest?' 

"For  the  average  woman,  it  is  our  advice 
to  look  in  the  mirror  and  keep  on  looking. 

"Details  are  important,  too.  You  are 
not  really  dressed  when  you  have  your 
dress  on.  There  should  be,  also,  the  right 
shoes,  the  right  hat,  the  right  handbag, 
gloves,  handkerchief  and  flower.  If  your 
dress  is  elaborate,  eliminate  touches.  If  it 
is  severely  simple,  relieve  it  with  a  flower, 
a  string  of  beads." 

Mr.  Collins,  in  concluding,  cast  the  fol- 
lowing horoscope  for  the  fall.  This  will 
be  What  when  autumn  comes : 

"The  tailored  dress  that  we  knew  six 
or  seven  years  ago  will  have  a  revival  in 
tweed  material  and  in  gabardine.  The 
colors  most  evident  will  be  navy  blue, 
shades  of  brown,  and  a  red  known  in 
America  as  burgundy.  The  sleeves  of  this 
dress  will  be  long  and  tight,  with  a  tailored 
shoulder. 

"In  sports  apparel  we  will  undoubtedly 
see  the  return  of  the  sweater  coat — not  the 
pull-over,  but  put  on  like  a  jacket,  button- 
ing or  buckling  either  on  the  side  or  center 
front.  For  the  ultra-smart  lady,  the  soft, 
glovelike  suede  will  be  worn  for  coat 
linings  and  short  coat  effects.  In  fact,  we 
shall  see  a  fashion  for  suede  jackets  and 
sleeveless  long  coats  in  all  types  of  leather. 

"The  silk  street  dress  will  not  be  of 
consistent  type.  We  shall  have  those  with 
a  bloused  back — some  bloused  under  the 
arms — some  tunic  effects,  and  in  fact,  one 
is  safe  to  prophesy  the  silhouette  of  a  silk 
dress  for  fall  and  winter,  as  it  will  be  a 
conglomeration  of  all  the  lines  and  all  the 
silhouettes  that  we  have  known  for  the 
past  seven  years.  From  this  conglomera- 
tion there  will  evolve  a  definite  waistline 
for   spring,    1927. 

"The  evening  dresses  will,  in  many  cases, 
have  circular  skirt  effects.  For  the  slim 
and  slender  person,  we  shall  return  to 
what  was  known  as  the  baby  waist.  For 
the  matron  we  will  retain  the  straight  line 
in  velvet  and  in  chiffon,  indicating  a  waist- 
line by  a  loose  rope  girdle  or  by  buckles 
or  embellishments  on  the  sides." 


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Advertising  Section 

Maybelle  Manning  has  a  charming 
house.  We  sal  in  a  room  with  a  lovely 
'feel'  to  it.  Old  pieces  of  French  wood, 
windows  draped  in  opalescent  georgette 
and  ashes -of -roses  taffeta  .  .  .  odd  di- 
vans .  .  .  tall  vases  .  .  Oriental  rugs 
faded  to  a.  delicate  dimness  .  .  .  now  and 
then  a  slim  and  lovely  girl  ..  .  a  model 
.  .  .  drifted  by  in  some  gown  of  such 
stuff  as  dreams  are  made  of.   .    .    . 

Maybelle  Manning  herself  is  young, 
smart,  clever,  alertly  interested  in  what 
she  is  doing.  She  has  that  living  enthu- 
siasm that  makes  for  creativeness  and 
success. 

"The  best-dressed  women  on  the  screen," 
she  said,  consideringly,  "1  dress  so  many 
of  them  .  .  .  and  they  are  not  always 
well  dressed  when  they  come  to  me  ...  I 
try,  always,  to  send  anyone  who  leaves 
this  establishment  forth  perfect  .  .  .  per- 
fect in  every  detail  ...  so  that  people 
will  say  not  'Who  made  your  dress?'  hut 
'Who  designed  your  costume?' 

"One  of  the  hest-dressed  women  I  have 
ever  known  is  Mrs.  Jesse  Lasky.  She  is 
dainty,  petite,  perfect.  Every  detail  is 
exquisite   and  exact. 

"Then  there  is  little  Anita  Loos.  She 
is  so  tiny.  She  might  be  either  a  little  boy 
or  a  little  girl.  And  she  has,  being  so  odd 
a  type,  to  be  extremely  careful.  She  must 
go  in  for  oddly  shaped  little  collars,  for 
odd  but  very  simple  little  frocks.  Nothing- 
fussy,  ever..  Her  hair-cut  must  be  odd 
and  peculiarly  individual.  If  you  arc  as 
individual  as  tiny  Anita  Loos,  you  have  to 
he  more  than  ordinarily  careful  to  pre- 
serve that  individuality. 

"She  has  to  wear  either  very  juvenile 
little  things  or  very  bizarre  little  things. 
Always  simplicity  and  straight  lines.  I 
recently  made  her  a  little  sailor  costume. 
Darling.  Such  a  costume  as  a  ten-year-old 
child  might  wear.  Blue  dress  with  tie  and 
whistle.  Straight  blue  coat,  box  effect, 
with  chevrons  and  brass  buttons,  round 
sailor  hat.     She  was  adorable  in  it. 

"Then  there  is   Norma  Talmadge. 

"Norma  dresses  very  badly  in  the  day- 
time and  at  night  she  is  lovely.  She  has 
a  beautiful,  alert  head,  exquisitely  poised, 
eager — and  it  is  lost  when  she  wears  a  hat. 

"For  the  evening  Norma  always  wears 
either  filmy,  shivery  white,  or  glittering 
white  and  silver,  or  she  wears  a  gown  of 
gorgeous  fabric,  a  soft,  voluminous  taffeta, 
or  again  a  gown  of  vivid  definite  color. 
She  is  never  indefinite.  She  is  never  ob- 
scured.    She  knows  herself  in  the  evening. 

"Carol  Dempster  is  another  girl  who 
knows  her  type  and  sticks  to  it.  I  do  not 
believe,  as  some  people  do,  that  a  girl 
should  adhere  to  one  type  of  gown.  J 
believe  that  she  should  adhere  to  it  until 
she  funis  something  else  that  suits  her  just 
as  well. 

"'No  one  person  is  so  limited  that  only 
mil-  style  heroines  them.  Hut  every  one 
has  a  general  type  of  thing  that  most  be- 
comes them. 

"Carol  always  makes  me  think  of  baby 
things  .  .  .  white  fur  .  .  .  softness. 
Very  few  people  can  wear  the  things  that 
Carol  can  wear  and  she  knows  what  she 
can    wear    perfectly. 

"Olden  things,  picturesque  things,  quaint 

things,  ivory  and  old  lace,  pale  grays,  tight 

bodices    and    soft,    full    skirts.      These    are 

1  Carol's     tilings.       .And     she     follows     one 

lie   of    smartness   better    than    anyone 

I    know.      She    is    always    perfectly    turned 

'-ni.      By   whirl)    I    mean  that   she   is   correct 

li  te    in    every    lea  t    detail.      She 

never  wears  the  same  hat  with  two  gowns. 

Xo  one   should,    if   the)'   ran    possibly  avoid 

it.      A    hat    goes    with    one    gown    properly 

i   .      li    belong  i    to    one    gov  i! 

epl     for    it.        \lso,    shl      i 
complete   in   all   tin-  details  of   her  costume. 


Her  hat,  her  shoes,  her  bag,  her  gloves.  She 
never  mixes  her  costumes. 

"Diana  Kane  dressed  very  badly  when 
she  first  came  to  me.  She  had  a  perfect 
faculty  for  getting  the  wrong  hats.  She 
had  too  much  of  everything.  We  per- 
suaded her  to  wear  smart  little  tailored 
suits  in  the  daytime,  sport  things.  And  in 
the  evening  we  made  her  lovely  things, 
two  of  white  organdie. 

(Two  of  the  white  organdie  "things" 
were  then  and  there  modeled  for  me — and 
they  were  divine.  Tight  bodices,  lovely, 
voluminous  skirts,  quite  long,  one  with 
exquisite  applique  work  in  old  blue  and 
other  colors,  T  think,  with  a  band  of  blue 
ribbon  tied  oddly,  right  in  the  middle  of 
the  bodice,  over  the  bust ;  the  other  made 
in  much  the  same  style  but  with  what  Miss 
Manning  called  "sea  foam"  on  the  deep 
hem  .of  the  skirt  .  .'  .  it  was  sea  foam 
.  .  .  jade  green,  faintest  of  faint  pink  .  .  . 
exquisite.   .    .    . ) 

"A  strong  tenet  of  faith  with  me,"  said 
Miss  Manning,  "is  that  women  should 
always  go  in  for  subdued  things  in  the 
daytime.  Tailored  suits  are  always  good. 
Simple  sports  things.  And  in  the  evening 
they  should  open  like  flowers  ...  be 
colorful  .    .    .  gorgeous.   .    .    . 

"Oddly  enough,  china  red,  flaming  red, 
is  best  for  blondes.  It  brings  out  the 
loveliest  tints  they  have.  And  the  old 
ivories,  white,  pale  yellow,  is  best  for 
brunettes. 

"Bebe  Daniels  is  beginning  to  dress  ex- 
tremely well.  She  tends  toward  the  Orien- 
tal in  type.  She  can  .wear  ivory  beauti- 
fully. We  have  made  her  a  lovely  old 
ivory  silk  of  lustrous  heavy  fabric  worked 
with  threads  of  old  gold.  We  made  her 
a  "fruit  gown,"  too.  A  dark  georgette 
trimmed  with  tiny  clusters  of  fruit  in 
natural   colors. 

"Blanche  Sweet  dresses  very  well.  She 
knows  herself,  and  that,  as  we  have  indi- 
cated, is  the  be-all  and  end-all  of  good 
dressing.  She  goes  in  for  the  very  simple 
tailored  things  in  the  daytime  and  the 
gorgeous,   flaring  things   at  night." 

We  were  then  treated  to  a  modeling  of 
a  white  crystal  evening  gown  with  a  wrap 
of  royal  purple  and  white  fur  which  Miss 
Manning  had  "done"  for  the  blonde 
Blanche. 

"Most  women,"  concluded  little  Miss 
Manning,  "can  learn  to  dress  well,  but  1 
do  not  know  that  dressing  well  comes 
naturally  to  all  women.  A  great  many  of 
us  have  to  he  educated  in  respect  to  dress, 
we  have  to  come  to  know  ourselves  in  this 
way  as  we  do  in  so  many  others." 

Madame  Frances  was  sailing  for  Europe 
the  day  after  we  talked  with  her  and  she 
was,  naturally,  in  something  of  a  flutter. 

I  hit  we  did  manage,  seated  in  her  im- 
mense gold-and-green  salon,  to  induce  her 
to  mention  two  or  three  of  the  Ladies  of 
the  Lights  whom  she  considers  particu- 
larly   well    dressed. 

Generally,  Madame  Frances  laid  great 
stress  on  line.  It  is  her  contention,  as 
opposed  to  I  tarry  Collins,  that  all  women 
can  wear  all  colors,  providing  only  that 
they  wear  them  to  the  right  places  and 
with  the  right  lines. 

"I  dont  suppose,"  she  said,  "that  there 
are    ten    women    in    the    world    who    cannot 

wear  every  color  there  is. 

"So  long  as  the  line  of  the  dress  is  right, 
which  means  that  it  follows  the  natural 
line  of  the  body  when  possible  and  is 
adapted  to  humps  or  humps  when  not  pos- 
sible. 

"Line  is  everything.  An  eighth  of  an 
inch  may  make  a  frock  all  right — or  all 
wrong. 

"Alice  Joyce  is  beautifully  dressed.  And 
she    is    marvelous    to    dress.      She    knows 


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Advertising  Section 

what  she  likes  and  what  she  wants,  but, 
better  still,  she  knows  how  to  be  told 
what  she  likes  and  what  she  wants.  If  she 
decides  upon  some  particular  model  and 
we  tell  her  we  do  not  think  it  is  the  thing 
for  her,  she  relinquishes  the  idea  at  once. 

"She  dresses  with  dignity,  with  charm, 
and  always  with  the  right  thing  for  the 
right  time  and  place.  She  can  wear  any 
color  and  any  type  of  thing,  but  her  line 
is  peculiarly  her  own  and  is  always  con- 
formed to. 

"Corinne  Griffith  also  dresses  extremely 
well.  She,  too,  has  dignity,  a  certain  pomp 
and  circumstance. 

"Norma  Talmadge  is  particularly  set 
about  having  her  own  way  for  private 
dresses,  by  which  I  mean  dresses  for  pri- 
vate life.  When  it  comes  to  clothes  for 
the  screen,  she  will  always  listen  to  me. 

"She  is  especially  fond  of  short-waisted 
things. 

"When  I  dress  girls  for  the  screen,  I 
always  do  so  with  the  director  in  mind. 
I  try  to  find  out  who  the  director  is  to  be 
and  bear  in  mind  what  sort  of  thing  would 
be  most  likely  to  please  him  and  inspire 
him.  I  try  to  give  him  inspiration  by 
using  a  color,  let  us  say,  that  will  catch 
his  eye.  Mr.  Herbert  Brenon  is  particu- 
larly sensitive  to  this.  He  has  said  to 
me,  'She  is  so  beautiful  to  the  eye.' 

"It  has  long  been  my  ambition  to  dress 
the  girls  of  America  who  cannot  afford 
very  expensive  clothes.  I  should  like  to 
have  a  chain  of  stores  or  some  such 
method  of  reaching  them  and  giving  to 
them  the  things  that  would  make  them 
smart.  It  might  be  a  failure,  this  project. 
They  might  not  care  for  the  type  of  dress- 
ing I  would  advocate,  because  it  would 
be  extremely  simple  and  unadorned.  It  is 
curious,  however,  that  wage-earners  are 
the  women  who  are  most  adaptable  to 
learning  about  dress.  They  are  always 
eager  to  listen  and  to  defer.  It  is  the 
women  in  the  social  strata  who  have  their 
own  opinions  and  stick  to  them,  right  or 
wrong. 

"For  the  girl  in  moderate  circumstances 
it  would  be  my  advice,  it  is  my  advice,  to 
wear  the  simplest  frocks  available.  A  one- 
piece  affair,  with  two  side  seams,  of  a  dark 
material  is  best.  As  severe  as  possible. 
Two  hats.  If  possible,  have  two  or  more 
hats.  It  is  far  better  to  have  two  hats 
with  one  dress  than  half  a  dozen  dresses 
with  one  hat.  Hats  do  more  to  give  a 
woman  a  different  personality  than  any 
other  article  of   apparel. 

"If  a  girl  has  inexpensive  clothes,  it 
is  also  my  advice  to  eliminate  the  additional 
fixings.  The  fewer  touches  she  adds  to 
her  costume,  the  more  refined,  the  smarter 
it  will  be.  Accessories  are  always  tawdry 
unless  they  are  exquisitely  chosen  and 
utterly  fresh.  They  only  draw  attention 
to  their  own  and  other  deficiencies." 

Thus  the  arbiters  elegantice  .  .  .  the 
Makers  of  Modes  who  "turn  out"  the 
Four  Hundred  of  the  Screen  and  the  Four 
Hundred  of  Society. 

The  veil  of  Vanity  Fair  has  been  lifted 
and  a  few  carefully  guarded  secrets  have 
escaped. 

May  you  profit  by  them! 


What  Do   Men  Want? 

What  is  the  first  thing  a  man  looks 
for  in  a  woman?  Physical  attrac- 
tiveness? Cleverness?  A  good  dis- 
position? 

Read  what  the  motion  picture  men 
say  about  this  in  the  November  Mo- 
tion Picture  Magazine. 


W-rmMv 


— whose  inspirational  guid- 
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ton, Marion  Davies,  Dorothy 
Mackaill.  Jobyna  Kalston  and 
scores  of  other  stage  and 
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StageDancing 
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If  Learned  by  Bight 
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IF  you  have  ever  dreamed 
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ing that  will  open  the  doors 
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could  do. 

There  is  a  constant  and 
ever-increasing  demand 
among  picture  producers  for 
young  people  who  have  been 
properly  trained  in  stage 
dancing.  Today  a  knowledge 
of  stage  dancing  is  one  of 
the  prime  requisites  of  a 
successful   screen  career. 

For  many  years  Ned  Way- 
burn,  who  is  world-famous 
for  having  staged  the  best  editions  of  "The 
Follies,"  "Palm  Beach  Nights,"  and  over 
500   Revues,    Musical   Comedies,    Headline 

Vaudeville  Productions  and  Moving  Picture  Pres- 
entations, has  been  developing  dancing  stars  for 
the  stage  and  screen.  Gilda  Gray,  Ann  Penning- 
ton, Marion  Davies,  Blanche  Mehaffey,  Johnny 
Hines,  Dorothy  Mackaill,  Jobyna  Ralston  (leading 
lady  for  Harold  Lloyd),  Helen  Lee  Worthing 
(nozv  with  Famous  Players),  Billy  Dove,  Kather- 
ine  Perry,  Jack  Mulhall  and  W.  C.  Fields  are 
only  a  few  of  the  leading  screen  stars  who  have 
had  the  benefit  of  Mr.  Wayburn's  unique  method 
of   training. 

Learn  at  Home — In  Spare  Time 

It  is  no  longer  necessary  to  come  to  Broadway 
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remarkable  Home  Study  Course  in  Stage  Dancing 
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Ned  Wayburn  Studios  of  Stage  Dancing,  Inc. 
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Advertising  Section 

Making  the  Living-room  Livable 


{Continued  from   page  SO) 


for  your  wall  coverings.  Paper,  paint, 
wash,  each  has  its  advantage — all  are  at- 
tractive. I-  should  see  to  it  that  my  ceil- 
ings are  a  very  light  tint  of  my  wall 
color.  I  should  see  that  my  floors  are 
darker  than  my  walls,  preferably  a  dark 
brown,  either  stained  or  painted  or  cov- 
ered in  one  of  the  new  attractive  lino- 
leums. For  the  walls  themselves  I  should 
choose  gray,  tan  or  green.  The  gray 
might  run  any  place  from  a  gray-white 
to  a  French  gray.  The  green  should  be 
quite  light  and  perhaps  a  bit  more  blue 
than  yellow  and  with  a  large  amount  of 
gray  in  it  so  as  not  to  be  too  heavy  or 
deep  a  color.  However,  of  all  background 
colors  for  general  use  I  should  choose 
one  of  the  tans.  These  may  range  any 
place  from  a  pale  eggshell  thru  the  ivories 
and  creams  to  a  true  tan.  Under  no 
circumstances  should  a  wall  verge  on  to 
brown,  however,  for  then  it  would  be- 
come too  dark  to  reflect  light — and  a 
cheerful  living-room  is  always  desirable. 
Creams  are  the  most  livable  colors,  be- 
cause they  harmonize  with  far  more  other 
colors  than  any  other  background  color 
and  are,  besides,  warm  and  easy  to  live 
with. 

Painted  walls  are  perhaps  the  most  satis- 
factory. Walls  painted  over  canvas  are  the 
ideal  wall  coverings  and  I  would  recom- 
mend them  above  everything  else.  Covered 
with  an  eggshell  or  dull  finish  oil  paint, 
they  may  be  washed  when  necessary  and 
are  always  most  attractive  looking.  Next 
I  would  prefer  oil  paint  directly  on 
plaster.  If  I  were  building  a  new  house, 
however,  for  the  first  several  years  I 
would  use  a  water  paint  on  my  plaster 
walls  until  I  was  sure  that  the  walls  had 
settled. 

Wall  paper  has  always  been  most  satis- 
factory as  a  wall  covering  and  is  quite 
frequently  the  rival  of  painted  walls.  In 
soft  tan  or  gray,  absolutely  plain  or  with 
an  indistinct,  soft  design,  wall  paper  is 
most  attractive  and  forms  a  lovely  back- 
ground   for   the   living-room. 

Next  I  would  choose  slip  covers  if  I 
had  only  a  small  amount  of  money  to 
spend.  I  would  have  these  slip  covers 
made  so  well  that  they  would  look  like 
permanent  covers.  They  may  be  plain 
or  finished  on  the  bottom  with  a  box- 
pleated  ruffle.  When  you  are  having  these 
made — or  if  you  cut  them  yourself — have 
them  fitted  tight  instead  of  allowing  for 
shrinkage,  for  they  will  look  much  better 
if  they  are  dry-cleaned  instead  of  washed 
and  they  need  not  be  done  frequently. 
Slip  covers  will  transform  a  room  quicker 
than  anything  I  know  of,  even  if  the  price 
is    not   considered. 

Tf  I  were  fixing  up  a  room,  I  would 
cover  a  davenport  and  one  chair  in  bright 
linen  cm-  chintz  in  a  color  that  harmonizes 
with  my  background.  lUock-printed  linen 
is  most  effective  for  a  davenport  cover- 
ing, but  any  of  the  inexpensive  linens  or 
cretonnes,  if  you  are  careful  to  use  the 
colorings  which  the  room  needs,  are  ex- 
cellent, too.  I  would  cover  one  chair  in 
a  bright  color — the  color  of  one  of  the 
predominating  flowers  or  figures  in  the 
cretonne.  I  would  cover  another  chair  in 
a  striped  material,  using  either  these  same 
two  colors  or  combining  other  colors 
which  the  cretonne  contains.  In  this  way 
all  of  your  chairs  will  harmonize  and  fit 
together  and  your  room  will  be  gay  and 
cheerful.  Many  people  I  know  who  have 
charming  homes  leave  their  slip  covers 
on   their   chairs   and  davenport  both  winter 


and  summer  as  part  of  the  permanent 
home  decorations. 

Flow  about  your  lamps?  Have  you  a 
couple  of  stiff  and  useless  silk-shaded 
lamps  on  your  tables  far  from  any  chair 
or  have  you  convenient  bridge  lamps  or 
table  lamps  just  where  you  want  them 
for  reading  ? 

Lamps  may  be  becoming  or  unbecoming 
to  the  rooms'  occupants.  They  may  be 
useful  or  absolutely  useless.  If  carefully 
chosen,  they  are  most  important  adjuncts 
to  a  room.  Chosen  carelessly  they  are 
hideous — and  useless  as  well.  If  I  needed 
lamps  and  had  only  a  little  money  to 
spend — or  even  if  I  had  a  lot  of  money — 
I  think  I  should  buy  first  of  all  a  pair 
of  wrought-iron  bridge  lamps  with  parch- 
ment shades,  in  cream,  yellow  or  soft 
orange.  These  add  beauty  to  a  room  and 
when  placed  behind  a  chair  they  are  most 
excellent  for  reading — and  cast  a  most 
becoming  glow.  If  my  room  were  large, 
I  would  have  two  pairs  of  bridge  lamps 
or  one  pair  of  bridge  lamps  and  a  couple 
of  other  lamps  on  occasional  tables  in 
such  a  position  that  they  would  be  useful 
for  reading. 

Too  many  people  neglect  comfortable 
pillows  and  cushions.  Stiff  and  ugly 
cushions  add  little  comfort  to  a  room  and 
nothing  to  its  beauty.  Make  a  number  of 
soft,  good  -  looking  cushions,  using  real 
feathers  if  you  can  get  them,  and  covering 
the  cushions  in  plain  material  either  satin 
or  taffeta  or  sateen,  using  the  colors  that 
predominate  in  the  colors  of  your  daven- 
port covering.  Have  enough  pillows  so 
that  they  may  be  tucked  back  of  your 
guests  and  have  them  soft  enough  so  that 
they  will  be  comfortable  when  they  are 
being  used.  Nothing  is  so  ugly  as  a 
davenport  or  a  couch  too  fully  covered 
with  stiff,  useless  pillows.  And  a  room 
without  cushions  is  bare,  indeed. 

To  be  comfortable,  a  living-room  must 
have  enough  occasional  tables.  A  little 
low  table  pulled  in  front  of  the  daven- 
port for  books,  for  an  occasional  drink  or 
for  bon  bons,  is  almost  indispensable.  If 
you  use  side  tables  for  your  davenport, 
you  need  not  use  the  low  table,  but  you 
will  need  it  otherwise.  Each  comfortable 
armchair  should  have  an  occasional  table 
near  it,  too.  These  occasional  tables  need 
not  be  elaborate.  They  may  be  round  or 
oblong.  They  should  be  strong.  There 
is  nothing  so  inconvenient  as  a  wabbling 
little  table.  These  tables  are  in  far 
better  taste  than  smoking  stands,  and 
yet  they  will  hold  smoking  things  con- 
veniently. 

Have  enough  ash  trays  and  have  these 
and  cigarets  and  matches  on  your  occa- 
sional tables.  This  will  give  a  keynote  of 
hospitality  quicker  than  any  one  other 
thing  you  can  put  into  your  room.  A 
dish  of  bon  bons  or  of  salted  nuts  is  an 
additional  sign  of  hospitality  that  is  most 
welcome. 

In  refurnishing  your  living-room  you 
must  not  forget  curtains.  Curtains  in 
gay  colorings  that  blend  with  your  fur- 
nishings are  most  important  in  your  home 
so  far  as  appearance  goes.  Keep  your 
curtains  simple.  Straight  valances  and 
side  hangings  either  drawn  back  or 
straight,  according  to  the  room,  and  sim- 
ple glass  curtains  next  to  the  window  are 
all  that  you  wdll  need  in  the  way  of  win- 
dow  decorations. 

If  you  wish  to  add  more  furnishings  to 
your  living-room,  I  can  suggest  one  thing 


114 


MOTION  PICTUUK   MAGAZINE   is  guaranteed. 


Advertising  Section 


<QWW 


— a  new  comfortable  chair.  You  may 
think  your  home  is  completely  furnished, 
but  I  have  seen  very  few  homes  where 
an  additional  comfortable  chair  was  not 
welcome.  In  getting  a  chair,  remember 
the  men  in  the  family  or  men  guests,  any- 
how. Far  too  many  women,  when  doing 
their  buying,  pick  out  chairs  that  are 
comfortable  to  women,  but  not  necessarily 
so  to  the  men  of  the  household.  Men  like 
chairs  that  are  low  and  long  with  seats 
deep  and  soft  enough  for  comfort  Any 
of  the  English  lounge  or  club  chairs  are 
ideal  and  almost  any  living-room  could  be 
made  more  attractive  with  the  addition 
of  one  of  these  chairs  covered  in  velour, 
'corduroy,  tapestry  or  linen.  Then  men  in 
the  family  and  their  guests,  too,  will 
vote  this  a  very  .splendid  addition  to  the 
room. 

Outside  of  occasional  tables  you  will 
need  another  living-room  table  and  in 
most  modern  homes  I  prefer  a  long,  nar- 
row library  table  either  of  walnut  or 
mahogany,  according  to  the  other  furnish- 
ings of  the  room.  This  may  be  an  Eng- 
lish, American  or  Italian  design  and 
should  be  straight  and  sturdy  with  a  fairly 
large,  adequate  -  looking  top.  On  this 
table  you  may  stand  a  lamp,  a  bowl  of 
flowers  and  books  or  magazines. 

Books  and  magazines !  Far  too  few 
housewives  realize  what  an  important  part 
'these  can  play  in  a  room's  decorations. 
Low  open  bookshelves  filled  with  books 
present  to  the  eye  as  lovely  a  tapestry  .as 
I  can  imagine.  Besides  the  comforting 
presence  of  books  that  you  Want  to  read, 
books  are  in  themselves  decorative.  Noth- 
ing reflects  so  well  the  owners  of  a  room 
as  the  presence  of  books.  A  pile  of  new 
magazines,  a  few  books  on  the  table  and 
other  books  convenient  on  open  shelves 
are  as  lovely  a  part  of  a  room's  furnish- 
ings as  I  can  imagine.  Stiff  rows  of 
books  behind  glass  doors — and  the  maga- 
zines put  out  of  the  way  before  company 
comes — may  be  neat,  but  does  not  spell 
hospitality  and  charm.  Keep  books  in 
sight.  Outside  of  their  intrinsic  value, 
and  I  cant  imagine  being  happy  where  there 
are  no  books,  books  will  give  an  "air"  to 
your  home  that  nothing  else  can  possibly 
give  it. 

If  your  home  needs  new  rugs  I  would 
choose,  first  of  all,  one-tone  rugs  in  tan, 
sand  color  or  a  soft  brown-gray.  My 
second  choice  would  be  Oriental  rugs  in 
dark,  soft  colors. 

I  think  now,  that  your  refurnished  liv- 
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find  it  livable  and  charming,  and  beautiful 
as  well.  Soft  light  walls  of  ivory  cream 
or  gray— bright  linen  or  chintz  slip  covers, 
cushions  to  harmonize — a  new  comfortable 
chair — occasional  tables  drawn  up  close 
to  low  chairs — long  bookshelves,  books, 
magazines,  smoking  things — a  place  to 
stand  a  glass  or  a  book — flowers  in  low 
bowls — conveniently  placed  lamps  in  soft 
parchment  colors  or  silk  shaded — and  I 
think  you  will  admit  that  the  picture  is 
not  only  one  of  comfort  but  of  beauty  as 
well. 

Your  family  wont  mind  staying  at 
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money,  a  great  deal  of  thought  and  per- 
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will  repay  you  by  giving  you  a  background 
of  comfort,  charm  and  beauty. 


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i  (  ontinued  from  page  103) 

When  Mr.  Irving  returned  to  his  office, 
Harvey  went  to  the  booth  telephone.  It 
\\;i^  now  eleven-thirty,  and  he'knew  that 
Judith  would  be  waiting  to  hear  from  him. 

At  the  first  jingle  of  the  telephone  bell, 
Judith  had  hurried  down-stairs.  She  had 
spent  the  morning  preparing  to  leave  this 
room  which  had  been  her  home  for  almost 
a  year.  She  had  cleaned  out  her  bureau 
and  packed  most  of  her  things.  She  had 
written  her  father  of  her  plans  and  had 
done  a   little   mending. 

Now  Harvey's  message  about  Mr.  Ir- 
ving   seemed   too    good  to  be  true. 

"A  contract!"  she  had  exclaimed.  "Oh, 
Harvey  dear,  not  really!" 

Harvey  explained  about  the  options,  but 
this  aid  not  distress  her  in  the  least. 

And  when  she  arrived  at  the  studios  a 
few  hours  later,  Harvey  thought  he  had 
never  seen  a  more  radiant  face.  It  was 
as  luminous  as  the  morning. 

He  took  her  to  Mr.  Irving's  office  and 
introduced  her  with  an  ill-concealed  pride. 
Then  he  left  Mr.  Irving  and  her  together. 

Judith's  fears  were  allayed  as  soon  as 
she  met  Mr.  Irving.  She  knew  imme- 
diately that  she  was  not  to  deal  with  a  man 
of  the  Goldstein  ilk.  Charles  Irving  was  a 
very  different  sort.  He  was  an  odd  mix- 
ture of  shrewd  business,  fatherly  kindness, 
pride  in  his  position,  and  disillusions. 

And  on  his  desk  was  a  large  portrait  of 
Mrs.  Irving  and  their  two  sons. 

"Well,  Miss  Tower,"  Mr.  Irving  began, 
"you  seem  to  have  promise  as  a  motion 
picture  actress.  We  cannot  tell  definitely 
from  the  little  work  you  have  done  for  us, 
but  we  want  to  sign  you  up  so  that  no 
other  company  can  get  you. 

"This  shows  that  we  believe  in  you. 
But  frankly,  this  contract  I  am  going  to 
give  you  to  read — and  to  sign  if  you  so 
desire — means  nothing  except  that  we  will 
give  you  fair  parts  in  two  pictures  within 
the  next  two  months  and  pay  you  two 
hundred  and  fifty  dollars  a  week  while  you 
are  playing  those  parts." 

Judith  listened  carefully  to  all  that  he 
said  to  her.  She  knew  that  she  was  so 
inwardly  excited  that  things  were  not  as 
clear  as  they  would  otherwise  be  and  she 
was  anxious  to  understand. 

"After  that,"  Mr.  Irving  continued, 
"everything  is  up  to  you.  Really,  this  con- 
tract is  only  an  opportunity  for  you  to 
show  us   what  you  can  do. 

".  rid  for  giving  you  this  opportunity 
we  get  your  service,,  if  you  do  maxe  good. 
That   is    fair   enough,    I   think." 

He  handed  Judith  the  contract  and  no- 
ticed that  she  was  quite  as  lovely  as  any 
famous  star  who  had  ever  been  in  Ids 
office.  She  had  worn  the  little  black  crepe 
with  the  lace  collar  and  cuffs.  And  a 
large  black  straw  hat  was  crushed  over 
her  hair. 

"Now  will  you  read  this  over  carefully," 
he  said,  giving  no  sign  of  his  approval. 
"I  have  already  shown  it  to  Air.  Dunn,  and 
lie  is  quite  satisfied  with  it.  If  there  is 
any  legal  wording  that  you  do  not  under- 
stand, !  will  explain  it  to  you  or  you  are 
rty   to  show  it  to  your  attorney." 

Judith  read  the  several  pages  carefully. 
Out  of  the  mass  of  legal  phraseology  she 
deduced  the  fact  that  she  would  receive 
even  hundred  dollars  a  week  at  the  end  of 
a  year  if  tiny  retained  her.  I!ut  after 
every  two  pictures  in  which  she  appeared 
theri  'ii  option,     'I  hey   might  exercise 

it  or  not,  as  they  saw  fit.  However,  with 
i  j  option  there  was  a 
substantial    rise    in    the    salary    figures    until 

i  ( 'ontinued  on  page  119) 


NOTOX 


COLORS  HAIR 
AS  NATURE  DBD 


tlU?iDREDS  of  thousands  of  the  very  women  most 
hesitant  about  coloring  their  gray  hair  now  do  so  with 


:  be  detected- 


Notox. 

Because  Notox  is  so  natural  that  i 
and  this  is  why: 
The  Notox  principle  differs  from  that  of  the  old-fash' 
ioned  restorer  that  merely  paints  over  the  gray.  Notox 
is  a  scientific  coloring.  It  places  pigment  in  the  thread  of 
fibres  within  the  hair's  lustrous  covering — right  where 
nature's  color  used  to  grow.  Notox  has  to  look  natural 
because  its  mt-thoi  is  natural. 

Notox  is  specifically  guaranteed  to  impart  color  to  gray, 
streakcJ  or  faded  hair,  and  guard  all  its  former  harmoni- 
ous beauty  of  lustre  and  of  silken  texture.  It  is  guaran- 
teed permanent;  its  color  withstands  any  condition  or 
treatment  that  Nature's  will — brushing,  shampooing, 
sunshine,  salt  water,  perspiration,  Turkish  baths,  per- 
manent waving,  marceling.  It  is  safe,  it  cannot  injure 
texture  or  growth.  The  ease  of  application  enables 
anyone  to  apply  it  with  invariable. success  in  the  privacy 
of  her  own  home. 

FREE  TRIAL  SAMPLE! 

If  VOU  arc  riix,-,t,il,  tilt  il  tri/lt  aotiy  hair  stvrf  in  the  rtruyati 
ttt/rl  it  frrr  lyi,,l  s,tt,t,,l,  trill  l„>  ..,,„/  vim  'it,  „  h'i,  ,11  ivruvl"'  . 
I,,.,, -lli.r  trill,  Hie  NOTOX  RKA  UTY  ANA  I.  )  SIS  <  'I  I A  KT 
lJtn  afrir  styni/il:;  ,,f  ,,,  „,!„  ,-„i  },„;,■  /,,  //,,  ,,,,,,„,,,  fti  rnablr 
ii*  lu  prottidt:    tiott.  trill,  lit,   rit/ltl  tthatlr  ,,l  NOTOX . 

Inecto,  Inc.,  33-35  West "46th  St.,  n!"y"'c. 

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STRONGFORTISM 


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Age Occupation 

Street 

City State 


Every  udvertiHciiient 


ll;i:   MAGAZINE 


Advertising  Section 


dZ-MOTION  PICTURR 

InOI    I    MAGAZINE        \ 


What  Is  Trumps? 

(Continued  from  page  65) 

rough  points  of  bridge  as  played  in  Holly- 
wood, I  think  it  would  be  nice  for  the 
people  who  are  always  on. the  lookout  for 
improvements  in  their  own  technique  if  I 
recorded  a  little  of  the  game  just  as  it 
was  played.  I  feel  that  anyone  who  can 
get  anything  cut  of  it  deserves  to  be 
helped. 

Somebody  threw  in  a  deck  and  they  all 
sat  down. 

The  Leading  Lady,  a  lovely  girl  other- 
wise :  "Are  we  going  to  cut  for  the  deal? 
Let's  do.  It's  more  expert."  She  laughs. 
"Speaking  of  cutting,  what's  this  everyone 
tells  me  about  Constance  Talmadge  never 
speaking  to  people  she  has  met  four  or 
five  times?  As  a  matter  of  fact,  I  have 
met  her  myself  and  she  never  speaks.  Beat 
that  club  if  you  can!" 

The  club  cant  be  beaten.  By  either  the 
players  or  the  onlookers. 

Leading  Lady:  "I  suppose  you  cant 
remember  everyone,  tho.  Gracious,  I  dont 
meet  half  the  people  the  Talmadges  do, 
and  every  now  and  then  I  slip  up  on  some- 
body. I  didn't  recognize  the  Harold  Lloyds 
the  other  day  until  they  got  into  their 
Rolls-Royce.  They  look  so  much  like 
other  people.  I  had  to  drive  like  mad  in 
order  to  catch  them  to  speak.  Dear,  dear, 
dear.  What  can  I  bid?  One  diamond,  I 
guess.  One  weak  little  diamond,  partner." 
She  smiles  knowingly  across  the  table. 

Her  Husband  :    "Pass." 

Comedian  :  "Harold  Lloyd's  a  pretty 
good  man.  He's  limited,  tho.  He  and 
Chaplin.  Do  you  know  what  is  the  matter 
with  Lloyd  and  Chaplin  as  comedians?" 

There  is  a  slight  pause  as  cards  are 
sorted. 

Comedian  :  "Do  you  know  what  is  the 
matter  with  Chaplin  and  Lloyd  as  come- 
dians ?" 

Comedian's  Wife,  an  onlooker :  "No, 
dear,  what  is  the  matter  with  Chaplin  and 
Lloyd  as  comedians?" 

Comedian:  "They're  types.  That's 
what's  the  matter  with  them  as  comedians. 
They're  types.  That's  the  reason  'The 
Gold  Rush  didn't  last  two  weeks  when  it 
played  in  Los  Angeles.  People  are  tired 
of  seeing  Chaplin  in  the  same  old  thing. 
That's  the  reason  he  couldn't  draw  them 
in  for  two  weeks  downtown." 

Director  :  "It  played  over  six  months 
at  Grauman's  Egyptian,  didn't  it?  I  guess 
everyone  saw  it  there." 

Comedian  :  "I'm  not  talking  about  how 
long  it  ran  in  Hollywood.  I'm  talking 
about  its   Los   Angeles   run." 

Director  :    "It's  somebody's  bid." 

Comedian  :  "Excuse  me.  It's  mine. 
What  did  you  bid,   Lorice?" 

Leading  Lady  :  "One  diamond.  One 
tiny,  weeny  diamond,  partner.  Jim  Kirk- 
wood  says  I  always  overbid  my  hand." 

Comedian:    "What  did  you  bid?" 

Her  Husband:    "Passed." 

Comedian  :  "Well,  it's  up  to  me  and 
my  partner  bid  one  diamond.  Well,  I'lf 
bid  one  heart." 

Leading  Lady:    "Oh,  shoot!" 

Comedian:  "1  refuse  to  shoot  out  of 
working   hours." 

Comedian's   wife   laughs   hysterically. 

Director:    "One  spade." 

Leading  Lady:  "Oh,  shoot!"  She 
fumbles  with  her  cards  in  concentration. 
"Did  anybody  see  'La  Boheme'?" 

Director  :  "I  see  everything  Vidor  does. 
He  is  a  splendid  stylist." 


In  three  worSs... 

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Leading  Lady  :  "I  dont  like  Lillian  Gish, 
tho.  I  dont  know  what's  the  matter  with 
me.  Priscilla  Bonner  and  all  those  girls 
just  adore  her.  She's  so  flighty.  She  was 
supposed  to -have  lived  in  that  garret  for 
years,  and  still  she  never  could  find  the 
door  without  looking  for  it.  You  dont 
care,  partner,  do  you,  if  I  go  two  dia- 
monds ?  Honors  count  almost  as  much  as 
points."      She    smiles    across    the   tabic. 

Her  Husband  :    "Pass." 

Comedian  :  "Well,  well,  well.  Let's 
see."  He  studies  his  cards.  "1  didn't  like 
Jack  Gilbert  much  in  it.  He's  a  nice  fel- 
low, I  like  Jack,  but  I  thought  he  was 
pretty  poor  in  that.  Do  you  know  what 
the  greatest  drawback  to  that  boy's  popu- 
larity  is   going   to   be?" 

The  others  seem  to  be  looking  at  their 
cards. 

Comedian:  "Do  you  know  what  it  is 
going  to  be?" 

Comedian's  Wife:  "No,  dear,  what  is 
the  greatest  drawback  to  Gilbert's  popu- 
larity ?"  . 

Comedian  :  "He  has  no  sense  of  humor. 
None  whatsoever.  He  is  clever  in  a  rather 
volatile  way.  But  he  has  nothing  of  the 
lighter  touch.  In  my  latest  picture  I  play 
a  Bohemian,  myself.  I  want  you  all  to 
see  it.  Of  course,  mine  is  more  or  less 
slap-stick,  but  underneath  it  all  I  think 
you  will  recognize  more  real  Bohemian 
characterization  than  Gilbert's.  I'm  pre- 
viewing Wednesday.  I  think  you  will 
agree  with  me  it  is  going  to  start  some- 
thing new  in  the  comedy  line.  Because 
what  are  the  big  pictures  of  the  next  year 
going  to  be?" 

Pause. 

Comedian's  Wife:  "I  dont  know,  dear, 
what  are  the  big  pictures  of  the  next 
year  going  to?" 

Comedian  :  "Comedies.  The  big  pictures 
of  the  next  year " 

Leading  Lady  :  "I  believe  I  bid  two 
diamonds,  and  he  passed,  and  it's  your  bid, 
Abe,  isn't  it,  or  am  I  wrong?" 

Comedian  :  "I'll  pass.  I  passed  long 
ago.  Any  producer  will  tell  you  that  he 
cleans  up  on  his  comedies.  If  they  didn't 
make  their  money  on  the  comedies,  they 
couldn't  afford  to  produce  artistic  pictures. 
Comedy  is   Art's  greatest   patron." 

Director:    "I   pass." 

Leading  Lady  :  "Oh,  good !  Oh,  dear. 
I  hope  you  have  a  lot  of  help,  partner,  be- 
cause I  told  you  mine  was  just  a  weak 
little  bid.  Oh,  dear,  you  haven't  anything. 
Jim  Kirkwood  said  you  could  usually  de- 
pend on  your  partner  for  something.  But 
you  haven't  a  single  diamond!" 

Comedian's  Wife:  "There  was  so 
much  talking  I  dont  think  he  heard  you 
bid  a  diamond,  Lorice." 

Leading  Lady:    "I  bid  two  diamonds!" 

Comedian:  "I  guess  I  should  have 
stuck  to  my  hearts." 

Director:  "If  T'd  had  that  hand  I'd 
have  stuck  it  in  my   pocket." 

Comedian's  Wife:  "Well,  he  cant  help 
it  if  he  gets  it  in  the  deal,  can  he?  You 
cant  bid   cards  you  haven't  got." 

Comedian:  "Please  dont  talk  while 
we're   playing,    Anna." 

She  gets  a  look. 

Comedian's  Wife:  "Excuse  me."  Tit- 
tering. "Let's  go  over  and  play  the  vic- 
trola,  girls,  and  let  them  get  down  to  the 
game.  When  you're  playing  for  money, 
you  ought  to  concentrate." 

And  I  dont  know  but  what  she's  right, 
at  that.  Because  no  matter  how  much  of 
a  social  game  you  make  of  bridge,  it  takes 
a  lot  of  thought. 


"A  New  Skin 
in  3  Days" 

Get  Rid  of  Your  Pimples,  Blackheads,  Acne, 
Oily  Skin,  Wrinkles,  Tan,  Freckles,  Un- 
sightly   Blemishes   and    Marks   of 
Age  This  New  Way. 

READ  THIS  FREE  OFFER 


Advertising  Section 
Crazy  Quilt 

{Continued  from  page  116) 

eventually  the  seven  hundred  dollars  a 
week  was  reached. 

"This  is  perfectly  satisfactory,"  Judith 
said.     She  was  in  something  of  a  daze. 

Mr.  Irving  handed  her  his  gold  fountain 
pen  and  she  signed  her  name. 

Then  Mr.  Irving  added  his  signature  to 
the  copies.    He  gave  her  one  of  them. 

"Good  '  luck,  Judith  Tower,"  he  said. 
"I  hope  you  will  fulfill  all  the  promise 
you  give.  Mr.  Dunn  will  look  out  for 
your  publicity  in  connection  with  the  Lola 
Chase  photographs,  I  expect.  He  will 
also  explain  things  to  you.  And  if  there 
is  anything  which  he  cannot  tell  you  about, 
do  not  hesitate  to  consult  with  me  or  my 
secretary." 

Judith  thanked  him  warmly  and  started 
for  the  door.  She  could  hardly  wait  to 
show  Harvey  the  typewritten  pages  that 
were  rolled  in  her  hand  in  a  blue  paper 
folder.  Her  contract !  She  would  be  a 
star! 

"Oh,  another  thing,"  Mr.  Irving  said  as 
he  opened  the  door  for  her.  "Mr.  Dunn 
tells  me  that  you  and  he  are  going  to  be 
married.  That  is  fine.  He  is  a  smart 
man.  I  hope  that  you  will  have  as  much 
happiness  together  as  Mrs.  Irving  and  I 
have  had.  I  cannot  wish  you  more  than 
that." 

Judith  was  touched.  Harvey  had  told 
her  about  Mr.  Irving,  but  Judith  had  been 
skeptical  about  movie  magnates  after  her 
experience  with  Goldstein. 

Harvey  was  waiting  for  her  in  the  outer 
office.  The  secretary  was  not  there  and 
he  kissed  her  as  she  came  up  to  him. 

They  read  the  contract  over  and  were 
as  thrilled  and  excited  over  it  as  two 
children. 

"Come  see  the  dressing-room  I  had 
Mrs.  Brophy  allot  you,"  he  said.  "It  is  not 
a  star's  dressing-room,  but  I  think  you 
will  like  it.  We  can  get  a  gay  chintz  for 
the  windows  and  upholstery.  They'll  re- 
finish  the  green  furniture  for  you  and  it 
will  be  very  charming.  I  hope  I  will  be 
invited   to    luncheon    sometimes." 

Judith  pulled  his  face  down  and  kissed 
it  softly.  "I  hope  you  wont  wait  to  be 
invited,"    she  whispered. 

They  walked  across  the  studio  lot. 
"Oh,  it  isn't  true,"  Judith  said  happily. 
"All  the  heavenly  things  that  have  hap- 
pened to  me  in  the  last  twenty-four  hours 
cannot  be  true.  If  only  nothing  happens 
to  spoil  them.   ..." 

"Hush,"  Harvey  commanded.  "They're 
true,  darling  girl.  And  if  we  have  each 
other,   what   can   happen?" 

By  this  time  they  had  reached  the 
dressing-room  corridor,  and  Harvey  paused 
before  one  of  the  doors. 

"Thought  I  heard  voices,"  he  said. 
"That's  funny,"  for  they  had  both  listened 
and  not  a  sound  was  to  be  heard. 

Then  Harvey  unlocked  the  door  and 
opened  it. 

"Surprise  .  .  .  Congratulations  .  .  . 
Congratulations  .  .  .  Surprise !"  a  dozen 
hilarious  voices  shouted.  The  room  was 
crowded. 

"You  told  them,"  said  Harvey,  singling 
out  McAllister,  who  stood  in  the  back- 
ground grinning  like  a  schoolboy. 

The  air  was  heavy  with  the  scent  of  the 
flowers  that  stood  about.  There  was  a 
shallow  basket  of  old-fashioned  garden 
flowers.  There  were  American  Beauties. 
There  was  a  silver  basket  of  orchids. 

In  the  next  dressing-room,  the  adjoining 
door  of  which  had  been  opened,  there  was 
a  long  refreshment  table.  A  caterer's 
waiter  stood  behind  it.  There  were  cock- 
When  you  write  to  advertisers  please  mention  MOTION  PICTURE 


"They're  GONE— Because  They're  OFF!" 
Place  a  Piece  of  Paper  Over  Half  the  Above 
Photo  and  Note  the  Transformation  ! 

Worry  no  more  over  your  "terrible"  skin  and 
complexion!  Forget  your  failures  with  lotions, 
clays,  creams,  powders,  massage,  steaming  pots 
and  "coverups."  Throw  away  your  rubber 
masks,  plasters  and  beauty  makeshifts.  Be- 
cause— here's  where  you  get  a  new,  true  skin! 
Your  blackheads,  pimples,  large  pores,  freckles, 
tan,  sallow  complexion,  surface  wrinkles,  blem- 
ishes and  signs  of  approaching  age,  go,  definitely 
— "because  they're  OFF!" 

Most  astonishing  German  discovery  in  the 
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amazing  free  book  called  "A  New  Skin  in  3 
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foreign  beauty  doctors  have  charged  enormous 
prices  for.  Make  your  own  skin  and  complexion 
the  envy  of  all  who  behold  it.  Send  your  name 
and  address  only — no  money. 

MAKE  YOUR  FACE  YOUR  FORTUNE! 

Hundreds  of  men  and  women  are  now  doing 
it  at  home — in  the  quiet  of  their  own  rooms — 
without  the  knowledge  of  their  most  intimate 
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velvety,  clear,  spotless  youth-like  skin  on  face, 
neck,  arms,  hands  or  any  part  of  the  body  where 
a  new  skin  is  desired.  It's  astonishing — almost 
beyond  belief!  Send  now — the  book  is  absolutely 
free  to  readers  of  this  paper.  Address,  Marvo 
Beauty  Laboratories,  Dept.  32-H,  No.  1658 
Broadway,  New  York,  N.  Y. 


"Genius  it- 
self  must 
learn  the  ma- 
chinery of 
expression'* 


sfapjiA 


"Since  authorship  is  essentially  a  matter 
of  home  work,"  says  Rupert  Hughes,  "it  is 
one  of  the  few  arts  that  can  be  taught  by 
correspondence.  The  Palmer  Institute  of 
Authorship,  under  the  presidency  of  so 
eminent  a  literary  artist  as  Clayton  Hamil- 
ton, and  as  conducted  by  Frederick  Palmer 
and  a  large  corps  of  associates,  is  qualified 
to  render  invaluable  aid  to  apprentices  in 
the  art  and  the  business  of  authorship." 

Palmer  training  is  uniquely  personal!- It" 
will  take  that  talent  of  yours  and  develop 
it  until  you,  too,  can  write  the  kind  of 
stories  that  tug  at  heart  strings  .  .  .  that 
grip  the  imagination  .  .  .  that  editors  buy. 


PALMER  INSTITUTE   OF  AUTHORSHIP 
Palmer  Building,  Hollywood,  Cal.       9-K 

Clayton    Hamilton      -     -     -     President 
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Please   send  me,   without   obligation  ov   expense, 
'.nformation    about    your    course    in 
□  Short  Story  Writing 
D  English   and   Self-Expression 
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PAfiU 


ES  GONE  IN  3  DAYS 

\JlwLf  vanished 
so  quickly <J 
was  astonished 
at  the  wonder- 
ful results  ^> 

By  Miss  Karsten 

For  years  I  tried  everything  to  remove  wrinkles  which 
marred  my  beauty,  hindered  my  pleasure  in  social  life  and 
made  me  look  old  before  my  time,  but  without  results. 

One  day  a  friend  who  had  just  returned  from  abroad 
pave  me  this  wonderful  secret  discovered  in  Egypt,  which 
preserved  the  youthful  appe.-.rance  of  the  fairest  Egyptian 
lieuuties.  I  tried  it  —  results  were  amazing — I  could  not 
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tails,  tea,  platters  of  tiny  sandwiches,  glace 
petits  fours,  ices,  bon  bons.  .  .  . 

The  group  milled  about  Harvey  and 
Judith,  showering  them  with  good  wishes. 
Inez  Uland  was  there.  She  was  very 
gracious  to  Judith.  Site  had  seen  the 
country-club  scenes  an  hour  before,  and 
she  told  Judith  that  site  thought  her  de- 
lightful in  them. 

"If  you  keep  the  quiet  charm  you  have 
today  you  will  be  a  great  success,  Miss 
Tower,"  she  said.  "Mr.  McAllister  tells 
me  that  you  are  going  to  do  some  more 
work  in  our  picture,  and  I  am  very  glad." 

Judith  thanked  her,  and  someone  else 
came  up  to  offer  congratulations. 

For  over  an  hour  Judith  and  Harvey 
talked  with  one  group  after  another.  A 
little  after  five  o'clock  the  rooms  thinned 
out.  Judith  was  grateful  to  find  herself 
alone  in  the  room  that  was  to  be  her 
dressing-room.  She  wanted  to  look  about. 
She  wanted  to  read  the  cards  on  the  flowers. 
Harvey  was  in  the  adjoining  room  with 
two  or  three  men  from  the  advertising  de- 
partment. They  were  assuring  him  that 
Miss  Tower  was  far  too  lovely  and  beau- 
tiful for  him,  and  he  was  admitting  it 
with  a  happy  grin.  And  every  now  and 
then  he  would  look  in  the  other  room,  as 
if  to  make  sure  Judith  had  not  escaped. 
Sometimes  their  eyes  would  meet  and  they 
would  smile.  In  their  smiles  they  told 
one  another  all  the  things  they  could  not 
whisper,  with   so   many  people  about. 

Soma  Solana  came  in.  She  was  on  her 
way  to  her  dressing-room  from  the  stu- 
dios. Her  face  was  coated  with  a  pinkish 
grease-paint.  And  she  wore  a  leopard- 
skin  coat  and  toque. 

Harvey  came  in  from  the  other  room 
and  introduced   her  to  Judith. 

"I  saw  you  at  the  Ritz  last  night,"  she 
said.  "Harvey  is  a  lucky  man."  She 
shrugged  an  expressive  shoulder.  "And 
you — you  are  lucky,  too,  if  you  are  going 
to  marry  the  man  you  love." 

Judith  wondered  if  she  would  have 
sensed  a  bitterness  in  the  words  if  Harvey 
had  not  told  her  Soma's  story  the  night 
before. 

She  had  gone  over  to  look  at  the  flow- 
ers. Judith  followed  her  and  Harvey  left 
them  together. 

"Such  orchids  I  have  never  seen,"  Sonia 
said.  "Ah,  well,  they  will  be  nice  to  you 
until  you  threaten  their  shoes,"  she  added, 
noting  that  a  leading  lady's  card  accom- 
panied them.  "Then  they  will  turn  to 
cut  your   throat.     Watch   them !" 

She  wished  Judith  happiness  and  left 
quickly.  Judith  was  fascinated  by  her 
strangeness. 

The  men  continued  to  cluster  about  the 
cocktails  like  so  many  buzzing  bees  in  a 
flower  garden.  Judith  thought  perhaps 
Harvey   was   drinking   too   much. 

An  office  boy  paused  in  the  doorway. 

"Note  for  Mr.  Dunn,"  he  said.  "Is  he 
here?" 

"He's  in  there,"  Judith  said.  "I  will 
give  it  to  him." 

"I'll  take  it  in,"  the  boy  said.  "Miss 
Royce  specially  said  I  was  to  give  it  to 
him   personally." 

Judith  stood  back  to  let  the  youngster 
pass. 

"Royce,"  she  said  the  name  over  to  her- 
self. "Royce,  that  has  a  familiar  sound. 
Where  have  I  heard  that  name  before?" 

And,  as  she  repeated  the  name,  she  be- 
came vaguely  uneasy.  Then  she  remem- 
bered. Joy  Royce  was  the  girl  Harvey 
had  introduced  her  to  the  night  before. 
She  had  not  liked  her  because  she  had 
adopted  such  a  possessive  altitude  towards 
Harvey.  What  was  she  writing  to  him 
about  ?  And  why  must  the  letter  be  de- 
livei  <  d  to  him  personally  ? 

Judith  walked  into  the  other  room.     liar- 


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vey  had  been  reading  the  note,  and  as  she 
approached,  he  jammed  it  into  his  pocket. 
She  watched  him  do  this  and  saw  that, 
unbeknown  to  him,  it  fell  to  the  floor. 

"Will  you  have  a  cocktail,  dear?"  he 
asked. 

"Please,"  said  Judith.  Anything — any- 
thing so  that  he  would  turn  to  the  table 
and  she  might  pick  up  that  crumpled  note 
unobserved.  The  other  men  had  moved 
away  and  were  talking  in  a  group.  They 
had  not  seen  the  note  fall.  She  felt  con- 
fident of  that.  And  if  she  pretended  to 
drop  her  handkerchief.  .  .  .  Anything — 
anything  so  that  she  could  get  the  note 
that  Joy  Royce  had  written — that  precious 
note  that  must  be  delivered  to  Harvey  per- 
sonally. 

Some  deep  instinct  warned  her  that  her 
happiness  was  that  moment  suspended  in 
the  balance. 

She  dropped  her  handkerchief,  as  if  by 
accident,  and  stooped  swiftly  to  reclaim  it. 

Is  it  better  for  a  man  and  woman  to  be 
frank  about  their  pasts  before  they  marry 
— or  can  happiness  be  built  on  a  founda- 
tion of  secrets?  Read  "Crazy  Quilt"  next 
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fr  motion  pictur[ 

1 1101   I    MAGAZINE       \ 


A  Carol  Dempster 
Breakfast 

{Continued  from  page  55) 

buttered  toast  and  plenty  of  it,  pastries 
and  other  highly  caloried  concoctions. 
_  No,  Carol  says  that  she  just  doesn't  feel 
like  eating  when  she  rises  in  the  morning  and 
the  light  breakfast  she  does  prefer  is  more 
a  concession  to  habit  than  to  actual  desire. 
After  all,  so  many  of  our  ancestors  ate 
breakfast ! 

Usually  Carol  omits  the  coddled  egg.  Now 
and  then,  if  she  has  a  strenuous  day  ahead 
of  her  at  the  studio  and  the  luncheon  hour 
(which  she  does  observe)  is  a  problem- 
atical one,  she  includes  it  for  energy's 
sake : 

When  blackberries  are  absolutely  out 
of  season,  she  resorts  to  the  juice  of  two 
oranges  chilled  and  served  in  a  tall  glass. 

All  fruit,  Carol  says,  should  be  served 
as  coolly  chilled  as  possible.  Including 
blackberries.  She  uses  brown  sugar,  both 
because  she  likes  it  better  and  because  it 
is  better  for  you. 

The  whole  wrreat  bread  is  cut  medium 
thin,  crusts  removed,  buttered  and  put 
back  in  the  oven  for  five  minutes,  which 
process  gives  it  a  delicate  and  delectable 
flavor. 

As  for  the  coddled  egg,  naturally  the 
first  thing  we  demand  of  an  egg  is  ab- 
solute freshness.  As  Carol  has  recently 
acquired  a  two  hundred  acre  farm  in  the 
"real  country"  in  New  York  State,  she 
doesn't  have  to  worry  about  the  freshness 
of  her  eggs.  She  leaves  that  to  the 
chickens. 

At  any  rate,  there  are  two  or  three 
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slightly  buttered  round  of  toast — whole 
wheat  toast  in  Carol's  case. 

Thus  does    Carol  start  the  day — lightly. 


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121 
PAG 


i 


Advertising  Section 


taking  stock 
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50c,  1.00.  Scientifically  compounded  to  guard 

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I 


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(M-10) 
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(     )  Oily  Skin  (     )   Pun 

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Name 



State 

'..me 


Hollywood  Notes 

(Continued  from  page  59) 


The  Girl  with  a  Thousand  Emotions 

"Ianguage  was  given  to  us  to  conceal  our 
■^  thoughts,"  said  Talleyrand ;  and  "our 
facial  muscles  were  given  us  to  conceal 
our  emotions,"  he  might  have  added.  The 
science  of  diplomacy  and  the  game  of 
poker  are  similar  in  that  he  who  can 
make  his  face  express  what  his  heart  does 
not  feel  is  the  most  successful.  Dignified 
persons  never  express  any  emotions — 
they  talk,  but  their  faces  are  as  marble. 
It  is  not  good  form  among  the  aristocracy 
to  laugh  or  frown,  or  to  express  any  emo- 
tion whatever.  But  let's  get  to  the  point — 
Mary  Philbin  will  never  be  a  good  poker 
player,  diplomat,  aristocrat  or  dignitary. 
Not  because  she  is  a  simple  little  girl  and 
very  much  like  a  child,  but  because  she 
just  cannot  make  her  face  behave.  She 
could  not  lie  or  deceive  a  person  if  she 
tried.  Her  face  is  an  open  book  that  any- 
one can  read.  Every  thought  and  impulse 
promptly  goes  to  her  face — and  she  ap- 
parently knows  it,  because  if  you  should 
ask  her  an  embarrassing  question,  as  I 
unfortunately  did,  she  has  a  way  of  turn- 
ing her  head  so  that  you  cannot  read  the 
answer.  She  leads  a  quiet  life  in  a  very 
quiet  way  and  enjoys  life  to  the  full.  She 
is  never  bored.  Everything  interests  her. 
While  I  sat  talking  with  her,  a  lady-bug 
lit  on  her  hand   and   she  almost  talked  to 


it  and  petted  it  and  urged  it  to  "fly  away 
home,"  before  she  realized  that  I  was 
watching  her.  Then  she  seemed  to  be  em- 
barrassed. 

When  I  first  saw  her,  she  impressed  me 
as  a  simple  girl  of  about  sixteen  and  as 
very  small  and  unsophisticated.  Her  feet 
and  hands  are  long  and  thin,  and  her 
body  is  rather  child-like  in  its  belated  de- 
velopment. She  looked  wistful  and  almost 
bashful.  At  first  I  thought  she  was  only 
pretty  and  attractive,  but  after  talking  to 
her  for  an  hour  I  would  say  that  she  is 
actually  beautiful — fascinating  and  charm- 
ing. When  you  see  her  act,  you  know 
that  she  inwardly  feels  every  emotion  to 
which  flesh  is  heir.  No  player  ever  felt 
more.  If  you  saw  her  in  "The  Merry  - 
Go-Round"  you  will  know  what  I  mean, 
because  you  will  remember  that  her  face 
clearly  registered  every  thought,  emotion 
and  shade  of  emotion  that  a  face  is  cap- 
able of  registering.  In  "Stella  Maris"  she 
played  two  roles,  showing  a  versatility 
that  has  rarely  been  equaled  on  the  screen. 
She  was  not  given  ample  opportunity  in 
"Phantom  of  the  Opera,"  nor  has  she  had 
anywhere  near  the  chances  that  Lillian 
Gish  has  had,  who  is  her  only  competitor 
in  her  line.  But  Mary  Philbin  is  yet  in 
her  early  twenties  and  a  great  career  is 
before  her. 


Normaisms 

Norma  Talmadge  says  men  always 
like  a  polka-dot  dress.  She  says 
other  things,  too  .  .  .  and  we  have 
known  Norma  to  stick  to  her  con- 
victions for  years.  That's  why  we 
call  some  of  her  pet  theories 
"Normaisms." 

See  the  November  Motion 
Picture  Magazine. 


Who's  Who? 

Who  is  the  biggest  flirt  in  Holly- 
wood? Who  is  the  best -dressed 
girl?  Who  is  the  most  popular 
man? 

There  was  a  vote  taken  on  these 
and  other  questions  .  .  .  just  the 
way  they  do  in  collegiate  papers. 

See  the  November  Motion 
Picture  Magazine. 


Did  You  Guess  Right  ? 


122 

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Advertising  Section 

k.The  Editor  Gossips 

(Continued  from  page  67) 

We  remembered  something"  a  manager 
of   Betty's   had   said  some  years   ago. 

"You  cannot  make  Betty  careful  about 
her  illusion,"  he  complained.  "She  seems 
to  have  no   flair   for  the  artificial." 

And  in  this  complaint  we  see  the  very 
charm  of  Betty  Blythe.  There  is  some- 
thing spontaneous  about  her.  She  is  a 
good  sort.  And  she  is  just  about  as 
capable  of  creating  a  spell  as  we  would 
be  of  playing-  the  Queen  of  Sheba.  How- 
ever, paradoxical  as  it  is,  in  this  very 
naturalness  she  weaves  a  spell. 

She  has  been  in  Europe  making  pictures 
for  over  a  year.  And  now  after  a  few 
weeks  in  vaudeville  she  has  returned  to 
Hollywood — and    perhaps    motion   pictures. 

"Of  course,  I'll  do  pictures  over  here 
again  ...  if  they'll  have  me,"  she  said. 
That  is  Betty  .  .  .  most  girls  we  know 
would  not  admit  that  there  was  the  slight- 
est possibility  that  they  would  not  be 
welcomed  home  with  open  arms. 

It  was  cool  in  the  water.  .  .  .  But  after 
awhile  we  climbed  up  on  the  marble  side 
and  philosophized.  We  pondered  on  what 
is  the  greatest  thing  in  the  world. 

"It  is  youth,"  said  Betty  watching  a 
very  young  creature  whose  slim  body 
darted  thru  the  water,  "and  the  moments 
when  you  drive  into  the  country  on  moon- 
lit nights  and  sniff  the  hay  .  .  .  and  laugh 
.  .  .  and  try  to  count  the  stars.  You 
never  know  how  precious  such  moments 
are  until  you  remember  them  .  .  .  retro- 
spection gives  you  their  worth. 

"And  it's  something  we  may  not  manu- 
facture. It  comes  as  I  said,  spontaneously. 
It  may  endure  one  moment  ...  it  may 
endure   five." 

YY/e  have  seen  "Variety." 

As  a  matter  of  fact,  we  saw  it  weeks 
ago.  We  were  going  to  write  our  paean 
of  praise  about  it  in  this  column  last 
month  but  being  cautious  by  nature  we 
decided  to  wait  for  our  enthusiasm  to  die 
down.  And  it  hasn't.  We  still  think  it  the 
greatest  motion  picture  we  have  seen. 

This  is,  despite  the  fact  that  we  boast 
of  an  ancestral  signature  on  the  Declara- 
tion of  Independence.  Our  aforementioned 
cautious  nature  deems  this  a  wise  preface 
to  the  things  we  are  about  to  say. 

It  appears  to  us  that  we  are  as  children 
compared  to  the  Germans  in  the  creation 
of  motion  pictures.  We  use  the  medium 
of  the  screen  without  grasping  the  possi- 
bilities of  its  art.  Certainly  the  main  thing 
that  the  movies  can  hope  to  do  is  convey 
mental  attitudes  in  a  pictorial  way.  You 
cannot  photograph  the  convolutions  of  a 
man's  brain  and  an  actor  is  not  always 
able  to  suggest  them  by  facial  expression. 

In  "Variety"  it  was  desired  to  show  an 
acrobat  who  plans  to  kill  his  partner.  He 
might  very  easily  fail  to  catch  him  when 
he  swings  high  and  jumps  from  his 
trapeze.  But  the  acrobat  is  an  exhibition- 
ist.    He  is  proud  of  his  skill. 

There  is  shown  on  the  screen  a  close-up 
of  many  eyes  .  .  .  and  you  know  that  the 
man  will  not  appear  to  blunder  with  those 
people  watching  him.  He  is  too  childlike 
in  his  constant  effort  to  show  off. 

And  so  far  as  the  acting  goes,  we  ex- 
pect to  live  many  years  before  we  see 
anything  finer  than  the  work  done  by 
Emil  Tannings  and  Lya  de  Putti. 


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Miss  Dana,  world-f anions  for  the  beauty  of  her 
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and  length  of  her  curling  lashes  by  darkening 
them  with  the  dainty  toilet  requisite  she  is  here 
shown  applying,"MAYBELLINE." 

She  has  used  "MABYELLINE"  for  ten  years, 
both  for  street  wear  and  in  her  screen  work, 
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123  P 

PAfili 


Advertising  Section 


Your  Skin 
My  Way 


By  Clara  Bow 


7  1ST  RECENTLY  I  found  a  wonderful  new  way  to 
clear  and  whiten  the  skin — almost  overnight!  As 
yon  know  anyone  appearing  hefore  the  camera  sim- 
ply  mii.st  have  a  sparkling  white  skin  free  from  even  the 
tiniest  hlemish.  Hut  now  I  no  longer  worry  about  sun 
freckles,  sallow  skin  or  tan,  for  I  have  found  that  a  new 
discovery  gently  removes  all  blemishes,  clearing  and 
whitening  the  skin  with  amazing  quickness.  In  hardly 
any  time  at  all  you  can  have  that  satiny,  smooth  skin 
which  photographs  so  beautifully. 

This  Little  Secret  Ends 
Freckles,   Blemishes 

Almost  overnight  you  can  clear  your  skin  of  distressing 
freckles,  redness,  roughness,  blotches,  muddiness  or  any 
blemish.  Soon  your  complexion  will  take  on  a  clearness 
and  a  smoothness  that  will  astound  you. 

Vou  will  discover  that  there  is  a  hidden  beauty  in  your 
skin.  Oust,  wind,  and  clogged  pores  may  have  blem- 
ished it.  But  underneath  you  will  find  a  clear,  vividly 
beautiful  complexion.  And  in  an 
amazingly  short  time  you  can 
bring  it  out. 

So  wonderful — so  quick — are 
the  results  of  this  new,  scientific 
cromc  that  we  absolutely  guaran- 
tee it.  Get  a  jar  now — today. 
for  only  five  nights.  Then 
if  you  are  not  delighted  and 
.-- i r h  the  transformation 
your  money  will  be  instantly  rc- 
f undid.  Now  being  used  by  mil- 
lion, of  women, 

It     .our    dealer    cannot    supply 
I   mail  the  coupon  below. 
When  package   arrives   pay  post- 
man only  SI. 


FREE 
Special  Gift 

i  dealer's 
name  with  yom  order,  we  also  v.  ill 
i  .1  lo>  <  ly  gift  absolutely 
I  Khl  ,  with  our  compliments. 


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3  Minutes 
Before  Bedtime 

Test 

Right  before  bed- 
t  i  in  c  s  m  oo  t  b 
some  of  tins  cool 
fragrant  crgmeon 
your  skin  The 
very  next  morn- 
ing look  in  your 
mirror!  See  bow 
the  skin  lias  al- 
ready begun  lo 
clear.  Noticehow 
quickly  i  n  •  klc  . 
blackli. 
r.i  her  i 

■    way  to 
ii  hM.   - 
milky     el 


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Il  l    <  omp.inv. 
410  (Ink   St.,    IV.ns      I  .  ,,n 

'.(   t.old.n   l'i  ar  i,i  V    Iil<;i<  Ii   <   r<  me 
•   I  R.EE  gift.     When  !,-•<  I 
lan  5>1.     If  not  delighted  my  moi  i 
refunded. 




Class  Will  Tell 


Ever  since  the  CLASSIC  entered  the  publication 
field,  it  has  been  called  the  de  luxe  magazine  of  the 
screen.  There's  a  reason.  It  reflects  class.  With 
seventy-four  of  its  pages  devoted  to  Rotogravure,  its 
readers  are  assured  of  seeing  its  articles  and  photo- 
graphs presented  in  the  most  artistic  and  entertaining 
fashion.  There's  nothing  old-fashioned  or  hackneyed 
about  the  CLASSIC.  It  is  dedicated  to  the  purpose  of 
offering  unusual,  distinctive  and  sparkling  pages. 
Moreover,  it  is  generally  recognized  as  the  best  edited 
of  motion  picture  publications.  It  gets  off  the  beaten 
track  with  its  illuminating  articles — which  are  written 
fearlessly  and  authoritatively.  You  cant  afford  to  miss 
a  single  issue. 

The  October  Classic 

will  feature  the  first  of  a  series  of  absorbing  stories  about  the  old 
days  in  the  movies — entitled  "Them  Were  the  Happy  Days."  There 
will  also  be  a  highly  entertaining  article  about  the  "Broken  Hearts 
of  Hollywood." 

Henry  Albert  Phillips  will  conclude  his  series  of  interesting 
interviews  with  leading  British  and  Continental  authors  on  the 
subject  of  motion  pictures.  In  the  October  Classic  you  will  find 
the  opinions  of  John  Galsworthy,  Margaret  Kennedy  and  Lord 
Dunsany. 

Another  striking  feature  will  present  an  interview  with  F.  W. 
Murnau,  who  has  come  to  America  to  make  pictures.  And  Mai 
St.  Clair  will  tell  you  his  impressions  of  the  stars  he  has  directed — 
together  with  his  own  caricatures  of  them. 

And  a  dozen  or  so  other  big  features,  including  the  second 
instalment  of  Faith  Service's  interesting  Serial  Story,  "Painted 
People." 

The  Classic  passes  them  all.  Order  your  October  number  now. 


124 


Every  advertisement   In  MOTION   PICTURE   MAGAZINE    is   guaranteed. 


Not  for  just  a  day— a  week— nor  a  year 

-but  ALWAYS 


SUCH  was  the  promise  he  had  made  and  that 
she  cherished.  How  worried  she  had  been 
when  her  mirror  told  her  that  ghastly  story 
that  every  woman  dreads  —  yet  which  comes 
when  most  unwanted. 

She  thought  that  she,  like  others  she  had 
seen,  was  doomed  to  have  that  dreadful,  dead, 
dyed -looking  hair  —  something  must  be  done 
, before  he,  too,  should  know! 

Now  she  looks  back  to  that  dreadful  hour 
when  the  grey  hairs  were  discovered  and  smiles 
—  and  well  she  may  —  for  Rap  - 1  -  Dol,  the 
"Master"  Hair  Coloring,  has  tinted  those  grey 
hairs  as  though  they  had  never  been  —  no  one 
is  the  wiser  and  that  naturally  glossy  shade, 
nature's  rival,  is  her's — not  for  just  a  day,  a 
week,  nor  a  year — but  always! 

That  is  why  Rap-I-Dol  for  over  fifteen  years 


has  been  used  and  recommended  by  the  leading 
beauty  experts  in  the  United  States  and  Europe 
—they  know — their  art  demands  the  best  that 
science  can  give  them.  That  is  why  women — 
who  know — are  using  Rap-I-Dol. 

The  natural  gloss  of  Rap-I-Dol,  its  ease  of 
application  and  its  permanency  are  unequaled. 
It  is  the  hair  coloring  that  almost  overnight 
took  away  woman's  dreadful  fear  of  having 
her  hair  tinted. 

Rap-I-Dol  colors  the  hair  after  nature's  own 
fashion — permeating  the  inner  layers  and  not 
just  coating  the  outside.  This  means  that  hair 
that  has  been  tinted  with  Rap-I-Dol  may  be 
subjected  to  any  treatment— permanently 
waved,  shampooed,  and  may  be  subjected  to 
sunlight  and  electricity  without  being  detected 
by  the  most  severe  critic. 


RAP-I- OCX. 

%Jh®oMasierlfisiir°  Co/or/n^ 


f-f. 


Rap-I-Dol 

does  not  contain 

para  toluylene  diamin 


)^= 


J 


RAP-I-DOL  CO.,  518  Broad  St.,  Newark,  N.J. 
Attention:  Yvonne  Rebeaux 

Kindly  send  me  your  Charm  Digest  which  I  under- 
stand is  sent  gratis  —  together  with  further  information 
regarding  Rap-I-Dol. 

Name . 


-City- 


Ask  your  Beauty  Shop  about 
Rap-I-Dol.  Send  in  the  cou- 
pon for  the  Charm  Digest. 
Yvonne  Rebeaux  of  the  Rap- 
I-Dol  Expert  Department  will 
gladly  answer  all  your  ques- 
tions. 

All  correspondence  will  be 
sent  you  in  plain  envelope 
—  strictly  confidentially. 


%. 


9€& 


/ 


Proud  to  say 
"This  is  Mother 


THAT  youth  can  longer 
be  retained,  as  experts 
know  and  urge,  is  proved 
on  all  sides  today.  It  is  be- 
ing done  by  women  every- 
where. Start  now  with  the 
simple  skin  care  printed 
at  the  right.  The  result  in 
youthful  charm  and  skin 
clearness  will  amaze  you. 


*d 


The  reward  that  comes  to 
many  mothers — unconscious 
tribute  from  the  younger 
generation  to  the  woman 
who  has  retained  her  youth 


MODERN  mothers  have  learned  not  to 
look  their  part.  Competing  in  youthful 
allure  with  daughters  of  debutante  age,  they 
prove  that  charm  no  longer  admits  the  limi- 
tation of  years. 

That  is  because  protective  skin  care  has  be- 
come the  rule  of  the  day.  Natural  ways  have 
supplanted  the  often  aging,  artificial  ways  of 
yesterday.  It's  been  discovered  that  Youth 
can  be  safeguarded. 

The  following  rule  is  probably  credited  with 
more  youthful  complexions,  past  the  thirties 
and  into  the  forties,  than  any  other  method 
known.  Leading  beauty  experts  agree  that  skin 
beauty  starts  with  skin  cleanliness,  pores  that 
have  been  kept  healthfully  clean.  In  fairness  to 
yourself,  try  this,  with  the  softening  lather  of 
olive  and  palm  oils  as  blended  in  Palmolive. 

Do  this  for  one  -week 
Mark  the  difference  that  comes 
Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thoroughly, 
first  with  warm  water,  then  with  cold. 
If  your  skin  is  inclined  to  be  dry,  apply 
a  touch  of  good  cold  cream  —  that  is  all. 


Do  this  regularly,  and  particularly  in  the  eve- 
ning. Use  powder  and  rouge  if  you  wish.  Bur 
never  leave  them  on  over  night.  They  must  be 
washed  away.  If  not  removed,  they  clog  the 
pores,  often  enlarge  them.  Blackheads  and 
disfigurements  often  follow. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treatme 
given  above.     Do  not  think  any  green  soap, 
or  one  represented  as  of  olive  and  palm  oils, 
is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies  what  ii 
does  fot  their  faces.  Obtain  a  cake  today. 
Then  note  what  an  amazing  difference  one 
week  makes.      Soaf)  from  trees! 

The  only  oils  in  Palmolive  Soap  are  the 
soothing  beauty  oils  from  the  olive  tree,  the 
African  palm,  and  the  coconut  palm— and  no 
other  fats  whatsoever.  That  is  why  Palmolive 
Soap  is  the  natural  color  that  it  is  —  for  palm 
and  olive  oils,  nothing  else,  give  Palmolive  its 
natural  green  color. 

The  only  secret  to  Palmolive  is  its  exclusive 
blend— and  that  is  one  of  the  world's  priceless 
beauty  secrets. 


I'almotnt  Soap  a  untouched  by 
human  hands  until  you  brtak  the 
wrapptr—zl  u  nti  trlo/d  unwrapped 


THE  PALMOLIVE  COMPANY  (Del.  Corp.).  CHICAGO.  ILLINOIS 


Brett   Litl.o.Co..N: 


NOVEMBER— 25  c_I§ 


PftIA' 
DO 

iHEN 
WANT? 


*rz^c    ^t^tu^^1- 


jr 


'     * 


X 


Why  Do 
Society  Girl: 

Fail  in 
theAovies' 


Do  You 

Believe  in 

Haunted  Houses? 

See  Page  19 


M 


J  CREATURE  /  A  Triangle  Storv  with  a  NewTwist 


Beauty- 
safeguard  it 


Do  as  all  the  world  is  doing  — preserve  the  natural  loveliness,  which  even 
sunlight  cannot  rob  of  its  charm,  by  following  this  proved  rule  in  skin  care 


• 


PALMOLIVE  is  a  beauty  soap 
made  solely  for  one  purpose; 
to  foster  good  complexions. 

In  France,  home  or  cosmetics, 
Palmolive  is  the  second  largest 
selling  soap,  and  has  supplanted 
French  soaps  by  the  score.  In 
beaury-wisc  Paris,  Palmolive  is  the 
"imported"  soap 

Remember  those  lacts  when 
tempted  to  risk  an  unproved  soap 
on  your  skin 


A  BEAUTIFUL  complexion  lost  is  hard  to 
call  back  again.  A  beautiful  complexion 
safeguarded,  and  made  more  beautiful,  is  a  simple 
matter  in  skin  care. 

Women  all  over  the  world  have  found  that 
to  be  true.  The  thousands  of  pretty  skins  you 
see  everywhere  today  overwhelmingly  prove  the 
point.  Nature's  way  is  the  only  true  com- 
plexion insurance. 

Start  by  ending  artificial  ways  in  skin  care. 
Follow  natural  ways  as  foremost  skin  authorities 
urge.  The  most  widely  advised  skin  care  of  to- 
day starts  with  the  proved  rule  below.  Just  the 
simple  rule  of  keeping  the  pores  open,  and  the 
skin  gently  cleansed  every  day,  with  the  sooth- 
ing lather  of  Palmolive. 

Follow  this  rule  for  one  -week. — 
Note  then  the  changes  in  your  skin 
Wash   your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather  softly  into 
the    skin.     Rinse  thoroughly,  first  with   warm 
water,  then  with  cold.     If  your  skin  is  inclined 
to  be  dry,  apply  a  rouch  of  good  cold  cream 
that  is  all.      Do  this   regularly,  and   particularly 
in  the  evening.      Use  powder  and  rouge  if  you 

THE  PALMOI.IVI   COMPANY   (D 


wish.  But  never  leave  them  on  over  night.  The 
clog  the  pores,  often  enlarge  them.  Blackhead 
and  disfigurements  often  follow.  They  mus 
be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treatmen 
given  above.  Do  not  think  any  green  soap,  o 
one  represented  as  of  olive  and  palm  oils,  i 
the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little  tha 
millions  let  it  do  for  their  bodies  what  it  doe, 
for  their  faces.  Obtain  a  cake  today.  Then  not 
what  an   amazing  difference  one  week   makes 

Soap  from  trees! 

The  only  oils  in  Palmolive  Soap  are  tl| 
soothing  beauty  oils  from  the  olive  tree,  thi 
African  palm,  and  the  coconut  palm  and  n< 
other  fats  whatsoever.  That  is  why  Palm 
Soap  is  the  natural  color  that  it  is-  for  pal 
and  olive  oils,  nothing  else,  give  Palmd 
natural  green  color. 

The  only  secret  to  Palmolive  is  its  excl 
blend  and  that  is  one  of  the  world's  pri 
beauty  secrets. 

:•!    Corp.).  CHICAGO,  ILLINOIS 


Palmolite  Soup  /■  untouched  by  human  hands  until       Retail 
;ou  break  the  wrapptt      it  n  never  sold  unwrapped        Price 


10< 


Advertising  Section 


Another  Notable  Picture 


From  the  Man 
Who  Directed 
"THE  IRON  HORSE" 
Presented  by 


a 


The  ability 
to  catch  with 
the  camera  and  portray- 
on  the  screen  those  traits  which 
proclaim  us  all  kin — that  is  one  or  the 
marked  achievements  of  Director  John  Ford. 
Just  as  the  epic  story  of  "The  Iron  Horse"  was 
larded  with  this  rich  vein  of  human  interest  so 

BAD  MEN 

now  a  magnificent,  colorful  screen  story  of  the 
West  in  the  making,  again   reflects  Director 
Ford's  understanding  of  the  human  heart. 
Three  bad  men— grimccrusted,  crime' 
hardened,  wanted,  but  how  ten- 
der and  lovable  they  are  in 
their  self-appointed 
task  of  guard' 


ing  from  dan- 
ger a  young  girl 
who  has  ventured  beyond 
the  safety  2;one!  Tom  Santschi, 
Frank  Campeau  and  J.  Farrell  Mac- 
Donald  (he  of  the  cocked  eye)  as  the  trio, 
GEORGE  O'BRIEN,  OLIVE  BORDEN,  Lou 
Tellegen,  Alec  Francis  and  others,  are  the  main 
personalities  in  a  picture  which  includes  prairies 
seething  with  men  and  cattle,  horses  and  vehi- 
cles, with  action  rampant. 

3  Bad  Men"  upholds  the  screen's  finest 

traditions.  It  will  be  shown  in  leading 

theatres  everywhere  and  it  is  a 

WILLIAM 


Based  on 
Herman  Whitaker 
novel 
'OVER  THE  BORDER" 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE 


<J5 


AMOTION  PICTURp 

-I  I  MAGAZINE     l- 


Advertising  Section 


THE  STAR  OF  1926-7 


RENEE 
ADOREE 


YOU  liked  her  in 
THE  BIG  PARADE 

YOU  loved  her  in 
LA  BOHEME 
YOU'LL  adore  her  in 


B*L*  A*  R*N*E*Y 


9 


Directed  by 

Marcel  de  Sano 

adapted  by 

Albert  Levvin 

from  the  story 

"IN  PRAISE  OF 

JAMES  CARABINE' 

by 
Down  Byrne 


IN  this  ringside  romance 
THIS  lovable  star  makes  a 
PICTURE  you'll  never  forget! 
SHE  plays  an  Irish  Lass  who 
IS  forced  to  fight  for  Love  .... 
EVEN  her  most  ardent  admirers  find  her 
MORE  appealingly  human,  more 
ADORABLE  than  ever  before! 
YOU  will  thrill  at  Donn  Byrne's  story— you 
WILL  revel  in  every  reel — you  will 
LOVE  the  winsome  star  who  wins 
HER  battle  with  Fate! 


"More  stars  than  there  are  in  Heaven" 


Allons/ 

°)he  big  parade 
ofguestions 

I  hope  you  win 
the  big  prize 

A  prize  worth  winning  is 
worth  striving  for — is 
it  not  so?  For  you  I  have 
chosen  most  desirable  me- 
mentos of  motion  picture 
stars  and  I  have  made  my 
questions  most  difficult! 
For  the  lady  who  sends  me 
the  best  answers  to  my  ques- 
tionnaire I  have  chosen  as  a 
reward  a  vanity  case  similar 
to  one  I  myself  carry.  And 
the  cleverest  gentleman  shall 
receive  a  cigarette  case  very 
much  like  John  Gilbert's  own. 
And  I  have  fifty  of  my  favor- 
ite photographs  ready  to 
autograph  for  the  fifty  "next 
best"  contestants! 
Allons!  Here  comes  the  Big 
Parade  of  Questions  and  here 
are  my  best  wishes  for  your 
Success. 

Renee's 
six  questions 

1  In  what  pictures  have 
■*■  Alice  Terry  and  Ramon 
Novarro  been  co-starred? 

2  Who  is  the  original  "Nell 
Brinkley  Girl"  and  what  is 
her  latest  Metro-Goldwyn- 
Mayer  picture? 
Q  What  is  the  title  of  thefirst 
*■*  Metro  -  Goldwyn  -  Mayer 
"western"  and  who  is  the 
featured  player? 
A  Where  does  Rodolphe 
*  first  meet  Mimi  in  "La 
Boheme"? 

C  Whom  do  you  regard  as 
*"'  the  greatest  Metro-Gold- 
wyn-Mayer  director?  Why? 
Answer  this  in  less  than  50 
words. 

6  What  are  the  three  famous 
Ibanez  stories  transferred 
to  the  screen  by  Metro-Gold- 
wyn-Mayer  during  the  past 
year  and  who  directed  them? 

Write  your  answers  on  one 
side  of  a  single  sheet  of  paper 
and  mail  to  Metro- Goldwyn- 
Mayer,  1542  Broadway, 
New  York.  All  answers  must 
reach  us  by  November  15th. 
Winners'  names  will  be  pub- 
lished in  a  later  issue  of  this 
magazine. 

In  the  event  of  ties,  each 
tying  contestant  will  be 
awarded  a  prize  identical  in 
value  with  that  tied  for. 


Bverj  advertisement    Id  .motion   PICTURE  MAGAZINE  is  guaranteed. 


Motion  Pidlure  Magazine 

Founded  by  J.  Stuart  Blackton  in  19 10 — Trademark  Registered 

Vol.  XXXII 

NOVEMBER,    1926 

Adele  Whitely  Fletcher 
Editor 

Colin  J.  Cruikshank,  Art  Director 

Number  4 

The  Passing  of  Rudolph  Valentino 

By 

{EDITOR-IN-CHIEF    OF    THE    B  R  E  W S  T  E  R     PUBLICATIONS) 


WE  come  to  a  sad  task  in  writing  of  the  pass- 
ing of  Rudolph  Valentino.  For  we  know 
a  grievous  loss.  He  was  an  actor,  beloved 
by  his  associates.  He  was  a  brilliant  personality, 
admired  in  the  farthest  corners  of  the  earth.  But 
more  than  this,  he  gave  of  the  golden  coin  of  Ro- 
mance with  largess.    And  the  world  is  poor. 

There  will  be  less  gay  adventure  on  the  screen 
now  that  Rudy  has  gone.  To  thousands  of  lives, 
frustrate  because  of  enforced  narrow  limitations,  he 
brought  the  unattainable.  He  was  always  a  gallant 
figure.  He  was  the  soldier  who  presumed  to  love  a 
mighty  queen  and  to  be  loved,  in  return,  by  her. 
He  was  the  brave  toreador  in  whose  eyes  there  were 
dreams  to  match  his  prowess.  He  was  the  incar- 
nate spirit  of  Romance. 

As  a  young  lad,  he  came  to  this  country  from 
his  native  Italy,  girded  with  a  belief  in  himself.  He 
stepped  from  obscurity  to  fame  with  the  easy  con- 
fidence of  youth.  No  wonder  he  believed  in  the 
magic  of  Tomorrow.  Sometimes  it  does  bring  that 
which  Today  has  denied.  And  who  could  know 
this  better  than  Rudy? 


We  had  scheduled  an  interview  with  Rudy  for 
this  magazine.  In  it  he  mentioned  some  mistakes  he 
had  made  in  his  career.  He  said  he  would  do  very 
differently  if  he  had  things  to  do  over  again.  He 
seemed  a  wise  man.  We  shall  never  publish  the  in- 
terview. It  would  be  too  sad.  But  there  is  tragedy 
in  the  fact  that  life  is  often  over  by  the  time  we  have 
learned  how  to  live. 

At  his  funeral  the  mighty  of  many  professions 
stood  tearful  and  with  bowed  heads  to  mark  his 
passing.  And  outside  of  the  little  church  a  multi- 
tude gathered  from  near  and  far. 

But  we  could  not  help  thinking  how  death  is 
less  sad  when  it  claims  someone  who  has  known  a 
fulness  of  life.  Rudy  stood  upon  the  High  Place  to 
which  so  many  aspire  and  which  such  a  pitiful  few 
achieve. 

And  he  never  knew,  his  physicians  say,  that 
he  would  be  no  more. 

Death  was  kind  to  him  as  he  slept,  a  man  ful- 
filled of  every  high  young  dream  that  he  had  kept 
since  childhood. 


Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,   Jamaica,   N.   Y.     Executive   and   Editorial   Offices,    175  Duffield 

Street,  Brooklyn,  N.  Y.     Hollywood  Office:  6064  Selma  Avenue.     Telephone,  Gladstone  3564. 

Entered  at  the  Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1879.     Printed  in  the  U.  S.  A. 

Eugene  V.  Brewster,  President  and  Editor-in-Chief;  Duncan   A,   Dobie,   Jr.,    Vice-President  and  Business  Manager;   E.   M.   Heinemann,   Secretary; 

L.  G.  Conlon,  Treasurer.     Also  publishers  of  Motion  Picture  Classic 


Subscription  $2.50  a  year  in  advance,  including  postage  in  the  United  States,   Cuba,   Mexico  and   Philippines; 
$3.50.     Single  copies,  25  cents,  postage  prepaid.     U.  S.  Government  stamps  accepted.     Subscribers   must  notify 

giving  both  old  and  new  address. 
First  copyrighted  and  published  February  21.  1911.     Copyrighted,  1926,  in  United  States  and  Great  Britain  by  Brewster  Publications,  Inc 


Canada,   $3.00.     Foreign   countries, 
at   once   of   any   change  of  address, 


5 

PAG 


a 


Motion  Picture  Magazine 

TABLE  OF  CONTENTS 

Cover — Gloria  Swanson  from  a  painting  by  Marland  Stone 

The  Passing  of  Rudolph  Valentino Eugene  V.  Brewster       5 

An  editorial 
Bulletin  Board 8 

Of  tilings  thai  happened  as  we  went  to  press 
Gallery  of  Players 11 

Gravure  portraits  of  Norma  Shearer,  Jack  Halt,  Esther  Ralston,  Milton  Sills,  Mary  Pickford,   Antonio  Moreno,  Dorothy  Mackaill  and  Sally 
O'  Neil 

Shadows  of  the  House  of  Mirth Dwindle  Benthall     19 

A  story  thai  will  intrigue  those  who  do  and  those  who  do  not  believe  in  evil  jinxs  and  haunted  houses 

Diamond  Tom  Mix Janet  Reid     21 

Who  comes  out  of  the  West,  a  figure  that  would  put  a  Bond  Street  tailor  to  shame 
Why  Do  Society  Girls  Fail  in  the  Movies? Beatrice  Wilson     22 

They  come  from  the  stamping-grounds  of  the  elite  with  lovely  clothes,  beauty  and  bearing  .  .  .  why  donl  they  make  good? 

That  Creature! Gladys  Hall     24 

A  triangle  story  with  a  new  twist — Illustrated  by  Douglas  Ryan 

Who's  Who? 27 

The  staff  votes  on  the  stars'  standing  in  their  own  home  town 

WThat  Do  Men  Want  in  the  Woman  They  Marry? Doris  Denbo     28 

The  movie  men  answer  this  question 
Von  Stroheim  Reappears  on  the  Screen 31 

As  well  as  directing  "The  Wedding  March" 

The  Great  Opportunity Robert  Orr     32 

A  scene  in  a  casting  director's  office 

The  Favorite  Moreno  Luncheon 34 

And  the  recipes  which  comprise  it 

My  Life  by  a  Long  Shot Bull  Montana     35 

An  autobiography  in  the  vernacular  .  .  .  the  men  in  the  household  will  enjoy  this  one 

On  Location  at  Night Dorothy  Hampton     37 

As  Others  See  Us Grace  Corson     38 

Late  autumn  and  early  winter  modes 

Normaisms Faith  Service     40 

On  men  .  .  .  clothes  .  .  .  love  and  the  other  things  girls  talk  about  when  they  get  together 

All  Aboard  the  Limerick  Liner 42 

Some  more  last  lines  are  needed 

Crazy  Quilt Adele  Ormiston     43 

The  story  of  an  extra  girl  who  married  a  press-agent  .  .  .  became  a  star  and  .  .  .   Illustrations  by  Henry  Pilgrim 

A  Daughter  in  the  Movies , Sayde  Miller     46 

Palsy  Ruth's  mother  tells  what  she  did  about  it 

In  Memoriam  to  Rudolph  Valentino Faith  Service     47 

That's  Ou  t Tamar  Lane     48 

Humorous  truths — Illustrations  by  Harry  Taskey 

Summer-Time  All  Year  Round Stephen  Gooson     49 

Suggestions  for  the  sun  room  this  winter 

Lois  Adopts  a  Sister 51 

And  is  photographed  with  her 

The  Question  of  the  Mustache 52 

If  the  actors  mirror  the  mode,  it  looks  as  if  the  mustache  was  reluming  to  favor 

The  Lady  of  the  Manor 54 

Corinne  Griffith  in  her  garden 
The  Editor  Gossips A.  W.  F.     55 

And  suggests  a  new  game  fur  those  who  do  not  play  bridge  and  those  who  do  .    .  . 

Pictures  That  Will  Soon  Shadow  the  Screen 56 

Previews  from  forthcoming  productions 

A  New  Version  of  an  Old  Picture .•••■.•    57 

Irene  Rich  and  Conway  Tearle  pose  in  their  characterizations  of  "  His  Official  Wife" 

Miss  Swanson  Presents  John  Boles 59 

Who  will  be  her  leading  man  in  "Eyes  of,   Youth" 

The  Picture  Parade The  Staff     60 

Reviews  that  will  guide  you  to  the  better  productions 

Motion  Picture  Junior 64 

Pages  with  pictures  and  stories  for  the  children 

On  the  Camera  Coasts Elizabeth  Greer  and  Milton  Howe     66 

Reporting:  of  interest  from  the  studios  and  social  groups  in  motion  picture  circles 

"Shall  I  Go  Into  the  Movies?" Marion  Meyer  Drew     69 

Tell  Miss  Drew  your  birth  date  and  she  will  answer  this  question  for  you 

Have  You  Heard  About  the  Vitaphone? Elizabeth  Greer     70 

//  it  a  ncuj  invention  that  will  bring  musii  to  the  small  theater 

Whose  Hand?  F.  Vance  De  Revere     71 

Read  the  analyses  of  these  palms  and  see  if  you  can  guess  to  what  movie  stars  they  belong 
The  Answer  Man  Himself     72 

A  ti.wers  to  your  que ,  lion. 


\at 


Advertising  Section 


«° 


Vhfi^^eo^feflj^, 


An  entirely  new 
\ind  of   lipstic\ 


HELENA  RUBINSTEIN 
—  internationally  famous 
beauty-scientist — noted  for  her 
Valaze  creations  and  youth' 
bestowing  treatments  and  prep- 
arations. 

Three  Steps  to  Beauty 

A  trio  which  cleanses,  clears  and  tones  the  skin — 
the  basic  home  treatment  for  every  complexion. 

/.  Cleanse  and  Mold. 

Valaze  Pasteurized  Face  Cream — the  basis 
of  beauty — coaxes  out  all  hidden  particles  of 
dust  and  soil — molds  away  the  "tired  loo\" 
about  eyes  and  forehead.  Leaves  the  skin 
immaculately  clean,  soothed  and  protected. 
This  wonder  cream  is  unsurpassed  for  all 
normal  skins;  at  the  same  time  it  is  the  only 
cleansing  cream  which  positively  benefits  an 
oily,  pimpled  or  acne  blemished  skin.  An  ex- 
cellent  make-up  base,  i.oo,  2.00,  3.50 
To  quickly  remove  dust  and  ma\e-up  use 
Valaze  Cleansing  and  Massage  Cream  1.15 

2.  Clear  and  Whiten. 

Valaze  Beautifying  Skinfood — the  s\in 
clearing  masterpiece.  Purifies,  bleaches  freckles, 
tan  and  sallowness,  promotes  skin  health  by 
stimulating  and  regulating  the  activity  of  the 
cells.  Splendid  for  daily  use  to  keep  or  restore 
the  clearness,  softness  and  elasticity  of  the 
skin.  1.00,  2.50,  4.00 

3.  Tone  and  Brace. 

Valaze  Skin  Toning  Lotion.  Closes  pores, 
keeps  tissues  firm,  erases  and  prevents  fine 
lines;  a  cooling,  soothing,  liquid  day  cleanser 
to  which  the  skin  responds  rapidly.  1.25, 
2.50,  5.00 

Ideal  Finishing  Touches 

Valaze  Beauty  Foundation  Cream — flatters, 
protects,  keeps  make-up  doubly  adherent.  1.00 
Valaze  Powders— Complexion  for  normalor  oily 
?\ins — Novena  for  dry  s\ins.  Both  fine,  clingy, 
fragrant.  Tints  for  every  skin.  1.00,  1.50,  3.00, 
5.50 

Valaze  Red  Raspberry  Rouge — the  only 
authentic  raspberry  rouge.  Brilliant — blends 
with  every  type.  Compact  1.00.  Rouge-en- 
Creme.  1.00,2.00,  5.00 

Valaze  Red  Geranium  Rouge — new,  youthful 
— the  most  flattering  shade  for  blondes.  A 
becoming  evening  shade  for  every  woman. 
Compact  1.00,  Rouge-en-Creme  1.00,  2.00,  5.00 
Valaze  Crushed  Rose  Leaves — for  the  woman 
who  prefers  a  subtle,  natural-tone.  Compact  1.00 
Persian  Eye  Black  (Mascara) — gives  effect  of 
luxuriant  growth,  stays  on,  does  not  make 
lashes  brittle.  1.00,  1.50. 
Valaze  Eyelash  Grower  and  Darkener — pro- 
motes the  growth  of  thick,  silky  lashes  and 
darkens  them.     1.00,  1.50 


CafUdA&otv-) 


THE  SELF-SHAPING  LIPSTICK 
Created  by   HELENA  RUBINSTEIN 

A  lipstick^  that  forms  a  perfect  cupidsbow  as  you  apply  it ! 
—that  ends  fussing  and  shaping  and  reshaping  and  smudging! 
—a  lipstic\  in  the  new  shades  that  are  now  talking  Paris  hy  storm. 

PERFECTLY    CURVED    LIPS    WITH    PROFESSIONAL    DEFTNESS 


"Feminine  lip's  should  resemble  as  closely 
as  possible  a  cupids'bow.,'>  To  this, 
painters,  poets  and  author' 

ities  on  beauty  the  world        

over,  agree. 

The  new  Cupidsbow, 
the  self-shaping  lipstick,  ere' 
ated  by  Helena  Rubinstein, 
assures  you  this  greatly 
desired  and  much  admired 
effect  instantly!  The  veriest 
amateur  at  ma\\e-up  gets 
the  professional  touch  at  once. 

Cupidsbow  stays  on  ...  .  scientifically 
safeguards  even  the  most  delicate  skin 
....  is  simple  to  use  and  -molds  itself 
to  the  individuality  of  the  lips  in  ex' 
quisite  curves. 


Made  in  two  typically  Parisian  tones 
Red  Raspberry  (medium)  rich  and 
'"becoming  to  every  type,  Red 
Geranium  (light)  vivacious, 
flattering  to  blondes  and  an 
evening  shade  for  all. 

This  intriguing  new  lip' 
stick  can  be  had  in  con' 
tainers  of  stunning  Chinese 
Red  with  a  band  of  gun- 
metal    black  —  extremely 
fashionable    in    Paris    and 
New  York  and  so  smart  to 
take  from  your  bag  in  this  day  of  exotic 
hues.    For   those  who  prefer  them — 
silvered  and  golden  casings,  both  also 
banded    with    black,    are    equally    as 


52  and  126 
Rue  du  Fg.,  St.  Honore 

LONDON 
24  Grafton  St.,  W.  1 


handsome. 

Valaze  Beautifying  Preparations  dispensed  at  the  better  stores 
by  trained  and  competent  advisers — or  order  direct  from 

46  West  57th  Street,  New  York 


Chicago:  30  N.  Michigan  Blvd.- 
Detroit:  1540  Washington  Blvd. 

Philadelphia  : 


Boston:  234  Boylston  St. 
Newark,  N.  J.:  051  Broad  St. 
i7ioChestnut.St. 


\ 


Wben  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


7 

PAG 


The  Bulletin  Board 


The  News  as  We  Went  to  Press 


BERT  LYTELL  will  forsake  pictures  in  December, 
and  begin  a  tour  in  Keith-Albee  vaudeville.     Bert's 
first  love  was  the  speaking  stage,  and  be  returns 
to  it  periodically.     Last  winter  be  bad  the  leading 
role   in   a   play   which   ran    for   several   months   in   Los 
Angeles. 

Tt  was  Raymond  Griffith's  lucky  day,  not  long  ago,  when 
1  Paramount  assigned  James  Cruze  to  direct  his  next 
picture.  What  Ray  needs  more  than  anything  else  is  a 
director  who  will  insist  on  being  something  more  than  a 
figurehead,  and  Cruze  can  be  depended  on  for  that. 
Robert  Benchley,  the  dramatic  critic  of  Life,  who  is  out 
in  Hollywood  trying  to  apply  his  wit  to  the  films,  is  going 
to  do  a  story  for  Griffith.  It  will  probably  follow  the 
Cruze  production. 

W/arner  Brothers  have  decided  to  adapt  their  Vita- 
**  phone  to  the  uses  of  the  deaf  and  blind.  They  are 
going  to  allot  twenty-five  orchestra  seats  in  their  New 
York  theater  to  the  deaf,  and  are  installing  telephonic 
headpieces  on  each  one,  so  the  deaf  people  can  tune  in 
until  they  get  the  music  at  the  volume  best  suited  to  them. 
The  blind  are  also  being  allotted  twenty-five  seats, 
fitted  with  telephonic  headpieces  and  wires  connecting 
with  a  microphone  back-stage.  A  speaker  will  describe 
the  "actors,  scenes,  costumes,  and  the  action  as  the  pic- 


:L 


ture  progresses."  Tt  will  have  to  be  a  pretty  rapid 
speaker  to  cover  all  that  ground.  We  should  think  it 
would  be  much  more  fun  for  the  blind  to  stay  at  home 
and  have  someone  read  aloud  to  them. 

HP  he  Paramount  School  is  no  longer  the  only  institution 
A  where  the  avid  public  can  learn  about  movies.  The 
New  School  for  Social  Research  in  New  York  is  now 
offering  a  course  on  moving  pictures- — "the  history  of 
their  development,  and  the  structure  and  functions  of 
the  motion  picture  as  an  art  and  as  an  industry."  The 
course  is  in  the  form  of  twelve  lectures  to  be  delivered  by 
Terry  Ramsaye,  who,  according  to  the  Director  of  the 
New  School,  is  the  one  man  in  the  world  qualified  to  give 
this  course.  Mr.  Ramsaye  is  the  author  of  "The  Roman- 
tic History  of  the  Motion  Picture,"  and  we  have  no  doubt 
his  lectures  will  be  absorbing.  But  after  all,  there  is  no 
offer  of  a  contract  to  those  who  pass  the  course,  and  no 
opportunity  to  watch  and  learn  to  know  the  stars.  It 
seems  to  be  a  purely  academic  affair,  a  new  delight  for 
the  intellectuals,  rather  than  a  wedge  for  movie  aspirants. 

After  "Stella  Dallas,"  it  is  only  natural  that  Belle 
■**•  Bennett  should  consider  mother  roles  her  forte.  And 
accordingly,  she  has  signed  with  Fox  to  play  the  title-role 
of  "The  Story  of  Mother  Machree."  And  as  this  is  an 
Irish  picture,  to  be  directed  by  the  sentimental  Mr.  John 
Ford,  we  may  as  well  get  out  our  pocket  handkerchiefs 
and  prepare  for  a  good  cry. 

Dex   Ingram   has    returned    from   Europe,   whence    he 
**■  fled   several  years  ago  threatening  never  to  return. 
Metro-Goldwyn  would  much  prefer  to  have  him  do  his 
directing  in  Hollywood,  but  Mr.  Ingram  is  wedded  to  his 
beautiful  studios  in  Nice,  and  just  came  over  to  argue  the 
thing  out.     He  may  do  a  picture  in  New  York 
before  returning  to  France,  but  if  Ingram's  deter- 
mined expression  means  anything,  Hollywood  will 
not  see  him  again. 


Daramount  is  making  a  picture  that  will  not 
have  a  single  familiar  face  in  it.  Karl  Brown, 
the  director,  has  spent  four  months  in  the  hills, 
making  a  picture  based  on  the  customs  of  these 
primitive  people,  with  the  natives  themselves  as  the 
only  members  of  bis  cast.  Plelen  Mundy,  a  six- 
teen-year-old mountain  girl,  and  Forrest  James, 
also  of  the  bills,  have  the  leads.  The  tentative  title 
of  the  film  is  "Stark  Love." 


$10.00  for  the  Best  Title 
to  this  Picture 

You  may  send  as  many  titles  to  this  picture 
as  you  like — not  more  than  ten  words  long. 
All  answers  must  be  mailed  by  October  20 
and  no  lilies  will  be  relumed.  Address  them: 
Title  Contest,  175  Duffield  Street,  Brooklyn, 
Nezv   York 


Advertising  Section 


VkcnmcOhnsikonQm 


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9 
PAG 


! 


(MTK™f 


Advertising  Section 


UNKNOWN  BEAUTY 

Many  lands  can  boast  their  beauties 
of  the  stage  and  screen— But  in 
America  lovely  ladies  llowcr  like  the 
unknown  blossoms  of  the  fields. 
And,  in  this  land  of  charm — there  is 
TRE-JUR,  a  lutlc  group  of  toiletries 
in  quality,  outstanding— in  value, 
unequalled— dedicated  wholly  CO 
enhancing  loveliness. 


lifelong  friend! 


Tre-Jur  presents  "The  Little  One  ' — 
a  compact  that  sets  a  fresh  record 
for  Value.  It's  the  handiest 
"single"  yet  devised — a  two-inch 
silver-toned  case,  graceful,  slender 
and  lovely. 

An  ample  supply  of  powder — and 
such  powder  .  .  .  exquisitely  soft 
and  friendly  to  the  finest  skin. 
You'll  love  its  secret  fragrance, 
for  lovelier  scent  was  never  known. 

Not  only  is  "The  Little  One"  the 
handiest  compact  in  Christendom 
...  it  is  also  the  greatest  value  of 
them  all.  To  see  it,  you'd  never 
guess    the    price    was    50c    (with 


new  way 
riends  / 


refills  at  but  35c).  It's  Tre-Jur's 
finest  contribution  to  true  econ- 
omy in  toiletries. 

"The  Little  One"  plays  hostess  to 
Tre-Jur' sStars  in  compacts.  There's 
the  Thinest  ($1.)  more  slender  than 
any  compact  known.  The  Purse  Si^e 
Twin  C$1-) — a  double  compact  for 
double  duty.  There's  the  Triple 
(powder,  lipstick  and  rouge  at 
$1.25).  Each  a  messenger  of  Quality 
— each  a  pledge  of  Money's  Most. 

If  not  sold  nearby,  any  Tre-Jur  item  will  be 
forwarded  by  mail,  upon  receipt  of  price. 
A  generous  sample  of  Tre-Jur  Face  Powder 
sent  for  10c — stamps  or  coin.  House  of 
Tre-Jur,  Inc.,  19  W.  18th  St.,  N.   Y.  C. 


TR.E-JUR. 


Every  atiy.TliKCJiK.Tit  in  MOTION  PICTURE  MAOAZIXE   is  guaranteed. 


JACK  HOLT 


Jack    Holt    knows    his    type   and    he's    going   to    stick  to  it,  no  matter  what  startling  changes  may 

go    on    around    him.      His    fans    love   him    as    that    military,    tight-lipped    gentleman    of    so    many 

Westerns and  that's  all  that  matters  to  Jack 


Irving  Chidnoff 


ESTHER  RALSTON 


Beauty  was  the  wedge  by  which  she  pushed  her  way  into  films.  Everyone  doesn't  agree  that 
this  perfect  blonde  can  act.  Maybe  not — but  she's  got  what  it  takes  to  make  a  star,  and  one 
much    so.ught   after.      "The   Quarterback"    is   the  most  recent  of  Esther's  pictures,   which   come 

in  quick  succession 


MILTON  SILLS 

"Men  of  Steel"  was  a  very  personal  triumph  for 
Milton  Sills.  He  adapted  the  story,  and  then 
gave  one  of  the  finest  performances  of  his  ca- 
reer. He  has  set  himself  a  high  standard  to  live 
up  to  in  "The  Legionnaire" 


MARY  PICKFORD 

Mary  has   more   or  less   given  up   her  position   as   Hollywood's   brightest   star,    to   become   an   in- 
ternational   figure.       But    that    doesn't    mean    that  she's  not  still  beloved  as  the   eternal  little   girl 
of  the  screen.      She  and  Doug  have  just  returned  from  their  world  tour,  and  there  are  promises 
that  they  may  make  a  picture  together 


Ruth  Harriet  Lo 


ANTONIO  MORENO 

Handsome   and    dashing   and   almost   Gilbertian    is  Tony  these  days.    We  don't  know  whether  this 

accounts  for  the  recognition  he's  been  getting  as    a    popular    leading    man,    or    whether    it    is    an 

outgrowth    of    that    success    he    has    so    long    deserved.       Watch    out    for   Tony    as    one    of    those 

fellows    who    always    get    their    man,    in    "The    Flaming   Forest" 


DOROTHY  MACKAILL 


In  "The  Patent  Leather  Kid,"  Dorothy  will  again  play   opposite  Richard  Barthelmess,   who  not 

so  very  long  ago  gave  her  her  first  big  chance  in  "The  Fighting  Blade."    Perhaps  Dick  can  help 

her  to  recapture  the  spirit  of  those  fresh  and  unsophisticated  days 


SALLY  O'NEIL 


Here's   another    girl    who    was    plunged    into    prominence   before   she   was   ready   to   cope   with   it. 
Since   Marshall   Neilan   first   exploited   her  in    "Mike,"  second  and  third  leads  have  been  the  por- 
tion   of   this   very   young  Sally.      Being  saucy   and    piquant    are    her    chief   talents    now,    but    time 
may   change  all   that.      Her  next  is   "The  Mysterious   Island,"   that   undersea   picture 


Shadows  of  The  House  of  Mirth 


GOING  Rome  a  little  better, 
Hollywood  was  built,  or  is 
[  built,  or  to  be  very  exact,  is 
being  built,  on  seventy-seven 
hills  more  or  less.  Fortunately  the 
country  round  is  full  of  them,  so 
that  our  beloved  Picture  Capital  will 
never  have  to  cramp  her  style,  and 
the  Studio  Toilers  can  climb  to  their 
eeries  as  long  as  their  brakes  hold. 


Lila  Lee  and  James  Kirkwood 
moved  in  when  they  were  a  bride 
and  groom.  He  was  recuperat- 
ing from  his  severe  accident. 
And  it  looked  for  a  time  as  if 
they  had  broken  the  spell 


By 

dwinelle 
Benthall 


Haunted 
Houses 

We  say  we  do  not 
believe  in  ghosts 
...in  evil  spells... 
Yet  who  would 
wish  to  live  in  the 
grim  House  of 
Mirth  after  read- 
ing this  story? 


In  the  early  days  Theodore  Rob- 
erts camped  on  the  top  of  a  hill  that 
overlooked  the  Lasky  Lot,  and  what 
was  then  about  all  there  was  of  Hol- 
lywood. Sessue  Hayakawa  built  his 
"Castle"  just  around  the  corner. 
Kathlyn  Williams,  the  Tully  Marsh- 
alls  and  Larry  Semon  climbed  just 
a  little  higher  on  the  same  street,  and 


Mary  Miles  Minter  went  to  The 
House  of  Mirth  to  get  away 
from  her  mother's  avarice  .  .  . 
she  had  lost  the  happiness  she 
used  to  know  when  she  drove 
about  Hollywood  with  her  sister 
years    before 


19 

PAG 


f 


It  was  a  honey- 
moon house  .  .  . 
for  a  honeymoon 
that  lasted  such  a 
little  while.  And 
when  Leatrice  Joy 
and  John  Gilbert 
were  gone,  a  sad 
little  ghost  of  hap- 
piness lingered  be- 
hind 


The  house  came  to 
have  a  reputation 
and  commanded  a 
fabulous  rent.  The 
late  Max  Linder 
moved  in.  There 
was  one  party 
when  six  lions  from 
the  Universal  Zoo 
were  imported  for 
an  evening  .  .  . 


Rayhuff  Richter 


The  road  goes  no  farther.  The 
little  house  perches  on  the  top 
of  Hollywood's  highest  hill. 
All  the  windows  are  stained 
glass.  Many  have  come  laugh- 
ing up  the  hill  to  revel  for  a 
time  .  .  .  and  then  pass  out  in 
shadow 


I 


Reggie   Denny  went  as   far  as 
anyone  could,  until  Noah  Beery 
climbed    clear    around    the    hill 
and  built  a   fascinating  place  on  the  other  side 
of  it — which  looks  out  over  hills  and  more  hills, 
with  its  back  quite  turned  on  Hollywood.     They 
felt  that  they  had  achieved  the  summit— the  hills 
above  them  were  just  the  necessary  scenery  for 
the  sunset — not  practical  for  building  at 
all,  but  somebody  found  a  route  to  an- 
other tier,  and  houses  and  gardens  began 
to  dot  the  higher  hillsides — houses  that 
clung   to  the   slopes   miraculously — from 
whose    windows   one    could   glimpse   the 
sea  fifteen  miles  away. 

On  the  very  top  of  the  highest  hill  is  - 
a  little  brown  house,  like  an  owl,  and 
just  beneath  it  is  another  house — "The 
House  of  Mirth."  the  neighbors  call  it. 
'•  die  nearest  neighbors  are  not 
"Movie  People,"  and  all  the  people  who 
have;  lived  in  The  House  of  Mirth  have 
been  "Movie  People" — and 
thereby  hangs  a  laic 

"The   road   winds   up-hill 
all    the    way — yes.    to    the 

very  end "     There,  one 

finds  two  flights  of  Steps, 
one  up  to  the  little  Owl 
.  and  one  flown  to 
'I  lc-  J  louse  of  Mirth,  and 
a  stone  dropped  from  the 
20 
oe. 


During   Sigrid    Holmquist's    reign    the   house   be- 
came   an    unfailing    source    of    hospitality.       She 
gave   with   both   hands    .     .     .    Money   just  went. 
Bills  piled  up  and  up  and  up 


porch  of  the  Owl  House  would 
almost   fall  down  the  chimney 
of  The  House  of  Mirth,  so  you 
see  they  are  very  near  neighbors.     The  road 
goes  no  farther — you  cant  pass  by.     Just  so 
far  you  can  come,  then  you  stop — and  later 
back   down.      Everybody   who   comes   to   The 
House  of  Mirth  backs  clown — and  you  should 
hear    them    doing    it    after    a    party!     Such 
parties !      It's   the   most   perfect   house   in 
which  to  give  a  Hollywood  party  in  Holly- 
wood. 
All    the    front    windows    are    stained 
glass— no  chance   for  prying  eyes — 
and  the  back  windows  look  out  over 
the    top    of    the    world — privacy 
supreme. 

One  summer's  day  five 
years  ago,  the  first  tenants 
•  moved  in.  Rubye  de  Remer 
and  her  retinue — a  big,  fat, 
colored  "Mammy"  and  a  tall, 
thin,  colored  "Pappy" — and 
Mr.  de  Remer — the  neighbors 
called  him  that. 

Then  followed  a  series  of 
parties  such  as  never  had  been 
known  in  those  parts  before. 
Parties  in  which  the  good-byes 
were  mingled  with  invitations 
to  breakfast.  At  first  the 
(Continued  on  page  88) 


DIAMOND 


TOM 
MIX 


By 

Janet  Reid 


WHOEVER  it  was  that  mouthed 
the  platitude  about  anticipation 
being  better  than  realization  had 
better  be  psychoanalyzed,  put  into 
the  hoosegow  or  otherwise  educated. 

'Tisn't  so. 

We  know,  for  the  simple  if  insuffi- 
cient reason  that  we  were  sent  to  in- 
terview Tom  Mix. 

You  all  know  Tom. 

You  may  say,  "Well,  what  of  it? 
You  have  had  to  do  worse.  What 
does  that  prove?" 

All  right — ready  for 
you :  It  proves  that  you 
never  can  tell — about  a 
man. 

There    again    some 
omnipotent    wiseacre    is 
proved  to  be  wrong.     It 
has  been  said  by  such  an 
ignoramus    that    you    never 
can  tell  about  women.     You 
can.     You  always  can. 

We  know,  because  we  have 
spent  the  time  of  day  with  Pola 
Negri    and    Greta    Nissen,    Alice 
Joyce  and  Lillian  Gish,  Anna  O. 
Nilsson  and  Lois  Moran  .    .    .  and 
we  have  usually  got  just  what  we 
expected  to  get.     No  less.     No  more. 

Moreover,  we  never  had  to  be  car- 
ried   out    from    whatever    hotel,    cafe, 
apartment,  street  corner  or  Rolls-Royce 
we  happened  to  be  received  in.    Carried  out 
on  a  stretcher,  to  give  you  the  straight  dope. 

We  were  always  able  to  walk  out  even 
as  we  had  walked  in,  with  a  certain  char- 
acteristic jauntiness. 

But  in  the  case  (Case  history  No. 
999,999)  of  Tom  Mix,  such  was  our 
ignominious  and  tragic  denouement  that  it 
required  a  stretcher  and  four  well-set-up 
orderlies  to  remove  us.  the  while  we  beat 
the  air  with  futile  hands  and  cried  "The 
sun !  The  sun !  How  pale  the  sun  .  .  . 
how  pale !" 

The  remainder  of  said  tragic  denoue- 
ment we  spent  in  a  hospital  ward.  An 
observation  ward.  There  followed  an 
eventual  release  tho  we  still  wear  glasses 
copiously  smoked  with  soft  coal  and  are 
delicate  about  looking  at  anything  brighter 
than  a  Woolworth  turquoise. 


*~*i 


ness    would 


He  hails  from  the 
Great  Open  Spaces. 
But  he  is  more  Brum- 
melish  than  Brummel 
.  . .  more  Beauish  than 
Beau  . . .  and  he  would 
put  a  Bond  Street  tailor 
to    shrieking     shame 


It  was  like  this : 

Our  Editor  said  to  us,  in  an  un- 
guarded tho  by  no  means  malicious 
moment,  "Have  a  talk  with  Tom 
Mix.   .    .    ." 

"Ah,  yes,"  we  replied  inoffen- 
sively, "about  the  Great  Open 
Spaces,  you  mean.  The  Great 
Open  Spaces  where  men  are 
men  and  women  are  squaws  and 
.  .  .  out  where  the  West  begins 
.  .  .  with  the  shooting  of  Dan 
McGrezv.   ..." 

"You've  got  the  dope,"  said  our 
Editor. 

Alas,  he  never  knew  what  dope 
was  to  be  ours.  He  never  dreamed 
the  day  would  dawn  when  he 
would  print  an  interview  without 
words. 


We  went  to  the  Hotel  Biltmore,  New 
York  City. 
We  thought  that  a  bit  odd,  a  bit  out  of 
drawing  .  .  .  Tom  Mix  at  the  Biltmore 
.  .  .  we're  fussy  and  we  like  things  so-so. 
...  It  would  have  been  more  seemly, 
we  thought,  if  it  had  been  the  Hotel  Elk, 
Iroquois  or.  perhaps,  Algonquin. 

Not  to  make  a  pun,  because  we're  not 
allowed,  but  there  would  have  been  a  sense 
of  reservation  about  it ! 

Still,  we  let  that  slide.  We  put  it  down 
to  the  fact  that  the  Biltmore  has 
nice  large  suites  and  that  these  suites 
were  doubtless  proving  better  graz- 
ing-grounds  for  Tony  than  would 
the  rooms  of  lesser  hostelries. 

We  thought,  too,  that  the  spacious- 
prove  a  freer  reach  for  that  big 
(Continued  on  page  101) 

21 
PAG 


I 


Miss  Dorothy 
Stokes,  who  purred 
to  the  studios  in 
her    Rolls-Royce 


Julia  Lydig  Hoyt,  who  was  one  of  the  first  of 
the  social  leaders  to  shake  the  glitter  of  so- 
ciety  from   her   robe   and   turn   to  the   screen 


Why  Do  Society  Girls 

They  have  come  to  the  Kleig- 

grounds  of  the  elite  with  beauty, 

But  they  have  failed. 


By  Beatrice 


RICH  Society  Heiress  Goes  Into  the 
Movies !"  "Millionaire's  Daughter 
Leaves    Home    for    Hollywood!" 
"Society's  Pet  Ahandons  Life  of 
Luxury  for  Film  Career  ["     And  so  on. 
And  so  on. 

How  often  has  the  insatiable,  million- 
eyed  public  greedily  devoured  these 
eight-foot  head-lines  over  their  morning 
coffee.  Another  thrill !  Another  de- 
lightful, juicy  morsel  to  cull  over  on  the 
way  to  the  bridge  club,  the  typewriter, 
the  tea-table,  the  switchboard,  or  the 
links.     Here's  a  sensation  for  you! 

What  do  you  think  of  that,  eh  ?  A 
rich  girl  with  everything  in  the  world 


Mrs.  Thelma  Morgan  Converse  .  .  .  now 
a  titled  lady  .  .  .  played  quite  a  part  in 
Gloria's  "Society  Scandal."  She  is  shown 
here  in  a  costume  she  wore  to  an  exclusive 
supper    dance 


v 


Russell  Ball 


Alice  Harriman,  who  recently  died  in  Paris,  had  forged 

ahead    of   all   her    society   sisters   as   a    screen    actress. 

But  for. her  tragic  passing  .   .   .   who  knows? 


Fail  in  the  Movies: 

light  Kingdom  from  the  stamping 
smart  clothes,  and  charm  of  manner 
What  is  their  lack? 

Wilson 


she  wants :  clothes,  automobiles,  jewels,  parties, 
theaters,  travel  and  beaus — and  nothing  to  do — * 
going  into  the  movies  !  Can  you  beat  it  ?  Why,  she 
must  be  crazy!  We  know  from  all  the  interviews 
in  the  fan  magazines  and  the  newspapers  that  going 
into  the  movies  is  no  cinch!  Of  course,  she  can  get 
in  because  she's  an  heiress,  but  even  if  she  can  get 
in  without  the  usual  difficulty,  we  know  it's  pretty 
hard  work. 

There's  money  in  it — yes.     When  you  think  of 
some  of  the  salaries  that  the  stars  make,  accordin 
to  the  papers,  it  makes  you  want  to  rush  right  out 
and  buy  a  bottle  of  poison.     But  what  does  a 
rich  girl  need  with  money  ?    And  besides,  heir- 
ess or  not,  she's  got  to  be  good.     She  cant  get 
away  from  being  a  society  pet.    We  might  go 
to  look  at  her  once  for  that  reason,  but  after 
that,   unless   she   can   make   us    forget   Gloria 

Swanson  or  Mary  Pickford,  we  wont  go  back  to  see  her,  that's  all 
there  is  to  it ! 

Even  if   she  has  twenty  millions  in  her  own  right,  that  doesn't 
{Continued  on  page  115) 


Mrs.  Morgan 
Belmont  worked 
with  D.  W.  Grif- 
fith in  one  pic- 
ture. She  has 
not  been  in  the 
studios  since 


Underwood 
&  Underwood 


The  Princess  de  Bourbon, 
beautiful  and  regal,  was 
willing  to  work.  She  played 
bits  for  a  short  time,  work- 
ing  as    an    extra   ... 


23 

PAG 


I 


Faustine  had  lacquer  black  hair  with  blue  lights  in 

it   .    .   .  white  skin   like   gardenias  .   .   .    red  lips  .   .   . 

and   something  of  a  foreign  accent 


c 


That 

Caroline's  husband  was 

in  the  motion  picture 

business  .  .  . 

Faustine  was  a  star  .  .  . 

And  this  story  about  them 

is  a  very  modern  Version 

of  the  old  triangle  .  .  . 


A.ROLINE   was   indignant.      She    felt   that  'she   had 
every   right  to   be.     All   her   girl   friends   said  they 
wouldn't  stand  it  for  a  minute  if  they  were  in  her 
place    .    .    .    the  way  Harley  Pennock  was   raving 
over  that  slinky  movie  vamp,  Faustine.     Faustine  !     Any- 
one   would    know    that    she    had   got    that    name    out    of 
Swinburne.     Hadn't  Caroline  read  a  piece  by  that  name 
only  last  winter  when  The  Women's  Literary  Club  "took 
up"  the  poets?     Faustine   ...   a  bad  woman,  too;  one 
for  whose  soul  God  and  the  Devil  had  thrown  dice  or 
shot  craps  or  something.     Sacrilege  !     Blasphemy  ! 
Caroline  had  had  her  qualms  when  Harley  first  went 
into  the  motion  picture  business.     She  had  been  afraid, 
then.     But  after  the  first  two  or  three  years  she  had 
sort  of  settled  back,  had  stopped  worrying.     After  all, 
if  that  was  Harley's  "line"  and  he  made  good  money 
at  it,  which  he  did,  what  was  there  for  her  to  do  or 
say?      So    long    as    he    behaved    himself.      Besides, 
Harley  had  good  hard  common  sense.     No  one  got 
by  with  much  where  Harley  was  concerned.     Caro- 
line took  a  deal  of  comfort  in  that  reflection.  "  Harley 
was,  as  he  said  of  himself,  "hard-boiled." 
At  first  he  had  been  in  the  script  department.     One 
of  the  clerks  working  on  the  continuities.     He  had 
done  two  or  three  original  stories,  had  turned  out 
some  dozen  excellent  scripts  and   was  now  chief 
scenarist   of   the    Super-Excel    Film    Corporation, 
drawing  three  hundred  and  fifty  a  week.     It  had 
enabled    them    to    buy    a    darling    little    house    in 
Great   Field,   Long    Island,   and   Caroline   dressed 
better    and    "went"    more    than    did    any    of    the 
friends    of   her   girlhood    who    had    married   men 
"in  trade"  and   were   compelled  to  consider  their 
check-books,    have    their    dresses    made    at    home 
and  go  to  matinees  and  operas  for  a  "treat." 

If  they  felt  sorry  for  Caroline  in  her  mink  coat 
and  "little  imports"  because  her  husband  was 
"mixed  up"  in  the  movies,  why  Caroline  could 
afford  to  feel  just  as  sorry  for  them  in  their  last- 
year  cloth  coats  with  near-fur  trimming,  even  if 
their  husbands  were  securely  fixed  in  trade. 
The   first   couple   of   years   at  the   Super-Excel 


Creature! 


Caroline  felt  that  Harley  was  safe  in  the  studios    .     .     . 

because  he   was  used  to   beautiful    girls.      He   told   her 

it    was    the    men    who    never    came    up    against    good- 

lookinsr  women   who   fell   the   hardest 


By 
Gladys  Hall 

Illustrations 
hy 

Douglas  Ryan 


Harley  made  great  fun  of  the  movie 
queens.  The  stars.  The  lesser  lights 
who  came  and  went  and  for  all  of 
whom  lie  wrote  parts  in  his  scripts. 
He  said  they  were  a  bunch  of  ''tinsel 
queens"  and  told  Caroline  verbosely 
that  they  had  "no  brains,"  were  ''com- 
mon," were  "poseurs,"  and  he  won- 
dered whether  they  really  thought  any 
common-sense  Anglo-Saxon  business 
man  would  ever  take  them  seriously. 
So  far  falling  in  love  with  one  of 
them  .    .   .  pooh,  pooh ! 

Caroline  was  comforted.  Allayed. 
After  all,  it  is  the  man  and  not  the 
environmental  dangers  that  makes  for 
safety  or  danger.  She  began  to  feel 
that  Harley  could  be  depended  upon 
in  a  seraglio. 

He  often  told  her,  too,  when  he  had 
been  late  for  dinner  a  few  nights  run- 
ning or  when,  perforce,  he  had 
lunched  with  Felicity  Folly  and  her 
director,  he  often  said  at  such  times 
that  men  in  positions  like  his  were  the 
safest  bets  of  all. 

"It's  the  man  who  never  comes  up 
against      good-looking     women,"      he 
said,  "who  is  apt  to  fall  the  hardest 
for   the    first    bob-haired   stenog   who 
steps  his   way.    But  a  fellow  like  me   . 
vamps  and  cuties  every  day  and  all  day 
fellow  like  me  is  as  safe  as  nails.     We  get  used  to    em. 
Fed  up  on  'em.     We  know  a  good  thing  when  we  have 
it.  .  .  ."  At  which  point  he  would  pause  to  beam  fondly  at 
Caroline.    At  which  point,  too,  Caroline  would  preen  and 
bridle  a  bit.     After  all,  she  did  make  a  good  appearance. 
She  wasn't  one  of  these  natural  beauties  who  awake  in 
the  morning  looking  what  you  might  call  their  very  best, 
but  she  did  "keep  up"  and  looked  years   younger  than 
her  age.     Miss  Edy'the,  the  girl  who  "took  care"  of  her 
at  the  beauty  parlor,  said  that  she  had  never  seen  any- 
thing like  it ! 

At  which  point,  too,  habitually,  Caroline  would  take 
further  pause  to  reconsider  what  Harley  had  said.  She 
would  go  back  over  it  and  pick  a  weak  spot  here  and 
there :  "I  thought  you  didn't  think  they  arc  good- 
looking?     Or  cute   ...    or  anything.    .    .    .      You  say 


seemc 
why, 


these 
say,  a 


you  dont,  but  when  you 
get    talking    you    say    that 
you  do.   ..." 

"Oh,    well,"    Harley   was    con- 
temptuous, "Oh,  well,  I  mean  that  I 
suppose  most  men  .    .    .  the  average  man, 
you   know    .    .    .    would   say  they  are  good- 


2o 
PAG 


it 


1, 


I 


looking  or  cuties  .  .  .  that's  what  I  meant,  honey,  the 
average  man  .  .  .  some  poor  dub  who  isn't  used  to  a  lot 
of  glitter  and  such  stuff.  Of  course,  /  dont.  Not  per- 
sonally. Why.  1  often  say  to  myself,  'What  would  these 
dollies  look  like  in  the  early  mornings?  Wrhat  would 
they  look  like  before  they  got  to  the  old  make-up  box?' 
That's  what   1   often  say.  sure  fire." 

It  didn't  occur  to  Caroline  that  this  monolog  with  Self 
must  involve  considerable  absorption  in  the  matter. 
In  the  end.  she  would  he  placated. 

Now  and  then,  too.  Ilarley  had  gone  on  location  with 
some  unit  making  a  picture  for  which  he  had  done  the 
script.  Me  always  contrived  to  take  Caroline  along. 
Never  wanted  to  go  without  her.  He  took  her  even  when 
it  meant  money  out  of  his  own  pocket.  Caroline  had  ob- 
served him  closely  on  such  excursions  and  had  never 
been  able  to  find,  try  as  she  did,  one  tiling  to  discomfort 
ie  told  "'the  girls,"  that  Harley's  attitude 
was  "perfect."  Of  course, 
the  movie  girls  didn't  see 
that  he  was  actually  despis- 
ing them  under  his  urbane 
good  nature.  He  couldn't 
let  them  see  his  real  atti- 
tude. That  wouldn't  be 
good  business.  No,  his 
manner  was  friendly  and 
nice.  Cordial,  even.  But 
she  could  see.  She,  who 
knew  him  so  well,  could 
tell. 


Ami  now,  after  these 
**  sat  i  s  factory  years,  now 
here  was  Harley  actually 
forgetting  himself  so  far 
as  to  rave  over  this  new 
"vamp,"  this  Faustine 
creature  with  her  lacquer 
black  hair,  her  preposter- 
ously curved  torso,  her 
slanted  blue-green  eyes, 
her  pursed-up,  affected- 
looking  mouth,  her  hands 
with  nails  long  enough  to 
put  a  Manchu  lady  to 
shame  and  confusion. 

It  began  quite  abruptly. 
The  even  tenor  of  their 
days  was  suddenly  and 
sharply  stabbed  into  by 
thin  knives  of  fear.  .   .   . 

night  at  dinner: 
"We've  signed  a  new  star, 
Carrie.  Vamp  type.  Term 
is  out  of  date.  I  know,  but 
her.  Gee,  Carrie, 
wait  until  you   see  her.     She'll   knock  you    for  a  goal!" 

Ill-advised    remark!      Unprecedented    praise!      Carrie 
had  a  momentary,  indignant  vision  of  herself  hurtling  to 

prickled  in  every  least  pore  of  her  body  and  brain. 
The  finely  pointed  nose  of  her  suspicious  instincts 
sniffled  and  snuffled  at  the  suddenly  threatened  conjugal 
atmospl  fit  b    said  to  have  hayed,  as  will  a 

hound  on  the  scent  of  that  secret.  Fox. 

The    evening    resolved    itself    into    a    questionnaire, 
Carolim  word  puzzle  on  her  knees,  pencil  poised 

in  air  and  with  as  calculated  an  altitude  of  casualness  as 

tld  achieve,  fired  question  after  question  at  Ilarley. 
"What  type  do  you  say  she 
26 

Gt 


Caroline    dressed    better    and 
of  the   friends   of   her   girlhood 
trade"    and   were  compelled   to 


"What  type  do  I  say  wJio  is?" 

"Now,  dont  pretend  you  dont  know  who  I  am  talking 
about,  Harley  Pennock.  Dont  pretend  you  have  forgot- 
ten. That  doesn't  go  at  all.  That  .  .  .  that  thing  .  .  .  that 
creature  .  .  .  you  know,  the  creature  you  say  is  signed 
up  at  Super.   .    .    ." 

"Oh,  you  mean  Faustine  .  .  .  for  Heaven's  sake, 
Caroline,  what  a  way  to  refer  to  anyone?  What's  the 
big  idea?  Stomach  out  of  order?  Anyway,  I  told  you 
once  .  .  .  black  hair  .  .  .  that  sort  of  lacquerish  black, 
you  know.  Sleek  and  shining,  with  blue  lights  in  it. 
White  skin.  That  dead  white  skin,  you  know,  sorter 
like  gardenias.  The  kind  you  said  you  wished  you  had 
once — remember?  And  red  lips  and  one  whale,  I  mean 
peach,  of  a  figure.  And  sorter  a  foreign  accent.  I  tell 
you,  Carrie,  you've  never  seen  the  like  of  this  one.  You 
wont  believe  your  eyes !" 

Caroline  was  strained  with  superiority.  Her  pencil 
described  a  little  gesture  of 
superiority  in  the  vibrant 
air  between  them.  Her 
elbows  and  knees,  the  arch 
of  her  throat,  the  sugges- 
tion of  her  double  chin,  all 
were  little  arcs  of  superi- 
ority, of  delicate  disdain. 

"Oh,  yes,  Harley,"  she 
said,  in  as  syrupy  a  voice 
as  her  constricted  throat 
could  manage,  "Oh,  yes, 
I'll  be  able  to  believe  my 
eyes.  My  eyes  wont  de- 
ceive me.  I'll  be  able  to 
see  thru  it  all." 

"See  thru  what  all?" 
Harley  was  irritated. 
Really,  Caroline  was  un- 
predictable at  times.  Par- 
ticularly in  the  last  few 
days. 

"See  thru  this  cheap 
creature  who  seems  to 
have  upset  your  perspec- 
tive, my  dear  Harley." 

Harley  always  knew  that 
Caroline  Avas  particularly 
irate  when  she  called  him 
her  dear  Harley.  He 
knew  that  he  was,  at  the 
moment,  quite  the  reverse 
of  dear.  But  he  said,  "I 
dont  know  what  you 
mean." 

"I  know  you  dont.  Har- 
ley Pennock,  stop  reading 
that  paper  and  talk,  to  me. 
Are  you  ashamed  to  talk  to 
me?  That's  it,  I  guess. 
Is  there  something  you  cant  say   .    .    .  ?" 

Harley  dropped  the  paper.  It  crackled  with  exaspera- 
tion. So  did  he.  He  didn't  know  what  to  make  of 
Caroline  at  times.  He  watched  her,  waiting  with  out- 
ward martyrdom  and  inward  trepidation  for  what  was 
to  come  next.  Unquestionably  he  was  "in  for  it."  As 
lie  waited — and  watched — he  observed  for  the  first  time 
that  Caroline's  eyes  were  set  too  close  together,  that  she 
had  more  than  a  suspicion  of  a  double  chin,  that  her 
fingers  were  inclined  to  be  stumpy,  well,  short  at  any 
rate,  and  that  her  hair  seemed  to  be  growing  thin  right 
where  the  glow  from  the  lamp  struck  it  on  the  crown  .  .  . 
it  had  never  been  any  particular  color,  anyway.  .  .  . 
(Continued  on  page  82) 


went"    more    than 

who   had    married    men    "in 

consider   their   check-books 


WHO'S  WHO 


We  published  a  story  a  few  months 
ago  in  which  we  showed  that  motion 
picture  personalities  are  not  always 
what  they   seem   on  the   screen. 

What  about  them  in  their  home  town 
then?  What  are  their  personal  claims 
to   distinction? 

We  took  a  vote  among  our  staff 
writers  after  the  manner  of  collegiate 
papers  with  these  interesting  results. 


CHARLIE  CHAPLIN 

Most  unpopular  with 
interviewers 


CONSTANCE  TALMADGE  / 
Biggest  flirt 


RAMON  NOVARRO 

The  most  seclusive 


LILYAN  TASHMAN 
Most  dashing 


COLLEEN  MOORE 

Most  unassuming  girl 


TOM  MIX 

Most  popular  with  interviewers 


WHAT  DO  MEN 


Do  Men  Really 
Look  for  Some- 
one "Like  the 
Girl  That  Mar- 
ried Dear  Old 
Dad"? 


—  . 


Edmund    Lowe    wishes    to    be    delivered 

"Youth"  was  cited  by  Lewis  Stone.    And 

from   the   girl   who   always  worries  about 

he  goes  on  to  say  that  some  middle-aged 

how  she   looks 

women    have   more   youth   in   their   spirit 

than  flappers 

By  Doris 


There  are  still  men  who  prefer  the  old-fashioned 
girl.       Ronald    Colman    is  one   of   them 


I 

lA 


A  NIT  A  LOOS  and  her  best  seller  would  have  us  believe  that 
/  \  gentlemen  prefer  blondes.  Let  that  pass !  What  other 
/  \  preferences  ?  There  are  any  number  of  bromides  about  the 
masculine  point  of  view  on  women.  But,  after  all,  it  is  an 
important  matter.  And  a  census  of  opinions  from  various  prominent 
males  in  motion  picture  circles  not  only  discredits  the  old  wives'  tales 
but  sheds  some  light  on  the  subject. 

John  Gilbert 

"\Y7henever  I  tackle  John  Gilbert  on  a  story  like  this  one,  I  take  a 
"  big  swig  of  T.  N.  T.,  chew  a  few  nails  and  get  generally  hard 
boiled  before  I  ease  up  on  him. 

This  time  I  cornered  him  in  his  dressing-room,  going  over  fan  mail. 

"Shades  of  Caesar !"  he  moaned,  as  I  fired  my  first  shot,  "you  here 
to  ask  me  such  a  question?  Who  am  I  that  I  should  say  what  it  is  in 
a  woman  that  attracts  a  man?" 

"Now,  John!"  glowered  I.  (You  see  this  is  where  the  T.  N.  T. 
and  nails  come  in.)  He  looked  closely  at  me  and  decided  I  was  not 
going  to  be  bluffed.   .   .   . 

"Well,"  he  sighed  resignedly,  "if  you  would  like  to  know  what 
kind  of  a  girl  it  is  /  like,  it  is  a  pal!  A  girl  that  will  ride  and  walk 
and  talk  and  live  life  as  I  want  to  live  it.  Free-spirited  and  full  of 
life  and  enthusiasm. 

"She  mustn't  be  too  sweet  or  too  temperamental  but  a  creature  of 
moods  and  whims.    A  breezy,  refreshing  counterbalance  to  my  nature." 

Then — with  a  pointed,  needlelike  glance  in  my  direction,  he  added 
venomously,  "Above  all  she  must  not  ask  silly,  idiotic  questions 
and  insist  on  an  answer!" 

I  silently  folded  my  notebook  and  as  silently  stole  away ! 

Ronald  Colman 

"Dj.onde,  Brunette  or  Titian!    I  care  not,  just  so  she  be  fair  to  me! 
*-*   I  like  the  old-fashioned,  gently  bred,  womanly  woman  a  bit  the 
best  as  to  type,  I  think.     A  woman  who  is  sincere  in  her  friendships 
and  affections.     Oh,  by  all  means  she  must  be  sincere!" 


28 

AGE. 


WANT  '■"•Ssr'11* 


Marry  ? 


//oa;  About  the 
Beautiful  But 
Dumb  Type  ? 
Do  Men  Hon- 
estly Find  Her 
Attractive  ? 


Reading  the  things  Jack  Gilbert  says,  we 
do  not  believe  that  opposites  attract 


Lew   Cody   is   sentimental   about   the   girl 
he  would  marry 


Denbo 


This  Ronald  Colman  howled  across  a  desk  to  me!  We  were  sitting 
in  a  busy  publicity  office.  The  ever  poised  and  at  ease  Ronald  was 
trying  to  concentrate  on  woman  and  her  often  sung  charms,  while  set- 
dressers,  newspaper  representatives  and  art  directors  came  bustling  in, 
talking  over  plans  on  "Barbara  Worth." 

Thru  the  often  opened  door  droned  noisily  the  sound  of  the 
saw-mill  across  the  way.  "I  think  it  is  personality  in  a  woman 
that  means  more  to  me  than  anything  else !"  yelled  Ronald. 
"The  girl  that  attracts  me  is  the  one  whose  personality  is  natural  and 
rings  true." 

"Thank  you!"  I  screamed. 

"You're  welcome !"  he  called — with  a  cough,  "let's  go  have  some 
lunch!" — and  we  did. 

Tho  we  had  a  quiet,  comfortable  hour's  chat  across  the  luncheon 
table,  Ronald  only  repeated  his  first  choice  of  feminine  charms. 

Lew  Cody 

T  ew  was  standing  on  the  lawn  of  the  M.  G.  M.  Studio  after  luncheon 
|p  one  day.     I  said,  "Lew,  tell  us  what  you  know  about  women!" 

He  said,  "What's  the  matter,  haven't  you  anything  to  do  for  365 
days  or  has  the  heat  of  this  day  gone  to  your  head?" 

I  made  myself  more  specific,  after  which  he  said :  "Oh,  if  that  is 
what  you  mean,  my  dear.  Every  man  in  his  heart  of  hearts  cherishes 
the  memory  of  his  mother  and  the  older  he  grows  the  more  he  admires 
'his  mother's  memory  qualities'  in  women!" 

That's  the  delightful  thing  about  Lew  when  he  makes  a  sentimental 
speech,  there  is  a  solemness  in  his  expression  that  makes  you  feel  it 
comes  from  the  depths  of  his  being. 

Bill  Boyd 

Dill  Boyd,  with  sideburns  and  uncut  hair  as  he  is  to  appear  in  "The 
Clipper  Ship,"  smiled  sheepishly  as  he  answered  my  question 
with — "Wouldn't  it  be  easier  if  I  showed  you  a  picture  of  what  it  is 
about  a  woman  that  attracts  me  ?  Because  the  whole  thing  can  be  seen 
in  this  young  lady !    .    .    ." 


Huntley    Gordon    saw    his    ideal    once.       He    has 

never   seen   her   since    .     .     .    but   he    remembers. 

He    would    insist     upon     her    qualities 

29 
PAG 


I 


"G  e  n  t  1  e  n  e  s  s," 
sighed  Walter 
Pidgeon.  Walter 
has  many  married 
friends 


Charlie  Murray 
thinks  there  are 
more  attractive 
qualities  in  women 
than  there  are  stars 
in  heaven.  He 
cannot    decide 


"Beauty,"  opines  Ned 
Sparks,  "is  only  skin-deep. 
In  the  summer  a  sunburn 
peels  .  .  .  why  pick  them 
merely    beautiful?" 


Of  course,  what  he  was 
proudly  displaying  to  me 
was  a  picture  of  his  hride 
wife,  Eleanor  Fair.  (Ain't 
love  GRAND — even  in 
the  movies  —  sometimes  !) 

Anyway,  J  was  gentle  with  him 
and  said:  "I  quite  agree  with  you, 
Bill!  But — if  you  were  to 
three  girls  at  once — one  would  most 
likely  attract  you  more  than  an- 
other?    Eh?" 

"Yes,"  smiled  Bill,  "the  one  that 
looked  most  like  her!"  At  my 
groan  he 'laughed  and  said.  "More 
specifically  the  typical  American 
girl.  Self-reliant,  affectionate,  little, 
motherly  pal." 

Now  serious.  Bill  continued, 
"The  American  girl  to  me  typifies 
the  supreme  combination.  They 
watch  their  personal  appearance 
and  are  fresh  and  clean  and  full  of 
fun.  Ready  to  ride,  or  walk  or 
swim  or  fiance  or  cook  or  sew  or — 
raise  babies — and  to  do  each  effi- 
ciently and  well." 

Bill  certainly  has  the  "low-down" 
on  American  won 


Lewis  Stone 


J  really  surprised  me!      lie  is 

L'  such  a  sort  of  sophisticated, 
lovable,  cultured  gentleman  of  the 
screen.  I  saw  him  at  the  Santa 
Monica  Swimming  Club.  I  asked 
him  the    fatal   question. 

He    answered    with    accu 
brisk  courtesy,  "YOUTH,  my  dear, 
YOUTH.      Every   man   if   he   told 
the  truth  would   Say  first,  last  and 
always     Vol  "Ml.' 

"That  is,"  as  he  saw  my  amazed 

countenance,  "not  necessarily  youth 

g\ according  to  years  hut  youth  of  the 


•  HI.   Keyes 
im  Boyd  recently  married  Eleanor 
Need    you    hear    the    things    he 
ideal     in     a     wife     enumerated? 
You've    seen   Eleanor! 


the     mothering     in- 
men     love     in     their 
,"     insists     Charles 
Farrell 


SH^^       Soul.    I  have  met  middle- 
•Sf        aged     women     that     had 
J^S^         more  real  youth  than  the 
fiappiest  of  flappers. 

"Youth  is  enthusiastic 
over  life  and  its  problems 
and  possibilities.  It  is  always  in- 
terested in  human  nature  and  its 
reactions.  In  fact,  real  youth  is  so 
busy  and  interested  in  life  going  on 
around  it,  it  has  no  time  to  think 
of  self  and  build  up  an  impos- 
sible ego.  This  is  why  I  believe  every 
man — if  truthful,  would  say  youth 
was  woman's  most  potent  weapon." 

Huntley  Gordon 

LJolly wood's  prince  of  good  fel- 
lows  and  the  screen's  perfectly 
abused  husband,  Huntley  Gordon, 
was  on  the  golf  course.  That's  the 
only  place  you  can  catch  him  when 
he's  not  working  and  Huntley  wont 
talk  if  he  knows  you  are  there  to 
hear  him. 

I  stopped  him  by  yelling 
"FORK"  over  his  shoulder.  He 
called  back-.  "No,  two  will  do!" 
Then  we  sat  on  the  eighteenth  hole 
and  I  asked  him  if  he  had  ever  met 
his  ideal. 

My  feet  hurt  and  I  was  tired,  so 
I  didn't  care  whether  he  had  or  not, 
hut  strangely  he  warmed  up  to  the 
subject.  "Do  you  expect  me  to  de- 
scribe  you  or  do  you  want  me  to 
tell  you  the  truth  ?"  he  asked  me 
with  a  laugh. 

1  smiled  sort  of  weakly — I  dont 
usually  play  eighteen  holes  in  one 
afternoon  and  a  smile  was  all  I 
could  manage — "The  whole  truth 
and  nothing  but  the  truth,"  I  re- 
cited weakly. 

(Continued  on  page  93) 


When  von  Stroheim  re- 
turned to  the  screen 
after  months  of  retire- 
ment merely  to  direct, 
we  made  the  most  of  it. 
Half  a  loaf  is  better  than 
none  .  .  .  But  "The 
Wedding  March"  is 
something  to  be  antici- 
pated. In  it  Erich  plays 
Prince  Nic^i  ...  as 
well  as  directing  the 
production 


He  is  up  to  his  old  tricks 
again,  you  see  .  .  .  We 
can  think  of  no  one 
who  suggests  high  life 
with  more  deft  touches 
than  Erich.  Take  the 
scene  below  .  .  .  what 
could  speak  more  elo- 
quently of  the  night  be- 
fore than  the  ice-bag? 
What,   indeed) 


Fay  Wray,  who 
plays  Mitzi,  a 
little  wine-gar- 
den girl,  is  a 
von  Stroheim 
discovery.  She 
has  been  on  the 
screen  for  some 
time,  but  this  is 
her  first  promi- 
nence 


Hughie  Mack 
plays  Anton 
Eberle  ...  and 
Dale  Fuller  is 
cast  as  a  Mrs. 
Schrammeli .  .  . 
It  is  a  typical 
von  Stroheim 
cast,  Zasu  Pitts 
also  playing  a 
prominent    role 


We  wonder  if 
von  Stroheim's 
masterful  di- 
rection will  do 
as  much  for 
Fay  Wray  as  it 
did  for  Mary 
Phil  bin  in 
"The  Merry- 
Go-Round" 


^on  Stroheim  Reappears   on   the  Scene 


31 

PAfi 


t 


An  Impression  of 
a  Casting  Director  s 
Office  when  there 
has  been  a  Call  for 
a  Large  Number  of 
Extras 


The  Great 


IT  is  a  funny  sight. 
An  agent  has  had  a  call  from  a  motion  picture  studio 
for   a   large    number    of    extras.      One   hundred   and 
one  peculiar  types   stand  about   waiting   for  the   red 
ticket  that  will  send  them  to   some  studio.     This  ticket 
represents  the  five  dollars  they  will   receive,  minus   the 
agent's  commission. 

Ah  .   .   .  but  that  is  not  the  point.    Once  again  a  Great 

Opportunity.     Every  now  and  then  an  extra  makes  good. 

Every   now   and   then   a  bit   well   done   brings   stardom. 

What  if  hundreds  have  remained  obscure?   Hope  eternal! 

The  scene  never  varies.   .    .    . 

Everyone  has  made  an  attempt  to  present  a  prosperous 
appearance. 

There  is  the  lean  youth,  stamped  by  Manhattan,  pale 
of  face,  with  a  tight  belted  suit.  .    .    . 


! 


The  office  boy  is  monarch  of 
all  he  surveys.  He  sits  be- 
hind the  wicker  gate,  chews 
gum  and  reads  the  sporting 
page.  He  is  blandly  insolent 
and  impervious  to  the  various 
"es  practised  on  him  by  the 
girls  .  .  .  and  the  entreaties 
of  the  men 

32 


Every  new  arrival  causes 
consternation.  Only  so  many 
are  needed.  Extras  are  well 
versed  in  the  law  of  supply 
and  demand.  And  they  wil 
tell  you  that  the  supply,  in 
their  experience,  has  always 
been  greatly  in  excess  of  the 
demand 


Opportunity 


Chorus  girls  made  up  and  ready  to  go  on  .  .  .  typical 
little  Broadway  trotters.   .    .    . 

There  is  the  old  careworn  burlesque  queen  with  her 
bedraggled  feather  boa,  now  looking  for  aristocratic  dame 
parts.  .    .    . 

And  colored  gals  from  Harlem.  .    .   . 

Also  Harlem  sheiks  willing  to  portray  anything  from 
a  desert  monarch  to  "Uncle  Joe"  for  five  dollars. 

Look  again  ...  it  does  not  seem  quite  so  funny  now. 
It  seems  slightly  ironic.  ...  It  seems  a  little  pathetic, 
too.  .    .    . 


Drawing  by 

Robert  Orr 

From  a  Suggestion 

by 

B.  F.  Wilson 


The   erstwhile  Shakespearian  tragedian  with   the   gray   lock 

may  be   on  the  verge  of  starvation    .     .     .    his    cuffs   may  b 

frayed    .     .     .    but  he  will   gaze  with  proud  contempt   on   th 

hoi  polloi  about  him 


33 

PAG 


t 


The  Favorite  Moreno  Luncheon 


L 


fNCHEON  with  Mrs. 
Antonio    Moreno 

is  more  of  a   func- 
tion   than    is    usu- 
ally the  case  in  the  homes 

of     film     stars,    as     Mrs. 

Moreno    is    neither    on    a 

diet  nor  in  a  hurry  to  get 

back     to     a     studio.       A 

leisurely   hour   is   devoted 

to     the     meal,     served     almost 

formally    by    Filipinos.      Altho 

Tony    is    the    most    Spanish    of 

the    Spanish,    wholly    American 

meals  are  enjoyed  in  his  home. 
The    Moreno   dining-room   is 

worthy  of  a  paragraph  in  itself. 

( Herlooking   the   valley   of   the 

city,   it   boasts   a   color   scheme 

of    neutral    shades    with    pastel 

green     predominating    thruout. 

At    the    long    windows     hang 

apple-green  drapes.    The  chairs 

are     high-hacked,     of     the     old 

Spanish   period,   the  table   cor- 
respondingly long  and  narrow.         Imm^mmmm 

On     its     shiny     surface     Mrs. 

Moreno   arranges   a   centerpiece   of    mixed   flowers    from 

her  garden.     '1  he  service  is  of  linen,  individual  pieces  at 

each  plate. 

Jt  is  in  such  a  delightful  surrounding  as  this,  that  Mrs. 


Moreno  seat:1 
mid-day  mem 

Fruit  coc 
predominate 


her  luncheon  guests  and  offers  her  favorite 

t  Mrs.  Moreno's  cocktail,  grapefruit 
it  into  small  bits.  In  half  quantities 
add  other  fruits :  orange,  apple, 
pineapple,  and  grapes  with 
seeds  removed.  Squeeze  juices 
of  all  fruits  together  and  pour 
over  mixture  until  well  moist- 
ened. Sugar  to  taste.  Serve 
in  glass  or  silver  compote. 

French  chops :  Broil  lamb 
chops  until  well  done.  Do  not 
season  until  removed  from 
stove.  Immediately  before  serv- 
ing add  salt,  pepper,  butter 
and  dash  of  paprika.  Serve 
with  parsley. 

Peas:  If  peas  are  fresh,  care 
should  be  taken  not  to  cook 
them  in  cold  water.  Allow 
water  to  boil  before  adding 
peas.  This  preserves  the 
color.  Salt  before  draining 
water.  Served  with  or 
without  butter. 

Potato    fillet :      Pare    and 

slice     potatoes.        Cut     into 

small  fillets  about  a  quarter 

of    an    inch    square    and    as 

(Continued  on  page  104) 


The  Moreno  Dining- Room 


! 


..:,:■     ..iz.  ,ci   t;.'i 


Immigrant 


American     custom     officer     says, 

"How  much  money  you  got?"      I 

had  three  bucks,  but  I  said,  "I  got 

pocket   fulla  jack" 


Bull   is  sentimental    ...    he  has 

preserved    the    clothes    in    which 

he  landed  in  America.     He  posed 

for    this    picture    in    them 


Great  big  rock,  big  as  a 
house,  I  move  and  every 
day  I  hear,  "Bam!  Get 
outta  way,  you  damn 
whop!  Sis  Boom!"  and 
they  blow  off  dynamite  and 
I   run   like   hell 


Pick  and  Shovel 
Artist 


Wrestler 


Charlie  Cutler,  big  wrestler, 
says  he  meet  all  comers  and 
pay  dollar  minute  to  man 
who  can  stay  with  him.  I 
climb  on  stage  and  stay  seven 
minutes.  Boy!  Seven  bucks! 
That  is  a  lotta  dough.  This 
is  my  racket 


Three  Stages  in  Bull's  Career 


My  Life  by  a  Long  Shot 


By  "Bool    Montana 


MY  Hi 
men 
For 


:fe  story  is  going  to  be  different  than  most 
movie    actors.      I    am    going   to    give    my    age. 
Forty  years  old !     I  was  born  in  Voghera,  Italy, 
near  Milano,  and  was  a  kid  there  for  nineteen 
years. 

When  I  was  a  kid  eleven  or  twelve  I  was  like  all  kids, 
I  dont  like  school.  The  old  man  he  says,  "Louie,  you 
better  go  to  work."  I  say  that's  good.  I  want  to  be  a 
shoemaker,  so  the  old  man  get  me  a  job  with  a  shoemaker. 
He  pay  me  three  cents  a  week  to  pound  leather.  I  work 
a  year  with  him  and  the  next  Christmas  my  boss  he  says, 
"Louie,  I  give  you  raise.  Next  year  you  get  four  cents 
a  week."    I  say  that's  good. 

I  work  for  him  about  two  months  when  one  day  I  am 
to  deliver  pair  of  shoes  to  army  officer.  The  officer  tip 
me  four  cents  and  I  go  buy  one  of  these  things  with 
rubber  bands,  you  know  what  I  mean  .  .  .  slingshot.  I 
get  back  to  the  shop  and  hide  the  slingshot  under  my 
apron.  Next  day  the  boss  he  says  to  take  pair  of  shoes 
to  man  in  the  country.  I  start  to  walk  down  the  road 
thru  woods  and  I  see  a  bird  on  a  tree.  I  lay  shoes 
down  beside  the  road.  I  put  a  rock  in  the  slingshot,  pull 
back  rubber  and  PIN  GO !     I  miss  bird  and  he  jump  to 


another  tree.  I  shoot,  shoot,  shoot,  and  every  time  I 
shoot,  bird  jumps  to  the  next  tree,  you  know  what  I  mean. 
So  pretty  soon  I  am  ten  block  from  the  shoes.  When  I 
come  back,  there  is  only  one  shoe.  Holy  smoke !  You 
can  imagine  when  I  get  back  to  the  boss  with  one  shoe ! 
He  fire  me  and  my  old  man  beat  me  up.  .  The  old  man 
says,  "You  better  work  on  the  ranch."  I  say  that's  good, 
and  I  work  on  the  ranch. 

When  I  am  nineteen  I  tell  the  old  man  that  I  think  I 
.go  to  Germany.  He  says  no,  that  all  kids  who  go  to 
Germany  come  home  broke  and  have  to  buy  new  shoes, 
you  know  what  I  mean.  So  he  says  you  go  to  America. 
I  get  on  the  boat  and  come  to  this  country. 

When  I  get  off  the  boat  in  America,  the  custom  officer 
come  to  us  and  says,  "How  much  money  you  got?" 
Everybody  was  suppose  to  have  ten  bucks.  I  have  three. 
When  he  come  to  me  he  says,  "You  got  money?" 

I  say,  "Sure.     Plenty,  my  pocket  is  fulla  jack !" 

He  says  all  right  and  dont  look  at  my  money.  They 
give  me  big  box  lunch,  a  big  handkerchief  and  put  red 
tag  on  my  coat.  I  tie  the  handkerchief  around  my  neck, 
put  my  hat  on  the  side  of  my  head  and  walk  down  the 
shore  with  all  the  whops.      Everybody  along  the   shore 

35 
PAG 


t 


f 


rubber  at  us.  I  am  such  damn  fool  I  think  they 
come  to  watch  me  get  off  and  I  put  my  chest 
out  and  walk  like  a  swell.  To  me  it  was  like 
a  big  parade,  you  know  what  1  mean. 

1  have  three  bucks  and  I  go  to  Connecticut 
where  a  friend  of  mine  works  and  he 
tells  me  1  get  rich  in  this  country.  I 
soon  find  out  he  is  crazy.  I  go  to  work 
in  a  rock  quarry.  That  place  is  hell. 
Great  big  rock,  big  as  a  house,  I  move 
and  every  day  1  bear,  "Bam!  Get  outta 
way.  you  damn  whop!  Sis  Boom!" 
and  they  blow  oft  dynamite  and  I  run 
like  bell.  I  worked  on  the  derrick 
pulling-  rock  out  of  the  hole.  Pretty 
soon  I  get  job  in  a  shop.  That  was 
1()07  and  everything  tough  .  .  .  panic, 
you  know  what  I  mean.  I  lose  job  in 
shop,  so  I  go  back  to  the  quarry.  The 
foreman,  he  is  from  my  country.  He 
says,  "Hello,  Louie,  what  I  do  for 
you  ?" 

I  say.  "I  wantta  go  to  work." 

"Look,"  he  says,  "Who's  got  your 
job !" 

I  look  and  there  is  a  horse  doing  my 
job.  1  use  to  wind  the  windlass  on  the 
derrick,  but  now  the  horse  is  pulling 
up  the  rock.  "That's  too  bad,"  I  say 
and  go  to  Xew  York. 

In  Xew  York  I  meet  a  bunch  of 
whops  and  they  tell  me  I  am  big  and 
strong  and  they  take  me  to  wrestling  show. 
There  is  Cbarlie  Cutler,  big  wrestler.  He 
says  he  meet  all  comers  and  pay  dollar  minute 
to  man  who  can  stay  with  him.  I  climb  on 
stage  and  stay  seven  minutes.  Boy !  Seven 
bucks !     That  is  a  lotta  dough.     This  is  my 


Spike  tells  me  Doug  Fairbanks,  a  big  movie 
guy,  wants  to  see  me.  I  say  all  right,  and  I  go 
to  see  Doug.      That's  how  I  get  to  be  an  actor 


racket,  I  say,  and  next  night  I  stay  with  him  six 
minutes.  I  buy  a  pair  of  shoes  and  pay  room 
rent  for  month. 

Then  I  meet  a  guy  who  says  he  wants  to  be 
my  manager.  He  is  a  big  crook,  but  I  dont  know 
that.  I  am  just  big  damnfool,  you  know  what 
I  mean.  He  says  we  go  to  Buffalo  and  get 
match.  I  say  that's  good.  But,  he  says, 
we  cant  pay  car-fare,  we  bum.  I  say 
all  right  and  we  start  to  bum  freight-train 
to  Buffalo.  It  is  cold  and  I  nearly  freeze 
riding  in  box  car,  and  I  get  hungry.  God ! 
But  I  am  hungry !  We  stop  in  the  yards 
at  a  little  town.  I  jump  off  the  car  and 
run  over  to  a  freight-car  on  another  track 
filled  with  cabbage.  I  grab  two  cabbage 
and  eat  ...  I  bet  you  in  five  minutes. 
As  we  come  to  Buffalo,  the  train  stop  in 
the  yard  for  minute  and  the  manager 
says,  "Louie,  go  hook  those  two  bottles 
milk  off  the  porch  of  that  house."  The 
house  is  about  a  block  away  so  I  run  over 
to  porch  to  lift  milk  and  when  I  get  up 
there  it  is  not  milk  at  all  but  a  couple  of 
white  statue  rabbits.  I  swear  and  go  back. 
We  cant  get  match  in  Buffalo  so  we  go 
to  Jamestown.  This  manager  is  big  crook 
I  look  like  hell  with  pants  worn  out,  you 
know  where  I  mean..  Just  like  big  bum, 
so  I  cant  go  to  swell  hotel.  The  manager 
goes  to  hotel  and  tells  clerk  I  am  new 
wrestler  known  as  "Terrible  Turk,"  and 
not  to  care  if  I  look  like  bum  because  I 
am  tough  and  what  you  call  eccentric 
Then  I  walk  in  hotel,  get  a  big  swell  room, 
nice  soft  bed  and  everything  swell.  The 
manager  says  he  is  going  out  to  get  match 
(Continued  on  page  106) 


One   time   I   am    sick   of   California   and   want 
to    go    back    to    New    York.       So    Doug    says 
all  right,   and  he  buys  me  a  big  overcoat  be- 
cause it   is  winter   back   in   New  York 


Show  This  to  the  Men 
in  Your  Family 

It  does  not  matter  what  the  ages  of  the 
men  in  your  house  .  .  .  they  will  chuckle 
over  Bull's  life  story. 

There  is  something  about  his  telling  of 
the  simplest  incident  that  makes  it  funny. 
As  a  matter  of  fact,  we  feel  that  this 
biography  in  the  vernacular  contains 
interest  for  everyone.  But  it  will  be  the 
men  in  the  family  who  will  enjoy  it  most. 

The  Editor. 


I 


Photographs. by  Brown,  L.  A. 


Above  is  a  scene  from 
"Across  the  Pacific" 
as  it  will  be  shown  in 
your  neighborhood 
theater.  It  is  the  very 
essence  of  romance 


On  the  left  is  the  same 
scene,  looking  at  it 
rom  a  different  angle 
.  .  .  from  behind  the 
cameras.  It  isn't  quite 
so   romantic 


On  Location  at  Night 


By  Dorothy  Hampton 


w 


ADING  knee-deep  in 
sand  to  the  Warner 
Brothers'  location 
spot  by  the  sea,   we 


Huge  arc-lamps  and  Kleigs 
throwing  a  blinding  glare  over 
a  few  huddled  canvas  tents. 
Cameramen,  directors,  prop 
boys,  running  here  and  there 
in  and  out  of  the  deep 
shadows. 

Great  moths,  June-bugs,  whirring,  buzzing  insects 
flying  madly  around  the  brilliant  lights.  The  sandy  shore 
alive  with  wiggling,  excited,  light-seeking  crabs  and  other 
crawling  creatures. 

Hundreds  of  men  in  blue  flannel  shirts  and  khaki 
trousers  sitting,  lying,  standing,  uncomfortably  amidst  the 
crabs,  waiting  for  the  command  "Camera." 


A  Comparison  Between  a 
Hectic  Location  Scene  .  .  . 
and  the  Idyllic  Setting  It 
Eventually  Appears  on 
the  Screen 


This  call  sends  them  scurry- 
ing into  little  groups,  singing, 
playing  boisterous  tricks  on 
one  another  as  tho  in  great  glee 
over  a  few  days'  leave  from  the 
strain  of  fighting!  Most  of 
these  men  are  veterans  of  the 
World  War,  wearily  playing  at 
war  "for  the  movies." 

Palm-trees    made    out   of 

eucalyptus-trees,  painted  and 

clayed  to  mrke  them  look  like 

palms,  are  stuck  here  and  there  in  a  straight  line  for 

three  miles.     Tropic  jungle  effect  is  gained  out  of  a  lot 

of  sand  with  sticks,  plants,  etc.,  stuck  in  it! 

Native  girl — Myrna  Loy — huddled  in  a  canvas  chair 

squealing  over  the  crabs  and  bugs,  waiting  for  the  call 

to    become    alluring    and    "nativish"    with    Monte    Blue. 

(Continued  on  page  94) 

37 

PA  /SI 


f 


I 


Upper  left  is  a  black  satin  dolman  ef- 
fect of  my  own  design.  Antelope  felt 
turban  from  Agnei.  Top,  center — two 
views  of  Dorothy  Mackaill's  emerald 
velvet  and  lame  reversible  evening  wrap, 
trimmed   with  green  dyed  fox  and  white. 

Upper  right,  excellent  lines  for  the 
stout  woman,  worn  in  "So's  Your  Old 
Man."  It  is  beige  crepe  romaine,  cocoa 
grosgrain  trimming,  and  pale  beige  gilet. 

Below,  at  right,  is  Greta  Nissen's  moire 
frock  in   sage  and   darker  green. 

38 


Center  group,  bottom  row,  left  to 
right — Norma  Shearer's  crystal  fringe 
and  opal-hued  figured  lame  evening 
gown  is  cut  in  tiers  and  scalloped.  In  the 
center  is  Greta  Nissen  in  a  supple  silver 
cloth  gown  made  over  georgette  to  form 
the  bodice;  and  shaded  tulle  in  the  popu- 
lar tiered  skirt  does  the  rest.  Right  of 
center  is  Alice  Joyce  in,  Frances'  mouse- 
color  satin  cut  in  diamonds.  The  color 
contrast  is  secured  by  applying  pieces  of 
opposite  ways  of  the  goods. 


On  the  extreme  left  is  Blanche  Sweet's 
cape  and  frock  of  black  satin-back  crepe 
with  velvet  trimming  and  high  collar 
fastened   with   brooch. 

Above,  and  to  the  right  of  Miss  Sweet, 
is  Dorothy  Mackaill  in  an  odd  little  coat 
of  beige  broadtail   with   a   fitch   collar. 

Center  is  Norma  Talmadge,  wearing 
Agnes'  high  draped  turban  of  velvet. 
Altho  these  hats  are  striking,  they  are 
hard  to  wear,  but  will  doubtless  have  an 
influence  on  the  later  collections. 


An  Open  Letter  to 
a  Country  Cousin 

DEAR  COZ: 
Brandishing     his     arms     overhead 
and   with   a   fanatical   gleam   in  his 
hitherto   kindly   eye,   Adophe   Menjou   ad- 
vanced  upon   me.      But,    jammed   between 


(Upper  left)  Black  "moire"  vanity 
case  of  shell-like  composition.  $3.75. 
(Upper  right)  The  "onyx  and  ivory" 
composition.  This  has  mirror  top,  pow- 
der and  lip-stick.  $2.50  (Both  vanities 
from  Terri.)  (Center)  Popular  zipper 
pouch  bag  with  mirror  and  purse.  Soft 
leather  in  brown,  tan  or  black.  $2.95. 
(Bottom)  Black  or  tan  combined  with 
baby  calf,  mirror  and  suspension  purse 
inside.  Unusual  value  at  $2.95.  (Both 
bags  from  Arnold,   Constable.) 


By  Grace  Corson 

Grace  Corson  is  a  fashion  artist  of  great 
prestige.  She  was  previously  associated 
with  Harper's  Bazaar  and  her  entree  to 
the  Fifth  Avenue  shops  and  ateliers,  to- 
gether with  her  motion  picture  contacts, 
makes  her  the  ideal  fashion  editor  of  the 

MOTION  PICTURE  MAGAZINE 


hot  lights,  three  trunks  and  a  camera,  I 
could  only  cower,  while  "Why  did  I  wear 
this  hat  ?"  and  "Oh  Lord !  My  mascaro 
is  flaking.  I'll  be  weeping  in  a  minute" 
went  scuttling  thru  my  mind. 

Thru  the  haze  I  heard  a  voice :  "Give 
you  some  'dont's'  for  men?  I'll  give  you 
plenty,  plenty!" 

And  thus  we  gathered,  for  our  various 
male  cousins,  brothers,  husbands  (I  mean 
husband),    the    information  anent    English 


For  Men  Only 


« 


Some  Do's  and 
Dont's  Regarding 
Masculine  Attire 


By 

^        Adolphe 
Menjou 


yiLlVAYS  wear  suspenders!!!  (Ex- 
JlI  cepting  for  sports.)  It  is  the  only 
way  to  "stay  put." 

Always  have  cuffs  on  your  trousers. 

Always  have  at  least  two  buttons  on  a 
single-breasted  suit.  Never  only  one. 
Never  I 

Never  have  too  many  buttons  on  your 
cuff,  even  four  is  extreme. 

Never  wear  sports  clothes  in  the  city. 
But  you  may  wear  fancy  linen  or  plain 
linen  waistcoats  with  a  single-breasted 
suit.  Whenever  possible  there  should  be 
contrast  between  the  tie  and  shirt. 

Hats  should  be  in  harmony,  of  course. 
For  instance,  brown  shoes,  brown  hat,  etc. 

A  new  tie  is  the  twenty-two-inch  bow 
tie.  Most  are  from  thirty-one  to  thirty- 
four  inches.  (Mr.  Menjou's  own  tie,  a 
Trewlett,  was  a  polka  dot,  tied  just  once 
with  but  two  ends  and  no  loops,  and  his 
(Continued  on  page  96) 


collars,  suspenders  and  other  masculine 
folderols. 

But  I  must  admit,  Patsy  darlin',  that 
just  for  a  minute  I  thought  .  .  you 
know  his   reputation.  .  .  .     Oh,   well ! 

After  that  I  watched  him  (In  "Ace  of 
Cads")  look  weary  and  sad  while  Roy 
Hunt  barked  thru  a  megaphone  "One-two, 
etc  .  ,  .  thirty,  thirty-one,  cut!"  completely 
drowning    out    the    softly    sobbing   violins. 

Luther  Reed,  the  director,  told  me  it 
(Continued  on  page  96) 


Lilyan  Tashman's  new  and  clever 
frock  from  Chanel  has  its  fulness  in 
front,  as  it  should  be,  this  season.  The 
back  is  plain.  Of  heavy  crepe  Elizabeth 
in  Chanel  red,  jungle  green  or  navy  blue, 
with  crepe  de  Chine  slip.  An  exact  copy 
of  this  frock  may  be  bought  from  Ar- 
nold, Constable  &  Company  thru  Miss 
Corson's  shopping  service.  Sizes  16-44. 
Price  $25.00. 


Shopping  Service  Instructions  on  page  96 


39 

PAG 


I 


The  Chronicle 

of  a 
"Hen  Party' 

at  i 

Norma 
Talmadge s 

By 

Faith  Service 


I 


Hans  Kraly  does  the  scripts  for  many  of  Norma's 

pictures.      He  and  Norma  were  down  at  the  train 

to  see  Constance  off  on   her  postponed  wedding 

trip 


Melbourne  Spurr 


N 


ormaisms 


WE  arrived  at  twelve-thirty  and  found  Norma  in 
becl 
The   colored   maid   admitted   us    and   Norma 

called  sleepily,  "Come  in !" 

We  went  in,  inquiring  anxiously,  "What's  the  matter? 
Have  you  the  flu?     Grippe?     Kleig  eyes,  or  what?" 

Nothing  was  the  matter,  of  course. 

We  will  never  become  star-wise,  no  matter  how  many 
decades  we  may  pursue  this  honorable  calling.  We  still 
naively  believe  that  when  a  gal  is  in  bed  at  high  noon 
she  is  in  need  of  a  clinical  thermometer. 

Norma  arose  at  once,  a  vision  in  pink  crepe  de  Chine 
and  real  lace  and  cropped,  curly  hair.  And  she  ordered 
forthwith  a  mammoth  luncheon. 

It  is  a  wise  star  that  knoweth  her  own  guests.  Over  a 
long  period  of  annual  feedings  Norma  has  remembered 
that,  in  the  spring,  we  always  expect  chicken  and  aspar- 
agus and  strawberry  shortcake  and  various  sundries. 
She  knows  that  anything  less  would  be  considered  an 
insult.    There  has  never  been  anything  less. 

Behold  us,  then,  seated  about  a  festal  board  in  the 
flower-filled  living-room  of  Norma's  suite  at  the  Hotel 
Plaza,  New  York  City. 

We  began  at  once  to  talk  about — Men. 

Just  girls  together.     You  know  how  girls  are. 

Norma  did  most  of  the  talking.  We  did  most  of  the 
eating — we  mean  listening. 


10 


Norma  said,  apropos  of  something-or-other,  "Men 
like  best  the  women  who  do  things.  They  say  they  dont, 
but  they  do.  Really.  They  respect  us  more  .  .  .  girls 
who  work.  They  admire  us  more  and  you've  got  to  have 
a  man's  admiration  if  you  want  to  keep  his  love.  That's 
sure.  Admiration  may  have  a  long  life  without  love,  but 
love  without  admiration  is  a  corpse  before  the  funeral. 

"Men  say,  'I  like  the  woman  who  stays  at  home  .    .    . 
the   feminine  woman.    .     .    .' 
They  may  like  'em,  but  watch 
'em  stay  home  with  'em. 

"On  the  other  hand,  women 
like  men  who  take  them 
places.  They  like  men  who 
are  considerate  of  them, 
thoughtful,  watchful.  Any 
half-grown  moon-calf  can 
stage  a  love  scene  but  it  takes 
a  man  to  show  a  woman  the 
attentions  that  make  him 
Avorth  her  time. 

"That's  what  makes  it  dif- 
ficult for  the  average,  stay-at- 
home  married  woman.  There 
are  exceptions,  of  course,  but 
the  aArerage  married  woman 
in  a  small  town  has  to  sit 
at  home  night  after  night 
watching  her  husband  read 
the  evening  papers,  monkey 
around  with  a  hammer  or 
They've  been  waiting  all  day  fo 
coincide  and  that  is  what  they  get  for  their  waiting. 

"Men  seldom  understand  this.  They  dont  take  the 
trouble  to.  They  know  that  the  Little  Woman  will  be 
there,  night  after  night.  They  know  that  she  has  no 
place  else  to  be.    What  of  it? 

"They  think  of  the  evening  as  a  pleasant  time  to  relax, 


Thus  Spal^e   Norma 

Men  like:— 

Women  who   do   things 

Polka-dots 

Black  dresses 

Waist-lines 

Coy  frills  of  lace 

And  feathers 


mow    the     front    lawn, 
evening:  and  husband  to 


take  forty  winks,  talk  a  bit  about  their  day's  triumphs  and 
turn  in.  But  for  the  Little  Woman  the  evening  is  the 
time  of  day  to  which  she  has  most  looked  forward.  She 
has  got  'dressed  up,'  she  has  carefully  placed  some  lip- 
stick and  pOAvder  on  the  little  old  face.  She  has  sprayed 
herself  with  perfume  and  has  hoped  for  the  best.  She 
doesn't  get  it.   .    .    . 

"Yes,  siree,  the  business  and  professional  women  have 
changed  the  tune  for  women 
to  dance  to.  In  many  ways. 
In  more  serious  ways.  There 
was  a  time  when,  if  a  girl  had 
a  love  affair  either  before  or 
after  marriage,  she  was  tabu. 
She  was  'out.'  'Nice  people' 
didn't  want  to  know  her.  She 
was  marked  for  life.  Now- 
adays, girls  mind  their  own 
business.  If  they  have  any 
affairs  before  or  after  mar- 
riage, it  is  nobody's  business 
but  their  own.  If  they  are 
the  sort  that  are  inclined  to 
go  in  for  this  sort  of  thing, 
they  are  not  much  worse  off 
for  it  than  were  the  men  of 
the  same  ilk  in  the  preceding 
generation. 

"I    dont    say    that    this    is 
right    .    .    .    but  it  is  equally 
rig  Jit,  and  that  is  something. 

"But  Avhat  is  still  more  important — girls  in  the  busi- 
ness or  professional  world  seldom  do  'this  sort  of  thing.' 
They  have  other  matters  on  their  minds.  They  can  take 
men  and  loAre  as  once  men  took  women  and  love — cas- 
ually. Men  and  love  are  no  longer  'Woman's  whole 
existence.' 

{Continued  on  page  89) 


Joseph  Talmadge  Keaton  is  on   the  steps  of  the  Schenck  beach  house  with  Norma.      His  grand- 
mother,   "Peg,"    stands    by    the    swing.       And    his    mother,    Natalie    Keaton,    rests    in    the    swing 
with    another    house    guest 


iTKjpjflflK 
Ai  flip 

■     ''  ,■■■■■        •   •     "7  ■:   ■-■■■ 


41  P 

PAfili 


All    Aboard    the    Limerick    Liner 


Far  from    buying   his  pleasures,  this  one- 
Herbert  Brenon — gets  paid  for  his  fun, 
For  picking  out  beauties 
Is  one  of  his  duties 


Dotty  Gish  doesn't  care  if  her 

voice 
Gives  nobody  cause  to  rejoice. 
"On  the  screen,"  she  averred, 
"I'll  be  seen,  and  not  heard, 


Miss      del      Rio's     warm      welcoming 

glance 
Is  not  caused  by  her  latest  romance. 
Only   roast  beef  on   rye 
Puts  that  look  in  her  eye 


I 


See 
Page  86 

for 
September 
Prize  W inning 
Limericks 

42 


4 


You    can    tell    by    the    eyes — that' 

how    I  know 
This  isn't  a  fair  young  albino, 
A  Ku  Klux,  or  a  swan — 
But  Miss  Alberta  Vaughn 


Are  yon  going  to  be  one 
of  the  lucky  passengers 
on    The    Limerick    Linerf 

li'c  have  $50.00  to  divide 
among  five  writers  of 
clever  lines.  Remembet 
tltat  the  line  you  submit 
to  complete  a  limerick 
must  rhyme  with  the 
first  two.  Send  as  many 
as  you  like  before  Decem- 
ber 20.  Address:  him- 
crick  Contest,  17  s  Duf- 
fcld  Street,  Brooklyn, 
N.    V. 


Crazy  Quilt 


By 
Adele  Ormiston 


Synopsis  of  Preceding  Chapters 
on  Page  76 


IT  was  the  last  scene  to  be  filmed  on  Judith's  second  produc- 
tion.    This  time  her  role  was  slightly  more  important.     And 
again  McAllister  was  her  director.     Judith  knew  this  was 
to  her  advantage.     Mac  had  taken  a  sincere  interest  in  her 
work  and  tutored  her  whenever  he  sensed  a  lack.     She  had 
come  to  be  looked  upon  as  his  protegee  in  the  studios  and 
;her  only  fear  was  that  this  might  make  for  antagonism  in 
other  directorial  quarters. 

Mac  was  explaining  the  action  of  the  next  scene  to 
Judith  and  the  assembled  company. 

"You  never  dreamed  that  your  old  father  cheated  at 
bridge   until   this    minute,"   he    explained   to   Judith. 
"And  the  fact  that  your  sweetheart  is  playing  at  the 


The  edge  of  the  chiffo- 
robe  struck  her  head  and 
she  slipped  to  the  floor. 
There  was  the  rushing  of 
many  waters  in  her  ears 
.  .  she  seemed  to  be 
falling  thru  steep,  dark 
places 


Illustrations 

by 

Henry 


Pilgrim 


43 

PAG 


? 


I 


$200  IN  PRIZES 

Do  you  think  the  title 
of  Crazy  Quilt  fitting 
for  this  story?  Write 
us  your  opinion. 
Two  hundred  dollars 
in  prizes  is  offered. 
There  are  further 
details  on  Page  78. 


same  table  and  is  also  aware 
of  your  father's  substitution 
of  a  card  makes  matters  far 
worse.  It  is  a  horrible  mo- 
ment !" 

He  rehearsed  the  others 
in  the  broad  sweep  of  the 
scene's  action  and  then 
turned  to  Judith  to  explain 
his  conception  of  what  her 
attitude  would  be  under 
such     trying     circumstances. 

In  the  last  two  months  she 
had  frequently  been  sur- 
prised at  Mac's  knowledge 
of  feminine  psychology.  But 
this  time  she  disagreed  with 
him. 

"It  seems  to  me,"  she 
said  when  he  had  finished, 
"that  a  girl  would  laugh  and 
talk  excessively  under  such 
circumstances.  She  would 
pathetically  try  to  cover  the 
situation  with  the  social 
weapons  at  her  hand. 

"And  she  would  also  feel 
a  deep  pity  for  her  father. 
He  is,  of  course,  humiliated 
at    being    discovered.      And 

his  cheating  comes  from  the  fact  that  he  is  childishly 
unable  to  lose.  It  is  nothing  worse  than  that  as  I  un- 
derstand it." 

Psychologically,  McAllister  admitted  that  Judith's 
analysis  was  quite  correct.  But  he  warned  her  that  such 
action  would  be  extremely  difficult  to  put  across.  He 
again  suggested  the  more  conventional  close-up  of  pain 
and  hurt  in  the  eyes  and  a  twisting  of  the  mouth. 

"You  cannot  photograph  thought  very  well,"  he  said, 
"and  audiences  'will  understand  my  way.  They  are 
familiar  with  that  sign  language.  They  have  been  trans- 
lating hurt  looks  in  movie  stars'  eyes  for  years." 

Ili-  manner   was  semi-humorous  but  Judith  knew  that 
afraid   to  try  it  her  way.     At  the  same  time  she 
onvinced  that  her  way  was  more  effective  and,  at 
the  same  time,  more  intelligent. 

"Let  me  try  it  my  way,"  she  said.  "And  if  it  does  not 
please  you — if  you  feel  that  the  girl's  reaction  is  not 
conveyed,  we  can  do  it  over  again.  Surely  it  is  worth 
trying  " 


'You   win,"  groaned   McAllister   with   a  certain  affec- 


"You   mention  the   tragedy   of  civilization,"   he  said,   with   feeling.       "I   would   like 


tion  mingling  with  his  despair.  "We'll  rehearse  it  once 
for  the  others.  You  had  better  walk  thru  the  rehearsal 
and  save  your  stuff  for  the  shooting.  At  times  like  this 
it  is  best  to  depend  entirely  upon  inspiration." 

The  extras  watched  Judith  enviously  as  she  talked  with 
the  director.  Her  good  fortune  was  a  byword  on  the 
Acme  lot.  Every  now  and  then  someone  like  Judith 
stepped  from  the  ranks  to  prominence.  Sometimes,  as 
in  the  case  of  Valentino,  they  won  great  fame.  And 
every  uninspired  and  drab  extra  who  had  haunted  studios 
for  years  merely  to  eke  out  a  precarious  existence  fed  on 
the  ambrosial  hope  that  he  too  would  one  glorious  day 
step  from  impecuniary  obscurity  to  glory. 

The  rehearsal  progressed.  Judith  walked  thru  the 
action  as  she  had  been  instructed.  But  she  was  becom- 
ing imbued  with  the  feel  of  it. 

Now  they  were  ready  to  shoot.  The  tubes  overhead 
filled  with  light.  The  actors  took  their  places.  Mc- 
Allister went  back  to  his  chair  beside  the  camera. 

One  of  the  musicians  on  the  side-lines  was  tuning  his 
violin. 


44 


to  use  that  idea  for  my  next  feature  story.      Mind? 


"Quiet  there,"  McAllister's  voice  was  terse.  "Dont 
play  until  I  give  the  signal.  When  Miss  Tower  begins 
her  action  after  seeing  her  father  cheat,  I  will  raise  my 
hand.     Be  ready !" 

There  was  quiet  now  punctuated  only  by  the  staccato 
beats  of  a  hammer  on  another  set.  Judith  was  as  tense 
as  a  race-horse  waiting  for  the  spurs. 

"All  right,"  called  McAllister,  "C-A-M-E-R-A !" 

Everything  proceeded  as  rehearsed.  Judith's  aristo- 
cratic old  father  took  an  ace  from  his  sleeve  with  a 
bungling  attempt  at  slyness  and  won  the  trick.  The  hand 
was  ended.    The  game  was  over. 

Then  suddenly  the  old  man  became  aware  that  both 
his  daughter  and  her  sweetheart  had  seen  him.  He  looked 
with  a  guilty  furtiveness  from  one  to  the  other. 

Judith's  first  instinct  seemed  to  be  to  spare  him.  She 
reached  over  and  gently  took  his  hand.  She  said  some- 
thing casual  yet  affectionate. 

The  musicians  called  soft  music  from  their  instruments 
at  the  signal.  And  the  people  in  the  scene  caught  the 
tension.    There  was  a  lull.    A  hush.    Judith  felt  it.     She 


A  diamond  wedding-ring 
when  she  would  have  pre- 
ferred a  gold  one  .  .  . 

Secrecy  about  her  address 
until  an  exclusive  one 
might  be  given  .   .   . 

Never  any  mention  of 
her  married  state.  .    .    . 

A  robbing  of  Peter  to  pay 
Paul  .  .  . 

A  robbing  of  Paul  to  pay 
Peter  .  .  . 


turned  to  the  others  who 
were  supposedly  guests  in 
her  home.  She  began  to 
talk. 

She  talked  faster  .  .  . 
faster.  She  laughed  louder 
.  .  .  louder.  She  was  her 
father's  loyal  daughter,  us- 
ing the  weapons  at  her  hand 
to  cover  her  chagrin. 

The  music  became  cres- 
cendo. It  beat  her  now 
hysterical  tempo. 

Her  father  went  over  to 
a  corner,  unhappy  because 
he  knew  the  pain  he  had 
caused  his  daughter.  Judith 
impulsively  moved  towards 
him.  Her  hands  were  out- 
stretched to  succor  him. 
And  as  she  did  this,  she 
turned  for  an  imperceptible 
moment  to  her  sweetheart. 
Her  eyes  were  supplicating. 
They  asked  him  to  stand  by 
her  and  understand  the 
childish  trick  of  an  old 
man. 

Again      the      violin     was 

muted.   .    .    . 

"CUT  !"   McAllister  clipped  his  command  emphatically. 

There  were  tears  in  Judith's  voice  by  this  time.     It  all 

seemed  very  real  to  her.     She  chaliced  the  emotions  of 

the  girl  in  the  story. 

The  company  did  not  talk  in  the  interim.  The  camera 
ceased  grinding  but  the  lights  still  flooded  the  scene  with 
their  shadowless  brilliance. 

"We  will  take  it  again.     The  same,  please." 
McAllister  spoke  more  quietly  than  was  his  custom.     It 
was  as  if  he  felt  that  something  so  sensitive  and  fragile 
had  been  wrought  that  even  the  vibration  of  his  voice 
might  break  it. 

Again  the  company  went  thru  the  drama  of  the  scene. 
And  again  Judith's  intensity  hypnotized  every  last  .one 
of  them. 

"That  will  be  all  for  today,"  McAllister  said,  dismissing 
them.     "Lights  out." 

Judith  came  over  to  get  her  make-up  box  from  the 
chair.  She  hoped  that  Mac  would  not  speak  to  her.  For 
her    eyes    stung    with    unshed    tears.      And    her    body 


f  course' 


(Continued  on  page  76) 


45 
PAG 


t 


A  DAUGHTER 
IN  THE  MOVIES 


Sadye  Miller  Tells  What 
She  Did  About  It 


Sadye    L.    Miller 


1 


I     rea 

lize     th 

ings 

are 

know 

so    much 

more 

than 

they 

did 

when 

they 

should 

Pat   say* 

I 

was 

not 

46 

GE 

changing.  Girls  of  today 
about  the  world  and  life 
I  was  twenty.  And  so 
i  I  am  not  quite  so  bad  as 
quite   so   mid-Victorian 


IT  was  I,  who — all  unsuspecting  as  to  how  Fate  was  "setting  the 
sails" — brought  Patsy  out  to  California  with  me  for  a  visit,  one 
summer. 

But  it  was  Pat,  herself — phis  her  desire  to  go  into  pictures — 
who  was  responsible  for  that  visit's  lasting  five  years  .  .  .  and  for  the 
transplanting  of  the  entire  household,  from  St.  Louis  to  Beverly  Hills. 

Nor  was  it  done  without  a  struggle.    .    .   . 

When  the  subject  was  broached  to  her  father  ...  he  rose  up 
in  righteous  indignation. 

"Leave  St.  Louis?"    "NEVER!" 

"And  as  for  Pat's  going  into  the  Movies ! ! !" 

(There  had  never  been  a  professional  in  the  family,  and  rumors  of 
wild  and  wicked  Hollywood  were  on  every  hand.) 

The  House  of  Miller  shook  on  its  foundations! 

But  I  had  always  backed  the  children  up  on  anything  worth  while, 
that  they  were  sincere  in  wanting  to  do  .  .  .  and  I  discovered  that 
Patsy  had  had  for  a  long  time,  a  secret  yearning  to  do  picture  work. 

When  we  first  arrived,  we  had  been  eager  to  visit  the  studios. 
We  were  fortunately  able  to  go  thru  them  all — to  watch  them 
working. 

And  Pat's  whole  heart  and  soul  was  in  it.   .   .    . 

She  knezv  .  .  .  she  .  .  .  she  was  absolutely  sure,  that  she  could 
succeed.   .    .   . 

And  with  the  confidence  .  .  .  the  enthusiasm  .  .  .  and  the 
ignorance,  of  youth,  no  other  thought  ever  entered  her  mind. 

They  had  noticed  her  at  the  studios.  Had  asked  to  make  tests. 
Had  wanted  to  put  her  in  little  bits.   .    .   . 

So  after  the  first  shock — (it  was  so  far  removed  from  anything 
we  had  ever  thought  of,  for  Pat) — I  took  my  stand.   .   .   . 

I  let  her  do  a  few  things  .  .  .  and  then  Goldwyn  offered  her  a 
two-year  contract. 

We  talked  it  over. 

"If  it  is  the  thing  you  want  to  do — we'll  stay  and  give  it  a  trial," 
I  decided.    "If  it  doesn't  go — nothing  is  lost." 

And  finally  her  father  gave  his  consent. 

So  we  came  out  here  to  live    . 
her  home.   .   .   . 


that  Pat  might  always  have 
and  I  did  not  see,  after  all,  why 


I  had  been  very  close  to  her 
this  should  make  any  difference. 

Nor  has  it. 

Patsy  was  fifteen,  then.  And  in  these  five  y  ars  .  .  aside  from 
the  hours  she  has  been  before  the  camera  .  .  .  her  life  has  gone 
along  very  much  the  same  as  lie  fore. 

She  has  had  her  home  .  .  .  her  studies  .  .  .  her  outside 
interests    .    .    .    her  friends. 

When  she  first  began  her  work  on  the  screen  .  .  .  doing  atmos- 
phere, and  small  parts  .  .  .  getting  her  experience  ...  I  was 
always  with  her.     Everything  was  so  new   ...  to  both  of  us. 

But  now  that  she  has  reached  the  grown-up  age  of  twenty    .    .    * 
(  Continued  on  page   103) 


Rudy  always  seemed  so  gloriously  alive  that  we  feel  the  pictures   made    of   him    in   death    lack   his   incarnate   spirit. 
This  photograph  was  taken  in  his  California  home  before  he  left  for  New  York  on  his  last  journey 


in  Jlemortam — 3&ubolpf)  Valentino 

•    By  Faith  Baldwin 


He  is  not  dead  for  whom  the  thousands  weep! 

The  strong,  young  body  only  lies  at  rest, 
The  dark  eyes  closed  in  lovely,  ancient  sleep, 

The  warm  heart  stilled  within  the  quiet  breast, 
Where  trees  and  flowers  fragrant  vigil  keep 

Above  the  couch  of  their  beloved  guest. 


As  gently  as  Love's  tender  hands,  earth  lies 

On  his  dark  head  .    .    .  and  leaves  his  spirit  free 

To  win  the  greater  goals  of  Paradise, 

And  know  the  triumphs  of  that  Mystery 

Which,  veiled  beyond  our  mute,  horizoned  skies, 
Grants  Youth's  brief  flame  bright  Immortality. 


47 
PAG 


I 


THAT'S  OUT    I 

An  Amusing  Commentary  on  Motion 

Picture  Things 


By  Tamar  Lane 


Limbs  vs.  Brains 

CS  will  make  way  for  brains  upon  the  screen,"  says 
Sam  Goldwyn  in  an  inspiring  publicity  announce- 
ment. 

Let's  hope  that  Sam  is  right.  But  first  some 
one  will  have  to  invent  a  way  to  photograph  brains  in  a 
shapely  manner. 


Deflecting  upon  what  has  been  clone  to  Pola  Negri, 
1  *  we  shudder  to  think  what  will  happen  to  Lya  de  Putti 
and  Emil  Jannings  now  that  they  are  to  become  fixtures 
in  the  Hollywood  film  colony. 

Lya  will  probably  end  up  playing  in  Christie  comedies, 
while  Jannings  will  be  featured  in  a  series  of  wild  and 
woolly  Westerns. 


! 


The  Last  Laugh  Is  on  Hollywood 

C*     \Y.    Murnau,    famous   German   director   who   made 
•     "The   l.a-i    Laugh,"  has   just  arrived  in    Hollywood 

with   a  great   fanfare  of   trumpets.      The   film   colony   is 

wining    him    and    dining    him    and    making    an    all-around 

hullabaloo  in  general. 

'I  he  funny  part  of  it  all  is  that  this  same  F.  W.  Murnau 

was  in   Hollywood  no  less  than  two  year-  ago.     And  he 

had  under   his  arm   the  now    famous    picture   "The    hast 

48 


Laugh."  But  there  was  no  brass  band  to  meet  him  at 
the  train,  there  were  no  dinners  given  in  his  honor. 

He  went  about  Hollywood  unheralded  and  unsung,  be- 
cause Hollywood  has  ever  been  unable  to  discover  real 
merit  in  anything  until  it  has  been  labeled  and  exploited 
for  them  like  a  freak  in  Barnum  and  Bailey's  circus. 

Moral :  It  isn't  what  you  really  are  that  counts  in 
Hollywood — it's  what  you  can  make  them  think  you  are. 


Apparently  the  screen  is  in  for  a  series  of  millinery' 
■*  *•  pictures. 

No  sooner  has  it  been  announced  that  "The  Green- 
Hat"  will  be  presented  upon  the  silversheet,  than  along 
comes  M-G-M  with  "Tin  Hats"  and  Johnny  Hines  with 
"The  Brown  Derby."  Now  it  is  announced  that  Lew 
Cody  is  going  to  be  featured  in  "The  Grey  Hat." 

There  is  undoubtedly  going  to  be  a  wide  selection  of 
headgear  for  the  well-dressed  man  or  woman  to  select 
from  this  fall  when  they  journey  to  the  cinema. 


"It  is  not  so  long  ago,"  says  Michael  Orme,  an  English 
*  writer,  "that  each  successive  film  I  went  to  see  in- 
cluded a  swimming-pool  orgy,  until  one  might  be  excused 
for  thinking  that  every  wealthy  individual  in  America 
preferred  to  give  his  dinner-parties  at  the  edge  of  his 
private  swimming-bath,  wherein  maidens  disported 
themselves  almost  as  scantily  clad  as  the  nymph. 

"At  another  period,  I  remember,  there  was  quite  a  run 
on  elaborately  wrought  metal  gates — presumably  of 
gold — that  hid  the  heroine's  silken  couch  behind  their 
intricate  tracery.  Now  I  am  quite  prepared  to  believe 
that  Hollywood  goes  to  bed  thru  golden  gateways." 
(Continued  on  page  87) 


Summer-Time  All  Year  Round 


By  Stephen  Gooson 

(Interior  Decorator  First  National  Studios) 


Do  not  let  the  bleak 
Winter  scene  outside 
penetrate  into  your 
home  .  .  .  with  the 
proper  surroundings 
hearts  can  be  kePt  as 
gay  as  summer  weather 


IT'S  easy  enough  for  the  average  housewife  to  make 
her  home  look  attractive  in  the  summer-time.  A  gay 
chintz  pillow  here,  a  slip-cover  there,  windows  wide 
so  that  the  green  out-of-doors  has  a  chance  to  get  in, 
low  bowls  of  flowers  from  the  garden.  The  effect  is 
lovely.  But,  alas,  it  is  lovely  only  a  small  part  of  the 
year.  The  average  house  is  rather  apt  to  be  a  drab  affair 
when  winter  comes. 

There  is  no  reason  why,  if  you  study  your  surround- 
ings a  bit,  you  cant  bring  summer  into  the  home  even  in 
dull,  cold  days.  We  are  not  all  rich  enough  for  private 
conservatories,  it  is  true,  so  that  we  might  have  quanti- 
ties of  fresh  flowers  all  year  round.  There  would  be  no 
problem  if  this  were  the  case.  Even  always  having 
bowls  of  fresh  flowers  is  beyond  the  purse  of  many 
of  us.  Fresh  flowers  are  the  surest  way  to  bring  cheer- 
fulness and  beauty  into  the  home,  but  these  things  may 
be  achieved  in  other  ways,  too. 

Flowers,  however,  are  one  of  my  fads.  I  believe  that 
if  more  people  knew  not  only  their  decorative  but  their 
psychological  value,  they  would  be  introduced  with  far 
more  frequency  into  most  homes.  Some  people  believe 
that  it  is  necessary  to  have  huge  bowls  of  flowers  about 
in  order  to  gain  any  effect  at  all.  This  is  exactly  opposite 
the  truth.    The  real  truth  is  that  a  big  bunch  of  flowers. 


In   winter   or    summer,    the   sun-room    should    have    growing  vines 
supplementing  the  wicker  chairs.     Bright  cretonnes  and  chintzes  . 


.    ferns    .     .     .    with   ample   cushions 
And  the  less  cluttered  it  is,  the  better 


49 

PAfi 


f 


(fit 


stuck  into  a  bowl  or  vase  is  usually  inartistic  and  clumsy- 
looking.  You  can  gain  a  far  lovelier  effect  with  far  fewer 
flowers.  If  1  were  a  young-  housewife  and  had  only  a 
little  money  to  spend  on  my  home,  1  would  get  several 
graceful  bud  vases  of  crystal  glass,  of  green  glass  or 
perhaps  of  plated  silver  and  I  would  put  one  or  two 
graceful  dowers  in  each  slender  vase.  I  would  have.  too. 
a  low  bowl  with  a  "flower  stone"  in  it  and  instead  of 
sticking  this  full  of  flowers  I  would  put  in  it  a  few 
graceful  buds  or  blossoms.  Half  a  dozen  flowers  of  the 
simplest  variety  together  with  a  few  green  leaves  makes 
a  far  more  delightful  ornament  than  any  bust  or  head  or 
empty  vase  could  ever  make.  Added  to  these  I  would 
get  one  tall  and  rather  heavy  vase  and  I  would  keep  it 
filled,  too.  In  the  winter  in  the  big  vase  I  would  put 
graceful  bunches  of  autumn  leaves,  lovely  sprays  of 
evergreen  or  some  of  the  bright  berries  that  you  can 
procure  in  any  climate  in  the  winter  if  you  take  a  walk 
thru  the  woods.  Even  a  few  blossoms  wont  prove  too 
prohibitive  if  you  learn  their  amazing  decorative  value. 
A  single  spray  of  flowers  placed  on  a  table  near  the  win- 
dow or  on  a 'mantel  will  brighten  the  whole  room — and 
they  will  bring  almost  unbelievable  cheer  into  the  spirits 
of  the  occupants  of  the  room,  too. 

The  next  touch  of  summer  that  I  would  add  to  a  home 
would  be  bright,  useful  cushions.  The  average  sofa 
pillow  after  a  few  months  of  wear  becomes  dingy.  Too 
often,  too,  in  buying  sofa  pillows,  the  housewife  buys 
dull,  "practical"  pillows  of  figures  or  changeable  taffeta  or 
satin  or  silk  and  these,  tho  comfortable,  do  not  add  appre- 
ciably to  the  appearance  of  the  home. 

If  I  wanted  to  bring  a  spirit  of  brightness  and  cheer- 


Cement  floors,  marked 
into  squares  to  simulate 
tile,  are  really  very  ef- 
fective. And  ivy,  trained 
to  a  trellis  on  the  wall, 
such  as  is  seen  on  the 
left  of  this  illustration,  is 
always  a   pleasant  note 


Nothing  makes  a  room  so 
stuffy  and  uncomfortable 
as  superfluous  articles, 
such  as  wicker  flower 
holders  and  bird-cages. 
A  sense  of  space  is  always 
restful 


Comfort  -|-  Charm 

Today  comfort  and  charm  are  synonymous  .  .  . 

Chairs  that  invite  you  to  rest  in  them  because 
they  are  made  with  the  lines  of  the  human  body 
in  mind  .  .  . 

Cigarets  and  books  at  hand    .    .    . 

A  lamp  that  may  be  switched  on  for  evening 
reading  .   .   . 

Colors  that  will  be  cheerful — and  restful  .  .  . 


These  are  the  little  things  that  make  a  home 
attractive. 

Every  month  Stephen  Gooson  will  contribute 
a  practical  article  on  decoration  in  the  home.  He 
brings  years  of  experience  and  study  to  his  advice 
.  .  .  and  he  is,  today,  the  designer  of  the  sets  used 
in  First  National  productions. 

The  Editor. 


fulness  and  summer-time  into  a  general  living-room,  I 
would,  first  of  all,  add  bright  cushions.  I  would  pick  a 
color  that  I  was  using  in  my  room  and  "pick  up"  this 
color  by  adding  cushions  of  a  brilliant  hue  that  corre- 
sponded to  it  or  to  one  of  the  more  neutral  colors  in  the 
room.  For  example,  if  my  room  were  done  in  tans  and 
browns,  I  would  add  two  brilliant  orange  cushions  and 
two  brilliant  blue-green  ones — the  blue-green  as  a  direct 
compliment  to  the  orange.  If  my  room,  on  the  contrary, 
was  cream  with  touches  of  soft  green  or  brown,  I  would 
add  brilliant  cushions  of  yellow  and  henna.  For  a  room 
done  in  creams  and  tans,  cushions  of  red  and  purple 
would  be  brilliant  and  colorful,  tho  red  and  black  would 
be  good,  too.  Two  pairs  of  cushions,  two  of  each  color, 
will  bring  up  the  general  tone  of  a  room  quicker  than 
anything  else  I  know. 

Please  make  your  cushions  plain !    They  may  be  round, 
square  or  oval  and,  if  you  like,  for  variety,  you  might 
(Continued  on  page  97) 


LOIS  ADOPTS  A  SISTER 

Four   gather  around  the   Moran   table  now  instead   ofo  the  previous  two.      Lois  and  her  mother,   Mrs. 

Gladys  Moran,   have  adopted   five-year-old  Betty  Evans.      The  adoption    papers  have  been  taken   out 

in  a  Pittsburgh  court  and  Betty  is  now  Betty  Moran. 

Betty  has  an  elder  sister,  Helen,  who  is  fifteen,  and   she    has   also    become   a    member    of   the    Moran 
household.      Helen  has  not  been  legally  adopted  but  she  is  to   receive  every  advantage  of  education 

and  home  surroundings 


PAfili 


The   Question   of 


We  cannot  think 
what  Ben  Lyon 
would  have  done 
a  role  had  ne- 
cessitated his 
growing  a  mus- 
tache a  few 
years  ago.  He 
just  couldn't 
have  done  it, 
for  he  was  a 
young  lad  and, 
as  the  song  goes, 
his  beard  was 
not    grown    .    .     . 


But  take  Ronald 
Colman.  There 
was  a  time  when 
Ronald  did  not 
wear  the  badge 
of  manliness. 
We  think  him 
more  attractive 
with  it.  Some 
men  are. 
It  is  just  as  well, 
for  the  vogue  of 
the  mustachio 
seems  to  be  re- 
turning 


J  52 


the   Mustache 


Pat  O'Malley 
found  that  a 
mustache  was  a 
great  help  to 
him  when  he 
wanted  to  look 
like  a  Russian 
Grand  Duke.  .  .  . 
It  might  be  well 
to  tell  husbands 
and  boy  friends 
to  start  a  mus- 
tache, provided 
they  haven't  al- 
ready done  so 


If  actors  are  the 
same  harbingers 
of  the  mode  that 
actresses  are — 
and  they  are — 
the  smooth- 
shaven  male 
will  be  demode. 
It  makes  a  great 
difference  in 
Edmund  Lowe 


53 

PAG 


i 


The  Lady  of  the 
Manor 


Corinne  Griffith  has  contrived  to 
invest  her  Beverly  Hills  estate  with 
the  charm  of  age.  And  this  is  pleas- 
ant in  a  land  where  new  houses  of 
vivid  stuccoa  predominate.  The 
house  is  of  English  manor  architec- 
ture, built  of  fieldstone  and  stucco 
and  seasoned  timbers.  There  are 
great  trees.  Curving  walks.  And 
fragrant,  old-fashioned  gardens.  It 
is  like  Corinne  .  .  .  for  she  seems 
to    belong   to    traditional    things 


The  Editor  Gossips 


And  Suggests  a  New  Game  for  Those 

Who  Dont  Play  Bridge  ...    or  Even 

Those  Who  Do 


Mabel  has  been  away  from  the  studios,  too 
.  .  .  reading  books  about  a  wide  variety 
of  things,  gardening  and  encouraging  Hugo 
to  keep  fresh  colors  on  the  Ballin  palette, 
too  long  idle 


of 


IT  is  pleasant  to  write  of  the  Ballins  again  . 
Mabel,  of  Hugo. 
For  months  they  were  out  of  motion  pictures. 
They  retired  to  their  house  under  a  big  pepper-tree, 
just  outside  of  Hollywood.  Hugo  wrote  novels  and 
painted  murals.  And  Mabel  read  books  about  a  wide 
variety  of  things,  microbe  hunters,  essays  by  Carl  Van 
Vechten  ,  .  .  took  care  of  her  own  garden  .  .  .  and 
encouraged  Hugo  to  ignore  offers  from  motion  picture 
people  and  continue  with  his  painting  and  writing. 

For  when  the  motion  picture  magnates  found  that 
Hugo  and  Mabel  were  really  doing  very  nicely  and  ap- 
peared quite  independent  of  them,  they  began  to  wonder 
if  they  were  not  superior  people  and  if  they  had  not  made 
a  mistake  in  letting  them  get  away. 

But  Hugo  and  Mabel  were  not  tempted  by  the  offers. 
Two  or  three  big  commissions  came  Hugo's  way.  There 
was  a  room  to  be  painted  ...  the  dome  of  a  new  State 
capital  needed  murals.  .    .    . 

Mabel  was  overjoyed  to  find  beautiful  colors  splashing 
the  Ballin  palette  again. 

Then  one  of  the  biggest  publishers  wrote  about  a  con- 
trol of  Hugo's  novels. 


Hugo  has  been  painting  murals  and  writ- 
ing books  .  .  .  but  now  Gloria  Swanson  has 
him  under  contract  to  design  the  settings 
for  her   version   of   "The  Eyes   of  Youth" 


However,  the  quiet,  peaceful  days  in  the  house  under 
the  big  pepper-tree  were  not  to  go  on  and  on  undisturbed. 

Albert  Parker  signed  a  contract  to  direct  Gloria  Swan- 
son  in  "Eyes  of  Youth."  He  immediately  wired  Hugo 
to  come  to  New  York  arid  design  the  settings.  Hugo 
thanked  him  for  the  offer  but  refused.  He  turned  again 
to  the  colors  on  his  palette — to  his  typewriter.  .  .  . 
Mabel  found  a  fascinating  new  book,  "The  Relic,"  trans- 
lated from  the  Portuguese.  She  read  it  to  Hugo  when 
he  was  weary  after  a  day  before  a  new  canvas.  They 
thought  what  a  delightful  motion  picture  it  would  make 
— if  it  could  be  made  as  a  motion  picture.  But,  of 
course,  it  couldn't.     Censors. 

Another  wire  came.     This  was  from  Gloria. 

And  a  few  days  later  Mabel  and  Hugo  packed  their 
trunks  and  locked  the  windows  and  doors  and  entrained 
for  New  York. 

At  the  last  minute  someone  asked  Mabel  if  she  would 
remain  and  make  a  picture.  Such  a  foolish  Someone. 
With  Hugo  going  to  New  York,  Mabel  would  never  think 
of  remaining,  whatever  the  picture  or  the  role  or  the 
salary. 

They  are  frightfully  in  love  with  each  other  after  years 
of  matrimony.  And  that  is  so  often  an  antidote  for  love. 
We  think  it  is  because  they  both  have  the  same  precious 
sense  of  humor. 

Neither  of  them  could  ever  find  anyone  else  with  their 
kind  of  humor. 

If  an  authority  tells  Hugo  that  he  wants  a  Queen 
Anne  house  for  a  setting  long  before  Queen  Anne  her- 
self existed,  Mabel  and  Hugo  do  not  act  very  superior 
or  very  cynical  or  very  caustic.  They  look  at  each  other 
with  the  most  sober  faces.  But  little  smiles  crinkle  in 
their  eyes.  That  is  quite  safe,  you  see.  It  is  hard  to  be 
sure  about  these  smiles,  even  after  you  have  known 
Mabel  and  Hugo  for  years. 

They  came  to  dinner  the  other  evening.    The  maid  was 
ill  and  things  were  the  way  things  are  when  the  maid  is 
ill.     But  it  did  not  matter.     We  did  not  feel  the  least 
(Continued  on  page  114) 

55 
PAS 


I 


Pictures    That   Will    Soon 


The  gentlemen 
critic*  are  in- 
clined  to  lose 
their  impartia 
critical  faculty 
when  Marie  Pre- 
voit  appears  in  a 
riding  habit,  as 
she  does  in  her 
new  picture,  in- 
appropriately 
enough  called 
"For  Wives 
Only."  The  title 
hardly  seems  to 
define    its   appea' 


In  "Upstage," 
Norma  Shearer  is 
the  young  girl 
who  comes  to  the 
Big  City.  A  novel 
twist  is  promised 
in  this  story  in 
which  the  girl 
makes  her  way  on 
the  vaudeville 
stage 


h 


Shadow    the    Screens 


"Tin  Hats,"  according  to 
those  who  have  seen  the  film 
rushes,  abounds  with  that 
camaraderie  that  existed 
among  the  troops.  Not  that 
this  scene  proves  anything  of 
the  sort  .  .  .  the  foot  in  Con- 
rad Nagel's  face  belongs  to 
social   Bert  Roach 


One  thing  we  know  about 
"The  Ace  of  Cads."  It  is  a 
story  about  charming  people, 
for  Alice  Joyce  and  Adolphe 
Menjou  head  the  cast  .  .  , 
and  they  are  both  certain  to 
be  charming,  whatever  the 
coloring   of   their   roles 


Ronald  Col  man 
and  Vilma  Banky 
.  .  .  and  Harold 
Bell  Wright's 
■tory,  "The  Win- 
ning of  Barbara 
Worth"!  Mr.  Col- 
man  plays  Willard 
Holmes  and  Miss 
Banky,  Barbara 
Worth.  Henry 
King  is  the  direc- 
tor and  Samuel 
Goldwyn  the  pro- 
ducer.      Splendid! 


A  native  girl  with 
lotus  flowers  in 
her  hair  ...  A 
soldier  with  un- 
fulfilled dreams  in 
his  eyes  . 
Myrna  Loy  and 
Monte  Blue  in 
these  two  roles  .  .  . 
This  is  the  stuff  of 
which  "Across 
the  Pacific"  is 
made 


57 

PAG 


i 


A  NEW  VERSION  OF  AN 
OLD  PICTURE 


Your  memory  of  motion  pictures  previously  filmed 
is  like  your  memory  of  songs  previously  sung.  If 
you  are  not_  careful,  you  give  away  your  age. 
However,  even  tho  you  may  not  remember  it,  the 
old  Vitagraph  Company  filmed  "His  Official  Wife" 
long  ago  with  Clara  Kimball  Young  in  the  title  role. 
When  the  Warner"  Brothers  took  over  the  Vitagraph 
Company,  they  secured  the  screen  rights  to  all  the 
stories  .  .  .  and  "His  Official  Wife"  is  to  come 
again  to  the  screen.  Irene  Rich  and  Conway  Tearle 
carry  the  new  version  of  this  old  story 


! 


58 

Of 


The  trouble  is  that  all  the  handsome 
men  with  reputations  that  are  worth 
anything  at  the  box-office  are  under 
contract.  When  Gloria  Swanson  faced 
the  casting  of  her  version  of  "The  Eyes 
of  Youth,"  she  was  in  a  quandary  .  .  . 
who  could  she  get  to  play  opposite  her? 
Then  one  night  she  went  to  see  "Kitty's 
Kisses,"  one  of  the  summer  shows  on 
Broadway   .    .   . 


Photograph 
by 
Kesslere 


And  prominent  in  the 
cast  of  "K  i  t  t  y  *  s 
Kisses"  was  a  young 
man  named  John 
Boles,  good  to  look 
upon  and  all  that  sort 
of  thing.  Gloria  made 
inquiries.  He  was 
from  Texas  ...  a 
university  man  .  .  . 
had  never  been  on  the 
screen  .  .  .  but  had 
played  several  seasons 
in  musical  comedies. 
Gloria  gave  him  a 
screen  test.  .  .  .  Now 
John  is  in  the  movies. 
As  Gloria'sleadingman 


w 


Miss  Swanson 


Presents 


John  Boles 


59 

PAG 


I 


The  Picture  Parade 


BEAU   GESTE— Mystery  Drama— 90% 

IT  HIS  is  as  gallant  a  story  told  by  shadows  on  the  screen  as  it  was 
when  told  by  the  author,  Wren,  between  the  covers  of  the  popular 
novel. 

Herbert  Brenon  has  kept  the  same  intangible  spirit  that  the  book 
possessed.  He  focuses  your  interest  upon  the  screen  in  the  first 
episode  and  holds  it  thruout,  even  if  the  remainder  of  the  story  is  not 
so  thrilling  and  mysterious  as  the  prolog. 

Because  of  a  cloud  that  hangs  over  the  honor  of  their  name,  the 
three  Geste  brothers  join  the  Foreign  Legion,  a  regiment  comprised  of 
self-exiled  men  from  all  nations  ...  a  regiment  that  marches  under 
the   French  tricolor  to   hold   desert    forts   against   marauding   Arabs. 

Considering  the  material  at  hand,  it  was  rather  up  to  Herbert 
Brenon  to  make  an  excellent  production  of  this  popular  mystery  novel. 
He  had  considerable  drama  and  suspense  in  the  story,  to  begin.  And 
he  was  able  to  assemble  an  excellent  cast.  Ronald  Colman,  N?il 
Hamilton  and  Ralph  Forbes  are  the  three  brothers.  Noah  Beery 
contributes  a  masterful  portrait  of  the  cruel  commanding  officer.  And 
William  Powell  etches  his  performance  of  a  despicable  member  of 
the  regiment,  a  thief  and  liar,  with  sly,  crafty  strokes. 

Alice  Joyce  as  the  aristocratic  owner  of  the  priceless  jewel  that  is 
stolen  also  gives  a  commendable  performance,  enhancing  it  by  a 
beauty  and  sincere  dignity  that  is  charming  to  behold. 

More  than  all  of  this,  the  production  has  a  great  pictorial  beauty. 
We  recommend  "Beau  Geste"  whole-heartedly. — Paramount. 

INTO    HER    KINGDOM-Drama-80% 

TS  motherhood  the  greatest  estate  that  any  woman,  be  she  artiste, 

serf  or  queen,  can  enjoy?  Wise  men  have  said  that  this  was  the 
case  because  it  suited  Nature's  tyrannical  scheme  of  things  to  have 
it  so.    Life  must  go  on. 

And  this  idea,  plus  the  fact  that  Russian  royalty  mysteriously  dis- 
appeared during  the  Soviet  uprising,  is  the  substance  of  "Into  Her 
Kingdom,"  the  latest  Corinne  Griffith  production. 

You  will  undoubtedly  '  find  entertainment  and  diversion  in  its  pic- 
torial appeal,  even  tho  you  will  agree  that  the  story  is  flimsy  stuff. 

The  fact  that  you  are  interested  and  hope  that  the  lovely  dethroned 
Grand  Duchess  Tatiana  will  come  to  appreciate  the  virtue  of  Stephen, 
a  revolutionist,  is  a  tribute  to  the  cast. 

Without  the  direction  of  Sven  Gade  .  .  .  the  lavish  settings  which 
are  nevertheless  within  the  realm  of  possibility  .  .  .  and  the  fine 
acting  that  is  generously  contributed,  this  would  have  been  a  far 
less  interesting  picture.     It  is  not  the  plot  that  recommends  it. 

Einar  Hanson  gives  a  forthright  performance,  born  of  what  seems 
some  understanding  of  the  Soviets.  That  is  a  relief.  He  is  all  that 
Miss  Griffith  predicted  of  him. 

Claude  Gillingwater  gives  his  usual  dignified  performance. 

And  Miss  Griffith  as  the  Grand  Duchess  charmingly  animates  a 
role  that  might  easily  have  become  preposterous.  There  is  a 
sincere  intelligence  and  sensitiveness  to  her  characterization  that  saves 
it  from  dropping  into  the  realm  in  which  the  sob  sisters  thrive.  We 
have  always  felt  that  the  critics  would  give  more  of  their  limited 
space  to  praise  of  Miss  Griffith  as  an  actress  if  they  had  less  occa- 
sion to  spend  adjectives  in  lauding  her  beauty. — First  National. 

BATTLING  BUTLER-Comcdy-80% 

DIGHT  up  Buster  Keaton's  street  is  his  newest  opus,  adapted  from 
■*  *  a  musical  comedy  which  had  its  share  of  success  on  Broadway 
a  couple  of  seasons  ago.  Much  merriment  is  evoked  from  the  stone- 
faced  comedian's  efforts  to  camp  out  a  la  Ritz.  As  a  pampered  youth 
he  believes  in  luxuries.  Naturally  on  the  camping  jaunt  he  takes  his 
valet  as  well  as  a  complete  wardrobe  of  suits  for  every  occasion. 

Buster  times  his  appearances  as  hunter,  fisherman  and  dinner  guest 
in  fine  sequence,  and  each  exit  from  his  well-equipped  tent  (it  has 
all  flic  modern  conveniences)  is  provocative  of  much  laughter.  A 
laugh  straight  from  the  diaphragm  greets  him  when  the  mountain 
girl  has  to  escort  him  back  to  camp  after  he  has  escorted  her  home. 

The  piece  gallops  along  with  pleasant  gags  and  doesn't  show  any 
sagging  quality  until  the  prize-fight  episodes  are  reached.  Then  it 
be*  omes  a  little  monotonous.  However,  Keaton  jumps  into  the  breach 
in  time  to  keep  it  peppy.  He  has  some  rollicking  moments  in  trying 
to  train   for  the  fight — and  again  when  he  enters  a  ring  or  three.  _ 

If  you  must  know  what  it  is  all  about — well,  the  mountain  girl's 
heavy  and  hardy  relatives  mistrust  him  for  a  weakling.  His  valet 
then  palms  him  off  as  the  prize-fighting  Butler.  And  in  the  end 
Buster  makes  good  with  the-  gloves. 

The  story  is  just  made  for  Keaton  and  he  does  very  well  by  it — and 
in  it.  Snitz  Edwards  renders  first  aid  as  the  valet  and  Sally  O'Neil 
makes   a  charming   mountain  girl. —  Mctro-Coldzvyn. 


A  GUIDE  TO  THE  GOOD  PICTURES 

1A/E  will  publish  our  reviews  in  a  uniform  size  so  that  they  may  be  filed  for  future  reference. 
**      by  critics  whose  Viewpoints  are  unbiased.      The  ratings  should  be  of  special  assistance. 
Ratings:  Excellent,  95%;  Good,  80%;  Fair,  70%;  Poor,  50% 


They  are  written 


LADDIE— Romantic  Drama— 80% 

IF  you  go  to  see  "Laddie"  because  you  thought  the  book  was  "such 
a  sweet  love  story,"  you  will  surely  be  disappointed.  For  the 
romance  has  been  unfortunately  entrusted  to  two  people  quite  incapable 
of  handling  it  delicately  and  sympathetically.  John  Bowers  is  a 
stocky  and  stolid  Laddie  and  Bess  Flowers  as  the  Fairy  Princess 
of  the  Big  Wood  simpers  in  her  ruffles  and  curls  like  the  leading 
ladies  of  ten  or  fifteen  years  ago.  But  the  background  for  their 
story,  which  seems  really  to  have  been  the  chief  concern  of  everyone 
connected  with  the  pictures  is  far  more  successful.  The  lovely  coun- 
try scenes  and  the  simple,  home-spun  life  of  the  farm  are  delightful 
and  in  the  true  spirit  of  Gene  Stratton  Porter.  The  real  heroine  of 
the  story  is  Little  Sister,  played  in  a  straightforward  manner  by  a 
rather  military  and  very  engaging  little  girl  named  Gene  Stratton. 
She  is  Gene  Stratton  Porter's  granddaughter.  Eulalie  Jensen,  Ernest 
Torrence  and  John  Fox,  Jr.,  as  the  Bad  Boy  of  the  family,  give 
excellent  performances.  The  continuity  is  inexpert  and  unconvincing, 
but  you  will  enjoy  this  for  its  quiet  humor  and  sincerity,  if  for  noth- 
■ing  else. — Film  Booking  Offices. 

THE  SCARLET  LETTER-Drama-90% 

J  AT  ELY  there  have  been  some  critics  who  have  made  a  fetish  of 
disparaging  Lillian  Gish  as  an  artiste.  Yet  we  believe  that  her 
work  is  infinitely  greater  than  it  was  heretofore  when  extravagant 
words  were  written  by  her  name.  Then  her  work  suffered  because 
of  a  series  of  fluttery  mannerisms  and  tricks  which  colored  whatever 
role  she  played.     Surely  they  did  not  serve  a  wide  variety  of  roles. 

Today  this  criticism  of  Lillian  Gish  is  comparatively  passe.  She 
has  abandoned  the  greater  portion  of  such  repetitious  mannerisms  and 
emerged  a  greater  actress. 

Which  brings  us  to  "The  Scarlet  Letter,"  that  tale  of  suffering 
perpetrated  in  the  name  of  Christianity. 

If  this  production  does  not  shadow  our  personal  conception  of  the 
Hawthorne  story  .  .  .  and  if  Lillian  Gish  is  not  our  idea  of  Hester 
Prynne,  the  persecuted  heroine,  both  are  nevertheless  intelligent, 
convincing  and  sincere. 

Hester  Prynne,  you  will  remember,  is  the  Puritan  seamstress  whose 
youth  rebels  only  to  be  bruised  by  the  ironclad  morals  and  conventions 
of  the  colony  in  which  she  lives. 

There  is  one  scene  in  which  Hester  is  taken  from  the  prison  to 
the  scaffold  where  a  scarlet  A  for  adultery  is  to  be  sewn  upon  her 
gown.  She  walks  down  an  aisle  cleared  for  her  in  the  crowd,  her 
baby  in  her  arms.  We  do  not  ever  remember  seeing  anything  more 
poignantly  sensitive  than  Miss  Gish's  conception  of  this  scene.  She 
is  not  a  broken  creature  even  tho  she  knows  a  timidity  because  of 
the  hard,  unrelenting  faces  that  stare  at  her.  There  is  a  shadow  of 
disdain  upon  her  face  .  .  .  she  suggests  the  queen  being  mobbed  by 
commoners  who  can  never  really  destroy  her  because  she  possesses 
something  far  beyond  them. 

Lars  Hanson,  who  plays  the  Reverend  Dimmesdale,  gives  a  most 
commendable  performance.  And  Karl  Dane  of  "The  Big  Parade" 
fame  in  the  role  of  a  barber  and  chirurgeon  is  a  bright  spot  in  an 
otherwise  grim  dark  pattern. 

"The  Scarlet  Letter"  will  not  be  ranked  with  the  great  pictures, 
but  it  should  win  a  very  real  reception  from  the  American  people. 
It  is  a  faithful  interpretation  of  one  of  our  greatest  classics. — 
Alctro-Goldwyn-Mayer. 

THE  AMATEUR  GENTLEMAN-Rom™%c£rama 

DICHARD  BARTHELMESS  has  brought  another  spiritless  but 
very  correct  and  well-behaved  picture  to  the  screen.  It's  all  very 
well  for  Dick  to  go  on  making  these  half-hearted  and  dreadfully  dull 
things  if  he  wants  to  take  the  consequences  in  loss  of  popularity. 
But  it's  too  bad  he  drags  such  awfully  good  stories  to  the  bottom 
with  him.  Someone  else  could  have  made  Jeffrey  Farnol's  novel  into 
a  _  romantic  and  witty  and  exciting  and  utterly  charming  affair. 
Dick's  version  is  very  perfunctory  story-telling.  It  stops  for  no  ex- 
planations, yet  gains  nothing  in  speed  or  interest  by  this  neglect  of 
detail.  There  is  none  of  the  pictorial  charm  which  should  certainly 
be  the  escence  of  any  Farnol  picture,  and  hardly  a  hint  of  the  Farnol 
humor  and  whimsicality.  And  those  few  hints  are  rather  jabs. 
Dorothy  Dunbar  utterly  fails  to  capture  the  spirit  of  the  lovely 
Cleonc  Meredith,  and  Barthelmess  does  little  but  smile  his  property 
smile  and  pose  determinedly,  even  while  looking  slightly  sheepish  in 
his  unbecoming  period  costumes.  We  are  among  those  who  hold  that 
a  book  should  be  faithfully  copied — unless  the  director  has  something 
better  to  give.— First  National. 


/THMotion  picture" 

Um  I  MAGAZINE      L 


THE  DUCHESS  OF  BUFFALO-Comedy-85% 


/OSEPH  M.  SCHEXCK  presents  Constance  Talmadge  in  "The 
Duchess  of  Buffalo."  He  presents  her  "with  Tulio  Carminati," 
who  looks  like  Conway  Tearle,  only  not  so  much  so.  It  is  a  First 
National  picture,  a  Sidney  Franklin  production.  You  would  think 
that  it  would  be  a  wow.  But  it  isn't.  It  may  have  been  the  sys- 
tem of  refrigeration  in  the  Capitol  Theatre,  but  we  think  it  was 
our  critical  faculty  that  made  us  fidget  during  the  lively  antics  of 
our  old  favorite,  Constance.  She  is  not  at  her  best.  Nor,  we  be- 
lieve, is  Tulio.  He  is  called  upon  to  act  like  an  adolescent  simple- 
ton. He  couldn't  help  it.  It  was  the  part  he  played.  Even  Chester 
Conklin,  funniest  funny  man  of  them  all,  wasn't  so  funny  as  usual. 
Maybe  we  are  not  interested  in  an  American  girl  who,  as  the  skit- 
tish titles  inform  us,  danced  "without  avail"  in  America  and  "with- 
out a  veil"  in  Russia — result.  Lieutenant  Vladimir  Qrloff  of  the 
Dragoons  falls  in  love  with  her  as  likewise  does  his  superior,  the 
Grand  Duke  Gregory  Alexandrovitch.  In  different  ways,  of  course. 
It  is  a  story  without  benefit  of  originality.  And  there  is  a  snow- 
storm composed  of  flakes  the  size  of  silver  dollars.  Maybe  they 
have  'em  like  that  in  Russia. 


PALS  FIRST— Romantic  Drama— 80% 

ZTDWARD  CAREW  apparently  realized  that  he  had  sure-fire 
movie  stuff  in  this  story  of  mystery  and  mistaken  identity — 
for  he  didn't  trouble  to  give  it  more  than  an  adequate  presentation. 
It  is  very  good  entertainment,  nevertheless.  A  young  hobo,  with 
two  pals,  enters  the  house  of  a  wealthy  Southern  family  and  is 
mistaken  by  the  servants  for  the  "young  master,"  whom  they 
thought  dead.  You  can  imagine  the  complications  that  ensue — or 
perhaps  you  cant  quite  imagine  them  all,  and  in  that  case  you  will 
have  much  more  fun  at  the  end.  There  is  a  girl,  in  the  person  of 
Dolores  del  Rio,  who  has  never  believed  her  lover  dead.  Dolores 
is  disappointing  in  that  she  reveals  none  of  the  fire,  on  the  screen, 
that  her  off-screen  personality  promises.  But  she  is  beautiful  and 
sweet.  Lloyd  Hughes  as  the  mysterious  hero  has  a  role  which  we 
suspect  is  just  about  as  big  as  any  his  talents  could  cope  with. 
But  he  plays  it  with  becoming  manliness  and  affability.  The 
familiar  comedy  of  the  tramp  in  the  gentleman's  shoes  is  over- 
done. Alec  Francis  is  excellent,  as  always,  as  an  elderly  and  wist- 
ful and  very  nice   tramp. — First  National. 


I 


HER  BIG  NIGHT -Farcc-90% 

yin.S  spirited  comedy  augurs  well  for  the  future  of  Melville 
Brown,  (Jniversal's  erstwhile  scenario  writer,  who  has  di- 
rected only  two  pictures.  .No  brighter  comedy  has  appeared  on 
our  screen-  for  seasons.  H  is  fresh  and  gay  and  very  swift- 
moving,  and  wrings  almost  continuous  and  delighted  laughter 
from  the  audience.  Laura  La  Plante's  metier  is  frivolous  comedy 
and  she  is  perfect  as  the  shop-girl  who  finds  out  what  amazing 
in  happen  to  you  if  you  resemble  a  famous  movie  star. 
Laura  grows  more  engaging  with  every  picture.  Her  vivacity  is 
bracing  enough  to  turn  almost  any  picture  into  good  entertainment, 
but  in  this  case  it  is  matched  by  the  pace  of  the  story.  I".inar 
Hanson,  from  Sweden,  hasn't  much  of  a  chance  to  demonstrate  his 
talents,  but  he  manages  to  continue  the  excellent  impression  he 
made  in  "Into  Her  Kingdom."  After  all,  the  light  breezy  things 
come  to  the  screen  with  merit  too  seldom.  And  without  making 
this  picture  is  delightful.  Dont  miss  this  pic- 
It  i-,  thoroly  delightful. —  Universal. 

r,2 


THE  GREAT  DECEPTION-Mehdrama-70% 

71  is  only  natural  that  war  pictures  should  abound  these  days, 
yet  it  does  seem  reasonable  to  expect  something  a  little  more 
mature  and  authentic  than  this  hectic  tale.  It  is  rambunctious 
drama,  full  of  spies  and  double-eyed  villains  and  falling  air-planes, 
and  is  unique  only  in  the  fact  that  for  the  greater  part  of  the 
picture  it  leads  the  audience  into  a  very  decided  sympathy  for  the 
enemy.  The  hero,  an  English  boy  who  has  been  educated  in  Ger- 
many, becomes  a  spy,  apparently  for  the  Germans  hut  really  of 
course  for  "the  country  he  loves  best."  He  gets  caught — natu- 
rally— and  in  the  midst  of  all  this  red-hot  action,  farce  is  resorted 
to  in  order  to  get  the  hero  out  of  an  insoluble  situation,  in  the 
hope  of  getting  the  audience  to  forget  the  implausibilities  in  a 
laugh.  Unfortunately,  the  laughter  of  the  audience,  too,  is  ram- 
bunctious, and  often  breaks  out  most  impolitely  in  what  the  direc- 
tor would  like  to  have  you  regard  as  stirring  moments.  Really  a 
dull  and  siMy  picture,  acted  tonelessly  by  Ben  Lyon  and  Aileen 
Pringle,  and  not  worth  your  attention. — First  National. 


THE  HONEYMOON  EXPRESS-Comlf0O?orama 

rPHE  movies  never  tire  of  that  grub-to-butterfly  theme  which 
*■  has  served  so  often  of  late.  In  this  Warner  Classic  there  are 
two  metamorphoses — the  mother  transformed  from  frumpy  middle 
age  to  beautiful  youth  and  the  daughter  finally  won  away  from 
mannish  attire  and  revealed  in  all  the  splendor  of  her  sex. 

This  is  an  unskilful  comedy,  hardly  worthy  of  the  sacrifice  of 
Helene  Costello's  hair,  which  was  bobbed  for  the  occasion.  Irene 
Rich  is  pleasing  as  the  mother  who  finally  rebels  against  being  used 
as  a  door-mat  by  her  whole  family,  and  by  breaking  away  and  living 
her  own  life  wins  back  their  affections  and  a  romance  for  herself 
as  well.  Willard  Louis,  her  husband,  is  left  forlornly  among  his 
jbottles — a  rather  sad  last  appearance,  as  he  managed  to  make  even 
that  old  reprobate  a  sympathetic  character.  Virginia  Lee  Corbin 
didn't  do  as  much  with  her  portrayal  of  the  unwise  flapper — she 
was  merely  and  completely  common  thruout. 

Old  in  theme  and  clumsy  as  the  picture  is,  it  still  manages  to 
hold  and  entertain.  If  you  are  not  inclined  to  be  too  critical,  you 
will  probably  find  this  diverting. — Warner  Brothers. 


THREE  BAD  MEN-Wedem  Drama-75% 

TTilS  was  evidently  intended  to  have  that  epic  quality  which 
distinguished  "The  Four  Horsemen"  and  "The  Covered 
Wagon."  It  deals  with  the  gold  rush,  in  the  literal  sense  of  the 
word,  when  the  pioneers  of  the  West  were  first  permitted  to  cross 
the  border  onto  the  Indian  reservations  where  gold  had  been 
found.  And  certainly  some  reckless  and  very  effective  scenes  have 
been  shot  of  this  mad  stampede  for  riches.  But  alas  for  the  story 
— it  is  anything  but  epic.  It  never  quite  established  its  mood, 
wandering  about  uncontrollably  in  the  usual  manner  of  John  Ford. 
It  is  pretty  poor  stuff— sentimental,  melodramatic,  laboriously 
humorous.  The  theme  is  that  there's  a  little  bit  of  good  in  every 
bad  man,  and  that's  how  our  heroine  manages  to  live  in  the  tough 
town  of  Custer  without  coming  to  any  harm.  Olive  Borden  con- 
firms the  suspicion  we've  had  right  along  that  she  cant  really  act 
at  all.  She  was  so  concealed  in  blazers  and  boots  that  there  was 
nothing  to  distract  our  attention  from  her  acting,  and  the  truth  was 
out.  J.  Farrell  MacDonald  and  Frank  Campeau  rejoice  in  char- 
acter parts,  and  George  O'Brien  is  a  sort  of  hero. — Fox. 


ONE    MINUTE     TO     PLAY-Comedy  Drama-85% 

LT/  E  expected  this  to  be  just  a  glorified  newsreel  featuring  Red 
Grange  and  his  football,  and  to  our  vast  surprise  it  turned 
out  to  be  a  real  picture  which  would  have  been  entertaining  with 
or  without  the  football.  It's  a  college  story — one  of  those  movie 
colleges,  of  course,  but  we've  seen  so  many  of  them  now  that  they 
begin  to  look  more  authentic  than  the  real  thing.  The  picture  is 
peppy  and  light-hearted,  and  Red  comes  thru  with  a  perform- 
ance that  has  made  us  his  ardent  fan.  He  is  not  handsome  or  pol- 
ished or  any  of  those  things,  but  he  behaves  with  an  unaffected 
ease  that  would  put  some  of  our  seasoned  leading  men  to  shame. 
And  he  is  modest  and  thoroly  likable — in  fact,  he  outshines  Rich- 
ard Dix  completely  so  far  as  we're  concerned.  The  plot  reveals  a 
new  and  convincing  angle  of  the  college-boy  theme,  and  works  up 
to  the  usual  climax  on  the  gridiron,  which  need  not  be  described. 
The  title  and  any  of  Red's  press  notices  tell  the  story — suffice  it 
to  say  that  if  you  get  a  kick  out  of  football,  this  will  provide  a 
great  thrill.  A  real  comedy  that  will  surely  please  you. — Film 
Booking  Offices. 

(Continued 


THE  WALTZ  DREAM-c0medy  Drama-90% 

A  UFA  production,  directed  by  Ludwig  Berger.  An  adaptation 
"**  from  the  famous  Oscar  Strauss  operetta,  "The  Waltz 
Dream."  But  ye  gods,  what  an  adaptation !  What  subtlety ! 
A  slim  story,  perhaps,  of  an  inhibited  little  Princess  of  Flau- 
senberg  taken  to  Vienna  a-husband-hunting  by  her  lecherous  old 
father.  Father  is  to  do  the  hunting.  They  return  to  Flausenberg, 
where  there  is  a  wedding  ceremonial,  or  a  series  of  ceremonials  as 
clever,  as  sophisticated  as  anything  we  have  ever  seen.  And  there 
they  are.  The  cold  little  Princess,  consummately  portrayed  by 
Mady  Christians — an  interesting  young  person,  by  the  way.  The 
dashing  and  appealing  Nicholas  Count  Preyn,  also  dashingly  and 
appealingly  played  by  Willy  Fritsch.  He  pines  for  things— and 
women — Viennese.  The  cold  little  Princess  pines  for  him.  There 
your  problem  is  skilfully  and  subtly  worked  out.  But,  as  usual 
with  UFA  productions,  it  is  the  people  in  the  cast  who  count,  who 
are  real  and  in  whom  you  are  absorbingly  interested.  This  story  is  in 
lighter  mood  than  most  UFA's,  but  even  so  it  has  its  poignancy,  its 
undercurrent  of  sadness  that  is  also  true  to  life.  DONT  MISS  IT. 
on  page  105)  63 

PAG 


I 


Motion  Picture  Junior 


Vol.  II.  No.  5 


November,  1926 


One  day  my  uncle  took  my 
twin  and  me  down  town, 
looking  like  the  picture  on 
the  left  hand  .  .  .  with 
curls  and. funny  little  dresses 


He  had  our  curls  cut, 
bought  us  little  boy 
suits,  and  then  we  had 
the  picture  on  the  right 
taken.  See  how  differ- 
ent we  look.  When  we 
got  home  and  our  moth- 
er    saw     us,     she     cried 


When  I  Was  a  Little  Boy 

By  J.  Warren  Kerrigan 


twin  being  half  an  hour 
brother — I  grew 


I   was  the  youngest  of   eight  boys,  my 
1  older. 

But  it  wasn't  long  before  I  looked  like  his  bi 
so   fast ! 

See  this  picture  of  my  brother  and  me,  taken  when  we  were  be- 
tween three  and  four — look  at  our  long  hair  and  funny  little  dresses  ! 
That  picture  was  taken  one  day  when  we  were  visiting  an 
uncle  in  Canada,  and  when  my  mother  showed  it  to  him,  he 
shook  his  head  and  said :  "Why  these  are  not  little  boys — they 
must  be  little  girls !" 

And  the  very  next  day,  uncle  took  us  down  town,  without 
telling  my  mother,  and  had  our  curls  cut.  Then  he  bought  us 
some  little  boy  suits,  had  us  dressed  in  them  and  had  our  pictures 
taken  again. 

This  other   picture  shows  you  what  we  looked  like  then  ! 
You  can  imagine  how  our  mother  cried  when  she  saw  us  come 
in!      But   we    thought   it   was   fine.     We   didn't   want   any   skirts 
hanging  around  making  it  hard  to  climb  things. 

My  sister, 
Kathleen,  being 
MS*"f  the  eldest  of 
the  big  fami- 
ly, was  grown 
up  when  I~ 
was  a  kid. 


I  can  remember  how  we  went  to  see  her  play  at  Macauley's 
Theater  in  Louisville,  where  we  lived,  and  how  proud  we  were 
of  her! 

One  night,  Kathleen  played  Portia  in  "The  Merchant  of 
Venice."  I  went  back  of  the  scenes  and  watched  all  the  actors 
and  actresses  going  on  and  off  the  stage  and  dreamed  of  how 
some  day  I'd  do  that,  too.  My  sister  had  such  lovely  dresses  and 
looked  so  beautiful  and  played  so  well  that  the  people  were  cheer- 
ing in  front,  and  I  remember  that  the  cab  in  which  we  drove 
home  was  full  of  flowers. 

There  was  one  great  "K"  made  of  all  sorts  of  flowers  that 
was  put  in  on  top  of  the  rest.  My  twin  and  I  thought  it  the 
most  gorgeous  thing  we  had  ever  seen. 

There  were  great  double-parlors  in  our  house,  with  sliding 
doors  between,  and  in  one  of  these  we  used  to  give  shows,  when 
we  were  kids,  the  other  being  the  theater  and  the  doors  being 
the   curtain. 

My  sister's  wardrobe  was  very  large  and  she  kept  a  great  many 
costumes  at  home,  so  we  used  to  borrow  them.  I'd  dress  my  twin 
up  in  long-trained  gowns  with  collars  that  were  so  high  you 
could  hardly  see  his  face,  and  he'd  be  the  heroine  while  I  was 
the  hero.  We'd  turn  the  table  upside  down — that  was  a  mountain. 
A  chair  on  its  side  made  a  cave,  and  an  old  sofa  was  a  pirate 
ship.  My  mother  never  cared  what  we  did — we  could  have  any- 
(Continucd  on  page  104) 


Watch  This  Little  Girl 

[_f(i\v  would  you  like  to  have  the  honor  of  "putting  a  big  city  on  the  motion  pic- 
ture map"  ? 

That  is  exactly  what  little  Nancy  Kelly,  of  Queens,  Long  Island,  has  done  for 
the  city  of  Lowell,  Massachusetts.  You  see,  Nancy,  who  is  only  four  and  a  half 
years  old,  was  born  in  Lowell.  After  playing  two  small  parts  in  pictures  with 
Gloria  Swanson  and  Richard  Dix,  she  was  selected  from  nearly  a  hundred  other 
children  to  play  one  of  the  big  roles  in  "Mismates"  for  First  National,  in  which 
I  Jon's  Kenyon  and  Warner  Baxter  had  the  two  leading  roles.  Little  Nancy  did 
her  work  so  well  that  she  is  one  of  the  big  figures  in  the  picture  now  that  it  is 
released  and  already  the  people  in  the  city  of  Lowell  are  proud  of  their  little  girl 
who  has  at  last  placed  Lowell  on  the  motion  picture  map.  Nancy  plays  the  part 
of  a  boy  in  her  last  picture  and  plays  both  sad,  emotional  scenes  in  which  she  has 
to  cry,  and  then  turns  around  and  plays  in  other  scenes  in  which  she  is  a  regular 
tini  Little  Nancy  is  a  born  actress  and  all  the  players  and  Director 
Charles  Brabin  told  her  mother  that  she  is  one  of  the  real  screen  "finds"  and  should 
have  many  picture  successes  to  her  credit  before  she  gets  thru. 

Watch   Mistress  Nancy! 


The  Junior  Answer  Man 

Joe  Frank  Cobb  Answers  the  Questions  Sent  to  Him  in  Care  of  Movie,  Jr., 
1  75  Dumeld  Street,  Brooklyn,  New  York 


ADA  <  L.  —  Gloria 
Swanson's  next  pic- 
ture will  be  "Eyes  of 
Youth."  That  is  her 
right  name.  You  can 
write  to  her  at  522 
Fifth  Avenue,  New 
York  City,  New  York. 

LILLIE  M.  —  You 
can  write  to  Jack 
Pickford  at  Metro- 
Goldwyn  Studios, 
Culver  City,  Cali- 
fornia, for  his  pic- 
ture. "Our  Gang" 
works  at  the  Hal 
Roach  Studios,  Cul- 
ver City. 

CLIFFIE  K.  —  I 
bet  you  have  great 
fun  roughing  it.  I 
agree  with  you  that 
camp  life  is  the  thing 
for  us  boys.  Your 
favorite  Snub  Pollard 
isn't  playing  in  pic- 
tures at  just  this  time. 

CHARLES 
JOSEPH.  —  Hoot 
Gibson  was  born  in 
Tekamah,  Nebraska, 
in  1892.  Wesley  Barry 
was  born  in  Los 
Angeles,  eighteen  years  ago.  He  is  five  foot  seven  inches  tall 
and  has  red  hair  and  blue  eyes. 

JOEY  B.  H. — Farina  isn't  a  "she."  He  was  born  August  9, 
1920,  and  his  real  name  is  Allan  Clay  Hoskins.  His  little  sister, 
who  is  almost  three  years  old,  is  going  to  join  "Our  Gang." 

EUGENE  MCN. — Did  you  know  that  Fred  Thomson  was  a 
minister  before  entering  pictures?  You  will  see  Billie  Butts 
with  him  again  in  "Lone  Hand  Saunders."  Write  to  him  in  care 
of   F.   B.   O.   Studios,  780   Gower   Street,   Hollywood,   California. 

ALBIE.— Rin-Tin-Tin's  next  picture  will  be  "A  Hero  of  the 
Big  Snows."  You  pronounce  his  name  as  Ran-Tan-Tan.  You 
can  address  Vilma  Banky  in  care  of  Samuel  Goldwyn  Produc- 
tions, De  Mille  Studios,  Culver  City,  California.  Mary  Brian  is 
at  Famous  Players  Studios,  Sixth  and  Pierce  Avenues,  Astoria, 
Long  Island.  She  is  playing  opposite  Johnny  Hines  in  his  next 
picture. 

PAT. — I  bet  it  was  thrilling  to  ride  in  an  aeroplane.  I've  never 
been  up  in  one,  but  would  love  to  go.  That  was  Spec  O'Donnell 
in  "Little  Annie  Rooney."  He  is  playing  with  George  Jessel  and 
Patsy  Ruth  Miller  in  "Private  Izzy  Murphy." 

BIDDY. — You  can  write  to  Virginia  Marshall  at  Fox  Studios, 
1401  North  Western  Avenue,  Hollywood,  California.  She  is  not 
mentioned  in  the  cast  of  "Lazybones."  Sessela  Johnson  was  little 
Bess  in  "Riders  of  the  Purple  Sage." 

WEE  WEE.— You  can  write  to  Gloria  Swanson  at  522  Fifth 


H.    B.    Warner    knows   the   most    exciting    stories    .    .    .    stories   that 
make  thrills  go  wriggling  up  and  down  your  spine.      And  his  chil- 
dren hear  one  of  these  stories  as  a  special  treat  on  the  days  they 
have  a  good  report  from  their  nurse 


Avenue,  New  York, 
New  York.  Jack 
Holt,  Pola  Negri, 
Betty  Bronson  and 
Esther  Ralston  at 
Famous  Players  Stu- 
dio s,  15  20  Vine 
Street,  Hollywood, 
California.  Norma 
and  Constance  Tal- 
madge  at  7200  Santa 
Alonica  Boulevard, 
Hollywood,  Cali- 
fornia. Mary  Pick- 
ford  and  Douglas 
Fairbanks  at  Pick- 
ford  -  Fairbanks  Stu- 
dious., Hollywood, 
California.  Norma 
Shearer,  Harry 
Carey,  Mae  Murray, 
Lillian  Gish,  and 
Jackie  Coogan  at 
Metro  -  Goldwyn  Stu- 
dios, Culver  City, 
California. 

CHARLES  G.— 
You  can  write  to 
Clara  Bow  at  Famous 
Players  Studios,  1520 
Vine  Street,  Holly- 
wood, California.  She 
is  twenty  years  old. 
Her  next  picture  will  be  "Kid  Boots." 

MAXINE  W. — Leslie  Fenton's  next  picture  will  be  "Up- 
stream" with  Dolores  Del  Rio  and  Shirley  Mason.  You  can 
write  Mr.  Fenton  at  the  Fox  Studios,  1401  North  Western 
Avenue,  Hollywood,   California. 

MILDRED  B.— That  was  Harrison  Ford  who  played  Ketlar 
in  "That  Royle  Girl."  Since  then  he  has  appeared  in  "Sandy" 
with  Madge  Bellamy;  "Hell's  400,"  "Up  in  Mabel's  Room,"  with 
Marie  Prevost  and  "The  Nervous  Wreck,"  with  Phyllis  Haver. 
You  can  write  to  him  at  Metropolitan  Studios,  1401  La  Palmas 
Avenue.  Hollywood,  California. 

PUSS. — Mary  Korman  is  twelve  years  old.  Our  next  comedy 
will  be  "Uncle  Tom's   Uncle." 

DORIS  B. — Richard  Dix  has  brown  eyes.  Colleen  Moore  was 
born  August  12,  1902. 

NILES  WELCH  ADMIRER.— None  of  the  players  you  men- 
tion are  playing  in  pictures  right  now,  with  the  exception  of 
Robert  Agnew.  You  can  write  to  him  at  the  Universal  Studios, 
Universal  City,  California.  He  is  playing  in  "Down  the  Stretch," 
with   Marion  Nixon. 

FLORENCE  B.— Glenn  Tryon  is  at  the  Mack  Sennett  Studios, 
1712  Glendale  Boulevard,  Hollywood,  California.  Lois  Moran  is 
playing  in  a  picture  with  Ben  Lyon  called  "The  Prince  of  Tempt- 
ers." You  can  write  -to  her  at  Famous  Players  Studios,  Sixth 
and  Pierce  Avenues,  Astoria,  Long  Island. 


We  Will   Be   as  Angry   as   Felix — 

"VWe  were  going  to  say  we  would  be  as  mad  as  Felix  .  .  .  but  we  re- 
membered that  we  said  we  were  mad  once  when  we  were  a  little 
girl.     Our  mother  told  us  that  we  might  be  angry,  but  that  only  animals  Felix  is  in  a  fright- 

got  mad.  fuI   temper   .    .    . 

What  will  make  us   as   angry  as   Felix   seems  here  ?     Letters  asking  just  '  the    kind    of 

us  about  the  prizes  in  the  Felix  contest !     Every  time  we  have  a  contest  temper  we  will  get 

we  ask  people  not  to   write   asking  about  the  judges'   decision   or   any  in  if  people  write 

thing  else.     If  we  answered  one  question  we  would  have  to  answer  all  asking     us     about 

of  them  .  .  .  and  to  do  that  we  would  need  a  whole  army  of  secretaries.  the    prizes    in    the 

And  we  only  have  one.  Felix    contest 

So  please  do  not  write  asking  us  about  the  Felix  contest.  We  will 
ask  Mr.  Pat  Sullivan  to  hurry  about  his  decision.  And  we  will  print 
the  news  of  the  winners  in  the  first  possible  issue. 


NEWS  OF  THE 


By  Milton  Howe 


OUR  old  friend,  Elinor 
Clvii.  whose  future  ac- 
tivities have  been  cloaked 
in  much  mystery  until 
now.  has  aligned  herself  with 
Paramount.  .Madam  Glyn's  first 
donation  to  the  new  firm  will  be  a 
story  titled.  "It."  Elinor  took  this 
totally  innocent  neuter  gender 
pronoun  and  applied  it  to  the 
masculine  and  feminine  genders. 
This  action  created  quite  a  furore 
and  the  resultant  publicity  has 
made  the  little  two-letter  word  so 
popular  that  it  has  become  suffi- 
ciently well  known  to  warrant  us- 
ing it  as  the  title  of  a  picture. 

Some  time  ago  we  thought  the 
application  of  the  word  "It,"  as 
defined  by  Elinor,  was  going  to 
create  a  sensation,  so  we  followed 
up  with  the  word  "Was,"  which 
applies  to  those  who  had  "It,"  but 
that  "Was."  We  may  sell  our 
word  to  a  rival  company  as  a 
sequel  to  Elinor's  drama. 


T~\vo  blonde  extra  girls  were  sit- 
•*■  ting  in  the  lobby  of  the  Hotel 
Gilbert  in  Hollywood.  They  were 
discussing  a  certain  casting  direc- 
tor. Evidently  the  director  had  promised  one  of  them  a 
job,  but  managed  to  be  out  every  time  the  blonde  called 
to  eet  it. 


The  miracle  of  it  is  that  Helen  Wills  and 
Richard  Dix  met  each  other  one  summer  day 
at  Forest  Hills  .  .  .  posed  for  news  pictures 
together  .  .  .  and  were  not  reported  en- 
gaged. Helen  was  playing  on  the  courts  of 
the  West  Side  Tennis  Club  when  Dix  and  his 
company  arrived  there  to  take  some  scenes 
for   "The  Quarterback" 


"You  know,"  said  she,  "I  have 
chased  that  liar  all  over  Holly- 
wood and  I  haven't  been  able  to 
catch  him.  If  there  ever  was  a 
'Vanishing  American,'  he's  the 
baby !" 

T  have  heard  this  gag  before,  but 
never  applied  to  the  czar  of  the 

industry. 

Two   ministers  were  discussing 

the  motion  picture  business.     "You 

dont  happen  to  know  Will  Hays, 

Jr.?"  asked  one. 

"No,"  replied  the  other,  "but  I 

do   know  Will   Hays,   the  elder." 


I  have  often  wondered  what  the 
Will  Hays'  organization  did  for 
a  living,  and  I  have  just  found 
out.  Will  takes  the  blame  for  the 
movies,  which  is  a  tremendous  as- 
signment for  one  man. 

The  latest  news  is  that  many 
people  over  the  country  are  regis- 
tering objections  to  Mary  Pick- 
ford's  picture,  "Sparrows."  They 
claim  that  the  children  in  the  pic- 
ture must  have  gone  thru  terrible 
privations  while  the  film  was  be- 
ing made,  and  they  say  the  kiddies 
were  not  humanely  treated. 

(If  these  deductions  are  based  only  upon  the  childrens' 
appearance  on  the  screen  it  is  something  of  a  left-hand 
compliment  to  the  realism  of  the  acting.) 

If  every  complaint  registered  was  corrected,  the  mo- 
tion picture  screens  of  the  country  would  be  filled  with 
scenics,  and  then  someone  would  kick  because  there  was 
a  tree  in  the  way. 


Noonday   on  the  desert    .     .     .    with  Ronald  Colman  visiting 

Vilma  Banky  on  the  veranda  of  the  bungalow  she  occupied 

while  on  location  for  "The  Winning  of  Barbara  Worth" 


Carmelita  Geraghty  and  Lois  Wilson  bring 

perfect     understanding     to     their     roles     in 

"The   Great   Gatsby" 


66 
ice. 


CAMERA  COASTS 


and  Elizabeth  Greer 


Norma  Shearer  gives  an  impression  of  Monta 

Bell .  .  .  and   Monta    Bell    gives   an    impression 

of  Norma   Shearer 


A  day  or  two  before  Viola 
■**•  Dana  started  work  in  her 
first  picture  for  F.  B.  O.,  she  re- 
ceived two  calls  from  the  studio. 
The  first  was  from  the  wardrobe 
department  and  the  second  came 
from  the  publicity  department. 

In  answer  to  the  publicity 
man's  request  that  she  appear  for 
still  pictures,  Vi  replied,  "I'll  see 
you  as  soon  as  the  wardrobe  de- 
partment finisbes  with  me.  They 
want  to  give  me  a  fitting,  and  all 
I'm  to  wear  in  this  picture  is  a 
wig  and  two  handkerchiefs.  May- 
be they  want  to  put  my  laundry 
mark  on  the  handkerchiefs." 

IX/Iae  Murray's  next  picture  is 
*■**•  to  be  titled  "Valencia"  after 
the  song,  not  the  orange.  In  Cali- 
fornia we  have  Valencia  oranges, 
which  I  am  told  were  named  by 
the  Spaniards  before  the  song 
ever  came  out. 

A  story  is  being  written  around 
the  title.     I  haven't  found  anyone 

who  knows  the  words  to  the  song.  The  nearest  I  can 
come  to  the  lyric  is,  "Valencia — Ta-da-ta-da-ta-da,"  and 
that  is  as  near  right  as  anybody  in  Hollywood  can  sing  it. 
I  hope  the  story  is  better.  It  is  to  be  a  tale  of  old  Spain 
where  hearts  are  hot  and  both  parties  are  jealous. 

T  do  not  remember  Jenny  Lind,,  but  she  was  the  siren  of 
*  her  day,  which  was  in  the  1850  period  of  American 
history.  Metro-Goldwyn-Mayer  are  to  make  a  film  of 
her  life. 

P.  T.  Barnum  brought  Jenny  to  this  country.     First 
she  appeared  as  a  dramatic  actress  with  great  success  and 


Mrs.  Luther,  Irene  Rich's  mother,  and  Jane  and  Frances, 
Irene's  two  daughters,  visited  their  mother  and  ConwayTearle 
at   the    studios   when    "His   Official   Wife"    was   being   filmed 


later  made  her  debut  as  a  singer 
with  even  greater  success,  so  M. 
G.  M.  think  the  story  of  her  life 
will  be  the  success  of  all  successes. 

A  new  young  leading  man  with 
^"^  auburn  hair  and  blue  eyes 
came  to  Hollywood  this  month 
with  a  Lasky  contract  tucked  un- 
der his  arm.  Fie  leaped  right  into 
the  leading  role  opposite  Bebe 
Daniels  in  "The  College  Flirt," 
and  is  now  playing  opposite  Pola 
Negri  in  "Hotel  Imperial."  It  is 
his  first  experience  before  the 
camera,  so  there  is  a  reason  why 
James  Hall  is  not  popular  with 
the  ambitious  crowd  of  young 
actors  who  have  been  working  for 
years  to  get  a  big  part. 

Before  coming  to  Hollywood, 
Hall  was  the  juvenile  in  "Merry 
Merry,"  a  New  York  musical 
comedy  success.  He  is  handsome 
and  must  screen  exceptionally 
wel£  judging  from  the  parts  that 
are    lined    up    for    him.      He    is 

scheduled  to  play  the  leading  role  with  Bebe  Daniels  in 

her  next  picture. 

I  got  a  glimpse  of  the  newcomer  working  with  Pola, 

and  he  has  the  stuff  which  makes  popular  screen  idols. 

The    underground    rumor    is    that    Pola's    latest,    "Hotel 


Fred  Niblo  insists  upon  realism  .  .  .  and 
this  scene  of  Tony  Moreno  and  Greta 
Garbo  in  "The  Temptress"  promises  to 
provide  a  thrill  when  it  reaches  the  screen. 
Note  the  angle  of  the  camera 


67 

PAfi 


I 


music  or  dancing,  I  wouldn't  be  so  crabby.  Ray- 
Griffith  was  the  only  star  in  the  place,  and  I  be- 
lieve he  must  have  been  entertaining  some  of  his 
mother's  friends  from  back  East  or  else  he  had 
spotted  a  piece  of  silverware  he  wanted. 


D 


Remember   Naomi   Childers   of  the  Grecian  profile! 
Well,    she's    a    wife    and    mother    these    days.       And 


here  is  Luther  Reed,  her  husband,  who  has 
saken  scenario  writing  for  directing.  If  he  is 
as  good  a  director  as  he  was  a  scenario 
writer,  splendid  winter  entertainment  is  as- 
sured. Adolphe  Menjou  consults  him  about  a 
bit   of  business   in   "The  Ace   of  Cads" 


for- 


I 


Imperial,"   is   going  to   be   the   best  picture   she   has 
made  in  some  time. 

"VY/iiex   Cecil  B.   De   Mille's  big  production,   "The 
**  King  of  Kings,"  which  is  based  on  the  life  of 
Christ,  reaches  the  screen,  H.  B.  Warner  will  be  seen  in 
tbe  role  of  Jesus  of  Nazareth. 

De  Mille  is  planning  to  make  this  picture  the  biggest 
production  on  his  program  this  year..  An  immense 
amount  of  money  will  be  spent  in  making  the  picture. 
One  of  tbe  first  things  De  Mille  did  was  to  buy  three 
dozen  Bibles  and  distribute  them  among  the  people  who 
are  to  work  in  the  picture  with  the  request  that  they  study 
them  at  every  opportunity. 

"There  is  a  cafe  just  outside  the  Lasky  studio  known  as 

"Madam  Helene's,"  where  all  the 
yokels  visiting  Los  Angeles  for  the 
first  time  go  to  gaze  upon  the  stars 
when  they  lake  an  hour  for  lunch. 

Madam  is  realizing  well  on  this 
place.  The  day  I  was  there  yokeling 
wiih  the  yokels,  she  socked  me  a  very 
elegant  sum  for  a  chicken-salad  sand- 
wich  and  a  cup  of  coffee.  I  picked  up 
the  check  and  was  about  to  protest  by 
slugging  the  cashier  over  the  head 
with  a  chair  when  I  read  on  the  back 
of  the  hill  the  following  quotation 
from  some  eminent  author,  I  believe 
it  was  Mr.  Rockefeller : 

"The  recollection  of  quality  remains 
long  after  the  price  i-  forgotten." 

In  this  matter  I   -hall  never  emerge 

from   the    forgetting    period    into   the 

'lion     siac;e.       1  i     then      were 


Mr.    Balboni   poses   as   an    irate   boss   when 

Holbrook     Blinn     and     Ruth     Roland     loiter 

over     their      lunch.    .    .    .        "The     Masked 

Woman"    must   be    filmed 

OS 


ischarged    servants    of    movie    people    have 
more    fury    than    a    woman    scorned.      The 
latest  one  to  register  action  is 
Jackie  Coogan's  ex-chauffeur. 
After    being    told    that    he 
was   out   of   employment,  the 
gentleman     returned     a     few 
nights   later   and  was   caught 
hiding  in  a  bush  on  the  lawn 
by  the  night  watchman. 
He    pulled    a    gun    and 
fired  three  shots  at  the 
guard  and   then   fled   in 
an  automobile.     A  week 
I  later  he  committed   sui- 

cide. 

T  dont    know    why    the 
Crown  Prince  of 
Sweden     came     to     this 
country  unless  he 
wanted  to  find  out  what  the  par- 
ticular attraction  is  about  St.  Paul 
and  Hollywood.     St.  Paul  always 
has   been   known   as    a   high-class 
residential  place   for  the  Swedish 
people,    and    now    Hollywood    is 
importing  all  the   Swedish  artists 
as  fast  as  they  develop. 

A  grand  luncheon  was  given 
the  Crown  Prince  at  the  Metro- 
Gold  wyn-Mayer  studios.  There 
was  only  one  breach  of  etiquette 
and  that  wasn't  caused  by  a  star 
getting  his  finger  caught  in  the 
{Continued  on  page  118) 


Ladies    and    Gentlemen    .    .    .    the 
only  four-footed  star  in  captivity ! 


Marguerite  de  la  Motte  Charles- 
tons  under   pedal    difficulties 


Lillian   Gish,    Oct.    14,    1896 


Buster  Keaton,   Oct.    4,    1896 


Alice   Joyce,    Oct.    1,    1890 


U 


Lloyd  Hughes,  Oct.   21,    1897 


Irene  Rich,   Oct.    13,    1894 


"Shall  I  Go  Into  the  Movies? 


*9 


Milton  L.  S.,  December  1 : 

I  am  sorry  that  your  answer  could  not  be 
printed  sooner,  but  few  people  realize  the 
time  consumed  in  the  printing  and  distribu- 
tion of  a  magazine  of  the  scope  of  this  pub- 
lication. Your  horoscope  shows  much 
change  thruout  life  and  you  would  do  well 
to  take  up  work  in  which  these  travels  or 
changes  could  be  a  part  of  your  work.  You 
have    a    distinct    connection    with    dramatic 


Let  Marion 
Meyer  Drew 
see  if  the  stars 
forecast  suc- 
cess for  you 
in  the  movies 


matters  shown  in  your  chart  and  I  would 
suggest  that  you  go  to  New  York,  accord- 
ing to  your  plans,  and  try  to  get  into  the 
advertising  or  exploitation  end  of  the  theat- 
rical business. 

Francisco  V.,  December  1 : 

So  you  think  I  give  "rich  detail,"  do  you? 
Absolutely  the  only  thing  I  base  it  on  are 

(Continued  on  page  95) 


EDITOR'S  NOTE:  All  comments  made  in  this  department  are  based  on  astrological  rules, 
but  neither  the  writer  of  this  department  nor  this  publication  can  assume  responsibility  for 
statements  made  therein,  because  inaccurate  data  are  sometimes  furnished,  even  tho  the  sender 
believes  them  to  be  correct. 

You  must  send :  your  date  of  birth  .  .  .  your  year  of  birth  .  .  .  city  or  nearest  town 
and  county  of  birth  .  .  .  your  sex  and  the  hour  and  minute  of  the  day  or  night  when  you 
were   born. 


69 
PAG 


i 


Have  You  Heard  About  the 


VITAPHONE? 


.  .  .  the  new  invention  that  will  bring  an 
orchestration  by  the  finest  musicians  in 
the  country  to  the  small  town  theater? 

By  Elizabeth  Greer 


WHEN  we  were  very  young,  there  was  occasionally  an 
exhibition  of  "Talking  Motion  Pictures,"  which  meant 
that  shadowy  figures  went  about  their  business  on  the 
screen,  while  from  somewhere  above  or  behind  it  issued 
a  voice  that  wheezed  and  cracked  along  in  its  own  time,  regard- 
less of  the  tempo  of  the  lips  from  which  it  was  supposed  to  flow. 
It  wasn't  much  fun  listening  to  this  device,  and  tho  the  optimists 
among  us  murmured,  "What  a  wonderful  invention ! — think  what 
that  will  mean  when  it's  perfected!"  most  of  us  refused  to  take  it 
seriously  and  certainly  didn't  stay  for  the  second  show. 

Then  we  forgot  about  it  completely,  until  fifteen  years  later,  as 
the  subtitles  say,  Warner  Brothers  presented  a  sensational  thing 
called  the  Vitaphone  at  their  opening  of  "Don  Juan."  Ortho- 
phonic  Victrolas  have  accustomed  us  to  the  almost  perfect  repro- 
duction of  natural  voice  tones  and  musical  instruments,  but  no  one 
was  prepared  for  the  almost  perfect  synchronization  of  sound  and 
motion  that  the  Vitaphone  accomplished.  A  speech  by  Will  Hays, 
a  symphony  orchestra,  a  singer,  a  violinist — all  these  different 
mediums  of  sound  were  registered  by  the  Vitaphone  and  repro- 
duced so  that  they  filled  the  auditorium  and  created  perfectly  the 
(Continued  on  page  105) 


C.  Grove  of  the  Bell  Telephone  laboratories  is  shown  looking  at 
the  wax  disc  upon  which  sound  vibrations  will  be  recorded.  The 
electrical  system  of  recording  employs  a  high  quality  microphone 
of  an  improved  type,  an  electrical  amplifying  apparatus  and  a 
record  cutting  mechanism  which  appears  in  this  picture 


b\ce. 


The  audience  at  the  premiere  perform- 
ance of  the  Vitaphone  which  accompanied 
the  first  showing  of  "Don  Juan"  in  New 
York  was  most  thrilled  over  the  perfect 
reproduction  of  Giovanni  Martinelli's  ren- 
dition of  Vesti  la  Giubbla  from  "Pagliacci" 


^1       ^»1 

■■■■■■■1 

f 

"l 

^^^jl 

m 

WHOSE  HANDS? 

Read  the  Analyses — and  See  If  You  Recognize 
the  Owners  of  These  Palms 

By  F.  Vance  de  Revere 


YY/hat  an  expressive,  sensitive  hand 
we  have  here,  denoting  an  individ- 
ual whose  feelings  are  deep  but  buried 
beneath  a  calm,  well-poised  exterior. 
The  owner  of  this  extremely  sensitive 
hand  would  be  frequently  misunder- 
stood and  misjudged  by  others  and, 
when  misjudged,  would  feel  it  keenly. 
A  person  of  moods,  one  who  descends 
to  the  lowest  depths  of  despair  and,  at 
other  times,  rises  to  the  heights  of 
rapture.  An  individual  who  would  re- 
spond quickly  to  sympathetic  influences, 
highly  inspirational,  and  with  a  rest- 
less, active,  emotional  nature.  One  whov 
is  very  responsive  to  beauty,  in  every 
shape  and  form,  especially  susceptible 
to  the  effect  of  both  color  and  music. 
Notice  the  very  pronounced  angular 
formation  at  the  base  of  the  thumb; 
this  would  indicate  a  splendid  sense  of 
tune  and  rhythm  and  appreciation  of 
music,  also  musical  ability.  The  hard, 
firm  palm  would  indicate  that  its  owner 
leads  an  active  life  and  is  seldom  lazy. 
The  network  of  many  lines,  also  the 
color  makings  of  the  palm,  shows  a 
very  nervous  condition  at  the  present 
time ;  this  person  has,  evidently,  been 
under  great  strain  or  has  been  worried. 
Notice  the  extreme  waistlike  shape  of 
his  thumb,  showing  a  very  tactful  per- 
son. The  third  finger  dominates  and 
gives  evidence  of  decided  dramatic 
ability.  This  hand  has  the  mystic 
cross  in  the  palm,  giving  an  interest  in 
the  mystical,  occult  or  the  unusual.  It 
also  shows  a  very  intuitive  nature. 
There  is  executive  ability,  as  well  as 
the  dramatic  ability. 

All  rights  reserved, 
F.  Vance  de  Revere 


Tf  this  hand  corresponded  in  type  with 
the  face  and  figure  of  its  owner,  it 
would  belong  to  a  person  of  good 
height,  lean  and  muscular,  with  a  face 
of  greater  length  than  breadth.  It  is 
a  youthful  hand,  restless,  emotional  and 
full  of  energy  of  purpose  and  enthu- 
siasm; very  independent  in  spirit,  un- 
conventional, with  a  love  of  daring  to 
seek  the  unknown.  The  broad  develop- 
ment at  the  base  of  the  fingers  gives 
practicability.  The  mixed  finger-tips 
would  indicate  ability  in  many  direc- 
tions; such  an  individual,  if  you  can  get 
her  to  talk,  proves  interesting,  for  her 
experiences  are  many  and  varied  and 
such  an  individual  is  usually  keen  and 
amusing.  There  is  great  love  of  crea- 
ture comforts  shown  in  this  hand.  The 
first  and  third  fingers  being  even  in 
length,  gives  a  very  ambitious  nature. 
The  thumb  should  be  longer  to  give 
strength  to  the  character.  The  long 
finger-nails  would  indicate  an  inclina- 
tion to  be  visionary  and  shrink  from 
looking  facts  in  the  face,  especially, 
facts  which  are  distasteful.  These  long 
nails  also  show  a  very  impressionable, 
artistic  nature,  one  fond  of  poetry  and 
music.  Long-nailed  people  seldom  have 
the  physical  strength  of  the  short, 
broad-nailed  person.  The  nails  would 
show  a  very  individualistic  nature 
which  would  disregard  and  not  care 
about  other  people's  opinions  of  her 
actions.  A  "Live  and  let  live"  sort  of 
person. 

All  rights  reserved, 
F.  Vance  de  Revere 


T^his  type  of  hand,  with  its  square 
formation ;  square  at  the  wrist  and 
at  the  base  of  the  fingers  also  with 
square  finger-tips,  is  a  very  useful,  ca- 
pable hand.  The  face  and  figure  which 
corresponds  with  this  hand  is  broad, 
well  rounded,  and  of  good  size.  It  per- 
sonifies physical  strength,  hardihood 
and  endurance ;  weaklings  seldom  have 
this  type  of  hand.  The  hard,  firm  palm 
signifies  energy  and  physical  activity. 
This  is  the  type  of  hand  sometimes 
found  on  a  pugilist,  altho  the  short  in- 
dex-finger would  indicate  a  nature  more 
gentle  and  submissive  than  one  would 
expect.  Great  perseverance,  determina- 
tion, good  judgment,  common  sense  and 
general  practicability,  with  an  interest  in 
agriculture  and  commerce ;  domestic  in 
taste,  with  love  of  home,  family  and 
friends  but  not  generally  demonstrative 
in  affection  altho  really  affectionate, 
highly  paternal  and  sympathetic.  Such 
a  person  would  be  staunch  in  friend- 
ship, strong  in  principles,  sincere  and 
honest  in  business.  This  hand  gives  in-' 
dication  of  a  nature  whose  greatest 
fault  is  in  the  inclination  to  disbelieve 
all  he  cannot  understand.  He  must  be 
given  logical  reasons  for  things.  These 
characteristics  are  plainly  shown  in  his 
thumb,  the  long  first  phalange,  square 
and  rather  stiff,  showing  a  nature  not 
easily  swayed  or  moved  and  the  good 
long  second  phalange,  showing  a  log- 
ical turn  of  mind.  The  third  finger 
dominates  the  others  and  note  also  its 
spatulated  tip,  which  gives  dramatic 
ability.  The  thick,  full  third  phalanges  of 
the  fingers  denote  great  interest  in  food. 

All  rights  reserved, 
F.  Vance  de  Revere 


Editor's  Note. — On  page  86  you  will  find  photographs  of  the  stars  whose  hands  were  analysed  last  month. 

find  the  anszvers  to  these  character  readings. 


And  next  month  yon  will 


PAGli 


Answer  Man 


i 


THE  WANDERER.— So  you  like  Greta  Garbo.  Wait  until  you 
sec  her  with  John  Gilbert  in  "The  Flesh  and  the  Devil."  Yes,  and 
some  are  wise  and  some  are  otherwise. 

CLARA  R.— R.  U.  Clara?  Billie  Dove  in  "Little  Jennie." 
Well,  I've  learned  that  it's  not  what  you  say  to  a  woman,  but  the 
way  you  say  it  that  makes  her  believe  you. 

RUFUS  R.  M.—  Thanks  for  the  picture,  Rufus.  Jacqueline 
Logan  is  playing  the  role  of  Mary  Magdelene  in  Cecil  De  Mille's 
"The  King  of  Kings." 

EVA  L.  G. — So  you  like  Alice  Joyce  and  me  best  of  all  movie 
folk.  I  admire  your  choice.  You  say  you  have  seen  Miss  Joyce 
in  137  pictures.  Cant  tell  you  anything  about  Virginia  Marshall, 
except  that  she's  with  Fox. 

BALTIMORE  LADY.— Your  letter  was  mighty  interesting. 
You  say  you  dont  understand  why  there  are  so  many  foreign 
pictures  and  stars.  Dont  you  like  Lya  De  Putti?  Women  aren't 
the  only  ones  who  marry  for  a  home. 

DELL  HAMPTON.— Away  with  thee!  Please  dont  ask  me 
to  bob  my  whiskers.  My  one  treasure  in  life.  Yes,  Corliss 
Palmer  played  in  "Her  Second  Chance."  Conrad  Nagel's  next  is 
"Captain  Harding." 

BUTTERFLY. — You  sure  do  ask  enough  questions  about  Anna 
Q.  Nilsson.  Her  first  leading  man,  I  believe,  was  Guy  Coombs 
in  the  old  Kalem  days.  Eugene  O'Brien  is  playing  with  Leatrice 
Joy  in  "Nobody's  Widow." 

KATHERINE  S. — I  wish  I  could  comply  with  your  request 
to  put  Vilma  Banky  at  the  head  of  the  thermometer — but  that 
wouldn't  be  fair. 

(iL'ADALUPE.— You  are  all  for  William  Boyd.  He  is  play- 
ing in  "The  Yankee  Clipper."  Elinor  Faire  weighs  123  pounds. 
So  you  like  our  covers  by  Stone  and  Paddock.  Thanks  for  your 
water-color.     I,  too,  hope  you  will  make  a  cover  for  us  .some  day. 

MARIE  H. — Dost  thou  love  life?  Then  do  not  squander  time; 
for  that  is  the  stuff  life  is  made  of.  That  is  Alberta  Vaughn's 
real  name.  Betty  Compson  is  to  play  in  "White  Cargo"  with 
(  nn way  Tearle. 

CLEOPATRA. — Are  you  really  serious?  You  say  you  love 
moving  pictures  and  would  become  an  interesting  mate  for  an 
actor.  Well.  I  didn't  think  I  was  in  the  matrimonial  business. 
No,  there  is  no  hope. 

PHYLIS  ANNE.— Well,  I  find  that  people  who  know  most 
about  love  are  the  ones  who  have  never  had  it.  You  would  have 
to  go  to  Hollywood,  and  I  wouldn't  advise  that.  No,  I  shall 
never   forget   "Stella  Dallas." 

JOHN      GILBERT'S      WORSHIPPER     FOREVER.— Well 

ing    a   lot.      No    indeed,    New   York    City    is   no   cure   for 

nervousness  and   impatience.     Haven't  seen  so  many   stage-plays — 

saw    "The    Great    Temptation,"    "Lulu    Belle,"    "Scandals"    and 

"Loose  Ankl(  -."     Bert  Lytell   is  starring  in  "Obey  the  Law-." 

GENEVIEVE  L.— So  you  have 
the  A.  E.  C.  Club  at  P.  O.  Box  272, 
Wilmington,  California.  Thanks  for 
allowing  me  to  be  an  honorary  mem- 
ber. 1  wish  1  could  he  an  active 
member,  hut  if  you  saw  this  desk 
full  of  correspondence  to  answer. 
Whoooo ! 

ETHEL  I..  I-'.-  Xo,  you  tell  that 
someone  they  an-  all  wrong-  I 
Moore  and  lien  Lyon  are  not  re- 
lated. If;. T-r  Earles  was  tin-  baby  in 
"The  Unholy  Three,"  but  he  really  is 
a  man — only  not  full  grown. 

SIS.— 1I.H-,— you'.<  gol  the  right 
number  this  time.  They  say  tele- 
phone operators  are  always  hound  to 
the  last  word.  That's  why 
females  are  always  employed  in  that 
72 
a. 


HEAR  YE,  HEAR  YE! 

All  you  folks  who  have  questions  to  ask,  come 
this  ivay  and  you  shall  be  heard — and  answered. 
I  have  learnt  a  lot  during  the  last  eighty-two 
years,  and  it's  all  yours  for  the  asking.  Been 
answering  ???  here  for  the  last  fifteen  years 
and  still  going  strong.  If  you  want  an  answer 
by  mail,  enclose  a  stamped  addressed  envelope. 
If  you  wish  the  answer  to  appear  here,  write 
at  the  top  of  your  letter  the  name  you  want 
printed,  and  at  the  bottom  your  full  name  and 
address,  and  mail  to  me,  The  Answer  Man,  care 
of  Motion  Pictlkf:  Magazine,  175  Dutfield 
Street,  Brooklyn,  N.  Y. 


capacity.  And  you  say  your  ears  are  still  burning  from  the 
garden  scene  in  "Sea  Beasts."  Walter  Pidgeon  was  the  "sheik" 
in  "Mannequin." 

GRACE  E.  L.— Well,  I  dont  know  how  you  all  feel  in 
Australia,  but  in  New  York  divorce  doesn't  bring  a  man  down 
from  his  pedestal.    Mary  Brian  in  "The  Street  of  Forgotten  Men." 

MILDRED. — That's  some  canary  paper  you  have.  You  can 
get  a  picture  of  Laurence  Gray  at  Famous  Players-Lasky,  Astoria, 
Long   Island.     Mary  Philbin  is  playing  in  "The   Bargain  Bride." 

LORAINITE. — You  know  what  they  fay — it  takes  will-power 
to  love  a  fat  girl.  Warner  Brothers  are  producing  E.  Phillips 
Oppenheim's  "The  Enviable  Millionaire"  under  the  title  of 
"Millionaires."  George  Sidney,  Vera  Gordon,  Helene  Costello, 
Louise  Fazenda  and  Jane  Winton  are  in  the  cast. 

F.  S.  M. — Yes,  a  club  has  been  formed  in  memory  of  Wallace 
Reid.  The  president  is  Ray  E.  Harris,  No.  1920  S  Street  N.  W., 
Washington,  D.   C. 

KATHLEEN  Q.  O. — Your  letter  was  a  gem.  I'm  afraid  we 
would  be  a  peculiar  world  if  we  didn't  believe  in  marriage  as  an 
institution.  Your  suggestion  may  work  out  for  a  few  individuals, 
but  not  for  the  masses.  Corinne  Griffith  and  Einar  Hanson  in 
"The  Lady  in   Ermine." 

RICHARD  T. — Thanks  for  the  clipping  about  Mary  Fuller. 
That  was  eleven  years  ago  when  she  was  in  the  height  of  her 
glory.  Last  I  heard  of  her  she  was  in  California  doing  some 
screen  work. 

RICHARD  DIX  FAN.— Yes.  and  you  cant  always  tell  a  dog- 
wood tree  by  its  bark.  Adolph  Zukor,  president  of  Famous 
Players-Lasky,  arrived  in  this  country  from  his  native  Hungary 
at  the  age  sixteen,  and  he  is  not  yet  sixty  years.  He  made  as  much 
as  $2.00  a  week  when  he  first  arrived,  but  now  he  makes  con- 
siderably more  than  that  and  doesn't  have  to  work  half  as  hard. 
Why,  Reginald  Denny  is  to  play  in  "Fast  and  Furious"  from  the 
Peter  Milne  story. 

G.  M.  E. — So  you  want  to  see  Mary  Pickford  in  more  grown- 
up pictures.  Lewis  Stone  is  playing  with  Doris  Kenyon  in  "The 
Blond  Saint."     Ralph  Graves  in  "Gobs." 

RAINBOW.— Thanks  for  "Star  Dust."  It  is  getting  better 
every  month. 

BETTY  COMPSON  FAN.— No,  Betty  Compson  was  never 
married  to  anyone  before  her  marriage  to  James  Cruze.  Betty 
Compson  and  Clive  Brook  played  in  "The  White  Shadow." 

M.  J.  W. — Whoa  there !  You  say  maybe  a  man's  wife  is  a  nag 
because  her  husband  is  a  jackass !  !  That  was  some  letter  you  sent 
me.  Jack  Holt  is  playing  in  "The  Man  of  the  Forest."  Clara  Bow 
is  playing  in  "It."  Gloria  Swanson's  first  for  United  Artists  will 
probably  be  "Eyes  of  Youth." 

YES  NOTEY. — You  letter  was  great.  There  is  always  the 
need  for  the  man  to  go  higher,  if  he  has  the  capacity  to  go. 
Harold  Lockwood,  Jr.,  the  sixteen- 
year-old  son  of  the  film  star  who  died 
during  the  influenza  epidemic  of  1918, 
is  entering  pictures.  His  first  will  be 
with  Colleen  Moore  and  Kenneth 
Harlan   in   "Twinkle   Toes." 

SUSAN  M.  D.— Why,  Pearl  Regay 
was  the  Indian  dancer  in  "Rose 
Marie."  She  was  born  in  North 
Carolina  and  her  real  name  is  Ellen 
Rose. 

TILLIE  D. — Oh  you  cant  bore  me, 
the  more  the  merrier.  Douglas  Fair- 
banks, Jr.,  is  nineteen  years  old.  I'll 
try  to  remember  that — "Mississippi 
stole  Missouri's  New  Jersey,  what 
would  Delaware?"  "I  dont  know,  but 
Alaska."     See  you  later. 

(Continued  on  page  74) 


Advertising  Section 


lne)|  I   MAGAZINE 


Her  Majesty,  The  Queen  of  Roumania 

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The  Duchesse  de  Richelieu 

of  a  prominent  Baltimore  family  and 
•wife  of  the  head  of  one  of  the  noblest  old 
houses  in  France,  says:  " 'Pond 's  Creams 
keep  the  skin  exquisitely  soft  and  lovely." 


Miss 
Elinor  Patterson 

"Daughter  of  Mr.  and  Mrs . 
Joseph  Medill  Patterson 
of  Chicago,  successful  as 
"  The  Nun"  in  "  The  Mir- 
acle," says:  "Pond's  Two 
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OMEN  of  royal  blood,  of  noble  birth, 
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they  should  daily  be  applied  as  follows: 

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House  of  Representatives,  daughter  of 
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When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


73 
PAG 


I 


(M 


The  Answer  Man 

(Continued  from  pa  ye  72) 


ANNA  BELL.— Why.  Alfonso  XI II  is  the  present  King  of 
Spain.  Queen  Victoria  Mary,  daughter  of  the  late  Duke  of  Teck 
and  wife  of  George  V,  is  the  present  Queen  of  England.     So  you 

didn't  like  Cullen  Landis  in  "Peacock  Feathers."  Yes,  he  has  two 
children  and  was  married  to  C.  Mignon  LeBrun,  but  they  are 
separated. 

ZAK,  PARIS.— Wee,  wee,  merci.  Pola  Negri  was  born 
January  3,  1897.  You  like  all  the  players.  Jack  Picki'ord  will 
play  the  role  of  Clyde  Griffiths  in  "An  American  Tragedy,"  in  pic- 
tures, while  Glenn  Hunter  will  play  Clyde  on  the  stage.  You  must 
be  living  a  very  interesting  lite.    I  guess  Paris  is  the  life  all  right. 

BARONESS  LOLA  VOX  S.— Welcome  to  the  throne,  her 
majesty.  Xo,  I  have  not  seen  Mady  Christians 
in  "Walzertraum"  as  yet.  It  is  being  shown  in 
Xew  York  at  this  writing.  Your  letter  was 
very  interesting,  and  I  could  read  it  very  easily. 
Thanks   lor  the  photo. 

MRS.    MARGARET    S.— Thanks    for    your 
later. 


WOMEN 

Colleen  Moore    115 

( rloria  Swarison   77 

Betty  Bronson   75 

Mary    Pickford    75 

Norma  Talmadge    72 

Pola  Xegri    69 

Dolores   Costello    68 

Alberta  Vaughn   67 

Mae    Murray    67 

Clara  Bow    66 

Bebe   Daniels 64 

Norma   Shearer 62 

Mary   Brian    60 

Marion  Davies   51 

Vilma  Banky   48 

Anna  0.  Nilsson   . 47 

Corinne  Griffith   46 

Lois  Wilson    43 

Lois   Morarj    43 

Sally  O'Xeil 41 

Madge  Bellamy    41 

Esther    Ralston    . 40 

Eleanor  Boardman    39 

Claire  Windsor    35 

Lillian   Gish    34 

Constance  Talmadge   34 


Watch  Them  Rise! 


70 


XO.  13. — So  you  are  calling  me  down  for  using  the  same  poem 
as  the  Classic  Answer  Man  used.  Ha,  ha,  again,  we  are  one  and 
the  same.     John  Barrymorc  in  "If  I  Were  King." 

CYCLONE. — All  right,  let's  go.  Ben  Lyon  born  February  6, 
1900;  Ramon  Novarro,  September  20,  1899;  Colleen  Moore,  1902; 
Bebe  Daniels,  January  14,  1901.  I'm  going  to  show  your  letter 
to  the  boss,  maybe  he  will  give  me  a  raise. 

DOTTIE  THE  DARNDEST— Why  Dottie !  You  know  face 
powder  never  tastes  as  good  as  it  smells.  Dont  speak  of  it — my 
whiskers.  I  should  say  they  are  hot.  I  have  the  electric  fan  blow- 
ing on  them  all  year  round.  Yes,  Antonio  Moreno  is  married  to 
Daisy  Canfield  Danziger.  You  want  to  know  where  .you  can  find 
a  duplicate  of  Antonio.  That's  all  there  is, 
there  isn't,  etc.  You  know  digging  for  facts  is 
better  brain  exercise  than  jumping  at  con- 
clusions. 

HOBO-GAL. — Well,  how  many  torments  lie 
in  the  small  circle  of  a  wedding  ring.  No,  I 
am  not  married,  and  you  cant  prove  it  by  me. 


MEN 

Richard    Dix    191 

Ben    Lyon    122 

William   Boyd    121 

Ronald   Colman    113 

AYilliam    Haines    112 

Lloyd    Hughes    110 

Ramon   Novarro    100 

Rudolph  Valentino    99 

John    Gilbert    86 

Richard    Barthelmess    80 

Douglas   Fairbanks    65 

George    O'Brien    45 

Ricardo   Cortez    44 

Douglas    Fairbanks,    Jr ".  .  .  .   43 

Tom  Mix   43 

William   Collier,   Jr 41 

Adolphe  Menjou   37 

Rod  La  Rocque    34 

Harrison    Ford    34 

Thomas   Meighan 33 

John   Barrymore    33 

Jack  Holt   32 

Lon    Chaney    31 

Buck    Jones    30 

Lawrence  Gray    29 

Norman  Kerry    28 


rd   Dix   maintains 
Moore    suppla 


I 


WILLIS     A.     B.— Here,     here— you  Rich 

say,    "What   did    the   comb   say    when    it  Colleen 

goes    thru     hair?"       Answer:     "Thanks 
for  the  buggy   ride."     Is  that  dignified? 

Bellamy,  Alan   Forrest  and   Matt   Moore  arc  working  on 
"Summer    Bachelors"    for    Fox,   directed   by   Allan   Dwan.     This 
picture   is  being  produced   at   the   Fox   Xew   York  studio   in   55th 
hich  ha-  been  reopened. 

SIR  LAUNCELOT. — I  must  say  jour  verses  were  exceptional. 
I  enjoyed  reading  every  one  of  them.  Hope  you  kept  a  copy — you 
Should  type  them  and  keep  them  in  a  scrap-hook  entitled  "My 
first  ver  •    O'Brien  is  26  years  old.     Write  to  me  again, 

any  time. 

II.  I..  R. — Anyway,  swallowing  one's  pride  never  caused  in- 
digestion. Ann  Forrest  has  played  in  "The  Great  Accident," 
Boomerang,"  "The  Faith  Healer"  and  "The  Greal  [mper- 
BOnation."  She  was  never  a  star.  Sorry  J  cannot  help  yOU  on 
th<  other  twenty-five  questions.  Space  is  short,  time  is  short,  and 
it's  mighty   warm   right  here. 

HELENA  !.   I-      No,  thi     i    no  easy  job.     Even  if  my  job  is 
...it.  that  is  no  excuse  to  lay  down  on  it.     Metro-Goldwyn  are  to 
"The    Great    Galeoto"    with    Ramon    Xovarro    and    Alice 
l"crrv. 

74 

GE 


his  supremacy.      And  BILL    BOYD    VICTIM.— Well,    the 

nts  Anna  Q.  Nilsson  chap  who  looks  both  ways  on  a  one- 
way street  is  sure  a  pessimist.  Bill 
Boyd  was  born  in  1898.  Priscilla 
Bonner  is  playing  in  Harry  Langdon's  "The  Strong  Man,"  which 
was  made  under  the  working  title  of  "The  Yes  Man."  Carmel 
Myers  lias  been  added  to  the  cast  of  "Tell  It  to  the  Marines." 

JOHX  C. — Well,  if  I'm  not  glad  to  hear  from  you.  You  still  want 
a  cover  of  Charlie  Chaplin.  I'll  have  to  tell  Miss  Fletcher.  Well, 
I  guess  it's  "Cen  llur."     Write  me  often,  John,  I  like  your  letters. 

DORIS  P. — The  Cape  Cod  Canal  runs  from  Buzzard's  Bay  to 
(ape  Cod  Bay,  a  distance  of  13  miles.  You  refer  to  the  May,  1925, 
issue  of  the  Magazine.  Yes,  Billie  Burke  is  coming  back  on  the 
stage  next  season  in  "Padlocked."     That  certainly  is  timely. 

DOROTHY  P.  D.— Well,  you  want  to  know  all  about  Bill 
Boyd.  He  was  horn  in  1898,  6  feet  tall,  176  pounds,  light  hair  and 
blue  eyes.  You  seem  to  have  all  the  requirements.  There's  noth- 
ing lacking.     All  you  need  is  the  job. 

LUCKY  NUMBER  13.— Tulh'o  Carminati,  a  new  Italian 
leading  man,  who  made  his  American  debut  in  "The  Bat,"  has 
signed  a  contract  with  Joe  Schenck  and  his  first  picture  under 
that  arrangement  will  be  "The  Duchess  of  Buffalo." 


Advertising  Section 


fatfMSFR 


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Try  this  Quick  and  simple  method  which  thousands  now  use.    See  the  difference 
it  makes  in  the  appearance  of  your  hair. 

Note  how  it  gives  new  life  and  lustre,  how  it  brings  out  all  the  wave  and  color. 
See  how  soft  and  silky,  bright  and  glossy  your  hair  will  look. 


THE  alluring  thing  about  beautiful  hair 
isn't  the  way  it  is  worn. 

The  real,  IRRESISTIBLE  CHARM  is 
the  life  and  lustre  the  hair  itself  contains. 

Fortunately,  beautiful  hair  is  no  longer  a 
matter  of  luck. 

You,  too,  can  have  beautiful  hair  if  you 
shampoo  it  properly. 

Proper  shampooing  is  what  makes  it  soft 
and  silky.  It  brings  out  all  the  real  life  and 
lustre,  all  the  natural  wave  and  color,  and 
leaves  it  fresh-looking,  glossy  and  bright. 

When  your  hair  is  dry,  dull  and  heavy,  life- 
less, stiff  and  gummy,  and  the  strands  cling 
together,  and  it  feels  harsh  and  disagree- 
able to  the  touch,  it  is  because  your  hair 


has  not  been  shampooed  properly. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it  can- 
not stand  the  harsh  effect  of  ordinary  soaps. 
The  free  alkali  in  ordinary  soaps  soon  dries 
the  scalp,  makes  the  hair  brittle  and  ruins  it. 

That  is  why  thousands  of  women,  every- 
where, now  use  Mulsified  cocoanut  oil  sham- 
poo. This  clear,  pure  and  entirely  greaseless 
product  cannot  possibly  injure,  and  it  does 
not  dry  the  scalp  or  make  the  hair  brittle, 
no  matter  how  often  you  use  it. 

If  you  want  to  see  how  really  beautiful  you 
can  make  your  hair  look,  just  follow  this 
simple  method. 

A  Simple,  Easy  Method 

FIRST,  wet  the  hair  and  scalp  in  clear, 
warm  water.  Then  apply  a  little  Mulsified 
cocoanut  oil  shampoo,  rubbing  it  in  thor- 
oughly all  over  the  scalp,  and  all  through 
the  hair. 

Two  or  three  teaspoonfuls  will  make  an 
abundance  of  rich,  creamy 
lather.  This  should  be 
rubbed  in  thoroughly  and 
briskly  with  the  finger  tips, 
so  as  to  loosen  the  dandruff 
and  small  particles  of  dust 


and  dirt  that  stick  to  the  scalp. 

After  rubbing  in  the  rich,  creamy  Mulsified 
lather,  give  the  hair  a  good  rinsing.  Then 
use  another  application  of  Mulsified,  again 
working  up  a  lather  and  rubbing  it  in 
briskly  as  before.  After  the  final  washing, 
rinse  the  hair  and  scalp  in  at  least  two 
changes  of  clear,  fresh,  warm  water.  This  is 
very  important. 

You  will  find  that  after  a  M  ulsified  shampoo 
your  hair  will  dry  quickly  and  evenly_  and 
have  the  appearance  of  being  much  thicker 
and  heavier  than  it  really  is. 

If  you  want  to  always  be  remembered  for 
your  beautiful,  well-kept  hair,  make  it  a  rule 
to  set  a  certain  day  each  week  for  a  Mulsified 
cocoanut  oil  shampoo.  This  regular  weekly 
shampooing  will  keep  the  scalp  soft  and  the 
hair  fine  and  silky,  bright,  fresh-looking  and 
fluffy,  wavy  and  easy  to  manage. 

You  can  get  Mulsified  cocoanut  oil  sham- 
poo at  any  drug  store  or  toilet  goods  counter, 
anywhere  in  the  world.  A  4-ounce  bottle 
should  last  for  months. 


Mulsified 


^Cocoanut  Oil  Shampoo 

than  a  Shampoo,  L~  _  

'BEAUTY  INSURANCE'' 


Mail  This  Coupon  and  Try  it  FREE 


THE  R.  L.  W  ATKINS  COMPANY  26M-4d 

1276  West  3rd  Street,  Cleveland,  Ohio 
Please  send  me  a  generous  supply  of   "Mulsified"   FREE,  all 

chnr-T-  paid.     Also  vonr  booklet  entitled   'Why  Proper  Shampooing 
is  BEAUTY  INSURANCE." 


Name 

Address State. 


address:   i62  Wellington 


Toronto,  2 -Ontario 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


75 

PAG 


I 


Cpt 


Crazy    Quilt 


i 


trembled  with  her  unspent  emotion.  She 
was  afraid  she  would  cry  and  be  thought 
foolish. 

McAllister  did  speak,  but  he  asked  for 
no  answer.     Perhaps  he  understood. 

"Your  way  was  best.  Judith,"  he  said. 
lie  placed  a  fatherly  hand  on  her  stooped 
shoulder.  "It  was  best,  damn  it,  because 
you  are  an  artiste." 

Judith  smiled  her  thanks.  Her  voice  was 
not  to  be  trusted. 

But   it  was  to  be  years  before  she  was 
to   appreciate   the    professional    sportsman- 
ship of    McAllister   in  that   moment.     She 
was  to  work  with  lesser  men 
before    she    could    sense    his 
greatness. 

McAllister    was    a    trouper. 

She  went  down-stairs  to 
her  dressing  -  room  immedi- 
ately. And  by  this  time  she 
had  mastered  the  hysteria. 

It  was  a  pleasant  room. 
Harvey  had  seen  that  it  was 
renovated  'for  her.  A  crisp 
green  organdie  hung  over  the 
window.  And  the  furniture 
was  of  a  soft  green  enamel 
with  a  yellow  in  the  chintz 
upholstery. 

It  was  not  of  large  propor- 
tions. But  Judith  managed  to 
keep  it  free  from  the  accu- 
mulation of  odds  and  ends 
that  invariably  clutter  dress- 
ing-rooms. She  spent  most 
of  her  time  here.  Therefore 
she  tried  to  keep  order. 

She  took  off  her  make-up 
and  got  into  her  street 
clothes.  Harvey  would  be 
along  soon  now.  They  were 
going  to  stop  for  a  bite  to 
eat  and  then  attend  the  show- 
ing of  the  first  picture  in 
which  she  appeared.  It  was 
playing  at  one  of  the  Broad- 
way houses. 

McAllister  had  worked  a 
mildly  interesting  part  in 
this  story  for  Judith,  and 
while  Harvey  and  she  had 
seen  it  innumerable  times  in 
the  projection  -  room,  they 
were  anxious  to  see  it  with 
an  audience. 

Harvey   had    been   as   occu- 
pied   as    Judith    during    their 
two    months    of    married    life. 
Mr.   Irving  had  given  him  an 
opportunity     in     the     scenario 
department   and    he   was   now 
working     on     the     script     of 
Judith's    next    picture.      He    thought    of    it 
that   way.      Hut  on  the  lot  it  was  referred 
to  as    Hugh   Kendrick's  next.     Hugh  was 
to  star.     Judith  \\a>  to  be  bis  leading  lady. 

Score  one  for  Judith.  The  Acme  people 
had  exercised  their  first  option.  And  after 
a  few  days'  rest,  Judith  was  to  be  promoted 
from  second  rolls  to  leading  lady.  Her 
salary  would  jump  to  three  hundred  and 
fifty  a  week. 

Tf  three  months  before  anyone  had  told 
Judith  Tower  that  she  would  soon  receive 
that  sum  of  money  every  seven  days,  she 
would  have  hoped  they  were  not  danger 
ously    insane    but    been   convinced   that    they 

needed  close  observation. 

Now  she  spent  her  idle  moments  trying 
to  divide  that  sum  into  a  satisfactory 
ettlemenl  of  their  debts.  And  every 
division  found  it  insuffii 

GE 


(Continued  from  page  45) 

She  gave  her  attention  now  to  a  design 
she  was  sketching  for  a  new  evening 
gown.  She  had  found  a  skilful  seamstress 
who  had  previously  been  with  one  of  the 
big  dressmaking  establishments.  She  was 
barren  of  any  originality  but  possessed  of 
a  perfect  capacity  for  executing  the  ideas 
of  others.  Judith  had  not  been  optimistic 
enough  to  hope  finding  anyone  as  ideally 
suited  to  her  needs  when  she  had  inserted 
an  advertisement  in  the  papers. 

Harvey  had  wished  her  to  open  an  ac- 
count with  one  of  the  ateliers.  Harvey 
was    always    insisting    upon   one    extrava- 


Synopsis  of  First  Chapters 

yUDITH  TOWER,  the  great-granddaughter  of  Lola 
Chase,  a  once  famous  and  beautiful  actress,  uses 
$1200  left  her  by  her  mother  to  go  to  Nezv  York 
and  break  into  the  movies.  She  gets  a  bit  in  an  Excelsior 
picture,  and  proves  she  has  her  great-grandmother's 
beauty  and  talent.  But  the  producer,  Marcus  Goldstein, 
offers  Iter  a  contract  on  terms  she  cannot  accept,  and  she 
leaves  that  studio  forever.  The  next  day  she  gets  work 
as  an  extra  at  another  studio.  She  falls  into  conversa- 
tion with  Harvey  Dunn,  a  young  publicity  man,  and  has 
lunch  ivitli  him.  He  introduces  her  to  McAllister,  the 
director,  and  promises  to  see  her  before  she  leaves  the 
studio  that  night.  Meanwhile  he  overhears  same  scandal 
linking  her  name  with  Marcus  Goldstein,  and  does  not 
return  to  the  set.  Judith  is  hurt  and  unhappy.  The  next 
day,  remorseful  and  unable  to  forget  her,  Harvey  sends 
Iter  gardenias  and  an  invitation  to  dine  with  him  the 
folloiving  evening.  She  accepts,  and  realizes  she  is 
deeply  in  love  with  him.  They  dine  at  the  Ritz,  and  he 
declares  his  love  and  asks  her  to  marry  him.  She 
accepts,  and  feels  her  happiness  is  perfect.  He  confesses 
his  momentary  distrust  of  her,  and  she  forgives  him. 
In  the  Ritz  lobby  they  meet  Joy  Royce,  an  actress,  ivho 
greets  Harvey  with  a  proprietary  air  which  disturbs 
Judith  momentarily. 

Harvey  urges  her  to  use  her  relationship  with  Lola 
Chase  for  publicity  purposes.  He  convinces  McAllister 
she  is  a  "find,"  and  together  they  convince  Irving,  the 
producer,  who  gives  her  a  contract.  Harvey  tells  of 
their  engagement,  and  they  are  given  a  surprise-party  in 
Judith's  nezv  dressing-room,  at  which  Sonia  Solona  and 
the  other  stars  welcome  and  congratulate  her.  While 
Harvey  is  drinking  in  the  next  room,  a  note  is  brought 
for  him.  The  boy  says  it  is  from  Miss  Royce.  and  to 
be  delivered  personally  to  Mr.  Dunn.  He  takes  it  to 
Harvey,  who  reads  it  and  tries  to  slip  it  in  his  pocket 
as  Judith  approaches.  Unnoticed  by  him,  it  drops  to  tin- 
floor.  Judith's  one  thought  is  to  get  the  note.  She  drops 
her  handkerchief  over  it,  and  stoops  to  pick  it  up. 


gance  or  another.  And  Judith  usually 
accorded  with  his  suggestions.  They  were 
living  beyond  their  means,  but  she  had 
implicit   confidence   in   Harvey's   advice. 

Bluff.     Bluff.     Bluff. 

She  unwound  the  tape  which  covered 
her  wedding-ring  so  that  it  would  not  be 
seen  on  the  screen.  She  had  not  taken 
the  ring  off  since  Harvey  slipped  it  on 
that  afternoon  in  the  office  of  the  Justice 
of  the  Peace. 

She  was  sentimental  about  things  like  that. 

The  ring  was  a  brilliant  diamond  band. 
Judith  would  have  preferred  a  gold  one. 
To  her  a  wedding-ring  was  a  traditional 
symbol.  She  had  not  let  Harvey  know  of 
her  disappointment,  however.  He  had  paid 
a  large  sum  of  money  for  this  brilliance. 
Judith  knew  that.  They  were  still  send- 
ing intermittent  checks  to  the  jeweler. 


Judith  had  learned  many  things.  She 
Jiad  traveled  a  long  way  in  the  short  time 
that  had  elapsed  since  she  signed  her  con- 
tract and  married  Harvey  Dunn. 

Debts.  They  were  very  different  from 
debts  in  Westport.  There  were  no  more 
derbied  dunners.  Instead,  Judith  had  rea- 
son to  fear  heavy  envelopes  with  engraved 
flaps  and  the  suave  men  wdio  urged  you 
to  charge  things.  She  could  not  decide 
which  were  worse — the  courteous  little 
notes  calling  your  attention  to  bills  which 
you  had,  of  course,  overlooked,  or  the 
bigger  shops  where  you  were  urged  to 
select  anything  that  pleased 
your  fancy.  This  quite  re- 
gardless of  the  fact  that  you 
were  already  heavily  in  their 
debt. 

However,  Harvey  seemed 
equal  to  the  intricate  and 
shifting  pattern.  He  rather 
insisted  upon  extravagance. 
He  made  the  rules.  Judith 
lived  according  to  his  Hoyle. 
For  instance,  they  had  gone 
to  live  in  a  suite  of  rooms  in 
a  family  hotel  when  they 
were  married. 

"Dont  give  this  address  to 
anyone,  Darling,"  Harvey  had 
immediately  advised  her. 
"You  will  be  at  the  studios 
most  of  the  time,  considering 
the  fact  that  you  begin  your 
second  production  on  the 
heels  of  this.  Let  everyone 
communicate  with  you  there. 
"Later  on,  when  your  op- 
tion is  exercised,  we  can  take 
a  studio  apartment  in  that 
building  over  on  Sixty-sixth 
Street.  Right  now  we  could 
hardly  swing  it. 

"And  another  thing,  Judy ! 
If  newspaper  and  magazine 
people  call  up  and  ask  for  in- 
terviews— and  God  grant  they 
will — always  make  an  en- 
gagement for  tea.  That  can- 
not cost  very  much.  You  can 
explain  that  you  are  busy  at 
the  studios  all  day.  Take 
them  to  Sherry's  or  the  Jap- 
anese Gardens  at  the  Ritz. 
Never  less  than  these  places, 
unless  we  change  our  living 
arrangements  in  the  mean- 
time. Then  you  might  have 
them  come  to  the  house.  Pro- 
vided it  is  what  it  should  be." 
Judith  had  evidently  ap- 
peared disturbed  at  these 
plans,  for  he  had  come  over  and  cupped 
her  face  in  his  loving  hands. 

"Dont  look  so  worried,  dearest,"  he  had 
pleaded  with  her.  "It  is  a  game — a  crazy 
game.     Play  it  to  the  limit." 

So  it  had"  been  from  the  very  beginning 
that  Judith  had  looked  to  Harvey  for  ad- 
vice. Some  things  about  it  she  disliked. 
But  she  knew  that  Harvey  was  wise  in  in- 
sisting that  she  play  a  role  outside  of  the 
studios  as  well  as  before  the  camera.  She 
remembered  that  Goldstein  of  Excelsior  had 
hinted'  that  it  was  best  to  go  in  for  some- 
thing of  this  sort. 
So  it  went.  .   .   . 

A  diamond  ring  when  she  would  have 
preferred  a  golden  one.   .    .    . 

Secrecy   about  her  address   until  an  ex- 
clusive one  might  be  given.    .    .    . 
(Continued  on  page   78) 


Advertising  Section 


CIT.M0TI0N  PICTUR[ 

IllOl  I    MAGAZINE       t 


^bur  Chin  Line  Reveals \four  Age 


THOUSANDS  of  women  are 
saying,  "I  look  ten  years 
younger— it  is  almost  miracu- 
lous," after  a  few  simple  home  treat- 
ments under  the  guidance  of  Dorothy 
Gray. 

This  remarkable  person— famous 
on  two  continents  for  her  discoveries 
in  facial  rejuvenation— now  extends 
her  services  beyond  the  confines  of 
her  New  York  Salon  on  Fifth  Avenue. 

If  you  have  a  double  chin,  as  shown 
in  picture  No.  i,  you  can  banish  it.  If 
you  merely  have  indications  of  its 
coming,  you  can  prevent  this  handi- 
cap to  beauty  in  a  short  time— at 
home— inexpensively. 

Dorothy  Gray 's  Double  Chin  Treat- 
ment comes  in  a  single  box— 5  precious 
preparations— accompanied  by  the 
Dorothy  Gray  Patter  and  the  Dorothy 
Gray  Chin  Strap.  Each  preparation  is 
for  a  definite  purpose.  Each  has  an  ex- 
clusive formula.  Complete  directions 
accompany  the  treatment. 

If  you  wish  to  correct  flabby  muscles , 
crepy  throat  and  drooping  chin  line, 
as  shown  in  picture  No.  3,  Miss  Gray 
offers  another  special  treatment  box 
containing  6  preparations,  including 
her  famous  Circulation  Ointment  and 
the  proper  non-drying  astringents  and 
nourishing  and  tissue  building  skin 
foods.  With  this  treatment  is  in- 
cluded the  Dorothy  Gray  Patter  and 
special  directions. 

If  you  have  lines  and  wrinkles,  as 

When  you  write 


How  a  drooping,  double  chin  can  be  re- 
stored to  youthful  grace.  How  the  telltale 
signs  where  age  shows  first  can  be  erased 


shown  in  picture  No.  z,  Miss  Gray 
offers  a  treatment  box  containing  5 
special  preparations  with  careful  in- 
structions. 

These  three  treatments,  as  outlined, 
enable  you  to  duplicate  in  your  own 
home  the  treatments  given  at  Miss 
Gray's  famous  Salon. 

These  are  the  three  basic  treatments 
for  youth  prolongation.  Of  course, 
Dorothy  Gray  has  perfected  other 
treatments — so  whatever  your  facial 
or  complexion  problems,  she  can  help 
you. 

Now  her  complete   treatments  as 
well  as  her  individual  preparations 
are   sold   in  the  leading 
department  and  dru 
stores  —  or  you  may  or- 
der direct.    Formerly 
only    a    fortunate    few 
could   partake    of  her 
services  in  her  New  York 
Salon. 

Now,  wherever  you  live,  you  can 
duplicate  her  treatments  in  your  own 
home— thanks  to  her  plainly  printed 
instructions. 

You  can  erase  years  from  your  face, 
or— if  you're  so  very  young— you  can 
prevent  the  first  telltale  signs  of  age. 

Dorothy  Gray's  clientele  has  mul- 
tiplied ten  times  over  the  last  two 
years— a  reward  for  her  twelve  years 
of  service  in  specializing  in  facial  re- 


juvenation. Every  one  who  tries 
•  her  treatments  and  preparations 
acclaims  her  genius. 

Diagnose  yourself.  What  of  your 
chin  line?  Does  it  reveal  an  unpleas- 
ant sign  of  premature  age?  What  of 
lines  and  wrinkles?  Have  you  flabby 
muscles  and  a  crepy  throat?  There  is  a 
special  Dorothy  Gray  treatment  for 
remedying  each  condition. 

These  treatment  boxes  canbebought 
at  all  leading  department  and  drug 
stores  or  you  may  order  direct,  via  the 
convenient  coupon  below.  Or  you  may 
visit  any  of  her  Salons  and  buy  them 
at:  New  York  (753  Fifth  Avenue); 
Atlantic  City  (1637  Boardwalk);  San 
Francisco  (The  White  House) ;  or  Wash- 
ington^. C.  (ioocjConnecticut  Ave.). 

Dorothy    Gray's    Double    Chin 
Treatment  includes   her  Cleansing 
Cream,  Tissue  Cream,  "Russian  As- 
tringent Cream,  Orange  Flower  Skin 
Tonic  and    "Russian  As- 
,   tringent,  together  with  her 
Reducing  Chin  Strap  and 
Patter. 


70 

DOROTHY  GRAY,  753  Fifth  Avenue,  New  York,  N.Y. 

□  Please  send  me  more  information  regarding  your  treat- 
ments. 

□  I  enclose  $10.85  for  which  send  me  one  box  containing 
a  treatment  for  reducing  a  doub  e  chin. 

□  I  enclose  $5.85  for  which  send  me  one  box  containing 
a  treatment  for  lines  and  wrinkles. 

□  I  enclose  $1 1 .60  for  which  send  me  one  box  containing 
a  treatment  for  relaxed  muscles,  wrinkles,  crepy 
throat  and  droop  under  the  chin. 


Name. 
Street. 
City.. 


advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


77 
PAG 


I 


Crazy    Quilt 


I 


Never  any  mention  of  her  married 
state.    .    .    . 

And  a  robbing  of  Peter  to  pay  Paul 
when  Paul  became  insistent,  and  a  robbing 
of  Paul  to  pay  Peter  if  he  should  write 
courteous  notes.    .    .    . 

Her  life  had  become  a  tissue  of  falsi- 
ties. But  it  had,  at  the  very  same  time. 
become  more  and  more  colorful  and  en- 
chanting. Judith  did  not  worry  exces- 
sively. Her  husband  and  her  work  ab- 
sorbed her. 

She  bent  over  her  sketch.  The  lines  were 
swiftly  drawn  and  simple.  That  was  the 
essence  of  what  she  wished  in  the  gown 
itself.  It  was  to  be  a  fragile  web  of 
-ray  chiffon,  suggesting  the 
simplicity  of  a  sheath.  Loose 
flowing  sleeves.  .  .'  . 

Harvey  came  in  as  Ju- 
dith crayoned  the  slippers 
of  her  model  in  jade.  He 
stooped  to  kiss  the  sweep  of 
her  copper  hair  on  her 
white  neck. 

"That  is  effective,"  he 
praised. 

Judith's  labor  was  re- 
warded. Harvey  approved. 
What  more? 

"With  a  heavy  string  of 
jade,  it  would  he  lovely." 
She  spoke  impulsively,  and 
then  wished  she  had  been 
silent.  She  dreaded  what 
she  knew  Harvey  would 
propose. 

"That  can  be  arranged," 
he  said.  "The  biggest  jew- 
elers can  be  prevailed  upon 
to  rent  things.  Sometimes 
they  will  loan  them.  It  is 
very  simple.  What  would 
you  like?  A  necklace  and 
a   slave-link   bracelet?" 

"Oh,  no !"  Judith  spoke 
quickly.  "It  is  not  impor- 
tant that  I  have  jade.  And 
I  wouldn't  like  to  do  that, 
Harvey.  Really,  I  wouldn't, 
dear." 

But  already  Harvey  visu- 
alized his  beautiful  wife 
with  jade  about  her  neck 
and  encircling  her  white 
arms. 

"Why  not,  Judy?"  he 
asked.  "Jewelers  are  glad 
to  have  beautiful  women 
wear  their  jewels.  And  the 
cost  for  oik-  evening  would 
be   small." 

Judith  shook  her  head. 
"Whatever    it    would    be,    it 

would     be     too     much,"     she 

said    insistently.      "We    owe 

a  great  deal  now.  More 
than  we  can  pay  for  some 
time.  You  know  how  I  loathe  debts.  Do 
a  little  here  and  there.  I 
have  jade  slippers.  And  the  gown  might 
really  be  more  effective  without  any  orna- 
mentation." 

He  laughed  indulgently  at  her  subter- 
fuge. 

"You  are  a  goose,"  he  said.  "Our 
debts  are  nothing.  And  they  wont  last 
long.  You  seem  t  have  no  idea  of  your 
worth  to  this  company.  It  is  important 
that  you  have  luxuries.  They  belong  to 
you.  That  I  cannot  give  them  to  you  "i> 
self   is  the  pity." 

He  was  convincing  her  again. 
78 


{Continued  from  page  76) 

"I  hate  the  debts,  too,  Judy.  But  they're 
part  of  it.  We  are  not  being  dishonest, 
darling.  You  understand  that  everyone 
does  this  sort  of  thing,  dont  you?  It  is 
business." 

When  he  talked  like  this,  Judith  inva- 
riably felt  like  a  silly  child  from  the 
country.  In  spite  of  her  success,  she  had 
an  inferiority  complex  where  Harvey  was 
concerned.  He  was  always  so  sophisti- 
cated and  confident.  And  she  knew  that 
he  had  been  holding  his  own  in  this  fast- 
moving  circle  when  she  had  been  serving 
chicken  suppers  and  strawberries  at  the 
festivals  of  the  Westport  Episcopal 
Church. 


$200 


in 


rizes 


ON  page  forty-three  of  this  issue  is  a  story  called 
"Crazy  Quilt."  It  finds  its  human  drama  in  motion 
picture  people.  We  are  offering  two  hundred  dollars 
in  prizes  for  the  best  compositions  of  not  more  than  three 
hundred  words  which  express  opinions  as  to  why  "Crazy 
Quilt"  is  a  perfect  title  for  this  story. 

The    rules    are   simple,   but   we    urge   you    to   read   them 
carefully. 

Rules  of  Contest 


1.  No  person  may  submit  more  than  one  composition. 

2.  This  contest  is  open  to  all  people  except  employees  of 
Brewster  Publications  and  their   relatives. 

3.  No   composition   must   run   over   three   hundred   words. 

4.  Write  on  one  side  of  the  paper  only. 

5.  List  your  name  and  address  at  the  head  of  every  sheet 
of  paper  used. 

6.  Address  compositions  to  Crazy  Quilt  Editor,  175 
Duffield  Street,  Brooklyn,  N.  Y. 

7.  No  communications  about  the  contest  will  be  answered. 

8.  No  compositions  will  be  returned. 

9.  Compositions  may  be  sent  any  time  up  to  February  1, 
1927.  But  we  suggest  that  you  read  the  entire  serial 
before  submitting  your  composition.  It  will  run  for 
six  months,  concluding  in  the  February  issue,  so  you 
will    receive    hints    about    the    title    from    time    to    time. 

10.  In  the  event  of  two  or  more  letters  being  of  equal  merit, 
equal  prizes  will  be  given  the  writers. 

11.  The   two   hundred   dollars    will    be    divided    as    follows: 


had  referred  to  the  things  Harvey  and  she 
had  meant  to  each  other  in  the  past  .  .  . 
to  Joy's  undying  love  for  him  .  .  .  and 
to  his  erstwhile  declarations  of  love  for 
her.  She  had  learned  that  he  was  to  marry 
Judith  the  following  day  and  had  re- 
proached him  bitterly. 

Judith  had  picked  this  note  up  from  the 
floor  when  Harvey  had  dropped  it,  but  she 
had  never  spoken  to  him  about  it.  As  a 
matter  of  fact,  she  honestly  believed  it  to 
be  comparatively  unimportant.  She  knew 
that  Harvey  had  lived  before  she  had 
come  into  his  life.  And  now  she  believed, 
utterly,  in  his  love  for  her. 

What  is  more,  Judith's  mirror  told  her 
that  she  need  not  fear  com- 
petition with  any  woman. 
She  was  beautiful  enough 
to  cause  a  man  to  be  un- 
faithful. She  was  hardly  a 
woman  of  whom  any  man 
would  weary. 
That  was  that. 
"I  have  brought  you  two 
gifts,"  Harvey  announced. 
It  seemed  to  Judith  that  his 
every  thought  was  directed 
toward  her  pleasure  and  ad- 
vancement. 

He  was  inordinately  proud 
of  her.  He  hardly  knew 
what  to  make  of  her  beauty 
and  ability  and  the  glamour 
she  cast.  He  acted  some- 
times like  an  old  hen  who 
hatches  a  duckling  and 
stands  clucking  on  the  shore 
to   watch   the   miracle   of    it 


rrizes 

$100 First  Prize 

50 Second  Prize 

25 Third  Prize 

10 Fourth  Prize 

5 .  .  .  .Fifth,    Sixth    and    Seventh  Prize 


She  felt  that  he  spoke  truthfully,  too. 
She  had  every  reason  to  feel  that  the  Acme 
company  would  continue  to  exercise  the 
option  in  her  contract.  And  with  every 
option  her  salary  increased. 

As  a  matter  of  fact,  it  was  only  now 
and  then  before  she  dropped  off  to  sleep 
at  night  that  Judith  was  overwhelmed 
with  any  fear.  Sometimes  then  she  would 
that  the  public  had  not  liked  her 
.  .  .  that  options  were  not  renewed  .  .  . 
and    thai    everything   crashed. 

Other  times  she  remembered  Joy  Royce. 
Judith  still  had  the  note  Joy  had  sent  Har- 
vey the  day  before  they   were  married.      It 


swimming. 

"More  presents !"  Judith 
put  away  the  sketch  of  her 
new  gown  and  was  aware 
that  she  would  wear  it  with 
borrowed  or  rented  jade. 

"First,"  said  Harvey,  like 
a  child  playing  some  gor- 
geous game.  "I  bring  you 
an  address.  It  is  a  most  ex- 
clusive ...  a  very  smart  .  .  . 
an  ultrafashionable  address." 
So.  They  were  going  to 
move  into  that  duplex  apart- 
ment. They  had  planned  to 
do  this  when  her  option  was, 
exercised,  of  course.  But 
she  had  half  hoped  that 
Harvey  would  take  cogni- 
zance of  their  indebtedness 
and  postpone  this  move  for 
the  time. 

But  no.  .  .  . 

"On  Monday  next,"  an- 
nounced Harvey,  "we  move 
into  one  of  those  studio 
apartments  we  have  always 
wanted.  It  is  a  small  apart- 
ment. The  living-room  and 
foyer  and  a  speck  of  a  kitchen  are  down- 
stairs. A  bedroom  and  bath  open  on  the 
little  balcony  which  overlooks  the  living- 
room. 

"And  it  is  furnished!" 
Judith   was    interested.      It   would    be   a 
home    of    their    own.      Surely    they    were 
entitled  to  this.     The  hotel  was  not  inex- 
pensive. 

"It  was  a  stroke  of  luck  getting  it  fur- 
nished and  everything."  Harvey  lounged 
in  one  of  the  wicker  chairs  and  it  creaked 
beneath  his  tall  burden.  "Lydia  Betts,  the 
writer,  had  it  and  she  will  be  abroad  for 
(Continued  on  page  80) 


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the  next  year.  Only  four  hundred  a  month, 
Judith.     Actually,  it  is  being  given  to  us."' 

At  the  mention  of  the  rent,  fear  winged 
in  Judith's  heart.  But  she  remembered 
that  she  had  felt  the  same  way  at  the 
mention  of  other  things  they  had  done  in 
the  past.     Yet  they    had   managed. 

"It  will  be  pleasant  really  to  have  a 
home,  even  if  the  things  in  it  are  not  our 
very  own."  she  said.  She  was  a  little 
wistful.  "I  never  did  like  the  hotel.  The 
people  sitting  about  in  the  lobby  are  gray- 
ish   and    depressing." 

Harvey  had  her  in  his  arms  now.  He 
never  seemed  content  with  her  elsewhere. 

"Of  course,  they  depressed  you,"  he 
said.  "And  you  never  complained,  either. 
Bless  your  heart.  I  do  love  you,  Judy. 
I  do  .    .    .  oh,  I  do  !" 

He  was  a  little  boy.  Judith  was  a 
mother.  His  surging  need  of  her  never 
failed  to  bring  this  maternal  response.  To 
matter  so  much  to  another  person  was  rather 
terrifying.  Judith  thought  it  almost  un- 
fair for  them  to  need  each  other  with  such 
a  vast  need.  She  did  not  forget  the 
frailty  of   human  nature. 

"Oh,  Judy  dear,"  he  said  contritely,  "I've 
gone  and  smeared  all  your  lip-stick." 

"It  doesn't  matter,"  she  said,  and  went 
over  to  her  dressing-table  to  repair  the 
loving   damage. 

Harvey  picked  up  the  motion  picture 
magazine  he  had  brought  in  with  him.  He 
glanced  over  the  pages  while  Judith 
straightened  up  her  make-up  tray.  She 
covered  the  little  jars  of  purple  salve  for 
shadows  beneath  the  eyes  .  .  .  the  tube 
of  pale  pink  grease-paint  .  .  .  the  large 
tin  of  powder  .  .  .  the  lip  salve  .  .  .  the 
cheek  rouge  .   .   .  the  mascaro. 

"Anything  especially  interesting  in  that 
issue?"  Judith  was  still  fascinated  by 
the  motion  pictures  magazines,  just  as  she 
had  been  in  Westport,  when  she  had  prac- 
tised every  economy  to  buy  every  issue  of 
every   publication. 

Harvey  smiled  portentously  as  he  handed 
her  the  copy. 

"You  judge,"   he  said. 

The  magazine  opened  as  if  from  habit 
at  a  page  on  which  Judith  saw  her  own 
photograph  and  one  of  Lola  Chase. 

"Harvey!"  She  was  beside  herself  with 
joy  and  unbelief.  "Harvey,  my  dear,  why 
didn't  you  tell  me?" 

lie  was  delighted  with  her  delight. 

"It  is  your  other  present — the  other  sur- 
prise,"  he   explained. 

And,  heads  together,  they  read  about  the 
great-granddaughter  of  old  New  York's 
favorite  who  was  to  be  in  the  movies. 
There  was  the  photograph  of  Lola  Chase 
in   the    little    poke    bonnet    made    of    fresh 

"I  divided  the  photographs  of  Lola  Chase 
exclusively  among  the  motion  picture 
magazines,"  Harvey  explained.  "We're 
pretty  sure  to  get  a  good  break  in  every 
one  of  them.  And  it  will  help  to  have  this 
publicity  when  your  first  picture  is  being 
shown.     A  good  tie-up. 

"May   1   have  a  drink  as  a  reward   for 
my   industry?"  he  asked.     ''I    finished  the 
first    half    of    the    script   today.      Where    is 
old  bottle?" 

Judith  checker!  the  admonition  that  came 
to  her  lips. 

"It   i-  behind  the  hat-box,"  she  said. 

Harvey  poured  himself  a  man-sized 
drink. 

If  any  instinct  within  Judith  was  greater 
than  her  love  for  Harvey  Dunn,  it 
80 
0fi 


{Continued  from  page  78) 

hatred  of  drunkenness.  And  already  in 
their  two  months  together,  she  had  expe- 
rienced two  occasions  when  Harvey  had 
not  been  himself.  How  far  from  himself 
he  had  been,  Judith  was  never  to  let  anyone 
know.  Following  both  times  he  had  been 
repentant  and  so  humiliated  that  she  had 
felt  sorry  for  him. 

She  recognized  the  utter  absurdity  of 
saying  anything  about  a  casual  and  single 
afternoon  drink.  x\nd  she  dreaded  giving 
any  semblance  of  a  nagging  wife. 

She  pulled  her  hair  out  from  under  the 
sweep  of  her  black  hat. 

They  had  lingered  so  long  that  they 
would  have  to  hurry  or  they  would  be 
late  for  the  second  performance. 

However,  the  subway  took  them  down- 
town quickly  and  gave  them  three-quarters 
of  an  hour  to  dine.  They  had  not  yet 
indulged  in  the  extravagance  of  a  motor. 
That  was  the  next  expenditure  on  the 
program.  Harvey  did  not  feel  that  an 
inexpensive  car  would  do. 

They  reached  the  theater  as  the  first 
show  patrons  were  coming  out.  Harvey's 
pass  admitted  them.  The  ushers  were  hold- 
ing the  waiting  crowd  back  of  the  velvet 
ropes  until  the  orchestra  had  emptied  of 
the  first  audience. 

"Let  us  sit  in  the  back  row,"  suggested 
Judith.  She  was  nervous  at  the  prospect 
of  seeing  herself  on  the  screen  with  an 
audience.  She  wanted  to  be  unobtrusive 
until  she  had  felt  her  way. 

Harvey   did  as   she   asked. 

Two  or  three  of  the  critics  on  the  New 
York  dailies  had  mentioned  her  debut  in 
this  film,  but  they  had  reserved  judgment 
regarding  her  until  her  next  appearance. 
They  unanimously  granted  that  she  seemed 
to  have  potentialities  and  that  she  was 
effective.  But  they  concluded  that  her 
first  role  was  unimportant  and  made  no 
demands. 

Both  of  them  were  restless  while  the 
divertissements  were  shown.  The  news- 
reel,  with  the  President  receiving  a  dele- 
gation of  Boy  Scouts  .  .  .  with  a  parade 
of  floats  in  some  carnival  .  .  .  the  ruins 
of  a  factory  after  a  fire  .  .  .  and  slow- 
motion  pictures  of  a  race-horse  seemed  to 
stretch  into  eternity. 

But  finally  the  prolog  came,  and  then  the 
feature  film. 

Judith  was  hypercritical  of  her  shadow. 
And  she  vaguely  remembered  that  quota- 
tion of  Burns,  "Oh,  wad  some  power  the 
giftie  gie  us  to  see  irselves  as  ithers  see 
us!"  She  wondered  if  he  had  sensed 
what  an  uncomfortable  process  it  would  be. 

She  noticed  that  her  hair  was  not 
smooth  in  one  scene.  But  it  is  not  likely 
that  anyone  else  in  the  theater  was  aware 
of  it.  However,  she  could  see  nothing  else 
on  the  screen. 

Another  time  she  thought  she  walked 
awkwardly. 

She  was  superconscious  of  every  move 
and  gesture  she  made.  It  was  as  if  she 
was  looking  at  her  slightest  defect  thru 
a  magnify ing-glass.  And  she  was  to  find 
that  it  was  always  like  this  when  you 
watched  yourself  on  the  screen. 

There  was  a  young  couple  next  to  her. 
They    held    hands    when    the    lights    went 
out.     Judith   knew   this   because   the   girl's 
bangle    bracelets   would   jingle   every   time. 
she  moved  her  arm. 

"There's  a  story  about  that  girl  in  the 
new  Motion  Picture  Magazine,"  the  ^irl 
said.  Judith  held  her  breath  in  an  intense 
desire    not    to    miss    one    whispered    word. 


She  nudged  Harvey  with  that  wifely  por- 
tentousness  that  he  had  already  come  to 
heed. 

Nothing  more  for  a  moment.  /  Then  the 
man  commented. 

"Attractive,  I  think." 

"She  knows  how  to  wear  clothes,  all 
right,"  the  girl  granted.  Judith  was  ac- 
tually surprised  to  hear  this.  She  had 
thought   the  wardrobe  gown   hung  badly. 

"See,  Judy,"  said  Harvey,  "they're  going 
to  like  you.  You  have  that  something, 
dear.     You  have  it.     Sure  as  Fate." 

Judith  hoped  he  was  right.  She  hoped 
that  others  would  feel  as  kindly  disposed 
toward  her  as  this  young  couple  appeared 
to.  But  she  wanted  to  get  out  of  the 
theater.  The  picture  was  ending.  She 
thought  she  would  like  to  escape  any  pos- 
sibility of  recognition. 

They  hurried  toward  the  lobby.  But 
just  as  they  reached  the  door,  someone 
called  to  them.  It  was  Dolores  Cortez. 
Her  husband  was  with  her.  Harvey 
seemed  genuinely  glad  to  see  them.  And 
Judith  was  excited  over  the  meeting.  She 
had  always  gone  to  see  Dolores  on  the 
screen  when  she  lived  in  Westport.  She 
had   been   one   of    the    first   vampires. 

"Introduce  me  to  your  wife,"  Dolores 
commanded  Harvey.  "I  wish  to  tell  her 
that  she  has  a  brilliant  future." 

She  smiled  at  Judith  with  warmth  as 
Harvey  effected  the  introduction. 

Charley  Martin,  the  husband,  also  had 
kind  things  to  say. 

Judith  marveled  over  him.  She  won- 
dered why  Dolores  had  married  him.  He 
was  a  drab  person  of  a  slight  frame,  with 
pale  blue  eyes  and  straw-colored  hair 
which  receded  from  his  forehead.  And 
his  false  teeth  clicked  when  he  talked. 

"By  the  way,"  said  Dolores,  "I  am 
giving  a  tea-party  to  the  press  tomorrow. 
At  my  apartment.  I  am  going  on  a  vaude- 
ville tour  for  a  few  months,  you  know. 
And  I  thought  I  would  like  to  see  some 
of  the  magazine  and  newspaper  writers 
before  I  left. 

"Wont  you  both  drop  in?  I'd  love  to 
have  you." 

Harvey  offered  his  regrets  and  explained 
that  he  was  working  on  a  scenario  that 
was  due  to  go  into  production  in  a  few 
days. 

But  Judith  accepted  gladly. 

"I  heard  something  about  you  going  out 
on  the  vaudeville  circuit,"  Harvey  said. 
"Going  to  play  in  a  sketch?" 

"Yes,"  said  Dolores.  "It  is  a  dramatic 
thing.  After  I  had  signed  the  contract, 
the  Excelsior  people  wanted  me  for  a 
picture.  It  was  a  fine  role,  and  I  would 
have  liked  to  play  it,  but  naturally  there 
was  just  nothing.  I  could  do  about  it." 

Judith  had  become  aware  that  several 
people  were  standing  watching  them. 
Others  turned  to  look  again  as  they 
passed.  They  had  recognized  Dolores  and 
she  was  in  her  glory.  She  talked  a  little 
louder  so  that  she  might  be  overheard. 

Charley  Martin  beamed  with  his  pleasure. 

"There  is  as  much  privacy  to  this  star- 
dom stuff  as  to  Irvin  Cobb's  gold-fish 
bowl,"  he  complained,  but  no  particular 
irritation  marked  his  tone. 

"Look,"  said  someone,  "she  is  with  the 
girl  who  played  that  part  in  ths  picture 
tonight!" 

It  was  Judith's  baptism  of  fame.  She 
flushed.  But  she  enjoyed  it,  in  spite  of 
the  fact  that  a  few  minutes  ago  she  had 
(Continued   on  page    108) 


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Funny,  he  had  never  noticed  these  things 
before. 

"Everyone  said,  Harley  Pennock,  that 
sooner  or  later  you  would  be  taken  in  by 
cue  of  these  .  .  .  these  movie  creatures. 
Everyone  said  that  1  would  regret  my  im- 
plicit confidence  .  .  .  my  faith  in  you  .  .  . 
Everyone  said  that  ..." 

"I  wish  to  God  you  would  quit  quoting 
what  'everyone  says,'  Caroline.  Haven't 
you  a  mind  of  your  own.  without  drawing 
on  the  minds  of  others  every  time  you  want 
to  .start  a  fight?" 

"Oh,  I  haven't  a  mind  now?  Is  that  it? 
I'm  a  dumbbell,  a  moron,  ami?  Well,  dont 
you  fool  yourself,  young-  man:  I  have  a 
mind  of  my  own,  all  right,  all  right,  but 
it  doesn't  mean  anything  to  you.  You 
listen  and  believe  only  other  people  .  .  . 
you  are  taken  in  .  .  .  made  a  fool  of  .  .  . 
by  creatures  like  .  .  .  like  that  thing  at 
the  s-studio !" 

Caroline  was  suddenly  and  violently  dis- 
solved in  tears.  Dismal  tears.  Unfortu- 
nate Caroline,  who  had  never  been  taught 
by  mother  or  director  to  weep  becomingly. 

Harley,  snorting,  returned  to  his  paper. 
It  was  so  unbelievable  of  Harley  to  do 
Just  that,  that  Caroline  stopped  weeping 
and  sat  stunned.  Harley  had  always 
"come  around."  had  always  comforted  her, 
been  repentant  and  solicitous  when  she  had 
had  to  resort  to  tears.  He  had  never  been 
unmoved.  He  had  never  been  unagitated. 
He  had  never  in  all  their  life  together  sat 
coldly  thru  her  tears. 

"Now,"  thought  Caroline,  desperately, 
l'now  I  know.  That  creature  has  got  him 
in  her  toils.  .  .  .  This  is  absolute  proof. 
Oh,  the  nasty  thing  ...  oh,  the  nasty 
thing.  .  .  .  Oh,  I  hate  him.  .  .  .  No,  I 
dont.  .    .    .   Oh,  what  shall  I  do!" 

Caroline  consulted  with  Wynne  Sum- 
mers.    They  lunched  at  the  Ritz. 

Caroline  knew  that  Harley  didn't  like 
Wynne  Summers ;  didn't  "approve"  of  her. 
I  lub!  Who  was  Harley  Pennock  noiu  to 
disapprove  of  Wynne  Summers  just  be- 
cause she  had  got  a  divorce  from  her  hus- 
band to  marry  that  good-looking  Peter 
Delafield,  and  then  hadn't  married  Dela- 
field  at  all,  but  Larry  Summers,  whom  she 
bad  met  while  in  Reno?  Goodness  knew 
how  many  divorces  that  Thing  at  the  studio 
had  been  guilty  of!  She  felt  that  she 
would  just  like  to  hear  Harley  Pennock 
make  any  further  comments  about  Wynne 
Summers.     Let  him  try  it  ! 

If  anyone  could  give  her  sound  advice, 
Wynne  could.  She  was  super-sophisticated, 
in  the  ways  of  men.  She  would  know 
the  method  to  cure  Harley  of  his 
ridiculous  infatuation  for  that  creature. 
For,  by  this  time,  '  'aroline  bad  worked  it 
up  into  an  infatuation. 

('aroline    toyed    with    words    and    French 
pastries.      She    fell    thai    she    was    being 
1  and  chver.  despite  the  fact  tha 
as  breaking. 

"Men  are  such  babies."  she  said,  as  one 
making  an  idle  observation. 

OU.      All    of    'em.      All    cut    from 
of    material.      Same  bolt  of 
Dont   know  enough  to  come  in  out 
of  the  snow." 

VVynni  tid    cute    little    things 

like  that,  in  a  brief  way,  in  her  thin,  brief 

"I  know.  Harley  believes  anything  he's 
told.     He  pretends  not  to,  but  he  dot 

know   him    so    well.      1    can    see    right   thru 
him.     It's  awfully  amusing." 
82  \ 

LA££  \ 


{Continued  from  page  26) 

Caroline  felt  that  the  awful  amusement 
didn't  register  so  well  in  her  voice,  which 
had  a  tendency  to  break  because  of  the 
nervous  tears   pressing  back  of  it. 

"\\  hat's  he  up  to?" 

"Oh  ..."  Caroline  gave  a  little  thrill 
of  laughter  .  .  .  she  had  to  to  cover  the 
amazement  she  felt  at  Wynne's  pointed 
stab  to  the  truth  .  .  .  "Oh,  he's  not  'up' 
to  anything !  He'd  better  not  be !  Nothing- 
like  that.  Only,  I  was  so  amused  last 
night  when  he  came  home  from  the  studio 
and  told  me  about  some  new  vamp  they've 
signed  up  on  a  starring  contract.  You 
should  have  heard  his  description!  My 
dear,  you'd  have  died!  Give  you  my  word! 
It  was  a  scream  .  .  .  my  stodgy  old 
Harley  .  .  .  'Lacquer-black  hair  .  .  .  skin 
like  gardenias  .  .  .  red  lips  .  .  .'  some- 
thing like  that  ...  I  didn't  pay  much  at- 
tention, but  I  was  amused.  Imagine  my 
good  old  Harley  saying  things  as  poetic 
as  that.  Why,  he's  never  been  able  to 
tell  me  what  a  woman  had  on  before  ..." 

Wynne  Summers  blew  fantasies  in 
smoke  across  the  table.  Thru  the  mauve 
veiling  her  slate-blue  eyes  seemed  to  soften 
perceptibly.  Her  thin  voice  rounded  to  a 
softer  note. 

"Worried?"  she  asked. 

Her  voice  had  a  maternal  accent,  really. 
Caroline  felt  that  Harley  had  been  all 
wrong  about  Wynne  when  he  had  called 
her  "a  heartless  little  cat"  and  other  op- 
probrious terms.  He  just  didn't  know 
(anything). 

"Yes,  I  am,"  she  said,  unexpectedly  even 
to  herself,  meeting  earnestness  with  ear- 
nestness ;  "I  really  am.  Oh,  not  so  very 
seriously,  but  I  just  cant  bear  to  see  Har- 
ley lose  his — his  perspective,  you  know — 
and,  frankly,  I  dont  know  just  what  tack 
to  take.  You  have  to  treat  men  like  chil- 
dren— babies " 

"You  have  to  show  'em.  Like  babies. 
Yes.  Christmas-tree  balls  are  not  to  be 
eaten.  Hurt  if  you  do.  Santa  Claus 
doesn't  exist.  Candy  can  be  poisonous. 
Marbles  are  not  to  be  swallowed.  All  that 
glitters  is  not  gold.     That's  your  line." 

"But,  my  dear,  what  do  you  mean? 
How " 

"Oh,  have  her  out.  To  the  house.  Expose 
her.  Strip  her.  Denude  her — of  fascination. 
Make  him  see  that  the  lacquer-black  crown 
is  just — hair.  Make  him  see  that  the  red 
lips  are  an  expensive  brand  of  lip-stick. 
Make  him  see  that  the  gardenia  skin  is 
good  old  calcimine.  In  short,  make  him 
realize  that  this  Faustine  person  is  just  an 
ordinary,  every-day  creature.  A  woman. 
Get  me?" 

"Yes,  T  think  I  do." 

"Start  a  campaign.  Go  easy.  Little  by 
little.  A  word  here.  A  word  there.  Meet 
her.  Have  her  down.  Strip  her  of 
glamour.  That's  all  you  have  to  do.  It's 
easy.  Any  woman  can  strip  another  woman 
of  glamour  if  they  keep  at  it  long  enough. 
Women  know  how.  By  instinct.  Easy, 
tho.     Go  easy.     You  can  do  it." 

"Oh,  I  see  what  you  mean  ...  if  I 
can  pull  it  off  ...  it  is  a  good  idea 
.  .  .  just  make  him  see  that  this — this 
Thing— is  an  ordinary,  every-day  woman 
.  .  .  nut  so  good  in  the  morning  .  .  . 
commonplace,   really.    .    .    ." 

"That's  the  eye!  Sure  fire.  He'll  drop 
the  scales  from  his  eyes  in  no  time.  » You'll 
turn   the   trick." 

"Wynne,    you    are    clever!" 

"That's  my  stork  in  trade.  Go  to  it! 
Good   luck!" 


It  was  difficult  to  "go  easy."  It  was 
such  a  temptation  to  say  bitter,  scathing- 
things.  But  Caroline  held  herself  in 
check.  She  had  never  realized  that  she 
had  so  much  self-control.  She  kept  saying 
to  herself  that  she  must  tread  lightly  .  .  . 
lightly.  .  .  .  She  took  extra  pains  with 
her  hair  and  nails.  Had  them  done  twice 
a  week  instead  of  once.  She  had  facials, 
too.  She  bought  new  lingerie,  peach- 
colored.  She  acquired  a  new  brand  of 
perfume.     An   Eastern  attar. 

She  was  pleasant  to  Harley.  Had  the 
dinners  he  liked  most.  For  a  couple  of 
nights  she  didn't  even  mention  Faustine. 
Just  chatted  easily  of  this  and  that.  Har- 
ley was  pleasant,  too.  Even  affectionate. 
No  one  could  have  guessed  that  there  was 
anything  menacing  beneath  the  silken  tex- 
ture of  their  lives. 

On  the  third  evening  she  said,  casually, 
"How  is  the  new  'find'  coming  on?" 

"Oh,  Fausta?  She's  great.  She's  going 
to  be  the  sensation  of  the  movie  year." 

He  knew  right  away.  His  mind  was 
on  it,  on  her.  He  called  her  "Fausta" 
now.  Caroline  swallowed  a  roc's  egg  in 
her  throat.  She  summoned  up  the  thin, 
reassuring  voice  of  Wynne  Summers. 
She  said,  "Cant  we  have  her  down  for 
dinner  some  night?  I'd  like  awfully  well 
to  meet  her." 

Harley  laughed,  shook  his  head.  "  'Fraid 
not,  dear,"  he  said.  "Fausta  is  the  Rolls- 
Royce  type.  She  belongs  to  that  setting. 
Cant  imagine  her  here.  She's  not  the  sort 
that  a  plain,  ordinary  man  like  myself 
would  mix  in  with.  It  would  cost  a  year's 
salary  to   entertain  her   for  the   evening." 

"Dear"  !  The  shameless  hypocrite !  So 
he  couldn't  imagine  her  "here" !  It  was 
good  enough  for  her,  Caroline,  but,  oh,  no, 
not  good  enough  for  "Fausta"  !     Ohhhh ! 

"Oh,  I'm  sure  she'd  enjoy  it.  Just  by 
way  of — of  contrast,  you  know.  I'd  do 
my  best.  The  home  atmosphere,  however 
humble,  might  be  restful." 

"Cant  see  myself  driving  her  out  in  our 
Buick,  somehow.  No,  I  dont  think  she's 
our  kind,  Carrie." 

Caroline  won  another  battle  with  herself. 
She  let  the  subject  drop.  She  would  have 
to  go  to  the  studio  herself,  meet  the  Crea- 
ture, issue  her  own  invitation.  It  was 
worse,  far  worse,  than  she  had  imagined. 
When  once  a  man  looks  upon  a  woman  as 
unattainable,  inaccessible,  shrouded  in  mys- 
tery .  .  .  why,  it  was  the  most  inflamma- 
tory attitude  of  all.  .  .  .  She  said,  "The 
peonies  are  coming  along  nicely  ...  I 
think  we'll  have  to  have  them  staked  up  " 

It  had  been  too  amusingly  easy.  So 
easy  that  Caroline  had  gone  home  from 
the  studio  torn  and  shredded  with  fear  and 
rage.  The  creature  was  coming  .  .  .  was 
coming  because  of  Harley.  That  must  be 
it.  It  was  the  only  explanation.  Harley 
had  been  right  about  her  not  being  their 
kind.  She  was  even  more  coated  in 
glamour  and  calcimine  and  accent  and  re- 
moteness than  Harley  had  said.  She  was 
the  kind  who  simply  would  not  visit  a 
little  married  couple  in  a  little  suburban 
home  unless   .    .    .  unless  .    .    . 

Well,  it  was  going  to  be  a  desperate 
game  to  play.  It  was  going  to  require 
every  last  ounce  of  energy  and  resource 
and    skill   possessed   by   Caroline. 

Harley  drove  Faustine  down.  He  had 
spent  an  hour  and  a  half  in  the  bathroom 
that  morning.  Caroline  timed  him.  He 
{Continued  on  page  84) 


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notorious,  is  always  present.  And,  thank  goodness,  the  work  is  indexed  to  the  min- 
utest detail,  making  it  a  valuable  reference  for  the  student,  the  historian  or  the  gen- 
eral writer." — Editorial  in  The  Salt  Lake  Tribune. 

Best  Biography 

"It  is  the  best  biography  that  has  ever  been  written  of  an  American  Frontiers- 
man."— Secretary,  Texas  Folk  Lore  Society. 

Scholarly  Efficiency 

"Mr.  Alter  has  done  a  real  service  to  the  chronicling  of  the  story  of  the  West,  and 
made  a  contribution  both  interesting  and  important  to  its  literature  in  thus  rescuing 

the  memory  of  one  of  its  great  men  from  the  oblivion  into  which  it  was  about  to  be  consigned.  He  has  done  the  work  with 
scholarly  efficiency  and  good  judgment,  having  searched  widely  for  the  material  which  would  report  the  many  activities  of 
his  subject,  and  give  them  their  proper  setting." — The  New  York  Times. 

Facts  Told  in  Living  Form 

"As  did  Francis  Parkman,  the  author  has  told  the  facts  in  living  form, 
with  active,  moving  men,  red  and  white,  peopling  the  West  of  a  century 
ago.  In  smaller  type,  with  little  abridgement,  original  sources  are 
given  as  part  of  the  narrative  and  as  foot  notes.  The  book  will  prove, 
therefore,  not  only  interesting  to  the  lay  reader,  but  valuable  to  the  story 
writer,  who  seeks  the  true  background  for  the  yarns  of  the  old  West."- — 
The  Salt  Lake  Desert  News. 

Rigid  Test  of  Accuracy 

"Mr.  Alter  has  made  an  exhaustive  and  careful  study  of  the  career 
of  this  noted  hunter  who  has  been  the  subject  of  as  much  legend  as  of 
actual  history  ...  He  has  taken  pains  to  ascertain  every  possible  fact 
regarding  his  hero,  and  to  insist  upon  rigid  tests  of  accuracy.  The  result 
is  a  valuable  contribution  to  the  history  of  the  West." — New  York 
Herald-  Tribune. 

A  Dependable  Work 

"Mr.  Alter  avoids  even  a  suspicion  of  embroidery.  He  presents  a 
vast  array  of  facts  that  are  a  valuable  addition  to  the  literature  of  the 
period  through  which  Bridger  moved.  Diligence  and  painstaking  re- 
search have  produced  a  useful  volume  .  .  .  All  in  all  his  book  is  extremely 
valuable  and  dependable." — F.  S.  Dellenbaugh  in  The  Nation. 


JAMES  BRIDGER,  About  1866 

The  only  known  photograph  of  this  extraor. 

dinary  western    character. 


Mrs.  VIRGINIA  BRIDGER  HAHN 

Only  living  child  of  James  Bridger.    Born  of  a  Ure 

mother    at   Fort    Bridger,    Wyoming,  July  4,   184  9 

Still   living. 

Copyrighted  by  J.  Cecil  Alter 


A  limited,  specially  bound  and  numbered  edition,  signed  by  the  Author 
Price  $10.00 — prepaid  if  cash  with  order 


SHEPARD    BOOK    COMPANY 

408  SOUTH  STATE  STREET         SALT  LAKE  CITY,  UTAH 


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83 


Advertising  Section 


The  Most  Popular 
Cream  in  the  World 
for  Evening  use 

Social  activities  are  always  an 
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and  complexion  are  blended 
into  an  entrancing,  pearly 
beauty  that  will  not  streak  or 
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That  Creature! 

(Continued  from  page  82) 


had  come  forth  reeking  of  lilac  vegetal, 
shaved  a  baby-pink,  powdery  and  sheepish. 
He  had  put  on  one-  of  his  new  silk  shirts 
and  a  gay  tie.  He  had  grumbled  because 
the  crease  in  his  trousers  was  an  inch 
awry.  Caroline  had  watched  him  adorn 
himself,  her  heart  like  lead,  her  hands  like 
congealed   ice. 

The  maids  were  out.  Caroline  had 
planned  it  so  that  they  would  be.  She  had 
made  preparations  for  a  picnic  sort  of 
supper  to  be  prepared  by  themselves  and 
eaten  on  the  sun-porch.  She  would  arrange 
things  so  that  the  filmy  Faustine  would 
have  to  daub  her  hands  in  flour,  would 
be  unable  to  prevent  the  heat  from  the 
stove  making  her  perspire.  She  would 
dispense  with  the  gracious  law  of  hospi- 
tality and  make  her  alien  guest  "one  of 
the  family."  Harley  would  see  that  the 
inaccessible  creature  was  merely  a  woman 
who  wouldn't  be  either  inaccessible  or  es- 
pecially desirable  over  the  kitchen  sink. 
Oh,  she  would  do  it  all  with  gay  apologies, 
of  course;  but  it  would  break  down  gossa- 
mer  pretenses. 

She  would  talk  frankly,  too.  That 
would  be  her  "line."  She  would  say,  in 
her  best  breezy  manner,  "Oh,  come,  now ; 
you  cant  fool  us!  What  is  your  real 
name?  I  know  you  will  feel  more  at  home 
if  you  will  just  be  yourself."  Something- 
like  that.    Harley  would  see — the  old  fool ! 

Harley  and  Faustine  came  in  laughing. 
Quite  gay,  natural  laughter.  Evidently 
Harley  had  lost  his  adolescent  fear  of  the 
glittering  tinsel  queen.  '  Evidently  he  had 
begun  to  find  out  that  she  was  mere  flesh- 
and-blood  woman,  after  all.  Caroline 
gave  her  first  thanks  that  their  car  was  _  an 
open  one.  .  Open  cars  are  so  unbecoming 
to  the  artificial  types. 

"Hey-o,  Caroline!"  he  called. 

Caroline  came  running  to  meet  them. 
She  ran  in  her  most  girlish  way,  with 
little,  trotting,  impulsive  steps.  She  felt 
that  she  looked  quite  charming  in  her  white 
linen  with  a  string  of  jade-green  beads,  her 
hair  marcelled  over  the  thin  spot  on  top. 

"Hulloa,  there!"  she  called.  Harley 
looked  at  her  in  surprise.  He  hadn't 
heard  her  trill  like  that  in  ages.  He  had 
supposed  her  over  it.  It  had  never  suited 
her. 

"Want  to  go  and  wash  up,  my  dear?"  she 
asked  Faustine.  "You're  all  hot  and 
dusty,  I  suppose." 

Faustine  didn't  look  hot  and  dusty,  but 
that  couldn't  be  helped.  The  implication 
was  there.  An  unpleasant  implication. 
That  would  help. 

Faustine  was  in  white,  too.  Which  was 
unfortunate.  White  seemed  so  much  more 
startling  on  Faustine.  Brought  out  the 
arresting  blackness  of  her  hair,  the  white 
of  her  skin,  the  blood-red  of  he,r  mouth. 
Besides,  it  was  white  georgette,  clingy, 
filmy,  drapery. 

Faustine  greeted  Caroline  gaily.  "This 
is  great  fun,"  she  said.  She  rolled  her 
R's  a  little,  but  she  would  drop  that  after 
a  while.  Caroline  would  wear  that  down. 
"I  dont  need  to  do  a  thing,"  she  said ; 
"have  enough  fussing  to  do  at  the  studio 
.  .  .  let  me  come  out  and  help  .  .  .  it's 
been  aeons  since  I've  had  an  opportunity 
to  do  things  in  a  home  kitchen.  ..." 

".Eons"  ! 

Harley  had  once  said  that  Caroline's 
vocabulary  was  too  limited. 

Faustine  tossed  off  her  hat,  revealing 
coils  of  sleek  black  hair.  Not  bobbed  and 
not  in  the  least  disturbed  by  the  wind. 
Her  skin  shone  with  a  pale  (and  dustless) 
radiance.     Her  mouth  was  vivid  and  puls- 


ing in  that  wraithy  whiteness.  Unhealthy, 
Caroline  thought.  She  remembered  to 
have  heard  that  men  like  healthy  women. 
Still,  there  was  Camille.   . 

Faustine  and  Caroline  and  Harley  were 
in  the  kitchen.  Caroline  had  kept  the 
windows  closed  all  afternoon  so  that  it 
would  be  hot.  Faustine  didn't  seem  to 
mind.  Caroline  recalled  that  there  are 
women  who  never  perspire.  Unfortunately, 
she  herself  was  not  among  them. 

Faustine  insisted  upon  mixing  the  salad 
dressing.  She  moved  about  with  signal 
expertness.  She  was  deft  and  sure  and 
laughing.  "I  used  to  make  my  salad  dress- 
ing for  Daddy  Sunday  nights,"  she  said. 
"I  feel  that  I  may  as  well  be  myself  with 
you  people.  Airs'.  Pennock.  Why  not?  Of 
course,  I  had  to  earn  my  living  .  .  Dad 
isn't  well  .  .  things  were  not  easy  at 
home.  ...  I  found  out  that  a  girl 
named  Elsie  Fowler,  from  up-state,  hasn't 
much  chance  where  the  big  money  is.  I 
think  that,  where  women  are  concerned,  big 
money  goes  to  the  poseurs.  Men  haven't 
got  used  to  paying  women  for  what  they 
are  worth,  intrinsically.  They  have  to  be 
fooled,  a  little.  As  they  have  always 
been  fooled  in  other  phases  of  life.  So- 
cially. Domestically.  I  figured  it  out 
that  way.  And  I  said  to  myself,  'Righto, 
it  shall  be  a  pose — a  pose  that  pays.  You 
see,  it  has  !  I  named  myself  out  of  Swin- 
burne ...  I  adopted  an  accent  ...  it 
slips  now  and  then,  but  there  are  so  few 
to  note  the  difference.  I  kept  it  carefully 
concealed  that  I  had  gone  to  Mt.  Holyoke 
College  and  had  been  a  schoolteacher  for 
a  year.  My  press-agent  did  the  rest." 
Elsie  Fowler  laughed.  "He  wrote  articles 
alluding  to  the  Russian  Steppes  ,  .  .  the 
last  of  an  impoverished  royal  name  .  .  . 
the  first  thing  /  knew,  I  was  signed  up 
under  a  big  contract." 

They  were  at  the  supper  table.  The 
salad  was  notably  delicious.  Faustine  had 
to  do  most  of  the  talking,  because  Harley 
was  laughing  all  the  while,  for  no  ap- 
parent reason  .  .  .  and  Caroline  couldn't 
think  of  anything  to  say.  Everything  that 
she  had  planned  to  say,  or  insinuate,  Elsie 
Fowler  was  saying  for  her.  Without  in- 
sinuation. 

She  glanced  at  Harley  now  and  again, 
expecting  to  meet  his  eyes,  expecting  to  get 
the  subtle  signal,  "So,  this  is  all  there  is 
to  it!  Well,  I'm  damned  if  you  weren't 
right !"  But  she  couldn't  meet  Harley's 
eyes,  because  they  were  riveted  on  Elsie. 
They  seemed  to  be  laughing  and  grave  at 
one  and  the  same  time.  They  seemed  to 
be  amazed  and  reassured.  She  couldn't 
remember  ever  having  seen  just  that  ex- 
pression in  Harley's  eyes  before.  They 
seemed  to  be  wondering.  .  .  .  Well  he 
might  wonder!  After  all  the  absurd  ex- 
aggerations he  had  gone  to  .  .  .  and  then 
to  find  out  that  Faustine  was  only  Elsie 
Fowler  from  up-state ! 

How  they  would  laugh  over  it  together ! 

"I  dont  see  how  you  do  it  .  .  .  how  you 
manage  to  keep  it  up.  ..."  Harley's 
voice  was  admiring,  eager.  That  was  just 
his  way.  He  had  always  had  a  perfect 
manner  with  these   .    .    .   these  people. 

"Yes,  it  is  hard  work.  Harder  than  T 
imagined  when  I  began.  It's  acting  all  the 
while,  on  the  job  and  off.  I  often  think, 
too,  that  some  of  the  interviewers,  the 
women,  at  any  rate,  see  thru  me.  ..." 
(Well,  Caroline  should  hope  so!  "See 
thru  her"— indeed,  yes  I)  "I  often  think, 
too,  that  they  understand  and,  so,  keep 
silence.  They  realize,  no  doubt,  that  one 
must  make  a  living  in  the  cleverest  way 
one  can.    This  was  my  way.  .  .  ." 


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"You  know,"  it  was  Harley's  voice  again, 
still  with  a  warm  note  of  laughter,  "you 
know,  I  was  scared  to  death  to  have  you 
out  here.  I  wouldn't  invite  you.  It  was 
Caroline  who  insisted.  Men — plain  chaps 
like  myself — are  rather  afraid  of — of — 
well,  the  sort  of  vamp  type,  you  know. 
Expensive  .  .  .  too  much  for  us.  I  said 
that  you  were  the  -Rolls-Royce  type.  It 
was  Carrie  here  who  prevailed  upon  me 
.  .  .  against  my  will  ,  «  .  we're  pleas- 
antly surprised,  aren't  we,  Carrie?" 

"Oh,  no,"  Caroline  laughed,  lightly, 
brittlely  "Oh,  no;  I  knew,  Harley,  that 
Faustine  would  be — what  she  is." 

Try  as  she  would,  Caroline  could  not 
suppress  an  unpleasant  note  from  creeping 
into  the  last  three  words. 

"What  she  is"  became  an  unpleasant 
actuality,  to  be  met  and  dealt  with  as 
summarily  as  possible. 

It  occurred  to  Caroline  that  Harley 
didn't  take  it  quite  that  way. 

Elsie  laughed.  "The  idea!"  she  said. 
"I  hadn't  an  idea  I  was  fooling  Mr.  Pen- 
nock.  And  you  should  have  seen  me 
riding  around  in  Dad's  tin  lizzie  at  home. 
Why,  I  love  being  here !  It's  the  first 
time  since  I've  been  in  New  York  I've  had 
a  chance  of  being  myself.  I  hope  you'll  let 
me  come  again." 

"You  betcher!"  said  Harley  Pennock. 

But  she  never  did. 

Wynne  Summers  and  Caroline  were  lunch- 
ing at  the  Ritz.  Caroline  was  in  mauve 
gray  from  head  to  foot.  She  felt  that  it 
became  so  recent  a  divorcee  and,  besides,  it 
was  becoming.  That  man,  Peters,  Wynne 
had  told  her  she  was  "a  symphony." 

Caroline  was  treating,  as  she  usually  did, 
Wynne  was  never  very  flush  with  money. 
But  Caroline  had  a  substantial  alimony 
and  nothing  to  do  with  it  but  have  a  good 
time. 

Wynne  was  saying,  "I  feel  rottem  Sort 
of  my  fault.  ..." 

"Oh,  no,  you  mustn't  feel  that  way,  dear. 
Of  course,  it  is  much  better  as  it  is. 
Harley  and  I  were  never  suited,  tem- 
peramentally. He  sort  of  kept  me  in,  re- 
strained me  from  being  my  true  self.  I 
often  told  him  that  we  should  separate. 
I  suppose  that  worked  on  him  to  some 
extent " 

Wynne  blew  awav  the  smoke.  Her  slate- 
blue  eyes  were  a  little  harder  than  usual. 

"Want  to  tell  me  what  happened?"  she 
said.    "Straight  stuff,  I  mean." 

"Why  not?"  Caroline's  voice  was 
brittle,  too,  thin,  like  Wynne's.  "Not 
much  to  tell.  That — that  Creature  came 
down  to  supper  one  night.  We  got  it  to- 
gether, picnic  fashion.  As  you  suggested, 
I  wanted  Harley  to  see  that  she  was  just 
a  woman,  after  all.  He  saw.  I  didn't 
have  to  work  at  all.  She  spilled  every- 
thing about  herself.  Tore  away  the  veils 
with  her  own  hands.  I  thought  Harley 
would  see  .  .  .  he  did.  He  saw  that  she 
was  a  woman — accessible,  not  inaccessible 
Attainable,  not  unattainable. 

"That's  about  all.  She  never  came 
down  again.  Harley  began  to  act  more 
peculiarly  than  ever.  Then,  one  night,  he 
came  right  out  and  told  me.  Said  that  he 
had  been  attracted  to  Faustine  from  the 
beginning  but  would  never  have  thought 
of  her  as  a  woman,  to  be  won,  if  I  had 
not  had  her  down  to  the  house.  Said  that 
he  would  have  thought  of  her  as  a  beautiful 
painting,  a  strain  of  music,  a  myth.  Then, 
when  he  saw  her  at  home,  he  realized  that 
she  was  human  after  all.  Human.  Real. 
A  woman.  His  detached  attraction  be- 
came— love." 

"Hmm  ..."  said  Wynne  Summers. 
She  added,  "I'll  have  to  jot  that  down  in 
my  note-book.  It's  a  new  one.  Worth 
remembering." 


[i  /i\W3, 
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and  remove  food  particles  by 
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workers*  Vim  is  restored,  hope  re- 
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Wrigley's  aids  digestion,  soothes  the  throat 
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Comes  to  you  fresh  and  full 
flavored,  clean  and  wholesome 


in  its  sanitary 
wax -wrapped 
sealed  package. 


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85 
PAfi 


i 


<M 


m 


Advertising  Section 


V 


i 


life 


i 


Mam/  loveh/  shins  are 
marred  through  this 
one  mistake 

IOOK  about  you  at  the  skins  that  are 
-/  dry,  rough,  red  and  prematurely 
wrinkled,  and  in  most  cases  you  can  at- 
tribute the  unpleasant  condition  to  lack 
of  knowledge  on  one  important  subject. 
The  vital  necessity  for  preserving  the 
natural  oil  of  the  skin  is  a  fact  that  many 
women  donot  know.  They  have  learned 
the  importance  of  keeping  the  pores 
thoroughly  cleansed,  open  and  active, 
yet  by  using  cleansing  agents  that  are 
too  harsh  they  are  unknowingly  de- 
stroying this  precious  oil  and  preparing 
the  way  for  disastrous  results.  Robbed 
of  its  protective  oil,  the  skin  becomes 
dry,  cracked,  rough  arid  leather-like — a 
prey  to  many  of  the  more  serious  forms 
of  skin  disorder. 

Resinol  Soap  should  be  used  by  every . 
woman  who  values  her  complexion  be- 
cause it  meets  all  the  requirements  of 
skin  cleansing.  Its  soft,  luxuriant  lather 
most  thoroughly  cleanses  the  tiny  pores 
— you  can  really  feel  it  clean — yet  its 
action  is  so  gentle,  the  delicate  oil  is 
preserved  and  the  skin  remains  soft  and 
supple.  It  has  a  distinctive  fragrance — 
it  is  healing,  soothing,  and  at  the  same 
time  stimulating — all  of  which  is  pos- 
sible only  because  of  the  Resinol  prop- 
erties it  contains. 

Resinol  Ointment  is  a  ready  aid  to 
Resinol  Soap  because  in  addition  to 
being  widely  used  for  rashes,  chafing 
and  more  serious  skin  disorders,  thou- 
sands of  women  find  it  indispensable 
for  clearing  away  occasional  blem- 
ishes. Resinol  products  are  sold  by 
all  druggists. 

Would  you  like  to  try  Resinol  Soap  and 

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City.. 


The  Answer  to  October  Hand  Analyses 


Neil  Hamilton 

""The  long  hand,  with  long 
slender  fingers,  belonging 
to  a  tall,  lean,  muscular 
man  with  an  oblong  face, 
was  Neil  Hamilton's  hand. 
Face  and  hand  correspond 
in  great  detail,  showing  the 
same  characteristics  thruout. 
This  gives  added  strength 
to  these  characteristics  and 
also  gives  strength  to  the 
character.  There  is  nothing 
complicated  or  complex  in 
this  character ;  a  wholesome, 
honest,  sincere  nature,  loyal, 
affectionate,  kind,  and  with 
good  understanding  of  hu- 
man nature.  Dramatic  and 
artistic  taste  are  found  in 
face  and  hand  alike,  also  an 
interest  and  liking  for 
mechanical  things.  A  seri- 
ous, conscientious,  conserv  ■ 
afire   individual. 


Alice  Joyce 

The  hand  belonging  to  the 
person  who  would  ac- 
complish things  by  the  use 
of  her  brain  rather  than  by 
the  use  of  her  hands,  was 
Alice  Joyce's  hand.  This 
hand  showed  love  of  the  ar- 
tistic and  artistic  taste,  but 
not  the  ability  to  represent 
in  the  arts  by  use  of  her 
hands.  Great  distaste  for 
friction  or  quarrels  is  in- 
dicated in  her  face  as  well 
as  in  her  hands.  Face  and 
hand  alike  indicate  a  very 
emotional  nature ;  a  person 
of  moods  ;  one  who  is  very 
sensitive  and  feels  deeply. 
Both  face  and  hand,  voca- 
tionally, show  ability  in 
many  directions. 

All  rights  reserved 
F.  Vance  de  Revere 


Lois  Mo  ran 

'"The  hand,  which  belonged 
to  one  of  the  very  young 
and  very  new  girls  in  the 
Movies,  one  who  is  differ- 
ent and  not  readily  or  easily 
understood  by  others,  was  • 
the  hand  of  Lois  Moran. 
Her  face  and  hand  both 
give  evidence  of  a  very 
serious  person ;  one  who 
takes  life  too  seriously  for 
her  own  good.  The  hand 
and  face  differ  in  many  de- 
tails, making  a  more  com- 
plex nature  and  one  not 
easily  read  or  understood. 
For  example,  the  short 
fingers  would  denote  an  im- 
pulsive nature,  whereas  in 
her  face  there  is  control; 
repression  and  poise,  in 
fact,  a  complete  comparison 
of  both,  would  show  many 
variances. 

All  rights  reserved 
F   Vance  de  Revere 


Prize  Winners   for   Limericks   Published  in 
September  Magazine 


The    new    Swedish    beauty,    La    Oarbo, 
J  las    radical    notions    of    garb — O. 
All    her    modesty    needs 
Is   a    few   strings   of  beads — 
That's  the  reason  why  she  got  the  job — O! 
E.   Lloyd, 

New   York. 


With  the  price  of   Bebe's  bouquet 
Most   girls   a    month's    rent    could    pay 
And    still   have   enough 
For  a  coal   and  a   muff — 
Vet   her   orchids   will   last  but   a    day. 
I  wit    Mouse, 
Brooklyn,   N. 


If   Mae  were   a   Japanese   miss 
She  would   have  to  wear  costumes  like  this. 
As   her   legs   and   her   arms 
Are   her   principal    charms, 
All    her    fans   would   be   paper,    I    wis. 
E.   M.  Scott, 
Paterson,  N.   T. 


Tho  they   say   to  be  seen  while  in  tears 

Is    a    thing    every    pretty    girl    fears, 

Florence    vidor    refused 

To   look   gay   or   amused 

Foi    emoting    makes    movie    careers. 

Matt   Raymond, 

Enfield,    Mass. 


though 


far     too     de- 


Pauline     Stark. 

mure, 
Without     six    appeal,     fame    cant     endure."' 
So  sh(    proved   she   had   "It" 
And    at    once    made   a    hit 

Now   her  clothes,   like  her   troubles,  are  fewer. 
Emily    IIoovf.r. 
Washington,  D.  C. 


A  Popular  Candied  Date    (Candidate)   Seeking  Election 
is  the  prize-winning  title  for  the  picture  which  appeared  on  page  8  of  the 
September  issue.     It  was  contributed  by  J.  Archibald  Dunlap,  Nashua,  N.  H 


86 

AGE 


Every  advertisement  In  .motion   PICTURE  MAGAZINE   ts  gua 


That's  Out 

(Continued  from  page  48) 

Cpeaking  of  Murnau  makes  us  wonder 
**  what  America  will  do  with  him  now 
that  he  has  arrived  here.  American  pro- 
ducers have  a  peculiar  habit  of  signing  up 
foreigners  because  of  an  outstanding- 
ability  in  some  particular  line,  and  then 
assigning  them  to  an  altogether  different 
type  of  work  when  they  arrive  in  this 
country. 

Murnau's  forte  apparently  being  a  re- 
markable ability  to  picture  dramatic  action 
without  subtitles,  he  will  no  doubt  be 
placed  in  charge  of  the  Fox  Animated 
News  or  the  Literary  Digest's  "Topics  of 
the  Day." 

Come  well-meaning  individual  has  just 
organized  a  company  to  make  films 
especially  for   children. 

The  idea  is  a  good  one,  but  he  is  a  little 
late  with  it.  All  of  our  leading  film 
companies  have  been  doing  that  exclu- 
sively for  the  past  several  years. 

The  thing  to  be  done  is  for  someone  to 
organize  a  company  to  make  a  few  pic- 
tures for  grown-ups. 

A  Mora  has  been  started  to  build  a  chain 
^^  of  theaters  which  will  show  only 
short  subjects,  and  no  films  of  over  three 
reels   in  length. 

Some  steps  should  be  taken  at  once  to 
stop  this.  If  theaters  start  showing  short 
pictures  of  the  same  quality  that  we  are 
now  getting,  the  patrons  will  no  sooner  be 
comfortably  asleep  than  they  will  have  to 
wake  up  again. 

Judging  from  the  past  records,  the  suc- 
cessful producer  is  not  one  who  can 
make  the  best  pictures,  but  the  one  who 
can  get  an  outlet  for  his  celluloid. 

Will  Wonders  Never  Cease  ? 

A  censor  board  has  at  last  been  dis- 
**■  covered  with  a  few  grains  of  common 
sense.  Sad  to  say,  however,  the  board  is 
in    far  off  Australia. 

T  n  approving  the  screen  version  of  "Anna 
Christie,"  which  many  other  places 
have  banned,  the  Australian  censor  board 
stated:  "We  look  with  more  favor  on  a 
film  which  handles  a  dramatic  situation 
powerfully,  if  sometimes  a  trifle  realisti- 
cally, than  on  one  which,  tho  not  directly 
objectionable,  juggles  with  the  facts  of 
life  and  seeks  to  endow  its  less  pleasing 
features  with  a  meretricious  splendor.  A 
censorship  would  not  be  fulfilling  its  func- 
tions in  a  very  capable  manner  if  it  sought 
to  discourage  genuine  drama,  tragedy  or 
comedy." 

American  censor  boards  might  use  this 
policy  to  good  advantage. 

'VW'hat  is  funnier  than  a  movie  star  who 
W  has  been  abroad  for  the  first  time  ( for 
three  months)  and  who  on  her  return 
keeps  saying,  "In  Europe  they  do  this," 
"Abroad  they  dont  do  that"? 
'  Or  another  who,  after  spending  five 
weeks  in  Italy  and  France  and  two  in 
Germany,  exclaims  how  dreadful  it  is  to 
return  here  and  listen  to  Americans  speak 
English. 


HAPPINESS 

Which    road 
cess?     Wealth? 
Children? 

leads   to   it  .  .  .  Sue- 
Fame?     Marriage? 

See  the  December  Motion  Picture 
Macazine    on    the    news-stands    by 
November  first. 

Advertising  Section 


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and  night,  using  water  only  at  night 
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blackheads,  redness,  tan,  wind,  and 
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Women  today  will  tell  you  this 
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If  you  are  in  doubt,  take  no  chances. 
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Shadows  of  the  House  of  Mirth 


(Continued  from  page  20) 


neighbors  didn't  mind  losing  sleep,  be- 
cause they  had  a  lot  of  fun  just  satisfying 
their  curiosity,  but  after  awhile  they  got 
tired  of  it  and  notified  the  police.  Rubye 
curbed  her  social  instincts  somewhat.  But 
the  only  time  she  really  stopped  giving 
parties  was  one  week  when  there  was 
serious  illness  in  the  little  Owl  House — 
somehow  she  heard  of  it,  and  not  a  sound 
of  revelry  came  from  The  House  of 
Mirth  until  the  crisis  was  past — besides, 
she  sent  the  tall,  thin  dark  "Pappy"  over 
with  offerings  of  ice  and  brandy  such  as 
couldn't  be  procured  by  any  prescription — 
Rubye  was  kindness  and  consideration 
itself,  but  her  picture  career  flickered  out, 
and  one  morning  the  express  wagon  came 
and  was  piled  high  with  trunks  from  The 
House  of  Mirth — and  Hollywood  knew 
Rubye  no  more. 

But  new  tenants  came — the  house  had 
acquired  a  reputation  and  commanded  a 
fabulous  rent.  Max  Linder  moved  in. 
Max  entertained  with  a  grand  gesture. 
He  always  wanted  to  pull  some  original 
denouement  for  his  parties,  and  his  fare- 
well one  capped  the  climax.  All  evening, 
anyone  who  had  cared  to  listen  from  the 
porch  of  the  Owl  House,  could  have 
heard  his  impassioned  farewells  to  each 
and  every  girl  at  the  party,  and  to  every 
one  he  said — "It  is  because  of  you,  I 
go—" 

In  the  small  hours,  wheels  came  creak- 
ing up  the  hill.  Then  the  sound  of  low 
voices,  the  clank  of  chains,  then  a  cres- 
cendo of  piercing   feminine  shrieks. 

Max  had  imported  six  lions  from  the 
Universal  Zoo  to  amuse  his  guests.  Lions 
in  a  drawing  room  might  have  been  his 
French  idea  of  the  spice  of  life,  but  it 
just  about  turned  his  party  into  a  panic. 
A  few  days  later  Max  was  gone  from  the 
hill,  and  afterward  came  that  tragic  news 
from  Paris — Max  Linder  and  his  wife 
had  taken  the  "Short  Cut" — what  seemed 
to  them  "the  way  out" — a  double   suicide. 

But  that  was  in  Paris — the  shadow  only 
lightly  touched  The  House  of  Mirth.  An- 
other tenant  came,  a  fair-haired  girl 
whose  work  on  the  screen  had  earned  a 
fortune,  and  who  was  just  then  beginning 
to  demand  an  accounting  of  the  spending 
of  that  fortune  from  her  Mother — Mary 
Miles  Minter. 

Mary  didn't  give  many  parties — she  had 
come  to  the  top  of  the  hill  to  hide  as  much 
as  possible  from  reporters — to  hide,  as  it 
later  developed,  from  her  Mother.  Her 
legal  tangle  became  more  and  more  in- 
volved, but  it  didn't  keep  the  neighbors 
awake  at  night.  They  were  just  getting 
used  to  nights  of  unbroken  sleep  when 
the  shot  rang  out — crashing  one  of  the 
stained-glass  windows  in  the  bullet's  en- 
trance. • 

Fear  gathered  in  the  corners  of  the 
sunny  rooms.  A  woman's  hatred  and 
avarice  hung  over  the  gay  yellow  house, 
making  it  worse  than  a  prison  for  her 
daughter.  The  girl  was  afraid  to  stay 
alone — afraid  to  venture  out,  even  into 
the  garden.  One  day  she  was  gone.  Her 
lawyers  decided  she  would  be  safer  in 
New  York,  and  so  Mary  Miles  Minter, 
who  was  once  considered  the  possible  and 


very  probable  rival  of  Mary  Pickford, 
left  Hollywood.  Is  her  picture  career 
ended?     It   seems   quite  likely. 

Painters,  paperers,  decorators  came  to 
The  House  of  Mirth.  It  was  being  done 
over.  Gay  chintzes,  wicker  furniture — 
feminine,  frivolous,  lovely  things  were 
carried  in.  A  dark-haired  girl  wearing 
a  bright  sweater  was  seen  about.  The 
neighbors  whispered— "It's  going  to  be  a 
Honey-Moon  House."  It  was — for  Lea- 
trice  Joy  and  John  Gilbert.  Those  bril- 
liant, tempestuous,  bitter  sweet  days!  That 
honeymoon  that  lasted  such  a  little  while. 
The  House  of  Mirth  remembers  all  about 
it,  and  when  Leatrice  and  John  were  gone, 
a  sad  little  ghost  of  happiness  lingered 
behind. 

It  was  still  there  when  Lila  Lee  and 
James  Kirkwood  moved  in.  They  were 
the  quietest  people  that  ever  lived  in  The 
House  of  Mirth.  James  was  ill,  you  see, 
recuperating  from  a  severe  accident,  and 
Lila  was  a  very  new  and  very  devoted 
little  wife. 

And  the  neighbors  said,  "Here  are 
'Movie  People'  who  seem  just  like  other 
people.  When  James  recovered,  he  and 
Lila  were  very  busy  making  pictures  and 
used  to  leave  the  hill  every  morning  at 
eight  o'clock  for  the  studio — and  nights 
they  were  too  tired  for  parties,  and  The 
House  of  Mirth  seemed  about  to  lose  its 
reputation  for  excitement  when  suddenly 
the  Kirkwoods  went  to  New  York,  and  a 
new  tenant  arrived — Sigrid  Holmquist,  a 
Scandinavian  beauty  who  had  forgotten 
more  about  parties  than  Rubye  de  Remer 
had  ever  known.  She  was  making  "The 
Light  That  Failed,"  and  it  was  said  she 
had  a  promising  screen  career — "  'Tis  not 
that  she  loved  Fame  less,  but  that  she  loved 
Joy  more."  I  dont  know  what  her  parties 
began  with,  but  they  were  punctuated  with 
bacon  and  eggs  at  various  stages.  She 
herself  cooked  the  bacon  and  eggs — and 
the  aroma  of  bacon  hung  in  the  air  from 
midnight  to  noon. 

During  her  reign  The  House  of  Mirth 
became  an  unfailing  source  of  hospitality. 
Anyone  who  was  hungry  dropped  into 
Sigrid's  for  a  meal.  She  gave  with  both 
hands — her  bounty  knew  no  limits.  If  you 
admired  a  satin  negligee,  it  was  yours.  If 
you  wanted  twenty-five  dollars,  or  a  hun- 
dred, and  it  was  in  her  purse — it  was 
yours.  Whoever  asked  for  it  first,  got 
it,  irrespective  of  legitimate  claims. 
Money  just  went.  Bills  piled  up  and  up 
and  up.  Finally  the  smash  came,  but 
Sigrid  wired  somebody  in  New  York,  and 
the  next  thing  the  neighbors  heard,  she 
had  gone  to  Paris. 

Once  more  The  House  of  Mirth  was 
empty — waiting,  and  the  neighbors  said 
"What  next?" 

Who  will  come  laughing  up  the  hill  to 
revel  in  The  House  of  Mirth — to  revel 
for  a  time  and  then  pass  on  in  shadow? 
We  counted  them  over  on  our  fingers, 
these  shadows  —  suicide,  love  turned  to 
hate,  lost  happiness,  accident,  bankruptcy 
— and  yet  we  still  call  it  "The  House  of 
Mirth." 

A  Big  Butter  and  Egg  Man  is  moving 


Are    you    reading    ' 

Crazy    Quilt"  .  .  . 

the 

fascinating 

stor 

y    of 

motion   picture   people 

.    .    .    and   motion 

picture 

studios 

and 

fortunes  made 

and  lost 

overnight? 

See  page 

43. 

Sverj  advertisement  In  MOTION   PICTURE  MAGAZINE  is  guaranteed. 


Advertising  Section 


«°;SIUR| 


Normaisms 

(Continued  from  page  41) 

"Of  course,  men  are  going  to  say  that 
they  prefer  the  'stay-at-home  girl.'  They 
are  going  to  say  it,  but  they  are  not  going 
to  mean  it.  They  say  it  because  the  stay- 
at-home  girl  is  still  dependent  upon  them. 

"The  little  married  woman  who  says, 
'Tom,  dear,  do  you  mind  if  .  .  .  well,  do 
you  care  if  .  .  .  well,  CAN  I  HAVE  A 
PAIR  OF  SHOES  NEXT  MONTH  ?'  is 
becoming  obsolete.  It  is  a  slow  process 
but  a  sure  one. 

"It  would  never  have  been  so  bad  if 
men  had  ever  thought  that  women  did  need 
and  should  have  the  things  they  had  to  ask 
for.  But  what  man,  no  matter  whether 
rich  or  poor,  but  hasn't  said,  'Oh,  you  dont 
need  a  pair  of  shoes  next  month !  Why, 
good  gracious,  you  just  had  a  pair  three 
months  ago  tomorrow.    .    .    . 

"Or,  who  hasn't  overheard  this,  'George, 
I'm  sorry,  but  I  cant  go  with  you  to  the 
dinner  tonight — /  haven't  a  thing  to  zvear!' 
The  answer  being,  'My  God,  that's  what 
you  always  say!' 

"The  real  answer  being  that,  of  course, 
she  'always  says'  that  because  it  happens 
to  be  true.  And  even  if  it  shouldn't  be 
true,  according  to  the  male  point  of  view, 
what  of  it?  What  business  has  it  been 
of  his?  When  there  has  been  but  one 
business  in  the  family,  he  has  jolly  well 
made  that  one  his.    No  mistake  about  that. 

"Of  course,  I  am  not  talking  about  the 
few  silly  women  who  are  constitutionally 
extravagant  and  ridiculous. 

"With  the  professional  or  business 
woman,  what  man  would  dare  to  utter  a 
protest  if  she  expressed  the  opinion  that 
she  needed  a  new  fur  coat,  let  alone  a  pair 
of  shoes?  Nine  out  of  ten  of  the  men 
married  to  working  women  will  say,  'Fine, 
I'll  go  with  you  and  help  you  pick  it  out.' 
And  if  they  were  unwise  enough  not  to 
say  something  of  the  sort,  the  independent 
woman  would  go  and  pick  it  out  anyway. 

"It  is  natural  with  men  to  object  to  the 
things  women  want  to  do  and  buy  and  be. 
They  always  object.  On  general  principle, 
it  is  a  part  of  the  male  tradition." 

We  whispered,  chickenishly,  "What  kind 
of  clothes  do  men  like  best?" 

"Polka-dots  and  waist-lines.  I  never 
knew  it  to  fail.  I  dont  know  what  it  is 
about  polka-dots  but  they  always  'get'  the 
men.  I've  never  had  a  polka-dot  dress,  par- 
ticularly one  with  a  waist-line,  that  Joe 
hasn't  especially  admired  it. 

"Men  like  black,  too.  You  ask  them  that 
and  they  will  invariably  tell  you  that  they 
prefer  bright  colors.  Really,  they  dont 
know  ivhy  they  like  a  thing  half  the  time. 
There's  no  use  in  asking  a  man  about 
dress ;  there's  only  use  in  dressing  for  him. 
Oh,  yes,  and  men  all  like  lace,  too.  Coy 
little  bits  and  frills  of  lace  inserted  here 
and  there.     And  feathers  .    .    . 

"Men  always  say  that  they  like  long 
hair,  too.  No  matter  how  ugly  a  girl's  hair 
may  look  and  be,  if  that  girl  says  to  any 
man,  'Shall  I  bob  my  hair?'  the  answer 
is  invariably  and  emphatically  and  quite 
unreasonably  'NO !' 

"It's  natural  with  'em  to  object  to  the 
things  women  want  to  do.   . 

"And  then,  too,  most  men  have  a 
mother-complex.  Theoretically  they  will 
pick  out  as  desirable  in  their  wives  and 
sweethearts  the  things  their  mother  used 
to  do  and  have  and  wear.  They  do  this 
because  they  feel  safer  when  there  is  no 
change.  They  are  a  little  bit  afraid  of  the 
'new  woman,'  men  are.  But  they  love  the 
new  woman,  too,  and  what  is  more,  they 
admire  her.     And  the  newer,   the  better." 

Thus  Kiki. 

And  she  oughter  know ! 


UJoes  outdoor  Life,  ruin 
J:£mLnLn.&  ckarm  9 


Grantland  Rice  answers: 

"There  are  many  thousands  of  women  who  through  golf,  tennis,  riding  and 
other  forms  of  sport  have  added  much  to  their  attractiveness  and  caught  the 
observing  masculine  eye  which  otherwise  might  not  have  looked  again. 
"But  few  men  care  for  the  Amazon  with  brick  red  face  and  leather 
skin.  A  natural  glow  or  glint  which  the  sun  gives  adds  directly  to 
attractive  looks  when  proper  care  and  attention  is  given  to  the  skin. " 


T  is  a  rash  woman  who 
would  discount  the  advice 
of  America's  foremost 
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t 


Say   It   With    Letters 

Have  you  a  kick  against  the  movies?  Then  dont  suffer  in  silence. 
Write  us  a  letter  about  it.  Have  you  a  favorite  that  you  want  to  tell 
the  world  about?  Then  remember  that  it  isn't  fair  to  keep  the  good 
news  to  yourself.  This  department  is  devoted  to  your  opinions  and 
you  are  the  boss  of  this  page 


I 


Happy  Endings  Are  Misleading 

REALLY  your  offer  at  expressing  one's  opinion  is  so  en- 
gaging, that  in  spite  of  my  poor  English,  and  bad  spelling, 
I  pull  together  whatever  brain  the  four  years'  dancing 
'  career  left  in  my  head  (you  see  they  pretend  that  dancer  s 
brain  descends  in  her  extremities)  and  decide  to  write  you  about 
a  kick  which  I  have  got  against  the  "Happy  Ending"  by  George 
Fitzmaurice,  or  Happy  Ending  in  general.  First  of  all,  according 
to  my  modest  thinking,  nowadays  movies  have  got  the  high  mission 
that  only  books  had  until  this  century — to  educate  and  regardless 
if  that  is  arabian  way  of  living  or  architecture  of  Babilonia,  or 
love  story,  if  the  film  is  not  true  to  reality,  the  motion  picture  cant 
occupy  the  important  role  in  the  Universe  they  claim  to  assume. 
Why  should  they  bluff  about  noble  men  and  constant  women?  To 
make  people  sorry  about  their  personal  wreck  in  life,  and  bitter 
about  inferior  life-mate  they  have  got? 
Why!  It  is  better  that  the  girl  sobs  in 
the  car  after  an  unhappy  ending  in  the 
movies,  than  ruins  forever  her  life  be- 
cause of  the  boy  she  imagined  to  be  as 
noble  and  honest  as  a  screen  hero. 
And,  exactly  the  same  w^ith  boys,  why 
should  not  they  be  careful  picking  out 
their  wives  when  all  their  future  might 
be  depending  from  this  step.  I  am  only 
nineteen,  but  I  would  be  ruined  hun- 
dreds of  times  if  I  had  not  as  a  back- 
ground to  my  personality  all  the 
wonderful  Russian  literature  realistic 
and  true,  droll  and  gloomy — exactly  as 
the  life  is.  To  be  pessimistic  or  at 
least  incredulous  lias  a  great  advantage 
of  never  being  disappointed  or  disil- 
lusioned, never  getting  the  painful 
shock  in  meeting  the  real  face  of  the 
Life.  One  says.  Everybody  is  un- 
happy, why  should  I  be  an  exception? 
and  everything  is  taken  easy,  and  one 
does  laugh  a  great  deal.  Or  else : 
Everybody  is  so  happy,  why  am  I  such 
a  darned  exception !  Tears  follow  that 
exclamation,  usually.  Xow,  why  fool 
the  people  with  happy  endings?  And 
artistically  it  sounds  so  bad!  Happy 
endings  because  the  majority  of  movie 

re     shop    girls!       Poor     Shake- 

I  Where  would  be  these  wonderful  heartrending  tragedies, 
if  he  thought  of  the  tastes  of  his  audience?  Well,  I  stop  right 
here— the  real  artist  does  not   follow  the  tastes  of  the  mob,  but 

•  leadership,  so  did  Warner,  Leonardo  da  Vinci,  Beethoven, 
etc.,  and  so  have  got  to  do  movies,  if  they  want  to  be  considered 
as  art i -tic  and  educating.  To  finish  with  what  J  have  got  to  say 
.■ ith  logical,  realistic  ending,  especially 
sad  I  remember  for  all  my  life  the  one's  with  forced  happy  end- 
ings, those  innumberable  marriages  are  so  mixed  up  in  my  head, 

en  the  final  kiss  (which  is  always  director's  masterpiece  of 
originality)  does  not  help  me  to  discern  what  was  all  this  fuss 
about. 

Well  I  am  afraid  here  are  more  than  three  hundred  words,  and 
ill  Mich  a  home-learned,  lame  English  that  I  feel  really  ashamed 
and  a  kind  as  if  it  was  true  what  they  say  about  dancer's  brains. 

Olca   Soi.oviova, 
RlO  de  Janeiro,   lirazil. 

I    Wonder  Why 

CI)  Why  cant  Cecil  De  Mille  turn  out  a  film  that  is  not  showy, 
nor  scriptural,  nor  sexual? 

(2)   Why  canl  th<  us  real  mothers?     I  am  tired  of 

d    girls    from    fifteen    to   Uventv-fivc  being    clasped    to 

OS. 


V/OUR  opinions  on  subjects  re- 
•*  lating  to  the  movies  and  their 
players  may  be  zvorth  actual  money 
to  you,  if  you  can  express  them 
clearly  in  a  snappy  letter  of  one  to 
three  hundred  words.  A  five-dollar 
prize  is  awarded  for  the  best  letter 
of  the  month,  zvhich  zvill  be  printed 
at  the  head  of  this  department. 
One  dollar  is  paid  for  the  excerpts 
printed  from  others.  Write  us 
an  interesting  letter,  giving  reasons 
for  your  likes  and  dislikes.  Sign 
your  full  name  and  give  your  ad- 
dress. We  zvill  use  initials  only  if 
requested. 

Send  to  SAY  IT  WITH  LET- 
TERS, 175  Duffield  St.,  Brooklyn, 
N.   Y. 


the  bosom  of  a  seventy-year-old  Ma.  Dont  these  women  marry 
before  forty-five?  I  am  not  caviling  at  American  films.  English 
Movie  Maters  are  even  more  aged. 

(3)  Why  do  heroines,  looking  as  blase  and  sophisticated  as  they 
make  'em,  always  believe  the  lies  the  villain  or  vamp  tells  'em,  and 
then  in  the  fifth  reel  sob  out  "I  did  not  know,"  on  the  hero's  manly 
bosom  ? 

(4)  Why  does  Kenneth  Harlan  always  come  on  the  scene  pant- 
ing? Does  he  run  to  the  studio?  And  why  doesn't  he  smile 
oftener  ? 

(5)  Why  doesn't  the  Hero  arrive  too  late  to  save  the  heroine 
or  vice  versa?     Painful  perhaps,  but  more  true  to  life. 

(6)  Why  doesn't  Gloria  Swanson  play  in  a  film  that  does  not 
once  necessitate  the  revealing  of  her  pedal  extremities?  The  latter 
are  shapely,  but  the  public  have  had  a  surfeit  of  such  close-ups. 

(7)  Why  ever  did  Rex  Ingram  allow  young  Novarro  to  escape? 

They  were  twin  souls,  those  two,  and 
now  Ramon  is  relegated  to  the  banal. 
A  pity! 

(8)  Why   doesn't    Lillian    Gish   play 
a  human  girl  for  once? 

(9)  Why  cant  we  have  re-issues  of 
Wallace  Reid's  films? 

M.  F.  G., 
London,  England. 


Maybe  She  Has  TVo 
Expressions 

In    a    Screenland's    June    Book,    1926, 
there    was    a    beautiful    portrait    of 
Leatrice     Joy.       It     had     a     very     sad 
expression. 

It  contradicts  a  statement  made  by 
her  brother  a  few  weeks  ago  in  a  Sun- 
day paper.  He  said  how  happy  and 
gay  she  was. 

A.  W., 
New  York  City. 

Their  Bark   Is  Worse  Than 
Their  Bite 


JV/Ty     grudge     isn't     against     films     or 

players,      but      against      box-office 

titles.     Many  a  time,  when  we  want  to 

make   the    movies    a    family    treat    and 

take  our  three  young  hopefuls  along,  we  can  find  nary  a  show  that 

SOUNDS  suitable  for  three  small  boys  to  see,  much  less  enjoy. 

Lurid   titles   everywhere ;   hectic   subtitles !      So,  being   in   movie 

mood,  we  bribe  the  cook  to  stay  an  extra  night  with  the  children, 

and  go  on  alone.    To  what?     A  perfectly  harmless  picture,  entirely 

mislabeled.     A  picture  that  has  parts  that  would  interest  children, 

and    is    followed    by    an    uproarious    comedy.      Perfectly    proper 

family  amusement,  but  misrepresented  in  title  and  advertisements. 

True  we  can  always  play  safe  on  Douglas  Fairbanks,  Thomas 

Meighan,    Buster    Keaton   or    Harold   Lloyd,   but  there   are  many 

other  pictures  we  all  might  enjoy,  but  for  the  titles. 

It  isn't  that  I'm  wanting  all  pictures  made  safe  for  children! 
Sophisticated  plays  have  their  place,  and  many  things  that  we 
enjoy  were  never  meant  for  young  minds  to  appreciate.  But  I 
DO  wish  that  titles  would  not  deliberately  mislead  us,  and  that 
we  were  not  scared  off  by  hinted  scandals  that  never  materialize. 

M.  W.  H., 
New  Orleans,  La. 
Stop  the  Soft  Stuff 

T    \  \i    terribly   disappointed  to   read  the   item   about  John   Gilbert, 
in  your  article,  "They  are  not  what  they  seem,"  in  the  September 
number  of    MOTION    Picture    MacAZINE.      Gladys   Hall    says   that 
(Continued  ">i  h<>jc  114) 


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So  as  you  join  the  gay 
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After  each  thrilling  event — 
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Have  a  Camel! 


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What  Do  Men  Want  in  the  Women  They 
Marry? 


(Continued  from  page  30) 


"Well,  then,  I  met  her  in  England  a 
number  of  years  ago."  He  got  that  far- 
away look  to  his  eyes  that  is  fatal — and 
the  sun  was  going  down — I  wanted  a 
shower — and  so  I  said— "Yes??     YES'??" 

He  came  to  earth  with  a  hurt  thump. 
"Poise  and  Tact !  They  are  the  two 
essentials  in  a  woman  to  me.  This  lady  I 
spoke  of  was  famous  for  her  tact,  her 
poise  and  ability  to  handle  any  situation, 
no  matter  how  embarrassing." 

"What  a  wonderful  interviewer  she 
would  make!"  I  murmured  admiringly. 
Huntley  sighed  and  finished  quickly,  see- 
ing I  was  not  going  to  make  a  good 
listener  for  long.  "She  was  my  ideal 
and  even  tho  I  have  never  seen  her 
since,  nor  met  another,  I  always  hold 
her  in  my  thoughts  as  the  acme  of 
womanly  charms." 

Walter  Pidgeon 

YY/ alter,  big  and  brave  and  handsome, 
**  was  tinkering  with  the  Hollywood 
Athletic  Club  Radio  one  noon  when  I 
sidled  up  and  sprung  the  thrilling  question. 

Walter  looked  longingly  at  the  radio 
and  then  politely  and  pleadingly  at  me. 
"Must  I  answer?"  he  meekly  asked.  I 
nodded  my  head  sternly. 

"Well,  then,  I  like  gentleness  more  than 
anything  else  in  a  woman!  Of  course,  I 
dont  mind  if  they  are  attractive  to  look 
at  as  well  as  gentle  and  sincere !  You  see 
'self-preservation  is  the  first  law  of 
human  nature'  and  I  have  some  married 
friends  that  tell  me  temperament  and 
tempers  are  the  two  T's  in  Matrimonial 
TNT." 

With  which  sage  remark  Walter  re- 
turned with  evident  relief  to  the  radio. 
After  listening  in  on  a  few  shrieks  that 
might  have  been  a  Chinese  High  School 
play  in  China — or  almost  anything,  I  left 
him.  He  seemed  sure  he  "had  the  Fiji 
Islands. 

Edmund  Lowe 

17  d   and    I    were    eating    location    lunches 
while  he  was  marching   in   Hollywood 
France    to    find    out    "What    Price    Glory 
had — if  any." 

I  waited  until  we  were  on  dessert  and 
then  sprung  it.  "I  like  a  good  scout  with 
a  good  heart.  You  know  there  is  some- 
thing irresistible  to  a  man  about  a  woman 
who  can  be  a  real  pal,  enjoy  his  com- 
panionship in  a  comfortable,  easy  way. 
Deliver  me  from  a  woman  who  is  forever 
worrying  about  how  she  looks  and  what 
she    says.      I   guess   that's    why    I    married 


Lilyan  Tashman !  She's  the  best  little 
scout  in  the  world!"  He  finished  en- 
thusiastically. 

I  nodded  my  head  solemnly — my  mouth 
was   full  of  banana. 

Ned  Sparks 

Pant  you  place  him,  girls?  Well,  he's 
the  screen's  most  confirmed  bachelor. 
He  wont  even  let  a  woman  enter  his 
apartment  at  any  time! 

That's  why  Ned  should  be  able  to  talk- 
on  women  so  beautifully.  Ned  is  a  riot 
himself.  His  wit  crackles  like  a  forest 
fire  and  so,  of  course,  he  says  it's  the  sense 
of  humor  that  counts !  "Beauty  is  only 
skin-deep — and  when  they  get  sunburned 
every  summer  they  peel — so  what's  the 
use?"  shrugged  Ned — very  irreverently,  I 
think. 

Ned  looked  at  me  as  tho  I  was  a  new 
species  of  insect  under  a  microscope  when 
I  asked  him  to  tell  me  what  it  is  about  a 
woman  that  attracts  a  man.  He  would 
only  mournfully  relate  the  above — nothing- 


Charlie   Murray 

Charlie  Murray,  bless  him,  is  one  of 
the  screen's  dearest  gentlemen,  and  if 
yon  dont  believe  me,  ask  Hollywoodites, 
anywhere  at  any  time. 

"You  ask  me  to  pick  THE  things  about 
woman  that  attract  a  man— -and  me?  Is 
it  possible  anyone  has  answered  you  in 
any  language — but  that  of  the  Soul.  Why, 
bless  'em,  to  me  there  are  more  attractive 
qualities  in  women  than  there  are  stars 
in   the  heavens. 

"For  these  many  years  I  have  been  mar- 
ried to  one  little  woman,  she  is  gentle, 
intelligent,  a  loving  character — in  fact,  I 
agree  with  the  one  who  said — 'Women 
are  the  noblest  work  of  God.'  You  never 
reach  the  fulness  of  their  natures  even  in 
a  lifetime  of  companionship." 

Now  dont  you  agree  with  me  Charlie 
Murray   is   a  real   red-headed   gentleman? 

Charles  Farrell 

"Tenderness  and  a  calm,  quiet  nature," 
says  Charles  Farrell. 
"What  man  doesn't  love  tenderness  in 
a  woman?  Who  can  be  so  capable  as  a 
woman  when  she  is  cool  and  poised  in 
nature?  When  in  trouble  is  it  not  man's 
first  thought  to  go  to  his  loved  one  for 
tenderness  and  sympathy?  It  is  the 
'mothering  instinct  men  love  in  their 
women!'"  I  think  he's  right,  after  all  is 
said  and  done ! 


Are  You  Interested  in  Love  ? 

If  not,  you  will  have  no  time  for  a  story  Dorothy  Manners  has 
contributed  which  tells  of  a  half  dozen  or  more  current  romances 
in  the  film  colony. 

Jobyna  Ralston  and  Dick  Arlen  are  engaged.  And  Dario,  the 
seer,  advised  them  not  to  wed.  .  .  .     But  .  .  . 

See  the  December  Motion  Picture  Magazine 

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The  pores  of  the  skin  under  a  magnifying  glass 
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How,  then,  can  one  expect  to  have  a  healthful 
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It  produces  a  glorious  color  and  is  used  and 
recommended  by  beauty  specialists  everywhere. 
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Advertising  Section 


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On  Location  at  Night 

(Continued  from  page  37) 

Monte  is  one  of  the  bold  brave  boys  in 
blue  and  khaki. 

Men  are  standing  on  the  side-lines  hav- 
ing "crab  fights,"  as  a  huge  loud-speaker 
radio  sends  forth  the  voice  of  one  of  the 
soldiers  singing  jazz  songs  and  comic 
parodies  between  scenes.  This  is  the  only 
diversion  from — the  crabs,  whirring  bugs 
— and  stinging  sea-breeze! 

A  big  open  tent — back  in  the  shadows — 
on  our  way  home.  Mess  hall  preparing 
midnight  lunch  for  the  "bunch."  Stew, 
rice,  potatoes,  beans,  cobbler  and  coffee. 
One  round  of  hot  black  coffee — and  home ! 
Sigh  of  relief  over  fresh  white  sheets,  soft 
mattress  —  no  crabs  —  no  bugs  —  sleepy 
thoughts — "Poor  gang  on  location."  .  .  . 
Oblivion. 

As   It  Will  All  Appear  on  the 


screen 


Soft,  glowing  moonlight  on  foaming 
waves,  booming  in  to  shore.  A  moon 
bathed  beach,  lined  with  palm-trees  rus- 
tling in  the  soft  tropic  breeze.  Miles  of  < 
little  huddled  canvas  tents  faintly  seen  in 
the  shadows. 

Full-throated  men  voices  raised  in 
rollicking  song  and  boisterous  laughter. 
Strong  men  at  play! 

The  serious  battle  for  life  and  country 
is  pushed  into  the  past.  Tomorrow  is  the 
first  day  of  leave  after  days,  weeks, 
months  of  cruel,  relentless,  death  dealing 
in  a  tropic  clime. 

There  is  the  man,  the  native  girl,  moon- 
light, tropic  beauty,  romance  and  love. 

No  bugs,  no  crabs,  no  creeping  sand ! 
Nothing  to  break  the  serene  beauty  of  the 
tropic  night !    Illusion ! 

Manufactured  romance!  God  Bless  the 
Movies  !     Long  may  they  live  ! 


Pola  Negri's 
Dinner  -  Parties .  • . 

.  .  .  They're  events  in  the  film 
colony.  Joseph  Hergesheimer 
was  moved  to  lyric  prose  over 
a  Negri  dinner  he  attended. 

Of  course,  half  the  secret  of 
these  dinners  is  Pola's  excel- 
lent cook.  .  .  . 

And  next  month  we  will 
give  a  menu  of  one  of  these 
dinners  and  the  recipes  of  the 
various  dishes  which  comprise 
the  perfectly  balanced  courses. 

Get  the  December  Motion 
Picture  Magazine  .  .  .  and 
surprise  your  friends  the  next 
time  you  give  a  dinner-party. 


i'I'ION'   rii'Ti  1:1;    \i  \<;.\zi,\i, 


"Shall  I  Go  Into  the 
Movies  ?** 

(Continued  from  page  69) 

the  answers  to  those  questions  printed  in 
the  foreword  to  this  department,  altho 
when  someone  writes  an  interesting  letter, 
naturally  I  react  to  it,  like  everyone  else. 
Your  horoscope  is  indicative  of  a  very 
pleasant  personality  backed  up  by  a  rather 
revengeful  or  vindictive  temper,  which 
you  want  to  control  because  it  may  get 
you  into  trouble  during  the  next  three 
years — difficult  ones  for  you  at  best.  I 
would  not  advise  you  to  try  to  get  into 
the  movies ;  you  have  more  ability  as 
medical  man,  banker  or  lawyer. 

Norma  E.    C,   August    1 1 : 

Your  horoscope  is  a  very  fortunate  one 
m  spite  of  some  difficulties  during  the 
coming  year.  You  have  good  aspects  for 
public  appearances,  friends  in  high  places, 
and  a  very  strong  indication  of  marriage 
to  a  wealthy  and  worth-while  man — the 
two  qualifying  words  not  necessarily 
synonymous,  you  know.  It  would  be  so 
easy  for  you  to  be  successful  in  public 
life  that  it  seems  rather  unfair  that  you, 
who  are  somewhat  indifferent  about  it — 
I  whisper  in  your  private  ear  that  you 
ate  a  trifle  lazy — should  have  the  gifts 
of  the  gods  handed  to  you  willy-nilly  on  a 
solid  gold  platter  while  so  many  hard- 
working and  ambitious  folk  struggle  along 
thru  a  lifetime  without  an  iota  of  the 
praise  that  comes  to  you  naturally.  Get 
busy,  sister,  and  use  some  of  this  ability ; 
also  pass  the  applause  along  to  others. 

Altona  C,  July  21: 

I  haven't  a  doubt  but  that  you  like  the 
emotional  and  artistic  side  of  dramatic 
work,  but  how  do  you  think  you'd  like 
the  traveling  about  over  the  country  week 
in  and  week  out,  two  days  in  Chicago, 
two  weeks  in  Atlantic  City,  a  week  in 
Cleveland,  a  week  in  Erie,  a  week  in 
Pittsburgh  and  then  a  tour  of  one-night 
stands  lasting  three  months  thru  the  en- 
tire South?  Not  so  much  fun  and  yet  the 
above  is  a  verbatim  list  from  a  letter 
which  reached  my  desk  this  morning  from 
a  comparatively  successful  actress.  You 
like  home  and  comfort  too  much  to  enjoy 
these  changes  and~  inconveniences.  Why 
not  use  your  talent  for  speaking  in  the 
welfare  work  that  is  equally  strong  with 
you?  You'd  be  a  great  deal  happier  in 
the  long  run  if  you  did. 

Elsie  deW.,   April    17: 

I  consider  your  chances  of  professional 
work  sufficiently  strong  to  advise  you  to 
see  about  the  ways  and  means  of  entering 
one  of  the  big  German  companies  pro- 
ducing such  marvelous  films  at  present. 
You  may  not  be  able  to  enter  film  work 
for  another  two  years,  due  to  conditions  in 
your  horoscope,  but  the  talent  is  there  and 
some  very  pronounced  success  in  a  foreign 
land.  You  are  already  abroad,  so^  now 
make  the  rest  come  true.  Be  very  careful 
rof  your  throat  at  all  times,  particularly 
this  fall. 

Edwin  C.  R.,  September  21 : 

That's  the  right  idea,  Edwin.  There 
isn't  anybody  who  wont  respond  to  a  little 
judicious  flattery  and  telling  'em  they 
have  a  sense  of  humor  is  one  of  the  sure- 
fire ways  to  convince  others  that  you  are 
a  discriminating  youth  with  a  great  future 
ahead  of  you.  Let's  see  what  the  horo- 
scope says  about  it — you  cant  jolly  the 
(Continued  on  page  100) 


Advertising  Section 

CASH    M    E   R  I 
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Choose  Cashmere  Bouquet  as  the 
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Cashmere  Bouquet  is  the  right  soap. 
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95 

PAfil 


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Advertising  Section 


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Bobbed 
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As    Others   See   Us 

(Continued  from  page  39) 

An  Open  Letter  to  a  Country  Cousin 


was  some  sort  of  trick  camera  stunt  by 
which  gradually  changing  the  lights  an 
actor  can  appear  to  age  twenty  years 
minus  any  change  in  make-up. 

Yes,  I'll  get  to  fashions  in  a  minute, 
but  not  until  I've  asked  you  to  try  and 
picture  Lois  Wilson,  the  demure,  in  flesh- 
silk-lace  unmentionables,  as  she  smashed 
wine  glasses  and  waved  a  Sauterne  bottle. 
Dont  be  alarmed,  dear,  your  Lois  is  still 
as  sweet  as  a  mayflower.  It  was  only  a 
scene  for  "The  Great  Gatsby"  and  after 
each  rehearsal  or  show  she  would  call  for 
more  water  for  her  "wine  bottle." 

Everyone  on  the  set  envied  her  that  day, 
from  Herbert  Brenon  in  his  shirt-sleeves 
to  your  own  cousin  in  an  exceedingly 
clinging  satin. 

We  may  shop  together  soon  if  she  is 
still  in  town  .  .  .  and  I  have  made  tenta- 
tive arrangements  with  Alice  Joyce  for 
another  shopping  excursion. 

The  latter,  by  the  way,  convinced  me  of 
the  joys  of  being  a  movie  star  when  she 
said,  "I've  several  frocks  very  similar  to 
your  black  satin  dolman,  and  they're  the 
smartest  things  I  have." 

(My  one  such  frock  is  almost  thru  at 
the  elbow.) 

But  really,  dolmans  are  the  leading  in- 
fluence in  both  coats  and  dresses.  Bloused 
backs  and  tight  hips,  tiered  skirts,  peplums 
and  front  draperies  are  being  featured  too. 
Sleeves  are  either  long  and  tight  or  quite 
elaborate. 

And  now,  Patsy,  your  fashion  lecture 
is  really  beginning,  about  hats,  furs,  shoes, 
gloves,  materials,  colors  and  so  forth. 

Materials  for  day  wear  will  be  probably 
plain  and  plaid  velvets,  dull  canton  satins 
and  moire.  Moire  is  doing  well  in  New 
York  now  but  may  not  last  thru  the 
season. 

Plain  straight  little  frocks  of  velvet  and 
tailored  cloth  dresses  will  be  good. 

For  evening  .  .  .  pastel  satin  for 
frocks,  moire,  lame  and  metal  brocade. 
Shawls  promise  to  be  well  liked  as  wraps. 

The  skirt  length,  now  from  twelve  to 
fourteen  inches  from  the  floor,  may  be 
quite  a  bit  longer,  particularly  for  evening, 
if  the  Paris  houses  may  be  judged  from 
their  August  showings. 

Colors. — Browns,  all  shades  .  .  .  much 
coffee,  beige  .  .  .  green,  the  dark  shades 
.   .   .   reds,   Burgundy   and   all   wine  colors 


Some  Do's  and  Dont's  Re- 
garding   Masculine    Attire 

(Continued  from  page  39) 

collar,  English  Worcester,  was  made  at- 
tached to  the   shirt. 

Collars  should  be  made  on  the  shirt,  not 
attached. 

There  should  never  be  vents  in  either 
business  suits  or  dinner  coats,  only  in 
sports,  where  they  are,  of  course, 
necessary. 

In  full  dress  never  wear  an  opera  hat, 
and  always  wear  a  white  vest  and  always 
when  in  the  company  of  a  lady,  full  dress 
should  be   worn. 

A  black  vest  always  with  a  dinner  coat 
.  .  .  and  in  all  evening  dress  the  collar 
must  be  of  the  coat  material,  never  of  silk. 
The  lapels  only,  in  silk. 

And  never  wear  a  double-breasted 
dinner   coat. 

Thus    Menjou. 


Shopping  Service 

Anyone  wishing  to  take  advantage 
of  Grace  Corson's  expert  shopping 
service  in  connection  with  the  arti- 
cles mentioned  on  page  39,  may  ad- 
dress Miss  Corson,  care  of  Shopping 
Service,  Motion  Picture  Macazine, 
175  Duffield  Street,  Brooklyn,  New 
York. 

Send  either  a  check  or  money 
order,  payable  to  Motion  Picture 
Magazine,  for  exact  amount  of  the 
desired  purchase.  ...  Be  sure  to 
give  color,  size  and  other  additional 
details  .  .  .  and  do  not  fail  to  write 
your  name  and  address  plainly  and 
in  full. 


.    .    .   and,  of  course,  black  will  be  much 
favored. 

Hats. — At  last  hats  show  definite  signs 
of  being  more  elaborate.  The  tall  draped 
turbans,  tho  very  striking  in  several  tones 
of  colored  velvet,  are  not  universally  be- 
coming. But  brimmed  hats  are  making 
an  effort  to  come  back.  There  will  be 
more  velvet  hats,  but  felt  and  grosgrain 
continue  to  hold  their  own.  Feathers,  too, 
are  shown  in  long,  sweeping  lines  from 
one  side  down  over  the  shoulder. 

Purses  are  most  popular  in  the  shape 
of  the  pouch  bag,  in  satin  and  soft  leather, 
tho  the  envelope  still  continues. 

Shoes  are  smartest  when  of  soft  dull, 
black  kid.  All  shades  of  brown,  and  even 
moire  again,  are  shown.  Styles  are  some- 
what more  elaborate  for  day  wear  and 
decidedly  so  for  the  evening.  These  are 
often  beautifully  pearl -embroidered  or 
elaborately  bejeweled.  Pastel  tones  are 
best. 

Gloves  continue  to  be  plain.  The  fancy 
cuffs  are  not  good  form. 

Hose  will,  of  course,  tone  with  the 
shoes.  Some  of  the  newest  shades  are 
"alesan,"  a  soft  tan  .  .  .  "even  glow,",  a 
castor  gray  .  .  .  and"  "Dorado,"  a  golden 
brown. 

Furs  will  be  dyed  in  lovely  colors  for 
evening.  H.  Jaeckel  has  been  showing- 
some  unbelievably  beautiful  effects  in  soft 
fox,  tinted  the  palest  green,  mauve,  peach, 
etc.  , 

For  day  wear  beaver  will  probably  pre- 
dominate, and  in  the  long-haired  furs 
whole  skins  will  trim  wraps  and  coats 
.    .    .   tails  and  all. 

Jewelry!  Paris  is  jewel-mad.  Smart 
women  here  who  can  afford  it,  are  hav- 
ing jewels  made  in  sets  for  gowns  instead 
of   gowns   for   jewels,   as   before. 

Red  stones,  rubies,  garnets,  etc.,  are 
favored.  Coral  is  being  revived.  So  is 
crystal.  These  are  the  most  worn,  but 
slave  chains  (arid  this  is  good  news  for 
those  of  us  who  cannot  afford  to  support 
a  "yen"  for  costly  jewels)  are  bigger  and 
better  than  ever. 

And  that,  darling,  is  all   for  now.     I've 
a  cramp  in  my  wrist.     Next  time  I  shall 
try  to  have  ready  several  inexpensive  little 
Christmas  gifts  that  you  may  send  for. 
My  love  to  everyone, 

Grace. 


Kvi-ry   M.lv.iti   ••iik-iiI     in    MOTION    PICTURE    MAGAZ] 


Advertising  Section 


Summer -Time  All  Year 
Round 

(Continued  from  page  50) 

even  add  a  three-cornered  cushion,  which 
is  considered  a  bit  amusing  just  now.  I 
would  make  these  pillows  myself  if  I 
were  at  all  handy  with  my  needle,  if  I 
were  a  young  hostess,  and  I  would  make 
the  edges  plain — just  with  ordinary  inside 
seams  or  I  would  make  boxings,  that  is, 
a  plain  three-inch  band  where  the  sides 
are  put  together.  If  j'ou  feel  that  your 
cushions  would  be  too  plain  this  way,  you 
might  bind  or  pipe  them  with  another 
color,  thereby  bringing  in  a  note  of 
contrast. 

A  slip-cover  of  bright  linen  or  chintz 
or  cretonne,  introducing  the  color  of  your 
pillows  combined  with  the  other  colors  in 
the  room,  will  be  another  thing  which 
spells  of  spring-time.  Some  people  use 
slip-covers  in  the  summer  only.  I  am  in 
favor  of  using  at  least  an  occasional  slip- 
cover all  the  year  round.  A  dingy  chair 
can  be  so  rejuvenated  by  a  slip-cover  that 
it  will  not  only  look  like  new  but  will  add 
a  great  deal  of  charm  to  the  whole  room 
as   well. 

Up  until  now  I  have  only  discussed 
bringing  summer  -  time  into  the  general 
living-room.  If  you  have  room  for  it, 
there  is  a  far  lovelier  way  of  making  the 
home  seem  as  if  it  were  always  summer- — 
and  this  is  by  having  a  regular  summer 
room — a  sun-room — all  the  year  round. 
Many  people  have  sun-rooms — and,  alas, 
too  few  of  them  know  what  to  put  into 
them.  The  average  sun-room,  even  if  it 
has  steam  heat  so  that  it  may  be  used  all 
year  round,  looks  little  enough  like  sun 
and  summer.  The  average  sun-room  usu- 
ally contains  a  set  of  dull  wicker  furniture 
not  very  well  chosen,  an  awkward  wicker 
lamp — a  table,  perhaps  a  piece  of  left-over 
furniture  from  another  room— and  that's 
all.  The  result  is  that  it's  bare  and  un- 
inviting even  in  the  summer-time.  And 
in  the  winter,  unless  it  is  actually  needed 
for  space,  it  is  neglected  altogether.  If 
your  sun-room  is  properly  decorated,  it 
can  be  so  surprisingly  successful  that 
your  guests  will  almost  hold  their  breath 
when  they  get  their  first  view  of  it.  Even 
it  you  haven't  a  regulation  sun-room,  if 
you  can  take  a  small  den  or  study  or  any 
other  seldom-used  room  in  the  house,  you 
can  work  this  same  transformation. 

In  making  an  all-the-year-round  summer 
room,  the  first  thing  is  that  the  room  shall 
be  as  light  as  possible.  The  real  sun- 
room  will  be  light,  of  course.  If  the  room 
itself  is  dull,  you  must  manipulate  cleverly 
so  that  the  room  will  have  the  appearance 
of  having  a  great  deal  of  light  and  cheer- 
fulness. 

Walls,  then,  first  of  all.  You  need  not 
be  so  conservative  with  color  in  your  sun- 
room  as  you  would  have  to  be  in  the  other 
rooms  of  the  house.  Your  sun-room  may 
be  your  odd  room — slightly  bizarre,  even, 
and  still  charming.  To  make  the  room 
cheerful,  the  walls  must  be  as  light  and 
gay  as  possible.  If  I  were  decorating  a 
sun-room,  I  would  make  my  walls  a  cheer- 
ful light  yellow  or  a  soft  green.  These 
colors  are  both  perfect  for  sun-rooms.  If 
I  wanted  my  walls  papered,  I  would  use 
a  paper  with  a  cream  or  pale  green  back- 
ground sprayed  with  bright  flowers  and 
birds.  I  would  make  my  woodwork  the 
same  color  as  my  walls,  tho  a  little 
deeper  in  shade.  This  two-tone  effect  will 
give  variety  and  charm  to  the  room.  I 
would  make  my  ceilings  cream.  The 
floors  might  be  any  of  half  a  dozen  things. 
If  the  floors  are  wood,  I  would  stain  them 


Here's  the  Remarkable 

New  way  of  removing 

Cleansing  Cream 

that  experts  say  makes  an  almost  unbelievable 
difference  in  the  fineness  of  your  skin 


No  more  oily  skins.  Your  make-up  holds 
hours  longer  than  before.  Instead  of  towels, 
cloths,  or  paper  makeshifts,  you  use  this  de- 
liriously soft  new,  wholly  different  material 

— 27  times  as  absorbent! 
Please  accept  a  7-day  supply  to  try 


MODERN  beauty  science  has 
discovered  that  the  way  you 
remove  cleansing  cream  has  an  al- 
most amazing  influence  on  the 
texture  and  softness  of  your  skin. 

Now  a  new  way  has  been  found 
— one  that  ends  oily  nose  and  skin 
conditions  amazingly.  That  holds 
your  make-up  fresh  for  hours 
longer  than  before.  That  largely 
ends    skin   imperfections   and   eruptions. 

Virtually  every  prominent  motion  pic- 
ture star  employs  this  method.  Fore- 
most beauty  specialists  are  urging  it  as 
marking  a  new  era  in  skin  care. 

The  only  *way  that  removes  germ-laden 
matter  from  the  fores 
This  new  way  is  called  Kleenex  'Ker- 
chiefs— absorbent.  A  new  kind  of  ma- 
terial; different  from  any  other  you  have 
ever  seen;  developed  in  consultation  with 
leading  authorities  in  skin  care  solely 
for  the  removal  of  cleansing  cream. 

It  comes  in  exquisite,  aseptic  sheets 
of  handkerchief  size.  You  use  it,  then 
discard  it. 

It  is  the  first  method  known  that  re- 
moves  all   cleansing   cream,    dirt,   grime 
and  germ-laden  matter  from  the 
pores. 

f^o  more  soiled  towels 
Soft  as  down  and  white  as  snow, 
it  is  27  times  as  absorbent  as  an 
ordinary  towel.  It  ends  the  "soiled 
towel"  method  that  is  dangerous 
to  skin  beauty.  It  avoids  the  harsh- 
ness of  paper  makeshift  ways. 

Because  it  removes  all  dangerous 
matter  and  grease  from  the  pores,  it 
combats  greasy  skin  and  nose  condi- 
tions. A  greasy  skin  often  means  cold 
cream  left  in  the  skin  which  the  pores 
constantly  exude. 


KLEENEX 

ABSORBENT 

:' :  '   : :■: : :::: :: 

To  Remove  Cold  Cream — Sanitary 


"Nfe  oily  skins 

A  blemished  skin  largely  indicates  a 
germ  condition  of  the  pores.  You  must 
clean  them  out.  Old  ways  —  towels, 
etc. —  won't  do  it. 

Those  remove  but  part  of  the  cream 
and  dirt,  rub  the  rest  back  in.  Thus 
your  skin  not  only  is  endangered,  but 
may  seem  several  shades  darker  than  it  is. 

In  two  or  three  days  you  will  be  sur- 
prised at  the  difference  Kleenex  will 
make  in  your  skin.  In  its  fairness, 
freedom  from  "shine,"  in  the  way  your 
make-up  holds  its  charm  and  freshness. 

Send  the  coupon 

The  coupon  brings  a  full  7-day  supply 
without  charge.  Please  use  it.  What 
it  brings  will  amaze  you. 

Kleenex  'Kerchiefs— absorbent- 
come  in   exquisite  flat  handker- 


chief bo 
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1  fit  your  dressing 
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Please  send  without  expense  to  me  a 
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absorbent — as  offered. 


Name 

Address. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


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Advertising  Section 


SPIRIN 


Dissolve  two  "BAYER  TABLETS  OF  ASPIRIN"  in 
four  tablespoonfuls  of  water  and  gargle  thoroughly. 


For 

TONSILITIS 

and 

SORE 
THROAT 


Swallow  some  of  the  solution.  Don't 
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This  is  an    effective  gargle  proved  safe 
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Accept  only  "Bayer" 
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the     "Bayer     Cross." 

Handy  "Bayer"  boxes  of  12  tablets — Also  bottles  of  24  and  100 — Druggists. 
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"The  Palmer 
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have  saved  me 
years  of  labor." 

Jim  Tully,  whose  work  _  recently  appeared 
in  five  different  magazines  in  the  same  month, 
one  of  them  Liberty,  says:  "I  recall  writing 
my  first  short  story  ...  it  was  a  tale  of  the 
ring  called  'Battle  Galore,'  and  Clayton  Hamil- 
ton gave  me  advice  on  how  to  'build  it  up.' 
...  I  am  certain  that  the  Palmer  Course 
would  have  saved  me  years  of  labor." 

Think  what  it  would  mean  to  you  to  have 
at  your  elbow  as  you  write,  a  man  who  can 
impart  to  you  that  elusive  something  that 
makes  characters  live  and  stories  grip — what 
most  writers  spend  years  to  acquire.  That, 
and  more,  the  rainier  Institute  can  give  you. 
Though  you  study  in  your  home,  in  spare 
time,  you  find  Palmer  Courses  uniquely 
personal. 


Palmer   Institute   of   Authorship   9-L 
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MUTHiN    I'lflTllK    MACAZJNK 


dark  and  add  cheerful  rag  or  rush  rugs. 
Matting  rugs  are  most  satisfactory  and 
look  like  summer,  too.  A  tan  matting  rug 
in  oval  or  square  design  with  a  black 
border  with,  if  you  like,  one  other  color 
in  the  border  will  make  the  room  cheerful, 
calm  and  summerlike. 

"The    floor   itself   might   be    of    tile — and 

this  is  the  ideal  sun-room  floor.  Square 
tiles,  a  bit  irregular,  with  a  mat  finish  in 
blue-green  or  red,  is  the  perfect  floor  for 
the  sun-room.  Few  of  us  may  have  rooms 
with  tiled  floors,  however,  as  tiles  are  ex- 
pensive. The  next  best  floor  for  the 
sun-room  would  be  of  cement,  marked 
into  squares  to  simulate  tile.  This  really 
is  not  an  attempt  at  imitation,  so  you 
needn't  be  afraid  to  use  it.  A  red  cement 
floor  and  green  or  light  yellow  or  cream 
walls  make  a  color  combination  that  is 
most  attractive  all  the  year  round. 

Cane  and  rattan  furniture  are  both  nice 
for  open  porches  but  if  I  were  furnishing 
a  sun-room  to  be  used  in  winter  I  believe  I 
would  choose  fiber  or  wicker— and  wicker 
would  be  my  first  preference.  The  weave 
of  wicker  is  closer  than  that  of  cane  or 
rattan  and  it  has  a  sense  of  coziness  that 
the  other  summer  furniture  does  not  have. 
Too,  it  comes  in  most  pleasing  and  artis- 
tic designs  and  is  quite  comfortable  as 
well. 

I  would  not  accept  any  of  the  regular 
"sets  of  furniture"  but  for  my  sun-room 
would  choose  the  pieces  I  liked  and  then 
select  the  color  for  them.  I  would  have 
no  rocking-chairs  in  my  sun-room,  first 
because  in  nearly  all  cases  rocking-chairs 
are  in  bad  taste  and,  second,  because  a 
better-looking  room  can  be  secured  with- 
out them.  I  would  choose,  first  of  all,  a 
pair  of  comfortable  armchairs  and  I 
would  try  these  out  and  let  a  tall  man  try 
them  out  to  be  sure  that  they  are  com- 
fortable. Too  many  wicker  chairs,  tho 
decorative  enough  and  comfortable  for 
the  small  woman,  are  almost  useless  for 
resting-places  for  a  man  of  average  or 
above  average  build.  Next  I  would  choose 
a  table  and  I  would  see  that  this  table  was 
large  enough  for  magazines  and  books 
and  cooling — or  warming — drinks  as  well. 

Now  I  would  add  a  comfortable  couch, 
a  settee  or  a  divan.  One  very  large  chair 
would  be  good,  too,  if  the  porch  were 
large  enough  for  it.  To  this  wicker  fur- 
niture I  would  add  a  pair  of  straight 
chairs  in  either  wicker  or  wood  and  a 
nest  of  occasional  tables.  I  would  have 
all  of  this  painted  the  same  color  except- 
ing the  occasional  tables  which  might  be 
of  a  contrasting  hue.  I  would  not  buy  a 
wicker  lamp  nor  such  superfluous  articles 
as  wicker  flower  holders  or  wicker 
bird-cages.  Nothing  makes  a  room  so 
stuffy  and  so  uncomfortable  as  a  room 
that  is  too  crowded  with  wicker.  By 
combining  wood  in  graceful  lines  with  the 
wicker  you  can  achieve  lighter  and  more 
pleasing  results  than  if  all  wicker  were 
used. 

I  would  choose  the  color  of  my  wicker 
with  care.  Black  wicker  with  light  walls 
is  always  pleasing.  Nor  have  I  ever  seen 
a  sun-room  done  in  natural  wicker  that 
was  not  pleasing  if  the  colors  that  were 
used  with  it  were  well  chosen.  In  fact,  I 
think  these  two  standards  are  my  favor- 
ites in  wicker.  I  do  not  like  brown  wicker 
because  it  resembles  wood  too  much,  and 
so  long  as  you  are  using  material  that  can 
be  painted,  there  is  no  use  applying  a  wood 
stain  to  it.  Any  of  the  antique  effects  in 
wicker  are  good  if  the  color  is  right. 
Black  antiqued  with  gray  gives  a  very  at- 
tractive effect.  Stained  gray  is  splendid- 
one  of  the  best.  Blue  antiqued  with  gray 
until    it    is    a    silver    tone    is    lovely,    too. 

ranteed.  / 

f 


Advertising  Section 


m^j 


Ivory  wicker  antiqued  with  a  deeper  ivory 
is  nice,  but  a  trifle  too  "dressy"  for  the 
average  home  where  it  will  be  in  use  every 
day. 

A  fter  you  have  chosen  your  wicker  and 
**  have  had  it  stained  or  enameled,  then 
choose  the  cretonne  for  window  drapes 
and  for  cushions.  To  achieve  a  most  sum- 
mery effect  I  would  use  big,  splashy, 
brilliant  cretonne  in  floral  designs,  in 
which  orange,  black,  green  and  yellow, 
with  perhaps  splashes  of  lavender,  occur. 
These  colors  will  usually  give  you  the  best 
results.  I  would  use  cushions  of  this 
material  on  all  of  the  chairs,  as  well  as  on 
the  couch.  In  addition  I  would  use  a 
straight  valance  and,  if  the  room  needed 
it,  side  curtains  as  well.  If  the  windows 
were  small  or  if  there  were  not  enough 
windows,  I  would  use  simple  glass  curtains 
of  soft  orange  yellow  or. green  instead  of 
cretonne  at  the  sides  of  the  windows.  If 
the  room  were  green,  I  would  use  yellow 
or  orange  curtains,  and  if  the  room  were 
cream  or  yellow  I  would  use  curtains  of 
green  or  orange. 

I  would  have  extra  cushions  of  the 
cretonne  for  both  beauty  and  comfort— 
for  a  wicker  chair  is  comfortable  only  if 
there  are  enough  cushions.  I'd  use  plain 
colored  cushions  as  well,  choosing  bright 
colors — and  those  which  predominate  in 
the  cretonne  used  for  cushions  and  cur- 
tains would  be  best. 

If  you  like  to  swing  and  your  porch  is 
large,  you  could  get  a  big  swing  or  porch 
hammock  in  the  same  cretonne  or  one  that 
tones  in  with  the  cretonne  you  are  using. 
This  would  be  appropriate  for  the  room 
and  useful  as  well. 

I  would  use  plain  wrought-iron  lamps — 
perhaps  a  pair  of  bridge  lamps  would  be 
best — and  on  these  I  would  have  parch- 
ment or  silk  shades  in  bright  yellow,  a 
pale  cream  or  orange.  These  bright  shades 
will  make  the  room  seem  cheery  and 
summerlike,'  too. 

I  would  keep  the  room  simple.  I  would 
use  no  pictures  on  my  walls  at  all,  tho 
if  possible  I  would  put  in  a  shelf  to  hold 
flowers.  If  it  proved  at  all  practical,  I 
would  build  a  trellis  at  one  end  of  the 
room  and  I'd  put  a  flower  box  on  the 
floor  beneath  it  and  in  this  I  would  plant 
ivy  and  with  care  you  can  have  the  ivy 
climb  up  the  trellis  on  the  wall  and  stay 
green  even  in  winter.  Besides  this  I 
would  have  a  few  potted  plants  all  winter 
long  in  my  sun-room.  These  do  not  make 
much  extra  work  and  they  add  beauty  and 
a  summer  quality  to  the  room.  And  of 
course  I'd  have  cut  flowers  when  I  could. 

Can  you  visualize  your  sun -room? 
Bright  walls,  gay  cushions  and  curtains, 
comfortable  wicker  furniture,  lamps,  oc- 
casional tables  drawn  conveniently  _  near 
the  wicker  chairs,  a  few  flowers,  a  pile  of 
magazines,  books,  pleasant  drinks  and 
tinkling  glasses.  In  such  a  room  I  am 
sure  you  would  find  that  the  winter  on 
the  outside  never  could  penetrate  within 
and  that  hearts  were  as  gay  as  summer- 
time, too. 


What  About  Your  Bedrooms? 

Too  often  we  concentrate  upon  our 
living-room  .  .  .  and  neglect  the  bed 
chambers. 

So  much  can  be  done  with  a  bedroom 
...  it  can  be  given  a  quiet  charm  and 
a  serenity  which  in  themselves  speak  of 
rest. 

Read  what  Stephen  Gooson,  the  in- 
terior decorator  of  First  National  Pic- 
tures, suggests  for  bedroom  decoration 
in  the  December  Motion  Picture  Mag- 
azine ...  on  the  news-stands  November 
first. 


The  health  and  beauty 
of  the  hair 

depend  chiefly  upon  the  condition  of 
the  scalp.  Normal  capillary  circu- 
lation and  nerve  tone  mean  well- 
nourished  roots  —  strong,  vigorous 
hair  shafts — lively,  lustrous  hair. 
Important  also,  of  course,  that  the 
scalp  be  kept  really  clean.  Excel- 
lent for  these  purposes  is  Liquid  Sil- 
merine.  Rubbed  into  the  scalp  it  has 
a  wholesome  tonic  effect,  invigorating 
tissues,  improving  circulation.  And  it 
effectually  eliminates  dandruff,  dirt,  excess 
oiliness.  Always  use  before  shampooing. 
For  the  strength  and  welfare  of  your  hair— for  in-  For  keeping  the  hair  wavy  or  curly— even  under 
tensifying  its  natural  color— for  keeping  it  delight-  most  trying  conditions— Silmerine  long  has  enjoyed 
fully  soft,  silky,  with  a  gleamy  gloss  and  sheen — use  a  splendid  reputation.  Use  with  utmost  confidence. 
Liquid  Silmerine  regularly.  It's  a  toilet  requisite.  Large  bottle,  with  adjustable  cap,  $1.00,  at  drug 
For  straight  hair— men,  women,  children-Silmer-  stores  and  toilet  counters  everywhere, 
me  is  the  ideal  dressing.    Keeps  hair  smooth  and  parktr  RFI  MONT  &  COMPANY 

neat  all  day  and  evening— without  being  greasy  or  PARKER  BELMONT  &  COMFAN  Y 

sticky.    Makes  unruly  hair  easy  to  manage.  235°  Clybourn  Ave.,  Chicago 

Liquid  Silmerine  «£a^ 

Bring  out  the 
hidden  beauty 

Do  you  know  that  just  beneath  that  soiled,  discolored, 
faded  or  aged  complexion  is  one  fair  to  look  upon?  Mer- 
colized  Wax  will  gradually,  gently,  peel  off  the  devitalized 
surface  skin,  revealing  the  youthfully  fresh,  white  and 
beautiful  skin  underneath.  It  leaves  no  trace  but  that 
of  increased  loveliness.  The  new  complexion  is  a  perfectly 
natural  one,  not  to  be  compared  at  all  with  a  make-up, 

It  hastens  Nature's  efforts.  Shedding 
worn-out  skin  is  Nature's  way  of  renewing 
the  complexion.  Tiny  cutaneous  particles 
come  off  day  by  day.  When  this  skin  shed- 
ding begins  to  lag — as  it  does  in  time — 
complexion  troubles  begin.  Nature  may 
then  be  assisted  by  simply  applying  Mer- 
colized  Wax.  The  Wax  actually  destroys 
the  mask  of  dead  scarf  skin — causing  no 

discomfort.  It  makes  the  pores  breathe;  livens  up 
the  whole  countenance.  All  of  a  sudden  you  seem 
to  have  lost  10  to  20  years  from  your  age. 

MERCOLIZED  WAX 

Removes    Wrinkles 
In   15  Minutes 

Sounds  too  good  to  be  true?  It  is  true;  you  can  prove  it  this  very  day.  If  you  want  to  see 
wrinkles,  creases,  sagginess  completely  disappear  from  your  face  in  15  minutes,  just  mix  a 
spoonful  of  Powdered  Tarkroot  with  a  spoonful  of  lemon  juice  and  apply  this  soothing 
mixture  to  your  face.  Then  sit  down  before  your  mirror  and  have  the  surprise  of  your  life ! 
See  the  Age  Lines  Vanish!  For  Blackheads,  Oiliness 

The  hated  lines  go  away  like  magic.     Behold,  or  coarse  pores.    It  leaves    the  skin  velvety  soft 


Freckles,  pimples,  liver  spots,  moth  patches,  etc., 
of  course  disappear  with  the  discarded  cuticle.  Isn't 
this  better  than  attempting  to  hide  or  cover  up  skin 
defects,  and  stifling  the  pores  with  a  soggy  mass  of 
creams  or  other  cosmetics'* 

Mercolized  Wax  will  give  you  a  new  skin  of  en- 
chanting1 beauty  and  girlish  charm — bearing 
not  the  slightest  evidence  of  artificiality.  One  that 
will  give  you  complete  confidence  in  your  appear- 
ance-— one,  indeed,  that  will  make  folks  turn  a 
second  time  to  look  at  you  in  passing. 

And  all  these  results  are  accomplished  by  using  just 
one  box  of  Mercolized  Wax — less  than  that,  in  fact. 

Try  it  today — 95c  a  box,  with  full  directions,  at 
any  drug  or  department  store. 


now,  what  you  looked  like  when  young! 
the  sagginess  correct  itself.  Enjoy  the 
strange,  delicious  sensation  of  stimula- 
tion, support  and  plump,  smooth  firm- 
ness. When  you  wash  off  the  application, 
your  face  looks  much  younger. 

The  effect  is  far  better  than  that  of  the 
most  expert  face  massage. 

For  Baggy  Cheeks  and  Chin 

Instead  of  making  the  face  flabby,  as 
frequent  massaging  tends  to  do,  it  does 
the  very  opposite.  Reduces  flabbiness 
of  cheek,  chin  and  bagginess  beneath 
the  eyes.  It  fills  out  hollows  and  im- 
proves facial  contour  wonderfully.  It 
obliterates  worry,  care  and  age-marks! 
And    there's    nothing    quite    so    good 


Quickly 
Erases 
Wrinl 


Watch 


Dearborn  Supply  Co.,  2350  Clybourn  Av.,  Chicago 

TARKROOT 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


and  smooth,  with  a  healthy,  girlish  tint. 

Tarkroot  acts  upon  an  important  phys- 
ical principle,  invigorating  skin  and 
underlying  tissues,  making  them  much 
firmer.  It  is  not  a  cosmetic,  for  you  wash 
it  off  after  it  has  done  its  work,  the  skin 
appeariiag  natural,  glowing,  refreshed. 

Costs  Less  Than  3  Cents 

an  application  when  purchased  in  the 
original  package.  So  Tarkroot  certainly 
is  not  expensive  to  use. 

Tarkroot  produce?  such  really  amazing 
results  it  is  difficult  to  tell  the  whole 
story  without  appearance  of  exaggera- 
tion. Only  the  actual  experience  could 
make  you  believe  all  it  will  do.  Buy  a 
package  from  your  druggist  today. 

Improves 
Facial 
Contour 

99 

PAG 


t 


£pl 


Makes  the  hair 
easy  to  dress 

Better    than    brilliantine 


•j 


Whether  your  hair  is  bobbed  or 
long,  the  fashionable  effect  is  easy 
to  get  when  you  use  Glo-Co  Liquid 
Hair  Dressing.  You  comb  your  hair 
exactly  as  you  want  it,  and  it  stays 
that  way. 

Use  Glo-Co  Hair  Dressing  before 
a  curl  or  marcel.  Keeps  your  hair  in 
curl,  and  prevents  split  and  broken 
ends.  Use  it  on  the  children's  hair 
too.  Keeps  the  most  unruly  hair  in 
place  all  day.  It  is  good  for  the 
scalp  as  well  as  the  hair.  Your 
doctor  would  recommend  it.  Helps 
do  away  with  dandruff  and  stimulates 
the  hair  roots  to  new  growth. 

Use  it  always  before  a  shampoo. 
Apply  to  the  scalp  to  loosen  the 
dandruff,  then  wash  with  Glo-Co 
Shampoo.  The  cleansing,  antiseptic 
lather  frees  the  scalp  from  dandruff 
and  bacteria,  and  makes  the  hair  like 
silk.  Use  Glo-Co  Hair  Dressing  again 
to  comb  your  hair.  Sold  at  drug  and 
department  stores  and  barber  shops. 
If  your  dealer  cannot  supply  Glo-Co 
Hair  Dressing  and  Shampoo,  a  full- 
sized  bottle  of  either  will  be  sent  for 
50c.  Glo-Co  Company,  Inc.,  6511 
McKinley  Ave.,  Los  Angeles, 
California. 

GLO-CO 

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Advertising  Section 

"Shall  I   Go  Into  the 


M 


ovies 


y 


(Continued  from  page  95) 

stars,  you  know.  The  verdict  there  is  that 
your  talents  are  about  equally  divided  be- 
tween writing  and  acting.  You  have  the 
ability  to  get  the  ladies  on  your  side — a 
big  thing  in  the  success  of  any  actor  or 
writer,  and  also  enough  analytical  ability 
to  judge  the  favor  of  the  multitude  at  its 
true  worth.  L  would  suggest  to  you  that 
you  finish  a  college  education  if  possible, 
take  courses  in  journalism  and  try  for 
fiction  work.  You  would  find  that  the 
purely  emotional  appeal  of  the  stage  would 
not  satisfy  you  in  later  life. 

Laranda    S.    P.,    April    1 1 : 

Now,  listen,  my  dear ;  you  have  the 
Moon  in  the  sign  Virgo,  technically  speak- 
ing. When  translated  into  every-day 
language,  this  means  that  you  have  a  per- 
sonality— shown  by  the  position  of  the 
Moon  always — which  is  aloof,  reserved, 
snobbish,  if  you  like,  and  highly  critical 
and  fastidious.  Underneath  all  this  the 
fiery  position  of  your  Sun  in  the  sign  Aries 
makes  you  want  to  express  animation, 
emotion  and  fire,  but  you  cannot  break 
thru  that  barrier  which  your  own  soul  sets 
up  about  you.  Understand  this  in  your- 
self and  make  it  work  for  you.  You  can 
write,  for  Virgo  is  a  writing  sign  and 
some  of  our  best  authors  have  the  Moon 
so  placed,  but  you  probably  will  never  be 
able  to  act,  for  acting  requires  abandon — 
and  that  you  have  not.  Dont  waste  time 
wishing  for  things  you  have  not,  but  use 
the  talents  you  were  handed  when  you  left 
the  pearly  gates. 

Mrs.  E.  B.,  August  31: 

What  makes  you  think  it's  too  late  for 
you  to  do  what  you  want  to  do?  You  are 
not  tripping  over  your  whiskers  yet,  you 
know,  and,  in  fact,  the  vast  majority  of 
mankind  does  not  know  what  life  is  all 
about  until  they  have  passed  thirty,  any- 
way. Get  busy  and  go  to  art  school.  Dont 
tell  me  you  cant  manage  it,  for  I  know 
very  well  that  one  can  do  what  one  sets 
out  to  do  if  the  desire  is  sufficiently  strong. 
Just  as  long  as  you  sit  on  the  front  porch 
and  watch  the  procession  go  by,  you'll  be 
a  dissatisfied  and  none  too  pleasant  woman. 
You  should  be  right  in  the  parade  your- 
self. This  is  iconoclastic  advice  and  may 
not  set  well  with  the  family,  but  that  I 
leave  to  you.  If  you  cannot  attend  school 
you  can  at  least  take  a  correspondence 
course  and  still  manage  to  get  the  dishes 
washed  on  time. 

Miss    Winnipeg,    May    20: 

Probably  you  have  some  genuine  dra- 
matic talent.  You  have  a  difficulty  in  the 
position  of  the  restrictive  planet  Saturn  in 
the  part  of  the  horoscope  connected  with 
the  public  reception  of  your  work,  how- 
ever, and  it  will  always  be  hard  for  you 
to  gain  the  support  of  your  audience.  1 
will  say  in  absolute  truth  that  once  hav- 
ing gained  their  favor  you  can  retain  it. 
This  is  advice  to  make  up  your  mind  to  a 
long  struggle  if  you  once  embark  on  a 
<>r  screen  career.  My  own  opinion 
would  be  that  it  .would  be  wiser  for  you 
to  be  content  with  your  present  laurels 
and  settle  down  to  "the  task  of  making 
some  good  man  better. 

P.    C,    November    29: 

Why   waste  time  in  studying  to  perfect 
yourself    in    such   a   difficult    field   as   illus- 
trating if  you  intend  to  drop  it  as  soon  as 
(Continued  on   puyc   102) 
ea\   in  motion-  PICTURE  MAGAZINE  is  gi 


Danish 

drudgery  from 

this  task 


Scrubbing  and  scouring  the 
toilet  bowl  is  a  most  disagree- 
able task.  Yet  it  is  dangerous 
to  neglect  it.  Let  Sani-Flush  do 
this  work  for  you.  It  cleans 
quickly  and  surely.  Banishes  foul 
odors.  Removes  sediment  from 
the  hidden  unhealthful  trap. 

Simply  sprinkle  Sani-Flush  in 
the  bowl.  Follow  directions  on 
the  can.  Flush.  The  job  is  done  ! 

Sani-Flush  removes  marks, 
stains  and  incrustations.  No 
hand  work,  no  dipping  water. 
Harmless  to  plumbing  connec- 
tions.    Always  keep  it  handy. 

Buy  Sani-Flush  in  ne<w  con- 
venient punch-top  can  at  your 
grocery,  drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.  35c  in  Canada. 


tu- 


Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products  Co. 

Canton,  Ohio 


iMAKEBIGMONEYl 


eta  3 
.$10,0'-"  - 


i  and  manuscript  : 


Art    of   Story   Wnt- 


FREE  Book. 

injf. "  No  obligatio; 

HOOSIER   INSTITUTE 
Dept.  152-B  Fort  Wayne,  Ind. 


Reduce  and  Shape  Your  Lambs 
■with  Dr.  Walter's  Medicated 
Rubber  Stockings  and  Anklets 

Light  or  dark  rubber.    For  over  20  years  they 
have  relieved  swelling,  varieose  veins  and  rheu- 
matism promptly.  Worn  next  to  tbe  skin  they 
induce  natural  heat,  stimulate  the  circulation 
and  give  a  neat  and  trim  appearance.  They 
give  wonderful  support  and  are  a  protection 
anainst  cold  and  dampness.  Anklets  $7, 
extra  high  $9.  Stockings  $12.  Send  check 
or  money  order— no  cash.  Write  for  Booklet. 

Dr.  Jeanne  M.P.WaIter,389FiftbAve.,N.Y. 


MUDDY  OILY  SKIN 

I    ■    quickly    improved    and    usually 
cleared  entirely  if  properly  treated  with 

Resinol 


Advertising  Section 


CMKPR 


Diamond  Tom  Mix 

(Continued  from  page  21) 


stroooong  man,  Tom,  when  practising  his 
lariat,  four  shooters  or  whatever  impedi- 
menta it  is  that  go  with  being  a  man's  man. 

We  were  clad  in  a  cotton  frock  as  best 
befitting  the  atmosphere  of  the  Great  Out- 
doors and  we  bore  in  mind,  too,  that  out 
where  men  are  men  "frilly"  women  are 
despised    tho    kidnapped    and    everything. 

We  wanted  to  fit  as  well  as  plight  be 
into  the  frame  of  sage-brush  and  cactus 
and  prairie-dogs  or  whatever,  it  is  they 
have  out  where  the  West  begins. 


Now,  right  here,  we  want  to  warn  you 
that  once  the  door  of  the  Biltmore  suite 
opened  to  us  we  can  veraciously  report  no 
longer  because — we  could  see  no  longer. 
Not  the  blind  staggers  contracted  from 
Tony  ...  no,  no,  not  that  .  .  .  but  read 
on  .  .  .  read  on  .  .  .  you  may  as  well, 
you  haven't  anything  else  to  do   .    .    . 

At  first,  after  the  opening  of  the  door, 
we  couldn't  understand  why  the  hand  of 
God  had  smit  us  so  suddenly  and  so  horri- 
bly right  at  an  apex  in  our  journalistic 
career.  Then,  as  thru  a  glitter  dimly,  we 
began  to  realize  that  our  ophthalmia  came 
from  looking  straight  into  the  concen- 
trated  heart  of — a   diamond  mine. 

Tom  Mix  was  wearing  the  diamond 
mine. 

We  peered.  We  ogled.  We  tried  to  rub 
the  diamond  dust  from  our  affronted  optics. 
We  strove  with  our  lashes  and  brows  and 
the  backs  of  .our  quivering  hands.  We 
saw — or  we  think  we  saw — now  mind  you, 
we  only  think — we  cant  be  sure — we  never 
will  be  sure — but  we  think  we  saw,  em- 
blazoned in  splendor,  a  stomacher  sheath, 
ing  a  stable  waist-line — an  escutcheon  en- 
circling the  Mix  waist  —  a  sheath  —  a 
script  of  diamonds  spelling  out  the  name 
T-O-M   M-I-X! 

It  took  us  some  time  to  recover  enough 
to  penetrate  over  the  threshold.  Cataracts 
were  roaring  in  our  ears.     We  didn't  like 


to  ask  if  we  were  in  the  right  suite — as 
maybe  we  were  not — for  fear  the  fearful 
splendor — the  diamond  dream — would  fade 
away  and  we  would  find  ourselves  in  the 
lusterless  dark  fingering  a  ninety-eight 
cent    string   of    department   store    pearls. 

We  peered  once  more.  Upon  a  finger, 
the  general  tone  of  which,  wt  think,  was 
brown,  there  blazoned  forth  another  sun 
of  the  earth  in  rays  of  scarlet,  jade  and 
topaz  .  .  .  here  .  .  .  there  .  .  .  everywhere 
.  .  .  facets  of  light  .  .  .  points,  splinters, 
modicums,  veinlets  of  light! 

All  of  them,  all  of  them,  emanating 
from  the  person,  presumably/ of  Tom  Mix". 

And  thru  them,  we  caught  fractional 
glimpses  of  a  figure  more  Brummelish 
than  Brummel,  more  Beauish  than  Beau, 
a  figure  that  would  have  put  a  Bond  Street 
tailor  to  shrieking  shame  ...  a  figure  clad 
in  palest  cream — the  coat  lined  with  man- 
darin scarlet  and  picked  out,  bound, 
lapelled  in  the  same  vivid  tone  .  .  .  patent- 
leather  extremities  .  .  .  boots  that  strapped 
with  cream  straps  under  elegant  patent- 
leather  boots  .  .  .  and,  near-by,  a  sombrero 
of  mammoth  proportions  also  "done"  in 
cream,  also  picked  out  and  corded  in  man- 
darin scarlet. 

From  an  adjoining  room,  in  the  direc- 
tion of  which  we  feebly  turned  our  spin- 
ning head,  came  so  strong  a  glitter  and 
glare  that  we  shudder  and  turned  back 
again,  but  not  before  catching  what  must 
have  been  the  aura  and  penumbra  of  Mrs. 
Tom  Mix. 


It  was  at  just  about  this  time  that  cold 
compresses  were  pressed  down  upon  us 
and  we  were  carried  forth,  a  stricken 
creature  who,  not  having  been  raised  on 
diamonds,  could  but  see  them  and  die. 

You  can  take  it  or  leave  it.  It  may  have 
been  a  delusion  but  we  believe  it  to  have 
been  Tom  Mix.  And  tliat's  where  the 
West  begins.  .  .  . 


Some  Follies  girls  were  over  at  the  Famous  Players  studio  posing  in  a  tableau. 
Adolphe  Menjou  stood  watching  them.  One  girl,  Susan  Fleming,  attracted  him. 
He  beckoned  to  her  .  .  .  offered  her  a  screen  test  .  .  .  and  then  proceeded 
to  give  her  a  leading  role  in  his  new  picture,  "The  Ace  of  Cads."  She  is  shown 
here  with  Alice  Joyce  in  a  scene  from  that  production.  Lucky  for  Susan  .  .  . 
And  smart  of  Adolphe,   according  to   those  who  have  seen   her  in   the   film   rushes 

When   you   write  to  advertisers  please  mention   MOTION   PICTU 


Transform 
YburSkin! 

I  have  the  honor  to  present  a  new 
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clears  your  skin  of  every  blemish  .  .  . 
it  simply  transforms  your  skin  from 
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NEW  KIND  OF  LOTION 
Whitens  .  .  Clears  .  .  Smooths 

Some  skins  are  dull,  sallow — some  are  tanned, 
freckled,  reddened — weather  has  roughened  and 
neglect  has  robbed  some  skins  of  freshness  and 
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My  marvelous  discovery  whitens  the  skin  to  almost 
milky-whiteness.  It  smooths  the  skin  to  flawless, 
velvety  texture.  In  3  to  6  days  all  trace  of  freckles, 
tan  and  sallowness  fade  out.  Blackheads  and  im- 
perfections disappear  completely. 
Never  before  have  women  had  such  a  cosmetic.  Never 
before  have  such  amazing  results  beeui  possible. 
From  all  over  the  world  comes  praise  of  this  new 
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MAGAZINP. 


101 
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Advertising  Section 

"Shall  I  Go  Into  the 
Movies?" 

(Continued  from  page  100) 

you  can  make  enough  money  at  it  to  get 
to  Hollywood?  It  doesn't  sound  sensible 
to  me.  You  have  a  very  interesting  horo- 
scope but  I  dont  believe  you  have  given  me 
the  right  time  of  birth  because  your  ideas, 
your  very  characteristic  handwriting  and 
your  letter  formations  do  not  at  all  co- 
incide with  a  chart  made  for  a  few  min- 
utes before  midnight  on  the  29  of  your 
month.  Your  horoscope  shows,  that  your 
best  work  is  dramatic  criticism;  your 
handwriting  points  to  design  and  mechan- 
ical skill.  Which  is  right?  Personally  I 
think  the  clocks  were  wrong  and  that  you 
entered  the  world  some  minutes  after  mid- 
night, which  would  bear  out  the  artistic 
career  as  the  proper  one  for  you.  Your 
difficulty  is  not  being  able  to  stick  to  one 
thing. 

J.   J.  K.,   February   12: 

There  is  no  particular  method  by  which 
I  can  tell  from  your  horoscope  the  amount 
of  so-called  "sex  appeal"  which  you  may 
or  may  not  possess.  I  would  venture  to 
guess  that  if  all  the  girls  smile  and  stare 
at  you,  as  you  say,  it's  probably  because  you 
either  give  them  the  eye  or  else  look  funny 
to  them.  If  they  bother  you  very  much, 
it  might  be  wise  to  wear  goggles.  Your 
horoscope  shows  you  that  just  as  soon  as 
vou  marry  all  this  annoyance  will  cease, 
for  you  will  get  a  wife  with  a  temper  of 
her  own  and  the  minute  any  strange  fe- 
male trespasses  on  her  premises  there  will 
be  a  hurry  call  for  the  ambulance. 

Frances    R.,    April    24: 

(You  know,  this  chap  just  ahead  of  you 
is  really  a  nice  kid,  only  he  ought  not  to 
go  around  telling  people  how  crazy  every- 
body is  about  him,  dont  you  agree  with 
me?) 

Your  horoscope  indicates  government 
work,  writing,  business  or  something  very 
technical  and  practical  rather  than  stage 
work  or  teaching  as  the  proper  career  for 
you.  You  have  a  strenuous  time  ahead  of 
you  in  your  work,  a  very  interesting  and 
unusual  set  of  experiences.  Some  time 
when  you  get  around  to  it,  study  Astrology, 
for  it  will  explain  a  good  many  problems 
which  will  otherwise  be  dark  mysteries  to 
you.  The  aspects  next  December  are  not 
favorable  for  you,  so  avoid  danger  at  that 
time  and  take  immediate  care  of  any 
symptoms  of  throat  trouble.  But  dont 
take  up  the  movies;" you  would  not  agree 
with  them  at  all. 

R.  A.  G.,  February   15: 

I  disregarded  your  request  to  use  the  en- 
velope because  I  cannot  undertake  to  an- 
swer people  personally  thru  the  auspices  of 
this  department,  and  your  letter  deserved 
an  early  reply.     You  would  be  very   suc- 

nl  in  motion  picture  work  and  I  advise 
trongly  to  keep  on  with  it,  but  at  the 
present  your  aspects  are  not  right  for  cut- 
ting loose  from  your  friends  in  the  East 
and  trying  your  fortunes  in  Hollywood. 
'I  here  is  a  temporary  condition  here  which 
makes  it  difficult  for  newcomers,  and  your 
own  chart  just  now  is  very  adverse.  Just 
keep  drilling  along  until  next  winter,  mean- 
while   getting   in    touch   with   any    friends 

may  have  out  here  and  preparing  a 
way  to  make  yourself  known  to  directors 
and  managers  on  the  Coast.  Look  at  the 
horoscope  in  the  light  of  a  lesson;  your 
lesson  just  now  is  to  learn  to  wait,  then 
when  you  go  on  to  the  next  class  next  year 
you  will  get  some  better  breaks. 

ertlsemenl    in   .motion   PIOTUBB   MAGAZINE   is  guaranteed. 


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Advertising  Section 


<fiwwm 


A   Daughter  In  the  Movies 


(Continued  from  page  46) 


and  is  a  star  .  .  .  and  almost  all  her  time 
is  given  to  her  work  ...  I  know  that 
she  is  perfectly  all  right  without  me  at  the 
studio. 

She  always  calls  me  up  at  noon  ...  to 
let  me  know  how  things  are  going.  And 
when  she  is  thru,  her  father  generally  runs 
in  for  her. 

With  her  days  so  busy,  I  do  all  her  shop- 
ping. We  are,  luckily,  about  the  same 
size,  and  have  very  much  the  same  tastes. 
So  I  take  her  fittings,  after  the  first  one, 
and  pick  out  her  clothes.  They  are  sent 
home  and  she  selects  what  she  wants. 

And  raising  a   daughter   in   the   movies 
is  no  different  from  out — that  I  can  see. 
'  Like  all  mothers  .    .    . 

You  want  her  to  have  high  ideals  of 
life   .    .    .   and  try  to  live  up  to  them. 

You  like  her  to  know  nice  people. 

You  want  to  know  where  she  is,  and 
whom  she  is  with. 

You  like  to  be  as  much  of  a  companion 
to  her  as  possible,  to  keep  up  with  her 
interests,  and  to  look  at  things  from  her 
view-point. 

I  know  all  Pat's  friends — charming, 
clever,  lovable  boys  and  girls — both  in  and 
out  of  pictures. 

And  our  home  is  always  open  to  them. 

We  like  them  to  come  here  for  their  fun. 

I  want  the  house  lived  in,  and  I  dont 
mind  in  the  least  how  much  the  floors  get 
scuffed  up,  doing  Charlestons  and  Carolina 
hops. 

About  a  few  things  I  am  strict — and 
they  all  know,  and  abide  by  my  rules. 

One  is,  that  Pat  must  be  in  bed  at  a 
reasonable  hour  when  she  has  to  be  up 
for  work  early  the  next  morning.  And 
if  they  stay  too  late,  I  just  shoo  them 
out. 

And  Pat  will  be  the  first  to  leave  a 
party,  in  order  to  be  in  bed  before  twelve. 


For  her  work  comes  before  anything  else, 
and  she  is  never  late  on  the  set. 

She  has  a  decided  mind  of  her  own — 
and  the  courage  of  her  convictions. 

She  has  never  cared  to  take  a  drink,  and 
so  she  doesn't,  nor  will  she  go  anywhere 
when  she  knows  the  crowd  is  uncongenial. 

I  do  not  feel  that  I  am  responsible.  She 
just  is  that  way. 

But  one  thing  I  have  always  tried  to 
make  both  children  feel — that  they  should 
be  leaders — not  followers.  To  do  what 
they  know  is  right — and  stand  by  it.  That 
what  other  people  do  is  not  our  concern. 
It  is  only  what  we  do  ourselves. 

We  talk  everything  over  with  Pat,  very 
frankly. 

I  realize  things  are  changing,  that  we 
are  constantly  .going  ahead,  in  ideas  and 
in  achievement,  and  that  girls  today  know 
so  much  more  about  the  world,  and  life, 
than  they  did  when  I  was  twenty.  And  so 
they  should  .  .  .  because  they  are  thrown 
more  in  contact  with  it. 

But  it's  like  a  dash  of  cold  water  at 
first,  getting  used  to  the  things  they  know 
and  openly  discuss.     Then,  it's  all  right. 

Pat  says  I  am  not  quite  so  bad  as  I 
was    .    .    .    not  quite  so   mid-Victorian. 

But  I  still  worry  about  her.  A  mother 
just  cant  help  it. 

I  do  not  like  her  to  be  out  at  night.  On 
the  rare  occasions  when  she  has  had  to 
work  late,  I  am  so  afraid  of  automobile 
accidents.  There  are  so  many  reckless 
drivers. 

It  is  not  that  I  am  afraid  of  anything 
Pat  might  do.  I  am  always  sure  of  her 
good  judgment. 

We  have  never  had  any  trouble  with 
Patsy.  She  has  been  too  busy,  with  her 
constantly  changing  interests  They  have 
absorbed  all  her  spare  time  and  energy. 

The  house  is   periodically  being   rocked 


Between   Pat    and    Brother,    who    is    sixteen,    there    is    always    a    lively 

competition    .     .     .    for    he    goes   in    for   the    same   things    and    tries    to 

outdo   her.      Right   now   it   is   tennis    .     .     .       Below   are  Brother,    Pat 

and  Mr.  Oscar  Miller 


Address. 

City.... 
I....... 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


Give  Yourself 

That  Irresistible  Charm 
Which  Once  Swayed 
Empires  and 
Conquered  Kings ! 

Such  intriguing  beauty,  so  History 
tells  us,  came  from  the  use  of  a  rare, 
white  mineral  earth  found  only  on 
the  Island  of  Lemnos,  off  the  coast  of 
ancient  Greece. 

It  Worked  Like  Magic ! 

Just  a  few  applications  brought  such 
exquisite  loveliness  to  complexions 
that  it  was  pronounced  Sacred  by  the 
Priests  of  Diana  who  gave  it  the  name 
of  Diana's  Earth.  Later,  by  Royal 
Decree  it  was  reserved  exclusively  for 
women  of  noble  birth. 

PEACH    BLOOM 

Since  that  day  Diana's  Earth  was 
thought  lost  forever.  But  just  re- 
cently the  miraculous  happened !  An 
American  Mineralogist,  while  sur- 
veying near  Hot  Springs,  Ark.,  was 
astounded  to  find  another  small  de- 
posit of  this  precious  beautifier. 

Now,  at  last,  your  complexion  can 
have  that  alluring  charm  and  loveli- 
ness of  early  ages,  for  genuine  Diana's 
Earth,  now  called  PEACH  BLOOM, 
has  been  re-discovered. 

BEAUTY  GUARANTEED! 

Regardless  of  the  present  condition 
of  your  skin,  Peach  Bloom  will  restore 
quickly  the  beauty  Nature  intended 
you  should  have.  And  this  magic 
improvement  will  be  so  apparent  once 
you  have  tried  PEACH  BLOOM  that 
you  will  never  again  be  without  it. 

The  coupon  below  carries  our  Positive 
Beauty  Guarantee,  which  likewise 
applies  to  your  purchase  of  Peach 
Bloom  from  any  Drug  or  Department 
Store,  Beauty  or  Barber  Shop  in  the 
United  States. 


MAIL  THIS  COUPON  TODAY 


PEACH  BLOOM  MINERAL  CORP., 

208  N.  Wells  St.,  Dept.  53,  Chicago,  III. 

Please  send  me.  postpaid  a  12-Treatment  jar 
of  PEACH  BLOOM  for  which  I  am  enclosing  SI. 
If  after  three  treatments  my  skin  fails  to  respond 
to  the  extent  expected,  I  may  return  the  unused 
portion  and  my  SI  will  be  immediately  and 
cheerfully  refunded. 

Name  ...._.*.■ * 


103 
PAfi 


'P 


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Name 

Address, 


mm 


Advertising  Section 

by  outbursts  of  enthusiasm  over  some  new 
hobby,  from  tennis  to  playing  the  ukulele, 
or  redecorating  her  room. 

And  we  all  "stay  with  the  guns"  until 
it  is  mastered.  She  never  leaves  it  until 
it    is. 

Between  Pat  and  Brother,  who  is  six- 
teen, there  is  always  a  lively  competition 
.  .  .  for  he  goes  in  for  the  same  things 
and  tries  to  outdo  her. 

Both  children  have  one  habit  of  which 
T  do  not  approve.  They  go  to  bed  with 
their  hooks,  at  night,  and  read.  But  it 
gives  them  so  much  enjoyment  that  1 
cannot   say  anything. 

We  have  never  regretted  taking  the  step 
that  brought  us  out  to  California. 

Pat  is  happy.  She  loves  her  work  .  .  . 
and  now  that  she  is  under  the  direction  of 
Lubitsch,  she  feels  that  she  has  been  re- 
warded for  all  she  has  put  in  these  five 
years. 

Pie  has  just  started  the  picture,  a  French 
comedy,  and  she  can  hardly  wait  to  get 
to  the  studio  in  the  mornings.  For  charac- 
terizations are  the  things  that  interest  Pat. 
And  no  one  can  give  them  quite  the  real 
and  subtle  touch  that  Lubitsch  can. 

And  in  the  studio,  I  have  not  found  the 
atmosphere — the  influences  (that  outsiders 
seem  to  feel  exist)  have  hurt  Pat  in  the 
least. 

Instead,  she  is  learning  some  of  the  real 
essentials  of  life — without  which  no  one 
can  succeed. 

She  is  learning  to  meet  the  rough 
places,  the  disappointments,  the  discour- 
agements,   good-naturedly. 

For  work  does  not  always  run  smoothly, 
and  things  are  not  always  pleasant. 

And  she  has  come  in  contact  with  some 
fine,  big-hearted  people  who  have  gone  far 
out  of  their  way  to  help  her  in  her  work 
and  whom  we  are  proud  to  have  as 
friends.     . 


The  Favorite  Moreno 
Luncheon 

{Continued  from  page  34) 

long  as  the  potato  admits.  Drop  into  boil- 
ing grease.  When  nearly  done,  remove 
potatoes  with  skimmer  and  drain.  Boil 
grease  again,  drop  potatoes  back  and  fry 
until  done.  This  operation  permits  the 
potatoes  to  swell  and  puff. 

Melons:    All    melons    should    be    served 
chilled,    not    iced. 


Motion   Picture  Junior 

(Continual   from   page   64) 

thing   we  pleased  to  play  with  so  long  as 
we    played    at    home. 

I     remember    that    one     day     I     built    a 
chariot.      It    was    a   pretty    good   chariot 
but  it  wasn't  big  enough   for  me,  so  I  had 
my  twin  ride  and  J   was  the  horse. 

When   I    was   back  home   a    few   months 
ago     making     personal     appearances,     the 
neighbors  all  came  and  asked  me  if   1  re- 
ed how  I  used  to  dress  my  brother 
up   in    Kathleen's   costumes  ! 

They  used  to  call  me  "Hotstuff"  at 
home — "Hots"    for    short. 

As  I  grew  bigger,  the  other  hoys  my 
agi  would  com<  over  to  play  with  my  twin 
and  they'd  all  say:  "Oh,  I  lots,  make  us 
a  lemonade  stand!"  or  "Hots,  wont  you 
build  US  a  fort?"  but  they'd  never  let  me 
play  witli  them.  1  was  too  big.  When  I 
was  fourteen   I  was  six  feet  tall. 

So  I  wasn't  a  kid  long  enough,  really,  to 
have  mui  li   to   t<ll. 


CJheu 


WRINKLES  GONE  IN  3  DAYS 

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By  Miss  Karsten 

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Advertising  Section 


Have  You   Heard    About   the    Vitaphone  ? 


(Continued  from  page  70) 


illusion  that  the  sound  was  coming  from 
the  artists  who  simultaneously  appeared  on 
the  screen.  And  the  instrument,  they  say, 
is  as  easy  to  operate  as  an  ordinary  mov- 
ing picture  projection  machine. 

But  the  registering  of  the  sounds  is  a 
little  more  intricate.  The  first  step  is  ac- 
complished by  a  high  quality  microphone, 
with  an  electrical  amplifying  apparatus 
and  sound-registering  mechanism.  It  is 
not  necessary  for  the  artists  to  crowd  be- 
fore the  microphone  in  unnatural  positions, 
as  registration  may  be  carried  on  at  some 
distance  from  the  source  of  the  sound. 
By  means  of  electrical  currents,  the  regis- 
tered sound  waves  are  then  picked  up, 
passed  into  an  amplifier,  and  by  means  of 
loud  speaking  telephones  these  vibrations 
are  transformed  into  sound. 

The  synchronization  is  accomplished  by 
a  master  camera,  which  controls  the  sound 
registration  apparatus,  and  grinds  con- 
tinuously while  the  other  cameras  are  tak- 
ing close-ups.  But  the  reproduction  of 
sound  does  not  necessarily  have  to  be 
made  at  the  same  time  that  the  scenes  are 
photographed.  For  the  music,  or  whatever 
the  sound  may  be,  cajn  be  cued,  and  then 
registered  in  synchronization  with  the  film. 
This  would  make  it  possible  to  provide 
musical  programs  or  other  accompani- 
ments of  sound  for  any  picture  which  has 
been  made  in  the  past. 

The  Vitaphone  is  the  wonderful  inven- 
tion that  the  optimists  of  years  ago 
prophesied,  tho  as  a  matter  of  fact  its 
mechanism  does  not  resemble  those  old  and 
feeble  attempts.  Its  tones  are  clear  and 
resonant,  its  volume  perfectly  regulated, 
so  that  the  sounds  and  the  figures  on  the 
screen  give  life  to  each  other,  and  create 
an  almost  perfect  illusion.     It   is  destined 


to  have  a  tremendous  effect  on  moving 
picture    presentations. 

The  immediate  purpose  of  the  Vita- 
phone, however,  is  not  to  introduce  talking 
movies.  We  believe  they  are  inevitable 
even  tho  they  do  not  intrigue  us  person- 
ally. It  is  our  conviction  that  the  motion 
pictures  belong  to  the  art  of  pantomime. 

But  in  the  almost  immediate  future  the 
Vitaphone  will  serve  exhibitors  and  au- 
diences in^  small  towns  where  the  capacity 
of  the  theaters  will  not  permit  a  large,  ex- 
pensive orchestra.  By  the  installation  of 
a  Vitaphone  equipment,  these  theaters  will 
be  able  to  have  the  musical  score  of  what- 
ever feature  they  are  showing  played  by 
splendid  musicians. 

There  is  a  humorous  twist  to  this,  too. 
Moving  picture  patrons  have  been  crying 
"Banish  the  prolog!"  Many  have  pre- 
ferred to  take  their  movie  fare  in  small 
houses,  to  escape  the  interminable  pro- 
grams of  third-rate  music,  dancing  and 
song  that  are  dealt  out  in  the  large  picture" 
theaters. 

Now  there  will  be  no  escape.  Atmos- 
pheric prologs  will  be  within  the  grasp 
of   every   exhibitor. 

However,  should  the  moving  pictures 
themselves  be  accompanied  by  dialog,  and 
converted  into  the  spoken  drama,  it  would 
mean  a  complete  change  in  the  technique 
of  picture  making.  The  aim  of  directors 
now  is  to  tell  their  stories  with  as  little 
recourse  to  words  as  possible.  Pantomime 
is  the  important  thing,  and  the  whole  trend 
of  pictures  has  been  toward  accomplishing 
perfection  in  that  art.  If  the  Vitaphone 
became  established  as  an  integral  part  of 
moving  pictures,  it  would  mean  the  break- 
ing down  of  the  old  standards  and  estab- 
lishing of  a  new  ideal  of  the  screen. 


The  Picture  Parade 

(Continued  from  page  63) 


THE  MYSTERY  CLUB-^£^&% 

TF  you  love  mystery  stories  but  have 
given  them  up,  along  with  your  coffee, 
because  you  cant  sleep  afterwards,  try 
this  one.  It  is  fast-moving,  baffling,  amus- 
ing, novel — but  never  gruesome.  A  club  of 
wealthy  gentlemen  decide,  all  in  a  spirit 
of  fun,  to  take  up  crime  in  an  amateur 
way.  On  realizing  that  crime  isn't  quite 
the  joke  it  seemed  at  first,  they  try  to 
abandon  the  plan,  and  how  the  thing  gets 
out  of  their  control  is  what  you  must  go 
and  find  out.  As  is  the  case  with  most  de- 
tective stories,  the  denouement  isn't  en- 
tirely satisfactory,  for  there  isn't  time  to 
go  back  over  all  the  points  you'd  like 
cleared  up.  There  is  a  romance  in  it,  of 
course.  And  it  has  been  given  a  pleasant 
cast,  including  Matt  Moore,  Edith  Roberts, 
Mildred  Harris  and  Warner  Oland. — 
Universal. 

THE   SHOW  -  OFF— comedy  Drama-7o% 

[//"HAT  was  expected  has  happened 
*  here — and  that  concerns  the  inability 
of  the  camera  to  catch  the  psychology 
of  the  central  character  from  which  the 
play  and  picture  took  its  name.  Anyone 
who  saw  the  spoken  version  must  have 
wondered  how  Aubrey  Piper's  laugh  could 
be  recorded  on  the  screen — and  the  genu- 
ine pathos  behind  his  futile  effort  to  mis- 
represent himself. 

"The  Show-Off"   is   a  disappointment  in 
that   it   has   lost  much   in   its   transference 


from  stage  to  screen.  It  loses  a  great  deal 
of  its  subtleties  and  shadings — qualities 
difficult  to  capture  when  they  have  been 
woven  so  deeply  in  dialogue.  Again,  Ford 
Sterling  has  a  tendency  to  burlesque  the 
title  role.  Which  is  excusable  this  time. 
The  picture  evokes  sufficient  laughter  to 
score  most  anywhere — and  Ford  Sterling 
makes  Piper  a  self-satisfied,  demonstrative 
person  given  to  boobish  outbursts.  It  is 
Gregory  Kelly,  however,  who  captures  the 
acting  honors  in  a  minor  role.  Lois  Wil- 
son is  mostly  decorative  as  the  heroine. — 
Paramount. 


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I7ROM  the  stage-play,  "The  Pelican,". 
Frank  Borzage  has  turned  out  a  pic- 
ture which  has  many  flaws  in  taste  and 
technique,  and  yet  it  has  a  soul.  There  is 
drama,  and  the  interest  never  flags.  It  is 
a  rather  maddening  testimonial  to  the 
self-sacrificing  devotion  of  a  mother  and 
the  eternal  ingratitude  of  children.  And 
it  has  its  love  story.  Romance  is  pretty 
nearly  dead  on  the  screen  these  days,  but 
Walter  Pidgeon  is  one  of  its  most  capable 
exponents,  and  he  does  well  by  his  small 
part.  Alma  Rubens  gives  an  unexpectedly 
interesting  performance.  Her  tendency  to 
overplay  merely  makes  the  portrait  more 
convincing.  Emily  Fitzroy  is  a  horribly 
false  note  in  the  cast,  and  Richard  Wall- 
ing, rescued  from  behind  the  cameras,  is  a 
great  deal  too  young  and  plump  and  baby- 
ish to  be  considered  seriously. — Fox. 


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Advertising  Section 


BOB, 
BEHAVE 

• 

Your  bob  must  behave 
when  it's  held  in  place  by 

Bobbie  Pins. 
Out  of  sight,  out  of  mind. 
Merely  separate  the  ends 
of  the  pin  and  insert  the 
hair  as  you  want  it  to  stay. 
Can't  slip  —  Bobbie  Pins 
stay  put!  Won't  tear  hair 
because  the  ends  meet. 

Black  and  Bronze 

2  for  15c 

Cold  and  Silver 

2  for  25c 

Sold  everywhere — For 
your  protection  the  copy- 
righted name  is  on  the 
card;  the  basic  principle 
patented.  Avoid  imitations. 

MARCUS-LESOINE  INC. 
130  Turk  Street,  San  Francisco 

BOBBIE 
PINS 

!A^o  your  bob 
at  Us  bzjt" 


My  Life  by  a  Long  Shot 

U  ontinucd  from  payc  36) 


and  leave  me  in  hotel.  I  stay  there  for 
two  weeks  and  the  clerk  come  to  me  and 
says  where  is  your  manager.  I  say  he 
went  out  to  get  match,  and  the  clerk  says 
I  better  get  out  and  follow  him,  so  I  am 
thrown  out  of  this  swell  dump.  I  quit 
being  Turk  and  go  down  and  talk  to 
whops  in  the  town.  One  nice  Italian  boy 
helps  me  get  a  match  and  I  pick  up  thirty- 
eight  dollar  and  go  to  Pittsburgh. 

There  I  meet  a  promoter  who  gets 
match  for  me  in  Rochester  and  I  make 
hundred  sixty-five  dollar  for  losing  match. 
The  big  bum  I  wrestle  with  he  throw  me 
off  platform  onto  piano.  But  I  dont  care 
I  make  all  this  money,  so  I  go  back  to  pro- 
moter. He  gets  me  another  match  and  I 
flop  the  guy  and  win  two  hundred  and 
fifty  bucks.  I  should  get  more  because 
the  theater  is  packed  and  my  share  is  one- 
fourth,  but  I  am  just  a  dumb  whop,  you 
fcnow  what  I  mean.  The  promoter  pay  me 
in  one  dollar  bills.  That  night  I  go 
to  the  hotel,  lock  the  doors,  spread  the 
bills  all  over  the  bed  and  lay  down  on 
top  and  go  to  sleep.  Boy !  I  never 
have  seen  so  much  jack!  This  is  the 
racket  for  me. 

I  go  back  to  New  York  and  when  I 
meet  my  friends  they  say  how  did  you  get 
out,  Louie?  You  better  hide.  I  dont  know 
what  they  mean,  but  I  find  out  there  is  a 
guy  with  the  same  name  as  mine  gets 
twenty  years  in  the  big  house  for  sticking 
up  a  bank.  I  say,  Aw !  Whatta  hell  is  the 
matter,  I  dont  hold  up  bank.  So  I  hang 
around  awhile  to  show  them  I  am  not  the 
guy  who  robs  banks. 

I  get  a  job  working  in  a  show  at  Coney 
Island,    five    bucks    a    night.      The    second 
night  I  go  to  work  I  look  at  the  sign  on 
front  of   the  show.     It   says: 
"Jim  Galvin,  The  Irish  Giant." 
"Leo  Pardello,  Italian  Champ." 
"Neil   Oleson,   Terrible   Swede." 
"Bull   Montana,  Middlewest  Champ." 

I  go  to  the  Jew  and  I  say  you  dont  put 
up  my  name.  He  says  sure  your  name 
is  Bool  Montana.  I  say  where  do  you 
get  that  stuff.  I  am  Louie.  He  say  Bool 
sounds  better,  and  I  am  such  a  dumb-bell 
I  dont  know  so  I  say  all  right,  that's 
good.  Then  I  say  where  is  my  five  bucks 
for  last  night?  So  he  give  me  the  five 
bucks.  I  dont  know  it  but  the  Jew  has 
put  a  piece  in  the  paper  that  day  and  says 
I  am  Stanley  Ketchel's  sparring  partner. 
That  night  he  introduces  me  to  big  crowd 
in  front  of  the  show.  He  says,  "Mr. 
Bool   Montana,   Middlewest  champion." 

Everybody  yell,  "Hurray,  Cowboy ! 
Hurray,  cowboy !"  and  I  go  over  big,  so 
I  dont  think  the  name  is  so  damn  bad 
and  I  go  in  and  flop  the  guy  I  am  matched 
with. 

I  meet  another  manager  and  he  says,  he 
wants  me  to  go  to  Boston  and  wrestle.  I 
say  that's  fine.  I  got  to  Boston  and  meet 
the  champ  of  New  England,  who  has  the 
same  manager  as  mine.  Wc  have  a  match 
re  a  big  crowd  and  I  flop  the  champ 
of  New  England.  My  manager  he  gets 
madder  than  hell  and  says  what  did  I  flop 
the  guy  for?  I  was  supposed  to  let  him 
flop  me.  The  manager  fired  me  and  I  go 
back   to   New   York. 

I  went  to  (jeorge  Bathner's  gym  and 
fool  around.  One  day  Doug  Fairbanks 
come  and  they  introduce  me  to  Doug  Fair- 
banks the  big  movie  star.  I  dont  look  at 
him  much  and  go  on  and  work.  He  tells 
one  of  the  boys,  I  am  great  type,  and  I 
dont  know  what  he  is  talking  about. 


I  get  a  match  the  next  month  in  Newark 
and  I  win  two  hundred  fifty  bucks.  Boy! 
I  go  out  and  buy  swell  new  suit  with 
brown  derby  and  horseshoe  diamond  and 
big  cigar.  Boy !  The  sweet  mamas  all 
fall  for  Papa  Bool.  Everybody  think  I 
am  great  guy  and  all  say  how  you  do  it, 
Bool  ?  I  am  walking  down  the  street  one 
day  and  Spike  Robinson  stop  me  and  say 
Douglas  Fairbanks  want  to  see  me  in  his 
office.  I  say  who  ta  hell  is  Douglas  Fair- 
banks. Tell  him  to  come  and  see  the 
Bool.  Then  Spike  says  Doug  is  the  big 
movie  guy  I  meet  two  months  ago,  I  say 
all  right  I  go  to  see  Doug. 

I  go  in  Doug's  office  and  John  Emerson, 
the  director,  he  is  there.  I  say  what  you 
want?  Doug  says  to  John,  "Isn't  he  a 
perfect  burglar  type?" 

"I  believe  he  is  a  real  burglar,"  says 
John. 

So  they  give  me  a  job  to  work  for 
seventy-five  bucks  a  week.  I  dont  work 
the  first  week,  and  they  call  me  the 
second.  I  go  up  and  they  give  me  check 
for  the  first  week  I  didn't  work.  I  dont 
want  the  check  and  they  say  I  get  it  for 
signing  contract.  Boy !  Seventy-five 
bucks  for  doing  nothing !  This  is  my 
racket. 

I  go  to  work  and  Von  Stroheim,  who  is 
John  Emerson's  assistant,  puts  on  my 
make-up.  That  night  I  have  big  match  in 
Newark.  I  go  home  from  the  studio  and 
try  to  wash  off  the  make-up.  It  dont 
come  off  so  I  have  to  go  and  wrestle. 
Everybody  kid  me  when  I  come  to  wrestle 
in  make-up.  The  boys  stand  up  and 
whistle  and  say,  "Oh,  Papa  Bool,  isn't  he 
sweet!  Papa  Bool  better  go  up  on  Fifth 
Avenue  and  wrestle."  I  am  mad  as  hell 
and  I  go  back  to  Doug  the  next  day  and 
say  I  am  thru  with  the  movies.  He  says 
whatsa  matter,  Bool?  And  I  tell  him  I 
cant  get  this  damn  stuff  off  my  face,  so 
he  show  me  how  to  take  it  off  with  cold- 
cream.  I  keep  on  work  in  the  picture, 
and  they  tell  me  I  am  great  actor. 

When  the  picture  is  finished,  Doug  says, 
"Bool,  how  you  like  to  go  to  California?" 
That's  good,  I  say  and  we  go  to  Cali- 
fornia. I  work  as  Doug's  trainer.  After 
about  three  months  I  say  I  am  sick  of 
California  and  want  to  go  back  to  New 
York.  I  have  saved  up  about  six  hundred 
dollar,  so  Doug  says  all  right  and  he  buys 
me  a  big  overcoat  because  it  is  winter  back 
in  New  York. 

In  New  York  I  meet  the  doll  I  used  to 
go  with'.  She  want  me  to  go  with  her 
again.  I  tell  her  no,  that  I  am  big  movie 
star  now.  I  stay  in  New  York  about  three 
weeks  and  I  am  sick  to  go  back  to  Cali- 
fornia. I  write  Doug  and  he  says  to 
come  back.  I  go  to  see  the  dame  who  has 
bothered  me  all  the  time.  I  go  up  to  her 
room  and  I  have  on  a  brown  derby  and 
a  cardboard  suitcase.  She  raise  hell  with 
me  and  throw  my  cardboard  suitcase  out 
the  window,  six  stories  down.  It  is  rain- 
ing and  I  start  to  run  down  the  stairs  to 
pick  up  my  suitcase  and  as  I  am  going 
down  she  throw  an  alarm-clock  and  it 
smash  right  thru  the  brown  derby.  I  go 
outside  and  find  everything  busted  all 
over  the  street.  I  pick  it  up  and  say  I 
am  glad  to  get  away  for  California. 

I  work  with  Doug  again  and  he  get  me 
jobs  with  other  companies.  Everything 
goes  fine  since  then.  I  just  finish  work 
eleven  weeks  in  "A  Son  of  the  Sheik." 

Oh,  Boy !  Papa  Bool  is  setting  pretty 
now,  you  know  what  I  mean. 


106 


-ry  advertisement   in   motion    PICX1  B.E   MAGAZINE  is  guaranteed. 


Advertising  Section 


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t'm  IMai 


Sensational  offer— almost  a  year  to  pay!  An  outfit  of  77  pieces— and  a  7  piece  set  of  Genuine 
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_      .»« .    ~  .    .  i.     gain  like  that  and  on  such  liberal  terms  ? 

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everyday.    And,  if  you  act  at  once,     ■"-"""'■''""•'«'«»       -"■»■  "•"  «"— J£*  "—■••«■     ■—•%»• 

the  7  piece  Genuine  Cut  Glass  set  is    We  have  made  up  only  a  limited  number  of 
°"  pieces  mall!  these  combination  outfits  for  this  special  sale. 


AA     Piooa    RlnaViSv/1    Send  the  coupon  quick,  while  this  offer  lasts. 
tt-riece   DiueDira    Only  $1.00  deposit  brings  the  outfit  on  30  days' 


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plates,  9  in.  diameter;  6  fruit  saucers,  5  in.  diameter;  6 
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diameter;  1  meat  platter,  W%  in.  long;.l  round>egetable 
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and  cover  (2  pieces);  1  butter  plate;  1  utility  bowl,  lpt.; 
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26-PieCe  Silver  Set  wingiveyou'yeVsof 
tisfaction.  A  pleasing:  pattern  and  popular  polished  ! 
ace  heavily  silver  plated  on  nickel  silver  base 

William  Rogers,  Ltd.    Set  consists  of  6  knives,  6  forks. 

6  teaspoons,  1  sugar  shell,  1  butter  knife.    Packed  in  handy 


back 


1 


JL 


_    Each 
base.    Made  for  us  by 

"  dessertspoons. 


, 


Straus 
&  Seta 

Dept.1528      Chicago, 


7-PieceTableCIoth  and  Napkins  ffiSJWSft  ■ 

in.  and  6  napkins,  18x18  in.,  made  of  strong,  durable  linen  finished    ■  Shipping 

cotton  in  pure  snow  flake  white  that  will  launder  beautifully.    All    ■  Point 

edges  neatly  scalloped  with  overlapped  stitch  in  blue.    Both  tablecloth  and  nap- .  H 

kins  have  band  painted  design  of  Bluebirds  and  Apple  Blossoms  in  their  natural    H 

color,  absolutely  guaranteed  fast  colors.    Harmonizes  perfectly  with  dish  set. 

And  remember:     The  7-Piece  Genuine  Cut  Glass  Set  is  FREE,  if 

you  send  at  once.    Shipping  weight  of  entire  outfit  about  60  lbs. 

Order  by  No.  G8741A.    Sl.OO  with  coupon;  $2.00  monthly; 

Total  price  $19.95. 


■  Straus  &  Schram,  Dept.1528,  Chicago,  111. 

■  Enclosed  find  $1.  Ship  special  advertised  77  Biece  Combination  Outfit, 
B  with  7-piece  genuine  cut  glass  set  FREE,  lam  to  have  30  days  free 
Z  trial.    If  I  keep  the  Outfit,  1  will   pay  you  $2  monthly.    It  not  satis- 

■  fied,  I  am  to  return  the  Outfit  with  the  7-piece  cut  glass  set  within  30 
|  days  and  you  are  to  refund  my  money  and  any  freight  or  express 
_  charges  Ipaid. 

I — I  77-piece  Combination  Outfit,  No.  G8741A,  $19.95. 

I        I I  7-piece  Genuine  Cut  Glass  Set  FREE. 

■ 

■  Street,  R.  F.  D. 
■  Box  Ao 


III. 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


107 
PAG 


I 


:Pmtsre 


Advertising  Section 


/^iramar^rooch 


$•2.85 

Oc.OD. 


Magnificent!  This  beautiful  reproduction  of  a 
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*Your  Fat 

Will  go  as  mine  did" 

For  19  years  women  have  told  women  about 
Marmola  Prescription  Tablets.  Told  how 
easily,  how  pleasantly  they  ended  excess  fat. 
No  excrci  ie,  no  dieting-  required. 

Mark  the  result  today.  Countless  women 
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Marmola  every  year. 

You  know  that  Marmola  must  he  safe  and 
efficient,  else  it  never  could  have  gained  such 
a  place.  Then  let  it  do  for  you  what,  for  19 
year  ,  it  has  done  for  Others.  Excess  fat  is  a 
blight  to  beauty,  health  and  fitness.  Let 
Marmola  show  you  how  others  control  it. 
You'll  always  be  glad  to  know. 

All  drup;  stores  sell  Marmola  at  $1  a  box.  Or  it 
is  mailed  in  plain  wrappers  by  Marmola  Co.. 
1    10  General    Motors    Bldg.,  Detroit,  Mich. 

MARMOLA 

/~v      Prescription  tablets 

^Jhe  Pleasant  Way  tofteduce 

108 


Crazy  Quilt 

(Continued  from  payc  80) 


wanted  to  escape  the  possibility  of  this 
thrilling  thing. 

Harvey,  .  too,  was  evidently  pleased. 
Both  he  and  Charley  Martin  preened.  Dis- 
creetly, of  course.  They  were  the  con- 
quering males  .  .  .  enjoying  their  supe- 
riority over  the  other  men  who  stood 
about,  even  if  their  claim  to  this  superiority 
was  a  trifle  vicarious. 

"I'll  expect  you  at  four-thirty  tomorrow, 
then,"  Dolores  told  Judith  when  they 
parted.     "At  five  East  Fifty-sixth  Street." 

Ordinarily,  Judith  and  Harvey  would 
have  enjoyed  the  walk  of  several  blocks  to 
their  hotel.  But  tonight  Harvey  deemed  it 
advisable  to  call  a  cab.  The  public  eye 
was  focusing  upon  Judith.  Her  personal 
liberty   was   slipping   from   her. 

"Poor  old  Dolores  and  Charley,"  an- 
nounced Harvey,  as  he  lit  a  Camel  and 
hitched  about,  endeavoring  to  find  some 
comfort   in  the  springless   seat. 

"Why  poor  old  Dolores  and  Charley?" 
asked   Judith. 

"She's  thru."  Harvey's  tone  left  no 
room  for  argument.  "Her  vogue  has 
passed.  She  was  too  obvious  to  last,  as 
a  matter  of  fact.  And  I  dont  believe  they 
have  saved  much.  Every  sycophant  in 
this  game — and  there  are  enough  of  them 
— took  advantage  of  their  largess  when 
they  had  money.  I  hate  to  think  of"  the 
thousands   that   slipped  thru   their   hands." 

"But  why  would  they  give  her  that 
vaudeville  contract?"  Judith  was  evidently 
puzzled. 

"The  vaudeville  men  will  take  anyone 
on  who  has  any  claim  to  fame  today  .  .  . 
even  if  it  is  remote,"  Harvey  explained. 
"They  cannot  get  head-liners  for  their  bills. 
They  need  big  names.  All  the  good  vaude- 
ville performers — all  the  old  head-liners — 
are  in  the  revues  in  New  York.  No  one 
who  is  worth  anything  has  to  go  on  the 
road  any  more." 

"But  she  said  Excelsior  wanted  her." 
Judith  was  persistent  in  her  endeavor  to 
find  some  hope  for  Dolores.  She  had 
rather  liked  her. 

"Maybe  they  did."  Harvey  seemed 
doubtful.  "Poor,  old  thing  .  .  .  she'll 
probably  spend  money  she  can  ill  afford 
in  teaing  the  press  tomorrow.  Anything 
to  get  her  name  in  print." 

They  were  quiet  for  a  minute.  Then 
Harvey  said : 

"It  must  be  a  bitter  pill  to  swallow  when 
you  have  to  go  for  the  greater'  part  of 
your  life  at  less  than  you  were.  That's 
what  is  bound  to  happen  to  so  many  in 
our  game. 

"Take  Dolores.  She  was  never  an  ac- 
tress. She  was  a  fluke.  She  had  an 
exotic  face  and  body  and  damn  poor  taste 
in  clothes.  Nothing  else.  I  have  seen 
directors  ready  to  tear  their  hair  when 
(hey  were  putting  her  thru  the  paces  of  a 
difficult  scene.  And  they  always  ended 
by  cutting  the  action  just  before  she  had 
to  show  any   emotion." 

It  depressed  Judith  to  hear  this.  She 
knew  it  was  true,  only  too  true.  Yet  here 
they  were,  already  borrowing  from  to- 
morrow'. She  wondered  if  it  might  not  be 
a  mistake,  after  all.  Certainly,  she  would 
insist  upon  saving  a  certain  portion  of  her 
income  just  as  soon  as  they  could  get  on 
their  feel.  She  supposed  it  would  not  be 
po   iible  to  begin  jusl  now,  however. 

"I'm  pleased  to  go  to  her  tea,"  she  said 
a      the   cab   Stopped    at   their   hotel. 

"That's      good,"      said      Harvey.        "You 

haven'l  done  anything  hut   work  in  a  long 

I'm    glad    you're    going.      Only    I 

wouldn't    he    seen    with    Dolores   too   much, 

if    1    were   you.      She    is    pa-  re.       \nd   you 

i    in   MOTION  PICTURE  MAGAZINE   is  grua 


are  judged  by  your  associates,  you  know. 

"If  you  go  with  unimportant  people,  you 
will  be  accepted  as  unimportant,  too." 

Judith  thought  Harvey's  ceaseless  aware- 
ness was  extraordinary.  She  thought  how 
stupidly  she  would  have  stumbled  along 
without  him. 

He  noticed  that  she  had  grown  serious. 

"Cheer  up,  old  dearest,"  he  said.  "Going 
to  Dolores'  tea-party  tomorrow  wont  do 
you  a  bit  of  harm.  And  you  will  meet  all 
the  magazine  and  newspaper  people. 
They'll  be  a  source  of  tribulation  to  you 
before  you  are  thru  with  this  game.  De- 
pend upon  it." 

"Why?"   asked  Judith.     "Especially?" 

"You  are  bound  to  forget  a  face  or  a 
name  once  in  a  while,  you  will  meet  so 
many  people,"  Harvey  said.  "And  you'll 
know  it  when  you  do.  Hurt  feelings  vent 
themselves  in  various  ways.  When  one 
special  writer  gets  after  you,  just  depend 
upon  it  that  you  didn't  recognize  him 
somewhere." 

"It  sounds  terrifying,"  laughed  Judith. 
"I  might  take  a  memory  course,  or  buy  a 
note-book.    ..." 

Harvey   laughed,   too. 

"You  might  do  that.  However,  I'm  not 
worried  that  they  wont  like  you.  Foolish 
of  .Dolores  to  invite  you  tomorrow,  if  you 
ask  me.     She's  trying  to  be  a  good  sport." 

Chapter  VI 

It  was  after  five  o'clock  the  following 
day  when  Judith  arrived  at  Dolores  Cor- 
tez'  apartment.  There  had  been  so  much 
to  do.  Her  seamstress  had  arrived  early 
that  morning  for  fittings  and  instructions 
about  the  new  gray  gown.  And  after  she 
had  gone,  Judith  had  taken  advantage  of 
her  uncustomary  leisure  to  do  some  pack- 
ing preparatory  to  their  removal  to  the 
apartment  on  the   following   Monday. 

Then  she  had  written  to  her  father,  ask- 
ing him  to  look  up  their  old  servant,  Lil- 
lian. She  often  needed  someone  with  her 
at  the  studios.  And  she  felt  it  would  be 
less  expensive  to  have  Lillian  than  one  of 
the  very  high  and  mighty  servants  to  be 
secured  thru  the  city  agencies.  She  knew 
that  Lillian  would  help  her  dress  between 
scenes  and  look  after  the  apartment  also. 
Lillian  would  cook  their  meals  and  be 
careful  about  the  food  bills. 

Harvey  had  been  frankly  dubious  about 
the  advisability  of  bringing  in  a  darky 
from  the  country,  but  had  finally  agreed 
to  Judith's  plan. 

When  she  had  done  all  this,  Judith 
had  decided  that  both  her  hair  and  nails 
needed  attention.  She  had  telephoned  the 
hair-dresser  and  secured  a  four-oclock 
appointment. 

However,  she  did  not  worry  about  her 
late  entrance.  She  knew  that  Harvey 
would  rather  approve.     It  was  dramatic. 

She  had  dressed  with  care.  One  of 
the  new  gowns  she  had  designed  was  of 
white  crepe,  heavily  embroidered  with 
white  silk  flowers.  It  was  severely  simple, 
with  long,  tight  sleeves  and  a  V-neck. 
Judith  wore  a  sapphire-blue  felt  hat.  And 
at  her  neck  she  fastened  a  brooch  of  lapis 
lazuli.  Her  blue  slippers  were  of  the 
same  intense  color. 

Dolores'  apartment  was  in  one  of  the 
remodeled  houses.  Half  a  century  ago  one 
family  had  lived  in  the  rooms  of  the  four 
stories.  But  now  every  floor  had  been 
renovated  to  serve  a  family.  And  the 
rent  of  each  apartment   was  great. 

A   trim  maid  admitted  Judith. 

Despite  the  late  summer  day  outside, 
the    curtains    of    wine    satin    were    drawn 


Advertising  Section 


WTO/SFP 


across  the  windows.  And  the  room  .was 
lit  only  by  the  tall  white  tapers  in  several 
gleaming   candelabra. 

Bowls  of  deep  red  roses  and  heavy 
lilies  stood  about. 

And  Dolores  was  pouring  from  a  low 
coffee  table  that  was  drawn  up  to  the 
lounge  on  which  she  lounged,  rather  than 
sat. 

Judith  thought  she  was  quite  lovely  to 
look  at.  She  had  brushed  her  hair  loosely 
from  its  center  part  and  coiled  it  about 
her  ears.  And  her  tea-gown  was  of  batik 
in  which  many  colors  swirled  in  a  fan- 
tastic pattern. 

She  greeted  Judith  informally. 

"Judith,  my  dear,"  she  said,  "do  come 
and  sit  down  beside  me.  You  look  as 
young  as  Charley's  daughter  who  is  away 
at   school." 

Judith  felt  this  might  be  a  compliment, 
but  she  was  slightly  disconcerted  by  it. 
She  had  rather  hoped  that  she  looked 
more  than  her  years.  She  wished  to  be 
considered  sophisticated  and  interesting 
rather  than  naive  and  youthful. 

The  room  was  filled.  Groups  of  men 
and  women  stood  about,  talking  and 
laughing.  Shortly  after  Judith's  arrival 
they  wandered  over,  on  one  pretext  or 
another  .  .  .  for  fresh  tea  or  a  cocktail 
or  a  petit  four  or  a  bonbon. 

"I  have  been  telling  them  about  you," 
Dolores  admitted,  between  introductions. 
"They  rather  forced  me  to.  I  said  that 
I  had  met  you  last  night.  That  started  it. 
The  public  is  no  more  interested  in  us 
than  the  magazine  and  newspaper  people. 

"But  you,  Judith,  cause  an  unusual  sta- 
in this  group." 

Judith  hoped  she  was  not  disillusioning 
anyone  if  what  Dolores  said  was  true. 

"Where  is  Mr.  Martin?"  she  asked 
finally,  when  it  became  evident  that  no 
host  was  to  appear. 

"Charley?"  Dolores  raised  her  eye- 
brows. "You  did  not  expect  to  find  him 
about,  did  you?  He  loathes  parties,  my 
dear.  Loathes  them.  And  he  would  be 
most  out  of  place  here." 

Looking  across  the  room,  Judith  quite 
credited  this.  And  she  remembered  what 
Harvey  had  said  about  Dolores  and  Char- 
ley being  impecunious.  She  wondered  how 
they  managed  this  expensive  sort  of  thing. 

There  we're  hot-house  flowers  every- 
where. All  sorts  of  drinks,  too.  The 
men  mixed  themselves  cocktails  and  high- 
balls with  a  free  hand. 

Helehe  Astair  dropped  in  for  a  few  min- 
utes. She  and  Dolores  had  once  shared 
the  same  dressing-room.  Helene's  rise  had 
been  slower  than  Dolores'.  She  had  just 
about  reached  her  crest  and  had  recently 
signed  a   contract   with    Excelsior. 

Judith  thought  her  a  beautiful  creature. 
Her  gown  was  of  a  fragile  flowered  chif- 
fon. Her  slippers  were  adorned  with 
sparkling  buckles  of  a  rare  design.  Her 
large  black  lace  hat  was  evidently  an  im- 
port. Her  bag  was  of  gold  mesh  with  an 
emerald  clasp.  She  wore  several  jeweled 
bracelets.  A  tear-shaped  solitaire.  And 
about  her  neck  was  a  string  of  pink  pearls 
with  a  diamond  clasp. 

Down-stairs,  a  Pierce-Arrow  cabriolet 
with  a  uniformed  chauffeur  awaited  her. 
She  had  driven  in  from  her  summer  place 
at  Great   Neck. 

"Monte  Winthrop  came  down  over  the 
week-end,"  she  told  Dolores.  "Have  you 
seen  his  new  yacht?  It  is  gorgeous.  He 
sailed  down." 

She  was  vivacious,  and  Dolores  appeared 
almost  wistful  beside  her. 

"Aha,"  whispered  a  girl  who  was  a 
critic  on  one  of  the  newspapers.  "Monte 
Winthrop  again!  I'll  bet  they  do  marry 
when  he  gets  his  divorce.  I  dont  blame 
him.     His  wife  is  such  a  frump.     She  does 


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not  even  try  to  make  herself  attractive. 
And  when  you  stop  to  think  that  practi- 
cally every  woman  in  the  land  is  mad  over 
him — well,  you  cant  blame  the  handsome 
devil  for  feeling  that  the  Little  Woman 
is  a  total  loss.     She  is." 

Judith  was  thinking  of  what  Harvey 
had  said  the  night  before  about  motion  pic- 
ture people  being  tragic  because  they 
achieved  the  crest  so  young  and,  after  a 
decade  of  fame  at  the  most,  spent  the 
remainder  of  their  lives  as  less  than  they 
had  been.  She  thought  there  was  another 
side  to  this  story. 

Robert  Landis,  a  feature  writer  of  note, 
was  standing  with  her. 

She  mentioned  something  of  this  to  him. 

"There  is  something  thrilling  about  it 
all,"  she  said.  "Motion  picture  people  are 
able  to  have  beautiful  clothes  and  homes 
and  motors  while  they  are  still  young. 
Things  must  lose  their  savor  when  en- 
thusiasm fades  to  the  calm  acceptance  of 
age. 

"Yet  most  people  must  give  their  youth 
to  hard  work  and  a  rigid  economy  in 
order  that  their  old  age  may  know  a 
security." 

Robert    Landis    was    interested. 

"You  mention  the  tragedy  of  civiliza- 
tion," he  said,  with  feeling.  "I  would  like 
to  use  that  idea  for  my  next  feature  story. 
Do  you  mind?  I'll  mention  you  in  it,  of 
course." 

"It  is  tragic,  as  you  say,"  said  Judith. 
"And,  of  course,  I  shall  be  delighted  to 
be  mentioned  in  your  story." 

She  smiled.  He  was  to  remember  that 
slow,  little  smile. 

"Already,"  she  told  him,  "I  appreciate 
the  value  of  my  name  in  print." 

Miss  Chambers,  the  girl  who  had  ex- 
pressed herself  so  freely  on  the  Astair- 
Winthrop  matter,  rejoined  them. 

"I  would  like  to  see  you  some  day  next 
week,  Miss  Tower,"  she  said.  "My  maga- 
zine has  assigned  me  to  write  a  story 
about  you." 

Judith  thought,  "I  must  remember  this 
moment.  It  marks  a  mile-stone  in  my 
career.  I  am  to  be  interviewed.  Harvey 
will  be  delighted." 

"What  time  will  be  best  for  you  ?"  she 
asked  graciously.  "I  will  be  at  the  stu- 
dios every  day  next  week.  And  it  is 
difficult  to  talk  there.  Perhaps  you  could 
come  to  my  apartment  for  tea?" 

She  was  glad  they  would  be  in  the 
apartment   for  this   event. 

"That  will  be  fine,"  said  Miss  Cham- 
bers.    "Is  Thursday  all  right?" 

It  was  arranged. 

Guests  had  started  to  leave.  Helene 
Astair  had  offered  to  drop  four  or  five. 
Others  were  now  saying  good-bye  to  Do- 
lores. But  Robert  Landis  gave  Judith  no 
opportunity  to  break  away.  He  seemed 
quite  fascinated  with  her. 

She  liked  him,  too.  That  is,  she  liked 
him  as  much  as  she  could  like  anyone. 
She  was  completely  absorbed  in  Harvey. 
But  this  Robert  Landis  was  a  nice  person. 
Rather  quiet.  And  more  charming  for  the 
fact  that  he  was  totally  without  any 
superficial   charm. 

He  had  an  out-of-door  look  about  him. 
Tan  skin.  Startling  blue  eyes.  And  teeth 
that  flashed  when  lie  smiled. 

"I  must  go,"  said  Judith.  She  some- 
how sensed  the  fact  that  Dolores  wished 
them  to  leave.  The  maid  had  been  ordered 
to  carry  away  the  tea  things.  And  the 
last   group   had   gone   down-stairs. 

"I'll  go  along,"  said  Mr.   Landis. 

Together  they  said  good-bye  to  Dolores. 
Judith  thought  she  seemed  less  cordial  and 
a  little  resentful. 

"Did  they  all  make  appointments  to  in- 
terview you?"  she  asked,  in  a  curious  tone 


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of  voice  which  Judith  could  not  quite 
fathom 

"One  did,"  she  said. 

Robert  Landis  evidently  sensed  Dolores' 
resentment,  too 

"Shame  on  you,"  he  mocked  Judith  as 
they  went  down-stairs.  "Dolores  gave 
this  tea  so  she  might  get  some  publicity, 
and  you  corner  all  the  writers  and  quite 
charm  them." 

"But  .  .  but  I  really  ..."  Judith 
paused.  The  stair  landing  was  dark.  And 
a  figure  was  coming  toward  them.  She 
recognized  Charley  Martin  as  he  stepped 
aside,  farther  into  the  shadows,  allowing 
them  to   pass. 

She  spoke  to  him.  And  he  smiled  his 
quick,    frightened   smile. 

He  did  not  seem  quite  sure  what  to  do 
about  the  bottle  of  milk  and  the  large 
coffee  ring  he  carried.  Their  wrappings 
hardly  disguised  them. 

'  When  Judith  looked  at  Mr.  Landis,  he 
was  smiling.  And  his  amusement  was 
ironic,   yet   tinged   with   pity. 

"Just  in  case  there  weren't  any  Sherry 
sandwiches  or  petits  fours  left  over  for 
dinner,"  he  said.     "So  it  goes !" 

Judith  was  silent.  She  thought  this 
should  be  a  lesson  not  easily  forgotten. 

"Poor  old  thing,"  said  Mr.  Landis.  "She 
really  hates  you.  I  saw  it  in  her  eyes. 
My  God,  how  she  envies  you  the  next  few 
years!     Who  could  blame  her?" 

He  put  Judith  into  a  cab. 

"Perhaps  you  will  let  me  come  to  tea 
some   afternoon?"   he   asked. 

Judith  felt  a  personal  challenge  in  his 
tone.  She  wondered  if  he  knew  that  she 
was  married.  However,  she  made  no  ref- 
erence to  it  He  must  have  seen  her 
wedding-ring.  And,  anyhow,  Harvey  had 
especially  told  her  not  to  stress  this  phase 
of  her  life. 

Chapter  VII 

It  was  fun  getting  settled  in  the  apart- 
ment. Judith  almost  forgot  to  worry 
about  the  rent'  as  she  hung  her  gowns  in 
the  big  closet  and  straightened  things 
about  her  bedroom.  She  was  delighted  to 
have  her  own  home,  where  she  could  fuss 
in  the  kitchen  and  arrange  and  rearrange 
dishes   on  the  shelves  of  the   cabinet. 

For  the  most  part,  she  was  satisfied 
with  the  large  living-room.  Curtains  of 
silver  gauze  hung  over  the  tall  studio 
windows.  And  the  lounge  and  easy  chairs 
were  gay  with  summer  covers.  Open 
book-shelves  flanked  the  fireplace,  screened 
for  the  warm  weather. 

And  the  arrival  of  Lillian  was  her 
father's   answer  to   her   letter. 

Lillian  came  one  morning  before  they 
were  awake. 

And,  answering  her  peremptory  ring 
at  the  door,  Harvey  had  been  shocked  by 
her  generous  proportions.  He  found  her 
jargon  almost  unintelligible.  But  Judith 
was  so  delighted  to  see  her  that  he  curbed 
his  irritation  and  offered  only  amusing 
comments  directed  with  some  good  humor 
at  both   her   size  and   speech. 

They  secured  a  room  for  her  at  the  top 
of  the  building  in  the  servants'  quarters. 
Extra  expense.  But  Judith  did  not  mind 
this.  She  was  surprised  at  the  pleasure 
she  found  in  having  Lillian  about. 

After  all,  she  was  a  familiar  figure  in 
an  unfamiliar  world.  She  reminded  Ju- 
dith of  her  childhood  .  .  .  and  baking 
days  when  she  had  remained  close  to  the 
kitchen  door  in  the  hope  of  an  icing  pan 
to  scrape. 

Of  course,  if  Harvey  had  raised  objec- 
tions, Lillian  would  have  returned  to  West- 
port.  Judith  knew  she  was  an  incongru- 
ous figure  in  their  smart  apartment.  -But 
she  did  not  attempt  to  garb  her  as  a  cor- 
rect maid.     She  shopped  for   "ay  gingham 


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bandanas. 

The  Hugh  Kendrick  company  went  on 
location  the  first  of  the  following  week. 
Cut  since  Judith  was  not  in  this  sequence 
of  the  story,  she  was  given  time  to  shop 
and  sit  for  photographs.  The  publicity 
department  made  appointments  for  her  at 
three  of  the  leading  photographic  studios. 
One  of  these  appointments  fell  on 
Thursday.  However,  Judith  knew  she 
would  be  home  in  time  for  her  interview 
with  Miss  Chambers  and  gave  Lillian 
minute  instructions  about  the  tea  and  sand- 
wiches. She  telephoned  a  caterer  for  the 
cakes  and  bonbons.  It  was  a  reckless 
gesture,  but  it  was  her  first'  interview. 
She  wished  everything  to  be  perfect. 

At  the  photographer's  she  changed  cos- 
tumes and  took  suggested  poses  with  an 
interest  that  amazed  the  man  so  accus- 
tomed to  blase  favorites.  He  had  rented 
innumerable  things  from  a  costumer,  so 
that  there  would  be  a  variety  to  the  sit- 
ting, and  Judith  posed  in  all  of  them.  She 
was  like  a  little  girl  let  loose  in  an  old 
attic  filled  with  trunks  of  old-fashioned 
clothes. 

And  the  day  slipped  into  late  afternoon 
before  either  of  them  was  aware  of  it. 
At  three-thirty  Judith  realized  she  would 
have  to  leave.  She  wished  to  freshen  up  a 
little  before  her  interview. 

The  traffic  on  the  way  up-town  was 
heavy  and  it  was  after  four  when  she  let 
herself  in  with  her  latch-key.  Lillian  had 
evidently  gone  to  her  room  to  dress.  And 
Judith  had  not  expected  Harvey  to  be  at 
home.  She  was  surprised  when  she  heard 
him  moving  about  up-stairs. 

She  called  to  him  happily.  But  there 
.was  no  answer.  Judith  knew  what  this 
meant.  It  had  happened  on  one  or  two 
occasions  before.  She  went  up-stairs.  And 
the  empty  glass  on  the  night  stand  gave 
substance  to  her  beating  fear.  So  did  the 
sight   of   a   flushed   Harvey. 

"Think  you  have  something  on  me,  dont 
you?"  he  demanded  angrily  as  she  came 
into  the  room. 

She  attempted  to  ignore  his  remark  and 
went  over  to  kiss  him,  when  she  would 
have  preferred  to  omit  the  greeting.  She 
knew  how  heavy  his  breath  would  be. 

"Think  you  have  something  on  me,  I 
said !"  Harvey  shoved  her  away  from 
him. 

"Something  on  you?"  Judith's  tone  was 
questioning  and  conciliatory  at  the  same 
time. 

There  was  no  time  to  spare.  Miss 
Chambers  would  be  arriving.  If  she  could 
only  manage  to  sober  Harvey  somehow. 
She  did  not  dare  have  anyone  admitted  to 
the  apartment  while  he  continued  in  this 
ugly  frame  of  mind.  He  was  not  himself. 
She  could  not  trust  him. 

"I've  been  posing  all  day,"  she  said. 
She  had  veered  away  from  his  ugly  moods 
before.  She  would  try  again.  "And  my 
head  aches.  I  think  a  cup  of  coffee  might 
help  it.  Could  I  get  you  a  cup,  too?" 
Harvey  laughed  with  a  diabolical  chuckle. 
"Think  I'm  drunk,  dont  you?"  he  asked. 
"You're  a  sly  one.  But  I  knew  that  before 
you  came  slinking  around  with  excuses 
about  headaches." 

"What  do  you  mean,  Harvey?"  Judith 
decided  to  change  her  tactics. 

"As  if  you  didn't  know!"  he  said.  "God, 
how  can  anyone  be  like  you  and  have  such 
an  innocent   face. 

"I  give  my  entire  life  to  you,  and  what 
do  you  do  in  return — trick  me!  Spy  on 
me !" 

Judith  had  never  seen  Harvey  quite  so 
ugly  as  this  before.  He  seemed  far  beyond 
her  reach.  On  other  occasions  she  had 
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she  said  or  did  appeared  to  register  with 
him  at  all. 

She  felt  sorry  for  him.  She  knew  how 
mortified  and  repentant  he  would  be  later 
when  the  alcohol  fumes  cleared.  And  she 
felt  it  was  bad  for  a  man's  morale  to  know 
such  depths  of  remorse. 

She  thought  Harvey  suffered  more  than 
she  did  when  he  drank  heavily. 

Now  he  rose  from  the  small  slipper 
chair  with  difficulty.  This  further  in- 
censed him.  He  kicked  the  chair  as  if  it 
had  deliberately  and  maliciously  put  him 
at  a  disadvantage  before  her.  And  as  he 
lunged  across  the  room,  Judith  saw  a 
crumpled  piece  of  paper   in  his  hand. 

She  looked  again.  It  was  the  love  note 
Joy  Royce  had  written  him  and  which 
she  had  never  thrown  away. 

Now  the  motivation  of  this  intense  ugli- 
ness was  explained.  In  his  distorted  frame 
of  mind  he  had,  of  course,  misconstrued 
her  possession  of  what  might  well  be  con- 
sidered incriminating  evidence. 

Judith  knew  there  was  nothing  that  she 
could  say.  He  would  hardly  give  her  time 
to  explain.  She  had  a  happy  thought. 
Perhaps  if  she  took  the  note  and  tore  it 
into  bits,  he  would  understand  that  she 
entirely  discountenanced  it.  She  reached 
for  it  impulsively. 

But  Harvey  had  evidently  suspected  just 
this  move.  He  shoved  her  from  him  with 
uncontrolled  and  unsuspected  violence. 
The  edge  of  the  chifforobe  struck  her  head 
and  she  slipped  to  the  floor. 

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four.  What  could  she  do  about  Miss 
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(Continued  from   page   55) 


uncomfortable.  That  is  a  tribute  to  our 
guests.  Everyone  was  so  busy  talking  .  .  . 
about  everything. 

For  one  thing  we  talked  about  "Variety," 
the  German  film  we  mentioned  in  this 
column  last  month.  Sooner  or  later  we 
were  bound  to.  It  is  a  conversational  feast 
in  motion  picture  circles. 

There  was  a  difference  of  opinion  about 
Boss  hhiller  when  he  caught  Artinelli, 
even  tho  he  would  have  liked  to  drop  him 
from  that  high  trapeze. 

We   argued  .  .  . 

Did  he  catch  him  because  that  was  his 
job  and  he  must  do  it  well  ...  or  did  he 
catch  him  because  he  was  the  exhibitionist 
and  he  could  not  bear  to  appear  to  fumble 
with  the  audience  watching  him? 

We  plunged  into  a  psychological  dis- 
course. And  what  other  motion  picture 
would  induce  this? 

Groaning  over  some  recent  films  we  had 
seen,  we  wondered  why  the  Germans 
seemed  more  able  to  achieve  interesting 
results  than  we  do. 

"We  have  never  quite  forgotten  that 
they  are  motion  pictures,"  Hugo  said 
quietly.  "Pictures  that  would  move.  At 
first,  in  the  very  beginning,  we  showed 
waterfalls,  race-horses  ...  a  man  walk- 
ing or  running  .  .  .  always  moving  things. 
Then  we  discovered  that  we  could  show 
crowds  of  people  in  motion.  We  have 
been  doing  this  ever  since,  only  on  a  more 
elaborate  plane. 

"Always  we  have  concentrated  upon 
showing  motion.  We  have  overlooked 
emotion.  The  Germans  have  not  done 
this." 

It  seems  to  us  that  Mr.  Ballin  has 
stated  the  case. 

"A  re  they  really  a  motion  picture  actress 
and  a  motion  picture  director?"  our 
maid  asked  the  morning  after  the  Ballins 
had  been  to  dinner. 

We  assured  Anna  that  they  were. 

"They  dont  act  like  it,"  she  said  with  a 
Finnish  finality.  "They  were  just  like  the 
other  people  we  have  to  dinner  .  .  .  nicer 
than    lots." 

We  said  nothing.  We  have  always  be- 
lieved in  every  individual's  right  to  speak 
the  truth. 

Gladys  Hall  and  we  played  a  most 
amusing  game  the  other  day.  We  were 
supposed  to  be  working  on  a  scenario  that 
we  are  doing  for  First  National.  But  you 
know  how  it  is.  You  can  always  think 
of  the  most  preposterous  things  to  do  if 
they  will  keep  you  from  the  work  at  hand. 

"If  you  could   look  like  anyone  on  the 


screen,  whom  would  you  look  like?"  we 
asked  her. 

G.  H.  did  not  pause.  She  appeared  to 
be  quite  at  home  in  the  playing  of  this 
nonsensical  game. 

"Alice  Joyce,"  she  said,  "Alice  Joyce,  by 
all  means." 

"Who  else?"   we  persisted. 

"Petrova  or  Nazimova  .  .  .  Nazimova 
only  under  the  consideration  that  I  could 
look  like  her  and  go  in  for  a  different 
style  .  .  .  you    know    what    I    mean. 

"Who  would  you  look  like?" 

"Corinne  Griffith,"  we  said,  "Or  Alice 
Joyce.  Or  Florence  Vidor.  Any  one  of 
those  three  would  do  beautifully." 

That  evening  others  dropped  in.  Thyra 
Samter  Winslow,  the  novelist,  chose 
Lillian  Gish. 

"Especially  the  way  Lillian  looked  about 
four  years  ago  in  'Broken  Blossoms,' " 
Thyra  said. 

Henrietta  Sterrett,  a  fashion  artist,  and 
a  Mrs.  Collins,  whose  husband  is  a 
professor  of  something-or-other,  chose 
Corinne  Griffith. 

Someone  else  selected  Pola  Negri. 

"Um-m,  because  she  has  a  way  with  the 
men!"   we  exclaimed,  cattily. 

"But  has  she?"  demanded  Thyra  Wffls- 
low.  "Or  is  she  more  the  type  that 
women  think  men  like? 

"Not  having  been  asked  to  give  a  dis- 
course on  the  subject,  I  think  there  are 
two  types  of  women,  the  women  whom 
men  do  fall  for  and  the  women  whom 
women  think  men  will   fall  for." 

A  vote  was  taken  from  the  men,  who 
had  remained  silent  thus  far.  Did  they 
like  Pola  Negri  and  Lya  de  Putti?  The 
men  said  they  did  not  think  these  two 
types   as   attractive  as   others. 

One  of  the  men  then  spoke  up  in  be- 
half of  Claire  Windsor.  We  knew  one  of 
them  would.  She  suggests  the  clinging 
vine.  Pola  and  Lya  might  cling,  but  they 
dont  look  it.  We  think  the  men  are  a 
little  fearful  of  these  two  ladies.  They 
have  read  about   them   in   the   papers. 

But  then  you  cannot  tell  anyway.  They 
might  think  them  the  most  attractive 
women  on  the  screen.  They  were  sur- 
rounded by  wives. 

But,  it  is  a  good  game  if  you  do  not 
play  bridge.  Or  even  if  you  do.  We 
guarantee  it  will  liven  up  the  dullest 
group. 

Try  it! 


Say  It  With   Letters 

(Continued  from  page  90) 


Gilbert  wants  to  be  happily  married  and 
have  children  and  mow  the  front  lawn. 
Hal  Hal  That's  a  rich  one.  If  he 
would  be  happily  married  and  have  chil- 
dren, where  else  could  he  have  picked  a 
more  adorable  wife  than  Leatricc  Joy,  and 
who  on  this  earth  has  a  baby  half  as 
adorable  as  their  daughter?  While  I  be- 
lieve that  John  Gilbert  is  certainly  at  the 
top  of  the  ladder,  when  it  comes  to  being 
a  perfect  motion  picture  actor,  I  do  think 
that  this  soft  stuff  that  is  written  about 
him,  is  fierce.  It  should  certainly  be 
stopped. 

Another  thing    I    cant   stand  is  this  bunk 


Why 


that  is  written  of  Hope  Hampton, 
was  she  given  a  medal  in  Europe — prob- 
ably because  she  decided  to  return  to 
America.  Tn  my  opinion,  she  is  about 
zero  when  it  comes  to  acting.  Surely  there 
is  no  reason  for  her  popularity,  if  one 
would  call  it  this. 

Give  us  more  of  Alice  Joyce,  Ronald 
Colman,  William  Haines,  Lloyd  Hughes, 
and  above  all  John  Barrymore.  Where 
are  Henry  Walthall  and  Guy  Bates  Post? 
Can  Charlie  Chaplin.  He  is  passe.  I 
would  much  prefer  the  low  comedy  of 
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Why  Do  Society  Girls  Fail 
in  the  Movies  ? 

(Continued   from   page   23) 

prove  she  is  a  good  actress,  or  that  she  has 
any  talent.  How  will  she  look  on  the 
screen?  She  seems  to  be  good  to  look  at 
from  all  the  pictures  we've  seen  of  her 
in  the  papers.  On  the  Avenue — riding 
horseback  in  Central  Park.  Leaving  on 
the  big  steamer  de  luxe  for  Paris  to  do  a 
little  shopping,  all  covered  with  orchids. 
Lunching  on  Park  Avenue.  All  dressed 
up  in  a  ten-thousand-dollar  costume  for  a 
fancy-dress  party.  All  dressed  up  in  an- 
other ten-thousand-dollar  costume  for  a 
charity  benefit  to  buy  milk  for  starving 
babies ! 

But  what  has  all  this  to  do  with  her 
going  into  the  movies.  Why  has  she  de- 
cided to  become  a  screen  actress?  Her 
world  and  the  motion  picture  world  are  as 
far  apart  as  the  two  poles.  The  members 
of  her  circle  form  the  smallest  part  of  the 
motion  picture  audience.  She,  personally, 
may  be  secretly  a  violent  movie  fan.  She 
may  thrill  to  Jack  Gilbert's  sideburns  (or 
burnsides?  Which  is  it,  I  never  can  re- 
member). She  may  sigh  ecstatically  over 
Adolphe  Menjou's  wicked  little  mustache. 
She  may  adore  Dick  Barthelmess'  eye- 
lashes— but  in  all  probability,  the  nearest 
she  has  ever  come  to  any  of  these  allure- 
ments, is  from  the  orchestra  of  the  Plaza 
movie  house  over  on  Madison  Avenue,  or 
the  loge  of  the  Capitol  where  she  and  her 
party  sit  while  waiting  for  their  favorite 
night  club  to  open  its  doors. 

However,  a  number  of  New  York's 
most  exclusive  young  women  have  been,  in 
reality,  heroines  of  the  aforementioned 
head-lines.  The  sensation  lasted  the  pro- 
verbial nine  days.  After  that  a  deep,  long 
silence.  What  happened?  Why  were 
they  heard  of  no  more?  What  had  be- 
come of  their  screen  careers? 

Had  they  considered  their  environment 
too  plebeian?  Their  directors  too  coarse? 
Had  they  discovered,  or  been  helped  to 
the  discovery  that  as  actresses  they  would 
make  very  efficient  diving  champions  ?  Had 
they  gone  into  the  movies  in  the  first 
place  just  for  a  lark,  and  having  got 
the  thrill  out  of  it  they  sought,  decided 
to  go  back  to  Palm  Beach  or  Newport  or 
Southampton  where  they  belonged? 

We  all  remember  what  excitement  Julia 
Hoyt  aroused  when  she  shook  the  glitter 
of  New  York  society  from  her  robe  and 
turned  to  the  stage  and  screen  for  work. 
I  am  not  sure,  but  I  think  she  was  the 
first  member  of  the  400  to  make  such  a 
radical  step.  The  beautiful  and  stately 
Mrs.  Lydig  Hoyt  had  decided  that  she  was 
an  actress.  She  got  herself  a  job.  She 
worked,  everyone  gives  her  credit  for  that, 
hard  and  sincerely,  but  it  seems  to  me  that 
rumors  of  her  taking  advantage  of  the 
social  position  she  occupied  interfered  seri- 
ously with  her  stage  and  screen  success. 
She  looked  lovely  on  the  silversheet. 
Tall,  stately,  wearing  her  clothes  almost 
as  perfectly  as  a  Follies  show  girl  (and 
by  this  we  mean  no  disparagement  to  Miss 
Hoyt),  she  had  all  the  outward  appear- 
ance of  what  a  star  should  be.  But  the 
same  fatal  mistake  they  all  made  seemed 
to  have  ended  Miss  Hoyt's  career.  She 
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Neither  could  Margaret  Morgan  Bel- 
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She  worked  with  Mr.  Griffith  in  a  picture. 
Once  evidently  was  enough,  for  she  hasn't 
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every  morning  in  her  Rolls-Royce  car 
for  a  while  and  worked  as  an  extra,  wear- 
ing her  own  (of  course)  perfectly  lovely 
clothes,  but  mingling  with  the  hoi  polloi, 
and  never  having  any  more  to  do  than 
the  hundreds  of  other  five-dollar  girls  on 
the  set.  She  hasn't  been  back  for  some 
time  now. 

Then  there  was  a  real  live  princess  who 
tried  to  become  a  screen  star.  The  Prin- 
cess de  Bourbon,  beautiful,  regal,  and 
willing  to  work.  She  played  bits  out  in 
Hollywood  for  a  short  time.  She  worked 
as  an  extra.  She  appeared  in  a  few 
scenes  and  then  has  apparently  vanished. 
Of  them  all,  ironically  enough,  the  Prin- 
cess de  Bourbon  went  into  the  movies  to 
earn  some  money.  She  had  to  make 
money,  and  tried  to  eke  out  a  living  by 
going  the  rounds  of  the  studios  in  Holly- 
wood. 

The  lovely  Thelma  Morgan  (Mrs. 
Thelma  Morgan  Converse,  now  the  wife 
of  Lord  Furniss,  England's  most  eligible 
bachelor),  worked  for  some  time  with  the 
Famous  Players -Lasky  Company.  She 
was  determined  to  become  a  screen  star. 
Certainly  she  had  enough  publicity  to 
make  her  one  if  that  were  the  only  re- 
quirement. Every  magazine  carried  the 
latest  photograph  of  this  beautiful  twin, 
the  other  one  having  married  Reginald 
Vanderbilt.  Every  newspaper  carried  a 
story  of  her  entrance  into  the  movie 
world.  Every  rotogravure  section  fea- 
tured her  picture.  She  became  almost  as 
familiar  to  the  general  public  as  Gloria 
Swanson.  But  when  after  a  number  of 
seven -o'clock -in -the -morning  arrivals  at 
the  Long  Island  studio,  she  was  seen  no 
more,  no  one  was  the  least  surprised.  She 
had  sailed  off  to  Europe  to  become  a  titled 
lady. 

Perhaps  her  determination  was  a  bit 
lacking  in  sincerity.  She  had  quite  a  part 
in  Gloria  Swanson's  "Society  Scandal," 
and  if  she  had  gone  on  with  her  work, 
there  is  no  telling  but  what  she  might 
have  become  a  success. 

There  was  only  one  in  the  entire  group 
who  seemed  to  possess  the  necessary  qual- 
ifications for  screen  success.  When  the 
beautiful  Alice  Harriman  died  in  Paris 
recently,  she  had  forged  ahead  of  all  her 
sisters  in  society  as  a  screen  actress. 
She  seemed  to  know  that,  as  in  all  suc- 
cessful artistry,  film  work  required  an 
infinite  capacity  for  taking  pains  with 
one's  work.  She  arrived  every  morning 
at  the  studio  by  seven.  She  appeared 
made  up  on  the  set  at  the  stated  hour  and 
minute.  She  worked  hard  as  an  extra, 
then  in  little  bits.  Her  first  tiny  part 
being  with  Dick  Barthelmess  in  "Class- 
mates," but  even  this  was  cut  out  when  it 
was  discovered  that  the  picture  was  too 
long. 

She  came  under  the  personal  direction 
of  D.  W.  Griffith  and  was  to  have  had  the 
role  now  acted  by  Lya  de  Putti  in  "Sor- 
rows of  Satan."  Mr.  Griffith  considered 
that  Miss  Harriman  had  genuine  screen 
talent,  and  that  she  undoubtedly  could  be 
developed  into  a  star.  After  finishing  her 
work  with  Mr.  Griffith,  she  left  for  Eu- 
rope to  work  in  a  picture,  and  died  from 
an  infection  on  her  face. 

But  none  of  the  others,  and  their  num- 
ber is  far  more  than  those  mentioned  in 
this  article,  has  been  anything  more  than 
a  passing  breeze  thru  the  studio  world. 
Being  society  girls  could  not  get  them 
anything  more  than  an  entree.  They  all 
had  to  start  as  extras.  When  after  the 
first  thrill  of  seeing  behind  the  scenes  had 
vanished,  and  the  hard  work  of  arriving 
at  the  studio  at  an  hitherto  unheard-of 
hour,  and  the ,  sitting  around  waiting  for 
shots  to  be  taken,  and  the  long,  long  day 


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had  to  be  undergone,  it  isn't  at  all  strange 
that  they  couldn't  see  the  point  of  going 
on. 

Kleig  lights  are  hot  on  a  hot  day.  Why 
should  any  girl  suffer  their  discomfit  un- 
less she  had  to?  Why  should  she  be  in 
a  sultry,  stuffy  studio  when  she  might  be 
out  on  Long  Island  Sound  in  her  new 
speed-boat?  Why  should  any  girl  work 
long  hours  every  day  when  she  could  be 
dancing,  or  golfing,  or  yachting,  or  tour- 
ing Europe? 

The  society  girl  has  failed  in  the  movies 
for  the  simple  reason  that  she  hasn't  the 
necessary  incentive  to  make  good.  Just  as 
in  all  other  careers,  the  love  of  the  work 
itself  has  to  be  the  driving  force  for  cre- 
ation— and  necessity  has  to  be  the  primary 
incentive.  I  doubt  whether  the  average 
debutante,  brought  up  in  the  lap  of  luxury, 
cultured  and  intelligent  as  the  best  of  her 
set  might  be,  could  stick  to  any  form  of 
work  long  enough  to  make  good  at  it. 
That  is,  unless  she  had  suddenly  become 
poor  and  dependent  oh  her  own  resources 
for  a  living. 

If  this  happened  to  her,  there's  no  rea- 
son on  earth  why,  with  hard  work,  with 
patience,  with  study  and  willingness,  there 
shouldn't  be  a  Mary  Pickford  or  Gloria 
Swanson  from  the  gold-barred  set  of 
America's  400. 

Most  of  them  went  into  the  game  as  a 
sort  of  lark,  as  we  have  said  before. 
Bored  with  the  monotonous  round  of 
pleasure ;  ever  seeking  a  new  sensation,  a 
new  thrill,  they  turned  to  the  movies  for 
relief.  One  or  two  may  have  been  gen- 
uinely interested  and  tired  of  the  life  they 
led.  But  the  strange  environment,  the 
hard  labor,   soon  discouraged  them. 

It  takes  more  than  caprice  to  make  a 
success  on  the  screen.  A  girl  has  to  be 
strong,  as  intelligent  as  a  man  of  affairs, 
willing,  and  talented,  to  get  anywhere.  She 
must  be  on  the  alert  every  moment.  In 
the  long  waiting  hours  spent  on  the  set, 
how  many  of  these  society  girls  took  ad- 
vantage of  their  time  to  watch  the  make- 
up of  those  around  them,  to  get  into  the 
atmosphere  of  the  work  and  the  place,  to 
study  the  desires  and  instructions  of  the 
director,  to  keep  their  eyes  fastened  on 
every  movement  of  the  players  and  learn 
from  them  how  to  register  joy,  and  sor- 
row, and  pleasure  and  pain? 

How  many  of  them  rehearsed  at  home 
and  worked  over  their  gleanings  of  knowl- 
edge that  they  had  accfuired  during  the 
day?  How  many  of  them  appeared 
anxious  to  take  advantage  of  every  single 
opportunity   for  improvement? 

Few,  if  any.  That  is  why  they  have 
failed.  Not  any  wanted  to  go  back  to 
school  and  start  in  at  the  beginning  to 
get  their  scholarship.  The  work  was  too 
hard.  The  hours  too  long.  Life  is  too 
short,  and  why  not,  if  you  have  been 
placed  by  Destiny  in  a  position  to  get 
everything  possible  out  of  it  witfi  the 
smallest  expenditure  of  energy,  why  not, 
we  say,  enjoy  it  instead  of  following  the 
chimera  of  Fame? 


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light  and  shade  .  .  .  otherwise  there 
could  be  no  happiness.  It  is  a 
matter  of  contrast.  But  most  of  the 
time,  are  you  happy? 

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News  of  the  Camera  Coasts 

(Continued  from  page  68) 

olive  bottle.  It  all  happened  ever  the 
social  status  of  Mae  Murray, 

When  the  royal  couple  were  seated, 
there  was  a  vacant  seat  to  the  left  of  the 
Crown  Prince.  It  remained  unoccupied 
for  several  minutes.  Then  Greta  Garbo 
was  placed  beside  his  highness. 

There  had  been  considerable  competi- 
tion among  the  feminine  stars  as  to  who 
was  to  sit  next  to  the  son  of  the  Swedish 
King.  According  to  Mae  Murray,  it  was 
she  and  not  Greta  Garbo  who  was  to  have 
the  honor. 

"That  was  the  case  as  I  understood  it," 
said  Mae.  "But  naturally  they  had  to 
fill  in  when  I  could  not  get  there  on  time. 
I  had  to  discharge  my  chauffeur  and  so 
had  no  one  to  get  me  to  the  studio.  They 
finally  had  to  send  a  car  for  me.  I"  hear 
that  they  were  trying  everywhere  to  get 
me  by  phone." 

Miss  Murray's  husband,  Prince  David 
Divani,  of  Georgia,  was  not  among  the 
guests. 

The  Prince  might  have  been  busy  at  his 
new  job,  which  would  account  for  his 
absence.  He  is  now  a  leading  man  for 
Mack  Sennett,  and  will  appear  in  a  two- 
reel  comedy  entitled,  "The  Ginsburg  and 
Murphy  Film  De  Luxe."  I  haven't  the 
slightest  idea  as  to  whether  the  Prince  is 
to  play  Murphy  or  Ginsburg.  The  Prince's 
screen  name  will  be  David  Manor,  which 
translated  means  David's  house  or  the 
house  of  David. 

It's    caviar    month    in    Hollywood.      The 

Russians  are  descending  upon  us.  A 
troop  of  Cossacks  is  due  to  arrive  any 
moment  to  lend  its  presence  to  "The  Cos- 
sacks," which  is  scheduled  as  a  starring 
picture   for  John  Gilbert. 

Viachetslav  Tourjanski  and  Nathalie 
Kovanko,  respectively  husband  and  wife 
and  director  and  star,  arrived  with  new 
contracts.  They  were  discovered  by 
Harry  Rapf,  who  viewed  one  of  their 
films  while  he  was  in  Europe. 

These  Russians  will  have  to  change 
their  names.  No  theater  owner  will  be 
able  to  get  Viachetslav  Tourjanski  in 
lights  above  his  lobby,  and  if  he  does  his 
overhead  on  the  electric  bill  will  jump 
about  seven  kilowatt  hours.  The  names 
will  probably  be  cut  to  Vi  Janski  and 
Nattie  Vanko. 

Nathalie  is  a  blonde  of  an  unusual  type 
and  is  said  to  be  related  to  the  old  Rus- 
sian nobility.  We  seem  to  get  nothing  but 
nobility  in  the  way  of  foreign  film  artists. 
It  would  be  a  pleasure  if  some  great 
artist  would  be  different  and  emerge  from 
the  ranks  of  the  peasantry. 

Of  all  the  nobles  who  have  come  to 
Hollywood,  not  one  of  the  blood  has  made 
any  remarkable  success.  Many  stars 
have  married  titles,  but  I  dont  know  of 
any  titled  persons  who  have  succeeded  in 
becoming  stars.  Most  of  our  players  are 
from  the  American  peasantry  like  the 
rest  of  us. 

In  a  talk  with  Maurice  Stiller,  who  is 
classed  as  Europe's  greatest  director,  I 
learned  that  nearly  all  the  worthwhile 
directors  and  stars  the  old  countries  have 
produced  have  come  to  America. 

Stiller  is  directing  the  fiery  Pola  Negri 
in  "Hffltel  Imperial,"  and  is  producing  a 
picture  that  savors  of  success.  Pola  says 
she  is  much  pleased  with  her  new  director, 
and  is  working  hard  to  make  a  big  suc- 
cess of  the  story.  In  fact,  Pola's  enthu- 
siasm was  so  great  in  one  particular  scene 
that    she    all    but    cracked    her    skull    and 


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suffered  bruises  and  contusions  of  the 
right  arm  and  shoulder  when  she  fell  on 
the  stairs. 

George  Siegmann,  the  villain  of  the  piece, 
was  supposed  to  accuse  her  of  playing 
false  and  throw  her  back  into  a  chair. 
George  is  a  great  big  feller  and  when  he 
throws  he  puts  all  his  energy  into  his 
work.  Pola  missed  the  chair  and  fell  on 
the  stairs,  but  gamely  continued  with  the 
scene. 

I  have  talked  with  several  of  Pola's 
former  "leading  men  and  they  all  say  that 
she  is  so  insistent  on  realism  when  it 
comes  to  a  scene  that  requires  a  bit  of 
rough  work  that  she  is  willing  to  take  a 
chance  on  the  tensile  strength  of  her 
anatomy. 

J:ack  Holt  was  sitting  in  the  restaurant 
adjoining  the  Lasky  studio,  trying  to 
enjoy  his  lunch,  when  a  member  of  his 
company  came  up  to  him  and  said,  "I 
want  you  to  come  over  and  look  at  the 
wildcat  you  are  going  to   work  with." 

Jack  looked  up  in  amazement,  "A  wild- 
cat !" 

"Yes,  a  wildcat,"  said  the  intruder, 
"dont  you  want  to  see  him?" 

"No,"  replied  Jack,  "I  have  had  enough 
difficulty  talking  with  foreigners  who 
have  come  to  Hollywood,  and  I'll  be 
darned  if  I  want  to  try  and  understand  a 
wildcat !" 

T  have    seen    the    situation    done    on    the 

stage  and  screen,  and  I  have  read  about 
it  in  prose  and  poetry,  but  it  was  not  until 
recently  that  I  encountered  it  in  real  life. 

It  is  the  story  of  the  clown  who  must 
make  his  audiences  laugh  despite  some 
deep  private  sorrow. 

Raymond  Hatton's  mother  died  the  day 
he  was  taking  the  initial  scenes  for  his 
second  comedy,  "We're  in  the  Navy 
Now,"  in  which  he  shares  honors  with 
Wallace  Beery. 

He  went  to  San  Francisco  for  two  days 
to  attend  her  funeral  and  returned  the 
third  day  to  continue  with  his  work  of 
making  the  public  laugh. 

Tf  the  Crown  Prince  of  Sweden  on  his 
recent  visit  to  the  studios  had  seen  An- 
tonio Moreno  in  his  new  red  uniform  of  a 
Northwest  mounted  policeman,  I  venture 
to  say  the  Prince  would  have  rushed  up 
and  shaken  Tony's  hand  thinking  him  a 
brother  Elk.  Tony  looks  like  a  member 
of  one  of  the  imperial  families  in  his  new 
outfit  which  he  is  .wearing  in  "Flaming 
Forests."  Renee  Adoree,  the  flame  of 
France,  is  playing  opposite  the  torrid  Tony 
in  "Flaming  Forests,"  which  makes  this 
picture  one  of  the  warm  variety  for  win- 
ter use.  Tony  may  do  another  outdoor 
picture  after  he  finishes  this  one,  but  he 
swears  that  he  is  going  on  a  vacation,  not 
having  had  one  of  those  things  in  eighteen 
months. 

T  try  to  restrain  these  notes  to  news  con- 
cerning our  own  countrymen,  but  that's 
like  asking  a  reporter  at  Ellis  Island  to 
do  the  same.  Hollywood  is  full  of  film 
immigrants. 

Of  all  the  foreign  talent  imported  dur- 
ing the  past  twelve  months,  there  appear 
but  two  personalities  who  stand  a  good 
chance  of  becoming  popular  American 
stars.  They  are  Arlette  Marchal  and 
Einar   Hanson. 

Mile.  Marchal  has  given  such  evidence 
of  her  ability  that  the  company  that  has 
her  under  contract  renewed  their  option 
on  her  services  long  before  the  required 
time,  and  she  is  to  play  the  leading  role 
opposite  Adolphe  Menjou  in  "An  Angel 
Passes." 

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appeared  with  Corinne  Griffith  in  "Into 
Her  Kingdom,"  and  is  now  playing  the 
leading  role  opposite  Corinne  in  "The 
Lady  In  Ermine."  Miss  Griffith  hails 
him  as   the  find  of  all    foreign  "finds,." 

Before  coming  to  this  country  Hanson 
was  a  popular  favorite  in  the  old  coun- 
tries. He  is  twenty-five  years  old  and 
single,  which  are  good  commercial  assets 
for   a  talented  actor. 

A  great  many  of  our  celluloid  stars 
trooped  out  to  Cecil  De  Mille's  stu- 
dio to  make  tests  for  the  important  role 
of  Mary  Magdalene  in  "The  King  of 
Kings."  Jacqueline  Logan  emerged  the 
victor  in  the  fracas  and  was  awarded  the 
part.  I  know  that  Lila  Lee,  Virginia 
Valli  and  Jetta  Goudal  were  considered 
for  the  part  and  tests  were  made  of  them. 

I  never  heard  of  Mr.  De  Mille  being  in 
a  quandary  before,  but  he  was  when  he 
looked  at  the  batch  of  test  film  he  had 
made  of  many  prominent  actresses  in 
Hollywood.  The  requirements  for  the 
part  are  that  the  actress  must  have  both 
a  physical  and  spiritual  attraction.  De 
Mille  was  in  so  much  of  a  quandary  re- 
garding the  casting1  of  this  role  that  he 
decided  he  would  let  his  brother  producers 
make  the  decision  for  him. 

De  Mille  was  invited  over  to  Jesse  L. 
Lasky's  for  dinner.  Thinking  it  a  great 
opportunity  for  a  surprise-party,  "C.  B." 
arrived  with  several  reels  of  tests  for 
Mary    Magdalene    tucked    under    his    arm. 

Among  the  guests  were  Samuel  Gold- 
wyn,  Jeanie  McPherson,  Bruce  Barton 
and  Sid  Grauman.  The  tests  were  run 
and  the  guests  voted  on  their  choice  for 
the  role.  Jacqueline  Logan  won  the 
majority  of  votes.  The  party  adjourned 
and  De  Mille  made  haste  to  sign  up  the 
attractive   Jackie    for   the   part. 

(""larence  Brown,  the  director,  has  ex- 
""'  perienced  considerable  delay  in  get- 
ling  started  on  John  Gilbert's  next  pic- 
ture, "The  Flesh  and  the  Devil."  Brown 
was  signed  by  the  M.  G.  M.  Company 
after  he  had  turned  out  such  works  as 
"Kiki,"  "The  Eagle"  and  the  "Goose 
Woman."  For  several  weeks  he  has  been 
waiting  to  get  work  started  on  the  Gil- 
bert opus. 

Greta  Garbo  was  supposed  to  play  the 
leading  role  opposite  Gilbert  in  this  pic- 
ture, and  Brown  waited  many  weeks  for 
her  to  complete  her  work  with  Antonio 
Moreno  in  "The  Temptress."  After  she 
made  the  final  scenes  for  that  picture, 
something  happened  and  studio  officials 
decided  not  to  use  her.  I  understand  the 
argument  terminated  when  the  Swedish 
actress  packed  her  luggage  and  left  the 
studio.  Brown  was  facing  the  problem 
of  another  long  delay,  but  decided  to  start 
making   scenes  with   Gilbert  alone. 

Then    Greta   came   back 

Xo   one  will   say   what  happened. 

JWIakiox  Davies  is  making  preparations 
for  her  next  Cosmopolitan  picture, 
"Tillie  the  Toiler,"  which  is  a  story  writ- 
ten around  the  comic-strip  character  of 
that  name. 

There  is  no  doubt  about  Marion  being 
the  champ  of  all  screen  comediennes,  and 
one  of  the  must  witty  individuals  in  the 
picture  colony.  I  have  heard  many  wails 
from  strangers  who  come  to  our  city  and 
the  stars.  They  say  our  stars  are 
great     disappointments     when     viewed     in 

the   flesh   and   the   blood  and    tl geou 

gown,  and  they  are  generally  right.  But 
they  never  wail   about    Marion. 

Friends  of  mine  have  met  Marion  and  I 
have  listened  to  their  ravings  for  hours 
and    have     followed    them    home     for     fear 


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they  might  sit  down  and  pen  a  few  lines 
of  poetry  and  slash  their  wrists  as  young- 
Savage  did  when  Clara  Bow  spurned  him. 
Marion  is  the  most  charming  of  them  all. 

J7arina,  the  black  cloud  of  the  Our 
Gang  comedies,  has  introduced  his  sister 
to  Hal  Roach,  the  producer,  and  Hal 
plans  to  start  her  on  her  career  as  an  ac- 
tress. A  new  name  'was  needed  for  the 
dusky  beauty  and  Farina  suggested  that 
his  sister  be  known  as  "Aroma''  on  the 
screen.  She  is  only  two  and  one-half 
years  old  and  doesn't  smoke,  so  I  am  at  a 
loss  to  account  for  the  name.  I  have  a 
feeling  that  Farina  wished  to  name  her 
"Aloma,"   but   his   tongue   slipped. 

""The  Los  Angeles  papers  published  a  re- 
port  that  a  nude  woman-  was  running 
around  Hollywood  with  a  gun  in  each 
hand  murmuring  something  about  killing 
her  unfaithful  boy  friend. 

That  was  two  weeks  ago.  Nothing- 
more  has  been  heard  of  her,  so  I  guess 
she  got  her  part. 

T  have  just  overheard  a  typical  little 
Hollywood  remark  in  the  hotel  room 
next  to  mine.  The  girl  friend  is  talking 
on  the  phone  and  has  let  the  following- 
exclamation  slip  thru  those  innocent  ruby 
lips  I  saw  in  the  lobby  only  an  hour  ago : 
"My  Gawd !  You  say  they  wont  let 
him  outta  San  Quentin  unless  he  goes  to 
work?  What's  he  going  to  do?"  Fol- 
lowed by  loud  squalls  on  the  ingenue's 
part. 

So  you  see  I  must  close  my  report  and 
go  in  and  comfort  the  little,  lady  with  the 
gallant  offer  of  letting  her  incarcerated 
boy  friend  take  my  job  of  writing  movie 
news  each  month.  I'd  rather  be  in  San 
Quentin.     It's  easier. 

A  dolphe  Menjou  is  winning  a  place  for 
himself  among  the  most  canny  "dis- 
coverers" in  the  film  industry.  Adolphe 
is  very  generous  about  giving  unknowns 
a  chance,  if  he  personally  has  faith  in 
them,  and  his  "finds"  have  a  way  of  im- 
pressing studio  officials  to  the  extent  of 
getting  contracts.  Adolphe's  latest  is 
Phillip  Sterling,  an  English  actor  who  was 
given  an  important  role  in  "The  Ace  of 
Cads."  He  looked  so  good  to  Paramount 
that  they've  made  him  the  fourth  member 
of  the  quartet  of  principals  in  "The  Popu- 
lar Sin."  This  is  Monta  Bell's  story  of 
divorce,  which  Mai  St.  Clair  is  fashioning 
for  the  screen,  with  the  able  assistance  of 
Florence  Vidor,  Greta  Nissen  and  Clive 
Brook. 

Tots  of  unsuspecting  young  men  are  being- 
pushed  into  the  front  ranks  by  some 
kind  hand  these  days.  Everyone  knows 
how  Richard  Walling  was  snatched  from 
behind  the  cameras  during  the  filming  of 
Fox's  "Marriage  License,"  and  given  the 
part  of  Alma  Rubens'  cherished  son. 
Richard  wasn't  really  planning  on  a 
career  as  an  actor  at  all,  but  now  that 
he's  had  it  thrust  upon  him  he  probably 
wont  reject  it. 

And  John  Boles,  a  college  boy  from 
Texas,  had  no  ambitions  beyond  becoming 
a  successful  stage  star,  when  Gloria  Swan- 
son  caught  sight  of  him  cavorting  in 
"Kitty's  Kisses."  One  of  Gloria's  ambi- 
tions is  to  bring  new  talent  to  the  screen, 
so  she  immediately  had  tests  made  of 
this  promising  boy,  and  signed  him  as 
leading  man  in  her  first  United  Artists 
production. 

And  still  another  opportunity  is  being- 
held  out  to  beginners.  Frank  Borzage  is 
searching      for      perfect      types      to     play 


« 


0T10N  PICTURf 


6  wo  liindd  of  'natuzal ' 

color-  look  natural  in  both 

dunlicjht  and  artificial 

light — luature  d  and 

Oangee — and  no  one 

id  ever  dure  tow  nick  a 

fOatural  cJSeauttj 

owed  her  natural 

beauty! 


Tangee  Lipstick,  Si;  Crime  Rouge,  $i; 
Rouge  Compact,  7/r;  Face  Powder  in  Peach- 
bloiv,  Rose,  Cream,  Rachel  and  White,  $i. 

Note:  The  most  recent  development  in  face 
creams  has  been  accredited  to  Tangee  DAY 
and  Tangee  NIGHT.  These  creams  effec- 
tively improve  the  texture  of  the  skin,  and 
give  the  true  basis  for  lovely  color.    Si  each. 


n<^;s 


Dept.   122 

The  George  W.  Luft  Co. 

417  Fifth  Ave.,  New  York 

Please  send  me  the  trial  "Tangee  Beauty  Set,'* 
including  Lipstick,  Creme  Rouge,  Day  Cream, 
Night  Cream,  and  Face  Powder.  I  enclose  20 
cents  to  cover  cost  of  mailing. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


121 
PAG 


I 


Advertising  Section 


You  are  looking  at 
history 


The  hawker  of  yesterday  who  cried  his  wares 
in  the  public  places  is  now  but  vaguely 
remembered  —  swallowed  up  in  yesterday's 
seven  thousand  years. 

Today  the  news  of  goods  for  sale  becomes 
an  indelible  record  of  human  achievement. 

You  may  take,  for  instance,  the  history  of 
transportation  in  America  and  read  that  ex- 
traordinary tale  of  progress  in  an  unbroken 
series  of  advertisements  in  the  files  of  news- 
papers and  periodicals — advertisements  that 
inform  us  of  each  progressive  step  from  the 
sailings  of  sloops  out  of  Boston  for  Philadel- 
phia in  the  days  of  Franklin,  to  the  flight  of 
the  Air  Mail  from  Mitchell  Field  to  San 
Francisco  in  our  own  day. 

You  may  read  the  startling  story  of  the  rev- 
olution in  household  economy  and  the  emanci- 
pation of  the  American  wife  and  home-builder 
in  the  advertisements  of  the  last  twenty-five 
years. 

But  in  today's  publications  you  find  an  even 
more  amazing  record — the  advertisements  of 
radio  outfits,  automobile  equipment,  electrical 
appliances,  foodstuffs,  clothing,  medicines — 
things  which  have  raised  our  civilization  to  a 
plane  higher  than  the  world  has  ever  known. 
Do  you  quite  realize  that  in  these  advertise- 
ments you  are  examining  a  contemporary 
contribution  to  the  recorded  history  of 
civilization? 

IS 

It  takes  more  than  money  to  advertise. 
It  takes  honesty 


Chico  and  Diane  in  his  production  of 
"Seventh  Heaven."  And  he  doesn't  care 
whether  they've  ever  been  heard  of  before, 
if  they  can  just  fulfil  the  other  require- 
ments. Just  what  those  are,  Mr.  Borzage 
doesn't  specify. 

(~V  course,  everyone  knows  that  screen 
stars  run  all  sorts  of  risks  of  being 
attacked  and  bitten  when  they  play  with 
wild  animals.  That's  not  news.  But  if  a 
screen  star  bites  a  lion — that's  not  news, 
either,  according  to  Douglas  MacLean's 
producing  company.  In  fact,  they  have 
taken  steps  to  insure  the  wild  beasts 
against  rough  treatment  during  the  film- 
ing of  "Ladies  First/'  MacLean's  new 
comedy.  You  wouldn't  expect  any  rough 
stuff  to  occur  in  a  picture  with  such  a  re- 
fined title,  but  Charles  Gay,  who  owns  the 
animals,  looked  over  the  script  and  de- 
cided his  pets  were  in  danger  of  being 
injured  during  the  lion  hunt  which  is  the 
climax  of  the  picture,  so  he  took  out  an 
insurance  policy  covering  three  full-grown 
lions,  one  lioness,  and  two  cubs. 

W^hen  Theodore  Dreiser  mentioned 
Erich  von  Stroheim  as  the  ideal  man 
to  direct  "An  American  Tragedy,"  it 
started  an  idea  germinating  in  the  minds 
of  Paramount  officials.  Von  Stroheim, 
the  perfect  delineator  of  American  life 
as  it  is  really  lived!  "Mr.  von  Stroheim 
has  long  awaited  an  opportunity  of  mak- 
ing a  production  of  typical  and  essential 
American  nature,"  quoth  Mr.  Lasky.  And 
thereupon  assigned  him  to  direct  "Glori- 
fying the  American  Girl."  Mr.  von  Stro- 
heim has  moreover  been  cast  in  the  "out- 
standing male  role."  And  ever  mindful 
of  the  fitness  of  things,  Paramount  has 
arranged  for  the  picture  to  be  made  in 
New  York,  home  of  the  Ziegfeld  Follies, 
with  Gilda  Gray  as  the  American  girl. 
Mr.  von  Stroheim  will  prepare  for  his 
great  opportunity  by  taking  a  six  weeks' 
course  in  Broadway's  night  life,  right  on 
the  ground,  as  soon  as  he  arrives  from 
Hollywood. 

The  film  colony  seems  to  be  going  in 
heavily  for  religion — at  least  as  an  aid 
to  interior  decoration.  Gardner  James  has 
a  house  with  an  altar  as  the  chief  piece 
of  furniture.  Herbert  Howe,  the  wit  of 
Iiollywood,  built  himself  a  house  with 
holy  relics  enshrined  in  every  available 
corner.  His  conscience  couldn't  stand  the 
strain  of  looking  a  madonna  in  the  eye 
every  time  he  turned  around,  and  it  got 
so  bad  that  he  had  to  move  out.  But 
Alice  Terry,  who  has  no  nerves  at  all, 
moved  in  and  has  been  living  very  placidly 
among  the  saints.  And  now  Marion 
Davies  is  building  herself  a  dressing-room 
bungalow  on  the  Metro  lot  with  a.  stained- 
glass  window. 

(*  ktting  into  the  Fox  East  Coast  Studio 
is  like  being  presented  at  court.  Of 
course,  you  dont  have  to  wear  an  ostrich 
leather,  but  practically  all  the  other  cere- 
monies are  observed.  I  put  in  my  applica- 
tion a  few  weeks  in  advance  and  finally 
received  a  pass  with  the  royal  seal  affixed. 
Once  within  the  sacred  portals,  I  took  a 
look  around  and  felt  my  healthy  ego  re- 
turning. It  is  much  like  any  other  studio, 
only  Allan  Dwan  was  making  "Summer 
Bachelors,"  his  first  picture  for  Fox.  The 
bobbed  and  blondined  Madge  Bellamy  was 
the  center  of  a  cabaret  scene  which  in- 
cluded hundreds  of  extras,  all  self-con- 
scious and  posing  in  their  best  attitudes  in 
the  hope  of  being  noticed.  Matt  Moore 
was  somewhere  in  the  crowd,  looking 
rather    sulky    because  he    had     to    dance, 


122 


Dv.ry  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Fanning  Through 
the  New  Pictures 


PAULINE  FREDERICK 

IN 

"DEVIL'S  ISLAND" 


IF  you  like  romance,  if  you  enjoy  a 
charming,  sweet  love  story  that  is 
tinged  with  sadness,  if  you  want  to  see 
a  tense,  stirring  story  of  strange  loves 
in  a  strange  land,  you  will  certainly 
enthuse  over  Pauline  Frederick's  new 
Chadwick  picture,   "Devil's    Island." 

LEAH  BAIRD  has  written  a  most  un- 
usual story  of  the  loves  and  hates 
of  the  life  prisoners  on  Devil's  Island, 
the  prison  home  of  Captain  Dreyfus. 
The  alluring  beauty  of  the  tropics  is 
the  charming  background  of  this  drama 
of    the    "island    of    lost    men." 

MOTHER  love  is  reflected  in  a  new 
light  in  "Devil's  Island."  Pauline 
Frederick,  struggling  for  the  freedom 
of  her  son  in  servitude,  brings  a  force 
to  the  role  of  the  mother  that  makes 
this  part  stand  out  even  above  her  mar- 
velous   "Madam    X." 

THERE  is  a  good  supporting  cast,  too, 
with  Marion  Nixon,  George  Lewis, 
Richard  Tucker,  John  Miljan,  Harry 
Northrup,  Leo  White  and  William  Dunn 
among    the    others. 

LET  me  know  how  you  like  "Devil's 
Island."  In  fact,  I  am  always  inter- 
ested in  hearing  from  you  about  every 
Chadwick  picture   that   you   see. 


fHADWICK  PICTUREC 

V^  C  O  RP  ORATION  vJ 

729  S&t)tnth]{ptnut 
New  Yor.k.   City 


Advertising  Section 

before  a  moving  camera,  with  a  new- 
comer to  the  screen  named  Leila  Hyams. 
And  there  also  was  Clifford  Holland, 
sulking  because  he  couldn't  dance  with  her. 
Holland  versus  Hyams  is  the  most  recent 
and  conspicuous  studio  romance.  Clifford, 
who  is  tall  and  agreeable,  requested  that  I 
print  his  love  for  the  lovely  Leila.  It 
seems  that  off  the  set  in  the  studio,  Clif- 
ford's standing  isn't  so  bad,  but  outside — 
everything  is  so  different.  Miss  Hyams 
has  had  stage  experience,  and  is  showing 
great  promise  in  her  first  screen  role. 

Her  mother,  by  the  way,  was  considered 
for  the  role  of  Matt  Moore's  mother  in 
"Summer  Bachelors,"  but  when  they  ran 
her  screen  tests  they  found  she  looked 
just  about  twenty  years  too  young  for 
the  part,  so  there  will  be  but  one  movie 
career  in  the  Hyams   family. 

Mai  St.  Clair  dropped  in,  rangey  and 
smiling,  and  clad  in  the  inevitable  white 
flannels.  Assuming  his  favorite  role  of 
raconteur,  he  soon  had  Walter  Catlett 
and  Charles  Winninger  and  the  other  wits 
of  the  cast  clustered  around  him,  and  all 
but  broke  up  the  afternoon's  work.  But 
hundreds  of  extras  cant  be  hired  and  then 
left  idle,  even  if  it  does  mean  missing 
some  pretty  funny  cracks.  And  as  I  left, 
Allan  Dwan  and  his  cameras  were  mount- 
ed on  a  truck,  rolling  about  the  set  in 
pursuit  of  Miss  Hyams,  who  was  being 
guided  thru  a  maze  of  dancing  extras  by 
the  unhappy  Mr.  Matt  Moore. 

ITunny  how  women  are  never  satisfied 
with  what  they've  been  taught  to  re- 
gard as  their  crowning  glory.  They're 
forever  cutting  it  off  or  changing  its  color 
or  otherwise  distorting  it.  Mildred 
Harris  was  absolutely  original  in  dying 
her  hair  a  decidedly  brunette  shade.  I've 
never  heard  of  a  woman  aspiring  to  any- 
thing but  blondeness,  especially  since  the 
best  sellers  came  out  last  fall,  and  Mil- 
dred was  quite  a  nifty  blonde.  Evidently 
what  she  was  seeking  was  a  disguise. 

But  the  funniest  thing  is  going  to  be 
Colleen  Moore  in  Mary  Pickford  curls. 
Colleen  is  donning  a  wig  of  long  yellow 
hair   for  her  next  picture,    "Twinkletoes." 

As  for  engagements — there  is  a  lively 
rumor  that  love  is  in  the  air  about 
Patsy  Ruth  Miller's  house,  and  that  she 
and  Dick  Barthelmess  would  like  to  an- 
nounce their  engagement  —  were  it  not 
that  Dick  is  only  separated,  and  not 
divorced,  from  his  wife.  Since  Dick's 
advent  to  Hollywood  last  spring  he  has 
done  quite  a  bit  of  damage,  romantically 
speaking.  But  Dick's  romantic  lure  is 
not  the  only  factor  in  this  case.  His  little 
daughter,  Mary  Hay  Barthelmess,  is  given 
a  lot  of  credit  for  the  winning  of  Patsy, 
who  is  fond  of  children,  and  would  like 
to  bring  little  Mary  up.  Barthelmess  and 
his  wife  are  both  Catholics,  I  believe,  and 
consequently  barred  from  the  luxury  of  a 
divorce — which  makes  it  a  little  difficult 
for  Patsy.  So  no  one  knows  just  what  is 
going  to  happen.  Probably  exactly  what 
has  happened  in  all  Patsy's  other  reported 
engagements — absolutely    nothing. 

""The  query  of  so  many  fans — "Could 
Lillian  Gish  play  the  modern  girl?"— 
is  about  to  be  answered.  As  soon  as 
"Annie  Laurie"  is  completed,  Lillian 
starts  work  on  "Wind,"  a  novel  by  a 
professor  of  short-story  writing  at  Colum- 
bia. That  doesn't  recommend  it  to  me 
greatly,  but  it  is  described  as  "powerful 
and  absorbing."  Lillian  may  not  be  the 
modern  girl,  in  the  sophisticated  sense  of 
the  word,  but  the  picture  will  be  in  modern 
costume. 


ineil  I    MAGAZINE       \\ 


Ignorance 
of  physical  facts 

never  brought  happiness \ 

UNLESS  there  is  frank  discussion, 
there_  can  be  no  real  enlightenment 
on  a  subject  such  as  feminine  hygiene. 
The  recent  advances  in  this  branch  ot 
hygiene  have  all  come  about  as  an 
answer  to  one  existing  evil.  And  that 
is  the  evil  of  poisonous  antiseptics.  Every 
physician  and  nurse  is  familiar  with  the 
effects  when  delicate  tissues  come  in 
contact  with  bichloride  of  mercury  or 
the  compounds  ,of  carbolic  acid.  Yet 
until  lately  there  was  no  other  recourse 
for  fastidious  women  who  demanded 
an  efficient  and  true  surgical  cleanliness. 

Every  woman  has  reason 
to  welcome  Tjonite 

But  no  longer  need  a  woman  risk  the 
effects  of  dangerous  poisons  for  the  pur- 
pose of  feminine  hygiene.  No  longer 
need  she  fear  accidental  poisoning  in 
the  home.  For  now  she  has  Zonite.  This 
powerful  antiseptic-germicide  is  a  re- 
markable achievement  to  contemplate. 
Though  absolutely  non-poisonous,  Zo- 
nite is  more  than  forty  times  as  strong 
as  peroxide  of  hydrogen  and  far  more 
powerful  than  any  dilution  of  carbolic 
acid  that  can  be  safely  used  on  the 
human  body. 

No  wonder,  then,  that  Zonite  has  been  welcomed 
with  satisfaction.  A  powerful  antiseptic  which.in  its 
many  uses,  is  harmless  to  human  tissue  !  Dentists 
are  using  it  widely  for  preventive  oral  hygiene. 
Suggestion :  ask  your  physician'sopinion  of  Zonite. 
Send  for  dainty  bookleton  feminine  hygiene, frank- 
ly written.  Zonite  Products  Co.  Postum  Bldg.,250 
Park  Ave.,  New  York,  N.  Y. 

At  your   druggist's   in 
bottles  25c,  50c  and  $1 


Use  Zonite  Ointment 
for  burns,  scratches, 
sunburn,  etc.  Also  as 
a  powerful  deodorant 
in  the  form  of  a  van- 
ishing cream. 


o 


PzONITE  PRODUCTS   CO.,    Women's  Di 
•    2S0  Park  Ave.,   New  York,  N.  Y. 

Please   send   me    free   copy   of   the   Zonite 
booklet  or  booklets  checked. 

n  Feminine   Hygiene 

D  Antiseptics  in  the   Home 

Please  print  name              RR-17 
Name 


Address 

City State 

(In  Canada:    165   Dufferin  St.,  Toronto) 


When  yon  write  to  advertisers  please  mention  MOTION  PICTURE   MAGAZINE. 


123 
PAG 


I 


Advertising  Section 


Are  You  Interested  in  Love? 

T  F  not,  you  will  have  no  time  for  the  story  Dorothy  Manners 
has  contributed  about  a  half  dozen  or  more  romances  in  the 

him  colony.     She  has  unearthed  romantic  fragments  of  life 

that  you  would  not  want  to  miss  if,  like  the  majority  of  people, 

you  love  love. 

Take  Jobyna  Ralston  and  Dick  Arlen.   They're  engaged. 

But  the  colony's  prophet  warns  them  not  to  wed.    But  they  are 

going  to.  .  .  . 

Some  of  the  romances  are  comic  .  .  .  some  dramatic  .  .  .  some 

mysterious. 

Which  Road  Leads  to  Happiness? 

Happiness  is  the  one  '  thing  that  we  all  seek.  It  is  the 
world's  quest.  Which  road  leads  to  it?  Wealth?  Fame? 
Learning?     Love?     Marriage?     Children? 

Only  those  who  have  tasted  of  these  things  can  properly 
answer.  We  put  this  question  to  several  people  wise  in  these 
things.     What  did  they  answer? 

When  a  Foreign  Actress  Arrives  in  Hollywood .  ♦  ♦ 
What  Happens? 

Are  the  men  more  gracious  than  the  women  in  extending 
a  welcome? 

This  is  the  subject  for  a  page  drawing  which  has  as  much 
truth  and  observation  in  it  as  the  drawing  on  Pages  32  and  33 
of  this  issue. 

There  will  be  fiction,  too.     And  beautiful  photographs. 

And  ail  the  other  varied  good  things  of  which  the 
Motion  Picture  Magazine  is  made.  .  .  .  Reserve  your  copy 
of  the  December  issue  at  your  neighborhood  news-stand  today. 


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it    In   motion    I'll   I  i  RE   MAGAZINE 


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he  winning  kick  sails  be- 
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surging  down  the  field  comes  the 
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head  of  it  marches  the  hand} 

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Conns  cost  no  more  I 

We  help  organize  bands  or  orchestras, 
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should  write  to  our  Band  Service  De- 
partment for  details ;  no  obligation. 

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WORLDS    LARGEST    MANUFACTURERS 


eP_ 


CULTIVATE 


YOUR 


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WITH 


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New  York,  Strand  Theater  Bldg., 
Broadway  at  47th 
Boston,  .  .  .  488  Boylston  St. 
Baltimore,  .  406  N.  Howard  St. 
Atlanta,      ...     62  N.  Broad  St. 


Factory      Branch 

Chicago,   .    .    62  E.VanBuren  St.        San  Francisco 
New  Orleans,    125  Carondolet  St.         Oakland,.     . 
Mobile,    .     .     .    5  St.  Emanuel  St.         Portland,  .     . 
Detroit,  .     .   143 1  Broadway  Ave.         Seattle,     .     . 
Kansas  City,  .     .     lOHMcGeeSt.         Tacoma,     .     . 


Stores 

.     47  Kearney  St. 

.  .  531  16th  St. 
11th  &  Alder  Sts. 

1613  Third  Ave. 
1 155  Broadway 


Vancouver,  B.  C, 

324  Hastings  St.,W. 


Conn  National  School  of  Music, 
62  E.  VanBuren  St.,  Chicago,  111. 


l8o 

of  tke   ^    ^  ^ 
New  Yorb.  Jtogc 

fay  thaj  find  this  soup,  'hcaaistb^.' 
"wondjerfuL  fop  thzLp  AdnL 


.  Night  after  night  she  must  face  a  thousand  critical  eyes 


<iyi  Lady  of  Mayfair,  exquisite 
as  an  orchid,  frail  as  Venetian  glass— 
or  a  modern  flapper  with  the  tenue  of 
a  beautiful  boy  —  a  princess,a  gypsy, 
an  adventuress— 

Whatever  part  she  plays,  the  suc- 
cessful actress  must  be  able  to  throw 
about  it  the  vivid  spell  of  her  own 
personal  beauty. 

Lovely  and  youthful  as  the  dawn 
she  must  seem  to  her  audiences  when 
she  steps  before  the  curtain. 

How  DOES  shf.  DO  IT?  Her  skin,  which 
has  to  he  covered  with  harsh  make-up  — 
exposed  to  cruel,  high-power  light  — how 
docs  she  keep  it  fresh  and  unfaded  —  flaw- 
less,  under  the  gaze  of  a  thousand  eyes? 

We  asked  two  hundred  and  fifty  lead- 
ing actresses  of  the  New  York  stage,  play- 
ing  in  44  of  the  season's  plays,  what  soap 
they  use  for  the  care  of  their  skin  — and 


why.     Nearly    three-fourths    answered, 
"Woodbury's  Facial  Soap!  " 

"It  is  a  wonderful  soap  for  the  skin," 
they  said.  "//  is  very  soothing."  "It 
keeps  the  skin  firm  and  fresh-looking, 
preventing  large  pores  and  blemishes." 

Every  one  of  the  Woodbury  users  was 
eager  to  praise  the  soothing,  non-irritat- 
ing effect  of  Woodbury's  on  her  skin. 

A  skin  specialist  worked  out  the  for- 
mula by  which  Woodbury's  is  made. 
This  formula  not  only  calls  for  the  purest 
ingredients;  it  also  demands  greater  re- 
finement in  the  manufacturing  process 
than  is  commercially  possible  with  ordi- 
nary toilet  soap.  In  merely  handling  a 
cake  of  Woodbury's  one  is  conscious  of 
this  extreme  fineness. 

A  25-cent  cake  of  Woodbury's  Facial  Soap 
lasts  a  month  or  six  weeks.  Around  each  cake 
is  wrapped  a  booklet  containing  special  cleans- 
ing treatments  for  overcoming  common  skin 
defects.  The  same  qualities  that  give  Wood- 
bury's   its    beneficial    effect    in    overcoming 


common  skin  troubles  make  it  ideal  for  regular 
toilet  use. 

Within  a  week  or  ten  days  after  beginning  to    , 
use  Woodbury's  you  will  notice  an  improve- 
ment in  your  complexion.   Get  a  cake  today — 
begin  tonight  the  treatment  your  skin  needs! 

Your  Woodbury  Treatment 
for  ten  days 

now — the  large-size  trial  set! 

The  Andrew  Jergens  Co., 

1311  Spring  Grove  Ave.,  Cincinnati,  Ohio 

For  the  enclosed  10c  please  send  me  the  new  large- 
size  trial  cake  of  Woodbury's  Facial  Soap,  the  Cold 
Cream,  Facial  Cream  and  Powder  and  the  booklet, 
"A  Skin  You  Love  to  Touch." 

Jj you  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  Limited,  fj/f  Sherbrooke  Street,  Perth,  Out. 

Name 

Street  

City State 

Copyright,  1926,  by  The  Andrew  Jergens  Co. 


F'i  H  R 


Which  Road  Leads  to  Happiness  i 


? 


HE  boy  who  plays  a  Conn 

the  most  sought  for 

fellow  in  his  crowd.  He's 

welcome  everywhere,  because  he 

brings  restful,  cheering  music  that 

everybody  likes. 

A  Conn  saxophone  is  a  key  to  so 
cial  prestige;  it  can  be  a  great  help 
to  success  in  any  career.  Profes' 
sional  playing,  whole  or  part  time, 
is  highly  paid  and  fascinating;  op- 
portunities are  open  everywhere. 
Many  of  America's  leaders  in 
business,  the  professions,  and 
statecraft,  have  earned  their  edu- 
cation with  their  musical  talent. 
With  a  Conn  you  can  win  this 
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foil  pads  eliminate  trouble  and 
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Choose  any  instrument;  remember  Conn 
makes  everything  for  band  and  orches- 
tra. Each  Conn  instrument  has  its  ex- 
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than  others! 

Free  Trial,  Easy  Payments  on  any 

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.n»tte«J  to  write  for  information;  no  obligation. 


BAND 

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features  found  in 


9L 


> 


CULTIVATE 


MUSIC 


Conn   New    York   Co.,   Strand  Theater   Bldft., 

47th  St.,  at  Broadway. 
0>nn  Detroit,  1431  Broadway  Ave. 
Conn  New  Orleans  Co.,  125  Carondolet  St. 
(.'inn  Seattle  Co.,  1613  Third  Ave. 
Conn  Chicago  Co.,  62  E.  Van  Buren  St. 


Factory       Branch       Stores 

Conn  Portland  Co.,  11th  and  Alder  Sts. 
Conn  Atlanta  Co.,  62  N.  Broad  St. 
Conn  Mobile  Co.,  5  St.  Emanuel  St. 
Conn  Boston  Co.,  488  Boy  In  ton  St. 
Conn  San  Francisco  Co.,  47  Kearny  St. 
Conn  Oakland  Co.,  531  16th  St. 


Conn  Kansas  City  Co.,  1011  McGee  St. 
Conn  Tacotna  Co.,  1155  Broadway. 
Conn  Vancouver.B.  C.,Co.,  324  Hastings  St.  W. 
Conn  Baltimore  Co.,  406  N.  Howard  St. 
Conn  National  School  of  Music,  F.  N.  Inneft, 
Director,  62  E.  Van  Buren  St.,  Chicago.         , 


Advertising  Section 


,  '111 


c4 


WILLIAM  FOX 
PICTURE 

from  a  noted 
stage  success 


-And  in  addition,  these  supreme  productions: 

WHAT    PRICE    GLORY 
THE    MUSIC    MASTER 

7TH  HEAVEN 

all  made  from  renowned  stage  successes 

3  BAD   MEN 

staged  by  John  Ford,  who  directed  "The  Iron  Horse" 

ONE  INCREASING  PURPOSE 

by  the  author  of  "If  Winter  Comes"" 


FOR  YOU— -THE  UTMOST 
MAGIC  OF  THE  SCREEN 

TO  give  you  the  utmost  magic  of  the  screen — 
that  is  the  mission  of  Fox  Pictures!  To  this 
end,  the  greatest  hits  of  the  stage  are  being  con- 
verted into  Fox  Photoplays  by  directors  who 
have  been  selected  because  of  their  past  successes. 
The  stars  and  supporting  players  form  the  great- 
est pool  of  dramatic  talent  any  one  company  has 
ever  brought  together. 

"CradleSnatchers",  "Is  Zat  So?",  "The  Auction- 
eer", "The  Lily", "The  Return  of  Peter  Grimm", 
"The  City" — these  are  a  handful  of  the  noted 
stage  plays  being  made  into  Fox  Pictures.  There 
are  many  others,  and  popular  novels,  too. 

And  the  list  of  players  in  Fox  Pictures — bewil- 
dering!— Alma  Rubens,  Edmund  Lowe,  Madge 
Bellamy,  George  O'Brien,  Olive  Borden,  Matt 
Moore,  Belle  Bennett,  Lou  Tellcgen,  Lila  Lee, 
Walter  McGrail,  Virginia  Valli,  Ian  Keith,  Anita 
Stewart,  Walter  Catlctt,  Phyllis  Haver,  Charles 
FarrellJanetGaynor,  GeorgeSidney.DoloresDel 
Rio,  William  Russell,  Margaret  Livingston,  Alec 
Francis,  Bessie  Love,  Victor  McLaglen,  Olive 
Tell!  Yet  these  are  far  less  than  half  the  well- 
known  players  engaged. 

Raoul  Walsh,  who  directed  "The  Thief  of  Bag- 
dad"; Allan  Dwan,  who  directed  "RobinHood"; 
John  Ford,  who  directed  "The  Iron  Horse"; 
Alfred  Green,  who  directed  Colleen  Moore; 
F.  W.  Murnau,  who  directed  "The  Last  Laugh"; 
Harry  Beaumont,  whodirected  "Beau  Brummel"; 
FrankBorzage,  whodirected  "Humoresque" — are 
only  a  few  of  the  Fox  directors — the  list  reads 
like  a  movie  hall  of  fame. 

Watch  your  theatres  forFox  Pictures — for  they 
bring  you  the  utmost  magic  of  the  screen! 


WILLIAM    FOX    PICIURES^ 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


3 
PAfi 


f 


Advertising  Section 


ith 

May  McAvov 

Charles  Ray 

Scenario  by 

Alfred  A.  Cohn 

From  the  srory  by 


Directed  b\ 
William  Nk. 


THE  FIRE  BRIGADE 


COMING  to  amaze  the  world  .  . 

THE  epic  photoplay 

OF  the  heroes  of  peace 

THE  fearless  fire-fighters 

NEVER  such  a  titanic  drama 

THE  true  story  of  today's  battle 

AGAINST  the  Red  Death 

ENDORSED  and  sponsored  by 

AMERICA'S  firemen 

IT  is  truly  called 

THE  Big  Parade  of  Peace  Times 


"More  stars  than  there  are  in  Heaven' 


I 


Do  you  see 

motion   pictures 

or    merely  look 

at  them? 

Win  one  of  these 

Mare 
Prizes 

Do  you  remember  what 
you  see?  I  wonder! 
Take  my  test— Try  my 
five  questions  —  You'll 
be  surprised  how  much 
you  miss  in  the  movies ! 

For  the  best  answers  to 
my  questions  I  have 
chosen  rewards  that 
you'll  be  proud  to  win  and 
to  own. 

The  lucky  lady  will  receive 
the  signet  ring  I  wear  in 
"Bardelys  the  Magnificent." 
The  fortunate  gentleman 
will  win  the  handsome  rapier 
John  Gilbert  uses  in  the  same 
picture  and  the  fifty  "next 
best"contestants  will  receive 
my  favorite  photograph 
autographed  personally   by 

Yours  hopefully, 

Eleanor's 
Five  Questions 

What  four  nationalities  are  rep- 
resented   in    the   cast   of   Rex 
Ingram's  "The  Magician"? 

Name  the  four  pictures  in  which 

King  Victor  has  directed  John 

Gilbert  forMetro-Goldwyn-Mayer? 

What  do  you   regard   as  Lon 
Chaney's  greatest  screen  char- 
acterization?   Answer   this  in  less 
than  fifty  words. 

Name    four    Metro   Goldwyn- 
Mayer    stars  whose  surnames 
begin  with  the  letter  G? 

By  what  means  was  the  stroke 
of  the  Roman  galley  slaves  reg- 
ulated in  "Ben  Hur"? 

Write  your  answers  on  one  side  of  a 
single  sheet  of  paper  and  mail  to 
Metro- Goldwyn -Mayer,  1542 
Broadway,  New  York.    All 

answers  must  reach  us  by  Decem- 
ber 1 5th.  Winners'  names  will  be 
published  in  a  later  issue  of  this 
magazine. 

In  the  event  of  ties,  each  tying 
contestant  will  be  awarded  a  prize 
identical  in  character  with  that 
tied  for. 


1 


ion    I'lCTUlUC   MAUAZIN15 


OCT'2076 


C1B712626 


Vol.  XXXII 


Motion  Pidture  Magazine 

Founded  by  J.   Stuart  Blackton  in  1910 — Trademark   Registered 

DECEMBER,    1926 

Adele  Whitely  Fletcher 
Editor 

Colin  J.  Cruikshank,  Art  Director 


Number  5 


This  Business  of  Types 


ALMOST    everyone 
Z.A     we   know   in   the 
screen    world 
complains  of  the  limita- 
tions that  he  has  forced 
upon  him  in  his  work. 
And    it    is    very    often 
true  that  you  can  tell  just 
what  a  certain  star  will  be 
and    do    even    before    his 
latest  picture  is  announced 
on  the  screen.     So  and  so  is 
the   wicked   man-about- 
town.     So    and    so    is    the 
aristocratic   lady.     So   and 
so    is    the    neglected    hus- 
band.    So    and    so    is    the 
little  waif  who  comes  into 
riches   before    any    of  her 
pictures  fade  out.     It  is  not 
necessary   to   mention   the 


An  Editorial  by 


As  soon  as  a  motion 
picture   personality   be- 
comes popular  in  a  cer- 
tain type  of  role,  in  that 
type  of  role  he  remains. 
Barring  time  and  death, 
synonymous,     profes- 
sionally  speaking,    only   a 
stray  fluke  can  save  a  per- 
sonality from  the  particu- 
lar type  which  he  has  been 
cataloged  in  a  producer's 
mind. 

This  is  not  true  of  the 
stage.  A  stage  personality 
may  be  the  naughty  silken 
lady  from  Paris  one  season 
and  a  persecuted  and  very 
virtuous  and  middle-class 
wife  from  Texas  the  next 
season, 
is  as    it    should    be.      Our 


names  and  further  tie  these  personalities  And    this 

to  the  artistic  ball  and  chain  of  their  type,  screen  artists  would  be  far  greater  artists 

And  it  is  probably  unnecessary  that  we  if  they  were  permitted  to  broaden  their 

do  so.   The  chances  are  that  every  reader  scope  of  expression.     And  consequently 

of  this  editorial  knows  to  whom  we  refer  the    screen    would    have    a    far   greater 

in  each  and  every  instance.     That  is  how  interest,  for  it  would  have  a  more  varied 

inflexible  these  limitations  have  become,  pattern  and  color. 


Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica   Ave.,   Jamaica,   N.   Y.     Executive   and   Editorial   Offices,    175   Duffield 

Street,  Brooklyn,  N.  Y.     Hollywood  Office:  6064  Selma  Avenue.     Telephone,  Gladstone  3564. 

Entered  at  the  Post   Office  at  Jamaica,   N.    Y .,   as   second-class  matter,   under  the  act  oj  March  3rd,  1879.     Printed  in  the  U.  S.  A. 

Eugene  V.   Brewster,   President  and  Editor-in-Chief ;   Duncan   A.   Dobie,    Jr.,    Vice-President   and   Business   Manager;    E.    M.   Heinemann,    Secretary; 

L.  G.  Conlon,   Treasurer,     Also  publishers  of  Motion  Picture  Classic 

Subscription  $2.50  a  year  in  advance,  including  postage  in  the  United  States,   Cuba,   Mexico  and   Philippines;    in  Canada,   $3.00.     Foreign   countries, 

$3.50.     Single  copies,  25  cents,  postage  prepaid.     U.  S.  Government  stamps  accepted.     Subscribers   must  notify   us  at   once   of   any   change   of   address, 

giving  both  old  and  new  address. 

First  copyrighted  and  published  February  21.   1911.     Copyrighted,  1926,  in   United  States  and  Great  Britain  by  Brewster  Publications,  Inc. 


5   * 

PAfiU 


Motion  Picture  Magazine 

TABLE  OF  CONTENTS 

Cover — Corinne  Griffith  by  Marland  Stone  from  a  camera  study  by  Kenneth  Alexander 

This  Business  of  Types Eugene  V.  Brewster       5 

An  editorial 
The  Bulletin  Board 8 

Last  minute  news  and  a  title  contest 

Gallery  of  Players 11 

Gravure  portraits  of  Madge  Bellamy,  Claire  Windsor,  Florence  Vidor,  Lars  Hanson,  Louise  Brooks,  H.B.  Warner,  Alice  Joyce  and  Monte  Blue 
When  Lya  de  Putti  Arrives  in  Hollywood Armando     19 

An  impression  of  the  reception  that  may  and  may  not  take  place 
Love  Stories Dorothy  Manners     20 

The  stories  of  several  romances  nmv  being  enacted  behind  the  cameras — some  of  which  are  dramatic,  some  mysterious  and  some  comic 
An  Idyl  or  a  Tragedy— Which ? Doris  Markham     23 

John  Gilbert  and  Greta  Garbo  are  rumored  engaged — and  when  two  great  personalities  love,  it  is  difficult  to  predict  the  outcome 
Movie  Mother  Goose Ken  Chamberlain     24 

Several  suggestions  offered  in  caricatures 

Poverty  Row _ Dwindle  Benthall     26 

The  story  of  how  beginners  climbing  the  ladder  to  success  meet  erstwhile  stars  descending  the  same  ladder 
Just  the  Man-About-Town  Type 28 

A  movie  of  a  young  man  who  finds  it  difficult  to  arise  at  high  noon,  posed  by  Ben  Lyon 
No  Kidding! Gladys  Hall     29 

A  true  story  about  Constance  Talmadge  in  which  neither  the  interviewee  or  interviewer  tries  to  put  the  best  foot  forward 
Which  Road  Leads  to  Happiness? Dwindle  Benthall     30 

A  variety  of  honest  and  celebrated  opinions 

New  Styles  That  Are  Old -Fashioned 32 

.1  page  of  interesting  and  surprising  comparisons 

"Meestair  Hall " Helen  Carlisle     33 

Introducing  Pola  Negri's  new  leading  man,  who  seems  to  have  made  a  killing  in  his  first  two  pictures 

As  Others  See  Us Grace  Corson     34 

The  secret  of  being  smartly  dressed  on  a  small  income 

That  Funny  Little  Man Madeleine  Matzen     36 

Who  is  he  ?     Harry  Langdon,  of  course — only  he  isn't  only  funny.      He  is  other  things,  too 

Enter  and  Exit  Smiling Helen  Carlisle     38 

Beatrice  Lillie  is  a  scream  and  a  knock-out  in  Hollywood  even  if  she  is  Lady  Peel  in  England 

Are  Your  Dinner-Parties  Events? ' 39 

Pola  Negri's  cook  offers  a  menu  and  recipes  to  hostesses 
Crazy  Quilt .' Adele  Ormiston     40 

The  story  of  a  /notion  picture  star  who  has  everything  in  the  world  but  that  one  thing  she  most  desires.     Illustrations  by  Henry  Pilgrim 

A  Little  Girl  with  a  Long  Pedigree 43 

Dorothy  Dwan  shares  honors  with  her  family  tree 

Motion  Pjcture  Junior 44 

Pages  for  the  younger  members  of  the  family 

Harold  Thinks  It's  Pretty  Good 6 

Scenes  from  the  next  Lloyd  picture 
Faux  Pas Dorothy  Manners     47 

Exposing  things  that  should  never  have  happened 
All  Aboard  the  Limerick  Liner 48 

Verses  that  need  last  lines 

The  Right  Rooms  for  Rest Stephen  Gooson     49 

Suggestions  for  making  your  bedrooms  both  tranquil  and  charming 

Richard  Barthelmess  Becomes  the  White  Black  Sheep 51 

Scenes  from  the  pictures  of  that  name 
Ernesto  and  Teodora 52 

Ramon  Novarro  and  Alice  'Terry  in  "The  Great  Galeoto" 
The  Editor  Gossips A.  W.  F.     53 

About  mution  picture  people,  socially 

Shadows  That  Will  Pattern  the  Winter  Screen '.  .      54 

from  several  forthcoming  productions 
The  Evolution  of  a  Movie  Hero B.  F.  Wilson     55 

an  with  the  cowboy  winning  the  girl  and  nvw 

Lillian  Gish  Wears  the  Plaid 58 

I  nnie  Laur/e 
That's  Out Tamar  Lane     59 

■  \h  with  a  sugar  coating  of  humor 

The  Picture  Parade The  Staff     60 

tOU  to  the,  better  movies 

PiHk-!  Gladys  Hall    61 

'  ■  n  impressions 

On  the  Cami  ra  Coasts Elizabeth  Greer  and  Milton  Howe     66 

/  news  of  motion  picture  peopU  both  on  the  set  and  off 

Whose  Hand?    F.  Vance  de  Revere     70 

I     of  these  palms  I 

"Shall  I  Go  Into  the  Movies?" Marion  Meyer  Drew     71 

•  d  in  the  answers  to  this  question,  asked  by  the  readers 

It's  Getting  Pretty  Crowded  Out  in  Those  Great  Open  Spaces 72 

Ken  Maynard 

The  Answer  Man 74 

<mply  umply  qui 

rid  N-o    78 

a  forum 


I 


OL 


Advertising  Section 


MAGAZINE       -\ 


Lincoln  Knew  How  To  Laugh! 


LINCOLN  had  sent  for  them.  Seward,  Stanton, 
j  Chase,  and  the  other  members  of  the  famed  war 
cabinet.  None  knew  the  purpose  of  the  meeting.  Save 
that  of  course  it  had  to  do  with  the  war. 

"Gentlemen,"  said  the  President,  book  in  hand,  "did 
you  ever  read  anything  from  Art  emus  Ward?  "  Not  a 
member  of  the  cabinet  smiled.  They  had  not  come 
there  to  joke. 

But  the  President  had,  apparently.  For  with  great 
deliberation  he  started  to  read  page  after  page  of 
Artemus  Ward,  the  greatest  humorist  of  his  day. 
Having  finished,  he  laughed  heartily.  The  others  sat 
aghast.  What  madman  was  this  to  read  funny  stories 
to  them  at  such  a  time?  Stanton  was  on  the  point  of 
leaving  the  room. 

Stony  silence  greeted  the  Presi- 
dent as  he  looked  up.  "Well,"  he 
said,  "let's  have  another  chapter." 
And  to  everyone's  astonishment,  he 
read  another  chapter  of  humorous 
anecdotes.  Then,  throwing  the 
book  down  and  heaving  a  long  sigh, 
he  said,  "Gentlemen,  why  don't 
you  laugh?  With  the  fearful 
strain  that  is  upon  me  night  and 
day,  if  I  did  not  laugh,  I  should  die. 
You  need  the  medicine  as  much  as  I 
do." 

After  which,  Lincoln  reached 
into  the  pocket  of  his  long-tailed 
coat  and  pulled  out  a  little  paper. 
The  "little  paper"  was  the  Eman- 
cipation Proclamation! 


ROMANCE  PRODUCTIONS 

HAMILTON  COMEDIES 

LUPINO  LANE  COMEDIES 

BOBBY  VERNON  COMEDIES 

BILLY  DOOLEY  COMEDIES 

JIMMIE  ADAMS  COMEDIES 

MERMAID  COMEDIES 

(/ac/c  White  Productions} 

CHRISTIE  COMEDIES 

JUVENILE  COMEDIES 

TUXEDO  COMEDIES 

CAMEO  COMEDIES 

LYMAN  H.  HOWE'S  HODGE-PODGE 

FELIX  THE  CAT  CARTOONS 

ROBERT  C.  BRUCE  SCENIC  NOVELTIES 

CURIOSITIES  LIFE 

The  Movie  Side-show       Cartoon  Comedies 

KINOGRAMS 
The  NEWS  REEL  Built  Like  a  Newspaper 


THE  tall,  gaunt  figure  who  prefaced  his 
cabinet  meeting  by  reading  funny  stories 
knew  what  he  was  about.  He  knew  the  value 
of  a  laugh.  He,  better  than  they,  knew  the 
necessity  of  something  to  relieve  the  tension 
that  was  trying  men's  souls  in  the  dark  days 
of  '62. 

Knowing  how  to  laugh  is  the  greatest  tonic 
ever  devised.  If  you've  lost  the  art  of  laughing 
naturally  and  heartily — or  think  you  have — 
see  an  Educational  comedy  tonight.  You'll 
forget  your  dignity,  forget  your  cares,  forget 
you're  grown  up.  You'll  look 
younger  and  feel  younger. 

Educational  comedies  are 
deservedly  popular.  They  are 
supreme  in  their  field,  just  as 
are  the  other  Short  Subjects 
for  which  Educational  is  fa- 
mous. News  reels,  novelties, 
scenic  pictures  of  rare  beauty, 
and  the  exquisite  Romance 
Productions  —you'll  enjoy 
them  all. 


(f  (Sh^xxvtiortcil  (j4xJjmu 


EDUCATIONAL  FILM  EXCHANGES,  Inc. 

E.  W.  Hammons,  President 

Executive  Offices, 

370  Seventh  Ave.,  New  York,  N.  Y. 


THE  SPICE  OFTHE  PROGRAf 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


7 

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t 


The  Bulletin  Board 

The  News  as  We  Went  to  Press 


BE  \TRICE  LILLIE,  otherwise  Lady  Peel,  the  Eng- 
lish comedienne,  who  is  making"  her  first  movie,  has 
already  become  involved  in  the  divorce  mill  of 
Hollywood.  Her  role  this  time  is  corespondent 
in  the  divorce  of  Mr.  and  Mrs.  Timothy  Whalen.  Whalen 
is  a  .scenario  writer.  All  the  experts  seem  to  agree  that 
Bee  is  innocent,  and  that  Mrs.  Whalen  thought  that  as 
long  as  she  was  naming  a  corespondent  she  might  as  well 
pick  out  someone  with  lame  and  a  title. 

]\yf  ary  Hay,  who  is  still  the  wife  of  Richard  Barthel- 
**-*■  mess,  altho  they've  been  separated  for  some  time, 
has  gone  out  to  Hollywood  and  created  a  panic  among 
the  several  ladies  whom  Dick  is  supposed  to  have  capti- 
vated during  the  summer.  Mary  went  to  visit  her  little 
girl,  who  has  been  living  with  Dick  at  the  beach  all  sum- 
mer, but  Dick  delayed  his  departure  for  New  York,  just 
>o  he  could  entertain  her.  and  for  several  weeks  they  have 
been  going  about  together  constantly,  and  happily. 

C"  mil  Janning's  arrival  in  New  York  is  to  be  celebrated 
*-* '  by  many  social  affairs  for  the  press,  and  by  the  per- 
sonal  appearance  of  Mr.  Jannings  at  the  Rivoli  Theater 
in  conjunction  with  the  showing  of  "The  Gilded  Hypo- 
crite.'* one  of  his  German  pictures.  One  of  the  first  peo- 
ple to  seek  an  audience  with 
Jannings  will  be  Jim  Tully, 
former  fan  magazine  writer 
and  now  getting  more  fa- 
mous every  day  as  a  play- 
wright and  novelist.  Tully 
has  written  a  novel  called 
"Jarnegan."  the  tale  of  a 
Hollywood  director,  and  he 
harbors  a  hope  that  it  may 
be  adapted  to  the  screen  with 
Jannings  in  the  leading  role. 


"There  is  something  wrong 
•*■  in  the  Mcintosh  family. 
And  we  wouldn't  be  at  all 
surprised  if  Constance  Tal- 
madge  was  a  divorcee  again 
when  you  read  this. 

Just  bow  long  it  will  be 
before  she  and  her  husband 
of  less  than  a  year  separate 
no  one  actually  knows. 

lance  has  been  seen 
about  with  Buster  Collier, 
to  whom  she  was  reported 
engaged  up  to  the  very  day 
■  r  marriage  to  (  aptain 
Mcintosh, 

TThe  days  of  tbe  good  old- 

*■  fashioned    Mack    Sennett 

comedies  are  over.     Lately — ■ 

as  you've  no  doubt  noticed — 

his   slap-stick   methods   have 

used    in    many   of    our 

pictures,    and    are    now 

considered    quite    tbe    thing. 

\  So   Mack   !  tigaged 

Afi£ 


$10.00  for  the  Best  Title 
to  this  Picture 

You  may  send  as  many  titles  to  this  picture 
as  you  like — not  more  than  ten  words  long. 
All  answers  must  be  mailed  by  November  20 
and  no  titles  will  be  returned.  Address  them: 
Title  Contest,  175  Duffield  Street,  Brooklyn, 
New  York 


by  Famous  Players  as  supervising  head  of  their  comedy 
units.  And  that's  the  end  of  the  custard  pie  and  the 
broken  crockery.  By  this  move  Famous  Players  reunites 
the  old  bunch  who  used  to  work  together  on  the  Sennett  lot 
— Mack  and  Mai  St.  Clair  and  Ray  Griffith  and  Ford  Ster- 
ling. But  they  haven't  done  a  thing  about  Ben  Turpin, 
who  will  probably  work  in  Educational  comedies  for  Pathe. 

Virginia  Bushman,  one  of  the  daughters  of  Francis 
*  X.  Bushman  and  Beverly  Bayne,  was  married  recently 
to  Jack  Conway,  a  Metro-Goldwyn  director.  When  Vir- 
ginia and  her  sister  went  out  to  Hollywood  for  a  visit  last 
year,  they  decided  they'd  like  to  stay  and  enter  the  movies 
instead  of  going  back  to  school.  Francis  X.  demurred, 
but  the  girls  stayed,  and  got  small  parts  for  themselves. 
And  Virginia  has  further  solidified  her  position  in  the 
movies  by  her  marriage.  That  means  that  practically  the 
whole  Bushman  family  is  on  the  screen,  except  their 
youngest  son,  who  is  now  six.  When  the  Bushmans 
were  divorced,  Beverly  Bayne  got  the  custody  of  the 
child  only  on  condition  that  he  would  be  kept  off  the 
screen  until  he  was  at  least  fifteen  years  old. 

U/rxst  ■Lubitsch,  it  seems,  is  to  do  one  picture  for 
*—*  Metro-Goldwyn-Mayer  before  starting  on  his  Para- 
mount contract.  M-G-M 
bought  his  unfulfilled  con- 
tract with  Warner  Brothers, 
and  are  planning  to  have  him 
direct  "Old  Heidelberg,"' 
with  Ramon  Novarro.  We 
hope,  for  the  sake  of  poor 
Ramon,  who  has  been  getting 
the  worst  possible  treatment, 
that  this  plan  will  mate- 
rialize. 


Wk        ■                  ■?■: 

1 

#y>\,#^;l 

I  ^v-  — -S 

^«VMH|^SH| 

IWFary  Pickford and  Doug- 

iV1  las  Fairbanks  have 
abandoned  the  idea  of  tour- 
ing the  Orient.  They  are 
back  in  Hollywood  and  a'.l 
ready  for  some  strenuous 
work  in  the  studios.  Their 
decision  to  stay  at  home  is  a 
result  of  the  death  of  Valen- 
tino. The  output  of  United 
Artists  has  been  reduced,  and 
the  pictures  of  Mary  and 
I  )otig  are  needed. 


K 


ATHERINE      MacDoNALD, 

lias  been  awarded  a 
divorce  from  her  lazy 
husband,  C.  S.  Johnson. 
Katherine  said  his  chief  talent 
was  borrowing  money  from 
her— money  he  never  thought 
of  returning.  She  was 
awarded  the  custody  of  their 
little  son.  Katherine  made 
an  attempt  to  come  back  to 
the  screen,  bnl  it  was  not  an 
unqualified  success. 


Advertising  Section 


Sally  Pickens,  Lynn,  Massachusetts. 


Richard  C.  Bell,  Santa  Ana,  California. 


Mellin's  Food-A  Milk  Modifier 

During  the  first  year  of  life  the  growth  of  cells  and  tissues 
together  with  the  building  of  the  framework  of  the  body  should 
go  on  rapidly  and  without  interruption,  for  the  foundation  then 
laid  has  a  very  important  bearing  upon  the  baby's  general  health 
as  he  enters  the  period  of  childhood.  It  is,  therefore,  very  neces- 
sary that  an  infant's  diet  contain  food  elements  of  a  form  to 
completely  satisfy  the  constant  demand  for  appropriate  nutritive 
material. 

Mellin's  Food  and  milk  properly  prepared  supplies  these 
essential  elements  of  nutrition,  and  a  baby  fed  in  this  manner  not 
only  grows  normally  during  the  nursing  period,  but  in  later  life 
shows  the  advantage  of  this  well-selected  diet  by  his  strength  and 
endurance,  healthy  color,  resistance  to  the  illnesses  of  childhood 
and  his  happy  disposition. 

What  will  be  the  general  condition  of  the  baby  at  the  end 
of  the  second  year  is  a  matter  that  should  always  influence  the 
selection  of  the  diet  during  the  period  of  bottle  feeding. 


Write  to  us  today  for  a  Free  Trial  Bottle 
of  Mellin's  Food 


Mellin's  Food  Co.,       177  State  St. 


Boston.  Mass. 


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9 
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» 


JR£ 


Advertising  Section 


In  Canada  too 


a 


t      McGILL      and     TORONTO     u  n  iv  e  r  s  i  t 


i  e  s 


this  soap  is  three  times 
as  popular  as  any  other 


H/verywhere  —  college  girls  say  they 
find  it  "the  only  soap  for  their  skin!" 

At  leading  women's  colleges  in  Amer- 
ica—Smith, Bryn  Mawr,  Sweet  Briar, 
Barnard,  Wellesley,— from  half  to  three- 
fourths  of  the  girl  students  we  questioned 
prefer  Woodbury's  Facial  Soap  for  their 
skin. 

At  the  five  great  universities  of  Chicago, 
Minnesota,  Michigan,  Wisconsin,  Cali- 
fornia— Woodbury's  is  from  3  to  5  times 
as  popular  as  any  other  toilet  soap!  Over 
3,000  girls  in  these  universities  wrote 
praising  its  beneficial  effect. 

And   in   Canada,   too — at  her  leading 
universities,  Toronto   and   McGill,   more 
than  half  the  girl  students  replying  to  our 
inquiries  find  Woodbury's  "wonderful," 
"the  ideal  soap." 
"  There  are  five  girls  in  our  family,  we 
all  use  JVoodbury's,"  wrote  one  Cana- 
dian girl  .  .  .  "A  splendid  cleansing 
soap,  and  an  excellent  aid  in  keeping 
the  skin  clear  of  ugh  blemishes"  .  .  . 
"  Keeps  my  skin  in  such  a  wonderfully 
healthy  condition'''  .  .  .  "  I  use  it  because 
my  skin  is  very  delicate,  and  most  soaps 
irritate  it." — 
These  are  characteristic  comments. 

A  skin  specialist  worked  out  the  formula  by 
which  Woodbury's  Facial  Soap  is  made.  This 
formula  not  only  calls  for  the  purest  and  finest  in- 
gredients; it  also  demands  greater  refinement  in  the 
manufacturing  process  than  is  commercially  possible 
with  ordinary  toilet  soaps. 

A  25-cent  cake  of  Woodbury's  lasts  a  month  or 
six  weeks.  Around  each  cake  is  wrapped  a  booklet 
of  famous  skin  treatments  for  overcoming  common 
skin  defects. 

Within  a  week  or  ten  days  after  beginning  to  use 
Woodbury's,  you  will  notice  an  improvement  in 
your  complexion.  Get  a  cake  today — begin  tonight 
the  treatment  your  skin  needs! 

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For  the  enclosed  >oc  please  send  me  the  new  large-size  trial 
cake  of  Woodbury's  Facial  Soap,  the  Cold  Cream.  Facial 
Cream  and  Powder,  and  the  treatment  booklet,  "A  Skin 
You  Love  to  Touch."  /;/  Canada  address  The  Andrew 
Jergens  Co.,  Limited,  1323Sherbrooke  Street,  Perth,  Ont. 


■Is,  with  their  youth  and  charm,  their  fresh  lovely  faces"  .  . 


Jerrens  Co 


City. 


Brery  advertisement   in   MOTION   PICTURE   MAGAZINE   is  guaranteed. 


Autrey 


MADGE  BELLAMY 

Madge  still  has  those  great  big  eyes,  but  she  uses  them  differently.  If 
you  missed  "Sandy,"  where  the  demure  Miss  Bellamy  was  first  trans- 
formed into  a  blonde  and  flippant  flapper,  see  her  in  "Summer  Bache- 
lors."     If  you  didn't  miss  "Sandy,"  you'll  see  her  without  being  urged 


CLAIRE  WINDSOR 


Claire  never  does  anything  sensational.  But  she  always  gets  in  the  lists 
of  the  "ten  most  beautiful  women,"  she's  frequently  hailed  as  the  "best- 
dressed,"  and  she  goes  quietly  and  consistently  on  making  amusing  and 
popular  pictures.  What  more  could  she  want?  Her  next  will  be  "The 
Little  Journey,"   with  William   Haines 


FLORENCE  VIDOR 


After  being  dignified  and  irreproachable  for  years,  Florence  bobbed  her 

hair  and  unleashed   her   sense   of   humor,   and   fairly   dazzled   the   Lasky 

officials    into    making    her    a    star.       As    such,     she    appears    in    "The 

Popular  Sin" 


Clarence  S.  Bull 


LARS  HANSON 

Here's  a  new  hero  for  you.  Whether  it's  acting  ability,  sincerity,  or 
sex  appeal  you're  looking  for,  Lars  has  got  it.  He  was  a  match  for 
the  screen's  foremost  actress  in  "The  Scarlet  Letter,"  and  we've  no 
doubt  he'll  make  even  John  Gilbert  look  to  his  laurels  in  "Flesh  and  the 
Devil,"      In   short,   we're  a   Lars  Hanson   fan 


James  Doolittle 


LOUISE 
BROOKS 


"Is  that  so?"  ask  the  challenging  eyes 
of  Louise.  She  has  just  been  chosen  as 
the  vamping  baby  sister  whom  the 
gentlemen  very  frankly  prefer — in 
"Love  'Em  and  Leave  'Em" 





Rayhuff-Richter 


H.  B.  WARNER 


Five  years  ago,  Mr.  Warner  refused  to  adopt  the  florid  technique   of  moving  pictures,   and 

the   few  pictures   he   made   were   ignored.      He  waited five   years — until   the   screen    grew 

up  to  his  own  quiet  and  repressed  style  of  acting.  Now  he  is  one  of  the  most 
persuasive  personalities  in  pictures.  He  has  been  cast  in  a  role  which  no  man  has  at- 
tempted   before Jesus    of    Nazareth,     in    De    Mille's    production,     "The    King    of    Kings" 


ALICE  JOYCE 


It  is  obvious  every  time  you  see  a  portrait  of  Alice  Joyce  that  she  is  a 
charming  and  beautiful  woman.  But  she  is  more  than  this.  She  is  a 
sincere  actress,  and  it  is  a  pity  that  she  is  not  more  often  given  oppor- 
nities  for  interesting  characterizations.  In  "The  Ace  of  Cads,"  she 
plays  a  role  that  ranges  from  girlhood  to  middle  age 


Irving  Chidnoff 


MONTE  BLUE 


Monte  hat  always  seemed  to  us  a  paradox — the  good-natured,  homespun 
fellow  whose  speciality,  by  some  odd  accident,  became  polished  drawing- 
room   comedy.      His   next  picture  will  be   a  slight   departure a   mystery 

story   called   "Wolf's  Clothing" 


When   Lya   de   Putti   Arrives   in   Hollywood 

Curiosity  will  not  be  the  only  emotion  felt  by  the  film  colonists 

On  the  left  are  Louis  B.  Mayer,  Jesse  Lasky  and  Adolphe  Menjou.  In  the  front  row  on  the 
right  are  Carl  Laemmle,  Cecil  De  Mille,  the  Marquis  de  la  Falaise  de  la  Coudray,  Gloria  Swan- 
son,  Marion  Davies,  Clara  Bow,  John  Barrymore  and  Dick  Barthelmess.  In  back  of  them  are 
Samuel  Goldwyn,  Joseph  Schenck,  Syd  Grauman,  Tony  Moreno,  Charlie  Chaplin,  Pola  Negri, 
Leatrice  Joy,  Monte  Blue,  Colleen  Moore,  Lillian  Gish,  Erich  von  Stroheim  and  Alice  Joyce 


19 
PAfi 


t 


Dareos,  the  film  colony's  seer,  tells  Jobie  Ralston  and 

Dick  Arlen   that   nothing  but   misfortune   and   disaster 

will    come    of    their   marriage 


Gene  Kornmau 


Dorothy  Manners 

Tells  of  Their 


t 


LOVE  STORIES 


! 


THESE  are  real  love  stories  I  am  going-  to  tell  you 
about. 
New  'fiic-,.  too,  if  love  stories  are  ever  new.     It 
may  be  true  that  "the  same  old  story"  can  never 
novel,  but  it  does  have  its  variations.    Some  love 
and  comedies.     Sonic,  dramas.     Others,  mysteries. 
(  »r  so  they  seem  out  in  our  little  .suburb  of  Los  Angeles,, 
la  i    six   months  has  seen  the  blooming,  and 
nough,  the  wilting  of  loves  that  ran  the  gamut  from 
to  Melpom< 

th«    e  loves  are  all  over  now.    They  were  love 

rs   of    them   are   just   beginning.     They   arc   love 


But  the  point  is  they've  all  been  wept  and  laughed  and 
thrilled  and  worried  over  by  real  people.  People  you 
know.  People  like  Jobyna  Ralston  and  Richard — com- 
monly called  Dick — Arlen.  You  knew  of  their  romance, 
didn't  you? 

And  you'd  heard  that  Joan  Crawford  and  Michael 
Cudahy  were  no  longer  engaged? 

And  that  Irving  Asher  and  Mary  Astor  were  to  be  wed? 

And  that  Josef  von  Sternberg  is  newly  married  to  a 
girl  named  Riza  Royce? 

Back  of  each  is  a  little  story.  An  odd  little  story. 
Sometimes  of  heart-break — of  peace  after  bitter  cynicism 
— even  of  fear  and  foreboding. 

Take  Jobyna  and  Dick.    You  wouldn't  think  that  any- 


The  greatest  play 
Fate  ever  staged  is 
Love.  Sometimes  it 
is  a  tragedy  .  .  , 
sometimes  a  mystery 
drama  .  .  .  and 
sometimes  a  comedy 


Most  movies  end 
With  the  embrace 
.  .  .  what  happens 
after  that  is  another 
story.  And  who  is 
to  say  that  it  is  not 
an  infinitely  greater 
story? 


thing  in  the  world  would 
rise  to  threaten  their  fu- 
ture, would  you?  Two 
young  people  so  made  for 
happiness  and  love? 

And     in     the     beginning 
there  was   nothing  to   suggest  anything   else. 

If  ever  a  girl  was  drawn  up  according  to  specifications 
to  be  a  sweetheart  and  a  bride,  that  girl  is  Jobie.  She 
looks  like  that  ...  all  curly  and  pink  and  white  and  joy- 
loving.  She  lives  in  a  little  vine-covered  house  with  her 
dad  and  brother.  She  still  makes  a  difference  between  her 
party  clothes  and  her  every-day  clothes.  When  she  gets 
a  new  evening  wrap,  or  a  new  hat,  she  models  it  for  her 
girl  friends.  You've  known  a  hundred  girls  like  her. 
Only  maybe  not  so  lovely. 

And  Dick's  the  same  kind  of  boy.     Just  a  nice  kid. 

He  fell  head  over  heels  in  love  with  Jobie  right  away. 


Joan    Crawford   and    Michael    Cudahy   say    they   are    only 

good  friends  now    .     .     .    but  it  is  funny    .     .     .    whenever 

they  are  on  the  same  party  and  dance  with  others,   their 

eyes  keep  seeking  each  other  out   .    .    . 


But  for  a  long  time  Jobie  thought  of  him  as  just  one  of 
the  "gang."  A  pal.  Someone  to  laugh  around  with.  She 
continued  to  feel  that  way  up  until  the  time  they  went  on 
a  house-party  to  a  place  that  was  just  made  for  romance — 
like  themselves.  There  was  a  lake  so  clear  that  a  million 
trees  cast  shadows  to  its  very  heart.  There  were  bright- 
colored  boats  for  rowing.  There  was  soft  music  over  the 
water.  And  in  the  bow  of  a  boat  sat  Jobie,  in  pale  pink, 
her  face  shaded  by  a  Japanese  umbrella.  Dick  at  the  oars. 
They  fell  utterly,  quite  madly  in  love.  To  Jobie,  Dick 
was  no  longer  just  one  of  the  "gang."  He  .was  the  man 
from    then    on,    forever.      Life    stretched    before    them, 


B.     M.      (before 
Mary)   Irving  Ash- 
er     used     to     "step 
around"  a  good  deal. 
He       let      the      world 
know  that  he  preferred 
ladies      with      plenty      of 
animation,    a    sense    of 
humor     and     an     effective 
wardrobe 


Mary  Astor  isn't 
any    of   the    things 
for     which     Irving 
Asher    used    to    hold 
such   high   briefs.     She 
has   always   been    chap- 
eroned   by     her    mother. 
And    she    is    quiet   and    re- 
tiring.    .     .      .     But    she    evi 
dently   has   a    magic 


21  P 

PAGli 


Jobie  says  they  are  going  to  be  married 
anyway  within  a  year.  She  tosses  her  head  a 
little  defiantly  when  she  says  it.  But  you  can 
see  she  wonders — just  a  little  bit. 

Anyway,  she's  made  her  choice.  There  will 
be  happiness  first.  A  happiness  she  is  willing 
to  pay  for  in  deep  tears  and  bitter  regrets — 
if  the  great  Dareos  is  right.  It  is  a  big  thing 
for  a  girl  to  do.     So  proving  of  her  love. 

Jobie  is  going  to  take  a  chance. 

Entirely  different  is  the  love  story  of  the 
beautiful,  madonna-browed  Mary  Astor  and 
Irving  Asher. 

If  ever  there  was  a  romance  that  laughed 
at  life  and  chucked  it  under  the  chin,  it  is  the 
love  affair  of  Mary  and  Irving. 

You  know  Mary,  of  course,  but  possibly 
you  dont  know  Irving. 

He  is  a  young  studio  official.  That  is,  in 
office  hours.  Before  nine  and  after  five- 
thirty  he  is  an  utterly  mad,  but  quite  person- 
able, young  man  who  thunders  down  Holly- 
wood streets  in  a  fearful  and  high-priced 
motor.  The  tout  ensemble  of  the  car  and 
Irving  makes  quite  a  pleasing  impression  to 
the  eye.  Particularly  the  feminine  eye.  He 
used  to  B.  M.  (before  Mary)  "step  around" 
a  good  deal.  He  let  the  world  know  that  he 
preferred  ladies  with  plenty  of  animation,  a 
{Continued  on  page  110) 


d  Cheney  Jo 


Josef  von  Sternberg  used 
to  tell  Riza  Royce  about 
"the  other  girl"  .  .  .  the 
girl  who  had  broken  his 
heart.  And  Riza  was  sorry 
for  him  ...  so  she  tried 
to  be  gentle  where  the 
other  had  been  merciless. 
And 


ideally.  And  it  wasn't  as  tho  they  were 
merely  in  love.  They  had  so  much  in  com- 
mon, they  boasted.  Dick's  career  as  a  con- 
tracted player  with  Lasky  was  coming  on  so 
well.  And  Jobie  was  on  the  verge  of  free- 
lancing into  big  money.  Their  ambitions  were 
the  same.  They  liked  the  same  things  and 
the  same  people — laughed  at  the  same  jokes. 

So   when   they   came   home,   their   engagement   was   announced   and 
everyone  wished  them  well. 

One  evening  Jobie  and  Dick  drove  down  to  the  beach  to  play  around 
on  the  rollie  coasters  and  eat  popcorn  balls  and  hot  dogs  and  all  the 
other  things  you  do  on  summer  nights  at  the  beach.  But  they  got  tired 
at.  Just  for  fun  they  decided  to  have  their  fortunes  told.  By 
Dareos.  The  great  Dareos.  They  went  up  the  dusty  stairs  to  his  office, 
rig  and  laughing,  for  what  could  Dareos  tell  them  but  of  a  life 
of  love  and  laughter? 

is  what  Dareos  told  them: 
That  nothing  but  misfortune  and  disaster  would  come  of  their  mar- 
Only  unhappiness.     Deep  tears.     Bitter  regrets. 
'1  hat  is  what  he  saw  in  his  amazing  crystal  for  Jobie  and  Dick,  who 
were  so  made   for  love  and   sweet   things  and  happiness  and  cottages. 
Dick  laughed.    He  told  Dareos  he  was  crazy.    Utterly  crazy.    He  put 
his  arm  around  Jobie.     But  Jobie  wasn't  laughing.    Jobie  wasn't  laugh- 
ing at  all.     She  was  wondering 

You  say  so  silly  to  put  slock  in  a  fortune-teller.     Perhaps  so.     But 
you    do    not    know    Dareos.      He    is    no    ordinary    fortune-teller. 
Influential  men  travel   from  other  cities  to  seek  his  counsel.     There  is 
reat  motion  picture  executive  who  never  closes  a  business  deal  until 
Dareos  has  advised  him.     He  is  a  power.      I   dont  mean  that  lightly. 
J  f  there  is  "nothing  in  that  stuff,"  then  he  is  uncanny  in  his  hunches  and 
ions.    Xot  to  be  dismissed  too  carelessly. 
And  Dareos  had  said  bitter  tears,  regrets,  perhaps  divorce! 
22, 


1AGE. 


/ 


An  Interview  with  Greta  Garbo  Which  Holds  Another 

Love  Story 


An  Idyl  or  a  Tragedy— Which? 


When  Clarence  Brown  Filmed  the  Love  Scenes   with    Greta   Garbo 
and  John  Gilbert  for  "The  Flesh  and  The  Devil,"  He  Was  Working 

With  Raw  Material 

By 

Doris  Markham 


N 


ONE  of  us  knows  very  much  about  her.  You,  on 
the  other  side  of  the  screen,  even  less  than  we, 
who  in  a  sense  live  'back-stage' — back  where  so 
much     of     the    gold     is 

frankly     tinsel — and     where     so 

much  of  the  tinsel  proves  to  be 

pure  gold  !     It  isn't  always  easy 

to    tell    which    is    which,    even 

"back-stage."      But    once    in    a 


while  a  woman  appears 
just  that — a  woman, 
acknowledges  her  power 


When  two  such  personalities  as  John  Gilbert 
and  Greta  Garbo  love,  there  will  be  either  a 
great  idyl  or  a  great  tragedy  .  .  .  possibly 
both.  It  is  hard  to  imagine  their  love  story 
running  along  conventional  lines 


who  is  more  than  anything  else 
and  subconsciously  everyone 
,  It  doesn't  make  any  difference 
whether  you  are  one  of  those 
who  help  to  make  pictures,  or 
one  of  those  who  just  see  them 
— you  fall  under  her  spell — you 
admit  without  question  that  she 
{Continued  on  page  99) 

23 

PAG 


I 


Movie   Mother    Goose 


By 

Ken  Chamberlain 


Sing  a  song  of  sixpence, 
Scotch   and   gin   and   rye— 

To  see  'em  in  the  movies 
Is  bad  for  you  and  I.* 


Toctic   License. 


! 


Simple  Simon  left  the  pie-man, 
Not  because  he  was   not  fair, 

"But,"   said   Simon   to   the   pie-man, 

"I    can    make    more    jack    elsewhere." 


PIES' 


^c^Uh 


There  is  a  man  in  our  town, 
He's  not  so  wondrous  wise; 

But    he    won    a    nice   fat    contract 
Thru  a  pair  of  crooked  eyes. 


©  by  Ken  Chamberlain 


T) 


Rub-a-dub-dub,    three   gals   in   a  tub, 

And  how  do  you  suppose  they  got  there? 

They   cannot  act,   an    obvious  fact, 

But  would  the  film  sell  were  they  not  there? 


\ 


Kf> 


fn; 


I 


"Where  are  you  going  to,  my  pretty  maid' 
"I'm    going   to   the   studio,    sir,"    she   said. 
"May  I  take  you  there,   my  pretty   maid?" 
"Not  in  that  old  tin  can,  sir,"  she  said. 


Mary,  Mary,  wise  and  wary, 

How   does   your  fortune   grow? 

Tangled    curls    in    golden    swirls 
And  dirty  kids  all  in  a  row. 


25 

PAG 


Clara    Kimball   Young 


Lois    Webe 


Poverty 


There    Is   a   Street   of  Humble 

Movies  Are  M  ade  on  the  Proverbial 

Stars  Going  Up  to  Success 

By  Dwinelle 


I 


HOLLYWOOD  is  so  young  that  the  years  haven't 
had  much  opportunity  to  touch  her  here  and  there 
and  mold  her  into  that  fascinating  pattern  of 
light     and    shade    that     makes    the    individuality 

'.t  firsl  glance,  Hollywood  seems  to  be  all  "light" — no 

slums,  no  "quarters,"  no  sinister  streets — and  yet,  there  is 

rty  Row! 

The  literal   Poverty   Row  is   wearing  a  mask  of    fresh 

paint,  elaborate  stucco,  and  a  general  air  of  prosperity. 

The  little  row  of  nondescripl  buildings,  which  once  offered 

to  an    m<    who  was  trying  to  make  a  picture  on  a 

ring  or  two.  has  changed  somewhal  in  character — 

but  Poverty  Row  as  a  neighborhood,  and  Poverty  Row,  as 

'on.  -till  exists. 

p  aking,  it  is  like  a  narrow  ladder  leading 
from  obscurity  to  the  bigger,  brighter  world  of  success — - 
eryone   climbs   that    ladder.      Some   by    leaps   and 

. 


and   slowly.      Some  climb  up  and 
nd    some   climb   up   and   down   and 


hounds,  some  wea 
some  climb  down- 
up  and  down. 

It's  a  strange  place,  Poverty  Row — gray  with  dis- 
appointment and  hitter  with  failure,  yet  shot  thru  with 
the  golden  gleam  of  hope.  Work,  work,  work!  Those, 
going  up,  work  eagerly.  The  Will  o'  the  Wisp,  ahead, 
beckons.  Those,  coming  down,  work  doggedly,  for  bread 
—or  gaily,  for  bravado — or  sullenly,  for  shame — and 
those  who  are  climbing  up  a  second  time,  work  silentl 
It  is  harder  the  second  time,  because  in  failure,  they  a 
burdened  with  the  memory  of  success. 

It  is  stark  tragedy  for  those  coming  down  to  be  crowded 
to  one  side  by  those  pushing  up — as  they  meet  on  that 
mythical  ladder  in  Poverty  Row— and  yet,  it  is  inevitable; 
They  are  like  rabbit  warrens,  that  group  of  studios  in 
Poverty  Row.  You  are  liable  to  meet  anyone  in  their 
dim  halls.     A  company  moves  in — makes  a  picture — and 


id 

s 


Forrest    Stanley 


Row 


Studios  in  Hollywood.  In  Them 
Shoe-String  .  .  .  and  in  Them 
Meet  Stars  Coming  Down 

Benthall 


■'";  .     ;:• 


Francis   Ford 


moves  out.  Then  waits  until  enough  money  is  found  to 
make  another  picture.  Sometimes  these  are  very  good 
pictures — sometimes,  very  had  ones,  hut  they  all  are  ad- 
ventures. Perhaps  "The  Salvation  Hunters"  has  heen 
the  most  famous  one.  That  queer,  heavy  epic  of  mud 
that  meant  everything  or  nothing  according  to  the  way 
you  looked  at  it.  Anyway,  it  was  made  by  a  group  of 
youngsters  who  believed  in  themselves,  in  their  futures 
and  their  ideas,  and  today  they  are  all  acclaimed  artists — 
Josef  von  Sternberg,  George  K.  Arthur,  Gloria  Hale  and 
Otto  Matiessen,  and  the  one  picture  that  made  them  all 
was  made  for  four  thousand  dollars  on  Poverty  Row ! 
Adventure  !  Romance  !  Luck  !  Call  it  what  you  will,  but 
it  sings  a  Siren  Song  on  Poverty  Row. 

The  list  of  producing  companies  on  these  studio  bulletin 
boards  reads  like  the  entries  in  a  cross-country  race. 
Some  of  them  come  in  for  The  Big  Money,  but  most  of 
them  fall  at  the  jumps. 


The  greatest  asset  they  can  have,  is  names.  The  bigger, 
the  better,  but  never  has  the  producer  of  Poverty  Row- 
big  enough  money  to  buy  a  big  name — for  long.  So  he 
does  the  best  he  can  by  using  all  his  ingenuity  to  entice 
someone,  well  known,  to  come  and  work  for  him  for  a 
day  or  two.  Then  he  shoots  all  the  scenes  with  that  per- 
son as  quickly  as  possible — one  after  another,  without 
any  regard  for  sequence,  pays  off  his  principal,  and  goes 
on  making  the  balance  of  the  picture  with  cheaper  players. 

And  actors  who  are  not  under  contract,  are  glad  to  pick 
up  the  odd  days'  work,  so  they  scuttle  over  to  Poverty- 
Row  and  do  their  bit,  hoping  that  no  one  will  see  them, 
and  what  is  more  important,  that  they  will  not  miss  a  call 
from  a  big  studio,  while  they  are  gone. 

Lionel    Barrymore,    Mildred    Harris,    Cullen    Landis, 
Pauline  Garon,  Gladys  Hulette.  all  have  known  Poverty 
Row.    You  can  name  them  by  the  dozen.     The  great  rank 
(Continued  on  page  113) 

27 

PA/3 


t 


Just  the  Man -About -Town  Type 


A  movie  of  a 

young   blood 

arising     at 

high  noon 


play  "Oh, 
How  I  Hate  to 
Get  Up  in  the 
Morning."  Noth- 
ing this  side  of  a 
new  and  similar 
popular  song 
will  save  you 
from     heerin 


Something  tells 
us  the  title  is  far 
more  wicked 
than  the  story 
itself.  It  is  called 
"The  Prince  of 
Tempters" 


I 


Ben  Lyon  is  the  man- 
about-town  who  finds 
it  increasingly  diffi- 
cult to  arise  in  time 
to  keep  his  luncheon 
and   tea   engagements 


'J  28 


No  Kidding! 


By 

Gladys  Hall 


MOST  of  us  like  to  kid  ourselves — and  others. 
Some  of  us  dont  even  know  that  we  are  doing  it. 
That's  how  dumb  we  are. 

We  like  to  think  we're  what  we  ain't. 

We  like  to  pretend  tastes  and  fads  and  interests  and  pur- 
suits that  we  would  drop  like  year-bef ore-last's  second-hand 
coat  if  we  had  the  gump  to  come  out  and  be  ourselves. 

We  flog  our  wandering  minds  thru  endless  pages  of 
"deep"  stuff  and  try  to  look  bright  and  interested  about  it 
when,  really,  it's  a  pain  in  the  brain  rather  than  the  neck  and 
we  would  much  prefer  soaking  in  Elinor  Glyn  or  Ethel 
M.  Dell. 

We  look  interested  and  important  and  "wise"  when  some 
dried  leaf  begins  to  sprout  about  Neo-Platonism  or  Neolithic 
Man  or  some  ism  or  fossil  that  doesn't  really  register  a  beat 
by  natural  selection. 

We  like  to  think  and  we  like  others  to  think  that  we  play 
a  pretty  darned  serious  role  in  life,  no  kidding.  We  like  to 
give  the  impression  that  we  are  pretty  profound,  pretty  deep 
stuff,  if  only  other  folks  "understood"  us. 

The  screen  stars  haven't  been  exempt  from  this  merry 
malady.     Not  by  a  star-full. 

We've  all  been  regaled  by  photographs  of  some  pretty  lady 
"among  my  books."     We've  all  gone  blatting  thru  stories 
about    this    one    studying    the    morbid    psychology    of    the 
{Continued  on  page  89) 


Below  is  Constance  with   her   comparatively  new  hus- 
band,   Captain    Alastair    William    Mackintosh,    who    is 
a  familiar  figure  at  Newport,    Southampton  and  other 
gathering  places  of  the  elite 


Constance's  Creed 

I'd  rather  dance  than  read  any  dusty  tome 
ever  written. 

And  I  like  parties.  AH  kinds  of  parties.  I 
never  get  tired  of  them.     S'truth. 

People  tell  me,  well -meaningly,  that  I  ought 
to  employ  my  spare  time  to  "better  advantage" ! 
Why  ?     What  for  ? 

Anyway,  there  have  to  be  butterflies.  Or 
there  ought  to  be.  I  think  they  serve  their 
purpose  and  they  certainly  have  a  wow  of  a 
time.      I'm  for  'em.     No  kidding! 


H/Ks&sVLXJL 


Wallace    Beery,    pictured    here    with    Mrs.    Beery,    thinks 

that    the    restrictions    of    modern    life    are    destructive    to 

happiness.      He   would    choose   the   road   to   freedom 


Long  ago  Thomas  Ince  told  Florence  Vidor  that  nothing 

ever   brought    so    much    happiness    as    achievement.       She 

thinks  he  was  right  and   goes  on  to  say  other  interesting 

things   about    this   quest 


Which  Road  Leads 


Wealth  ? 

Fame? 
Success  ? 


? 


Till-",  most  coveted  gifts 
of  the  Fairy  God- 
mother in  all  the  ap- 
proved Fairy-Tales  were 
Health,  Wealth  and  Happi- 
[f  the  good  Dame 
smiled  upon  a  new-born  soul 
and  touched  the  future  with 
her  Magic  Wand,  all  was  well. 
In  those  three  simple  little 
words  lies  the  sum  of  all 
good.  That  is  one  point  upon 
which  fairy-tales  and  Life 
agree.  Health.  Wealth,  and 
1  lappiness ! 

But   granting   health    to   he 
just   what   the  dictionary  says 
it     is     freedom     from    bodily 
pain— and    wealth    to 
comparative,    just    what    is 
happiness?    Surely  it.  more 
than   any   other   quality    in 


Tom  Mix  thinks  most  people 
lose  their  chances  of  happiness 
because  they  are  forever  trying 
to  be  something  that  they  are 
not.  The  things  Tom  suggests 
take    courage    .     .     . 

30 


^  ;♦ 


Screen  Celebrities  Who  Enjoy  the 

to  Bring  Happiness 

Answers  to 


the  world,  is  personal.  There  is  no  standard. 
It  has  a  different  form,  a  different  color,  a 
different  meaning,  for  each  individual. 

You  and  I  know  what  makes  us  happy,  but 
have  you  ever  wondered  just  what  makes  or 
mars  the  other  fellow's  happiness?     Is  it  money? 
Success  ?     Fame  ?     Beauty  ?     Love  ?     What  is 
happiness?     What  is  your  happiness? 
With   these   questions    in   my   mind,   and   in- 
directly   on    my    lips.    I    wandered    around 
Hollywood,    where    the    Fairy    Godmother 
seems  to  have  more  Godchildren  than  in 
any  other  one  place  in  the  world. 
At   sunset   of  one  gorgeous  blue  and 
gold  day.  I   found  Elinor  Glyn  in  her 
Tower    Room   on  top  of   the   Hotel 
Ambassador.      The    horizon    was    a 
waxing    line    of    purple    mountains. 
The   foreground   was  a  vivid  room 
of  bright  clear  Chinese  colors,  and 
Madame    Glyn,    tho    wearing    gray 
and  very  pale,  was  the  most  vivid 
thing  in  the  room.     Hers  is  a  force, 
a  personality  that  one  feels  instantly 
— and    there    are    no    bizarre    trap- 
pings!    No  tiger  skins!     No  volup- 
tuous red  roses!      No  incense!     No 
shaded    lights!       The    whole    apart- 
ment was  flooded  with 
clear,  clean  California 
«      sunshine. 
^jrfj         "Happiness?"  she 
-       said  .    "  I  lapoiness  ! 


\J\GZ. 


Alec   Francis    has  watched   people   for.  years   now     .     .     . 
and   he  has  a  very   real  philosophy.      He   counts  friend- 
ship as  one  of  the   greatest  things  you   can   enjoy 


"Love   is   ecstasy    .     .     .    but   it   doesn't  last,"    says  John 

Gilbert.       "And    money    doesn't    bring    happiness.       Nor 

does  success" 


to  Happiness? 

Several  Things  Generally  Believed 
Ma\e   Surprising 
This  Question 


Well,  of  course,  perfect  communion  with  one 
you  love — communion  that  is  physical,  mental 
and  spiritual — that  is  happiness — but  that  is  so 
rare,  so  rare,  that  we  will  not  even  speak  of  it. 
Leaving  perfect  love  out  of  the  question,  there 
are   many   lesser  things — substitutes   that   give 
happiness.     Work,  well  done,  for  instance,  but 
the  thing  that  gives  me  more  personal 
happiness    than    anything    else    is    the 
knowledge  that  I  have  been  able  to  help 
someone — usually  some  young  person, 
to  realize  the  value  of  his  own  life — 
his  own  talents. 

"People  are  so  blind,"  she  said, 
"they  seem  to  have  no  conception  of 
life  in  its  broader  sense." 

"As    a    series    of    successive    In- 
carnations ?"  I   suggested. 

"Exactly,"      returned      Madame 
Glyn.       "I     would    like    to    write 
something. very  simple,  very  clear, 
that  would  explain  life  from  that 
angle — it   is   the   solution    of   all 
problems,  for  me. 

"But  getting  back 
to  happiness — my 
happiness,  let  me 
illustrate.  Just  re- 
cently, there  was  a 
young  woman,  bril- 
liantly talented,  who  was 
throwing  her  life  away — drink- 
ing.     It    was    tragic.      I    talked    to 


By 

DlVINELLE  BENTHALL 


Health? 
Marriage  ? 
Children  ? 


many  times.  I  begged  her,  I  implored 
her  to  consider  what  she  was  doing — 
to  understand  that  she  must  give  an 
accounting  of  her  gifts.  Finally  she 
began  to  listen — and  now  she  has 
won  her  way  back.  She  has  a  good 
position  again — writing  in  one  of  the 
studios.  That  has  given  me  great 
happiness." 

The  sun  was  sinking.  The  woman 
who  has  been  painted  in  the  most  sen- 
sational colors,  whose  name  has  be- 
come a  synonym  for  violent  passions, 
was  speaking  intensely  of  her  joy  in 
helping  — ■  another  woman  —  to  live 
understandingly.  There  was  no  pose 
about  it.  The  pose  is  the  characteri- 
zation of  Elinor  Glyn  which  has  been 
made  by  publicity.  There  ma}'  be 
(Continued  on  page  119) 


Elinor  Glyn,  pictured  here  in  the 
gown  she  wore  when  she  was  pre- 
sented at  court  in  England,  does 
not  claim  that  social  position 
brings  happiness.  She  believes 
that  happiness  and  perfect  love  are 
synonymous,  but  .  .  .  well,  that 
is  so  rare   .     •    . 

31 
PAG 


f 


New  Styles  That  Are  Old-Fashioned 


Rolled  stockings!  Tut, 
tut!  What  are  the  girls 
of  this  generation  com- 
ing to?  Yet  rolled 
stockings  do  not  appear 
to  have  been  unheard 
of  in  the  90's.  Com- 
pare the  photograph  of 
Estelle  Bradley  of  the 
Mermaid  Comedies  with 
the  old  picture  of 
Madge  Lessing,  a  musi- 
cal comedy  favorite  in 
a  now  forgotten  "Pass- 
ing Show" 


Take  Carmel  Myers' 
very  modest  slave  brace- 
let, for  instance.  Isn't 
it  for  all  the  world  like 
the  gold  necklace  worn 
by  the  Duchess  of  Lein- 
ster  in  that  era  of  puffed 
sleeves  when  ladies 
boasted  of  their  tiny 
waist-lines? 


I 


The  shoulder  corsage  is 
the  thing  today.  We 
never  think  of  wearing 
our  flowers  at  our  waist 
with  modern  dress.  Do- 
lores Costello  wears  her 
bouquet  on  her  shoulder. 
So  did  another  famous 
beauty  .  .  .  the  photo- 
graph above  shows  Lil- 
lian   Russell    in     1890 


'J  32 
ce. 


"MEESTAIR 
HALL . . . 

He  is  a 

good  actor  J 

says 

Pola  Negri 

By 

Helen  Carlisle 


F   the  shadow  of  the  Valentino  tragedy 
passes    across    this    interview    once    or 


I    twice,   it  is  because  the   shadow  lay  so 
heavily   on   Pola   Negri's   set  the  day   I 
met  her  new  leading  man,  James  Hall. 

The  interview  took  place  just  two 
days  before  Valentino's  death,  and  a 
dozen  watchmen  barred  the  closed- 
in  set  where  Negri  was  trying  so 
desperately  to  continue  her  work 
on   ''The   Hotel   Imperial." 

I    was    permitted   on   the    set, 
which     was     shut     away     even 
from  the  press,  because  I  was 
— I    am — Pola's    friend.       The 
star   sat  erect,   her  body  tense, 
her  hands  clasped  tightly.     Her 
eyes    stared    steadily    ahead    at    the 
set.     Not  a  muscle  of  her  face  or 
body  seemed  to  move,  except  at  the 
director's  sharp  call  for  action. 

Then  she  and  James  Hall  leaped 
forward  into  their  scenes — scenes 
in  which  she  is  endeavoring  to  aid 
her  wounded  lover  to  escape  from 
the  soldiers  who  are  bent  on  cap- 
turing him. 

I  do  not  ever  expect  to  see  screen 
and  life  tragedy  enacted  simultane- 
ously before  my  eyes,  again. 

But,  in  those  brief,  tense  mo- 
ments, when  Hall  wasn't  working, 
he  hurried  over  to  my  side,  and 
told  me  something  about  himself. 
He  is  Lasky's  newest  leading  man, 
and  his  first  picture,  opposite  Bebe 
Daniels  in  "The  Campus  Flirt,"  is 
now  being  released.  Not  only  did 
this  clean-cut,  blue-eyed  young 
man  distinguish  himself  in  the  first 
picture  in  which  he  ever  appeared, 
but  immediately  thereafter  he  was 
chosen,      against     all     comers,     as 


Pola's 
1  e  a  ding 
an.      Tests 
were    made    of 
many  prominent 
actors  —  but    Hall    won 
the  part.    All  of  which  shows  that 
James  Hall  is  quite  an  unusual  young  man. 
He's   always  been  somewhat   unusual, 
it  would  seem.     Back  in  his  home  town 
of  Dallas,  Texas,  his  parents  applied  an- 
other word.      Shocking.      For   what   nice 
youngster  in  his  early  teens   would  slip 
away    from    home    whenever    a    theater 
hung  out  an  "Amateur  Night"  card,  and 
dodging  the  cabbages  and  eggs  of  an  un- 
admiring   audience,    put   on   a    song-and- 
dance  turn?    This  James  Hall  did,  again 
and  again.     He  insisted  on  dancing,  and 
singing,    too.      He    says    laughingly   now 
that  the  former  was  better  than  the  latter. 
By  some  firm  means   he  was.  kept  in 
high  school  for  two  years.     But  he  found 
an    outlet    for    his    ambition    even    then. 
Many  a  time,  when  his  parents  sat  at 
home  wondering  where  their  wan- 
dering  boy   was    that,  night,   they 
might,  have   found  him  in  one  of 
the    local    theaters    working    as    a 
"super,"  which  is  in  stage  parlance  what  "extra"  is 
to  the  screen.     He  was  Sound  of  Voices  Off-Stage, 
he  was  My  Lord,  the  Carriage  Waits,  he  was  with 
many  others,   the   Merry   College   Boy   who   Cheers 
for  Our  Side,  indeed  he  was  everything  except,  as 
he  says,  "a  bloodhound  chasing  Eliza." 
(Continued  on  page  94) 


This  clean-cut,  blue-eyed  young  man  distinguished 
himself  in  his  first  picture,  "The  Campus  Flirt,"  in 
which  he  played  opposite  Bebe  Daniels,  and  he  was 
immediately  chosen,  against  all  comers,  as  Pola's 
eading  man.  Tests  were  made  of  many  prominent 
actors,    but    Hall    won    the    part 

33 

PAG 


I 


k\V 


3  *^S3  i 

■ 


mm 


Inexpensive  Christmas  Gifts  which  early  shoppers  may  purchase  thru 

Miss  Corson's  Shopping  Service  For  "^ttffg1  **•"' 


Lag 


\ 


App 


nstmas 
roaches 


DEAR   PATSY: 
I've    seen   her   again,    and    that's 
enough    to    make    it    a     red-letter 
month Who  ?    Dont  be  sil' — Florence 


Florence  Vidor  wears  a  smart 
crepe-back  satin  frock  in  three 
shades  of  green,  the  new  velvet 
high  hat,  also  in  green,  and  the 
Regny     silver     necklace     with 


Grace  Corson  is  a  fashion  artist  of  great 
prestige.  She  was  previously  associated 
with  Harper's  Bazar  and  her  entree  to 
the  Fifth  Avenue  shops  and  ateliers,  to- 
gether with  her  motion  picture  contacts, 
makes  her  the  ideal  fashion  editor  of  the 

MOTION  PICTURE  MAGAZINE 


Greta  Nisson  in  an  odd  draped  turban 

of     striped     brocade    with    plume     in 

rainbow    colors.       The    necklace    and 

earrings  are  of  tiny    coral  beads 


Personal  Advice 

Anyone  constantly  in  the  world  of  fashion 
.  .  .  anyone  who  attends  the  smart  open- 
ings at  the  exclusive  ateliers  of  the  modistes 
.  .  .  in  other  words,  anyone  with  the  back- 
ground of  Grace  Corson,  is  well  able  to  give 
advice  .  .  .  advice  that  should  prove  in- 
valuable. 

And  Miss  Corson,  in  a  special  service  to 
the  readers  of  MOTION  PICUTRE  MAGA- 
ZINE, will  be  very  glad  to  give  her  personal 
attention    to    any    questions   you    wish    to    ask. 

However,  it  is  extremely  necessary  that 
you  give  her  every  detail  about  your  appear- 
ance, enclosing  a  full-length  snap-shot  when 
it  proves  possible  to  do  so. 

Address: 

Miss  Grace  Corson,  Fashion  Editor, 
Motion    Picture   Magazine, 
175   Duffield  Street, 
Brooklyn,   New  York 

And   be   sure   to   give   the   following   details: 
Height  Color  Hair 

Weight  Color  Eyes 

Complexion  Name  and  Address 


Vidor,  of  course!  If  you  could  only 
have  been  with  mc  that  day.  Aside 
from  being  the  dearest,  most  lovable — 
oh  what's  the  use,  there  aren't  words 
enough.  She's  just  about  perfect— but 
aside  from  that,  she  knows  more  about 
the  art  of  dressing  beautifully  than  any 
other  woman,  with  perhaps  the  exception 
of  Alice  Joyce,  in  this  movie  game. 
Mai  St.  Clair,  the  young  Lubitsch,  you 
(Continued   on,  page  103) 


Alice  Joyce  wearing  a  top-coat  of 
cocoa  tweed  with  tan  caracul 
trimming.  The  tight  hips  and 
loose  top  are  important  features 
for  winter.  Hat  of  rose-beige 
silk   felt  with   high  draped   crown 


35 

PAG 


I 


w 


1 


-f « 4 


He  was  a  funny  little  boy, 
a  little  boy  usually  solemn 
and  desperately  in  earnest, 
for  the  wolf  of  hunger 
stalked  close  at  his  heels. 
But  he  had  a  sudden  smile 
that  beguiled  the  customers 
who  bought  his  newspapers 


When  he  joined  a 
medicine  show,  he 
sold  unheard-of 
quantities  of  medi- 
cine, and  all  by 
means  of  laughter. 
He  sang,  danced, 
wisecracked  and 
doubled  in  the  actual 
selling  of  the  medi- 
cine 


That  Funny 

Or  is  Harry  Langdon  sad  .  .  . 
figure  trudging  along 


By  Madeleine 


ONCE  upon  a  time  (way  back  in  Council  Bluffs,  Iowa) 
there  lived  a  little  boy.  His  parents  were  very  poor  and 
a  penny  looked  to  him  as  big  and  as  exciting  as  a 
twenty-dollar  gold  piece  looks  to  the  average  boy  today. 

He  went  to  the  public  schools  until  lie  was  ten  years  old,  then 
the  days  grew  so  lean,  the  struggle  so  bitter,  he  was  obliged  to 
leave  school  and  sell  papers  to  help  out. 

He  took  up  his  stand  opposite  the  largest  theater  in  town. 
The  selling  of  papers  progressed  slowly,  for  the  boy  was  so 
thrilled  by  imagining  what  went  on  inside  the  theater  that  he 
would  forget  to  call  out  his  wares  and  stand  there — just 
dreaming ! 

He  was  a  funny  little  boy,  a  little  boy  usually  solemn  and 
desperately  in  earnest,  for  the  wolf  of  hunger  stalked  close  at 
his  heels.  Food  was  scarce  and  not  always  forthcoming.  But 
in  spite  of  this  he  had  a  sudden  smile,  a  smile  that  beguiled  each 
customer  and  made  him  smile  in  return. 

At  home  there  was  a  mother,  the  kind  you  used  to  read  of 
but  seldom  see  these  days — a  mother  who  made  apple  pies  and 
cookies  when  times  were  plentiful. 

To  her  he  brought  glamorous  tales  of  stage  folk,  of  kindly 
actors  (who  never  asked  for  change)  ;  of  actresses  in  gowns  that 
rustled,  who  carried  ermine  muffs  and  smelled  of  violets  even 
in  the  dead  of  winter. 

He  told  his  mother  of  the  throngs  that  crowded  past  him 
after  each  performance,  the  throngs  who  left  the  theater  with 
laughter  and  tears  still  lingering  in  their  eyes  and  blinding  them 
to  the  small,  eager  boy  who  stood  there  clutching  his  papers 
with   frost-bitten   fingers. 

To  him  the  tinsel  was  gold,  the  make-believe  world  of  the 
theater  the  only  real  world  and  a  place  of  growing  enchantment. 

A  chance  came  to  he  call-boy  in  the  theater  and  he  grabbed 
it.  Then  he  became  usher,  and  later  filled  the  positions  of 
cashier,  advertising  man,  and  janitor.  And,  most  wonderful  of 
all,  several  times  he  filled  in  for  missing  actors. 

Ifis  ambition  grew,  he  entered  amateur  night  contests  and 
came  out  with  honors  and  prizes  which  he  brought  home  proudly 
to  his  mother. 

About  this  time,  a  medicine  show  came  to  town.     There  was 


$  %    Wn 


Little  Man 

a  Pierrot  ...  a  gentle,  lonely 
the  road  of  the  world? 


Matzen 


an  opening  for  someone  who  could  sing,  dance,  wisecrack  and 
double  in  selling  medicine.  Dr.  Staley  ran  die  show  and  he 
took  the  boy  with  him  when  he  left  town. 

The  boy,  now  almost  grown,  played  for  several  years  with 
this  and  other  medicine  shows. 

He  sold  unheard-of  quantities  of  medicine  for  them — and 
all  by  means  of  laughter.  And  the  medicine  worked  wonders,  or 
perhaps  it  was  laughter  that  made  the  cures  ? 

From  the  medicine  shows  he  went  into  traveling  stock  com- 
pany and  played  every  part  from  Little  Eva  to  old  character 
roles.     Then  came  vaudeville  on  a  small-time  circuit. 

Hard  years  followed — the  struggle  for  recognition  was  a 
heart-rending  thing.  Laughter  and  hope  almost  died  for  lack 
of  appreciation.  Many  times  the  bo"y  walked  and  bummed  his 
way  home — broke.  Only  to  start  out  again  with  a  new 
company  and  the  encouragement  of  his  mother  to  uphold  him. 

By  the  time  he  was  twenty-one  he  had  done  about  everything 
that  was  to  be  done  in  the  way  of  work  connected  with  the 
theater. 

These  years  were  filled  with  disappointment,  with  drudgery 
without  reward.  They  were  years  during  which  ambition  faded 
away  to  a  mere  ghost  of  itself.  But,  oddly,  the  tinsel  of  the 
stage  still  shone  like  a  precious  thing  to  him. 

Out  of  the  bitterness  grew  a  gentle,  unembittered  conception 
of  the  miseries  that  beset  boys  who  persist  in  dreaming.  This 
conception  took  shape  and  finally  became  one  of  the  most  lovable 
and  delightful  screen  characters  the  world  has  ever  seen.  For 
the  boy  was  Harry  Langdon,  and  the  Harry  Langdon  that  you 
see  on  the  screen  today  is  the  boy  Harry  that  smiled  his  funny 
crooked  smile  and  refused  to  give  up  his  dream. 

Mack  Sennett  says  that  Langdon  is  the  greatest  comedian 
in  the  world  today — and  that  he  has  only  begun.  His  future 
is  brighter  and  more  full  of  promise  than  that  of  any  star. 

And  Mr.  Sennett  should  know — if  anyone  does ! 

"I  couldn't  seem  to  make  a  dent  in  the  theatrical  world,"  Mr. 

Langdon  told  me,   "until   I   wrote  a   skit   of   my  own,   called 

'Johnny's  New  Car.'     I  toured  the  Orpheum  circuit  in  that  act 

for  nearly  ten  years.     I  wasn't  a  head-liner — but  I  COULD 

(Continued  on  page  96) 


Mack  Sennett  says 
that  Langdon  is  the 
greatest  comedian 
in  the  world  today 
.  .  .  and  that  he 
has  only  begun  .  .  . 
and  that  his  future 
is  brighter  and 
more  full  of  prom- 
ise than  that  of  any 
star 


If  Christopher 
ley  met  him 
would  most  certainly 
write  him  into  a 
story  .  .  .  he  is  that 
sort  of  person  .  .  . 
charmingly  and 
amusingly     impulsive 





---  - 


Enter 

and 

Exit, 

Smiling 


Beatrice  Lille  is  a  riot 
and  a  knockout  .  .  . 
even  if  she  is  \novdn  in 
British  society  as 
Lady  Peel 

By  Helen  Carlisle 


rk-t  Loui 


Hollywood    took    her    seriously.       And    heaven    knows    what    they're    paying    her. 

She   is   so    funny    that   doubtless    she    could   make    Louis   B.    Mayer    laugh    merrily 

as  he  signed  her  up  for  a  salary  that  would  startle  Gloria  Swanson 


I 


BEATRICE  LILLE,  known  in  English  society 
circles  as  Lady  Peel,  wife  of  Sir  Robert  Peel  and 
mother  of  the  five-year-old  Honorable  Bobby, 
swung  her  car  to  the  left,  as  does  any  good  Brit- 
isher when  in  doubt.  Traffic  regulations  in  Great  Britain 
you  doubtless  know,  the  exact  reverse  of  those  we 
follow  in  America. 

Unfortunately  for  Lady  Peel,  there  simply  wasn't  any 
left-hand  turning.     She  was  in  America,  furthermore  she 
one  of   those   tricky  narrow   roads  leading  down 
from   the   star-crowned  heights   of    Beverly    Mills.      She 
was  Alone  with  no  sturdy  American  to  Save  Her.    Also, 
a  Hark  Night. 
<  )ver  went  the  car  down  the  side  of  the  ravine,  spiraling 
quite  neatly.     Over  went  the  Lady   Peel.     Some- 
luring  the  Grand  Tour  she  jumped,  and  came  to 
an    hour    later    feeling — er — decidedly    banged    up. 
Ibert  fortunately  lived  not  far  away.     In  the  midst 
ry  or  revelry,  as  the  case  may  be,  his  door-bell 
ther  feebly.    Opening  the  door,  he  found  not  Lady 
t  Beatrice  Lille,  most  famous  comedienne  of  the 
38 


stage  today,  on 
hands  and  knees 
before  him,  re- 
garding him  with  the  pleading  eyes  of  a  hopeful  puppy. 

"My  God,  Bee,  what  has  happened?"  asked  the  horri- 
fied Gilbert,  noting  the  torn  and  bedraggled  condition  of 
Miss  Lille. 

With  that  inimitable  sidelong  glance  which  has  sent 
thousands  of  theatergoers  into  hysterics,  Miss  Lille  said: 
"Heard  there  was  a  party.     Came." 

Shortly  thereafter  I  met  Miss  Lille  at  the  Metro- 
Goldwyn  Studios,  where  she  is  appearing  in  her  first 
screen  production,  "Exit,  Smiling,"  with  Jack  Pickford  as 
her  leading  man.  She  was  dressed  in  a  man's  suit,  her 
boyish  cropped  black  hair  was  brushed  sleekly  back — and 
she  wore  a  mustache.  1  had  seen  her  in  the  stage  pro- 
duction, "Chariot's  Revue,"  and  had  wondered  at  the  time 
if,  in  every -day  life,  she  was  as  subtly  funny  as  she  is  be- 
fore the  footlights. 

I  was  quite  astonished  to  find  that  she  is  exactly  that. 
(Continued  on  page  115) 


A  Negri  Dinner  Menu 

Caviar 

Lettuce  Soup   en   Tasse 

Squabs     Champignon 

Poulet    a    la    Champeaux 

Potato   Fritters                Latticed  Cucumbers 

Peaches    Thai's 

Cafe  au  Lait 

Are  Your  Dinner-Parties  Events? 

A  few  suggestions  from  Pola  Negri's  kitchen  which 
will  interest  the  hostess 


DINNER  with  Pola  Negri  is  an  event.     Lucky  in- 
deed  is   the   invitation   that   brings   a   bidding   to 
Pola's    colonial   house   in    Beverly   Hills    for   the 
hour   of    eight.     Joseph   Hergesheimer.    for   one, 
found  dinner  with  Pola  his  most  vivid  memory  of  Holly- 
.wood,  judging  from  his  reminiscences. 

Mr.  Hergesheimer  wrote  in  particular  of  the  classic 
beauty  of  Pola's  table.  Long  and  narrow,  carved  of 
wood,  it  is  laid  even  on  informal  occasions  with  beauty 
and  elegance.  Covered  with  a  mantle  of  Venetian  lace, 
a  mirror  of  Venetian  cut  glass  and  decorated  in  garlands 
of  fresh  fruit — apples,  pomegranates,  pears,  figs,  peaches 
and  lemons,  twined  with  grape  and  fig  leaves,  it  presents  a 
setting  as  colorful  as  a  Mediterranean  orchard. 
To  strains  of  Russian  music  the  dinner  is  served. 
Caviar :  Served  on  strips  of  thin  toast  as  an  Iwrs 
Wccuvre.  May  be  garnished  with  finely  grated  egg  and 
served  with  parsley. 

Lettuce  soup  en  tasse  :  Boil  three  large  heads  of  lettuce 
until  soft,  then  rub  thru  a  fine  sieve.  Add  six  cupfuls  of 
strong  beef  stock.  Season  with 
salt,  pepper  and  lemon-juice 
(Sherry  can  be  used  for  the 
lemon,  if  preferred).  Bring  to 
hnil   anrl    verve   immediately. 


Joseph   Hergesheimer  found   dinner  with  Pola 
one    of    his    most    vivid    memories    of    Holly- 
wood.     He   wrote    in   particular   of  the   classic 
beauty  of  Pola's  table 


Squabs  champignon  :  Prepare  squabs  same  as  broiled 
chicken.  Split  and  season  well  with  salt,  pepper  and 
plenty  of  butter.  Mushrooms ;  for  every  two  pounds 
of  mushrooms  put  quarter  of  a  pound  of  butter  and  juice 
of  lemon  in  saucepan.  Clean  the  mushrooms.  Rub  them 
together,  as  this  tends  to  whiten  them.  Drain  them  from, 
water.  Put  in  saucepan  and  let  boil  on  quick  fire  for 
three  minutes.  Serve  with  squab  on  toast  with  parsley. 
Poulet  a  la  Champeaux:  Cut  chicken  into  ordinary 
pieces.  Color  them  in  butter.  When  a  golden  brown,  add 
chopped  parsley.  Moisten  with  white  wine  or  a  glass  of 
sherry  and  a  little  strong  gravy.  Cook  until  tender  in 
covered  saucepan. 

Potato  fritters :     Mashed  potatoes  rolled  into  cakes  and 
dropped  until  golden  brown  in  boiling  grease. 

Latticed  cucumbers  :     Cucumbers  shaped  and  diced  and 
served  with  French  dressing. 

Peaches    Thais :      Consists    of    poached    peaches    with 

puree    of    strawberries    and    fresh    almonds    covering    a 

vanilla  ice  inserted  in  the  fruit  in  place  of  a  stone.     The 

fruit  is  cut  into  halves,  the  ice  inserted  and  covered  with 

the  puree. 

Cafe  au  Lait :  Coffee  with 
milk.  When  coffee'  is  made,  add 
two-thirds  of  boiling  milk  to 
one-third  of  coffee. 

39 
PAG 


i 


See  Prize  Offer 
on  Page  82 


Synopsis  of  first  Chapters  on 
Page  SO 


i 


I 


X   her  unconsciousness,   Judith   lost   all 

of    time.      But    the    little    gold 

'     hands    of    the    bedside    clock    with    its 

muffled    tick  told   her  that   it  had   only 

i     five     minutes     ago     that     she     had 

>ped  to  the  floor,  stunned  and  hurt. 

-he   was  lying  on  the  bed.     And 

bending  over  her  while  I  [arvey 

1    at    the    foot    of    the    bed,    distrait   to 

essness.      Lillian    bathed   her   temples 

a   saturated  handkerchief. 

,'here    .    .    .    where  am    I  ?"  her  voice 

akly  timbred.     She  smiled.     "I  low 

ii    me,"   she    forced    herself    to   talk 

over  the  wall  of  lethargy  she  felt,  knowing 

rould    reassun     them.      "Mow   trite. 

ays    that    when    they   come    out 

of  a  faint." 

From  under  half -closed   lids   which   she  lacked    volition 

-aw  Harvey's  eyes,  beseeching  for  Eorgive- 

\nd  her  desire  to  save  him  before   Lillian  over- 

ed  her  inclination  to  slip  again  into  unconsciousness. 

'Funny  that  I  should  have  fainted,"  she  said.     "I   must 

•'ii  working  too  hard.     Xo  luncheon.   .    .    ." 

40 


CRAZY 

The   Story   of  a   Movie   Star 
World  but  the  One  Thing  Which 


By  ADELE 


Lillian  said  nothing.  She  bent  heavily  over  Judith, 
cooling  her  eyeballs.  They  felt  so  heavy  that  Judith  was 
grateful  for  the  lotion.  Her  wrists  and  her  throbbing 
temples  lined  with  deep  blue  veins  also  responded  to  the 
stimulating  saturation. 

Harvey    was    entirely    sobered.      The    shock   of    seeing 


''What  I  mean  is,"  said  Sonia, 
"dont  expect  Harvey  never  to 
stray  from  the  fold.  You'll  get 
only  heartbreak  if  you  go  on  that 
premise" 


Illustrations 

by 

Henry 
Pilgrim 


QUILT 

Who  Had   Everything   in    the 
She  Wanted  Above  all  Others 


Ormiston 


Judith 
irunkt 


wit. 

J" 

she  fe 


mscipus    on    the    floor,    because    of    his    own 
1,  had  quickly  brought  him  to  his  senses. 
1  talk,"  he  said  in  a  voice  that  was  intense 
and  a  certain  self-loathing, 
d  why  she  was  not  angry  with  him,  why 
ring  love. 


"Has  Miss  Cameron  called  yet?"  she 
asked. 

Harvey  shook  his  head. 
"No,    she    ain't   come    yet,    Miss    Judy. 
Not  yet,"  Lillian's  voice  was  a  mournful 
drone. 

"I  will  see  her,"  Harvey  said.  "Dont 
worry  about  her,  Judith.  She  will  come 
again  another  time." 

But  Judith  shook  her  head.     "I  feel  all 
right,"  she  lied  as  she  raised  herself  in  bed 
with    a    certain    stoicism.      She    was    cold 
with  the  nausea  of  weakness.     "If  some- 
one would  help  me  to  the  dressing-table. 
"Harvey,  dear,  will  you?" 
This  was  her  gesture.     She  must  show 
Harvey   that   she   still  looked   to   him   for 
comfort  and  protection. 
Lillian   stood   aside,   her   very   silence   speaking  of   her 
disapproval. 

"Kaint  hardly  sit  up  and  she's  tryin'  to  stan'  up,"  she 
finally  said  as  Harvey  led  Judith  to  the  vanity  bench. 
"An'  how  you  gwine  see  nobody  with  that  bump  on  yourn 
hade's  mor'n  I  kain  see." 


41  P 

PAfil/ 


Women  m  known  to  love  men  not  only  in 

spite  o,       jir  faults  but  because  of  them' 


would  have  killed  myself,''  he  said  without  any  affecta- 
tion.    "It  would  have  been  intolerable." 

"Oh,  Harvey,"  said  Judith,  "if  this  has  taught  you  a 
lesson,  I  can  be  glad  it  happened." 

Lillian    interrupted   them.      But    Harvey   did   not   rise. 
"She's  down-stairs,"  said  Lillian,  "smoking!     I  tol'  her 
you  all'd  be  right  down." 

Judith    was    a    little    doubtful    whether    Miss 
Cameron  had  understood  Lillian's  jargon. 

"You    had    better    see    her,"    Judith    told 
Harvey.     "I'll  be  down  as  soon  as  I  can 
slip  into  another  dress." 

"I  tole  her,"  Lillian's  protest  was  a 
shrill  pronouncement. 

"All  right,  Lillian." 
Judith  instinctively 
took  the  tone  you  take 
with  a  child.  In  truth, 
that  was  all  Lillian 
seemed — a  great, 
mple  and  adoring 
creature.  "You  go  pre- 
pare the  tea.  Nicely, 
now.  As  I  explained 
this  morning.  Re- 
member !" 

She    thought    it    best 
i  Cont'd    on    page    80) 


I 


Judith    sank 
to   the   bench    grate- 
fully.    The  room  reeled 
so. 

There  was  a   fresh  tube 
ase-paint  in  the  dress- 
ing-table drawer. 

Her  fingers  picked  it  up 
without  actually  feeling  it. 

"I'll  fix  that  bum])  in  a 
minute,  Lillian,"  she  said, 
"Watch  me." 

The    bell    rang.      Everyone 

"Tell  her  I  will  be  right 
down."  Judith  instructed  Lil- 
lian, who  left  the  room  with  a 
grumble  of  disapproving  complaint. 

Harvey  stood  behind  Judith  as  she 
manipulated  the  grease-paint  with  un- 
steady fingers  dial  refused  to  hurry. 

"Will  you  speak  to  me?"  Harvey  asked  her, 
"or  would  you  rather   I   went  away?" 
Judith  turned  to  him. 

"Dearest,"     she     said,     "yon     did     nothing." 
there    was    a    certain    emphasis    in    her 
that   saved   diem    from   being  enigmatic.     "When 
you  have  been  drinking,  you   are   not  you.      You   seem  a 
luddated. 
Mi-    eyes    were    frightened    when    he   came   over   to   her 
and  knelt  beside  her  slim  knees      I  lis  contrition  seemed  to 
Itterly  devitalized   him.      The   spirit  that   dominated 
him  wa>  gone. 

"My    God,"    he    groaned,    "1    thought    yotl    were    dead. 
50  white  and  you  lay  so  still." 

I  ;in  at  the  remembrance.     "I 
42 
Bi. 


%> 


' 


His  eyes   were   frightened   when   he   came   over   to   her 

and    knelt    beside    her   slim    knees.       And    when    Lillian 

interrupted   them,    he    did    not    r:.se 


Look  Dorothy  up  in  "Burke's  Peer- 
age" or  his  "Landed  Gentry,"  and  read 
of  the  Woods  and  Wallaces,  also  her 
ancestors,  in  early  American  history 


It    is    Dorothy's    mother    who    treasures 

the    family   tree   and   the    coat    of   arms. 

Dorothy    is    busy    seeking   new    fields   to 

conquer 


A  Little  Girl  With  a  Long  Pedigree 


When  Dorothy  Dwan  knocked  at  the  portals  of 
a  family  tree  that  dates  back  as  for 

ON  her  mother's  side,  the  line  traces  di- 
rectly back  to  the  father  of  Sir  William 
Wallace,    the    famous    Scotch    patriot, 
born   in    1270.      Lewis   Wallace,    noted 
author  and  writer  of  "Ben  Hur,"  recently  filmed 
by  Metro-Goldwyn-Mayer,  is  also  a 
direct  descendant  of  this  same  Wal- 
lace.   The  family  is  one  of  the  oldest 
in  Scotland,  and  their  Elderlie  castle 
is  still  intact.     From  a  family  always 
noted   for  valor   and  fighting   blood, 
Dorothy    brings    these    attributes    to 
Hollywood,   a   world  of   Spartanism. 
Look  her  up  in  "Burke's  Peerage"  or 
"Landed    Gentry"    and    read    of    the 
Woods  and  Wallaces  in  early  Amer- 
ican history.    They  fought  the  Indians 
and  hewed  timbers  for  homes. 

Students  of  Virginia  and  Mary- 
land history  well  know  the  names  of 
Briscoe  and  Hanson,  which  families 
controlled  the  wealth  of  the  latter 
state  for  a  hundred  years.  And  it  is 
down  thru  these  well-known  aristo- 
cratic old  families  of  the  South  that 
the  blood  of  Europe  and  America 
came  to  Dorothy.  Briscoe  Hall  in  England 
is  another  ancestral  home  ready  to  welcome 
its  Hollywood  daughter. 

The  forbears  of  this  little  blue-blooded 
scion  of  aristocracy  bore  arms  in  every  war 
in  America — generals,  colonels,  caplains  in 

her  slender  little  figure  could 
bars  to  which  she  is  entitled  in  the 

le  Colonial  Dames,  Daughters  of  the 

le  Dove  and  Ark  Society. 

"they"    contend    that    there    are    no 
c  dl-bred    people   in   the    motion   picture 

v\  btless  there  are  many  others  in  Holly- 

w  juld  lay  claim  to  family  trees  of  almost 


Kleig  fame,  she  brought  with  her 
as  the  first  Irish  kings>  about  WOO 


as  much  pretension  as  Dorothy's.     B 
said  before,  American  peerage  and  nob 
unheralded,  especially  when  it  comes  to  the  n 
ies.      We    cannot    help    wondering    what    those 
charming    but    haughty    dames 
who  attend  the   National   Con- 
vention of  the  Colonial  Dames 
or  Daughters  of  the  Revolution 
would  think  if  a  young  motion 
picture    star    should    pop    into 
their    meeting    with    more    bars 
on  than  any  one  of  them. 

"Fill    a    glass    to    the    heroes    whose 

swords  kept  us   free, 
Right  descendants  of  Wallace,  Mon- 
trose   and    Dundee. 
"Honor,    anger,    valor,    fire,    Spirit   that   life 

could  never  tire, 
Death     quench,     or     evil     stir,     the     mighty 
Master  gave  to  her." 

What's  in  a  name?  Only  tradition 
— but  tradition  keeps  the  world  going. 

Hollywood  gets  all  agog  every  time 
a  new  remnant  of  old  European  nobil- 
ity comes  to  town.  The  papers  herald 
him,  or  her,  on  the  front  pages.  Cast- 
ing directors  say,  "Send  Him,  or  Her 
in." 

But  what  about  our  own  nobility? 
Right  here  in  filmdom  ? 

Americans,  the  greatest  democrats, 
are  after  all  the  saddest  snobs  in  the 
world.  They  will  crowd  and  crane 
their  necks  to  look  at  nobility  any  day 
— European  nobility,  but  do  they  get 
excited  over  American  nobility?  No 
— it  goes  unheralded  and  unsung. 
Does  Hollywood  ever  suspect  that  a  pretty  extra 
girl  might  have  a  pedigree  a  mile  long?  Does  the 
(Continued  on  page  95) 


43  |> 

PA6U 


Motion  Picture  Junior 


Vol.  II.  No.  6 


December,  1926 


The  J 


unior  Answer 


M 


an 


Joe  Frank  Cobb  Answers  the  Ques- 
tions Sent  to  Him  in  Care  of  Movie 
Jr.,   175    Dumeld   Street,   Brooklyn, 
New  York 


COLLEEN  MOOR]-.  AD- 
MIRER—Colleen's  next  pic- 
ture will  he  "Twinkletoes." 
It  will  he  produced  at  the 
First  National  Studios  in 
Burbank,  California.  Richard 
Dix  is  at  Famous  Players 
Studios,  6tli  and  Pierce 
Avenues,  Astoria,  Long  Is- 
land. He  has  just  been  chosen  to  appear 
in   I).  W.  Griffith's  next   production,   "The 

White   Slave. 1'he  Quarterback"   will  be 

•  \t  release. 

DOROTHY     S.— You     can     write     to 
Clara   Bow  at   Famous   Players   Studios,   1520  Vine   Street,   Holly- 
wood.  California.     Conrad    Nagel   and   Antonio   Moreno  are  at  the 
Metro-Goldwyn      Studios,      Culver      City,      California.        Alberta 
Vaughn   is   at    F.    P.    O.    Studios,    780   Gower    Street,   Hollywood, 


at    Warner    Brothers 
ward,     Holly  w  ood, 


Farina     cannot     fool     us 
know  her    (or   should   we 

in    spite    of    the    big    shoes 


California,  and  Irene  Rich  i 
Studios,  5842  Sunset  Boul 
California. 

MARY  L.— Betty  Bronson  was  horn  m  Trenton, 
New  Jersey,  November  17,  1906.  You  can 
write  to  her  at  Famous  Players  Studios,  6th 
and  Pierce  Avenues,  Astoria,  Long  Island. 
Mary  Pickford  has  returned  from  abroad  and 
can  be  reached  at  Pickford-Fairbanks  Studios, 
Hollywood,  California.  Anna  Q.  Nilsson  is  at 
F"irst  National  Studios,  Burbank,  California. 
Mary's  last  name  is  Kornman.  She  is  the  only 
girl   in   "Our  Gang." 

WALMAR  G.— I  am  sure  Colleen  Moore 
will  be  glad  to  send  you  her 
photograph  if  you  write  to  her  at 
First  National  Studios,  Burbank, 
California. 

RUBY    B.— Ruth    Roland   will 
return     to     the    screen     in     "The 
Masked  Woman,"  in  which  Anna 
Q.     Nilsson     is     featured.       Ben 
Lyon    is    twenty-five    years    old. 
Corinne    Griffith's    hair    is    light 
brown   and    she   is   five   feet   four 
inches  tall.    Lloyd  Hughes  was  born  Octo- 
ber 21,   1897.     Viola  Dana  was  born  June 
28,    1900,   in    Brooklyn,    New    York. 

ELLEN    G. — Greta    Nissen   is    returning 

to  the  screen  in  "The  Popular  Sin."      Did 

you   know   that   Youcca   Troubetskoy   is   a 

Russian    Prince?      He    was    born    in    Los 

Angeles,   California,  about  twenty-five  years  ago. 

ILA  GRACE  A. — Clara  Bow  is  one  of  our  Fame  and  Fortune 
Contest  winners.  She  was  born  in  Brooklyn,  August  8,  1905. 
Her  next  picture  will  be  "Wings."    She  is  not  married. 


Tommy  Is  Her  Nickname 

Because  Thomasina  Is  Too  Big  a  Name  for  Such  a  Little  Girl 


*~r nis  is  Tommy    Mix   with  her  mother  and  daddy. 

Her   real   name  is   Thomasina,   but   she's  too   little    for   such 
long   name.     She's  only    four. 

Bu1    she's    been    across    the    ocean    on    a 
great    big   boat — wasn't    seasick   a   bit,   be 
i  ause   her   daddy    has    a   yacht    at    home 
and  she  learned  how   to  creep  on  the 
deck! — and    she    has    seen    all    sorts 
of    queer    countries. 

She-    liked    Paris    best — not    be- 
cause of  the  clothes  you  can   buy  i 
then,   but   because  they   have  such 
beautiful    parks,   and   in   the   parks 
are     little     boys     and     ^irls     who 

■  ing-  around-  rosy    with  1 

Tommy.  1 

Her   mother  and   daddy   sent   her 
lifornia    ahead    of    them,    be- 
they   had  to  stop  in   so   many 
thai    a   little   girl   would   have 

■  rj  tired.  So  when  they  came 
home,  Tommy  went  in  a  car  to  unit 
On  m.      \ud  what  do  you  think? 

It    rained    and    the    roads    were    slippery. 

Tommy   was  in  a  great   big   car   with  her 

:,d    some    other    people.       She    couldn't 
UCh   out    of    the    Window,    because    the    rain 

uch  a  splash,  but  all  of  a  sudden  there  was 
a  terrible  noise  and    bang!   smash!     A   great  big 


1 


ly   hag   her   own   pony   and   she 

well 


ruck  came  flying  out  at  them  from  a  side  street  and  sent  their  car 
ickety-split  across  the  pike!  The  glass  broke  and  poor  little 
Pommy  was  cut  and  bumped  her  head. 

But  she  didn't  cry.     Even  tho  she  had  a  big 
red  bruise  above  one  eye,  she  only  looked 
solemn    and    asked     when    they'd    find 
mother  and  daddy. 
"Oh,    it    will    upset   her   daddy   ter- 
ribly!" the  rest  of  the  people  said, 
and  decided  not  to  tell   him  about 
it  until  after  he  had  been  met  by 
all   the    Indians,   cowboys    and   na- 
tive sons  who  were  gathered  at  the 
station.      So    they    brushed    Tom- 
my's hair  over  the  bruise  and  ex- 
plained  it   to   her,   and   never   once 
(lid   Tommy   put    her  finger  on   tin 
bruise    and    say       "Lookit    where    I 
hurt  me!"  as  some  little  girls  would 
have   done. 
She    sat    at    her    daddy's    table    in    his 
private  car   and    smiled   at    him   and    at 
her   pretty  mother,  and  also  at  the  tiny 
diamond  ring  they  had  brought   her.     She 
nit    the    ring    on    and    told    everybody    that 
j\v   she  had   "free   rings"   and   this   was   the 
(Continued  en  page  98) 


With  Tommy  in  the  picture  are  her  mot'ier  and 
her  daddy.  The  last  time  they  were  away  on  a 
journey   they   brought    her  a   little   diamond   ring 


The  Little  Girl  Who  Wanted  to  Be  a  Boy 

And  the  true  story  of  how  her  wish  almost  came  true  because  of 
a  fairy  godmother  who  was  her  really  and  truly  grandmother 


(~)nce  upon  a  time  there  was 
only    ten    years    old    who 


a  nice  little  girl 
ten  years  old  who  lived  in  a  big- 
rambling  Indiana  country  house,  with  plenty  of 
Indiana  country  spreading  in  neat  yellows  a'nd 
greens  all  around,  and  she  wanted  to  be  a  boy. 
A  Boy,  really.  You  know,  the  kind  of  Boy  who  scampers  glee- 
fully over  fences,  throws  ripe  tomatoes  at  stewed  cats,  goes  in 
swimming  in  the  ole  swimming-hole  with  the  other  boys ;  runs, 
climbs,  shinnies  up  big  trees,  jumps  into  orchards  to  steal  fat 
juicy  apples.  .  .  .  But,  after  all,  she  was  only  a  Girl,  and  no 
matter  how  hard  she  tried,  even  when  she  put  on  old  overalls  and 
clambered  up  the  rough  thick  branches  of  the  sycamore-tree  be- 
fore the  house,  there  was  always  a  Mother  to  come  out  and  say 
reprovingly :  "Gene !  Come  down  out  of  that  tree  this  instant  and 
play  with  your  dolls  !" 

That  was  the  trouble,  you  see.     They  were  always  giving  Gene 
dolls  when  Gene  wanted  pistols  and 
fishing-rods  and  cowboy  suits. 

But  Gene  had  a  fairy  godmother. 
Except  that  she  wasn't  really  a 
fairy  or  a  godmother,  but  a  sweet- 
faced  middle-aged  lady  who  hap- 
pened to  be  Gene's  Grandmother. 
Her  name  was  Gene  Stratton- 
Porter.  Maybe  you've  heard  of 
her.  And  Gene's  name  was  Gene 
Stratton,  after  her  famous  grand- 
mother, you   see. 

Now  Grandmother  Porter  knew 
Gene's  wish.  And  Grandmother 
Porter  should  have  known,  because 
she  loved  Gene,  and  studied  her  and 
wrote  lovely  books,  and  had  even 
put  Gene  into  some  of  them.  Wish 
and  all.  One  was  "The  Keeper  of 
the  Bees."  In  which  Little  Scout 
was  a  girl  who  wanted  awfully  to 
be  a  boy.  Another  was  "Laddie,"  in 
which  Little  Sister  was  a  girl  who 
slid  down  haystacks  and  landed  on 
soft  fresh  eggs  and  then  laughed  in- 
stead of  crying  about  it. 

And  it  happened  that  Grand- 
mother Porter  passed  away,  and 
little  Gene,  because  she  had  lost  a 
good  friend  and  a  comforting  shoul- 
der, was  very  sad.  So  she  couldn't 
forget  Grandmother  Porter,  and  she 
couldn't  forget  the  desire  to  be  a 
boy. 

Then  one  day  some  men  came 
who  said,  "We  are  going  to  make 
moving  pictures  out  of  Gene   Strat- 


By 

Manfred  Lee 


When    Gene    Stratton    used    to    climb    trees,    her 

mother  would   always  call:     "Gene!     Come   down 

out    of    that    tree    this    instant    and    play    with 

your   dolls!" 


ton-Porter's  books.     Who  is  there  to  take  the 
roles   of    Little    Scout   and   Little    Sister?" 

And  that  is  how  Gene  Stratton-Porter  came 
to  be  an  actress. 

You.  see  how  simple  it  was.  Here  was  no 
Jackie  Coogan,  trained  from  the  moment  of  infant  intelligence  to 
be  an  actor.  Here  was  no  Baby  Peggy,  a  delightful  imp  of  poise 
and  aplomb.  This  was  just  Gene  Stratton,  one  of  the  little  girls 
Booth  Tarkington  used  to  love  to  write  about  before  he  became' 
interested  in  their  big  brothers  and  sisters ;  but  even  more,  one  of 
Gene  Stratton-Porter's  little  tomboys.  Gene  had  never  thought  of 
being  an  actress.  She  had  never  wanted  to  be  an  actress.  She  had 
no  Ambitions,  no  Press-Agents.  She  was  not  Cute.  She  was  not 
really  Pretty.  She  did  not  powder  her  nose  in  a  dark  corner  of 
Mother's  closet.  She  did  not  cry  when  a  knee-panted  youngster 
tweaked  her  nose;  she  tweaked  back.  She  was  just  a  girl  who 
wanted,  oh  terribly  !  to  be  a  boy. 

And  when  she  heard  that  she 
could  really  and  truly  be  Little 
Scout  and  play  in  overalls  and  with 
short  hair  and  bare  feet  as  much  as 
she  wanted  to,  Gene  Stratton  was 
glad.  Because,  as  it  happened,  Gene 
was  a  born  actress.  No,  she  wasn't 
a  born  actress,  when  you  come  down 
to  it.  Rather,  for  the  first  time  in 
her  life  she  was  doing  what  she 
zvantcd  to  do  without  being  fettered 
by  girl-baby  skirts.  Nothing  else 
mattered,  you  see. 

And  so  the  screen  •  gained  a  new 
child  star.  There  was  no  fanfare  of 
trumpets,   no   wild   public   acclaim. 

A  public  knew  her,  of  course.  The 
great  American  public  who  worship 
and  will  always  worship  at  the  shrine 
of  the  sweetness  and  understanding 
that  was  Gene  Stratton's  Grand- 
mother.    But  that  was  all. 

Gene  made  good.  Gene  had  no 
longer  any  quarrel  with  the  world, 
having  been  granted  her  heart's 
desire.  J.  Leo  Meehan,  her  daddy 
and  director  of  all  the  Porter  pic- 
tures, understood  this  and  gave  her 
free  rein.  Gene  trampled  gaily  over 
hearts  in  the  audience  and  reputa- 
tions in  the  ranks  of  the  experi- 
enced actors  on  the  same  cast.  Be- 
cause, you  see — and  this  is  most  im- 
portant of  all — Gene  wasn't  acting  ; 
she  was  being  herself:  the  true  tom- 
bov  of  the  American  screen. 


Felix   Certainly  Is  Popular 


Jf  our  postman  was  not  very,  very  good-natured,  he  certainly 
would  be  cranky  about  the  big  bags  of  mail  he  has  had  to 
carry  up-stairs  lately.  And  most  of  the  letters  in  this  bag  have  been 
drawings  of  Felix.  One  clay  one  thousand  came.  And  every  day 
hundreds  and  hundreds  came. 

.  The  prizes  are  here  in  our  office  waiting  to  be  sent  to  the  lucky 
artists!  But,  of  course,  we  cannot  mail  them  until  the  judges 
decide.  And  the  judges  keep  asking  us  for  more  time  .  .  .  there 
have  been  thousands  of  drawings  made  by  the  readers  of  Motion 
Picture  Junior  and  they  want  to  consider  every  one  carefully. 
It  takes  time. 

But  we  hope  to  announce  the  winners  either  next  month  or  the 
month  after  that.     We  think  mavbe  it  will   be  next  month.   .  '.   . 


We're  as  sur- 
prised as  Felix 
looks  that  so 
many  of  our 
readers  are  such 
fine  artists.  We 
never  saw  so 
many  Felix  cats 
in  all  our  born 
days  as  the  post- 
man has  brought 
to  our  office 
lately 


Harold  Thinks  It's  Pretty  Good 


Scenes  from 

the 

New 

Lloyd  Comedy 


.f*4(                                                                -r                      ""'':-,''    '         *** 

.^^Smjjj  ' 

$M 

»  •  i          if     la 

In  his  next  pic- 
ture, Harold  Lloyd 
again  suffers  from 
an  inferiority 
complex 
just  as  he  did  in 
"Grandma's  Boy." 
He  is  the  young- 
est in  a  family  of 
strong  men  .  .  . 
and.  like  all  kid 
brothers,  an  out- 
sider when  it 
comes  to  impor- 
tant  affairs 


and 

That's  All 

We  Need 

to  Hear 

About 

a  Picture 


When  his  father,  the 
sheriff,  goes  out  of 
town,  Harold  wears 
the  shiny  badge  and 
gives  a  medicine 
show  permission  to 
hold  performances. 
1  li1-  father  is  furious 
.  .  .  and  insists  that 
since  Harold  started 
this  he  can  finish  it. 
He  sends  him  down 
to  the  village  to  oust 
the  medicine  show. 
And  there  is  a  Strong 
Man     .     .     . 


1 


This  is  the  gist  of  the 
story,  which  has 
skumpty-umpty  com- 
plications and  gives 
our  spectacled  star 
and  producer  oppor- 
tunity for  splendid 
characterization.  Jo- 
byna  Ralston  is  the 
girl  again.  And 
even  Harold  himself 
announces  that  the 
finished  product 
"looks  pretty  good." 
If  you  knew  Harold, 
you'd  know  what 
promise  that  senti- 
ment   holds 


FAUX  PAS 

An  expose  of  things  that  should 
not  have  been  allowed  to  happen 


By  Dorothy  Manners 


Illustrations    by    George    Elmer    Hughes 


The    hostess   smiled.       "Just   leave    it   there,"    she 
said.       "We  will   call  it   Mr.   Gilbert" 


AWF.UL,  isn't  it,  that  creepy  feeling"  up  and  down  the 
/  \  spine,  not  to  mention  the  hot  flushes  to  the  face 
/  \  and  the  cold  flashes  to  the  feet,  when  you've  said 
or  done  something  wrong  and  know  you've  said 
or  done  something  wrong  and  know  everyone  else  knows 
you've  said  or  done  something  wrong..'  They  call  it  a 
faux  pas,  which  is  French  for  "boner,"  and  in  most 
cases  the  .s"  in  pas  is  silent.  The  only  exception  is  when 
it  is  sounded  for  hissing.  Everybody  pulls  "boners" — 
some  better  than  others.  Remember  the  time  you  guessed 
thirty  as  the  age  of  a  girl  who  turned   out  to  be  only 


Madame  Glyn  had  the  waiter 
request  the  gay  young  dancer 
to  leave  .  .  .  and  then 
learned    she    was    Bessie    Love 


"Maybe    I    had    better    let    Jimmie    Cruze    know    he 

is   keeping  his   company   late  tonight,"   the  voice  on 

the  wire  said.      "He's  dining  with  us" 


twenty-one?  Or  the  time  you  went  all  fluttery  in  per- 
forming an  introduction  and  forgot  your  best  friend's 
name  ? 

Even  the  picture  people  with  all  their  poise  aren't  ex- 
empt from  the  common  failing.  Hardly  a  day  goes  by 
that  doesn't  circulate  a  new  embarrassment  story  thru 
Hollywood,  and  while  some  of  them  cant  be  told  because 
of  legal  complications — some  of  them  can. 

Well  do  I  remember  the  time  a  writer  friend  of  mine 
was  preparing  a  symposium  article  for  a  magazine.  She 
was   out  scouting   for  material  when  she  ran   into   Mae 


The    table   was    set    for    four.       Jobyna    Ralston    was 

distrait    when    six    arrived     .      .      .     but    she    proved 

equal  to  the  o< 


Murray.     She  asked  her  if  she  cared  to  contribute  a  little 
anecdote  that  might  serve  in  the  story. 

"And  who  else  will  be  in  the  article  besides  myself.-'" 
inquired  Mae  nicely. 

"Well,"  replied  my  friend  without  thinking,  in  fact, 
utterly  devoid  of  anything  verging  on  thought,  "Bob 
Leonard  and " 

But  the  rest  stuck  in  her  throat.  Realizing  she  had 
tactlessly  mentioned  Mae's  ex-husband,  she  went  panicky. 
"Well,"  she  began  taking  a   fresh  start.      "Bob  Leonard 

and " 

{Continued  on  page  104) 

47 

PAG 


I 


All  Aboard  the  Limerick  Liner 


1 


Are  you   going   to   be   one   of   the 

lucky  passciuiers  on  'I  he  Limerick 
Liner?  We  have  $50.00  to  divide 
among  free  writers  of  clcrccr  lines. 
Remember  that  the  line  you  submit 
to  complete  a  limerick  must  rhyme 
with  the  first  two.  Send  as  many 
as  you  like  before  November  20. 
Address:  Limerick  Contest  j/5 
Dufficld   Street,   Brooklyn,   N9    Y. 


Imagine   an    Indian    Chief 
In   a   costume  so  bright  and  so 
brief! 
But  Ruth  Roland's  appeal 
Is  much   greater,   I  feel, 


The   poor   Pilgrim    Fathers,    I   fear, 
Wont  have  Thanksgiving  turkey  thi 
year, 

For   Patsy    cannot 

Seem  to   fire   the  shot 


Gwen  Lee  is  not  one  to  deplore 
The  scraps  on  the  cutting-ro 
floor. 

She'd    rather    convert 

Them   into  a    skirt 


; 


According  to  Mi 

Blaine, 
Modern     girls     have     no 
cause   to    complain; 
In     old-fashioned     ap- 
parel 
They'd     look     like     a 
barrel 


Tho,  as  everyone   knows,   Kathryn   Perry' 
Game   of   golf  is  just   simply   ih<:  berries, 

Even    she   sometimes   sinks 

In   despair  to  the   links 


! 


See  Price  Win- 
ning   Limericks 
on   page  93 


4fi 

CE 


The  Right  Rooms  for  Rest 

Young  housewives,  when  furnishing  their  firsl:  homes,  are  apt 
to  make  one  of  two  mistakes.  Sometimes  they  will  furnish 
a  most  complete  and  far  too  elaborate  living-room,  and  by 
the  time  they  get  to  their  bedrooms,  either  their  money, 
their  taste  or  their  time  is  exhausted. 


By  Stephen  Gooson 

{Interior   Decorator  for  First  National  Pictures) 


Yi 


'OUNG  housewives,  when  furnishing  their  first 
homes,  are  apt  to  make  one  of  two  mistakes.  Some- 
times they  will  furnish  a  most  complete  and  often 
far    too   elaborate    living-room — and    by    the    time 

they  get  to  their  bedrooms,  either  their  money,  their  taste 

or  their  time  is  exhausted.     The  bedrooms,  then,  are  bare 

and  uninviting,  made  up  for  the  most  part  of  odds  and 

ends.     The  other  extreme  is  just 

as  bad.     It  consists  of  neglecting 

the  living  quarters  and  designing 

ornate    bedrooms    full    of    frills 

and  bows  and  ruffles — too  much 

furniture  and  not  enough  peace. 


My  favorite  bedroom  is  Colonial, 
furnished    in    this    spirit    have    the 
restfulness    that    should    be    the     key-note    of 
sleeping   quarters 


For  these  reasons — for  half  a  dozen  other  reasons,  the 
bedrooms  are  usually  the  least  pleasing  of  any  rooms  in 
the  average  American  home. 

There  is  no  reason  why  a  bedroom  cant  be  delightful. 
There  is  no  reason  why  it  cant  have  as  much  charm,  as 
much  feeling  and  as  much  atmosphere  as  any  other  room 
in  the  home.     Yet  these  things  need  not  interfere  with 
the  true  interpretation  of  a  bed- 
room.    In   fact,   everything  that 
you  put  into  a  bedroom  should 
help  to  make  it  an  ideal  room  for 
purposes    for    which    it   was    in- 
tended. 

49 
PAG 


For  rooms 
peace    and 


I 


If  yo, 
room 


ke  fussy  things,  the  bed- 
is  the  place  to  carry  out 
your  ideas,  for  it  permits 
frills  and  furbelows  that 
would  be  taboo  in  the 
iving-room  .  .  .  such  as 
fussy  lamps  and  frilly 
cushions 


Go  into  your  own  bedroofns,  into  the  bedrooms  of  your 
friends,  and  look  critically  around.  Was  each  piece  of 
furniture,  each  accessory,  chosen  with  care  and  thought? 
Do  the  rooms;  as  a  whole,  express  what  they  should?  It 
is  -ii  easy  to  forget  that  the  key-note  to  a  bedroom  is 
peace  and  restfulness.  We  come  to  our  bedroom  so  that 
we  may  "come  to  ourselves"  for  meditation,  for  thought, 
for  relaxation  and  for  rest.  Anything  that  we  put  into 
a  bedroom  that  takes  away  the  blessed  peace  that  a  bed- 
room should  give  is  wrong.  Your  living-room  should 
spell  hospitality  and  gaiety,  good  times  and  charm.  Your 
sun-room  may  he  bright  and  cheerful  and  happy.  Your 
bedroom,  while  it  should  be  happy,  too,  should  bring 
with  it  a  restfulness  that  will  make  you  forget  the  petty 
troubles  of  the  every-day  world. 

In  planning  bedrooms  I  would  plan,  first  of  all,  to 
eliminate  all  useless  things.  The  table  that  you  dont  know 
just  what  to  do  with,  the  sewing-machine  that  could 
stand  just  as  well  some  place  else,  the  chair  that  you  hate 
to  discard  because  it  is  still  good,  too  often  these  things 
appear  in  bedrooms.  Take  them  away!  Take  away  use- 
less ornaments,  photographs  of   friends  you  scarcely  ever 


Too  many  bedrooms  lack 
a  comfortable  chair  for 
reading  or  sewing.  And 
there      are      small      boudoir 


chairs, 
quaint 
tonnes, 


upholstered  in 
chintz  and  cre- 
that  are  charming 
the  bedroom 


see  or  think   of.   pictures   that   you    really   never  look  at. 
Simplify  your  bedrooms. 

Need  I  say  that,  as  a  usual  thing,  I  do  not  like  sets  of 
furniture?  As  a  rule,  they  are  too  commercial  and  too 
conventional  and  you  can  get  more  charming  and  home- 
like arrangements  by  combining  odd  pieces  of  furniture  to 
suit  your  own  needs.  However,  bedroom  sets  are  by  far 
the  most  satisfactory  sets  of  furniture  and  in  many  cases 
are  better  than  selected  pieces.  There  are  exceptions  to 
this,  too,  of  course,  and  Colonial  bedrooms,  where  the 
pieces  are  selected  and  do 
not  belong  to  a  set,  are  still 
my  favorite  of  all.  In 
picking  sets  there  are 
charming  little  shops  where 
you  can  buy  odd  pieces  and 
have  them  enameled  to  suit 
you.  This,  too,  is  better  than 
the  average  set  assorted 
for  you  by  a  furniture 
maim  faclurer.  However, 
from  among  regulation 
"commercial"  bed- 
room sets  you  can 
find  many  that  are 
\j^s  most    charming    and 

%r    % !/V  ' ^Sf  wcl1  a(laPte(1  for  tlie 

■  I  \SI     ^asts^9ttfm\\  well-arranged  Amer- 

■,■'  ^^r  H  jcan   home. 

As   I   said   before, 

^t.  '  room  is  Colonial.    If 

gt;/;     >      <        j  ^  'ia('  om<y  one  De(^" 

Q*c[^'  room    to    furnish,    I 

am     sure     I     would 
select    Colonial    ma- 
hogany    for     it.       J 
would  pick  out,  first 
of   all,    four-poster   beds    in    not   too   elaborate   a    design. 
The   pineapple-carved    Colonial    beds   are    delightful   but 
(Continued  on  page  ,116) 


possible   to   achieve  a    sense   of   luxury   in 
to   spend.      The   bedroom   below   is  the 


bedroom,    but   only   when   there   is   unlimited  n 
ister   bedroom    in    Tom    Mix's   California   home 


! 


It  is  to  be  hoped  that  "The  White  Black  Sheep"  offers  Richard  Barthelmess  an  opportunity  for 
characterization.  The  pity  is  that  he  has  been  utterly  wasted  in  the  recent  productions  in  which 
he  has  appeared,  and  good  actors  are  none  too  plentiful.  As  Robert  Kincairn,  he  is  a  sheep  in 
wolf's  clothing  and,  seeking  forgetfulness,  he  goes  to  Palestine.  Patsy  Ruth  Miller  is  the  native 
dancer  he  meets  here.  Patsy  gave  up  part  of  the  first  vacation  she  has  had  in  three  years  to  play 
this  role,  because  it  permits  her  to  be  a  little  naughty,  and  she  is  fed  up  with  being  such  a  very 
good  girl  on  the  screen.     AH  of  which  sounds  interesting  and  promising 


Richard  Barthelmess  Becomes  "The  White  Black  Sheep" 


4 

PA  fill 


kjrne^to    and     1  eod 


ora 


Ramon  Novarro  and  Alice   Terry   in   One  of 
the  Romantic  Moments  of  "The  Great  Galeoto" 


When  Ramon  Novarro  read  the  story  of   "The  Great  Galeoto," 


he  had  two  convictions, 
this  story  on  the  screen, 
and  Alice  Terry  only — r 
time,  but  Ramon  cabled 
be  in  the  role  ...  he 
going  into  the  producti< 
America.  For  months  : 
California  studios    ...   I 


The   first   was   that    he   wished   to   do 

The   second   was  that  Alice  Terry 

Alice  was  abroad  at  the 
ler  how  perfect  she  would 
would  be  even  to  consider 
ler.  And  Alice  sailed  for 
ive  worked  together  in  the 
ncsto  .    .    .   Alice  as  Teodora 


I 


The   Editor   Gossips 

Of  the  Motion  Picture  Set,  Observed  Socially 


THERE  are  some  things  that  everyone  in  motion 
picture  circles  knows.  They  are,  in  a  way,  lore. 
For  instance,  Corinne  Griffith  when  she  is  in  New 
York  stops  at  the  St.  Regis,  where  the  reception- 
room  of  her  suite  is  formally  furnished  in  satinwood, 
upholstered  in  a  pale  green  damask.  The  cream  Rolls 
Royce  cabriolet  that  drives  along  Fifth  and  Park  Avenues 
during  the  shopping  hours  belongs  to  Catherine  Calvert, 
who  seems  to  have  retired  from  the  screen  since  she 
married  the  very,  very  wealthy  Captain  Calvert.  That 
Ramon  Novarro  slips  into  town  quietly  and  incognito 
and  stops  at  a  small,  exclusive  hotel  while  he  attends 
the  opera  and  the  better  plays.  That  Alice  Joyce  usually 
entertains  at  luncheon  at  the  exclusive  Colony.  That 
you  are  sure  of  meeting  Everyone  in  the  World  at  the 
Talmadge  suite  at  five  o'clock  when  either  of  the  girls  is 
in  town.  And  they  have  been  in  New  York  more  than 
they  have  been  in  Hollywood  lately. 

It  was  open  house  in  Constance's  suite  the  other 
afternoon.  Norma  and  Joe  Schenck  occupied  one  suite. 
Constance  and  Captain  A.  Macintosh,  and  skumpty 
umpty  bottles  of  perfume,  French  dolls,  jade  trinkets 
and  family  photographs  occupied  another. 

Celebrities  from  the  magazine  and  newspaper  and 
theatrical  worlds  were 
already  there  when  we 
arrived.  Waiters  came 
in  bearing  huge  trays  of 
sandwiches,  petits  fours 
.  .  .  tea.  ...  And 
Captain  Macintosh's 
valet  dispensed  hospi- 
tality. Norma's  hair 
clung  in  damp  curls. 
She  had  just  had  a 
shampoo.  And  because 
she  was  not  well,  she 
was  lying  on  the  sofa, 
wrapped  luxuriously  in 
one  of  those  padded  silk 
robes  of  a  soft  rose. 

The  maid  was  just 
finishing  Constance's 
shampoo.  She  finally 
emerged  in  a  similar 
dressing-gown  of  blue, 
rubbing  the  golden 
tangles  of  her  hair  vig- 
orously. She  came  in 
with  one  of  her  usual 
bright  quips  and  ap- 
praised Norma  as  she 
rested,  dishabille.  Then 
she  surveyed  her  own 
figure. 

"Just  the  formal  host- 
esses," she  said.  "Just 
the  types  that  know  how 
to  entertain." 

Norma  laughed.  She 
always  laughs  at  Con- 
stance's sallies.  She 
adores    Constance    .    .    . 


Herbert  Photos 
Captain     Macintosh,     Mrs.     Joseph     Schenck     and     Mrs.     Macintosh 
enjoying  a  morning  walk  on  Park  Avenue,   New  York  City 


thinks  her  hair  the  most  brilliant  gold  in  the  world 
.  .  .  her  fair  skin  the  smoothest  .  .  .  her  eyes  the 
brownest  and  biggest  .  .  .  her  mouth  the  youngest  .  .  . 
and  her  wit  the  gayest. 

Constance  reciprocates.  She  watches  Norma  admir- 
ingly. She  said  to  us  once,  "I  always  go  to  see  Norma's 
pictures.  Just  because  she  is  my  sister  doesn't  bar  me 
from  thinking  she's  a  marvelous  actress." 

There  really  is  a  camaraderie  between  them,  rare  with 
sisters.    They  seem  to  have  such  good  times  together. 

Nprma  contented  herself  with  a  bowl  of  milk  toast. 
Constance  ate  practically  nothing.  She  was  too  occupied 
drying  her  hair  .  .  .  rushing  to  the  telephone  .  .  .  jok- 
ing with  guests  .  .  .  begging  someone  for  the  latest 
gossip  .  .  and  opening  boxes  of  flowers  that  arrived, 
for  all  the  world  as  they  do  in  one  of  those  Cecil  B.  De- 
Mille  scenes  which  the  critics  scoff  at  as  exaggerated  and 
not  true  to  life. 

It  was  when  someone  asked  Norma  if  she  had  seen 
much  of  Pola,  when  Pola  was  in  New  York  for  Rudy's 
funeral  and  before  she  made  that  sad  trip  back  across  the 
continent  with  his  body,  that  a  hush  settled  upon  the 
merry  room.  It  was  as  if  a  gray  mist  fell  upon  the  gaiety 
of  the  talk  and  the  color  of  the  group. 

"People  were  cruel  to 
Pola,"  Constance  said. 
"I  went  about  with 
Rudy  and  her  a  lot 
when  we  were  all  in 
Hollywood  and  he  was 
making  'The  Son  of 
the  Sheik.'  They 
adored  each  other.  They 
were  happy  and  just  like 
two  children.  No  one 
can  say  which  of  them 
loved  the  most." 

"I'm  sure  they  loved 
each  other,  very  much," 
said  someone  else.  "I 
didn't  understand  the 
papers." 

"Why  were  they  so 
skeptical?"  asked  an- 
other. "People  who 
knew  Pola  and  Rudy 
were  surprised." 

And  so  on.   The  room 
was  filled  with  people  in 
the   "know."      And    the 
surprise  at  the  bad  taste 
which   some  newspapers 
showed  was   unanimous. 
All  of  this  served  to 
corrobate  the  things  we 
felt     about     Pola     and 
Rudy.   It  is  not  easy  for 
the   reserved,   conven- 
tional   Nordic    type    to 
comprehend   Pola.     She 
comes    from    another 
country    .    .    .    she 
(Cont'd  on  page  107) 
53 
PAG 


I 


Shadows  That  Will   Pattern 


Erich  von  Stroheim  never 
fails  to  weave  a  colorful, 
interesting  tapestry  .  . 
and  when  we  consider  that 
he  stars '  in  "The  Wedding 
March"  as  well  as  directs 
it,  it  does  much  to  recom- 
mend it  to  us.  This  scene 
shows  Zasu  Pitts  as  his 
bride  when  they  come  face 
to  face  with  his  former 
sweetheart,  played  by  Fay 
Wray.  She  is  now  a  slave 
to  a  brutal  suitor 

"Hotel  Imperial"  is  said  to 
offer  Pola  Negri  the  oppor- 
tunity she  has  lacked  ever 
since  she  came  to  America 
to  make  pictures.  Stiller, 
the  Swedish  director,  was 
behind  the   cameras    .     .     . 


In  "Men  of  Dawn," 
Milton  Sills  be- 
comes involved  in 
a  native  marital 
tangle  .  .  .  arriving 
on  the  scene  just 
as  Ben  Achmcd, 
played  by  Montague 
Love,  is  about  to 
strangle  his  wife. 
Viola  Dana  plays 
the    wife 


"The  Unknown 
Cavalier,"  finds 
Ken  Maynard,  First 
National's  new  cow- 
boy star,  in  the 
title  role.  And  an- 
other equine  actor 
comes  to  the  screen 
in   "Tarzan" 


54 


The    Winter's     Screen 


It  will  be  interesting  to  see 
Lillian  Gish's  portrayal  of 
Annie  Laurie.  She  has 
surrounded  herself  with  a 
splendid  cast.  Reading 
from  right  to  left,  you  see 
Brandon  Hurst,  David  Tor- 
rence,  Lillian  Gish,  Henry 
Kolker  and  Norman  Kerry 

Gerald  Beaumont's  story  of 
"Even  Stephen"  has  a  gay, 
young  cast.  And  maybe 
William  Collier  will  prove 
whether  or  not  gentlemen 
do  prefer  blondes.  We 
should  think  it  would  be 
difficult  indeed  to  decide 
between  Louise  Brooks  and 
Dorothy   Mackaill 


For  years  we  have 
wanted  Cplleen 
Moore  to  play  in 
"Twinkletoes." 
T  h  o  m  a  8  Burke 
wrote  the  novel, 
and  it  tells  of  a 
little  girl  in  the 
grim  Limehouse 
section  of  London 
who  forgot  the  sor- 
did life  about  her 
when  she  danced 
in  a   music-hall 


If  you  read  "God 
Gave  Me  Twenty 
Cents,"  the  story 
which  recently  ran 
in  a  fiction  maga- 
zine, you'll  be  in- 
terested to  hear 
that  Lois  Moran 
and  Jack  Mulhall 
appear  in  the 
screen  version  of 
this   story 


55 

PAG 


t 


The  Evolution  of 

Six  Stages  Which  Depict 

Gentlemen  of 


Francis  X.  Bushman 
was  probably  our  great- 
est exponent  of  the 
ultra-romantic  type. 
When  he  made  love  to 
Beverly  Bayne,  the  cor- 
ner grocery  store  that 
had  been  converted  into 
a  movie  house  hummed 
with  "Ain't  he  grand's!" 


When  the  movies  were 
flickers  and  A.  B.  ap- 
peared circled  some- 
where in  almost  every 
scene,  we  took  our  he- 
roes virile.  Men  of  the 
great  open  spaces,  to 
be  sure.  And  Broncho 
Billy  was  the  leader  of 
them  all 


I 


D.  W.  Griffith  was  re- 
sponsible for  a  change 
in  style  when  he  pro- 
duced "The  Birth  of  a 
Nation."  For  Henry  B. 
Walthall  as  the  Little 
Colonel  proved  that  an- 
other type  of  man  also 
had   attraction 


the  Movie  Hero 

the  Changing  Styles  in  the 
the  Celluloid 


Wilson 


Then  came  the  country  boy,  a  la 
Charlie  Ray.  Once  again  movie 
audiences  turned  from  the  es- 
sentially romantic  to  the  human 
hero.  Who  was  there  who  didn't 
adore  Charlie  Ray  in  his  battered 
old  hat?  And  wouldn't  still,  for 
that  matter,  if  Charlie  would  only 
wear    it    again  ? 


Husbands  and  fathers  came  next 
and  had  their  share  of  canned 
glory.  Sometimes  their  wives 
were  extravagant  and  naughty, 
but  these  gentlemen  were  always 
noble.  Conrad  Nagel  climbed  to 
his  high  estate  during  this  vogue 


And  now  we  have  the  philander- 
ing male  who  conveys  more  sin 
with  a  lift  of  his  eyebrows  than 
was  ever  seen  on  the  screen  be- 
fore. Wait  until  the  censors  find 
out  what  all  this  is  about  I  Just 
wait  I  Adolphe  Menjou  will  be 
forced  to  retire  .  .  .  and  what  a 
pity  that  will  be.  .  .  .  What  next? 
Who   knows? 


An  exclusive  portrait   study  of  Lillian  GUh  in 
the  title  rdle  of  Annie  Laurie 


LILLIAN  GISH  WEARS  THE  PLAID 


I 


58 


THAT'S  OUT 

Hard  Truths  With  a  Sugar  Coating  of  Humor 


By  Tamar  Lane 


How  to  Break   Into  the  Movies 

THE  film  producers  of  Hollywood  may  not  be  art- 
ists, but  they  are  great  business  men.     They  never 
overlook   an    opportunity   to    commercialize    every- 
thing, even  the  misfortunes  of  others. 
When  the  Century  studio  recently  burned  down,  every 
producer  in  the  colony  who  could  grab  a  camera  was  on 
the  scene,  shooting  stock  shots   for  later  use  in  his  pro- 
ductions. 

One  producer  grabbed  an  actor  he  had  never  seen  be- 
fore, threw  a  prop  fireman  suit  on  him.  thrust  a  hatchet 
in  his  hand,  and  told  him  to  run  up  and  down  the  sides  of 
the  burning  building,  and  make  motions  as  tho  he  was 
doing  something. 

"What's  the  idea?"  asked  the  extra. 
"Never  mind,"  said  the  producer,  "Do  what  I  tell  you. 
I'll   have   a  story   written   around   these   scenes   and   star 
you  in  my  next  picture,  entitled  'The  Fourth  Alarm.'  " 


Salesmen  Wanted — Not  Afraid  of  Hard  Work 

A  MAN  in  Los  Angeles  is  advertising  for  salesmen  to 
■**■  sell  something  which  he  says  is  a  sure-fire  article. 
He  states  that  it  is  something  which  motion  picture 
studios  are  lacking,  but  greatly  in  need  of. 

The  advertisement  does  not  disclose  just  what  the 
salesmen  will  be  asked  to  sell,  but  from  the  description 
it  is  to  be  presumed  that  the  article  is  brains. 


A  Prediction  Fulfilled 

Deaders  of  this  column  will  recall  that  the  writer  re- 
*■  cently  chided  the  Lasky  Company  for  dropping  from 
its  roster  of  players  such  a  promising  young  actor  as  Gil- 
bert Roland,  and  predicted  that  the  company  would  some 
day  be  willing  to  have  Roland  back  at  several  times  the 
sum  they  were  formerly  paying  him. 


Our  prognostication  has  come  true  even  quicker  than 
we  expected. 

The  Lasky  Company  is  now  trying  to  get  Roland  back 
into  the  fold  and  has  offered  him  a  salary  over  three  times 
what  he  was  getting  when  he  left  the  organization. 

Roland  is  now  playing  for  First  National.  It  is  not 
known  whether  he  will  accept  the  Lasky  offer  or  not. 


Things  We  Will  Never  See 

Ion  Chaney  as  Little  Eva. 
*-*       Harold  Lloyd  as  Hamlet. 

Charlie  Murray  as  Shylock. 

Mary  Pickford  as  The  Queen  of  Sheba. 

Bull  Montana  as  Beau  Brummel. 

John  Barrymore  as  Don  Quixote. 

Ramon  Novarro  as  Ben  Turpin. 

Hint  to  Scenario  Writers 

A     scenarist  out  in  Hollywood  claims  to  have  written  a 
■**•  race-track  story  without  a  race  in  it. 

Now,  if  someone  would  only  oblige  us  with  a  dog  pic- 
ture without  a  dog  in  it,  he  will  be  doing  motion  picture 
mankind  a  great  service. 


Who  Cares  ? 

Delieve  it  or  not,  Fannie  Hurst  and  another 
*-*  arguing  and  fighting  it  out  in  the  courts  as 
(Continued  on  page  112) 


writer  are 

to  who  is 

59 


i 


The  Picture  Parade 


YOU'D  BE  SURPRISED-Comedy-80% 

LJERE  is  a  picture  with  a  distinctly  new  note.  A  murder  mystery, 
11  satirically  handled.  The  plot  'is  unfolded  with  much  adroit 
cleverness  and  a   dash  of  slap-stick. 

A  man  is  murdered  on  a  house-boat,  in  the  midst  of  a  roomful  of 
people.  The  coroner  arrives,  debonair  and  smiling,  wearing  evening 
Clothes  and  a  high  hat  (Raymond  Griffith).  He  pronounces  the 
victim  "very  dead,"  and  proceeds  to  find  the  murderer. 

Then  follows  a  series  of  unexpected  and  highly  diverting  incidents, 
while  suspicion  falls  on  first  one  and  then  another  of  the  guests. 

A  coroner's  jury  is  brought  in  from  the  street — presumably  the 
house-boat  is  in  dock— more  satire.  Sly  pokes  in  the  ribs  of 
Jurisprudence! 

A  deaf-and-dumb  butler  claims  to  have  been  an  eye-witness  of  the 
dastardly  deed.  He  acts  his  story  for  the  jury.  He  orders  the 
lights  off,  when  they  go  on  again,  he  is  stretched  out  on  the  floor 
with  a  knife  in  his  back.  The  second  murder!  It  looks  as  tho  the 
coroner  would  be  the  third  victim — he  isn't,  of  course,  but  that's  the 
story.     Why  rub  the  bloom  off  the  peach? 

As  a  story,  it  doesn't  mean  very  much — as  a  satire  that  is  not  too 
high-brow  to  be  enjoyed  by  the  average  audience,  it  is  delicious. 

Raymond  Griffith's  portrayal  of  the  coroner  is  a  most  intelligent 
and  finished  bit  of  acting.  He  puts  every  point  across  with  no  appar- 
ent effort.     It  is  comedy  of  the  highest  degree. 

The  cast  is  merely  a  background  for  Mr.  Griffith,  but  it  is  satisfy- 
ing. The  girl,  Dorothy,  is  played  by  Dorothy  Sebastien.  If  the 
audience  echoes  her  question,  "But  I  want  to  know  why?" — it  is 
entirely  appeased  when  Griffith  answers,  "You  can  read  all  about  it 
in  the  newspapers!"  And  that's  that.  A  mirth-provoking  picture 
that  does  not  depend  on  physical  gags. 

DIPLOMACY-Drama-75  % 

/YTJR  critical  faculties  were  forgotten  during  the  first  part  of  this 
^  picture,  in  our  feeble  attempts  to  untangle  the  masses  of  plot  ami 
counterplot  that  started  right  out  in  the  first  reel  to  confuse  and 
mystify  us.  And  when  we  did  begin  to  see  light,  and  looked  around 
to  discover  what  else  might  be  lurking  in  the  picture  besides  Japanese 
spies  and  stolen  photographs  and  such,  we  regretted  it.  What  we 
saw  was  Arlette  Marchal  stealing  the  picture  from  Blanche  Sweet 
as  easily  as  she  seemed  to  be  stealing  "the  papers"  from  England's 
best  diplomats.  We  admire  Miss  Sweet's  daring  in  playing  side-by- 
side  with  this  young  and  beautiful  French  girl,  but  we  cant  help 
feeling  it  was  ill-advised  and  a  painful  experience  for  the  more 
sympathetic  onlookers. 

The  whole  thing  is  a  prolonged  game  of  "hide  the  treaty."  You've 
seen  dozens  of  pictures  like  it  in  years  gone  by,  only  possibly  they 
were  a  trifle  more  coherent.  All  the  nations  in  the  geography  book 
are  involved  in  the  general  scramble  for  the  document  on  which  the 
future  of  the  world  seems  to  hang,  altho  you  never  know  just  why. 
Matt  Moore  hovers  in  the  background  inexplicably,  thruout,  so  that 
he  may  be  dragged  in  at  the  last  moment  to  save  the  situation  and 
take  the  credit  for  the  good  old  II.  S.  A.  And  that's  about  all  there 
is   to   that,   except  the   final  clinch. 

KID    BOOTS-Comedy-80% 

l^ID  BOOTft  is  fine  of  the  best  laugh-getters  of  this  season's  screen 
■**•  fare.  Eddie  Cantor  is  quite  as  funny  and  clever  on  the  silent 
shed  as  he  is  before  the  footlights  of  Broadway.  As  the  goofy  little 
tailor  "id  of  a  job,  he  takes  his  audience  thru  a  series  of  adventures 
and  side-splitting  experiences  that  are  worth  seeing. 

Lawrence  Grey  unconsciously  saves  him  from  the  hefty  villain  (Ed 
Kennedy)  and  in  turn  gains  his  undying  gratitude  and  as  uncon- 
sciously Eddie  saves  Lawrence  Grey  from  the  clutches  of  a  mercenary 
wife.     Prom  thai  time  they  work  together; 

Clara  Bow  as  the  woman  in  Kid  Boot's  life  makes  a  fascinating 
little  flirty  flapper  and  finally  saves  the  day  for  Lawrence  Grey  after 
a  hair-raising  thrill  chase  over  the  mountains. 

In  one  scene  Eddie  Cantor  flirts  with  himself  behind  a  door  which 
makes  quite  as  unusual  an  innovation  in  screen  comedy  as  Charlie 
Chaplin's     famous     "Roll     Dance."       At     the     finish     the     breath-taking, 

gasping  thrills  surpass  those  immortal  thrills  Harold  Lloyd  gave  us 
in  "Safety  bast." 
Tt's  a  greai   entertainmenl    picture  and   worth  taking  the  kids  ami 

going   to   see. 

Billie   Dove  and   Natalie  Kingston  add  to  the  pulchritude  of  the 

whole. 

The  cast:  Eddie  Cantor,  Lawrence  Grey,  Billie  Dove,  Natalie 
Kingston,  Ed   Kennedy. 

Directed    by    blank    Tllttle. 


A  GUIDE  TO   THE  GOOD  PICTURES 

1A/E  will  publish  our  reviews  in  a  uniform  size  so  that  they  may  he  filed  for  future  reference. 
'      by  critics  whose  view-points  are  unbiased.     The  ratings  should  be  of  special  assistance. 
Ratings:  Excellent,  95%;  Good,  80%;  Fair,  70%;  Poor,  50% 


They  are  written 


FINE   MANNERS-ComeJy-85% 

'T'HAT  high  mark  is  for  Gloria  Swanson  only.  The  story  and  other 
■*  accessories  dont  rate  even  a  passing  mark.  Nevertheless,  the  pic- 
ture is  entertaining  almost  continuously,  due  solely  to  the  vitality 
and  humor  of  Miss  Swanson.  The  worse  Gloria's  pictures  become, 
the  more  we  admire  Gloria.  She  has  an  earnest,  earthly  quality  that 
makes  the  most  false  and  unplausible  plots  seem'  almost  convincing. 
Like  no  one  else  on  the  screen  she  can  hold  you  interested  and 
amused  thru  reels  and  reels  of  deadly  story,  she  can  work  up  a  grip- 
ping suspense  where  there  is  no  suspense — just  thru  the  sheer  force 
of  her  personality.  And  this  despite  the  fact  that  her  beauty,  of 
face  and  figure,  is  not  quite  what  it  used  to  be. 

Her  unfortunate  story  in  this  case  is  of  Orchid  Murphy,  a  little 
music-hall  girl  of  the  lower  East  Side,  who  captures  the  heart  of  a 
Park  Avenue  gentleman.  He  proceeds  to  have  her  rough  edges 
smoothed  away,  only  to  find  that  with  her  crudities  have  vanished  her 
vivacity,  her  originality,  all  that  endeared  her  to  him.  And  no  won- 
der !  For  the  "fine  manners"  invented  by  these  well-meaning  movie 
people  would  make  a  wooden  image  of  anyone.  Eeally,  stars  and 
directors  have  lived  on  Park  Avenue  or  its  outskirts  long  enough, 
now,  to  know  better. 


TIN    GODS-Drama-80% 

7"}  ID  you  ever  read  a  book  that  you  couldn't  put  down  and  yet 
*-^  didn't  want  to  finish  because  you  were  so  engrossed  with  the 
characters?  Well,  that's  the  way  we  felt  as  we  watched  Thomas 
Meighan,  et  al.,  in  "Tin  Gods."  It  held  us  from  first  to  last.  We 
wanted  to  find  out  what  was  going  to  happen  to  Roger  Drake, 
splendidly  played  by  Tommie,  and  to  Carita,  gorgeously  done  by 
Renee  Adoree,  and,  a  little  less  because  of  the  inhumanity  of  the 
character  to  Janet  Stone,  Roger's  wife,  thoroly  characterized  by 
Aileen  Pringle.  So  thoroly  indeed  that  we  pray  whatever  gods  there 
be,  tin  or  otherwise,  that  we  never  encounter  her  like.  Tom  Meighan 
is  human,  convincing,  sincere.  One  gets  a  sense  of  passion  and  pro- 
fundity from  him  which  mates  to  a  fine  reality  of  feeling  with  the 
poignant  performance  given  by  Renee  Adoree.  William  Powell  is 
subtly  colorful.  There  is  hokum  here  and  there,  of  course.  Par- 
ticularly in  the  first  part,  scenes  with  the  little  che-ild,  et  cetera.  But 
they  maintain  dignity  of  feeling  none  the  less.  The  sets  struck  us 
as  slightly  moviefied  and  a  bit  tawdry.  But  they  .didn't  matter. 
The  people  mattered.  In  a  scene  of  terrific  unhappiness  where 
Roger  Drake  is  drinking  alone  on  the  anniversary  of  his  son's  death, 
we  have  rarely  seen  better  acting  than  is  done  then  by  Tom  Meighan. 
Dont  miss  it  under  any  circumstances. 

The  cast  includes:  Thomas  Meighan,  Renee  Adoree,  Aileen  Pringle, 
William  Powell,  Hale  Hamilton,  John  Harrington,  Joe  King,  Robert 
E.  O'Connor  and  Delbert  Emory  Whitten,  Jr.  (It  was  directed  by 
Allan  Dwan.) 


SUBWAY   SADIE-Comedy-85% 

A~L  SANTELL,  of  "Classified"  fame,  has  made  another  easy,  good- 
**■  humored  comedy  of  New  York  life  as  seen  by  those  who  start 
their  days  with  the  morning  battle  in  the  subway.  It  is  consistently 
amusing,  and  without  gripping  you  at  all  or  making  any  severe 
demands  on  your  attention,  it  still  never  lags  for  a  moment.  Sadie 
lives  in  the  Bronx  but  she  craves  Paris.  Hero  McCarthy  herds  her 
into  the  subway  every  morning,  and,  of  course,  they  fall  in  love, 
The  rest  concerns  the  struggle  of  love  versus  Paris.  And  which  do 
you  think  wins?  Both,  of  course!  The  humor  of  the  thing  rises  out 
of  simple  incidents  in  a  simple  girl's  life,  and  it  finds  a  warm  re- 
sponse in  New  York  audiences  at  least.  There  is  a  night  club  and  a 
department  store,  and  no  end  of  picturesque  things  are  done  with 
the  subway  by  Mr.  Santell's  cameraman.  There  is  Charlie  Murray  as 
a  taxi-driver — the  flurry  of  a  departing  ocean  liner — love  in  the 
park — lots  of  fun,  really. 

Dorothy  Mackaill  is  extremely  pleasant  and  capable  in  her  role,  in 
Bpite  of  a  slightly  Mongoloid  appearance.  And  Jack  Mulhall  makes 
a  corking  subway  guard,  altho  he's  considerably  less  convincing  as 
the  president's  son. 

By  this  time  you  must  have  heard  enough  to  decide  whether  you 
want  to  see  this  or  not.     We  hope  you  do. 


"MOTION  PICTURF 
It)   I  MAGAZINE      I- 


THE   OLD    SOAK-Comcdy  Drama-80^ 

/J  TT KM  ITS  have  been  made  to  place  Jean  Hersholt  and  Emil 
■**  .Tannings  side  by  side  as  the  screen's  foremost  character 
actors.  But  nothing  in  "The  Old  Soak''  indicates  that  Hersholt 
is  in  a  class  with  Jannings,  yet.  He  is  a  wistful,  kindly  old  fel- 
low who  pulls  at  your  heart-strings  and  all  that  sort  of  thing, 
but  the  part  of  "Pop"  Uawley  is  almost  sure-fire  sob-stuff.  Clem 
Uawley,  you  know,  meets  some  swell  city  girls — chorus  girls,  if 
you  must  have  the  truth — and  in  order  to  supply  his  particular 
sweetie  with  the  fur  coats  to  which  she  is  accustomed,  he  swipes 
his  mother's  stock  from  under  the  clock.  Ma  thinks  Pop  took  it 
to  buy  more  booze,  ami  he  takes  the  blame.  It  makes  you  pretty 
unhappy  for  a  while,  but  Top's  ingenuity  is  equal  to  the  situation 
in   the  end. 

There's  lots  of  human  interest,  you  can  see.     But  in  an  attempt 

to   wring  the   utmost    in   pathos  from  these  happenings,   the  tempo 

is  slowed  up  painfully,  and  Hersholt's  otherwise  excellent  perform- 

made  to  seem  too  cautious  and  studied.     Louise  Fazenda 

confiding  that  "AFs  here"   is  the  high  spot  of  the  picture  for   us. 


HOLD    THAT   LION-FarceComcdy-80% 

TJ/E  like  Douglas  MacLean.  If  we  didn't,  we  wouldn't  have 
'"  cared  for  the  picture.  As  it  was,  we  weren't  bowled  over  by 
enthusiasm,  tho  the  last  reel  or  so  is  certainly  amusing  to  the 
audiences  if  not  to  the  frantic  characters.  Walter  Hiers  is 
funny  in  this  and  no  mistake.  Anyway,  Douglas  is  one  Jimmie 
Hastings.  He  is  wishing  that  he  could  meet  the  Only  Girl.  Lo, 
the  long  arm  of  coincidence  and  Marjorie  Brand,  played  by  Con- 
stance Howard,  drops  by.  We  were  not  enthused  by  Miss  Howard. 
Anyway,  Marjorie  drops  her  handkerchief  or  Jimmie  thinks  she 
does.  He  rescues  the  fragile  scrap  and  starts  on  a  glob-trotting 
hunt  for  his  charmer,  pressing  into  service  the  companionship  of 
Dick  Warren,  i.  c,  Walter  Hiers.  He  catches  up  with  Marjorie 
somewhere  in  East  Africa.  At  which  poignant  juncture  he  is 
left  minus  his  trousers  and  plays  several  scenes  in  the  minus 
state. 

Marjorie's  pa  is  a  cat-hunter.  Jimmie  and  Did  are  pressed 
into  the  cat-hunt.  If  you  dont  know  what  a  cat-hunt  is  now,  you 
will  know  after  you've  seen  this  picture. 


I 


SPARROWS     Melodrama-85% 

TT   was   Douglas    Fairbanks   who  told  us  that  Mary  Pickford's 
■*    production  of  "Sparrows"  was  Dickensonian.    And  after  seeing 

ave  nothing  less  ami  nothing  more  to  say  of  it. 
Perhaps  you  know  that  it  is  the  story  of  a  baby  farm   .   .   .  with 
I  on    Seyffertitz   as   Grimes,    the   cruel    manager   .   .   .  and 

Mary    as    Mollie,    who    watches    over    the    little    boys    and    girls. 
Melodrama    is    interwoven    in    the   story   and    there    is    nothing   new 

tliug  about   the  pint.     I'.ut  you   wont   realize  this  until  the 
ply  clow  up  of   Mary  had   hided  from  the  screen.     Which 

i    course,    thai    the   story    interests   you   so    much    that    your 
critical    faculty   is  .lulled. 

We  .-.re  glad  thai  Mary  is  not  ^oing  to  continue  to  play  grown- 
many  on  the  screen  can  lie  the  grand  lady.     And  no 
thai  we  have  ever  heard  about  or  seen  captures  the  elusive 
•     quality  of  childhood  as   Mary  does. 
You  il    weep  .-,'  little.      You'll    laugh   a    grenl    deal.      And   you'll 
lh  once  or  'wife, 
i   by  William   Beaudiue. 

Gi. 


P ARADI SE-Romantic  Drama-50% 

/fFTEE  "Men  of  SI  eel,"  I  his  is  a  decided  let -down  for  Milton 
**  Sills.  As  sincere  as  he  is,  he  cannot  lift  up  the  picture  and 
make  it  anything  but  jusl  a  weak,  slice  of  hokum.  There 
are  scenes  and  scenes  and  scenes — most  of  them  extraneous.  On 
that  premise  it  never  gets  going  on  any  single  well-defined  tack, 
but   heats  all  around    Mr.   Hood's  w.  k.  barn. 

There  are  far  too  many  characters — and  two  of  them  are  em- 
ployed for  very  poor  comedy  relief.     The  attire  of  these  comics  is 

Of    Hie    ancient    burlesque    vintage. 

The  plot  has  to  do  with  formula  twenty-four  in  the  celluloid 
workshop.  Which  means  thai  a  spendthrift  is  cut  off  by  his 
father    until    he    makes   good.       In    order    to   show   the   belated    spark 

hi'    is  sent    packing   to   ,-i    South    Sen    island — one    inherited    horn 

the  pater  familias.  And  he  takes  his  bride  with  him.  Wh.it  fol- 
lows   is    typical    South    Sen    stuff      the   curbing    of    wild    desires   and 

the  conquering  of  evil  forces. 

'•Paradise"  looks  like  a  serial  in  its  topsyturvy  plot. — First 
National 


FOR  ALIMONY  ONLY-Drama-7o% 

T^HIS  story,  the  manner  of  presenting  it,  the  acting — all  fit 
exactly  into  a  pattern  much  overworked  in  the  pictures  of  the 
past,  but  now  discarded  by  every  enlightened  director.  The  eon- 
eoeters  of  this  latest  dis'appointment  from  the  De  Mille  studio 
seem  not  to  realize  that  characterization,  humor,  subtlety,  have 
any  part  in  motion  picture  making.  The  story  is  obvious  and 
ilimsy  from  start  to  finish,  and  the  behavior  of  everyone  in  these 
trying  roles  is  even  more  obvious  and  elemental.  It  is  a  tale 
of  divorce,  and  how  a  Avoman's  wit  saves  her  husband  from 
the  burden  of  paying  a  huge  alimony  to  'his  former,  and  greedy, 
mate.  But  not  before  they  have  done  such  sacrificing  and  scrimp- 
ing to  meet  this  terrific  drain  on  their  resources.  Leatrice  Joy 
is  the   scrimper  and  sacrificer-in-chief. 

Originality  and  sensitiveness  of  direction  and  acting,  which 
might  possibly  have  lifted  this  picture  from  worse  than  medio- 
crity, are  conspiciously  lacking.  Instead  we  have  featured  the 
mannish  bob  of  Miss  Joy,  the  so  rarely  hidden  charms  of  Libyan 
Tashman,  and  some  very  ornate  garments. 


THE  STRONG  MAN-cm 


tdy-85% 


DERHAPS  we  have  no  funny-bone.  We  cant  Lave,  for  while 
the  audience  at  the  Mark  Strand  Theater  were  convulsed,  ran- 
sacked, doubled  over  with  mirth  at  Harry  Langdon  in  "The 
Strong  Man,"  we  felt  more  like  weeping  over  the  mishaps  of  the 
futile  little  fellow.  Actually,  we  neither  laughed  nor  cried,  and 
yet  on*  that  borderland  between  the  two  we  found  ourself 
watching  with  an  absorbed  interest.  We  see  him  first  "win- 
ning the  war"  by  means  of  a  bean-shooter.  He  would.  Between 
shots  he  sentimentalizes  over  the  letters  of  one  Mary  Brown  from 
America.  She  writes  that  she  loves  him.  He,  of  course,  loves  her. 
He  is  captured  by  a  Heinie,  one  Zandow,  the  Great,  Strongest 
Man  on  Earth.  He  is  taken  to  America  as  the  Great's  assistant. 
He  searches  for  Mary  Brown  on  various  street  corners.  He — 
well,  yes,  he  does  meet  Mary,  but  how  and  when  and  where  can- 
not be  divulged  until  you  see  for  yourselves.  Priscilla  Bonner 
is  Mary  and  a  particularly  sensitive  face  she  has,  too.  It's  good 
entertainment,  it's  comedy  based  on  truth.  Whether  you  laugh  at 
Harry  or  weep  over  him,  dont  miss  seeing  him. 


ACROSS    THE    PACIFIC-Comedy  Drama-75% 

'T'HLS  takes  us  some  years  back  to  the  time  when  General 
Eunston  was  having  his  troubles  with  the  natives  of  the 
Philippines.  The  U.  S.  Army  is  there  on  the  palm-fringed  beach 
— just  as  you  see  it  on  the  recruiting  posters.  There  is  Monte 
Blue,  the  upstanding  young  private  who  blunders  onto  some  vital 
information  and  as  a  spy  sacrifices  love  to  duty.  For  the  rest, 
lliciv  are  reels  of  flag-waving,  fighting,  and  wallowing  thru 
swamps  and  mud.  From  beginning  to  end,  everyone  seems  to  be 
covered  with  slime,  sweat  or  blood.  There  is  a  feeble  and 
pathetic  "steal"  from  "The  Big  Parade" — an  attempt  to  duplicate 
the  thrill  of  that  grim  and  relentless  march  thru  the  woods  into 
the  face  of  machine  guns,  and  the  heroic  death  of  "Slim" — in  this 
case,  a  genial  fat  man.  But  it  is  very  pathetic  and  very  feeble. 
Eyrna  Loy  is  a  rather  peaked  native  girl,  but  Monte  Blue  is 
excellent  as  the  loutish  private. 

Among  other  lessons  to  be  learned  from  this  picture  is  that 
Erectors  are  quite  right  to  go  to  the  South  Seas  for  their  tropical 
scenes.      These    were    made    on    the    California   coast. 


B 


THE  CAMPUS  FLIRT-Comcdy-75% 

EBE  DANIELS  romps  her  way  thru  another  farce— the  best 
entertainment  Bebe  has  given  us  in  some  time.  As  the  spoiled 
and  snobbish  daughter  of  an  aristocratic  doting  mother  and  a 
red-blooded  democratic  father,  she  enters  an  American  college 
minus  maids  and  all  trimmings  but  plus  snobbishness  and  superi- 
ority complex,  which  does  not  make  for  happiness  and  popularity. 

Finally  thru  the  persuasive  wiles  of  the  charming  (Jimmie 
Hall)  hero  and  the  training  of  Charlie  Paddock  (himself),  she 
Avins  the  colors  for  her  college  and  a  husband  for  herself. 

Bebe  is  always  convincing  and  sincere  in  her  characterizations 
and  tho  there  never  Avas  such  a  college  as  Colton  is  portrayed — 
you  almost  Avish  there  Avas.  As  for  the  work  of  Jimmie  Hall,  it 
has  been  many  a  day  since  we  have  had  as  charming  a  young  hero 
as  this  very  promising  young  man  on  the  screen. 

The  story  is  impossible,  the  cast  good  and  the  picture  pure 
entertainment.  Leave  your  gullibility  at  home,  but  see  it  and 
enjoy  tAvo  hours  of  foolish  romping  with  Bebe. 

Directed  by  Clarence  Badger. 


{Continued  on  page  f>8) 


63 

PAG 


i 


Mildred  and  Harold  Lloyd,   in  the 

center,     entertain     Mrs.     John     L. 

Murphy  and  Roy  Brooks  at  their 

Santa  Monica  beach  place 


There  is  general  hocus- 
pocus  to  the  effect  that 
the  screen  female  is  either 
golden-haired  and  an  A-l 
moron,  or  recklessly  ex- 
travagant or  poisonously 
sirenesque,  or  irrespon- 
sible— nothing  to  build  a 
home  about 


I 


The   wide   interests  of  Norma   and  Constance  Talmadge 

have     never    shaken     the     unshakable     love     they     have 

for   "Peg" 

~~ ^    >\<  the  female  of  the  species  is   .    .    ." 
I-H      Well,  what  is  she? 

We  are  here  referring  pretty  specifically  to  the 
11  species,  of  course. 
Kipling  once  observed  that  "the  female  of  the  species 

n   di  adly  than  the  male.  ..." 
We  never  knew  quite  how  Ik:  meant  that — as  a  com- 
pliment or  what  is  vulgarly  called  a  slam.     But  we  took 
ii    for  the   former.     We  always  do. 

r  men  have  made  lesser  observations. 

Some  bozos  have  accused  the  female  of  the  species  of 

ore  costly  than  the  male  .   .   .  more  frivolous  than 

...   more  untrustworthy  than  the  male  .    .    . 

liable  than  the  male   .    .    .   less  intelligent  than  the 

I  .    .   and  other  derogatory  and  entirely  sappy  pro- 

nunciamentos. 

"You  canl  depend  on  a  woman.  ..." 
.  frailty,  thy  name  i-  woman.    ..." 
are  ah  extravagant.  ..." 
64 

C£ 


PIFFLE 


"Too  bad  it's  a  girl  ...  a  son  would  have  helped  you 
in  your  old  age.  ..." 

"They're  all  right  for  amusement,  but  ..." 

These  and  similar  utterances  have  become  platitudes. 

Piffle. 

Sour  grapes,  usually. 

********* 

In  particular,  have  the  screen  species  been  derided  and, 
*  often,  defamed. 

"Butterflies.  ..." 

The  general  hocus-pocus  has  been  to  the  effect  that  the 
screen  female  is  either  golden-haired  and  an  A-l  moron,  or 


There  is  Bebe  Daniels.      Bebe  and  her  mother  and 
her   grandmother   travel    in   a   tender   triumvirate 


Many    years    ago,     when    the    little 

family    of    Pickfords    were    on    the 

ragged      edge      of      nothing,      Mary 

took   the    helm 


This  photograph  of  her  and 
Douglas  by  International 
Newsreel 


But  we  offer  case  history 
to  prove  that  a  large  per- 
centage of  the  women  on 
the  screen  are  darned  good 
sports,  on-the-level,  and 
with  a  beauty  of  character 
as  well  as  beauty  of  face, 
with  mentalities,  and  roots 
that  reach  far  down  into 
the  soil  of  substance 


By 
Gladys  Hall 


recklessly  extravagant,  or  poisonously  sirenesque,  or  irre- 
sponsible or,  in  a  word,  nothing  to  build  a  home  about. 

We  have  spent  the  better  part  of  ten  years  .  .  .  most 
of  our  life,  to  wit  ...  in  disproving  this  current,  tho 
gradually  abating  opinion. 

No  microbe  hunter  ever  tracked  down  animalcules 
more  patiently,  more  hardily,  more  meticulously  than  we 
have  tracked  down,  microscoped  and  card-indexed  the 
female  of  the  screen  species. 

We  are  not  to  be  sneezed  at,  therefore,  if  we  make 
bold  to  come  out  with  conclusions.  Not  surmises,  be  it 
understood,  no  guess-work,  but  conclusions. 


Mr.  and  Mrs.  Antonio  Moreno    .     .     .    try  to  beat 
them     at     their     own     game    of     dignified     social 
standing    .     .     .    domestic   happiness   and    intelli- 
gent interests    .    .     . 


Photographs   by   American   Photograph    Service   and    Richee 

For  all  that  life  offers  her,  Lillian  Gish  has  never  trod 
•many  inches  away  from  her  mother.  .  .  .  And  no 
matter  where  you  go,  you  wont  find  anyone  living  a 
more  intelligent,   worth-while  life  than  Alice  Joyce  lives 


Case  histories  are,  we  believe,  the  way  men  of  science 
frequently  prove  their  hardly  got  points. 

Well,  we  have  case  histories. 

We  can  give  'em  to  you  individually  or  in  bulk,  as  you 
like  'em. 

Speak  up ! 

One  individual  case,  you  say.  All  right  .  .  .  how 
about  the  greatest  case  history  of  them  all,  in  every  re- 
spect— Mary  Pickford?  How  about  taking  her  to  prove 
the  nonsensicality  of  women  being  frivolous,  irrespon- 
sible,„moronish,  et  cetera? 

Is  Mary  irresponsible?  We  haven't  found  her  so. 
The  world  hasn't  found  her  so.  Irresponsible  people  are 
never  known  to  get  to  the  top  of  the  heap  as  Mary  has 
done.     Certainly,  they  are  never  known  to  stay. 

Many  years  ago  a  little  family  of  Pickfords  were  on 
{Continued  on  page  97) 

65 
PA/S 


I 


NEWS  OF  THE  CAMERA 


Two    Hollywood    lions!      Charlie   Chaplin    and    Numa;   the   latter        Gertrude   Olmstead  will  be  able  to   use  that  line  about  her  hus- 

doesn't  pay  quite  the  income  tax  that  Charlie  pays,   but  is  what        band    being    her    best    friend    and    severest    critic    and     greatest 

might  be  called  successful  in  the  movies,  anyhow.      This  picture        inspiration  in  the  future,  for  rumor  has  it  that  Robert  Z.  Leonard 

was  taken  during  the  filming  of  "The  Circus"  is  keeping  a  careful  eye  on  Gertrude's  career.      Here  he  is  with 

her  while  a  film  test  is  being  made 


I 


NORMA  TALMADGE  got  the  jump  on  Pola  in 
the  matter  of  "Camille."  They  both  announced 
that  they  would  do  the  famous  Dumas  play, 
"next."  but  Norma  was  a  little  speedier  in  making- 
all  the  final  arrangements,  so  Pola  backed  out.  "Camille" 
will  be  Norma's  last  picture  for  First  National.  She 
starts  work  in  October,  with  Fred  Niblo  directing — just 
as  -  >on  as  they  find  a  suitable  leading  man. 
Both  the  stage  and  screen  are  being  combed  for 
that  purpose,  so  something  ought  to  come  of  it. 
This  is  how  Dumas  described  his  heroine,  "She 
had  a  pale,  beautiful  face,  dark  hair,  red  lips, 
and  it  was  difficult  to  tell  whether  she  was  'a 
duchess    or    a    courtesan."      It's    difficult    t;>    tell 

er    Norma   or    Pola   best   fits   that  de- 
scription. 

"The  Dove,"  in  which  Judith  Anderson 
made  such  a  sensation  on  the  stage,  will  he 
Norma"-  first  picture  as  a   United  Artist. 

poxxn:  Talmadge  is  also  Hearing  the 
^  end  of  her  First  National  contract. 
And  as  you  probahly  suspected  all  the  time,        -^ 

no  truth  in  the  report,  current  at  the 
lime   of   her    wedding,    that    she   will    retire 
from   the   screen.      She   will   make  two   pic- 
ture-   a    year     for    United    Artists — the    same 
irrepressible    type    of    comedy    that    has    been 
her  forte  now  for  some  time. 

Ar.  JoLSON  was  virtually  the  winner  in  the 
**  damage  suit  brought  against  him  by  I). 
W.  Griffith,  altho  the  jury  brought  a  verdict 
again, t    Jolson     for    S2/.27.2S.      That    might 


Altho  Ben  Turpin  proved  by  his  recent  marriage 
that  a  crooked  gaze  can  go  straight  to  a  girl's 
heart,  he  is  still  getting  bad  breaks  in  hi9 
comedy  romances.  Once  again  in  "When  a 
Man's  a  Prince,"  Ben  pursues  the  beauteous 
Madeline    Hurlock    unsuccessfully 


not  seem  cause  for  rejoicing  to  a  lot  of  people,  but  $2,000 
is  just  pin-money  to  Al  Jolson,  and  he  and  his  lawyer 
were  grinning  like  a  couple  of  jack-o'-lanterns  at  the  end 
of  the  trial. 

Griffith  contended  that  Jolson  made  a  verbal  agreement 
with  him  to  appear  in  "Mammy's  Boy,"  a  black-face 
screen  comedy,  and  then  walked  out  on  him.  He  asked 
for  $571,645  damages.  Jolson  told  the  court  he 
had  not  agreed  to  go  on  with  the  picture,  and  that 
when  he  saw  his  face  in  the  screen  tests  it  de- 
pressed him  so  that  he  had  to  take  a  trip  to 
Europe,  to  forget.  The  jury  took  a  look  at 
Jolson  and  was  all  sympathy,  and  awarded 
"Griffith  only  the  cost  of  the  film  used  in  the 
tests,  and  court  costs. 

Di:\   Lyon  has  been  having  lots  of  trouble 
'-'with  one  Frank  Lyons,  a  young  actor,  who 
las  been  posing  as  his  brother.     Lyons  first 
came  to   Ben  and  called  his  attention  to 
the    fact   that   he  had   all   Ben's    features 
and  characteristics,  and  would  like  to  un- 
derstudy for  him.     That  didn't  appeal  to 
Ben,,  and    a    little    later    he    found    that 
Frank    was    going    up    and    down 
;  Broadway   announcing   to   everyone 

^^y     who'd    listen    that    he    was    Ben's 
brother,  and  that  Ben  had  deserted 
him  now  that  he  was  down  on  his 
luck.    Now  Ben  is  an  awfully  nice  hoy  hut  he 
has  a  positive  genius  for  getting  unpleasant 
publicity.     And  this  was  another  bad  dose  of 
it.      Mis   friends  met  Frank   Lyons  and  lent 
n  money,  and  there  was  a  general  irnpres- 
>n  that  Ben  was  a  pretty  poor  sort  of  chap. 
1  Te  went  on  the  war-path,  and  didn't  have 
very  hard  time  tracking  his  enemy  down, 
r  just  about  then    Frank  forged  Ben's  sig- 
nature  on   a   check,    to   dazzle   his   landlady. 
Need   f  add  that  that  little  episode  ended  ii 
the  police  station. 


C£ 


COASTS 


•  • 


By  Elizabeth  Greer  and  Milton  Howe 


The  men  of  the  screen  much  prefer  to  work  in  California.  Have  you  ever  said,  "How  did  they  ever  make  that  baby  do 
There's  the  deep-sea  fishing,  for  one  thing.  .  .  .  Every  time  that?"  If  so,  you  are  answered.  A  whole  cast  of  celebrities 
the  cameras  stop  grinding,  Reginald  Denny  and  Ben  Hendricks,  worked  to  get  the  desired  effect  from  an  infant  in  "The  Un- 
Jr.,    get   out  their   rods  and  tackle   and   set  sail   on   Denny's  boat        derstanding   Heart."       Joan    Crawford,    Rockcliffe    Fellowes    and 

Francis   X.    Bushman,    Jr.,   will   be   recognized   in   the   group 


Although  the  Will  Hays  office  suavely  denies  that  it 
■**■  ever  brings  any  pressure  to  bear  upon  producers,  in 
the  matter  of  their  choice  of  stories,  titles,  et  cetera, 
"The  Green  Hat"  has  most  undoubtedly  been  banned 
from  the  screen  up  to  this  time.  The  Fox  Films  own  the 
story,  and  they  are  having  a  new  treatment  made  in  the 
hope  that  this  new  version  will  not 
offend  the  sensibilities  of  Mr. 
Hays,  and  the  ban  will  be  lifted. 

They  must  have  cleaned  the 
story  up  quite  a  bit,  for  they  seem 
quite  certain  of  success,  and  have 
tentatively  selected  Howard  Hawks 
to  direct  the  picture,  and  Virginia 
Valli  for  the  role  of  Iris  Storm. 
It  is  to  be  hoped  Mr.  Hays  will  re- 
lent, for  it  seems  to  me  that  "The 
Green  Hat"  would  be  far  better  as 
a  picture  than  it  was  as  a  novel  or 
play. 


'Anna      Karenina/' 
^*"   novel,    has    been 


Tolstoy's 
considered 
for  many  of  the  screen's  most  able 
actresses,  but  it  is  Lillian  Gish  who 
will  actually  make  the  picture,  as 
soon  as  she  finishes  "Wind."  My 
interest  in  Lillian  has  been  greatly 
stimulated  since  "The  Scarlet  Let- 
ter." It  has  become  the  favorite 
sport  of  critics  and  other  writers, 
of  late,  to  question  Lillian's  right 
to  the  title  of  the  screen's  foremost 
actress,  and  just  generally  put  her 
in  her  place.  But  in  her  proud 
performance  as  Hester  Prynne 
it  seems  to  me  she  has  vindicated 
herself  absolutely,  and  also  freed 
herself  forever  from  those  forlorn 
and  fragile  adjectives  that  were  so 
persistently  applied  to  her. 


International  Nt 


Dorothy  Gish,  who  is.  acting  in  British  films,  likes  to 
visit  her  family  between  pictures,  but  she  practically  has 
to  make  a  world  tour  in  order  to  include  all  of  them. 
She  has  finished  "London"  and  "Tip-Toes"  for  British 
National  Pictures,  and  is  coming  home  for  a  short  vaca- 
tion before  starting  work  on  "Madame  Pompadour." 
"Home"  includes  New  York,  of  course,  and  Holly- 
wood, where  Mrs.  Gish  and  Lillian  bave  settled,  and 
Chicago,  where  James  Rennie,  Doro- 
thy's husband,  is  playing  in  "The  Great 
Gatsby." 


Opeaking  of  football,  there's  no  doubt 
^  that  it's  a  passport  to  stardom,  but 
when  the  goal  is  finally  reached  it's  apt 
to  be  kicked  out  of  the  picture — for, 
after  all,  there's  just  a  very  limited 
number  of  things  that  you  can  do  with 
a  football.  Red  Grange  did  pretty 
nearly  all  of  those  in  "One  Minute  to 
Play,"  and  with  such  joyous  results  that 
now  he's  going  to  be  allowed  to  per- 
form minus  the  symbol  of  his  profes- 
sion. F.  B.  O.,  and  almost  everybody 
else,  think  he  can  get  by  on  the 
strength  of  his  own  charms,  and  they're 
putting  him  in  a  straight  role  in  his 
next  picture.  The  title— in  fact,  the 
story — has  not  been  decided .  upon  yet, 
but  Red  is  a  movie  star  for  sure. 

A  fter  Pola  Negri  had  done  her  faint- 
**■  ing  act  in  New  York,  and  taken 
several    encores,    she    rushed    back    to 


"We  want  a  picture  of  you  as  man  and  wife," 
said  the  photographer,  and  Mr.  and  Mrs.  Lew 
Cody  (nee  Mabel  Normand)  obliged.  They 
awoke  the  Justice  of  the  Peace  at  Ventura  at 
some  unheard-of  hour  in  the  morning  to  marry 
them 

67 
PA  6 


f 


fflraSSFT 


Louis  Graveur,  the  world-famous  tenor,  was  en- 
tertained at  the  home  of  Ramon  Novarro  during 
his  stay  in  Hollywood.  Ramon  himself  has  a 
charming  voice,  and  he  and  Mr.  Graveur  are  fast 
friends 


"Spots,"  a  two-hundred-pound  leopard,  is  one  of 
the  performers  in  the  Biblical  production,  "The 
King  of  Kings,"  which  Cecil  B.  De  Mille  will  pre- 
sent. There  may  be  something  in  the  theory  that  a 
director  should  be  on  friendly  terms  with  the  mem- 
bers of  his  company  .  .  .  but  there  are  exceptions 
to   every   rule 


William  E.  Thomas 

Hollywood  where  Famous 
Players  did  their  best  to 
hustle  production  on  "Hotel 
Imperial."  so  it  might  he  re- 
leased before  the  public  fancy 
had  strayed  to  some  other 
topic.  It  will  appear  about 
October  15,  coincidently  with 
the  revival  of  many  of  Val- 
( ntino's  old  pictures. 

Another  activity  of  Mr. 
Hays,  by  the  way,  has  been 
to  discourage  the  project  of 
raising  a  fund  to  buy  Valen- 
tino's birthplace  in  Italy  and 
to  erect  a  memorial  in  I  [oily- 
wood.  Mr.  I  [ays  pointed  oul 
that  the  memorial  funds  for 
such  celebrated  persons  as 
Woodrow  Wilson  have  never 
materialized,  and  thai  tho 
there  would  he  a  great  rush  of 
tributions  to  the  Valen- 
tino fund  immediately,  en- 
thusiasm would  probably  not 
I  long  enough  to  carry 
the  movement  thru.  So  the 
matter  has  been  wisely  de- 
(Tv  ferred. 

yes 


T*he  recent  divorce  of  King  and  Florence  Vidor  bore 
its  first  fruit  when  King  Vidor  married  Eleanor 
Boardman  early  in  September.  Everyone  had  been  ex- 
pecting it  for  a  long  time,  but  the  actual  ceremony  was 
decided  upon  very  suddenly.  The  wedding  was  at 
Marion  Davies'  home  in  Beverly  Hills,  and  Marion  her- 
self gave  the  bride  away.  Irving  Thalberg  was  best  man, 
and  many  of  the  famous  ones  of  the  Metro  studio  were 
among  the  twenty-five  guests.  To  satisfy  the  eternal 
curiosity  about  ages,  I  hasten  to  add  that  Mr.  Vidor  is 
thirty-two  and  Mrs.  Vidor  is  twenty-six. 

Now  all  that  remains  to  be  done,  as  complete  justifica- 
tion of  the  Vidor  divorce,  is  for  Florence  to  marry 
George  Fitzmaurice.  They  have  been  engaged  for  a  long 
time,  and  apparently  are  only  waiting  for  the  architects  to 
finish  building  their  new  house  in  Beverly  Hills. 

D  uth  Roland — you  know,  of  serial  and  real-estate 
*  *■  fame — had  a  birthday  party.  Cant  supply  the  age  in 
this  case,  but  it  was  a  grand  party  just  the  same,  and  the 
guest  list  reads  like  a  column  on  "What  the  Stars  Are 
Doing."  Vilma  Banky  was 
there,  and  Bessie  Love,  and 
Blanche  Sweet,  Marshall 
Neilan,  June  Mathis  and  her 
husband,  Silvio  Balboni, 
Claire  Windsor,  Mr.  and  Mrs. 
Henry  King,  Billie  Dove  and 
Irving  Willat,  Roscoe  Ar- 
buckle  and  his  wife,  Colleen 
Moore,  Gertrude  Olmstead — 
in  fact,  practically  everybody 
whose  name  you've  ever  seen 
in  electric  lights.  There  was 
an  Hawaiian  orchestra  and  a 
birthday  cake,  and  presents 
ranging  from  a  Victrola  to  a 
limousine. 

Ruth  has  just  finished  work 
in  "The  Masked  Woman,"  a 
June  Mathis  production,  di- 
rected by   Silvio  Balboni. 


I 


R 


All   girls  love  a  uniform    .     .     .    and  all  moviegoers  love 

Chester  Conklin.      So   it  looks  very   much  as  if   "We're 

in   the  Navy   Now"    would   be  a   great  hit 


a  quel  Mellek's  film, 
"Promised  Land,"  may 
he  presented  in  America  by 
die  Capitol  Film  Exchange  as 
they  had  planned,  before  the 
Chadwick  Pictures  Corpora- 
tion   tried    to    restrain    them. 


tfCMOTION  PICTUR[ 

IflBI  I    MAGAZINE       r 


While  Alice  Terry  was  in  Europe,  she  had  her  palm 
read  by  Fakir  Hyradcq,  the  famous  Chiromancien 
Indian,  who  has  told  the  past,  present  and  future 
of  most  royalty,  as  well  as  scores  of  the  famous  men 
and    women    who    have    visited    the    French    capital 


A  portable  dressing-table  has  been  created  for 
John  Barrymore's  use  on  the  set.  He  is  seen  here 
in  the  costume  he  wears  in  "The  Vagabond  Lover," 
a  story  taken  from  the  life  of  Francois  Villon,  the 
beggar-poet  of  France 


Chadwick  claimed  they  had  an  option  on  the  American 
rights  to  this  French  picture,  and  that  the  Capitol  Ex- 
change had  no  right  to  buy  and  release  it.  But. the  court 
ruled  that  Chadwick  was  not  prompt  enough  in  exercising 
its  option,  so  the  American  public  will  see  the  screen 
shadow  of  Raquel  even  it  she  doesn't  play  Josephine  to 
Charlie  Chaplin's  Napoleon  next  year. 

"The  Fox  organization  has  been  very  busy  making 
"finds"  this  year.  Now  they  think  they  have  a  lucky 
strike  in  Lloyd  Pantages,  the  young  son  of  Alexander 
Pantages,  who  is  a  prominent  theatrical  man  in  Los 
Angeles.  Lloyd's  screen  tests  have  been  so  satisfactory 
that  they've  given  him  a  contract  and  will  try  him  out  in  a 
picture  very  soon.  The  only  thing  that's  likely  to  work 
against  Lloyd  is  that  his  resemblance  to  Rudolph  Valen- 
tino is  being  emphasized.  These  eternal  resemblances  are 
resented  by  fans  and  critics. 

FAolores  del  Rio  has  become  involved  in  the  Mexican 
political  situation,  much  to  her  surprise  and  dismay. 
The  Mexican  newspapers 
printed  articles  suggesting 
that  Miss  del  Rio  had  fur- 
nished $20,000  bail  for  Gen- 
eral Estrada,  who  is  the 
leader  of  the  Rebel  army  and 
was  recently  captured  near 
San  Diego.  Dolores  indig- 
nantly denies  any  knowledge 
of  General  Estrada's  affairs, 
and  doesn't  see  why  she 
should  be  implicated  just  be- 
cause she  has  a  large  estate 
in  Durango  and  is  of  a  promi- 
nent Mexican  family. 

Dolores  has  her  hands  full 
taking  care  of  her  movie 
career.  She  has  just  finished 
"What  Price  Glory,"  and  as 
soon  as  she  has  done  "Car- 
men" for  Fox,  she'll  have  an 
important  role  in  Tolstoy's 
"Resurrection." 


C*  harlie  Ray's  contract 
^  with  Metro-Goldwyn- 
Mayer  has  been  canceled. 
There  appears  to  be  a  ques- 
tion in  the  minds  of  the  better 


Jackie's  growing  up  .  .  .  just  as  quickly  as  children 
always  do  when  they  get  a  start.  In  his  next  picture, 
"Jackie,  Get  Your  Hair  Cut,"  you  will  see  a  barber 
suit  his  action  to  the  title.  And  another  familiar 
shadow  will  have   changed  for  all  time 


class  of  Hollywood  aldermen  as  to  whether  Charlie  can- 
celed the  contract  or  the  studio  officials. 

One  story  is  that  De  Mille  wanted  Ray  to  play  a  part  in 
"The  King  of   Kings,"  but   Metro-Goldwyn-Mayer   offi- 
cials   would   not   loan   him   to 
the  rival  producer,  so  Charlie 
asked  for  his  release. 

The  other  angle  is  that  at  a 
recent  convention  of  exhibi- 
tors in  one  of  the  Middle 
West  ports  there  were  heard 
loud  shouts  against  Charles 
Ray,  whose  name  it  was  said 
drew  nothing  but  fresh  air 
into  the  theaters.  There  is  no 
news  regarding  his  future  af- 
filiations. 


Qne  of  the  most  interesting 
characters  that  ever 
swore  with  a  broad  Irish  ac- 
cent in  Hollywood,  is  Charlie 
Murphy,  who  used  to  be  in 
charge  of  the  restaurant  at 
the  Goldwyn  studios  three 
years  ago. 

Charlie  possesses  a  mane  of 
snow-white  hair  which  gives 
him  a  very  dignified  appear- 
ance. I  shall  never  forget  the 
day  a  young  college  man 
came  to  the  studio  to  get  a  job' 

{Continued  on  page  109) 

69 
PAG 


t 


WHOSE  HAND? 

Can  You  Tell  Whom  These  Palms  Belong  to  by 
Reading  the  Character  Analyses? 

By  F.  Vance  de  Revere 


""This  is  an  odd  little  hand,  like  its 
owner,  it  is  interesting  and  unusual. 
She  is  a  foreign  actress  who  has  re- 
cently come  to  us  and  is  endowed  with 
an  enormous  amount  of  magnetism. 
which  one  is  always  conscious  of  when 
with  her.  Her  hand  has  the  Latin 
characteristic  of  extreme  flexibility,  the 
whole  hand  and  fingers  bending  hack- 
ward  as  easily  as  forward,  this  gives  a 
very  sociable  nature,  one  quick  to  ad- 
just itself  to  other  people  and  to  new 
surroundings.  The  extremely  supple 
thumb,  it  is  so  bent  hack  that  it  is  fore- 
shortened in  this  picture,  denotes  love 
of  luxury,  ease  and  the  creature  com- 
forts. Tin's,  combined  with  her  narrow 
palm,  would  indicate  a  person  who  is 
not  very  practical  and  a  spendthrift, 
not  only  of  money  but  of  her  energy 
and  of  herself.  The  little  finger  stand- 
ing apart  from  the  others  shows  a  per- 
son who  is  very  independent  in  her 
actions.  The  short  lingers  indicate  a 
very  impulsive  nature,  a  person  who  is 
spontaneous  and  who  is  governed  by 
her  instincts.  A  very  intuitive  person. 
Notice  the  network  of  lines  in  her 
hand,  showing  an  extremely  nervous 
ment  and  a  very  emotional  na- 
ture. The  color  of  the  palm  would 
indicate  one  who,  at  times,  was  almost 
morbid,  a  person  either  one  extreme  or 
the  other,  very  happy  or  very  sad  and 
depressed.  The  waistlike  thumb  de- 
very  tactful  person.  Love  of 
both  poetry  and  music,  hut  not  musical 
ability,  is  indicated.  Her  nails  bulge, 
showing  susceptibility  to  throat  and 
lung  trouble-. 

Ail  ri-  lits  reserved, 

I- .  \ 


Took ixc,  at  this  hand,  one  immediately 
visualizes  a  man  who  is  tall,  lean, 
muscular  and  generally  well  built.  We 
have  the  very  long  finger  with  good 
length  of  palm,  if  you  have  followed 
this  series  closely,  you  will  remember 
having  seen  a  somewhat  similar  hand 
and  you  will  also  remember  that  the 
long  fingers,  with  the  square  finger- 
tips, denote  a  person  who  is  careful 
over  little  matters,  and  in  any  work  he 
attempted  would  he '  very  patient  over 
details,  noticing  quickly  the  little  things 
which  would  pass  by  unnoticed  hy  a 
different  type.  The  owner  of  this  hand 
Would  be  reserved,  cautious,  silent  and 
secretive,  and  would  have  good  judg- 
ment and  much  common  sense.  Such  a 
hand  would  indicate  a  strong  inborn 
feeling  for  right  and  authority,  and  one 
who  would  have  great  respect  for 
established  forms,  preferring  an  aris- 
tocracy to  a  democracy  and  known  to 
unknown  things,  also  great  respect  for 
law  and  order.  The  straight  firm  de- 
velopment of  the  thumb  denotes  a  seri- 
ous, conscientious  nature  and  a  person 
of  good  moral  consciousness,  one  who 
is  not  easily  swayed  and  one  who  has  a 
logical  turn  of  mind.  The  closely  hcld- 
in  thumb  would  indicate  one  who  is 
properly  cautious  over  his  own  affairs 
and  would  have  strength  of  will  and 
decision.  The  third  finger  dominates 
and  with  its  spatulatcd  tip  also  good 
of  little  finger  denotes  dramatic 
ability.  Great  love  of  beauty;  a  pref- 
er quality  rather  than  quantitx  . 
pride,  dignity,  and  one  who  tries  always 

to    do    his    best. 

Al!  rights  reserved, 
I'.  Vance  de  Revere 


"Tins  very  beautiful  hand,  long,  nar- 
row and  fragile  looking,  with  slen- 
der, tapering  fingers  and  lovely  almond- 
shaped  nails,  by  its  very  fineness  and 
beauty  would  indicate  a  lack  of  physical 
energy  and  strength,  altho  in  this  indi- 
vidual, the  lack  of  physical  energy  is 
well  made  up  for  by  an  enormous 
amount  of  nervous  energy.  Such  an 
individual  would  have  no  idea  how  to 
be  practical  and  businesslike  and  would 
have  no  conception  of  order,  punctu- 
ality or  discipline  and  would  he  in- 
clined to  procrastinate.  This  hand, 
with  its  smooth  joints,  conic-shaped 
fingers  and  cushioned  finger-tips,  is  the 
hand  of  impulse  and  instinct,  highly 
inspirational,  very  emotional,  extremely 
sensitive  and  very  intuitive;  restless, 
active  nature,  sympathetic,  affectionate 
and  demonstrative,  strong  in  her  likes 
and  dislikes,  and  like  a  child  shows 
quickly  her  real  feelings.  Her  hand 
and  fingers  are  very  flexible,  denoting,  a 
very  sociable  nature  and  one  who  is 
interested  in  people;  being  influenced 
by  the  people  she  comes  in  contact  with 
and  by  her  surroundings,  a  very  im- 
pressionable person,  especially  impres- 
sionable in  affairs  of  the  heart,  judging 
by  impulse  and  instinct,  which  is  apt  to 
make  her  changeable  in  her  affections; 
and  usually  quick-tempered,  but  temper 
is  but  a  thing  of  the  moment.  How- 
ever, when  out  of  temper,  she  would 
lie  apt  to  speak  her  mind  plainly  and  be 
too  impetuous  to  study  her  words  or 
expressions,  afterwards  being  ex- 
tremely sorry  and  seldom  holding  re- 
sentment   or    bitterness. 

All  visits  reserved, 

I'".  Vance  <lc  Revere 


9 


page  93  you  will  find  photographs  of  the  stars  whose  hands  were  analyzed  last  month.     And  next  month  you  will 
find  ihr  answers  to  these  character  readings. 
70 


Ja*S£ 


Lewis  Stone,  Nov.   15,  1879 


Leatrice  Joy,  Nov.  7,   1899 


Mabel  Normand,  Nov.  10,  1894 


'Shall  I  Go  Into  the  Movies?" 

By  Marion  Meyer  Drew 


EDITOR'S  NOTE:  All  comments  made  in  this 
department  are  based  on  Astrological  rules,  but 
neither  the  writer  of  this  department  nor  this 
publication  can  assume  responsibility  for  state- 
ments made  therein,  because  inaccurate  data  is 
sometimes  furnished,  even  tho 
the  sender  believes  it  to  be 
correct. 

You  must  send:  your  date  of 
birth  .  .  .  your  year  of  birth  ... 
city  or  nearest  town  and  county 
of  birth  .  .  .  your  sex  and  the 
hour  and  minute  of  the  day  or  j 1 
night  when  you  were  born. 


Grace  M.  F.,  May  14: 

You  are  better  suited  for  the  busi- 
ness world  than  for  the  artistic 
sphere.  I  dont  want  to  be  too  tech- 
nical, but  your  artistic  interest  is 
shown  in  one  section  of  your  horo- 
scope which  influences  tastes  and  at- 
tributes rather  than  career,  while  the 
position  of  your  Moon — your  per- 
sonality— in  the  part  of  the  chart  de- 
voted to  money  matters  and  in  a 
very  businesslike  and  executive  sign 
is  another  indication  that  your  true 
.place  in  life  is  in  handling  the  work 
of  others  rather  than  in  trying  to 
create  yourself. 


W.  H.  P.,  October  22: 

The  writing  of  photoplays,  so  far 
as  I  know,  is  shown  in  the  horoscope 


Coi 


by  the  same  aspects  and  positions  as  the  writing  of 
fiction  generally.  I  believe  that  you  will  accomplish  more 
by  sticking  to  your  profession  than  by  wasting  time  in 
getting  your  thoughts  down  on  paper — that  is,  unless  you 
have  a  good  deal  of  time  to  spare.  The  selling  of  a  photo- 
play after  it  is  once  written  is  a  vastly  different  matter. 
Unless  one  has  a  well-known  name 
for  fiction  writing,  it  is  very  hard  to 
dispose  of  screen  plays  from  a  dis- 
tance, as  the  market  is  so  changeful 
and  studio  requirements  are  un- 
familiar to  the  new  writer.  I  wish 
you  luck,  but  dont  say  that  I  encour- 
aged you  in  a  disappointing  venture. 

Ella  M.  R.,  September  30: 


Take  time  to  recover  fully  from 
your  operation  and  then  go  on  with 
your  stage  work.  You  are  an  ac- 
tress, not  a  screen  performer.  In 
time  you  will  be  successful,  but  you 
cannot  hurry  this.  Also,  provide 
for  old  age  while  you  are  at  your 
best,  for  there  is  trouble  in  life  after 
the  age  of  fifty,  and  this  can  abso- 
lutely be  prevented  by  laying  aside 
money  in  the  sunny  days. 


Griffith,  Nov.  25,  1897 


Rod  La  Rocque,  Nov.  30,   11 


Hortense  P.,  May  6: 

I  like  the  practical  way  you  figure 
out  a  plan  for  your  future — it's 
quite  characteristic  of  your  sign. 
Taurus,  too.  These  people  are  sel- 
dom scatter-brained  or  driven  by 
impulse.  Your  horoscope  shows  the 
kind  of  self-confidence,  personal 
magnetism  and  emotional  capacity 
that  is  best  suited  for  the  stage.  You 
could  probably  get  somewhere  in  the 
(Continued  on  page  101) 

71 
PAfi 


t 


It's  Getting  Pretty  Crowded  Out  in  Those  Great  Open  Spaces 

It   looks  as  if  it  was   going  to  be  a   good   season   for  sombreros    and    lariats.       Ken    Maynard    is    the    latest 

figure   from   the   great  open   spaces  to   find  a   place   on    the    screen.       And    he's    darn    popular    already.       Of 

course,  he  has  a  horse.    It's  a  white  one,  named  Tarzan 


J 

XA 


72 

AGE 


Advertising  Section 


WflWm 


Mrs.  Reginald  Vanderbilt 

whose  dark  beauty  and* 
creamy  skin  have  an  ex- 
quisite setting  in  this 
white  taffeta  Lanvin  robe 
de  style,  is  as  prominent 
in  exclusive  circles 
abroad  as  at  home.  She 
says:  "Pond's  Two 
Creams  are  wonderful." 


Mrs.  William  E.  Borah 

wife  of  the  United  States 
Senator  from  Idaho, and 
a  leader  in  Washington 
Society,  is  an  enthusias- 
tic user  of  Pond's.  Slit 
?nay  be  seen  receiving 
friends  in  her  charming 
Washington  apartment. 


Just  these  Two  delicate  Creams— fragrantly  cleansing  and  softly 
protecting — keep  every  normal  skin  in  the  pink  of  perfect  health. 


The  crowding  of 
the  Social  Calendar 


calls    for    clear   fresh   skins 


THE  Social  Calendar  scribbled  full! 
The  shining  hours  of  every  day  fitted 
together  like  gay  mosaics  in  a  brilliant 
pattern  of  pleasure. 

It   takes   its   toll  of  beauty — this  life 
without  rest  from  morning  to  midnight- 
smooth  round  cheeks  begin  to  droop,  little 
lines  of  weariness  appear,  unless 
the  right  care  is  given  the  skin. 

Certain  of  the  beautiful  women 
of  the  Social  World  have  learned 
it,  however — how  to  keep  daz- 
zlingly  fresh  and  unwearied  de- 
spite this  merry  round.  Wherever 
you  see  them  you  marvel  at  their 
clear  smooth  cheeks,  snow  white 
shoulders,  firm  round  throats. 
This  is  how  they  do  it: — 

Before    dressing  for    the    evening 


"POND'S   TWO    CREAMS   are 

highly  praised  by  these  beautiful  and 
distinguished  women: — 

H.  M.  the  Queen  of  Spain 
H.  M.  the  Queen  of  Roumania 
The  Princesse  Marie  de  Bourbon 
Mrs.  Livingston  Fairbank 
Mrs.  Nicholas  Longworth 
Miss  Anne  Morgan 
Mrs.  Felix  D.  Doubleday 


and  again  before  retiring,  they  pat  over  faces, 
shoulders,  throats  and  hands,  Pond's  Cold  Cream. 
They  let  it  stay  on  until  its  fine  oils  sink  down 
into  the  skin's  deep  cells  and  bring  to  the  sur- 
face all  dust  and  powder.  With  a  soft  cloth 
they  wipe  off  cream  and  pore-deep  dirt— and 
repeat,  finishing  with  a  dash  of  cold  water  or  a 
brisk  rub  with  ice.  If  their  skin  is  dry,  at  night 


they  apply  more  Pond's  Cold  Cream  and  leave 
until  morning  to  smooth  out  unlovely  lines^ 

AFTER  every  cleansing  with  Pond's  Cold 
C/"l  Cream,  except  the  bedtime  one,  they  smooth 
on  a  little  Pond's  Vanishing  Cream.  This  gives 
their  shoulders,  throats  and  cheeks  a  lovely  even 
finish,  a  soft  glowing  tone.  And  how  white  it 
keeps  their  hands.  Powder  and  rouge 
blend  beautifully  and  last  long  over 
this  Cream  as  a  foundation.  Pond's 
Vanishing  Cream  also  protects  the 
skin  perfectly  from  city  soot  and  dust, 
winter  winds  and  the  strain  of  long, 
late  hours. 

Try  this  method  used  by  the 
lovely  women  of  Society.  See  how 
fresh  and  soft  Pond's  Two  Creams 
will  keep  your  delicate  skin. 


FREE  OFFER:  If  you'd  like  to  try, 
free,  these  Two  famous  Creams  made 
by  Pond's,  mail  this  coupon. 


At  the  opera,  at  formal  junctions  every  when 
you  always  see  them  looking  their  loveliest- 
skin  as  fresh  and  delicate  as  roses,  satin  i, 
texture,  youthful,  firm. 


The  Pond's  Extract  Company,  Dept.  M, 
143  Hudson  Street,  New  York  City 
Please  send  me  free  tubes  of  Pond's  Two  Creams. 

Name 

Street  

City State 


When  you  write  to  advertisers  please  mention  MOTION   PICTURE  MAGAZINE. 


73 

PAfi 


f 


Answer  Man 


i 


lniTiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ffl 


BETSY   OF  .Ml). — Yes,  here  we  are  again  an 


the  time  of 


hings  to  eat,  and  the  time  that 
ymi  think  I  am  the  nicest  old 
Ronald  Colman  is  married  to 
enarated.     V\  hy,  Luster  Collier 


here  in  Sidney?  No, 
Lake  City.  Virginia 
innei's.      Faith    Cole    is 


of      Dorothy 


t 


the  year  that  we  look  for  the  goo< 
the  kiddies  love  best  of  all.   And 
gentleman   next   to    Santa    Claus. 
Thelma  Ray,  but  they  are  being  separated 
irn  February  22,  1902. 

NOMAR. —  How    are    you    away    down 
Margaret    Livingston    was    horn    in    Salt 
Browne    Faire    was   one   of   our   contest    v 
-  McLean's  wife. 

LONESOME. — The      picture     you     enclose 
Sebastian. 

RUTH  AND  EDITH.— Well,  you  know  someone  once  said  that 
"Laying  alimony  was  like  buying  oats  for  a  dead  horse."  Marie 
■  was  the  girl  in  "Led  Lights."  Frances  Howard  in  "Shock 
Lunch."  Esther  Ralston  in  "The  Lucky  Devil."  Mae  Murray 
was  born  May  10,  1893.  Marion  Nixon  was  born  in  Superior, 
Wisconsin.     You're  welcome,  run   in  again  some  time. 

POSITIVE.  Well,  you  are  quite  right  in  being  positive  that 
Lon  Chancy  did  not  play  in  "Dr.  Jekyll  and  Mr.  Hyde"  and  that 
John   Barrymore  did.     You  refer  to  "The  Monster." 

LEORA. — Yours  was  a  pleasure.  Pleasure  that  comes  urilooked 
for  is  thrice  welcome.  Viola  Dana  is  playing  in  "Bred  in  Old 
Kentucky"  and  Give  Brook  in  "Barbed  Wire"  opposite  Pola 
Negri.     You  must  write  me  again. 

UKULELE  LADY.  Well,  the  difference  between  the  temperate 
and  the  intemperate  is  this:  one  governs  his  affairs  and  the  other 
lets  his  affairs  govern  him.  That  was  William  Collier,  Jr.  Beth 
Sulley  was  Douglas  Fairbanks'  first  wife.  You  want  to  know  my 
idea  of  a  happy  marriage.     That  is  a  question.     I  give  up. 

(  LARENCE  I.  Thanks,  it  is  nice  of  you  to  want  to  send  me 
some  Hawaiian  fruit.  Eugene  O'Brien  and  Rubye  DeRemer  in 
"The  Fool  and  Its  Money."  Jack  Mulhall  and  Madge  Bellamy  in 
"The    Dixie   Merchant." 

BETTY  S. — But  love  looks  thru  a  telescope;  envy  thru  a 
microscope.  You  are  right,  Ricardo  Cortez  in  "The  Hero." 
Ronald  Colman  was  born  February  9,  1891,  and  he  has  'mown 
hair  and  brown  eves. 

ELIZABETH  G.  Lillian  Hall  Davis  was  Lygia  in  "Quo 
\adi-."  It  was  taken  abroad.  Gareth  Hughes  is  playing  in  "The 
Auctioneer"    ior   box. 

BRAND-NEW    FAN.     Welcome  to  the   throne.     The  more   the 

merrier.     .Ye,   Mae  Murray  and   Charles   Murray  are  not  related. 

Neither   is  Charles  a  dancing  teacher.     George   O'Brien,   Virginia 

Yalli    and    William    Lowell    have    the    leads    in    "Gaby"     ior    Fox, 

[air-,    i  arr  put  into  scenario  form.     It  is  the  life  of  Gaby 

• 

YILMA'S  FOLLOWER.  Come,  come,  if  you  need  a 
a,  emploj  these  three  a  cheerful  mind,  rest,  and  a  tem- 
perate diet.  Vilma  Hanky  was  born 
January  9,  1902,  in  Budapest.  An- 
tonio Moreno  and  Alice  Terry  have 
the  leads  in  Lex  Ingram's  "The 
Garden  of  Allah,"  to  be  filmed  abroad. 
Priscilla  Lean  and  John  Bower  in 
'■  sire." 

M.    F.    S,      You   say    "How    I    would 
to    have    your    picture     foi 
family    album."      George    K.    Arthur 
Idolphe  in  "Kiki."    Handle   Ayr- 
ton   opposite    Dorothy   Gish    in    "Nell 
Gwyn."       Ronald     Colman    in     "The 
White    Sister."      Thanks,    this    is    not 
quicentennial     yon    arc     refer- 
ring to  Philadelphia.    Gloria  Grey  and 
iirl   Mel  e<    Hi  '"I  be  Girl  of  the 

'        I  ell    your    sister   that 
I 

ce. 


h 


HEAR  YE,  HEAR  YE! 

Ill  you  folks  who  have  questions  to  ask,  come 
this  way  and  you  shall  be  heard  and  answered. 
I  have  learnt  a  lot  during  the  last  eighty-two 
years,  and  it's  all  yours  for  the  asking.  Been 
answering  ???  lure  lor  the  last  fifteen  years 
mid  still  going  strong.  If  you  want  an  answer 
by  mail,  i'ik  lose  a  stamped  addressed  envelope. 
If  you  wish  the  answer  to  appear  here,  write 
at  tin-  top  of  your  letter  the  name  you  want 
printed,  and  at  tin-  bottom  your  full  name  and 
address,  and  mail  to  me,  The,  Answer  Man.  care 

of    Motion    Picture    Magazine,    173    Dufjield 

Street,  Brooklyn,  IS.  Y. 


George  O'Brien  was  born  in  1900.  I  am  glad  to  know  you  are  my 
friend.  Lew  Cody  and  Mabel  Normand  were  married  September 
17;  1926,  at  Marion  Davics'  home.  Louise  Dresser  in  "The  Third 
Degree^  for  Warner. 

MEN  JOU  FAN.— You  are  quite  right,  Adolphe  Menjou  was 
born  in  Pittsburgh,  Pennsylvania. 

BILL  BOYD  FOREVER.— You  have  it  bad,  child,  William 
Boyd  was  born  in  1898.  So  you  dont  believe  I  am  eighty  years 
old.  Well,  pretty  soon  I'll  have  a  birthday.  Dorothy  Mackaill 
in  "Song  of  the  Dragon"  with  Lowell  Sherman,  Neil  Hamilton 
and  Holbrook  Blinn. 

THE  LITTLE  FRENCH  GIRL.— So  you  think  Corinne 
Griffith's  "Into  Her  Kingdom"  was  one  of  the  best  pictures  you 
have  ever  seen.  You  say  you  saw  it  three  times.  Her  next  is 
"Purple  and  Fine  Linen."  I  certainly  dont  see  any  reason  why 
you  cant  sign  off  "With  Love"  as  you  say  when  you  also  state 
that  you  are  taught  in  Sunday-school  to  love  everyone.  You  arc 
quite  right. 

KATHERINE  S.  PAULO.— Thanks  for  the  pressed  flowers. 
I  shall  keep  them  in  my  "Gentlemen  Prefer  Blondes,"  which  Olga, 
seventeen,  kindly  presented  to  me.  Why,  Marguerite  Clark  is  not 
playing  in  pictures  now.  She  has  retired  to  private  hie.  Lillian 
Gish  was  born  in  Springfield,  Ohio.  What  do  you  mean,  do  I 
still  stick  to  the  square  dance?  I  can  Charleston  as  good  as  the 
next  one,  only   for  not   very  long. 

HILDEBRAND  J.— Mary  Astor  hasn't  had  her  beautiful  hair 
bobbed.  She  is  engaged  to  Irving  Asbcr.  Pauline  Frederick  and 
Holmes  Herbert  in  "Jocelyn's  Wife."  Charles  Mank,  Jr.,  of  226 
E.  Mill  Street,  Staunton,  Illinois,  has  started  the  "Movie  Fans' 
Friendship  Club." 

FIVE  FOOT  TWO.— Oh,  there  are  a  lot  of  good  books  on  the 
market.  "Show  Boat"  by  Edna  Fcrber ;  "Nigger  Heaven"  by 
Carl  Van  Yechten ;  "Crewe  Train"  by  Rose  Macaulay.  Donald 
Keith   is   twenty-three  years  old. 

BRENDA. —  So  you  actually  met  Ramon  Novarro  when  you 
were  in  California.  He  was  born  in  Durango,  Mexico,  September 
20,  1899.  He  is  five  feet  ten  and  weighs  one  hundred  and  fifty-live 
pounds.     Has  black  hair  and  brown  eyes. 

EILENE  M. — Your  letter  was  mighty  interesting.  Your  verse 
is  good : 

If    some    bright    genius    only    would 

Invent  a  brand-new  story 
For   married   men   who   stay   out   late 
He'd  pave  his  way  to  glory. 

ENZEDDER.-rWell,  well,  glad  to  meet  you.  I  believe  "The 
Ordeal"  was  taken  from  Dale  Collins'  book.  Pola  Negri's  next 
will  be  "Barbed  Wire"  from  the  Hall  Caine  novel,  "The  Woman 
of   Lnockaloe."     Gladys  Brockwell  in  "Long  Pants." 

HORTENSE  II.-  So  you  are  go- 
ing to  look  me  up  when  you  come  to 
Brooklyn  at  Christmas  time.  You 
will  have  hard  work  picking  me  out 
of  all  the  young  people  around  here. 
Alma  Bennett  is  playing  in  "Men  of 
the    Dawn." 

MARY  R.  NTs,  I  get  along  fine  in 
my  little  Buick.  Came  near  being 
arrested  the  other  day.  The  speed 
COp  (who  is  a  friend  of  mine)  said  I 
was  not  only  a  speeder  but  a 
scorcher.  You  see  I  go  at  a  hot  pace, 
I  make  pedestrians  boiling  mad,  I 
warm  up  the  police,  and  when  I 
get  roasted  by  a  cop,  I  tell  him 
it's  a  burning  shame.  But  I  never 
go  faster  than  fifteen  or  eighteen 
(Continued  on  page  76) 


i 


Advertising  Section 


Youthful 
Beauty. 
Instantly 

lies  in  the  youthful  shades  of 
Pompeian  powder  and  rouge 

By  MADAME    JEANNETTE    de  CORDET 

Famous  cosmetician,  retained  by  The  Pompeian  Laboratories 

as  a  consultant  to  give  authentic  advice  regarding  the  care 

oj  the  skin  and  the  proper  use  of  beauty  preparations. 

<n\fO  more  dull-looking  complexions! 
^  V,  I  can  tell  you  how  to  have  that 
indescribable  charm  of  fresh  young 
girlhood. 

So  perfectly  do  the  shades  of  these  twin 
toiletries  —  Pompeian  Beauty  Powder 
and  Pompeian  Bloom — accord  with  the 
tints  and  tones  of  the  natural  skin,  that 
their  combined  use  gives  fresh  youthful 
beauty  —  instantly.  They  add  the  deft 
touch  that  reveals  the  full  blown  glory 
of  your  complexion. 

This  powder  is  soft  and  velvety  to  the 
touch  —  delicately  perfumed  —  spreads 
evenly,  spreads  with  an  enchanting 
smoothness. 

Pompeian  Bloom  looks  exactly  like 
your  own  coloring.  It  does  not  crumble 
or  break,  but  keeps  compact  and  usable 
—and  jcomes  off  on  the  puff  easily. 

All  shades  of  Pompeian  Beauty  Pow- 
der and  Bloom  for  sale  at  drug  and 
toilet  counters.  Price  60c  per  box.  In 
Canada  slightly  higher. 

Shade  Chart  for  POMPEIAN  BEAUTY 

Powder  and  Pompeian  Bloom 

Pompeian  Beauty  Powder  comes  inFlesh— a 
definite  pink  for  fresh,  youthful  skins;  Natu- 
relle—  a  delicate  creamy  pink  with  a  rosy  sug- 
gestion of  youth;  Rachel—  the  warm  creamy 
tan  for  the  brunette  type;  and  White—  the  pure 
white  used  by  many  women  in  the  evening. 

POMPEIAN  BLOOM,  a  perfect  rouge  in  Medi- 
um— a  soft  warm  rose  that  gives  natural  colorto 
the  average  woman;  Oriental — a  more  bril- 
liant tone,  similar  to  poppy-red;  Orange — 
the  new  golden-rose  for  vivid  types;  Dark— a. 
rich,  deep  damask  rose;  Light— a.  delicate 
but  decisive  pink  suitable  for  very  fair  women. 


this 


Send  fo 


vr 
new  1927 


* 


* 


*s  * v 


J 


Pomp< 


easily  be  75c.  With  the  Art  Panel  (and  at  no^ 
extra  charge)  I  will  send  you  generous 
samples  of  Pompeian  Beauty  Powder  and 


wan  Art  Panel  *-*«*"?■*«'«■•>.■*-*<»*• 


£^HE  picture  shown  here  (top  part  only 
\L)  illustrated)  represents  the  lovely  new  1927 
Pompeian  Art  Panel  entitled  "The  Bride," 
which  we  offer  our  friends  for  only  10c.  Painted 
by  the  famous  artist,  Rolf  Armstrong,  and  faith- 
fully reproduced  in  ten  color  printings.  Actual 
size  27  x  7  inches.    Its  art  store  value  would 


coupon  the  shades  you  wish. 

My  booklet  of  beauty  hints  and  secrets 
will  also  be  sent  to  you  with  the  samples 
and  the  Art  Panel.  Clip  the  coupon,  enclose 
a  dime  and  send  today. 


V  Specialiste  en  Beaute 


Tear  off,  Sign  and  Send 


Madame  Jeannette  de  Cordet 
Pompeian  Co.,  2600  Payne  Av.,  Cleveland,  O. 
I  enclose  10c  for  the  1927  Pompeian  Art  Panel 
and  samples  of  powder  and  rouge. 


Street 

Shade  of 

powder  wanted? 

Shade  of 
rouge  wanted? 

When   yon   write  to  advertisers  please  mention   MOTION   PICTURE   MAGAZ1NI 


75 

PAfl 


f 


qra 


The  Answer  Man 

(Continued  from   [>ayc  74) 


Watch  Them 


M 


miles    an    hour.      That    was    Lawrence    Gray    in    "Stage    Struck." 

A  GLORIA  FAX.— Well,  you  certainly  tell  when  you  want. 
Yours  is  nnne  of  a  letter  to  the  editor.  You  want  Miss  Corson  to 
give  you  styles  of  Gloria  Swanson,  you  want  Harry  Carr  to  write 
more  for  us,  and  you  want  the  barometer  to  appear  in  this  depart- 
ment.    1   will  do  what  I  can   For  you. 

MADCAP. — You  saj  "love  is  always  justified,  even  when  short- 
lived, even  when  mistaken,  because  during  its  existence  it  enlarges 
and  ennobles."  That  is  a  beautiful  thought.  Richard  Dix  \va:i 
burn  July  18.  1894,  and  he  has  brown  -hair  and  eyes.  Norma 
Talmadge's  forthcoming  pictures  are  a  modernized  version  of 
"Camille,"  and  after  that  "The  Dove."  Rudolph  Schildkraut  is  to 
red  in  "The  Country  Doctor." 

CHARLES  S.  C— Well,  well,  all  the  way  from  Hongkong. 
Why.  Dolores  Costello  was  born  in  Brooklyn,  New  York,  in  1906. 
No.  Lillian  Gish  has  never  been  married.  Reggie  Denny  was 
born  November  20,   1891.     I  sure  was  glad  to  hear  from  you. 

SYDNEY  M.  C. — The  difference  between  civilization  and 
barbarism  is  the  same  as  that  between  animals 
and  men.  Did  you  ever  watch  how  an  animal 
will  monopolize  a  bit  of  good  until  it  has  satis- 
fied its  own  appetite,  and  how  generous  he  then 
is  with  that  which  he  does  not  want?  It  is 
civilization  that  creates  monopolies,  but  it  is  un- 
civilization  to  keep  them  so.     Billie  Dove  just 


WOMEN 

Colleen  Moore    76 

( iloria   Swanson    75 

Pola  Negri    66 

.Alberta    Vaughn     65 

Clara   Bow    49 

Betty  Bronson    48 

Vilma  Banky    48 

Norma   Talmadge    45 

Mary    Pickford 43 

Bebe   Daniels 42 

Norma   Shearer    39 

Corinne  Griffith    39 

Mae    Murray    34 

Lois  Moran    34 

Mary   Brian    33 

Lois    Wil>on    31 

Marion  Davies    29 

Dolore>    Costello    27 

( "laire  Windsor    24 

Constance  Talmadge  23 

Sally  O'Xeil  23 

Elinor  Fair  22 

I  .eatrice  Joy   22 

Madge   Bellamy    21 

Ralston   20 


with  Virginia  Valli  and  Percy  Marmont.  Beverly  Bayne  and 
Francis  X.  Bushman  produced  "Graustark"  some  years  ago.  Percy 
Marmont  is  married.  Oh  yes,  Theodore  Roberts  is  all  well  now. 
PEGGY  S. — Well,  a  machirffc  of  one  horse-power  running  all 
the  time  is  more  efficient  than  one  of  fifty  horse-power  standing 
still.  Norma  Shearer  is  five  feet  three,  weighs  110  pounds.  Has 
dark  hair  and  blue  eyes. 

DEWEY  W  — You  can  write  Bob  Custer  at  the  F.  B.  O.  Studio, 
780  Gower  Street,  Los  Angeles,  California.  Jane  Winton  is  to 
have  second  lead  with  John  Barrymore  in  "The  Vagabond  Prince." 
PEG  O'GEE. — Wanda  Hawley's  real  name  is  Selma  Pittack. 
Dorothy  M.  Thompson,  13  Fifth  Street,  Aspinwall,  Pennsylvania, 
has  started  the  Colleen  Moore  Fan  Club.     And  still  they  come. 

D.  A.  R. — Well,  those  initials  stand  for  a  great  many  daughters, 
you  know.  The  children  you  refer  to  I  guess  have  grown  up  and 
become  mothers  by  now.  Rod  LaRocque  is  playing  in  "White 
Gold."  Bryant  Washburn  in  "The  King  of  Kings."  Nita  Naldi 
in  "The  Pratermizzi"  being  produced  in  Vienna.  They'll  have 
to  change  the  name  before  it  reaches  this 
country. 
eJ  B.  B.   ENGLAND.— So  you  want  a  picture 

of  Betty  Blythe  in  the  gallery.  She  is  playing 
in  vaudeville  right  now.  No,  she  has  no 
children. 

R.  C.  K.  LONDON.— I  say,  old  chap,  Regi- 


MEN 

Rudolph  Valentino    243 

Richard  Dix  129 

Ramon   Novarro    102 

Ronald  Colman 85 

Ben  Lyon   83 

William  Boyd    81 

Lloyd  Hughes    7$ 

John  Gilbert   73 

William  Haines    69 

Richard    Barthelmess    60 

Ricardo  Cortez 44 

Douglas  Fairbanks 39 

Rod  La  Rocque 36 

John   Barrymore 33 

Tom  Mix   28 

George  O'Brien   27 

Lon  Chaney   25 

Thomas  Meighan 24 

Buck  Jones 23 

Buster   Collier    ^ 23 

Lawrence   Gray    23 

Milton  Sills  . L9 

Jack  Holt   19 

Douglas  Fairbanks,  Jr 19 

(  live    Brook    17 


Da 


long-term  contract   with   first  National  and  her  first  will 
be  "Hen    You  Are  Brother"  with  Lewis  Stoi 

I.  M.  KURIOUS.—  Xo,  Ramon   Novarro  is  not  a  woman  hater. 

married,  but  give  him  time,      lb'  is  going   to  yet  the  right 

hang  on  to  her.     Marie  Prevost  is  playing   in  "Man  Bait." 

i,  a  newcomer  to  films,  altho  well  known  on  the 

having  played  with  Ethel  Barrymore,  will  have  the  male 

lead  oppi 

WATTS. — 'flu-   only    place    you    can    get    a    picture   of 

Alberta  Vaughn  is  at  the  F.  B.  O.  .studio,  780  Cower  Street,  Los 

born  in   1906.     Charles  Rogers  was  the  bad, 

■  ars  old. 

[<   E    M. — So  you   have   started    the    Irene    Rich   Club,  and 

may    join    by    writing    to    Bernice    Meadows,    H2Z    (  h<  rry 

•t    Worth.    1 

•I,.     Yes,  "K"  was  produced 

76 


nald  Lenny  comes  from  your  own  home  town,  and  Norma  Shearer 
hails  from  .Montreal,  Canada.  Richard  Dix  and  Carol  Dempster 
are  to  star  in  "The  White  Slave"  for  D.  \Y.  Griffith.  Before 
Starting  this,  Richard  will  make  "Paradise  for  Two."  Ethel  Clay- 
ton  is    playing   in    "Mother    McCree." 

R.  Y.  1T1ILA. — That  was  some  fight  you  had  in  your  town. 
No,  I  didn't  attend — I  heard  it  over  my  radio.  I  certainly  do 
understand  your   feelings.     You  are  very  young. 

UKULELE  LADDIE.-  1  should  say  it  is  cold  around  these 
parts.  We  had  a  miserable  rainy  summer,  and  now  we  are  hav- 
ing a  cold  damp  ball.  I!en  Lyon  was  born  February  6,  1900, 
Monte  Blue  on  January  11,  1X90,  and  Mae  Murray  May 
10,  1893. 

BABE.  Well,  a  woman  has  no  use  for  a  man  who  never  lies 
to  her.  I  didn't  deliberately  lie.  Lloyd  Hughes  has  gray  eyes. 
Antonio  Moreno  is  married  to  Daisy  Canfield  Danziger. 


Advertising  Section 


Throwing  the  Light 

of  Scientific  Frankness  on  Woman's  Oldest  Problem 

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Registered  Nurse 

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Easy 
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tection. 


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PROTECTS— DEODORIZES 

When  you   write  to  advertisers  please  mention   MOTION  PICTURE   MAGAZINE. 


No  laundry — discard  , 
easily  as  a  piece  of  tissi 


77 

PAG 


I 


Say   It   With    Letters 

Have  you  a  kick  against  the  movies?  Then  dont  suffer  in  silence. 
Write  us  a  letter  about  it.  Have  you  a  favorite  that  you  want  to  tell 
the  world  about?  Then  remember  that  it  isn't  fair  to  keep  the  good 
news  to  yourself.  This  department  is  devoted  to  your  opinions  and 
you  are  the  boss  of  this  page 


That's  No  Lady— That's  Louise  Dresser 

P1  lOR  Louise  Dresser!  She  lias  such  a  bad  reputation  nowa- 
days— in  the  movies.  In  "Fifth  Avenue"  and  "Padlocked" 
she  is  no  lady,  the  "Blind  Goddess"  finds  her  disheveled 
and  broken,  while  "The  Goose  Woman"  and  "Broken 
of  Hollywood"  show  her  affectionately  embracing  Gor- 
don's Dry  Gin.  Question — Where  does  she  get  it?  Will  Hays 
shouldn't  let  this  flagrant  disregard  of  the  Volstead  Act  get  by, 
after  his  recent  edict.  Aw.  please.  Mr.  Director,  let  Louise  have 
a  little  drink  of  milk  occasional!}  ! 

We  hear  much  about  Art  and  foreign  films,  so  apparently  they 
are  synonymous.  Led  by  these  babblings,  I  had  the  misfortune  to 
see  "Othello."  Emil  Jannings  was  strutting  his  stuff  in  a  series  of 
Terry  cloth  bath-robes,  girded  light  about  him  that  every  quiver  of 
emotion  might  be  seen  to  rack  his  well- 
padded  frame.  Believe  me,  he's  built 
to  quiver.  Santa  Clans  would  make 
him  a  fine  role!  His  acting  consisted 
chiefly  of  rolling  distended  eyeballs.  I 
felt,  when  he  had  finished,  as  an  oculist 
must  after  a  hard  day's  work. 

By  the  way,  has  there  ever  been  a 
meal  which  did  not  consist  of 
fruit  cup?  I  iconic!  like  to  see  one  of 
the  screen's  fair  ladies  sink  her  teeth 
into  a  good  steak.  Xo  wonder  they're 
all  so  thin  ! 

1.  too,  must  ask  why  Conway  Tearle 
still  plays  dashing  hero  parts?  He  ad- 
over  forty.  He'd  make  a  good 
grandpa,  or  even  sugar  daddy,  but 
boy-friend — never!  I'm  fussy  about 
chins,  and  when  he  kissed  Barbara  Bed- 
ford in  "The  Sporting  Lover"  the  poor 
girl  was  completely  obliterated.  Xo,  ye 
old  drooping  eyelid,  famous  mole,  and 
frown  have  had  their  day.  Good-bye, 
old  friend! 

K.  Muriel  Barrie. 


Go  to  Morning  Service 


V/OUR  opinions  on  subjects  re- 
•*  letting  to  the  movies  and  their 
players  may  be  worth  actual  money 
to  you,  if  you  can  express  them 
clearly  in  a  snappy  letter  of  one  to 
three  hundred  tvords.  A  five-dollar 
prize  is  azvarded  for  the  best  letter 
of  the  month,  which  will  be  printed 
at  the  head  of  this  department. 
One  dollar  is  paid  for  the  excerpts 
printed  from  others.  Write  us 
an  interesting  letter,  giving  reasons 
for  your  likes  and  dislikes.  Sign 
your  full  name  and  give  your  ad- 
dress. We  will  use  initials  only  if 
requested. 

Send  to  SAY  IT  WITH  LET- 
TERS, 175  Dufficld  St.,  Brooklyn, 

n.  y. 


LAC 


I   A.'.r  an  ardent   fan  of  the  movies  and 
-    all  the   worthwhile   pictures 
that  1  can.     But  therein  lies  the  trouble. 
I  cannot  often  go. 
The  reason   is   simple  but  none  the  less  maddening.     All  of  the 

tures  are  shown  on  Sunday,  whereby  1  am  excluded. 
I  live  in  a  small  town  and  until  recently  no  pictures  were  shown 
day.       I1h-  best   ones    were   on    Monday   and   Tuesday.     This 
n  changed  now,  having  the  best  on  the  Sabbath  and  show- 
ing almost  anything  that  may  be  called  a  picture  other  nights. 

It  is  very  trying  with  a  theater  manager"  on  one  side  offering  a 
superb  program  and  a  preacher  on  the  other  side  with  a  sermon. 
My    conscience    is    quite    overtaxed    altho    my    parents    generally 

S.  R., 
Greenfield,  Indiana. 

Advice  to  Mothers 

I  to  the  motion  pictures  the  other  night  and  heard  some  one 

behind  me  say:  "Pictures  are  o  degrading.  I  do  not  know 
why  I  come.  I  hardly  ever  allow  my  children  to  go.  I  want  my 
children  to  stay  young  and  the  movies  make  them  grow  up  too 
quickly."  Lu't  that  a  compliment  to  the  motion  pictures,  the  pro- 
enarists?  Quite.  I  felt  like  turning  around  and 
telling  that  woman  what  I  thought  of  her.  I  did  not,  but  1  will 
put  my  arguments  down  here. 

If  -Non  are  wrong,   Mr-.    CMiss) Tin-  movies  are  not 

JO  to  the  ri.uln 
Well,    how    <;n\    you    tell    which    are    tin-    righl    oiks    and 
which  are  the  wrong? 
78 


Myself — There"  are  three  ways  you  can  tell.  When  you  see  an 
advertisement  of  a  certain  picture,  look  at  the  advertisement  for 
the  corporation  putting  the  picture  out.  If  it  is  Metro-Goldwyn- 
Mayer  or  Famous  Players-Lasky,  it  will  probably  be  a  good  pic- 
ture^ If  you  see  that  Cecil  De  Mille,  Fred  Xiblo,  D.  W.  Griffith, 
or  King  Vidor  is  directing,  it  will  probably  be  a  good  picture. 

Lady — I  see,  but  dont  the  actor  or  actress  count  for  anything.  1 
always  go  to  a  picture  because  of  the  actor  or  actress. 

Myself — That  is  one  reason  why  you  so  seldom  find  a  picture 
that  you  like.  You  say  "Ben  Lyon  is  at  the  movies  tonight  so  I 
guess  I'll  go."  That  most  times  does  not  work  out.  There  are 
only  a  very  few  stars  on  the  screen  whom  anyone  can  go  to  see 
and  be  sure  of  being  satisfied.  Those  are  the  veterans  of  the 
screen.  I  mean  when  I  say  "veterans"  people  like  Mary  Pickford, 
Douglas  Fairbanks,  Charlie  Chaplin,  and  I  might  say  Florence 
Vidor.  They  have  been  on  the  screen  a 
long  time  and  know  the  tricks  and 
turns  of  the  work.  But  there  are  a 
few  who  are  new  but  just  the  same  you 
can  depend  on  them. 

Lady — How  can  you  tell  with  the 
new  ones  ? 

Myself — By  observation  and  also  by 
getting  the  Motion  Picture  Magazine 
every  month.  This  is  my  third  way  to 
tell.  Motion  Picture,  every  month, 
gives  reviews  of  the  latest  pictures  and 
criticizes  the  stars  who  play  in  them.  I 
never  go  to  a  picture  now  without  look- 
ing in  the  magazine  and  finding  out 
whether  it  is  good  or  bad.  1  usually 
take  its  advice,  unless  I  am  determined 
to  see  the  picture  and  then  oftentimes 
I  am  disappointed. 

Lady — Well,  who  do  you  think  are 
really  good  of  the  newer  ones? 

Myself — I  could  name  quite  a  few- 
stars  whom  I  like  and  whom  I  enjoy 
watching  on  the  screen  but  there  are 
very  few  who  will  ever  reach  the 
heights  which  Mary  Pickford  and 
Douglas  Fairbanks  have  gotten  to.  Be- 
fore Mr.  Brewster,  the  editor-in-chief 
of  Motion  Picture  Magazine,  ever 
said  anything  about  Ramon  Xovarro,  I 
decided  that  he  was  the  best  actor  on 
the  screen.  After  Mr.  Brewster  finished  his  articles  about  the 
screen  idols  of  the  past,  present  and  future,  I  was  glad  I  had 
chosen  Xovarro.  Then  there  is  Betty  Bronson.  I  think  she  should 
leave  the  screen  for  a  while  unless  they  can  keep  her  in  roles  like 
"Peter  Pan"  and  "A  Kiss  for  Cinderella."  She  is  so  young  and 
childish. 

Lady— I  will  try  that  for  a  time  and  see  if  it  works. 
I  am  quite  sure  that  in  a  few  months  that  woman  would  hav 
come  to  me  and  said,  "I  am  so  glad  you  told  me  of  that  magazine 
and  all  about  the  companies  and  directors.  I  find  myself  enjoying 
the  movies  much  more  now,  and  I  am  not  afraid  of  letting  my 
child  go  to  a  movie  which  I  have  not  seen." 

Anonymous, 
Ridgewood,   X.  J. 

This  Settles   It 

\Y/e  all  know  that  none  other  than  Ramon  Xovarro  should  be  our 
w  Romeo.  If  we  did  not  have  Ramon,  then  of  course  it  would 
be  different,  and  we  must  needs  choose  some  one  else. 

As  for  Juliet,  there  is  no  artist  who  could  possibly  outdo  Alice 
Terry,  as  to  splendid  acting,  beauty  and  distinction.  Think  of  her 
work  in  "The  Conquering  Rower"  with  Valentino,  also  "The  I'our 
Horsemen"  and  "The  Prisoner  of  Zenda,"  besides  a  number  of 
others.      She    is    a   perfect    match    for    Ramon.  F.    S.    M., 

Leadville,  Colo. 


a 


Advertising  Section 


«SUR 


OPvOTHY  GPvAYS  SCIENTIFIC  PKEPAIWIONS 

J~or  facial  J\g'upautttorL 


i 


The  Dorothy  Gray  Treatment  Box 
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Price  $10.85. 


*•*?-■- 


Before  retiring,  Dorothy 
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It  makes  the  face  round  and 
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In  place  of  soap  and  water, 
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For  the  plump  face,  inclined 
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l        ^ 


V  DOROTHY  GRAY  V 

COMING  to  New  York  eleven 
years  ago,  the  daughter  of  a 
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Price  $11.60. 

Write  for  a  complete  booklet  descrip- 
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Dept.  74 
753  Fifth  Ave.,  New  York,  N.Y. 


The  Dorothy  Gray  Treatment  Box 
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Included  are  5  special  preparations. 
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Price  $5.85. 


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The  famous  patented  Patter 
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Price  $2.jo. 


Lately  improved,  here  is  the 
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ention  MOTION   PICTrnE   MAGAZINE. 


79 
PAG 


I 


MAGAZINE     I- 


Crazy    Quilt 


to  get  them  out  of  the  room  before  she 
attempted  to  rise.  But  Harvey  waited, 
loath  to   leave  her. 

"Will  you  kiss  me  first,  Judy  .  .  . 
please,"  he  begged  with  a  humility  that 
Judith   felt  ashamed  to  see. 

She  took  his  bowed,  shamed  head  into 
her  arms  and  cradled  him  against  her 
young  breast.  She  knew  that  thru  some 
strange  psychological  twist  she  adored 
him  more  than  ever.  He  possessed  a 
superiority,  but  in  spite  of  this  he  needed 
her  tremendously  ...  in  spite  of  this  be 
would  go  down  before  the  things  that 
threatened  him  unless 
her  hand  guided  him. 

What     weakness     is 
greater     than    the    weak- 


(Co)itinucd  from   page  42) 

"Perhaps,"  she  smiled,  "but  g<  od  roles 
are  more  greatly  to  be  desired  than  a 
painted   star  on   a  dressing-room  door." 

Lillian  came  in,  importantly  bearing  the 
brass  tea-tray.  There  was  something  tri- 
umphant in  her  manner  as  she  set  it  on 
the  low  table.  Her  bearing  seemed  to 
ask  if  it  was  not  all  that  an  afternoon  tea 
should  be. 

Harvey  asked  to  be  excused.  He  ex- 
plained that  be  bad  several  telephone  calls 
to  make.  Judith  rather  wished  that  he 
would  remain.  She  hardly  felt  equal  to 
the  demands  of  even  a  casual  conversation, 


nes>  oi 


strong  man  i 


? 


"My  dear."  Judith 
whispered  tenderly,  "1 
love  you." 

What  less  could  she 
.say?     What  more? 

He  raised  bis  mouth, 
salty  from  his  tears. 
And  her  lips  gave  him 
the  balm  of  an  utter  for- 
giveness. 

Then  he  went  down- 
stairs. 

Judith  wondered  if  she 
would  be  able  to  carry- 
thru  her  purpose.  Her 
body  was  shaken  with  a 
weakness  greater  than 
she  had  ever  before 
known.  It  was  only  by 
holding  to  the  furniture 
that  she  made  her  way 
to  the  closet  where  she 
selected  a  gown.  The 
mirror  in  the  door 
showed  her  unearthly 
pale.  So  she  selected  an 
amber  chiffon,  using  a 
little  rouge  in  substitu- 
tion of  her  customary 
faint    color. 

Hown-stairs  she  heard 
Harve  y  and  .Miss 
Cameron  talking.  Heard 
them  thru  a  fog.  But 
she  knew  that  Harvey 
was  not  being  his  suave 
Sel  f .  She  hurried  as  much 
as  her  -pent  body  allowed 
in  order  to  release  him 
from  the  strain  he  was 
so  evidently    feeling. 

The  stairs  were  nar- 
row and  steep.  She  dared 
not  take  them  quickly 
and  her  descent  si 
timed  and  slow.  Tin's 
embarrassed  her.  It 
to     portend     an 

•  ntrance.     And  as  she  entered  the 
room      she     noted      thai      Miss      Cameron 
watched  her  curiously.     She-  thought  pcr- 
.<ry  entrance  had  induced  this. 

"You    see,"    she    said    with    a    smile,    and 
hoping    that    she    was    not    going    to    faint 
again,    "I     rather    anticipate    my     stardom, 
trance  .  .  .  that   sort  of  thing." 

Evidently    she    looked    and    sounded    all 
right.     Neither    Harvey   or   Miss   Cameron 
seemed  alarmed  at  the  sight  of  her.     They 
a)    her   little  joke. 

"From     all     we    hear,"     Miss     Cameron 
id,    "your   stardom    is   a   mere 
matter  of  one  or  two  pictures." 

Judith's  whit'-     boulder,   shrugged  under 
their  amber   web. 

SO 


Synopsis  of  First  Chapters 


/UDITII  TOWER,  the  great-granddaughter  of  Lola  Chase,  a 
mice  famous  and  beautiful  actress,  uses  $1200  left  her  by  her 
mother  to  go  to  New  York  ami  break  into  the  movies.  'Her 
talent  and  beauty  are  appreciated  by  the  producer  of  Excelsior 
pictures,  but  he  offers  her  a  contract  on  terms  she  cannot  accept, 
and  she  leaves  his  studio  forever.  Working  as  an  extra  at  the 
Acme  Studio,  she  meets  Harvey  Dunn,  a  young  publicity  man,  and 
thru  him  meets  McAllister,  a  director,  who  gives  her  small  parts,  and 
later  influences  Irving,  the  producer,  to  give  her  a  contract.  Mean- 
while, Harvey  and  Judith  fall  deeply  in  love  and  become  engaged. 
One  night  at  the  Rits  they  meet  Joy  Royce,  an  actress,  who  greets 
Harvey  with  a  proprietary  air  which  disturbs  Judith  for  the  moment. 

At  a  surprise-party  in  Judith's  new  dressing -room,  the  Acme 
stars  come  to  congratulate  her  on  her  contract  and  her  engage- 
ment. A  boy  comes  with  a  note  which  he  says  is  front  Miss 
Royce,  to  be  delivered  personally  to  Mr.  Dunn.  Harvey,  drinking 
heavily,  reads  the  note  and  drops  it  on  the  floor.  Judith  covers  it  with 
her  handkerchief  and  picks  it  up,  unnoticed  by  Harvey.  In  it  Joy  refers 
to  her  romance  with  Harvey,  declares  she  still  loves  him,  and 
reproaches  him  for  marrying  Judith.  Judith  keeps  the  note,  but 
never  mentions  it,  as  she  has  complete  faith  in  Harvey's  love  for 
her.  They  are  married  the  next  day.  Harvey  is  absorbed  in 
Judith's  career,  and  they  live  far  beyond  their  means  in  an  effort 
to  keep  up  appearances.  Their  many  debts  worry  Judith,  but 
Harvey  assures  her  bluff  is  necessary  in  the  picture  game,  and 
her  increasing  salary  will  soon  pay  for  everything.  They  lake  an 
apartment  in  a  fashionable  neighborhood.  Harvey  urges  her  to 
use  her  relationship  to  Lola  Chase  for  publicity  purposes,  and  she 
begins  to  appear  in  fan  magazines..  Harvey  drinks  a  great  deal, 
and   in    moments  of   intoxication   is   ugly   to  Judith. 

At  the  theater  where  Judith's  first  picture  is  running  they  meet 
Dolores  Cortes,  a  passee  vampire,  who  invites  Judith  to  a  tea 
for  the  press  at  her  house  the  next  day.  There  Judith  meets 
Robert  Landis,  a  well-known  feature  writer  and 
man,  who  asks  if  he  may  see  her  again.  Miss  Chaml 
sine  writer,  makes  an  appointment  to  interview  her  the  following 
Thursday,  at   her  apartment. 

On  Thursday,  a  few  moments  before  Miss  Chambers  is  expected, 
she  returns  to  the  apartment  to  find  Harvey  in  the  bedroom.  He 
is  drunk,  and  uglier  than  she  has  ever  seen  him.  He  has  found 
Joy  Royce's  note,  and  accuses  her  of  spying  on  him.  She  reaches 
for  the  note,  to  tear  it  up,  but  he  shoves  her  violently,  her  head 
hits  the  chip orobc.  and  she  faints. 


much  less  an  interview.  Yet  she  knew 
that  he  was  going  because  he  thought  she 
would  talk  with  less  restraint  if  he  was 
not  present. 

She  steadied  her  hand  before  raising 
the  teapot. 

And  so  on,  thru  the  trifle  less  than  an 
hour   that    Miss    Cameron    remained. 

The  conversation  was  varied.  Men. 
I  lothi  Love.       Motion     pictures.       The 

compounds  of  ninety-nine  interviews  out 
of    one    hundred. 

Because     Judith      had     always     been     an 

omnivorous    reader,    she    was    quite    on    a 

par    with    Miss    Cameron    in    philosophic, 

psychological,   biological    and   literary   ref- 

The:     laughed    over    the    intense 


Freudians.  They  spoke  in  a  mutual  ad- 
miration of  one  or  two  contemporary 
authors. 

"It  has  been  very  pleasant  talking  to 
you,  Miss  Tower,"  Miss  Cameron  said  as 
she  gathered  up  her  bag  and  gloves  pre- 
paratory to  her  departure.  "You're  very 
busy,  1  know,  but  perhaps  some  day  soon 
you  will  take  tea  with  me." 

"I  would  love  to  do  that,"  Judith  said, 
"please  ask  me,  any  convenient  time.  We 
rarely    work  after   five." 

Then  she  called  up-stairs  to  Harvey, 
"Miss   Cameron  is   leaving,  dear." 

Harvey  came  down 
immediately.  There  were 
more  amenities  ex- 
changed. 

The  apartment  door 
closed.  And  Judith  went 
immediately  to  the  divan 
where  she  slept  fever- 
ishly and  fitfully  until 
late  that  evening  when 
Harvey  returned  from  a 
conference  and"  helped 
her  to  bed. 

"The  Magic  Thing," 
the  next  picture  in  which 
Judith  appeared,  in  lead- 
ing support  of  Hugh 
Kendrick,  dragged  thru 
weeks  of  production. 
Nights,  Judith  would 
leave  the  studio,  ex- 
hausted after  intensive 
rehearsing  and  retakes 
of  the  action  shot  the 
day  before.  And  the  next 
morning  she  would  be  at 
the  studios  at  least  an 
hour  before  she  was 
called  on  the  set.  There 
was  a  necessity  for  her 
make-up  to  be  perfect. 
For  if  Hugh  Kendrick 
photographed  well  in  the 
scene,  that  scene  was 
used.  It  made  little  or 
no  difference  how  anyone 
else  looked. 

Careless  make-up, 
wombing  shadows,  lines 
and  other  bugaboos  were 
tabu. 

Harvey  was  thought- 
ful and  understanding. 
And  not  once  did  he 
take  anything  to  drink. 
Judith's  accident  seemed 
to  have  filled  him  with  a 
veritable  dread  of  any- 
thing alcoholic. 

Judith,  however,  ap- 
preciated the  fact  that  he 
would  need  help  if  he 
was  to  continue  his  ab- 
stinence. When  she  had  an  hour  or  two 
between  scenes,  in  the  middle  of  the  day, 
she  had  Lillian  put  up  a  picnic  lunch. 
Then  she  would  get  Harvey  to  drive  her 
to  a  woody  bank  just  outside  of  the  city 
limits  where  they  would  lunch  together 
and   rest    for  an   hour. 

Otherwise,  Harvey  lunched  with  a 
group  of  men  from  the  studios.  This 
meant  that  he  must  refuse  drinks  while 
others  imbibed.  Now  and  then  Judith  felt 
this  was  good  for  him,  food  for  his  cour- 
age and  will-power.  But  she  did  what 
she  could  to  alleviate  the  constant  strain 
by  maneuvering  to  borrow  a  studio  car 
and    picnic. 

(Continued  on  page  82) 


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please  mention  MOTION   PICTURE   MAGAZINE, 


81 

PAG 


I 


".MOTION  PICTURC 
tl   I  MAGAZINE     I 


Crazy    Quilt 


i 


The  next  two  months  were  difficult. 
Judith  sometimes  marveled  that  the  Acme 
mid  make  any  profit  from  a  pic- 
ture produced  in  this  manner.  Every 
night  Hugh  Kendrick  would  see  the 
rushes  and  demand  that  something  either 
tot   or   eliminated. 

He  would  watch  himself  on  the  screen 
with  what  amounted  to  a  fanatical  in- 
tensity. He  was  well  over  forty  and  he 
looked  it.  And  his  limitations  prohibited 
his  going  in  for  another  sort  of  role.  He 
had  to  appear  the  genial,  warm-hearted, 
happy-go-lucky  hero  while  he  was  seeth- 
ing underneath  and  worried  to  death  every 
time   he  stood    for  a  close-up. 

Judith    felt   sorry    for   him.      She   appre- 
eiated  his  intense  struggle  to  maintain  the 
high  plaee  which  box-office  receipts  proved 
was     slipping     thru     his 
frantic,   inefficacious   fingers. 

But  she  felt  sorrier  still 
for  Al  Menten,  the  director. 
At  the  end  of  the  day  he 
would  be  so  harassed  that 
he  would  appear  to  have 
grown  years  older. 

He  seemed  grateful  to 
Judith  when  she  was  able  to 
work  out  her  own  business. 
He  tutored  her  only  when 
necessary.  All  her  worries 
about  antagonism  on  his 
part  because  she  was  Mc- 
Allister's protegee  were 
wasted. 

Harvey  had  warned  her 
about  Hugh  Kendrick  and 
some  of  the  difficulties  she 
would    encounter. 

"I  did  my  best  with  your 
role  in  the  'script."  he  told 
her.  "but  it  is  actually  up  to 
you,  Judy.  If  I  gave  you 
too  much  of  a  part,  Hugh 
would  never  have  accepted 
the  'script.  .  Anyone  who  is 
his   lead  has  a  problem. 

"There  is  no  earthly  use 
in  your  doing  good  work  in 
scenes  with  him.  for  any 
time  you  threaten  to  steal  a 
small  portion  of  the  thunder 
he  will  have  your  stuff  cut 
out." 

Accepting  Harvey's  mea- 
sure of  Hugh  Kendrick. 
Judith  decided  that  her 
course  was  to  walk  thru  her 
iili  I  lugh  as  effec- 
tively as  possible  and  to  save 
any  business  or  inspiration 
for  the  scenes  she  played 
without  him. 

In  the  beginning  both 
Hugh  and  Myra  Kendrick. 
who  was  a  frequent  visitor 
on  the  camera  line,  watched 
Judith  suspiciously.  The 
had  pro<  laimed  her 
after  the  release  of  her  second  picture. 
Her  photographs  were  being  published 
everywhere.  And  the  Kendricks  had  quite 
obviously  determined  that  she  was  not  to 
be  permitted  to  -teal  "The  Magic  Tiling" 
from    Hugh. 

till    talking    about    her 
quality  .  .  .  her  dignity  and  poise 
.    .    .   and    the   originality    of    her    treatment. 
had   done   in   the   la-t   picture- 
in  which     In-  discovered   her    father  cheat- 
ird     had    been    particularly   com- 
mented    upon,   in    very    favorable   terms. 

Judith,    however,    appeared    to    give    the 


(Continued  from  page  80) 

Kendricks  no  cause  for  a  continuance  of 
their   vigilance. 

"She  seems  quite  ordinary,"  Myra  had 
confided  to  Hugh  in  his  dressing-room  one 
afternoon  after  they  had  been  about  two 
weeks  in  production,  "she  wont  get  any- 
thing in  the  picture  that  you  do  not  give 
her." 

And  after  that  Myra  had  not  been  on 
the  set  quite  so  often. 

Judith  was  grateful  for  this.  Those 
wifely  eyes  had  made  her  nervous.  And 
on  several  occasions  they  had  come  very 
near  goading"  her  into  doing  her  best  to 
steal  a  scene. 

She  was  glad  that  Mrs.  Kendrick  was 
not  going  on  location   with   them. 

"You'll  have  a  frightful  time,"  she  had 
told    Judith,     "Hugh's    company     went    to 


$200 


in 


rizes 


ON*  page  forty  of  this  issue  is  a  story  called  "Crazy 
Quilt."  It  '  finds  its  human  drama  in  motion  pic- 
ture people.  We  are  offering  two  hundred  dollars 
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hundred  words  which  express  opinions  as  to  why  "Crazy 
Quilt"  is  a  perfect  title  for  this  story. 

The    rules   are   simple,    but    we    urge   you   to    read    them 
carefully. 


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of  paper  used. 

6.  Address  compositions  to  Crazy  Quilt  Editor,  175 
Uuffield  Street,  Brooklyn,  N.  Y. 

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8.  No  compositions  will  be  returned. 

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The   two   hundred   dollars   will   be   divided   as    follows : 


11 


Pri 


rizes 

$100 First  Prize 

50 Second  Prize 

25 Third  Prize 

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5 .  .  .  .Fifth,     Sixth     and     Seventh  Prize 


Mountain  Stream  once  about  three  years 
ago   and    I    very    foolishly  went  along. 

"No  accommodations,  my  dear.  An  old 
farmhouse.     Wretched    food. 

"The  company  is  always  rushed  when  it 
is  clear  weather.  And  altho  I  cannot  im- 
agine what  they  mean,  considering  the 
board  at  the  farmhouse,  there  is  so  much 
talk  about  finishing  the  scenes  on  account 
of  the  overhead,  that  you  would  actually 
think  they  were  putting  you  up  at  the 
Ritz. 

"Hugh  simply  wont  hear  of  my  going 
along." 


Judith  remembered  rumors  about  Myra 
Kendrick  being  a  farmer's  daughter,  but 
she  did  not  mention  anything  of  the  sort. 
Pasts  were  rarely  mentioned  in  this  new 
life.  Judith  had  discovered  this  almost 
immediately.  People  might  know  that  you 
knew  about  their  obscure  and  humble 
pasts  but  there  was  an  unwritten,  un- 
spoken, tacit  understanding  and  it  was 
never  mentioned. 

However,  she  could  not  resist  a  shot  at 
the  upstarty  Myra. 

"I  wont  mind  it,  I'm  sure,"  she  said, 
hating  herself  for  being  so  small,  but  un- 
able to  maintain  a  silence  this  time.  "I 
was  brought  up  in  the  country,  you  know. 
Actually  I'm  more  at  home  there  than  I 
am  in  a  suite  at  the  Ritz." 

Myra  raised  shaved  eyebrows  that  gave 
her  an  uncertain  expression. 

"Really?"    she    said, 

"really?" 

Judith  laughed,  "Not  that 
I  do  not  prefer  a  suite  at 
the  Ritz,"  she  said,  "I  have 
always  been  terrified  of 
snakes.  I  admit  it,  in  spite 
of  the  psychoanalytical  sig- 
nificance it  holds.  And  my 
palate  rapidly  accustomed 
itself  to  the  sauces  of  the 
best  chefs." 

Perhaps  it  was  well  that 
Harvey  arrived  at  this  junc- 
ture. Judith  herself  felt  re- 
lief, knowing  that  she  was 
not  to  be  trusted  with  the 
superior  Mrs.  Kendrick  for 
any  protracted  length  of 
time. 

"I  must  go  pack,"  she 
said.  "You  packed,  Harvey  ?" 
Harvey  shook  his  head. 
"I'm  not  going,"  he  said, 
"that's  what  I  came  up-stairs 
to  tell  you." 

Judith  thought  he  was 
teasing  her.  They  had 
planned  this  location  trip  to- 
gether as  a  belated  and 
somewhat  unconventional 
honeymoon. 

"Silly,"  she  said  to  him 
when  they  had  left  Mrs. 
Kendrick. 

"Honestly,  Judy,  dear,"  he 
assured  her.  "Mr.  Irving 
just  sent  for  me.  All  our 
plans  are  changed.  Next 
you  are  going  to  be  co- 
featured  with  John  Steele. 
And  I  have  to  remain  here 
and  do  the  'script.  There 
will  be  conferences  with  Mr. 
Irving  and  the  director  .  .  . 
Stephens  will  direct  ...  so 
I  have  to  be  where  they  are. 
Otherwise  I  could  have 
taken  the  story  with  me." 
Judith  was  crushed.  "But 
Harvey,  darling,"  she  said  as  if  unable  to 
think  of  the  trip  without  him,  "we'll  be 
away  two  weeks  at  the  very  least.  Two 
weeks  without  you,  dear.  .  .  ." 

"I  know,"  said  Harvey,  "I  was  so  dis- 
appointed that  I  even  overlooked  all  that 
Mr.  Irving  said  about  you.  They're  de- 
lighted with  the  way  you  are  going 
over.  .  .  .  That  is  why  they  have  changed 
their   production   plans. 

"Miss  Cameron  knew  what  she  was 
talking  about  the  other  day  when  she  said 
you  would  soon  be  starred." 

(Continued  on  page  84) 


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(Continued  from  page  82) 


P.  4 

IhGL 


Sonia  Solana  met  them  in  the  dressing- 
room  corridor.  She  was  in  her  street 
clothes. 

"Damnation,"   she  said,  "I'm  going  too." 

"Going   where?"    asked   Judith. 

"On  location  with  all  of  you.  Stingy 
little  role,"  Sonia  was  beginning  one  of 
her  famous  tirades.  Most  people  in  the 
studio  moved  on  in  the  wake  of  a  ranting 
Sonia.  "God  Almighty,  I  dont  believe 
even  Dolores  Cortez  would  accept  it  .  .  . 
hard  up  as   she  is. 

"But  I  go  up  to  Irving's  office  and  he 
talks  me  into  it. 

"And  such  a  location  trip.  Hell,  I'll  be 
so  skinny  from  the  enforced  diet  ...  so 
bruised  from  the  straw  mattress  ...  so 
black  and  blue  from  falls  ...  so  mosquito- 
and  gnat-bitten  .  .  .  that  I'll  have  to  wear 
clothes   in  my  next  picture. 

"I  get  real  pleasure  in  thinking  of  the 
money  they'll  lose  if  I  have  to  cover  my- 
self up." 

Harvey  and  Judith  laughed  at  her.  She 
went  storming  up  and  down  the  corridor 
while  Judith  unlocked  the  dressing-room 
door. 

"Oh,  Sonia,"  Judith  said,  "I'm  glad 
you're  coming  along.  I  would  have  been 
lost  without  you.  Harvey  finds  at  the 
last  minute  that  he  has  to  remain  in  town." 

Sonia  shot   Harvey   a  quick  look. 

"Well,  the  fact  that  you'll  be  there  is 
the  only  bright  thing  about  it  that  I  can 
think  of,"  Sonia  granted  Judith,  "but  even 
so,  I'm  not  Christian  enough  to  be  glad 
I'm  going  even  tho  my  presence  will 
rescue  you  from  that  stuffed  shirt,  Hugh 
Kendrick,    and   his    synthetic   lady,    Myra." 

"Myra  Kendrick  is  not  going,"  Judith 
said,  "Hugh  will  not  submit  her  to  the 
inconveniences   of   the   country." 

Sonia  puffed  her  cigaret  viciously.  Its 
amber    fragrance    was    heavy. 

"Hell,"  she  said,  "he's  afraid  she  will 
forget  herself   and   milk  the  cows." 

"She  is  pretty  terrible,"  Judith  admitted. 

Sonia  paced  up  and  down  the  room,  too 
restless  to  remain  curved  in  the  chintz 
recess  of  the  Nile-green  chaise  longue. 

"Oh,  I'm  so  damn  easy,  I  hate  myself," 
she  groaned,  "just  a  simple  little  booby. 
The  old  man  gives  me  a  few  compliments 
.  .  .  tells  me  he  is  counting  on  me  to  brace 
up  a  weak  situation  and  I  fall   for  it." 

"Are  you  packed?"  asked  Judith,  bend- 
ing  over  her  trunk  as  she  folded  her  crash 
riding   breeches. 

"No,"  said  Sonia,  "I  dont  arrive  on  the 
rural  scene  until  you  are  there  about  ten 
days.  Ten  days,  providing  you  have 
clear  weather.  The  old  man  said  the  com- 
pany would  probably  be  gone  three  weeks 
.  .  .  longer  with  bad  weather." 

Judith  and  Harvey  turned  to  each  other 
in  mute  despair. 

"I  die!  not  know  we  would  be  gone  that 
long,"  Judith  said  as  she  stuffed  her  rid- 
ing boots  with  handkerchiefs  and  other 
incidentals. 

"Figure  it  out  for  yourself,  dearie,"  ad- 
vised Sonia.  "They've  got  to  Ret  about 
a  hundred  scenes  of  Hugh  looking  like  a 
good-natured,    young    feller." 

She   paused   at    the  door. 

"Well,    s'long.      See    you    in    a    week    or 

Judith  was  glad  that  Sonia  would  be 
with  her  part  of  the  time.  She  liked  her, 
thought  her  an  amazing  creature  .  .  . 
painfully  frank  .  .  heedless  of  every  con- 
vention .  .  .  loose  of  tongue  .  .  and 
feous  to  see,  modeled  iii  a  creamy 
II.    1,. 

That  Sonia  would  join  her  in  a   week  or 


two  was  her  one  consolation  when  she 
was   leaving  Harvey   at  the  station. 

"I  may  be  able  to  get  up  after  a  while 
if  the  'script  goes  all  right,"  Harvey  said, 
"but  dont  count  on  it,  dearest.  I'll  wire 
you  every  day.  You  wire  me,  too.  I'll 
he   forlorn  without  you/' 

Other  members  of  the  company  were 
grouped  about,  waiting  for  the  train  gates 
to  open.  Judith  drew  Harvey  aside.  She 
wished  to  have  a  few  last  words  with  him 
alone.  And  already  commuters  in  the  sta- 
tion recognized  motion  picture  people  and 
stood  about  curiously. 

She  had  been  beset  by  worry  ever  since 
she  knew  that  Harvey  was  not  to  accom- 
pany her.  She  was  leaving  Lillian  at 
home  in  order  that  the  apartment  be  run 
smoothly.  She  knew  that  the  first  thing 
to  do,  under  any  circumstance,  was  to 
make  a  man  comfortable. 

"You've  been  so  good  about  drinking 
that  I  hate  to  say  anything,"  Judith  told 
him  softly,  "but  this  first  separation  is 
going  to  be  very  difficult  for  both  of  us. 
In  between  times  when  we  are  not  busy 
we  will  miss  each  other  frightfully. 
You'll  want  to  get  away  from  the  lonely 
reality  of  it.  .  .  ." 

She  smiled  that  slow,  reluctant  smile 
that  the  critics  had  already  found  charm- 
ing. 

".  .  .  but  women  are  funny,"  she  said, 
"as  much  as  I  fear  for  you  when  you  are 
lonely,  I  hope  you  will  miss  me  painfully." 

Harvey   grabbed   her   long,   gloved  hand. 

"Darling,"  he  promised,  "I  will  be  very 
good.  With  such  a  lovely  wife,  loving  me 
.   .   .  coming  back  to  me,  I  will  be  good." 

Al  Menten  came  over  to  them. 

"Sorry"  he  excused  his  interruption, 
"but  we're  going  aboard.  The  news  pho- 
tographers are  going  to  take  the  company 
boarding  the  train.  And  some  girls  over 
there  want  you  to  sign  their  albums,  Ju- 
dith." 

As  Judith  turned,  she  was  besieged  by  a 
quartet  of  flappers'  who  offered  her  foun- 
tain  pens   and  autograph   albums. 

"How  did  you  know  a  movie  company 
would   be   here?"    Harvey   asked   them. 

"We  read  it  in  the  paper,"  two  of  them 
answered  in  unison,  "are  you  Miss 
Tower's  husband  ?" 

Harvey  hesitated.  He  considered  it  bad 
policy  for  Judith's  married  state  to  be- 
come known.  Yet  he  could  not  quite 
bring  himself  to  deny  that  precious  office. 

"You  flatter  me,"  he  evaded  the  direct 
question.  Judith  was  signing  the  last  al- 
bum and  a  porter  was  bound  thru  the  gate 
with  the  hand  luggage,  books  and  maga- 
zines. 

"I  liked  you  an  awful  lot  in  your  new 
picture,"  one  of  the  girls  called  after 
Judith  as  Harvey  hurried  her  to  the  train. 

She  turned   to   wave  her   thanks. 

Hugh  Kendrick  and  Myra  were  already 
waiting  for  the  photographer  to  set  up  his 
camera.  And  Al  Menten  pounced  upon 
Judith. 

"Stand  right  here,"  he  suggested,  indi- 
cating a  position  a  trifle  in  front  of  Hugh 
Kendrick  and  somewhat  to  his  left. 

"But  that  will  shut  off  Hugh,"  Myra 
interposed  in  a  sharp  voice  as  Judith  in- 
stinctively hesitated  before  taking  that 
position. 

"I'll  stand  here."  she  said,  "will  you 
come   in   it,   too,    I  larvey." 

Harvey,  however,  declined  to  pose.  He 
stood  beside  the  cameraman  .  .  .  took  a 
look  thru  the  camera  and  determined  that 
Judith  was  in   focus. 

It    was    her    first    experience    before    a 


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news  camera.  She  had  seen  hundreds  of 
photographs  of  movie  stars  arriving  in 
New  York  and  leaving  Los  Angeles,  and 
never  dreamed  that  her  comings  and  go- 
ings would  be  any  occasion  for  photog- 
raphers. 

The  cars  were  crowding.  Passengers 
watched  the  performance  from  the  win- 
dows. It  was  almost  time  for  the  train 
to  leave. 

When  the  cameraman  was  thru,  Judith 
and  Harvey  went  together  to  her  drawing- 
room.  The  porter  had  deposited  the  lug- 
gage.    They  clung  to  each  other's  fingers. 

"Isn't  it  foolish  of  us  to  act  like  this 
oye  a  short  separation,"  Judith  asked, 
holding  tighter  to  Harvey's  hand  than  she 
had  before.  "We  think  ourselves  so  ade- 
quate ...  so  sophisticated.  And  then  we 
act  like  two  school  children." 

Harvey's  answer  was  a  kiss. 

"A-l-b  o-a-r-d !"  shouted  the  trainman. 
Judith    shoved   Harvey   towards   the   door. 

"You'll  be  carried  off,"  she  said  with  an 
odd  mixture  of  fear  and  hope. 

The  train  jerked.     Then  started  slowly. 

"Too  late,"  Harvey  said. 

Judith  did  not  quite  know  what  to  make 
of  it  and  for  a  minute  she  thought  that  he 
might  be  going  with  her,  after  all.  But 
that  was  not  the  case. 

"I'm  going  to  get  off  at  One  Hundred 
and  Twenty-fifth  Street,"  he  said,  "Myra 
Kendrick  is  going  that  far,  too.  People 
often  do  that." 

"Oh !"  It  was  with  a  little  purr  of  con- 
lent  that  Judith  sat  beside  Harvey  while 
his  arms  girdled  her  curving  shoulders  in 
their  blue  tailored  suit. 

She  thought  of  one  hundred  and  one 
things  she  wanted  to  tell  him,  but  long 
before  she  began  to  voice  them  the  train 
rushed  into  the  station.  Harvey  made  a 
dash  for  the  door.  And  a  minute  later 
she  saw  him  on  the  platform,  waving  as 
the  train  started  again. 

She  waved,  too. 

The  train  gathered  velocity.  The  last 
advertisement  on  the  station  slipped  past. 
And  Judith  huddled  in  the  seat,  feeling 
as  utterly  alone  as  if  she  was  stranded 
on  an  isolated  planet. 

After  all,  was  not  every  evolution  of  the 
wheels  taking  her  farther  and  farther 
from  Harvey,  the  very  axis  upon  which 
her  .life  and  happiness  revolved. 

A  knock  on  the  drawing-room  door. 

She  swallowed  a  constricting  lump  in 
her  throat.  For  a  minute  she  had  thought 
she  was  going  to  cry.  And  she  did  not  cry 
easily. 

Her  "Come  in"  brought  Al  Menten  and 
Hugh   Kendrick. 

"Like  a  game  of  bridge  before  dinner," 
they  asked.    Judith  agreed. 

The  porter  came  in  and  adjusted  the 
table.     The  cards  were  dealt. 

And  Judith  felt  sure  that  Harvey  had 
taken  something  to  drink  by  this  time  if  he 
felt  one-half  as  lonely  as  she  felt. 

In  her  depression  she  would  not  have 
blamed  him. 

The  farmhouse  at  Mountain  Stream 
was  not  the  remodeled  type  that  is  rusti- 
cally pictured  in  publications  devoted  to 
houses,  beautiful—.  .  .  of  field  stone  with 
old  seasoned  timbers  .  .  .  wide  hearths 
.  .  .  rambling  old-fashioned  gardens  .  .  . 
Revolutionary  pieces  .  .  .  quaint  hook 
rugs.  ...     It  was  less  than  this,  far  less. 

Before  Judith  had  spent  her  first  night 
there  .  .  .  before  she  listened  to  the 
crickets  hush  and  the  birds  greet  the  first 
dawn,  she  knew  why  Sonia  had  feared  the 
bruises  induced  by  a  straw  mattress. 

Judith's  room  was  on  the  second  floor. 
An  outside  stairway  led  to  it.  At  night 
she  sat  out  on  the  landing  of  this  stairway 
and  read  Harvey's  lengthy  telegrams  over 


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and  over  by  the  moonlight  while  the  sum- 
mer boarders  danced  below  on  the  porch 
to  a  brassy  phonograph  and  an  infrequent 
car  ground  its  brakes  on  the  mountain 
road  which  led  beyond  the  bouse. 

Besides  the  Kendrick  company  there 
were  about  ten  other  boarders.  They  were 
as  objectionable  as  common  people  always 
are  when  on  a  holiday. 

They  had  been  there  two  weeks  now. 
Bad  weather.  And  fourteen  evenings 
spent  listening  to  Hugh  Kendrick's  com- 
plaining  and   boasting   monologs. 

'"The  trouble  is,"  lie  had  a  way  of  say- 
ing to  Judith  when  he  interrupted  her  eve- 
ning vigil  of  the  stars  and  the  crickets' 
chorus,  quite  oblivious  to  the  fact  that  his 
company  was  not  desired.  "The  whole 
trouble  is  that  they  expect  me  to  carry  an 
entire  picture.  They  think  my  following 
at  the  box-office  is  great  enough  to  permit 
a  conservation  of  other  expenses. 

"I  suppose  1  have  the  devil  of  a  reputa- 
tion in  the  studios,  but  I  have  to  fight  tooth 
and  nail  all  the  time.  Lots  of  people  who 
are  stars  dont  worry  about  such  things. 
They  take  their  check  and  call  it  a  week. 

"But  I'm  not  built  that  way.  I  worry 
about  my  pictures.  I  am  miserable  if 
everything  in  my  productions  is  not  right. 

"Who  was  it  said  something  about 
genius  being  a  capacity  for  taking  pains?" 

"I  know  the  quotation."  Judith  trained 
her  voice  to  sound  sober  as  she  answered, 
"It  is  just  that,  I  think.  An  infinite  capac- 
ity for  every  detail." 

Ordinarily  she  did  not  interrupt  Hugh's 
monologs.  She  was  able  to  make  appro- 
priate comments  in  his  infrequent  pauses 
without  troubling  actually  to  listen.  How- 
ever, every  now  and  then  his  voice  would 
rise  and  hush  the  night  sounds.  Judith  had 
several  times  wished  for  the  Orientals' 
ability  to  shut  out  any  sound  that  they  did 
not  wish  to  obtrude  upon  their  conscious- 
ness. 

Tonight  there  was  another  sound.  It 
superimposed  itself  upon  the  singsong  of 
the  crickets  and  the  complaint  of  Hugh.   .   .   . 

"My  God,"  a  voice  lamented,  "I'm  black 
and  blue  from  my  neck  to  my  ankles.  And 
n iy  body  is  my  fortune.    What  a  road.  .  .  ." 

"It  is  Sonia,"  Judith's  voice  was  eager. 
"She  must  have  come  on  the  day  train." 

"Al  .  .  .  Al,"  called  Sonia,  "send  one 
of  the  boys  to  pose  as  a  porter  and  lug 
my  baggage  to  whatever  suite  you  have  re- 
served  for  me." 

"Let  us  go  down  and  see  her,"  suggested 
Judith,  already  half-way  down  the  stair- 
way. Hugh  Kendrick,  however,  did  not 
follow.  Sonia's  tongue  had  stabbed  him 
with  its  rapier  thrusts  too  often.  He  did 
not  seek  her  company. 

Myra  thought  her  a  coarse,  com- 
mon creature  to  be  avoided,  and  Hugh 
agreed. 

The  boarders  had,  of  course,  gathered 
about    Sonia's   car. 

Judith  knew  the  things  they  would  say 
of  her  before  the  company  departed. 
Sonia  always  gave  bad  impressions.  She 
seemed  to  delight  in  putting  her  worse  foot 
forward.  Judith  hoped  fervently  that  no 
one  would  act  shocked.  If  they  did,  it  was 
hard  to  tell  what  Sonia  would  devil  them 
by  saying  and  doing. 

"Cherie.  Judy!'  called  Sonia  when 
Judith  came  around  the  corner  of  the 
bouse  into  the  light  cast  by  one  Japanese 
lantern,  left  over  from  the  decorations  of 
a  recent  porch  party.  "Heaven  help  me! 
I  low  do  you  manage  to  look  the  lady  of 
quality    in   these   wilds? 

"I  las    it    been    terrible  '" 

"Worse  than  that."  Judith  whispered. 
"Mosquitoes,  gnats.  ..." 

"I  know,"  sympathized  Sonia  in  a  lone 
loud  enough  for  everyone  to  hear.  "Dad 
food,    straw    mattresses     .     .     .    and    worse 


than  either  of  those,  Hugh  Kendrick's 
monologs  when  you  might  listen  to  that 
damn  cricket  chirp   with   more  profit." 

Likely  enough  Hugh  heard  her. 

"I  wont  keep  you  out  here,"  Judith  said. 
"You  must  be  dead  after  that  trip.  I'm 
going  to  lied  now.  Seven  o'clock  break- 
fast tomorrow.     Early  call." 

"Good  night,  Jude,"  said  Sonia,  "I'll 
turn  in,  too." 

She  watched  Judith's  shadow  in  the 
grass,  cast  there  by  the  lone  lantern. 

"Poor  kid,"  she  said  half-aloud. 
"Who'd  believe  it  possible?" 
^  As  for  Judith,  she  was  delighted  that 
Sonia  had  arrived.  She  went  to  sleep  as 
contented  as  she  could  be  with  Harvey 
miles  and  miles  away. 

Perhaps  Sonia  had  seen  something  of 
him  in  the  last  two  weeks.  She  would  ask 
her  about  it  the  next  day. 

In  the  morning,  however,  there  was  no 
time  to  ask  any  questions.  Sonia  did  not 
go  down  into  the  gorge  with  them.  Al 
Menten  left  his  assistant  to  take  a  few 
scenes  of  Sonia  on  horseback  in  the  coun- 
try road  that  ran  alongside  of  the  farm- 
house. 

Judith  went  with  the  company.  And 
when  she  returned,  she  found  Sonia  await- 
ing her  under  an  old  crab-apple-tree. 

"I  thought  we  could  have  supper  in  your 
room,"  Sonia  suggested.  "They  can  lug  it 
up  on  a  tray.  I  lunched  in  the  dining-room 
with  that  tribe.  Never  again.  I  prefer  to 
diet  if  the  worst  comes  to  the  worst.  As  it 
usually  does." 

Judith  was  delighted  with  this  plan. 
She  had  considered  doing  this  before  but 
had  not  wanted  to  desert  the  remainder  of 
the  company  or  to  include  Hugh  Kendrick 
in  an  invitation  to  dine  with  her  and  this 
would  have  been  advisable.  She  had  suf- 
fered the  boarders  and  their  unflinching 
stares  .  .  .  their  impertinent  questions 
.  .  .  and  their  table  manners,  or  the  lack 
of  them,   in   preference. 

A  supper  with  Sonia  would  be  gay. 

"Hugh  will  probably  expect  to  be  in- 
vited if  we  do  that,"  Judith  hesitated. 

"Dont  worry."  Sonia  advised  her.  "Mr. 
Kendrick  never  seeks  my  company.  He 
considers  me  coarse." 

They  went  around  to  the  kitchen  door 
and  bribed  the  boarding-house  mistress, 
Mrs.  Hanks,  to  serve  their  meal  up-stairs. 

Judith  had  been  unable  to  eat  the  tough 
cold  meat,  usually  served  with  this  meal 
and  Mrs.  Hanks  had  been  quite  willing  to 
substitute  milk  and  berries.  Sonia  agreed 
to  take  the  same  menu  as  Judith. 

So  on  their  tray  were  two  large  bowls 
of  fresh  milk,  yellow  with  heavy  cream 
...  a  box  of  graham  crackers  .  .  .  and 
two  saucers  of  large  blackberries. 

The  latter  were  a  gift  from  the  son  of 
the  household.  He  was  a  ten-year-old  lad 
with  dreams  in  his  eyes  and  freckles 
sprinkled  over  his  nose.  He  had  taken 
quite  a  shine  to  Judith.  And  when  she 
bad  given  him  a  copy  of  Asia  which 
I  larvey  had  given  her  for  train  reading, 
he   had  become  her  slave. 

The  pictures  of  the  far  lands  had 
thrilled  him.  And  the  next  day  he  had 
neglected  his  chores  .  .  .  taken  a  beating 
.  .  .  and  determined  to  sail  the  Seven 
Seas. 

lie  brought  up  the  tray,  beaming  with 
his   pleasure. 

"Air.  Kendrick's  sore  because  you're  tak- 
ing a  snack  up  here,"  he  said,  "lie  dont 
like  it   one  bit." 

Judith  set  the  tray  on  an  old  oak  table, 
removing  a  box  of  Sherry's  which  was 
generously  supplied  with  candied  violets. 
Harvey  bad  ordered  the  box.  He  knew 
Judith's  fondness  for  this  exotic  sweet 
He   knew   how   she   had   bought   a    few 


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them  in  a  bag  for  a  special  treat  when  she 
had  first  come  to  Xew  York. 

She  selected  a  large  bonbon  and  popped 
it  into  the  boy's  mouth.  He  took  it  out  im- 
mediately and  licked  the  icing  off.  Such 
sweetmeats  must  be  made  to  last  a  long- 
time. 

When  he  had  gone,  Sonia  looked  at 
Judith  quizzically. 

"Like  kids,  dont  you,  Jude?"  she  asked. 

"Most  of  them,"  Judith  did  not  quite 
commit  herself  to  her  devotion  to  juvenile 
and  infantile  humanity. 

"Going  to  have  any?"  Sonia  asked. 

"I  hope  so.  .  .  .  By  and  by,  Harvey 
says  it  would  be  fatal  for  me  to  have  one 
right  now.  That's  true,  of  course.  I  can- 
not afford  to  stay  off  the  screen.  I  must 
follow  up  my  advantage.  But  never  to 
have  any.  ...  I  would  not  like  that." 
.  Sonia  was  strangely  sensitive  to  Judith's 
sincerity. 

Her  voice  showed  that.  It  had  lost  its 
mocking,   bantering  tone. 

"Funny,"  she  said.  "I'd  die  if  I  had  to 
have  an  Infant  Terrible.  I  would  not 
know  what  to  do  with  it.  Children  never 
like  me.  I  scare  them.  Because  they  scare 
me.  I'm  always  expecting  them  to  do  the 
unexpected.      They    never    disappoint    me." 

"It  would  be  different  with  your  own," 
Judith  told  her.  "By  the  way,  Sonia,  did 
you  see  anything  of  Harvey  after  I  left 
New  York?  I  hate  being  away  from  him, 
like  this." 

Sonia's  mouth  was  full  of  blackberries. 
It  was  with  difficulty  that  she  answered. 

"I  saw  him  several  times.  He  was  busy 
tho.  You're  crazy  about  him,  aren't  you, 
Jude  ?" 

"Quite,"  admitted  Judith,  "I  used  to  be 
such  a  self-sufficient  person.  But  now  I 
find  things  having  an  importance  because 
I  can  tell  Harvey  about  them.  I  weigh 
everything  I  see,  hear  and  do  from  his 
point  of  view." 

There  was  a  silence.  Sonia  evidently 
had  no  intention  of  breaking  it.  What  is 
more,  she  wanted  Judith  to  talk.  She 
wanted  to  hear  just  how  Judith  felt  about 
her  young  husband.  And  Sonia  had 
learned  that  if  you  kept  quiet  the  other 
person  usually  talked. 

"You  know,"  Judith  said,  "I  think  it 
pleases  me  because  Harvey  needs  me  so." 
She  was  always  confidential  with  this 
frank  Sonia  ...  she  had  trusted  her 
from  the  first  day  she  saw  her.  "Harvey 
appears  such  a  suave,  sophisticated  and 
adequate  person,  doesn't  he?" 

Sonia  nodded. 

"Yet  he  needs  me  .  .  .  frightfully,"  said 
Judith.     "Frightfully,   Sonia." 

"The  old  maternal  instinct  has  done  its 
deadly  work,"  analyzed  Sonia.  "When  a 
man  gets  that  reaction  from  a  woman,  it 
is  hopeless.  All  women  fall  for  Harvey. 
But  I  dont  think  any  others  have  ever  felt 
the  way  you  feel  about  him." 

"I  fancy  not,"  said  Judith.  "Harvey  and 
I  have  never  discussed  the  affairs  he  had 
before  we  knew  each  other.  And  I  trust 
him.    ..." 

"Dont!"  Sonia  impulsively  said  the 
thing  she  had  argued  with  herself  about 
saying.  And  in  her  tone  there  was  an 
adumbration. 

Judith  halted  as  she  placed  the  supper 
tray  outside  of  the  door. 

"What  I  mean  is,"  Sonia  explained. 
"Dont  expect  Harvey  never  to  stray  from 
the  fold.  You  will  get  only  heartbreak  if 
you  go  on  that  premise.  Expect  Harvey 
to  love  you  the  most.  That  is  enough.  It 
is  more  than  is  given  to  most  of  us. 

"Harvey  worships  you,  Jude  dear.  I'm 
sure  about  that.  I  have  seen  his  eyes  when 
he  has  looked  at  you.  And  if  I  act  like  a 
"fool    where    men    are    concerned,    profes- 


Inell    I    MAGAZINE       ft 


The  habit  of  removing  film  twice  daily  from 
the  teeth  by  Pepsodent  is  widely  urged  by 
dental  authorities  because  of  its  unique  thera- 
peutic and  prophylactic  powers. 


The  Film  Danger 

To  which  authoritative  dental  opinion 
ascribes  many  tooth  and  gum  disorders 

To  cultivate  tooth  clearness  and  firm  healthy  gums.    This  way  of 
combating  film  on  teeth  is  advised  by  many  authorities 


THAT  many  of  the  commoner 
tooth  and  gum  troubles,  and 
most  cases  of  so-called  "off-color" 
teeth,  are  due  to  a  film  that  forms 
on  teeth  which  ordinary  brushing 
does  not  successfully  combat,  is 
the  consensus  of  dental  opinion. 
Run  your  tongue  across  your 
teeth,  and  you  will  feel  this  film — 
a  slippery  sort  of  coating.  Film 
absorbs  discolorations  and  thus 
makes  teeth  look  dull  and  dingy. 
It  breeds  germs  and  bacteria  and 
invites  tartar,  decay  and  pyorrhea. 
It  is  a  menace  to  tooth  and  gum 
health  that  must 
be  constantly 
combated. 

Thus  dental  au- 
thorities now  seri- 
ously urge  that  film 
be  removed  at  least 
twice  every  day  — 
in  the  morning  and 
at  bedtime.  One 
can't     expect     glis- 


tening   teeth    and    proper    gum    protec- 
tion unless  this  be  done  regularly. 

To  do  so  obtain  Pepsodent — a  special, 
film-removing  dentifrice  most  dentists 
favor.  It  curdles  the  film,  then  removes 
it  and  polishes  the  teeth  to  high  lustre 
in  gentle  safety  to  enamel.  It  combats 
the  acids  of  decay.  It  acts,  too,  to  firm 
and  harden  the  gums;  thus  meeting,  in 
many  ways,  the  requirements  of  modern 
dental   findings. 

Old-time  dentifrices  did  not  adequately 
fight  film.  That  is  why  this  modern  pro- 
tective way,  as  a  twice  a  day  habit  in 
your  home,  and  at  least  twice  a  year 
calls  on  your  dentist,  are  being  so  widely 
advised  today. 

Accept  Pepsodent  test 

Send  the  coupon  for  a  10-day  tube.  Brush 
teeth  this  way  for  10  days.  Note  how 
thoroughly  film  is 
removed.  The  teeth 
gradually  lighten 
as  film  coats  go. 
Then  for  10  nights 
massage  the  gums 
with  Pepsodent,  the 
quality  dentifrice, 
using  your  finger 
tips;  the  gums 
then  should  start 
to  firm  and  harden. 


FREE— 
Dept.  82' 

Vlail  cou 
,  1104  S 

pon  for  10-day  tube  to 
Wabash  Ave.,  Chicago 

The 
111., 

Pepsodent 
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Company, 

Address. 

Only   one   t 

ube  to  a 

fs 

mily 

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sionally,     1    know    something    about    them 
nevertheless." 

"What  do  you  mean,  then?"  Judith's 
heart  trembled  beneath  her  frail  gown. 

"I  mean,"  said  Sonia  in  a  measured 
voice,  "That  Harvey  is  not  naturally 
monogamous.  When  a  woman  looks  at 
Harvey  with  big  bedroom  eyes,  Harvey 
forgets  everything  else.     Most  men  do." 

Judith  did  not  speak.  And  Sonia  lit 
another  cigaret.  She  was  in  this  thing 
now  and  she  meant  to  get  it  over  with. 
The  match  flared  and  the  garden  below 
Hashed  into  momentary  view.  Then  dark- 
ness again. 

"He  is  just  a  child  where  women  are 
concerned,"  said  Sonia.  "I've  known 
Harvey  much  longer  than  you,  Jude.  I 
am  not  his  wife.  Therefore  it  might  be 
said  that  I  know  him  belter  than  you  do. 
Harvey  has  found  a  rare  kind  of  candy 
that  he  quite  adores.  But  when  he  cannot 
have  that  one  kind  .  .  .  when  you're  not 
about,  in  oilier  words  ...  he  will  take 
other  kinds." 

"Sonia!"  Judith's  voice  rent  the  pause 
like  a  sharp  knife.  "Do  you  know  quite 
what  you  are  saying." 

"Perfectly,"  Sonia  told  her.  "For  weeks 
]  have  been  making  up  my  mind  whether 
or  not  to  say  these  things  to  you  .  .  . 
whether  or  not  to  play  the  Good  Friend 
who  comes  with  distressing  news  because 
she  thinks  it  is  best  for  you  to  know  it." 

"Go  on,"  said  Judith  in  a  dead  kind  of 
a  voice.     "Go  on,  Sonia.     What  else?" 

"You  may  thank  me  for  this  frankness 
by  quite  hating  me,"  she  paused  and 
studied  Judith  for  a  full  minute  before  she 
continued.  "But  I  am  not  bargaining  for 
that  somehow.  You  are  an  intelligent 
woman.  Quite  likely  you  will  continue  to 
love   Harvey   in    spite  of  his    faults." 

She  shrugged  her  shoulders.  "Why 
not,"  she  said.  "Women  have  been  known 
to  love  men  not  only  in  spite  of  their  faults 
but  because  of  them.  It  all  depends  upon 
the  kind  of  person  you  fall  in  love  with. 
That's  all." 

"There  will  be  times,  I  have  no  doubt 
when  you  will  find  Harvey  Dunn's  faults 
more  disconcerting  than  most  husbandly 
faults.  But  to  balance  that  I  commend 
to  you  his  virtues.  He  is  more  than  most 
women  dare  expect  in  a  husband.  He  is 
intelligent.  His  conversation  is  not  en- 
tirely about  bonds  or  the  sale  of  cotton 
goods  in  Duluth. 

"And  always,  I  feel  quite  sure,  he  will 
love  you  above  all  others.  Even  if  he  does 
not  love  only  you." 

The  crickets  shared  the  silence. 

And  Soma's  voice  seemed  to  have  taken 
on  a  bitter  note  when  she  spoke  again. 
"Some  of  us,"  she  said,  "would  give  half 
of  our  life  to  know  that  we  had  what  you 
have,  Jude.  I  would.  Vou  know  damn 
well  I'd  give  anything  if  I  could  have 
Harry  Crane  to  the  extent  that  you  have 
Harvey.  And  consider  myself  in  hellish 
good   luck,  too." 

"Is  Harvey  misbehaving  now?"  Judith 
forced  herself  to  ask  this. 

And  she  feared  the  answer.  Some  in- 
stinct deep  within  her  made  her  accept  the 
things  Sonia  had  said.  It  was  an  expla- 
nation of  the  fact  that  she  never  felt  that 
she  entirely  possessed  Harvey.  He  always 
eluded  her  .  .  .  intangibly  .  .  .  mysteri- 
ously. 

Suddenly  Sonia  seemed  less  frank,  less 
willing   to  talk. 

"I  dont  know  that."  she  said,  honestly 
enough,  considering  her  involuntary  em- 
phasis on  the  word  know.  "Incidentally, 
Jude  .  .  .  Harvey  is  working  on  the 
'script   for  your  next   production,  isn't   he?" 

Judith    nodded    affirmatively. 

"Xabisco  has  a  pari   in  it,  hasn't   she?" 

"Who?"  Judith  asked,   puzzled. 


"Nabisco,"  repeated  Sonia.  "You  know 
Felice  Friend,  that  sweet  little  sliver." 

"Yes,  Harvey  said  something  about  her 
playing  a  second  role." 

"U-m-m.  .  .  ."  Sonia  lit  still  another 
cigaret  and  swore  mightily  when  the 
match  burned  her  finger.  "Well,  she  is 
doing  her  cute  best  to  see  that  you  play 
the  second  feminine  role.  She  is  after 
Harvey  .  .  .  eyes  .  .  .  golden  curls  .  .  . 
rosebud  mouth  .  .  .  and  boyish  form. 
And  he  is  falling  for  her  line.  More's  the 
Pity. 

"Cast  a  look  over  the  'script  before  you 
begin  work,  Judith.  This  picture  will 
count_  a  hellufalot  for  you,  you  know. 
And  if  I  dont  miss  my  guess  that  little 
weasel  has  been  oogling  Harvey  and  sug- 
gesting bits  of  business  for  herself.  And 
clapping  her  little  handsies  every  time 
Harvey  thought  of  anything  for  her  to 
do  .  .  .  and  acting  like  a  cutie  ever  since 
you've  been  gone. 

"I  almost  forgot.  She  calls  him  'Big 
Man.'     D-i-s-g-u-s-t-i-n-g!" 

"Do  you  think  Harvey  is  .  .  ."  Judith 
faltered. 

"No,"  Sonia  spared  her.  "But  I  think 
he's  been  to  dinner  with  her  at  Arrowhead 
once  or  twice.  He  is  probably  kidding 
himself  that  it  is  business." 

"I  hate  life  sometimes,"  said  Judith, 
heavy  with  the  certainty  that  everything 
Sonia  said  was  true.  "Why  does  it  have 
to  be  as  it  is?" 

"Because  human  beings  get  so  damn 
mixed  up  between  right  and  wrong,"  said 
Sonia  with  conviction.  "Life  is  not  what 
our  parents  taught  us  it  was  .  .  .  it  is  not 
what  it  seems  .  .  .  especially  in  this 
game.    .    .    . 

"Here  Sonia  Solana,  the  siren,  sits  eat- 
ing crackers  and  milk  for  her  supper  and 
pining  for  a  man  that  will  have  none  of 
her.    .    .    . 

"And  there's  that  little  nabisco  cutie  get- 
ting away  with  murder  with  her  innocent 
blue  eyes  and  her  adolescent  simper.   .    .    . 

"And  take  Harvey.  He  is  a  writer  who 
is  supposed  to  be  wise  in  the  ways  of 
women.  And  he  falls  for  an  obvious  little 
skirt  like  any  schoolboy  would. 

"God,  it  is  a  damn  fool  pattern." 

"There  are  two  kinds  of  women,"  said 
Judith.  "There  are  the  women  that  other 
women  have  always  feared.  You  are  one 
of  them.  All  publicized  vampires  are. 
They  are  the  women  that  women  believe 
men  love  above  all  others. 

"Actually  I  think  it  is  the  little  blue- 
eyed  baby  .  .  .  the  innocent  type  .  .  .  that 
men  select. 

"Men  are  a  little  afraid  of  the  women 
wise  in  the  lore  of  love.  They  wish  to  be 
the  teachers  .  .  .  even  the  despoilers  of 
innocence.  Except  for  the  extremes  .  .  . 
the  callow  youth  or  the  jaded  sophisticate 
whose  eternal  quest  is  a  new  sensation 
...    I    think  the  siren  is   tabu." 

She  was  surprised  to  hear  herself 
troubling  to  voice  any  opinion  on  the  heels 
of  the  emotional  shock  she  had  sustained 
.  .  .  surprised  to  find  herself  going  on 
as  if  Soma's  conversation  had  been  only 
casually    interesting. 

She  said  something  of  this  to  Sonia 
.    .    .    "life  must  go  on." 

"Goose,"  Sonia  told  her.  "Dont  be 
tragic.  If  you  went  into  a  slump  because 
the  man  you  married  did  not  live  up  to 
every  falsity  of  the  conventions,  you  would 
not    be   worth   while. 

"If  I  had  thought  that  my  opinions 
about  Harvey  would  break  you,  I  should 
hardly  have  spoken.  You're  too  big  to 
permit  these  facts  to  retard  you.  1  knew 
that. 

"As  a  matter  of  fact,  Jude,  I  dont  think 
anything  will  quite  stop  you.  In  your 
(Continued  on  page  102) 


Every  advertisement  in  motion   PICTUBE  MAGAZINE  is  guaranteed. 


Advertising  Section 


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No  Kidding! 

(Continued  from  page  29) 

Russians  or  that  one  investigating  Malayan 
religions  or  some  other  hocus-pocus  anent 
the  frightful  worth-whijeness  of  their  per- 
sonal existences. 

But  there  is  one  stellar  young  lady  who 
doesn't  kid.  Not  herself  or  others.  Mostly 
not  herself.  Who  comes  out  flat-footed 
(not  orthophonically  speaking)  and  tells  the 
world  what  she  really  likes,  what  she 
really  is  like,  what  her  batting  average 
actually  is,  personally  and  professionally. 
And  she  doesn't  preach  any  sermon  about 
it,  either.  She  doesn't  attempt  to  "ration- 
alize." She  just  speaks  out  in  meeting  in 
words  of  one  or  two  syllables. 

This  young  lady  is  our  good  friend 
Constance  Talmadge.  No  kidding  about 
Constance.  One  of  a  family  notable, 
among  many  other  things,  for  its  refresh- 
ing frankness  and  lack  of  bunkum,  she 
doesn't  fail  the  standard. 

She  sees  herself  as  she  is  and  not  as  she 
has  been  told  she  ought  to  he. 

She  is  a  screen  comedienne  and  she 
likes  to  be  a  comedienne. 

"Dont  want  to  play  serious  roles,"  says 
Connie,  "dont  ivant  to  be  taken  for  a 
serious  person.  I'm  not  one.  Dont  want 
to  be  one.  I'd  rather  dance  than  read  any 
dusty  tome  ever  penned.  I  love  to  dance. 
I  could  dance  all  day  and  all  night  without 
a  thought  in  my  head.  From  the  Virginia 
Reel  to  the  Charleston,  I'm  for  'em  all: 

"I'm  not  given  to  solitary  confinement 
among  my  books.  I  dont  like  solitary  con- 
finement and  I  dont  care  a  whoopla  for 
books.  And  I  dont  care  who  knows  it. 
That's  as  I  am. 

"I  like  people.  All  kinds  of  people. 
Young  and  old.  Rich  and  poor.  Good  and 
bad.  Professional  and  non-professional. 
Just  folks. 

"And  I  like  parties.  All  kinds  of 
parties.  I  never  get  tired  of  them.  S' 
truth. 

"People  tell  me,  well-meaningly,  that  I 
ought  to  employ  my  spare  time  to  'better 
advantage.'  Why?  What  for?  I  dont 
think  there  is  any  'better  advantage.'  Not 
for  me,  at  any  rate. 

"They  inform  me  at  great  length  and 
with  batteries  of  argument  all  marshaled 
up  like  little  soldiers  that  I  should  study 
psychoanalysis  or  collect  stamps  or  some- 
thing. 

"I  dont  need  psychoanalysis.  I  can 
analyze  myself.  No  kidding.  That's  the 
whole  dope  about  it — no  kidding. 

"I'd  rather  collect  friends  than  stamps 
any  day.  I  like  parties  better  than  I  do 
psychoanalysis.  I  like  fun  better  than  I 
like   Freud.     That's  straight. 

"I  dont  want  to  be  disillusioning  to  the 
well-meaning  advisers,  but  if  I  must  col- 
lect something  I'll  stick  to  collecting  dolls. 
Yes,  dolls.  Silly  dolls.  Frivolous  dolls. 
Darling  funny  dolls.  I've  collected  'em 
now  from  nearly  all  over  the  world. 
French  dolls.  Russian  dolls.  Early  Amer- 
ican dolls.  Dolls  that  ride  and  dolls  that 
can  twist  their  long,  slinky  bodies  like 
acrobats. 

"I  love  jades,  too.  Not  as  much  as 
dolls.  But  when  I  do  collect  jades  I  like 
tricky  little  ornaments  and  things.  Lip- 
sticks and  powder-boxes  and  ash-trays.  I 
suppose  I  ought  to  collect  real  estate  like 
other  motion  picture  stars.  Maybe  I  will 
— someday. 

"Any  way,  there  have  to  be  butterflies. 
Or  there  ought  to  be.  I  think  they  serve 
their  purpose  and  they  certainly  have  a 
wow  of  a  time.    I'm  for  'em.    No  kidding." 


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1 


What  the  Stars  Are  Doing 

And  where  you  may  write  to  them 


Conducted  by  Gertrude  Driscoll 


I 


Adoreo,  Renee — playing  in  The  Flaming  Forest — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Arthur.  George  K.     playing  in  The  Great  I 
—  Metro-Goldwyn  Studios,  Culver  City,  Cal. 

\M<>r,  Mary— playing  in  The  Rough  Riders — First 
National  Studios,  Burbank,  Cal. 

Bankv,  Yilma —  playing  in  The  Winning  of  Bar- 
bara Worth— De  Mille  Studios,  Culver  City.  Cal. 

Barthelmess,  Richard — playing  in  The  Black 
White  Sheep — Inspiration  Pictures.  565  Fifth  Ave., 
New  York  City.  X.  V. 

Barrymore,  John — playing  in  Manon  Lescaut — 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Baxter,  Warner — completed  The  Great  Gatsby — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Beery,  Noah — playing  in  The  Rough  Riders — Fa- 
mous Players  Studios,  1520  Vine  St.,  Hollywood,  Cal. 

Beery,  Wallace — playing  in  Old  Ironsides  —  Fa- 
mous Players  Studios.  1520  Vine  St.,  Hollywood.  Cal. 

Bennett,  Belle— playing  in  Mother  MeCree — Fox 
Studios — 1401  No.  Western  Ave.,  Hollywood,  Cal. 

Blue,  Monte — playing  in  Across  the  Pacific — War- 
ner  Bros.   Studios,   5842   Sunset    Blvd.,    Hollywood, 

Boardman,  Eleanor — playing  in  Tell  It  to  the 
Marines — Metro-Goldwyn  Studios,  Culver  City, 
Cal. 

Bow,  Clara — playing  in  Wings — Famous  Plavers 
Studios.  1520  Vine  St..  Hollywood.  Cal. 

Brian,  Mary — playing  in  Stepping  Along — Fa- 
mous Players  Studios.  Sixth  and  Pierce  Aves.,  As- 
toria. L.  I. 

Bronson,  Betty — playing  in  Everybody's  Acting — 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Brook,  Clive  —  playing  in  The  Popular  Sin  — 
Famous  Players  Studios,  6th  and  Pierce  Aves., 
Astoria,  L.  I. 

Brooks,  Louise — playing  in  Just  Another  Blonde — 
Famous  Players  Studios.  Sixth  and  Pierce  Aves., 
Astoria.  L.  I. 

Carey,  Harry — playing  in  The  Little  Journey — 
Path.'-  Exchange,  35  W.  45th  St.,  New  York  City, 
N.  Y. 

Chaney,  Lon — playing  in  Tell  It  to  the  Marines — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Chaplin,  Charles— playing  in  The  Circus— 1412 
La  Brea  Ave..  Hollywood,  Cal. 

Chaplin,  Sydney— playing  in  The  Missing  Link — 
Warner  Bros.  Studios.  5X42  Sunset  Blvd.,  Hollywood, 

Cody,   Lew — playing   in   The  Gray    Hat — Metro- 

n  Studios.  Culver  City,  Cal. 
Collier,    William,   Jr.      playing   in  God  Gave   Me 
Famous   Players   Studios,   Sixth   and 
Pi<  re-  Aves.,  Astoria.  L.  I. 

Colman,    Ronald— playing    in    The    Winning   of 

Barbara  Worth  — Da  Mille  Studios,  Culver  City,  Cal. 

Cortex,  Rlcardo— playing  in  New  York — Famous 

Playere  Studios.  Sixth  and  Pierce  Aves.,  Astoria,  L.  I. 

Costello,  Dolores— playing  in  The  Heart  of  Mary- 

Warner    Bros.    Studios,    5842    Sunset    Blvd., 

Hollywood,  (  al. 

Dana,  Viola— playing  in  Men  of  the  Dawn — 
I     B.  O.  Studios,  780  Gower  St.,  Hollywood,  Cal. 

Daniels,  Bebe— playing  in  Stranded  in  Paris — 
Famous  Players  Studios,  1520  Vine  St..  Hollywood, 

Davie*,  Marion— playing  in  The  Red  Mill— 
Metro-Goldwyn  Studios,  (  ulver  <  lily,  <  al. 

Del  Ki«>,  Dolores— playing  in  Upstream— Fox 
Studio-,    1101    No,   Western  Ave.,   Hollywood,  Cal. 

Dempster,  Carol— playing  in  The  White  Slave — 
Famous    Playere   Studios,    sixth    and    Pierce  Aves.; 
L.  1. 
Denny,  Reginald— playing  ul  Fraud 

—Universal  Studios,  Universal  <  ity,  <  al. 
de  I'utti.  Lya     playing  in  The  Prince  of  Tempters 
lout  Playere  Studios.  Sixth  and  Pierre  Aves., 
L.  I. 
Div.      Richard -playing      in     The     Quarterback— 

ill   and    Pierce  Aves., 

I..  I. 

Dove,  Billic — playing  in  The  Sensation  Seekers— 

I  Studios,  Universal  City,  Cal. 
Dr«  \  i  ting — 

!0  Vine  St.,  Hollywood, 

i  afrbanks,  Dooftfau  -.    Black 

Idord- Fairbanks     studios,      Hollywood, 


Fazenda,  Louise — playing  in  Mama  Kiss  Papa — 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Fields,  W.  C— playing  in  So's  Your  Old  Man— 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
\<i<  iria,  L.  I. 

Ford,  Harrison — playing  in  The  Nervous  Wreck — 
Metropolitan  Studios,  1040  Las  Palmas  Ave.,  Holly- 
wood, Cal. 

Garbo,  Greta— playing  in  The  Flesh  and  the  Devil 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Gibson,  Hoot — playing  in  Oh  Promise  Me — Uni- 
versal Studios,  Universal  City,  Cal. 

Gilbert,  John— playing  in  The  Flesh  and  the  Devil 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Gish,  Dorothy — playing  in  London — Herbert 
Wilcox  Prod.,  London,  England. 

Gish,  Lillian — playing  in  Annie  Laurie — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Goudal,  Jetta — completed  Her  Man  O'  War — ■ 
Cecil  De  Mille  Prod.,  Culver  City,  Cal. 

Gray.,  Gilda — latest  release,  Alorna  of  the  South 
Seas — Famous  Players  Studios,  Sixth  and  Pierce 
Aves.,  Astoria,  L.  I. 

Gray,  Lawrence — playing  in  Everybody's  Acting — • 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Griffith,  Corinne — playing  in  The  Lady  in  Ermine 
— 1040  Las  Palmas  Ave.,  Hollywood,  Cal. 

Griffith,  Raymond — plaving  in  The  Waiter  from 
the  Rilz— Famous  Players  Studios,  1520  Vine  St., 
Hollywood,  Cal. 

Haines,  William — plaving  in  The  Little  Journey — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Hamilton,  Neil — playing  in  Mother  MeCree — F'a- 
mous  Players  Studios,  Sixth  and  Pierce  Aves.,  As- 
toria, L.  I. 

Hines,  Johnny — plaving  in  Stepping  Along — 
C.  C.  Burr  Prod.,  135  W.  44th  St.,  New  York  City, 
N.  Y. 

Holt,  Jack — playing  in  The  Man  of  the  Forest — 
Famous  Plavers  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Hughes,  Lloyd — playing  in  Valencia — First 
National  Studios,  Burbank,  Cal. 

Joy,  Leatrice — plaving  in  Nobody's  Widow — 
Cecil  De  Mille  Studios,  Culver  City,  Cal. 

Joyce,  Alice — playing  in  The  Ace  of  Cads  — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Keaton,  Buster — playing  in  The  General — -Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Kenyon,  Doris — playing  in  A  Lady  at  Play — First 
National  Studios,  Burbank;  Cal. 

Kerry,  Norman  —  playing  in  Annie  Laurie  — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Kirkwood,  James — playing  in  Butterflies  in  the 
Rain— Universal  Studios,  Universal  City,  Cal. 

Langdon,  Harry — playing  in  Long  Pants — F'irst 
National  Studios,  Burbank,  Cal. 

La  Plante,  Laura — playing  in  Beware  of  Brides — 
Universal  Studios,  Universal  City,  Cal. 

Lloyd,  Harold — playing  in  The  Mountain  Lad — 
1040  Las  Palmas  Ave.,  Hollywood,  Cal. 

Love,  Bessie — playing  in  Going  Crooked — Fox  Stu- 
dio-. 1401  No.  Western  Ave.,  Hollywood,  Cal. 

Lowe,  Edmund — playing  in  One  Increasing  Pur- 
pose— Fox  Studios,  1401  No.  Western  Ave.,  Holly- 
wood, Cal. 

Lyon,  Ben — playing  in  Not  Herbert — Biograph 
Studios,  807  E.  175th  St.,  New  York  City,  N.  Y. 

Mackaill,  Dorothy — playing  in  Just  Another 
Blonde    -Biograph   Studios,   807   E.    175th  St.,   New 

York  City,  N.  Y. 

MacLean,  Douglas — latest  release.  Hold  That 
Lion  -Famous  Players  Studios,  1520  Vine  St.,  Holly- 
wood. Cal. 

Mason,  Shirley — playing  in  Rose  of  the  Tenements 
— F.  B.  O.  Studios,  780  Gower  St.,  Hollywood,  Cal. 

McAvoy,  May — playing  in  The  lure  Brigade — 
Metro-Goldwyn  Studios,  Culver  City,  Cal, 

Meighan,  Thomas — playing  in  The  Canadian — 
[anions  Players  Studios,  Sixth  and  Pierce  Aves., 
Astoria,  L.  I. 

Menjou,  Adolphe — playing  in  An  Angel  Passes 

Famous  Players  Studios.  Sixth  and  Pierce  Aves., 
L.  I. 

Miller,  Patsy  Ruth— playing  in  The  While  Black 
Warner  Bros.  Studios,  5842  Sunset  Blvd., 
Hollywood.  Cal. 

Mix,  Tom  -playing  in  The  Canyon  of  Light — Fox 
i  loi  No,  Western  Ave.,  Hollywood,  Cal. 


Moore,  Colleen— playing  in  Orchids  and  Ermine— 
First  National  Studios,  Burbank,  Cal. 

Moore,  Mat — playing  in  Summer  Bachelors — Fox 
Studios,  Tenth  Ave.  and  55th  St.,  New  York  City 
N.  Y. 

Moreno,  Antonio— playing  in  The  Flaming  Forest 
— Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Murray,  Mae— playing  in  Valencia— Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Nagel,  Conrad— playing  in  The  Mysterious  Island 
—Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Negri,  Pola— playing  in  The  Hotel  Imperial— 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Nllsson,  Anna  Q. — playing  in  The  Masked 
Woman — F"irst  National  Studios,   Burbank,  Cal. 

Nixon,  Marion — playing  in  Down  the  Stretch — 
Universal  Studios,  Universal  City,  Cal. 

Novarro,  Ramon — plaving  in  The  Great  Galeolo  — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

O'Brien,  Eugene — plaving  in  Nobody's  Widow — 
Cecil  De  Mille  Prod.,  Culver  City,  Cal. 

O'Brien,  George — playing  in  The  Devil's  Master 
— Fox  Studios,  1401  No.  Western  Ave.,  Hollywood, 
Cal. 

O'Hara,  George— playing  in  Going  the  Limit— 
F.  B.  O.  Studios,  780  Gower  St.,  Hollywood,  Cal. 

O'Neil,  Sally— playing  in  The  Mysterious  Island — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Philbin,  Mary — playing  in  The  Bargain  Bride — 
Universal  Studios,  Universal  City,  Cal. 

Pickford,  Mary — completed  Sparrows — Pickford- 
Fairbanks  Studios,  Hollywood,  Cal. 

Pitts,  Zasu — playing  in  The  Wedding  March— 
Famous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Prevost,  Marie — playing  in  Man  Bait — Metro- 
politan Studios,  1040  Las  Palmas  Ave.,  Hollywood, 
Cal. 

Pringle,  Aileen — playing  in  Tin  Gods — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Ralston,  Esther — playing  in  The  Quarterback — 
Famous  Players  Studios,  Sixth  and  Pierce  Aves. 
Astoria,  L.  I. 

Ray,  Charles — playing  in  The  Fire  Brigade  — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Rich,  Irene — playing  in  His  Official  Wife — War- 
ner Bros.  Studios,  5842  Sunset  Blvd.,  Hollywood, 
Cal. 

Shearer,  Norma — playing  in  Upstage — Metro- 
Goldwyn  Studios,  Culver  City,  Cal. 

Sherman,  Lowell — completed  You  Never  Know 
Women — Famous  Players  Studios,  1520  Vine  St., 
Hollywood,  Cal. 

Sills,  Milton — playing  in  Men  of  the  Dawn — First 
National  Studios.  Burbank,  Cal. 

Starke,  Pauline — playing  in  Not  Herbert — 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Stone,  Lewis — playing  in  Midnight  Lovers — First 
National  Studios.  Burbank,  Cal. 

Swanson,  Gloria — playing  in  Eyes  of  Youth — 
Cosmopolitan  Studios,  2247  Second  Ave.,  New  York 
City,  N.  Y. 

Sweet,  Blanche — latest  release,  Diplomacy — 
F'amous  Players  Studios,  1520  Vine  St.,  Hollywood, 
Cal. 

Talmadge,  Constance — completed  The  Duchess 
of  Buffalo— 7200  Santa  Monica  Blvd.,  Hollywood, 
Cal. 

Talmadge,  Norma — playing  in  A  Son  of  Mont- 
martre — 7200  Santa  Monica  Blvd.,  Hollywood,  Cal. 

Tearle,  Conway — playing  in  His  Official  Wife- 
Warner  Bros.  Studios,  5842  Sunset  Blvd.,  Holly- 
wood, Cal. 

Terry,  Alice— playing  in  The  Great  Galeolo— 
Metro-Goldwyn  Studios,  Culver  City,  Cal. 

Torrence,  Ernest — playing  in  The  King  of  Kings 
—Cecil  De  Mille  Prod.,  Culver  City,  Cal. 

Vaughn,  Alberta— plaving  in  The  Adorable  De- 
ceiver— F".  B.  O.  Studios,  780  (lower  St.,  Hollywood, 
Cal. 

Vidor,   Florence— playing   in   The    Popular  Sin —      t 

ai IS    Players   Studios,    Sixth    and    Pierce    Aves., 

Astoria,  L.  I. 

Wilson,  Lois— playing  in  New  York— Famous 
Players    Studios,    Sixth    and    Pierce    Aves..    Astoria, 


Windsor,  Claire— playing  in  The  Little  Journey— 
Metro-Goldwyn,  Culver  City,  Cal. 


I 


When  the  Thanksgiving  feast  is 
spread — and  gay  friends  gather — 
"when  you're  joyously  thankful  for 
another  year  of  health  and  plenty 
— have  a  Camel! 


Camels  represent  the  utmost  in  cigarette  quality.  The  choicest  of 
Turkish  and  Domestic  tobaccos  are  blended  into  Camels  by  master 
blenders  and  the  finest  of  French  cigarette  paper  is  made  especially  for 
them.  No  other  cigarette  is  like  Camels.  They  are  the  overwhelming 
choice  of  experienced  smokers. 


WHEN  it's  Thanksgiving. 
And  your  chosen  friends 
are  enjoying  the  good 
things  of  earth — have  a 
Camel! 

For  no  other  cigarette 
ever  gave  so  much  added 
enjoyment  to  a  Thanksgiv- 
ing feast.  No  other  was 
ever  so  welcome  to  your 
friends.  Millions  of  experi- 
enced smokers  are  thankful 
each  day  for  Camels.  This 
distinctive  cigarette  brought 
the  world  a  new  measure  of 
smoking  satisfaction  and 
contentment,  for  Camels 
never  tire  the  taste  or  leave 
a  cigaretty  after-taste.  Be- 
fore Camel  it  was  impossible 
to  get  every  good  feature  in 
one  cigarette. 

So  this  festive  day,  with 
thanks  for  the  good  year 
that  is  gone — send  up  the 
fragrant  smoke  that  is  loved 
by  millions.  On  Thanksgiv- 
ing Day  have  the  best. 

Have  a  Camel! 


;    "-— - 


©  1926 


Our  highest  wish,  if  you 
do  not  yet  know  and 
enjoy  Camel  quality,  is 
that  you  may  try  them. 
We  invite  you  to  com- 
pare Camels  with  any 
cigarette     made     at     any 

price. 

R.  J.   Reynolds  Tobacco 

Company 

Winston-Salem,  N.  C. 


Vardxu  9a6t  -X/is  cA/eu/- 
Qo^it  cjAipk  Compact 
ujith  ponsM.  Vaacg  $  2— 


9e^u  9aee  Vowd&u 


Vanity  Fair 

The  New  Terri 

Compact  de  Luxe 


Remember 
the  days  of  the 
slipper  bag? 
VS  hen  /«  jeune 
fi/ie  dropped  a 
wad  or  hair- 
pins, a  clean 
kerchief  and  a 
box  of  powder 
—  not  pink  or 
"naturelle,''  but  a  chaste^owr-white 
powder— into  the  silk  bag  with  her 
dancing  pumps  and  set  out  thus 
thinly  armed  for  the  ball? 

Chaperones  were  not  all  dead 
then  and  only  the  demi-monde  re- 
sorted— openly — to  rouge. 

The  sophisticated  young  woman 
of  today  is  far  better  prepared  to 
withstand  the  wilting  hours.  With 
the  aid  of  such  a  captivating  little 
contrivance  as  the  new  Terri  Com- 
pact-dubbed VANITY  FAIR-she 
can  keep  her  complexion  in  order 
through  luncheon,  tea,  dinner,  the- 
atre and  restaurant-after-the-show! 

What  so  dec- 
orative as  this 
slender    case    of 

Eolished  black 
akelite  with  the 
tiny  white 
streamline  '  run- 
ning about  the 
edge  and  gold 
crest  in  the  cor- 
ner? Wherever 
the  spirit  moves 
you    to    retouch 

your  coloring  Vanity  Fair  will  adorn 

the  occasion. 

A  diminutive  gold-tipped  pencil 
slips  cleverly  into  a  hollow  at  the 
hinge — invaluable  for  noting  those 
new  telephone 
numbers  and  ad 
dresses  friends  are  7  (/ 

always springingat   \\  V       L     ^ 
luncheon    or    tea.     »  ^ 

Inside  is  a  mir- 
ror that  is  a  mir- 
ror!  Large  enough 
to  reflect  the  entire 
countenance  —  not 
the  usual    meagre  glimpse    of  one 
cheek  bone  and  naif  a  nose!  With  its 
assistance  it  is  really  possible  to  ad- 
just your  complexion  satisfactorily. 

On  the  quality  of  the  cosmetics 
one  can  only  be  frankly  enthusiastic. 
If  you  have  ever  made  the  acquaint- 
ance of  Terri  powders  you  will  know 
what  I  mean.  They  genuinely  de- 
serve the  adjective  "velvety"  ap- 
plied to  so  many  powders — they 
caress — and  they  cling.  The  shades 
are  true  and  blend  well:  Blanche, 
Naturelle  and  Rachel. 


The  cake  rouge  is  remarkably  fine 
grained  and  adheres  very  well.  The 
colors  have  a  hint  of  the  exotic- 
Coral,  with  an  orange  cast,  a  Me- 
dium rose  tint  and 
i^-  a  vivid  Raspberry. 

\y  )'#        j^g  jjp  rouge  js 

L«-  /  exceptional  in  be- 
-iv~'  ^  ing  absolutely  free 
from  the  unpleas- 
ant greasy  taste 
common  to  so 
much  lip  rouge. 
Refills,  of  course, 
are  available. 

An  amusing  fac- 
tor is  the  possibility  of  removing 
the  fitted  compartments  in  a 
whimsical  moment  and  turning 
Vanity  Fair  into  a 
cigarette  case,  for  the 
resulting  cavity  is  just 
cigarette  length! 


61 


Although  containing  a  generous 
supply  of  cosmetics  and  a  sizeable 
mirror  in  its  attractive  polished 
case,  Vanity  Fair  costs  only  $2.50 
and  slips  easily  into  the  pocket- 
book. 

In  fact  Vanity  Fair  is  a  Paragon 
of  Compacts! 

P.S.— That  excellent  Terri  powder — 
by  the  way — with  its  intriguing  perfume 
distilled  from  the 
exotic    opopanax 
— may  be  had  in 
loose  form  as  well 
as  compact.   The 
loose  powder  has 
the  same  clinging 
quality  character 
istic    of    the    compact   and    the   same 
smoothness,  like  the  bloom  on  a  peach. 

It  comes,  too,  in  a  most  amusing  and 
delectable  box  which  is  well  worth  the 
purchase  in  itself.  Terri  has  chosen  a 
modernistic  version  of  the  Spanish  tra- 
dition for  a  motif  and  the  languishing 
Senorita  on  her  balcony  —  the  gay 
serenader  —  the  dancer  —  the  picador 
— the  matador — and  the  bull — desport 
themselves  across  the  box  in  brisk, 
humorous  black  silhouette.  A  clever 
gadget  for    the   smart  dressing  table! 


fe^^^CyjA^ 


Advertising  Section 


MAGAZINE  \ 


Answers  to  "Whose  Hands?' 
November  Issue 


m 


th( 


Adolphe  Menjou 


'T'he  very  expressive,  sen- 
sitive-appearing  hand  be- 
longing to  an  individual 
whose  feelings  are  deep 
but  buried  beneath  a  calm, 
well-poised  exterior,  one 
who  would  be  frequently 
misunderstood  and  mis- 
judged by  others,  always 
feeling  this  keenly,  was  the 
hand  of  Adolphe  Menjou. 
Face  and  hand  both  in- 
dicate a  very  tempera- 
mental person,  a  man  of 
moods,  one  who  descends 
to  the  depths  of  despair 
and,  at  other  times,  rises 
to  the  heights  of  rapture. 
The  hand  shows  more  the 
effects  of  strain  and  worry 
and  a  nervousness  than  the 
face.  There  are  differ- 
ences in  face  and  hand 
which  would  make  a  na- 
iure  not  easily  understood. 


Louise  Brooks 

'T'he  youthful  hand  be- 
longing  to  a  restless, 
emotional  person  full  of 
enthusiasm,  energy  of  pur- 
pose, very  independent,  un- 
conventional, and  with  a 
love  and  daring  to  seek 
the  unknown  was  Louise 
Brooks'  hand.  This  hand 
corresponded  in  type  with 
the  face  and  figure  of  its 
owner,  for  Miss  Brooks  is 
lean  and  muscular,  with  a 
face  of  greater  length 
than  breadth.  The  face  in- 
dicates more  practicability 
than  her  hand.  It  also 
shows  one  who  does  not 
like  to  do  work  contrary 
to  her  tastes,  also  a  splen- 
did sense  of  tune  and 
rhythm,  and  a  very  in- 
dividualistic '  nature,  one 
who  is  daring  and  fear- 
less. 


Noah  Beery 


T'he  very  useful,  capable 
hand  with  its  square 
formation,  square  at  the 
base  of  the  fingers,  also 
with  square  finger-tips, 
was  Noah  Beery's  hand. 
The  hand  corresponded  in 
type  with  his  face,  for  he 
is  broad,  well  rounded  and 
of  good  size.  Hand  and 
face  alike  both  show  great 
physical  strength,  hardi- 
hood and  much  endurance, 
great  perseverance,  deter- 
mination, good  judgment, 
a  practical  nature  endowed 
with  much  common  sense. 
The  thick,  full  third  pha- 
langes of  the  fingers  de- 
note a  large  appetite,  like- 
wise, the  fulness  in  the 
side  head  where  the  appe- 
tite sign  is  found,  shows 
the  same  thing. 


All  rights  reserved  by  F.  Vance  de  Revere 


Prize  Winners   for  Limericks  Published  in 
October  Magazine 


Tho   Connie   is   married   again, 
She   still   has  a   way  with   the   men, 
And,    as    proof,    she   got   Lew 
To   pose    for  this   view, 
For    men    pose — not    propose — now    and    the 
G.   W.   Boyer, 

Homestead,    Florida. 

Hen    Turpin's    the    queen    of    the    vamps, 
For   he   has    reversible    lamps; 
With   just   one   pair   of  eyes 
He   can   flirt   with   two   guys 
Without    getting    optical    cramps. 

Mary  Glynn-Colljns, 

Colorado    Springs,    Colo. 


/  fa, 


Says  Miss  Crawford,  "A  kick's  c 
If  I  just  keep   my   eye  on   my  toe." 
But   please   tell   me   who 
Would  have   eyes   for  Joan's   shoe 
When  the  shape  of  the  "vamp"   is  just  so? 
Miss  A.   Rinaldi, 

Naugatuck,  Conn. 

Bobby    Vernon's   been   known  to   devour 
Buckwheat   cakes    for   one   solid   hour, 
But   he  later   atones 
With   dyspepsia   and   groans 
While    sobbing,    "Dont    say    it    with   flour." 
Mrs.   May   B.   Dow, 
Davenport,   Iowa. 


All  Spent  and  Trying   to  Get  a  Quarter-Back 

is  the  prize-winning  title  for  the  picture  which  appeared  on  page  8  of  the 
October  issue.     It  was  contributed  by  Mrs.  J.  H.  Happel,  Cleburne,  Texas. 


■Is! 


\jlYl5i    This  New 
Translucent  Rouge  im- 
mediately brings  out  your 
natural  beauty  and  charm 


qA  single  application  works 
like  magic 

5CIENCE  has  advanced  another  step 
forward  in  the  development  of  the 
most  startling  beauty  secret  ever  of- 
fered women  —  a  wonderful  new  Trans- 
lucent Rouge  that  brings  out  the  natural 
beauty  of  your  skin  without  clogging 
up  the  pores  and  without  giving  it  that 
painted  opaque  look. 

^ew  —  Translucent —  "Beautiful 

The  pores  of  the  skin  under  a  magnifying  glass 
looklike  small  valleys  and  mountains  and  it  is  in 
these  valleys  that  the  skin  breathes  and  thereby 
stays  in  a  healthy  condition. 
How,  then,  can  one  expect  to  have  a  healthful 
and  beautiful  skin  if  these  little  valleys  are  con- 
tinually filled  up  with  grease  and  hardened 
powder  rouges?  Mad  Cap  Rouge  is  neither  a 
grease  nor  a  powder  and  will  not  clog  up  the 
•  skin  pores. 

The  skin  is  naturally  translucent.  Mad  Cap 
Rouge  is  also  translucent  and  when  applied 
simply  tints  the  skin  a  beautiful  pink,  letting  the 
natural  beauty  of  the  skin  show  thru.  Its  appli- 
cation has  a  soothing,  healing  effect  on  the  skin. 
It  produces  a  glorious  color  and  is  used  and 
recommended  by  beauty  specialists  everywhere. 
It  is  also  uiacerproof  and  stays  on  24  hours. 

Try  It  —  "Beautify  Your  Complexion 

We  ask  you  to  try  Mad  Cap  for  a  few  days  at 
our  expense  and  see  how  it  will  give  you  the 
complexion  of  women  you  have  always  envied. 
You  will  note  the  great  difference  after  the  very 
first  application  and  then,  if  you  are  not  abso- 
lutely delighted,  we  will  welcome  the  oppor- 
tunity of  refunding  your  money. 

cAbsolutely  guaranteed 

Send  us  no  money .  Simply  fill  in  and  mail  coupon 
and  when  package  arrives  pay  postman  75c.  Use 
Mad  Cap  a  week  and  then,  if  not  absolutely  sat- 
isfied, return  to  me  and  I  will  refund  your  money. 
Mail  coupon  today. 

KOLAR  LABORATORIES,  INC. 

8  South  Seeley  Avenue         Chicago,  Illinois 


KOLAR  LABORATORIES, 
j   8  S.  Seeley  Ave.,  Chicago,  III. 

Please  send  me,  postage  paid,  1  jar  Mad  Cap 
I  Rouge.  I  will  pay  postman  75c.  If  not  satisfied,  I 
I    will  return  it  and  you  will  refund  my  money. 


L' 


Address  - 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


93 

PAG 


I 


(M 


Advertising  Section 


z: 


'yiMOUS 

.♦how  they're  kept 
free  from  corns , . 


Queenie  Smith's  Famous  Dancing  Feet 

"I  have  never  had  a  corn  nor 
an  accident.  But  if  ever  either 
comes  —  I  want  protection. 
That's  why  I  always  carry  Blue= 
jay  and  an  accident  policy.11 

So  writes  winsome  Queenie 
Smith,  the  star  of  the  musical 
comedy,  "Tip -Toes." 


Good  old  Blue=jay!  For  a6  years  it  has  been 
vanquishing  corns  .  .  .  The  count  of  con- 
quered toe-calluses  runs  into  the  hundreds 
of  millions. 

A  cool  and  velvety  cushion  fits  over  the 
corn  and  ends  the  pain  at  once.  Usually  one 
plaster  routs  the  corn.  But  even  an  "old  of' 
fender"  will  seldom  require  more  than  a  sec- 
ond  Blue=jay  plaster  ...  At  all  drug  stores. 

Blue-jay 

THE     SAFE     AND     GENTLE 
WAY     TO     END    A     CORN 
©1926 


f 


Your  Chance 

^MOVIES 

s    a    Motion    Picture 

ire  always  in  rii-maml. 

fkly  qualify  for  this  fascinating  work. 

leceasary-     We  train  you  at  Home. 

$75  to  $250  a  Week  and  More 

trig  money  in  every  branch  of  Professional 

'.,, trait  and  (  om- 

mercJal  Make  money  in  >pare  time.  Earn  while  learning. 

'CAMERA  FREE   Xi'Zon'"-' ■"' r":" 

ial  filn 


KeepMustcroU 
on  the  Sat fi-tvom  shelf 

Years  ago  the  old-fashioned 
mustard  plaster  was  the  favor- 
ite remedy  for  rheumatism, 
lumbago,  colds  on  the  chest 
and  sore  throat. 

It  did  the  work,  but  was  sticky  and 
messy  and  burned  and  blistered. 

Musterole  bas  taken  the  place  of  the 
mustard  plaster. 

Rub  on  this  soothing  ointment  at  the 
first  cough  or  sniffle,  at  rheumatism's 
first  warning  tingle. 

Made  from  pure  oil  of  mustard,  with 
the  blister  and  sting  taken  out,  Mus- 
terole penetrates  the  skin  and  goes  to 
the  seat  of  trouble. 
To  Mothers:  Musterole  is  also  made 
in  milder  form  for  babies  and  small  chil- 
dren. Ask  for  Children's  Musterole. 
The  Musterole  Co.,  Cleveland,  Ohio 
Jars  &  Tubes 


BETTER    THAN    A    MUSTARD    PLASTER 


"Meestair   Hall" 

{Continued  from  page  33) 

Along  in  1914,  came  Otis  Skinner  to 
Dallas  in  "Kismet."  Jimmy  Hall  could 
contain  himself  no  longer.  Skinner  of- 
fered him  a  small  part  in  the  production 
until  the  tour  was  finished,  and,  without 
the  formality  of  notifying  his  parents, 
away  went  Jimmy,  headed  toward  New 
York  and  glory. 

Jimmy's  father,  having  stood  just  about 
enough  of  such  nonsense,  notified  the  po- 
lice, who  found  our  hero  in  New  York 
State  just  as  he  had  played  the  season  out 
with  the  Skinner  company.  Jimmy  was 
rather  glad  the  officers  found  him  and  took 
him  back  to  Dallas.  By  sharp  counting,  he 
knew  that  there  were  only  a  certain  num- 
ber of  meals  ahead  of  him  when  the  show 
closed. 

It  is  sad  to  relate,  however,  that  as  soon 
as  his  parents  had  him  well  fed,  he  kicked 
over  all  precedents  for  prodigal  sons,  and 
again  ran  away,  this  time  with  the  "Every- 
woman"  company,  in  which  he  played  an 
angelic-faced   altar   boy. 

His  father  decided  against  bringing 
Jimmy  home  a  second  time,  so  the  sixteen- 
year-old  youth  finished  the  "Everywoman" 
tour  in  New  York,  proved  to  Florenz 
Ziegfeld  that  he  could  dance,  and  ap- 
peared in  the  Follies  of  1914  and  1915. 

But  Jimmy  didn't  want  to  be  known  as 
a  "dancing  man."  He  left  the  Follies  and 
put  in  a  hard  year  in  stock  with  the  De 
Wolffe  Stock  Company  in  Chicago  during 
1916. 

The  next  year  war  broke  out,  and  the 
handsome  youth  who  was  already  creating 
attention  as  an  actor,  joined  the  army  and 
was  sent  to  Camp  Bowie,  not  far  from 
Dallas.  There,  among  whatever  other 
tasks  were  assigned  him,  he  drove  the 
commander's  car.  The  commander,  we 
are  glad  to  say,  survived  intact,  but  while 
hurling  the  great  car  over  the  roads  be- 
tween Fort  Worth  and  Dallas,  one  day, 
Jimmy  got  in  a  bad  smash-up,  smashed 
several  of  his  perfectly  good  ribs,  an  arm, 
a  leg  and  what-not,  and  lay  in  the  hospital 
for  seven  months.  When  at  last  he  was 
up  and  around,  the  wounded,  the  shell- 
shocked,  the  broken  men  who  had  served 
overseas,   were   being   sent   home. 

Jimmy  Hall  speaks  very  seriously  of  the, 
days  that  followed,  up  to  the  time  of  the 
Armistice.  For  now  he  had  a  man's  job 
to  face.  His  task  it  was  to  aid  in  sending 
dead  and  dying  soldiers  home,  and  thru  it 
all  his  comrades  at  Camp  Bowie  were 
dying  by  scores,  of  influenza.  Well,; 
Jimmy,  like  the  rest,  did  what  he  could  to 
help — and  then  he  added  to  that  his  gift' 
as  an  entertainer.  He  organized  a  jazz-j 
band  to  brighten  things  up  a  bit. 

Yet  it  was  a  more  serious  young  manj 
who  came  out  of  Camp  Bowie  than  thel 
youth  who  had  entered  it.  He  had  aj 
wider  conception  of  life.  He  had  felt. I 
He  had  lived.  He  joined  a  stock  company; 
in  Sioux  City,  playing  all  sorts  of  roles, 
and  gaining  much  valuable  experience. 

A  year  later  he  was  with  the  Shubems 
and  has  appeared  on  Broadway  in  two 
"Passing  Shows,"  "Poppy,"  "Merry  Merry"! 
and   "The   Matinee  Girl.'.' 

Once,  while  passing  thru  Los  Angeles, 
he  had  screen  tests  taken  by  Universal, 
and    was   not   considered   a   "good   bet." 

This  last  year,  while  appearing  in  a  New 
York  stage  production,  a  Famous  Players- 
Lasky  official  sent  for  him  to  have  a  test 
made,  and  immediately  thereafter  he  wai 
given  a  contract  by  the  company  and  camo 
West  to  appear  with  Bebe  in  "The  Campus 
Flirt  " 

"I  cant  say  enough  for  the  wonderful 
assistance   Miss    Daniels   and  the   director, 


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Clarence  Badger,  gave  me,  while  I  was 
making  my  first  picture,"  he  said.  "They 
helped  me  with  every  single  scene,  and  if 
I  go  over  with  the  film  fans,  it  will  be  due 
largely  to  them,  and  to  Miss  Negri. 

"I  stay  on  the  set  constantly  just  to 
watch  Miss  Negri  work.  She  is  the  great- 
est actress  I  have  ever  seen.  I've  learned 
more  about  acting  during  this  one  picture 
with  her,  than  I  ever  learned  thruout  my 
stage  career.  .  .  .  Excuse  me  ...  I  must 
rush  back  to  the  set  now.  ..." 

And,  as  he  had  done  half  a  dozen  times 
during  our  talk,  Jimmy  Hall  fled  again,  to 
go  back  into  a  scene  with  Pola. 

This  is  a  biographical,  rather  than  a 
personality  sketch  on  James  Hall.  Occa- 
sionally he  would  smile  while  talking.  He 
seems  to  be  an  amiable  chap  with  a  sense 
of  humor.  Certainly  he  is  handsome.  But 
the  tremendous  pressure  and  strain  under 
which  Pola  Negri  was  working  was  re- 
flected on  the  face  of  everyone  on  the  set. 
i  Most  of  the  time  James  Hall's  face  was 
quite  grim,  and  tho  it  was  his  first  inter- 
view, and  so,  of  much  importance  to  him, 
he  wanted  to  talk  of  Pola  and  the  tragic 
fight  she  was  making  against  time,  rather 
than  of  himself.  Time  and  again  I  had  to 
draw  him  back  to  the  story  of  himself, 
land  I  chalk  this  up  to  his  credit. 

Valentino  had  loaned  his  musicians  to 
iPola  for  the  picture.  They  seemed  to  help 
her  to  get  thru  the  scenes,  and  presently, 
i  when  she  was  fr—  from  the  camera  for 
a   few   moments,   she   called  to   me. 

"I    'ave    missed    you.      You    'ave    been 
away,"  she  said,  in  that   low,  half -chiding 
voice  of  hers.     "I  wanted  you  to  come  to 
'a  part-e-e." 
II     "I'm  sorr3%   Pola." 

1  "But  soon,"  she  added,  forcing  herself 
^to  smile  and  her  eyes  to  brighten,  "we  will 
■'ave  more  good  times.  No?  Oh,  soon  we 
''will  all  be  happy.  Everything  will  come 
'out  all  right!     Is  it  not  so,  'Elen?" 

"Of  course,  it's  so,  Pola,"  I  assured  her. 
"Everything  will  come  out  all  right." 

"Thees  young,  Meestair  Hall.  He  is  a 
'good  actor,"  she  continued  firmly,  generous 
:as  always  in  giving  praise  to  an  unknown, 
'just  starting  to  clim'„  the  ladder  toward 
£fame. 

'  But  the  stern,  tragic  look  had  come  back 
'•into  her  face  again,  and  knowing  that  she 
was  thinking  neither  of  James  Hall  nor 
jme,   I   slipped  away. 


A  Little  Girl  with  a  Long 
Pedigree 

(Continued  from  page  43) 

tasting  director  open  wide  his  door  to  an 
aristocratic  American  extra?  It  never 
occurs  to  Hollywood  when  it  sees  a  young 
girl  persevering,  rising  above  all  the  ob- 
stacles that  lie  in  the  wake  of  a  would-be 
star — it  never  occurs  to  it  that  the  blood 
M  five  generations  of  army  officers  may 
be  what  makes  the  youngster  fight  her  way 
to  the  top.  Unless  a  family  tree  is  es- 
corted by  a  foreign  title,  it  does  not  even 
create  a  ripple  in  Hollywood. 

But  it  happens.  When  Dorothy  Dwan 
Knocked  at  the  portals  of  Kleig  fame,  she 
brought  with  her  a  family  tree  that  dates 
back — well,  let's  not  go  farther  back  in 
history  than  the  first  Irish  kings — about 
1000,  wasn't  it?  On  the  branches  of  that 
:ree  sit  august  lords  and  ladies,  judges, 
generals,  etc.,  etc. 

On  her  father's  t,ide,  Dorothy  is  a  direct 
kscendant  of  Thomas  McKean,  a  signer 
:>f  the  Declaration  of  Independence.  A 
Grandfather  McNair  was  the  first  Gover- 
lor  of  Missouri. 


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That   Funny  Little  Man 

{Continued  from  page  37) 

make  people  laugh,  I  could  eat  three  meals 
a  clay  and  do  some  of  the  things  I  had 
always   longed   to   do    for   my    mother. 

"Every  time  I  came  West  I  tried  to  get 
a  hearing  in  pictures — but  no  one  would 
listen  to  me.  The  less  likely  my  chances 
became  the  more  enthused  I  grew  over 
motion  pictures. 

"Finally  Sol  Lesser  gave  me  a  chance 
and  I  made  a  few  comedies  for  him.  Mr. 
Sennett  saw  these  pictures — and  you 
know  the  rest!" 

If  Chaplin  is  a  clown,  with  trick  shoes 
and  a  derby— if  Lloyd  is  that  nice  young- 
man  who  wears  hoot-owl  glasses  and  gets 
into  scrapes — Harry  Langdon  is  a  small 
boy  with  dreams  in  his  eyes  and  a  shy 
smile  that  gets  you  every  time. 

We  shout  with  laughter  at  Chaplin  and 
at  Lloyd,  we  admire  them,  imitate  them 
— but  we  love  Langdon. 

Chaplin  is  our  beloved  buffoon,  Lloyd 
our  maker  of  excellent  comedies — but 
Langdon  is  just  himself.  His  is  a  sheer 
triumph  of  personality. 

And  with-  years  of  training  behind  it 
this  personality  should  reach  even  greater 
heights. 

He  is  interested  in  every  one  whom  he 
meets,  he  studies  them  and  appreciates 
them.  He  is  in  a  sense  a  humanitarian,  as 
are  all  truly  great  people.  There  is  not 
an  ounce  of  pose  about  him,  he  is  naive, 
disconcertingly   so — sometimes. 

He  is  well  educated  tho  self-educated. 
He   is   humble  about  his   success. 

Try  as  I  may,  I  cannot  see  him  other 
than  a  small  boy  who  has  suddenly  grown 
up  into  a  Pierrot — and  is  a  little  be- 
wildered at   finding  himself   as   he   is. 

He  adores  children,  every  child  he  meets 
delights  and  enchants  him.  He  has  no 
children  of  his  own  and  back  of  this 
shadow   lies   an  unhappy   marriage. 

He  is  taller  in  real  life  than  he  appears 
to  be  on  the  screen ;  his  eyes  are,  very 
surprisingly,  brown  and  the  saddest  eyes  I 
have   ever   seen. 

He  is  a  continual  curiosity  to  his  press- 
agent  who  worships  him  and  protects  him 
from  the  sometimes  rude  public  with  all 
the  earnestness  of  a  mother. 

He  is  too  impulsive  at  times- — but  always 
charmingly  and  amusing  impulsive.  He  is 
the  sort  of  person  that  Christopher  Morley 
would  delight   in. 

The  other  day  a  small  urchin  managed 
to  worm  his  way  into  the  studio.  He 
spied  Langdon's  name  over  the  door  and 
rushing  over  to  the  screened  window 
pressed  his  nose  against  it  and  stared  into 
the    dressing-room. 

"You  never  saw  such  an  excited  kid — 
he  watched  me  as  tho  I  were  a  wild 
animal  at  the  Zoo !"  Langdon  told  me. 

"I  tried  to  coax  him  in — but  he  wouldn't 
come — I  could  see  he  was  disappointed. 
Finally  he  said  hoarse  with  fear — or  some- 
thing 'smile!'  I  grinned  and  then  he  gave 
a  relieved  giggle.  We  were  friends.  He 
came  in  and  visited,  seemed  disappointed 
because  I  wasn't  littler  and  departed  withi 
a  sheaf   of   autographed   pictures. 

"That  little  episode  convinced  me  of  the 
folly  of  personal  appearances,"  he  con- 
cluded. 

A  wise  man  once  said  that  the  trait  he 
found  most  worth  while  in  mankind  was 
gentleness.  Harry  Langdon  has  more 
gentleness  in  his  make-up  than  most 
humans. 

To  me  he  will  always  be  Pierrot — aj 
gentle,  lonely  figure  trudging  along  the 
road  of  the  world. 


96 

ce. 


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UT.MIJTION  PICTUR[ 

11101   I    MAGAZINE       V 


PIFFLE 


(Continued  from  page  65) 


the  ragged  edge  of  nothing.  Something 
had  to  be  done.  Someone  had  to  do 
it.  Mary  did  it.  Mary  stepped  in  and 
took  the  helm.  Fair  enough,  but  what 
is  really  important  is  that  Mary  has  kept 
the  helm.  She  made  a  place  for  herself 
in  the  sun,  in  the  world.  A  great  place. 
She  also  made  a  place  for  her  family. 
She  has  never  for  one  instant  failed  to 
supply  them  with  every  luxury,  every  con- 
sideration, every  attention  involving  both 
money  and  time.  We  have  heard  mothers 
')i  sons  tell  very  different  stories. 

Her  husbanding  of  resources,  her  bal- 
ance, her  business  head,  her  old-fashioned 
point  of  view  about  marriage  and  her 
great  and  shining  loyalty  to  her  husband 
are  known  to  us  all.  But  they  may  be 
brought  to  mind  again  without  any  harm 
to  anyone.     They  place  Mary. 

Take  Lillian  Gish.  For  all  the  white- 
ness of  the  great  white  ways,  for  all  the 
acclaim  and  artistry  laid  to  her  door, 
Lillian  has  never  trod  many  inches  away 
from  her  mother.  Nor  Dorothy  either, 
for  that  matter.  Their  devotion  to  their 
mother  is  the  paramount  consideration  in 
their. lives.  One  or  the  other  of  the  sisters 
is  constantly  with  her. 

There  is  Bebe  Daniels.  Bebe  and  her 
mother  and  her  grandmother  travel  in  a 
tender  triumvirate.  When  success  piles  on 
top  of  success  for  Bebe,  she  doesn't  reap 
it  for.  herself  alone.  She  doesn't  indulge 
in  Rolls-Royces,  affairs  with  Egyptian 
princes  and  other  colorful,  if  fictional,  ad- 
ventures. She  reaps  the  successes  equally 
for  mother  and  grandmother.  They  share 
and  share  alike  in  the  business  and  the 
triumph  which  are  Bebe's  life. 

The  Talmadges  .  .  .  wherever  the  Tal- 
madge  sisters  go,  there  "Peg,"  their 
mother,  pal  and  confidante,  goes  also.  If 
Xorma  comes  to  New  York  and  Peg  stays 
behind  with  Constance,  or  vice  versa,  Peg 
will  be  the  recipient  of  a  wire  from  the 
voyaging  sister  to  "come  on,  quick."  Their 
wide  interests,  their  wealth,  their  husbands, 
their  friends  have  never  shaken  the  un- 
shakable love  they  have  for  "Peg."  Is 
this  the  loyalty  of  frailty,  of  recklessness, 
of  untrustworthiness  or  unreliability?  No, 
such  fine  fruit  doesn't  grow  in  such 
shallow  soil. 


T;here  are  other  facets  to  these  facts. 
There  is  the  case  of  Alice  Joyce. 

Where,  in  what  group  of  peoples,  in 
what  strata  of  society,  would  you  find  a 
more  thoroly  all-around  person  than 
Alice  Joyce,  who  is  Mrs.  James  Reagan  in 
private  life? 

Her  years  on  the  screen  have  accrued 
and  have  given  her  a  sum  total  of  fine 
standing.  Of  dignity.  Of  charm.  Of  an 
appeal  that  has  grown  and  become  more 
and  more  lusterful  with'  the  passing  of 
time. 

She  has  a  home.  A  husband.  Children. 
And  to  all  three  of  these  she  gives  a 
thoro  and  competent  attention  and  an 
affection  in  no  wise  diminished  or  inter- 
fered with  by  her  notable  screen  perfor- 
mances. 

,  You  might  go  to  Newport  ...  to  Park 
Avenue  in  New  York  (where  Miss  Joyce 
lives,  by  the  way),  to  any  part  of  Suburbia 
and  not  find  six  women  living  the  balanced, 
intelligent,  worth-while  life  that  Alice 
Joyce  lives. 

Does  this  come  about  because  she  is  un- 
dependable?  Less  intelligent  than  the 
male?     Not  likely! 

Mr.  and  Mrs.  Antonio  Moreno  .  .  .  try 
to  beat  them  at  their  own  game  of  digni- 


fied social  standing,  domestic  happiness, 
intelligent  interests,  charities,  beneficent 
influence.     Just  try  it. 

There  are  the  '"sports"  of  the  profession, 
of  course.  Black  rams.  Black  ewes.  But 
in  what  walk  of  life  will  you  not  find  in- 
dividuals who  have  no  balance,  no  char- 
acter, who  could  have  no  balance  or 
character  whether  their  path  of  life  led  to 
pictures  or  the  pulpit,  the  nursery  or  the 
night   club. 

But  most  of  the  women  of  the  screen, 
a  large  enough  percentage  of  them  to 
prove  that  we  are  .right  and  you — who- 
ever you  may  be — are  wrong,  are  darned 
good  sports.  On-the-level,  worth  -  while 
women,  with  beauty  of  character  as  well 
as  beauty  of  face,  with  eager  mentalities, 
loyal  hearts,  sound  family  affections,  roots 
that  reach  far  down  into  the  soil  of 
substance. 

A  very  well-known  and  very  experienced 
director  recently  said  to  us  that  it  is  all 
the  bunk  about  screen  actresses  using  their 
sex  appeal  to  get  them  what  they  want. 
"They  dont,"  he  said — emphatically — "I 
dont  know  another  class  of  women  who 
so  meet  men  on  their  own  ground." 

A  great  many  of  these  girls  have  run 
the  risk  of  screen  sacrifice  by  the  sacrifice 
of  motherhood.  For  that  motherhood 
has  potential  sacrifice  as  well  as  profound 
ecstasy  nobody  will  deny.  We  know  women 
right  in  our  own  suburb,  who  wouldn't  do 
as  much,  for  fear  it  might  interfere  with 
their  Bridge  game,  their  First  Nights,  their 
bank  balance,  their  figures,  their  golf  or 
tennis  or — their  boy  friends. 

Alice  Joyce,  Leatrice  Joy,  Gloria  Swan- 
son,  Mildred  Lloyd,  Agnes  Ay  res,  Li  la 
Lee,  Claire  Windsor,  Florence  Vidor, 
Irene  Rich,  Belle  Bennett,  Myrtle  Stedman 
— all  of  these  celebrities  are  mothers. 

They  have  proved  their  points  before- 
hand. They  proved  them  when  they  had 
the  babies. 

******* 
A  not  her   facet. 

There  are  nice  girls  on  the  screen, 
too.  Regular  girls.  Nice,  clean-limbed, 
clear-eyed  American  girls.  Girls  with 
whom  you  could  trust  your  Wandering 
Willie  quite  as  complacently  as  you  trust 
him  with  the  idle  sub-deb  daughter  of  Mrs. 
Van  Peyster  Van  Weyster  Van  Damn. 
Maybe  more  so. 

Betty  Bronson,  Norma  Shearer,  Carol 
Dempster,  Mary  Astor,  May  McAvoy, 
Lois  Wilson,  Lois  Moran.  These  girls 
often  wish  they  could  be  vampy  and 
poisonous  and  insidious  on  the  screen  but 
they  aren't  because  they  cant  be.  It  just 
isn't  in  'em  to  be.  They  have  straight 
bones  in  their  bodies  and  straight  spirits 
in  their  bones  and  straight  thinking  in 
their  heads — and  there  they  are ! 

YY/ell,  have  we  proved  our  point?  Our 
W  part  of  it? 

Now  what  is  the  female  of  the  species? 
the  screen  species? 

Can  you  depend  on  her?  We  think  so. 
If  you  dont  believe  us,  ask  a  lot  of  screen 
mamas. 

Is  she  frail,  frivolous,  a  moron,  a 
Broadwayite,  night-clubite?  We  think  not. 
Visit  the  homes  of  Alice  Joyce  and  Mr.  and 
Mrs.  Moreno,  and  Mr.  and  Mrs.  Harold 
Lloyd,  and  report  what  you  find  there,  on 
your  word  of  honor. 

Isn't  it  largely  rot?  This  hectic  gabble 
about  the  lives  they  lead,  the  characters 
they  are  personally  imbued  with? 

Isn't  it  piffle? 

The  ayes  have  it ! 


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AMOTION  PICTURr 
It  I  MAGAZINE     L 


Advertising  Section 


Get  the  Habit  and  Join  the 
Crowd  Who  Read  the  Classic 

Everyone  is  known  by  the  company  he  keeps.  If  he  keeps  company 
with  The  Classic,  he'll  never  go  wrong. 

The  Motion  Picture  Classic  is  the  de  luxe  publication  of  the 
screen  world.  It  is  alive  with  bright  ideas.  It  is  fearless  and  honest. 
It  is  brilliantly  edited.  And  it  has  contributors  who  write  and  draw 
with  authority. 

Glance  over  the  list  of  people  steadily  contributing  to  The  Motion 
Picture  Classic:  Eugene  V.  Brewster,  editor-in-chief  of  the  Brewster 
Publications  and  the  first  screen  magazine  editor,  Gladys  Hall,  Laurence 
Reidj  Don  Eddy,  H.  W.  Hanemann,  Matthew  Josephson,  Dorothy 
Manners,  Bert  Ennis,  B.  F.  Wilson,  Percy  Knighton,  Dunham  Thorp, 
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— most  of   them   exclusively. 

The  foremost  artists  are  giving  The  Classic  their  best  work.  John 
Held,  Jr.,  Ellison  Hoover,  Ken  Chamberlain,  Armando,  Kober — and 
others  are  on  the  art  staff  of  Motion  Picture  Classic. 

***** 

WATCH  FOR  THE  DECEMBER  CLASSIC 

lr  will  cany  many  notable  features,  as  well  as  a  host  of  new  and 
exclusive  pictures.  There  will  be  absorbing  articles  about  the  Western 
Pictures  which  have  captured  everyone's  attention,  and  what's  going  on 
in  Hollywood.  There  will  also  be  exclusive  interviews  with  stars  who 
are  accomplishing  things  in  the  celluloid  world.  Faith  Service's  serial 
readies  a  dramatic  point — and  licit  Ennis'  feature,' "Them  Were  the 
Happy  Days,"  will  reveal  some  more  inside  facts  about  the  pioneer  days 
of  the  ino\  ies. 

Order  Your  December  Classic  NOW 


i 


Tommy  Is  Her  Nickname 

{Continued  from  page.  44) 

nicest.  Bat  when  she  wanted  to  take  it 
off,  it  wouldn't  come.  The  only  way  that 
ring  would  budge  was  for  Tommy  to  put 
her  linger  into  Daddy  Tom  Mix's  mouth 
and  let  him  take  it  off  for  her  with  his 
teeth ! 

"We'll  have  it  made  bigger,"  he  prom- 
ised. 

But  Tommy  thought  it  would  be  more 
fun  having  it  little  and  having  daddy  bite 
it  off  every   time. 

"Got  any  news,  Tommy?"  asked  her 
daddy. 

"Sand  pile's  fixed,"  announced  Tommy. 

Daddy  was  pleased,  and  said  so. 

"Got   awnings    on    it!" 

"That's  good." 

"Dog  kennel's  got  a  fence  'round  it." 

"We  brought  you  eleven  dogs  to  put  in 
'em.      Isn't    that    nice?" 

Tommy  nodded.  She  likes  dogs  and  she 
likes  horses.  She  has  a  pony  of  her  own 
that  she  can  ride  very  well  and  her  daddy 
thinks  it  wont  be  \  long  before  she  can 
swing  a  lasso  and  beat  him  at  some  of  his 
stunts ! 

But  there's  something  Tommy  likes  still 
better. 

When  her  proud  mother  "and  daddy  got 
thru  telling  her  all  the  things  they  had  in 
the  baggage-car  for  her — including  one 
goat,  two  owls,  and  a  Belgian  police  pup — 
and  in  the  trunks,  including  dolls,  sand 
pails  and  new   shoes,   Tommy   said : 

"Daddy,  will  you  buy  me  somefing?" 

"Why,    yes,    sweetheart!      What?" 

"Well,  will  you  buy  me.  a  lots  of  little 
girls  to  come  and  play  ring-around-rosy 
with  me?" 


The  Picture  Parade 

(Continued  front  page  63) 

IT  MUST  BE  LOVE-Roml^ama 

A  TRIFLE  more  substantial,  more 
homespun,  more  wistful  than  "Ella 
Cinders,"  is  Colleen  Moore's  new  entry,  "It 
Must  Be  Love."  The  piece  has  all  the 
earmarks  -of  having  been  written  with  the 
star  in  mind- — that's  how  well  it  suits  her 
personality.  Straight  from  the  pages  of 
the  "Satevepost"  it  comes  with  its  tale  of 
homespun  love.  It  makes  quite  a  lot  of 
capital  out  of  the  pathos  of  finding  this 
love  under  parental  objection. 

Once  upon  a  time  it  was  known  as 
"Delicatessen,"  tho  unlike  its  original  title 
it  is  not  crammed  with  varied  properties. 
Its  simplicity  is  its  chief  virtue.  We  look 
upon  a  German  family — of  a  hard-boiled 
"Pop"  who  cant  be  reconciled  to  his 
daughter's  modern  ideas.  And  the  idea 
just  treads  along  on  this  theme — asking  no 
odds  of  drama  or  climax. 

The  girl  runs  away,  meets  the  boy 
friend  in  the  department  store — and  be- 
comes united  to  the  old  folks  when  she 
marries  him.  There  is  a  touch  of  pathos 
in  the  surprise  of  the  young  bride  being 
brought  back  to  the  delicatessen  shop  by 
her  husband— the  very  shop  she  tried  so 
long"  to  live  down. 

To  keep  the  spark  going,  the  piece  relies 
upon  considerable  incident  which  pertains 
to  the  humdrum  lives  of  its  central  char- 
acters. It  is  "homey" — is  acted  with  good 
feeling  by  the  star,  Jean  Hersholt  and 
Malcolm  McGregor — and  is  happily  free 
from  wise-cracking  subtitles. — First  Na- 
tional. 


98 


Every  odTertlsemenl   In  MOTION  PICTURE  MAGAZINE  is  guarauteed. 


Advertising  Section 


An    Idyl   or  a  Tragedy — 
Which? 

{Continued  from  page  23) 

is    genuine !      A    great    artiste !      Such    a 
woman   is   Greta   Garbo. 

It  is  just  a  little  over  a  year  since  she 
came  to  America.  She  tells  it  very  simply 
when  you  ask  her  why  she  came. 

"Mr.  Mayer  saw  me  in  a  picture,  in 
Sweden,  and  he  asked  the  director, 
Maurice  Stiller,  to  come  to  this  country 
and  to  bring  me.  That  is  all — we  came." 
And  the  coming  was  quite  as  simple. 
There  was  no  blowing  of  trumpets  about 
it — no  laying  of  red  carpet.  And  there 
has  been  no  sensational  advertising  since 
her  arrival.  Yet  today,  Greta  Garbo  is 
one  of  the  most  significant  figures  among 
the  women  of  the  screen — if  not  the  most 
significant.  It  is  nothing  that  has  been 
said  or  written  about  her.  It  is  nothing 
that  she  has  done — yet.  It  is  just  the 
inexplicable  charm  and  power  of  a  rare 
personality.  Everyone  feels,  without  being 
able  to  explain  the  fact,  that  this  slim  girl 
is  one  of  the  children  of  Destiny — as 
definitely  precious  as  a  piece  of  pale  green 
jade. 

And    jade    is    jade — inevitably    royal. 
So  much  we  know.     As   for  the  woman 

herself 

"I  can  only  talk  to  you  in  little  words," 
she  says.  "I  can  say  yes  and  no,  but  I 
cannot  explain  much  in  your  English" — 
her  smile  is  the  smile  of  a  child,  an  ap- 
pealing, serious  child — a  child  who  could 
be  ecstatically  happy  without  ever  being 
merry.  A  child  who  could  be  so  hurt  and 
so  proud  that  it  would  build  a  wall  of  re- 
pression around  its  real  self,  and  live  and 
die  behind  it.  There  are  shadows  behind 
her  and  reticences. 

"Here  in  America,  everyone  is  so  happy 
and  so  young.  Your  men,  your  women, 
everyone,  they  never  grow  old,"  she  says 
wonderingly. 

"Then  you  have  not  been  homesick  for 
Sweden?"  "No,  no,"  she  answers  slowly, 
"no,  I  have  not  been  that — lonely,  some- 
times, but  not  homesick." 

"And  when  the  Crown  Prince  visited 
the  studio,  you  were  his  luncheon 
partner?" 

"Yes,  and  I  had  never  seen  him  before 
in  my  life.  Not  on  the  street,  not  in  a 
procession,  not  anywhere.  And  in  Sweden, 
I  would  never  have  met  the  Crown  Prince. 
It  would  have  been  too  difficult — but  here 
in  America,  I  sit  beside  him,  I  talk  to 
him — oh,  he  is  charming,  and  he  had  such 

a  good  time  here — he " 

"A  wonderful  fellow,  that  Crown 
Prince  of  yours,"  threw  in  John  Gilbert, 
from  his  place  beside  Greta — but  the  look 
he  gave  her  was  not  for  the  Crown  Prince 
— "wonderful,"  he  repeated — and  he  looked 
at   her. 

It  was  just  a  flash,  but  for  a  second  the 
whole  story  was  told — as  clearly,  as  stark- 
ly, as  lightning  reveals  the  minutest  details 
of  a  room. 

It  was  as  amazing,  as  electrifying,  as 
poignant  as  that— the  look  between  John 
Gilbert  and  Greta   Garbo. 

No  wonder  Clarence  Brown  says  he  is 
getting  the  greatest  love  scenes  that  have 
ever  been  screened,  in  "The  Flesh  and 
the  Devil."  He  is  working  with  the  raw 
material.  They  are  in  that  blissful  hal- 
cyon stage  of  love  that  is  so  like  a  rosy 
cloud  that  they  imagine  themselves  hid- 
den behind  it,  as  well  as  lost  in  it — they 
are    not    even    self-conscious — yet. 

And  when  two  personalities  such  as 
John  Gilbert  and  Greta  Garbo  love,  there 
will  either  be  a  great  idyl  or  a  great 
tragedy — possibly     both.       It     is     hard    to 


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imagine  their  love  story  running  along 
conventional  lines — and  as  for  denying  it — 
they  might  just  as  well  try  to  deny  the 
existence   of    fire  ! 

It  was  between  scenes  later  in  the  after- 
noon that  Greta's  "distinctive  foreignness" 
was  mentioned.  "Dont  let  them  Amer- 
icanize   you,"    we    pleaded. 

"And  why  not?"  demanded  Gilbert. 
"Why  shouldn't  she  learn  our  ways?  The 
world  doesn't  go  to  see  her  because  she  is 
Swedish — because  she  has  a  fascinating- 
accent  !  They  cant  hear  her  talk !  They 
want  to  see  her  because  she  is  an  actress, 
nationality  has  nothing  to  do  with  it."  Maybe 
not — but  it  would  be  a  pity  to  change  her 
— for  any  reason  at  all — even  love. 

Just  now.  life  seems  very  full  of  work. 
"I  do  not  see  how  you  can  work  and  play 
so  much,  too,"  she  says  quaintly.  "Me,  1 
am  so  sleepy  1  cannot  go  to  parties,  I  must 
go  to  bed — I  get  so  tired — I  cannot  do  it." 

And  so  when  her  studio  day  ends,  she 
slips  down  to  Santa  Monica  by  the  sea, 
where  the  Scandinavian  picture  people 
seem  to  have  made  a  little  colony  all  their 
own.  There,  they  all  live  simply — much 
more  simply  and  somberly  than  their 
American  associates.  Their  lives  seem 
keyed  to  a  lower  note. 

"To  be  on  the  set  at  eight  o'clock  in  the 
morning,  that  is  terrible,"  she  confided. 
"I  just  brush  my  hair  back.  I  haven't  time 
to  think  what  shall  I  wear !  Clothes ! 
Oh,  I  wish  they  were  bags,  all  alike,  just 
to  jump  into,  quick !  On  the  screen,  oh, 
yes,  I  would  wear  beautiful  things — but 
for  myself,  just  simple.  I  do  not  think 
about  them  much,   I  haven't  time ! 

"And  oh,  I  do  not  want  to  be  bad  woman 
— on  the  screen,  you  know !  That  is  my 
only  trouble  in  America.  People  say  I 
am  what  you  call — 'vamp  type!'  I  know 
what  they  mean,  but  I  do  not  think  I  am. 
I  do  not  like  to  play  'bad  woman!'  Oh, 
much  rather,  I  played  good  women — good, 
but  interesting — you  know?" 

"That  cant  be !"  someone  remarked 
cynically. 

"Yes,  it  can  be  true !"  declared  Greta, 
emphatically.  "You  are  all  mistaken,  and 
I  do  not  think  the  people  like  the  bad 
women — and  I — I  know  I  do  not  like  to 
play  them — I  do  not  want  to  play 
them " 

"Garbo !  Garbo !"  The  voice  of  the 
Assistant  Director  reverberated  thru  the 
great  stage.  Greta  hastily  opened  her 
make-up  box  and  wielded  the  inevitable 
powder-puff. 

"Coming,"  she  answered,  and  slipped 
thru  the  crowd — a  tall,  slim  girl — all  long, 
graceful    lines. 

A  few  minutes  later  she  was  kneeling 
at  a  communion  rail,  John  Gilbert  beside 
her. 

Again  they  were  caught  up  in  the  magic 
cloud  of  their  own  making — they  played  a 
scene  that  tightened  your  throat  with  its 
intense  beauty — even  there  in  that  most 
prosaic  and  disillusioning  of  all  places — 
a  motion  picture  set. 

"They  have  done  that  in  every  love 
scene  they  have  played,"  said  Clarence 
Brown,    "it's    marvelous." 

The  scene  was  over  and  Greta  had 
slipped  down  from  her  knees  into  a 
pathetic  little  heap  on  the  altar  steps.  Her 
face  was  dead  white.  Her  eyes,  big  and 
solemn  and  tragic — for  the  scene  she  had 
just  played  was  part  of  the  story  of  a 
woman  who  is  interesting  but  not— good — 
"and  when  people  see  me  on  the  screen, 
they  will  think  1  am  like  that,"  says 
Greta.  "Oh,  yes,  they  will!  They  will 
write  me  letters  about  it — that  is  why  some 
days   J   am  sad,  but  most  days  I  am   very, 

very    happy — I    am    very    happy "    she 

was  looking  up — John  (iilbert  was  stand- 
ing   there. 

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There,  beneath  an 
azure  sky,  graceful 
palms  and  twink- 
ling lights  you  will 
dance,  as  you  never 
danced  before,  to 
the  most  alluring 
of  dance  music. 

You  are  sure  to  see 
many  of  the  world's 
most  famous 

iJMotion 
Tidturz^  Stars 

In  fact,  at  the  Am- 
bassador you  are 
sure  of  enjoying 
California  at  its  best. 


Open  Air  Plun 
two  Golf  Cou 
MotionPicture 
Theatre,  Pic- 
nics, and  every 
outdoor  sport. 


Writer  for  Chef's 
Illustrated 
Cook  Book 


Si 


Advertising  Section 


CrTMOTION  PICTURf 

Inol  I   MAGAZINE      \ 


"Shall  I   Go  Into  the 
Movies?" 

{Continued  from  page  71) 

movies,  but  I  would  advise  you  to  cultivate 
your  singing  voice  and  try  for  musical 
comedy.     I  think  you  have  a  future. 

Irene  W.,  June  22: 

Why  aren't  you  content  to  stay  home 
with  your  family  and  watch  your  favorite 
star  instead  of  attempting  to  be  one  your- 
self? You  have  humor,  kindliness,  affec- 
tion and  artistic  appreciation,  all  strong  in 
your  chart,  but  your  sensitive  feelings  and 
your  tendency  to  hold  on  to  a  grouch  or 
grudge  would  never  win  success  for  you 
in  such  a  desperately  callous  calling  as  the 
movies.  You'll  marry,  and  it  will  be  the 
best  thing  for  you.  Dont  think  I  am  wan- 
tonly trampling  on  your  tender  ambitions. 
I  am  trying  to  save  you  a  lot  of  disap- 
pointment and  sorrow. 

N.  R.,  August  1: 

You  can  act — there's  no  doubt  about 
that — but  let's  be  practical.  It  is  more  than 
likely  that  you  would  be  one  of  the  great 
throng  of  professionals  who,  with  ability 
and  training,  never  seem  to  strike  the  bell 
which  rings  up  success.  You  cannot  make 
money  in  acting  and  it's  doubtful  if  you 
would  appeal  to  a  large  proportion  of  your 
audience.  I  would  advise  you  to  remain  in 
your  present  work.  If  you  feel  that  you 
must  try  out  the  stage,  then  go  in  for 
character  parts.  Your  best  time  of  life  is 
middle  age. 

Jack  B.,  March  29: 

This  is  the  time  for  you  to  make  good, 
as  1927  is  a  wonderful  year  for  you,  full 
of  changes,  progress  and  increased  pros- 
perity. I  am  doubtful  about  your  ambition 
to  become  a  cameraman,  however.  Your 
horoscope  would  suggest  salesmanship, 
connection  with  the  oil  industry  in  the 
Orient,  or  some  traveling  position,  altho 
this  last  element  might  come  in  handy  if 
you  were  to  enter  newsreel  work.  \  ou 
will  land  on  your  feet  somewhere,  but  I 
doubt  if  it  will  be  in  Hollywood. 

Mrs.  J.  A.  L.,  June   14: 

You  know,  I  didn't  want  to  say  that  you 
could  act.  It's  funny,  for  I  dont  very  often 
pay  any  attention  to  photographs.  Dont 
ever  submit  those  photographs  to  a  casting- 
director,  for  he  wouldn't  have  the  horo- 
scope to  make  him  change  his  mind ! 
Your  chart  made  me  reverse  my  opinion 
in  a  second.  You  are  a  bit  old  to  enter 
the  movies,  but  the  fact  remains  that  you 
probably  can  get  ahead.  There  are  other 
stars  who  entered  this  work  at  about  your 
present  age  and  are  still  going  strong. 
But  dont  waste  any  time;  if  you  really 
want  to  appear  on  the  screen,  go  to  -it  at 
once,  for  every  year  will  count  against 
you. 

G.  J.  M.,  February  1 1 : 

I'm  glad  you're  not  so  cock-sure  of  your 
ability  to  set  the  world  on  fire  with  your 
printed  pages,  George,  for  you  have  not 
yet  found  yourself,  and  until  you  do  that 
you  have  nothing  with  which  to  interest 
and  hold  the  reading  public.  People  have 
the  idea  that  all  one  has  to  do  in  order  to 
"write"  is  to  set  down  words  on  paper.  In 
reality,  it's  the  most  exacting  and  absorb- 
ing of  the  arts.  You  have  to  have  some- 
thing to  say,  first,  and  then  you  have  to 
learn  how  to  say  it.  Both  processes  are 
difficult  and  require  bitter  experiences.  I 
honestly  cannot  see  that  you  are  a  born 
writer.  Your  chart  seems  to  be  that  of  a 
mining  engineer,  inventor,  or  technical 
man. 


DR.     LAWTON,    Eminent    Beauty    Specialist, 
has    discovered    a   most   marvelous    Beauty   Secret 


It  will  prevent 

or  remove 

WRINKLES 

CROWS  FEET 

EXPRESSION 

LINES 


It  will  rebuild 
SAGGING  MUSCLES 
It  will  restore 
YOUTHFUL 
CONTOURS 


Ask  yourself  these  questions  —  it  makes  no 
difference  how  young  you  are,   or  how  old 


IF  YOU  ARE  YOUNG! 

1  — ■  How  am  I  going  to  keep  the  natural 
glow  of  youth  in  my  cheeks? 

2  —  How  am  I  going  to  keep  the  muscles 
of  my  face  taut  and  the  skin  smooth  and 
free  of  tell-tale  lines? 

3  —  How  am  I  going  to  preserve  my  youth- 
ful appearance,  easily,  surely,  in  my  own 
home — without  resorting  to  the  use  of  ex- 
pensive cosmetics? 

IF  YOU  ARE  PAST  YOUR  YOUTH? 

1  —  How  will  I  restore  the  clear,  trans- 
parent complexion  I  once  had? 

2  —  How  will  I  rid  my  face  of  lines  and 
wrinkles  that  rob  me  of  a  youthful  ap- 
pearance? 

3  —  How  will  I  eradicate  crows-feet? 

4  —  How  will  I  restore  the  contours  of  my 
neck  and  chin  and  cheeks? 

5  —  How  will  I  get  rid  of  puffy  eyes — 
sagging  muscles? 

DR.  LAWTON'S  Beautifier 
is  the  answer  to  every  one  of 
these    questions  —  no    woman 
can  afford  to  be  without  one — 
Nature's  own  way. 

A  specialist  in  beauty  culture  for  many 
years,  Dr.  Lawton's  fame  naturally  has 
spread  to  distant  parts  of  the  country.  He 
has  been  the  confidential  beauty  and  health 
adviser  to  America's  smartest  women, 
among  them  the  most  renowned  beauties 
of  the  stage,  screen  and  society.  It  was  to 
provide  his  patients  who  live  in  far  away 


cities  and  who  have  not  been,  able  there- 
fore to  visit  New  York  for  regular  treat- 
ment, with  some  way  to  follow  his  methods 
in  their  own  homes  that  led  to  the  dis- 
covery of  his  now  famous  BEAUTIFIER — 
and  rejuvenating  Face  Tissue  Tonic.  Their 
success  has  been  phenomenal! 

Read  what  users  say: 

Miss  M.  B.  T. — "I  have  been  a  teacher  for  a  number  or 
years  and  am  afraid  I  was  beginning  to  look  like  the  con- 
ventional 'school-marm'.  After  two  weeks  use  of  the 
Beautifier  my  mirrors  began  to  pay  the  delightful  little 
compliments.  Others  noticed  the  chaoge  too.  A  little 
secret— I'm  not  going  to  teach  much  longer,  I'm  going  to 
keep  house  for  HIM.  Need  I  say  more'" 
Mrs.  S.  T.  L. — "Pretty  hard  being  a  mother  and  wife,  yet 
look  one's  best.  Thanks  to  your  precious  Beautifier  I  look 
at  least  eight  years  younger.  My  husband  looks  a  little 
prouder  when  he  introduces  me  now." 

Use  Dr.  Lawton's  T"*^^  T"*  ¥"* 
beautifier  for  10  days  JM  ■^P-I*. 
in   your   own    home    *    * 

Watch    the    lines    disappear.     See    flabby 
cheeks  become  firm  and  beautiful.    See  the 
youthful  color  restored. 
Any  one  can  use  it.  There  are  no  drugs — no 
medicines.    You  run  no  risks  whatsoever. 


$Q85 


all  it  costs! 

Youthful   beauty    all    your   life 


Just  send  the  coupon  below.  When  the 
Beauty  Chest  arrives  containing  theBeauti- 
fier,  a  full  sized  bottleof  Dr.  Lawton's  Face 
Tissue  Tonic,  and  illustrated  Instruction 
Book,  give  the  postman  $3.85  plus  postage 
and  try  this  really  remarkable  deviceforio 
days.  If  you  are  not  delighted  with  result;, 
even  in  this  short  time,  return  it  to  me  and 
your  money  will  be  refunded  immediately. 


DR.  THOMAS  LAWTON,  Suite  308,1926  Broadway,  New  York 

Descriptive  leaflet  free  upon  request 


10  DAY  FREE  TRIAL   IN  YOUR  OWN   HOME 


DR.  THOMAS  LAWTON,  S 

Dear  Dr.  Law  torn 

Please  send  me  for  10  days  your  Beauty  Chest  ( 

give  the  postman  $3.85  plus  postage 


1926  Broadway,  New  York 


ining  Beautifier,  Face  Tissue  Tonic  and  Instruction  Book).  I 
delivered.  If,  after  10  days,  I  am  not  perfectly  delighted  and  completely  s; 


NAME 

ADDRESS. 

CITY STATE. 


When  you   write  to  advertisers   please  mention   MOTION   PICTURE   MAGAZINE. 


101 
PAG 


I 


qsafEasFE  adve«t,Sinc  section 

Have  New  Outer  Skin 

On  Any  Part  of  Face,    Neck,    Arms,   Hands  or    Body 

In  3  Days! 

Amazing  Discovery  Gets  Rid  of  Old  Ouler  Skin! — Brings  Out 
New,  Clear,  Beautiful  Skin  on  Face  or  Body  as  if  by  Magic! 
Blackheads,  Pimples,  Freckles,  Tan,  Large  Pores,  Sallow- 
ness,  Surface  Wrinkles,  Ugly  Blemishes  and  Marks  of  Age 
Disappear — Gone,  Because  They're  Off! 


Greatest  Advance  in  Re- 
storing Youthful, 
Schoolday,  Clear, 
Beautiful,  Velvety  Skin 
and  Complexion  Ever 
Made. 


READ  FREE  OFFER  BELOW 

Write  for  This  Amazing  Free 
Treatise  —  "Beautiful  New 
Skin  in  3  Days,"  and  Marvel 
at  the  Progress  of  Science — 
It's  Wonderful! 


WHY  not  have  a  new,  clear 
skin  and  look  your  best, 
now  that  it  is  so  easy!     You 
occasionally  get  a  new  hat  and 
outfit— yet      "fine     feathers" 
don't      always      make      "fine 
birds."       But  if  you  had  a  new, 
fresh  outer  skin  on  your  face, 
neck,   arms    and    hands,   you 
would  look  years  younger  and 
more  beautiful — even  in  rags! 
Vow     you     need     worry     no 
more  over  your  disfigured  skin 
and  complexion!     Forget  your 
failures    with    lotions,    clays, 
creams,  powders,  massage, 
steaming  pots  and  "cover- 
ups."       Thro  w 
away   your  rub- 
ber      masks, 
plasters,         and 
beauty   make- 
shifts.    Because 
— here's  w  here 
you  get   a    new, 
fresh  outer  skin! 

M  08  t  astonishing 
discovery  in  the  history 
Of  beauty  culture.  All 
explained  in  an  amaz- 
ing free  (reatise  called 
"Beautiful  New  Skin  In 

.<■  Days."  Tells  how  to  do  what  foreign  skin 
specialists  have  charged  enormous  prices  for, 
how  k,  make  your  blackheads,  pimples,  large 
pores,  freckles,  tan,  sallow  complexion,  surface 

wrinkles,    blemishes,   and  signs  of   approaching 


How  old  saying  that  "Beauty  Is  Only  Skin 
Deep"  has  been  made  to  come  true  for  thou- 
sands of   both    sexes,    young   and    old,    easily! 


age,  go,  definitely,  GONE — "because  they're 
OFF!" 

Make  your  own  skin  and  complexion  the  envy 
of  all  who  behold  it,  THIS  NEW  WAY! 

Hundreds  of  men  and  women  are  now  doing 
it  themselves — in  the  quiet  of  their  own  homes 
— without  danger  or  inconvenience. 

They  surprise  and  astonish  with  a  new,  soft, 
velvety,  clear,  spotless,  youth-like  skin  on  face, 
neck,  arms,  hands  or  any  part  of  body  where 
new  skin  is  desired.  The  method  is  absolutely 
harmless  and  easy.  It's  astonishing — almost 
beyond  belief.  Send  name  and  address  only. 
This  amazing  new  Treatise  is  mailed  absolutely 
free  to  readers  of  this  magazine.  But  those  who 
wish,  may  enclose  ten  cents  in  any  form  to  help 
pay  distribution  expenses. 


Address:  MARVO  BEAUTY  LAB.,  Depl.  32-J,  N».  1658  Broadway,  New  York,  N.  Y. 


A  "Face  Lift"  Without  Cutting! 


Any  Person  Can  Do  It  at  Home! 


Makes  You  Look  Many  Years  Younger! 

One  «,f  I  he  most  amazing  discoveries  made 
in   I  In-  history  Of  beauty  culture  enables  any 

person  ir,  have  a  "face  lift"  at  home  without 

anj  cutting,  bandaging,  masks,  or  massage. 
It  is  done  through  exercising  certain  muscles 
around  the  mouth  in  a  new  way.  This  harm- 
less, simple  method  is  now  fully  explained  in 

a  I  VCIAL-MI  SCLE  CHART  illustrated  with 
photographs  of  living  model. 


It  is  9  by  IX  inches  and  beautifully  printed. 
In  order  to  introduce  this  astonishing  dis- 
covery the  inventor  will  distribute  5,000 
FREE  CHARTS  to  readers  of  this  magazine 
who  write  for  it.  If  you  wish  to  make  your 
sagging  face  muscles  lift  the  wilted  skin  and 
i  issues  back  to  youth-like  contour,  and 
thereby  take  away  years  of  aging  appearance, 
then  by  all  means  write  for  a  copy  of  this 
wonderfully  interesting  FACIAL-MUSCLE 
EXPLANATORY  CHART.  Don't  delay!  A 
letter  or  postcard  will  bring  it  by  return  mail, 
id.  Address,  Wm. 
32-  K,  No.  1658 
New  York,  N.  Y. 


FR  F  F*    wltof!  Depl . 
1    IVLL     Broadway,  N 


! 


Crazy  Quilt 

(Continued  from  page  88) 

quiet  way  you  will  always  achieve  things. 
There  is  a  dogged  persistence  and  ambi- 
tion under  your  pretty  surface  .  .  .  the 
fiber   of   tenacity. 

"You  will  always  meet  life  .  .  .  and 
come  forth  from  the  tournament's  fray 
with  the  laurel." 

"I  have  always  been  a  spectator  rather 
than  an  actor  in  the  pageant  of  living," 
Judith  admitted.  "That  gives  you  a 
philosophy." 

"What  is  your  philosophy,  cherief" 
Soma's  tone  was  surprisingly  tender. 

"That  this,  too,  whatever  it  is,  shall 
pass  .  .  ."  said  Judith.  "No  matter  what 
besets  you,  every  minute  that  you  survive 
you  are  beating  it.  Time  and  space  are 
great  healers.  Nothing  matters  but  the 
present.  And  the  present  is  forever  drift- 
ing into  the  past." 

"Whew  ..."  Sonia  was  impressed. 
"That  appears  a  philosophy  born  of  some 
desperation.  The  psychologists  would 
probably  say  it  was  a  means  of  escape." 

"But  it  isn't."  Judith's  voice  was 
pitched  low,  as  usual,  but  there  was  an 
earnestness  vibrated  in  it.  "I  dont  mean 
ever  to  run  away  from  things.  They  al- 
ways catch  up  with  you.  Face  them  down. 
Let  Time  beat  them  for  you." 

"Wouldn't  the  Great  American  Public 
be  surprised  to  hear  us,"  Sonia  laughed. 
"We  are  not  supposed  to  think,  Judith. 
We  are  movie  stars.  .  .  .  And  you  sound 
like  an  intelligent  young  person.  It  is 
stepping  out  of  character.     Really!" 

Judith  laughed  with  some  bitterness. 

And  Sonia  cold-bloodedly  thought  the 
hurt  she  had  sustained  this  evening  would 
do  something  towards  making  her  a  better 
actress. 

"If  Harvey  is  not  playing  around  with 
Felice,  is  there  someone  else?"  Judith 
asked  now.  And  this  flash  of  intuition 
very  nearly  took  Sonia  off  her  guard. 

"No  one  as  far  as  I  know."  Again  she 
evaded  a  lie  by  an  emphasis  of  words  that 
escaped  Judith.  She  felt  that  she  had  rent 
enough  of  illusion's  gossamer  for  one 
evening. 

Then  too,  she  reasoned  that  it  did  not 
necessarily  mean  anything  just  because  she 
had  seen  Harvey  and  that  creature  go  into 
his  apartment  after  midnight 

What  does  Judith  Tower  do?  Is  k  pos- 
sible for  a  woman  to  find  happiness  with 
a  wandering  husband,  even  if  she  is  con- 
vinced that  she  is  loved  more  than  the 
other  women  in  his  life?  There  is  a  big 
dramatic  situation  in  the  next  installment 
of  "Crazy  Quilt,"  which  appears  in  the 
January  Motion  Picture  Magazine.  Re- 
serve your  copy  at  your  neighborhood 
news-stand   now! 


Florence  Vidor 

and 

G.  H.  and  A.W.  F. 

arc  the  leading  players  in  another  one 
of  those  interesting  and  amusing  inter- 
views which  will  appear  in  the  January 
issue  of  the  Motion  Picture  Magazine. 
G.  H.  and  A.  W.  F.  lunched  with  Miss 
Vidor  in  her  dressing-room.  They 
watched  her  play  in  a  bedroom  scene 
under  the  sophisticated  direction  of 
Mai  St.  -Clair. 

Dont  miss  this  interview  playlet! 


02 


•ry  advertisement   In  MOTION   PICTD 


Advertising  Section 


^mtoefr 


As  Others   See   Us 

(Continued  from  page  35) 


know,  was  brimming  over  with  enthusiasm 
about  "The  Popular  Sin,"  which  he's  mak- 
ing with  her.  It's'  another  one  of  those 
divorce  farces,  and  some  of  the  situations 
sounded  very  comical,  as  he  described 
them,  but  in  particular,  there's  a  trick  doll 
that  they're  using  in  some  of  the  scenes 
that's  apt  to  steal  the  picture.  Rex  Ingram 
wants  it  to  take  back  with  him. 

But  to  go  back  to  clothes,  Miss  Vidor 
was  doing  a  bedroom  scene  and  when  I 
came  down  from  the  dressing-rooms 
(more  about  that  later)  she  was  in  the 
most  gorgeous  bed  and  Mai  St.  Clair, 
Clive  Brook,  and  Greta  Nissen  were  sit- 
ting about.  During  the  scene  that  fol- 
lowed she  slipped  on  a  negligee  of  thinnest 
ivory  silk  velvet  and  ermine,  with  little 
square-toed  mules  of  opalescent  white 
patent  leather.  Delectable's  the  only  word 
I  can   find    for   it. 

I  sat  watching  until  it  suddenly  occurred 
to  me  that  I  had  something  else  to  do — 
but  it  really  is  a  shame  to  take  the  money 
for  a  job  like  mine ! 

•Greta  Nissen  had  posed  for  me  in  her 
dressing-room  in  a  charming  little  French 
hat  that  probably  only  she  could  wear,  but 
I've  pictured  it  be- 
cause it  is  one  of 
the  results  of 
Mme.  Agnes'  en- 
thusiasm over  the 
picture  I  wrote 
you  about  last 
month  —  remem- 
ber? The  "Croi- 
siere  Noire." 
These  hats  of 
hers,  adapted 
after  the  African 
head-dresses,  are 
having,  as  I  pre- 
dicted, a  decided 
effect  on  winter 
millinery.  Tall, 
draped,  pointed, 
and  with  a  slant- 
ing-to  ward-the- 
back  effect. 

Florence  Vidor 
has  one  of  soft 
silk  velvet  which 
she  wears  with 
heavy  crepe -back 
satin  in  three 
shades  of  green. 
The    skirt    has     a 

twisted  panel  effect,  but  the  blouse  is 
rather  loose  from  the  hips,  and  has  inter- 
esting sleeves.  Her  necklace  of  dull  silver 
links  and  monogram  is  one  of  Jane 
Regny's  ideas  and  was  brought  out  this 
summer  as  a  sports  necklace  but  is  being 
worn  with  many  afternoon  frocks  as  well. 

And  that  reminds  me,  I  skipped  Greta's 
necklace.  It  and  her  earrings  are  made  of, 
infinitesmally  tiny  coral  beads,  the  former 
in  ball  shape,  the  latter  in  linked  rings. 
And  that,  in  turn,  reminds  me  that  I  had 
heard  many  unpleasant  things  about  _  the 
Nissen  which  were  entirely  untrue,  if  I 
can  judge  by  her  sweetness  to  me.  She's 
much  shorter  than  I'd  imagined  her  to  be, 
(but  that  is  something  one  should  become 
accustomed  to  when  meeting  screen 
people)  and  seemed  incredibly  young  and 
naive.  I  couldn't  believe,  even  remember- 
ing that  her  business  is  acting,  that 
she  was  the  seductive  serpent  of  the 
"Wanderer." 

And     Oh!     darling!      the     clothes     she 

showed  me  !     Oof  ! !     Velvets,  laces,  shoes, 

hats,  furs,  but  practically  nothing  that  just 

regular  folks  like  you  and  me  could  ever 

When  you 


have  much  use  for.  So  I  sketched  her 
hat,  and  if  I  can  get  to  it,  shall  go  over 
again  later  and  do  one  or  two  more  that 
were  really  lovely.  But  I'm  thru  telling 
you  in  advance  about  what  to  look  for 
next  time,  remember  I  meant  to  shop  with 
Alice  Joyce? 

I'd  forgotten  that  this  is  Christmas 
shopping  month  and  was  so  busy  trying  to 
get  some  really  inexpensive  things  for  the 
shopping  service  that  there  was  only  a 
hurried  trip  to  see  what  she'd  bought — 
and  I'm  showing  you  a  furred  top-coat  of 
hand-woven  cocoa  tweed,  that  would  be  a 
very  good-looking  thing  for  any  girl  01 
average  height.  Short  or  plump  girls  be- 
ware. The  hips  are  tight,  the  strapped 
cuffs  unusual,  and  the  fur  is  a  lighter 
cocoa  tone  in  caracul. 

Her  hat's  of  rose-beige  silk  felt,  and 
her  necklace  of  flexible  golden  bands. 

Many  of  the  things  she  had  bought 
were  of  the  materials  I  told  you  about 
last  month.  However,  now  things  are 
more  definitely  settled  and  I  can  say  with 
more  assurance  that,  as  I  told  you  before, 
capes  and  dolmans  are  important  in  both 
dresses  and  coats.  Capes  on  dresses  arc 
short,  on  coats  too, 
but  for  evening 
the  regular  long 
circular  cape  has 
appeared  again. 
Wraps  in  shawl 
form  are  made  of 
anything  from 
moleskin  to  velvet 
brocade,  and  the 
beautiful  fabrics 
created  in  Paris 
this  year  are  love- 
lier than  ever.  The 
lames  in  metal 
are  in  diagonal 
weaves,  "herring- 
bone" etc.,  won- 
derful for  evening- 
wraps — but  the 
velvets  are  run- 
ning  a  close 
second. 

All  materials 
this  year  are  ex- 
ceedingly flexible 
and  supple,  even 
the    furs. 

Broadtail,     in 
gray,   beige,   black, 
is  used  much  for   straight  coats,  dolmans, 
and  short  jackets. 

For  day  wear  moire  (evening,  too) 
with  odd  designs  in  place  of  the  old 
watered  pattern,  satin — flat — and  canton 
crepes  are  all  very  important.  Velvet  very 
popular  but  more  formal. 

Of  the  woolens,  more  kashas  than  ever, 
jersey  for  sports  wear,  wool  crepe  and 
printed  flannels  in  tweed  effects. 

Colors  are  soft  browns,  rose-beige, 
wine  reds,  and  greens  in  the  silvery  tones 
or  dark. 

Yes,  Patsy,  by  all  means  get  your  dance 
frock  of  tiered  panels,  it's  not  only  smart 
but  suits  your  youth. 

The  shopping  for  gifts  resulted  in  sev- 
eral real  bargains.     To  be  systematic: 

No.  1  is  the  very  convenient  "Deauville 
portfolio"  in  book  form,  of  a  heavy  rag 
paper  in  blonde,  gray  or-  white  with  a 
woven  design  metal  envelope  lining.  $1.25 
for  24  envelopes  and  34  sheets  of  paper. 

No.  2.   Is  a  Waterman  fountain  pen,  lady's 

size,    mottled    in    black    and    henna-brown 

$3.50.       (Please    order    pens    by    number). 

(Continued  on  page  106) 

write  to  advertisers  please  mention  MOTION  PICTURE 


Shopping  Service 

Anyone  wishing  to  take  advantage 
of  Grace  Corson's  expert  shopping 
service  in  connection  with  the  arti- 
cles mentioned  on  page  34,  may  ad- 
dress Miss  Corson,  care  of  Shopping 
Service,  Motion  Picture  Magazine, 
175  Duffield  Street,  Brooklyn,  New 
York. 

Send  either  a  check  or  money 
order,  payable  to  Motion  Picture 
Magazine,  for  exact  amount  of  the 
desired  purchase.  ...  Be  sure  to 
give  color,  size  and  other  additional 
details  .  .  .  and  do  not  fail  to  write 
your  name  and  address  plainly  and 
in  full. 


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No  wonder  this  is 
the  favorite  luxury 

of  gentlewomen 

When  a  prominent  magazine  re 
cently  asked  a  number  of  well' 
known  women  to  name  their  favor' 
ite  luxury,  a  great  majority  an' 
swered  it  was  the  perfumed  bath 
of  softened  water. 

To  bathe  amid  the  sweet  fra' 
grance  of  a  flower  garden,  in  water 
so  soft  and  limpid  that  it  tells  you 
by  its  very  feel  how  good  it  is  for 
your  skin — to  step  from  your  tub 
with  an  almost  imperceptible  per' 
fume  clinging  to  you — what  lux' 
ury  could  vie  with  this? 

And  It  Is  So  Qood 

for  the  Skin 

Nothing  helps  more  to  keep  the  skin  soft 
and  dainty  than  truly  softened  water.  Just 
sprinkle  Bathasweet  into  your  tub  and 
wash  bowl  regularly  for  a  few  weeks,  and 
inevitably  you  will  notice  your  skin  take 
on  a  softer  beauty  that  is  particularly 
charming  because  it  speaks  so  clearly  of 
the  care  you  have  taken  of  your  skin. 

The  "Scentless" 

personal  fragrance 

Bathasweet  does  not  cover  up  body 
odors.  But  by  softening  the  water  it 
cleanses  the  pores  more  completely,  wash- 
ing away  every  trace  of  odor  and  leaving 
a  dainty,  almost  scentless  fragrance  that 
is  indescribably  lovely. 

And  Bathasweet  costs  so  little.  For 
over  20  years  it  has  been  one  of  the  least 
expensive  of  the  good  things  of  life.  At 
all  good  Drug  and  Department  Stores,  25c, 
50c,  $1,  and  $1.50. 


FREE 


A  can  sent  free  if  you  mail  this  coupon 
with  name  and  address  to  C.  S.  Welch 
Co.,  Dept.  ML,  New  York. 


103 

PAfl 


i 


fFOX  TROTS 
WALTZES 
CHARLESTONS 


[Many  with  /^AAO 

vocal  choruses]  /^Hi7Cp 

Z'm  Looking  at  the  I  3  m^M    — ^^^* 

World  Thru  Rose  \    ^L  FO'*> 

Colored  Glasses.  \  ~  ■  A  LL 16 

0/i,J//Ori/;yHa</Yow. 

Hello  Aloha  »^m^)       jhose  £yes% 
Baby  Face.  Some  Qne  Is  Losi„, 

How  Many  Times.  Susan. 

'Barcelona.  Cherie  I  Love  You. 

Roses  Remind  Me      I'm  Walking 

of  You.  Around  in  Circles. 

Bye  Bye  Black  Bird.  Lonesome  and  Sorry. 
That's  Why  I  Love  You.    Red,  Red  Robin. 

Here  they  are!  The  16  song  and  dance  successes  of 
the  hour!  All  New  York  is  humming,  whistling  and 
dancing  to  these  pieces.  We  offer  you— all  16  of  them 
—for  only  ?2.o8on  eight  10-inch,  double-faced  guar- 
anteed  records.  Play  them  on  any  phonograph.  Each 
record  beautifully   rendered    by   famous   orchestras. 

SendNo  Money!  J^  -p- - 

records  for  10  days  in  your  own  home.  See  how  won- 
derful they  are.  Note  clearness,  beauty  and  volumeof 
tone.  Only  give  postman  $2.98  plus  a  few  cents  deliv- 
ery charges.  If  not  entirely  pleased,  return  records 
and  we'll  refund  money  and  pay  postage  BOTH 
WAYS  without  question.  Low  price  is  possible  by 
manufacturing  in  sets  and  selling  direct  to  thousands 
of  users.    Don't  wait.    Mail  coupon  below  or  postal. 

■Co-operative  Record  Co.,  T>ept.  523 

PORT  WASHINGTON,  WIS. 
I  Send  me  on  10  days  trial,  your  16  Fox  Trots,  Songs, 
j  Charlestons  and  Waltzes  on  8  double-face,  10-inch 
1  records,  guaranteed  equal  or  better  than  any  records 
Imade.  I  will  pay  postman  only  #2.98,  plus  delivery 
I  charges  on  arrival.  However,  this  is  not  a  purchase. 
Z  If  records  don't  entirely  olease  me,  I  will  return  them 
I  within  10  days  and  you  will  refund  my  money  without 
Z  question.  Outside  ofU.  S.  send  #3.50  with  order. 

;  Name 

;  Address , 

^Gty State.. (68) 


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GUARANTEED 


GILBERT  MFG.  CO.,  IDept.  HI)  234  Fifth  aire,  N.  Y 


Advertising  Section 
Faux  Pas 

{Continued  from  pane  47) 

In  case  you  read  the  story,  Miss  Mur- 
ray's testimonial  isn't  in  it. 

""Then   there   is   the  time   the   income-tax 

export  went  out  on  a  business  call  to  the 
most  famous  woman  in  motion  pictures. 
He  got  out  a  tax  blank  and  from  sheer 
force  of  habit  inquired  politely  and  dumb- 
ly, "What  is  the  name,  please?" 


Ci'f.akixg  of  fish  reminds  me  of  a  story 
they  tell  on  Jack  Gilbert.  A  celebrated 
star  was  entertaining  at  dinner.  Jack  had 
been  invited  and  had  accepted.  The  ap- 
pointed time  arrived — but  Jack  didn't. 
They  waited  a  strained  half-hour.  No 
Jack.  No  word  from  Jack.  So  they  went 
ahead  without  him.  Thinking  he  might 
arrive  at  any  minute  his  place  was  served, 
but  at  the  end  of  the  fish  course  when  the 
butler  started  to  remove  the  plate  the 
hostess   stopped  him. 

"No,"  she  smiled  sweetly,  "just  leave  it 
there.     We  can  call  it  Mr.  Gilbert." 

Just  to  show  you  what  Jack  thinks  of 
the  story,  he  tells  it  on  himself. 

Madame  Elinor  Glyn's  experience  was 
just  the  opposite.  Instead  of  being  short 
a  guest,  she  found  herself  entertaining  an 
uninvited  member,  which  happened  like 
this  : 

Madame  had  engaged  the  dais  floor  of 
the  Cocoanut  Grove  for  a  private  party. 
The  dais  floor  is  slightly  raised  from  the 
main  floor  and  overlooks  it,  permitting  a 
hostess  to  give  a  private  party  in  a  public 
place. 

Xow  little  Bessie  Love  does  not  know 
Madame  Glyn  and  consequently  Madame 
did  not  invite  her  to  her  party.  But  she 
had  asked  a  lot  of  Bessie's  friends.  Danc- 
ing around  on  the  main  floor,  Bessie  saw 
the  private  party — and  her  friends.  The 
only  thing  she  didn't  see  was  the  hostess. 
So  Bessie  and  her  escort  with  cheery 
greetings  to  everybody  sailed  in  and 
started  dancing  on  the  dais  floor.  Madame 
is  a  little  near-sighted.  She  did  not  recog- 
nize Bessie.  All  she  realized  was  that  a 
stranger  had  drifted  in.  Breach  of  eti- 
quette !  So  she  requested  that  they  be  re- 
quested to  leave.  They  were,  by  the  head 
waiter. 

Bessie  was   flabbergasted ! 

When  they  told  Madame  it  was  little 
Bessie    Love,    Madame    was    flabbergasted. 

Just    a    little    case    of    misunderstanding. 

When  I  told  Jobyna  Ralston  that  story, 
she  told  me  a  similar  experience  of  her 
own.  Jobie  had  invited  four  people  to 
dinner. 

The  night  of  the  dinner  the  table  was 
set  for  four.  Six  arrived.  Thru 'some 
ghastly  misunderstanding  two  others  had 
thought  themselves  invited.  That  is  up  un- 
til the  time  they  saw  the  table.  Then  in 
the  deepest  embarrassment  one  of  them 
cried,  "Oh,  Jobie,  how  awful,  you  hadn't 
expected   US  !" 

"Dont  be  Silly,"  said  Jobyna.  "there  musl 
have  been  a  bad  connection  from  the 
studio  when  I  phoned  my  maid.  Any- 
way," she  breathed,  "she  cant  bear  very 
well.      It    wont    take    a    moment    to    fix    the 

places." 

The  hour  was  saved. 

But  Jobie  says  it  was  awful  while  it- 
lasted.  Six  people  staring  at  a  table  set 
for  four. 


lf\Gt 


E*velyn    Brent    was    coming    out    of    a 
beauty  parlor  on  the   Boulevard  when 

she   ran    into   a    well-known   girl    whom    she 
casually.     They  stopped  to  chat  for 

irtjs.,,„i,t  In  MOTION  PICTUEE  MAGAZINE   la  guaranteed. 


A  Sure  Way  To 

End  Dandruff 

There  is  one  sure  way  that  never  fails  to 
remove  dandruff  completely,  and  that  is 
to  dissolve  it.  Then  you  destroy  it  en- 
tirely. To  do  this,  just  apply  a,  little  Liquid 
Arvon at  night  before  retiring;  rise  enough 
to  moisten  the  scalp  and  rub  it  in  gently 
with  the  finger  tips. 

By  morning,  most,  if  not  all,  of  your 
dandruff  will  be  gone,  and  two  or  three 
more  applications  will  completely  dissolve 
and  entirely  destroy  every  single  sign  and 
trace  of  it,  no  matter  how  much  dandruff 
you  may  have. 

You  will  find,  too,  that  all  itching  of  the  scalp 
will  stop  instantly  and  your  hair  will  be  lustrous, 
glossy,  silky  and  soft,  and  look  and  feel  a  hun- 
dred times  better. 

You  can  get  Liquid  Arvon  at  any  drug  Etore, 
and  a  four  ounce  bottle  is  all  you  will  need. 
This  simple  remedy  has  never 
been  known  to  fail. 


LIOUIDARVDN 


'HAW 

'  v 
^Natives  Do>: 


show  how.  Everything 
plained  clearly. 
Play  in  Half  Hour  Easy  Lessons 

After  you  »ret  the  four      Even  if  you  don't  k: 

easy  motions  you  play      one  note  from  anotl 

harmonious  chords  with      the  52  printed 

very  little  practice.   No      and    the  clear 

previousmusicalknowl-      make    it  easy 

edye  necessary.    .  quickly.  Pay  as  you  play. 

Free  Guitar  Write  at  Once 


Fabrikoid  Case  as  i 


Seal  Grain     You'll   never   be    lonesome    with 

n  as  you  en-     tin  ...nan    Guitar. 

-everything     Write  for  Special  Offer  and  easy 

terms.  A  postcard  will  do.    ACT! 


FIRST    HAWAIIAN    CONSERVATORY    of    MUSIC,     In 
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PIMPLES 

(  leared  Up — often  in  24  hours.  To  prove 
you  can  be  rid  of  pimples,  blackheads,  acne 
eruptions  on  the  face  or  body,  barbers'  itch, 
eczema,  enlarged  pores,  oily  or  shiny  skin, 

simply   send    me   votir   name    and    addre^    today — no  cost 

no  obligation.      CLEAR-TONE  t  i :    '  I ',,1  in  over 

10(1,000  ,  a    .  used    like  toilet  u  at.  1        '-      m:,|i|  ,    in.iniral  in 

prompt  results.  You  ran  repay  the  lawn  \>\  t.llinn  your 
Friends;    if   not,    the.    loss   is    mine.      WRITE    TODAY. 

E.  S.  GIVENS,  422  Chemical  Bldg.,  Kansas  City,  Mo. 


MM 

i$XvQ$m«shir-ts 

2     Fred  Frankel,llls.,writcs:'*/rarnr<j 

^    $110  _hr\l,<;.l,     ■,ll:„y(    , nil,, ,1  Shirt.-, 
.       \    direct  to  consumer. "Yon  can,  too.  No 

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W      CARI.  TON  MILLS.  Inc.  Shirt  Mfrs. 

r     1141-ifth  Aw-.IJept.  I17B,New  York 

Advertising  Section 


a  moment  and  Evelyn  told  her  about  the 
marvelous  facial  treatment  she  had  just  en- 
joyed. "When  you  have  your  facials,  why 
dont  you  drop  in  here?"  she  suggested. 

"Oh,"  smiled  the  girl  friend,  "I  dont 
need  them." 

Evelyn  has  been  thinking  that  one  over 
ever  since. 


flrMOTION  PICTURfT 

Iny!   I    MAGAZINE       j\ 


A  certain  popular  young  man  received 
**•  an  invitation  to  a  dinner-party  that  he 
didn't  care  to  keep.  About  seven  o'clock 
he  called  his  host  in  great  grief.  '  "Old 
man,"  he  nearly  sobbed,  "I  hate  to  call  you 
at  this  late  hour  but  I've  just  found  out 
I'll  have  to  work  tonight.  You  know  how 
Jimmy  Cruze  shoots.  We'll  probably  be 
tied  up  until  morning." 

There  was  a  slight  pause  at  the  end  of 
the  phone. 

"Maybe  I'd  better  let  Jimmy  know," 
came  the  voice  over  the  wire.  "He's 
spending  the  evening  with  us." 


\7irgixia  Browne  Faire  was  shopping 
*  one  afternoon.  Dropping  into  a  little 
hat  shoppe,  she  was  terribly  amused  at  the 
anecdotes  of  a  saleswoman  who  boasted 
of  her  large  and  exclusive  motion  picture 
patronage.  In  between  stories  Virginia 
managed  to  purchase  a  hat  and  ordered  it 
to  be  sent.  Just  for  fun  she  said,  "You 
tell  me  every  one  shops  here — does  Vir- 
ginia Browne  Faire?" 

"Oh,  smiled  the  saleswoman  supercili- 
ously, "We  have  only  the  big  people,"  get- 
ting out  her  pad  and  pencil  to  take  the 
address,  "And  what  is  your  name,  dear?" 
"Faire,"  said  Virginia  throatily,  "Vir- 
ginia Browne  Faire!" 


As  I  haven't  been  at  all  backward  in 
^^  telling  stories  on  other  people,  it  is 
only  fair  that  I  tell  one  on  myself.  I  have 
a  large  and  embarrassing  repertoire  to 
select  from.  I  doubt  if  there  is  anyone 
who  faux  pas  with  more  regularity^  than 
myself,  and  while  the  following  isn't  my 
worst  blunder  it  is  one  of  my  favorites. 
It  is  so  utterly  inexcusable. 

It  was  during  the  course  of  an  interview 
with  Raymond  Griffith,  that  clever  come- 
dian and  maker  of  clever  comedies.  We 
had  been  walking  about  the  Lasky  lot  and 
with  my  customary  grace  I  tripped  over 
something  and  nearly  broke  my  neck. 

The  girl  came  up  smiling  with  the  fol- 
lowing bright   crack : 

"If  you  can  ever  use  a  little  good  com- 
edy in  one  of  your  pictures,  just  call  on 
me." 


The 

Champagne  Life 

Faith  Service  writes  of  life 
in  the  studios  with  a  knowing 
pen.  Her  characters  are  as 
good  and  as  bad  as  human  be- 
ings. And  in  this  new  short 
story  she  presents  a  drama 
that  will  hold  your  interest  to 
the  very  last  word. 

Reserve  your  copy  of  the 
January  Motion  Picture 
Magazine  at  your  neighbor- 
hood news-stand  now! 


mmxmxm 


^((VALUES  NOT  FOUND   ELSEWHERE 


SEND 


<f:K>S. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


105 
PAfi 


f 


(Ft 


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lint,  and  a  lustre  that  is  not 
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If  you  can  whistle  a  tune,  you  can 
master  the  Saxophone.  3  free  lessons 
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hour,  tunes  in  a  week.  Send  coupon  today  for 
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Lags. 


Advertising  Section 

As  Others  See  Us 

(  Continued  from  page  103) 

No.  3.  The  silver  "filigree"  is  a  beauti- 
ful gift,  also  lady's  size  and  will  fit  in  al- 
most  any   purse — $6.00. 

No.  4.  Is  a  very  smart  slave  chain  of 
soft  jade,  green  enamel  links  with  "jade" 
cabochon  stones.  These  are  good  for 
cither  day  or  evening  and  would  please  any 
girl  or  woman,  I  think.    $3.24. 

Xo.  5.  Is  a  pair  of  the  gloves  I  am 
never  without.  They  are  of  softest  suede, 
to  wrinkle  a  bit  on  wrist — in  gray  or  beige, 
$2.95. 

Xo.  6.  Aery  fine  quality  real  kid  in  a 
quantity  of  colorings — white,  with  black 
embroidery  and  trimmings,  or  black  with 
white,  light  tan  with  brown,  or  brown  with 
champagne  and  champagne  with  black. 
All   sizes,   $2.95. 

Xo.  7.  Montag's  "Dubarry  Stripes"  is 
for  more  formal  correspondence  and  is 
thinner  deep  cream  color  paper  with  a 
check-line  marking. and  gaily  colored  lin- 
ing" powdered  with  soft  gold.  Has  24  sheets 
of  paper,  24  envelopes — $1.25  per  box. 

Xo.  8.  A  clever  vanity  case  from  Terris 
of  polished  black,  with  rouge,  powder,  lip- 
stick, gold-tipped  pencil,  and  mirror,  with 
fittings  removed  it  makes  an  excellent 
cigaret  case.     $2.50. 

No.  9.  A  really  fine  purse,  for  the  price, 
of  "sheep-grain"  leather  with  jointed  top. 
Very  smart  shape,  and  comes  in  lovely 
colors.  Tan,  smart  red,  green,  black  or 
gray  with  hand-strap  on  back.  (8-)4" 
long)     $2.85. 

No.  10.  Now  this  little  "purse"  should 
get  a  great  big  hand !  For  it's  the  very- 
newest  shape  there  is,  with  a  strap  in  place 
of  the  older  "handles,"  and  is  of  shiny  fine 
"lizard-grain."  In  cocoa,  dark  brown, 
dark  green,  lip-stick  red  and  blue.  Only 
So. 00  (8y2"  long). 

No.  11.  Caron's  new  "champagne  can 
dc  bain,"  a  fragrant  toilet  water  for  the 
bath  and  looking  dangerously  like  real 
champagne.    $1.50  per  bottle  (6J/2"  tall). 

Xo.  12.  Which  is  almost  like  saving  the 
best  for  the  last.  The  dainty  mules  of  ex- 
cellent quality  brocade  in  Persian  design 
shot  with  metal,  are  from  a  most  conser- 
vative house  and  are  a  very  real  saving  at 
$4.85.  They  are  a  special  value  for 
Christmas— sizes  3  to  7— and  now,  dearest, 
having  done  my  duty  by  you  I  shall  toddle 
off   to    bed. 

My  best  to  all  and  write  scon,  do 

G. 

P.  S.  Have  a  marvelous  surprise  in 
store  for  you  soph,  but  dont  ask  me  about 
it  yet,  I'm  too  busy — sorry  to  have  so  little 
gossip  for  you  but  this  month  I  had  so 
much  else  to  do — "you  know  how  it  is" — 
love, 
G. 


More  Than  the  Gift  Itself  Counts 

Consider  the   Wrapping! 

If  we  had  one  dollar  to  spend  on  a 
gift,  we  would  spend  seventy-five  cents 
on  the  gift  itself  and  twenty-five  cents 
on  the  holiday  wrappings.  There  are 
so  many  attractive  things  you  can  do 
with  Christinas  parcels. 

What  are  yon  going  to  do  about  that 
one  Bpecial  gift  .  .  .  that  gift  you  wish 
to  have  perfect?  See  Grace  Corson's 
fashion  department  next  month.  There 
will  be  BUggeetions  galore  for  interest- 
ing and  inexpensive  gifts  .  .  .  and  an 
original  and  very  decorative  suggestion 
for  the  wrapping  of  The  Special  Gift. 
Everybody  has  one  to  send. 


Jacqueline   Logan,  lovely-eyed  m 

9/ie  Instant  ^Appeal  of 
JjoVcLf,  luring  &yes 

Dark,  gypsy  eyes  —  starry  eyes — eyes  hauntingly 
lovely — how  instantly  they  lure  when  fringed  by 
mysterious,  half-concealing  lashes!  What  thrillinglove 
messages  are  released  with  every  bewitching  glance! 

Intensify  the  fascination  in  your  own  eyes  by  darkening 
your  lashes  with  WlNX,  a  harmless  liquid  dressing  which 
makes  the  lashes  appear  thick,  heavy,  luxurious.  WlNX  dries 
instantly,  clings  smoothly,  and  neither  rubs  nor  smears.  Be- 
sides, it's  waterproof —  in  rain,  in  snow;  and  it's  harmless. 
75c,  U.  S.  and  Canada.     Black  or  brown. 

WlNXETTE,  to  outline  the  brows  after  powdering,  comes 
in  cake  form  with  a  one  row  brush  and  mirror,  50c.  Black 
or  brown. 

/  I  Mail  12c  at  once  for  a  generous  sample  ofWinx 

ROSS  CO..  242-L  West  17th  St.,  N.  Y. 


sk  This  Class  Pin  25c. 

Ǥ|^  12  or  more,  Silver  plate,  Single  pins  35c  ea.  choice  2  colors  en- 
TyKflamel,  3  letters,  date.  Sterling  Silver,  12  or  more  45c  ea.  Single 
\jT^  pins  55c. ea.  Free  Cat.  shows  Pins, Rings,Embleuis  20c  to$8ea. 

68S   Metal  Arts  Co.,  Inc.,  7715  SouthAve.,Rochester,N.Y. 


STATEMENT  OU  THE  OWNERSHIP.  MANAGE- 
MENT, CIRCULATION.  ETC.,  REQUIRED  1SY  THE 
ACT  OF  CONGRESS  OF  AUGUST  24,  1912.  of 
MOTION  PICTURE  MAGAZINE,  published  MONTHLY 
at  JAMAICA,  N.  Y.,  for  OCTOBER  1st.  192ii.  Statu 
(if  NEW  YORK,  County  of  KINGS.  Before  me,  a 
NOTARY  PUBLIC  in  and  for  the  State  and  county 
aforesaid,     personally     appeared     DUNCAN    A.     DOIilE, 


deposes  and  says  that  he  is  the  BUSINESS   MA 
of    the    MOTION    PICTURE    MAGAZINE    and    t 
following  is,   to  the  best  of  his  knowledge  and  I 

sAGER 

■at    the 
•lhf,   a 

daVpapSrti.^^ 

id   if  a 

quired  by   tin    Art   of  August  24.    11112.    embodied 

Hon  411,  Postal  Laws  and  Regulations,  printed 

!'!,  The 

innediately 

oi  total 

an at  of 

IS    and    ad 

orated    i 

nneern.     it  H. 

of  each 

Individual 

V.    P.I 

i:\YSTEH, 

V.    Y.     :' 

That  tho 

ni    othi 

■     security 

•e   of  total 

se. ■in-ill 

S  are:     (If 

any    other    person,     association,    or    eoi  poral  inn    has    any 

iImi  ■..■nrilies  Hum  as  so  stated  by  him.  r>.  Thai  the 
average  number  of  copies  of  each  issue  of  Ibis  publica- 
tion sold  or  distributed,  through  Ihe  malls  ot  other- 
wise, to  paid  subscribers  during  tho  six  months  pre- 
ceding the  date  shown  abovo  is  .  .  .  (This  information 
is  required  from  dally  publications  only.)  DUNCAN 
A.   DOIIIE.  JR.,    Business   Manager.      Sworn  to  and  suh- 

sei d    before   me   ibis   ISIh   day   of  SEPTEMBER.    192(1. 

E.  M.  HEINEMANN.  (My  commission  expires  MARCH 
30th,    1928.) 


ION   PICTURE   MAGAZINE 


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pain.  Prevent  shoe  pressure. 

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DrSchoUs 
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Free   Trial  Offer 

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Advertising  Section 
The  Editor  Gossips 

(Continued  from  pa/jc  53) 

belongs  to  another  race  of  people.  Tt  is  as 
natural  for  her  to  show  her  emotion  as  it 
is  for  others  to  hide  theirs.  Pola  is  not  a 
repressed  person.  She  is  very  much  as  she 
appears  on  the  screen,  nearer  her  screen 
personality  than  almost  anyone  we  have 
ever   met. 

Her  grief  was  intense  during  those 
tragic,  trying  days.  No  one  who  saw  her, 
ghostly  pale  and  drawn,  her  mouth  slack 
from  weeping,  and  utterly  heedless  of  her 
appearance,  even  tho  thousands  of  eyes 
watched  her  morbidly,  could  have  denied 
her  grief. 

We  do  not  believe  that  she  will  walk 
brokenly  down  to  old  age,  a  grief-stricken 
woman.  But  it  is  our  belief  that  Pola  has 
suffered  more  poignantly  and  more  in- 
tensely than  it  is  given  to  many  people  to 
suffer.  Perhaps  she  will  more  quickly 
spend  her  grief.     That,  too,  is  likely. 

But  if  it  is  her  way  to  weep  hysterically 
and  suffer  tragically  "for  a  little  while,  who 
are  we  to  say  that  her  grief  or  loss  is  less 
than  the  grief  and  loss  of  other  tempera- 
ments who  maintain  a  calm,  stoic  front  in 
public  and  hug  their  grief  secretly  to  their 
heart  for  a  longer  time  ? 

Mowadays  it  is_  altogether  fitting  and 
proper  for  reviews  of 'the  leading  sport- 
ing events  to  appear  in  a  motion  picture 
magazine.  For  what  champion  has  failed 
to  make  at  least  one  appearance  in  the 
movies. 

The  Dempsey-Tunney  fight  in  Philadel- 
phia marked  an  achievement  in  our  life. 
Estelle  Taylor  wired  us  that  Jack  Demp- 
sey  was  sending  us  tickets.  The  tickets 
came.  They  were  ringside  seats  in  the 
eleventh  row.  We  showed  them  to  our 
husband.  Now  for  seven  years  we  have 
devoted  a  good  portion  of  our  life  to  try- 
ing to  impress  this  man,  both  before  and 
after  we  married  him.  At  last  we  have 
succeeded.  Nothing  we  have  ever  done  or 
ever  expect  to  do  will  raise  us  higher  in  his 
masculine   estimation. 

We  wanted  Jack  to  win.  Quite  regard- 
less of  the  fact  that  he  sent  us  the  tickets. 
There's  something  about  Jack.  It  is  a 
wistful  quality,  difficult  to  describe.  But 
it  is  real  enough  to  have  intrigued  prac- 
tically every  hard-boiled  sport  writer. 
Despite  the  fact  that  he  has  acquired  a 
goodly  share  of  the  world's  goods  and  the 
beautiful  Estelle  Taylor  for  a  wife,  he 
reminds  us  of  the  poor  little  boy  you  see 
standing  hungrily  outside  of  a  bakeshop 
window. 

We  dont  know  Gene  Tunney.  (He 
played  in  the  movies  in  "The  Fighting- 
Marine,"  you  know.)  But  being  a  woman 
and  prejudiced  by  inconsequential  things, 
we  hold  his  wearing  that  Marine  dressing- 
gown  against  him.  We  did  not  see  what 
it  had  to  do  with  the  champion  prize-fight 
for  one  thing.  And  we  rather  resent  peo- 
ple making  patriotic  gestures  for  the  bene- 
fit of  a  gallery.  It  is  like  George  M. 
Cohan  waving  an  American  flag  and  hoping 
for  a  curtain  call.  We  would  have  liked 
Tunney  better  if  he  has  entered  the  ring, 
depending  only  upon  his  skill  and  person- 
ality for  public  approval.  His  skill  alone 
would  have  been  sufficient,  for  we  have 
nothing  but  praise  for  him  as  a  fighter. 
He  is  one  of  the  most  skilful  boxers  we 
have  ever  seen.  And  on  the  night  of 
September  twenty-third  he  was  a  better 
man  than   Dempsey. 

Championships  are  more  easily  won  than 

retained.     And  we  doubt  very  much  if  you 

can    remain    a    leader    in    any    field    unless 

you    give    your    life    to    it.      For    the    last 

(Continued  on  page  112) 


Glasses 
cMar  \ 


t==i 


cNature,s  beauty 


C/^TODAY  is  an  age  of  beauty.  The 
C£/  modern  woman  no  longer  toler- 
ates conditions  which  detract  from  her 
natural  charm.  To  enhance  her  loveli- 
ness, she  not  only  enlists  the  forces  of 
nature,  but  she  summons  to  her  ser- 
vice the  marvels  of  modern  science. 

She  has  come  to  realize  that  real  beau- 
ty lies  in  natural  eyes.  Nature  intends 
these  wondrous  windows  of  the  soul 
to  radiate  that  natural  beauty. 

Science  has  at  last  learned  the  secret 
of  natural  vision  —  has  struck  off  the 
shackles  that  dimmed  the  lustre  of 
so  many  eyes.  This  new  knowledge  of 
the  eye  is  not  only  enabling  thousands 
to  discard  their  glasses,  but  it  is  so  im- 
proving the  lustre,  the  eloquence,  of 
womankind's  most  ravishing  feature 
that  a  new  age  of  beauty  is  dawning. 

Read  what  Mrs.  Russell  Simpson,  singer  and 
actress  of  note,  and  wife  of  Russell  Simpson, 
prominent  motion  picture  star  has  to  say : 

"I  have  discarded  my  glasses  forever.  No  need 
to  say  that  the  improvement  in  my  appearance 
is  such  that  some  of  my  friends  hardly  knew 
me.  Glasses  made  me  look  years  older  than 
I  really  am."  (Signed) 

Mrs.   Russell  Simpson 

\    Dr.  Barrett's  book- 

^g«|v    let  tells   the  big 

/5f0Sp*\  story  of  this  lat- 

x\    est  triumph  of 

%^  Science.      It  is 

:•<,,- '      \    yours  for  the 

-05^  vC\-v      \    asking 


Your  name 

&  address 

is  all  that 

)      is  neces- 


A^i^ 


Trie  Barrett  Institute, 
1390  Pershing  Square  Bldg. 
Los  Angeles,  Calif. 

Please  send  me,  without  cost  or  obliga- 
tion. Dr.  Barrett's  booklet  on  Better  Eyesight. 


Name_ 


Address^ 
City_ 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


107 

PAG 


f 


Advertising  Section 


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Cuticura 

Loveliness 

A  Clear 
Healthy  Skin 

Insured   by    Every-day 
Use    of   Cuticura    Soap 


The  Spotlight  Is  Turned   on  the 
Director:   Frank  Borzage 


By 

Scoop  Conlon 


■  because  lie  became 
-five     by     directing 
but  because  be  has 
res      since !        For 


ilmad 


Tb 


Lady' 


;  anions  at 
"Humor- 
produced 
example : 


and 


NOT  on 
twent 
esque, 
better  pici 
Norma  T 
"Secrets." 

Because  bis  career  began  in  the  coal- 
mines of  Utah,  where  at  twelve  years  of 
age  he  did  a  man's  work — because  this 
child  dreamer  ran  away  to  embark  upon 
one  of  the  most  amazing  "barnstorming" 
adventures  in  stage  history.  He  started 
at  thirteen,  and  before  the  movies  rescued 
him  at  nineteen,  he  had  played  as  many 
cow-towns  and  mining-camps  as  he  had 
characters. 

Because  be  was  discov- 
ered by  the  late  Thomas 
I  I.  I  nee,  who  featured 
him  a  romantic  young 
leading  man.  Borzage 
finally  starred  and  di- 
rected himself  in  West- 
ern pictures  —  and  then 
quit  a  c  t  i  n  g  for  the 
greater  opportunities  to 
create  as  a  director. 

Because  in  private  life, 
this  brilliant,  but  excep- 
tionally modest,  unas- 
suming young  man  of 
thirty  summers  is  a 
noted  athlete.  He  wins 
golf  tournaments,  and  is 
rated  as  one  of  the  three 
great  squash  champions 
of  the   United   States. 

Son  of  a  Tyrolese  Italian,  lie  was  born 
on  a  farm  near  Salt  Lake  City,  As  a 
farmer  boy  and  coal-mine  mucker  be 
dreamed  great  dreams  as  he  slaved  at  a 
man's  work  and  a  man's  pay,  while  he 
dreamed  of  play-acting  oil  the  stage. 
When  he  finally  ran  away  he  bad  the  cour- 
age to  stick  it  out.  For  six  years  this 
bashful  but  gritty  kid  barnstormed  the  en- 
tire American  VVesI  of  desert  and  moun- 
tain towns,  look  tickets,  did  all  the  dirty 
work  back  Stage,  starved,  bummed,  worked 
;it  menial  occupations — asking  only  an  oc- 
casional chance  to  "act."  In  halls,  empty 
Storerooms,  and  shacks,  these  "troupers." 
beside  whom  the  ofie-nighl  stand  "ham" 
actor  stands  as  a  Barrymore  in  compari- 
son, played  at  anything  and  everything 
before  audiences  ranging  from  the  janitor 
and  nine  others  to  a  lop  house  of  a  hun- 
dred      deluded       s,,iils.         "lie       Who       fills 


'd    knoc 


wistful-eyed, 

rs  win 

>  cared 

cks,    i 

idiculc, 

nally 

got  the 

ng  m 

West- 

as  a  h 

te  that 

ul   of 

a   bum 

tten  d 

enizens 

Frank    Borzage 


Slapped"  had  nothing 
dreamer-son  of  Latin 
not  for  years  of  h 
"hurts,"  so  long  as  he  occasi 
chance  to  "act."  Barnstorn 
ern  mining-  and  cow-towns  \ 
would  make  the  hardened  s 
quail,  for  while  these  hard-r 
of  the  Western  country  would  be  ordinar- 
ily plumb  tickled  to  see  most  any  kind  of 
show,  the  troupes  that  Borzage  barn- 
stormed with  were  so  "ornery"  they  usually 
got  run  out  of  town.  But  the  blithe  spirit 
of  the  troubadour  in  the  kid  ever  sang  its 
gay  song,  and  he  plodded  along  unmindful 
of  the  terrible  hardships  so  long  as  he 
could  "smell"  the  stage 
and  get  his  chance  to  act. 
Despite  these  incred- 
ible handicaps,  the  seven- 
teen-year-old lad  became 
a  popular  actor  in  the 
"sticks."  He  was  con- 
sidered a  fine  character 
man.  He  played  every- 
thing from  handsome 
heroes  and  juveniles  to 
dastardly  villains  and 
doddering  old  men.  He 
was  known  as  a  "crepe- 
hair  guy."  Unapprecia- 
tive  audiences  caused  him 
to  drift  into  Los  Angeles 
to  try  the  movies.  I  le 
fell  under  the  eagle  eye 
of  that  gifted  picker  of 
future  movie  "greats," 
the  late  Thomas  H.  Incc.  He  began  by 
dying  a  score  of  times  every  day  ill  those 
(  'ivil  War  and  Western  pictures  because 
of  his  make-up  ability.  Soon  he  was  one 
of  luce's  most  promising  of  the  younger 
stars.  But,  after  starring  and  directing 
himself  in  many  two-reel  Westerns,  the 
sincere  young  Borzage  decided  to  give  up 
acting  for  directing.  About  this  time  he 
met  and  married  a  winsome  young  comedy 
star,  Rena  Roger's,  who  then  and  there 
laid  aside  her  own  career  to  put  her  pretty 
shoulders  to  her  husband's  wheel.  I  low 
well  they  pulled  together  is  best  evidenced 
in  the  fact  that  Frank  Borzage  at  thirty  is 
rated  as  one  of  the  greatest  and  really 
gifted  of  picture  directors.  Altho  he  will 
probably  always  be  known  as  "the  man 
who  made  '  I  I  umorcsquc,'  "  he  directed 
Vorma  Talmadge  in  two  of  her  finest— 
if    not     her    very     finest  -  pictures.       Frank 


108 


in    MOTION    I'll" 


MAGAZINE 


Borzage  is  delightfully  human  in  his  story- 
telling. His  quaint  "Lazybones,"  reveal- 
ing the  erstwhile  cowboy  star,  Buck  Jones, 
as  an  actor  of  ability ;  his  humorous  do- 
mestic comedies  such  as  "The  First 
Year,"  and  "Early  to  Wed,"  co-featuring 
Kathryn  Perry  and  Matt  Moore,  are  suffi- 
cient proof.  He  recently  directed  "The 
Pelican"  with  Alma  Rubens  in  a  strong 
emotional  role.  But  most  promising  of 
all  since  "Humoresque,"  is  the  selection  of 
Borzage  to  direct  "The  Seventh  Heaven." 
He  is  putting  his  heart  and  soul  into  the 
screening  of  this  beautiful  play. 

Frank  Borzage's  father  was  the  kind  of 
a  man  who,  whik  he  worked  at  the  trade 
of  stone-masonry,  raised  a  family  of  four- 
teen children,  each  one  of  whom  could  play 
almost  any  musical  instrument.  Back  in 
the  Italian  Tyrol  an  ancient  Borzage 
chiseled  heroic  figures  out  of  marble,  an- 
other painted  in  the  rich  but  forgotten  col- 
ors of  the  masters,  another  composed,  sang 
and  played  roundelays  in  honor  of  his  lady 
love — for  in  the  young  body  of  Frank 
Borzage  lurked  the  soul  of  a  great  artist, 
who  was  to  rise  in  his  early  twenties  to  a 
yearly  salary  that  would,  ransom  a  king, 
the  tribute  of  the  movie  producers  to  his 


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genius  reflected  in  the  popularity  his  pic- 
tures won   from  the  public. 

Only  a  boy  who  used  to  sneak  away  to 
his  bed  in  the  ranch-house  to  sob  his  heart 
out  (and  he  never  knew  why)  while  his 
brothers  played  their  accordions — could 
have  directed  such  a  human  epic  of  the 
Jewish  race  as  "Humoresque."  Only  a 
dreamer  of  dreams  would  have  understood 
this  story  of  a  downtrodden  race.  Human- 
ness  knows  no  race  or  creed! 

Today,  Frank  Borzage's  father  smokes 
his  pipe  in  a  fine  California  bungalow  in- 
stead of  a  barren  Utah  ranch-house,  or, 
he  watches  his  gifted  son  modeling  in 
human  clay  on  movie  sets,  instead  of  chip- 
ping away  at  stone  for  houses  and  grave- 
stones. Today,  Frank  Borzage  himself 
never  knows  when  he  gets  up  in  the  morn- 
ing which  of  his  cars  is  going  to  take  him 
to  the  studio,  or,  how  many  clubs  he  be- 
longs to,  or  exactly  how  much  money  he 
does  make — it's  that  much — and  he  doesn't 
give  any  of  these  problems  more  than  a 
passing  thought — for  Frank  Borzage  is 
still  the  dreamer  of  dreams,  modeling  in 
the  movies  what  his  ancestors  did  in 
marble,  in  paints  and  in  song. 


(^MOTION  PICTURR 

1 


News  of  the  Camera  Coasts 


(Continued  from  page  69) 


as  a  director.  It  was  at  the  time  much 
publicity  was  being  given  a  prominent  di- 
rector, who  in  his  younger  days  was  a 
taxicab  driver.  The  first  person  the  youth 
met  was  Charlie,  who  looked  like  one  of 
the  executives  of  the  studio.  The  boy  tim- 
idly inquired  of  Mr.  Murphy  if  the  studio 
was  in  dire  need  of  new  directorial  talent. 

"Whatta  ya  been  doin'?"  asked  Murphy. 

"I  have  been  graduating  from  Yale  Uni- 
versity," replied  the  youth. 

'Did  you  ever  drive  a  taxicab?" 


"No." 


"Well,"  mused  Charlie  rubbing  his  chin, 
f'You  better  go  out  and  drive  a  few  cabs. 
'All  our  directors  start  as  taxicab  drivers." 

Which  is  all  preparatory  to  saying  that 
'the  best  preliminary  course  for  stardom 
[just  now  seems  to  be  four  years  of  college 
football. 

Since  Red  Grange's  sensational  success 
in  the  moving  pictures,  producers  are  get- 
ting the  impression  that  a  field-goal  from 
the  forty-yard  line  is  a  passport  to 
stardom. 

i  The  F.  B.  O.  organization  has  signed 
James  Pierce,  who  at  one  time  was  a 
stellar  light  on  the  Indiana  eleven.  Pierce 
is  to  play  the  leading  role  in  "Tarzan  and 
the  Golden  Lion."  The  leading  role,  by 
the  way,  is  not  the  lion. 

TMary  a  month  slips  by  that  we  dont  pub- 
lish a  few  notes  on  marriages  and  di- 
vorces.    It  is  getting  so  these  items  aren't 
pews  any  more. 

I  Clara  Bow  is  engaged !  You  say  you 
have  heard  that  before,  but  this  time  it's  a 
different  boy.  The  announcement  treaked 
over  the  wires  from  Texas  that  Victor 
Fleming,  who  is  directing  "The  Rough 
Riders,"  is  to  marry  Clara,  who  is  on  loca- 
tion in  the  same  state  with  the  company 
-filming  "Wings."  Clara  has  been  engaged 
•to  Gilbert  Roland,  Donald  Keith,  and  a 
couple  of  others,  but  not  all  at  the  same 
time,  of  course.  It  looks  like  this  latest 
announcement  is  a  promise  made  on  the 
level.  "Vic"  is  one  of  the  most  regular 
fellows  that  ever  shouted  thru  a  mega- 
phone. We  extend  the  cornucopia  full  of 
good  wishes  to  them. 

Mabel  Normand  and  Lew  Cody  took  the 
Sow  at  midnight  at  Ventura,  the  Poinsetta 
T3ty,    with    two    motor-cycle    cops    as    wit- 


nesses. The  marriage  was  a  great  sur- 
prise to  everyone — even  the  County  Clerk 
of  Ventura  County  and  the  Justice  of  the 
Peace.  Both  were  routed  out  of  bed;  one 
to  provide  the  license  and  the  other  to 
provide  the  ceremony.  Two  motor-cycle 
officers  from  Beverly  Hills  escorted  the 
couple  to  Ventura,  as  Lew  explained  they 
decided  to  get  married  very  suddenly  and 
speed  counted.  Lew  gave  his  age  as 
thirty-nine  years  and  Mabel  as  twenty- 
eight  years.  Certainly,  the  marriage  ap- 
pears to  be  legal,  what  with  a  County 
Clerk,  a  Justice  of  the  Peace  and  two 
motor-cycle  cops  engaged  in  carrying  oiu 
the  ceremony. 

More  marital  news  is  that  Francis  X. 
Bushman  is  desirous  of  remarrying  Bev- 
erly Bayne,  who  was  granted  a  divorce 
from  the  actor  two  years  ago.  Bushman 
stated  that,  "While  there  is  no  truth  in  the 
report  that  we  will  remarry,  that  is  what 
I  desire.  I  have  had  no  conversations  or 
correspondence  with  the  other  party  on  the 
subject." 

We  have  no  divorce  stories  to  print. 
Domestically  speaking,  Hollywood  is  quite 
tranquil. 

Tox  Chakey  is  the  producers'  box-office 
hero.  His  name  draws  man}'  shekels 
into  the  till,  and  he  has  saved  the  day  for 
many  a  shaky  producer.  Lon  has  appeared 
before  you  sans  eyes,  sans  teeth  and  sans 
hair.  He  is  about  to  make  another  appear- 
ance sans  arms,  for  his  next  picture  will 
be  from  Tod  Browning's  story,  "Alonzo 
the  Armless." 

The  Fox  company  feels  that  it  has  dis- 
covered  the  two  best  feminine  stars  of 
the  year  in  Jaynet  Gaynor  and  Olive  Bor- 
den. These  two  new  actresses  have  given 
the  boys  in  the  head  offices  the  feeling  that 
they  are  about  to  make  a  lot  of  money. 
Because  of  this,  they  have  torn  up  the  old 
contracts  and  are  going  to  give  the  gals  a 
new  deal. 

The  rapidity  with  which  young  girls 
jump  to  stardom  with  their  name  in  the 
bright  lights  staggers  me  almost  as  much 
as  lighting  my  first  sky-rocket  did. 

I  knew  both  these  girls  "when,"  and 
that  was  only  eighteen  months  ago.  They 
are   two  distinctly  different  types,  so  it   is 


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ition   MOTION  PICTURE   MAGAZINE. 


109 


\ 


areat 

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both  Inside  and  Out 

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safe  to  speak  of  them  both  in  the  same 
breath,  there  being  no  jealousy  between 
blondes  and  brunettes  in  the  movie  world. 
I  flive  lias  the  most  temperament  of  the 
two.  She  is  of  that  fiery  Irish  stock.  I 
believe  her  ancestors  must  have  been  the 

first  of  the  Irish  to  hobnob  with  the  Span- 
ish when  the  tamale  tossers  migrated  to 
Erin  several  centuries  ago.  She  is  a  de- 
termined, strong-willed  little  Mick,  who  is 
very  apt  to  drop  the  parlor  lamp  over  your 
head  if  you  happen  to  say  that  St.  Patrick 
saw  snakes  because  there  were  no  prohi- 
bition  laws   in  those  days. 

She  is  a  staunch  supporter  of  her 
mother,  a  lovable  Irish  woman  with  a 
great  sense  of  humor.  Besides  being  Irish, 
(  Uive  is  also  a  Virginian.  She  has  a  proud 
and  haughty  nature  which  she  turns  on  to 
the  'teenth  degree  when  some  one  attempts 
to  play  down  to  her. 

At  the  risk  of  getting  pelted  with  the 
parlor  lamp,  I  reveal  her  age,  which  is 
twenty  years.  We'll  say  no  more  until  I 
find  out  whether  the  parlor  lamp  has  been 
replaced  by  a  statue  of  the  discus  thrower. 

Without  referring  to  my  thesaurus  for 
a  better  word,  I  will  say  that  Jaynet  Gay- 
nor  is  the  antithesis  of  Olive  Borden. 
Jaynet  is  a  demure  young  girl.  A  bit  frail, 
I  thought,  until  I  saw  her  swimming  with 
a  crawl  stroke  that  made  me  wonder  why 
she  didn't  think  of  swimming  the  channel 
before  Gertrude  Ederle  turned  the  trick. 
J  asked  Jaynet  if  her  ability  as  a  swimmer 
is  what  gave  her  the  leading  role  in  "The 
Johnstown  blood."  She  said  she  didn't 
know  why  she  was  given  the  part  unless 
the  Fox  people  thought  she  took  a  good 
close-up  under  water. 


jaynet  does  hot  possess  the  self-assur- 
ance that  Olive  has.  She  is  a  bit  timid, 
and  1  am  afraid  will  get  jipped  more  on 
the  business  end  of  the  deal  than  Olive, 
who  might  buy  a  gold  brick  providing  she 
could  take  it  back  to  the  United  States 
treasurer  and  have  it  melted  and  analyzed; 
Without  fear  of  physical  violence,  I  give 
Jaynct's    age,    which    is    eighteen   years. 

These  aren't  prospective  stars  I  intro- 
duce you  to,  but  girls  who  are  sitting  on 
gold-bond  contracts.  Jaynet  is  preparing 
to  play  the  leading  role  in  F.  W.  Murnau's 
first  American  picture,  "Sunrise,"  adapted 
from  "A  Trip  to  Tilsit."  Murnau  is  the 
German  director  who  made  "The  Last 
Laugh."  Olive  is  about  to  blaze  forth  in  a 
new  production. 

I  wish  them  both  good  mileage  on  their 
movie  careers,  and  I  am  proud  I  knew 
them   "when." 

IVJuch  trouble  with  "Uncle  Tom's 
1V1   Cabin." 

The  picture  was  delayed  a  month  be- 
cause the  director  took  sick  and  all  but 
grew  wings  like  little  Eva. 

The  next  blow  came  when  it  was  learned 
that  Charles  Gilpin,  the  colored  actor, 
couldn't  play  Uncle  Tom  and  another  actor 
was  selected. 

The  final' smash  occurred  the  other  day 
to  the  orchestra.  The  boys  spent  consid- 
erable time  arranging  a  score  of  music, 
composed  of  old  negro  spirituals  and 
chants.  The  actors  couldn't  emote  to  the 
tunes  at  all,  so  Irving  Berlin's  composi- 
tions had  to  be  dragged  out  to  accompany 
little  Eva  on   her   altitude  flight. 


Love  Stories 

{Continued  from  page  22) 


110 


sense  of  humor,  and  an  effective  wardrobe. 
He  was  seen  about  a  lot,  I  remember,  with 
a  girl  who  wore  a  brilliant  red  dress.  She 
was  pretty,  peppy  and  animated.  She  and 
Irving  made  a  perfect  study  of  what  the 
Smart   Young    Set    is    doing   this    evening. 

One  day  the  company  with  which  Irving 
was  affiliated  started  casting  a  picture. 
The  picture  was  "Forever  After,"  a  stage 
success  of  Alice  Brady's,  being  produced 
by  First  National.  They  needed  a  leading 
woman  and  someone  suggested  Mary 
Astor. 

"Ha,  ha,"  said   Irving  in  effect. 

The  First  National  people  wanted  to 
know   what  was  the  matter. 

"In  the  first  place,"  said  Irving,  "I  dont 
like  her  on  the  screen  and  in  the  second 
place  I  dont  like  her  off  the  screen.  She 
is  ga-ga,  and,"  he  added,  "her  mother  is 
her  best  pal  and  most  constant  companion." 

But  they  overrode  Irving  on  the  thing 
and  one  day  Miss  Astor,  whose  mother  is 
her  best  pal  and  most  constant  companion, 
walked  into  Irving's  office.  Without  her 
mother.  Irving,  trying  to  be  nice,  said 
something  about  her  looking  particularly 
well   that   morning. 

"Oh,"  replied  Miss  Astor,  with  what 
trving  later  described  as  a  "dead  pan." 
"Oh,  I  guess  there  ari    a  lot  of  girls  who 

look    better    than    I    do    this    morning." 

Mr.  Asber  looked  over  the  top  of  his 
desk.  Was  it  possible  thai  the  supposedly 
humorless  Miss  Astor  was  kidding  him? 
lb-  decided  to  find  out.  He  said  he  hadn't 
seen    her    for    a    long    time. 

"I  guess  there  are  a  lot  of  girls  you 
haven't    seen    since    you    saw    inc." 

And  then  they  both  roared  with  laugh- 
ter. It  isn't  quite  known  whether  the 
laughter  did  it  or  not,  but  somehow  Irving's 
heart    turned   over  a  couple  of   times  and 


landed  in  his  eyes  when  he  looked  at  Mary 
again.  Before  "Forever  After"  was  fin- 
ished,   Mary  and  Irving  were  engaged. 

Never  were  two  people  more  engaged. 
They're  "engaged  forever  after."  They're 
inseparable. 

In  case  you  want  to  know,  Irving  is 
crazy  about  Mary's  mother.  Takes  her 
to  the  theater  with  them.  Gets  mad  if 
she   doesn't   go. 

Cute,  isn't  it,  this  little  heart  story  of 
the  gay  Mr.  Asher  who  liked  'em  snappy 
and  the  mouselike  Miss  Astor  who  had 
never  gone  out  with  a  man  unchaperoned. 
The  moral  of  it  is,  as  the  girl  in  red  could 
say,'  you  never  can  tell  just  what  gentle- 
men  prefer. 

That  brings  us  to  Joan  and  Michael 
Cudahy,  who  were  so  very  much  in  love 
(as  much  so  as  Jobie  and  Dick,  and  Mary 
and  Irving) — but  aren't  any  more.  I 
mean  they  aren't  in  love.  They  would 
say,  if  you  were  to  ask  either  of  them, 
that  they  were  still  good  friends.  But 
merely  friends.  I  guess  they  ought  to 
know.  But  somehow  this  seems  funny 
to  me 

Whenever  Mike  is  out  dancing  with 
someone  else,  his  eyes  always  seem  to 
wander  to  Joan. 

And  whenever  Joan  is  out  dancing  with 
someone  else,  her  eyes  always  seem  to 
wander    to    Mike. 

I '.ut  they're  merely  good  friends,  you 
understand. 

I  wonder  if  they  ever  miss  dancing  to- 
gether? They  danced  so  marvelously,  this 
Joan  who  is  a  former  chorus  girl  and  this 
Mike  who  is  a  rich  family's  son.  He 
used  to  keep  her  apartment  of  crazy  dolls 
and  soft  fights  and  brilliant  cushions, 
flooded  with  his  flowers.  A  dozen  of  his 
pictures    adorned    her    walls.      They    were 


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everywhere  together.  One  morning  we 
read :  "Heir  to  Packer's  Millions  to  Wed 
Film  Star."  No  one  was  very  much  sur- 
prised. They  had  seen  Joan  and  Mike — 
and  the  way  they  looked  at  each  other. 

And    then    something    happened. 

No  one  knows  just  what.  Mike  is  such 
a  kid,  only  nineteen  or  twenty,  some  say 
his   family  interfered. 

Others  say  it  just  sort  of  wore  itself 
out   for   both  of   them. 

But  I  cant  help  wondering  why  it  is 
that  when  Joan  is  ill  Mike  is  always  the 
first  to  hear  of  it  and  drop  around  with 
flowers?  Just  an  old  friend-  calling  for 
old   times'   sake? 

They  both  say  so. 

Sometimes  I  think  it  is  a  little  funny, 
this  love  story  of  the  awfully  rich  boy 
and  the  little  jazz  girl  from  the  New 
York  revues.  And  sometimes  I  think  it  is 
a  little  sad.     In  a  way. 

Just  about  the  time  romance  was  pealed 
out  of  Joan  and  Mike,  wedding  bells  rang 
in  for  Josef  von  Sternberg  and  a  girl 
named  Riza  Royce.  They  were  married 
very  quietly  in  a  quiet  little  town.  There 
was  no  one  present  except  themselves  and 
some  people  they  asked  to  be  witnesses. 
And  that  was  the  end  of  something  that 
began  a  long  time  ago.  Even  before  Jo 
met  Riza. 

Two  or  three  years  ago  Jo  was  very 
much  in  love  with  another  girl.  A  broody, 
sullen-eyed  girl  whose  moods  were  as  deep 
as  midnight  waters.  He  was  miserably  in 
love.  It  engulfed  him.  For  a  time  it 
almost   consumed   him. 

The  moody-eyed  girl  didn't  love  Jo. 
That  is,  she  didn't  love  him  enough.  He 
wore  himself  out  against  the  wall  of  her 
petulance,  her  whims,  her  lack  of  consider- 
ation. Out  of  that  love  he  produced  "The 
Salvation  Hunters,"  the  picture  that 
brought  him  a  sensational  and  debated 
celebrity.  It  came  from  the  misery  of  his 
heart  and  mind. 

He  made  another  picture  for  M.  G.  M. 
rather  half-heartedly  and  then  he  went  to 
Europe.  To  escape.  To  try  to  forget. 
When  he  came  back  he  had  succeeded  to 
a  certain  extent.  But  he  was  steeped  in  a 
sort  of  bitter  cynicism.  Especially  about 
Bromen.  He  said  he  could  not  afford  to 
be   hurt   so   deeply   again. 

He  hadn't  been  back  long  when  Chap- 
lin offered  him  the  direction  of  an  Edna 
Purviance   picture,   and    Jo   accepted. 

That's   where   Riza   comes   in. 

Riza  worked  in  the  picture  playing 
"bits"  whenever  they  came  up.  Between 
scenes  she  and  Jo  would  talk.  It  wasn't 
a  flirtation.  They  just  talked  for  a  long- 
time about  all  sorts  of  things,  peacefully, 
calmly.  In  a  little  while  it  was  perfectly 
clear  to  everyone,  but  Jo  and  Riza,  that 
they  were  in  love.  Jo  told  Riza  about  the 
ether  girl.  Riza  was  sorry.  From  the 
bottom  of  her  heart  she  was  sorry.  With- 
out being  exactly  conscious  of  what  she 
was  doing,  she  tried  to  make  it  up.  Tried 
to  be  gentle  where  the  other  had  been 
merciless.  And  Jo,  who  was  all  steeped 
in  cynicism  about  women,  would  reach 
for  her  hand  in  the  darkness  of  the  pro- 
jection  room. 

I  When  the  picture  was  finished,  he  put 
i|er  name  on  the  credit  titles  as  one  of  his 
assistants.  And  he  might  have  added,  "My 
wife." 

Q  Those  are  the  love  stories  I  was  going 
to  tell  you  about.  The  new  ones,  if  love 
stories  are  ever  new.  It  may  be  true  that 
"the  same  old  story"  can  never  be  really 
novel,  but  it  does  have  its  variations.  Some 
are  comedies.  Some  dramas.  Others  mys- 
teries. But  all  laughed,  and  wept  and 
thrilled  over.  As  love  stories  should 
ever  be. 


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The  Editor  Gossips 

{Continued  from  page  107) 


few  years  Jack  Dempsey  appears  to  have 
been  more  interested  in  the  price  of  or- 
chids out  of  season  .  .  .  and  over  the 
shade  of  upholstery  to  he  used  in  Estelle's 
Rolls-Royce  than  he  has  been  in  trainers 
and  boxing  and  rubbers  down.  Maybe  that 
lias  something  to  do  with  it.  Success  is  a 
hard  taskmaster,  demanding  constant  and 
ceaseless   application. 

However,  jack  was  a  game  fighter.  He 
was  the  aggressor  every  time.  It  made 
us  furious  to  see  him  employ  this  tactic 
because  he  was  playing  Tunney's  game. 
Tunney  is  the  boxer.  Jack  is  the  lam- 
baster.  If  we  had  been  Jack,  we  wouldn't 
have  boxed  around  the  ring  with  Tunney. 
We  would  have  stood  stock-still  in  that 
ring  until  Tunney  came  after  us,  if  the 
bells  for  the  whole  ten  rounds  had  sounded. 
And  what  is  more,  we'll  bet  if  he  had  done 
this,  that  crowd  would  have  cheered  him 
to  one  man. 

Members  of  our  family  and  some  of 
our  friends  think  it  unladylike  of  us  to 
attend  prize-fights  and  get  excited  and  cry 
out  "Give  it  to  him  .  .  ."  And  when  we 
came  back  and  spoke  of  the  beauty  of  Jack 
Dempsey's  body,  these  people  were  shocked. 
Yet    these    same    people    would    go    to    the 


Metropolitan  Museum  of  Art  and  stand 
before  a  Rodin  statue  and  make  the  proper 
academic  exclamations  of  admiration.  Jack 
Dempsey's  body  is  as  symmetrical  as  the 
men  that  Rodin  so  mightily  wrought  from 
his  marble  and  when  jack  is  in  the  ring, 
weaving  at  his  opponent,  his  body  has  the 
added  beauty  of  movement. 

If  you  live  in  one  of  the  states  where 
they  permit  the  motion  pictures  of  this 
fight  to  be  shown,  go  to  see  them  by  all 
means.  You  will  see  something  as  beau- 
tiful  as  a   ballet. 

The  ringside  audience  was  generously 
scattered  with  motion  picture  celebrities. 
Private  trains  came  from  Los  Angeles 
bearing  such  favorites  as  Colleen  Moore 
and  John  McCormick,  William  Russell 
and  Helen  Ferguson,  the  Talmadges  and 
so  on  and  so  on.  If  some  enterprising 
cameraman  shot  some  scenes  of  the  audi- 
ence, it  will  look  like  an  honest-to-goodness 
all-star  production. 


That's  Out 

(Continued  from  page  59) 


entitled  to  the  distinction  of  being  the 
author  of  the  now-famous  gum-drop  story, 
"Mannequin." 

If  these  two  authors  were  only  fighting 
to  disclaim  any  responsibility  for  such 
junky  material,  one  might  understand  it; 
but  proudly  to  claim  that  "Mannequin"  is 
one  of  their  offsprings  is  too  much  for  an 
ordinary  mortal  to  fathom. 

If  this  sort  of  thing  keeps  up,  we  soon 
expect  to  hear  of  noted  Hollywood  direc- 
tors arguing  as  to  who  made  the  worst 
picture  of  the  year. 

Garbo  vs.  Negri 

C^RETA  Garbo  seems  to  be  the  young  for- 
eign  actress  who  is  going  to  accom- 
plish in  America  what  was  originally  ex- 
pected of  Pola  Negri. 

Many  still  consider  Pola  the  greatest 
actress  upon  the  screen,  but  close  analysis 
of  her  work  (luring  the  past  two  years  fails 
to  reveal  any  justification  for  such  an  as- 
sumption. 

Anyway,  as  fine  an  actress  as  Pola 
Negri  was.  or  is,  Greta  seems  .to  have 
more  varied  talents.  In  addition,  Greta 
has  a  personality  that  should  make  her  one 
of  the  greatest  favorites  on  the  American 
screen. 

While  Pola  is  apparently  not  the  type  of 
actress  who  can  maintain  wide  popularity 
on  this  side  of  the  Atlantic  over  a  con- 
siderable length  of  time.  " 

Famous  Last  Words 

""The    Director    to    the    Producer:     "This 
picture  may  not  make  money,  but  it  will 
be  an  artistic  success." 

The  Actor  or  the  Story  ? 

A  DISCUSSION  is  raging  out  in  Hollywood 
i*'  as  to  what  is  the  most  important  fac- 
tor in  the  success  of  a  photoplay,  the  actors 

nr  the  stories.      \o  one  seems  to  agree. 


It  was  recently  decided  to  put  the  ques- 
tion to  a  neutral  party.  A  cameraman  was 
selected,  and  the  question  was  put  to  him. 

Without  any  hesitation,  his  answer 
came :  "What's  the  most  important  factor 
— the  actor  or  the  story  ?  Why,  that's 
easy.     The  photography !" 

American  Efficiency 

""They  do  funny  things  in  the  studios. 

One  of  the  big  Hollywood  producing 
organizations  decided  to  make  a  story  of 
Paris.  They  assigned  the  job  of  writing 
the  scenario  to  over  twelve  different  sce- 
narists, and  still  they  failed  to  get  a  satis- 
factory script. 

For  months  the  work  went  on  and  no 
results  were  obtained. 

All  during  this  time  there  was  a  French- 
man on  the  scenarist  staff's  pay-roll  draw- 
ing a  weekly  salary.  He  had  lived  in 
Paris  practically  all  of  his  life. 

One  day  he  timidly  suggested  to  the  pro- 
ducing organization  that  they  allow  him  to 
try  his  hand  at  writing  the  Paris  story. 

"No,"  said  the  production  manager,  "you 
wouldn't  get  the  American  angle  on  it. 
Anyway,  we  have  another  story  for  you  to 
begin  work  on." 

It  was  a  rip-roaring  Western  laid  in  a 
locality  the  Frenchman  had  never  even 
visited. 

Dont  Be  Silly! 

(~")m  of  the  big  film  magnates  has  in- 
W  structed  his  directors  to  keep  a  sharp 
lookout  for  screen  discoveries  while  they 
are  making  their  pictures. 

Might  as  well  ask  truck  drivers  on  coal 
wagons  to  keep  a  sharp  lookout  for  coal 
mines,  while  journeying  back  and  forth 
delivering  their  loads. 

From  all  that  we  can  see,  most  directors 
cannot  even  keep  their  eye  on  the  thread  of 
the  story,  much  less  display  the  ability  to 
discover  new  screen  personalities. 


112 

GS. 


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Advertising  Section 

Poverty  Row 

(Continued  from  page  27) 

and  file  of  good  actors  who  are  not  stars 
of  the  first  magnitude,  who  must  work  to 
live,  and  who  find  work  increasingly  hard 
to  find — or,  who  just  happen  to  be  in  one 
of  those  frightening,  dull  periods  between 
good  "breaks." 

Herbert  Rawlinson,  whose  dimples  and 
curls  once  made  him  a  popular  matinee 
idol,  still  has  the  dimples  and  curls,  but  he 
has  to  offer  them  in  a  cheaper  market, 
these  days — a  lower  rung  of  the  ladder.  In 
the  heyday  of  his  popularity,  he  bought  ten 
thousand  fans  photographs  every  year. 
The   other   day   he   bought   a   hundred. 

Francis  X.  Bushman  went  all  the  way. 
down,  and  now  he  is  climbing  up  again. 
Henry  B.  Walthall  is  doing  the  same 
thing,  but  Maurice  Costell'o  seems  unable 
to  climb  back.  He  does  bits,  now  and 
then,  but  the  role  he  plays  oftenest  is  just 
"father    to    the    Costello    girls." 

A  few  years  ago,  Clara  Kimball  Young 
starred  in  "Enter  Madame."  Louise  Dresser 
played  a  very  minor  part  in  the  same  pic- 
ture. Today,  Louise  Dresser  is  at  the  top 
of  the  ladder,  and  Clara  is  not  even  in  the 
game.  That  seems  a  particularly  strange 
twist  of  Fate,  for  all  the  advantages  would 
seem  to  be  on  Clara's  side — youth,  beauty, 
popularity — but  even  these  could  not  hold 
her  when   she  began   to   slip. 

Once  in  the  good  old  days,  Lois  Weber 
and  Phillips  Smalley  were  the  famous 
lovers  of  the  screen — Phillips  began  to 
drop  clown.  Lois  stayed  near  the  top,  as 
actress,  then  as  director,  but  the  surge  of 
competition  pushed  her  down — down  and 
out.  Trouble,  bad  luck,  false  friends,  all 
had  their  part  in  her  fall,  but  Lois  Weber 
has  grit — grit  and  genius,  and  no  combina- 
tion of  circumstances  was  strong  enough 
to  keep  her  down.  She  is  back  again  now, 
near  the  very  top — our  only  woman  di- 
rector, and  Phillips  Smalley  is  playing 
a  small  part  in  her  current  production. 

Grace  Cunard,  one  of  the  early  favor- 
ites, whose  salary  was  something  that  was 
named  in  whispers,  with  an  aw-ed,  "Do 
you  believe  it  is  true?''  is  now  playing 
in  serials.  Louise  Lorraine,  who  has  long 
played  in  serials,  has  just  signed  a  contract 
to  be  featured  by  one  of  the  biggest  com- 
panies.    So  it  goes — up  and  down! 

Francis  Ford  was  once  a  producer,  a  di- 
rector, a  star — one  of  the  biggest  names 
in  the  business — today  he  is  in  serials  or 
what  have  you ! 

And  do  you  remember  when  Virginia 
Pearson  was  one  of  the  deadliest  vamps? 
Earrings  and  slinky  gowns  and  all  the 
rest  of  it!  But  times  and  styles  have 
changed.  The  public  no  longer  likes  the 
old  label.  Vamps  may  still  be  vamps,  but 
they  mustn't  look  like  it. 

Sometimes  it  is  age,  often  folly,  more 
often  still,  just  bad  luck,  that  forces  an 
actor  down — -pathetic,  much  of  it. 

Florence  Lawrence,  "The  Girl  with  a 
Thousand  Faces,"  who  was  probably  the 
first  woman  made  famous  by  pictures,  was 
seriously  injured  and  paralyzed  for  four 
years.  Now  she  is  trying  to  come  back,  . 
but  the  picture  business  has  marched  on 
with  a  new  generation  of  stars  in  the  van. 
She  cant  come  back  to  her  old  place — 
and  she  is  working  as  hard  as  any  beginner 
to  make  a  new  niche  for  herself,  as  a 
character  comedienne.  She  has  an  even 
chance  to  succeed,  for  she  is  a  _  good 
actress.  That  is,  she  may  succeed,  if  she 
can  force  herself  to  forget  that  she  was 
once  a  star  and  that  all  these  people  who 
have  big  names  now,  "were  once  extras 
for   me."      She   waits    for   studios   to   send 


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for    her — sometimes    they    do,    but    more 
often   they    forget. 

^  Very  recently  it  was  announced  that 
Flora  Finch  was  to  be  featured  in  a  series 
of  comedies.  She  used  to  play  with  John 
Bunny,  and  has  hardly  been  seen  for  years. 
Forrest  Stanley  and  Tom  Santschi  were 
once  names  to  conjure  with — now  find 
them  if  you  can — and  yet  they  are  still 
playing. 

Florence  Turner  is  perhaps,  one  of  the 
most  gallapt  figures  in  the  game,  just 
mention  her  name  and  any  old-timer  will 
rave  with  enthusiasm.  By  old-timer,  I 
mean  anyone  whose  memory  goes  back 
mure  than  ten  years.  They  will  tell  you 
that  Florence  Turner  is  the  finest  woman, 
the  best  actress  and  the  greatest  sport 
whose  name  was  ever  in  electrics.  She  is 
slowly  climbing  back  again,  but  the  years 
have  taken  their  toll.  Today  she  is  sup- 
porting stars  who  were  mere  children 
when  she  had  the  world  at  her   feet. 

Many  of  the  idols,  who  were  once  at  the 
top  and  are  now  seldom  seen,  such  as 
Anita  Stewart,  Enid  Bennett,  Mae  M'arsh 
and  Dorothy  Dalton,  have  merely  retired. 
They  are  not  failures.  In  most  cases,  they 
have  made  or  married  fortunes — some- 
times   both. 

Some  few  have  gone  back  to  the  stage — 
Madge  Kennedy,  Pauline  Frederick  and 
Vivian   Martin,    for  instance. 

Others  seem  to  have  dropped  completely 
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Louise  Glaum. 

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madges  and  Alice  Joyce  are  still  favorites. 
The  rising  tide  of  new  blood  will  eventu- 
ally crowd  them  out  of  popular  favor,  but 
they  will  never  be  pushed  down— they  will 
retire,  having  found  their  pot  of  gold  at 
the  end  of  the  rainbow. 

Those  myriads  who  shift  places  on  the  | 
ladder  of  Poverty  Row  are,  generally 
speaking,  the  great  middle  class — good 
troupers  with  good  names — with  alternate 
good  and  bad  luck — but  of  such  as  these, 
is   the   bulwark  of   the   industry. 


Holly  Wreaths 

What  are  you  going  to  do  to 
make  your  house  gay  this 
Christmas?  There  are  so 
many  charming  decorations 
you  can  employ,  whether  your 
house  is  large  or  small  .  .  . 
or  if  you  live  in  a  modern 
apartment.  And  curiously 
enough  the  most  effective 
decorations  are  sometimes  the 
least  expensive. 

Next  month  Stephen  Goo- 
son,  the  artistic  interior  deco- 
rator for  the  First  National 
Pictures,  will  give  you  a  dozen 
or  more  suggestions  for  holi- 
day decorations.  Dont  miss 
Mr.  Gooson's  page. 

Let  your  house  be  the  gay- 
est, most  Chrislmasy  and  artis- 
tically decorated  house  in  the 
neighborhood. 


114 


Every  advertisement  In   MOTION   PICTUBE    MAGAZINE   is   guaranteed. 


Advertising  Section 


(fl-MOTION  PICTUR[ 

11101  I    MAGAZINE       I" 


Enter  and  Exit,  Smiling 

(Continued  from  page  38) 


She  is  a  scream.  She  is  a  riot.  She  is 
a  knock-out.  In  the  short  time  she  has  been 
on  the  Coast  she  has  become  the  most 
sought-after  person  in  the  film  colony. 
All  want  her  at  their  parties.  Everybody 
"rushes"    her.      Everybody    falls    for    her. 

As  on  the  stage,  in  "Chariot's  Revue,"  so 
in  life,  it  isn't  what  Beatrice  Lille  says 
that  is  so  funny.  It's  the  way  she  says  it. 
An  unexpected  inflection  of  the  voice  will 
do  the  trick.  This  asset,  of  course,  is  lost 
so  far  as  the  screen  is  concerned.  But 
Miss  Lille's  mannerisms,  so  faithfully 
registered  by  the  camera,  should  be  quite 
enough  to  put  her  over.  Her  grave,  in- 
nocent gaze,  with  impish  mischief  lurking 
in  the  background.  Her  mocking  side- 
long glance,  head  half -turned  away,  mouth 
very  solemn.  The  grave  lowering  of  her 
'eyelashes  over  astonished  eyes.  The  quirk 
of  an  eyebrow  or  a  finger.  I'll  vow  she 
could  upset  the  House  of  Lords,  Calvin 
Coolidge,  Mussolini  at  his  fiercest  and 
John  Barrymore  in  his  most  temperamental 
mood,  any  time  she  chose. 

Hollywood  took  Beatrice  Lille  seriously. 
Oh,  Very !  Because  she  is  so  clever  every 
leading  producer  made  tests  of  her  in  the 
hope  of  determining  her  screen  possibili- 
ties. Several  decided  that  her  nOse  is  too 
long.  Stunning  young  woman  that  she  is, 
it's  true  that  she  hasn't  what  Hollywood 
considers    perfect   camera    features. 

Metro-Goldwyn-Mayer  decided  to  take  a 
risk  on  her,  however,  and  after  her  Holly- 
wood engagement  in  "Chariot's  Revue"  she 
signed  up  for  "Exit,  Smiling."  Heaven 
knows  what  they're  paying  her,  but  I'll 
wager  it's  plenty.  She  is  so  funny  that 
doubtless  she  could  make  Louis  B.  Mayer 
laugh  merrily  as  he  signed  her  up  for  a 
salary  that  would  startle  Gloria  Swanson. 

Assuredly,  Miss  Lille  does  not  take  Hol- 
lywood seriously.  With  most  improper 
joy,  the  studio  people  tell  me  that  there's 
not  a  shade  of  difference  in  her  manner  of 
treating  Mr.  Mayer  and  the  lowest  office 
boy  on  the  lot.  Certainly  she  has  no 
Respect  for  Interviewers.  All  plans  were 
laid  for  me  to  have  luncheon  with  her. 
I  arrived  at  the  hour  set.  Then  began  the 
frantic  search  for  Miss  Lille.  She  seemed 
to  have  disappeared  beyond  all  earthly  ken. 
An  hour  later  came  word  from  her  maid 
that  she  was  lying  down  and  perhaps 
would   "see  me   later." 

To  flout  an  interviewer  is  almost  fatal 
to  a  player,  regardless  of  rank.  Beatrice 
1  Lille  got  azvay  with  it  solely  because  I 
knew  she  had  been  badly  banged  up  in  the. 
motor-car  accident.  But  when  she  did 
come  on  the  set,  regarding  me  obliquely 
over  that  gosh-awful  mustache,  I  said : 
"That  girl  can  get  away  with  anything." 
Oh,  yes,  I  fell  just  like  the  rest. 

Miss  Lille  started  being  funny  at  the  age 
of  eighteen  months.  Toddling  down  the 
streets  of  Toronto,  her  birthplace,  she 
would  lift  her  tiny  skirt,  solemnly  mimick- 
ing her  mother.  As  Beatrice  grew  older, 
her  mother  realized  that  she  simply  wasn't 
like  other  youngsters,  but  she  hoped  to 
jdraw  the  child  away  from  comic  antics  and 
.teach  her  that  Life  is  Real,  Life  is  Ear- 
nest. So,  when  released  from  the  tedium 
pi  school  work,  Beatrice  was  sent  to  a 
vocal  teacher.  Also  an  elocution  teacher 
whose  duty  it  was  to  instruct  the  youngster 
to  recite  "with  gestures." 

Oh,  those  gestures !  Miss  Lille  still  re- 
tains some  of  them,  but  they  are  not  used 
in  the  manner  intended  by  her  instructor. 
Hilso,  Miss  Lille  sang  in  the  church  choir. 
She  was  quite  serious  about  it  too,  and  by 
no  means  conscious  that  the  congregation 
could  hardly  restrain  an  outburst  of  mirth, 


every  time  she  arose  solemnly  and  sang  a 
hymn.  The  minister  complained  to  the 
choirmaster.  The  choirmaster  gave  Miss 
Lille  the  gate.  She  was  deeply  hurt. 
She  wasn't  trying  to  be  funny.  She  never 
has  tried  to  be. 

In  her  early  teens  she  was  placed  in  a 
convent  at  Belleville,  Canada,  while  her 
mother  and  sister  went  abroad.  This,  in 
time,  became  a  bit  too  much  for  Beatrice. 
She  wanted  to  go  abroad  too.  and  try  her 
luck  on  the  stage  there.  She  told  her 
father  of  the  former  wish,  but  not  the 
latter,  like  the  canny  schoolgirl  she  was. 
He  gave  her  passage-money  and  away 
sailed  the  future  Lady  Peel,  Determined 
to  make  a  Name  for  herself  and  Surprise 
the    Home    Folks. 

Determined  and  solemn,  she  arrived  in 
London — one  with  the  mass  of  determined 
and  solemn  Britishers,  including  theatrical 
agents.  The  latter  could  see  no  promise 
in  her.  She  was  a  slim,  serious,  rather 
attractive  young  girl,  just  like  thousands 
of  other  young  girls  who  stormed  their 
offices.  Months  went  by,  months  that 
found  her  finally  in  a  cheap  lodging-house. 
She  had  been  turned  down  everywhere,  as 
so  many  other  serious,  earnest,  pretty  girls 
have  been.  With  the  destruction  of  all 
hope,  there  came  to  her  at  last  a  reckless- 
ness, not  unusual  in  a  case  of  this  sort. 

There  was  one  manager  left  on  the  list. 
Andre  Chariot,  a  Frenchman  who  was  at- 
tracting attention  with  his  revues  in  Lon- 
don. All  right,  she  would  see  Chariot — 
but  not  as  she  had  seen  the  others.  She 
would  be  herself  for  once.  She  threw 
away  her  solemnity  as  one  discards  a  mask 
— what  an  ill-fitting  mask  it  was  that 
Beatrice  Lille  had  worn  so  long.  Faith 
in  herself  swung  gaily  back  into  her  heart. 
Thus  Chariot  was  the  first  theatrical  man- 
ager to  see,  and  hear,  the  real  Beatrice 
Lille.  She  mocked,  and  ridiculed.  She 
sang  "with  gestures."  She  walked  out 
onto  that  stage  as  herself,  and  left  the 
theater  with  a  contract.  "And  the  next 
day  war  was  declared,"  she  says. 

There  was  hard  work  ahead.  She  knew 
nothing  of  stage  technique,  but  under  the 
astute  Chariot  she  learned  it  quickly. 

During  the  war  she  met  and  married  Sir 
Robert  Peel,  and  no  doubt  when  she  is 
on  the  Ancestral  Estate,  supervising  the 
bringing-up  of  the  five-year-old  Honorable 
Robert,  she  may  be,  as  her  position  de- 
mands, quite  a  dignified  young  woman. 
But  I'm  sure  here  to  witness  that  the  real 
Beatrice  Lille  is  the  fascinating  comedi- 
enne we  see  on  the  stage,  and  now  will' 
have  the  privilege  of  seeing  on  the  screen 
in  "Exit  Smiling." 

Who  else  would  take  a  high  dive  off  a 
Beverly  Trail,  crawl  on  hands  and  knees 
to  Jack  Gilbert's  and  announce  that  she 
had  come  to  his  party?  Who  else  would 
call  her  perfectly  nice  director,  Sam  Tay- 
lor, "Mr.  Guggenfish,"  and  keep  the  en- 
tire staff  laughing  all  day  long,  even  tho 
she  is  still  banged  up  from  the  motor  ac- 
cident. And,  I  beg  of  you,  what  other 
actress  on  the  screen,  over  whose  some- 
what imperfect  features  the  producers  are 
worrying,  would  say,  when  profile  shots 
are  being  taken,  "Get  all  of  my  nose  in 
this  scene,  boys.     Dont  forget!" 

Miss  Lille  leaves  shortly  to  appear  in  a 
Charles  Dillingham  stage  production  in 
New  York.  In  December,  tho,  she  may  be 
back  among  us  to  make  another  picture. 
We  hope  she  will.  Indeed,  we're  dis- 
cussing having  all  traffic  regulations 
changed  for  her  sake.  Is  this  too  much  to 
do  for  the  young  lady  who  makes  every 
entrance,  and  every  exit,  smiling? 


Give  Yourself 

That  Irresistible  Charm 
Which  Once  Swayed 
Empires  and 
Conquered  Kings ! 

Such  intriguing  beauty,  so  History 
tells  us,  came  from  the  use  of  a  rare, 
white  mineral  earth  found  only  on 
the  Island  of  Lemnos,  off  the  coast  of 
ancient  Greece. 

It  Worked  Like  Magic ! 

Just  a  few  applications  brought  such 
exquisite  loveliness  to  complexions 
that  it  was  pronounced  Sacred  by  the 
Priests  of  Diana  who  gave  it  the  name 
of  Diana's  Earth.  Later,  by  Royal 
Decree  it  was  reserved  exclusively  for 
women  of  noble  birth. 

PEACH    BLOOM 

Since  that  day  Diana's  Earth  was 
thought  lost  forever.  But  just  re- 
cently the  miraculous  happened !  An 
American  Mineralogist,  while  sur- 
veying near  Hot  Springs,  Ark.,  was 
astounded  to  find  another  small  de- 
posit of  this  precious  beautifier. 

Now,  at  last,  your  complexion  can 
have  that  alluring  charm  and  loveli- 
ness of  early  ages,  for  genuine  Diana's 
Earth,  now  called  PEACH  BLOOM, 
has  been  re-discovered. 

BEAUTY  GUARANTEED! 

Regardless  of  the  present  condition 
of  your  skin,  Peach  Bloom  will  restore 
quickly  the  beauty  Nature  intended 
you  should  have.  And  this  magic 
improvement  will  be  so  apparent  once 
you  have  tried  PEACH  BLOOM  that 
you  will  never  again  be  without  it. 

The  coupon  below  carries  our  Positive 
Beauty  Guarantee,  which  likewise 
applies  to  your  purchase  of  Peach 
Bloom  from  any  Drug  or  Department 
Store,  Beauty  or  Barber  Shop  in  the 
United  States. 


MAIL  THIS   COUPON  TODAY 


PEACH  BLOOM  MINERAL  CORP., 

208  N.  Wells  St.,  Dept.  60,  Chicago,  111. 

Please  send  me  postpaid  a  12-Treatment  jar 
of  PEACH  BLOOM  for  which  I  am  enclosing  SI. 
If  afler  three  treatments  my  skin  fails  to  respond 
to  the  extent  expected,  I  may  return  the  unused 
portion  and  my  SI  will  be  immediately  and 
cheerfully  refunded. 


Name  . . 
Address . 


!    City ,...,. ...«-. 'State. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


I 


1 
PAG 


Louise  Fazenda 


I  Whiten 
My  Skin 
This  Way 

Says  Famous  Star 


vised  to  try  a  wonderful 
new  discovery  to  remove 
tanandsunfreckles.  Iwas 
amazed  to  find  that  it  also 
removed  blackheads  and 
all  skin  blemishes.  If  only 
women  knew  how  easy  it 
is  to  get  rid  of  blemishes 
I  know  they  would  be  eager 
to  clear  and  whiten  their 
skins  with  Golden  Peacock 
Bleach  Creme. 

Louise  Fazenda 


TODAY  there  is  no  ex- 
cuse for  any  woman 
having  freckles,  sallow  skin 
or  blackheads!  For  now  a 
new  easy  treatment  has  been 
discovered  which  clears  and 
whitens  your  skin  almost 
overnight.  Blotches,  mud- 
diness,  redness,  roughness, 
and  all  blemishes  vanish  as  if 
by  magic.  Your  neck  takes 
on  that  fresh,  lovely  whiteness  so  necessary  with 
bobbed  hair.  Your  hands  and  arms  grow  smooth 
and  flawless.  Soon  you  have  the  charm  of  a 
crystal   clear    skin — soft,   velvety,   and   milk-white! 

MUDDY  SKIN  CLEARED  BY 
3-MINUTE  TREATMENT 

Three  minutes  before 
bedtime  smooth  this  cool 
fragrant  creme  —  Golden 
I'eacock  Bleach  Creme — 
on  your  skin.  The  very 
next  morning  look  in  your 
mirror.  Notice  how  muddi- 
and  sallowness  have 
already  started  to  give 
way  to  an  unblemished, 
pearly  whiteness.  The 
rare  beauty  the  soft, 
clear  transparency  of  a 
perfect  skin  is  yours  at 
Inst.  So  wonderful,  so 
quick  are  the  results  of 
this  new  scientific  creme 
that  we  absolutely  guarantee  it!  Get  a  jar  now — 
today— at  all  good  drug  and  department  stores. 
it  five  nights.  Then  if  you  are  not  delighted 
and  amazed   your   money   will    be  gladly   refunded. 

Golden  I'eacock  Bleach  Creme  is  now  bein 
by  millions  of  women  all  over  the  country. 
DEALERS:  Mo»t  (food  t. 
dealer*  already  carry  Golden 
at  h  Creme  —  it 
t  sellinis 
toilet  Items.  Get  an  ample 
■upp  obber    or 

»r|ii  us  for  our  special 
..IT.  r  Paris  Toilet  Co.. 
71,12  Oak  Street,  Pari  J. 
Teaneaaw. 

/golden  Peacock 
T^  VJ  ^Bleach  Greme 

fllG 

lAGE 


Advertising  Section 

The  Right  Rooms  for  Rest 

(Continued  from   page   50) 

alas,  they  require  more  room  than  the 
average  household  can  afford  them.  Any 
of  the  simple  turned  designs  in  Colonial 
Four-poster  beds  are  good.  If  you  can 
find  an  old  spool  bed  or  a  good  reproduc- 
tion, it,  too.  would  be  delightful.  I  would 
get  twin  beds  or  a  double  bed,  depending 
<m  the  occupants  and  their  preferences. 
Comfort  alone  enters  here,  not  style.  I 
would  be  sure  that  my  mattress  and 
springs  were  both  good— and  this  applies 
to  mattresses  and  springs  on  all  beds. 
Personally,  I  prefer  hair  mattresses,  but  a 
good  felt  mattress  is  excellent,  too.  J 
would  get  good  box  springs  if  I  could 
afford  them,  for  they  last  for  years. 

After  my  beds  were  selected  I  would 
select  a  chest  of  drawers.  I  would  get 
this  of  good  size  and  with  plain,  straight 
lines,  either  with  wood  knobs  or  interest- 
ing" brass  Colonial  hardware.  A  highboy, 
a  Colonial  chest  or  a  reproduction  or  one 
of  the  newer  chifforobes,  if  the  design  is 
plain  and  in  character,  is  splendid.  Get 
one  with  a  lot  of  drawer  space,  for 
there  never  seems  to  be  quite  enough  place 
for  things  in  the  average  home. 

I  would  select  a  dressing-table  next. 
The  conventional  dressing-table  with  triple 
mirrors  is  always  useful  but  you  needn't 
stick  to  this  type  unless  you  like  it.  A 
lowboy  or  a  table  with  a  mirror  hung 
above  it  is  charming.  Be  sure  that  the 
dressing-table  has  a  mirror  large  enough 
for  comfort  and  is  placed  in  a  good  light. 

For  this  room  I  would  select  two 
straight  ladder-back  chairs  or  Windsor  re- 
productions. Then  I  would  select  one  com- 
fortable chair  for  my  bedroom  as  well. 
The  trouble  with  most  bedrooms  is  that 
they  lack  comfort.  There  is  no  place  to 
sit  when  one  isn't  in  bed.  A  comfortable 
chair  with  an  inexpensive  iron  bridge  lamp 
near  it  is.  an  addition  to  a  bedroom  that  is 
almost   indispensable. 

For  carpeting  in  my  bedroom  I  would 
use  oval  rag  rugs,  a  couple  of  the  delight- 
ful hooked  rugs  that  are  luckily  in  vogue, 
or  plain  rag  carpeting.  If  you  have  a  left- 
over in  the  form  of  an  Oriental  rug  or  a 
plain  one-tone  rug,  it  could  be  used  instead. 

For  my  wall-paper  on  my  Colonial  room 
I  would  use  a  small  sprigged  paper,  a  copy 
of  a  Colonial  design,  a  creamy  paper  with 
a  satin  stripe  of  the  same  tone  or  I  would 
paint  or  calcimine  my  walls  ivory  or  pale 
Colonial  green.  For  curtains  I  would  use 
dotted  swiss,  organdie  in  white  or  one  of 
the  pastel  shades  or  printed  linen.  Your 
color  scheme  can  be  easily  worked  out  by 
a  colorful  bedspread  together  with  your 
curtains,  a  waste-basket,  a  lamp-shade  and 
bits  of  pottery  for  bright  flowers.  Re- 
member that  your  wall  color  and  the  color 
of  your  furniture  must  be  taken  into  con- 
sideration as  part  of  your  decoration 
scheme.  This  Colonial  room  with  brass 
or  silver  candlesticks,  a  quaint  print  or 
two,  bedside  tables,  lights  arranged  con- 
venient for  reading  in  bed  and  you  have 
a  room  that  cant  be  duplicated  in  America 
— or  any  place  else  that  I  know  of. 

You  will  need  more  than  one  bedropm, 
of  course,  and  there  is  nothing  more 
charming  for  a  guest-room  or  for  a  room 
to  be  used  by  a  young  woman  or  a  young 
COUple  than  one  done  in  enamel.  Enameled 
furniture,  as  you  may  have  guessed,  stands 
very  high  with  me  and  J  do  not  see  how 
I  could  dispense  with  it  in  interior  fur- 
nishings. I  would  use  it  unhesitatingly  in 
several  bedrooms  if  I  were  furnishing  a 
small  home.  For  one  of  the  bedrooms  I 
would  use  ivory  walls,  either  plain  or 
decorated  with  quaint  and  not  too  brilliant 
flowers.  For  this  room  1  would  use  parch- 
rertlaement  In  motion  PICTUEB  MAGAZINE  is  gi 


Actor  - 
Operator- 
Patron— 

In  the  movies  they  f 

\^      depend  on  Luden's      ^^/ 

. . «  The  Actor  Says  :— 

"During  the  shooting  of  a  big  picture,  while 
others  are  choking  with  dust,  I  keep  a 
Luden  Cough  Drop  in  my  mouth  and  finish 
each  day  with  a  clear  nose  and  throat." 

. . .  An  Operator  Says :— 

'  As  chief  projectionist  for  the  .  .  .  Studio,  the 
gases  of  burning  carbon  cause  constant  irri- 
tation of  my  throat.  I  find  Luden's  the  best, 
most  pleasant  way  of  relieving  my  throat." 

...  A  Patron  Says  :— 

"I  like  going  to  the  movies,  but  whenever  I 
went  into  a  crowded,  stuffy  place  I  used  to 
cough  and  choke  distressingly  because  of  a 
tickling'  in  my  throat,  so  I  always  carry  a 
box  of  Luden 's  in  my  bag.  " 

(.Original  letters  on  file) 

The  9oothing  menthol  blend 
of  Luden's  Cough  Drops  re- 
lieves irritated  throats,  coughs, 
colds  and  the  like.  In  the  yel- 
low   package— 5c— everywhere. 

LUDEN'S  MENTHOL  COUGH  DROPS 


t  Free  Watch/ 


Develops    Busts   Amazingly 
Quick  and  Easy! 

Justwhat  every  woman  has  been  wait- 
ing for  at  a  price  everyone  can  afford. 

"BEAUTIBUST" 

for  real  bust  and  neck  development. 
No  pumps,  vacuums,  extreme  exercis- 
ing. No  foolish  o,  dangerous  systems, 
lint  a  real  tried  ami  very  successful 
natural  method  that,  WILL  be  ex- 
tremely pleasi  ng  and  beneficial.  Ynn 
can't  fail  if  you  follow  the  simple  in- 
structions. Kvrry  tiling  niai  led  (sealed  1 

if// SI. 00.     Do    not  miss  this  opportunity. 
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BEAUTIBUST  CO.,  857-D,  N.  EUTAW  ST,.  BALTIMORE, MD. 


Bring  Out  the  Hidden  Beauty 


Wi 


gently,   gradu 


isorhs  muddy, 
freckled,  pimply,  faded  or  aged  surface  skin;  re- 
veals fresh.  Young,  while  beautiful  skin  beneath. 
Have  girlish  'beauty;  look  in  to  L'<|  years  younger. 
Greatest  beautilier  anil  face  re.iuvenator  known.  Any 
drug    store.    Dearborn    Supply   Co.,   Chicago,   111. 

Mercolized  Wax 


Enlarged      Nosepores,      Pim- 
ples,   Blackheads,     Red    Nose, 

Oily  Skin.  Sallow  Complexion  and  other 
miserable  local  skin  afiectiona  will  bu 
quickly  remedied  and  overcome  with 
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Applied  :,l  night.  A  W-m.  bottle  Bent  op 
r Mill  of  7r,  cents.      Addrcan    M.   Trilety 

73   W.  U.  Buildi 


OV  CAN  OIL  PAINT 


first  lesson.  OIL  FAINT  photos--portraits,  landscapes  or  art 
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WRINKLES  GONE  IN  3  DAYS 

Xflfioj  vanished 
so  quickly  ^J 
Was  astonished 
at  the  wonder- 
ful results  -~ 

By  Miss  Karsten 

For  years  I  tried  everything  to  remove  "wrinkles  which 
marred  my  beauty,  hindered  my  pleasure  in  social  life  and 
made  me  look  old  before  my  time,  but  without  results. 

One  day  a  friend  who  had  just  returned  from  abroad 
cave  me  this  wonderful  secret  discovered  in  Egypt,  which 
preserved  the  youthful  appearance  of  the  fairest  Egyptian 
Beauties.  I  tried  it — results  were  amazing — I  could  not 
believe  my  eyes.  After  a  few  applications  wrinkles  and 
worry  lines  faded  away.  In  3  days  my 
skin  became  firm  and  youthful  freshness 
was  restored. 

This  Priceless  Secret  Yours  ^~^ 

Why  look  ojd  !  Why  allow  wrinkles,  black- 
heads or  pimples  to  mar  your  appearance 
when  they  can  be  harmlessly  removed  as  if 
by  magic  ?  No  massaging  —  no  painful 
electric  treatment  — ■  no  harmful  lotions. 
Ruga  Creme  will  amaze  you  —  bring 
fcarJfc  new  youth  to  your  face.  Try  it ! 

Special  $5 offer  Mow  $fl  69 

only  one  jar  to  a  person  ,,v"      A 

Our  Laboratories  have  secured  a  limited 
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cial offer  to  introduce.  Just  pay  postman 
$1.69  to  cover  laboratory  expense  plus  a 
few  pennies  postage.  If  after  third  treat- 
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HOW  TO  OBTAIN 
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together  with  its  thick  Jip 
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mal and  thus  improve  your 
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Write  for  full  information, 
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I.  Trilety,   Dept.  165-SP,  Binghamton,  N.  Y. 


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State  of  N.Y.286  Fifth  Ave.,N.Y.  DeskM 


High  S 
in  2  Yc 


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Advertising  Section 

ment-colored  furniture  lined  in  green  and 
decorated  with  touches  of  green  and 
orange  and  for  accessories  I  would  use 
green  glass  for  candlesticks  and  lamps, 
green  chintz  for  bed  coverings  and  cur- 
tains, a  comfortable  chair  in  the  same 
green  chintz  or  with  a  covering  of  striped 
green  and  tan  silk. 

For  another  bedroom,  dull  blue-green 
enamel  would  be  delightful  as  the  furni- 
ture color.  This  room,  too,  should  have  a 
light  wall  and  accessories  may  include  pale 
yellow  curtains,  pale  yellow  bedspreads 
and  touches  of  lacquer  red. 

A  room  done  in  pale  green  is  charming, 
too.  If  your  walls  are  pale  green,  use  deep 
ivory  for  furniture  or  black  enamel  or 
maple.  A'aple  furniture  with  green  and 
touches  of  orange  make  a  bedroom  that  is 
light  and  peaceful,  too. 

Of  course,  you  must  take  into  considera- 
tion the  occupants  of  the  bedroom  when 
furnishing  it.  When  a  bedroom  is  to  be 
used  every  day,  you  had  better  use 
mahogany,  walnut  or  maple,  keeping  the 
more  delicate  enamels  for  rooms  that  are 
used  only  occasionally. 

For  the  daughter  of  the  house  the  furni- 
ture may  be  enameled  and  the  accessories 
should  be  dainty  and  simple  and  charming. 
Use  soft  hangings  of  swiss  or  silk  and 
shaded  lights  with  frivolous  shades  of 
georgette  or  silk.  The  waste-basket  may 
be  frivolous-looking,  but  it  should  be 
utilitarian,  too.  There  should  be  a  com- 
fortable chair  and  this  may  be  of  wicker 
or  overstuffed  upholstery.  A  room  like 
this  will  add  a  great  deal  to  the  happiness 
of  the  girl  who  occupies  it.  Her  belong- 
ings should  have  space  provided  for  them 
and  there  should  be  a  desk  and  a  low  long 
book-shelf  across  one  end  of  the  room. 

For  the  younger  childicn  of  the  family 
there  should  be  shelves  in  bedrooms,  too, 
and  if  possible  cupboards  so  that  they  can 
put  away  their  own  possessions.  They  will 
learn  neatness  and  will  enjoy  having  a 
place  which  is  strictly  their  own. 

If  the  boy  of  the  family  has  his  own 
room  and  it  is  a  room  to  his  liking,  he 
will  want  to  spend  a  great  deal  of  time 
in  it.  Make  his  room  good-looking.  Dont 
pile  it  full  of  odds  and  ends  that  have  no 
room  any  place  else  and  expect  the  boy 
to  be  satisfied — and  dont  make  it  so  dainty 
that  he  is  afraid  to  turn  around.  Give 
him  useful  oak  things,  a  sturdy  bed  that 
can  be  disguised  in  the  daytime  as  a  couch 
by  means  of  a  denim  or  linen  cover,  see 
that  he  has  a  strong  table  or  desk,  some 
comfortable  and  serviceable  chairs  and 
that  there  are  shelves  for  his  books  and 
for  his  tennis  and  sport  things. 

Keep  your  guest-room  impersonal.  Too 
many  guest-rooms  are  loaded  down  with 
the  personal  possessions  of  the  family.  See 
that  your  guest-room  closet  is  empty  and 
has  hangers  ready  for  the  clothes  of  your 
guest.  See  that  the  furnishings  are  simple 
and  dainty  and  uncluttered.  Remember 
that  while  they  are  with  you,  your  guests 
have  no  other  home  except  the  one  that 
you  are  offering  and  even  the  best  guests 
in  the  world  who  are  visiting  the  most 
fascinating  household  do  not  want  to  be 
with  the  family  every  minute  of  the  day. 
There  are  many  hours  when  your  guest 
wants  to  be  alone.  Have  a  comfortable 
chair  near  a  window  and  have  a  light  near 
which  the  guest  may  snap  on  for  sewing 
or  reading.  See  that  the  bed-light  is  con- 
veniently placed,  for  most  guests  like  to 
read  in  bed  and  even  if  they  do  not,  there 
is  no  fun  in  snapping  out  a  light  and  then 
trying  to  locate  a  bed  in  the  dark  in  a 
strange  room. 

A  desk  in  a  guest-room  is  not  nearly  so 
prevalent  as  it  should  be.  Nearly  every- 
one who  is  away  from  home  has  letters 
to   write   and   it's   no    fun   trying   to    write 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE 


gs,  milk,  sugar, 


FAT 


Learn  To  Draw 
This  Easy  Way 


ifTMOTION  PICTURR 

lh0i   I    MAGAZINE       \\ 


"Im  Earnings 
to*15^aDay" 

READ  this  enthusiastic  student's  let- 
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students  from  all  parts  of  the  country! 

"Although  not  a  graduate  in  ray 
course,"  writes  a  student  from  Houston, 
Texas,  "I  have  been  doing  work  for  large 
New  York  music  publishers,  and  I  am 
classed  as  one  of  the  best  title  page  artists 
of  the  time.  My  salary  at  present  runs 
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Think  of  it!  And  yet  you,  too,  can 
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Commercial  Art  field — even  though  you 
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game.  And  almost  before  you  realize  it 
you  are  actually  selling  some  of  your 
work.  Many  students  earn  while  learn- 
ing. 

The  demand  for  good  art  work  is  ever- 
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BEAUTY 

LOVE 
VITALITY 

Donald  Barton,   physical   director 

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lully   demonstrated   and  secret 

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Here    at  last  is    the   Kimple    but 

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with  .a  lot  of  people  talking  at  the  same 
time.  A  tiny  desk  painted  to  match  the 
furniture  or  picked  up  in  an  odd  shop  to 
harmonize  with  the  room  is  a  valuable  ac- 
quisition everyone  will  enjoy.  Have  some 
simple,  plain  stationery  handy  if  you  have 
no  house  stationery  and  see  that  there  are 
pens  and  pencils,  too.  Have  a  few  new 
books  and  a  few  amusing  current  maga- 
zines on  the  desk  or  on  the  occasional  table 
near  the  bed  and  I  am  sure  your  guests 
will  feel  far  more  welcome  than  if  these 
things  had  not  been  provided  for  their 
comfort.  A  low  bowl  of  flowers  or  a  little 
flowering  plant  will  help  the  guest-room, 
too. 

Your  guest-room  need  not  be  elaborate. 
Simple  furniture  in  plain  wood  finish  or 
enameled,  a  plain  rug,  gay  curtains  of 
swiss  or  organdie  in  pastel  colors  or  in 
white  and  with  or  without  flowered  over- 
drapes  will  make  a  room  that  will  show 
your  own  hospitality  and  bring  happiness 
to  the  guests  that  are  under  your  roof. 

You  must  remember  when  you  are  do- 
ing your  bedrooms  that  they  are  a  very  real 
part  of  the  home,  as  important  as  the  liv- 
ing-room or  the  dining-room,  even  tho 
frequently  neglected.  Every  bedroom  may 
have  its  own  individuality.  It  may  be 
complete,  whole,  well  rounded  and  yet,  too, 
without  any  elaborate  decorations,  it  may 
be  peaceful  and  beautiful  as  well. 

Of  course,  if  you  are  the  type  of  woman 
who  wants  elaborate  things  and  who  in- 
sists on  fussy  furniture,  you  do  not  have 
to  stick  to  plain  bedrooms.  In  fact,  if  you 
are  this  type  I  should  say,  without  any 
doubt,  that  bedrooms  are  the  place  where 
you  may  carry  out  your  ideas  of  decora- 
tions. The  average  living-room  is  ruined 
if  you  add  to  it  fussy  lamps  and  frilly 
curtains.  You  may  put  these  things  in  a 
bedroom  and  still  get  good  effects  if  you 
are  careful  of  your  selection.  If  I  wanted 
an  elaborate  bedroom,  I  would  choose 
furniture  from  the  period  of  one  of  the 
Louis'.  I  would  use  paneled  walls,  decora- 
tive mirrors,  ruffled  taffeta  drapes  and  I 
would  use  some  of  this  same  ruffled  taffeta 
on  a  glass-topped  kidney-shaped  table.  I 
would  use  a  taffeta  bedspread  and  on  it  I 
would  heap  some  small  decorative  boudoir 
pillows.  At  the  foot  of  my  bed  I  would 
have  an  enameled  chaise  longue  covered  in 
striped  taffeta  that  harmonized  with  the 
plain  taffeta  of  the  bed  and  dressing-table. 
I  would  heap  this  with  pillows  and  have  a 
real  lace  cover  to  go  with  it.  Here  I  would 
use  a  room-size  Oriental  rug  and  straight 
curtains  of  real  lace  with  overdrapes  of 
ruffled  taffeta,  tied  back  with  cords  of 
taffeta  and  silver.  On  my  dressing-table 
I  would  use  very  plain  gold  toilet  things 
intermingled  with  crystal.  The  bedroom 
would  be  correct — and  fussy — and  ex- 
pensive. 

However,  if  I  couldn't  afford  expensive 
tilings,  1  wouldn't  be  sorry.  Unless  an  ex- 
pensive bedroom  is  well  done,  it  is  not  rest- 
ful and  for  only  a  small  amount  of  the 
money  you  would  spend  to  achieve  the 
more  elaborate  result  you  could  have  a 
charming  room  and  one  that  is  in  good 
taste,  too. 

Make  your  bedrooms  simple,  restful  and 
quiet.  Keep  your  guest-rooms  impersonal 
and  let  them  breathe  the  true  hospitality 
that  you  want  them  (p  show.  Make  your 
bedrooms  individual  and  peaceful,  too,  for 
only  by  creating  a  spirit  of  happiness  and 
peace  in  your  bedrooms  can  you  create  joy 
thruout  the  home. 


Our  Christmas  Number 

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Advertising  Section 


Which   Road   Leads  to 
Happiness  ? 

(Continued  from  page  31) 

times'  when  she  considers  it  the  better  part 
of  valor  to  live  up  to  it — she  is  a  good 
business  woman.  But  thru  that  sunset 
hour  she  had  been  talking  of  things  which 
were  close  to  her  heart — she  was  being 
herself. 

"And  remember  this,"  she  said,  her  hand 
holding  mine  in  a  firm  clasp,  "happiness 
that  has  its  foundation  in  selfishness  turns 
to  dead-sea  .  fruit  quicker  than  anything 
else — say  that  for  me,  please — happiness 
that  has  its  foundation  in  selfishness  turns 
to  dead-sea  fruit  quicker  than  anything 
else." 

She  smiled,  and  the  door  closed  between 
us. 

Another  day  found  me  lunching  with 
Alec  Francis,  that  lovable  old  veteran  of 
many  pictures,  who  after  climbing  a  long 
way  thru  the  years  has  found  at  last  a  per- 
fect role.  It  is  he  who  has  been  selected 
to  play  Peter  Grimm,  the  part  made  fa- 
mous by  David  Warfield  on  the  stage  in 
"The  Return  of  Peter  Grimm."  The 
choice  seems  ideal.  It  is  always  a  difficult 
thing  to  follow  a  famous  person  in  a  fa- 
mous role,  but  even  Mr.  Warfield's  most 
ardent  admirers  are  satisfied  to  trust  Mr. 
Francis   with   the   screen   version. 

"And  how  do  you  feel  about  it,  your- 
self?" we  asked  him.  "It  makes  me  very 
happy,"  he  said  quietly — "happy  because  it 
is  a  part  that  is  most  sympathetic  to  me — 
I  am  always  interested  in  the.  psychic,  you 
know — and  happy  because  there  is  har- 
mony between  me  and  my  director — but 
the  thing  that  makes  me  happier  than  play- 
ing Peter  Grimm,  is  that  fact  that  I  was 
chosen  to  play  it,  that  people  feel  it  is 
right  for  me  to  play  it.  That  makes  me 
happy  indeed  .  .  .  but,"  he  continued 
gravely,  "if  the  chance  had  passed  me 
by  .  .  ."  "That  would  have  been  a 
tragedy !"  we  interrupted  rudely.  "No," 
he  said,  "that  is  just  the  point  I  wanted  to 
make.  It  would  not  have  been  a  tragedy. 
I  might  have  been  disappointed  momen- 
tarily, but  I  would  have  realized  that  it 
was  not  my  chance — that  it  was  not  mine 
to  play.  You  see,"  he  said,  "I  think  I  am 
something  of  a  fatalist.  In  the  last  fifteen 
years  I  have  learned  not  to  be  disap- 
pointed by  the  things  that  do  not  come  my 
way.  That  is  the  secret  of  happiness — ■ 
for  me — at  any  rate,  to  take  things  as  they 
come,  and  to  know  that  if  you  do  not  spoil 
them  by  fretting  and  worrying,  they  will 
work  out  as  they  should — for  you." 

"And  is  your  philosophy  the  greatest 
happiness   that  life  has   brought  you?" 

"Yes,  call  it  that  if  you  will — philosophy 
and  friends.  One  of  the  greatest  joys 
that  has  come  to  me  thru  the  years  has 
been  the  association  with  interesting 
minds.  One  of  the  happiest  rewards  of 
my  work  in  pictures  has  been  the  friend- 
ships it  has  made  possible." 

The  talk  drifted  to  crystal-gazing,  to 
organized  charity,  to  comedy,  to  parties, 
but  thru  it  all  ran  that  little  detached  note 
of  the  Observer.  Alec  Francis  has  not 
merely  lived — he  has  watched  life.  He 
knows  what  it  has  done  to  him  and  to 
other  people.  He  has  distilled  the  essence 
from  every  experience — and  as  Peter 
Grimm,  he  makes  even  Death  seem  the 
great  natural  tomorrow  —  the  logical 
sequence  of  today. 

Without  health  and  without  wealth,  I 
venture  to  think  that  Alec  Francis  would 
still  have  happiness — certainly  a  large 
measure    of    it,    for    his    happiness    is    a 


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Opportunity  Is  Knocking  at  Your  Door 

Miss  ITazel  Smith  drew  the  small  picture  at  the  fight 
before  studying  with  us.  The  large  drawing  she  made 
recently.  Note  the  wonderful  improvement  accom- 
plished through  our  training. 

Miss  Smith  states.  "I  have  found  the  Federal  Course 
an  excellent  'all  around  art  education'  of  very  practical 
value,  commercially.  From  a  selling  position  two  years 
ago  that  paid  sis. mi  a  week.  I  am  new  making  $0(1.00 
i0  a  week  doing  the  kind"  of  work  I  enjoy. 
In  a  day  I  often  make  more  than  I  did  in  a  week,  two 
years  ago.  The  Federal  Course  has  been  invaluable  in 
placing   me    in   this   position." 

Miss  Smith  is  one  of  many  girl  students  who  have 
found    our    art    training    a    Quick    and   pleasant    road    to 

Do  You  Like  to  Draw? 

If  you  are  one  of  the  few  so  favored  by  nature,  why  not 
make  the  most  of  your  talent?  Follow  your  natural 
bent  and  take  the  surest  road  to  independence — a 
pleasant  road — earning  money  by  doing  the  thing 
you   like. 

An  Uncrowded,   Unlimited  Field 

Publishers,  each  year,  buy  millions  of  dollars  worth  of 
illustrations  for  magazines,  newspapers,  etc  Illus- 
trating is  the  highest  type  of  art.  Women  are  well 
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Federal  Training  Gets  Results 


i, if, 


I    have    prepared    tin-    course, 
■  ally    fan.- ii.    aitists    haung    contributed    exclusi' 
lessons  and   drawings  thereto.     The  Federal  School   is   a 
highT   class    institution   giving   practical    art    Instruction 

by    mail.       It    is    nationally     known    through    the    success 
-indents,    many    of    whom    do    work    for    tin     best 
magazines     and     newspapers.       You    can     learn     at     home 
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Send  Today  for  "A  Road  to  Bigger 
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illustrated  book,   which   you   should  read   before 

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IS    and   ne   will    send   you    the   hook   free. 

C/of  Illustrating 

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quality  in  his  own  mind — it  is  the  state  of 
his  soul. 

"Ti"  you  dont  find  happiness  in  your  work, 
1  you'll   never  know   what   it   is." 
That's  Tom  Mix.     We  didn't  even  have 
.to  ask  him  any  leading  questions.     He  had 

his  sentiments  all  printed  and  framed  and 
hanging   right   beside   his    dressing-table. 

Strange  to  think  of  Tom  Mix  and  a 
dressing  -  table — an  ivory  -  tinted  dressing- 
table  covered  with  bottles  and  boxes  of  as 
many  sizes  and  shapes  as  you  would  find 
in  a  flapper's  boudoir.  His  whole  environ- 
ment was  an  interesting  study  in  contrasts. 
We  were  in  his  dressing-room  on  the  Fox 
lot,  thru  an  open  door  we  caught  a  glimpse 
of  his  gymnasium — one  of  the  reasons 
why  he  never  needs  a  double  in  his 
pictures. 

The  dressing-room  itself  is  a  bright 
cheerful  place  of  gay  cretonne , and  ivory 
paint.  Around  the  wall  are  ranged  a  dozen 
or  more  two-gallon  hats — quite  as  many 
pairs  of  boots.  Indeed  such  an  array  of 
Wild  Western  clothing,  guns  and  Indian 
clubs,  photographs,  saddles,  spurs  and 
what-have-you,  as  could  possibly  be 
imagined. 

And  in  the  midst  of  it  all,  Tom,  with  his 
keen  black  eyes  seeing  right  straight  thru 
the  brick  wall  of  the  argument,  discarding 
the  non-essentials  as  so  much  dust.  "The 
only  thing  that  a  fellow  has  to  do  to  be 
happy,  is  to  Be  Himself,"  he  brought  out 
triumphantly.  "The  way  folks  twist  and 
turn  and  climb  and  crawl  to  appear  to  be 
something  they  aren't — it's  sickening. 
Now  I  know  I'm  too  old  to  be  a  young 
man  and  too  young  to  be  an  old  man,  and 
I  have  the  dickens  of  a  time  finding  folks 
that  are  interesting  to  talk  to.  They're 
either  breaking'  their  necks  trying  to  be 
juveniles  or  else  they're  taking  care  of 
their  diet  and  their  figures  so  strenuously 
that  they  cant  think  of  nothing  else. 

"Look  at  all  the  Beauty  Parlors  lining 
our  streets — pitiful,  I  call  it.  What  are 
we  coming  to  when  we  cant  see  beauts-  in 
honest  old  age !  Everybody  striving  to  be 
something  different,  that's  what  makes  un- 
happiness. 

"Now  if  you're  just  yourself  and  work- 
ing at  something  that's  honest — acting 
what  you  think,  you'll  be  happy — you  cant 
help  it — that's  nature." 

Honesty,  straight-from-the-shoulder,  is 
Tom  Mix.  A  square  shooter  and  a  straight 
thinker.  With  these  qualities  he  has  made 
his    happiness — and    finds    it    good. 

Dalboxi  was  directing  a  scene  in  "The 
Masked  Woman."  Lovely  ladies  in  the 
most  exotic  costumes  stood  about  waiting 
for  the  dramatic  entrance  of  Holbrook 
Blinn.  He, descended  a  magnificent  flight 
of  stairs,  poised,  debonair  and  impressive 
— on  the  last  step,  he  tripped.  That  was 
not  written  in  the  script— nor  the  laugh 
that  followed.  "No  wonder  he  tripped," 
commented  June  Mathis,  her  blue  eyes 
twinkling.  "That  array  of  backs  and  dim- 
pled knees  is  enough  to  make  any  man 
stub  his  toe." 

The  scene  was  taken  again — without  the 
trip. 

"How  did  that  look,  dear:-"  It  was  Bal- 
bojli,  coming  up  to  Miss  Mathis.  Director 
and  Scenarist!  Husband  and  wife! 
"Beautiful,"  she  said,  "only  watch  that  girl 
with  the  gold  band  in  her  hair,  she  tried 
to  take  a  stellar  walk." 

Not  for  a  second  had  her  eyes  left  the 
scene  while  the  cameras  were  grinding. 
Not  the  slightest  detail  escaped  her.  A 
remarkable  woman.  One  of  the  names 
that  we  have  known  longest  in  pictures — 
June  Matin's,  now  supervising  her  own 
productions  and  married  to  the  interesting 
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Balboni,  who  is  rapidly  becoming  one  of 
the  most  artistic  directors. 

Ah,  thought  I,  here  is  a  woman  who  has 
lived  —  who  has  achieved  —  who  looks 
happy.  I  wonder  what  she  thinks  about  it, 
what  does  she  value  most? 

There  was  no  hesitation  before  she  an- 
swered, "Peace  and  contentment !"  And  a 
second  later.  "Peace  and  contentment  and 
love !  They  are  the  qualities  which  make 
happiness. 

"It's  a  strange  thing,"  she  continued,  "in 
a  world  full  of  eyes — eyes  that  express 
passion,  hate,  envy,  bitterness,  sensuality, 
fear,  love,  anxiety — eyes  that  are  the 
mirror  of  souls — it's  a  strange  thing  how 
seldom  we  see  eyes  that  reflect  peace ! 

"I  watch  people's  eyes  constantly.  I  am 
always  studying  them,  and  when  I  see 
peace,  I  know  I  have  found  a  happy 
person." 

"But  what  gives  peace?  Does  it  depend 
on  money,  success,  health?" 

"All  of  those  things  help,"  she  said,  "but 
peace  comes  from  within.  It  is  something 
in  the  character  of  the  individual.  If  it 
were  not,  then  all  rich  people,  all  success- 
ful and  healthy  people  would  be  happy — 
but  they  are  not,  we  know  that.  It's  just 
something  within  them  that — comes  out. 
If  they  haven't  it "  an  expressive  ges- 
ture of  her  hands,  an  inimitable  shrug, 
explained  more  than  her  words.  Happi- 
ness, according  to  June  Mathis,  is  a  per- 
sonal equation — either  you  have  the  ability 
to  find  it  or  you  have  not. 

For  herself,  it  is  produced  by  harmony 
— a  state  of  peace,  a  feeling  of  content- 
ment, pervaded  by  love. 

"W/allace  Beery  confessed,  when  cor- 
nered  and  questioned,  that  happiness, 
to  him,  meant   freedom. 

Freedom  from  financial  worry,  freedom 
from  conventions,  freedom  from  other 
people's  opinions — in  short,  freedom  to  live 
as  he  pleased,  was  happiness. 

"And  it's  a  thing  that  lots  of  picture 
stars  cant  have,"  he  said.  "Of  course,  it 
doesn't  matter  with  me.  I  can  go  where 
I  please  without  being  bothered,  but  take 
these  handsome  heroes  and  heroines,  they 
are  mobbed  if  they  appear  in  public.  Look 
at  Mary  Pickford — she  cant  wander  down 
Hollywood  Boulevard  and  poke  into  the 
shops.  She  cant  do  any  of  the  things  that 
almost  every  woman  in  the  world  can  do. 
The  public  wont  let  her.  Her  position  has 
made  her  a  prisoner. 

"But,"  he  continued,  "it  hasn't  bothered 
me  any  that  way.  The  greatest  satisfac- 
tion that  I  get  out  of  money  and  success 
is  the  power  that  it  gives  me  to  be  in- 
dependent. In  pictures  the  rewards  for 
success  are  quicker  than  in  the  average 
business  life.  A  man  can  make  his  pile 
and  enjoy  it  while  he's  young,  compara- 
tively speaking.  But  on  the  other  hand, 
pictures  have  made  a  lot  of  bums — those 
of  mediocre  ability,  who  cant  climb  up  and 
wont  get  out." 

"What- about  those  who  are  in  it  'for  the 
sake  of  art'  ?"  His  eyes  twinkled,  "Well," 
he  said,  "it's  always  been  a  question  in  my 
mind  how  many  artists  there  would  be  on 
Wednesday  morning,  if  there  weren't  any 
checks  on  Tuesday  night." 

The  fact  that  Wallace  Beery  owns  an 
island  in  the  middle  of  Silver  Lake,  and 
retires  to  it,  whenever  he  can,  between 
pictures,  to  hunt  and  fish,  is  typical  of  his 
idea  of  a  man's  complete  happiness. 

One  of  the  most  thought-provoking 
opinions  encountered  was  expressed  by 
H.  B.  Warner,  who  in  "Silence"  has 
brought  to  the  screen  one  of  the  finest 
pieces  of  acting  seen  in  many  moons. 

"Happiness,"  says  Mr.  Warner,  "is  in 
the  possession  of  the  man  or  woman  who 


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lias  a  normal  mind!  Anyone  who  can  look 
at  life  from  an  unbiased  and  impersonal 
point  of  view  has  the  foundation  for  hap- 
piness. A  normal  mind,  there  is  no  greater 
blessing." 

ETkom  the  end  of  a  dock  at  San  Pedro, 
the  Pacific  looked  every  bit  as  wide  as 
it  is,  and  bluer  than  you  can  believe.  Out 
beyond  the  breakwater,  a  sail  drifted  into 
view. 

"Our  ship's- coming  in!"  announced  the 
man  with  the  radio  receivers  clasped  to  his 
ears.  "I  can  hear  them  giving  the  orders 
— she'll  come  to  the  breakwater  under  her 
own  sail,  and  then  be  brought  in  here  by 
a  tug." 

Slowly  she  sailed  in — a  two-masted 
schooner  from  another  century !  A  pirate 
ship,  in  truth. 

"Frank  Lloyd  and  Ricardo  Cortez  and 
some  of  the  others  are  getting  off  in  the 
speed  boat,"  continued  the  radio  man, 
"they'll  land  in  a  jiffy,  but  Miss  Vidor  will 
stick  to  the  ship — she  doesn't  like  the  idea 
of  going  over  the  side  and  down  a  rope 
ladder.     It's  pretty  choppy  out  there." 

It  was  an  hour  later  before  the  huge 
sailing  vessel  was  hauled  and  tugged  into 
place  by  the  dock.  The  gang-plank  was 
thrown  across  and  Florence  Vidor  was  the 
first  to  land — a  Florence  Vidor  in  a  quaint 
old-fashioned  cape  and  hood,  with  a  wig 
of  curly  black  hair  covering  her  ultra- 
smart   "bob." 

As  she  settled  into  the  corner  of  the 
car,  her  fingers  were  already  busy  with 
the  wig.  "I  didn't  know  there  were  so 
many  hairpins  left  in  the  world,"  she  said, 
"but  I  cant  possibly  talk  about  any  kind 
of  happiness  until  I  get  this  thing  off. 
There,   at   last!"     She   flung  it   aside. 

"It's  been  such  a  perfect  day — out  there, 
at  sea.  I  feel  all  'smoothed  out'  and  not 
tired  at  all — perhaps  just  that  is  happi- 
ness. 

"But  no,"  she  continued,  after  a  few 
seconds,  the  question  deserves  a  better 
answer  than  that — to  answer  it  offhand  is 
not  treating  it  fairly.  It  really  is  a  serious 
business — that  of  being  happy." 

Darkness  had  come.  The  car  was  slip- 
ping thru  low-lying  fields  and  marshes — 
strings  of  light  in  the  distance,  the  <>nl> 
signs   of   civilization. 

"Tom  Ince  used  to  tell  me,"  she  went 
on,  "when  he  was  trying  to  break  down  my 
reluctance  to  a  screen  career,  that  I  would 
find  that  nothing  gave  me  so  much  hap- 
piness as  achievement.  Do  some  one  thing. 
Do  it  definitely.  No  it  as  well  as  you  can 
— and  the  reward  will  be  satisfying.  He 
used  to  tell  me  that,  over  and  over,  and  1 
believe  he  was  right.  I  think  achievement 
does  bring  happiness — at  any  rate,  it 
brings    immense    satisfaction. 

"And  by  achievement,  I  mean,  making  a 
success  of  your  life,  even  if  it's  a  very 
ordinary  sort  of  life.  Take  what  you 
have  and  do  something  with  it. 

"So  many  people  fritter  their  days  away 
and  whine  because  the  Big  Opportunity 
passes  them  by.  I  haven't  much  patience 
with  that  attitude  because  there  is  always 
some  opportunity  for  everybody  and  to 
make  good  in  a  little  way  is  at  least  one 
step  forward.  Thai  is  achievement,  and 
out  of  that  grows  happiness.  I  have  found 
mine   that    way " 

The  talk  wandered  on,  touching  many 
subjects,  but  the  note  of  seriousness  re- 
mained. In  fact,  Florence  Vidor's  moods 
of  whimsical  humor  and  gentle  gaiety 
always  seem  to  drift  across  her  essential 
seriousness — like  summer  clouds  across  a 
serene   sky. 

JOHN    GILBERT    was    in    his   dressing-room, 
waiting   for  a  call   to  the  "set."     There 
were   no   seconds   to  waste  on  generalities, 


"I'd  have  started   j 
ten  years  sooner 
on  a  literary 


career 


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Why  Do  Wealthy 

Men    and    Titled 

Men  So  Often  Marry 

Actresses? 


THERE  have  been  several  motion  picture 
stars  who  have  married  cither  millionaires 
or  titled  sons  of  fine  old  European  families. 
They  are  real  Cinderellas  ...  in  a  few  short 
years  they  stepped  from  poverty  and  obscurity  to 
riches  and  social  position. 


The  Champagne  Life 

Does  a  woman  love  more  than  once?  Here 
is  a  short  story  about  the  people  surrounded  with 
the  wealth  and  glamour  that  only  movie  stars 
know.  Nicole  is  a  star  .  .  .  and  there  have 
always  been  many  men  in  her  life.  Then  she 
meets   Michael   Strong   .    .    . 

Faith  Service  knows  the  people  she  writes  about. 

Who  is  the  Greatest  Lover? 

The  American  man  is  boyish  in  his  declarations 
of  undying  devotion.  The  Italian  is  fervent.  The 
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them   is   the   greatest   lover? 

Alice  Terry  admits  that  men  of  every  nation 
have  made  love  to  her.  And  she  compares  them 
in  amorous  moments  with  comments  that  are 
both  original  and  amusing. 

What  Are  You  Doing  About 
Christmas? 

The  January  "Motion  Picture  Magazine"  will 
be  rilled  with  hints  for  those  who  are  preparing 
for  the  holidays.  Stephen  Gooson  gives  several 
great  ideas  for  decorating  the  house  for  Christmas. 
And  Grace  Corson  not  only  makes  some  in- 
valuable suggestions  about  gifts,  but  describes  a 
new    and    attractive    way    to   wrap    your    packages. 

There  are  Christmas  pictures,  too.  And  two 
or  three  stories  that  will  bring  the  holiday  cheer 
to  your  heart. 

A  word  to  the  wise  is  sufficient 

Reserve   your   copy    of   the   January 
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Advertising  Section 

so  we  plunged  at  once  into  the  subject  and 
Jack  took  the  plunge  nobly. 

After  his  first  rather  startled  "My  God, 
I  dont  know !"  it  was  interesting  to  watch 
his  keen  and  very  logical  mind  grasp  the 
question  and  pursue  it  along  all  its  rami- 
fications. 

"I  dont  know  what  brings  happiness," 
he  said  slowly.  "I've  been  happy — great 
peaks  of  it!  But  only  for  a  little  while, 
then   I  was  down  in  the  valley  again. 

"Love  is  ecstasy — but  it  doesn't  last. 

"And  there's  a  great  thrill  in  doing  a 
scene  or  a  sequence  well.  To  feel  for  a 
minute  that  fire  of — whatever  it  is  that 
makes  acting  !  Inspiration  !  Instinct ! 
Something ! 

"Money  doesn't  bring  it.  Success  doesn't 
bring  it.  I  dont  know — perhaps  marriage 
— children — I    dont  know. 

"It  seems  to  me  that  life  is  just  a  series 
of  frontiers  to  cross.  There  is  no  going 
back,  and  as  you  go  on,  it  takes  something 
stronger  and  bigger  each  time  to  make 
you  happy — and  it  lasts  a  briefer  space.  .  .  . 

"I  dont  want  to  sound  like  a  cynic  or  a 
grouch.  We  all  want  happiness.  We  are 
all  looking  for  it — hoping  for  it — I  know 
that.  I  dont  scorn  it,  but  I  have  no 
philosophy  with  which  to  explain   it." 

Then,  after  a  pause,  he  went  on :  "I 
think  it  is  entirely  a  quality  of  the  heart, 
tho — not  mental,  not  spiritual — something 
your  heart's   in  tune   with. 

"It  must  be  love  for  something — perhaps 
work.  I  know  I  was  happier  longer  when 
I  really  worked  hard.  You  know  acting 
is  not  work.  If  you  can  do  it  at  all,  it's 
easy.  You  may  get  a  little  physically 
tired,  but  what's  that?  It's  true,  what  they 
say,  that  it's  quite  parasitical  to  be  an 
actor.  Not  that  I'm  not  grateful,  great 
heavens,  no!  I'm  grateful  and  I'm  humble 
and  I'm  scared  to  death !  That's  not  hap- 
piness.  .    .    . 

"This  bubble  about  my  success  has  been 
growing  and  growing,  and  there's  nothing 
to  it  yet,  really.  It  hasn't  been  proved  at 
the  box-office.  I've  only  been  in  three 
pictures  in  a  year  and  a  half.  They  hap- 
pened to  be  three  big  pictures,  but  they 
have  only  been  shown  in  a  few  large  cities 
— it's  been  the  critics  and  the  fan  maga- 
zines that  have  acclaimed  me  a  successful 
actor — not  the  people — so  you  see  there's 
nothing  to  it.  Only  one  critic  has  called 
me  a  versatile  actor ;  the  others  talk  about 
my  teeth  and  my  hair  and  my  love  scenes. 
It's  a  situation  that  frightens  me  terribly — 
and  yet  I  couldn't  turn  back — and  I  cant 
seem  to  do  anything  else.  I  used  to  write. 
I  dont  do  that  any  more.  I  plan  to  study — 
but  I  dont!  I  dont  even  read — enough. 
I'm  just  a  romantic  actor,  and  that's  not 
a  man's   job. 

"Look  at  all  the  old  actors — how  they 
strutted  and  gestured !  Acting  all  the 
time — children  playing  !  That's  acting.  I 
want  to  do  more  than  that.  It  takes  more 
than  that  to  make  me  happy,  but  I  dont 
know  what — I  dont  know  what  brings  hap- 
piness." 

"They  are  ready  for  you  on  the  set,  Mr. 
Gilbert ;  stage  twelve." 


«0iSPF 


Cinema  Cinderellas 

There  is  another  thing  about  stardom  .  .  . 
after  you  have  counted  the  fame  and  thou- 
sands of  dollars  weekly  that  it  brings. 
Time  and  time  again  movie  stars  marry  men 
with  titles  or  millions  or  both. 

The  article  which  Beatrice  Wilson  has 
contributed  to  the  January  Motion  Picture 
Magazine  tells  the  inside  stories  of  several 
of   these   cinema    Cinderellas. 


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GIRLS!   Answer  Hollywood's  Call! 

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CPM°mMSe,rE  Advertising  Section 

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\\  JY     If  y°u  want  to  know 

(f\v>  \  «    \  — How  to  make  an  impression  on  people 

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CULTURE  is  not  a  matter  terested  —  art,     music,     literature?  ge  SllTe  tO  Send    fot 

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11  i        i     r         r     ^  Culture,    in    its    final    analysis,    is       bred  people  everywhere  are  discussing. 

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\'ou— who  are  thoroughly  well-  does    it    reveal  important    secrets   ot 

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Cannot  Leak 

Not  the  tiniest  drop  of  ink  will  spill  although  one  filling  is  suffi- 
cient to  write  thousands  of  words. 

Makes  3  to  4  Carbon  Copies 

at  one  time  with  original  copy  in  ink.  Bear  down  as  hard  as 
you  like,  without  fear  of  bending,  spreading,  injuring  or  dis- 
torting its  14Kt  solid  gold  point. 

Draws  Lines  to  a  Ruler 

without  smearing,  smudging  or  blurring  the  paper.  Writes 
with  any  color  of  ink. 

Requires  No  Blotter 

The  ink  dries  as  fast  as  you  write,  because  the  flow  is  fine,  even 
and  uniform. 

Patent  Automatic  Feed 

Prevents  clogging.  No  complicated  mechanism  to  clean  or 
get  out  of  order.  A  year's  guarantee  certificate  with  full  direc- 
tions accompanies  each  Inkograph  and  is  your  absolute  pro- 
tection. 

An  Instrument  of  Refinement 

In  appearance  it  is  extremely  attractive.  Its  beautifully  highly  polished 
finest  quality  of  hard  rubber,  its  14Kt  solid  gold  point  and  feed, 
gold  band  on  safety  screw  cap,  gold  self-filling  lever  and 
gold  clip  make  it  an  instrument  of  distinctive  elegance  and  refinement. 
The  equal  in  size,  workmanship  and  material  of  any  $7,  $8  or  $9  fountain 
pen.     Also  made  in  ladies'  size. 

Illkograph   CO.,   InC,    187-61  Centre  St.,  New  York  City 

rMT  A  I  17  D  C  •  Send  for  °ur  Cat3- 

LIH,/\LilliIvO  •    log  and  Trade  Prices 


20ED 

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made     of 

quality  red 

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a  large  sti 

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INKOGRAPH 

ACCOMPLISHMENT 


That  14kt  solid  gold  ball-like  point  which  is 
hard,  round  and  smooth,  glides  with  ease 
over  the  coarsest  paper  and  makes  it  possible 
to  write  in  ink  as  rapidly  as  with  the  softest 
lead  pencil. 


ithout  in- 
vestment. Quicker  commissions,  popular  prices, 
00  competition.  Send  for  an  Inkograph  or  write 
for  special  sales  plan  booklet. 


INKOGRAPH  CO.,   Inc.        187-61  Centre  St.,  New  York  City 

Gentlemen :  You  may  send  me  your  Inkograph  Style  No 

I  will  pay  postman  $2.98  plus  postage  on  delivery. 


City 


SEND   NO 
MONEY 

Your  name  and  address  and 
the  style  number  of  the  Inko- 
graph of  your  choice  are  suffi- 
cient. Pay  the  postman  $2.98 
plus  postage  on  delivery.  Spe- 
cify if  you  want  ladies'  size. 
When  cash  accompanies  order 
Inkograph  will  be  sent  postage 
prepaid.  If  within  ten  days 
the  Inkograph  does  not  prove 
satisfactory  return  it  and  we'll 
refund  your  money. 


CASH    MERE 


B  O    U   a  U   E  T 


<r[\[ow—dL  fine   "hard-milled"   soap 

that   fairly  caresses   your   skin 


Below— 

The   lines   and    coars 
pores,    worse   tha 
birthdays   to   betray 
woman's  age. 


You've  often  watched  her  in  a 
crowd  .  .  .  the  girl  with  the  won' 
detful  complexion.  Eyes  follow 
wherever  she  goes,  admiring — 
wistful — a  trifle  envious,  for  what 
girl  does  not  long  for  a  skin  with 
rose'petal  tints  and  texture? 
Everybody  admires  a  lovely  com' 
plexion.  Beauty  inspires  the 
kneeling  courtier  .  .  .  leads  on 
to  romance,  love  and  happiness. 


A  Book  of  Beauty  Secrets 
This  unusual  booklet  has  been 
endorsed  by  an  authority  on 
Every  statement  is 
approved  by  an  eminent  skin 
specialist  Send  for  your  copy 
and  a  trial  cake  of  Cashmere 
Bouquet  Soap.  Fill  out  the 
coupon. 


COLGATE  6?  CO    n 

Name 

Addrcti 


^  ■■■■  A9 


ten 


ures 


Suit 


Advice  of  Skin  Specialists 

If  you  go  to  a  reputable  dermatologist — a 
physician  who  \nows  all  about  s\in  and 
treatments  for  it — he  will  be  sure  to  tell 
you  that  water  and  the  right  soap  should 
be  used  every  day  to  \eep  your  s\in  youth' 
fully  fresh  and  smooth. 

But  be  sure  you  use  the  right  soap — one 
that  is  firm,  not  squdgy;  one  that  clean' 
ses  the  pores  but  does  not  clog  them. 

Choose  Cashmere  Bouquet  as  the  soap 
for  your  face,  your  hands  and  the  delicate 
skin  of  your  neck  and  shoulders.  Cash- 
mere Bouquet  is  "hard-milled",  which 
means  that  each  cake  is  put 
through  special  processes 
which  make  it  firm  and  hard 
-—not  the  least  bit  squdgy. 
Its  lather  is  all 
lather. Thereisno 
undissolved  soap 
to  crowd  into 
pores,  stay  there 
and  cause  en- 
larged pores  and 
then -blemishes. 

The  peculiarly  entranc- 
ing fragrance  of  Cash- 
mere Bouquet  is  obtain- 
able also  in  Colgate's 
Talc,  Face  Powder, 
Perfume,  Toilet  Water, 
Sachet,  Bandoline  and 
Brillantine. 


coarse  pores. 


An    Indescribable  Fragrance 

Among  the  delights  of  using  Cashmere 
Bouquet  is  its  lasting,  dainty  fragrance, 
the  result  of  essences  that  have  been 
a  Colgate  secret  for  generations.  It 
is  this  fragrance  which  prompts  so 
many  to  lay  a  cake  of  Cashmere  Bou- 
quet among  their  choicest  silks  and 
other  fabric  treasures. 

But  let's  get  back  to  the  subject  of 
Cashmere  Bouquet  and  your  skin. 

Try  This  Treatment — 

Watch  Results 

Wet  the  face  with  warm  water.  Work  up  a 
thick  Cashmere  Bouquet  lather.  Massage 
this  into  the  skin  with  the  fingertips  until  the 
skin  feels  refreshed  and  alive.  Rinse  in  warm 
water.  Then  a  dash  of  cold.  Pat  the  face  dry 
with  a  soft  towel.  If  the  skin  is  inclined  to  be 
dry,  rub  in  a  little  Colgate's  Charmis  Cold 
Cream. 


ItiE  CHAMPAGNE  LIFE:  A  Modern  Love  Story 


— a  gift  within  a  gift — a  pair 
of  Kum-a-part  Kuff  Buttons 
in  hand  decorated,  antique 
gold  chest   with   modeled 
cover  beautifully  colored.  A 
smart,  decorative  container. 

ti 

Gift  complete  as  illustrated 

-«*  ■ 

■i 

L      1 

t 

fk 

m. 

ml 

T/F 


d?U)0  dnfts 

in  (Dne^e 


-  a  pair  ot  Kum  a-parts  for  his  cuffs 
-the  hand  decorated  chest  for  his  cigarettes 


See  this  handsome  Kum-a-part 
Gift  of  double  delight  at  Jewelers' 
and  the  better  Men's  Shops — $5 
complete. 

The  most  popular  cuff  button  in 
the  world  in  a  presentation  pack' 
age  worthy  of  the  jewelry  it 
holds.  Every  man  knows  and 
acclaims  the  Kum-a-part  with  its 
click-open,  snap-shut  action — the 
one  cuff  button  that  combines 
smart  style  with  guaranteed  life- 
time  service. 


The  Name  KUM-A-PART  is 
stamped  on  the  back  of  each 
button.  It's  easy  to  identify  the 
genuine;  it's  ha^rdous  to  accept 
a  substitute. 

If  your  dealer  cannot  show  you  the 
Kum-a-part  in  this  new  gift  chest,  send 
his  name  and  $5.00  to  the  Baer  6?  Wilde 
Co.,  Attleboro,  Mass.,  and  you  will  be 
supplied  quickly. 

Jewelers'  and  smart  mens  shops  are  showing  Kum' 
a-part  Kuff  Buttons  in  a  number  of  other  hand' 
some  designs  suitably  boxed  for  giving.  Priced  up 
to  $25  the  pair,  according  to  quality.  THE 
BAER  &  WILDE  CO.,  Attleboro,  Mass.,U.S.  A. 


(IMAPART 


— another  Smart  Gift  for  a  Man. 
T/k  Hew  Kum-a-part  Drets  Set  with 
the    patented    "Eatfta-mseri"  itud. 


Advertising  Section 


Among  them  are  these  supreme  productions: 

WHAT  PRICE  GLORY 

THE  MUSIC  MASTER 

7th  HEAVEN 

all  made  from  renowned  stage  successes 

3  BAD  MEN 

stagea  by  John  Ford,  who  directed 
"The  Iron  Horse" 

ONE  INCREASING  PURPOSE 

by  the  author  of  "If  Winter  Comes" 


\jOT  content  with  having  secured  great  successes 
*J  \j  of  the  stage  and  the  most  popular  novels 
and  short  stories  of  the  world's  leading  writers,  the 
makers  of  Fox  Pictures  have  gathered  the  greatest 
array  of  talent  ever  assembled  by  one  company  to 
portray  the  roles  in  these  notable  photoplays. 

Established  favorites  of  the  screen,  of  course! 
But  more!  Youth — golden,  glorious  youth — moves 
through  every  photoplay  that  bears  the  name  of  Fox. 
Youth— incarnation  of  the  spirit  of  the  screen— in 
Fox  Pictures  has  come  into  its  own. 

Janet  Gaynor,  Madge  Bellamy,  Olive  Borden, 
Kathryn  Perry,  Margaret  Livingston,  Florence  Gilbert 
— beautiful,  young  Fox  stars,  whose  names  are  known 
to  you  all;  Sally  Phipps  and  Nancy  Nash,  whom  you 
soon  will  be  admiring. 

And  among  the  men:  Edmund  Lowe,  George 
O'Brien,  Charles'  Farrell,  Leslie  Fenton,  Richard 
Walling,  Allan  Forrest,  Earle  Foxe,  and  Barry  Norton, 
a  squadron  of  brilliant  young  players,  all  bearing  the 
banner  of  youth  through  Fox  Pictures. 

Stars  of  today  and  stars  of  tomorrow,  guided  by 

the  greatest  directors  and  presented  in  the  leading 

successes  in  fiction  and  drama — of  such 

material  have  Fox  Pictures 

been  fashioned. 


Watch  for  Youth  in  these  Fox  Pictures: 

THE  RETURN  OF  PETER  GRIMM 

MOTHER  MACHREE 

THE  AUCTIONEER 

THE  CITY 

SUMMER  BACHELORS 

THE  MONKEY  TALKS 


WILLIAM    FOX    PICTURES 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


3 
PAG 


I 


Advertising  Section 


John  Gilbert 

and 

Eleanor  Boardman 


BARDELYS  THE  MAGNIFICENT 


Directed  by 

King  Vidor 

Adapted  by 

Dorothy  Farnum 

from 

.the  story  by 

Rafall  Sabatini 

with 

Karl  Dane 

Roy   D'Arcy 

(-eoige  K.  Arthur 

Arthur  Lubin 


MAGNIFICENT! 

EACH  tense  moment  holds  you  dream-bound. 
THE  crushing  kisses  of  John  Gilbert 
STOLEN  between  duels  .  .  . 
FROM  languid  lips  of  fair  ladies  .  .  . 
NONE  fairer  than  Eleanor  Boardman,  heroine, 
KING  Vidor  has  painted  a  flaming  romance 
FROM  the  vivid  pages  of  Sabatini  .  .  . 
THE  director  of  "The  Big  Parade" 
THE  Star  of  "The  Big  Parade" 
TOGETHER  they  have  given  the  screen 
ANOTHER  immortal  entertainment. 


"More  stars  than  there  are  in  Heaven" 


1AGL 


Which  Eyes  Are 

the  Keenest? 

Blue— brown— hazel— or  gray? 

Test  them  now  and 
win  these  rare  prizes 

WHAT  color  eyes  really 
see  motion  pictures  and 
what  color  merely  look  at  them  ? 
I  wonder!  Here  is  a  chance  to 
test  your  own.  For  the  best 
answers  to  my  six  questions,  I 
have  chosen  these  rewards. 

To  the  member  of  the  fair  sex 
with  the  keenest  eyes,  I  shall 
give  the  beautiful  Dutch  cap  I 
wear  in  the  "Red  Mill." 

Youmen  aren't  forgotteneither. 
Owen  Moore,  who  plays  op- 
posite me  in  the  "Red  Mill", 
promises  to  give  the  most  ob- 
serving man  the  ice-skates  he 
uses  in  this  picture. 

To  the  next  50  best,  I  will  send 
my  favorite  picture  specially 
autographed. 

Begin  now — blue  eyes,  brown, 
hazel  and  gray  .  .  .  and  good 
luck  to  you  all. 

Marion's 
Six  Questions 

Who  are  the  wives  of  the  following 

-  directors  (they  are  all  prominent 

screen  actresses):  Rex  Ingram,  King 

Vidor,    Fred    Niblo    and    Robert   Z. 

Leonard? 

What  recent    Elinor    Glyn  story 
has  been  brought  to  the  screen  by 
Metro-Goldwyn-Mayer? 

Nameand  describe  in  not  more  than 
50  words  the  popular  comic  snip 
character  which  Marion  Daviesis  por- 
traying in  a  Cosmopolitan  production. 

1    Who   is    M-G-M's    new  Western 
star   and   what  unusual  language 
does  he  use? 

What  famous  Latin  quotation  ap- 
-J  pears  on  every  M-G-M  film  and 
what  does  it  mean? 

What  great  star  appears  in  "The 
Temptress"  and  what  is  her  native 
land? 

Write  your  answers  on  one  side  of  a  single  sheet  of 
paper  and  mail  to  Metro-Goldwyn-Mayer, 
1542  Broadway,  New  York.   All  answers 

must  reach  us  by  January  15th.  Winner's 
name  will  be  published  in  a  later  issue  of  this 
magazine. 

Note: — If  you  do  not  attend  the  picture  your- 
self, you  may  question  your  friends  or  consult 
motion  picture  magazines.  In  the  event  of  ties, 
each  tying  contestant  will  be  awarded  a  prize 
identical  in  character  with  that  tied  for. 

Winner  of  the  Norma  Shearer 
Contest  of  October 

LUCIE  M.  WILTSHIRE 
1330  L  St.  N.  W.,  Washington,  D.  C. 

Autographed  pictures  of  Miss  Shearer  have 
been  sent  to  the  next  fifty  prize  winners. 


I.v<ry  advertisement  in  MOTION   PIOTUEB  MAGAZINE   Is  guaranteed. 


N0V22'26©C1B  715352 


Vol.  XXXII 


Motion  Pidlure  Magazine 

Founded  by  J,  Stuart  Blackton  in  1910 — Trademark  Registered 

JANUARY,    1927 

Adele  Whitely  Fletcher 
Editor 

Colin  J.  Cruikshank,  Art  Director 


Number  6 


Mr.  Jannings  In  Hollywood 

An  Editorial 


P  MIL  JANNINGS  is  now  in  Hollywood,  where 
he  will  remain  for  the  next  few  years  mak- 
ing American  motion  pictures.  And  everywhere 
you  go,  tongues  wag  in  discussion  of  whether  or 
not  this  great  character  actor  will  survive  Holly- 
wood. Whether  or  not  he  will  be  proof  against 
the  things  which  changed  Pola  Negri  and  other 
imported  artists. 

Art,  they  tell  us,  has  no  commercial  value.  Art, 
they  say,  is  not  for  the  masses.  And  pictures 
made  in  Hollywood  must  pay  for  themselves  in 
the  admissions  that  pass  into  the  box-offices  thru- 
out  the  country. 

But  we  are  not  convinced.  We  believe  it  is 
quite  practical  and  possible  for  Emil  Jannings  to 
appear  in  pictures  that  will  please  the  most  carp- 
ing critic  .  .  .  that  will  enthrall  the  masses  .  .  . 
that  will  delight  the  cinematic  connoisseur. 

Which  is  another  way  of  saying  that  we  believe 
Emil  Jannings  a  very  great  artist. 

And  true  art,  in  our  opinion,  has  a  universal 
appeal.  Symbolism,  highfalutin  notions,  and 
profound  abstractions,  on  the  other  hand,  will 
never  be  generally  appreciated. 

We  remember  a  Sunday  afternoon  in  the 
Metropolitan  Museum  of  Art  in  New  York  City. 
We  had  stopped  before  Rodin's  statue,  "The 
Hand  of  God."  It  shows  a  mighty  hand  cupped 
to  hold  the  figures  of  a  man  and  woman  lying  in 


an  embrace.  We  watched  the  faces  of  many 
people  as  they  passed  the  pedestal  supporting  this 
famous  marble.  Almost  everyone  paused,  at  least. 

Then  an  art  student,  probably  from  Greenwich 
Milage,  came  along.  His  tie  was  flowing  and  his 
hair  longer  than  it  needed  to  be.  He  bent  his 
leonine  head  this  way  .  .  .  that  way.  He  stood 
enraptured.  He  knew  the  beauty  of  the  concep- 
tion and  the  perfection  of  the  sculpture. 

A  work-weary  mother  with  a  little  boy  of  five 
and  a  baby  tugging  at  her  shabby  skirt  stopped 
there.  She  said  nothing  and  made  no  gestures 
such  as  the  art  student  had  made.  But  it  wasn't 
until  the  little  boy  became  restless  to  go  and  see 
the  mummies  that  she  passed  on,  with  reluctance, 
in  an  habitual  answer  to  the  impatient,  demanding 
tug  at  her  skirt. 

She  felt  "The  Hand  of  God"  in  her  way  .   .    . 

The  art  student  felt  "The  Hand  of  God"  in  his 
way.  .   .   . 

And  the  many  others  who  stopped  there  felt  it 
in  their  way.  .   .   . 

That  is  art.  We  do  not  believe  that  great  art 
is  some  secret  known  only  to  the  privileged  few. 
We  believe  it  is  a  simple  representation  of  some 
truth  or  truths  .  .  .  and  this  we  think  is  the  thing 
which  Emil  Jannings  has  to  give,  whether  he 
stands  under  the  lights  of  a  Hollywood  or  a 
Berlin  studio. 


Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,  Jamaica,  N.  Y.    Executive  and   Editorial   Offices,   175  Duffield 

Street,  Brooklyn,  N.  Y.     Hollywood  Office:  6064  Selma  Avenue.     Telephone,  Gladstone  3564. 

Entered  at  the  Post  Office  at  Jamaica,  N.   Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1S79.     Printed  in  the  U.  S.  A. 

Eugene  V.  Brewster,  President  and  Editor-in-Chief ;  Duncan   A.  Dobie,   Jr.,    Vice-President  and  Business   Manager;    E.   M.   Heinemann,   Secretary; 

L.  G.  Conlon,  Treasurer.    Also  publishers  of  Motion  Picture  Classic 

Subscription   $2.50   a   year  in  advance,   including  postage  in   the  United  States,   Cuba,   Mexico  and   Philippines;    in  Canada,   $3.00.      Foreign   countries, 

$3.50.     Single  copies,  25  cents,  postage  prepaid.     U.  S.  Government  stamps  accepted.     Subscribers  must  notify  us  at   once   of  any   change  of  address, 

giving  both  old  and  new  address. 

First  copyrighted  and  published  February  21,  1911.     Copyrighted,  1926,  in  United  States  and  Great  Britain  by  Brewster  Publications,  Inc. 


5 

PAfi 


I 


Motion  Picture  Magazine 


TABLE  OF  CONTENTS 


Cover — Colleen  Moore  by  Marland  Stone  from  a  camera  study  by  Edwin  Bower  Hesser 

An  Editorial 5 

The  Bulletin  Board 8 

Last  minute  news  and  a  title  contest 

Gallery  of  Portraits 11 

Camera  studies  in  gravure  of  Marion  Davies,  Reginald  Denny,  Olive  Borden,  Red  Grange,  Vera  Reynolds,  Tom  Mix,  Fay  Wray  and  Dolores  Coslello 
Cinema  Clnderellas Lucille  Leblanc     19 

.4  frank  story  of  the  movie  slurs  who  have  married  both  wealth  and  title 

The  Young  Chaplins 21 

A  camera  study  of  Charlie's  two  children,  snapped  in  Beverly  Hills 
"The  Path  of  Glory " Helen  Carlisle     22 

Is  it  stardom  itself  that  kills  our  movie  stars!     Read  this  honest  story 

The  Champagne  Life Faith  Service     24 

A  short  story  about  a  movie  star  who  loved  many  men  until  One  Man  came  into  her  life  and  then 

A  Christmas  Carol Elizabeth  Benneche  Petersen     27 

Miss  Dempster  was  u  Christmas  child 

Movie  Husbands Eldon  Kelley     28 

A  layout  of  humorous  drawings — and  you'll  recognize  them  all 
We  Interview  Florence  Vidor Gladys  Hall  and  Adele  Whitely  Fletcher     30 

A  doubU  interview  in  the  form  of  a  one-act  playlet  with  the  Dark  Lady  of  the  screen 

Lila  and  Her  Two  Jimmies 33 

A  camera  study  of  the  Kirkwood  Trio 
As  Others.  See  Us Grace  Corson     34 

The  world  of  fashion — attractively  presented 

Some  Women  Have  All  the  Luck Dwindle  Benthall     36 

Alice  Terry  compares  the  men  of  various  nations  in  the  love  scenes  she  has  played  with  them 

You  Never  Can  Tell 38 

Two  pictures  which  tell  a  dramatic  and  inspirational  story 

Crazy  Quilt Adele  Ormiston     39 

A  fascinating  serial  story  of  motion  picture  people,  illustrated  by  Henry  Pilgrim 

Corinne  Commands  a  Right  Good  Crew 42 

When  she  goes  sailing  on  her  yacht  "The  Wanderlust" 

The  Limerick  Liner 43 

Last  lines  needed!     Prizes  offered! 
Christmas  in  the  Home Stephen  Gooson     44 

Several  suggestions  for  holiday  decorations 
Motion  Picture  Junior 46 

Announcing  the  winners  in  the  Felix  Contest 
Movie  Mother  Goose Ken  Chamberlain     48 

Some  more  amusing  drawings  and  jingles  for  those  who  know  their  motion  pictures 
Anna  0-  Dares  to  Be  Herself Gladys  Hall     SO 

Miss  Nilsson  gives  a  frank,  honest  story — and  we  print  it 

The  Christmas  Cards  They  Liked  Best 52 

eral  stars  select  the  favorite  holiday  card  they  received  last  year 

The  Conference 54 

An  informal  portrait  study  of  Gloria,  her  director  and  scenario  writer  by  Russell  Ball 

The  Editor  Gossips A.  W.  F.     55 

And  Frankness  guides  her  pen 

Eight  Holiday  Offerings  from  the  Studios 56 

Scenes  from  some  of  the  new  photoplays 

Merry  Christmas,  a  la  Parisienne 58 

Arlelte  Marchal  in  modern  Christmas  Eve  attire 

The  Reluctant  Cinderella Dorothy  Manners     59 

The  unbelievable  story  of  Patricia  Avery,  who  was  a  stenographer  a  few  months  ago,  and  is  now  on  her  way  to  stardom 

The  Picture  Parade The  Staff     60 

.'  reviews  of  motion  pictures  which  will  guide  you  when  you  go  shopping  for  film  entertainment 
On  Location  with  the  "Rough  Riders" Alice  Tildesley     64 

The  story  of  a  large  motion  picture  company  on  a  colorful  and  romantic  location  trip 

New  s  of  the  Camera  Coasts Elizabeth  Greer  and  Milton  Howe     66 

tographs  gathered  in  the  studios  and  social  circles 

Say  It  with  Letters 70 

The  readers'  open  forum 
That's  Out Tamar  Lane     71 

In  which  the  sharp  edge  of  truth  is  wrapped  in  humor 

"Shall  I  Go  Into  the  Movies?" Marion  Meyer  Drew     72 

the  '.tars  in  answer  to  that  universal  question 

The  Answer  Man Himself     74 

ru — and  answers 


LhG 


Advertising  Section 


:-■:* 


to  ■   •  i  i  * 


%mw^% 


Glad  to  Tell  Everybody  What 
Your  Course  Did 

I  shall  certainly  be  delighted  to  tell  anyone 
what  your  course  did  for  me.  In  fact,  I  have 
been  telling  people  for  the  last  three  years  and 
started  several  people  in  the  work  in  Japan. 

When  one  lives  in  New  York,  as  I  do  now, 
and  sees  the  number  of  wholly  unqualified 
people  who  are  teaching  singing,  it  seems  as 
if  there  ought  to  be  some  test  for  teachers.  I 
think  that  learning  ten  operatic  roles,  one 
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voice  doesn't  seem  to  have  suffered  in  the 
least  from  it. 

Florence  Mendelson, 

New  York  City. 


Wouldn't  Part  With  Course 
for  $1,000.00 

I  have  a  great  deal  to  say  about  this  won- 
derful course,  and  want  you  to  know  that  I  am 
a  happy  man  since  taking  it  up.  I  needed 
your  course  badly,  very  badly.  Being  a 
teacher,  I  have  to  speak,  at  times,  quite  loud, 
and  the  strain  on  my  throat  was  acutely  felt, 
and  hoarseness  followed.  My  voice  is  abso- 
lutely clear  and  resonant  now*  in  fact,  I  have 
no  words  to  thank  you  enough. 

I  wouldn't  part  with  my  Course  for  a 
thousand  dollars. 

Julio  C.  De  Vosconcellos, 
.  New  Bedford,  Mass. 


Realizes  the  Dx-earn.  of  Her  Life 

A  feeling  of  thanl  fulness  comes  over  me  to 
think  I  have  found  such  an  opportunity  to 
cultivate  my  voice,  it  is  the  one  great  thing  in 
my  life  to  develop  a  beautiful  voice,  and  to  think 
that  it  is  daily  improving  through  your  won- 
derful method  brought  right  to  my  own  door. 

I  will  now  mafke  you  happy  by  saying  it 
is  certainly  the  best  investment  I  ever  made. 
Florence  M.  Clarke, 
1483  11th  Ave.,  Vancouver.  B.  C. 


Lost  Voice  Restored — Sings 
Better  Than  Ever 

I  am  very  glad  to  be  able  to  inform  you 
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is  making  a  great  change  in  my  voice. 

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than  I  am  now, 

(J.  Ralph  Bartlett, 
Newton,  N.  H. 


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PAGii 


The  Bulletin  Board 

The  News  as  We  Went  to  Press 


MARY  ASTOR  isn't  such  an  old-fashioned  girl,  after  all. 
Only  a  month  or  so  agu  she  became  engaged  to  Irving 
Asher,  a  First  National  production  manager,  and  vowed 
to  love  him  "forever  after"  (she  had  just  completed  a 
picture  with  that  title)-  Then  her  work  took  Mary  to  Texas  on 
location,  and  while  there  her  feelings  for  Irving  became  rather 
vague  and  luke-warm.  So  on  her  return  Mary  broke  the  engage- 
ment,   very    sweetly    announcing,    "We're    still    friends.      We    just 


$10.00  for  the  Best  Title 
to  this  Picture 

You  may  send  as  many  titles  to  this  picture  of  Edna 
Marion,  of  the  Christie  Comedies,  as  you  like — not 
mare  than  ten  words  long.  All  answers  must  be 
mailed  by  December  20  and  no  titles  will  be  re- 
turned. Address  them:  Title  Contest,  175  Duffield 
Street,  Brooklyn,  New  York 


I; 


decided  while  I  was  away  that  we  weren't  suited  to  each  other." 
At  least  you  must  give  her  credit  for  deciding  it  before,  instead  of 
immediately  after  the  wedding,  which  is  the  usual  procedure  in 
the  Him  colony.  They  were  to  have  been  married  at  Christmas 
time. 

P  B.  O.  will  bring  another  of  Mrs.  Gene  Stratton  Porter's 
stories  to  the  screen.  Evidently  "Laddie"  was  a  success.  The 
next  will  be  "The  Magic  Garden."  No  feminine  members  of  the 
cast  have  been  announced  yet,  but  this  picture  will  mark  the  re- 
appearance of  Raymond  Keane,  for  the  first  time  since  his  rather 
ill-fated  leading  role  in  "The  Midnight  Sun."  Raymond  is  a  nice 
boy,  but  he  couldn't  become  famous  overnight,  any  more  than  any 
other  child  can.  Phillip  de  Lacy  and  William  V.  Mong  are  also 
in  the  cast. 

JV/Jal  St.  Clair's  next  picture  for  Famous  Players  will  be  "The 
Cross-Eyed  Captain."  Ben  Turpin  is  not  in  the  cast.  And, 
furthermore,  it  is  serious  drama,  something  quite  foreign  to  the 
nature  of  Mr.  St.  Clair,  who,  as  everyone  knows,  has  built  his  fame 
on  his  Hair  for  sparkling  comedy.  It  will  be  interesting  to  see 
what  he  can  do  in  a  heavier  medium.  The  cast  has  not  been 
announced. 

And  speaking  of  Ben  Turpin — since  being  torn  from  his  old 
stamping  ground  at  the  Mack  Sennett  studio,  he  has  planned 
to  go  into  vaudeville.  He  was  on  the  verge  of  this  once  before, 
just  before  the  first  Mrs.  Turpin  died,  and  he  will  use  the  act  be 
prepared  at  that  time.     Watch  for  him  in  the  Keith-Albee  houses. 

(~)ur  award  for  change  of  title  this  month  goes  to  Warner 
Brothers,  who  will  screen  Victorien  Sardou's  play,  "Cypri- 
enne,"  under  the  title,  "Dont  Tell  the  Wife."  Paul  Stein  will 
direct  this  promising  piece,  with  Irene  Rich  and  Lilyan  Tashman 
as  material. 

The  second  prize  goes  to  Famous  Players.  When  Vincent  Law- 
rence's .play,  "Face  to  Face,"  becomes  a  starring  vehicle  for 
Florence  Vidor,  it  will  be  called  "Afraid  to  Love."  Besides  the 
lovely  star,  William  Powell  is  the  only  member  of  the  cast  so  far 
selected.     Frank  Tuttle  will  direct. 

PV<.  LudwiG  Berger,  well-known  German  director,  has  been  im- 
ported by  Fox  Films..  He  will  anive  in  Hollywood  in  March, 
to  work  side  by  side  with  his  compatriot,  Murnau,  who  is  now 
busy  making  "Sunrise"  at  the  Fox  West  Coast  studio.  Two  of 
Dr.  Berger's  pictures  are  more  or  less  familiar  to  the  American 
public.  "The  Waltz  Dream"  must  have  been  seen  by  practically 
the  whole  population,  as  it  arrived  at  a  tii  le  last  summer  when 
moving  picture  palaces  were  the  only  breath  of  relief  from  the 
intense  heat.  Dr.  Berger's  version  of  "Cindeiella"  was  shown  in 
New  York  to  a  smaller  audience. 


I 
5 


HThe  cast  of  "Song  of  the  Dragon,"  which  is  Lothar  Mendes' 
second  American  picture,  recently  repaired  to  Washington  for 
a  few  days.  This  tale  abounds  in  spies  and  war-time  atmospher 
and  the  capitol  was  necessary  as  a  background  for  several  scenes 
And  so  President  Coolidge  had  the  pleasure  of  meeting  Dorothy 
Mackaill,  Lawrence  Gray,  William  Collier,  Jr.,  Gail  Kane,  and  a 
few  others.  Which  was  really  very  democratic  of  the  President 
following  as  it  did  on  the  royal  heels  of  Queen   Marie. 


Come  degrees  of  deformity  are  impossible,  even  to  Lon  Chaney 
lie  evidently  couldn't  perform  all  the  feats  required  of  him  as 
"Alonzo  the  Armless,"  so  another  story  has  been  selected  for  h^s 
next  picture.  This  time  it  will  be  "Mister  Wu,"  qirte  obviouslj 
a  Chinese  tale.     Will   Nigh  will  direct. 

rVjius   Kenyon    insisted  on    marrying    Milton    Sills  and  going  0 

their  honeymoon  in  spite  of  the  influenza  from  which  she  ha< 

been  suffering  up  to  the  day  of  the  wedding''     And  as  a  consequent 

( (  ontinui  </  mi  page     I ) 


Advertising  Section 


I  was  Afraid  of  This 
New  Way  to  Learn  Music 

"—Until  I  Found  It  Was  Easy  As  A-B-C 


Then  I  Gave  My  Husband 
the  Surprise  of  His  Life 


D 


LON'T  be  silly,  Mary.  You're  per- 
fectly foolish  to  believe  you  can 
learn  to  play  music  by  that 
method.  You  can  never  learn  to  play  the 
piano  that  way  .  .  .  it's  crazy  !  You  are 
silly  to  even  think  about  it." 

"But,  Jack,  it's   .   .   ." 

"Mary,  how  can  you  believe  in  that 
crazy  music  course.  Why,  it  claims  to 
teach  music  in  half  the  usual  time  and 
without  a  teacher.    It's  impossible  !" 

That  is  how  my  husband  felt  when 
I  .showed  him  an  ad  telling  about  a 
new  way  to   learn   music.      He  just 
laughed.      His    unbelieving   laughter 
made   me  wonder.      I  began  to   feel 
doubtful.      Perhaps    I    had  been   too 
optimistic— perhaps    enthusiasm    and 
the  dream   of   realizing   my  musical 
ambitions  had  carried  me  away.    The 
course,  after  all,  might  prove  too  diffi- 
cult.     I    knew    that    I    had    no    special 
musical  talent.     I  couldn't  even  tell  one 
note    from    another — a    page    of    music 
looked  just  like  Chinese  to  me. 

But  how  I  hated  to  give  up  my  new 
hope  of  learning  to  play  the  piano.  Music 
had  always  been  for  me  one  of  those 
dreams  that  never-come-truc.  I  had 
longed  to  sit  down  to  the  piano  and  play 
some  old  sweet  song  ...  or  perhaps  a 
beautiful  classic,  a  bit  from  an  opera,  or 
even  the  latest  jazz  hit.  When  I  heard 
others  playing,  I  envied  them  so  that  it 
almost  spoiled  the  pleasure  of  the  music 
for  me.  For  they  could  entertain  their 
friends  and  family  .  .  .  they  were  mu- 
sicians. And  I,  I  was  a  mere  listener.^  I 
had  to  be  satisfied  with  only  licaring 
music. 

I  was  so  disappointed  at  Jack.  I  felt 
very  bitter  as  1  put  away  the  magazine 
containing  the  advertisement.  For  a 
week  I  resisted  the  temptation  to  look  at 
it  again,  but  finally  I  couldn't  keep  from 
"peeking"  at  it.  It  fascinated  me.  It 
told  of  a  woman  who  had  learned  to 
play  the  piano  in  90  days  !  She  had 
mastered  the  piano  by 
herself,  in  her  spare 
time,  and  at  home,  with- 
out a  teacher.  And  the 
wonderful  method  she 
used  required  no  tedious 
scales — no  heartless  ex- 
ercises—  no  tiresome 
practising.  Perhaps  I 
might  do  the  same 
thing! 

So  finally,  half-fright- 
ened, half -enthusiastic, 
I  wrote  to  the  U.  S. 
School  of  Music — with- 
out letting  Jack  know. 
Almost    as    soon    as    I 


PICK  YOUR  COURSE 

Mandolin  Piano 

Drums  and       Organ 

Traps  Violin 

Harmony  and  Banjo  (Tenor, 

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Ukulele 
Piccolo 
Trombone 
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Steel  Guitar 
Saxophone 


Voice    and    Speech    Culture 
Automatic  Finger 

Control 
Piano  Accordion 


mailed  the  letter  I  felt  frightened.  Sup- 
pose the  course  proved  to  be  horribly 
difficult  .  .  .  suppose  Jack  were  right 
after  all  ! 

Imagine  my  joy  when  the  lessons 
started  and  I  found  that  it  was  as  easy  as 
A.  B.  C.  Why,  a  mere  child  could 
master  it  ! 

While  Jack  was  at  work,  I  started 
learning.  I  quickly  saw  how  to  blend 
notes  into  beautiful  melodies.  My  pro- 
gress was  wonderfully  rapid,  and  before 
I  realized  it,  I  was  rendering  selections 
which  pupils  who  study  with  private 
teachers  for  years  can't  play.  For  thru 
this  short-cut  method,  all  the  difficult, 
tiresome  parts  of  music  have  been  elim- 
inated and  the  playing  of  melodies  has 
been  reduced  to  a  simplicity  which  any- 
one can  follow  with  ease. 

Finally  I  decided  to  play  for  Jack,  and 
show  him  what  a  "crazy  course"  had 
taught  me.  So  one  night,  when  he  was 
sitting  reading,  I  went 
casually  over  to  the 
piano  and  started  play- 
ing a  lovely  song.  Words 
can't  describe  his  as- 
tonishment. "Why  .  .  . 
why  .  .  ."  he  floundered. 
I  simply  smiled  and 
went  on  playing.  But 
soon,  of  course,  Jack  in- 
sisted that  I  tell  him  all 
about  it.  Where  I  had 
learned  .  .  .  when  I 
learned  .  .  .  how  ?  So 
I  told  of  my  secret  .  .  . 
and  how  the  course  he 
had     laughed     at     had 


Clarinet 

Flute 

Harp 

Cornet 

'Cello 

Guitar 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE 


made    me    an    accomplished    musician. 

One  day  not  long  after,  Jack  came  to  me 
and  said,  "Mary,  don't  laugh,  but  I  want  to 
try  learning  to  play  the  violin  by  that  won- 
derful method.  You  certainly  proved  to 
me  that  it  is  a  good  way  to  learn  music." 

So  only  a  few  months  later  Jack  and  I 
were  playing  together.  Now  our  musical 
evenings  are  a  marvelous  success.  Every 
one  compliments  us,  and  we  are  flooded 
with  invitations.  Music  has  simply  meant 
everything  to  us.  It  has  given  us  Popu- 
larity !   Fun !   Happiness  ! 

*       *       *       * 

If  you,  too,  like  music  .  .  .  then  write 
to  the  U.  S.  School  of  Music  for  a  copy  of 
the  booklet,  "Music  Lessons  in  Your  Own 
Home,"  together  with  a  Demonstration 
Lesson,  explaining  this  wonderful  new 
easy  method. 

Don't  hesitate  because  you  think  you 
have  no  talent.  Thousands  of  successful 
students  never  dreamed  they  possessed 
musical  ability  until  it  was  revealed  to 
them  by  a  wonderful  "Musical  Ability 
Test."  You,  too,  can  learn  to  play  your 
favorite  instrument  thru  this  short-cut 
method.  Send  the  coupon.  The  Demon- 
stration Lesson  showing  how  they  teach 
will  come  AT  ONCE. 

Address  the  U.  S.  School  of  Music, 
601    Brunswick  Building,   New  York. 

Instruments  supplied  when  needed, 
cash  or  credit. 

U.    S.    SCHOOL   OF   MUSIC 

601  Brunswick  Bldg.,  New  York  City 

Please  send  me  your  free  book,  "Music  Lessons  in 
Your  Own  Home,"  with  introduction  by  Dr.  Frank 
Crane.  Demonstration  Lesson  and  particulars  of  your 
Special  Offer.     I  am  interested  in  the  following  course: 

Name 

(Please  Write  Plainly) 

Address 

City State f\ 

MAGAZINE.  9   j 

PAGli 


<p 


KOTION  PICTURp 
MAGAZINE     I- 


Advertising  Section 


IT    THE    MOUNT  PjOYAL  in  Montreal 

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A  skin  specialist  worked  out  the  formula 
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Woodbury's  lasts  a 

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— men  and  women  in  love  with  life  ..." 


Your  Wooaoury  Treatment  for  ten  days     1     Now  —  the  new  large-size  trial  set 


I 


Copyright,  1926,  by  The  Andn 

10 


Jcr^ens  Co. 


The  Andrew  Jergens  Co. 

1301  Alfred  St.,  Cincinnati,  Ohio 

For  flu  enclosed  ior  please  send  mt  the  large- 

uzi   trial  cake  of  Woodbury's  Facial  Soap,  the 

Cold  Cream,  Facial  Cream  ami  Powder,  and 
the  booklet,  "A  Skin  You  Love  to  Touch." 
If  you  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  Limited,  1301  Sherbroohe  Street,  Perth,  Ont. 


City. 


.Slate. 


Dt  in  MOTION  PICTUBE  MAGAZINE  la  guaranteed. 


Ruth  Harriet  Louise 


MARION  DAVIES 

This  is  the  gkl  of  whom  they  used  to  say  "Pretty — but  dumb  I"  Now 
»he'«  Hollywood'*  favorite  daughter.  Her  dressing-room  is  a  salon  where 
she  dispenses  wit,  beauty,  and  good-fellowship  to  all  comers.  Her  spark- 
ling  talents  as  a   comedienne  will  next  be   revealed   in   "Tillie  the  Toiler" 


Edward  Thayer  Monroe 


REGINALD  DENNY 

The  screen  is  crowded  with  Americans  trying  to  act  like  Englishmen,  but 
Reg  is  the  only  Englishman  we  know  of  who  tries  to  act  like  an  American 
and  gets  away  with  it.  His  comedies  are  both  typically  American  and 
very  funny.  So  long  as  he  can  keep  this  up.  he's  safe.  Watch  for  'The 
Cheerful  Fraud" 


Autrey 


OLIVE  BORDEN 

Olive's  attractions  include  youth   and  high-powered  beauty.      And   if  you 

are  not  already  acquainted  with  her  on  the  screen,  you  will  be  soon,  for 

•he  is  making  rapid  strides  to  the  top.     She  has  won  the  feminine  leading 

role  in  "The  Monkey  Talks" 


■WeWSiOii^ 


RED  GRANGE 


Behold  the  only  athlete  who  brought  to  the  screen  something  beside*  hi* 
(amoua  name,  and  whoae  head  hasn't  been  turned  by  the  bells  which  rang 
out  the  triumph  of  his  first  picture.  The  screen  needs  these  modest 
heroes,  so  it's  good  news  that  when  the  football  season  is  over,  Red's  going 
back  to  Hollywood  to  do  another.  Incidentally,  he's  putting  himself  to  the 
test — there  will  be  no  football  in  the  story  this  time 


Maurice  Goldberg 


VERA  REYNOLDS 


Vera  Reynolds  has  been  brought  up  in  the  Cecil  De  Mille  tradition.      She 

has  all  the  familiar  attributes  of  a  De  Mille  heroine  plus  a  certain  piquante 

flavor  which  sets  her  apart.      H.  B.  Warner  will  play  opposite  her  in  "The 

Little  Adventuress" 


TOM  MIX 


The  moit  sumptuous  and  expensive  cowboy  in  existence,  who  can  still  ride 

and  do  stunts  with — and  even  beyond — the  best  of  them,  Tom  sits  solidly 

on  his  glittering  throne  as  king  of  the  Westerns.     You  will  see  him  next  in 

"The    Canyon    pf    Light" 


Melbourne  Spurr 


DOLORES  COSTELLO 

Dolores  seems  to   fit  perfectly  your   conception   of  all  your   favorite  hero- 
ines.     No  wonder  directors  clamor  for  her.      It  is  a  tribute  to  the  power 
of  her  personality  that  her  popularity  increases  in  spite  of  poor  pictures. 
She  will  star  in   "The  Third  Degree" 


FAY  WRAY 

Another  unknown,  destined  for  fame.  Two  things  augur  well  for-  the 
future  of  Fay  Wray.  One,  that  ahe  has  worked  under  the  guidance  of 
Erich  von  Stroheim,  who  lifted  her  from  obscurity  to  the  leading  role  in 
"The  Wedding  March."  The  other — well,  if  your  eyes  have  strayed  from 
her  face  long  enough  to  read  these  lines,  look  again.  She  will  pursue  her 
career  in  "Children  of  Divorce" 


Evidently  Constance 
Talmadge  didn't  find 
society  especially 
worth  her  while.  For 
her  divorce  from 
Captain  Mackintosh 
will  put  an  end  to 
the  social  prestige 
she  enjoyed  on  her 
last  trip  abroad 


Cinema  Cinderellas 

Who  Have  Married  Men  of  Wealth  and  Title 
By  Lucille  Leblanc 


A  CHARMING  dining-room  in  London's  most  fash- 
ionable residential  section.  The  hum  of  many 
voices;  the  musical  ring  of  a  woman's  laugh;  the 
sparkle  of  gorgeous  jewels ;  white  arms  catch  the 
light  of  crystal  chandeliers  and  shine  like  marble :  the 
soft  tones  of  old  masters  on  paneled  walls  form  a  mellow 
background  for  the  colorful,  glinting,  shining  scene. 
Snowy  napery  and  gleaming  silver.  The  blush  of  tropical 
fruits:  the  sparkle  of  champagne.  The  fragrance  of  hot- 
house flowers,  rare  as  the  splendid  jewel  which  glistens  on 
tbe  girlish  throat  of  the  hostess. 

Famous  names.  Celebrated  faces.  International  per- 
sonages are  assembled  here  tonight  to  pay  homage  to  the 
charm  of  a  slip  of  a  girl  wbo  sits  at  the  head  of  tbe  table. 


On  her  right  is  the  sleek  blond  head  of  the  world's  most 
popular   bachelor,    His    Royal    Highness    the    Prince    of 

Wales.     On  her  left  is  the  great  Duke  of  .     Across 

the  table  sits  the  famous  Duchess  of  B .     Down  the 

table  sit  other  members  of  the  nobility.  The  list  of 
guests  reads  like  pages  of  Burke's  Peerage. 

But  the  eyes  of  all  present  are  centered  on  the  small 
yellow  head  of  the  hostess,  and  the  ears  of  all  present  are 
listening  to  the  words  of  the  hostess,  and  the  admiration 
of  all  present  for  the  vivid  personality  and  charm  of  the 
hostess  is  a  tribute  which  only  few  humans  can  ever  re- 
ceive during  the  course  of  a  lifetime. 

It's  a  far  cry  from  the  dinner-party  described  above  to 
a  narrow,  humble  street  in  Brooklyn,  New  York,  U.  S.  A. 

19 

PAS 


t 


Ml  I  MAGAZINE      L. 


you  recognize  the  large,  sparkling  brown  eyes?  The  sleek, 
well-groomed  blonde  head  ?  The  flashing  white  teeth  ?  The 
twinkle  in  the  merry  gaze?  Of  course!  Our  own  Connie! 
The  story  of  her  career  from  the  dark  Brooklyn  days  until 
recently  as  one  of  London's  most  charming  hostesses,  would 
make  Hans  Anderson  weep  with  tears  of  chagrin  at  the 
feebleness  of  his  own  imagination. 

When    Constance    Talmadge    used    to    hang    around    the 

studios   in   the  old   Biograph   days,   and   wait   patiently    for 

another  day's  work  as  an  extra,  the  wildest  dreams  of  her 

fancy  could  never  have  conceived  the  destiny  which  awaited 

[Continued  on  page  92) 


Mae    Murray,    who    acquired    the    title    of    Princess    when 

she  took  Prince  David  Divani  as  a  husband,   declares  that 

this   marriage   is   her   last 

Then   there's   Gloria   Swanson    .     .     .    little    did    she   think 

when     she    was    a     Mack    Sennett    bathing     girl     that     she 

would   marry   the   handsome   Marquis   de   la   Coudray 


Connie  Bennett  and  Phil  Plant,  who  is  heir  to  some 
thirty-odd  millions  of  dollars,  had  been  in  love  for 
years.  His  family  sought  a  wife  for  him  from  the 
highest  social  circle  possible.  But  he  and  Connie 
slipped   away   to    Greenwich   and   were    married    quietly 


Many  of  the  leading  social  lights  present  at  the  party  were, 
and  >till  an-  for  that  matter,  quite  unaware  of  the  existence 
Brooklyn.  Perhaps  it  is  just  as  well.  But  the  same  yel- 
low head  presiding  at  the  table  and  smiling  sweetly  into  the 
of  Royalty,  or  chatting  vivaciously  with  the  other  mem- 
bers of  England's  highest  social  circle,  might  have  been  seen 
not  so  very  long  ago,  bobbing  down  the  narrow,  mean, 
poverty-stricken  Brooklyn  street.  Perhaps  the  yellow  heac' 
might  have  been  going  to  the  corner  butcher  for  a  bit  of 
meat.    Or  to  v  [or  a  bunch  of  carrots.     Or  to  the 

local  bakery  for  a  nickel  loaf  of  bread. 

Who  is  it  that  sit-  at  the  head  of  the  wonderful  dinner- 
party  in    London?      Who   is   the    little   girl    running — in    all 
J\ probability — bare-legged  down  the  street  in  Brooklyn?    ("ant 

lAGe. 


Cl 


The  Young  Chaplins 

Charlie  Chaplin  has  a  press-agent  to  keep  photographers  and  reporters  and  feature 
writers  away  from  him  and  his  family  .  .  .  rather  than  to  arrange  appointments. 
And  his  two  babies  have  been  so  successfully  guarded  by  nurses  and  servants  at 
the  Beverly  Hills  home  of  Charlie  that  no  photographs  have  ever  been  made  of 
them  before.  With  Charles  Spencer  Chaplin,  Junior,  is  his  baby  brother,  Sidney 
Earle   Chaplin 


21 

PAfi 


I 


Read  the  diary  kept  by 
Irving  Sindler,  a  property- 
man  on  "Son  of  the  Sheik," 
when  the  company  was  on 
location.  It  tells  of  unbe- 
lievable hardships  which 
Rudolph  Valentino  expe- 
rienced 


mam 


Willard  Louis  was  almost  continuously 
on  one  set  or  another  in  the  studios 
during  the  last  three  years  of  his  life. 
This  portrait,  taken  shortly  before  his 
death,    portrays   him   a   weary   man 


Here   is  the   company   of  "Beau   Geste"    on   the   desert   where   they 

filmed    many    of    the    scenes.       Herbert    Brenon    wanted    a    location 

containing    plenty    of    sand.       He    found    it    in    the    middle    of    the 

Arizona   desert 


"The  Path  of 

Is  Hard  Work  and  the  Strain 
Killing  Our 


THREE  of  our  leading  film  stars,  Barbara  La  Marr, 
Willard  Louis  and  Rudolph  Valentino,  have  died 
within  the  year. 

In  each  case  it  has  been  said  that  death  came 
suddenly.  But  did  it?  Is  it  not  possible,  even  quite  prob- 
able, that  these  film  players  in  a  tense  fight  to  gain  greater 
fame,  or  to  keep  the  fame  that  was  theirs,  ignored  over  a 
period  of  time  the  limitations  of  the  human  body? 

Barbara  La  .Marr,  victim  of  a  strenuous  diet  which 
brought  about  tuberculosis,  certainly  burned  out  the  last 
spark  of  her  vitality  in  "The  Girl  from  Montmartre." 

Willard  Loui>,  who,  after  twelve  years  of  obscurity  in 
film   work,  gained   fame  in   "Beau  Brummel"  with  John 


Barrymore,  was  almost  continuously  on  one  set  or  an- 
other at  Warner's  studio  during  the  last  three  years  of 
his  life.  Making  eight  pictures  a  year,  certainly  it  can- 
not be  doubted  that  he  was  severely  taxed  physically.  A 
new  contract,  calling  for  but  four  pictures  a  year  was 
signed  during  the  filming  of  his  last  picture.  It  came  too 
late.  Two  clays  after  the  completion  of  "The  Honeymoon 
Express,"  he  was  reported  seriously  ill.  In  a  week  he 
was  dead. 

The  "sudden"  death  of  Rudolph  Valentino,  idol  of  mil- 
lions of  motion  picture  fans,  shocked  America  and 
Europe.  Yet  we  in  Hollywood  who  knew  him  from  the 
"Four  Horsemen"  clays  onward  were  no*  so  shocked.     In 


During  the  filming 
of  "Old  Ironsides" 
a  night  explosion 
killed  one  of  the 
i\<  tors.  It  was  un- 
avoidable because 
today  players  insist 
upon  taking 
chances.  The  god 
of  Hollywood  is 
Realism.  No  cost 
is    too    great 


1 


Barbara  La  Marr 
was  a  victim  of  the 
strenuous  diet 
which  brought 
about  her  collapse. 
But  she  most  cer- 
tainly burned  out 
the  last  spark  of 
vitality  when  she 
insisted  upon 
working  on  "The 
Girl  from  Mont- 
martre." She  was 
ill  and  should  have 
rested 


Here   is   the   bulletin    board    used    on   the    Catalina    Island    location 

for    "Old    Ironsides."       Each    morning    the    bugle    sounded    reveille 

at  three-thirty.      Breakfast  was  at  four.      And  they  started  to  work 

at    sunrise 


Glory 


** 


By 

Helen  Carlisle 


Attendant    Upon   Fame 
Screen  Stars? 


The  stars  who,  a  few  years 
ago,  consented  to  the  use 
of  a  trained  acrobat  to 
double  in  work  involving 
actual  danger,  now  do  this 
work  themselves.  Holly- 
wood has  gone  work  mad 


John  Barrymore,  with  his  leg  strapped 
back  in  order  to  appear  crippled,  per- 
mitted stage-hands  to  deluge  him  with 
icy  water  by  the  hour  when  they 
were  taking  the  night  stuff  for  "The 
Sea    Beast" 


five  years  he  changed  from  a  blithe,  happy  youth  to  a 
weary  man,  his  heavily  shadowed  eyes  showing  every  in- 
dication of  some  serious  illness.  It  is  not  difficult  for  us 
to  believe  that  he  paid  for  "Son  of  the  Sheik"  with  his 
life,  that  he  had  not  the  physical  resistance  to  throw  off 
the  strain  of  his  last  location  trip  which  took  him  into  the 
bitter  wastes  of  the  Arizona  desert. 

Irving  Sindler,  a  property-man  on  "Son  of  the  Sheik," 
kept  a  diary  during  the  filming  of  the  picture.  Here  are 
a  few  entries. 

"Monday  Night — In  Camp.  Oh,  boy,  what  heat.  It 
rose  right  up  and  smacked  you  in  the  face.  Twenty 
miles  of  trek  by  auto  and  horse  across  the  desert.    Nothing 


but  heat,  sand  and  flies.  Well,  we'll  get  Mr.  Valentino's 
lovely,  beautiful  desert  scenes.     This  cant  last  forever. 

"Tuesday.  Miss  Vilma  Banky  put  her  spoon  in  a  bowl 
of  something  that  looked  like  blackberry  jam,  and  when 
the  flies  flew  away  it  was  the  sugar  bowl.  Montagu 
Love  is  sick,  but  carrying  on.  He  says  it's  the  brackish 
water. 

"Thursday.  The  thermometer  in  Mr.  Valentino's  tent 
went  to  123  degrees  at  11  o'clock.  We  worked  in  the 
sun,  toiling  up  the  side  of  a  big  sand  dune.  Our  assist- 
ant director  intended  to  take  a  shower  this  afternoon  but 
news  spread  that  somebody  had  killed  a  sidewinder 
(Continued  on  page  108) 


The  way  in  which 
Rudy  accepted  the 
hardships  of  desert 
location  was  com- 
mented upon  at  the 
time  by  members 
of  his  company.  He 
is  shown  on  the 
right  as  he 
emerged  from  a 
tent  during  a  sand 
storm 


In  this,  one  of  the 
last  pictures  taken 
of  Rudy.  He  is 
not  the  blithe, 
happy  youth  that 
he  was  when  he 
played  in  "The 
Four  Horsemen  of 
the  Apocalypse." 
Those  in  Holly- 
wood who  knew 
him  sometimes 
thought  of  him  as 
a     weary     man 


23 

PAG 


I 


THE  CHAMPAGNE 


Does  a  woman  really  love  more  than 

and  there  have  always  been 

Then  she  meets 


It  was  as  if  he  had  galvanized  the  girl 
into  electric  life.  She  leaned  across  the 
table  and  clenched  his  hands  with  her 
two  hands.  He  had  not  suspected  her 
of    such    strength 


"T'M  happy  .   .   .  t'm  miraculously  happy!" 

"1   should  think  you  would  be!     I'm  glad  to  hear 
I    you  admit  it  at  last  !" 

"I've  never  admitted  it  before  because   I've  never 
happy  before — not  really." 
"Oh,  Nicole,  thai'-  nonsense!     Forgive  me,  dear,  but 
tly,  il    i     silly !      You    .    .    .    why,  you've  bad  every- 
thing  for   the   past    four   years    .     .    .    evcrytliing,    .    .    . 
\  I  low  can  you  say  a  thing  like  that  and  mean  it?" 
'■>  24 


"Rut  T  do  mean  it,  Georgia.  Until  I  met  Michael  T've 
never  been  really  happy.  Oh,  T've  been  excited,  thrilled, 
pleased,  proud,  peppy,  even  conceited,  but  I've  never  been 
happy  and — there's  a  difference." 

"Well,  there  may  be,  but  it  seems  to  me  you  would 
have  to  take  a  microscope  to  find  it." 

"No,  it  takes  love  to  find  it — -real  love." 

"Oh,  but  darling,  you've  been  in  love  before  and  you've 
recovered— rather  faster  than  most,  at  that." 

Nicole  shook  her  beautiful,  much-photographed  dark- 
head.      "But    I    shan't    get   over   this,"    she    said,    simply, 


LIFE 


once?     Nicole  is  a  star 
many  men  in  her  life. 
Michael  Strong  .  .  . 


"that's  just  it.  You  see,  this  time  /  am  the  one  who  cares 
— so  awfully." 

"Oh,  come  off,  dear!  Michael  Strong  is  as  much  in 
love  with  you  as  any  man  could  be  and  keep  the  wits  God 
gave  him." 

"I  dont  know  about  that  .  .  .  but  the  thing  is,  it  doesn't 
matter  ...  so  much.  I  would  love  him  whether  he  loved 
me  or  not.  I  would  keep  on  loving  him  even  if  I  were 
never  to  see  him  again.  I  would  love  him  if  he  hated  me. 
It's  like  that,  now." 


By  Faith  Service 


"The  movies  are  getting  you,  darling.  They're  getting 
into  your  blood.  You're  talking  worse  than  the  vilest 
subtitles.  You've  had  too  many  emotions,  Nicole.  Oh, 
they've  been  screen  emotions,  most  of  them,  I'll  grant  you. 
Shadow  stuff.  But  emotions,  none  the  less.  The  only 
role  you  haven't  been  cast  in  is  that  of  unrequited  love  and 
no  director  would  be  such  an  ass  as  to  cast  you  in  that 
part.  You'd  look  so  absurd.  Sounds  like  flattery,  but  it's 
God  truth,  as  none  knows  better  than  you,  darling.  So 
you  must  turn  about  and  get  you  that  role  in  real  life. 
Nicole,  you  know  as  well  as  I  do  that  if  Michael  Strong 
did  one  least  little  thing  to  displease  you  .  .  .  forget  the 
morning  orchids  or  the  car  at  the  studio  door  or  some- 
thing like  that  you'd  give  him  the  gate  quicker  than  he 
would  be  able  to. Charleston  out  of  it.  I've  seen  you  throw 
over  better  men  than  Michael,  nice  as  he  is,  for  wearing 
the  wrong  color  tie." 

"I  tell  you,  it's  different — now." 

"Every  girl  thinks  it's  'different'  every  time  she  falls  in 
love.  So  it  is — a  different  man.  But  the  gaff  is  the  same. 
And  you  know  it." 

Nicole  smiled.  It  was  a  disconcerting  smile.  It  subtly 
and  sweetly  and  positively  denied  all  that  Georgia  had 
said.  It  portended  many  things.  It  hinted  at  depths,  half- 
hidden,  passionate,  profound.  Georgia  recognized  the 
suggestiveness  of  the  smile.  But  she  recognized,  too,  that 
Nicole  was  a  clever  actress  and  that  she  spent  most  of  her 
waking  hours  in  just  that — acting.  Nicole  could  "pull 
any  line"  she  had  a  mind  to.  Just  at  present,  it  would 
seem,  she  had  a  mind  to  pull  the  Great  Love  stuff.  The 
thing  to  do  was  to  humor  her.  You  had  to  humor  Nicole. 
None  knew  that  better  than  Georgia.  You  had  to  humor 
her  if  you  wanted  to  get  along  with  her.  And  it  was  un- 
doubtedly the  better  part  of  wisdom,  the  buttered  side 
of  the  bread,  to  get  along  with  Nicole. 

To  get  along  with  Nicole  meant  to  have  scads  of  her 
gorgeous,   cast-off   gowns,    frothy   gowns,   beady   gowns, 
severe  little  tailleurs  with  unimpeachable  names  sewed  in 
them  on  embroidered  satin  labels;  it  meant  silk  hosiery 
with  scarcely  a  pin  prick  of  damage  done  them,  slippers 
of  every  hue  and  texture,  furs,  tinted  lingerie,  negligees, 
perfumes,  powders,  fol-de-rols  de  luxe.     It  meant  living 
for    padded,    swanky,    lulling    clays    in    Nicole's 
gorgeous  New  York  apartment.     It  meant  travel- 
ing across   continent   with    Nicole    deluged   with 
"  fruits,    flowers,    light    literature,    reporters    and 
welcoming  committees.     It  meant  heavenly  weeks 
and  months  in  Nicole's  sumptuous  Beverly  Hills 
estate.     It  meant  the  use  of  the  cars  ;  it  meant 
luncheons    at    smart   hotels,    theater    and    supper 
parties — a  champagne  life.     It  meant  sinking  into 
the.  upholstery  of  a  luxurious  movie  queen's  life 
without  any  of  the  screen  strain.    Yes,  it  was  wise 
to  keep  on  the  right  side  of  Nicole. 
Of  course,  humoring  her  as  the  victim  of  a  great,  per- 
haps an  unrequited  love,  was  going  to  be  unusually  trying. 
But  it  would  pass   in   due  course   of   time.      Everything 
passed  in  due  course  of  time  with  Nicole.     Men  passed 
quicker  than  anything  else.     Young  Van  Alstyne  Perret 
who  had  deluged  Nicole  with  rainstorms  of  purple  orchids, 
offered  her  a  town  car  and  a  roadster  and  the  permanent 
use  of  his   family  name,  the  three  hundred  and  ninety- 
ninth  name  of  the  four  hundred. 

Prince  Mahmed  Ben  Ali  who  had  given  Nicole  the 
priceless  pigeon  blood  ruby,  the  Oriental  rugs  that  were 
a  Prince's  ransom,  the  jewel  casket  exhumed  from  the 
tomb  of  the  ancestor  of  Old  Tut  and  a  pleading  proposal 

25 
PAfi 


t 


for  Nicole  to  return  with  him  to  Egypt,  or 'wherever  it 
was  he  came  from,  and  reinstate  the  Ptolemies,  or  what- 
ever kings  they  were. 

Siegmund  Lars,  the  Swedish  star,  who  had  killed  him- 
self with  Nicole's  miniature  surrounded  in  diamonds  on 
his   forever  silent  heart. 

Jackson  Gatesby,  son  of  old  Gatesby,  the  Pork  King, 
who  spent  his  life  and  a  reasonable  share  of  his  father's 
hog-got  fortune  trying  to  persuade  Nicole  that  a  mansion 
in  Chicago  was  her  logical  abiding  place  and  that  while 
movie  stars  come  and  movie  stars  go,  pigs  is  pigs  forever. 

Oh.  Georgia  could  tap  off 
twenty  of  them  on  her  enameled 
fingertips  without  going  to  any 
mental  exertion  what- 
soever. And  now  there 
was  this  Michael  Strong 
under  the  spotlight.  Nice 
boy,  tall,  well-knit,  col- 
lege-bred, wealthy,  tan 
skin  and  tan  hair  and 
straight-gazing  gray 
eyes.  Nice  boy,  but  .  .  . 
Of  course,  while  it 
lasted,  it  would.be  fero- 
cious. That  was  Nicole, 
too.  Her  whims  were 
passionate  whims,  in- 
tensely conceived  and  in- 
tensely given  in  to.  It 
was  her  capacity  for 
hurling  herself  into  the 
expedient  emotion  that 
bad  gone  far  to  making 
her  a  screen  star.  She 
vibrated,  not  artificially, 
not  even  artistically,  but 
actually,  and  her  vibra- 
tions, instrumented  by 
her  rare  dark  beauty, 
"got  across."  She  was 
restless  and  provocative 
and  scornful.  "There's  something 
about  her,"  the  fans  said,  wonder- 
ingly.  They  couldn't  quite  figure 
out  what  it  was.     They  continued         ....       .  ,         ,  , 

to  flood  in  to  see  her  in  order  to         eL'ited  Tnd  nroud  ,nl 

excited   and   proud   and 

find  out.     They  never  had.   .   .    .  been  happy  and  .  . 

Of  course,  this  was  going  to  be 
bad     for     Nicole    just    now — this 

Great  Love  idea.  She  was  about  if)  start  work  on  a  new 
production  and  she  was  cast  for  the  part  of  a  lady  of 
many  loves,  light,  variant,  whimsical,  capricious.  It 
wouldn't  do  for  her  to  get  out  of  character.  That  steady. 
inward  burning  light  in  her  eyes,  that  quiet  voice,  that 
simple,  sombre  sense  of  Oneness — no,  it  would  never  do. 

Georgia  considered  what  might  be  done  about  it. 
Nicole  had  dropped  off  to  sleep,  a  vision,  even  to  her  best 
L'irl  friend,  lying,  ivory-white  and  ruby-red  among  the 
frail  lace  cushions  of  her  chaise  I01 

After  all.  Georgia  was  her  besl  friend.  Her  one  real 
friend,  it  might  well  be.  The  other  friends,  if  friends  they 
would  prove  to  be,  were  entrees  into  the  charmed  circle 
after  the  circle  had  been  charmed.  It  would  remain  for- 
ever doubtful  as  to  whether  they  would  have  been  quite  so 
friendly  had  they  known  Nora  Barth  of  Highway, 
New    |. 


1 


M  '  ■•   Barth,  in  Highway,  New  Jersey,  had  belonged  to 

no  charmed  circle.     She  had  not,  in  fact,  belonged  to 

any  circle  at  all.     Fond  Mamas  had  forbidden  their  daugh- 

"go"    with     Nora    Barth.       Who,    said    the    fond 

26 


Mamas,  who  and  where  was  Mister  Barth?  No  one 
knew.  No  one  had  ever  known.  This  nebulous  person 
had  never  done  the  respectable  thing  of  materializing  be- 
fore the  eyes  of  Highway,  New  Jersey.  People  said  that 
he  had  been  "an  actor."  Oh,  but  why  bother  about  what 
people  said- — they  said  the  usual  things. 

Mrs.  Barth.  faded  and  frail,  took  in  sewing  and  lodgers. 
Men  lodgers.  There  was  nothing  actually  against  her,  of 
course  ...  still  .    .   . 

There    was    nothing,    actually, 
against  Nora,  either.     Of  course, 
she   was   too   pretty  to   be   quite 
"nice."      No    "nice"    girl    would 
have  such  mean  white 
skin,     such     luminous 
dark  eyes,  such  a  twi- 
light    of     dark     hair. 
The     boys     flocked 
around  her  .  .  .  really, 
it  wasn't  decent. 

Georgia    Paine 
alone     had     stuck    to 
Nicole.    She  had  given 
up     other     friends, 
given     up     being    in- 
cluded   in    the    "set" 
for  the  sake  of  Nora 
Barth.       Her    friend- 
ship had  been  wholly 
disinterested,  even 
sacrificial.      It    would 
seem,  now,  that  Nora 
Barth    had    not    been 
without  her  apprecia- 
tion.     She   shared  all 
of    her    stardom    that 
was    sharable    with 
Georgia.      The    fruits 
thereof   fell   ripely 
into   Georgia's  hands. 
Georgia  felt  trium- 
phant, as  tho  she  had  been  per- 
sonally   responsible    for    Nora. 
She   had  been   wont  to   say  to 
some  of  the  sneering  girls  back 
in    Highway,    "All    right,    you 
wait  and  see  .    .    .   Nora  Barth 
is  going  to  be   Someone — then 
you'll  all  be  sorry." 

Well,  they  were  all  sorry,  if 
that  was  any  satisfaction,  which  it  was.  They  were  very 
sorry.  Not  one  of  them  but  what  would  have  given  more 
than  a  good  deal  to  be  invited  to  Nicole's  apartment,  to 
be  seen  about  with  Nicole.  Not  one  of  them  ever  was. 
It  would  seem,  too,  that  Nora  Barth  was  not  without  her 
vindictiveness.     She  didn't  forget. 

Georgia  looked  at  her,  reminiscently.  She  could  still 
see  the  dark,  silent,  lovely  thing  Nora  Barth  had  been. 
She  remembered  her  passionate  devotion  to  her  frail, 
faded  mother  and  her  mother's  adoration  of  her.  "Mama, 
please  let  me  do  the  dishes  for  you  tonight  .  .  .  just  once." 
"Darling,  1  wont  let  you  put  your  lovely  hands  in  soap- 
suds. I'll  spare  you  that  sort  of  thing,  at  any  rate."  "But 
Mama,  1  like  to  wash  dishes.  I  like  to  sweep  and  bake  and 
sew,  I  wish  you'd  let  me  help."  It  had  been  like  that, 
always.    Silly,  hut  so. 

The  day  Nora  Barth  went  to  the  studio  in  New  Jersey. 
"I'm  not  good  for  anything  else.  Georgia.  I  cant  do  any- 
thing real.  I  wish  that  I  could.  Mama  has  made  my 
beauty  all  there  is  of  me  .  .  .  it's  because  she  loves  me,  of 
course.  ..."  Georgia  remembered  how  wistfully  Nora 
(  Continued  on  page  105) 


ore,"  said  Nicole,  "and 
thrilled.  But  I've  never 
.    there's   a    difference" 


^':h,. 


They    called   Her    Carol, 

because    her    mother    had 

been      reading     "The     Birds' 

Christmas    Carol,"    and    her    own 

little    Christmas    baby    seemed    so    like 

the    Christmas    baby    in    the    book    that    no 

other  name  really  belonged  to  her 


If     you're     in     a      state 
where     you     think     Christ- 
mas   is    a    nuisance    .    .    .    and 
you    know    that    all    it    will    mean 
is    days    of    difficult    shopping    .    .    . 
and  eventually  gifts  you  would  never 
have  chosen  in  a  hundred  years,  then 
read    this    story    ...    by   all    means 


A   CHRISTMAS   CAROL 

By  Elizabeth  Benneche  Peterson 


YOU  just  know  Carol  Dempster  was  born  in  De- 
cember.    I  wish  I  could  make  the  twenty-fifth  her 
birthday,  but  it  wasn't  and  I  cant.   It  was  the  ninth. 
But  that  was  near  enough  to  Christmas  clay  to 
keep  the  family  in  suspense — those  four  elder  brothers 
and  sisters  and  the  mother  and  father,  who  all  wanted  a 
Christmas  baby  so  badly. 


_ 


She  came  just  at  the  time  when  mysterious  bundles 
were  being  met  at  the  door  by-  the  grown-ups  and  carried 
up-stairs  to  some  secret  place  for  safe-keeping.  When 
the  children  were  writing  long  letters  +o  Santa  Claus  and 
telling  him  they  wanted  more  than  anything  else  a  real, 
live  baby,  and  when  boxes  of  holly  and  mistletoe  were 
(Continued  on  page  96) 

27 


£ 


Movie    Husbands 


Innocent  Husband  ha: 
earned  what  it  is 
about.  His  chief  penchant  is  for 
becoming  involved  with  wicked 
vamps  .  .  .  and  it  is  never  his 
fault.  They  always  misunder- 
stand   him 


There  is  the  Romantic  Young  Hus- 
band. He  is  always  seen  adoring  his 
wife  and  hovering  over  her  solicitously 
.  .  .  strangely  silent  while  she  inno- 
cently   gets    flirtatious   with   noted    roues 


The  wife  of  the  Philandering 
Husband  has  a  difficult  time 
of  it.  She  doesn't  know  how 
Anita  Loos  gets  that  way, 
saying  that  gentlemen  prefer 
blondes.  Blondes  and  bru- 
nettes are  all  the  same  to  her 
husband,  who  forever  neg- 
lects his  own  true  wife  for 
their    charms 


Drawings 

by  ' 

Eld  on  Kelley 
from  a  Suggestion 

by 
B.  F.  Wilson 


The   Brute    Husband.       After   years   of   hoping 

that    he    will     mend     his    ways    or    break    his 

right   arm,    the   little   woman    is   always   forced 

to    flee    with    another 


The  Strong  Silent  Husband.  Ah  .  .  .  he  is 
married  to  a  difficult  woman  with  a  sharp 
tongue.  But  he  can  bear  it.  Because  locked 
in  his  manly  bosom  is  his  great  love  for  a  child- 
hood   sweetheart 


The  Dear  Old  Darby  Husband  who 
has  never  strayed  from  his  silver- 
haired  Joan.  Nor  has  there  ever 
been     a     cross    word     between     them 


The  Meal  Ticket  Hubby  has  a  hard  time  of 
it.  He  is  nothing  more  than  an  animated 
check-book.  His  wife  and  daughter  neglect 
him  for  social  affairs  until  the  first  of  the 
month.      Then   he   sees   a    great    deal    of   them 


29 

PAG 


f 


Florence   Vidor   is   not    reviving   the    eighteenth-century    custom  of  society  ladies  of  receiving  morning  callers  while  in 

bed.      This   is   simply   an   impromptu   conference   between   the  director,  Mai  St.   Clair,  Miss  Vidor  and  Monta  Bell,  the 

author    (another   famous    director)    during   the    filming   of    "The  Popular  Sin" 

We  Interview  Florence  Vidor 


THE  CAST 
A  Dark,  Delightful  Lady.. 

We 


Florence  Vidor 
j  Gladys  Hall  and 

\  Adcle  Whitcly  Fletcher 
The  Gentleman  with  a  Cane. . .  .Mai  St.  Clair 
Others:  Chauffeurs,  Maids,  Stage- 
hands, Costume  Designers,  Mem- 
bers of  the  Company  of  "The 
Popular  Sin,"  and  the  Usual 
Lookers-On.  ' 

Scene  I. — Somewhere  on  Long 
[sland.  Between  ECew  Gardens  and 
Astoria. 

The  interior  of  a  conveyance 
which  the  American  suhurhiam 
would  immediately  recognize  as  a 
station  taxi  service,  neither  better 
nor  worse.  Seated  side  by  side  on 
the  rear  seat,  holding  perilously 
to  the  stuffing  that  emerges  from 
the  upholstery  as  the  car  takes  or  i 

is  taken  by  the  wayside  humps 
an-  Gladys  Hall  and  Adele 
Whitely  Fletcher. 

The     time     is     approximately 
eleven-thirty   of   a  late   Autumn  y     I 

morning     or  n  should  be  eleven-  ' 


^P 


i 


"i  believe  in  convention,"  said  Florence  Vidor.  "Aftei 
all,  without  the  conventions  life  would  be  impossible 
People  are  too  much  like  links  in  a  chain  .  .  .  too  inter 
dependent.  And  if  no  one  abided  by  the  laws  of  society 
made    in    self-defense,    life    would    soon    be    impossible" 

30 

GE 


thirty  even  if  it  isn't.  Anyway,  it's  Autumn. 
Adele  Whitely  Fletcher  (austerely  elegant 
in  black)  :  I  couldn't  get  anyone  to  take  us  over 
for  less  than  four  dollars,  I  tell  you.  I  called  five 
places. 

Gladys     Hall     (complacently)  :     I've     often 
made  this  trip  for  three-fifty.     I'm  sure  of  it. 
A.  W.  F.  (bitterly):    Before  prohibition.    .    .   . 
I  mean  before  the  war. 
G.  H.    (still  cloaked  in  complacency )  :     No, 
I'm   talking   about   post-bellum   matter.      / 
should  have  arranged  for  the  car. 
A.   W.   F.    (withcringly)  :     We're   late 
enough  as  it  is. 

(..  II.:  Well,  /  didn't  keep  you 
waiting  long.  It  isn't  my  fault  that  I 
cant  afford  one  of  the  new  seasonable 
frocks  and  have  to  take  hems  up  and 
let  out  seams  before  I  can  go  any- 
where. If  editors  paid  writers  fair 
prices.  .  .  . 
,  A.  W.  F. :     I  have  a  feeling  you 

have  said  something  of  the  kind  be- 
fore. Your  ingenuity  in  placing  the 
burden  of  things  that  go  wrong  on 
my  shoulders  is  commendable.  May 
I  suggest  that  if  the  same  fiendish 
cleverness  was  applied  to  your  work  you  might 
not  have  to  cavil  at  a  four-dollar  fare? 

G.  N.  (petulantly  rubbing  imaginary  spots 
from  her  frock  and  arranging  her  beads  to  the 
best  possible  advantage)  :  Does  this  dress  look 
all  right  or  is  it  just  silly?  I  wouldn't  care 
so  much  if  it  were  anyone  but  Florence  Vidor 
.    .    .    she  always  seems  so  right.    .    .    . 


An  Interview  Playlet  in  One  Act  and  Five  Scenes 


A.  W.  F. :  Silly?  I  seem  to  recall  how  smart  you 
thought  it  last  season  when    .    .    . 

G.  H.   (morosely):     Last  season!     That's  just  IT! 

A.  W.  F. :  Anyway,  it  is  Florence  Vidor  who  is  being 
interviewed  today,  you  know,  not  you. 

G.  H. :  Yes,  and  it's  YOU  who  made  the  appointment. 
You're  not  as  efficient  as  you  were  in  the  Maytime  of  your 
life,  my  dear  frend.  Time  was  when  even  you  would 
have  eschewed  a  studio  luncheon  even  if  the  magazine 
had  had  to  go  to  press  with  several  blanks.  It's  hardly 
a  treat,  you  know.  Pork  and  beans  ...  or  a  cheese 
sandwich,  very  storey  .  .  .  and  coffee  m  thick  cups 
and    .   .    . 

A.  W.  F. :  Miss  Vidor  was  busy  today.  And  there  was 
no  help  for  it.  And  really  you  know,  my  dear  Miss  Hall, 
you're  being  paid  for  this.  Paid  well,  too,  if  I  may 
presume  to  say.    .   .   . 

G.  H. :  You  may  presume  all  right.  Much  good  it  will 
do  you — or  me.    I  must  say.   .   .   . 

A.  W.  F.  (counting  out  the  remainder  of  the  fare  in 
dimes,  nickels  and  quarters  after  seizing  on  the  only  paper 
money  in  her  possession — singles)  :  I  wouldn't,  Gladys — 
whatever  it  is. 

G.  H.  (hopefully)  :  Do  you  want  my  share 
now  ? 

A.  W.  F.  {with  an  uplifted  eyebrow)  : 
Certainly.    Do  you  think  I  am  a  philantrophist  ? 

(TJic  driver  is  paid  and  the  interviewers 
disappear  into  the  white  marble  portico  of  the 
building  where  they  are  last  seen  arguing  and 
protesting  with  that  autocrat  of  autocrats,  the 
doorkeeper,  as  the  curtain  mercifully  descends 
upon  this  raffish  scene.) 

Scene  II. — The  suite  occupied  by  Florence 
Vidor    during    her    sojourn    in   the    Eastern 
studios.     In    the    dressing-room    gay    rose 
chintz  hangs  at  the  window.     There  is  a 
vanity    dressing-table    of    pale    green 
enamel.     There    is    a    rose   chintz 
slipper  chair.  Gorgeous  garments 
hang     in     the     charmingly 
crowded 
wardrobe. 

A  maid  is 
putting  things 
to  rights. 

In  the  ad- 
joining re- 
ception -  room 
the  same  rose 
chintz  serves 
as  decoration 
at  the  win- 
dows, on  the 
cushions  of 
the  deep 
wicker  chairs 
and  on  the 
chaise  longue. 

Drawn  up 
by  the  chaise 
longue  is  a 
table  set  for 
luncheon.  A 
cozy  table, 
lamask  -  cov- 
ered. 


Miss  Vidor,  dark  and  slender,  in  a  negligee  of  soft 
satin  quilted  with  rose  chiffon  and  designed  in  swirls  of 
rarely  beautiful  colors  is  on  the  chaise  longue  reading  "The 
Divine  Lady,"  By  E.  Harrington.  An  appropriate  selec- 
tion. 

Outside  the  door  two  voices  are  heard,  raised  in  protest. 
First  Voice:    We're  frightfully  late  and  no  wonder.     I 
knew  that  was  the  wrong  way. 

Second  Voice:  You  know  it  now,  you  mean.  So  do 
I.     What  a  place!     Are  you  sure  this  is  the  door? 

First  Voice  (wearily)  :  I'd  hate  to  think  how  long  it 
is  since  I've  been  sure  of  anything.    .    .    . 

Second  Voice  :  Well,  are  you  going  to  stand  here 
wallowing  in  self-pity  or  are  you  going  about  the  job 
you're  paid  for  too,  or  you'd  know  why? 

(This  lias  all  been  executed  in  sotto  voce,  or  whatever 
you  call  it.  It  is  to  be  fervently  hoped  that  the  divine 
ladies  have  been  sufficiently  engrossed,  one  zvith  the  other, 
to  be  oblivious. 

(At  the  sound  of  a  knock  Miss  Vidor  rises,  opens  the 
door  and  reveals  to  her  probably  appreciative  eyes  the  two 
interviewers,  such  as  they  are.) 

Florence  Vidor  (in  her  curious,  lozv  rich  voice)  :  How 
do  you  do,  Miss  Fletcher  .  .  .  Miss 
Hall   ... 

G.  H.  (relieved)  :  We  hoped  this  was  the 
right  suite.  Miss  Fletcher  isn't  sure  of  any- 
thing, you  see,  so  how  could  she  be  sure  of 
this? 

A.  W.  F.  (suavely — on  the  surface)  :  We 
were  afraid  we  might  have  tumbled  into  the 
mens'  corridor  by  mistake.  At  least,  /  was. 
Miss  Hall  might  have  enjoyed  it.  You  know 
how  some  people  are  (giggling  socially). 

Florence    Vidor    (with   a 

j  special     sort     of     gayety  —  a 

V^iL,  genuine     gayety     that  '  seems, 

'•*'  nevertheless,  to  be  overlaid  on 

a  special  sort  of  sadness)  :     I 

A  know,   that's   the    way    I    am. 

^^_  (Hastily)Not   sure  of  things, 

I    mean.      Especially    studios. 

At  home,  they  are  very  simple 

affairs.    One  story,  you  know, 

but  here  I  lose  myself  several 

times  a   day   traveling  to   and 

from  the  stages. 

But  do  sit  down.  We'll 
have  luncheon  served  im- 
mediately. 

(It  should  be  noted  that  the 

orbs   of   both    G.    H.   and   A. 

j        W.  F.  brighten   illuminatingly 


Michael    Arlen    might    have    writ- 
ten    about     Florence     Vidor,     ex- 
cept   for    the    fact    that    he    paints 
his     characters     more 
flamboyantly.  She 

has  a  sophisticated 
sparkle.  And  there 
is  something  slightly 
Continental  about 
her  in  spite  of  her 
American  back- 
ground 


31 

PAS 


f 


T. 


at  sight  of  the  tabic  laid  in  the 
dressing-room  suite.  It  prom- 
ises something  better  than  the 
gloomy  prognostications  that 
took  place  in  the  taxi.) 

A.  W.  F.  ( trying  to  sound 
casually  affable  rather  than 
gastronomic  ally  relieved)  : 
How  pleasant  to  have  lunch- 
a  >n  served  up  here  ! 

Florence  Yidor:  I  cannot 
promise  it  will  be  pleasant. 
Ordering  a  luncheon  in  the 
studio  presents  difficulties.  I've 
spent  most  of  the  morning 
with  the  menu  trying  to  arrive 
at  some  decision  about  the 
general  preference  for  boiled 
fish  versus  corned  beef  and 
cabbage. 

(  Miss  i'idor's  personal  maid 
now  serves  the  luncheon. 
Chilled  grapefruit.  Broiled 
fish.  Green  peas.  French-fried 
potatoes.  Lettuce  and  tomato 
salad.  Caramel  custard.  Coffee, 
Cigarets.) 

G.  H.  (licrsclf  again  after 
the  entree  is  safely  before 
Jier  >  :  Is  your  little  girl  with 
you.  Miss  Yidor?  Suzanne? 

Florence  Yidor  :    She  will 
be     tomorrow.     I     was     very 
brave     about    leaving    her    at 
home.      I    thought    she    would 
be    better    off    with    her    own 
friends  and  familiar  surround- 
ings.     But   I've  lost  my  nerve,   I   think.      I   miss   her   so 
terribly.      I've    really    been    in    a    most    depressed    state, 
weeping  at  unaccountable  times.     I  thought  I  would  feel 
.-  inch  better  if  I  sent  for  Suzanne — and  I  did. 

A.  W.  F. :  Does  Suzanne  play  with  the  children  of 
motion  picture  people  for  the  most  part  ? 

Florence  Yidor:  She  and  Jack  Holt's  little  boy  have 
splendid  times  together.  But  her  other  friends  are  the 
children  of  non-professionals.     She  has  a  little  playmate 


"It  is  a  great  pity  that  the  incomes  of  motion  picture 
people  are  made  public  property  .  .  .  published 
.  .  .  exaggerated  often  enough.  The  result  is  con- 
stant appeals  from  strangers  .  .  .  from  very  distant 
or  unheard-of  relatives.  It  would  be  impossible  to 
grant  half  of  them  and   have   anything  left" 


next  door  with  whom  she  is 
especially  intimate.  They  have 
played  together  since  they 
were  wee  babies  and  they  are 
still  together  most  of  their 
waking  hours.  They  are  an 
adorable  combination.  The 
little  playmate  has  the  qualities 
Suzanne  lacks  and  vice  versa. 
And  then  at  school,  too.  she  is 
away  from  theatrical  influence. 
G.  H. :  Would  you  want 
Suzanne  to  go  on  the  screen 
when  she  grows  up? 

Florence  Vidor:  If  she 
wants  to.  If  she  shows  any 
marked  ability  or  any  strong 
desire.  But  somehow  I  dont 
think  she  will.  She  doesn't 
seem  to  have  the  slightest 
interest  in  theatricals.  She 
never  plays  theater  as  most 
children  do.  And  every  time 
I  take  her  to  see  me  on  the 
screen  she  cries.  She  hates 
seeing  me.  'Barbara  Frietchie' 
was  the  only  picture  of  mine 
she  really  liked. 

A.  W.  F. :  Why  do  you  sup- 
pose she  cries?  Jealousy? 
The  sense  of  possession  being 
infringed  upon. 

Florence  Vidor  :  Possibly. 
She  sees  men  making  love  to 
me  and  she  doesn't  like  that. 
It  somehow  offends  her 
tho  she  may  not  know 
why,  probably  doesn't.  And  then  I  think,  too,  that 
Suzanne  feels  badly  because  I  work.  I  frequently  im- 
press upon  her  the  fact  that  I  do  work.  I  do  it  for  several 
reasons.  One  reason  is  so  that  she  will  not  have  an  in- 
flated idea  of  money.  One  day,  some  months  ago,  sbe 
came  to  me  and  asked  me  if  we  were  not  very  rich.  Some 
child  at  school  had  told  her  we  were — that  we  must  be 
because  I  was  in  pictures  and  all  picture  people  were  rich. 
(Continued  on  page  117) 


"It  used  to  be," 
said  Florence 
Vidor,  "that  a 
woman  not  ac- 
tually ugly  and 
deformed  could 
not  or  should 
not  be  able  to 
add  two  and 
two.  But  that  is 
so  changed 
now.  Rarely 
beautiful 
women  are 
versed  in  high 
finance" 


I 


"The  Popular 
Sin"  is  a  storyj 
of  divorce.  It  is 
the  first  picture 
Florence  Vidor  j 
has  made  in  the 
East  .  .  .  and 
here  she  is  seen 
with  CliveJ 
Brook,  one  of 
the  gentlemen 
in    the    case 


4  HkLikmk 


,,.., :,._.. ..^liiLL„_, 


Melbourne  Spurr 


Lila  and   Her  Two  Jimmies 

Lila     Lee    Kirkwood     says    she    has     captured    the     delightful     spirit     of 

Christmas  again.      Thru  Jimmie  Junior,   of  course.      He's  old  enough  to 

know   about    Santa    Claus    and    such    things    now    .      .      .     and    Lila    says 

Jimmie  Senior  is  almost  as  excited  as  his  son  and  heir 


33 

PAG 


t 


I 


Aileen  Pringle  wears  black  velvet  and  crepe  with  scarf  sleeve 

Bcbe  Daniels"   pajamas  are   of   chiffon,   satin   and   velvet   in   black  and   white 

(These  costumes  are  not  for  sale) 


/x 


"OPEN  LETTER  TO  A   COUNTRY 
COUSIN" 

New  York. 

PATSY  DEAR: 
I  scarcely  dare  tell  you  that  shortly 
after  you  left   for  your  home   I   went 
up    to    the     Cosmopolitan    Studio    to    see 
Gloria  Swan  son. 

You  never  will  survive  having  missed 
that,  I  suppose,  but  I  simply  could  not 
spare  the  time  when  you  were  here. 

How  I  wish  you  could  have  met  her, 
for  she  is  everything  that  is  dear  and  lov- 
able. Sounds  odd,  doesn't  it,  in  view  of 
the  tremendous  publicity  that  has  been 
given  her  "regal  dignity,"  "temperament," 
et  SI.;  but  Heaven  help  anyone  who  dares 
knock  the  little  Marquise  in  my  presence, 
it  wont  be  exactly  safe  to  do  ! 

I  shall  have  far  more  to  tell  you  next 
month,  for  I  am  going  up  there  again  in 


By  Grace  Corson 

a  week  or  two  to  do  her  latest  wardrobe, 
which  was  still  in  the  formative  period  at 
the  time. 

There  have  been  many  openings  this 
month,  but  "The  Sorrows  of  Satan"  was 
most  interesting  to  me  because  I  had  seen 
much  of  it  in  the  making. 

D.  W.  Griffith,  who  directed  it,  was,  as 
usual,  in  hiding  far  up  in  a  balcony,  but 
Alma  Rubens  and  Ricardo  Cortez,  Betty 
Blythe,  Carol  Dempster  and  Lois  Moran 
and  Estelle  Taylor  with,  of  course,  Jack 
(Continued    on    page    100) 


i  a 


Here     are     pins 
of    brilliants, 
with     the     hats 
of     black,      red 
or    green.     The 
arge   head   two 
inches     high     is 
$5.     The    smal 
head    one    inch 
high    is    $2.95. 
The      feather 
is      $2.50.         The     baroque      pearl 
klace    is    fifty-two    inches    of    beauti- 
ful  quality,    $3.95 


The  heavy  ribbed  silk  "Darbrook"  scarf 
is  for  sports.  The  scarf  sketched  was  in 
navy,  red,  grey  and  yellow.  But  there 
are  many  other  color  combinations  ob- 
tainable. It  is  about  thirty-three  inches 
by     thirty-four     inches     and     costs     $5.95 


An  ostrich  flower  for  shoulder  or  cor- 
sage in  all  the  evening  shades  may  be 
had  for  $1.75.  It  measures  twelve 
inches  across.  Then  there  are  chiffon 
flowers,  measuring  six  inches  across,  for 
$2.00 


'r> 


All  articles  on  this  pa;e  lrom  Arnold  Constable  &  Co. 


Who  would  dream  that  this  smart  eve- 
ning wrap  is  but  a  square  of  metal  bro- 
cade, cleverly  held  to  the  figure?  It 
may  be  had  in  a  multitude  of  colors. 
Without  ostrich,  $25.  The  boa,  twenty- 
five  inches  long,   costs   $5.95 


Full  details  about  articles  sketched  and  Shopping  Service  Instructions  on  Page 


"5p 

PAfili 


Little 
looks. 


"Little  words, 
touches.     Little 
The  foreign  lover  uses 
them  all." 


"Americans  are  so  afraid  they  will  'make 
a  fool'  of  themselves.  They  make  a  declara- 
tion of  affection  to  you  once  and  expect 
that  to   last." 

Below  are  Lewis  Stone  and  Alice  Terry  in 
"The   Prisoner   of   Zenda." 


"As  a  lover,  Rudy  al- 
ways underacted,  suggest- 
ing more  than  he  gave — 
suggesting  passion  under 
restraint.  That,  I  think, 
was  the  secret  of  his  ap- 
peal." 

The  scene  above  shows 
Miss  Terry  with  Mr. 
Valentino  in  "The  Four 
Horsemen  of  the  Apoca- 
lypse." 


"Wait  until  you  see 
Petrovich  in  The  Ma- 
gician.' He  suggests 
great  forests,  the  plains 
and  the  sea.  He  is  a 
lover  among  elemental 
things.  Yet  he  is  not 
crude." 

The  picture  on  the 
right  shows  Miss  Terry 
with  Petrovich  in  "The 
Magician." 


s 


w 


ome  women 


H 


ave 


By   DWINELLE 


Alice  Terry  Compares  the 
Men  of  Six  Nations  in  the 
Love  Scenes  She  Has 
Played  With  Them  in 
Her  Various  Pictures 


i 


C'E  with  all  the  trimmings !     Romance,  fire,  poetry, 
passion,  ecstasy  and  abandon!     Love  that  is  just 
love — love  without  prosaic  conditions  or  practical 
angles.     Love  without  the  thought  of  grocery  bills 
and  leaky  roofs — love,  in  short,  that  doesn't  have  to  be 
subjected  to  the  acid  test  of  marriage. 

Love  for  I, overs!  The  kind  that  all  husbands  have  for- 
gotten about,  and  that  most  of  them  never  knew.  That's 
the  sort  of  love  that  the  Great  Screen  Lovers  give  us,  and 
that  nine  million  and  ninety-nine  women  feast  upon  in 
every  theater  in  the  country — while  the  dishes  stand 
slacked  in  the  sink  ! 

For  every  woman,  no  matter  bow  prosaic,  how  placid 
her  disposition  may  be,  likes  to  imagine  herself  the  heroine 
of  a  great  romance,  the  object  of  an  irresistible  love. 


"The  Anglo-Saxon  is 
ashamed  of  his  emo- 
tions. But  he  is  much 
more  reliable  when  it 
comes  to  paying  the 
bills*- 


"Conway  Tearle  is  really  English  inside. 
Good  and  proper,  but  not  especially  excit- 
ing, compared  to  the  Latins.  It  is  difficult 
for  a  woman  to  make  a  love  scene  out  of 
faithfulness    and    devotion." 

It  was  in  "The  Great  Divide"  that  Miss 
Terry  played   with   Conway   Tearle. 


"Ramon  Novarro  is  the 
greatest  one  I  know.  He 
has  romance  and  charm. 
And  being  a  Mexican, 
there  is  something  differ- 
ent about  him  ...  a  strain 
of  the  Aztec  Indians  which 
lends    mystery." 

Ramon  Novarro  and 
Alice  Terry  will  be  seen 
on  the  screen  next  in 
"The   Great   Galeoto." 


"Tony  Moreno  is 
forceful  and  masterful 
.  all  that  sort  of 
thing.  He  takes  pos- 
session of  a  woman  and 
you  couldn't  resist  him 
.  .  .  is  that  being  a 
cave-man?" 

This  scene  of  Miss 
Terry  and  Mr.  Moreno 
is  from  "Mare  Nos- 
trum." 


All  the  Luck 


Benthall 


Happily  and  safely  married  as  she  may  be  (and  she 
usually  is),  there  is  always  the  thought  if  "other  eyes  and 
other  lips  their  tale  of  love  could  tell" — it  would  be,  well, 
interesting — and  that's  where  it  ends  for  most  of  us 

So  we  buy  our  movie  tickets  and  love  and  are  loved, 
vicariously. 

But  the  fair  and  lovely  Alice  Terry  knows  more  about 
it,  than  that.  She  is  safely  and  happily  married,  too,  but 
in  addition,  she  knows  more  about  the  world's  Great 
Lovers  and  their  way  of  "telling  their  hearts"  than  any 
other  one  woman.     Lucky  Alice ! 

Valentino,  Novarro,  Moreno,  Tearle,  Stone,  Petrovich ! 
All  have  loved  her — and  she  doesn't  turn  a  hair !  Now  I 
ask  you,  is  that  any  way  to  treat  a  gift  of  the  gods? 

Love  of  all  shadings  and  varieties — love  of  all  nations — 


nice,  restrained  English  love,  practical  American  affection, 
tempestuous  Spanish  passion,  and  violent  Italian  outbursts 
— they  are  all  part  of  the  day's  work,  to  her. 

There  was  Valentino.  Do  you  remember  Alice  and 
Valentino  in  "The  Four  Horsemen"  ?  No  one  had  ever 
heard  of  him  before  that.  When  I  talked  to  her  about  him, 
he  had' been  dead  just  a  little  while.  The  world  acclaimed 
him  great  and  was  still  ringing  with  the  extravagant  paeans 
of  praise,  but  in  the  face  of  it  all,  Alice  was  quite  hike 
warm,  calmly  analytical.  Rudy  was  a  great  lover,  but 
she  has  known  greater  ones,  she  thinks  Novarro  is — but 
that  is  getting  ahead  of  the  story. 

"When  they  told  me,  Valentino  was  to  play  opposite  me 
in  'The  Four  Horsemen,'  I  knew  him  only  as  a  dancing 
man — you  know  the  sort — young,  charming,  graceful. 

"Well,   that    was   all    right,   Julio    was   that   type   and 
Valentino  played  the  part  beautifully.     He  was  easy  to 
(Continued  on  page  90) 

37 
PAG 


I 


This  is  Helen  Mundy 
as  she  looks  today. 
Paramount  considers 
her  a  "find"  and  she 
has  been  placed  under 
a  long-term  contract. 
Talk  about  your  Cin- 
derella  stories  I 


Karl  Brown  went  into  the  Tennessee  mountains 
selected  natives  to  play  every  role  in  "Stark  Love." 
Helen  Mundy,  sixteen  years  old,  was  chosen  for  the 
leading  lady.  Mr.  Brown  sensed  something  dramatic 
about  her.  But  we  doubt  if  he  knew  the  beauty 
that  lurked  behind  her  unkempt  skin  and  hair  and  her 

coarse    garments. 
Which  only  goes  to  prove  you  never  can  tell.    There's 
a  far  hail  between  the  two  pictures  on  this  page    .     .     . 
but    they    are    the    same    girl    and    were    taken    only    a 

few  weeks  apart 


/ 


You    Never    Can    Tell 


38 

>0£ 


Crazy 
Quilt 


By 

Adele  Ormiston 

Illustrations    by   Henry   Pilgrim 

(See  Page  78  for  Synopsis 
of  Preceding  Chapters) 


JUDITH  was  never  again  to  sur- 
prise Harvey  by  an  unexpected 
return.  Sometimes  she  fancied 
what  she  might  have  seen  if  she 
had  entered  her  apartment  a  few 
minutes  sooner.  And  always  such 
fancies  brought  with  them  the  strange  illness  of 
repressed  fear. 

When  she  finished  her  scenes  on  the  Moun- 
tain Stream  location  two  days  before  the  rest,  of 
the  company,  she  had  returned  to  New  York 
without  wiring  Harvey.  She  had  taken  an  early 
morning  train  and  subjected  herself  to  the 
tedious  day  journey  in  order  to  be  home  twelve 
hours  earlier. 

It  was  a  Thursday  afternoon,  late,  when  she 
arrived  at  Grand  Central  Station.  She  com- 
puted the  weeks  she  had  been  away  on  her 
fingers.  It  was  Lillian's  day  out.  Harvey  and 
she  would  be  alone.. 

A  surge  of  dear  impatience  to  be  with  him 
again.  She  hoped  he  would  be  at  home.  For  the 
things  that  Sonia  had  told  her  and  which  she 
had  accepted  as  the  truth  made  her  desirous  of 
holding  him  safely  in  her  arms. 

He  did  prefer  her  to  all  the  others.  Sonia  had 
said  that. 

The    ride    up-town    seemed    endless.      Judith 
thought  the  traffic  signals  would  never  shift 
from   red  to   the  green   light  that  permitted 
progress. 

"Love,"    she   said,    "I    am    so    happy    to   be   back 
home  .  .  .  with  you.      Are  you  a  little  glad,  too?" 


¥ 


Those  Who  Did  Not 
Know  Judith  Tower,  the 
Motion  Picture  Star, 
Envied  Her. 

But  It  Was  Only  on 
the  Surface  That  Her 
Life  Offered  AH  That 
Could  Be  Desired. 


$200    in    Prizes    Is     Being    Offered    for    the     Best     Opinions 

See  Page   80   for 


i 


Once  upon  a  time  Judith  would  have  felt  no  under- 
standing for  the  woman  who  continued  to  love  her  hus- 
band after  she  discovered  that  he  was  less  than  the  eidolon 
that  she  had  created  in  his  image.  She  would  have  mar- 
veled over  the  wife  who  accepted  her  husband's  penchant 
for  philandering  as  something  that  she  must  help  him 
overcome  .  .  .  rather  than  something  which  should  turn 
her  from  him. 

Funny  what  marriage  had  done  to  her. 

Her  impatience  increased  as  she  approached  the  house. 
When  the  cab  stopped  at  the  door  she  was  sitting  on  the 
edge  of  her  seat  with  the  exact  meter  charge  plus  a  tip  in 
her  hand. 

The  doorman  carried  in  her  hand  luggage.  The  ele- 
vator boy  greeted  her  and  carried  her  up-stairs  in  the  little 
gilded  cage. 

She  let  herself  in  with  her  latch-key. 

Xo  one  was  home. 

But  in  the  living-room  there  was  evidence  of  a  recent 
occupation.  The  coffee  table  was 
drawn  up  to  the  lounge.  There 
were  two  empty  cocktail  glasses.  A 
silver  shaker  caught  the  lamplight. 
There  was  a  tray  of  sandwiches. 
And  a  cigaret  smoldered  in  one  of 
the  shallow  cloisonne  trays.  Judith 
dug  the  burning  end  into  a  green 
dragon  that  curled  in  the  enameled 
Chinese  pattern.  A  sandalwood 
fragrance  assailed  her.  She  sniffed 
at  the  burned  end.  It  was  heavily 
scented. 

While  she  bathed  and  changed 
from  her  traveling  suit  into  a  dull 
crepe  afternoon  dress,  she  won- 
dered about  the  cigaret  and  its 
smoker.  On  an  impulse  she  ran 
downstairs  to  see  whether  any  lip 
rouge  stained  the  crushed  butt.  It 
was  impossible  to  determine  this. 

"Some  men  affect  scented  ciga- 
rets,"  she  thought,  "and  even  if  it 
was  smoked  by  a  woman,  what  of 
it?  Surely  Harvey  is  entitled  to 
have  tea  with  a  woman.  It  might 
have  been  business.  If  there  was 
anything  wrong  between  them,  he 
would  hardly  bring  her  to  the  apart- 

Yet  in  spite  of  this  self-reassur- 
ance. Judith  continued  to  doubt. 

Scarcely  any  perfume  was  left  in 
the    engraved    glass    bottle    on    her 
dressing-table.      And    she    remem- 
bered that  die  had  filled  this  bottle 
just   before  leaving.     Could   Lillian 
ppropriated  it  ? 
Judith  knew  that  Lillian  was  not 
to   trouble   herself    with   the 
vanities  of  thi-,  world.    She  had  Re- 
ligion.     It    amounted    almost    to    a 
with    h<-r.       She    had    de- 
nounced Judith's  extravagant  pur- 
of    perfumes,    jewelry    and 
imilar   things   a-   the   devil's 
wn  accoutermei 
40 


Y\ 'ho  then  had  made  themselves  at  home  at  her  dressing- 
table  ?  Whose  image  had  been  reflected  in  the  mirror  that 
now  reflected  hers?  Who  had  appropriated  the  fragrance 
of  her  Amber  antique? 

On  the  floor  was  a  tiny  piece  of  linen,  lace-edged. 
Judith  picked  it  up.  It  had  been  scented  with  her  per- 
fume. 

Her  first  instinct  was  to  keep  the  handkerchief  and 
confront  Harvey  with  it.  But  she  did  not  do  this.  She 
dropped  the  handkerchief  in  the  scrap-basket  and  impul- 
sively wiped  her  finger-tips. 

Then  she  unpacked  her  bag  and  was  beginning  to  put 
away  the  things,  laying  aside  the  accessories  she  would 
need  at  the  studios,  when  she  heard  Harvey  come  in. 

She  paused  a  second.  She  wanted  to  greet  him  natu- 
rally, and  she  steadied  her  voice  against  the  nervous  break 
which  threatened  it. 

"Mon  amie,"  shouted  Harvey  and  he  bounded  up  the 
little  stairway  three  stairs  at  a  time.     "When  did  you  get 


Judith  had   rather  expected  Felice  to  avoid  her.      But,   on  the  contrary,   Felice 


on    Why    "Crazy    Quilt"    Is    a    Fitting    Title    for    This    Story. 
Contest  Details 


home?     And   why  didn't   you   wire   me  to   meet  you?" 

Judith  was  like  a  little  girl  who  has  planned  a  beautiful 
surprise  that  has  gone  awry. 

"I  wanted  to  surprise  you,"  she  said,  "and  the  house 
was  empty." 

He  took  her  into  his  arms  and  covered  her  face  with 
happy  kisses. 

And  Judith,  catching  a  glimpse  of  the  discarded  hand- 
kerchief over  his  shoulder,  turned  her  eyes  away. 

"He  does  love  me,"  she  thought,  "I  am  horrid  to  sus- 
pect him.     He  will  explain." 

Whereupon  she  proceeded  to  adore  him  more  than  be- 
fore, because  she  felt  she  had  done  him  an  injustice. 

With  his  assistance,  the  trunk  which  came  up-stairs  was 
soon  unpacked  and  they  went  down  to  the  living-room  to- 
gether. He  had  said  nothing  about  his  very  recent  guest. 
It  was  as  if  he  had  completely  forgotten  about  the  tea 
things  until  they  came  upon  the  disarranged  couch  and  the 
plates  and  glasses. 


rather    made   a   point   of    stopping   in   Judith's    dressing-room 


th 


j,"  thought 
talk  more 
they  have 
And  she 
him   from 


Judith  by  this  time  was  confident  that  everything  was 
as  it  should  be.  She  felt  that  he  would  have  been  hasty 
in  offering  an  explanation  if  he  had  felt  any  sense  of 
guilt.  That  was  because  she  was  never  to  understand  how 
unimportant  philandering  was  to  Harvey. 

"Had  a  friend  in  for  tea."  he  said  now.  He  was  quite 
casual.  And  his  remark  seemed  a  little  superfluous  since 
they  were  standing  over  the  tea  things.  "Meant  to  clear 
the  things  away  when  I  got  back." 

"That  was  pleasant,"   said  Judith,  "I  must  have  just 
missed  you.    A  cigaret  was  still  burning  when  I  came  in." 
One  half  of  her  brain  was  ashamed  to  see  the  other  half 
seeking  slyly  to  implicate  him. 

"Who  was  it?"  she  asked,  "anyone  I  know?" 
"Nope.     Nope,"  said  Harvey,  "a  man  I  met  while  you 
were   gone.      He's   an   interesting    sort   of    chap.      From 
Chicago.     He  wanted  to  do  some  press  work  for  you.     I 
thought   I   had  better  talk   with   him.      You   are   getting 
enough  publicity  now.    But  you  cant  tell  about  the  future. 
And  I  thought  it  was  well  to  have 
someone  in  mind.  ..." 
"He's  lying.   He's  lyin^ 
Judith,    "People   always 
than  is   necessary   when 
something  to  cover  up." 
interrupted  him  to  save 
further  evidence  of  guilt  and  stu- 
pidity. 

"We'll  keep  his  address,"  she 
said.  "And  now  let's  order  dinner 
sent  up  from  the  restaurant." 

"If  only  it  didn't  have  to  be  like 
this,"  she  thought.  "If  only  it  could 
be  the  way  I  thought  it  was  going 
to  be."  But  it  never  occurred  to 
her  not  to  go  on. 

While  they  ate  their  dinner 
Harvey  asked  a  hundred  questions 
about  the  trip.  Had  she  been  able 
to  get  some  good  stuff  in  her  own 
scenes  ?  What  had  the  director  said 
about  her  work?  When  could  they 
see  the  rushes?  How  had  Sonia 
and  Hugh  Kendrick  got  on? 

Judith  gave  him  one  hundred  an- 
swers. And  he  did  not  seem  to  no- 
tice that  she  ate  very  little  dinner. 
It  was  almost  nine  o'clock  when 
the  waiter  came  for  the  tray  and  she 
and  Harvey  settled  down  to  their 
accounts.  Immediately  Judith  real- 
ized that  they  were  further  in  debt 
than  ever. 

She  hated  to  take  the  manage- 
ment of  her  finances  away  from 
Harvey.  But  she  felt  compelled  to 
do  this.  There  were  any  number  of 
canceled  checks  that  had  been  made 
out  to  "Cash"  and  Harvey's  recol- 
lection of  what  they  had  been  used 
for  was  very  vague. 

"We  owe  over  a  thousand  dol- 
lars," Judith  said  finally.  "That  is 
frightful." 

"It's   nothing,"    insisted   Harvey. 
(Continued  on  page  78) 

41 
PAG 


I 


"The  Wanderlust"  used  to  be 
known  as  the  "Edris"  when 
it  sailed  the  waters  of  the 
Southern  Pacific  and  was 
owned  by  the  late  Thomas  H. 
Ince.  Corinne  Griffith  pur- 
chased it  recently  and  re- 
christened  it  on  her  first 
cruise  thru  the  azure  seas  off 
the    coast    of    Mexico 


4- 


Another,  more  extensive 
cruise  is  planned  late  in 
November  when  Miss  Grif- 
fith's present  contract  ex- 
pires. She  will  take  a 
holiday  of  several  weeks 
at  this  time  and,  unless  her 
present  plans  are  changed, 
most  of  this  time  'will  be 
spent  aboard  "The  Wan- 
derlust" 


jjEgfci,    I,    ,i * 


Corinne    Commands  a  Right    Good    Crew 
When  She  Sails  on   "The  Wanderlust" 


i 


*> 


A 


■^ 


It     is    a     luxurious    affair             ^M 

On       deck       with       Miss 

eighty-five    feet              « 

1       i 

Griffith    is    her    husband, 

long,      with     a     nineteen                *| 

E 

\   k 

Walter     Morosco.         Mr. 

foot     beam,     carrying    a 

Y~.Hl 

Morosco     is     a     director 

crew     of     four     and     ac- 

lt& 

for       Warner       Brothers 

commodating     ten     pas- 

^■~,  — ' 

*■& 

and     one    of    the    young 

sengers.       It   was  built   in 

n  a 

men      who      is      being 

New   York    in    1909   and 

x    4^. 

jfi 

watched    with    great    in- 

brought     to       California 

>    flfeh. 

MA  m 

terest   in   motion  picture 

under    its    own    sails    by 

(fl^i 

mm  M 

circles.        His     future     is 

way   of   Cape   Horn 

*'^^^M 

Hi 

considered   brilliant 

^wr~ 

P^l^* 

-./^ 

1 42 

Jfl 

1A££ 

All  Aboard  the  Limerick  Liner 

See  Prize  Winning  Limericks  on  Page  88 


Are  you  going  to  be  one  of  the 
lucky  passengers  on  The  Limerick 
Liner?  We  have  $50.00  to  divide 
among  four  writers  of  clever  lines. 
Remember  'that  the  line  you  submit 
to  complete  a  limerick  must  rhyme 
with  the  first  two.  Send  as  many 
as  you  like  before  December  20. 
Address:  Limerick  Contest  1; 5 
Du field    Street,    Brooklyn,    N.    Y. 


A    surprise    in    your    stocking 

• — how   jolly! 
Alberta      is      your      Christmas 

dolly. 
She    has    cute    dimpled    knees, 
Says        "Papa"        when       you 

squeeze, 


♦ 


/ 


^ 


\ 


:3> 


*. 


-  -  *'  •«•  i 


*s& 


New    Year's    is    a    failure    for 

Syd, 
For   its   old-fashioned  joys  are 

forbid, 
And   the    glass   in   his   hand 
Contains    nothing    but    sand 


Vera   Reynolds  and  Julia  Faye 
Are    practising    for    the    ballet. 
Perhaps  they   have  fears 
For   their   movie   careers, 


Disguised     in     a     hat     with     a 

brim 
Is    Leatrice,    keeping    in    trim. 
With   hair   cut   like   a   boy 
She   is   simply   a   Joy, 


43 

PAG 


i 


dUinstmas  in  X\\t 

Too  many  of  us  are  apt  to  hang  up  a  holly  wreath  .  .  . 

decorate  a  small  tree  and  let  it  go  at  that.     But  the  Way 

in  which  these  things  are  done  is  almost  as  important 

as  the  trees  and  wreaths  themselves 


i 


IT'S  nearing  the  time  when  mysterious  bundles  appear 
and  immediately  disappear  in  dresser  drawers  and  on 
the   top   shelves   of   closets,   when   equally   mysterious 

questions  are  asked,  measurements  taken  and  telephone 
calls  made.     Christmas ! 

We  all  get  ready  for  the  holidays  in  innumerable  ways. 
It  marks  the  height  of  the  whirl  of  the  social  season  when 
jollity,  merriment  and  good  cheer  are  paramount.  And 
in  the  home  there  must  be  Christmas,  too.  Not  only  the 
inward  spirit  of  the  season  but  outward  signs  which  will 
help  to  symbolize  the  real  spirit  of  the  day. 

Of  course,  you  will  have  a  Christmas  tree.  That  goes 
without  saying.  But,  at  that,  there  are  so  many  more 
things  in  decorating  a  home  than  the  tree,  itself.  Too 
many  of  us  are  apt  to  hang  up  a  holly  wreath  and  decorate 
a  small  tree  and  let  it  go  at  that.  A  tree  is  lovely.  So  are 
holly  wreaths  ■ —  but  the 

kind  of  a  tree  you  have  ff, 

and  the  way  you  ar- 
range your  wreaths  are 
almost  as  important  as 
the  trees  and  wreaths 
themselves. 

First,  then,  the 
Christmas  tree.  Do  you 
have  a  box  of  decora- 
lions  which  you  take 
out,  year  after  year, 
add  only  one  or  two 
new  things  and  feel  that 
you  have  done  all  that 
is  necessary  in  the  way 
of  tree  decoration?  If 
so,  I  bet  the  tree  isn't 
half  as  attractive  as 
you  think  it  is.  There 
is  really  nothing 
awfully  good-looking 
in  a  small  nine-tree, 
cluttered  up  with  an 
odd  assortment  of  old 
Christmas  things.  A 
Christmas  tree  to  be 
attractive  must  have 
-nine  novel   features. 

It's  all  very  well  to 
say  that  the  custom  of 
( Christmas  trees  i-  such 
an  old  one  that  the 
decorations  need  not  he 
novel.  For,  after  all, 
the  present  accepted 
way  of  decorating  a 
Christmas  tree  hasn't 
any  great  tradition  back 
of  it  and  there's  no 
reason  why  you  cant 
44 


_liL- 


Why    not    this    year,    for    a    change, 

colored   Christmas   tree.       I    can   thin 

that  is  all  silver    .     .    .    or  a  tre 


change  it  if  you  like.  And  there's  no  reason,  either,  why 
your  Christmas  tree  should  cost  a  great  deal  of  money, 
in  order  to  be  attractive-looking. 

Why  not  this  year,  for  a  change,  have  a  one-colored  or 
a  two-colored  Christmas  tree?  I  can  think  of  nothing 
lovelier  than  a  Christmas  tree  that  is  all  silver.  It  will 
attract  immediate  attention  and  will  be  so  fairylike  and 
new  that  the  spirit  of  Christmas  will  seem  to  flame  out  in 
it.  For  your  all-silver  Christmas  tree  use  plenty  of  crystal 
balls  and  silver  ornaments.  Use  festoons  of  silver,  too. 
If  you  wish  to  make  home-made  decorations  for  your 
silver  tree,  get  sheets  of  bright  silver  paper.  Make  chains 
of  some  of  it.  Paste  some  on  both  sides  of  sheets  of  card- 
board and  then  make  innumerable  stars  and  crescents  and 
a  few  moons,  too,  for  your  silver  tree,  fastening  these  on 
the  tree  with  silver  cord.    With  some  of  your  silver  paper 

make  tiny  cornucopias, 
fringing  the  tops  and 
fastening  to  the  tree 
with  silvered  cardboard 
handles.  In  the  cornu- 
copias you  can  put 
white  and  silver  candies. 
If  you  start  saving 
silver  papers  of  all 
sorts  a  few  weeks  be- 
fore Christmas  you  will 
have  a  lot  of  it  by  the 
time  your  tree  should 
be  decorated.  Tin- foil, 
too,  is  useful.  Cover 
oddly  shaped  candies 
and  little  toys  and  nuts 
with  these  papers  and 
put  them  on  your  tree. 
You  will  need  silver 
paint,  of  course.  Reg- 
ular radiator  paint  will 
be  best.  You  can  use 
this  for  silvering  some 
of  your  old  Christmas 
tree  decorations  and  for 
silvering  all  sorts  of 
tiny  objects,  small  tree 
cones,  the  tips  of  some 
of  the  branches  and  if 
you  like  even  the  trunk 
of  the  tree  itself.  Then, 
just  at  the  last,  after 
your  tree  is  completely 
decorated,  throw  over 
the  whole  thing  some 
silver  snow  which  you' 
can  get  quite  inex- 
pensively in  envelopes. 
Of  course,  there  is  a 
sentiment  about  candles 


have  a  one-colored  or  < 
k  of  nothing  lovelier  than 
^  decorated  in  red  and  silv< 


two- 
tree 


1i^0ttt£— ljj  BUp^tn  <g 


0flsnn 


The  Interior  Decorator  of  the  First  National 
Studios  Offers  a  Variety  of  Original 
Suggestions  for   Christmas   Decorations 


LL  -L 

U  "U  U 


r^kM^X 


and  for  real  beauty  and  charm  electric  lights  cannot  rival 
them.  However,  in  these  days  when  fire  prevention  is 
vastly  more  important  than  yielding  to  a  desire  to  keep 
up  old  customs,  the  candle  must  go.  However,  very  at- 
tractive little  electric  lights  have  taken  the  place  of  candles 
and  these  are  so  reasonably  priced  that  anyone  can  afford 


■  ■■■;■:  :■'■'    ■■  ■' v' 


If  you  live  in  the  country,  it  is  fun  to  make 
the  big  wreaths  yourself  .  .  .  but  I  would 
put    a    wreath    in    every    living-room    window 

them.  For  a  silver  tree  use  all  white  lights.  If  you  carry 
Jout  this  plan  I  think  you  will  be  amazed  at  the  beauty  and 
charm  of  your  tree. 

A  two-colored  tree  is  good,  too.  A  tree  that  is  silver 
and  green  or  red  and  silver  is  quite  as  attractive  as  an  all- 
Csilver  tree  and  may  suit  your  purpose  better.  For  the 
green  and  silver  tree  you  may  use  tiny  puff  balls  of  green 
tissue-paper,  green-painted  toys  and  ornaments.  And  be 
sure  to  buy  some  of  the  brilliant  green  glass  balls  which 
come  in  several  fascinating  shades.  Make  old-fashioned 
green  chains  to  alternate  with  your  silver  festoons.  Your 
lights  should  be  green  and  white. 

'.  Your  red-and-green  tree  would  be  perhaps  the  most 
startling  that  you  could  plan.  Gant  you  visualize  it? 
Brilliant  red  and  green  spheres,  red  ribbons  and  ornaments, 
fciny,  highly  polished  red  apples,  little  toys  of  red  and 
silver.  A  tree  decorated  in  red  and  silver  with  the  deep 
.green  of  the  tree  as  a  background  will  give  you  the  real 
'Christmas  spirit  and  much  real  beauty  besides.  For,  after 
all,  tho  we  love  the  average  Christmas  tree  in  many 
cases  it  is  not  a  very  real  object  of  beauty. 

If  you  want  to  keep  all  of  the  bright  colors  you  may 

still  achieve  a  lovely  Christmas  tree  if  you  are  willing  to 

j  put  thought  to  it.     Look  over  your  Christmas  decorations 


and  discard  those  that  are  at  all  shabby.  For  new  orna- 
ments add  some  of  the  brilliant  spheres  in  various  colors, 
especially  in  orange,  red,  green  and  blue.  These  colors 
are  not  only  lovely  in  themselves  but  they  reflect  the  light 
and  add  lightness  and  loveliness  to  your  tree  in  greater 
quantities  than  any  other  ornaments  I  can  think  of.  Add, 
if  you  like,  too,  some  glass  icicles  and  a  bright  bell  or 
two.  Use  a  quantity  of  festoons,  for  these  festoons, 
draped  from  branch  to  branch,  soften  the  outlines  and 
give  the  tree  a  completeness  that  it  can  never  have  without 
them. 

In  decorating  your  tree,  pay  attention  to  design.  Put 
your  heaviest  ornaments  near  the  bottom,  those  of  medium 
size  half-way  up  the  tree  and  keep  light,  delicate  ornaments 
for  the  top,  with  a  lovely  angel  or  a  Christmas  star  for 
the  topmost  branch.  After  your  main  ornaments  are  on 
(Continued  on  page  89) 

Special  fireplace  decorations  .  .  .  the  mantel  fes- 
tooned with  fir  or  pine  or  some  other  Christmas 
greenery  ...  a  large  wreath  tied  'with  scarlet 
ribbon  over  the  mantel  .  .  .  red  candles  and 
fresh  sprigs  of  holly 


Motion  Picture  Junior 


Vol.  II.  No.-7 


January,  1927 


The  Junior 
Answer  Man 


FRED  H.,  JR.— You  can  obtain  pic- 
tures of  any  of  "Our  Gang"  at  the  Hal 
Roach  Studios.  Culver  City,  California. 
Ramon  Novarro  is  at  the  Metro-Gold- 
wyn  Studios,  Culver  City,  California. 
Jack  Holt,  Jr.,  made  his  first  screen 
appearance  with  his  famous  father  in 
"Forlorn  River."  He  is  just  six  years 
old. 

GERTRUDE  F. — Farina's  real  name 
is  Allan  Clay  Hoskins.  His  little  sister, 
Jane,  is  going  to  join  our  comedies. 
She  will  be  known  as  "Aroma."  The 
members  of  "Our  Gang"  comedies  will 
be  glad  to  send  you  their  pictures  if 
you  write  to  them  at  the  above  address. 

LILLIAN  B. — You  can  secure  a  pic- 
ture of  Gloria  Swanson  by  writing  to 
her  at  522  Fifth  Avenue,  New  York 
City,  Xew  York.  Laura  La  Plante  is 
at  the  Universal  Studios,  Universal 
City,  California.  It  is  customary  to 
send  twenty-five  cents  with  a  request 
for  a  star's  picture,  but  there  are  a  few 
players  who  send  out  their  pictures 
free  of   charge. 

MARY  S.— Write  to  Richard  Dix 
for    his     photograph.       He     is     at    the 


Louise 

Here's  a  grand  surprise  for  Christmas  morn- 
ing! How  would  you  like  to  open  a  huge 
doll  box  and  find  beautiful  Marion  Davies 
inside,  with  golden  curls  and  beautiful 
clothes    .  .    looking   just   like   a    doll? 


All  questions  sent  to 
Joe  Frank  Cobb  in  Care 
of  Movie  Junior,  175 
Duffield  Street,  Brook- 
lyn, New  York,  will  be 
answered  by  him 


Famous     Players     Studios,     Sixth     and 
Pierce  Avenues,  Astoria,   Long  Island. 

KITTENS.— William  Haines  was 
born  January  1,  1900,  and  is  not  mar- 
ried. Tom  Mix  is  forty-seven  years 
old.  You  can  write  to  William  Haines 
and  Conrad  Nagel  at  Metro-Goldwyn 
Studios,  Culver  City,  California.  Clara 
Bow,  Charles  Rogers,  Pola  Negri, 
Mary  Brian  and  Blanche  Sweet  at 
Famous  Players  Studios,  1520  Vine 
Street,  Hollywood,  California.  June 
Marlowe  is  at  Universal  Studios,  Uni- 
versal  City,  California. 

ANNA  L.— Rin-Tin-Tin  is  almost 
nine  years  old.  Did  you  know  Lois 
Wilson  had  her  hair  bobbed?  Her  next 
picture  will  be  "The  Great  Gatsby." 

G.  B. — Einar  Hansen  was  born  in 
Motala,  Sweden.  You  can  write  to  him 
at  First  National  Studios,  Burbank, 
California.  Did  you  like  the  story 
about  Mr.  Hansen  in  the  November 
Classic? 

(Continued  on  page    116) 


How  I  Became  an  Animal  Trainer 


l 


At  one  time— but  I  have  changed 
my  mind  now — I  was  going  to 
be  a  sailor,  and  roam  over  all  the 
seas   in  a  ship  with  big  sails. 

At  another,  I  thought  of  being  a 
fireman,  so  that  I  could  ride  a  big 
engine  down  the  street  and  clang 
the  bell. 

Then  there  was  the  time  I 
wanted  to  be  a  policeman,  and  stop 
everything,  except  the  fire-engines, 
with  a  wave  of  my  hand.  And 
again,  I  thought  to  be  a  bandit 
would  be  fun— or  maybe  an  ex- 
plorer and  find  the  North  Pole. 

The  day  I  changed  my  mind 
completely  was  the  day  I  went  to 
the  Circus,  for  that  day  I  knew 
that  I  wanted  to  be  an  animal 
trainer  more  than  anything  else  in 
the  world. 

My  mother  said,  if  I  prayed 
every  night,  perhaps  I'd  get  a 
chance  to  be  one,  but  she  said  I 
must  con-cen-trate,  and  that  meant 
that  I  was  to  shut  my  eyes  tighl 
and  not  look  thru  my  fingers 
or  think  anything  else,  even  for  a 
minute,  while  I   prayed. 

So,  and  one  day,  not  such  a  long 
time  after  that,  my  mother  said  to 
come  on  with  her  and  be  in  a 
nt  o  er  to  the  big 
Fox  Studio  and  there  met  the 
Man  -  Who  -  Makes  -  Pictun  I  l< 
said  he  was  going  to  mal 
films  all  about  a  circus  and  I  was 
to  be  in  them. 
46 

at 


By 
Jerry  the  Giant 


Before  Jerry  became  an  animal  traine 
thought  he  would  like  to  be  a  sailor  .  .  . 
fireman  .  .  .  or  a  policeman.  Then  he 
to  the  zoo.  And  after  that  he  met  The- 
Who-Makes-Pictures 


n'ele- 


r     he 
or  a 

went 
Man- 


I    said,     "Can    I     ride 
phant?" 

He  said,  "Perhaps." 

But  when  we  got  out  to  the  "lot" 
which  is  just  a  big  field  with  tents 
in  it  like  the  circus,  there  weren't 
any  elephants   there. 

There  was  a  big  white  horse, 
tho,  called  "Arabia"  and  I  rode 
him  around  all  over  the  place  and 
made  him  "whoa"  and  "giddap" 
and  all.     I  liked  that  Arabia.  ■ 

I  liked  all  the  animals  there 
right  away,  except  the  jackass  that 
put  back  his  ears  when  he  looked 
at  me,  and  an  old  gander  who 
quacked  something  quite  disagree- 
able when  we  were  introduced. 

I  couldn't  understand  why  they 
were  like  that,  but  Pal  said  it  was 
because  clucks  and  mules  have  no 
sense  of  humor.  Pal's  a  dog,  and 
I  guess  he's  about  the  smartest  dog 
in  the  world.  He's  played  in  two 
hundred  and  twenty-four  pictures! 

I  said  "What's  a  sense  of  hu- 
mor?" and  he  said,  "It's  the  thing 
that  makes  you  big  enough  to 
laugh  even  when  the  joke's  on  you." 

Then  he  went  on  to  tell  me  the 
joke.  It  seems  that  a  rumor  got 
around  the  place  that  there  was  to 
be  a  series  of  comedies  made  with 
an  all-animal  cast,  and  Brian  Boru 
(that's  the  gander)  went  around 
quacking  to  everyone  that  he  was 
to  have  the  lead  in  them. 

(Continued  on   page    116) 


Isn't      the      Felix      drawn      by 

Master   R.    Melvin   Quinn   too 

funny?         It     won     the     first 

boy's    prize 


FELIX 


IBIS     '^lllf 


ThE  CAUSE  OF  ALL  the  merr\- 
MENTATVOUR  NA&ORHOOD   HOVIE,. 


And    Norma    Beausoliel    won 
the   second    girl's   prize   when 
Mr.    Sullivan    saw    this    draw- 
ing   of    Felix    and    his    auto 


Felix    as    a    gay    man    about 

town   won   the   first   prize   for 

girls.       It    was    submitted    by 

Guila    May   Replogle 


Master    D'Angelo,    who    sent 
in    this    pose    of    Felix    in    a 
thinking    mood,    won  the  sec- 
ond   prize    for    boys 


Extra:  All  About  the  Felix  Cat  Contest 

With  a  List  of  the  Winners 


Almost  fifteen  thousand  boys  and  girls  submitted  drawings  of 
■  Felix  in  this  contest.  So  you  can  imagine  all  the  work  that 
Pat  Sullivan  had  to  do  in  order  to  select  the  winners.  His  office 
was  swamped  with  the  funny  pictures  of  Felix  and  he  worked 
all  day  long  and  far  into  the  night  so  that  he  could  decide  definitely 
upon  the  winners  in  time  to  get  the  news  in  this  issue. 

This  contest,  you  know,  was  conducted  in  Motion  Picture 
Magazine  ■  thru  the  courtesy  of  the  Pat  Sullivan  Studios,  the 
George  Borgfeldt  Company  and  the  Educational  Film  Exchanges, 
Inc.  It  ended  weeks  and  weeks  ago,  but  we  just  had  to  keep 
giving  Mr.  Pat  Sullivan  more  time,  because  he  wanted  to  judge 
the  drawings  largely  on  originality  and  cleverness  of  the  artist 
together  with  the  neatness  of  the  sketch 

The  prizes  have  been  mailed  to  the  winners  and  we  hope  they 
have  oceans  of   fun  with  them. 

Here  are  the  winning  names  and  addresses.  Is  yours  among 
them  ? 


Fourth      Prize — Girls— Helen      Momberger,      373      Third      Avenue,      Newark, 
New   Jersey 
1    Felix    scooter    (mechanical   toy   on   wheels) 

Fourth     Prize — Boys — Robert    Weischedel,     23     Taft     Avenue,     Nutley,     New 
Jersey 
1    Felix   scooter    (mechanical   toy   on   wheels) 


JUNIOR  DOLLS  TO  THE  FOLLOWING  GIRLS: 
Olive  Thomas,  125  Orchid  Street,  Fresno,  California;  Lyda  Burradell, 
20  N.  Xanthus  Street,  Tulsa,  Oklahoma;  Adelaide  Schneider,  507  E.  Co- 
lumbia Street,  Springfield,  Ohio;  Virginia  Reiff,  3345  Arrow  Avenue, 
Pleasant  Ridge,  Cincinnati,  Ohio;  Helen  Bauman,  856  Franklin  Place, 
Milwaukee,  Wisconsin;  Constance  Geillinger,  711  Fifteenth  Avenue,  N.  St. 
Cloud,    Minnesota. 

BOYS: 
Leonard  Milhado,  512  Main  Street,  Poughkeepsie,  New  York;  Edward 
Weibel,  4S6  High  Street,  Morgantown,  W.  Virginia;  Walter  L.  Houston,  7 
Highland  Avenre,  Stcneham,  Massachusetts;  Charles  Keiser,  Vine  and 
Holly  Streets.  Hazleton,  Pennsylvania;  John  Wilson,  27  Stiles  Street, 
Elizabeth,  New  Jersey;  Herbert  A.  Lamond,  18  Lisbon  Street,  Providence, 
Rhode   Island. 


Fir 


t    Prize — Girls — Guila    May    Replcgle,    Holton,    Kansas 
dressed    Felix   standing   about   one   foot   high 


In   addition    to    the    prizes    named,    the    above    will 
original   drawing  of   Feiix   the   Cat. 


signed 


First   Prize— Boys— R.    Melvin   Quinn,    1419    N.    Fourteenth    Street,    Reading, 
Pennsylvania 
1    Felix    standing   about    one    foot    high — Not    dressed 


The   following   will 


HONORABLE    MENTION, 
ceive  a   signed   original   drawing   of    Felix  the   Cat: 


Second  Prize  —  Girls  —  Norma 
Beausoliel,  4143  Papineau 
Avenue,  Montreal,  P.  Q.,  On- 
tario,   Canada 

1     Felix    with    jointed    limbs — 
about    eight    inches    high 


Second  Prize — -Boys  —  Pasquale 
D'Angelo,  69  Dundas  Street, 
W.  Toronto,  Ontario,  Canada 
1  Felix  with  jointed  limbs — 
about    eight    inches    high 


Third  Prize — Girls — Virginia  L. 
Presbury,  833  Tauromee 
Avenue,  Kansas  City,  Kansas 
1   walking  Felix- made  of  metal 

Third     Prize— Boys— W.     Brady, 
lr.,     633      East      101st     Street. 
Cleveland,    Ohio 
1   walking  Felix  made  of  metal 


With  drawings  stacked 
on  every  desk  in  his  of- 
fice and  overflowing  a 
foot  deep  on  the  floor, 
Mr.  Pat  Sullivan  found 
it  an  extremely  diffi- 
cult task  to  pick  the 
prize    winners 


Margi 

Attlebon 
D.  No. 
Federal 
Colorado; 


GIRLS: 
Cunio,  Pine  Street, 
Massachusetts,  R.  F. 
;  Ida  Schwartz,  1742 
Joulevard,  Denver, 
Marie      Dunn,      Apt. 


287,  Torreon,  Coah,  Mexico; 
Mignon  Jordan,  930  W.  Harding, 
Stockton,  California;  Marguerite 
V.  Jaeger,  61  Rhode  Island 
Avenue,  Washington,  D.  C. ; 
Delia  Myers,  1114  Fifth  Avenue, 
\\\,  Olympia,  Washington; 
Helene  M.  Burke,  137  Wilson 
Street,  Hamilton,  Ontario,  Can- 
ada; Annette  Dame,  4397  De- 
lorimier  Avenue,  Montreal, 
Quebec,  Canada;  Louise  Dawson 
Maynard,  1508  Park  Avenue, 
Baltimore,  Maryland ;  Jennie 
Dancy,  1118  Amelia  Street!  New 
Orleans,  Louisiana;  Agnes  Con- 
(Continucd    on    page     116) 


In  this  picture  Felix  is 
holding  the  prize-win- 
ning drawing  which  is 
reproduced  above  in 
the  upper  left-hand  cor- 
ner.     Recognize   it? 


47 

PAG 


I 


M 


ovie 


Moth 


er 


Cock-a-doodle-doo 

This   dame  has  lost  her  shoe! 

Her   hat  and   gown   and   undies   too 

What   will   the   censors   do? 


Deedle,       deedle,       dumpling,       Strc- 

heim,    von 
Never    directs    with    his    puttees    on; 
One   glove   off,   and   one    glove   on, 
Deedle,       deedle,       dumpling,       Stro- 

heim,    von 


Little  Miss  Muffet 

Sat   in   a   buffet 

Eating    dill    pickles   and    pies 

Along    came    a    spider 

And    sat    down    beside    her, 

Twas   Lon    Chaney    in    a    disguise. 


f'48 


G 


OOSC™ — By  Ken  Chamberlain 


€ 


m 

JA 


''■»« 


:J -;  .< 


Emotional   Lillian   Gish 

Gets  you  weeping  like   a   fish, 

But   when   viewing  Vilma   Banky 

There's   no    need    to    take   your   hanky. 


c . 


•  ':      '  - 


©  by    Ken    Chamberlain 


Pf    j< 


&>■ 


She    must   be    somebody's    pet. 

She    shows    up    at    eleven, 

Called    at    seven, 

The   director   is  hot  on   the   set 

A   ten    o'clock   holler 

A    diller,    a    dollar 


49  r 

PAfiLi 


'People  told  me  I  would  be 
miserable  at  home  because 
my  mother  and  father  have 
no  luxuries,  but  I  wasn't.  1 
loved  taking  my  bath  in  a 
deep    barrel    of    water" 


"Mother  doesn't  understand  me, 
when  1  tell  her  the  money  1  make. 
And,  she  always  goes  to  see  my 
pictures  three  times  when  they 
play  in  Sweden.  The  first  time,  she 
says,  she  cant  see  me  at  all  because 
her     eyes     are     too     full     of     tears" 


Anna  Q.  Dares  to  Be  Herself 


By  Gladys  Hall 


WE'VE  heard  some 
funny  ones  in  our 
time  .  .  .  funnier 
than  we  could  make 
you  believe. 

But  the  funniest  one--  of 
all  have  been  those  that  issued 
from  the  lips  of  silken  sable 
ladies  of  the  screen  .  .  . 
silken  sable  ladies  to  whom 
we  have  naively  put  this 
question :  "What  does  it 
feel  like  to  be  rich  and 
famous  ?" 

And  these  darlings  of  the 
gods  have  sighed,  rested  an 
irreproachable  cheek  upon  a 
still  more  irreproachable 
hand,  and  answered,  "If  you  only  knew,  .   .   ." 

Which  struck  us  as  unkind  because,  of  course,  we  didn't 
know,  never  have  known  and  never  will  know,  tllO 
such  admission's  always  seemed  to  us  to  he  unnecessary, 
considering  our  obviously  department-store  apparel.  We 
intimated  that  we  did  not  know,  that  we  wished  that  we 
lid,  hut  knew  the  wish  to  he  idle  and  so  asked 


Fearing  that  some  of  the  in- 
timate statements  she  made  in  this 
interview  would  be  misunder- 
stood, Anna  Nilsson  wired  us  from 
the  train,  en  route  to  California, 
asking  us  to  delete  them. 

But  we  feel  her  frankness  too 
charming  to  be  sacrificed  and 
publish  the  story  in  its  entirety. 

A.  W.  F. 

is   sensitive     .     . 


tdid, 
50 


"Ah,"  they  have  sighed, 
these  silken  sable  ones,  "Ah, 
it  is  very  sad  ...  it  is 
terrible,  really  .  .  .  people 
envy  us,  but  if  they  only 
knew  .  .  .  you've  no  idea 
.  .  .  all  the  dreadful  pub- 
licity .  .  .  this  inability  to 
appear  anywhere  in  Public 
without  being  Mobbed.  .  .  ." 
"Still,"  we  once  interrupted 
a  fair  siren,  "still,  you're 
mobbed  with  roses  and  or- 
chids—  not  stones,  after 
all.    .    .    ." 

"Yes,  yes  .  .  ."  thus  the 
fair  trillionairess,  "but  it  is 
so  dreadful  .  .  .  when  one 
vhen  one  loves  privacy  and  incon- 
spicuousness  .  .  .  when  one  would  infinitely  prefer  a 
tiny  cottage  hidden  away  somewhere  .  .  .  privacy  .  .  . 
gingham.    ..." 

We  have  frequently  reflected  at  some  such  juncture  as 
this:     "Oh,  be  your  age    .    .    .    be  human    .    .    .    tell  the 
(Continued  on  page  102) 


You'd  like  Anna  Q.,  even 
if  you  had  never  heard 
of  her  before,  and  her 
name  was  Hattie  Gray. 
She  is  a  regular  fellow. 
.    .    .    Who    is    more    than 


Anna  has  never  felt  it 
necessary  to  concoct  any 
stories  about  an  ances- 
tral home  in  Sweden. 
She  is  entirely  frank 
about  her  parents,  and 
supplied  this  snap-shot 
taken  with  her  mother 
and  father  at  the  Nilsson 
house,  in  Klippan,  Swe- 
den, as  an  illustration  for 
this    story 


51  P 

PAfiU 


The  Christmas  Cards 


John  Gilbert  values  this  card, 
sent  him  last  year  by  Rudolph 
Valentino,  more  than  '  any 
other  he  received,  because  of 
its  association  with  a  valiant 
soul 


Below  ia  the  card  that  the 
Bosworths  sent  Natalie  Kings- 
ton. She  treasures  it  most  of 
all  because  of  its  individual- 
ity. It  is  painted  in  blending 
pastels 


(fjrrrtings  of  th,r  3B?aaoio 


n&f 


Tod  Browning  holds 
that  this  card  from 
Mr.  and  Mrs.  Lon 
Chaney  with  the 
lamplight  streaming 
from  the  cabin  win- 
dows is  his  favorite 
of  all  the  hundreds 
of  cards  he  received. 
The  pity  is  that  the 
warm  coloring  is 
lost  in  this  repro- 
duction 


h 


corner 


Dick  Barthelmess  received  this  card  from 
one  of  his  closest  pals,  William  Bowell.  He 
likes  it  more  for  the  scrawl  in  the 
than  for  the   gay  design 

52 

0t 


The  view  from  the  balcony  of  the  Antonio 
Moreno  home,  decorated  their  card  last 
year.  It  pictures  a  California  vista  .  .  . 
that's   why   Alma    Rubens    likes   it    best    of   all 


"Anna  Q.  never  fails 
to  express  artistic 
taste  and  she  has 
done  it  again  with 
this  card,"  says 
Lewis  Stone,  select- 
ing the  greeting  sent 
him  by  his  team- 
mate of  several 
films,    Anna   Q.    Nils- 


Best 


A  painting  of  Venice  beautified 
Marion  Davies'  card  last  year.  And 
Ramon  Novarro  says  he  prefers  it  to 
any  of  the  other  cards  he  received, 
altho  many  of  them  were  rarely 
beautiful 


Of  all  the  formal 
cards  they  received, 
Tom  and  Victoria 
Mix  prefer  the  one 
sent  them  by  Mil- 
dred and  Harold 
Lloyd.  It  is  en- 
graved in  rich  and 
vivid  colors 


JVST  TO  SAY  HELLO 

ECAWSE  IT'S  CHRISTMAS 

AND  WE'RE  FRIENDS 

LEW  CODY 


Because   it   typifies  the    greatness   and   the 

beauty  of  the  Christmas  spirit,  Lou  Telle- 

gen    chose    this    card    from    Mr.    and    Mrs. 

Charles  Ray  as  his  favorite 


Norma  Shearer  loves  this  card  because  it 
so    completely    expresses    the    genial    sim- 
plicity  of  Lew  Cody's  nature  and  friend- 
ship 


53 

PAG 


I 


The  Conf 


onrerence 


Albert  Parker,  the  director;  Earl  Brown,  the  scenarist;  and  Gloria 
Swanson,  the  star  and  producer  of  "Sunya,"  lunch  together  in  Gloria's 
suite  of  rooms  at  the  studios  and  consult  about  the  hundred  and  one 
things  always  demanding  consultation  when  a  motion  picture  is  being 
made.  This  charming  suite  of  rooms  was  designed  and  furnished  by 
Urban  for  the  use  of  Marion  Davies  when  she  worked  in  New  York. 
Miss  Davies  turned  them  over  to  Miss  Swanson  when  she  learned  that 
she  was  going  to  make  "Sunya,"  her  version  of  "The  Eyes  of  Youth," 
at  these  studios 


Lag 


The  Editor 
Gossips 


About  Several  Motion 
Picture  Personalities 
.  .  .  and  No  Particular 
Discretion  Mar\s  Her 
Sentiments 


NO  matter  how  bored  we  may  become 
with  things  in  general,  we  never 
fail  to  get  a  thrill  from  comparing 
things  as  they  are  with  things  as 
they  are  reported  in  newspapers.  For 
months  before  Jack  Dempsey  fought  Gene 
Tunney,  the  papers  were  filled  with  rumors 
of  differences  between  him  and  Estelle 
Taylor.  And  those  with  unkind  pens  in- 
timated that  there  would  certainly  be  an- 
other marriage  on  the  rocks  if  Jack  lost  the  championship. 

It  may  be  that  this  is  quite  true.  The  more  convictions 
you  have  had,  the  more  often  you  have  been  disproved. 
But  if  there  is  one  iota  of  truth  in  these  rumors  about  the 
Dempseys,  we  insist  that  they  are  both  greater  artists  in 
acting  than  they  have  ever  been  given  credit  for  being. 
(And  we  do  not  forget  the  things  said  of  Estelle's  Lucrezia 
Bprgia  in  "Don  Juan.")  They  present  a  surface  which 
appears  beautifully  serene.  And  their  attitude  towards 
each  other  suggests  camaraderie  and  understanding. 

We  .went  to  one  of  New  York's  gay  supper  clubs  with 
them  one  midnight  a  few  weeks  ago.  Estelle  was  the  guest 
of  honor.  And  Jack  beamed  his  pride  and  pleasure.  He 
was  like  a  hen  who  has  hatched  a  duckling  and  is  somewhat 
amazed  at  the  continued  miracle  of  its  accomplishments. 
We  think  men  with  beautiful  and  famous  wives  are  usually 
like  this,  regardless  of  their  own  prestige  or  attraction. 
They  invariably  prowl  about  a  little  wonderingly  .  .  . 
very  worshipfully.    .    .    . 

Estelle  did  look  a  dream,  in  a  gown  reminiscent  of  the 
crinoline  mode,  in  soft  blue  taffeta  with  a  fichu  of  silver 
lace  and  deep  folds  in  the  skirt  which  just  escaped  the  tips 
of  her  silver  slippers.  ' 

When  some  mention  was  made  of  something  that  in- 
terested them,  Jack's  eyes  would  search  quickly  for  Estelle's 
eyes  .  ..  .  or  Estelle  for  Jack's.  And  they  would,  exchange 
little  smiles  and  now  and  then  manage  to  dance  together, 
even  tho  they  gave  most  of  their  time  to  their  guests. 
We  heard  several  other  people  at  the  table  speak  of  the 
bond  that  so  evidently  exists  between  them. 


Jack  Dempsey  is  like 
a  hen  who  has 
hatched  <a  duckling 
with  Estelle  Taylor 
.  .  .  always  amazed  at 
the  continued  miracle 
of  her  beauty  and 
talent.  We  think  men 
with  famous  wives  are 
usually  like  this,  quite 
regardless  of  their 
own  prestige  or  at- 
traction 


A,    Kenyon    Newman 


When  it  was  barely  two  o'clock,  Jack  insisted  that  they 
go  home.  Estelle  was  due  at  the  studios  the  next  morning. 
"You'll  be  so  tired  I'll  hate  to  wake  you  up  at  seven  o'clock, 
honey  dear,"  he  said.  And  she  laughed  indulgently  and 
slipped  into  her  shimmering  white  fur  wrap. 

In  "New  York"  Estelle  plays  a  gamin  role  in  which  she 
wears  clothes  similar  to  the  ridiculous  and  abbreviated 
garments  worn  by  "Kiki." 

Like  so  many  of  the  screen  actresses  today,  she  adores 
parts  which  permit  her  characterization..  This  is  not  as  it 
used  to  be.  We  remember  well  when  a  star  or  leading- 
lady  (there  is  a  distinction,  you  know  .  .  .  listen  in  at 
any  studio ! )  wanted  to  play  dress-up  parts  where  she 
could  be  the  grand  and  beautiful  lady.  Their  beauty  was 
their  fetish. 

But  today  the  girls  on  the  screen  whom  we  know  are  per- 
fectly willing  to  look  ninety-nine  years  old  or  positively 
ugly  if  the  role  is  sufficiently  colorful  and  interesting. 
Characterization  is  the  thing. 

It  was  a  pleasant  party  .  .  .  and  exciting  when  the 
spotlight  was  turned  on  the  Dempsey  table  ...  and  the 
radio  microphone  brought  over  for  Estelle  and  Jack  to 
talk  thru  ...  and  applause  ringing  thru  the  room 
when  Jack  was  introduced.  He  was  touched  at  the  things 
said  about  his  being  an  heroic .  figure  in  defeat,  because 
of  the  splendid  sportsmanship  with  which  he  has  accepted 
(Continued  on  page  99) 

55 
PAG 


i 


"The  Lady  in  Ermine"  frames  Cor- 
inne  Griffith  as  a  bride  at  a  very 
fashionable  wedding  .  .  .  and  this 
scene  causes  us  to  make  a  mental 
note  of  the  title  as  one  of  the  holi- 
day offerings  we  wish  to  see 


"Pals  in  Paradi 
judging  by  this 
picture,  has  a  quality 
of  pathos;  laughter, 
following  close  upon 
tears.  May  Robson, 
Rudolph  Schildkraut 
and  Marguerite  de  la 
Motte    are    in    the    cast 


cia,"  according  to 
Roy  D'Arcy,  who 
supports  her  in  this 
production.  But  Mr. 
D'Arcy  goes  on  to 
say  that  Mae  proves 
that  she  can  carry  a 
picture  without  any 
aid  from  Terpsichore 


Eight    Holiday    Offer 


1 


Last  month  we  read  that  Mary 
Astor  nearly  lost  the  part  in  "For- 
ever After,"  because  Mr.  Irving 
Asher,  the  producer,  did  not  like 
her  .  .  .  and  how  he  fell  head  over 
heels  in  love  with  her  before  the 
filming  was  completed.  Seeing 
Mary  in  this  scene  with  Eulalie 
Jensen  and  David  Torrence  causes 
us  to  understand  the  Asher  change 
of  heart 


John  Barrymore 
in  the  title  role  of 
"The  Beloved 
Rogue,"  and  con- 
sidering that  this 
is  based  on  the 
story  of  Francois 
Villon  and  that 
Alan  Crosland  di- 
rected it,  we  have 
high  hopes  for 
the  next  Barry- 
more    perform- 


Perhaps  you  9a' 
Beatrice  Li 
"Chariot's  Revue." 
If  so,  you'll  be  eager 
to  see  her  in  "Exit 
Smiling,"-  which 
marks  her  film 
debut.  It  is  a  story 
of  the  theater.  And 
Beatrice  plays  the 
understudy  for  the 
leading  lady  in  the 
story.  It  should  be 
amusing 


ings  from  the  Studios 


57 

PAfil 


I 


I 


Merry  Christmas;  a  la  Parisienne 

The    poem    of    "The    Night    Before    Christmas"    says    something    about    ladies    waiting    for 

Santa   Claus  in  kerchief  and  cap,  but  Arlette  Marchal  prefers  these  very   French   pajamas 

for  her  Christmas  Eve  peregrinations 


There  were  so  many  beautiful  girls 
wasting  their  youth  futilely  trying  to 
get  into  the  movies  that  the  typewriter 
and  shorthand  notes  seemed  safer. 
Patricia  worked  with  Lillian  Gish  in 
"Annie    Laurie"    last 


A  Few  Months  Ago 
Patricia  Avery  Was 
a  Stenographer  on  the 
Metro  Lot  .  .  .  Now 
She  Is  a  Very  Prom- 
ising  Movie    Actress 


The    Reluctant    Cinderella 


By  Dorothy  Manners 


SOME  people,  as  the  saying  goes,  are  born  to  fame. 
Like  Gloria  Swanson.  Others  acquire  it.  Like 
Colleen  Moore.  And  still  others  have  it  thrust  on 
them — like  a  couple  of  dozen  people  I  could  name. 
But  in  all  that  repertoire  there  is  no  more  striking  example 
of  being  gently  but  firmly  shoved  into  the  spotlight  than 
Patricia  Avery,  whom  Metro-Goldwyn  discovered  in  their 
own  clerical  department  and  recently  signed  on  a  long  and 
prosperous  motion  picture  contract. 

It  sounds  like  a  new  version  of  the  Cinderella  story — 
poor  little  secretary  one  day  and  featured  player  in  Lillian 
Gish's  "Annie  Laurie"  the  next — and,  as  a  matter  of  fact 
it  is.  But  in  this  case  it's  all  about  a  reluctant  Cinderella, 
who  had  to  be  forced  into  the  Coach  and  darn  near  stuck 
out  her  tongue  at  the  Fairy  Godmother,  for  in  the  begin- 
ning Patricia,  called  Pat,  didn't  want  to  be  a  movie  star. 
That  is,  not  particularly. 

It  seems  odd  that  a  girl  with  eyes  so  clear  blue  and  an 
oval  face  and  a  slim  figure  as  graceful  as  a  Greek  urn 


girl's  shouldn't  particularly  care  about  being  a  movie  star, 
for  the  movies  are  notoriously  good  to  girls  \j  io  look  like 
that ;  but  Pat  says,  modestly,  there  were  so;  many  more 
beautiful  girls  trying — hoping — skimping — praying  to  get 
in,  accepting  sacrifices  from  their  families — wasting  their 
youth  in  futility 

The  typewriter  and  the  debit  and  credit  sheets  looked 
so  much  safer  ! 

There  was  to  be  no  time  frivoled  away  in  the  pursuit  of 
careers.  She  made  up  her  mind  quite  firmly  about  that 
when  she  was  just  a  kid  and  received  her  first  screen  offer 
from  Chaplin.  You  know,  Charlie  Chaplin.  It  seems  that 
Rupert  Julian,  a  friend  of  her  father's,  had  introduced 
Pat  to  the  little  comedian  one  day.  Now,  Charlie  at  that 
time  was  making  "The  Kid"  and  needed  some  angels  for 
the  dream  sequence.  Pat,  as  I  have  tried  to  make  clear  all 
along,  looks  like  that,  like  an  angel  in  a  dream  sequence, 
so  Charlie  asked  her  if  she  wouldn't  like  to  be  one. 
(Continued  on  page  98) 

59 


p 


The  Picture  Parade 


THE  SORROWS  OF  SATAN~Drama-80% 

Z7RANKLY,  we   were   disappointed    in    "The   Sorrows    of    Satan." 
And   in  spite  of   the   fact    that  years  ago   we   relished   this    Marie 
Corclli  story  of  lovers  parted  by  an  Evil   Influence,  we   feel  that  the 
production's  lack  lies  in  the  story  alone. 

You  may  recollect  the  plot  of  two  humble  writers  who  live  only 
for  each  other  until  the  boy  is  tempted  to  desert  his  humble  sweet- 
heart for  pagan  orgies,  Mr.  Satan  acting  as  his  guide. 

Griffith  has  given  this  story  a  sympathetic  and  beautiful  interpreta- 
tion and  has  modified  the  wholesale  measure  of  sentimentality  which 
he  usually  dispenses.  And  we  wish  to  give  particular  credit  to  either 
D.  W.  or  his  artist  of  a  cameraman  for  the  interesting  shadow  effect 
which  is  used  in  symbolizing  Adolphe  Menjou  in  meticulous  evening 
dress  as  the  incarnation  of  Mr.  Satan. 

Mr.  Mcnjou's  performance,  in  our  opinion,  is  a  little  too  restrained. 
Now  and  then  a  theatrical  gesture  or  gleam  of  an  eye  might  have  let 
his  audience  in  on  his  delight  when  he  achieved  his  particular  end. 
After  all,  some  things  just  are  theatric  .  .  .  despite  the  modern  school 
of   acting  .  .  .  and   Satan   abroad   in   evening  dress   is    one   of  t' 

But  in  the  case   of   Lya   de  Putti  we  recommend  a  little  restr; 
She  flaunts  the  old  s.  a.-  too  obviously  to  continue  interesting. 

Ricardo    Cortez    as    the    wandering    sweetheart    gives    a    convmc 
performance. 

But  it  is  for  Carol  Dempster  that  we  save  our  best  adjectives.  And 
for  Griffith,  too.  He  has  made  of  Miss  Dempster  a  splendid  actress 
...  an  artist. 

In  a  nutshell,  we  think  "The  Sorrows  of  Satan"  an  out-of-date 
story,  beautifully  produced  and  holding  moments  of  inspired  acting. 
But  for  the  future,  we  suggest  that  Mr.  Griffith  be  given  simpler 
stories  about  people  who  do  not  revel  in  Bacchanalian  orgies.    A.  W.  F. 

THEWINNING  OF  BARBARA  WORTH~^a 

/fNOTHER  Western  epic  of  historical  interest  has  been  brought  to 
the  screen  in  "The  Winning  of  Barbara  Worth." 

The  sturdy,  pioneering  spirit  of  empire  builders  is  shown  in  the 
early  scenes  of  the  picture.  The  desert  with  its  cruel  and  death- 
dealing  heat  and  dry,  choking  sand  storms  is  conquered  by  a  small 
band  of  home  seekers  with  a  visionary  ideal  of  some  day  harnessing 
the  Colorado  River  to  make  the  desert  wastes  flower. 

If  one  can  overlook  the  incongruities  of  the  cast,  it  is  a  great  story 
told  in  a  very  dramatic  and  compelling  way.  Vilma,  as  the  virile 
Western  girl,  Barbara,  gives  a  very  consistent  and  charming  inter- 
pretation of  the  girl — but  A^ilma  is  not  and  could  not  possibly  be  the 
Barbara  of  Harold  Bell  Wright's  great  novel. 

Ronald  Colman  as  the  engineer  who  learns  to  love  and  fight  for  the 
conquering  of  the  desert,  even  against  his  own  kin,  is  anything  but  con- 
vincing when  the  engineer,  but  very  convincing  as  the  lover  of  Vilma. 

Gary  Cooper  played  the  most  consistent  and  convincing  charac- 
terization of  the  picture  as  Abe  Lee. 

The  desert  is  the  menacing  gesture  in  the  first  of  the  picture,,  while 
the  very  water  which  they  have  struggled  to  bring  to  the  desert  forms 
the  tremendous  menace  in  the  last  climactic  scenes.  These  scenes 
carry  the  story  thru  to  a  terrific  climax. 

This  picture  will  be  a  popular  one  with  men  and  lovers  of  epical 
features  of  the'  West.  But  if  you  loved  the  story  as  Harold  Bell 
Wright  wrote  it  and  would  be  disappointed  if  you  did  not  see  HIS 
story — dont  go!     Otherwise  it  is  well  worth  seeing. 

Produced  by  Samuel  Goldwyn;  directed  by  Henry  King. 

Cast.— Ronald  C  lman,  Vilma  Banky,  Gary  Cooper,  Clyde 
Cook,  et-  D.  B. 

FOREVER    AFTER-Romantic  Drama-80% 

7F  F.  Harmon  Weight  is  a  new  director — he's  new  to  us  anyway — 
1  and  lliis  is  his  fust  picture,  congratulations  arc  decidedly  in  order. 
In  the  first  place,  he  has  made  an  actress  of  Mary  Astor.  For  the 
first  time  in  our  memory  she  gives  a  sincere  and  positively  touching 
performance.  Mary  Astor! — who  even  to  her  fans  has  never  been 
anything  hut  a  classic  profile.  In  the  second  place,  he  has  made  some 
war  scenes  which  are  intelligible — something  almost  unheard  of. 
And  lie  has  assembled  a  very  good  cast  and  made  'them  behave  with 
a  maximum  of  naturalness.  The  picture  is  marked  thruout  by  dignity 
and  sincerity.  The  story  is  not  unusual.  It  is  of  a  wealthy  girl  whose 
parents  will  not  allow  her  to  marry  or  even  see  the  man  she  loves, 
because  lie  is  penniless.  The  war  reunites  them.  That's  all — but  it's 
good.  No'  wonderful,  you  understand,  hut  it  will  get  your  sympathy. 
I  il.  we  just  happened  to  be  in  a  romantic  mood  that  clay. — 
First  National.  E.  G. 


A   GUIDE   TO   THE  GOOD   PICTURES 

lASE  Will  publish  our  reviews  in  a  uniform  size  so  that  they  may  be  filed  for  future  reference.      They 
by  critics  whose  view-points  are  unbiased.      The  ratings  should  be  of  special  assistance. 
Ratings:  Excellent,  95%;  Good,  80%;  Fair,  70%;  Poor,  50% 


arc  written 


HOTEL    IMPERIAL-Drama-90% 

Z7RIC  POMMER,  that  intrepid  German  producer,  has  made,  thru 
"*?  the  excellent  direction  of  Mauritz  Stiller,  a  very  great  picture. 
It  accomplishes  almost  to  perfection  those  photographic  effects  which 
directors  have  been  striving  for.  And  so  simply  and  directly  that  one 
is  unconscious  of  the  freakishness  of  the  camera  work  in  one's  absorp- 
tion in  the  dramatic  unfolding  of  the  plot,  with  its  rapid  suspense- 
building.  Pola  Negri  does  her  best  work  since  coming  to  America. 
James  Hall  has  charm  and  should  shoot  straight  into  the  star  class 
on  the  release  of  this  picture.  Every  character  lives  thru  the  story 
and  the  types  are  perfectly  chosen.  It  is  a  smooth,  eloquent  tale  told 
in  an  entirely  new  language — a  thrilling  language  of  pictures.  It 
tells  of  the  courage  and  cleverness  of  an  Austrian  peasant  'girl  who, 
in  a  hotbed  of  Russians,  saves  the  life  of  a  young  Austrian  officer 
and  helps  him  to  glory.  Tho  one  is  ever  conscious  that  it  is  essen- 
tially a  war  story,  and  the  menace  of  war  times  is  constantly  present, 
there  are  practically  no  actual  battle  pictures.  It  is  almost  altogether 
a  story  of  the  reaction  of  individuals  to  war.  Dont  miss  this  great 
picture. — Famous  Players-Lasky.  D.  D. 

BARDELYS  THE  MAGNIFICENT 

— Romantic  Drama — 85% 

A  NOTHER  Don  Juan  with  the  lover  whispering  the  same  sweet 
nothings  into  feminine  ears,  after  which  they  obligingly  lift  their 
faces  to  be  kissed,  etc. 

A  more  charming,  genteel  lover  than  Don  Juan — and  an  athletic 
genius  and  sword  fancier  of  quality.  The  story  centers  about  the 
magnificent  court  of  Louis  XIII  and  Bardelys,  the  court  Great 
Lover  and  irresistible  woman  charmer. 

His  talents  are  challenged  by  his  enemy  who  has  been  coldly  re- 
pulsed by  Roxalane  Dc  Laved  an,  a  noted  beauty  of  nobility  whose 
family  are  opposed  to  the  King.  He  forces  Bardelys  to  accept  the 
challenge. 

Bardelys  takes  the  personality  of  the  leader  of  the  revolution 
unto  himself  and  stumbles  into  the  boudoir  of  Roxalane. 

John  Gilbert  as  Bardelys  is  to  be  congratulated  on  a  finished,  deli- 
cate performance  of  a  role  that  calls  for  finesse.  His  is  a  more  con- 
vincing and  enjoyable  Don  Juan  than  John  Barrymore's. 

The  rest  of  the  cast  is  well  played  and  the  King,  played  by  Arthur 
Lubin,  is  one  of  the  most  finished  bits  of  "performance  plus"  I  have 
ever  witnessed.     His  shades  of  characterization  are  exquisitely  done. 

For  a  swashbuckling  romance  of  the  middle  ages,  of  the  time  of 
Louis  XIII,  I  do  not  believe  "Bardelys  the  Magnificent"  could  be 
improved  upon. 

The  direction  was  interesting  and  finished  but  not  so  brilliant  as  we 
expect  of  King  Vidor  since  "The  Big  Parade." 

Cast  of  characters. — John  Gilbert,  Eleanor  Boardman,  Arthur 
Lubin,  Roy  D'Arcy,  John  T.  Murray,  and  George  K.  Arthur.  "Bar- 
delys" promises  great  entertainment.  D.  D. 

THE  BETTER  ' OLE-Comedy-8o% 

MOT  since  the  days  of  brother  Charlie's  "Shoulder  Arms"  has  a 
■**  comedy  carried  such  high  explosive  laughter  as  Syd  Chaplin's 
burlesque,  "The  Better  'Ole."  Truly  the  celluloid  version  of  Bruce 
Bairnsfather's  comic  character,  Old  Bill,  is  the  happy  hit  of  the 
season.  It  presents  a  compact  array  of  funny  gags — many  of  which 
are  culled  from  the  play— and  others  which  have_  sprung  from  the 
fertile  minds  of  Chaplin  and  Chuck  Reisner,  the  director. 

Syd  fairly  makes  the  picture  talk — what  with  his  antics  in  and  out 
of  the  trenches.  An  exceptional  series  of  original  stunts  in  a  barnyard 
are  productive  of  laughs  straight  from  the  diaphragm.  From  _  the 
moment  that  Charlie's  elder  brother  goes  on  fatigue  duty  there  isn't 
a  single  pause  in  the  continuity  of  gags.  They  are  executed  with  snap 
and  dash  and  spontaneous  humor.  If  there  is  any  criticism  to  make, 
we  would  direct  it  to  an  occasional  stressing  of  the  scenes.  It  could 
be  shorter  and  be  just  as  funny.  Still  the  spectator  who  fails  to 
chuckle  over  the  horse  play  should  be  locked  up  as  dangerous  to  his 
community. 

"The  Be  'er  'Ole"  is  one  of  the  best  burlesques  ever  screened.  It 
demonstrates  that  Syd  is  a  real  character  comedian.  He  is  truly 
Bairnsfather's  Old  Bill  to  the  life.  The  droll  fellow  once  said,  "If 
you  knows  of  a  better  'ole,  go  to  it."  We  suggest  if  you  knozu  of  a 
better  comedy,  go  to  it.    That's  all  we  have  to  say.— J  Vomer  Brothers. 

L.  R. 


MY  OFFICIAL  WlFE^nrama-75% 

THHIS  will  do  very  well  as  a  classic  example  of  miscasting.  Can 
*■  you  imagine  Conway  Tearle  as  a  bad,  impetuous,  Prince-about- 
town,  a  caveman,  a  conqueror,  a  seducer?  And  Irene  Rich  as  a 
proud  and  spirited  Russian  countess,  a  young  girl  whose  beauty 
and  talent  make  her  the  toast  of  Vienna,  pursued  by  all  men  ?  No, 
neither  can  we.  Yet  Warner  Brothers,  with  a  perfectly  straight 
face,  have  cast  them  in  these  roles.  The  setting  is  Russia  in  the 
time  when  Grand  Dukes  and  snow-storms  abounded.  The  Countess 
is  kidnapped  from  her  sleigh  by  six  riotous  young  bloods,  who 
take  her  to  an  inn  and  throw  dice  for  possession  of  her.  She 
vows  to  kill  the  unknown  man  who  outraged  her.  Later,  she 
meets  and  loves  Prince  Alexis.  Guess  whether  she  keeps  her  vow 
when  she  finds  it  was  no  other  than  he  who  wronged  her  on  that 
fatal  night.  The  story  flounders  all  over  Europe,  and  Conway 
Tearle  smiles  genially  at  every  tragic  crisis.  We  understand  now 
why  Air.  Tearle  has  been  so  wistful  all  these  years.  It  was  the 
better  part  of  valor. — Warner  Brothers.  F.  G. 


THE    TEMPTRESS-Drama-75% 

7T  must  be  admitted  that  "The  Temptress"  is  a  bore.  It  would 
seem  to  be  the  story  of  a  woman  whom  all  men  love  and  whose 
curious  fate  it  is  to  destroy  all  men  who  love  her — not  thru  her 
own  will,  but  as  an  inevitable  consequence  of  her  fatal  lure.  This 
she  refers  to  as  "God's  legacy."  She  at  length  atones  by  destroy- 
ing herself  to  save  the  one  man  she  really  loves.  This  theme  is 
somewhat  obscured  in  a  typically  movie-esque  treatment  which 
emphasizes  a  Paris  revel — two  Paris  revels,  to  be  exact — an  Ar- 
gentine revel,  the  breaking  of  a  dam,  and  similar  scenes  in  which 
all  the  extras  and  studio  contrivances  can  be  used.  Greta  Garbo 
as  the  unhappy  Temptress  has  a  role  which  requires  of  her  pre- 
cisely nothing.     Antonio  Moreno's  role  calls  for  a  little  more. 

There  are  two  interesting  episodes — the  spirited  course  of  the 
Argentine  equivalent  of  a  covered  wagon  across  the  pampas ;  and 
a  barbarous  duel  with  whips  between  our  hero  and  Roy  D'Arcy. 
But  Mr.  D'Arcy  is  going  to  smile  that  way  once  too  often  if  he 
isn't  careful. — Metro-Goldwyn-Mayer.  E.  G. 


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THE    ACE   OF    CADS-Drama-75<; 

hi/     enjoyed  "The  Ace  of  Cads" — the  Ace  himself  and  the  pic- 
med  to  us  that  Adolphe  Menjou  as  the 
somehow   gallant   Ace   was  both   moving   and    sincere.     After   all, 
ultra-sophisticated  people  do  not,  indulge  in  emotional  gymnastics. 
'it  sag  of  the  shoulders,  a  gesture  gone  before  it  is  begun, 
bitt   rnessi     thru  which  they  pass.    Adolphe 
Mcnjou  dor,  jusl  these  thinj  ubtle  and  he  is  significant. 

\ljce  Joyce  as  the  Lovely  Lady  who  is  the  very  justifiable  object 
of  lii-  lifelong  devotion  mak<     the  a  nstancy  absolutely  understand- 
able.    SI  three  compelling  scenes,  notable  among  them 
ide   when   she   listens   to   him   tell    his   heart- 
gallanf    tale.      Norman    Trevor   as    the    Lovely    Lady's 
edless  to  say,  excellent.     You  may  have  read 

.  in  which  case  repetition   would  be  unpaid  m 

able.     I.  1!    i     the  very    sophisticated   tale  of  a 

d  charming   nan    who   lov      a    Lovely   Lady   to  the   final 

•   of  all  other-.    They  are  betrayed  by  a  falsi-  friend  i  n  the 

Drama  dogs  their  footsteps  and  interesl  grips 

mount.         G.  H. 


THE    QUARTERBACK-Drama-80% 

TV  you  like  football  and  Richard  Dix,  you  are  going  to  like  this 
picture.  If  you  dont-— but  that  is  another  story.  Richard  is*  as 
Dixian  as  ever  and  playing  opposite  to  him  is  the  beautifully 
blonde  Esther  Ralston.  Perhaps  co-eds  act  with  their  fellow 
students  as  Miss  Ralston  in  the  role  of  Louise  Mason  acts  with 
Richard  in  the  role  of  Jack  Stone,  We  dont  like  to  say  because 
we  are  not  an  authority  on  Q  ed  .  But  she  did  seem  awfully, 
awfully  starry-eyed  and  super-ccy  to  us.  As  a  whole,  Fred  New- 
meycr  has  made  a  good  story,  nice  tempo,  funny  bits.  Richard  is 
dashing  and  attractive  and  real,  and  college  life  is  gaily  depicted 
and  Football  rules  the  world.  For  the  rest,  Jack  Stone  comes  to  his 
father's  colleg(  i"  grind  and  work  his  way  thru.  The  well-known 
adage  aboul  mice  and  men  steps  in.  Jack  Stone  falls  in  love,  takes 
a  job  as  the  local  milkman,  goes  in  for  football  (needless  to  say) 
and  out  of  these  ingredients,  plus  one  of  two  others  of  an  even 
more  dramatic  nature  a  likely  tale  is  told. 

You'll  enjoy  it.     It's  one  of  those  things.  ...     Tt  was  directed 
I.'.    Fred  Newmeyer. — Paramount.  G.  H. 


THE  PRINCE  OF  TEMPTERS-RomaTl%Drama 

TTtlE  first  American  picture  of  Lothar  Mendes  is  not  so  im- 
pressive  as  one  might  have  hoped.  But  you  must  not  forget 
that  this  is  an  E.  Phillips  Oppenheim  novel,  adapted  by  Paul  Bern. 
Mr.  Mendes  did  the  best  he  could  with  what  he  had.  By  some 
magic  he  coaxed  Ben  Lyon  and  Lois  Moran  really  to<  act,  and  of  a 
silly  story  he  made  an  entertaining  and  even  touching  picture.  He 
makes  his  greatest  mistake  with  Lya  de  Putti,  but  she  is  arresting 
and  vital  and  refuses  to  be  suffocated  by  the  writhing  garments 
she  is  forced  to  wear.  Mr.  Mendes  knows  his  camera  and  his 
photography  is  distinguished' and  interesting. 

The  story  is  the  old  struggle  between  sacred  and  profane  love. 
A  young  monk,  who  at  the  age  of  twenty-two,  gets  his  first  taste 
of  life  outside  a  monastery,  is  the  battle-ground.  The  Prince  of 
Tempters,  by  the  way,  is  the  Devil — not  Ben  Lyon. — First  Na- 
tional. E.  G. 


GIGOLO— Drama— 70% 

A  GIGOLO  is  one  of  those  elegant  gentlemen  in  Paris  cabarets, 
who  dance,  for  a  consideration,  with  women  who  have  no 
partners,  and  whose  chief  concerns  in  life  are  their  lip-stick,  mani- 
cures, and  such.  Into  such  a  job  Fate  forces  Rod  La  Rocque,  re- 
turning with  a  shattered  face  from  the  war.  After  the  proper 
number  of  reels  you  witness  his  regeneration,  under  the  influence 
of  the  little  girl  back  home. 

Louise  Dresser,  in  her  most  wanton  make-up,  revels  in  the  in- 
sanity and  tragic  death  of  her  role.  The  main  event  of  the  pic- 
ture is  the  discovery  that  Rod  La  Rocque  looks  swell  in  a  mus- 
tache. If  he  adopted  it  as  a  permanent  feature,  he  could  be  almost 
anyone's  successor.  But  Rod  is  capable  of  a  lot  more  in  the 
way  of  acting  than  he  shows  in  this  affair. — Producers  Distribut- 
ing Corporation. 

E.  G. 


THE   MAGICI AN-Melodrama-85% 

'TALK  about  menace !  If  you  want  to  see  it  at  its  wickedest,  go 
■*  to  Rex  Ingram's  latest. '  Every  once  in  a  while  Ingram  takes 
time  out  from  his  Art  to  have  a  little  fun.  This  is  the  first  time 
he's  done  it  since  "Trifling  Women."  And  altho  the  result  isn't 
quite  so  deliriously  thrilling  as  that  ominous  trifle,  owing  to  the 
absence  of  young  Novarro,  still  it  is  remarkably  good  entertain- 
ment of  the  more  gruesome  character,  told  in  terms  of  menace 
rather  than  mystery.  The  first  half  is  done  in  the  best  Ingram 
style,  stamped  with  the  wayward  personality  and  highly  flavored 
humor  of  that  amazing  gentleman.  Later  on  he  becomes  involved 
in  another  of  those  Sorcerer's  Towers,  and  there  the  events  become 
too  ordinary,  and  the  settings  too  utterly  fantastic,  to  be  convinc- 
ing. Alice  Terry  is  as  calm  but  perhaps  not  quite  so  beautiful  as 
usual.  Ivan  Petrovitch  is  an  adequate  hero,  only  faintly  reminis- 
cent of  Conway  Tearle.  And  Paul  Wegener  gives  a  remarkable 
performance  as  the  mad  Magician,  doubly  terrifying  because  he 
avoids  all  the  obvious  air,  traditional  methods  of  being  so.  The 
picture  is  beautifully  mounted,  as  Ingram's  always  are. — Ingram- 
Mclro-Goldz^yn.  E.   G. 

(Continued 


TAKE  IT  FROM  ME-Fa 


80% 


DEGINALD  DENNY  again,  in  a  picture  that's  just  a  little 
"*  more  ridiculous  than  his  usually  are.  Reg  finds  himself  with- 
out a  sou,  his  furniture  being  attached,  when  he  suddenly  in- 
herits a  department  store.  For  spiteful  reasons,  which  you'll  un- 
derstand when  you  see  the  picture,  he  and  his  two>  bosom  friends 
decide  to  run  the  store  into  bankruptcy,  and  to  this  end  they 
introduce  some  startling  and  joyous  innovations.  This  new 
regime  furnishes  material  for  most  of  the  comedy,  and  reaches 
its  idiotic  height  when  the  floor-walkers  glide  about  on  roller- 
skates. 

All  this  is  utterly  absurd,  and  a  little  of  it  is  very  funny.  And, 
of  course,  their  jovial  mismanagement  attracts  so  much  trade  that 
the  store  is  saved  for  Reg  and  his  typist  sweetheart — played 
rather  rustically  by  Blanche  Mehaffey.  About  as  good  as  most  of 
the  Denny  pictures.  Lee  Moran  and  Ben  Hendricks,  Jr.,  are 
sometimes  good  as  Denny's  pals,  who  are  willing  to  share  his 
misfortune  and  even  more  willing  to  share  in  the  profits  of  his 
department  store.— Universal. 

E.  G. 
on   page    119)  63 

PAG 


I 


OMMMaHanaMuaBE... ■■ 
The   first  big  thrill   of   "Rough   Ride 


rs      com 


es  when   the   troops   receive- their   horses 


On  LocationWith  Rough  Riders 

Every  day  is  circus  day  in  San  Anton'  .  .  .  they  storm  the  gates  to  "watch  'em  make  pictures"  .  .  .  and 
rush  the  ropes  in  order  to  shake  hands  with  the  famous  villains  or  get  a  closer  view  of  the  leading  lady 


By  Alice  Tildesley 


TO  the  veterans  of  '98 
who  throng  the  Fair 
Grounds  of  San  An- 
tonio these  bright  fall 
days,  it  must  seem  that  the 
leaves  of  the  hook  of  history 
have  been  turned  back  and 
they  are  gazing  on  a  well-re- 
membered page. 

There  stands  the  Exposition 
Building,    re-erected    with    its 


Frank     Hooper     is    always    on 
the   scene   in   his  Teddy    make- 
up    ..      . 

The  scene  on  the  right  is  not 
in  the  picture  ...  it  is  Mary 
Astor  handing  a  basket  of 
lunch  up  to  her  two  leading 
men,  Charles  Emmett  Mack 
and    Charles    Farrell 


pretentions  cupolas  and  tower 
— there,  the  great  stables — 
and  there  the  entrance  with 
the  legend  "Rough  Riders' 
Camp"  over  its  covered  arch- 
way— all  cunningly  simulating 
a  weather-beaten  age. 

Tents  stand  in  orderly  rows 
under  sheltering  oaks,  and  on 
the  parade-grounds  drill  a 
thousand  men  in  the  blue 
shirts  and  khaki  breeches  of 
nearly  thirty  years  ago. 


Noah  Beery  who  plays  "Hell's 
Bells,"  the  sheriff,  doesn't 
mind  the  camp  life  a  little 
bit.  On  the  contrary,  he  en- 
joys it.  For  Noah  lives  on  a 
ranch     when     he     is     at     home 


Remember      the      gay      nineties     . 
when    bicycling    for    two    was    all    the 
rage.        Mary    Astor    and    Charles    Em- 
mett   Mack   do   the   tandem   stunt 


George    Bancroft    plays    Happy  Joe, 
an    escaped    prisoner 


Even  the  music  that  echoes  across  the  camp  belongs  to 
that  earlier  clay : 

"Daisy,  Daisy,  give  me  your  answer  true, 
I'm  half  crazy,  all  for  the  love  of  you. 
•We  shan't  have  a  stylish  marriage, 
We  cant  afford  a  carriage, 
But  you'd  look  sweet 
Upon  the   seat 
Of  a  bicycle  built  for  two !" 

They  might  be  dreaming  it 
.  .  .  if  it  were  not  for  the 
cameras,  the  silver  reflectors, 
the  canvas-backed  chairs 
painted  with  well-known 
names,    and    the    white-clad 


figure  of  Victor  Fleming 
behind  his  megaphone. 

The  Rough  Riders  are  re 
creating  history. 

The  "bicycle  built  for  two"  is 
there,     with     Mary     Astor     and 
Charles  Emmett  Mack  riding  it  to 
the    admiring    laughter    of    spec- 
tators—Mary   with    her    gorgeous 
hair  looped  in  the  "Psyche"  of  1898,  man- 
aging   her    trailing    skirts    with    amazing    grace ; 
Charles,  in  the  ludicrous  male  garb  of  the  day,  achieving 
the  impossible  by  looking  pathetic  and  wistful  instead  of 
absurd. 

There's  a  story  about  the  clothes  Charles  wears.   .    .    . 

Every  day,  when  he  has  been  released  from  location,  he 
drives  immediately  to  San  Antonio's  gym,  where  he 
"works  out"  for  half  an  hour.  When  he  emerged  from 
the  place  one  afternoon,  he  found  a  man  in  uniform  wait- 
ing for  him. 

"Hey — you — what's  your  name?"  demanded 
the  officer. 

"Charles  Emmett  Mack." 

"Where'd  you  come  from?" 

"Scranton,  Pennsylvania. 

"How  long  you  been  in  this  country?" 

At  which  the  young  actor  drew  himself  up, 


announced  that  the  remark  was  an  insult  to  his  home 
town,  which  had  always  considered  itself  part  of  the 
United  States. 

"Aw,  cut  it  out !  You're  an  alien  from  Limehouse — I 
can  tell  by  your  clo'es,  and  you  sriuck  acrost  the  border — 
now  didn't  you  ?" 

They  had  to  take  the  immigration  official  out  to  camp 
to  prove  the  actor's  citizenship ! 

Troops  pass  in  review  before  a  sturdy,  soldierly  figure 

whose  glasses  glint  below  the  broad  brim  of  his  slouch  hat. 

"Gee — the    old    man    himself !"    cried    a 

visiting  veteran,  watching  the   "incarnation 

of  energy"  before  the  Kleigs. 

Frank  Hopper's  portrayal  of  Theodore 
Roosevelt  is  a  dignified,  painstaking,  care- 
fully studied,  living  picture.  In  his  hands, 
the  tradition  of  the  great  Rough  Rider  is 
safe.  Yet  away  from  cameras,  Mr.  Hopper 
is  a  quiet,  dreamy,  modest  and  bashful 
man.  .   .    . 

The  original  volunteers  to  the  most  pic- 
turesque regiment  in  history  were  a  motley 
crowd,    including    Indians,    cowboys,    high- 
ranking  officers,  millionaires,  "society  men," 
and  social  outcasts.   ...     So  their  doubles 
of  today  are  of  all  ages,  sizes,  race,  and 
class — among    them,     Noah     Beery,    as 
Hell's     Bells,     the     shooting     sheriff; 
George    Bancroft,    Happy    Joe,    the 
escaped   convict ;    Charles    Emmett 
Mack,     the     country     boy ;     and 
Charles    Farrell,    the    "dude" 
from  New  York. 

Every  day  is  circus  day  in 
San  Anton',  as  they 
storm  the  gates  to  the 
Fair  Grounds  "to 
watch  'em  make  pic- 
tures." They  rush  the 
{Cont'd  on  page   110) 


Charles  Farrell,  who  has 
ridden  every  "remount" 
the  cowboys  own,  is  hap- 
piest when  his  steed  is 
standing  on  hind  legs 
.    .    .    pawing   the   air 

65 

PAG 


I 


"W"    ^fc, 

L 

Vji'nH 

S 

«K 

JfcJ 

Kl 

Doug's  niece,  Flobelle  Fairbanks,  wants  to 
make  her  own  way  in  the  films.  And  when 
she  appears  as  Gloria  Swanson's  sister  in 
"Sunya,"  which  is  her  first  part  of  any  con- 
sequence,  she  will  be  billed  as  Florence  Faire 


Every  author  who  makes  a  trip  to  Hollywood  is  certain  to  write  his  im- 
pressions of  this  famous  suburb  later  on.  Here  Julia  Faye  and  Vera 
Reynolds  give  Irvin  S.  Cobb  a  few  leads  .  .  .  and  correct  a  few  impressions 
in  which  they  think  him  in  error.  The  girls  were  working  in  "Corporal 
Kate"   when  Mr.  Cobb  visited  them  at  the  Cecil  B.   DeMille  Studios 


N 


ews 


of  th 


By  Elizabeth  Greer 


THE  arrival  of  Emil  Jannings  in  America  seems  to 
have  stirred  up  more  comment  than  anything  else 
this  month.  Endless  people  have  felt  the  urge  to 
warn  Jannings  against  the  fate  that  might  be  await- 
ing him  in  Hollywood.  And  to  these  Jannings  replied,  on 
his  first  day  in  New  York.  "Ah,  I  am  Jannings!  I  go  to 
I  follywood.  1  am  still  Jannings  !"  But  in  spite  of  his 
own  confidence,  T  feel  that  the  dangers  besetting  him  can- 
not he  exaggerated. 

At  a  luncheon  given  to  Jannings  in  New  York,  Jesse 
Lasky  rose  to  reply  to  those  same  warnings.  He  has  no 
intention,  it  seems,  of  making  changes  in  the  art  of  Mr. 
Jannings,  and  in  evidence  of  this  he  has  entrusted  his 
German  star's  career  to  Eric  Pommer,  who  supervised 
Jannings'  pictures  in  Germany. 

Jannings  seems  not  at  all  worried.  Pie  has  won  the 
first  victory  over  Paramount  by  refusing  "The  Man  Who 
Sinned,"  the  first  story  they  suggested  to  him.  And  he  is 
iicd  with  the  treatment  accorded  him  that  he  has 
ntract  for  three  years'  work  in  Hollywood. 
Just  the  same,  he  had  better  hurry  up  and  learn  English. 
1  dont  see  how  he  can  win  the  fight  with  his  present 
vocabulary  of  two  expressions — "I  am  happy,"  and 
"Thank  you  very  much." 

"Tin:  only  serious  contender  for  honors  that  Jannings  has 
■■■  to  face  is  the  Queen  of  Roumania.  You've  heard 
about  that  cheque   for  $25,000  that  is  lying  in  the   llolly- 


Vilma   Banky   is  to  be   made  a   present   of  this  statue   of   the   late   Rudolph 
Valentino   in   his   last   role,    "The  Son    of   the   Sheik."       It   was   Miss   Banky 
il.-iyed    with    Rudy    in    this   picture.       Lelio    De    Ranieri,    the    sculptor, 
is  seen   here   with   the   character   statue 


wood  Chamber  of  Commerce  awaiting  the  Queen's  deci- 
sion as  to  whether  it  befits  her  dignity  to  work  for  ten 
hours  in  a  movie  studio  to  reap  all  that  reward  for  her 
favorite  charity.  The  Roumanian  Consulate  is  in  a  panic 
at  the  mere  suggestion,  and  Marie  herself  has  declared 
that  she  will  appear  in  nothing  but  the  news  reels.  But 
Edwin  Carewe,  who  wrote  that  cheque,  still  has  hopes. 


I 


GC 


Blueprints  and   architects'    technical   talk   is   all   well   and   good.      But   Laura 

La  Plante  wanted  to   know  just  what   her  new  house  was   going  to  be  like 

.     .     .    and   a   tiny    model    was    made    for    her.       It    will    be    as    the    bride    of 

William  Seiter  that  Laura  will  live  in  this  attractive  home 


Camera  Coasts 


and  Milton  Howe 


International  Newsreel 
The    Kid    is   dead    .  .    long   live   this   happy 

young  feller    .     .     .    and  let  us  hope  that  Jack 
Coogan     with     a     haircut     and     long     trousers 
gives  us  as  many  fine  performances  as  he  did 
before   these    changes   came   to   pass 


Even  queens  change  their  minds.  And  Her  Majesty  has 
always  been  deeply  interested  in  moving  pictures.  Last 
year  she  signed  a  contract  to  do  scenarios  for  Metro- 
Goldwyn-Mayer.  Writing,  as  everyone  knows,  is  one  of 
the  royal  accomplishments.  But  then,  so  is  acting.  So  the 
lives  of  the  young  Roumanian  Consuls  may  be  blasted, 
after  all. 


Qur  noble  and  refined  heavyweight  champion,  Mr.  Gene 
^^  Tunney,  has  great  delicacy  of  feeling.  His  produc- 
ers— for  he's  a  movie  actor,  too,  of  course — wanted  him 
to  do  a  picture  about  a  prize-fighter  who  left  the  ring — 
temporarily — and  got  himself  a  paraffin  nose.  No  one 
knows  what  happened  in  the  script  after  that,  for  at  that 
point  Tunney  raised  a  prohibitive  hand  and  refused  to 
hear  more.  "Nothing  doing,"  said  he — altho  he  probably 
didn't  use  quite  such  a  slangy  expression — "I'll  do  noth- 
ing to  hurt  the  feelings  of  my  friend,  Jack  Dempsey." 
And  now  they're  looking  for  another  story.  There  has 
been  a  rumor  that  Dempsey  and  Tunney  may  play  in  a 
picture  together,  during  the  action  of  which  they  would 
reproduce  as  nearly  as  possible  the  recent  championship 
bout.  The  purpose  of  this  would  be  to  get  around  the 
ruling  which  prohibits  the  showing  of  the  actual  fight  films 
in  many  states.  But  our  guess  is  that  the  public  doesn't 
want  to  see  any  synthetic  versions  of  the  big  fight — the 
real  thing  was  feeble  enough.  And  also  that  Jack 
Dempsey  is  content  to  have  lost  the  championship  once, 
and  wont  care  to  play  second  lead  to  his  friend,  Gene 
Tunney,  in  any  fictionization  of  the  event. 

Delle  Bennett  seems  to  have  settled  the  question,  in 
*-'  her  own  mind  at  least,  of  whether  an  actress  ought  to 
stick  to  one  type  of  part.  For  Belle  will  insist  on  being  a 
mother.       She    has    never    been    able    to    forget    "Stella 


Life  in  the  studios  is  just  one  celebrity  after  another.  Elsie  Janis  was 
a  recent  caller  out  at  Culver  City.  She  entertained  the  film  stars  with 
her  famous  impersonations  .  .  .  and  they  feted  her  at  luncheons, 
teas  and  dinners.  Greta  Garbo  and  John  Gilbert  welcomed  Elsie  to 
the   Metro-Goldwyn-Mayer    (what   a   name!)    studios 

67 

PAG 


I 


International  Newsreel 
When    Mrs.     Lloyd    arrived    at    a    theater    to    see    Harold    in    "For    Heavens 
Sake,"     these     counterparts     of     her     famous     son     were     in     the     lobby     to 
welcome   her 


P.  &  A. 

The     first     picture     taken     of     Mr.     and     Mrs. 

Milton   Sills    (nee  Doris  Kenyon).      Doris  and 

Milton   were    married   at   Doris'    country   place 

at   Ausable   Forks,    New  York 


Dallas,"  and 
neither  have 
the  produc- 
e  r  s  ,  and 
whenever  the 
script  calls 
for  mother 
love,  a  loud 
s u m m o n s  is 
sent  out  for 
Miss  Bennett — despite  the  fact  that  since  "Stella  Dallas" 
her  interpretations  of  this  divine  emotion  have  been  nothing 
to  boast  about.  It's  got  to  the  point  where  the  whole 
audience  braces  itself  and  gets  ready  for  a  good  cry  when 
they  see  her  name  in  the  cast. 

All  of  which  merely  leads  up  to  the  announcement  that 
Belle  will  have  the  title  role  in  "Mother,"  an  F.  B.  O. 
production  of  Kathleen  Xorris'  novel. 

Mokma  Talmadge  has  been  inspecting  all  the  dark  and 
^  impetuous  young  men  in  Hollywood  with  a  view  to 
engaging  one  for  the  role  of  Armand  in  her  production 
of  "Camille."  So  you  can  imagine  that  quite  an  endless 
succession  of  screen  tests  was  made,  as  Hollywood 
abounds  with  the  sleek  and  the  swarthy.  Norma  finally 
d  Gilbert  Roland,  who  says  lie  is  a  twenty-year-old 
Spaniard,  for  her  leading  man.  You've  no  doubt  become 
familiar  with  Gilbert  Roland  by  now,  as  he's  been  con- 
spicuous in  all  lists  of  promising  youngsters.  And  you're 
ure  to  like  him,  for  he  is  a  happy  composite  of  all  our 
besl  male  stars,  and  you're  sure  to  see  in  him  a  distinct 
resemblance  to  your  favorite.  Norma  and  Joseph  Schenck 
were  -o  delighted  with  Gilbert's  tests  that  he  has  been 
signed  by  United  Artists  for  five  years,  and  will  probably 
he  divided  between  the  Talmadge  sisters. 

r^       riE  Talmadge,  by  the  way,  is  to  he  directed  by 
Marshall  Xeilan,  who  lias  jusl  severed  his  connections 
with    Paramount.     Connie   has   just   severed  her   connec- 
tions with  her  recent  husband,  and  is  free  to  pursue  her 
areer  in  the  studios.'    Thank  goodness.     It  would 


have  been  awful  to  lose  Connie.  The  new  picture  is 
"Collette,"  presumably  the  new  title  of  "The  Sun  of 
Montmartre,"  which  was  originally  written  by  Hans 
Kraly  for  Norma's  use.  Connie  will  be  an  Italian  girl, 
and  the  press-agent  assures  me  that  it  will  be  a  stronger 
part  than  she  has  ever  played.  Which  sounds  ominous. 
Who  would  want  to  see  Connie  in  a  strong  part?  But  we 
have  faith  in  Hans  Kraly. 

/^ardner  James  is  going  to  marry  Marion  Blackton,  the 
^-*  daughter  of  J.  Stuart  Blackton,  who  directed  Gardner 
in  "Hell  Bent  Fer  Heaven."  Marion  has  had  a  hand  in 
Gardner's  career  right  from  the  first,  for  she  was  assist- 
ing her  father  in  casting  when  James  applied  for  a  job, 
and  she  wrote  the  script  of  that  picture,'  in  which  James 
made  his  first  big  impression.  Now  he  has  been  signed 
by  Inspiration  Pictures  to  a  five-year  contract,  and  they 
hope  to  develop  him  into  a  successor  to  Richard  Barthel- 
mess.     The  wedding  will  take  place  on  Christmas  Day. 


I 


The    Pickford-Fairbanks   studios    look    natural    again.    Home    from    th< 

European    wanderings,    Mary    and    Doug   are    busy    daily    at    the    studi 

and   everybody's   happy 

68 


«TOSTR 


15 


C.  H.  Monroe 

Ruth   Roland   is   Hollywood's   Hetty   Green.      Ruth   has   invested   her   motion 

picture   salary   in   real   estate   so   wisely   that    she    is   a   power   in    California. 

Her  latest  development  is  Roland  Square    .     .     .    and  she  is  seen  here  on  the 

steps  of  one  of  her  business  offices 


If  you  want  to  see  how  Charlie  Chaplin  acts  when  not 
under  the  spell  of  his  Art,  watch  the  picture  houses 
closely  now.  For  during  the  recent  fire  at  the  Chaplin 
Studio,  the  cameraman  had  the  presence  of  mind  to  keep 
on  grinding  thru  all  the  pandemonium  and  got  two 
hundred  feet  of  film  showing  how  actors  behave  when 
they're  not  acting.  Charlie  was  in  the  midst  of  making 
up,  and  he  is  to  be  seen  dashing  about  in  his  bathrobe, 
among  firemen,  flames,  and  drenching  water, 

J7IRST  National's  East  Coast  studio  has  been  closed,  now 
■*•  that  "Not  Herbert"  has  been  completed,  and  all  the 
stars  are  traveling  back  to  California  where  all  First  Na- 
tional pictures  will  hereafter  be  made,  at  the  enormous 
and  expensive  new  studio  at  Burbank.  Ben  Lyon  was  to 
have  joined  the  caravan  going  westward,  but  he  is  going 
to  stay  in  New  York  for  one  more  picture.  Robert  Kane, 
who  releases  thru  First  National,  will  continue  to  produce 


International  Newsreel 
Jack  Dempsey  was  so  pleased  with  the  cover 
of  his  wife  when  it  adorned  the  MOTION 
PICTURE  MAGAZINE  that  he  bought  up  all 
the  copies  he  could  find  .  .  .  and  he  says 
that  this  publication  certainly  helps  him 
keep  track  of  Hollywood  activities  when  he 
is  in  the   East 


his  pictures 
in  New 
York,  and  it 
is  for  him 
Ben  will 
work  during 
the  next  few 
week  s — i  n 
none  other 
than  "T  h  e 
Duke     of 

Ladies."  And  here  I  will  let  you  in  on  a  secret.  "The 
Duke  of  Ladies"  is  nothing  in  the  world  but  a  title — a 
darn  good  title,  so  the  officials  think — and  it  has  been 
applied  to  one  picture  after  another,  and  then  found  in- 
appropriate. So  the  general  impression  must  be  that 
"The  Duke  of  Ladies"  has  been  in  production  for  months 
and  months.  No  indeed.  And  you  can  expect  almost 
anything  to  be  hiding  behind  the  shield  of  this  provoking 
title.  No  clue  to  the  nature  of  the  new  story  has  been 
proffered  by  the  publicity  department — probably  because 
they  dont  know  themselves.  Ben's  first  picture  in  Cali- 
fornia will  be 

LJollywood's  first  big  blue-eyed  Indian  made  his  ap- 
*  pearance  at  a  press  luncheon  given  for  Colonel  Tim 

McCoy  at  the  Metro-Goldwyn-Mayer  studios. 

My  pal,  Glenn  Chaffin,  took  a  good  look  at  the  big 

feathered  brave  who  was  indulging  in  the  sign  language 

with  the  Colonel.    The  big  Injun  kept  staring  at  Glenn. 
"What's  the  matter  with  that  painted  baby,  Glenn?"  I 

asked.    "He  must  have  the  Indian  sign  on  you." 

Glenn,  who  is  one  of  these  strong  silent  men  from  the 

rough  open  spaces  of  Montana,  walked  over  to  the  painted 

Injun  and  asked  him  to  take  the  feathered  teepee  off  his 

head. 

"My  Gawd  !"  exclaimed  my  pal,  "If  it  isn't  Charlie  !" 
It  seems  that  Charlie  used  to  be  Glenn's  barber.     He 
(Continued  on  page  112) 


Here     is     an     interesting     picture     in     which     you  1 
O'Brien   as   the    gob    that    he   was    during   the   war. 
middle,    that's    right 


recognize     George 
He's    the    fellow   in 


69 
PAG 


I 


Say   It   With   Letters 

Have  you  a  kick  against  the  movies?  Then  dont  suffer  in  silence. 
Write  us  a  letter  about  it.  Have  you  a  favorite  that  you  want  to  tell 
the  world  about?  Then  remember  that  it  isn't  fair  to  keep  the  good 
news  to  yourself.  This  department  is  devoted  to  your  opinions  and 
you  are  the  boss  of  this  page 


I 


A  New  Light  on  Hollywood  Cinderella 

DEAR  EDITOR: 
I  read  the  article  "The  Fake  Princess,"  in  your  latest 
issue,  with  much  interest  and  greater  surprise.  Putting- 
aside  everything  else,  Helen  Otero,  "the  fake  princess,"  is 
entitled  to  our  admiration  for  the  real  spunk  she  displayed  in 
deceiving  Hollywood,  of  all  places,  which  is  used  to  seeing  so 
much  nobility  in  the  screen  and  out  of  it.  1  think  Helen's  was  one 
of  the  nerviest  little  stunts  ever  pulled  off  anywhere.  That  she 
was  finally  handed  a  lemon  after  three  weeks  of  successful  coun- 
terfeiting, is  hut  natural.  The  clock  had  to  strike  the  hour  for 
Cinderella,   and   the  price  had  to   be  paid. 

However,  that  did.  not  end  the  joke,  by  any  means. 
Hollywood  has  not  yet  been  entirely   undeceived! 
Because*  Hollywood  is  not  yet  aware  that  the   fake  princess  of 
Spain  is  not  even  an  honest-to-goodness  Spanish  girl,  to  begin  with  ! 
Miss  Helen  Otero  is  a  native  of  the  Philippine  Islands,  this  "wild" 
possession  of  the  United  States.     She  is  descended  from  Spaniards 
it  is  true,  but   has   Filipino  blood   running  in  her  veins,  and  if   she 
has  blue-blooded  relations,  the  -Man  in  the  Moon  is  my  bootlegger. 
In  other  countries  there  would  be  notic- 
ing  to   this   blood   angle,  but   in   "God's 
country"  blood  makes  the  man    (or  is  it 
blood  unmakes  the  man?),  unless  I  am 
greatly    mistaken.      Yet    this    is    not    all. 
Not   only   has    Nature    failed    to    lavish 
physical  gifts  on   poor    Helen,  not  only 
is  she  not  possessed   of   any   remarkable 
personality,    but    she    has    not    even   en- 
joyed the  advantage  of  a  liberal  educa- 
tion,   hence   her   defective    Spanish    pro- 
nunciation.     With    this    great    handicap, 
one     naturally     wonders     how     in     the 
world    could    she    have    maintained    the 
deception    for   so   long. 

If  she  was  a  guest  of  the  Morenos, 
how  could  Tony  the  old  screen  wonder 
.  .  .  have  failed  to  discover  the  fraud? 
f  thought  Tony  had  a  lot  of  horsc- 
.hether  Tom  Mix  is  around  or 
not.  Looks  as  if  the  horse-laugh  has 
to  be  mostly  on  Tony  !  As  to  Mrs. 
Moreno,  she  deserves  a  full  share  of 
our  admiration  for  her  wonderful 
magnanimity.  How  many  ho 
cduld  have  borne  their  disappointment 
like  she  did?  But  really,  Tony 
Moreno's  short-sightedness  is  unbeliev- 
able. I  really  think  that  it  was  his 
sense  of  Spanish  chivalry  that  kept  him 
from    discerning    the    counterfeit 

Helen,  or   rather   Elena   Otero,    formerly  known  here  as   Titina, 
long    before    •'Titina    my    Titina!"    was    ever    sung    here,     is    the 
'   of    four  sisl  Ester,   Consuelo,    Pepita,  and  her- 

self.    The  first  one  went  to  Spain,  the  second  married  an  American, 
who  holds  a  very  r<  i   »ition  in  a  local  electric  company, 

and   I'epita   is   still   pounding  on  her  old   typewriter  here  in   Manila. 
.  ;th    her    sister    and    American    brother-in-law    to    the 
and    remained    in    San    Francisco,    if    1    am    not    n 
from   w  arted  on  her  spectacular   invasion  of   sophisti- 

;  lollywood  ! 

who    know     Helen    Otero,    how  and    what    her 

accomplishments    (or   lack   of    them)    are.    received    the   shock  of 
their  lives  upon  learning  that  she    ucceeded  in  putting  such  a  big 
er  on    Hollywood   the  blase,  and   they    wonder  how    i 
rur   real   better  equipped   beautii 
les    in   our   orchards    here,    if    anybodj    should 
We  thouj  -nld   never  ;  an;    ex 

ham  daiici     i  i],, 

Yours  very  truly, 
Eddie  Monty,  Manila,  P.  T. 
70 

31 


\fOUR  opinions  on  subjects  re- 
*■  letting  to  the  movies  and  their 
players  may  be  worth  actual  money 
to  you,  if  you  can  express  them 
clearly  in  a  snappy  letter  of  one  to 
three  hundred  words.  A  five-dollar 
prize  is  aicardcd  for  the  best  letter 
of  the  mouth,  which  will  be  printed 
at  the  head  of  this  department. 
One  dollar  is  paid  for  the  excerpts 
printed  from  others.  Write  us 
an  interesting  letter,  giving  reasons 
for  your  likes  and  dislikes.  Sign 
your  full  name  and  give  your  ad- 
dress. We  will  use  initials  only  if 
requested. 

Send  to  S.I)-  IT  WITH  LET- 
TERS, 175  Duffield  St..  Brooklyn, 
X.    )'. 


The  Maim,   the  Halt,   and  the  Blind 

IT  or  a  long  time  I  have  been  holding  back  my  one  and  only  fault 
against  the  movies.  I  am  sixteen  years  old  and  have  spent  about 
seven  years  of  the  sixteen  as  a  true  motion  picture  fan.  There 
is  only  one  fault  that  I  can  find  against  the  movies  and  I  wish 
to  state  it  in  your  "Yes  and  No  Department."  I  do  not  enjoy  a 
picture  if  the  star  is  a  cripple  or  disfigured  in  any  way  and  I  will 
not  attend  a  movie  if  I  have  any  idea  that  this  will  be  done. 

The  first  picture  of  this  kind  that  I  saw  was  my  favorite  actor, 
Richard  Barthelmess  in  "The  Enchanted  Cottage."  In  this  picture 
he  was  a  cripple  and  his  lover  a  very  ugly  girl.  The  public  does 
not  care  about  seeing  the  stars  attempt  something  new.  Richard 
did  splendid  acting  in  "The  Enchanted  Cottage,"  but  it  certainly 
was  a  box-office  failure, in  this  town.  There  was  John  Gilbert  too 
in  "The  Big  Parade."  In  this  picture  he  appears  as  a  suffering- 
cripple,  Percy  Marmont  as  a  crippled  beggar  in  "The  Street  of 
Forgotten  Men"  and  Ronald  Colman  as  a  blind  war  veteran  in 
part  of  "The  Dark  Angel."  These  pictures  do  not  suit  the  public 
at  all.  They  do  not  want  to  see  the  stars  break  away  from  the 
parts  with  which  they  are  best  known.  Let  Barthelmess  remain 
as  the  strong  young  likable  boy  he 
really  is.  Gilbert  the  passionate  lover 
and  not  a  poor  cripple  and  Colman  as 
the  strong  romantic  man  he  is. 

Some  may  not  agree  with  me  but  I 
think  the  majority  will,  as  no  true  mo- 
tion picture  fan  likes  to  see  or  even 
think  of  a  favorite  actor  as  a  blind 
beggar  or  anything  besides  the  romantic 
lover  he  really  is.  I  wonder  how  many 
agree  with  me? 

C.  S., 
Cambria,  Virginia. 


Didn't   I  Tell  You? 


T  have  just  reread  the  criticism  of 
John  Nuding  in  the  September  issue 
of  Motion  Picture.  He  was  disgusted 
with  the  "exaggerated  passion"  dis- 
played in  the  garden  scene  of  "The  Sea 
Beast." 

Now  what  under  the  sun  is  the  mat- 
ter with  John?  Was  he  simply  dys- 
peptic that  evening  as  a  result  of  too 
many  helpings  of  boiled  New  England 
dinner — or  has  he  reached  that  state  of 
prosaic  smugness  where  Romance  is 
viewed  with  distaste,  a  fusty,  unlovely 
thing? 

I  think  that  love  scene  of  Barrymore 
and  Dolores  Costello  was  one  of  the  loveliest  things  I  have  ever 
seen  on  the  screen.  It  was  as  exquisite,  as  softly  fragrant  as  the 
drifting  petals  of  that  summer  garden.  There  was  a  poignant, 
haunting  beauty  about  tin-  scene  thai  is  with  me  yet.  And  1  have 
heard  dozens  of  people  express  opinions  identical  to  mine.  I  have 
heard   no  one  express  disgust   at   that   "passionate  osculation." 

What  should  our  hero  have  done?  Seated  himself  at  a  discreet 
distance  from  his  love  and  recited  Shakespeare?  Or  perhaps  he 
should  have  delighted  her  by  bursting  into  some  of  the  good  old 
sea  chanteys,  or  she  might  even  have  joined  him  in  the  chorus  of 
"Asleep  in  the  Deep" — altho  the  latter  might  be  just  a  trifle 
de\  ilisli  and  unmaidi 

But  for  Pete's  sake!  Let's  get  over  this  prudish  attitude. 
What  we  need  are  more  real  pictures  with  real  people  in  'em 
people  thai  are  full  of  vires  as  well  as  virtues.  We're  tired  of 
,liid  nambj  pambies  that  dance  before  us  like  marionettes 
tring.  Let's  try  to  get  a  little  closer  to  life  and  we'll  have 
better  pictures.  Thi  garden  scene  was  life  even  if  John  doesn't 
think  so.  E.    i'\,  Los  Angeles,  Calif. 

inui  •'<  on  page  121 ) 


THAT'S  OUT 

The  Truth  About  a  Number  of  Things 

By  Tamar  Lane 


Suggestion  to  Mr.  Hays 

A  CCORDING  to  report,  Will  Hays  is  evolving  a  new 
/\      system  whereby  the   producers'   association   v/ill 
/     \     ban  from  the  films  all  players  who  figure  in  sen- 
sational newspaper  cases. 
We   dont   see   what   concern   the   public   has   with   the 
private  lives  of  the  players  so  long  as  they  give  us  capable 
and  entertaining  performances  upon  the  screen. 

We  might  suggest  to  Mr.  Hays,  however,  that  he  place 
some  kind  of  ban  on  the  hamfat  Thespians  who  chew 
up  the  scenery  and  keep  good  actors  from  getting  a  job. 


Horseshoes  vs.  Talent 

After  all,  a  rabbit's  paw  and  a  horseshoe  are  much  more 
**  valuable  assets  in  the  picture  game  than  talent  and  abil- 
ity. In  the  silent  drama,  if  a  player  has  enough  luck,  then 
ability  is  only  a  matter  of  secondary  importance.  But 
without  luck  it  is  very  difficult  to  reach  the  peak  of  success. 
Viola  Dana,  for  instance,  is  not  only  unusually  talented 
but  is  one  of  the  most  charming  little  actresses  on  the 
silversheet.  She  has  failed,  however,  to  receive  anything 
near  the  screen  reward  that  she  merits. 

If  Viola  had  only  been  fortunate  enough  to  have  been 
cast  into  a  few  of  the  big  box-office  knockouts,  she  would 
undoubtedly  be  at  the  top  of  the  heap  today. 


He  Wasn't   the  Type 

here   is    apparently   an   unwritten    law    on    just   how 
things    must   and   must    not    be    done   on   the    screen. 
Every  player  goes  thru  practically  the  same  ritual  for  no 


T 


other  reason  than  that  the  man  just  ahead  of  him  did  it 
that  way. 

Let  some  misguided  individual  try  to  depart  from  the 
regular  approved  method  and  he  is  promptly  and  soundly 
whacked  on  the  head  by  the  director  and  profession  in 
general,  and  then  roundly  lampooned  by  the  professors  of 
the  press. 

A  young  South  American  recently  arrived  in  Holly- 
wood and  had  the  effrontery  to  try  and  get  a  job  in  a 
Brazilian  picture  without  knowing  how  to  dance  the  tango 
and  play  a  guitar. 

He  was,  of  course,  at  once  informed  of  his  gross  ignor- 
ance, but  being  a  relative  of  the  general  manager  of  the 
company,  he  was  given  a  job  in  another  film  playing  the 
part  of  an  English  butler. 


Page  Elinor  Glyn 

Droducers  claim  that  players  who  have  sex  appeal  are 

the  most  successful  on  the  screen. 

This,  no  doubt,  accounts  for  the  great  popularity  of 
Farina. 

In  the  comedies  in  which  I  have  seen  him,  he  certainly 
has  more  than  his  share  of  "It." 


""The  chief  argument  of  the  proponents  of  censorship  is 
A  that  persons  go  to  the  theater,  view  immoralities  and 
crimes  upon  the  screen,  and  then  go  out  and  emulate  them. 

If  this  is  true,  then  censors  who  view  several  times  as 
many  pictures  a  month  as  the  average  person  does  in  a 
year,  must  be  the  dangerous  characters  they  are  often 
painted,  and  we  may  believe  everything  we  hear  about 
them. 

On  the  strength  of  their  own  logic  and  assertions,  I 
think  that  a  bill  should  be  passed  to  the  effect  that  no 
censor  be  allowed  at  large  except  under  police  surveil- 
lance. The  present  crime  wave  being  due,  according  to 
(Continued  on  page  93) 


71"  R 

PAfiU 


Alec  Francis 
December  2nd 


"Shall  I  Go 
Into  the 
Movies?' 


Doug    Fairbanks,    Jr. 
December  9th 


William  S.  Hart 
December  6th 


©U  &U. 


Marion  Meyer  Drew 
Will  Tell  You  What 
the  Stars  Forecast  for 
You    in    the    Movies 


Marion  Meyer  Drew 
December   I  5th 


Iris,  November  18: 

It  looks  to  me  as  if  you  have  far  more  appreciation  of 
the  artistic  efforts  of  other  people  than  the  actual  ability 
to  express  emotion  yourself — quite  a  common  occurrence 
and  one  which  accounts  for  many  disappointments  upon 
the  stage  and  screen.  You  really  are  able  to  write  dra- 
matic literature,  however.  If  you  can  manage  to  bring  it 
about  easily  I  suggest  that  you  go  upon  the  stage  for  a  few 
years  in  order  to  develop  your  sense  of  the  technique 
essential  for  successful  playwriting.  Dont  expect  to  be  a 
big  dramatic  success  yourself.  If  you  are  unable  to  adapt 
your  views  to  this  kind  of  a  life  then  marry  the  next  nice 
young  man. 

Z.  S.,  April  1 : 

Apparently  there  is  a  kind  of  ingrowing  self-conscious- 
broad  in  the  land  that  makes  at  least  half  the  corre- 
spondents of  this  department  say  something  like  "You 
know,  I  never  in  the  world  would  have  thought  of  want- 
ing to  go  into  the  movies — oh,  my  dear.  I  think  it's  a 
terrible  life — but  all  my  friends  are  just  pushing  me 
toward  it  all  the  time,  and  do  you  think  Miss  Drew  that  all 
these  intelligent  and  highly  critical  people  that  tell  me  I'm 
the  next  Gloria  Swan-oii  can  possibly  be  wrong?"  The 
chance-   are   that    they   are.      The   young   man    who    wrote 


under  the  above  initials  has  no  more  chance — in  spite  of 
his  friends — to  succeed  on  the  screen  than  my  pet  parrot. 

Frederick  B.  S.,  May  17: 

You  have  a  certain  sense  of  showmanship  and  a  fond- 
ness for  artistic  and  theatrical  things,  but  you  are  not  an 
actor.  This  is  a  strange  suggestion,  perhaps,  but  I  be- 
lieve you  would  do  well  in  managerial  work  such  as  man- 
ager of  a  baseball  team,  prize  fighter  or  other  professional 
sport  work.  Dont  write  and  ask  me  how  one  goes  about 
it  to  get  such  work,  for  I  haven't  the  faintest  idea. 

Marion  R.,  May  19: 

Yes,  you  have  a  lot  of  ability — many  different  kinds  of 
artistic  talent,  but  look  out  for  those  tricky  emotional 
states  of  yours  which  are  apt  to  create  chaos  in  your 
character  and  life  if  allowed  full  sway.  I  advise  you  to 
Study  dramatic  art.  If  you  find  your  interest  there  failing 
then  turn  to  cartooning.  You  will  earn  a  good  deal  of 
money  through  your  own  efforts,  but  never  depend  upon 
anyone  else  to  assist  you  in  the  slightest  degree. 

Mrs.  W.  G.  S.,  February  7: 

Although  it  is  extremely  hard  for  anyone  to  break  into 
the  scenario   department   of  a  motion   picture  company   1 
( Continued  on  page  115) 


I 


EDITOR'S  NOTE:  All  comments  made  in  this  department  are  based  on  astrological  rules, 
but  neither  the  writer  of  this  department  nor  this  publication  can  assume  responsibility  for 
statements  made  therein,  because  inaccurate  data  is  sometimes  furnished,  even  tho  the  sender 
believes  it  to  be  correct. 

You  must  send :  your  date  of  birth  .  .  .  your  year  of  birth  .  .  .  city  or  nearest  town 
and  county  of  birth  .  .  .  your  sex  and  the  hour  and  minute  of  the  day  or  night  when  you 
were  born. 


Advertising  Section 


I     V 


"TOW  CCLR^cL© 

to  ncu&e  pe^ifecL 

TUfHlWra?'' 


WHAT  woman  does  not  look  with 
envy  at  the  lovely  almond-shaped 
nails  of  her  more  soignee  sister? 
Does  not  shrink  back  in  mortification  at 
her  own  dim,  come-as-they-may,  vari- 
shaped  finger  tips? — clean,  but  oh,  so 
stupid!  Sigh  once  more  for  that  glisten- 
ing perfection,  above  all  for  those  pearl- 
white  rounded  half  moons  and  shapely, 
snowy  tips? 

Perfectly  shaped  Half  Moons  make  the 
nails  appear  longer  and  give  them  the 
desired  almond  shape.  No  wonder  they 
are  so  much  coveted  by  the  woman  who 
wants  to  have  beautiful  nails. 

The   Half  Moon    is    a   pale   cresCent- 

shaped  area  just  above  the  nail.  Its  size 

and  shape  vary  in  every  individual  "and 

in  each  finger.    Occasionally  this  white 

area  is  so  small 

^^flSHBSSfl  that  none  of  it 

"Sk  shows  above 

f^m*^~—-'W  tne  na^  nrn- 

An  d  some 
women  ac- 
tually do  not 


properly  removed  and  the 
nail  rims   rightly  shaped. 
"The    cuticle    is    really 
skin  that  grows  in  a  pro-     a»»&^--—  «S 
tective  rim  around  the  nail 
base.    It  constantly  throws  off  old  tissue 
that  covers  up  the  Half  Moons  and  causes 
the  rims  todrawso  tight  to  the  nail 
they  split  and  crack.  You  can 
not  cut  it  away   without 
snipping  into  it,  causing 
it   to    grow    back    still 
more  unevenly  —  and         i 
just  softening  and        #j 
pushing  back  the  cu-      /" 
tide  breaks    it    and      I 
doesn't  remove  this 
old  skin  either. 


"So  many  women 

had  trouble  with  this 

part  of  the  manicure 

that  I  experimented 

until  I  found  a  way  of 

removing  the  old  tissue 

and  softening  the  cuticle 

so  it  is  easy  to  shape  it  into 

perfect  ovals  and  allow 
the  Half  Moons  to  show. 
That  way  is  with  a  liquid  — the 
safe  antiseptic  Cutex.  Cuticle  Re- 
mover." 


w; 


This  is  the  dainty  anti- 
septic which  removes  the 
dead  cuticle  that  often 
spoils  the  shape  of  the 
lovely  Half  Moons 


This  is  the  Cuticle  Cream, 
to  be  rubbed  into  the  nail 
base,  after  removing  the  dead 
cuticle  with  Cutex.  It  keeps 
the  rim  around  the  Half 
Moons  soft  and  well  shaped 


ITH  orange  stick 
and  cotton  dip- 
ped in  Cutex  the 
cuticle  is  gently  shaped 
un  til  thedead  cuticle  which 
obscures  the  Half  Moons 
is  removed. 


Do  you  know  what 

the  Half  Moons  really  are  1 
And  that  some  women 
never  have  them  at  all? 

Northam  Warren,  au- 
thority on  the  care  of  the 
nails, answers  an  important 
question  on  the  manicure 


won't  get  the  Half  Moons  to  show  per- 
fectly. You  will  need  to  remove  the  old 
cuticle  and  shape  the   new  regu- 
arly — once  a  week.    Even  if 
you  discover  that  you  do 
not  happen  to  have  Half 
Moons     yourself,    you 
will  be  delighted  with 
the  lovely  oval  shape 
of  your  nails. 


Marthe  Recnier, 
talented  and  unusu^ 
ally    gifted    French 
actress  and  a  modiste 
of  artistic  ability  as 
well,says:"  Half  Moons 
are  the  distinguishing 
mark  of  beauty  in  well 
kept  nails.    Since  I  dis- 
covered Cutex  it's  no  trou- 
ble at  all  to  shape  cuticle, 
revealing  the  Half  Moons. 


Cutex  Sets,  containing  everything 
for  the  manicure  are  35c  to  $5.00.  Sepa- 
rate preparations  are  35c.  You  will  find 
them  wherever  toilet  goods  are  sold.  Or 
see  the  special  offer. 


Si 


'END  ioc  for  Introductory  Set 
containing  Cutex  Cuticle  Remover, 
Liquid  and  Powder  Polishes,  Cuti- 
cle Cream,  brush,  emery  board, 
orange  stick,  cotton  and  booklet. 


have  Half  Moons  at  all. 

"Usually,"  Northam  Warren  says, 
"  when  the  Half  Moons  do  not  show,  it 
is  because  the  dead  cuticle  has  not  been 


Then  rub  in  Cutex  Cuti- 
cle Cream — all  around  the 
nail  base.    It  helps  train 
the  rims  back,  and  keeps 
the  cuticle  soft  and  pliant. 
But    remember    that    just    one 
treatment — if  you  have  neglected 
to   train  the  cuticle  properly— 


Northam  Warren,  Dept.  M-i 

114  West  17th  Street,  New  York  City 

I  enclose  ioc  in  stamps  or  coins  for  Introductory  Set. 


When  you  write  to  advertisers  please  mention   MOTION   PICTURE   MAGAZINE. 


73 
PAG 


I 


ANSWffcMAN 


LEORO  H. — And  here  we  are  back  again  in  time  to  say- 

iKituVst  uiisljrs  fur  Furrg  g,oob  thing 

£hat  (Cltrist  anil  tljr  Nrlu  tjrar  ran  bring, 

3t'H  nliirn  aim  gnliint,  but  trirft  anil  true. 
Sltat  jolly  alb  hrisli  ami  grrflmtli  to  gun — 


ffltvvi]  (Eltrtstmas 


SAT. I. V.— So  you  think  T  am  handsome,  and  fit  for  the  movies. 
Well,  am  I  not  in  the  movies?  Ramon  Novarro  was  bom  on 
September  20,  1899.  You  want  us  to  print  a  picture  of  Lew 
Codv'-   famous  door.     I'll  sec  what   I  can  do. 

FREDALIE.— Why,  Norma  Talmadge  is  playing  in  "Camille," 
and  Constance  in  "Collctte."  Irene  Rich  in  "My  Official  Wife." 
Well,  I  should  say  you  want  to  diet,  and  not  be  like  the  horse  who 
cats  nine  times   its  own  weight   in  hay.     Write  me  again. 

DONNIE  JACK. — Of  course,  I  love  music,  and  I  love  the  "Blue 
Danube."  too.  Willie  Frietsche  and  Mady  Christians  in  "The 
Waltz  Dream."  That  was  Jobyna  Ralston  in  "The  Freshman." 
Yes,  we  used  lack  Gilbert's  picture  on  the  January,  1926,  Classic. 
LORNA,  AROLLA.— I  should  say  I  am  getting  older— with 
another  birthday  next  month.  Conway  Tearle  has  been  married 
five  times,  and  his  last  wife  is  Adele  Rowland.  Address  him  at 
Warner  Brothers,  Los  Angeles,  California.  There  was  a  picture 
ay  Tearle  in  the  January,  1924,  issue,  also  in  the  October, 
1926,  issue. 

TED.-»-You  say  the  spirits  of  your  mid-Victorian  ancestors 
forbid  your  corresponding  with  an  unknown  male.  Dont  be  sil, 
Ted.  The  answer  to  your  question  is  that  Ronald  Colman  is  being 
divorced  from  Thelma  Ray.  Erich  von  Stroheim  has  used  thirty  - 
in  "The  Wedding  March."  The  sets  depict  Vienna  and 
Tyrol!     We  are   waiting  patiently. 

ADELAIDE  S.  That  was  a  beautiful  thought  you  expressed 
for   Rudolph   Valentino. 

NEGRI    FAX.— 1   should  say  this  is  some  busy   little  city.     The 

number    of    taxis    in    1915    in    Yew    York    were    3,381  ;     in     1025 

there  were  24. .598 ;  an  increase  of  more  than  621   per  cent.     Number 

pleasure    automobile-     in    I'M  5    were    40,344;    in    1925,    363,404; 

an    increase  of   more   than   630   per   cent.      Number  of   commercial 

.  omnibuses,  etc.,  in  1915  were   19,607,  and  in  1925  there  were 

04.449,  an   increase  of  more  than  3X1    per  cent.     Do  you  still    want 

ome  here?     Pola  Negri   was  married  to  Count  Dombski.     She 

is   playing   in   "Barbed  Wire." 

MARY    ALICE.— Well,    the    hottest    spot    on    earth    is     Death 
Valley,  in  California.     Yes,  House  Peters  is  married  to  Mae  King, 
and  they  have   two  children.     He  was  born  in    Bristol,    England, 
one   and  one-half    inches   and   weighs    190   pounds.     J  las 
hair  and  hazel  eyes.     Not  play- 
right  now. 
E.      A.      HULL,      ENGLAND.- 
10 !      You    say   you    like    my    page, 
on    think    we    Americans    are    the 
t  bluffers   in   the  world,  but  you 
admire   us    for   it.      Well,    I'll   be — - — . 
I    dont    think    Bebe    Daniels    has 
She    sure    is 
m   boy.      Run    in   again    some   lime. 
Did  you  ever  hear   the  joke  about 

lNDA.     Well.     I'm    afraid    you 

the  bet — Milton   Sills 

nd   ■        I  Tearle   in   "Flaming 

V<  nth."      James    I  [all    opposite    Pola 

in     "Hotel     Imperial."      John 

I'.arr  on    Villon    will    be 

"'!  !,•       B(  lovi  d      Rogue'." 

V?4 

IAG£ 


HEAR  YE,  HEAR  YE! 


All  you  folks  who  hnir  questions  to  ask,  come 
this  way  and  you  shall  he  heard     and  answered. 

I  have  learnt  «  lot  during  the  last   eighty-two 

years,  and  it's  all  yours  jor  the.  asking.  Been 
answering  ???  here  for  the  last  fifteen  years 
and  still  going  strong.  If  you  want  an  answer 
by  mail,  enclose  a  stamped  addressed  envelope. 
If  you  wish  the  answer  to  appear  here,  write 
at  the  top  of  your  letter  tin-  name  you  want 
printed,  and  at  the  bottom  your  full  name  and 
address,  and  mail  lo  me.   The  Answer  Man,  care 

of  Motion  Pictube  Magazine,  175  Duffield 
Street,  Brooklyn,  A.  Y. 


LAURA  M.  T.— -I  should  say  I  do  remember  you.  What  are 
you  doing  in  New  York  City?  All  right,  here  goes  on  Jack  Holt. 
He  was  born  in  Winchester,  Virginia,  May  31,  1888,  the  son  of  an 
Episcopal  clergyman.  He  went  to  Alaska  when  a  youth,  where 
he  took  up  civil  engineering.  He  also  attended  the  Virginia 
Military  Academy  and  then  found  his  way  into  the  movies.  See 
you  later. 

ELLEN  D. — Something's  wrong !  Alice  Terry  and  Antonio 
Moreno  played  in  "Mare  Nostrum,"  and  Alice  Terry  and  Ramon 
Xovarro  played  in  "Scaramouche."  Savee !  Why,  dont  you  know, 
Mae  Murray  is  known  as  "The   Yell  Brinkley  Girl." 

FRANCES  C.  S. — Your  letter  was  bright  and  interesting. 
Sorry  I  cannot  help  you  on  the  poem — you  ought  to  tell  me  about  it 
when  it  appeared.  Yes,  I  have  been  to  Charleston.  When  are 
you  coming  to  Brooklyn? 

KAY.— Yes,  Mabel  Normand  is  married,  and  she  is  playing  in 
"One  Hour  Married,"  a  two-reeler,  with  Creighton  Hale.  You 
know  she  is  Mrs.  Lew  Cody  now. 

UNKNOWN.— Address  Ronald  Colman  at  the  Samuel 
Goldwyn  Productions,  729  Seventh  Avenue,  New  York  City.  Why, 
Warner  Brothers  have  borrowed  Rudolph  Schildkraut  from  De 
Millie  to  play  the  part  of  Noah  in  "Noah's  Ark."  Mae  Murray 
in  "Diamond  Handcuffs." 

JUSTINE  McK. — Yes,  Alice  Terry  wears  a  blonde  wig  in 
pictures,  but  her  hair  is  really  dark  red.  She  played  in  "The 
Great  Divide"  without  the  wig.  Renee  Adoree  and  John  Gilbert 
in  "The  Day  of  Souls." 

RAY  A. — The  door  of  the  brain  is  often  the  shortest  cut  to 
the  heart.  I  admire  your  choice.  Greta  Nissen  is  playing  in 
"Blondes  or  Brunettes,"  with  Adolphe  Menjou,  while  Arlette 
Marchal  is  the  brunette.  Owen  Moore  and  Joan  Crawford  in 
"The  Taxi   Dancer." 

MARGARET. — So  you  dont  like  it  down  in  Mexico.  No,  I 
have  never  been  there,  and  have  no  desire  to  go.  Lon  Chaney  is 
playing  in  "Alonza  the  Legless."  So  Clara  Bow  is  your  ideal  type 
of  girl.  She's  the  "girl  friend,"  all  right.  Clara  and  I  are  pals 
of  old.     Norma  Shearer  is  twenty-three  years  old. 

CURIOUS  GIRL. — That  was  a  very  nice  photo  you  sent  to 
me,  but  there  is  really  no  way  I  can  help  you  get  into  pictures. 
Sorry. 

LILLIAN  RICH  FAN.— Yes,  Lillian  Rich  is  playing  in  two 
reelers  for  Hal  Roach.  You  say  you  have  to  drive  six  miles  to 
see  the  pictures.  Yes,  Fred  Thomson  still  owns  "Silver  King." 
Some  of  the  stunts  are  performed  by  doubles,  you  know.  I  en- 
joyed yours  a  lot. 

E.  M.  W.,  BUENOS  AIRES.— With  the  greatest  of  pleasure. 
Leatrice  Joy  was  born  in   1899. 

N.  I).,  NEW  ZEALAND.— Well,  men  always  imagine— quite 
erroneously— that  daughters  will  grow  up  to  be  exactly  like  their 
mothers.  Yes,  Victor  Varconi  in 
"The  King  of  Kings."  .  Milton  Sills 
in  "The  Runaway  Enchantress."  He 
and  Doris  Kenyon  were  married. 
They  ought  to  be  very  happy — I  hope 


HURRAH!  HURRAH!  MORE 
CLUBS.  The  Harry  Langdon  Fan 
Club,  Doris  Rondeau,  Delmar  Hotel, 
63j/j  Windward  Avenue,  Venice, 
California.  Ronald  Colman  Club, 
Harry  Ramngartner,  1406  Kentucky 
Avenue,     loplin,    Missouri. 

BABBIE-  Yes,     Corinne     Griffith 

has  been  married  to  Webster  Camp- 
bell, and  now  to  Walter  Morosco. 
No,  Norma  Shearer  has  not  been 
married,  and  Mac  Murray  born  May 
10,    1893. 


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M 


The  Answer  Man 

(Continued  from   page  74) 


NIRA  C. — That's  the  right  idea,  you  say,  "If  we  are  to  help 
others,  what  are  the  others  here  for?"  You  refer  to  Youcca 
Troubetzkoy  in  "Flower  of  Night."  Clara  Bow  born  August 
18,  1905.  They  do  say  she  is  engaged  to  Victor  Fleming,  the 
director.      Bebe    Daniels    in   "Stranded   in    Paris." 

MARJORIE. — So  you  really  dont  believe  that  I  am  eighty 
some  odd  years  old  with  a  long  beard.  I'm  a  veritable  Father 
Time,  Marjorie.  Yes,  of  course,  I  like  A.  W.  F.  very  much. 
She's  the  managing  editor,  you  know.  And  you  are  going  to  be 
a  school  teacher. 

MARINA  F. — At  this  writing,  Richard  Barthelmess  is  in 
Europe.  I  hardly  think  he  will  go  to  China.  So  you  were  sorry 
to  hear  about  Valentino.  Everybody  here  was,  too.  Xilcs  Welch 
is  engaged  to  Elaine  B.  Gholson.  Doris  Kenyon  and  Lewis  Stone 
in  "The  River."  Virginia  Yalli's  next  is  "Ankles  Preferred,"  with 
Lou  Tellegen. 

TARZAX. — Esther   Ralston  is  married  to   George   Frey.     You 
want  Mrs.   Paul  Whiteman  to  play  in  pictures.     I  dont  know  the 
3'oung  lady.    Well,  a  person  is  said  to  be  suffer- 
ing   from    pyromania    when    he    has    an    uncon- 
trollable desire  to  witness  or  start  fires. 

ROSEMARY.— Yes.  that  is  the  original 
signature  of  Valentino.  Light-haired  people 
live  longer  than  dark-haired,  and  the  rapid 
growth  of  finger-nails  is  a  sign  of  good  health. 


WOMEN 

Vilma   Banky    52 

Pola  Negri    51 

Gloria  Swanson    50 

Clara  Bow    50 

Colleen  Moore   46 

Norma   Shearer    39 

Bebe   Daniels 38 

Mary   Pickford    30 

Norma   Talmadge    29 

Mae    Murray    28 

Alberta  Vaughn   27 

Betty   Bronson    25 

Marion    Davies    24 

Dolores   Costello    24 

Constance  Talmadge   23 

Esther    Ralston    22 

Louise   Brooks    22 

( lorinne  ( iriffith •  •  ■  ■  20 

May    McAvoy    20 

Lois   Mbran    20 

Leatrice  Joy   18 

Mary   Brian    17 

Lillian    dish     15 

.Anna  Q.   Nilsson   14 

Renee   Adoree    13 

Greta  ( rarbo   13 


Watch  Them  Rise! 


55 


45 


35 


115 


HANDY  ANDY.— I  agree  with  you,  and  I  dont  understand 
why  it  wasn't  done. 

A.  E. .  P.— Valentino  was  born  May  6,  1895.  Lloyd  Hughes 
is  playing  opposite  Mae  Murray  in  "Valencia."  He  will  play  the 
role  of  a  young  sailor  who  falls  in  love  with  the  Spanish  dancer. 
PATRICIA  H.  K.— So  you  are  fond  of  Norma  Shearer.  She 
was  born  in  1903,  and  has  blue  eyes  and  dark  hair.  She  is  five 
feet  four  inches,  weighs  109  pounds.  Her  birthday  is  August 
10.  The  Prince  you  refer  to  is  playing  only  small  parts  right 
now.     George  Lewis  is  playing  in  "The  Collegians." 

CHARLESTONITIS.— The  famous  Black  Bottom  dance 
which  Ann  Pennington  does  in  the  "Scandals"  on  the  stage  is  to 
be  introduced  in  "Love  'Em  and  Leave  'Em." 

EDNA   H.,   AGE    13.— Thanks,   Edna,    for   the  verses.     Maybe 

some  day  you  will  write  a  book  of  verse,  who  knows?     Elinor 

Glyn  will  appear  in  the  foreword  for  her  new  production  "It,"  with 

Clara   Bow  and  Antonio  Moreno  in  the  leads. 

NORTH    CHINA    SCHOOL.— Glad   to   hear    from   you.      Sid 

Chaplin  is  a  half-brother   to   Charlie.     Richa.d 

Barthelmess  is  five  feet  seven  inches.     He  has 

brown  hair  and  eyes.     May  McAvoy  was  born 

in   New   York   City   on    May   9,    1895.      She   is 

suffering     from    a    nervous    breakdown.       You 

must  write  to  me  again. 

FRANCES  S.— Renee  Adoree  and  John  Gil- 


MEM 

Rudolph  Valentino    209 

Ramon    Novarro    80 

Richard  Dix 78 

Ronald  Colman    72 

Ben  Lyon   60 

John  Gilbert   46 

William    Boyd 38 

Lloyd  Hughes    37 

Richard    Barthelmess    35 

Douglas   Fairbanks 34 

Ricardo    Cortez    31 

Rod   La    Rocque 30 

Douglas    Fairbanks,   Jr 23 

William  Haines    22 

George  O'Brien  22 

Thomas    Meighan    .  . 22 

Antonio   Moreno    20 

Adolphe  Menjou    20 

Jack  Holt    20 

Tom   Mix    19 

Milton   Sills    18 

Neil  Hamilton    17 

Monte    Blue    16 

Lon  Chancy    15 

Malcolm    Mad  Jregor    14 

John    Barrymore 13 


6( 


70 


10 


VIVIAN.— Rod  LaRocque  was  born  in  Chicago,  Illinois, 
November  29,  1896.  Yes,  Kathleen  Clifford  is  to  direct  "The 
Salvage."  Richard  Talmadge's  firsl  for  Universal  is  "The  Black 
Rider."  William  Powell  in  "Gaby,"  which  is  a  picture  of  the  life 
of  (  Fox  is  producing. 

LLOYD  HUGHES  FAN.     Mad  yon  like  to  read  tins  magazine. 
Hive  it  to  your  friend-  to  read.     Lloyd   Hughes  is  six    feet,  and  he 
■■]    October    21,    1899.      Shirley    Mason    in    "Rose   of    the 
for  F.  B.  O. 
DOLLY,     ts  it  cold  here?  1  should  say  so.     1  have  my  fireplace 
burning     the   electri*    heater.     This    is    some   hall    room.      Ronald 
man    in    "A    Night   of    Love."      He    i>    live    feet    ten    inches    and 
165  pounds.     Thank-,,  but   I  ha 
M.  V.  N. — That  was  Jason   Robards  and   Blanche  Mehaffey  in 
"Cohens  and   Kellys."     You  say  life  i-  like  a  game  of  cards,  the 
Follows  the  Jack. 

y  76 

1A<5£ 


bert  in  "The  Day  of  Souls."  Agostino  Borgato,  who  is  the 
famous  Italian  stage  star,  and  who  appeared  on  the  stage  with 
Duse   for  twelve  years,   is  playing  also  in  the  picture. 

orn  in  Cambridge,  Ohio,  in 


89 1 . 


CI 


Bid 
Bro 

has    haze 
ghs   154 


MAR  CI  A  R.— William  Boyd 
1898,    and    he    is    six     feet,    weighs    175    pounds.       Blond    li 

,  and  is  married  to   Elihi 
in    London,    England,   on    June    1, 

brown  hair,  is   five   feel   eleven   inches,  and  weighs   154  pounds,      lie 
is   married  and   has  a  daughter,   Faith. 

BONITA,    AUSTRALIA.— Valentino's   body   was    placed 
mausoleum    in   California. 

PATRICIA.—]     should    say     I    do    dri 

favorite  drink.     No,   Mary   Brian  is  not 

RED-HOT  MAMA.  How  do  you  do?  Well,  John  Barrymore 
is  five  feet  ten,  and  was  born  February  15,  1882,  while  Lionel  was 
born  in  April,  1878. 


lk    buttc 
married 


Advertising  Section 


wrasi 


The  Filmy  Gowns  That 
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Wear  them  now  in  security,  under  the  most  trying  of  hygienic  handicaps 


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If  you  have  not  tried  Kotex,  please  do.  It 
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point, in  your  peace  of  mind  and  your  health. 
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There  is  no  bother,  no  expense,  of  laundry. 
Simply  discard  Kotex  as  you  would  waste 
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In  purchasing,  take  care  that  you  get  the 
genuine  Kotex.  It  is  the  only  pad  embody- 
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ding. It  is  the  only  napkin  made  by  this 
company.  Only  Kotex  itself  is  "like"  Kotex. 
You  can  obtain  Kotex  at  better  drug  and 
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weight  in  moisture;  5 
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t\  I  MAGAZINE     I". 


C  razy    Quilt 


i  Continued  from  page  41 ) 


'•) 


"You  dont  realize  what  things  cost  .  .  . 
what  we  paj  out  in  tips  and  entertainment 
alone." 

Judith   was    quick    to   take   advantage   of 
this  opening. 

"And    1   never  will,"  she  admitted,   "until 
I   sign   the   checks." 

By  taking  the  responsi- 
bility of  their  indebtedness, 
she  saw  a  way  of  taking 
over  the  finances  without 
hurting  Harvey's  feel- 
ings. 

"Let  me  be  the  banker 
for  a  little  while.  1  want 
to  send  father  a  weekly 
check  in  the  future,  and  I 
think  the  only  way  for  me 
to  learn  to  manage  is  by 
actually    managing." 

Harvey  laughed  at  her 
indulgently. 

"All  right,"  he  said. 
"We'll  go  down  to  the 
bank  tomorrow  and  fix  the 
account  in  your  name. 
You'll  get   tired  of   it." 

Judith  said  perhaps  she 
•would.  But  she  knew  that 
she  would  never  do  any- 
thing of  the  kind.  It  was 
her  first  step  towards  an 
eventual  and  complete 
management  of  her  own 
affairs'. 

She  felt  sorry  to  think 
that  her  marriage  could 
never  be  like  the  marriage 
of  her  mother  and  father. 
Jt  was  not  that  she  loved 
Harvey  less  than  her  fath- 
er had  been  loved.  It  was 
never  that.  Not  even 
when  things  were  at  their 
worst.  It  was  just  that 
she  knew  somehow  that 
she  must  not  depend  upon 
Harvey,  because  Harvey 
was  not  a  dependable  per- 
son. 

On  the  desk  was  the 
scenario  of  "The  Exile." 
It  was  clipped  in  the  final 
blue  covers. 

"Is  it  finished?"  asked 
Judith,  glad  to  put  away 
the  check -book  and  the 
unreceipted    bills. 

Harvey  grinned.  He 
felt  "The  Exi!e"  to  be  well 
done.  That  was  evident. 
And  he  helped  Judith  set- 
tle herself  on  the  lounge 
and  adjusted  a  lamp  so  that 
she  might  read  with  com- 
fort. 

The    manuscript    was    a 
great      improvement 
the  other  two  that   Harvey 
had    done.     Judith    knew    this    before    she 
had   read  ten   p; 

She   turned   to    Harvey,    who   was   watch- 
over   tin-  toj)  of  a  new  novel. 

"This  is  splendid,"  she  said.     "You  have 

H<r   prais--   delighted   him.      lie  tried  not 

to  appear  too  pleased,  hut    failed  miserably. 

"It     is    a     simple    treatment,     hut     it     has 

he     a'd   a   little    later.      "I 

(an   hardly   wait   to   play    Cornelia.     She's 

•  Jul." 

I'm    aw f idly    glad    you    like    her," 
aid.     "1  havi  the  man 

78 


soul. 


wanted  you  to  read  it 


uscnpt  to 
first." 

Then  he  began  to  tease  her. 

"After  all,"  he  said,  "I'm  only  the  poor 
scenario  writer  and  you  are  the  fea- 
tured   player.      It    must    suit    you    or    you 


CRAZY  QUILT 
Synopsis  of  First  Chapters 

/UDITII  TOWER,  the  great- granddaughter  of  Lola  Chase,  a 
once  famous  and  beautiful  actress,  uses  $1200  left  her  by  her 
mother  to  go  to  New  York  and  break  into  the  movies.  Her 
talent  and  beauty  arc  appreciated  by  the  producer  of  Excelsior 
pictures,  but  he  offers  her  a  contract  on  terms  she  cannot  accept, 
and  she  Icai'cs  his  studio  forever.  Working  as  an  extra  at  the 
Acme  Studio,  site  meets  Harvey  Dunn,  a  young  publicity  man,  and 
thru  him  meets  McAllister,  a  director,  who  gives  her  small  parts,  and 
later  influences  Irving,  the  producer,  to  give  her  a  contract.  Mcan- 
while,  Harvey  and  Judith  fall  deeply  in  love  and  become  engaged. 
One  night  at  the  Ritz  they  meet  Joy  Roycc,  an  actress,  who  greets 
Harvey  zvith  a  proprietary  air  which  disturbs  Judith  for  the  moment. 

At  a  surprise-party  in  Judith's  nczv  dressing-room,  the  Acme 
stars  come  to  congratulate  her  on  her  contract  and  her  engage- 
ment. A  boy  conies  with  a  note  which  he  says  is  from  Miss 
Roycc,  to  be  delivered  personally  to  Mr.  Dunn.  Harvey,  drinking 
heavily,  reads  the  note  and  drops  it  on  the  floor.  Judith  covers  it  zvith 
her  handkerchief  and  picks  it  up,  unnoticed  by  Harvey.  In  it  Joy  refers 
to  her  romance  zvith  Harvey,  declares  she  still  loves  him,  and 
reproaches  him  for  marrying  Judith.  Judith  keeps  the  note,  but 
never  mentions  it,  as  she  has  complete  faith  in  Harvey's  love' j ot- 
her. They  arc  married  the  next  day.  Harvey  is  absorbed  in 
Judith's  career,  and  they  live  far  beyond  their  means  in  an  effort 
to  keep  up  appearances.  Their  many  debts  worry  Judith,  but 
Harvey  assures  her  bluff  is  necessary  in  the  picture  game,  and 
her  increasing  salary  will  soon  pay  for  everything.  They  take  an 
apartment  in  a  fashionable  neighborhood.  Harvey  urges  her  to 
use  her  relationship  to  Lola  Chase  for  publicity  purposes,  and  she 
begins  to  appear  in  fan  magazines.  Hari'cy  drinks  a  great  deal, 
and   in    moments  of   intoxication   is  ugly   to  Judilh. 

At  the  theater  ivhere  Judith's  first  picture  is  running  they  meet 
Dolores  Cortc.z,  a  passcc  vampire,  who  invites  Judith  to  a  tea 
for  the  press  at  her  house  the  next  day.  There  Judith  meets 
Robert  Landis,  a  well-known  feature  writer  and  a  charming 
man,  who  asks  if  he  may  sec  her  again.  Miss  Chambers,  a  maga- 
zine writer,  makes  an  appointment  to  interview  her  the  following 
Thursday,  at  her  apartment. 

On  Thursday,  a  few  moments  before  Miss  Chambers  is  expected, 
she  returns  to  the  apartment  to  find  Harvey  in  the  bedroom.  Lie 
is  drunk,  and  uglier  than  she  has  ever  seen  him.  He  has  found 
Joy  Royce's  note,  and  accuses  her  of  spying  on  him.  She  reaches 
for  the  note,  to  tear  it  up,  but  he  shoves  her  violently,  her  head 
hits  the  ehifforobe.  and  she  faints. 

Harvey  is  distraught.  Judith  recovers  sufficiently  to  receive 
Miss  Chambers.  She  forgives  Harvey,  feeling  he  needs  her  love 
and  protection  more  than  ever.  He  slops  drinking,  zvith  her 
help.  Some  zvecks  later  Judith  goes  to  the  country  on  location. 
Harvey  is  forced  to  remain  in  town  to  write  her  next  script.  She 
is  unhappy,  fearing  he  will  drink  in  her  absence.  After  two 
weeks  Sonia  So/ana,  an  Acme  star,  joins  her  on  location,  and  tells 
he)    Harvey  has  not  been  entirely  faithful  to  her. 


can  insist  upon  it  being  done  over  again." 
She  glared  at  him  with  a  mock  ferocity 
and  her  green  eyes  were  gay  and  young 
with  laughter.  When  she  and  Harvey 
were  together,  it  was  easy  to  forget  all  the 
things  that  went  on  when  she  was  not  with 
him.      He  hypnotized  her. 

Hut  as  she  read  further  she  became 
troubled.  Several  times  she  realized  that 
to  Felice  Friend. 
And  they  were  scenes  that  rightfully  be- 
longed to  her.  At  first  she  said  nothing. 
She  thought  that  the  things  Sonia  had  said 
were  prejudicing  her.     But  as  she  read  on 


she  knew  that  this  was  not  the  case  and 
that  unless  some  scenes  were  changed,  her 
part  would  be  second  to  Felice's. 

When  she  had  finished  she  laid  the  man- 
uscript aside  with  a  weariness.  And  Har- 
vey was  quick  to  sense  her  mood. 

"What's  the  trouble?" 
he  asked.  "Doesn't  it  hold 
up  well  ?" 

This  time  Judith  knew 
that  Harvey  was  sincere. 
He  was  evidently  unaware 
of   what   he   had  done. 

"It  is  beautifully  done 
thruout,"  she  granted. 
"But  you  have  made  it 
Felice  Friend's  story." 

"I  have  not,"  Harvey- 
contradicted  her,  and, 
reaching  angrily  for  the 
manuscript,  began  to  turn 
the  pages  roughly.  He 
had  been  so  proud  of  his 
work  that  he  was  hurt 
frightfully  when  Judith 
made  this  criticism. 

"You  act  as  if  I  was  a 
fool,"  he  told  her.  "Felice 
Friend  could  not  carry  a 
story  under  any  circum- 
stances." 

"I  agree  with  you,"  said 
Judith.  "If  you'll  bring 
the  manuscript  over  here, 
I'll  show  you  the  scenes 
where  I  think  you  have 
given  her  the   story." 

As  Judith  turned  the 
pages  and  marked  the 
scenes,  Harvey  forced  him- 
self to  listen  quietly.  It 
became  more  and  more  evi- 
dent to  him  that  she  knew 
what  she  was  talking  about. 
"See,"  said  Judith,  when 
she  had  finished.  "It  is 
nothing  that  cannot  be 
easily  remedied."  She 
started  to  go  up-stairs.  "I 
feel    like    an    utter    worm, 

mentioning    it,    but ". 

With  a  shrug  almost  Latin 
in  its  eloquence,  she  paused 
at  the  stairway  and  waited 
for  him  to  join  her. 

There  was  an  irritation 
in  his  movements  as  he 
clicked  off  the  lamps  mov- 
ing  from  one  to  another. 

"I  )amn  it,  Judy,"  he  said, 
"you  should  not  have  to 
concern  yourself  over  this 
sort  of  thing.  I  dont  un- 
derstand yet  how-  I  could 
have  been  such  an  idiot." 

Judith      forbore      telling 
him.     His  hair  was  tousled 
where    his    hands    had    run 
thru     it,    slii'    noticed.       I  le 
was  such  a  child.     He  kicked  a  chair  as  if 
it  was  entirely  responsible  for  his  stupidity. 
Judith    wanted    to   take   him    in   her   arms 
and    soothe    him.      Once    again    he    needed 
her.      For    all    his    sophistication    and    effi- 
ciency,   he    needed    her    hand    to    show    him 
the  way. 

When  he  had  put  out  the  last  lamp  he 
(  ame   over    to    where    she    stood. 

"Love,"  she  said,  "I  am  so  happy  to  be 
hack  home  .  .  .  with  you.  Are  you  a 
little   «lad,    top?" 

For    his    answer    he   bent    hack    her    body 
(Continued   on   page  80) 


" !< ,:l: 


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Cfr.MOTlQN  PICTUR[ 

ineJl  I    MAGAZINE       t 


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with  an  almost  brutal  movement  so  that 
she  might  receive  the  hungry  force  of  his 
embrace  and  kisses.  And  then  he  carried 
her    tenderly    up-stairs    and    to    their    room. 

Chapter  XI 

Cor  the  next  six  weeks  Judith  knew  noth- 

ing  but  "The  Exile." 

The  week  after  her  return  from  Moun- 
tain Stream,  she  had  gone  in  to  see  Mr. 
Irving.  He  had  made  the  appointment. 
And  he  had  proceeded  to  explain  to  her 
that  the  exhibitors  were  al- 
ready starring  her.  "They  arc 
billing  you  in  electric  lights 
outside  of  the  theaters,"  he 
said.  "So  we  feel  that  we 
must  cash  in  on  this  popu- 
larity. It  may  not  last,  you 
know." 

That,  Judith  sometimes 
thought,  was  the  motto  that 
should  inscribe  the  stars'  coat 
of  arms.  "It  will  not  last." 
That  was  the  fear  that  crept 
up  behind  everyone  who  was 
anyone  in  the  movies. 

"While  the  public  wants 
Judith  Tower,"  said  Mr. 
[rvmg,  "the  Acme  company 
will  give  them  Judith  Tower." 

"If  I  am  to  be  starred,"  said 
Judith.  "I  wonder  if  you  are 
not  willing  to  destroy  our 
present  contract  with  each 
other  and   make  another   with 


{Continued  from  page  78) 

Judith  nodded  her  head.  She  was  loath 
to   resurrect  this  memory. 

"You  turned  him  down.  I  remember 
now.  Mr.  Goldstein  told  me  I  was  a  fool 
to  give  you  a  contract.  He  said  you  had 
the  swell  head  and  would  never  make 
good." 

Judith  watched  Mr.  Irving  change  from 
a  kind  Jewish  father  type  into  a  crafty 
and  indomitable  business  man.  She  de- 
cided it  was  something  in  his  eyes.  It 
clicked  on  and  off.  Now  he  was  not  kind 
or   fatherlv  any  more.     Now  he  was  cold 


10 


'•) 


"I  will  have  to  spend  more 
on  my  wardrobe.  I  have  al- 
ready found  it  necessary  to 
engage  a  secretary.  My  ex- 
penses  demand   more   money." 

Judith  hated  the  task  ahead 
of  her.  But  she  had  no  alter- 
native. She  knew  that  Mr. 
Irving  expected  her  to  brow- 
beat him  into  giving  her  more 
money    somehow. 

"I  sound  ungrateful,  I 
she  said,  "and  I  want 
to  preface  what  I  am  going 
to  say  b)  telling  you  that  I 
do  appreciate  all  that  you  and 
this  company  have  done  for 
me.  But  I  must  have  more 
money." 

"I  am  coming  to  that."  Mr. 
Irving  told  her.  "We  will 
change  your  contract.  I  know 
that  Excelsior  has  senl  an 
agent  to  see  you  since  you've 
been  back.  Now  they  want 
you,  hey?" 

Judith   smiled. 

"\<<\\  must  know  that  I  would  not  sign 
with  the  Excelsior  under  any  conditions." 
she  said.     "Even  if  you  did  not  keep  me." 

Mr.    Irving    raised    his    bushy    eyebrow-. 

"So,"  he  said.     "And  why  not?     They  tell 

me  Mr.  Goldstein  has  financial  difficulties, 
that  he  will  get  oul  of  them.  I 
my  friend.  Mr.  Goldstein,  get  in 
and  oul  of  financial  difficulties  for  years 
now.  And  it  is  my  belief  thai  he  usually 
ends  up  better  off  because  of  such  diffi- 
(  ulties." 

not  thinking  of  that."  said  Ju- 
dith. "I  did  not  even  know  they  were 
having   trouble." 

"1    think    I    :  mething,"    Mr. 

:.     "Mr.   Goldstein   himself. 
Huh?" 

• 


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remarkable  ability  and  won  a  great  popu- 
larity. Judith  was  determined  to  get  some 
adjustment. 

She  smiled  at  Mr.  Irving  when  he  inti- 
mated ingratitude.  And  her  smile  an- 
swered him. 

They  settled  every  question  about  the 
new  contract  except  the  matter  of  salary. 
The  company  would  pay  for  her  clothes. 
The  company  would  pay  for  her  fan  pho- 
tographs. These  concessions  cost  little 
but  gave  the  impression  that  Mr.  Irving 
was  being  more  than  fair. 

Judith  had  determined  that 
Mr.  Irving  would  be  the  one 
to  broach  the  salary  this  time. 
She  waited.  But  it  was  not 
until  after  many  dips  into  a 
wide  variety  of  conversational 
subjects  that  he  despaired  of 
the  poised  girl  sitting  opposite 
him. 

"Well,  Judith,"  he  said 
finally,,  "what  do  you  think 
we  should  pay  you?  Of 
course,  you  know  and  I  know 
that  there  is  nothing  to  make 
us  give  you  any  more  money 
than  your  contract  now  calls 
for,  but  we  want  you  to  be 
happy." 

Judith  postponed  naming 
the  amount  she  had  in  her 
mind.  And  she  told  herself 
that  what  seemed  a  fortune 
to  her  was  but  a  compara- 
tively small   figure  to  them. 

"You  know,"  she  said,  "on 
the  other  hand,  that  I  could 
cost  you  many  thousands  of 
dollars  by  being  late  to  the 
studio  ...  by  feigning  illness 
.  .  .  and  by  a  hundred  ruses 
which  have  already  been  em- 
ployed by  dissatisfied  people. 
"And  you  also  know  that  I 
can  only  do  my  best  work 
when  I  am  happy  and  con- 
tented. 

"I  have  received  two  offers 
from  other  companies.  Nat- 
urally, I  cannot  be  happy 
working  here  for  five  hundred 
dollars  a  week  when  these  two 
other  companies  are  willing  to 
give  me  two  thousand  dollars 
a  week  to  start.  Their  con- 
tracts call  for  five  years,  at 
the  end  of  which  time  I  would 
receive  five  thousand  dollars  a 
week." 


and  hard.  Now  he  was  coming  to  money 
matters. 

"Perhaps,"  he  said,  "Goldstein  was  right 
about  the  swell  head.  1  am  not  sure.  It 
would  be  easy  to  forget  all  the  Acme 
company  risked  when  they  gave  you  a 
contract.  It  might  be  pleasanter  to  forget, 
j  es  ?" 

Judith  steeled  herself  against  this  at- 
tack. If  they  were  not  sure  of  any  con- 
tinued popularity  for  her  and  must  make 
the  mosl  of  this  present  popularity,  so 
must  she.  And  thru  a  friend  in  the  book- 
ing-offices she  had  learned  that  her  pic- 
tures would  make  a  fortune  for  the  com- 
pany even  if  Ihcy  paid  her  five  times 
what    she   was   scheduled   to  receive. 

Other  contracts  had  been  destroyed 
when    some    actor    or    actress    had    shown 


"Ridiculous,"  said  Mr.  Irv- 
ing rather  thickly.  Her  direct 
approach  and  her  utter  frank- 
ness were  terrifying.  When  people  hedged, 
Mr.  Irving  knew  what  to  do.  And  people 
usually  hedged.  He  was  not  sure  whether 
Judith's  forthright  manner  was  naive  or 
deliberate. 

"I  agree  with  you  that  such  a  salary 
is  ridiculous,"  said  Judith,  to  the  further 
amazement  of  the  little  man  who  sat 
watching  her.  "But  that  is  not  the  ques- 
tion. What  are  you  receiving  a  week. 
Mr.    Irving?" 

She  raised  a  slim  white  hand.  "Dont 
trouble  to  answer,"  she  told  him.  "I  only 
wished  to  .call  it  to  your  mind.  So  that  I 
might  ask  you  to  compare  it  with  what 
your  income  would  be  weekly  in  any  other 
business." 

"Well,  now,  let's  see."  Mr.  Irving 
{Continued  on  page  82) 


LAGE 


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magazine.  81  r 

PAfili 


<w 


Crazy    Quilt 


I 


sensed  the  determination  of  steel  beneath 
Judith's  silken  surface.  "I'll  tell  you 
what,  Judith—" 

But  Judith  did  not  dare  stop  talking  for 
fear  she  would  lose  her  nerve  before  she 
came  to   the  salary. 

"If  you  will  give  me  a  new  contract," 
she  said.  "1  do  not  think  you  will  have 
any  cause  to  regret  it.  The  other  compa- 
nies, as  I  said  before,  offer  me  two  thou- 
sand a  week  to  start. 

"That  is  only  their  first  offer.  1  could 
probably  get  more  if  I  was  free  to  bar- 
gain with  them.  I  will  sign  a  new  con- 
tract with  you  for  five  years,  starting  at 
fifteen  hundred  dollars  a  week,  to  begin 
next  week." 

Mr.  Irving  immediately  made  a  counter 
offer  of  seven  hundred.  But  Judith  would 
not  compromise.  She  shook  her  head. 
He  offered  one  thousand  next.  She  seemed 
regretful  that  she  could  not  accept  this 
magnificent  offer,  but  she  remained  firm. 

And  the  next  week,  when  she  stepped 
on  the  set  for  the  first  scene  of  "The 
Exile,"  a  new  contract  between  her  and 
the  Acme  company  had  been  arranged. 
She  was  to  receive  fifteen  hundred  dol 
lars  a  week  to  start  and  five  thousand  dol 
lars   a  week  at  the  end  of   five  years. 

Mr.  Irving  and  Mr.  Singer  shook  hands 
with  her  at  the  door  of  their  office  be 
fore  she  went  down  to  the  stage.  Their 
lawyer  and  hers  were  to  be  there  that 
afternoon  to  draw  up  the  contract. 

She  paused.  There  was  merriment  in 
her  eyes. 

"Dont  laugh  until  1  am  out  of  hearing, 
gentlemen,"  she  warned  them.  "I  know 
what  a  bargain  you  are  getting.  And  I 
might  come  back  and  insist  upon  new 
terms   more   favorable  to  me." 

Mr.  Irving  and  Mr.  Singer  looked  at 
each  other  nervously.  It  was  her  little 
joke,  yes.  Her  funny  joke.  She  felt  in 
a  good  humor,  now  that  she  was  going  to 
be  a  rich  woman.  Aha.  Ha.  Ha.  But 
there  was  little  mirth  in  the  sounds  that 
came  from  their  throats.  And  it  was  not 
until  that  night  when  they  placed  the 
signed  contract  in  their  personal  safe  that 
they  actually  dared  to  congratulate  each 
other. 

So  once  again  Judith  left  the  executive 
office  not  quite  able  to  belie.-.:  that  things 
were  true.     Harvej    waited   for  her  in  her 

"You    did    well."    he   said.      "You   are   a 
great  business  worn  n,  Judy.     If  you  man- 
age   Mr.    Irving    as    you    seem   "to,    it    is 
-    short    of    marvelous. 

"  \nd  now  what  will  we  do  with  all 
that    wealth?       I'.uy    a    Rolls    Royce?" 

Judith    shook   her   head. 

"I  haven't  ten  thousand  dollar-."  she 
said.  "We'll  yet  a  lc-ser  car.  tho.  I  have 
determined  to  save  five  hundred  dollars  a 
week.  'Ibis  popularity  may  not  last. 
And  then-  are  options  at  the  end  of  every 
year  of  mj  contract.  I'm 
one  third  of  my  salary  always." 

"You  can  never  do  it."  Harvey  said. 
"You  have  to  keep  up  appearances.  \nd 
you    dont    know    the    expenses    you    will 

"Hut   wait,"   said   Judith.     "I    have  more 
good  news.     Mr.   Irving    will   -end    for  you 
aid.      'I  hey're    offering 
too.     And  how  much  do  you  think 
!!  give  you  at   tb.-  beginnn 
hundred ?"    asked    ! 

:   tak'-n   -II   their  money?" 

hundred,    no:  i    Judith. 

G£ 


{Continued  from  page  80) 

"Three  hundred.  Mr.  Irving  told  me  that 
they  were  delighted  with  your  work.  And 
he  has  promised  to  give  you  the  scenarios 
of  my  productions  whenever  it  is  possible 
to  do  so." 

Harvey  could  not  kiss  her.  The  grease- 
paint would  smear.  He  could  not  take  her 
hands,    for  they,  too,   were  mads  up. 

"It  is  because  of  you,  Judy,"  he  said 
"They  can  well  afford  to  pay  me  three 
hundred  a  week  if  it  pleases  you." 

"Now  who  indulges  in  false  modesty?" 
Judith  wanted  to  know,  as  her  head 
emerged  from  the  bungalow  apron  she  was 
slipping  into.  "Dont  be  a  goose-,  Harvey 
Dunn.  You  have  done  fine  work.  You 
know  that.  I  know  that.  They  would 
have  taken  you  out  of  the  scenario  depart- 
ment long  before  they  gave  a  thought  to 
pleasing  me  if  you  hadn't  made  good. 
Sow,   wouldn't   they?" 

"Probably,"     Harvey    grunted. 

The  call-boy  had  knocked  on  her  door 
five  minutes  ago.  And  Judith  never  kept, 
the  company  waiting.  But  today  she  de- 
termined not  to  leave  the  room  until  she 
had  Harvey  in  a  proper  frame  of  mind. 
He  must  never  be  allowed  to  feel  that  his 
success  was  a  parasitic  growth  of  her  suc- 
cess. Judith  could  have  wept  over  the 
husbands  of  some  of  the  stars.  They 
seemed  pathetic.  She  felt  it  was  not  natu- 
ral for  a  man  to  be  beholden  to  a  woman 
in  the  way  that  movie  stars'  husbands  were 
often  beholden.  .  .  . 

"Mr.  Irving  should  call  you  up-stairs 
and  tell  you  that  I  have  had  nothing  to  do 
with  this,"  she  said.  "And  he  probably 
will." 

Her  seriousness  broke  into  a  bright 
smile  when   Harvey  came  over  to  her. 

The  call-boy  knocked  again. 

"Sorry  to  hurry  you,  Miss  Tower,"  he 
apologized,  "but  Mr.  Ford  says  he's  got  to 
finish  with  the  set  tonight.   ..." 

"I'll  be  there  immediately,"  Judith 
called.      "Immediately." 

"There  is  no  safe  spot  where  I  can  kiss 
my  lovely  wife,"  Harvey  complained,  as 
the  boy  departed. 

Judith  craned  her  head  so  that  he  might 
place  his  lips  on  the  spot  where  her  copper 
hair  swept  the  white  of  her  neck. 

And  then  she  ran  up-stairs  to  the  stage, 
where  her  intensive  work  began.  The 
company  was  waiting  for  her  on  the  set. 
It  was  her  first  featured  role.  She  knew 
the  importance  of  a  well-done  portrayal. 
She  thought  of  nothing  but  Cornelia  Rad- 
cliffc  in  "The  Exile"  for  the  next  month 
and  a  half. 

At  nine  o'clock  she  was  at  the  studio 
and  in  her  make-up.  It  was  usually  after 
seven  when  she  left.  With  a  driving 
energy  which  exhausted  her  director  and 
the  leading  man,  she  worked  from  early 
until  late.  And  she  was  never  known  1o 
leave  the  studios  without  seeing  the  film 
rushes. 

Despite     this     concentrated     effort,     she 

never  appeared  harassed.     Thru  some  fluki 

in     her    makeup,     she    seemed     serine    and 

even    when   she   fell    far   from  either 

of    these    tilings. 

Madeliene,     the     famous     modiste     who 

made  her  costumes,  insisted  upon  long  and 
trying  fittings.  \nd  because  three  cos- 
tume- were  nol  completed  when  they  began 
it  meant  fittings  in  the  evenings. 
Judith  would  stop  at  the  atelier  on  Fifty- 
seventh  Street  at  night  before  she  went 
home.  Madame  Madeliene  had  her  fit- 
taj    overtime. 


It  was  not  until  she  was  half  thru  the 
picture  that  her  car  was  delivered.  It  was 
a  Packard,  and  she  had  had  a  special  body 
made  ...  a  cabriolet  model  of  sage  green 
with  silver  wire  wheels  and  trimming  .  .  . 
pale  gray  upholstery  .  .  .  and  her  chauf- 
feur wore  gray. 

The  car  did  make  things  easier.  It  per- 
mitted her  to  rest  driving  to  and  from 
the  studios.  The  company's  cars  had  not 
done  this,  being  for  the  most  part  ante- 
diluvian  models. 

To  make  things  more  difficult,  at  this 
time  her  dressing-room  was  changed.  She 
now  occupied  a  larger  room  with  a  small 
adjoining  office  where  her  secretary 
worked.  Her  mail  increased  every  week. 
And  there  were  so  many  important  phases 
to  this  work  that  Judith  found  it  neces- 
sary to  give  her  lunch  hours  to  dictation 
...  to  autographing  special  photographs 
...    to  the  management  of  her  accounts. 

Except  for  the  car  she  had  purchased 
.  on  the  instalment  plan,  she  was  entirely 
out  of  debt  by  the  time  "The  Exile"  was 
completed.  And  every  week  she  had  the 
pleasure  of  mailing  her  father  a  check  for 
one  hundred  dollars. 

She  knew  what  a  bonanza  this  must  be 
to  him.  His  letters  were  pitiful.  It  was 
very  evident  that  he  hated  to  take  the 
money  from  her,  but  that  circumstances 
did  not  permit  him  too  make  any  inde- 
pendent gesture. 

In  her  own  clumsy  way,  Lillian  proved 
a  comfort.  Harvey  rather  objected  to 
her.  He  insisted  that  she  put  things  away 
where  he  could  never  find  them.  But 
Judith  made  no  move  to  dismiss  her.  She 
knew  that  no  one  servant  would  do  as 
much  as  Lillian,  who  did  everything  from 
managing  the  apartment,  marketing,  mend- 
ing ...  to  picking  up  her  clothes  after 
her  and  even  running  her  bath. 

When  Judith  first  entered  upon  this  in- 
tensive routine,  Harvey  remained  at  the 
studios  until  she  was  ready  to  leave.  And 
he  stayed  at  home  with  her  in  the  evening, 
even  tho  she  was  so  tired  that  it  was  all 
she  could  do  to  sip  a  cup  of  broth  before 
she  fell  asleep. 

Judith  felt  this  was  not  fair  to  him. 
She  realized  that  she  would  have  two  or 
three  or  maybe  even  four  weeks'  rest  be- 
tween productions,  when  Harvey  would 
have  his  regular  work  to  do.  So  she 
urged  him  to  go  out  evenings. 

"You  must  not  stay  home  because  of 
me,"  she  told  him.  "I'm  too  weary  even 
to  talk  at  night.  Go  to  the  theater."  She 
suggested  the  theater  because  she  felt 
Harvey  would  be  safe  there  without  her. 
She  thought  he  would  not  be  likely  to  take 
any  woman  to  the  theater  where  they  were 
always  sure  to  run  across  half  a  dozen  or 
more    people   they    both   knew. 

"Hut  it  wont  be  any  fun  without  you, 
Judy,"  he  would  say.  "I  want  to  see  tin- 
good  things  in  your  company.  You  know 
how  you  would    feel   in  my  place." 

Judith  did  know.  "Save  the  very  good 
ones  lor  us  to  see  together  when  we  have 
finished  this  picture,"  she  said.  "Hut  do 
plan  to  go  out  evenings,  dear.  You  need 
some  recreation." 

And  eventually  it  was  as  she  suggested. 
On  the  nights  that  she  went  to  Madame 
Madeliene',  and  did  not  even  get  home 
for    dinner,    Harvey    planned    engagements. 

There  was  no  location  trip  this  time. 
They  took  their  exterior  scenes  on  1  ong 
Island,  making  early  starts  in  the  niorn- 
(Cfinliniicd   on  page  84) 


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A  Month 


Too,  like  thousands  of  others, 
will  find  it  amazingly  eaay  to 
learn  classic  dancing  at  home 
bv  this  wonderful  new  method 
The  co«t  Is  aurprWnnly  low.  Chartn. 
phot/>itr»ph»,  «»«y  t«t.  ami  phono- 


I [,l,  T-::nU 


elho'l  delightfully 


fiee  Inula,!*. 


FREE    OUTFIT 


i  your  Iftmonw. 
wmulwrful  now 
Wrltr  t',d«y. 


61  1924  f  unnyftlde  Avi.,  Chicago.  IU. 


Crazy   Quilt 

{Continued  from  page  82) 


ings  and  returning  late  every  evening. 
Judith  was  glad  of  this.  She  did  not  feel 
comfortable  about  leaving  Harvey  alone 
in  town. 

As  it  was,  she  worried  over  the  evenings 
when  he  was  out,  but  did  not  go  to  the 
theater. 

"What  did  you  see  last  night?"  she 
would  always  ask.  And  if  he  said  that 
he  had  not  been  to  the  theater  but  had 
spent  the  evening  at  the  Lambs  or  brows- 
ing around  some  old  book-shop,  Judith  al- 
ways doubted  that  he  was  telling  the  truth. 

She  hated  the  suspicions  that  disturbed 
her  peace.  But  she  could  not  quiet  them. 
A  bad  reputation,  like  a  good  one,  works 
for  you  day  and  night.  And  Harvey  had 
won  a  bad  reputation.   .  ' .    . 

Jn  the  morning,  when  she  was  getting 
ready  to  go  to  the  studios,  Judith  would 
watch  Harvey  lying  in  the  bed  from 
her  dressing-table  mirror.  And  when  he 
answered  her  questions  she  always  feared 
that  she  would  find  deception  written 
across  his  face. 

Sometimes  he  seemed  unpleasantly  aware 
of  her  scrutiny. 

And  things  in  this  quarter  naturally 
grew  worse. 

The  note  that  Joy  Royce  had  sent  him 
the  day  before  they  were  married  .  .  .  the 
strange  handkerchief  and  scented  cigaret 
in  the  apartment  upon  her  return  from 
Mountain  Stream  .  .  .  the  scenario  giving 
Felice  Friend  so  much  more  than  her  share 
.  .  .  these  things  bore  out  the  things 
Sonia  had  said.  In  themselves  they  would 
have  made  Judith  suspicious.  Soma's  talk 
had  helped  her  towards  a  philosophical 
acceptance  of  them. 

One  morning  when  she  was,  in  a  hurry 
and  asked  more  searching  questions  than 
usual  with  less  than  her  customary  diplo- 
macy,  Haryey   proved  quite  disagreeable. 

"My,"  he  sneered  from  the  covers,  "you 
rather  fancy  yourself  in  the  role  of  a  de- 
tective, dont  you?  Perhaps  we  can  give 
you  a  chance  at  something  like  this  in  your 
next  picture.  If  practice  makes  perfect, 
your  severest  critics  would  marvel  at  the 
expertness  of  your  portrayal." 

That  morning  Judith  did  not  kiss  him 
good-bye.  She  was  rather  relieved  that 
his  retort  saved  her  from  a  kiss  that  would 
have  been  foul  with  stale  alcohol. 

"Is  anything  cruder  than  love,  I  won- 
der?" she  thought  as  she  drove  to  the 
studios.  She  was  too  listless  even  to  open 
her  personal  mail.  And  several  times  Lil- 
lian peered  back  into  the  car  from  her 
seat  beside  the  chauffeur.  She  worried 
about   Judith    and    Harvey    sometimes. 

Judith  wondered  if  Harvey  would  seek 
her  when  he  came  to  the  studios  later  on. 
lie  was  doing  the  scenario  for  the  next 
picture  in  which  Felice  Friend  was  to 
appear.  And  Judith  thought  perhaps 
Felice  was  "pulling  her  stuff"  once  more. 
\\  henever  she  was  away  from  the  set, 
Judith  imagined  she  might  be  with  Har- 
vey. And  she  suspected  them  of  being 
her  on  the  nights  when  Harvey  said 
he   had   been   at   the   club   or   shopping    for 

It  was  Sonia  who  put  her  righl  on  this 
score. 

"Donl  worry  about  Felice."  Sonia  told 
her.  "I  doubt  thai  your  Harvey  is  big 
enough    game    for    her.      She    oogles    him 

"nl  to  advance  her  interests  when  he  is 
working  on  her  scripts.  I  know  Harvey  is 
'  i  ing  her  evenings,  because  I  have 
been  on  parties  with  her  and  that  in- 
sufferable collegiate  son  of  the  Baker 
family." 

Sonia    said    nothing    about    the    fact    that 


she  thought  she  had  seen  Harvey  driving 
thru  Central  Park  one  night  with  Letty 
Earl,  a  Jollies  beauty.  As  a  matter  of 
fact,  she  was  not  sure  about  this  herself. 
She  had  only  had  a  flash  of  them  as  the 
headlights  of  her  car  fell  upon  the  han- 
som cab  in  which  they  were  driving. 

And  it  had  been  Letty  Earl  that  Sonia 
had  seen  Harvey  entering  his  apartment 
with   while  Judith  was  away. 

She  felt  that  she  might  be  inclined  to 
judge  Harvey  unfairly.  His  peccadillos 
.  .  .  his  constant  philandering  .  .  .  this 
had  not  been  anything  but  amusing  to 
Sonia  before  Harvey  married  Judith. 
Now  she  resented  it  if  he  even  looked  at 
another  woman.  Sonia  was  very  fond  of 
Judith,  and  Sonia,  in  her  entire  lifetime, 
was  to  be  very  fond  of  a  very  few  people. 

Certainly  Felice  herself  seemed  to  have 
no  guilty  conscience  where  Harvey  was 
concerned.  Judith  had  expected  her  to 
avoid  her.  But,  on  the  contrary,  Felice 
rather  made  a  point  of  stopping  at  Judith's 
room  in  the  morning. 

She  did  this  on  the  morning  that  Judith 
and  Harvey  had  their  unpleasantness. 
And  she  talked  ceaselessly  and  simper- 
ingly  the  entire  time  that  Judith  had  mas- 
caroed  her  eyes,  smoothed  the  pale  pink 
paint  over  her  face,  traced  her  mouth  with 
the  scarlet  salve,  and  induced  faint  mauve 
shadows  around  her  eyes. 

Felice's  greeting  never  varied. 

"Hello,  dear,"  she  said.  Judith's  "Good 
morning,  Felice,"  never  seemed  to  impress 
her.  Her  greeting  always  continued  to 
be  an  endearment. 

"I've  heard  the  grandest  story,"  she 
said.  "You  know  Metta  Street.  Inci- 
dentally, she  has  a  new  Rolls  Royce. 
Robin's-egg  blue  with  a  silver-gray  hood. 
And  the  other  morning  her  chauffeur 
parked  the  car  outside  the  carriage  en- 
trance to  Tiffany's  while  Metta  went  in 
to  see  about  some  new  settings. 

"And  when  she  came  out,  my  dear, 
Tompkins  saw  her  and  was  about  to  drive 
up  to  the  marquee  for  her.  And  a  man 
standing  there  waiting  for  a  taxi  hailed 
him.  He  saw  the  bright  color.  .  .  . 
Tompkins  was  flabbergasted.  And  Metta 
was   furious. 

"Metta  sent  the  car  back  to  the  shop 
the  next  day  and  it  is  to  be  done  over  a 
dark  blue." 

Judith  was  amused.  "That  is  a  precious 
story,"  she  said.  "I  saw  Metta's  new  car 
waiting  for  her  at  the  stage-door  the  other 
night.     It  was  a  little  gay  in  color." 

"But  that  isn't  the  main  thing  I  have 
to  tell  you."  Felice  cuddled  in  the  chaise 
longue  and  toyed  with  her  fur  piece.  Ju- 
dith remembered  what  Sonia  had  said 
about  how  perfect  it  would  be  to  look  the 
way  Felice  thought  she  looked. 

She  almost  purred  over  herself. 

Judith  had  never  liked  her.  But  she 
had  learned,  among  other  things,  that  open 
warfare  with  people  who  would  frequently 
be  members  of  your  cast   was   ill  advised. 

"Well,  my  dear,"  Felice  went  on,  "just 
listen  to  this.  Metta,  you  know,  has  been 
stopping  at  the  Ritz.  So  has  her  mother- 
in-law,  Mrs.  Ridgeway.  And,  of  course. 
you've  heard  that  Metta  will  probably] 
leave  Lester  Ridgeway.  The  rumor  is 
that  she  has  the  goods  on  him.  And  Airs. 
Ridgeway  is  simply  furious.  She  knows 
that  a  divorce  will  ruin  her  darling  boy's 
career,  on  that  heels  of  that  other  un- 
pleasantness. 

"Well,    anyway,     Metta     was    registered  i 
at  the  hotel   as    Mrs.    Ridgeway.     She  and 
Lester    were    there    together    for    a    time. 
And    when    she    asked    for    her    mail    onej 


Every  advertisement  in   motion   PICTURE   MAGAZINE   is  guaranteed. 


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day  last  week  the  clerk  handed  her  a  letter 
left  by  a  messenger.  In  it  was  a  detec- 
tive's report  of  her  entire  doings  the  day 
before. 

"It  was  meant  for  Mrs.  Ridgeway, 
senior  Of  course.  She  has  had  detec- 
tives watching  Metta,  trying  to  get  some- 
thing on  her  and  in  this  way  forestall  any- 
thing Metta  might  be  going  to  say  about 
Lester.     Isn't  that  priceless?" 

"What  did  the  report  say  ?"  asked  Judith. 
"Oh,  that's  the  funniest  part  of  it.  I 
almost  forgot."  Fejice's  voice  was  a 
squeal.  She  was  delighted  with  her  news. 
"The  report  told  how  Metta  had  arisen  at 
about  eleven  and  driven  to  the  park,  where 
she  had  walked  around  the  reservoir,  as 
we  all  do  now  and  then,  for  exercise.  Then 
she  had  come  back  and  lunched  alone  at 
Maillard's  on  hot  chocolate  and  eggs  Jean- 
ette,   or   something   like   that." 

"What  did  Metta  do  about  it?"  Judith 
was  interested  in  Felice's  gossip  today. 
This  was  not  always  the  case.  Felice's 
stories  were  rarely  as  amusing,  but  Judith 
was  always  to  marvel  at  her  ability  to  get 
the  latest  news. 

"Metta?"  asked  Felice.  "Why,  she  sent 
the  report  to  Mrs.  Ridgeway  with  a  per- 
sonal note  advising  her  to  engage  more 
efficient  detectives.  Then  she  checked  out 
of  the  hotel." 

The  call-boy  knocked.  Judith  slipped 
into  the  pale  blue  chiffon  folds  of  a  negli- 
gee which  Lillian  held  for  her. 

"Imagine  Mrs.  Ridgeway's  chagrin,"  she 
said.  And  Felice  laughed  her  little, 
pinched,  nasal  laugh. 

Judith  hoped  she  had  not  heard  the  un- 
complimentary things  Lillian  muttered 
about  her  having  "the  tongue  of  a  ser- 
pent" as  they  left  the  room.  Lillian 
couched  both  her  denunciation  and  her 
praise  in  Biblical   phrases. 

"See  you  later  on  the  set,"  Judith  said, 
as  she  went  in  one  direction  and  Felice, 
going  in  the  other,  stopped  to  knock  on 
Soma's  door.  She  was  eager  to  relay  her 
news   further. 

"Whoever    it    is,    you    cant    come    in," 
shrieked    Sonia. 
"It  is   Felice, 
"You    cant    come 
Sonia    ungraciously.      And    once    again,    if 
Felice  had  paused  to  listen,  she  would  have 
heard     uncomplimentary     mutterings     thru 
the  door 

"One  thing  about  Sonia,"  thought  Ju- 
dith on  her  way  to  the  studio  floor,  "one 
blessed,  sterling  thing.  She  has  never  ac- 
cepted the  false  standards.  I  wonder  if 
-she  has  ever  been  guilty  of  a  hypocritical 
social  gesture." 

Then  she  forgot  about  Sonia  and  Felice 
and  everyone  else.  She  ceased  to  be  Ju- 
dith Tower,  concentrating  to  maintain  her 
magic  place  in  a  magic  world  .  .  .  dis- 
turbed about  a  roaming  husband.  From 
the  moment  that  she  stepped  under  the 
brilliant  white  glare  of  the  lights  and  the 
camera  began  to  grind,  she  became  Cor- 
nelia Radcliffc,  a  young  woman  persecuted 
by  the  bigotry  of  a  small  town. 

They  worked  late  that  night.  Until  one 
o'clock.  Judith's  eyes  ached  with  an  in- 
tolerable fury.  She  was  devitalized  after 
being  fifteen  hours  under  the  lights.  But 
no  hint  of  this  depletion  showed  in  her 
work  when  they  looked  at  the  rushes  the 
next   afternoon. 

"She  has  a  streak  of  genius,"  her  direc- 
tor told  Harvey  when  the  picture  was  at 
last  finished.  "And  while  she  has  tem- 
perament, she  also  has  reserve.  She  is  not 
given    to    outbursts. 

"I  have  found  her  charming  to  work 
with.  But  I  feel  that  it  is  just  as  well 
not   to   arouse   that    fire   and   determination 


Felice  said  confidently, 
in,    I    said,"    repeated 


would  have   to  visit 

esser    Ik  fore    keeping 

posing    appointments 

'* 

erncon.      To    my    de- 

ny,  will  see  from  the 

Notice   to    Reade 

tcrarii     it    was    not 

Chicago 

representatives  cf 

My    hair    was   per- 
ed. 

tion     and 
known    m 
nessed    a 

geilill.s      and      IM  u 

and  fount 

them  lo  be  succe 

Evelyn   Anderson. 

satisfactoi 

Glorious  Waves  Like  These 

No  beauty  shop  expense — no  ruinous  hot  iron — no  bothersome  appointments.  Just  30 
minutes — at  home — whenever  convenient 


the 


IF     anyone     told 
could    hav 
celled  haii 
day    in    tli 
other     trip     t( 
without    anoth 
the    hot     iron 


rar,    without    an- 

e     beauty     shop, 

uinous    touch    of 

'per- 


nanent,"  you  wouldn't  believe  it. 
Yet,  it  is  literally  true.  You 
.•a.n  have  the  most  beautifully 
groomed,  gloriously  waved  head  of 
rail-     imaginable,      all      the     time. 


eedn 


tside 


your    own   home    to   get    it. 

Just  30  minutes  with  the  Maison 
Mzrcellers,  once  a  week — right  at 
home— and    hair    with    a    wave     as 


A  $1.50  Marcel  Saved  Every 
Time.You  Use  Them 

No"  one  knows  better  than  you 
how  those  trips  to  the  beauty  shop 
mount  up.  The  liaison  Mareellers 
save  all  this  expense.  The  initial 
cost  is  practically  nothing — just 
the   price    of    a   couple    of    marcels. 


A  Clever  Christmas  Idea 
Give  Maison  Mareellers! 

If  you  want  to  gain  the  reputa- 
tion of  giving  your  friuids  highly 
original  gifts,  if  you  want  them 
to  have  something  that  is  sure  to 
delight  them,  no  matter  how 
they  wear  their  hair,  or  what 
kind  of  a  wave  they  prefer — 
choose    Maison     Mareellers. 

Every  person  who  receives  this 
valuable  little  gift  will  be  grate- 
ful to  you  for  disclosing  such  a 
remarkable  waving  method,  en- 
abling them  to  have  the  loveliest 
wave  imaginable,  a  marcel  that 
the  most  skilled  professional 
might  envy,  and  that  without  the 
least   harm  to  the  hair. 

If  you  want  us  to  send  the 
Maison  Mareellers  to  you  already 
racked  in  a  charming  gift  box, 
specify    so    in    the   coupon    below. 


No   longer 

are   you    at    the   mercy    of   the   professional 

waver.      No 

more    will    you    have    to   make    appointments 

far   ahead   w 

th   a  popular   operator.      No  more   will  you 

race    about 

o    secure    a   last-minute    wave    before    some 

unexpected   e 

ic  ab- ■'.  lutely   sure  cf  a  lovely,  natural  wave. 

no  matter  if 

your  plans  are  last-minute  ones. 

It  Waves  While  You  Dress 

All  you   d 

>   is   slip   the  Maison   Mareellers   on   slightly 

dampened  locks.      At    the   end   it    thirty   minutes  you   slip 

the     Maison 

Mareellers     off — and     your     hair     lies     in 

smooth,   soft 

waves   about  your  face!     Does  it  sound  too 

;rue '?      lour    mirror    proves    the    almost    ini- 

believable    w 

onder    of    its    results — far    better    than    any 

word  can  picture. 

Restores  Your  Hair's  Natural  Beauty 

Maybe  you  have  let  your  hair  go  completely,  worried 
along  with  straight,  straggly,  unkempt  locks,  because 
your   hair    could    no   longer    stand    the   ruinous   methods 

Maison   Mar.  oilers   give   your   hair   a  chance   to  regain 

all  the  soft,   silky  lustre  that  Nature  has  bestowed  on  it. 

For  Any  Kind  of  Hair — For  Any  Arrangement 

No  matter  whether  your  hair  is  soft  and  fluffy, 
coarse  and  straight,  long  or  short,  the  Maison  Mar- 
eellers will  give  you  a  wave  of  unbelievable  beaut} — 
a  shingle  bob,  Ina  Claire,  horseshoe  wave  or  pompadour, 
center  or  side  part.  And  it  is  the  simplest  thing  in 
the  world  to  do.  The  Maison  Mareellers  adapt  them- 
.selves  to  any  style — any  requirement.  Made  of  soft 
rubber,  light  and  flexible,  scientifically  designed.  Lie 
for   a  nap   with  them   on — you'll   never  knew   they 


beauty.       I    think    your    marcelling 
outfit  is  wonderful. 

Mrs.     A.     K.,     Memphis:      I    am 
cur— 1      wiib      thin,      straight     hair 
that    is   unusually   hard   to   wave.      I 
have    tried    many    home    marcelling 
outfits,    but    have    always    been    dis- 
appoint!.1    until    your    Maison    Mar- 
eellers   came.       Now     I     can     easily 
keep   my    hair   in    a   dandy   marcel, 
just  the  way  I  want  it.    I  can't  say 
too  much  for  your  new  invention. 
Buy  Now  While  the  Special  Price 
Still  Prevails 
Just     to     establish     this     revolu- 
tionary new  invention— just  to  put  it 
into  the  hands  of  the  women  whose 
words     of     praise     will     sweep     the 
Maison    Mareellers    throughout    the 
country,  we  are  making  this  special 
offer  to  you.      If  you   act   promptly 
you   can   still  get   the  mareellers   at 
the   special    price.      A    complete    set 
of    Maison    Mareellers,    including    a 
new    and    authentic    marcel    fashion 
chart,    for    ordy    $2.98    plus    a    few 
cents    postage  —  a    price    that 
scarcely   covers   the   cost  of   making, 
packing   and   advertising. 
Send  No  Money — Just  Mail  the  Coupon 
Even     at    this    special    price,    you    need    not    risk    a 
penny.     Just  sign  and  mail  the  coupon.      In  a  few  days, 
when   the  postman    brings   your   outfit,   just  deposit   $2.f)S 
with   him    (plus    a   few   cents   postage).      After  you   have 
tried   this    marvelous    new   marcelling   outfit   for   5    days, 
if  you   are  not    delighted    with    results— if   it    doesn't    give 
you   the   most    beautiful    marcel   you    ever    had    and   im- 
prove  your   hair   in   every    way -simply    return    the    out- 
fit  to   us   and   your   money  will    be   refunded    quickly    and 
cheerfully.      But    don't   put    it   off.      Be    among   the   first 
to  take  advantage  of  this  special  introductory  offer.    Fill 
in  and  mail  the  coupon  today! 

MAISON  DE  BEAUTE 

711  Quincy  St.  Chicago,  Illinois 


l"  ""■■"""■"■ -COUPON  ■■«■■■--■■ 

■  MAISON     DE     BEAUTE 

I  711    Quincy   St.,    Dept.    77 

■  Chicago,     Illinois 

■  Gentlemen:     Please  send   me  your  newly   invented 

■  marcelling  outfit,  including  Marcel  Style  Chart,  and 
I  complete  directions  which  I  agree  to  follow.  I 
|  agree    to    deposit     $2.9S     (plus    postage)     with    the 

■  postman  when  lie  makes  delivery.  If  the  Mare-ellers 
_  do  not  put   a  well   defined  wave  in  my  hair,    I  will 

■  return  the  outfit  within  5  days  and  you  are  to  re- 
I  fund  the  purchase  price  without   argument   or  delay. 

D 

I    Name 


Maison   Mar- 


are  tin 

We   asked   fifty 
tellers.      Here    is   what    some    of   them    say: 

Miss  K.  W.,  Chicago:  I  have  had  my  hair  mar- 
celled so  much  that  it  was  beginning  to  g.t  terribly 
dry  and  scraggly.  Since  I  have  quit  applying  h.oii  to 
my    hair,    it    is    quickly    regaining    its    old    lustre    and 


ease-    pack    Maroell 


you  exp.  ct 
;lose  $3.10 
Outfit   will 


be  out  when  the 
sent   postpaid. 


Cuticura 

Toilet  Trio 

Send  for  Samples 

To  Cnticara  Laboratories,  Dept.  K,  Maiden,  Mass. 


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which    animates   her   work.      I    prefer   not 
to  disturb  her  placid  depths." 

Harvey  would  have  done  well  to  have 
considered  this  reniaik.  It  might  have 
insured  his  future  against  the  things  it 
was  to  know. 

Chapter  XII 

Once  Judith's  contract  was  signed,  Mr. 
Irving  resumed  his  former  warm,  friendly 
manner.  It  seemed  to  Judith  that  he  went 
out  of  his  way  to  do  pleasant  things. 

One  evening  he  invited  her  and  Harvey 
to  dinner.  They  motored  to  a  famous 
road-house  near  Ossining,  where  they  dined 
on  a  rustic  veranda  built  out  over  a  sleepy 
stream.  Japanese  lanterns  swung  in  the 
early  autumn  breeze.  And  perfect  little 
Japanese  gardens  encircled  the  rustic 
house.  It  was  delightful.  Motto,  the 
slant-eyed  proprietor,  saw  that  their  ser- 
vice knew  no  lack. 

Mrs.  Irving,  a  large  Jewish  matron,  ac- 
companied them.  She  talked  mostly  of 
her  sons.  Judith  thought  how  very  dif- 
ferent it  was  from  the  way  that  dinners 
are  supposed  to  be  when  movie  magnates 
wine  and  dine  their  stars. 

After  dinner  they  drove  thru  the  town. 
And  when  the  car  halted  in  the  middle  of 
a  busy  village  street,  Judith  looked  out  of 
the  window  to  see  what  blocked  them. 
And  there,  outside  of  a  theater,  was  her 
name  in  large  electric  lights. 

She  turned  to  Harvey  and  the  Irvings 
excitedly,  as  if  to  ask  their  less  bewildered 
eyes  to  confirm  what  she  thought  she  saw. 
They  were  all  watching  her.  It  was  Mr. 
Irving's  little  surprise.  He  had  told  Ju- 
dith that  it  had  been  the  exhibitors  who 
had  made  a  star  of  her.  This  was  his 
proof. 

"Perhaps  it  is  just  as  well  that  you  say 
nothing  about  me  bringing  you  up  here  to 
see  this,"  Mr.  Irving  suggested,  on  the 
drive  home.  "Mr.  Kendrick's  contract 
calls  for  him  to  be  the  only  starred  or  fea- 
tured member  of  his  productions.  We 
bill  him  that  way  on  all  of  our  advertising. 
But  we  cannot  help  what  the  exhibitor 
does." 

"But  that  one  would  expect  you  to  go 
in  and  tell  the  man  how  to  run  his  thea- 
ter," Mrs.  Irving  commented.  She  dis- 
liked the  Kendricks.  She  resented  their 
superiority.  They  should  act  so  stuck-up 
with  the  Irvings  when  it  had  been  Mr. 
Irving  who  had  made  him. 

"I'll  say  nothing,"  Judith  agreed.  "You 
were  very  wonderful  to  bring  me  up 
here." 

Even  the  chauffeur  grinned  over  Ju- 
dith's pleasure.  He  had  been  rehearsed 
in  this  little  surprise.  What  tales  Haynes 
could  have  told!  He  had  driven  Mr. 
Irving  for  five  years.  And  frequently 
business  conferences  had  been  conducted 
on  the  drive  to  and  from  the  studios. 

Haynes  had  heard  the  death-knell  sound 
for  many  a  famous  one. 

It  was  this  evening  that  Mr.  Irving  of- 
Eered  Judith  the  leading  role  in  the  big 
special  production  that  .McAllister  had 
signed  to  direct. 

"It  is  my  advice  to  you  to  take  the  part," 
Mr.  Irving  had  told  her.  "Mac  especially 
a-ked  for  you.  Bui  I  told  him  you  might 
not  want  to  play  the  part,  since  you  wont 
actually  he  starring.  You  will  be  the 
only  member  of  the  cast  featured.  But 
the  production  itself  will  be  the  thing. 
And  your  role  is  very  great.  A  greal 
role." 

"I   would  like  to  read  the  'script  before 

I   decide."   said  Judith.      She  had   learned  to 

hi  :     mi], m1  es    and    enthusiasms.      She 

would  love  working  with   Mac  again.     And 

she    fell   that   no   meager  amount   of   pres- 

vould   accrue    from   being    featured   in 


a  special  production  that  would  have  a 
Broadway  run  and  a  brilliant  premiere. 
But  she  had  learned  to  be  cautious. 

"I  will  see  to  it  that  you  get  the  scenario 
tomorrow,  first  thing,"  promised  Mr. 
Irving.  "We  are  going  to  call  it  'Woman.' 
A  wonderful  title.  Why,  someone  hasn't 
used  it  before  this,  I  dont  know.  It  is  a 
title  made  for  the  box-office." 

And,  true  to  his  word,  Mr.  Irving  had 
the  scenario  at  Judith's  apartment  the 
next  morning  by  ten  o'clock.  Lillian 
brought  it  up-stairs  with  the  mail  and  the 
breakfast  tray. 

Judith  read  it  immediately  before  she 
even  arose.  At  twelve  o'clock  she  tele- 
phoned to  Mr.  Irving  that  she  would  be 
glad  to  play  the  part.  And  that  very 
afternoon  she  went  to  Madame  Madeliene's 
to   see  about   her  gowns. 

There  was  little  enough  time  left  for  the 
wardrobe  to  be  made.  She  had  several 
important  engagements  for  the  one  week 
before  Mac  would  start  shooting.  And 
the  next  day  the  Acme  company  was  giv- 
ing her  a  luncheon  at  Sherry's  in  celebra- 
tion of  her  stardom. 

Judith  thought  of  this  luncheon  as  some- 
thing of  an  ordeal.  She  knew  that  the 
guests  would  be  magazine  and  newspaper 
people,  for  the  most  part.  She  knew 
that  panegyric  tribute  would  be  paid  her 
by  all  of  the  speakers.  She  knew  that 
she  would  be  expected  to  say  a  few  words 
in  reply.  And  she  felt  sure  that  whatever 
she  said,  whatever  she  did,  whatever  she 
wore,  would  be  criticised  by  some  members 
of  the  press.  It  had  never  been  given  any 
celebrity  to   please  everyone. 

What  to  wear?  She  did  not  wish  to 
overdress.  Yet  she  knew  the  importance 
of  being  effective.  Harvey  warned  her 
several  times  on  this  score.  It  was  his 
opinion  that  Judith  was  not  quite  flam- 
boyant enough  for  her  position. 

She  finally  decided  upon  an  ensemble 
suit  of  dull  blue  and  silver  gray.  The 
coat  of  blue  broadcloth  had  a  large 
shirred  collar  and  cuffs  which  were  heavily 
embroidered  with  a  large  design  in  gray 
worsted.  And  the  gown  of  gray  chiffon 
was  embroidered  in  blue.  Her  hat  was  a 
blue  felt  and  a  band  of  moonstones 
weighed  down  the  short  brim.  Gray  suede 
shoes  and  gray  stockings.  A  large  blue 
suede  bag.  And  the  heavenly  corsage  of 
gardenias  which  Harvey  sent  her  for  the 
occasion. 

The  hour  set  for  luncheon  was  one 
o'clock.  Judith  ordered  the  car  for  twelve- 
thirty.  Harvey  told  her  that  she  looked 
more  beautiful  than  he  had  ever  seen  her. 
And  all  the  way  to  Sherry's  he  showered 
her   with   praise  and  endearments. 

Judith  was  amused  at  the  surreptitious 
way  in  which  he  sought  to  learn  whether 
or  not  she  had  any  idea  what  she  would 
say  in  her  speech.  He  had  urged  her  to 
prepare  something  or  to  let  him  write 
her  a  speech.  But  Judith  knew  that  she 
would  do  better  if  she  depended  upon  the 
inspiration  of  the  moment.  She  knew  that 
this  would  sound  spontaneous  and  sincere 
even  if   it  did  not   sound  brilliant. 

She  had  prevailed  upon  Harvey  to  at- 
tend the  luncheon.  Despite  the  fact  that 
he  was  the  one  imperfection  in  the  pattern 
of  her  life,  she  loved  him  more  than  any- 
thing else  in  the  world.  She  would  have 
made  almost  any  sacrifice  for  him  and 
never  thought  of  it  as  a  sacrifice.  And 
.she  knew  that  he  loved  her  as  much  as  he 
would  ever  love  any  one  person.  It  was 
just  as  Sonia  had  said.  Harvey  was  not 
a  one  woman's  man.  There  was  no 
changing  him.  When  he  was  with  her,  he 
was  perfect.  In  their  days  and  evenings 
together,  Judith  sensed  no  lack.  But  she 
knew  that  whenever  she  left  Harvey  for  a 
location  trip,  whenever  she  had  to  neglect 


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him  because  of  concentration  upon  net- 
work, that  he  would  seek  another  woman 
- — or  other  women. 

if  she  was  slow  to  realize  just  how  far 
and  how  often  Harvey  strayed,  it  was 
natural  enough.  Her  mirror  told  her  that 
she  was  not  the  kind  of  woman  to  whom 
a  man  might  be  expected  to  be  unfaithful 
— rather  the  woman  because  of  whom  a 
man  might  be  unfaithful  to  another 
woman. 

But  she  had  adjusted  so  far  admirably. 
Under  normal  circumstances,  Judith  would 
have  left  the  management  of  her  affairs 
entirely  to  Harvey.  Yet  just  the  other  day 
in  one  of  those  revealing  flashes  that  are 
now  and  then  given  to  people,  she  realized 
that  she  no  longer  looked  to  Harvey  for 
any  assistance  whatever  so  far  as  her 
career  was  concerned.  They  had  been  mar- 
ried three-quarters  of  a  year.  And  while 
he  had  controlled  things  in  the  beginning, 
she  had  since  then  taken  all  the  reins  of 
management  into  her  own  hands.  She  had 
done  it  unobtrusively.  And  she  herself 
had  not  been  aware  of  the  change.  It 
had  come  about  so  casually,  so  gradually. 

They  arrived  at  the  hotel  in  ample  time. 
Only  a  handful  of  people  were  in  the 
reception-room  when  they  entered.  Others 
sauntered  in  every  few  minutes  until  a 
little  after  one,  when  the  room  was 
crowded  with  little  groups. 

No  trouble  or  expense  had  been  spared 
to  make  the  luncheon  all  that  the  press 
has  come  to  expect  film  luncheons  to  be. 
Waiters  moved  about  among  the  groups, 
serving  trays  of  fascinating  and  inde- 
scribable  canapes. 

Magazine  editors,  Sunday  supplement 
editors,  motion  picture  critics,  feature 
writers,  syndicate  editors,  general  maga- 
zine editors,  executives  of  the  Acme  com- 
pany— these  comprised  the  guests. 

It  was  one-thirty  when  Judith  led  the 
way  into  the  dining-room.  She  took  Mr. 
Irving's  short,  crooked  arm.  She  had 
grown  fond  of  this  little  man,  Napoleonic 
in  his  business  ability.  And  she  knew  that 
he  liked  her,  because  she  had  always  been 
reasonable  and  fair,  yet  had  never  submit- 
ted to  his   tyranny. 

The  table  was  laid  in  a  large  hollow 
square.  It  was  beautifully  set.  The  floral 
decorations  were  orchids  and  pink  roses. 
The  candles  were  pale  green.  Crystal, 
silver  and  china  gleamed  in  the  soft  light. 

The  courses  were  delicious  and  numer- 
ous. As  a  bell  rang,  softly  in  the  distance, 
the  waiters  advanced,  a  starched  white 
army,  to  remove  the  plates  and  serve  an- 
other course. 

Robert  Landis,  whom  Judith  had  not 
seen  since  Dolores  Cortez'  tea,  arrived 
late.  He  had  been  detained  at  the  office, 
but  he  came  directly  to  Mr.  Irving  and 
Judith   to   make  his   apologies. 

"Forgive  my  tardiness,"  he  said  to  both 
of  them,  but  looking  only  at  Judith,  who 
still  seemed  to  him  lovelier  than  any 
woman  he  had  ever  seen.  "But,  believe 
me,  it  was  unavoidable.  I  got  in  from 
the  Coast  late  yesterday  and  I'm  sailing 
for  Italy  tomorrow.  A  hundred  things  to 
do.  But  I  could  not  deny  myself  the 
pleasure  of   this   luncheon." 

Because  there  was  again  a  personal  chal- 
lenge in  his  voice,  Judith  was  suddenly  re- 
minded of  the  challenge  he  had  offered 
her  at  the  Cortez  tea  as  they  had  talked 
together.  And  now  when  she  had  given 
him  her  hand  in  greeting,  he  had  presumed 
to  hold  it.  Finally  she  withdrew  it,  slowly. 
She  knew  that  Harvey  was  watching  them 
and  that  he  was   sulking,  just  a  little. 

When  Robert  Landis  left  her  and  went 
down  the  table  to  his  place,  she  felt  ner- 
vous about  her  speech.  She  would  hate 
to  falter  before  his  keen  eyes.  She  would 
(Continued  on  page  95) 


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Advertising  Section 


Answers  to  December  "Whose  Hands?" 


By  F.  Vance  de  Revere 


Greta  Nissen 


Lya  de  Putti 


Clive  Brook 


""The  very  beautiful  hand 
which  was  long,  narrow, 
fragile-looking,  with  slender, 
tapering  fingers  and  lovely 
almond-shaped  nails,  belongs 
to  Greta  Nissen.  The  highly 
inspirational,  very  emotional, 
extremely  sensitive  nature, 
sympathetic,  affectionate  and 
demonstrative,  strong  in  her 
likes  and  dislikes,  is  indi- 
cated in  her  face  and  hand 
alike.  The  very  flexible 
hand  and  fingers  indicates 
a  very  sociable  nature  and 
one  which  is  impressionable 
and  easily  influenced  by  her 
surroundings  and  the  people 
with  whom  she  comes  in 
contact.  The  face,  too, 
gives  the  same  indications ; 
in  fact,  such  an  individual 
must  have  the  companion- 
ship of  others  to  be  happy. 

All  ri 


The  odd  little  hand  which    The  hand  belonging  to  the 


was  very  interesting  and 
the  hand  of  a  foreign  ac- 
tress, who  recently  came  to    His    face   and   hands    corre- 


tall,    lean,    muscular    man 
was     Clive     Brook's     hand. 


belongs  to  Lya  de  Putti. 
Her    face,    more    than    her 


spond    in   great    detail    with 
some   slight  variances.     The 


hands,    gives    all   indications    twQ    run    s0    accurately   and 


her  dramatic  sense  and 
ibility.  There  is  shown 
n-eat    love    of    all    that    is 


true  to  type  that,  by  looking 
at   his    face,  you  would  im- 
mediately   know    the    shape 
beautiful    and    love    of    the    and    formation   of   his   hand 


creature  comforts  of  life  in 
both  face  and  hand  alike. 
Likewise,  the  dreamy,  vis- 
ionary, impulsive,  sponta- 
neous nature,  highly  emo- 
tional, very  intuitive  and  a 
very   active,    restless   person. 


without  looking  at  it.  Like- 
wise, looking  at  the  hand, 
you  would  know  the  figure, 
general  appearance  and  type 
of  his  face.  This  is  as  it 
should   be    and    gives    added 


In    the    face    are    indications    strength    to    his    characteris- 


of  a  mentality  which  grasps 
quickly,    a    very    interesting 
and    a    very    magnetic    per- 
sonality. 
ghts  reserved  by  F.  Vance  de  Revere 


tics.  The  face  as  well  as 
the  hand  gives  indications  of 
a  serious  nature,  one  who  is 
a  thinker. 


Prize  Winners   for  Limericks  Published  in 
November  Magazine 


Far    from    buying   his    pleasures,    this   one — 
Herbert    Brenon — gels   paid    for   his  fun, 
For    picking    out   beauties 
Is  one  of  his  duties 
When    he's   picking,   they    come   on   the   run. 
Miss  Ruth  Norfolk, 

Clarendon,  Va. 


Miss     Del    Rio's    warm    welcoming    glance 
Js   not   caused   by    her    latest    romance. 

Only    roast    beef    on    rye 

Puts    that    look    in    her    eye 

Ami    not    something   approaching    in   pants. 
Kathleen   McGuican, 
Canal    /one,    Panama 


Dotty   Gish   doesn't   care   if  her  voice 
Gives   nobody   cause   to   rejoice. 
"On    the    screen,"    she   averred, 
"I'll   be   seen,    and    not   heard, 
Where     the     beauties,     tho'     dumb,     get     first 
choice." 

Mrs.   M.   D.   Fitzsimmons, 

Williams,   Ariz. 


You   can    tell    by   the 

This    isn't   a    fair    young   albino 
A   Ku    Klux,    or  a   swan — 
But    Miss   Alberta   Vaughn 

Let's    hope    (let's    soap)    it's    a 


that's   how   I   know 


show. 


"Iiaii-raising' 
1'.    Ford. 


Hackensack,    N.    J. 


is  the  prize-winn 
November  issue. 
( lalifornia. 


A  Whitecap  on   the  Briny 

ng  title    for  the  picture  which  appeared  on  page  8  of  thei 
It   was  contributed   by   C.    M.    Stevenson,   San   Francisco, 


r-ry   advertisement   in   MOTION   PICTURE   MAGAZINE    is   guaranteed. 


Advertising  Section 


jr-MOTION  PICTURI 

Ifl0l    I    MAGAZINE 


Christmas  in  the  Home 

{Continued  from  page  45) 

the  tree  put  on  your  festoons  and  last  of 
all  dust  on  some  silver  snow,  part  of  which 
will  stay  on  the  tree  and  the  rest  will  drift 
down  over  whatever  foundation  you  have 
planned.  And  here  is  a  warning  about 
silver  snow:  Most  of  it  is  of  metal  and 
I've  known  of  several  cases  where  it  has 
short-circuited  the  electric  system,  because 
it  came  into  contact  with  the  electric  light 
connections  on  the  tree.  So,  use  silver 
snow,  but  use  it  with  care. 

Dont  put  packages  on  the  tree!  If  you 
do,  your  tree  will  start  to  look  denuded  as 
soon  as  Christmas  is  over  and  part  of  the 
joy  of  the  holidays  is  -to  have  the  tree 
looking  lovely  until   Twelfth-night. 

Wrap  your  packages  in  white  or  red 
tissue  paper  and  tie  the  packages  with  gay 
cord  and  ribbon  and  decorate  with  plenty 
of  seals.  These  packages,  piled  at  the 
foot  of  the  tree  on  Christmas  morning, 
add  another  touch  of  gaiety.  If  you  wish 
the  brightest  sort  of  Christmas,  make  a 
ceremony  of  opening  the  packages.  If  one 
of  the  family  or  a  guest  acts  as  Santa 
Claus — without  the  old  man's  costume — it 
will  add  to  the  fun  of  the  occasion.  And 
certainly  the  beauty  of  the  holiday  will  be 
enhanced  by  the  gaily  wrapped  bundles. 

The  tree  isn't  all  of  Christmas!  The 
decorations  of  the  rest  of  the  home  are  as 
important  as  the  tree  itself.  First  of  all, 
in  preparing  for  Christmas,  get  rid  of  all 
of  the  superfluous  ornaments  in  your  home 
— and  let  this  include  all  of  the  things  that 
have  been  around  during  the  year  and  have 
added  neither  beauty  nor  comfort  to  your 
home.  After  you  have  got  rid  of  all 
"extras"  you  may  start  to  add  the  special 
Christmas  decorations. 

I  should  use  a  lot  of  wreaths  for  Christ- 
mas. You  may  buy  these  already  made  up 
or,  if  you  live  in  the  country,  you  may 
gain  an  additional  holiday  pleasure  by 
gathering  the  green  branches  and  making 
them  yourself.  I  would  put  a  green  wreath 
in  every  living-room  window  and  I  would 
have  others  ready  for  decorating  the  rest 
of  the  room. 

I  would  have  a  special  mantel  decoration 
for  Christmas.  Above  the  mantel  I  would 
hang  one  or  two  holly  wreaths  according 
to  the  size  of  the  room  and  the  mantel. 
I  would  balance  these  wreaths  and  hang 
them  by  wide  bows  of  bright  soft  red  rib- 
bon. On  the  mantelpiece  I  would  put  a 
miniature  tree  with  perhaps  two  tinier 
trees  to  balance  it  or  a  low  bowl  of  bril- 
liant leaves  or  flowers  or  perhaps  just  a 
couple  of  candlesticks  with  red  or  green 
candles.  On  a  table  you  might  have  a 
potted  poinsettia  plant  with  its  brilliant 
leaves  and  flowers.  If  you  have  not 
planned  on  having  a  Christmas  tree,  I'd 
advise  you  to  alter  your  plans  and  have 
a  tiny  one  anyhow.  If  your  home  has  chil- 
dren, you  will  want  a  big  one,  of  course, 
but  if  there  are  only  adults,  a  tiny  tree,  a 
living  plant  decorated  with  familiar  Christ- 
mas things  will  add  a  great  deal  to  your 
Christmas  happiness. 

You  will  want  Christmas  festoons  for 
your  room.  These  are  made  of  fir  or  pine 
or  other  Christmas  greenery  and  will  last 
well  thru  the  holiday  season  without  shed- 
ding or  turning  black  and  will  add  im- 
mensely to  the  appearance  of  things.  You 
can  make  these  festoons  very  easily  at 
home  or  you  can  purchase  them  at  the 
florist  shops  inexpensively.  Buy  a  few 
more  yards  than  you  think  you  will  need, 
for  when  you  go  to  make  festoons,  no 
matter  how  carefully  you  have  measured, 
you'll  be  surprised  to  find  out  how  much 
{Continued  on  page  91) 


The  health  and  beauty 
of  the  hair 

depend  chiefly  upon  the  condition  of 
the  scalp.  Normal  capillary  circu- 
lation and  nerve  tone  mean  well- 
nourished  roots  —  strong,  vigorous 
hair  shafts — lively,  lustrous  hair. 
Important  also,  of  course,  that  the 
scalp  be  kept  really  clean.  Excel- 
lent for  these  purposes  is  Liquid  Sil- 
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a  wholesome  tonic  effect,  invigorating 
,  tissues,  improving  circulation.  And  it 
effectually  eliminates  dandruff,  dirt,  excess 
oiliness.  Always  use  before  shampooing. 
For  the  strength  and  welfare  of  your  hair — for  in-  For  keeping  the  hair  wavy  or  curly — even  under 
tensifying  its  natural  color — for  keeping  it  delight-  most  trying  conditions — Silmerine  long  has  enjoyed 
fully  soft,  silky,  with  a  gleamy  gloss  and  sheen — use  a  splendid  reputation.  Use  with  utmost  confidence. 
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Bring  out  the 
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Do  you  know  that  just  beneath  that  soiled,  discolored, 
faded  or  aged  complexion  is  one  fair  to  look  upon?  Mer- 
colized  Wax  will  gradually,  gently,  peel  off  the  devitalized 
surface  skin,  revealing  the  youthfully  fresh,  white  and 
beautiful  skin  underneath.  It  leaves  no  trace  but  that 
of  increased  loveliness.  The  new  complexion  is  a  perfectly 
natural  one,  not  to  be  compared  at  all  with  a  make-up, 

It  hastens  Nature's  efforts.  Shedding 
worn-out  skin  is  Nature's  way  of  renewing 
the  complexion.  Tiny  cutaneous  particles 
come  off  day  by  day.  When  this  skin  shed- 
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complexion  troubles  begin.    Nature  may 


\ 


then  be  assisted  by  simply  applying  Mer- 
colized  Wax.  The  Wax  actually  destroys 
the  mask  of  dead  scarf  skin — causing  no 

discomfort.  It  makes  the  pores  breathe;  livens  up 
the  whole  countenance.  All  of  a  sudden  you  seem 
to  have  lost  10  to  20  years  from  your  age. 


Freckles,  pimples,  liver  spots,  moth  patches,  etc., 
of  course  disappear  with  the  discarded  cuticle.  Isn't 
this  better  than  attempting  to  hide  or  cover  up  skin 
defects,  and  stifling  the  pores  with  a  soggy  mass  of 
creams  or  other  cosmetics  V 

Mercolized  Wax  will  give  you  a  new  skin  of  en- 
chanting beauty  and  girlish  charm — bearing 
not  the  slightest  evidence  of  artificiality.  One  that 
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And  all  these  results  are  accomplished  by  using  just 
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MERCOLIZED  WAX 

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spoonful  of  Powdered  Tarkroot  with  a  spoonful  of  lemon  juice  and  apply  this  soothing 
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See  the  Age  Lines  Vanish! 

The  hated  lines  go  away  like  magic, 
now,  what  you  looked  like  when  young! 
the  sagginess  correct  itself.  Enjoy  the 
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ness. When  you  wash  off  the  application, 
your  face  looks  much  younger. 

The  effect  is  far  better  than  that  of  the 
most  expert  face  massage. 

For  Baggy  Cheeks  and  Chin 

Instead  of  making  the  face  flabby,  as 
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For  Blackheads,  Oiliness 

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^^st^  Tarkroot  acts  upon  an  important  phys- 

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I 


Advertising  Section 


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.-     ;.[.(. liar ot 


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Dept.  2782 Binghamton,  N.  Y. 


Some  Women   Have  All  the  Luck 


r.c 


{Continued  fi 

work  with.  But  in  the  next  picture,  "The 
Conquering  Power,"  things  were  dif- 
ferent, lie  was  dissatisfied  with  his  part, 
discontented  and  unhappy. 

"As  a  lover,  he  always  suggested  so 
much  more  than  he  gave.  He  underacted, 
always.  It  gave  the  effect  of  great  passion 
under  restraint.  I  always  had  the  im- 
pression that  I  was  playing  with  a  volcano 
that  might  erupt  any  minute.  It  never 
did — hut  that  was  the  secret  of  his  appeal. 
That  was  why  women  loved  him.  Cu- 
riosity? Well,  maybe,  but  that's  love  in  a 
sense,  isn't  it  ?" 

Her  blue  eyes  twinkled.  They  are  hu- 
morous eyeSj  not  languishing  at  all,  and 
she  has  a  most  practical,  nonchalant  way 
of  summing  things  up — things  and  people, 
and  this  stage  property  we  talk  so  much 
about — Love ! 

"Of  course,  I  wouldn't  say  that  I  have 
learned  all  about  Italian  love  from  Valen- 
tino, or  all  about  our  American  brand  from 
Lewis  Stone.  It  is  hardly  fair  to  judge 
a  country  by  just  one  lover,  you  know.  I 
think  that  1  should  have  at  least  two  from 
each  country  before  going  on  record  with 
an  opinion,  but  even  with  my  slight  ex- 
perience. I  have  formed  some  conclusions 
as  to  the  way  they  do  it,  nationally  speak- 

"The  Latins  are  easier  to  work  with,  for 
the  simple  reason  that  they  give  so  much 
more.  The  real  difference  between  them 
and  our  men  is  just  this — they  expect  to 
do  the  loving,  they  want  to  do  it — they  do 
do  it,  while  the  average  American  man 
just  sits  back  and  waits  for  the  woman  to 
make  love  to  him. 

"I'd  lots  rather  have  foreign  lovers,  on 
the  screen  anyway.  Women  aren't  more 
important  in  their  scheme  of  things,  really, 
but  they  have  a  way  of  making  them  feel 
so  much  more  important.  It's  very  com- 
fortable," Miss  Terry  laughed,  "and  I 
love  to  be  comfortable! 

"Little  looks,  little  words,  little  touches! 
They  use  them  all — but,  of  course,  the 
American  lover  is  much  more  reliable 
when  it  comes  to  paying  the  bills  ! 

"But  in  a  love  scene!  I'd  just  as  soon 
have  a  chair  as  the  typical  American  man! 
I  can  play  a  love  scene  better  with  a  chair !. 
I  can  move  the  chair  wherever  I  want  it. 
I  f  it  gets  in  my  way,  I  can  push  it  aside — 
but  I  cant  do  anything  with  a  lover  who 
w<mt  start  something  ! 

"And  the  Spaniards,  the  Italians,  the 
Mexicans — start    things  !" 

Her  lip  twitched  and  she  chuckled 
—a  most  American  chuckle.  "I'll  say 
they  do,"  she  confided,  "and  they  usually 
finish  them,  too.  The  Anglo-Saxon  is 
ashamed  of  his  emotions — the  Latin  en- 
joys his!  An  Englishman  wont  make  a 
show  of  himself,  because  it's  not  done.  An 
American  words  it  a  little  differently;  he 
cills  it  'making  a  fool  of  himself,'  and  he 
wont  do  that  because  it  makes  him  feel 
like  a  fool,  and  he  hates  the  experience, 
but  a  real  lover  doesn't  mind  a  little  thing 
like  that.  \  lover  who  is  a  lover  by  tem- 
peramenl  will  follow  his  dream  wherever 
it  lead  .  I  [e  i  the  real  idealist,  the  real 
romanlieist  ! 

"Ramon  Xovarro  is  one,  the  greatesl  I 
Know,  lie  will  be  greater,  ten  years  from 
now.  He  has  everything.  I  cant  think 
of  a  pari  that  he  couldn't  play — all  he  has 
to  do  is  lo  buy  bis  stories  and  wait.  I  It- 
has  the  grace  and  restraint  of  Valent  inn  and 
the  virility  of  Moreno      I  h-  j ,  ,,    Mexican, 

IS    something    different     from    b 
a    Spaniard-    there   are    Aztec    strains    there 
thai   add  complexity  and  interest     and  mys 
I  he   \/tces  V\.  • ,   ii,,   .., ,  ate  i  m;    ti< 


oni  page  37) 

the    world    has    ever   known — Xovarro   has 
it  all. 

"When  I  played  with  him  before  in 
'Scaramouche'  and  'Where  the  Pavement 
Ends,'  he  was  a  little  immature.  Now  1 
am  playing  with  him  again  in  'The  Great 
Galeoto,'  and  he  has  learned  so  much 
camera  angles,  distances  and  things  like 
that.  His  technique  has  become  smooth, 
sure — and  he  has  lost  nothing  of  his  ro- 
mance, nothing  of  his  charm." 

"He  sounds  like  Romeo,"  said  I,  who 
had  been  watching  him  while  she  talked, 
rehearsing  several  scenes  with  the  direc- 
tor  black   eyes,    black    hair — youth    and 

beauty  incarnate. 

"But  aren't  any  of  them  cave  men?"  I 
asked.  "1  thought  cave  men  had  things 
their  own  way  with  the  ladies.  These 
lovers    of   yours   are    so   sophisticated " 

"Well,  I  dont  know,"  she  said  slowly. 
"Tony  Moreno  comes  nearer  being  abo- 
riginal than  any  of  the  others.  He  is 
physical,  virile,  expresses  himself  in  action. 
He  is  forceful,  masterful — and  all  that 
sort  of  thing.  He  takes  possession  of  a 
woman;  you  couldn't  resist  him — if  that's 
being  a  cave  man." 

"Sounds  like  it,  but  then  it  spoils  the 
picture  of  the  Spanish  lover.  I  thought 
they  all  twanged  guitars,  serenaded  sefior- 
itas,  and  Hashed  knives  upon  occasion." 

"Well,  Tony  would  flash  the  knives ! 
He'd  love  it !  Then  that's  that ;  he's 
Spanish,  all  right,  but  1  have  seen  him 
look  like  a  pretty  good  American." 

"Yes,  and  so  does  Conway  Tearle.  I 
played  with  him  in  'The  Great  Divide,' 
but  he  is  English  inside — a  lover  who  tells 
it  to  you  seriously  and  expects  you  to 
believe  it  without  repetition  for  the  next 
twenty  years.  Good  and  proper — but  not 
exciting.  They  take  so  much  for  granted, 
and  it  is  awfully  hard  to  make  a  love 
scene  out  of  faithfulness  and  devotion. 
Of  course,  it's  nice  to  have  around  the 
house,  but  we  were  talking  about  pictures 
and  love  that  can  be  measured — by  so  many 
feet  of  celluloid. 

"Now,  there's  Petrovich,"  she  said  en- 
thusiastically ;  "you  dont  know  anything 
about  him  yet,  but  you  will.  I  played 
with  him  in  Europe  in  'The  Magician.' 
He's  a  Serbian,  not  so  young  as  Xovarro, 
not  so  finished  as  Valentino.  To  me  he 
suggests  great  forests,  the  plains,  the  sea. 
A  lover  among  elemental  things -and  yet 
he  is  not  crude.  Probably  the  thing  I  am 
trying  to  express  is  strength.  He  has  it 
to  an  amazing  degree.  He  is  a  lover  that 
will   stir  your   pulses " 

"Miss  Terry,  will  you  come  to  the  warT 
robe-room  now  and  be  fitted  for  your 
costume?"  a  quiet  but  rather  exasperated 
voice  inquired. 

"Oh,  dear  me;  I  forgot.  I  was  sup- 
posed to  be  there  an  hour  ago."  She  slath- 
ered up  her  draperies-  long  and  (lowing, 
il I    she  always   wears  on   the  screen. 

"Here,  I've  been  gossiping  about  lovers 
and  neglecting  clothes.  I  wouldn't  have 
believed  it  was  possible,  but  they  are  fun, 
aren't  they?  Please  say  that  I  love  them 
all — and  thai  I  dont  think  just  one  is  a 
fair    sample    of    any    country — besides,    I've 

in  ver    played    with    a    Frenchman,    so   my 
remarks   dont   count— they   are   incomplete. 

"  'Now   it   may  be,  the   flower   for  me 
Is   this   beneath   my   nose  ; 

I  low    can    I    tell,    unless    I    smell 
The  (  athaginian   rose?'  " 

Her  voice  came  drifting  back  thru  the 
dark   cavern   of   the   Stage. 

And  her  next  Stop  is  "The  Garden  of 
\llah,"  where  another  lover  awaits  her! 
I  )ont    some    lyomeri    have  all  the  luck? 


emcnl   in  MOTION   PICTURE   MAGAZINE   is   gn nteed, 


Advertising  Section 


Christmas  in  the  Home 

{Continued  from  page  89) 

they  will  take  up.  Use  a  generous  piece 
for  your  mantel  and  in  that  space  between 
your  windows  in  your  living-room.  Other 
festoons  may  be  hung  in  graceful  curves 
and  scallops  above  the  piano  or  above  any 
other  large  piece  of  furniture. 

If  your  decorations  are  somber,  cover 
a  few  pillows  with  inexpensive  bright  red 
sateen  and  perhaps  make  a  slip  cover  for 
one  of  the  chairs  of  the  sateen,  too. 

Potted  plants  add  immeasurably  to  the 
Christmas,  if  you  plant  bulbs  far  enough 
have  some  of  your  flowers  in  bloom  at 
Christmas,  if  you  plant  bulbs  far  enough 
ahead  and  keep  them  dark  for  several 
weeks.  Ferns  and  other  green  growing 
things  in  pots  are  almost  as  lovely.  Pepper- 
plants  in  bloom  are  among  the  most 
charming  of  the  Christmas  decorations. 

Do  not  limit  your  Christmas  decorations 
to  your  living  -  room.  Your  halls  and 
dining-room  should  have  their  share  of 
Christmas  things,  too.  Fir  boughs  and 
festoons  will  add  a  great  deal  to  your  hall 
and  give  a  note  of  welcome  to  your  home. 
Your  dining-room  should  have  special 
care  at  Christmas.  Above  your  buffet  or 
your  serving-table  put  more  festoons  of 
green.  And  on  the  buffet  itself,  put  a  tall 
vase  of  leaves,  with,  if  possible,  some  red 
berries.  Your  dining-table  should  have  a 
centerpiece  appropriate  for  the  holiday 
season.  A  low  bowl  of  green  leaves,  a 
tiny  tree,  flowers  with  red  predominating 
or  a  pepper-plant  all  make  ideal  center- 
table  decorations. 

Even  if  I  were  not  in  the  habit  of  using 
candles  on  the  table  regularly,  I  would  use 
them  during  the  Christmas  holidays.  I 
am  in  favor  of  having  candle-lit  dinners 
all  during  the  year,  but  in  the  Christmas 
season  they  seem  especially  necessary.  No 
matter  what  color  candles  you  are  in  the 
habit  of  using,  I  would  use  bright  red  ones 
during  Christmas  week.  These,  with  your 
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nates and  your  white  linens,  will  make  the 
Christmas  spirit  seem  very  near  indeed. 

If  people  would  only  realize  how  beauti- 
ful the  home  could  be  made  at  a  small 
expense,  Christmas  this  year  would  have 
added  joys.  A  walk  thru  the  woods  will 
enable  you  to  pick  enough  pine  boughs — 
and  without  hurting  any  permanent  growth 
either — to  make  your  Christmas  home  a 
gay  one.  A  few  evergreen  twigs,  a  tree 
with  bright,  new  decorations,  wreaths, 
festoons  of  green  and  bright  candles,  and 
your  home  will  radiate  the  Christmas 
spirit  and  the  spirit  of  hospitality,  too. 

Keep  your  Christmas  things  simple.  For 
simplicity  should  be  one  of  the  real  key- 
notes of  Christmas.  By  using  ingenuity 
in  the  hanging  of  the  Christmas  festoons 
and  in  the  placing  of  the  Christmas  tree 
you  can  turn  your  home  into  a  perfect 
miniature  stage  set  for  whatever  gaieties 
the  holidays  may  offer. 

One  thing  more,  and  an  important  thing, 
too :  have  a  light  in  your  window  to  guide 
the  Christmas  spirit  and  to  add  joy  to 
those  who  have  no  Christmas  of  their  own. 
And  outside  of  the  house  have  a  wreath 
at  the  door  to  give  cheer  to  the  passer-by 
and  to  welcome  with  the  real  spirit  of 
Christmas  the  guests  whom  you  will  bring 
within  your  home. 


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Cinema  Cinderellas 

{Continued  front  page  20) 


her.  Even  after  she  had  become  a  popular 
star,  and  no  longer  could  remember  the 
time  when  a  dollar  loomed  large  in  the 
family  exchequer,  the  idea  that  she  would 
one  day  crash  thru  the  sacred  portals  of 
society  never  entered  her  head,  of  that 
we  are  sure. 

Her  marriage  to  Alastair  Mackintosh, 
of  London,  an  officer  in  the  British  army 
and  an  intimate  friend  of  the  Prince  of 
Wales,  was  the  means  of  making  Con- 
stance Talmadge  a  hostess  to  whom  all 
London  flocked  with  eagerness.  The  story 
of  the  marriage  itself  read  like  a  romance. 
Pretty,  talented,  witty  and  popular,  Connie 
has  always  been  rumored  to  be  engaged 
to  this  man  or  that.  Famous  motion  pic- 
ture stars  are  always  the  target  for  such 
rumors.  But  when  the  wedding  took 
place,  the  surprise  of  her  friends  reached 
amazement,  for  no-  one  knew  the  groom, 
and  it  was  only  after  a  very  short  ac- 
quaintanceship—about •three  weeks — that 
the  two  decided  to  marry. 

Vague  stories  of  how  the  groom  left 
Hollywood  almost  immediately  after  the 
wedding  circulated  around  Connie's  imme- 
diate set.  He  was  seen  down  at  Palm 
I  leach  last  winter  while  she  was  out  West 
working.  1  hen  after  a  short  honeymoon 
in  Paris,  the  two  took  a  house  in  Lon- 
don, and  every  day  one  read  in  the  social 
columns  of  the  press  the  description  of  a 
dinner-party  given  by  the  Mackintoshes ; 
the  presence  of  Connie  at  such  and  such 
a  reception ;  the  glowing  praise  of  her 
charm,  and  vivacity,  and  lovely  clothes, 
and  so  on. 

The  divorce  now  being  planned  will  put 
an  end  to  all  of  this,  to  be  sure.  But 
Connie  had  it,  even  if  she  didn't  find  it 
especially    worth    her    while. 

Xor  is  Connie  the  only  movie  star  who 
has  risen  from  an  obscure  background  to 
the  shining  spotlight  of  society  thru  mar- 
riage. Xo  one  will  ever  forget  the  nine 
days'  wonder  of  Gloria  Swanson's  mar- 
riage to  the  Marquis  de  la  Coudray. 
When  Gloria  sported  on  the  California 
sands  as  a  Mack  Sennett  bathing  beauty, 
her  ideas  of  nobility  and  ladies  of  title 
were  rather  vague.  Prince  Charming 
probably  appeared  in  her  mind  as  a  nice 
American  of  wealth,  if  possible,  and  pref- 
erably one  in  the  motion  picture  business. 
Now  she  is  addressed  by  the  high-sound- 
ing, aristocratic  name  of  Madame  La 
Marquise  de  la  Coudray.  (There  are 
several  other  names  that  go  before  the 
last,  but  we  have  forgotten  the  spelling  of 
them.)  And,  strangely  enough,  Gloria's 
good-looking,  popular  young  husband  is 
far  more  democratic  in  action  and  manner 
than  any  of  the  film  celebrities  surround- 
ing his    famous  wife. 

Another  Connie  recently  upset  the  social 
world  of  America  by  grabbing  off  one  of 
its  most  eligible  young  bachelors.  Connie 
Bennett  had  just  begun  to  reap  the  har- 
vest of  her  hard  work  in  the  cinema 
world,  when  she  decided  that,  after  all, 
love  was  the  preferable  thing  to  fame  and 


a  career,  and  quietly  slipped  away  to 
Greenwich  with  Philip  Plant,  son  of  the 
late  millionaire  "Tin-plate   King." 

The  two  had  been  in  love  for  several 
years,  but  as  Philip  was  the  heir  to  some 
thirty-odd  millions  of  dollars,  his  family 
decided  that  only  in  the  highest  social 
circle  could  an  eligible  mate  be  found. 
Connie  Bennett  had  as  her  background  the 
aristocracy  of  the  stage,  being  the  daugh- 
ter of  Richard  Bennett,  one  of  our  best 
actors,  and  Adrienne  Morrison,  whose 
theatrical  ancestry  goes  back  to  the  days 
of  the  first  strolling  players  in  Europe. 
But  the  theatrical  world  and  the  400  are 
as  wide  apart  as  the  north  and  south  poles, 
and  no  one  ever  dreamed  that  the  two 
would  meet. 

Connie  has  given  up  her  screen  career, 
at  least  for  the  time  being.  She  was  be- 
ginning to  be  noted  by  the  astute  eyes  of 
the  producers,  for  her  unusual  screening 
ability  and  decided  talent. 

The  lovely  Thelma  Morgan,  altho  born 
in  the  high  social  circle,  for  quite  some 
time  worked  before  the  camera.  Like 
Connie,  however,  her  recent  marriage  to 
Lord  Furniss,  one  of  the  richest  young 
men  in  England,  has  cut  off  her  career  as 
a  cinema  star.  Lady  Furniss  will  be  far 
removed  from  the  film  world,  and  it  is 
extremely  doubtful  if,  in  her  present  po- 
sition, she  will  remember  that  such  a 
thing  as  a  "nine  o'clock,  on  the  set,  all 
made  up"  call  has  ever  existed. 

Then,  of  course,  there  is  the  much- 
married  Peggy  Hopkins,  who  the  last  time 
the  spirit  moved  her,  took  unto  herself  as 
a  groom  a  young  Count  Morner.  They 
say  that  while  Peggy's  democratic  char- 
acter keeps  her  from  using  the  title  over 
here,  save  occasionally,  when  she  travels 
abroad  she  is  known  everywhere  as  the 
beautiful  young  Countess,  and  that  altho 
she  has,  as  is  customary  with  her,  decided 
to  call  the  marriage  off,  .she  will  retain 
her  right  to  the  title.  However,  that  is 
all  hearsay  and  rumor.  She  is  making 
rapid  progress  as  a  screen  actress,  and 
photographs  remarkably  well. 

The  most  recent  thrill  with  which  the 
screen  world  has  been  provided  in  the  way 
of  marital  romances,  is  that  furnished  by 
Mae  Murray,  who  now  has  the  title  of 
Princess.  Prince  David  Divani  is  tall  and 
unusually  good-looking.  Also,  he  has  just 
left  his  twenty-sixth  year.  The  new 
Princess  declares  that  this  marriage  is  her 
last  one,  and  that  she  will  never  get  an- 
other divorce.  The  little  Follies  girl  who 
used  to  dance  nightly  for  the  proverbial 
rows  of  bald-headed  men  has  come  a  long 
way,  but  who  can  tell,  in  this  democratic 
world  of  prohibition,  international  debts, 
Steinachism,  screen  sirens  and  aviation, 
that  her  story  may  be  just  another  fairy- 
tale in  the  book  of  cinema  cinderellas  who 
have  emerged  from  the  cinders  and  mar- 
ried Prince  Charmings  of  wealth  and 
social  position. 

Nothing  we  might  hear  about  a  movie 
star  would  surprise  us,  after  all  the  shocks 
we  have  had  to  take. 


THE 

MYSTERY 

TRUNK 

Ramon 

Novarro  took 

an  empty  trun 

k  to  Tunis,  out  of  which  Herb 

Howe  1 

►rings  forth   a 

lot  of  humor 

in  his  remarkable 

series, 

com- 

in 

■ncin 

I    next    month    in    Motion 

Picture    Magazine 

—  "On 

the 

Road  with  Ramon" 

LA££ 


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Advertising  Section 


That's  Out 

(Continued  from  page  71) 

the  censors,  largely  to  the  pernicious 
effects  the  movie  has  upon  the  mind  of  the 
spectator,  then  it  is  alarming  to  think 
what  great  portion  of  this  crime  is  no 
doubt  being  perpetrated  by  these  poor 
censor  creatures  who  are  forced  to  sit  thru 
so  many  photoplays. 

Sauce  for  the  Gander 

The  American  film  colony  is  much 
alarmed  about  the  "invasion"  of  foreign 
directors  and  players  to  these  shores,  and 
seeks  to  have  a  curtailment  placed  upon 
these  importations,  on  the  grounds  that 
they  are  depriving  American  studio 
workers  of  employment. 

A  short  time  ago,  it  will  be  recalled, 
there  was  a  great  outcry  in  England  about 
the  preponderance  of  American  films  in 
that  country  and  the  demand  was  made  that 
a  ban  be  placed  upon  American  films.  To 
which  the  Americans  replied :  "Make  as 
good  films  as  we  do,  and  you  wont  have  to 
worry  about  American  pictures." 

It  now  seems  as  tho  the  logical  thing 
for  the  foreign  invaders  to  say  to  Amer- 
ican screen  artists  is :  "Display  as  much 
ability  as  we  do,  and  you  wont  have  to 
worry  about  any  further  invasion  of 
foreigners." 

Our  Monthly  Prediction 

HThis  department  not  being  considered 
A  complete  unless  there  is  at  least  one 
prediction  made,  it  becomes  more  or  less 
our  duty  this  month  to  forecast  a  bright 
future  for  Richard  Talmadge. 

Contrary  to  what  many  film  fans  may 
believe,  Talmadge  is  far  more  than  merely 
a  good  acrobat.  He  is  an  excellent  come- 
dian and  under  a  contract  which  will  give 
him  better  stories  and  direction,  he  should 
rapidly  climb  in  popularity. 


The  Bulletin  Board 

(Continued  from  page  8) 

she  collapsed,  right  in  the  middle  of  the 
honeymoon,  and  had  to  be  taken  to  a 
sanitarium,  where  all  visitors  were  turned 
away.  As  soon  as  she  recovers  sufficiently, 
they  will  leave  for  their  new  home  in 
Beverly  Hills. 

TThe  sprightly  Betty  Bronson  will  be 
Richard  Dix's  heroine,  very  soon,  in 
"Paradise  for  Two."  Betty's  last  picture 
was  just  plain  "Paradise."  Andre  Ber- 
anger,  having  finished  work  with  Mai  St. 
Clair  in  "The  Popular  Sin,"  will  join  the 
cast  of  the  Dix  picture. 

^ovels  are  being  bought  up  right  and 
left,  to  be  converted  to  screen  plays. 
Universal  paid  a  fabulous  sum  for  Edna 
Ferber's  very  popular  "Show  Boat,"  and 
will  give  it  a  costly  production  with  Mary 
Philbin,  Norman  Kerry,  and  Jean  Her- 
sholt,  under  the  direction  of  Harry  Pol- 
lard. And  "Marriage,"  by  H.  G.  Wells, 
has  become  the  property  of  Fox,  and  will 
be  directed  by  R.  William  Neill,  who  has 
just  finished  work  on  "The.  City."  The 
Wells  novel  will  emerge  on  the  screen  as 
"Wedlock." 

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The  Spotlight  Is  Turned  on  the 
Director:  Alfred  Santell 


By 
Scoop  Conlon 


Because  this  brilliant  young  man  came 
unheralded  from  the  comedy  field  to 
direct  Corinne  Griffith,  and  became  famous 
overnight  for  his  production  of  "Classi- 
fied," considered  by  many  to  be  the-  finest 
picture  in  which  this  star  has  ever  ap- 
peared. 

Because,    as    a    comedy    supervisor    and 
director  he  turned  out  scores  of  our  funni- 
est   laugh    makers    every    year.      His   best 
work   was   in   the   su- 
pervision of   that   rol- 
licking farce  -  comedy, 
"Introduce     Me,"     for 
Douglas   MacLean. 

Because  he  repeated 
his  Corinne  Griffith 
success  with  his  pro- 
duction of  "Blue- 
beard's Seven  Wives," 
which  marked  the  best 
thing  Ben  Lyon  has 
ever  done  on  the 
screen,  and  which 
ranks  with  "Classi- 
fied" as  one  of  the 
best  of  recent  produc- 
tions. 

Because  he  is  the 
only  known  director 
who  made  his  first 
entrance  into  the  stu- 
dios by  selling  the 
first  scenario  he  ever 
wrote ! 

Alfred  Santell  is 
regarded  by  the  other  men  behind  the  guns, 
the  producers,  as  a  real  "find" — a  director 
of  originality  and  intelligence.  He  is 
keeping  up  the  pace  with  no  signs  of  letting 
down,  as  is  evidenced  in  his  more  recent 
production,  "Sweet  Daddies,"  a  clever  pic- 
ture adapted  from  the  story,  "Molasses," 
and  which  has  an  equally  clever  cast  in- 
cluding jobyna  Ralston,  that  charming 
little  leading  lady  of  Harold  Lloyd's,  who 
makes  her  debut  as  a  featured  player — 
Jack  Mulhall,  Charlie  Murray,  George 
Sidney  and  Vera  Gordon.  So  consistent 
have  been  Santell's  brilliant  achievements 
that  First  National  purchased  his  contract 
from  Corinne  Griffith's  producers,  to  place 
him  at  the  head  of  his  own  productions. 
He  was  brought  to  New  York  to  direct 
"Subway  Sadie,"  and  "Even  Stephen."  Dor- 
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players  who  have  Rained  much  in  populari- 
ty under  Santell's  direction,  are  co-featured. 


Alfred 


Unlike  so  many  of  his  successful  fellow 
directors  Alfred  Santell  did  not  buck  the 
extra  lists  back  in  the  pioneer  days  of  the 
"movies."  He  has  never  been  an  actor. 
He  did  not  drift  into  pictures  by  accident, 
but  rather  changed  his  professions  by  de- 
liberate design.  Alfred  Santell  was  a 
young  architect.  Born  in  San  Francisco, 
he  had  studied  architecture  at  the  Wil- 
merding  Art  School  at  Mark  Hopkins.  In 
Los  Angeles  at  the 
,f  t  age  of  eighteen  he 
won  a  Carnegie  Li- 
brary competition.  He 
designed  the  first 
arcade  store  front 
ever  used  in  the  West. 
He  superintended  the 
construction  of  in- 
dustrial plants  and 
office  -  buildings.  But, 
the  urge  for  writing 
was  always  strong  in 
the  young  man's  soul, 
so  he  tried  out  his 
ideas  at  a  time  when 
picture  producers 
were  calling  for 
stories,  in  1915.  So 
clever  was  his  first 
effort  that  a  picture 
director  actually 
called  upon  the  young 
architect  at  his  office 
with  an  offer  from  his 
company  to  the  aspir- 
ing young  writer.  As  the  offer  was  far 
in  excess  of  Santell's  remuneration  as  an 
architect,  then  and  there  architecture  lost 
a  student  and  disciple.  He  began  with  the 
old  Kalem  and  Gaumont  Companies,  then 
Mack  Sennett's,  and  then  to  the  old  Amer- 
ican Company  at  Santa  Barbara,  where  he 
speedily  became  the  comedy  supervisor. 
This  marked  the  turning  point  from  writ- 
ing to  directing,  and  just  previous  to  the 
World  War,  Santell  re-joined  Kalem  to 
make  a  series  of  the  once- famous  "Ham 
and  Bud"  comedies.  After  directing  a 
series  of  funfests  for  Goldwyn,  he  signed 
with  Uncle  Sam  as  a  machine  gunner. 
When  he  returned  from  his  vacation,  he 
was  made  supervising  director  of  comedies 
at  Universal  by  Carl  Laemmle,  who  re- 
membered the  young  man's  rare  ability  to 
create  laughs.  After  a  few  years,  during 
which  time  he  had  risen  to  the  top  in 
{Continued  on  page   111) 


'J  94 


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Advertising  Section 

Crazy  Quilt 

(Continued  from  page  87) 

loathe  it  if  anything  she  did  or  said  brought 
that  amused  twist  to  the  corners  of  his 
large,  generous  mouth. 

With  the  serving  of  the  demi-tasse, 
Kenneth  Green,  a  brilliant  and  witty  news- 
paper man,  arose  to  act  as  master  of  the 
speeches.     He  introduced  Mr.  Irving  first. 

Judith  hoped  that  the  guests  did  not 
think  she  believed  the  things  Mr.  Irving 
said  of  her.  He  told  how  she  had  been 
called  to  his  attention  when  she  had  been 
an  extra  girl  on  the  lot,  how  she  had 
worked  untiringly,  how  the  exhibitors  had 
actually  forced  him  to  star  her. 

He  gave   her   laudatory   praise. 

Then  McAllister  was  introduced.  He 
told  how  Harvey  Dunn  and  he  had  been 
the  first  to  believe  in  Judith.  He  asked  to 
be  excused  for  mentioning  it,  but  said 
quite  frankly  that  Judith  was  his  boast. 
Judith  was  delighted  that  he  mentioned 
Harvey.  It  had  never  suited  her  to  have 
him  remain  in  the  background.  She  had 
always  wanted  to  give  him  credit  in  her 
interviews  and  biographies.  And  while 
she  knew  that  it  was  not  good  business  to 
stress  her  marriage,  she  was  willing  to 
risk  doing  it  in  order  that  Harvey  re- 
ceive the  credit  she  felt  was  due  him. 

Finally  the  speeches  were  over.  And 
Mr.  Green  turned  to  present  Judith.  The 
applause  drowned  his  words. 

"Speech,  Miss  Tower,"  called  one  en- 
thusiastic spirit.  The  words  floated  to  her 
on  the  din  of  the  clapping  hands.  She 
arose  from  her  chair  and  stood  looking 
at  the  double  row  of  faces  down  the  tables. 
She  turned  to  see  Harvey  for  a  brief 
flash.    He  was  beaming. 

Then  she  saw  Robert  Landis.  This 
seemed  to  steady  her,  curiously  enough. 
For  he  seemed  to  be  waiting  confidently 
for  what  she  would  say. 

After  a  few  minutes'  din,  silence  crept 
into  the  applause.  And  quiet  followed 
after  that,  reluctantly. 

"Mr.  Chairman,"  said  Judith  in  her 
clear,  low-pitched  voice,  "Mr.  Irving,  Mr. 
McAllister  and  fellow  guests,  I  would 
need  a  facility  of  words  greater  than  that 
which  the  speakers  have  asked  you  to 
believe  is  my  facility  of  expression  in  the 
silent  field,  to  tell  you  how  much  I  appre- 
ciate the  things  you  have  written  of   me. 

"The  other  night  I  ran  the  first  picture 
in  which  I  appeared  at  my  home.  And  I 
realized  how  very  kind  you  had  all  been 
to  me  in  the  beginning. 

"Mr.  Irving  has  graciously  given  me  this 
opportunity  of  thanking  you.  But  stand- 
ing here,  I  find  that  an  'I  thank  you'  does 
not  begin  to  express  all  that  I  would  like 
to  say." 

She  had  been  grave  while  she  talked. 
But  as  she  sat  down  her  slow  smile  bright- 
ened her  features. 

There  was  more  applause.  And  the 
guests  flocked  down  to  the  end  of  the  table 
to  offer  her  their  congratulations  upon  her 
stardom. 

Robert  Landis  deliberately  waited  until 
the  last. 

He  took  her  outstretched  hand  firmly  in 
his.  "Say  'bon  voyage'  to  me,"  he  com- 
manded her.  "Mr.  McAllister  tells  me  he 
expects  to  have  'Woman'  ready  for  a  pre- 
miere about  Christmas  time.  I'll  see  to 
it  that  I  am  back  for  that." 

"Bon  voyage,"  Judith  told  him.  "We 
will  look   for  you  at  the  premiere." 

Harvey  came  up  to  them  now.  And 
Judith  turned  to  introduce  them. 

Robert  Landis  appeared  to  be  going  to 
accept  the  introduction,  but  Harvey  inter- 
(Continued  on  page  118) 


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Advertising  Section 

A  Christmas  Carol 

(Continued  from  page  25) 


just  beginning  to  be  seen  on  the  street  and 
everybody  was  ordering  Christmas  trees 
and  candles  and  turkeys  and  all  the  other 
things  that  arc  Christmas. 

And  they  called  her  Carol  because  her 
mother  had  been  reading  "The  Birds' 
Christmas  Carol,"  and  her  own  little 
Christmas  baby  seemed  so  like  the  Christ- 
mas baby  in  the  book  that  no  other  name 
could  really  belong  to  her. 

It  makes  one  believe  in  prenatal  influ- 
ence to  know  this  and  to  know  Carol 
Dempster. 

I  thought  of  it  last  year  when  I  was 
having  tea  with  her  in  Sherry's.  It  was 
just  a  few  days  before  Christmas,  two,  to 
be  exact,  but  somehow  it  might  as  well 
have  been  the  Fourth  of  July  for  all  the 
Holiday  spirit  I  could  muster  up.  It  just 
didn't  seem  Christmas  somehow,  even  tho 
florist  windows  were  ablaze  with  poin- 
settias,  and  crowds,  laden  with  bundles, 
were  scurrying  along  the  slushy  streets. 

And  then  Carol  came,  a  sprig  of  holly 
stuck  into  her  fur  sport  jacket  and  her 
auburn  hair  waving  around  her  cheeks, 
flushed  with  happiness. 

"Isn't  it  gorgeous,"  she  challenged  me, 
"and  dont  you  love  buying  things?  I'm 
having  such  a  wonderful  time." 

I  found  myself  agreeing.  After  all,  this 
viewpoint  was  so  much  more  refreshing 
than  the  one  I  had  been  encountering  in 
almost  every  person  I  had  met  for  the  last 
month. 

"Isn't  it  a  nuisance,  it's  just  for  the 
shopkeepers  that's  all.  You  tire  yourself 
out  and  spend  all  your  monev  and  what 
do  you  get  out  of  it?  Miles  of  red  ribbon 
and  carloads  of  tissue  paper  and  things 
wished  on  you  that  you  would  never  have 
picked  out  for  yourself  in  a  million  years, 
a  sick  headache  and  a  sicker  bank  roll 
and  making  believe  you  like  it!" 

There  was  no  make-believe  about  Carol. 

She  had  barely  ordered  before  she  was 
up  from  the  table  again. 

"You'll  pardon  me,  wont  you?  There 
are  a  few  things  I  need  for  my  tree.  I'll 
be  back  in  just  a  moment." 

Time  meant  nothing  at  all  to  Carol,  it 
developed,  and  when  she  returned  she  was 
laden  with  packages. 

Two  were  promptly  pushed  towards  me, 
a  saucy  little  doll  with  a  chock  of  red 
worsted  hair  and  a  peppermint  stick  the 
size  of  the  Wool  worth  tower. 

"Dont  take  a  bite  of  it  before  Christ- 
mas," she  cautioned  me.  And  I  found 
myself  promising  I  wouldn't. 

"You  cant  see  my  Christmas  tree  at  all 
now,  there  are  so  many  bundles  around  it, 
but  I'll  have  to  climb  over  them,  so  I  can 
stick  this  Christmas  angel  somewhere  on 
the  tree.  It  looks  exactly  like  one  I  loved 
when   I   was   a   little  girl." 

She  opened  her  pocket  book  and  a  couple 
of  mice  fell  out. 

"Aren't  they  cute?  One's  for  Jack 
Dempsey  and  the  other's  for  Mary  Gar- 
den. They're  coming  to  my  morning 
party.  The  butcher  has  promised  to  de- 
liver five  pounds  of  chopped  meat  on 
Christmas  morning  as  a  special  favor. 
Isn't  that  nice  of   him?" 

I  must  have  looked  bewildered,  for  she 
laughed. 

"Oh,  of  course,  you  dont  know  Jack  and 
Mary.  I'll  have  to  tell  you  about  them. 
Jack  Dempsey  is  a  huge  tiger  cat  with  a 
cauliflower  ear  and  a  nose  that  hasn't 
been  remodeled,  and  a  rakish  scar  right 
down  his  cheek,  and  Mary  has  the  most 
beautiful   voice  in  all  the  backyards  in  our 


street  and  she's  temperamental,  too. 
They're  going  to  be  the  guests  of  honor 
at  my  stray  cat  and  dog  party,  so  I  got 
these  mice  from  the  catnip  bootlegger  as 
a  special  treat. 

"You'll  come  to  my  afternoon  party, 
wont  you?  We're  having  chili  con  carni 
and  hot  tamales,  real  candles  on  the  tree 
and  a  snow  man  in  the  back  yard." 

She  opened  a  package  and  held  up  two 
miniature    golden    birds. 

"They're  dolls  for  my  canaries,"  she 
explained.  "I  think  they  will  like  them, 
dont  you?  It  was  so  hard  to  think  up 
something  different  from  other  Christ- 
mases." 

I  thought  of  the  days  before  Carol  was 
born,  of  her  mother  planning  things  for 
the  children,  making  glazed  paper  cornu- 
copias for  the  tree,  gilding  walnuts  and 
fir  cones,  sewing  new  dresses  for  the  last 
year  doll's  and  for  the  ones  that  had  not 
yet  been  taken  out  of  their  boxes,  and  I 
understood  why  Carol  loved  Christmas 
planning  and  giving  more  than  anything 
else  in  the  world. 

"It  was  on  my  fifth  birthday  that  my 
family  first  discovered  my  Scotch  blood," 
Carol  chuckled. 

"The  sister  next  to  me  was  nine  years 
older,  and  that's  an  awful  lot  when  you're 
a  little  bit  of  a  tot.  I  looked  up  to  her, 
she  seemed  almost  like  one  of  the  grown- 
ups and  on  those  rare  occasions  when  she 
allowed  me  to  play  with  her  I  was  in  the 
Seventh  Heaven. 

"It  never  occurred  to  me  that  we  always 
played  store  with  my  candy — I  suppose  I 
was  Scotch  in  that,  too,  that  I  never  ate 
it  all  at  once,  just  nibbled  at  it  from  time 
to  time,  and  so,  of  course,  I  had  some  left 
when  hers  was  all  gone. 

"I  was  so  thrilled  at  being  store  keeper 
and  when  she  would  say,  'Oh,  do  give  me 
a  pound  of  those  delicious  chocolate  marsh- 
mallows,  and  you  do  keep  the  most  de- 
lightful burnt  almonds  in  town;  I  must 
have  a  pound  or  so  of  them,'  I  would 
weigh  a  few  pieces  on  a  tiny  scale  and 
wrap  them  in  tissue  paper,  feeling  very 
important  and  grownup. 

"But  on  that  fifth  Christmas,  well.  .  .  . 

"  'Carol,  let's  play  store,'  my  sister 
urged. 

"All  right,"  I  agreed.  "We'll  play  with 
your  candy. 

"And  we  never  played  store  again." 

Who,  but  Carol  would  have  bought  a 
house  just  to  spend  Christmas  in?  I  had 
heard  a  great  deal  about  that  house,  an 
old  Westchester  farm  house,  nearly  two 
hundred  years  old.  That  sounded  like 
Carol.  But  then,  there  were  rumors  of  a 
swimming  pool,  sunken  gardens  and  ex- 
tensive remodeling  to  bring  it  up  to  date, 
and  somehow  that  didn't  sound  like  Carol 
at  all. 

I  asked  her  about  it  one  sultry  Indian 
summer  day,  out  in  her  dressing-room  at 
the  Famous  Studio  in  Astoria. 

"A  swimming  pool!"  Her  voice  choked 
with  laughter.  "Maybe  you  mean  my  old 
brook  all  dammed  up,  so  that  when  I  go 
in  wading  the  water  will  reach  my  knees, 
anyhow. 

"You  must  come  out  some  time,  that  is 
if  you  dont  mind  eating  off  oilcloth  in  the 
kitchen.  We  do  our  own  cooking.  Enoch, 
my  man-of-all-work,  doesn't  take  his  title 
seriously  at  all.  But  he  does  take  care  of 
the  dogs  in  his  fashion. 

"They  started  out  in  life  as  a  chow  and 
a  wire  terrier,  but  now  one  looks  like  a 
dachshund  and  the  other,   well,   Bulfound- 


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land  terrier  might  describe  him  a  little. 
Overfeeding  can  make  any  dog  belie  his 
pedigree." 

"You're  going  in  for  early  American 
furniture,   I  suppose,"   I  ventured. 

"Early  American!"  Carol's  brown  eyes 
swam  in  tears  of  amusement.  "Early 
Second  Avenue,  you  mean. 

"There  isn't  a  second-hand  store  on  that 
street  that  doesn't  close  when  they  see  me 
coming.  I'm  a  wonderful  bargainer — 
there's  the  Scotch  strain  again,  you  see.  .  .  . 

"You'll  have  to  see  the  house  for  your- 
self. I  can  hardly  wait  for  Christmas,  it 
will  be  such  fun  having  it  out  there.  I  have 
everything  planned.  There's  going  to  be  a 
Yule  log  and  on  Christmas  Eve,  Enoch  and 
I  are  going  out  in  the  woods  and  chop 
down  our  own  Christmas  tree. 

"After  we've  trimmed  the  tree  on 
Christmas  Eve,  we're  going  to  have  a  real 
egg-nog  and  Christmas  cookies,  and  then 
we're  going  to  hang  up  our  stockings  in 
front  of  the  fireplace  and  make  a  solemn 
vow  not  to  waylay  Santa  Claus." 

"It's  too  bad  Jack  Dempsey  and  Mary 
Garden  wont  have  their  party  this  year," 
I  sympathized. 

"But  they  will.  They're  legally  adopted 
now,  and  have  taken  up  their  residence  in 
my  barn.  You  should  have  seen  those  two 
city  cats  on  their  first  day  out  in  the  coun- 
try.   You  would  have  loved  it. 

"They're  going  to  have  their  own  party 
with  turkey  and  bowls  of  cream  and  an 
appetizer  of  catnip  all  to  themselves. 

"But,  of  course,  you'll  see  it  all  for  your- 
self when  you  come  out.  You're  invited 
right  now  with  one  stipulation.  You'll 
have  to  believe  in  Santa  Claus." 

"I  do !"  I  shouted. 

Carol  Dempster  is  like  that.  Even  on  a 
hot  day  out  in  Astoria  she  can  make  you 
believe  there  is  a   Santa  Claus. 


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The  Reluctant  Cinderella 

(Continued  from  page  59) 


"Thank  you  just  the  same,"  she  said 
primly,  with  that  primness  that  comes  only 
from  a  native  Bostonian,  "but  I  couldn't 
stay   out   of   school." 

"Oh,"  said   Charlie. 

And  so  far  as  both  Pat  and  Charlie  were 
concerned,  that  ended  her  movie  career. 

Pat,  who  was  so  set  upon  her  schooling, 
went  ahead  and  finished  it,  and  might  have 
become  just  a  young  Hollywood  debutante 
with  her  high-school  diploma  in  one  hand, 
and  a  tennis-racket  in  the  other,  if  she 
hadn't  met  a  boy  friend  of  hers  on  the 
street  one  day.  He  told  her  that  if  she 
were  interested  in  anything  of  the  sort, 
there  was  a  nice  job  out  at  Goldwyn  in  the 
research  department.  Pat  thought  she 
might  like  that.  Fooling  around  with 
books.  Looking  things  up.  So  she  applied 
and  got   it. 

And  that,  strictly  speaking,  is  the  end  of 
the  prolog,  and  this  is  where  the  plot 
begins.  The  plot  is  to  get  Pat  into  the 
movies. 

Alice  Duer  Miller  is  a  scenarist  out  at 
the  studio,  and  it  is  often  necessary  for 
scenarists  to  get  in  touch  with  the  research 
department.  Miss  Miller,  busy  about  her 
research  work,  noticed  among  other  things, 
that  there  was  an  awfully  pretty  little  girl 
up  there,  who  was  being  rather  wasted. 

One  day  at  lunch,  she  pointed  her  out  to 
the  casting  director,  and  he  thought  the 
same  thing.  The  upshot  of  it  was  he 
broached  Pat  on  the  subject  of  a  test.  He 
told  her,  if  the  test  turned  out  nicely,  it 
would  be  shown  to  the  officials,  and  might 
mean  the  beginning  of  a  career  for  her. 

Now  Pat  thought  hard. 

She  had  been  quite  firm  about  not  chas- 
ing a  career.  But,  if  the  career  wanted  to 
chase  her,  why,  that  was  different.  Oh, 
altogether  different. 

So  with  all  her  co-workers  in  the  re- 
search department  whispering  last-minute 
words  of  advice,  and  encouragement,  and 
her  knees  knocking  so  insanely  from  stage 
fright,  they  almost  failed  her,  she  took 
the  test. 

It  would  make  a  nice  little  story  if  it 
could  be  recorded,  that  young  Irving  Thal- 
berg,  commercial  genius  of  the  plant,  saw 
the  test,  and  immediately  made  her  a  star 
along  with  Norma  Shearer  and  Joan 
Crawford.  But,  nothing  of  the  sort  hap- 
pened. With  her  heart  in  her  mouth,  Pat 
waited  around  for  a  few  days  for  word 
from  the  casting  office,  but  none  came.  She 
took  it  for  granted  that  the  test  was  a  fliv- 
ver, and  with  her  antipathy  toward  careers 
intensified,  went  to  work  as  secretary  to 
Cedric  Gibbons,  art  director  at  the  studio. 
Instead  of  flashing  her  days  away  under 
spotlights,  she  clicked  them  off  oi!  a  type- 
writer—  Yours  of  the  27th  received,  and 
would  like  to  state — Very  sincerely — per 
P.  A. — No,  Mr.  Gibbons  ivas  not  in — ivas 
titer e  any   message — thank   you! 

Along  about  this  time,  John  Stahl  was 
spending  a  lot  of  time  in  the  projection 
room  j^oing  over  tests.  He  ran  across  the 
one  of  Pat.  Mr.  Stahl  didn't  think  it  was 
a  very  good  test,  but  he  did  think  the  sub- 
ject showed  unusual  promise.  Enough  to 
warrant  another  test  which  was  made  un- 
der his  personal  supervision.  The  Stahl 
test  was  so  good,  that  Pat,  a  very  much 
surprised  Pat,  was  wdiirled  out  of  her 
swivel  chair,  and  sent  over  to  the  casting 
office   to  put   her  X  on  an  acting  contract. 


They  started  her  in  gently  at  first,  in  bits, 
and  then  came  the  splendid  part  with  Lil- 
lian Gish.     And  the  girl  made  good. 

"And  now,"  smiled  Pat  across  the  table, 
"I'm   being   interviewed." 

Which  was  no  lie. 

I  had  gone  out  to  the  studio  to  have 
lunch  with  her,  expecting  to  get  an  entirely 
different  story.  Something  along  the  lines 
of,  "If  at  first  you  dont  succeed,  try,  try 
again,"  and  of  tenacious  perseverance  over- 
coming all  obstacles.  But  in  place  of  the 
seeker,  I  found  the  sought. 

As  you  may  have  begun  to  suspect  by 
this  time,  Pat  is  an  extraordinarily  sensible 
girl.  It  exhibits  itself  in  more  than  her 
attitude  toward  her  career.  Her  voice  is 
nicely  modulated — even.  She  speaks  with 
almost  a  deliberation  of  thought,  as  tho 
her  association  with  ledgers  had  made  her 
realize  the  value  of  accuracy  and  brevity 
even  in  social  conversation.  On  this  day, 
she  was  dressed  neatly  in  tailored  clothes. 
Evidently,  a  picture  contract  to  Pat 
doesn't  mean  anything  in  the  line  of  osten- 
tation. Here,  you  say  to  yourself,  is  no 
flashing  personality  of  exotic  background. 
Instead,  a  nice  girl,  with  a  proud  father 
and  sister,  and  a  dependable  talent,  that 
will  probably  carry  her  farther  than  fluke 
flashes  of  genius  might. 

I  asked  her  what  all  the  girls  she  used 
to  work  with  thought  of  her  good  fortune. 
Jealousy  is  rampant  in  studios.  I  won- 
dered? 

"They  are  almost  as  thrilled  as  I  am," 
Pat  answered.  "They  keep  dropping  over 
on  the  sets  I  work  on,  and  telling  me  how 
awfully  glad  they  are.  Everyone  has  been 
so  wonderful,  from  the  gateman  up  to 
Miss   Gish." 

At  the  mention  of  Lillian,  she  grew  ver- 
bosely   enthusiastic. 

"You  know  I  had  played  a  few  bits  be- 
fore in  'Tell  It  to  the  Marines,'  and  'A 
Certain  Young  Man,'  but  nothing  of  im- 
portance, until  Mr.  Robertson  decided  to 
trust  me  with  the  role  of  Miss  Gish's  sis- 
ter in  'Annie  Laurie.'  Of  course,  I  was 
as  green  as  it  is  possible  to  be.  They  had 
to  advise  me  about  everything  from  make- 
up to  technique.  Miss  Gish  kept  whisper- 
ing to  me  not  to  work  so  fast.  I  just  flew 
thru  scenes.  I  could  hear  the  camera  crank 
turning  so  rapidly,  and  I  tried  to  keep  up 
with  it.  But,  Miss  Gish  would  remind  me 
even  when  we  were  actually  shooting  a 
scene.  She  would  say,  'slower,  not  so  fast 
— take  plenty  of  time  to  see  him — dont 
mind  the  crank.'  Isn't  she,"  added  Pat  with 
a  burst  of  admiration  for  the  illusive  Lil- 
lian, "an  angel?" 

I  said  everything  pointed  that  way,  and 
we  launched  into  an  essay  of  mutual  ad- 
miration on  Lillian.  But  that's  Lillian's 
story.     And   this   is    Pat's. 

She  doesn't  know  yet  what  she  will  do 
next,  but  with  the  trusting  faith  of  a  child 
in  a  parent,  she  has  the  greatest  confidence 
in  Metro's  plans  for  her. 

"I'm  so  glad,  I'm  so  anxious,  to  just  do 
anything." 

Which  is  an  awfully  sane,  sensible  phi- 
losophy for  a  girl  starting  out  in  the  pic- 
ture business.  Or  any  other  business  for 
that   matter. 

Pat  may  not  have  cared  anything  about 
the  glass  slippers  to  begin  with,  but  now 
that  she  has  them  on  they  certainly  fit 
nicely. 


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For  years  I  tried  everything  to  remove  -wrinkles  which 
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Advertising  Section 

The  Editor  Gossips 

{Continued  from   page   55) 

his  loss  of  the  championship  .  .  because 
of  the  fact  that  he  never  offered  an  alibi. 

Of  course,  he  didn't  wish  anyone  to  see 
that  he  was  touched.  He  made  believe 
wipe  his  forehead  with  his  handkerchief 
and  surreptitiously  managed  to  get  the 
mist  of  tears  out  of  his  eyes.  God  love 
the  Irish  ! 

As  we  said  before,  no  matter  how  bored 
we  are  generally,  we  will  always  be  able  to 
work  up  some  interest  in  comparing  things 
as  they  are  with  things  as  they  are  re- 
ported to  be. 

Cpeaking  of  the  girls  on  the  screen  han- 
kering  for  characterizations  these  days, 
brings  us  to  Alice  Joyce.  She  finds  that 
looking  every  inch  the  aristocrat  .  .  .  being 
the  Park  Avenue  type  .  .  .  has  its  disad- 
vantages. Producers  forget  that  Alice  has 
touched  life  at  many  points  .  .  .  that  she 
wasn't  born  with  a  golden  spoon  in  her 
mouth.  They  hold  up  productions  if 
Alice  is  busy  and  they  have  a  grand  lady 
they  wish  portrayed  .  .  .  and  they  never 
think  of  asking  her  to  play  gay  parts  with 
a  naughty  wink  or  two  in  them  or  to  do 
any  of  the  varied  things  that  she  longs 
to  do. 

We  predict  that  you  will  see  a  different 
Alice  Joyce  on  the  screen  in  the  next  year 
.  .  .  for  Alice  wearies  of  her  lofty  pedestal, 
cinematically  speaking,  and  after  all,  La 
Joyce  has  not  come  the  long  way  from 
obscurity  to  position  and  professional  suc- 
cess because  she  has  not  learned  the  way 
to  go  about  getting  the  thing  you  want. 

\Y7e  are  not  altogether  simple.  We  dont 
actually  believe  that  the  stars  dont  get 
a  greater  kick  out  of  their  Rolls-Royces 
and  their  banking  reports  and  their  fame 
than  they  admit  ...  or  that  Hollywood  is 
as  pre-eminently  respectable  as  an  Epworth 
League  gathering.  But  on  the  other  hand, 
we  object  more  than  we  can  say  to  the 
pictures  of  Hollywood  that  are  painted 
in  many  novels  which  deal  with  motion 
picture  people. 

"Jarnegan,"  by  Jim  Tully,  has  a  dra- 
matic sweep  to  it.  It  has  a  certain  power 
and  force.  But  outside  of  this  it  is  not 
worth  reading.  Certainly  it  has  permitted 
the  author  to  hide  behind  his  protagonist 
in  order  to  vent  his  personal  prejudices.  It 
was  Hollywood  and  Charlie  Chaplin  and 
motion  pictures  and  motion  picture  editors 
that  made  Jim  Tully  what  he  is  today.  He 
might  have  come  along  from  his  hobo 
days  to  some  degree  of  literary  fame  by 
another  route.  But  he  didn't.  And 
"Jarnegan"  seems  to  us  poor  pay  for  the 
consideration  he  received  from  several 
famous  hands. 

He  disparages  Mary  Pickford  and  the 
things  she  has  achieved  in  a  manner  too 
ridiculous  to  be  refuted.  And  we  do  not 
wonder  that  he  is  a  little  ambiguous  in  his 
reference  to  Charlie  Chaplin.  Ethics  be- 
come more  and  more  passe. 

So  far  as  the  plot  of  Mr.  Tully's  novel 
goes,  we  do  not  so  much  find  fault  with 
the  things  he  says  as  the  things  he  leaves 
unsaid.  He  has  seen  fit  to  give  a  picture 
of  only  one  small-  portion  of  life  in  motion 
picture  circles.  And  he  reminds  us  of 
something  Glenn  Frank,  former  editor  of 
the  Century  Magazine,  said  about  some 
modern  writers  having  astigmatic  vision 
so  far  as  beauty  was  concerned.  "Given  an 
old  cathedral  with  a  dead  dog  lying  in  the 
gutter  before  it,"  said  Mr.  Frank,  "some 
of  them  would  see  only  the  dead  dog  and 
miss  entirely  the  beauty  of  the  cathedral's 
spires  etched  against  the  sky." 

(Continued  on  page  104) 


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Advertising  Section 


c^rtistic  r 
J^fake-up 

by   HELENA    RUBINSTEIN 

(Internationally     Renowned    Beauty     Scientist) 

APPLIED  with  artistry,  make- 
up flatters  and  magnifies  your 
beauty  a  hundred-fold.  It  is 
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The  Basis  of  Beauty 
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CREAM — ideal     cleansing,     molding'     and 
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VALAZE    RED    GERANIUM    ROUGE 
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Brunettes 

VALAZE    POWDER    (mauresquc    for    both    clay 

and    evening) 
VALAZE  RED  RASPBERRY  ROUGE 
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Neutral 

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VALAZE    POWDER    {rachel   or    blush   for   day, 

mauve    for   evening) 
VAI.AZE   <  RISKED   ROSE   LEAVES  ROUGE 
VALAZE       RED       RASPBERRY       LIPSTICK 
limn)    for   evening,    VALAZE    RED    GER- 
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As  Others  See  Us 

(Continued  from  page  35) 


Dempsey,  still  bearing  a  scar  or  two  of 
the  recent  battle  with  Tunney,  were  con- 
spicuous   in    the   crowd   of   mere    "people." 

White  wraps  and  silver  gowns  dotted 
the  boxes  and  audience  in  surprising  num- 
ber. 

Alma  Rubens,  in  white  and  silver, 
Estelle  Taylor  in  dramatic  black  chiffon 
velvet  gown  with  silver  wrap,  Betty 
Blythe  and  Carol  Dempster  in  ermine 
wraps,  and  little  Lois  Moran,  in  flesh 
chiffon  with  a  wrap  of  rose  brocade  and 
platinum  fox,  were  all  surpassingly  lovely, 
oh,  and  Lois  Wilson,  too. 

Mai  St.  Clair,  Jesse  Lasky  and  Adolphe 
Zukor  were  also  being  smothered  in  the 
crowd,  tho  that's  not  quite  true  of  St. 
Clair,  who  easily  towered  sky-scraper- 
wise  over  all  other  males  present ! 

But,  surprisingly  enough,  Lya  de  Putti, 
exotic  siren,  appeared,  for  a  short  time, 
in  an  inconspicuous  tailored  suit!  Fearful 
of  a  possibly  cool  reception,  she  left  before 
the  second  half  of  the  picture.  Oh  !  and 
how  could  I  forget  "Two-Gun  Texas," 
the  hard-workin'est  "hostess"  in  Manhat- 
tan? She  was  there,  of  course — oh,  very 
much ! 

No,  I  didn't  doll  up  much  that  night — 
I'm  saving  mine !  The  Club  Mirador 
opens  this  week — ah — now  you  know ! 

The  M.  and  M.  de  la  F.  et  de  la  Cou- 
draye  (pardon  the  abbreviations)  are 
going,  members  of  Signor  de  Sigarolla's 
party,  after  dinner  at  the  Colony  and  a 
visit  to  the  "Captive,"  Broadway's  latest 
hit — and  Maurice  is  back  from  Europe, 
and  the  orchestra — m — in  .  .  -  but  why 
go  on? 

That's  why  I'm  saving  my  clever  new 
wrap  for  its  first  appearance.  It's  of 
black  and  silver  with  a  black  velvet  border 
and  I've  an  alarming  silver  snake  to  wear 


Personal  Advice 

Anyone  constantly  in  the  world  of 
fashion  .  .  .  anyone  who  attends  the 
smart  openings  at  the  exclusive 
ateliers  of  the  modistes  ...  in  other 
words,  anyone  with  the  background 
of  Grace  Corson,  is  well  able  to  give 
advice  .  .  .  advice  that  should  prove 
invaluable. 

And  Miss  Corson,  in  a  special 
service  to  the  readers  of  MOTION 
PICTURE  MAGAZINE,  will  be 
very  glad  to  give  her  personal  atten- 
tion to  any  questions  you  wish  to 
ask. 

However,  it  is  extremely  necessary 
that  you  give  her  every  detail  about 
your  appearance,  enclosing  a  full- 
length  snap-shot  when  it  proves 
possible  to  do  so. 

Address: 
Miss   Grace   Corson,   Fashion  Editor, 
Motion    Picture    Magazine, 
175    Outfield  Street, 
Brooklyn,  New  York 

\ud  be  sure  to  give  the  following 
details: 

Height  Color  Hair 

"Weight  Color   Eyes 

Complexion        Name  and  Address 


on  my  throat.     I've  sketched  the  wrap  in 
The  Shopping  Service. 

Write   when  you  can,   I  must   run — miss 
you  awfully.  Love> 

Grace. 
SHOPPING  SERl^ICE 
N.  B.    For  lack  of  space  I've  illustrated 
the    wrap    and    feather    boa    together.      If 
worn    together,    be    sure    you    fold    in    the 
border  before  putting  on  the  ostrich.    The 
border,  falling  scarf-wise,  as  in  the  draw- 
ing, should  be  worn  so  only  without  ostrich. 
These    are     separate    articles     and    are 
priced  as  follows : 
Feather  boa:     ($5.95) 

Twenty  five  inches  long,  delicate,  fluffy, 
uncurled  ostrich,  finished  at  ends  with 
gros-grain  ribbon.  For  formal  after- 
noon wear  or  for  evening  with  wrap. 
All  street  and  evening  shades,  ■  in  one, 
two,  or  three  colors  or  shades  combined, 
including  black  and  white.  They  add 
a  smart  and  luxurious  finish  to  your 
evening  wrap.  Others,  longer  and  fuller, 
up  to  $17.95. 
Evening  Wrap:     ($25.00) 

The  wrap  sketched  ;s  really  a _  huge 
square  scarf,  which  may  be  draped  to 
the  figure  as  I've  drawn  it,  or  as  you  like. 
Of  colored  silver  brocade  with  a  heavy 
georgette  border,  metallic  cloth  corners 
(as  sketched),  or  of  plain  georgette.  A 
multitude  of  colors,  including  red  and 
silver,  green  and  silver,  orange-  and  sil- 
ver, black  and  silver,  black  and  gold,  all 
white  and  silver  (lovely  for  brides)  and 
with  same  color  border  or  contrasting 
shade.  With  border  of  velvet— $39.50. 
Plaid  silk  scarf:     ($5.95) 

33"  x  34"  and  of   heavy   ribbed   silk,   this 
is   actually   a   large   man's  kerchief   and 
(Continued  on  page   101) 


Shopping  Service 

Anyone  wishing  to  take  ad- 
vantage of  Grace  Corson's 
expert  shopping  service  in 
connection  with  the  articles 
mentioned  on  page  35,  may 
address  Miss  Corson,  care  of 
Shopping  Service,  Motion 
Picture  Magazine,  175  Duf- 
field Street,  Brooklyn,  New 
York. 

Send  either  a  check  or 
money  order,  payable  to  MO- 
TION Picture  Magazine,  for 
exact  amount  of  the  desired 
purchase.  ...  Be  sure  to  give 
color,  size  and  other  addi- 
tional details  .  .  .  and  do  not 
fail  to  write  your  name  and 
address  plainly  and  in  full. 

Stamps  or  cash  will  not  be 
accepted. 

Be  sure  to  return  any  article 
for  which  you  wish  credit  or 
exchange  to  Motion  Picture 
Magazine  and  not  to  the  shop 
from  which  it  came. 

There  is  no  extra  charge  for 
Canada    or    foreign    countries. 


100 


Every  advertisement  In  MOTION  PICTURE  MAGAZINES   is  guaranteed. 


Advertising  Section 


As  Others  See  Us 

(Continued  from  page  100) 

would  be  an  excellent  gift  for  men 
friends  or  relatives,  besides  being  excel- 
lent for  sports  wear.  The  colorings  are 
various,  either  brilliant  or  somber,  as 
you  choose.  The  one  sketched  has  a 
navy  blue  body  with  plaid  marking  of 
red,  soft  yellow,  grey,  and  light  blue. 
A  narrower  scarf,  of  same  material, 
tho  not  illustrated,  is  also  an  unusual 
value.  16y2"x44"~  $2.95. 
These  scarves  are  "Darbrooks"  and  are 
being  featured  in  the  best  Fifth  Avenue 
shops  and  the  leading  fashion  magazines. 

Ostrich  flozver:  ($1.75)— about  a  foot  long. 
Very  large  and  full,  long,  delicate 
fronds,  and  a  light  frosting  of  silver  on 
the  pistils  (is  it,  or  are  they,  I've  for- 
gotten my  botany!).  In  all  evening 
shades,  and  a  lovely  accessory  for  your 
evening   frock,   for  shoulder  or  corsage. 

Chiffon  flozver:  ($2.00)— 6  inches  across. 
These  flowers  are,  also,  for  shoulder  or 
corsage  and  may  be  had  in  not  only 
evening  shades,  but  street  colors  as 
well.  There  are  larger  sizes  at  $2.95, 
and  smaller  ones   for  $1.25. 

JEWELRY 

Pear!  necklace:     ($3.95) 

Of  heavy,  lustrous  quality  baroque  pearl 
and  fine  color.  (Color  is  very  impor- 
tant, as  so  many  pearls  are  "waxy"  or 
too  yellow  or  too  gray).  May  be  worn 
down  the  back  or  tied  or  looped  as  you 
like.  Once  around  the  throat  as  pictured, 
the  ends  reach  to  the  waist. 

"Diamond"  pins: 

Large  head  with  square  black  eves, 
black,  red,  or  green  cap— $5.00. 
Smaller  head  with  mask,  also  with  black, 
red,  or  green  cap— $2.95. 
These  pins  are  of  "French  extraction" 
and  are  not  only  amusing  and  fantastic, 
with  their  harlequin  airs  and  masked 
faces,  but  are  very  stunning  for  wear 
on  either  the  hat,  shoulder,  corsage  or 
purse.     ' 

Feather  pin:     ($2.50) 

Really  diamond-like  in  their  brilliance. 
These  pins  are  being  much  worn  in  New 
York  on  gowns,  day  or  evening,  for 
street  wear  on  hats,  and  suits,  or  for 
purses. 

And,  speaking  of  Christmas  gifts,  I  al- 
ways get  as  much  of  a  thrill  out  of  the 
gay  wrappings  as  out  of  the  gift  itself 
.  .  .  and  I  dont  think  I'm  alone  in  this. 

I've  planned  a  very  novel  wrapping  for 
some  of  my  special  gifts  this  season  .  .  . 
especially  for  the  very  Special  One.  I'm 
going  to  wrap  my  packages  in  midnight 
blue  paper  .  .  .  paste  some  silver  stars  on 
them,  using  big  stars  as  stickers  .  .  .  and 
tie  them  with  Christmas  tree  tinsel.  It 
is  a  very  effective  wrapping,  because  I've 
already  tried  it  to  make  sure. 

Watch  for  Gloria  Swanson's 
newest  clothes — in  next  month's 
magazine. 


^-MOTION  PICTURR 

Inell   I    MAGAZINE         } 


RAMON  NOVARRO: 

A  theatrical  producer  at  twelve;  pro- 
claimed a  genius  at  twenty-two;  world 
famous  and  beloved  at  twenty-seven; 
destined,  say  some,  to  be  the  greatest 
idol  the  screen  has  ever  known.  .  .  . 
You'll  want  to  read  his  adventuresome 
career  commencing  in  the  next  issue  of 
Motion  Picture  Magazine. 


THE  JANUARY  CLASSIC 

T_JOW  Would  Calvin  Coolidge  Look  In  Pictures? 
11  Would  Al  Smith's  Personality  Fit  a  Political 
Story? 

Does  Henry  Ford  Impress  You  as  a  Good  Choice 
for  Character  Roles? 

These  questions  will  be  answered  in  the  January 
CLASSIC — in  a  stimulating  article  by  Robert  Donald- 
son. It's  all  about  famous  faces — and  how  they  would 
impress  a  casting  director.  Several  celebrities  among 
Who's  Who  and  Who's  Being  Talked  About  in  these 
United  States  are  included  in  this  richly  absorbing  and 
amusing  feature. 

In  the  January  issue  of  CLASSIC  there  will  also  be  an 
illuminating  article  which  you  cant  afford  to  miss.  It 
will  acquaint  you  with  the  information  that  it  takes 
hundreds  of  brains  to  make  a  star.    Figure  that  one  out, 

The  world's  greatest  humorist  is  also  interviewed — 
and  he  tells  you  what  he  thinks  of  the  movies.  We  are 
paging  Ring  Lardner. 

And  there  will  be  more  features  that  you  wont  want  to  miss. 
Chamberlain  will  greet  you  with  his  inimitable  sketches.  Taskey 
will  feature  again  how  the  Stars  Get  That  Way.  There  will  be  a 
story  about  Lloyd  Hamilton,  another  about  William  Haines — that 
young  fellow  everybody's  talking  about. 

There  will  be  a  complete  array  of  new  and  beautiful  pictures. 

Classic  is  the  de  luxe  publication  of  the  screen.  It  prides  itself 
on  its  bright  and  attractive  features — features  which  are  off  the 
beaten  track.  It  is  ever  in  search  of  new,  original  and  fresh  ideas. 
It  believes  in  giving  you  the  up-to-date  slant  on  what's  going  on  in 
the  picture  world.  It's  far  ahead  of  the  field  because  it  scores  one 
journalistic  beat  after  another.  Its  contributors  are  constantly 
writing  new  impressions. 

Buy  the  Classic  for  January.  Order  your  copy  now.  You  cant 
afford  to  be  without  the  Magazine  with  the  Personality. 


When  you   write  to  advertisers  please  mention   MOTION   PICTURE   MACAZINE. 


101 
PAfll 


Advertising  Section 


C7%  crippled  girl 
19  who  became 
the  worlds  most 
perfectly  formed 
woman 


Anna  Q.  Dares  to  Be  Herself 


(Continued  from  page  50) 


Annette  Kellermanri  s 
Own  Story 

When  I  was  a 
child  I  was  so  de- 
formed as  to  he 
practically  a  cripple, 
was  bow-legged  to  an 
extreme  degree.  I  could 
neither  stand  nor  walk 
without  iron  braces.  No 
one  ever  dreamed  that 
some  day  I  would  become 
famous  for  the  perfect 
proportions  of  my  figure. 
No  one  ever  thought  I 
would  become  tine  cham- 
pion woman  swimmer  of 
the  world.  No  one  ever 
dared  to  guess  that  I 
would  be  some  day 
starred  in  great  feature 
films.  Yet  that  is  exactly 
what  has  happened. 

My  experience  cer- 
tainly shows  that  no 
woman  need  be  discour- 
aged with  her  figure,  her 
health,  or  her  complexion. 
The  truth  is,  very  many  tired,  sickly,  over- 
weight or  underweight  women  have  al- 
ready proved  that  a  greatly  improved 
figure  and  better  health  can  be  acquired 
in  only  15  minutes  a  day,  through  the  same 
methods  as  I  myself  used.  These  startling, 
yet  simple  methods  can  now  be  used  in 
your  own  home. 

I  invite  any  woman  who  is  interested  to 
write  to  me.  I  will  gladly  tell  you  how  I 
can  prove  to  you  in  10  days  that  you  can 
learn  to  greatly  improve  your  figure,  how 
to  make  your  complexion  rosy  from  the 
inside  instead  of  from  the  outside,  how  to 
freshen  and  brighten  and  clarify  a  muddy, 
sallow,  blemished  face,  how  to  stand  and 
walk  gracefully,  how  to  add  or  remove 
weight  at  any  part  of  the  body,  hips,  bust, 
neck,  arms,  shoulders,  chin,  limbs,  waist, 
abdomen ;  how  to  have  greater  health, 
strength  and  energy  so  that  you  can  enjoy 
life  to  the  utmost;  how  to  be  free  from 
many  ailments  due  to  physical  inefficiency ; 
it)  short,  how  to  acquire  more  perfect 
womanhood. 

Just  mail  the  coupon  below  or  write  a 
letter  for  my  free  hook,  "The  Body 
Beautiful."  I  will  also  explain  about. my 
special  Demonstration  Offer.  Mail  "the 
coupon  now,  before  mj  present  supply  of 
\rcc  books  is  exhausted.  Address,  Annette 
Keller mann,  Inc.,  Dept.  3811,  225  West 
39th  Street,  New  York  City. 


Annette  Kellemann,  Inc.,  Dept.  3811,  225  West 
39th  Street,  New  York  City. 

I  K  ■  >  t  .  J 1    ■'     I    ;,m    [<;,rili   II 

Reducing  Weight.    DBodj  Building. 


I 


A<S£ 


truth.  ..."  But  we've  never  dared  to 
come  out  flat-foot  and  say  so.  Nor  have 
we  dared  give  utterance  to  the  wonder 
about  why  they  dont  go  and  have  privacy 
and  gingham  if  those  are  the  things  their 
quivering  souls  desire.  What's  stopping 
'em  ?  What's  to  prevent  ?  Every  con- 
tract  ends,  and  only  man  is  vile,  and  such 
being  the  case,  there  are  plenty  such  who 
would  not  hesitate  to  be  the  recipients  of 
luscious  bank-accounts,  Rolls-Royces  and 
other  insignia  of  wealth,  especially  if  by 
so  doing  they  could  ease  the  burden  of 
some   fair  gal. 

Anyway,  we  lunched  the  other  day  with 
Anna  Q.  Xilsson.  You  can  say  such 
things  as  we  have  intimated  above  to 
Anna  Q.,  because,  in  the  first  place,  Anna 
Q.  would  never  say  the  other  kind  of 
things  to  you.  She's  too  honest.  Too 
forthright.  Too  humanly  human.  A  child 
of  the  working  people,  by  her  own  proud 
admission,  people  with  their  feet  on  the 
soil  and  the  value  of  an  honestly  earned 
dollar  solidly  in  their  heads.  Anna  has 
never  got  far  enough  away  from  such 
substantiality  to  put  on  the  mask  of  gilded 
boredom  with  the  things  that  thrill  us  all 
— if  we  admit  it. 

Anna  was  stopping  at  the  St.  Regis.  My 
fellow  criminal,  Adele  Whitely  Fletcher, 
and  myself,  were  invited  to  lunch  with  her 
at  twelve-thirty.  We  were  on  time — so 
was  Anna.  We  met  in  the  lobby,  and 
just  as  our  six  eyes  were  turning  in  the 
genera!  direction  of  food,  Alice  Joyce 
appeared.  A  double  treat.  There  was 
Anna,  gorgeous  in  autumn  scarlet.  A  suit. 
Coat  and  skirt  of  scarlet  and  smart  blouse 
of  fawn  color  with  touches  of  scarlet  and 
green,  a  jaunty  hat  of  the  same  vivid  red 
pulled  smartly  over  one  eye.  There  was 
Alice,  subtly  beautiful  beyond  words  to 
describe  in  a  sort  of  silk  suit  of  fawn  color 
with  touches  of  brown  and  gold,  a  small 
gold-brown  felt  hat  encircled  with  a  gold 
mesh  chain.  She  had  brought  with  her  a 
copy  of  "Why  We  Behave  Like  Human 
Beings"  for  Anna  to  read  on  the  train. 
Anna  had  read  it.  "Throw  it  away," 
laughed  Alice;  "I'll  get  something  else." 
She  also  offered  to  do  for  Anna  any  of 
the  last-minute  errands  that  might  be  nec- 
essary on  her  way  to  her  own  luncheon 
appointment.  It  appeared  to  be  necessary 
to  have  two  prescriptions  filled.  Alice 
volunteered  and  left,  saying  that  she  would 
return  for  Anna  later  and  go  with  her  to 
the  train. 

"That's  just  like  Alice,"  Anna  said,  as 
we  sat  at  luncheon,  "so  thoughtful  and 
considerate  and  sweet  .  .  .  isn't  she  too 
beautiful  for  words?  You  know,  she 
grows  more  beautiful  every  time  I  see  her, 
every  year  of  her  life." 

Which  led  my  fellow  criminal  and  my- 
self to  remark  later  that  it  was  fitting  and 
proper  for  Alice  Joyce,  Anna  Q.,  Corinne 
Griffith  and  Florence  Vidor  to  be  the  tried 
and  true  friends  they  are.  For,  after  all, 
among  the  girls  of  the  screen  who  stand 
significantly  forth  as,  let  us  say,  scholars 
and  ladies,  as  thorobreds  and  regulars, 
th(    i     Eour  are  in  the  lead. 

Anna  was  still  talking  about  the  beauty 
of  Alice,  the  beauty  of  her  gowns,  the 
exquisite  taste  she  invariably  shows  in 
dressing.  We  suggested  that  the  shoe  lit 
her,   too. 

"I  dont  know.  .  ."  Anna  was  dubious. 
"I  dont  think  I  do  very  well  for  myself 
when  it  comes  to  dressing.  I  suppose  it's 
because  I  dont  care  enough  about  clothes. 
I     like    to    have    'em,    of    course,    hut     not 


enough  to  stand  about  and  have  fittings 
and  fussings  and  things.  I'd  die  if  I  had 
to  go  thru  the  rigmarole  some  girls  do. 
I  just  wouldn't,  that's  all.  I  cant  take 
that  much  trouble,  which  doubtless  means 
that  I  dont  care  enough." 

"Well,"  we  sighed,  with  a  scornful 
glance  at  our  fellow  criminal  and  at  our 
own  person,  "well,  it  must  be  lovely  to 
hair  all  these  lovely  things,  just  the  same." 
And  then  we  bethought  us  of  our  fa- 
vorite question.  We  were  a  trifle  fearful 
because  of  previous  experiences.  Still, 
something  told  us  that  we  could  count  on 
Anna. 

We  said,  "What  does  it  feel  like  to  be 
rich  and  famous?" 

"Thanks  for  the  compliment !  How 
cutely  you  say  it !"  laughed  Anna,  and 
then,  "Why,  I  love  it!" 

"Well,"  we  said,  defensively,  "it'll  make 
a  good  article,  anyway,  since  you  are  dis- 
posed to  tell  the  ruth.  We've  asked  the 
same  question  to  dozens  of  stars,  and 
they've  always  said  it  was  terrible.  Now, 
if  you  come  out  with  the  low-down,  it 
will"  be  unusual,  dont  you  see  .  .  .  truth 
so  often  is " 

"You     might     say "     began      Adele 

Whitely  Fletcher,  in  her  bright,  entertain- 
ing fashion. 

We  fixed  her  with  an  awful  eye.  "Miss 
Fletcher,  we  are  not  interviewing  you." 

It  was  a  neat  comeback.  Miss  Fletcher 
retired   coldly  into  her  crab-flake  cocktail. 

Then  we  relaxed  all  over  the  place.  At 
last,  at  long  last,  we  had  met  a  girl  honest 
enough  to  be  honest,  to  be  human — be- 
cause, pshaw ;  we  dont  believe  it  when 
folks  say  they  hate  it.  Why,  as  we  have 
said,  if  they  hate  it  so,  dont  they  give  it 
the  go-by  and  go  into  rural  retreat? 
What's  stopping  'em? 

"Of  course,  I  love  it.  What  do  you 
suppose  I've  been  working  for  all  these 
years,  if  not  for  just  what  I  have  now? 
I'd  feel  lovely,  wouldn't  I,  if  I  hadn't  suc- 
ceeded after  the  time  and  effort  I've  put 
into  it?     Love  it?     Well,  I  should  say  so!" 

"Tell  us  some  of  the  reasons."  (This 
came  from  behind  the  crab-flake  cocktail.) 

"Miss  ricl-chcr!"  (This,  sternly,  from 
us.) 

Anna  Q.  seemed  courteously  oblivious  of 
the   little    friction. 

"Why,"  she  said,  "I  think  I  love  what 
Gladys  so  naively  calls  fame  and  wealth 
best  because  of  the  things  it  allows  me  to 
do  for  others.  I  mean,  you  can  do  so 
little  for  people  and  it  can  mean  so  much. 
W^hile  I  was  home  last  summer  I  visited 
some  relatives  of  mine  whom  I  hadn't 
seen  since  I  was  nine  years  old.  A  mother 
and  daughter.  They  were  trying  to  buy 
their  own  home.  They  took  in  laundry, 
and  laundry  isn't  paid  for  over  there  at 
the  rate  it  is  here.  It  was  a  slow  process. 
They  needed  only  a  few  dollars,  really,  to 
complete  the  purchase  and  own  the  place 
outright.  A  very  little  in  American  money 
— no  more  than  I  would  pay  for  a  hat  or 
a  couple  of  pairs  of  shoes — it  was  nothing. 
I  gave  it  to  them,  and  think  of  what  it 
meant  to  them!  The  realization  of  years 
and  years  of  labor  So,  I  can  do  lots  of 
things  like  that  .  .  .  and  I  get  a  great 
kick  out  of  it. 

"Then  there  are  all  the  interesting, 
worthwhile  people  my  screen  position 
makes  it  possible  for  me  to  meet,  to  know. 
Famous  people  who  want  to  know  me,  who 
are  interested  enough  to  want  to  meet  me 
and  talk  with  me  as,  of  course,  they 
wouldn't  he  if  1  were  just  one  of  the 
<  rowd. 

"Fame  and  wealth  open  doors   for  you. 


Kv.rv  advertisement   i„  MOTION  PICTUBE  MAGAZINE   is  guaranteed. 


There's  no  doubt  about  that.  Doors  that 
can  be  opened  by  few  other  agencies. 

"I  may  not  care  enormously  for  clothes, 
but  it  is  pleasant  to  be  able  to  have  them, 
granted.  It  is  fun  to  see  things  I  want 
and  know  that  I  can  buy  them.  It  is  more 
than  fun  to  be  able  to  make  my  young 
niece  thrillingly  happy  by  giving  her  gowns 
and  coats  and  things  of  mine. 

"And  I  dont  believe  that  wealth  neces- 
sarily destroys  one's  taste  for  simple 
things,  simple  ways  of  living.  Everyone 
told  me  that  I  would  be  miserable  if  I 
stayed  at  home,  because  my  mother  and 
father  haven't  the  luxuries,  haven't  a  bath- 
room— or  didn't  have  when  I  was  first 
home.  But  I  loved  it !  I  loved  taking 
my  bath  in  a  deep  barrel  of  water,  heated 
by  hand,  as  it  were.  I  dont  say  that  I 
would  want  to  give  up  the  place  in  life  I 
have  worked  for,  but  I  can  say,  honestly, 
that  I  wouldn't  be  unhappy  if  I  had  to  live 
more  simply. 

"There  are  other  pleasant  things  about 
being  a  star.  On  my  way  home,  for  in- 
stance, I  stopped  en  route  at  a  hotel  for 
a  few  hours.  I  wanted  a  room  and  bath. 
They  told  me  they  had  none.  I  was  leav- 
ing and  just  as  I  reached  the  door  the 
manager  came  rushing  after  me.  He  said, 
all  out  of  breath,  'Are  you  Miss  Nilsson? 
Anna  Q.  Nilsson?'  I  admitted  it.  'Come 
right  in,'  he  said,  bowing  me  back.  I  got 
the  room  and  bath.  Not  because  I  was  me, 
but  because  I  was  Anna  Q.  Nilsson.  Per- 
il-ps  I  didn't  get  a  kick  out  of  that!  I 
always  do  when  that  sort  of  thing  hap- 
pens— who  wouldn't?" 

Who,   indeed? 

Anna  told  us,  too,  with  tears  crowding 
her  eyes,  about  her  mother's  pride  in  this 
wonder-daughter  who,  in  a  strange  and 
foreign  land,  has  so  miraculously  achieved. 

"Mother  doesn't  understand  me  when  I 
tell  her  the  money  I  make.  She  simply 
cannot  take  it  in.  And  when  I  tell  her 
what  I  pay  for  a  gown  or  a  hat,  she  sim- 
ply sighs  and  shakes  her  head  bewilderedly. 
She  says  that  she  always  sees  my  pictures 
three  times — because  she  cant  see  me  at 
all  the  first  two — her  eyes  are  too  full  of 
tears.  But  they  never  cry  when  I  go  away. 
They  are  great  sports,  my  parents." 

For  the  rest  of  the  time  Anna  Q.  talked 
to  us  about  her  people  and  the  house  she 
has  bought  for  them;  we  talked  about  the 
screen  and  the  people  of  the  screen ;  the 
death  of  Valentino,  the  sorrow  of  Pola 
Negri,  the  reported  engagement  of  Greta 
Garbo  and  John  Gilbert,  the  attractiveness 
of  Colleen  Moore,  Anna's  own  plans  for 
the  future  when  her  First  National  con- 
tract expires  in  the  spring. 

She's  K.  O.,  is  Anna  Q.  You'd  be  keen 
about  her  even  if  her  name  was  Hattie 
Gray  and  you'd  never  heard  of  her  before. 
She's  like  that — she  thinks,  as  she  would, 
that  fame  has  opened  doors  for  her. 
Maybe  it  has — a  few.  But  doors  are  al- 
ways open  to  a  regular  fellow,  male  or 
female,  and  Anna  is  regular,  plus. 


He  Was   Born   in  the 
Garden   of   Eden 

"So  you're  the  bird  that  ate 
the  apple  and  got  us  all  in 
dutch,"  retorts  Herb  Howe  to 
Ramon  Novarro  in  a  humor- 
ous biographical  series  of  No- 
varro commencing  in  the  next 
issue  of  Motion  Picture  Mag- 
azine. 


Advertising  Section 

0»  IP1P  0j>  Ti  "IT  U IY  n  T  X 


MAMEET 


AGENTS  WANTED 


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fits furnished.  Write  for  information,  SPRINKLE, 
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HELP    WANTED 

All  men,  women,  18-60,  wanting  to  qualify  for 
permanent  Government  positions,  $140-$300,  home 
or   elsewhere,    write    Mr.    Ozment,    294,    St.    Louis. 

Mo.,    immediately. 

Men — Women,  18  up.  Get  U.  S.  Government 
Jobs.  $95 — $2.50  month.  Steady.  Vacation. 
Experience  unnecessary.  Common  education  suf- 
ficient. Book  with.list  positions  FREE.  Write 
immediately.        Fradklin      Institute,      Dept.      E85, 

Rochester,    New    York. 

AH  men — women,  18-60,  wanting  to  qualify  for 
permanent  Government  Positions.  $35  to  $75 
weekly,  home  or  elsewhere,  write  Mr,  Ozment, 
29-1,    St.   Louis,   Mo.,   immediately. 

HELP   WANTED— FEMALE 

Ladies  Earn  $6-$18  a  Dozen  decorating  Pillow 
Tops  at  Home ;  experience  unnecessary.  Par- 
ticulars   for     stamp.       Tapestry     Paint     Co.,     126, 

LaGrange,   Ind. 

Ladies  wanting  home  work;  any  kind;  spare 
time ;    write    us ;    enclose    stamp.      Eller    Company, 

Dept.    26,    296   Broadway,    New   York. 

LADIES — You  can  easily  earn  lots  of  extra  pin 
money  by  selling  subscriptions  to  "Motion  Picture 
Magazine."  Big  commission  and  bonus.  Write  to- 
day and  we'll  tell  you  how.     Brewster  Publications, 

Inc.,   175  Duffield   St.,   Brooklyn,    N.   Y. 

Ladies  Homework.  Spare  time.  All  kinds. 
Start  now.  Enclose  stamp.  KATHERINE  CO., 
151   W.   5th  Ave.,   N.   Y. 

HELP  WANTED— MALE 

Be  a  Detective.  Earn  Big  Money ;  fine  work ; 
cities,  towns,  traveling  if  you  like ;  open  to  all ; 
we  show  you  ;  write  for  free  particulars.  Captain 
Wagner,  Ki9  East  83rd  St.,  New  York  City. 
Earn  $120  to  $250  monthly;  expenses  paid  as 
Railway  Traffic  Inspector.  We  secure  position  for 
you  after  completion  of  3  months'  home  study 
course  or  money  refunded.  Excellent  opportuni- 
ties. Write  for  Free  Booklet.  CM-64,  Stand. 
Business    Training    Inst.,    Buffalo,    N.    Y. 

HOW  TO  ENTERTAIN 

Plays,   musical   comedies   and  revues,   minstrel 

music,  blackface  skits,  vaudeville  acts,  monologs, 
dialogs,  recitations,  entertainments,  musical  read- 
ings, stage  handbooks,  make-up  goods.  Big  cata- 
log free.  T.  S.  Denison  &  Co.,  623  So.  Wabash, 
Dept.    62,    Chicago. 


OLD  COINS  WANTED 


Old  Money  Wanted.  Will  pay  Fifty  Dollars  for 
nickel  of  1913  with  Liberty  head  (no  Buffalo). 
We  pay  cash  premiums  for  all  rare  coins.  Send 
4c  for  large  Coin  Folder.  May  mean  much  profit 
to  you.  NUMISMATIC  CO.,  Dept.  48  Ft. 
Worth,    Texas. 


PATENTS 


Inventions  commercialized  on  cash  or  royalty 
basis.  Patented  or  unpatented.  In  business  24 
years.  Complete  facilities.  References.  Write 
Adam  Fisher  Mfg.  Co.,  513  Enright  Ave.,  St. 
Louis,   Mo. 


PERSONAL 


Want  to  earn  some  more  money?  Sell  sub- 
scriptions to  MOTION  PICTURE  MAGAZINE. 
Write  to  Brewster  Publications,  Inc.,  175  Duffleld 
St.,   Brooklyn,   N.    Y. 


PHOTOPLAYS 


$$$  For  Ideas.  Photoplay  Plots  revised,  criti- 
cized, copyrighted,  marketed.  Send  for  free  book- 
let. Universal  Scenario  Company,  200  Security 
Bldg.,  Santa  Monica  &  Western  Ave.,  Hollywood, 
California. 


RATES 


THESE  ADVERTISEMENTS  are  read  by 
thousands  of  people  each  month.  Some  of  these 
advertisers  use  this  section  every  month  to 
increase  their  business.  Write  for  rates  to 
Brewster  Publications,  Inc.,  175  Duffield 
Street,  Brooklyn.  N.  Y. 


REDUCE 


A    BOOKLET    BY    DR.    DENSM0RE 

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When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


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The  Editor  Gossips 

{Continued   from   page  99) 


Things  do  change.  Marion  Davies  used 
to  be  considered  a  perfect  stick  on  the 
screen.  And  until  we  met  her  personally 
one  day,  lunched  with  her  at  old  Del- 
monico's,  we  had  no  idea  that  she  would 
ever  be  anything  else.  We  remember  it 
well.  Spring  had  come  to  Fifth  Avenue. 
You  knew  it  because  the  sunshine  was  a 
pale  gold.  Because  ladies  rode  in  cabrio- 
lets the  tops  of  which  were  down.  And 
because  old  women  sold  spring  flowers, 
hyacinths,  jonquils  .  .  .  violets. 

Marion  was  suffering  from  Kleig  eyes 
that  day.  And  she  was  a  little  depressed 
and  sad.  This  made  her  human.  But 
every  now  and  then  she  would  brighten  up 
a  bit  and  the  dimple  would  be  shadowed 
in  her  cheek.  And  she  would  say  some- 
thing witty. 

We  couldn't  reconcile  her  with  the  girl 
we  knew  on  the  screen,  and  we  said  so  to 
the  third  member  of  the  luncheon  party 
after  Marion  had  gone.  One  had  great 
spirit  and  simplicity.  The  other  had  none. 
We  made  a  true  prediction  that  day  be- 
cause we  said  that  we  believed  Marion 
Davies  would  make  a  reputation  for  her- 
self on  the  screen  if  she  was  taken  out  of 
the  big  spectacular  productions  in  which 
she    appeared,    always    very    much    dressed 


up,  and  given  an  opportunity  to  be  herself. 

If    you    dont    remember    Marion  in    the 

old  days  that  doesn't  seem  like  any  sort  of 

a  prediction  to  have  made.     But  if  you  do 

remember  her,  then  you'll  excuse  us  for 
saying,  "I  told  you  so,"  and  acting  a  little 
proud. 

Today  Marion's  personal  popularity 
measures  that  which  she  knows  on  the 
screen.  Her  parties  both  in  New  York 
and  California  are  always  jolly  and  in- 
vitations to  them  are  sought  after  by  those 
who  know  her. 

She  gave  a  buffet  luncheon  before  she 
left  for  the  Coast  last  month.  Her  large 
suite  at  the  Ambassador  was  filled  with 
people  of  reputation  in  professional  circles. 
Fanny  Ward,  in  sapphire  blue,  looking  not 
half  of  her  age.  Nellie  Revelle,  who  is 
able  to  get  about  some  now  after  years  in 
a  plaster  cast  when  her  splendid  spirits 
won  her  country-wide  renown.  Helen 
Rowland  and  Dorothy  Dix,  the  two  very 
successful  newspaper  writers.  Gladys 
Hall,  Laurence  Reid,  editor  of  the  Classic. 
Louella  Parsons,  motion  picture  writer 
and  critic. 

Marion    was    a    delightful    hostess,    in- 
(Continued  on  page  114) 


Dick  and  Georges 

Dick  Barthelmess  deserves  a  vacation  .  .  .  and  he's  going  to  have  a 
real  one  this  time.  He  even  has  refused  to  read  stories  that  might  serve 
him  on  the  screen  on  this  trip  to  Europe.  He  wants  to  come  back  to 
his  new  contract  with  First  National  and  "The  Patent  Leather  Kid," 
with  a  fresh  perspective.  Georges  Carpentier,  star  of  the  ring,  sailed 
with  Dick  on  the  "S.  S.  France" 

International    Newsreel 


104 


•i:i:  maoazj 


The  Champagne  Life 


(Continued  from  page  26) 


funny 


Nora  . 


had    said    that 
Nicole.  .  .  . 

All  the  fan  world  knows  Nicole's  career 
from  the  first  bit  she  ever  did  in  pictures. 
The  publicity  department  of  the  Rare  Art 
Films  saw  to  that.  They  blazened  forth 
"We  have  a  find,"  and  the  easiest  job  they 
ever  had  to  do  was  to  make  the  world 
"find"  Nicole  with  them.  Now  she  was 
under  a  long-term  contract  with  Rare  Art 
and  her  slender,  somehow  aristocratic  feet 
walked  the  palmy  ways  of  adoration.  As 
for  mama,  she  spent  lulled,  luxurious  days 
in  the  Beverly  Hills  estate,  served,  tended, 
surrounded  by  a  satin-quilted  existence. 
She  spent  her  days  happily  pasting  pictures 
and  press  notices  of  Nicole  into  real 
leather,  gold-lettered  volumes.  Nicole's 
publicized  beauty  was  a  legitimate  passion 
with  her  now.  She  could  talk  about  it  to 
rapt  and  attentive  listeners.  She  was 
adaptable,  too,  was  mama.  She  hearkened 
carefully  to  the  press  department ;  she 
played  "the  sedulous  ape"  to  Graham 
Twing,  Nicole's  personal  representative. 
She  knew,  now,  that  she  had  been  the  wife 
of  an  English  actor  whose  brilliant  career 
had  been  cut  short  by  the  untimely  inter- 
vention of  a  colorful  and  galloping  con- 
sumption. She  knew  that  she  had  brought 
Nicole  up  in  a. charming,  modest  country 
house,  in  an  atmosphere  of  garden  flowers 
and  good  books.  She  knew  that  they  had  had 
their  dark  hours,  but  they  had  been  aristo- 
cratic dark  hours  tinted  with  impoverished 
blue  blood  and  the  delicate  neediness  of  the 
gently  bred  fallen  on  difficult  days.  Yes, 
mama  was  adaptable.  .  .  .  Nicole  stirred 
among  her  scented  cushions.  .  .  .  The 
maid  knocked  gently  .  .  .  "Mr.  Strong  on 
the  wire  .  .  .  was  Miss  Nicole  awake  ..,.?" 


Michael  Strong  arrived  in  time  to  take 
Nicole  for  dinner  at  Voisin.  He  brought 
with  him  a  cluster  of  ivory -petaled  gar- 
denias with  pendants  of  sea-green  ribbon. 
In  the  center  of  the  gardenias  was  a  pearl, 
as  ivory,  as  luminous  as  the  flowers  that 
couched  it.  He  showed  it  to  Georgia  while 
they  were  waiting  for  Nicole's  maid  to 
release  her. 

"Oh,  she'll  love  it!"  said  Georgia. 

"I'm  not  so  sure,"  Michael  Strong  shook 
his  sleek,  copper  head  dubiously.  "I  cant 
seem  to  find  the  exact  things  to  please  her, 
Georgia.  I  swear  that  I  spend  every  wak- 
ing hour  trying  to  think  of  special 
pleasures,  special  trinkets  ...  I  seldom 
succeed  .  .  .  you  see,  there  have  been  so 
many  others  before  me,  with  more  money, 
perhaps  better  taste  .  .  .  I'm  afraid  I'm 
sort  of  an  anti-climax." 

"Oh,  no,  I'm  sure  not.  Of  course,  there 
have  been  a  great  many  men.  Nicole  has 
been  the  shrine  of  princes."  (Better  not 
to  let  this  tall,  nice  boy  pin  too  much  hope 
to  Nicole.     Stars  shoot.) 

"I  know.  That's  what's  so  damnable 
for  me.  That's  what  makes  me  say  I'm  an 
anti-climax.  It's  hard,"  said  Michael, 
simply,  "to  be  an  anti-climax  when  you 
love  a  girl  as  I  love  Nicole." 

Georgia  had  a  funny  sensation.  The 
same  stark  simplicity  was  in  his  voice  as 
had  been  in  Nicole's.  Georgia  thought,  "I 
bet  he  would  have  fallen  in  love  with  Nora 
Barth  .  .  .  more'n  I  can  say  for  the  rest  of 
them  .  .  .  Cosh!" 

Nicole  came  slowly  out.  She  was  a 
gardenia,  too.  Her  gown  of  ivory  satin 
fell  like  a  sheath  about  her.  Her  face  was 
ivory  white,  her  lips  were  a  trembling 
scarlet.  She  had  white  stars  drowned  in 
her  dark  eyes.     Michael  thought  that  she 


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always  looked  at  him  expectantly,  with  a 
new  expectancy  each  time. 

He  presented  the  gardenias  with  a 
sacerdotal  air,  timidly  almost.  As  tho 
he  were  approaching  the  divinity  on  an 
altar.  Xicole  murmured  thanks  and  pinned 
them  to  her  breast.  The  pearl  ring  fell  to 
the  floor,  at  her  feet.  Michael  laughed 
excitedly  and  said,  "You  can  step  on  it  if 
you  want,  Xicole.  That's  the  best  thing 
it  could  ever  expect  to  have  happen  to  it. 
You  know,  Xicole,  I'd  rather  like  you  to 
step  on  it,  to  crush  it  beneath  your  feet  " 

Xicole  looked  at  him,  curiously,  "Would 
you?"  she  said. 

"Yes,  really." 

Georgia  tried  to  cry  out,  but  it  was  too 
late.  Xicole  had  implanted  one  small,  firm 
white  satin  foot  squarely  on  the  pearl.  It 
crushed   with   a   frail,   imperceptible   moan. 

Michael  followed  her  from  the  apart- 
ment, with  a  white  face.  Georgia,  shaking 
her  head,  stopped  to  gather  up  the  priceless 
powder,  "Aren't  men  the  damn  fools?"  she 
muttered. 

"Would  you  rather  go  to  the  Ritz,  dar- 
ling ?"  Michael  placed  Xicole  gently  in  her 
corner  of  the  limousine,  much  as  if  she  had 
been  a  priceless  Tanagra,  a  stem  of  por- 
celain. He  tucked  the  light  robe  deftly 
about  her. 

"I  dont  care." 

"Would  you  enjoy  it  as  much?" 

"I  suppose  so." 

Michael  telephoned  the  word  "Ritz"  to 
the  chauffeur  and  the  Rolls  rolled  on. 

"Xicole  ...  I  wonder  if  you  know  how 
beautiful  you  are  .  .  .  you  know,  you  dont 
look  real  tonight  .  .  .  you  dont  seem — 
well,  possible." 

"I  think  I  know.  I've  been  told  so 
often  enough." 

Michael  regarded  her  rather  anxiously. 
She  had  been  very  odd  of  late.  "Do  you 
know,  Xicole,"  he  said,  "you  are  curious  as 
well  as  beautiful.  In  any  other  girl  the 
statement  you  have  just  made  would  sound 
conceited,  vain.  When  you  say  it  it  be- 
comes merely  a  statement  of  fact." 

"That's  what  it  is — a  statement  of  fact. 
Rather  a  boring  one  at  that." 

"Is  the  fact  that  I  adore  you  a  boring 
one,  too?" 

"Yes,   it   is,    rather." 

"Xicole!"  There  was  sharp  hurt  in 
Michael's  voice,  a  slitting  knife  of  pain. 
Xicole  only  smiled. 

"Dont  you  want  me  to  adore  you?" 

"I  suppose  so  ...  if  it's  the  best  you 
can  do." 

"  'The  best,' "  repeated  Michael,  "but, 
Xicole,  what  more  can  I  do?  More  than 
adore  you,  I  mean.  And  I  do  that.  You 
know  it,  you  must  know  it.  As  I  told 
Georgia,  I  spend  every  waking  moment, 
even  when  I  am  clipping  coupons,  trying 
to  think  up  things  to  do  for  you,  buy  for 
you,  charm  or  please  you  with.  I  suppose 
(bitterly)  that  I  cant  do  enough,  no  matter 
how  hard  I  try.  I  know  how  many  pred- 
ecessors I  have  had  .  .  .  wealthier  men 
than  I  .  .  .  older,  more  cultured,  more  so- 
phisticated. .  .  .  That's  the  matter  .  .  .  the 
damnable  tiling  is,  it  is  the  best  I  can  do. 
I  may  improve,  but  I  do  the  best  1  can 
now." 

"Do  you?"  Xicole  turned  enigmatic  eyes 
on  him,  eyes  in  which  the  white  stars 
seemed  lo  have  deadened,  seemed  to  be  ly- 
ing there,  ghostlike  and  waiting. 

"Yes,  J  do.     I'm  sorry.  .  .  ." 

"Yes,  I'm  sorry,  too,  Michael,  because, 
frankly,  it  isn't  enough." 

Silence.     Michael   was  having  a  bad  time 

of    it.       He    felt    stunned,    bewildered.       His 

family   had    ridden   him    for   weeks   because 

of  Xicole.     They  had  said  that  she  was  an 

nturess,  a  vampire,  a  mercenary,  heart- 

<  heming  shadow.     They  had  warned 

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him  that  she  would  get  every  available  and 
unavailable  thing  out  of  him  and  would 
then  throw  him  over,  a  used  husk.  "She 
will  make  a  damned  fool  of  you,"  as  his 
father  put  it.  Were  they  right?  Could  it 
be  possible  that  this  lovely  thing  was  cold 
enough,  heartless  enough,  scheming  and 
evil  enough  to  be  able  to  sit  there,  calmly, 
and  tell  him  that  what  he  offered  her,  had 
offered  her,  was  not  enough? 

He  couldn't  understand.  There  was  the 
town  car  he  had  offered  her  and  she  had 
refused  to  take  it.  He  had  recounted  that 
to  the  skeptical  family,  triumphantly.  The 
diamond  lavaliere  she  had  also  refused. 
He  had  attempted  to  placate  the  family 
with  that  sop,  too.  His  brother  had  sneered 
and  said,  "The  girl's  wise.  .  .  ."  They 
had  nearly  come  to  blows  about  that  right 
under  the  nose  of  Great-grandfather 
Strong,  peering  frostily  down  on  them 
from  over  his  elegant  stock.  Of  course, 
there  were  the  morning  roses,  imperial 
forests  of  red  roses  he  personally  selected 
and  sent  to  her  matutinally ;  there  were 
the  evening  orchids,  mauve  and  green  and 
white;  there  were  the  deathly  white  gar- 
denias containing,  frequently,  some  costly 
bauble  such  as  the  annihilated  pearl.  There 
were  books  and  French  bonbons  and 
scraps  of  lace  for  her  delicious  nose  .  .  . 
things  like  that.  But  one  always  sent  girls 
like  that  things  like  that.  It  was  a  sort  of 
noblesse  oblige.  One  couldn't  go  about 
with  girls  like  Nicole  unless  one  did  that 
sort  of  thing.  One  couldn't,  certainly, 
profess  to  be  in  love  with  them.  It  was 
a  part.  The  little  incident  of  telling 
Xicole  to  crush  the  pearl,  for  instance. 
Michael  had  felt  proud  of  that.  It  had 
come  to  him  as  a  sort  of  inspiration.  He 
dared  to  believe  that  not  one  of  his  pred- 
ecessors had  outdone  him  there. 

Yes,  Nicole  had  accepted  these  things, 
but  he  was  bound  to  admit  that  she  had 
accepted  them  indifferently,  as  if  they 
didn't  matter.  And  now  she  said  that  he 
hadn't  done  enough  .  .  .  was  this,  per- 
haps her  way  of  dismissing  him?  Was 
this,  the  thin  lash  of  contempt  with  which 
she  dispensed  with  no-longer-desirable 
suitors  ? 

They  arrived  at  the  Ritz  and  Michael, 
whiter  than  he  had  been  when  they  left  the 
apartment,  helped  her  to  alight.  The  head 
waiter,  personally  hospitable,  simply,  as  a 
matter  of  fact,  overcome  with  hospitality, 
ushered  them  to  a  table  near,  yet  not  too 
near,  the  music,  brought  over  a  fresher 
and  more  elaborate  vase  of  flowers, 
hovered,  extra-solicitous.  Near-by  diners 
turned  to  look  at  them,  whispered  among 
themselves.  .  .  . 

The  head  waiter  and  Michael  conferred 
together  in  undertones.  Xicole  never  cared 
about  what  they  ate. 

They  were  midway  thru  the  excel- 
lently selected  meal  and  neither  one  of 
them  had  said  a  word.  Michael  had  a 
sinking  sense  of  failure.  He  was  school- 
ing himself  to  meet  the  last  lash  of 
Xicole's  slim  whip  of  disdain.  Xicole's 
eyes  were  misted  and  remote.  Michael, 
fearful,  couldn't  tell  whether  it  was  from 
boredom,  from  the  studio  lights  or  from 
sheer  ennui.  It  never  occurred  to  him  that 
it  might  be  from  tears. 

He  said,  at  last,  forcing  a  natural  voice, 
feeling  that  this  evening  required  of  him 
'nine  courage  than  had  the  whole  siege  of 
Chateau-Thierry,  "So  I  bore  you,  Nicole?" 

"Yes." 

"You're  honest — anyway." 

"Yes." 

"Dont  you  even   want  to  talk  to  me?" 

"No.     Sorry." 

"Cant  you  at  least  tell  me  why?" 

"Yes— you  dont  talk  about  anything  that 
interests   me." 

Michael  felt  a  healthy  impulse  to  wrath. 


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Why,  he  hadn't  talked  anything  but— 
the  movies,  studio  life,  restaurant  life, 
scandal.  ...  He  said,  "I  dont  see  how 
you  can  say  that,  Nicole,  and  be  honest.  I 
talk  to  you  about  your  work-,  the  people  in 
the  studio,  Europe,  Biarritz,  even  clothes, 
tho  I  do  slip  up  on  them.  What  do  you 
want  to  talk  about?" 

"Facts." 

"Xow  you're  spoofing,  Nicole.  You 
weren't,  you  know,  made  for  facts.  Leave 
them  to  the  plain  Janes.  You  are  a  fairy 
thing,  any  man  who  doesn't  keep  you  so 
would  be  a  brute,  an  ox. 

Nicole  yawned.  Deliberately,  unmistak- 
ably yawned. 

Again  Michael  felt  the  slim  sword-thrust 
of  fear.  He  was  afraid  to  lose  this  girl. 
His  fear  left  him  unarmored,  revealed. 

"Nicole,"  he  cried  out  on  that  sharp 
sword-thrust  of  fear,  "Nicole,  dont  you 
know  .  .  .  I  love  you!" 

It  was  as  if  he  had  galvanized  the  girl 
into  electric  life.  She  sat  erect,  the  white 
stars  glowed  to  red  and  burned  in  her  dark 
eyes,  a  tint  rose  up  over  the  ivory  pallor  of 
her  skin.  She  leaned  across  the  table 
and  clenched  his  hands  with  her  two  hands. 
He  hadn't  suspected  her  of  such  strength. 

"Do  you  know,"  she  said,  tensely,  "that 
this  is  the  first  time  you  have  told  me  that 
you  love  me?" 

"Nicole,,  that's  absurd  .  .  .  why  every 
day  I.  .  .  ." 

"Yes,  it  is.  It  is.  Every  day  you  tell 
me  that  you  adore  me,  that  you  worship 
me,  that  you  fear  me,  that  my  beauty  is 
like  incense,  like  this,  that  and  the  other 
thing.  But  never  before  the  good  old 
homely  words  'I  love  you,'  said  as  you 
just  now  said  them.  The  kind  of  a  thing 
a  man  says  to  a  woman." 

"Is  this  all?    Has  this  been  the  matter?" 

"It  isn't  all.  It's  only  a  part  of  the 
matter.  Your  orchids,  your  jewels,  your 
car,  your  dinners  at  the  Ritz,  the  Voisin, 
Crillon.  .  .  .  I've  hated  them!  Your  talk 
of  what  it  might  be  if  I  should  ...  if 
ever  I  would  marry  you.  ...  Of  course  I 
want  to  marry  you.  I  love  you.  You 
ought  to  know  that.  I  love  you  as  any 
woman  from  a  laundress  to  a  Lorelei  loves 
her  man.  But  I  dont  want  to  live  in 
Rolls-Royces  and  Ritzes.  I  dont  want  to 
be  smothered  in  fumes  of  incense  and  those 
preposterous  orchids  ...  I'd  rather  . 
I'd  rather  have  had  buttercups  and  Queen 
Anne  lace  .  .  .  out  of  a  field.  .  .  .  Every 
man  sends  gay,  transient  women  roses  and 
orchids  and  bon-bons  and  jewels.  What 
of  it?  I'm  sick  of  the  champagne  life.  I 
want  to  be  real,  to  get  my  hands  into  the 
earth.  I  want  to  be  like  one  of  those 
women  you  see  in  the  side  streets  of  Har- 
lem, nursing  their  babies,  figuring  out  life 
with  their  man.  Living.  I  tell  you  I  am 
NOT  a  shadow — I'm  substance.  Nobody 
has  ever  understood  that.  And  you — you 
dont  understand,  either.  I  want  bread  and 
you  give  me  stones — oh,  precious  stones. 
I  want  you  to  order  me  about.  I  want  you 
to  plan  a  home  with  me  .  .  .  and  children 
.  .  .  and  dining-room  furniture  .  .  .  and 
kitchen  utensils  ...  oh,  dont  you  see?" 

Michael's  eyes  were  shining.  His  voice 
was  rough  and  fibrous.  He  said,  "I  do 
see  ...  I  think  I  see — you " 


The  people  at  the  next  table  were 
amused.  They  said,  when  Nicole  and 
Michael  had  gone  hastily  out,  leaving  their 
dessert  untouched,  "That  was  ^  Nicole 
Nadine,  the  Realart  star,  wasn't  it?" 

"Yes.  She  must  have  been  rehearsing 
one  of  the  big  scenes  in  her  next  picture." 

"Guess  that  was  it.  Well,  she  certainly 
puts  her  stuff  across." 


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blemish.  I  have  found 
that  Golden  Peacock 
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this  work  admirably. 
correcting  every  defect. 
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:^3reat 

Sore 
Throat 

both  Inside  and  Out 

A  few  drops  of  Absorbine,  Jr.  in 
water,  used  as  a  gargle,  destroy 
germs,  relieve  irritation  and  soothe 
the  inflamed  tissue. 

Outside,  used  full  strength,  it 
breaks  up  congestion  and  relaxes 
the  tension  of  the  muscles. 

Used  regularly  as  a  gargle  and 
mouth  wash,  i  t  is  not  only  cleansing 
and  refreshing,  but  a  preventive  of 
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dangerous   infections 
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The  Path  of  Glory 

{Continued  from  page  23) 


! 


Absorbine  jr 


THE  ANTISEPTIC    LINIMENT 


108 

Gi. 


(snake)  in  the  shower-room.  At  mid- 
night it  is  still  too  hot  to  sleep.  Sheets 
are  like  fire. 

"Friday.  We  got  up  at  four  o'clock. 
Had  two  hours"  .sleep.  At  sunrise  Mr. 
Valentino's  white  helmet  looked  solid 
black.  Flies  all  over  it.  They  get  in 
your  eyes  and  mouth.  Evening.  A  little 
cooler,  but  still  over  100  degrees. 

"Saturday.  We  climb  the  sand  dune 
again,  sometimes  on  hands  and  knees. 
Mr.  Valentino  deserves  much  applause. 
He  does  his  work  without  complaint.  His 
horse  fell  in  the  sand  twice  today.  It 
was  galloping.     He  never  complained." 

Desert  locations  such  as  those  used  in 
"Son  of  the  Sheik,"  "Beau  Geste"  and 
"The  Winning  of  Barbara  Worth"  are 
almost  unendurable.  I  know,  because  I've 
been  on  some  of  them.  In  each  case,  the 
camp  is  tossed  up  far  out  on  the  blazing 
desert  floor.  Communication  with  the  out- 
side world  is  cut  off.  Frequently  the  food 
from  the  camp  kitchens  is  bad.  Wells  are 
drilled  and  shower-baths  built,  but  all 
drinking  water  comes  from  a  long  distance. 
At  least  one  physician  and  trained  nurse 
are  sent  out  with  each  such  company,  and 
they  always  find  plenty  to  do.  There  is  no 
recreation,  except  watching  the  rushes  of 
the  picture  when  the  reels  of  film,  shipped 
daily  to  Los  Angeles  for  development,  are 
returned  to  camp  for  the  director's  inspec- 
tion. Indeed,  the  company  desires  no 
recreation,  after  a  fourteen-hour  day  of 
toil  in  the  blasting  heat. 

When  I  asked  Henry  King,  director  of 
"The  Winning  of  Barbara  Worth,"  why 
he  had  chosen  such  a  furnace  as  the  Black 
Rock  Desert  up  in  Nevada  as  the  location 
for  his  picture,  he  said:  "It  was  neces- 
sary to  find  a  location  that  never  had  been 
used  before.  'Barbara'  would  have  been 
just  another  Western  if  made  in  the  stu- 
dios or  on  near-by  locations.  I  and  my 
chauffeur  got  completely  lost  while  hunt- 
ing the  locations  we  have  here  in  Nevada. 
He  suffered  from  sun-stroke  and  was 
delirious.  We  were  out  of  water.  When 
finally  I  found  a  desert  shack  where  we 
could  get  some  water,  my  lips  were  so 
swollen  and  cracked  that  I  was  unable 
to  speak.  But  I  got  the  right  locations 
for  'Barbara.'  " 

Without  doubt  he  did,  and  without  doubt 
you  know  who  co-starred  in  that  picture, 
filmed  in  the  furnace  heat.  Ronald  Col- 
man,  who  had  just  completed  ten  weeks 
in  the  Arizona  desert  on  "Beau  Geste,"  and 
Vilma  Bank\r,  who  had  just  completed  six 
weeks  on  "Son  of  a  Sheik."  Sixteen 
weeks  for  Ronald  and  twelve  for  Vilma 
on  the  desert  this  summer. 

Even  at  this  writing,  two  Famous 
Players-Lasky  companies  are  down  in 
Texas.  One  director  is  ill.  So  is  one 
leading  woman.  I've  been  requested  not 
to  name  them,  so  I  wont.  But  they're 
fighting  poisonous  mosquitoes  and  malaria 
down  there  to  get  the  "real  stuff." 

In  all  seriousness,  I  say  that  Hollywood 
has  gone  location-mad  and  work-mad. 
Hollywood  has  built  a  Juggernaut,  under 
whose  wheels  the  highest  and  lowest  are 
being  crushed.  One  hears  nothing  of  the 
deaths  of  minor  players  who  may  be  killed 
in  the  making  of  a  picture.  One  rarely 
hears  of  injuries,  serious  tho  they  may  be, 
which  a  star  sustains,  or  of  the  illness  of 
a  prominent  player.  It  is  only  when  a 
Valentino  dies,  after  a  week  in  which  his 
illness  was  considered  "publicity  bunk" 
by  the  very  wise  film  fans,  that  the  world 
can  realize  what  a  human — perhaps  I 
might  better  say  inhuman — place  is  the 
Hollywood  of  today. 
Biy  KdrertlMment  In  MOTION  PICTUBE   MAGAZINE   is  gnai 


In  the  United  Studios,  two  years  ago, 
Milton  Sills  was  carried  on  and  off  the 
set  every  day,  on  a  stretcher,  during  the 
making  of  a  picture.  "Dont  mention  my 
illness,"   he  asked  me.     I  didn't.  » 

Colleen  Moore,  because  she  wouldn't  use 
a  double,  sustained  a  serious  injury  when 
she  fell  off  a  flat-car,  a  few  months  later, 
coming  within  one-eighth  of  an  inch  of 
breaking  her  neck.  But  the  picture  was  a 
good  box-office  attraction,  s  ■  why  worry? 

Lon  Chaney  seems  determined  to  wreck 
himself  physically  with  his  characteriza- 
tions. He  has  received  injuries  to  his 
spinal  cord  that  may  be  lasting.  "The 
Hunchback  of  Notre  Dame''  practically 
cost  him  the  sight  of  one  eye,  because  of 
the  lump  of  putty  worn  over  it.  He  has 
worn  eyeglasses  ever  since  that  picture,  in 
an  effort  to  correct  his  vision. 

John  Barrymore,  greatest  of  our  stage 
artists,  has  been  caught  up  in  the  work- 
mad  frenzy  of  Hollywood,  since  he  en- 
tered pictures.  His  slogan,  like  that  of  so 
many  other  stars,  is :  "I'll  do  it  myself. 
No  doubles   for  my  pictures." 

In  "The  Sea  Beast"  he  not  only  worked 
with  his  leg  strapped  back,  but  had  tons 
of  icy  water  hurled  over  his  slim  body  in 
the  storm  scenes.  Where  a  double  could 
have  done  his  work,  he  slid  down  a  rope 
from  the  crows'-nest  to  the  deck  of  the 
vessel.  In  a  night  scene  he  dived  from 
the  ship  into  the  black  water  and  cut  his 
head  badly.  In  the  duel  scenes  of  "Don 
Juan,"  he  threw  his  company  into  conster- 
nation by  taking  a  flying  leap,  quite  unex- 
pectedly, from  the  head  of  a  stone  stair- 
case down  upon  his  opponent  below. 

The  camera  rarely  gets  a  close-up  on 
one  of  Barrymore's  spectacular  stunts,  be- 
cause neither  director  nor  cameraman 
knows  when  he's  going  to  do  one.  He  has 
been  injured  in  the  making  of  his  present 
picture,  "Francois  Villon,"  and  in  all  of 
his  previous  pictures.  Barrymore  is  an 
artist.  He  is  untrained  for  a  stunt  man's 
work — yet  he  insists  on  doing  it. 

The  stars  who,  a  few  years  ago,  con- 
sented to  the  use  of  an  acrobat  to  double 
in  work  involving  actual  danger,  now  do 
this  work  themselves,  and  frequently  get 
badly  smashed  up  for  their  pains. 

Those  who,  in  former  years,  took  to 
their  beds  and  stayed  there  when  they 
were  ill,  are  now  lugged  onto  the  sets  on 
stretchers  when  illness  assails  them.  They 
go  thru  their  scenes,  nurse  standing  by. 
This  may  be  very  fine.  Personally,  I 
think  it  sheer   idiocy. 

I'm  glad  to  say  that  one  star  at  least, 
and  that  one  Gloria  Swanson,  at  present 
agrees  with  me.  In  a  recent  interview 
with  my  editor,  she  made  some  very  frank 
statements,  just  after  recovery  from  a 
nervous  breakdown. 

"It  was  probably  a  very  good  thing  for 
me,"  she  said.  "It  made  me  realize  that 
I  must  take  care  of  myself;  that  I  just 
cant  go  and  go  without  taking  stock  at 
all.  I  had  never  before  this  really  thought 
about  my  body  or  what  it  needed. 

"...  I've  worn  out  other  members  of 
my  companies  for  years,  working  long- 
after  they  felt  like  giving  up.  But  I  sup- 
pose for  some  time  I've  been  doing  it  on 
nervous  energy." 

Gloria  Swanson  is  the  first  star  who, 
after  a  serious  illness,  has  faced  this 
work-mad  frenzy  of  the  film  colony  with 
intelligence.  If  some  of  our  other  stars 
will  take  stock  of  themselves,  we  may 
not  have  to  chalk  up  the  death  of  three  or 
more  of  our  favorite  players  in  1927. 
inteed. 


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(TT,H0TI0N  PICTURr 
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109 


f 


(M 


■MOTION  PICTURP' 
fcl  I  MAGAIISE     u 


Advertising  Section 


BATHASWEET 


No  wonder  this  is 
the  favorite  luxury 

of  gentlewomen 

When  a  prominent  magazine  re' 
cently  asked  a  number  of  well' 
known  women  to  name,  their  favor' 
ite  luxury,  a  great  majority  an' 
swered  it  was  the  perfumed  bath 
of  softened  water. 

To  bathe  amid  the  sweet  fra' 
grance  of  a  flower  garden,  in  water 
so  soft  and  limpid  that  it  tells  you 
by  its  very  feel  how  good  it  is  for 
your  skin — to  step  from  your  tub 
with  an  almost  imperceptible  per' 
fume  clinging  to  you — what  lux' 
ury  could  vie  with  this? 

And  It  Is  So  Qood 

for  the  Skin 

Nothing  helps  more  to  keep' the  skin  soft 
and  dainty  than  truly  softened  water.  Just 
sprinkle  Bathasweet  into  your  tub  and 
wash  bowl  regularly  for  a  few  weeks,  and 
inevitably  you  will  notice  your  skin  take 
on  a  softer  beauty  that  is  particularly 
charming  because  it  speaks  so  clearly  of 
the  care  you  have  taken  of  your  skin. 

The  "Scentless" 

personal  fragrance 

Bathasweet  does  not  cover  up  body 
odors.  But  by  softening  the  water  it 
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ing  away  every  trace  of  odor  and  leaving 
a  dainty,  almost  scentless  fragrance  that 
is  indescribably  lovely. 

And   Bathasweet  costs  so  little.     For 

over  20  years  it  has  been  one  of  the  least 

expensive  of  the  good  things  of  life.    At 

and  Department  Stores,  25c, 

■ 


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') 


On  Location  With  "Rough  Riders'1 


(Continued  from  page  65) 


ropes  that  are  stretched  to  keep  the  crowds 
out  of  camera  lines,  in  order  to  shake 
hands  with  the  famous  villains,  or  get  a 
closer  view  of  the  leading  lady.  They 
bring  a  different  gift  each  morning,  per- 
haps the  prize  being  two  small  bears 
brought  by  a  diminutive  boy  to  his  screen 
hero,    Noah    Beery. 

They  wake  Mary  Astor  up  in  the  night 
with  telephone  calls,  saying :  "Hello,  this 
is  the  little  girl  that  waved  to  you  from 
the  Ford — wont  you  come  to  dinner  at  my 
house?" 

They  waylay  that  popular  young  lead, 
Charles  Farrell,  with  invitations  to  hops, 
etc.,  bestowing  all  sorts  of  edibles  upon 
him,  until  he  says,  that  if  only  he  were 
allowed  to  eat  it  all,  Paramount  wouldn't 
have  to  worry  about  his   board  bill. 

One  week  was  devoted  to  personal  ap- 
pearance in  a  local  theater,  lovely  Mary 
Astor  drawing  the  biggest  crowd,  but 
every  member  of  the  cast  requiring  an 
S.  R.  O.  sign.  George  Bancroft  delighted 
his  house  by  giving  a  dramatic  reading. 

"When  I  heard  him  laughing  that  there 
foolish  laugh,  he  puts  on  out  to  the  Fair 
Grounds,  when  Beery's  getting  after  him, 
I  didn't  know  he  could  make  folks  cry," 
observed  one  of  his  audience,  seriously, 
"Why,  he's  a  great  actor !  We  gotta  go 
see   him   in   the   pictures." 

Bancroft  is  often  found  talking  to  the 
real  veterans,  who  have  "joined  up"  for 
the  battle  of  San  Juan  Hill.  He  told  me 
of  strange  experiences  in  the  Philippines, 
after  this  Cuban  campaign  was  over.  .  .  . 

Soldiers  were  marching  over  a  sandy 
jungle  path.  As  they  marched,  some  of 
them  noticed  a  bit  of  white  lying  under- 
foot ;  the  steady  tramp  of  feet  shook  more 
and  more  sand  from  it,  and  one  of  the 
men  stooped  to  pick  it  up.  It  was  stuck 
fast.  Another  jerked  at  the  handkerchief 
(as  he  thought  it)  and  lo,  it  wasn't  a 
handkerchief,  but  a  breech-cloth  bound 
about  a  buried  native,  who  lay  quietly 
listening  thru  a  tube  to  what  the  white 
chiefs  said  in  their  tents,  breathing  thru 
another  tube  connected  with  a  near-by  tree. 

"One  of  the  men  in  that  same  outfit  was 
taken  prisoner  by  the  savage  tribes,"  said 
Mr.  Bancroft,  "but  when  they  undressed 
him  to  put  him  in  the  boiling  pot,  he  was 
tattooed  from  head  to  foot,  and  they 
thought  him  a  hoodoo,  or  a  god.  He  took 
advantage  of  that,  and  was  proclaimed 
king  of  their  tribe,  and  reigned  until  he 
ran  away.  .  .  .  That's  the  truth.  .  .  .  Any- 
way, all  his  comrades  believe  it." 

"I've  been  a  private  in  every  war — 
('America/  'Unknown  Soldier,')  and  I 
think  it's  time  I  got  a  commission,"  an- 
nounced Charles  Mack.  "Here  I  am  a  buck 
private  again!" 

"I'm  still  an  officer,"  beamed  Charles 
Farrell,  "but  I  seem  to  be  sliding  down  the 
scale;  'Commodore'  in  'Old  Ironsides'  to 
sergeant  in  this  opus.  I'll  be  with  you  next 
time,   old  son." 

These  two  are  always  together — "Chuck 
and  Chuck,"  they  call  themselves.  "Is 
there  room  for  Chuck?"  they  ask,  before 
accepting  an   invitation. 

"(  buck's  got  a  new  uncle,"  cried  Farrell. 

"Same  old  uncle,  but  he's  just  acknowl- 
edged   the    relationship,"    corrected    Alack. 

"The  uncle  was  in  the  audience  last 
night,  when  Chuck  made  his  'personal,' " 
went  on  Farrell,  "Chuck  said,  'damn,'  and 
we  were  afraid  it  wasn't  being  done  in 
Texas " 

"But  my  uncle,  who  thought  I  was  ex- 
cited about  myself,  and  wouldn't  know  me 
before,    came    up   and    spoke    to    me    after- 


wards," finished  Mack,  "maybe  the  'damn' 
didn't  do  it !" 

"Since  Chuck  got  a  fond  relative,  I 
called  my  father  on  long  distance  all  the 
way  to  Cape  Cod,"  glowed  the  younger 
Chuck,  "he  had  to  get  up  at  3  A.  M. 
to  answer  the  phone,  so  he  probably 
thought  I'd  gone  mad,  but  I  haven't  seen 
him  for  four  years,  and  I  was  so  glad  to 
hear  his   voice!" 

Listening  older  men  smiled  at  each  other. 
"Guess  Dad  was  kinda  reconciled  to  being 
waked  up,"  murmured  one. 

Charles  Farrell  has  a  winning  per- 
sonality, and  half  San  Anton'  yearns  to 
adopt  him.  If  they  dont  manage  among 
them  to  spoil  him,  this  boy  should  have  the 
hearts  of  the  world  to  play  with,  in  an- 
other year.  .  .  . 

The  first  big  thrill  in  "Rough  Riders" 
comes,  when  the  troops  receive  their  horses. 
Every  man  in  the  original  regiment  was  a 
splendid  horseman,  but  very  few  of  the 
horses  sent  down  to  them  were  broken  to 
saddle,  as  history  tells. 

Every  man  on  the  parade-grounds,  at 
San  Anton'  can  ride,  too,  from  Noah 
Beery,  who  lives  on  a  ranch,  when  he's 
home,  to  Charles  Farrell,  who  has  ridden 
every  "remount"  the  cowboys  own,  and  is 
happiest  when  his  steed  is  standing  on  hind 
legs  pawing  the  air.  The  "wild"  horses  for 
this  sequence  were  outlaws  of   the  plains. 

A  thousand  men  and  mounts  were  drawn 
up  on  the  level  fields  in  cavalry  formation ; 
Frank  Hopper,  as  Roosevelt,  and  Colonel 
Fred  Lindsay,  as  Leonard  ll'ood,  review- 
ing them  from  powerful  steeds ;  director 
and  cameras  on  a  towering  parallel  above. 
Among  the  lines  were  placed  a  hundred 
bucking  broncos,  each  with  an  attendant 
cowboy,  animals  with  restless,  wicked  eyes, 
and  such  names  as,  "Funeral  Wagon," 
"Widow  Maker,"  "Whirling  Chair,"  and 
"Cyclone." 

"Get  ready  to  mount!"  came  the  order 
thru  the   megaphone. 

The  bugler  sent  his  strident  message  on 
the  heels  of  that  word ;  there  was  a  quiver 
thru  the  ranks,  as  blue  shirts  rose  above 
the  horses'  shining  manes ;  and  then,  there 
was  a  rearing,  plunging  mass  of  horse- 
flesh surmounted  by  shouting,  singing, 
swearing   cowboys. 

"Dynamite,"  who  bore  Son  Kuykendahl, 
a  hardened  plainsman,  was  viciously  biting 
his  way  thru  the  ranks  ;  "Done  Gone,"  a 
coal-black  outlaw,  was  living  up  to  his 
name,  for  he  had  shot  like  a  feather-tipped 
arrow  out  to  the  cleared  space  beyond  the 
cameras,  his  rider  left  behind  ;  the  "Widow 
Maker,"  threw  Fred  Kohler,  the  hard- 
boiled  sergeant  of  the  picture,  and  rolled 
over  on  him,  badly  damaging  his  leg,  be- 
fore bolting  for  the  pecan  grove ;  and 
"Pancho  Villa,"  a  prancing  fury  with  one 
white  eye,  tried  to  trample  half  the  regi- 
ment, as  he  strove  to  lose  the  man  he 
carried. 

"Ride  him,  cowboy  !"  went  up  the  cry. 

"Eat   'em  alive!" 

"Step  on  'em!     Step  on  'em!" 

"R-i-i-i-d-e!" 

Again  they  got  the  broncos  into  line ; 
once  more  the  bugle  sounded  its  note  of 
shrill  excitement  across  the  dust-choked 
fields  ;  and  a  hundred  horses,  receiving  a 
second  time  the  undesired  weight  of  a 
rider,  turned  the  scene  into  a  riot  of  kick- 
ing, biting,  wheeling,  curveting  tumult. 

The  cowboys  sang: 

"Come  on.  Pony,  kick  a  lil  more, 
Come  on  ! 
Come  on,  Pony,  git  real  sore, 
Come  on  !" 


110 

Ace 


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They  came  on.  .  .  Three  men  were 
picked  up  and  taken  off  the  field. 

"Funeral  Wagon"  and  his  fellows  were 
lined  up  again.  Xobody  had  ever  stayed 
on  "Funeral  Wagon,"  they  said.  He  was 
the  "wickedest  hoss  on  four  legs.  .  .  ." 

This  time  a  lean  and  powerful  young 
man  took  him. 

"Ready!" 

The  bugle ! 

A  veritable  tornado  as  the  blue  shirts 
rose  .  .  .  animals  with  bared  teeth  and  fiery 
eyes  ...  a  volley  of  hoofs  sounding  omi- 
nously .  .  .  clouds  and  clouds  of  dust  thru 
which  streaked  horses  glistening  with 
sweat  .  .  .  yells,  calls  .  .  .  someone,  out  of 
breath,  trying  to  sing.  .  .  . 

But  they  couldn't  buck  the  riders  off  this 
time.  They  plunged  and  they  reared,  but 
they  came  back  into  line  bearing  their 
exultant   riders,   every  one.      .   .  . 

"Did  you  hear,  who  rode  'Funeral  Wag- 
on' ?"  asked  Mary  Astor,  as  we  made  our 
way  back  to  the  hotel. 

"A  man  named  Coward !  .  .  .    Imagine  !" 


The  Spotlight  Is  Turned  on 
the  Director:  Alfred  Santell 

(Continued  from  page  94) 

comedies,  the  ambitious  young  Santell 
yearned  for  new  worlds  to  conquer.  He 
thought  to  try  the  dramatic  field  out  of 
curiosity,  much  to  the  disgust  of  his 
comedy  associates  who  hated  to  see  him 
desert  the  slap-stick  comedy  realm  where 
he  was  ensconced  securely  as  a  prince  of 
laughs. 

But  the  architectural  training  asserted 
itself,  and  Santell  entered  the  dramatic 
field  from  the  bottom.  He  preferred  to 
build  a  solid" foundation  before  rearing  his 
structure.  He  built  wisely  and  well. 
Finally,  such  unusual  feature  comedy 
dramas  as  "Lights  Out,"  "Fools  in  the 
Dark,"  and  "Parisian  Nights,"  which  he 
supervised  and  directed  for  F.  B.  O.,  began 
to  attract  attention  behind  the  scenes  of 
the  industry.  Corinne  Griffith's  producers 
were  looking  for  a  director.  They  decided 
to  take  a  chance  on  this  young  man  of 
marked  originality.  How  several  critics 
howled  to  high  heaven  that  Corinne's  pro- 
ducers were  now  completely  ruining  her 
career  by  allowing  their  goddess  to  be 
directed  by  a  low  slap-stick  comedy  direc- 
tor !  And  all  that  the  quiet  and  determined 
young  comedy  director  did  was  to  make  of 
"The  Marriage  Whirl,"  a  mediocre  story, 
a  much  better  picture  than  was  expected. 
Followed  "Classified,"  which  has  "classi- 
fied" Alfred  A.  Santell  as  a  king-pin  di- 
rector. 

There  is  much,  spirited  bidding  among 
the  stars  for  this  young  director's  helping 
hand,  but  there  are  more  reasons  than  one 
why  players  like  to  work  for  him.  Par- 
ticularly, the  feminine  stars  !  Why  ?  Be- 
cause, between  scenes  on  the  set,  Santell 
composes  ballads  and  jazz  songs  in  honor 
of  his  ladies  fair,  and  sings  them  to  his 
own  accompaniment  on  the  ukulele  like 
no  other  minstrel  in  pictures. 

When  Al  finishes  directing  Colleen 
Moore  in  "Orchids  and  Ermine,"  he  will 
direct  Dick  Barthelmess'  first  picture  under 
his  new  contract,  "The  Patent  Leather 
Kid."  And  Dick  Rowland  has  signed  a 
new  contract  with  him  which  calls  for  the 
screen  to  present  his  pictures  as  Alfred  A. 
Santell   productions. 


Have  You  Ever  Been  Down 
To  Your  Last  Cent? 


Next  month  we  will  publish  a  story,  telling  of  the  ex- 
periences of  several  famous  movie  stars  when  they  were 
stranded  without  a  cent. 

What  does  it  feel  like  to  have  empty  pockets  in  your 
London  tailored  clothes? 

What  does  it  feel  like  to  wear  a  mink  coat  (shabby) 
and  lack  the  few  dollars  needed  to  pay  your  board  bill? 

Dont  miss  this  amazingly  human  document.  People 
rarely  talk  so  frankly. 

"Ramon  Novarro  Should  Be  Written 
in  Fiction" 

Ramon  is  as  colorful  as  the  life  he  has  lived.  And 
next  month  begins  Herbert  Howe's  fascinating  story  "On 
the  Road  with  Ramon."  It  is  more  than  a  life  story.  It 
is  a  biographical  adventure  into  the  character  and  career 
of  this  romantic  idol.  And  it  is  profusely  illustrated  with 
never-before-published  photographs  of  Ramon's 
childhood. 

Colleen   Moore   and  G.  H.  and  A.  W.  F. 

Another  playlet  interview  such  as  that  with  Florence 
Vidor,  which  appears  in  this  issue.  .  .  .  Gladys  Hall 
and  Adele  Whitely  Fletcher  visited  with  Colleen  on  her 
last  trip  to  New  York.  They  have  known  her  for  years. 
And  she  talks  to  them  without  reserve. 


The  Low  Down  on  Several  Lovely  Ladies 

<By  ANDRE  ANI 

(Costume  Designer  to  Some  of  the  Biggest  Stars) 

.  .  .  including  some  hints  that  no  woman  can  fail  to 
employ  without  adding  charm  and  smartness  to  her  attire. 


THE  FEBRUARY 

Motion  Picture  Magazine 


RESERVE  YOUR  COPY  NOW 


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Give  Yourself 

That  Irresistible  Charm 
Which  Onee  Swayed 
Empires  and 
Conquered  Kings ! 

Such  intriguing  beauty,  so  History 
tells  us,  came  from  the  use  of  a  rare, 
white  mineral  earth  found  only  on 
the  Island  of  Lemnos,  off  the  coast  of 
ancient  Greece. 

It  Worked  Like  Magie! 

Just  a  few  applications  brought  such 
exquisite  loveliness  to  complexions 
that  it  was  pronounced  Sacred  by  the 
Priests  of  Diana  who  gave  it  the  name 
of  Diana's  Earth.  Later,  by  Royal 
Decree  it  was  reserved  exclusively  for 
women  of  noble  birth. 

PEACH    BLOOM 

Since  that  day  Diana's  Earth  was 
thought  lost  forever.  But  just  re- 
cently the  miraculous  happened!  An 
American  Mineralogist,  while  sur- 
veying near  Hot  Springs,  Ark.,  was 
astounded  to  find  another  small  de- 
posit of  this  precious  beautifier. 

Now,  at  last,  your  complexion  can 
have  that  alluring  charm  and  loveli- 
ness of  early  ages,  for  genuine  Diana's 
Earth,  now  called  PEACH  BLOOM, 
has  been  re-discovered. 

BEAUTY  GUARANTEED! 

Regardless  of  the  present  condition 
of  your  skin,  Peach  Bloom  will  restore 
quickly  the  beauty  Nature  intended 
you  should  have.  And  this  magic 
improvement  will  be  so  apparent  once 
you  have  tried  PEACH  BLOOM  that 
you  will  never  again  be  without  it. 

The  coupon  below  carries  our  Positive 
Beauty  Guarantee,  which  likewise 
applies  to  your  purchase  of  Peach 
Bloom  from  any  Drug  or  Department 
Store,  Beauty  or  Barber  Shop  in  the 


MAIL  THIS  COUPON  TODAY 


PI  \<  II  lil.OOM  MINERAL  CORP., 
208  V  \\ « II-  St.,  Dept.60,  Chicago,  III. 

postpaid  a  12-'IValment  iar 
I  if  BLOOM  Ibrwhicb  I  amenclo  ing$l. 
If  after  three  Lreatmenl  -.  my  ^kin  fail-,  lo  respond 
to  the  extent  expected,  I  may  return  the  unused 
i></rii'<fi  an'I  my  SI  will  be  immediately  and 
cheerfully  refunded. 


I 


Name 
Addra 


News   of  the  Camera   Coasts 


(Continued  from   page  69) 


ran  a  little  tonsorial  parlor  in  one  of  the 
small  Montana  towns.  He  had  come  to 
Hollywood  to  work  as  an  Indian  in  the 
movies.  I  remarked  that  it  must  be  diffi- 
cult for  a  barber  to  suddenly  quit  bar- 
bering  and  take  up  an  Indian's  job,  which 
means  that  he  cant  talk  any  more,  but 
must  use  the   sign   language. 

Cricii  Von  Stroheim  may  be  inveigled 
into  giving  up  the  directing  business 
for  the  life  of  an  actor.  One  of  the  big- 
gest producers  is  anxious  to  put  Von 
under  a  performing  contract,  and  already 
has  a  number  of  stories  lined  up  in  which 
he   would   like   to   star   the   little   Austrian. 

There  is  no  doubt  but  what  the  irascible 
Von  will  reject  the  offer.  He  even  makes 
fun  of  himself  as  an  actor  in  his  present 
picture,  '"The  Wedding  March,"  in  which 
he  plays  the  leading  role. 

While  looking  at  the  daily  rushes  of  his 
own  love  scenes,  he  is  reported  to  have 
said,  "Look  at  the  terrible  bull-necked 
little  prig  making  love.  No  girl  could 
love  such  a  figure." 

It  is  this  very  thing  that  the  producer 
wishes  to  capitalize  on,  I  understand.  He 
thinks  that  Von  Stroheim  may  be  made 
more  repulsive  on  the  screen  than  Lon 
Chaney,  therefore,  he  should  draw  more 
money  into  the  box-office  than  Lon.  How- 
ever, Von  is  not  the  type  to  capitalize  on 
physical  distortions,  such  as  those  which 
have  made  Chaney  popular.  Von  Stroheim 
is  quite  a  human  character,  who  is  made 
fascinating  because  of  his  unattractive 
profile  and  his  tendency  to  be  cruel  and 
wicked  with  his   women   folks. 

ETxough  money  to  start  a  small  savings- 
bank  breezed  into  the  coffers  of  the 
Red  Cross,  when  an  appeal  was  made  to 
motion  picture  folk  to  subscribe  to  the 
relief  fund  for  the  sufferers  in  the  Florida 
disaster. 

Not  only  did  the  stars  donate  directly 
to  the  fund,  but  midnight  benefit  shows 
were  given  at  the  down-town  theaters. 
Practically  all  the  stars  in  Hollywood 
made  personal  appearances  at  these  shows, 
which  was  instrumental  in  adding  thou- 
sands of  dollars  to  the   fund. 

"The  bankers'  convention  was  held  in  Los 
Angeles  and  Hollywood,  this  last  month. 
I  dont  know  why  Hollywood  was  accorded 
this  honor  unless  it  was  the  town  that  held 
the  record  for  overdrafts  on  checking  ac- 
counts. Actors  and  fan  magazine  writers 
have  a  habit  of  overdrawing. 

Fifteen  years  ago  a  banker  would  have 
chuckled  up  his  left  coat  sleeve  if  a  mo- 
tion picture  producer  had  asked  him  for  a 
loan.  Now  the  big  credit  and  loan  boys 
are  only  too  anxious  to  let  the  infant  in- 
dustry have  a  few  shekels  on  time. 

About  the  only  actor  who  had  a  chance 
to  talk  with  the  banking  boys  on  even 
terms  was  Jean  Hersholt,  and  this  is  be- 
cause Jean  is  a  director  in  a  couple  of 
banks.  Practically  all  the  other  boys  had 
aided  considerably  in  boosting  the  record 
of  overdrawn  checking  accounts,  so  nat- 
urally, they  felt  a  bit  humiliated  when 
they  met  a  banker. 

"The    Miller    boys,    Fred    and    Roy,    who 
own  and  operate  the  beautiful   Carthay 

Circle   Theater,   which    is   one  of    the   new 

show   houses   of    Hollywood,   opened    their 
1      picture      this      month.        It      was 

"Bardelys    the    Magnificent,"    starring   John 

Gilbert. 

The     elite     turned     out     in     their     stiff 


112 
GZ 


bosoms  and  pearls  and  filled  the  theater 
to  the  last  pew.  Claire  Windsor  was  there 
dressed  in  a  very  stunning  evening  gown. 
Renee  Adoree,  Pauline  Starke  and  Lillian 
Gish  could  be  observed  in  the  crowd  of 
notables.  Lew  Cody  and  Mabel  Normand 
were  prominent  figures  in  the  crowd. 
They  attracted  as  much  attention  as  the 
feature  picture.  It  was  Lew  and  Mabel's 
first  public  appearance  since  their  mar- 
riage. 

The  audience  did  not  become  wildly  en- 
thusiastic about  the  picture.  In  fact,  they 
laughed  at  one  of  the  final  scenes  in  which 
Gilbert  is  pursued  by  an  army  of  villains 
who  are  hell-bent  on  hanging  him.  John 
grabs  a  portiere  from  a  doorway  in  one 
of  the  topmost  turrets  of  the  castle  and 
grasping  the  four  corners  of  the  drapery 
in  one  hand  parachutes  to  the  ground, 
thus  eluding  the  pursuing  hatchet  throw- 
ers and  saving  his  neck  from  the  hang- 
man's noose. 

When  Gilbert  made  his  personal  appear- 
ance on  the  stage  after  the  show,  he  evi- 
dently had  felt  the  reaction  of  the  audience 
regarding  his  trip  from  the  moon  in  a 
portiere. 

"You'll  have  to  admit  I'm  some  para- 
chute dropper,"  he  said.  He  concluded  his 
talk  by  thanking  the  audience,  and  then  he 
disappeared  in  the  wings. 

This  one  high  jump  should  not,  however, 
keep  you  from  witnessing  the  picture, 
which,  as  a  whole,  is  a  very  fine  screen 
play,  and  an  excellent  vehicle  for  Gilbert. 

Tf  Uncle  Toms  and  Little  Evas  are 
so  scarce  I  cannot  understand  how  they 
ever  managed  to  fill  the  casts  of  the  sev- 
eral stage  productions  of  "Uncle  Tom's 
Cabin,"  which  you'll  remember  were  play- 
ing in  every  village,  town  and  hamlet  a 
few  decades  ago. 

At  Universal  City  the  other  day  there 
were  three  hundred  prospective  Little 
Evas,  lined  up  for  tests.  Not  one  got  the 
role.  Paul  Kohner,  the  casting  director, 
said  in  dismay,  "We've  tested  five  hundred 
little  girls  and  not  one  proves  to  be  what 
we  want." 

As  I  remember  Little  Eva,  she  was 
neither  smart  nor  cute.  That  is  the  trouble 
with  the  majority  of  child  players  in 
Hollywood,  they  are  too  smart  and  too 
cute.  Even  their  mothers  will  insist  on 
that. 

"T  have  loved  Greta  Garbo  ever  since  we 
met  at  the  studio,"  said  John  Gilbert. 
"I  am  willing,  but  is  she?" 

"She"  refuses  to  make  a  statement. 
Now,  if  we  can  only  make  Greta  give  in, 
everything  will  be  hotsy  totsy,  and  we  can 
include  them  in  a  picture  layout  of  newly 
married  couples. 

All  a  person  has  to  do  to  tell  if  a 
couple  is  in  love  is  to  watch  them.  I 
have  watched  John  and  Greta,  and  if  I 
could  ever  get  "Bool"  Montana  to  bet 
again  after  the  Dempsey-Tunney  fight,  I 
would  ask  him  to  put  up  two  to  one  that 
the  screen's  greatest  lovers  would  be  en- 
gaged before  another  six  months  had 
elapsed. 

IWIary  Brian  staggered  back  to  Holly- 
*  wood  after  several  months  in  New 
York,  talking  like  an  amnesia  victim. 
Mary  has  been  away  from  the  old  home 
town  so  long  she  has  forgotten  where  she 
lives. 

She  was  met  at  the  station  by  her 
brother,  who  escorted  her  to  a  taxi.     Mary 


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attempted  to  direct  the  taxi  driver  to  her 
home,  but  forgot  where  she  lived.  Just 
before  she  left  for  New  York,  some 
months  ago,  she  purchased  a  new  bunga- 
low, and  when  she  came  back  she  couldn't 
remember  the  number  of  the  house.  Her 
brother  had  to  refresh  her  memory  on  the 
subject. 

That's  what  always  happens  when  you 
send  your  gals  to  the  big  wicked  city. 
They  forget  you. 

J  went  to  the  Lasky  Studio  to  find  out 
who  the  blonde  might  be  that  is  to 
monopolize  fifty  per  cent,  of  Adolphe  Men- 
jou's  attentions  in  his  next  picture,  "Blonde 
or  Brunette."  I  knew  that  Arlette 
Marchal  was  to  be  the  luscious  brunette, 
but  there  was  some  mystery  as  to  who 
the  fair  one  would  be. 

In  the  publicity  department  no  one  knew 
the  answer,  altho  I  had  seen  a  newspaper 
story  to  the  effect  that  Greta  Nissen  was 
to  play  the  role.  They  called  the  casting 
office  and  the  girl  in  that  place  was  sure 
that  "Blonde  or  Brunette,"  was  Thomas 
Meighan's  next  picture.  Finally  Mr. 
Lasky's  personal  secretary  was  questioned, 
and  she  revealed  the  news  that  Greta 
Nisson  is  the  one  who  is  to  do  the  fair- 
haired  role. 

L-Ial  Roach  is  the  latest  producer  that 
has  decided  to  vie  with  the  heavens  in 
the  matter  of  exhibiting  stars.  Roach  has 
signed  Agnes  Ayres  for  a  series  of  two- 
reel  comedies.  Mae  Busch  also  will  lend 
her  talents  to  a  few  of  Roach's  best 
comedies.  Mack  Sennett  has  loaned  his 
principal  beauty,  Madalene  Hurlock,  to 
Roach  for  a  picture. 

Mister  Roach  may  steal  all  the  best- 
looking  gals  from  the  heavy  drama,  but 
none  of  them  will  get  more  applause 
than  the  little  star  he  has  had  under  con- 
tract for  some  time.  Farina  still  continues 
to  be  our  favorite  comedy  star. 

C'lara  Bow's  next  starring  picture  is  to 
*"  be  another  Elinor  Glyn  story  entitled, 
"Red  Head."  If  color  photography  is  used 
on  this  production,  you  will  see  how  closely 
the  star  fits  the  title  role.  A  firing  squad 
could  never  shoot  Clara  against  a  brick 
wall,  because  she  would  be  so  well  camou- 
flaged they  couldn't  draw  a  bead. 

Clara  started  work  last  month  on 
"Wings."  She  made  a  few  scenes  at  San 
Antonio  and  then  returned  to  Hollywood 
to  film  "It."  She  is  going  back  to  Texas 
after  the  completion  of  the  latter  picture 
to  finish  her  work  in  "Wings." 

IWTadam  Glyn  will  play  one  of  the  minor 
roles  in  her  own  screen  story,  "It," 
which  stars  Clara  Bow  and  features  An- 
tonio Moreno.  The  substance  of  the 
Madam's  scene  consists  in  meeting  a  group 
of  people  discussing  the  subject  of  "It." 
She  proceeds  to  give  them  a  definition  of 
the  word,  which  she  has  made  so  popular 
thru  her  writings.  It  will  be  the  Madam's 
first  appearance  on  the  screen,  and  posi- 
tively her  last  definition  of  "It." 

Tt  was  Jack  Holt  who  started  his  career 
in  the  moving  pictures  as  a  double  for  a 
star,  but  now  that  he  has  attained  the  rank 
of  a  star  himself,  you  would  think  that  he 
would  stop  doubling.  But  the  daring  Jack 
still  continues  to  do  his  own  work  without 
substitutes. 

While  making  a  dangerous  ride  along 
the  rim  of  a  canyon  for  a  scene  in  his  last 
picture,  his  horse  fell  in  the  loose  dirt  and 
rolled  into  the  chasm  with  him.  Jack 
escaped  with  minor  injuries.  Immediately 
he  was  warned  that  when  dangerous  stunt 


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Glasses 
'^Nature's  Heauty 


CpT>DAY  is  an  age  of  beauty.  The 
Cf/  modern  woman  no  longer  toler- 
ates conditions  which  detract  from  her 
natural  charm.  To  enhance  her  loveli- 
ness, she  not  only  enlists  the  forces  of 
nature,  but  she  summons  to  her  ser- 
vice the  marvels  of  modern  science. 

She  has  come  to  realize  that  real  beau- 
ty lies  in  natural  eyes.  Nature  intends 
these  wondrous  windows  of  the  soul 
to  radiate  that  natural  beauty. 

Science  has  at  last  learned  the  secret 
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shackles  that  dimmed  the  lustre  of 
so  many  eyes.  This  new  knowledge  of 
the  eye  is  not  only  enabling  thousands 
to  discard  their  glasses,  but  it  is  so  im- 
proving the  lustre,  the  eloquence,  of 
womankind"s  most  ravishing  feature 
that  a  new  age   of  beauty  is  dawning. 

Read  what  Mrs.  Russell  Simpson,  singer  and 
actress  of  note,  and  wife  of  Russell  Simpson, 
prominent  motion  picture  star  has  to  say : 

"I  have  discarded  my  glasses  forever  No  need 
to  say  that  the  improvement  in  my  appearance 
is  such  that  some  of  my  friends  hardly  knew 
Glasses  made  me  look  years  older  than 
(Signed) 
Russell   Simpson 

Dr.  Barrett's  book- 
et  tells   the   bi 
story  of  this  lat- 
est triumph  of 
Science.      It  is 
yours  for  the 
^    asking. 
Your  i 
&.  address 
is  all  that 
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sa  r  y. 


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Address 
City 


Advertising  Section 

stuff  was  to  lie  photographed,  he  was  to 
let  somebody  else  do  it.  That  is  just  about 
as  useless  as  telling  Mussolini  that  he 
hasn't  anything  more  to  say  about  Italy. 

Filvax  Tasii.man,  the  most  preferable 
blonde  in  the  picture  colony,  and  her 
husband,  Edmund  Lowe,  returned  from 
their  sojourn  in  Europe.  Lilyan  sojourned 
and  Edmund  worked. 

Mr.  Lowe  went  to  England  to  appear  in 
"One  Increasing  Purpose,"  and  Lilyan 
went  along  to  investigate  the  clothing  busi- 
ness in  Paris,  while  Edmund  stayed  in 
England.  When  he  had  finished  his  labors 
in  the  English  studio,  Edmund  joined  his 
wife  at  the  French  capital  city. 

Lilyan  says  that  she  was  really  the  one 
who  wanted  to  buy  clothes  in  Paris,  but 
when  Edmund  hit  the  town  he  went  on  a 


shopping  expedition  of  the  exclusive 
haberdashers  that  would  put  any  woman 
to  shame.  She  says  that  the  men  are  just 
as  foolish  as  the  women  when  it  comes  to 
buying  new   wardrobes. 

According  to  Lilyan  there  is  a  reason 
for  all  these  people  swimming  the  English 
Channel.  By  the  time  they  have  visited 
Paris  and  spent  all  their  money,  swimming 
the  Channel  is  about  the  only  way  to  get 
back  to  England.  Eddie  says  he  would 
have  attempted  the  swim  only  he  isn't  a 
baker,  and  it  seems  that  a  baker  has  the 
best  chance  of  getting  across.  The  bakers' 
secret  seems  to  be  this :  They  eat  a  lot 
of  salt-rising  bread  without  putting  any 
salt  in  it.  When  they  get  in  the  ocean 
and  the  salt  water  hits  the  bread,  it  swells 
up  and  they  cant  sink.  Anyway,  that  is 
what   "Lil"   said. 


The  Editor  Gossips 

(Continued  from  page  104) 


formally  moving  from  one  group  to  an- 
other. Dropping  a  bit  of  gossip  here  .  .  . 
a  bright  sally  there. 

She  was  wearing  a  little  dark  blue 
frock,  trimmed  in  red,  which  she  had  made 
herself.  "I  dont  always  make  my  own 
things,"  she  said,  "but  I  make  most  of  the 
dresses  I  wear  every  day.  Catch  me 
spending  all  my  money  on  imported 
models." 

And  sure  enough,  one  of  the  rooms  of 
the  suite  was  occupied  by  an  electric  sew- 
ing machine  and  the  other  paraphernalia 
of  dress-making  .  .  .  lengths  of  soft  blue 
crepe  de  Chine.  Black  satin.  White 
chiffon.  Silk  flowers.  Spools  of  thread, 
etc. 

The  telephones  rang  constantly.  This 
celebrity  and  that  called  up.  Could  Marion 
take  tea  here?  Could  Marion  drop  in 
after  the  theater  that  evening,  others  were 
coming?  Would  Marion  plan  to  take 
luncheon  with  so  and  so  before  she  left? 
And  so  on.  .  .  . 

A  mong  those  who  telephoned  were  Roy 
D'Arcy.  Marion  was  surprised  to 
hear  him  on  the  wire  because  she  had  left 
him  at  work  in  California.  But  his  father- 
in-law  had  died  and  he  had  come  to  New 
York  to  see  about  some"  business  in  con- 
nection with  the  estate. 

He  had  been  over  to  the  magazines  to 
visit  the  editorial  staff  the  day  before.  It 
is  something  of  a  thrilling  visit  for  him, 
inasmuch  as  it  is  his  first  trip  to  New  York 
since  his  screen  success. 

"Strange,"    he    said,    "that    I    should    be 


signed  to  a  contract  now  at  a  large  salary 
.  .  .  interviewed  .  ,  .  that  sort  of  thing.  I 
am  not  nearly  as  good  an  actor  as  I  was 
before  I  left  New  York.  Then  I  sat  in 
the  anterooms  of  managers'  offices  and 
waited.  Today  those  same  managers  meet 
me  on  Broadway  and  come  up  with  en- 
thusiastic smiles  and  oustretched  hands. 
I'm  'Roy,  old  man'  and  'Roy,  eld  friend' 
and  'Roy,  old  pal'  to  them. 

"I  dont  say  the  things  I  think.  There 
would  be  no  use. 

"Once  upon  a  time  I  would  have  taken 
any  part  and  given  my  whole  heart  to  it. 
I  would  have  had  enthusiasm  for  the  thing 
I  was  doing  in  a  measure  which  no  man 
can  offer  after  years  of  struggle. 

"But  I  didn't  get  on  then. 

"Now  I  am  shrewd  and  mercenary  about 
the  things  I  do.  And  I  find  I  succeed 
much  better." 

He  shrugged  his  shoulders  in  a  manner 
familiar  to  anyone  who  has  watched  him 
on  the  screen.  He  smiled  too,  in  his 
cinematic  way.  And  altho  he  knows  that 
he  is  being  harshly  criticised  for  the  fre- 
quence of  this  smile  and  holds  a  high  brief 
for  it,  something  tells  us  that  he  will 
modify   its  appearance   in  the   future. 

If  he  doesn't,  we  wager  that  he  disproves 
that  old  adage  about  "Smile  and  the  world 
smiles  with  you." 


There   Are  Other  Things  You  Can  Do 

— About  your  hair  and  quite  likely  another  variety  of  your  bob 
would  make  a  great  difference  in  your  appearance. 

There  is  a  variety  of  things  you  can  do  with  bobbed  hair  and  one 
of  the  greatest  hairdressers  of  the  movies  goes  into  detail  about  them 
next  month.  This  story,  which  gives  simple  instructions  for  achieving 
any  of  the  different  coiffures  suggested,  will  be  illustrated  with  smart 
chic  drawings. 

Dont  miss  this  story.  You  cannot  tell  what  a  different  part 
may  do  to  your  appearance  and  how  a  change  in  appearance  may 
influence  the  very  course  of  your  life  itself. 


114 


■ . - 1- 1 1 - . - 1 1 1 . - 1 1 f    in   MOTION   PICTURE   MAGAZINE   in   guaranteed. 


Advertising  Section 


«° 


"Shall  I   Go  Into  the 
Movies?" 

(Continued  from  page  72) 

feel  justified  in  telling  you  to  keep  at  it 
and  eventually  you  will  succeed.  You  have 
an  ability  to  write  stories  of  adventure, 
daring,  probably  slightly  humorous  or  at 
least  without  any  very  tragic  import.  It 
is  easier  to  sell  fiction  and  reserve  the 
motion  picture  rights  than  to  sell  scena- 
rios outright.  You  have  a  favorable  year 
in  1927  and  should  strive  to  make  progress. 

Jeanne,    June   5: 

Long  before  you  finish  your  two  years 
at  college  you  will  have  forgotten  all  about 
any  desire  to  take  up  art  work  as  a  serious 
occupation  and  probably  will  know  that 
the  only  connection  you  would  ever  want 
with  the  movies  would  be  to  enjoy  an  eve- 
ning's entertainment  thereby.  You  have 
a  commercial  type  of  mind,  would  do  well 
as  office  executive,  advertising  manager 
or  newspaper  woman.  Dont  limit  your 
activities,  but  go  and  do  wherever  and 
whatever  enters  your  head  for  a  few  years. 
You  will  always  benefit  by  changes,  strange 
experiences  and  general  turmoil. 

R.  P.  L.,  December  20: 

Things  haven't  been  going  so  well  in  the 
past  few  months,  have  the}',  as  you  are 
living  under  a  very  trying  and  delaying 
planetary  force  just  at  present.  You 
probably  wont  accomplish  very  much  for 
another  two  years,  except  by  way  of  prep- 
aration for  later  activity,  much  as  a  sailor 
clears  the  deck  before  he  can  start  his 
voyage.  Your  best  talents  lie  along  dra- 
matic lines,  true  enough,  but  probably  you 
will  live  a  drama  rather  than  act  one.  Be 
sure  that  you  have  a  husband  who  appre- 
ciates a  hectic  life  and  be  very  wary 
about  making  too  early  a  marriage. 

Rosamond  J.,  April   14: 

I  want  you  to  study  medicine,  realizing 
that  this  means  great  self-sacrifice  and 
devotion  to  work  on  your  part  as  well  as 
more  or  less  difficulty  possibly  in  deter- 
mining within  yourself  whether  or  not  this 
is  work  which  you  might  have  attempted 
without  a  guiding  voice  from  the  haze  of 
astrology.  However,  you  have  a  true 
healer's  horoscope,  and  not  only  will  you 
make  a  name  for  yourself  in  such  work, 
but  will  be  supremely  happy  and  useful  to 
the  world.  In  either  physical  training  or 
stage  work  you  would  fail  to  make  use  of 
all  your  God-given  talents,  but  if  you  must 
choose  between  the  two  careers  which  you 
yourself  have  mentioned,  then  take  the 
work  of  athletic  coach  or  physical  trainer. 

W.    T„    February    19: 

So  you  think  this  department  just  an 
"exceedingly  clever  way  of  discouraging 
the  movie-struck,"  do  you?  The  attitude 
I  had  toward  it  myself  was  that  I  was  far 
too  encouraging,  as  most  of  the  people  I 
answer  really  do  have  some  signs  of  talent 
which  could  be  utilized  in  the  films.  So 
far  as  your  own  horoscope  is  concerned, 
you  seem  to  have  decided  mechanical 
ability  which  should  be  cultivated.  There 
is  invention  or  some  distinct  talent  in 
electricity  or  motors.  Keep  away  from 
women ;  they  will  never  do  you  a  bit  of 
good  and  at  some  time  in  your  life  you 
will  lose  a  great  deal  of  faith  in  humanity 
thru  the  deception  or  opposition  of  some 
member  of  the  supposedly  fair  sex. 

P.  R.  T.  J.,  September  22: 

So  much  artistic  feeling,  discrimination 
and  delicacy  shows  in  this  horoscope  that 
I    agree   with   you   that   you   are   scarcely 


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Advertising  Section 

fitted  by  nature  to  study  medicine.  Why 
not  lake  up  designing  when  you  have  fin- 
ished your  college  course?  While  there 
are  opportunities  in  the  motion  picture 
world  for  all  nationalities  and  your  own 
country  will  sooner  or  later  develop  its 
own  distinctive  art  in  this  kind  of  work, 
still  at  present,  even  with  great  ability,,  the 
odds  are  against  your  progress. 

Hugo  P.  H.,  December  23: 

You  have  an  awfully  hard  row  ahead  of 
you,  Hugo,  but  you're  going  to  succeed 
eventually  and  in  some  rather  unusual 
manner.  If  1  were  you,  I  would  get  a  job 
— any  kind  of  a  job — inside  the  four  walls 
of  a  studio,  and  then  trust  to  luck.  Try 
to  overcome  those  peculiar  contradictions 
of  character  which  you  understand  better 
than  anyone  else.  They  will  stand  in  your 
way  thruout  life,  but  can  be  conquered  if 


you  wish.  Also,  dont  fight  with  your  em- 
ployers, because  you  only  lose  out  by 
doing  so.  If  you  will  look  for  something 
important  and  fortunate  around  the  month 
of  April,  1927,  you  will  probably  not  be 
disappointed. 

Alex  R.   T.,   December    13: 

You  have  a  lot  of  ability  for  dramatic 
and  screen  work,  and  it  would  not  surprise 
me  to  read  about  you  in  the  papers  some 
day.  By  no  means  should  you  settle  down 
into  office  work,  as  you  put  it.  You  would 
suffer  in  health  thereby,  to  say  nothing  of 
the  mental  anguish  it  would  give  you. 
Your  success  will  come  in  middle  life  and 
in  a  place  somewhat  distant  from  that  of 
your  birth.  Dont  expect  very  much  during 
the  next  four  years  of  your  life.  You 
had  better  put  in  that  period  in  going  to 
school. 


The  Junior  Answer  Man 

{Continued  from  page  46) 


ELINORE  E.— Yes,  Sue  O'Neil  and 
Sally  O'Neil  are  sisters. 

BEBE. — Richard  Dix  was  born  in  St. 
Paul,  Minnesota,  and  Malcolm  MacGregor 
was  born  in  New  York  City.  His  latest 
picture  is   "It  Must  Be  Love." 

SALLY  S. — You  can  write  to  Eleanor 
Boardman,  William  Haines  and  Carmel 
Myers  at  Metro-Goldwyn  Studios,  Culver 
City,  California.  Bebe  Daniels,  Florence 
A^idor,  Adolphe  Menjou  and  Ricardo 
Cortez  at  Famous  Players  Studios,  1520 
Yine    Street,    Hollywood,    California. 

MILLIE  D—  The  following  are  a  few 
of  the  Fox  stars  :  Buck  Jones,  Tom  Mix, 
George  O'Brien,  Olive  Borden,  Janet 
Gaynor,  Madge  Bellamy,  Edmund  Lowe 
and  Virginia  Valli. 

TRIXY  L.  — Try  writing  to  Mary 
Kornman  at  Hal  Roach  Studios,  Culver 
City,  California.  She  is  a  very  busy  little 
girl,  but  she  may  find  time  to  write  to  you. 


HELEN  Mc. — You  can  secure  a  pic- 
ture of  Rin-Tin-Tin  at  Warner  Bros. 
Studios,  5842  Sunset  Boulevard,  Holly- 
wood,  California. 

RICHARD  H.— You  can  write  to  Tom 
Mix  at  Fox  Studios,  1401  No.  Western 
Avenue,  Hollywood,  California,  and  Col- 
leen Moore  at  First  National  Studios, 
Burbank,  California.  Colleen's  next  pic- 
ture will  be  "Twinkletoes."  She  wears  a 
blonde  wig  in  this  picture. 

PEGGY. — I  cannot  give  you  all  the  ad- 
dresses you  ask  for,  as  that  would  take  up 
too  much  space.  Here  are  a  few  of  them: 
Charles  Chaplin,  1412  La  Brea  Avenue, 
Hollywood,  California.  Constance  Tal- 
madge,  7200  Santa  Monica  Boulevard, 
Hollywood,  California.  Marion  Davies, 
Metro-Goldwyn  Studios,  Culver  City,  Cal- 
ifornia. Mary  Pickford,  Pickford-Fair- 
banks  Studios,  Hollywood,  California. 
Phyllis  Haver,  Metropolitan  Studios,  1040 
La  Palmas  Avenue,  Hollywood,  California. 


How  I    Became  an  Animal  Trainer 


{Continued  from  page  46) 


One  day  the  Man-Who-Makes-Pictures 
called  them  all  together  and  said  there  was 
to  be  a  Person  in  the  cast  called  Jerry 
the  Giant. 

That  made  Brian  very  angry  and  he 
told  the  jackass  it  was  an  outrage,  and 
that  they  should  all  get  together  and  re- 
fuse to  work. 

The  jack,  Pal  says,  is  a  radical,  which 
means  he  objects  to  everything,  so,  of 
course,  he  was  very  glad  to  object  to  this, 
too. 

But  Arabia,  who  has  lots  of  horse  sense, 
said  he  wasn't  going  to  do  anything  reck- 
less until  he  saw  this  Jerry  person.  Pal 
told  them  that,  in  his  long  movie  experi- 
ence, he'd  seen  lots  of  Giants  and  they  all 
had    been    at    least    twelve    feet    tall,    and 


usually  carried  black  snake  whips,  like 
Simon  Legree  in  "Uncle  Tom's   Cabin." 

That  had  them  so  scared  that  Brian 
never  quacked  once  all  the  rest  of  that 
day,  and  the  jack  did  everything  they  asked 
him  to  without  a  single  objection.  . 

Then  the  next  morning  they  saw  me 
coming  out  from  the  studio  with  the  Man- 
Who-Makes-Pictures. 

"Who's  that?"  asked  Brian,  suspiciously, 
and  the  jack  was  right  near  listening  with 
his  ears  laid  back. 

"Why  that,"  said  Pal,  with  a  chuckle, 
"is  Jerry  the  Giant !"  He's  a  smart  dog 
and  he  knew  all  along  that  the  Man-Who- 
Makes-Pictures  also  loves  to  make  jokes, 
and  that  he  had  thought  it  funny  to  call 
me  Jerry  the  Giant,  because  1  am  so  small. 


Felix  Cat  Contest 

(Continued    from    page    47) 


treras,  St.  Joseph's  Academy,  Prescott,  Arizona; 
Shirley  Sanford,  108  Jackson  Street,  Lockport, 
New  York;  Marian  Harris,  153  Brunswick 
Street,  Halifax,  Nova  Scotia;  Frances  Gartley, 
9722     Holmes    Avenue,     I.os    Angeles,     California. 

ISOYS: 

Detweiler,  3  Id  Morton  Avenue,  Rut- 
•  Ige,  Pennsylvania;  Carl  Pratt,  Cloverdale, 
II.    C,    Canada;    Ernest    Miller,    140    N.    Johnston 


Street,  Los  Angeles,  California;  William  T. 
Kondo,  836  W.  Twelfth  Street,  San  Pedro,  Cal- 
ifornia; Sidney  Breen,  5342  St.  Charles  Avenue, 
New  Orleans,  Louisiana;  Leopoldo  Santiago,  Jr., 
Box  103,  Bayamon,  P.  R.;  Mortimer  Leurn, 
2565  Marion  Avenue,  Bronx,  New  York;  Henry 
Sabin,  2857  Clybourn  Avenue,  Chicago,  Illinois; 
Milton  I'ikulin,  638  Wood  Avenue,  Linden, 
New  Jersey;  Walter  Magdziarj,  2126  W.  Eight- 
eenth Place,  Chicago,  Illinois;  Emilio  Lorenzo, 
l-'eo.    V.    Aguilcra,    No.     11,    Havana,    Cuba. 


116 


Every  advertisement  in  motion   PICTDKE   MAGAZINE   is  guaranteed. 


Advertising  Section 

We  Interview  Florence  Vidor 

(Continued  from  page  32) 


(TrMOTIONF'CTURr 

llle)l  I    MAGAZINE      h 


I  had  to  do  something  about  it.  And  I 
told  her  emphatically  that  we  were  very 
far  from  being  rich.  I  asked  her,  if  she 
thought  I  would  go  to  the  studio  every 
day  and  work  hard  all  day  and  sometimes 
part  of  the  night  if  we  were  rich.  I  ex- 
plained to  her  that  we  were  not  poor,  but 
that  money  came  as  the  reward  of  work, 
and  that  was  why  I  worked. 

It  is  tragic  to  watch  people  who  have 
not  learned  to  take  care  of  money.  I  have 
seen  too  many  of  them.  Altho,  I  do  think, 
too,  apropos  of  this  subject,  that  picture 
people  are  learning  to  conserve. 

G.  H. :  If  you  could  have  your  choice  of 
a  career  for  Suzanne,  what  would  it  be? 

Florence  Vidor:  I  think  I  should  like 
her  to  be  a  writer.  It  is  a  more  conserva- 
tive life  and  does  not  depend  so  much  upon 
externals. 

(The  luncheon  is  over.  A  telephone 
rings.  Miss  Vidor  will  be  needed  on  the 
set  in  ten  minutes.  She  excuses  herself 
and  goes  into  the  adjoining  room  to  dress. 
She  is  made  up.  The  conversation  is  now 
carried  on  between  the  two  rooms.  Miss 
Vidor's  maid  assists  her,  not  with  the  con- 
versation.) 

G.  H.  (musingly) :  Do  you  mean  you've 
seen  picture  people  squander  their  money? 

Florence  Vidor:  Many  of  them.  Xot 
so  much  recently,  tho,  as  I  have  said.  I 
think  the  men  and  women  of  the  screen 
have  learned  that  tomorrow  is  uncertain, 
and  that  today  must  be  made  to  serve  that 
uncertainty.  Everywhere  they  are  saving 
.  .  .  investing  wisely  in  bonds  ...  in  mort- 
gages ...  in  real  estate.  .  .  . 

It  is  difficult  to  save.  I  know  that.  The 
best  thing  to  do  is  never  receive  any  more 
than  you  are  budgeting  to  live  on.  That  is  ' 
what  I  do.  I  have  half  of  my  salary  sent 
direct  to  the  bank  every  week.  The  bank 
invests  it  for  me.  You  see,  actually  I  am 
prudent,  cautious.  They  are  unromantic 
qualities,  I  suppose.  They  lack  sparkle. 
But,  I  think  it  is  well  to  have  a  little  of 
the  New  England  in  your  make-up. 

Speaking  of  money  matters,  too,  it  seems 
to  me  a  great  pity  that  the  salaries  of  the 
stars  are  made  public  property,  published 
and  expatiated  on.  It  makes  it  difficult 
for  us.  There  are  all  kinds  of  appeals 
coming  in  to  us,  from  here,  there  and 
everywhere.  Friends.  Very  distant  or 
heretofore  unheard-of  relatives.  Strangers. 
All  of  whom  think  it  miserly  and  un- 
charitable to  refuse  them,  "when  you  are 
making  all  that  money." 

A.  W.  F. :  I've  often  thought  of  that, 
too.  It  isn't  right.  I  dont  see  why  the 
stars  do  not  request  the  companies  to 
withhold  that  information.  It  interests 
me,  too,  about- the  business  element  that  has 
come  into  the  lives  of  picture  people.  It 
interested  me  especially  when  I  was  in 
Hollywood  .  .  .  girls  like  you  and  Corinne 
Griffith  and  Anna  Q.  Nilsson  knowing 
about  business  matters,  managing,  invest- 
ing, conserving.  You  rather  destroy  the 
old  theory  that  an  efficient  and  capable 
woman  must  spurn  a  powder-puff  and 
French    heels. 

Florence  Vidor  (laughing  her  yuiet 
laugh):  I  know.  It  used  to  be  said,  that 
a  woman  not  actually  ugly  and  deformed 
could  not,  or  should  not,  be  able  to  add 
two  and  two. 

G.  H.  (still  musingly):  I  think  lots  of 
things  about  picture  people  have  changed 
.  .  .  they  are  more  conventional  than  they 
used  to  be  .  ...  they  may  have  lost  some  of 
the  Barrymoreish  quality  of  eerie  wildness, 
but  they've  become  more  human  .  .  .  more 
like  people.  .  .  . 


Florence  Vidor  :  That  should  be  so.  I 
believe  in  Convention.  After  all,  without 
the  Conventions,  life  would  become  impos- 
sible; People  are  too  much  like  links  in  a 
chain,  they  are  too  interdependent.  If  no 
one  abided  by  the  rules  of  the  game  made 
by  Society  in  self-defense,  it  would  be  a 
wretched,  harmful  higgledy-piggledy  exis- 
tence. 

There  is  still  a  state  of  rudeness  ex- 
hibited now  and  again  among  the  film  peo- 
ple ..  .  but  they  will  learn  .  .  .  one  of  the 
finest  examples  they  have,  by  the  way,  is 
Daisy  Moreno,  who  takes  an  active,  par- 
ticipating interest  in  every  film  activity 
worth  mentioning. 

(She  stands  in  the  doorzvay  nozu  .  .  . 
ready  to  go  dozvn  to  the  stage  .  .  .  ready 
to  face  the  camera  as  the  Dark  Lady, 
sophisticated,  witty,  sparkling,  romantic  to 
the  nth  degree.  And  to  sec  her  it  is  not 
difficult  to  imagine  her  all  of  these  things 
even  if  she  does  admit  to  a  dash  of  old 
Nezv  England.  She  is  zvcaring  a  gown  of 
gold  mesh  .  .  .  it  follotvs  the  slim  curves 
of  her  slight  body  with  meticulous  fidelity. 
On  her  delicately  turned  arms  arc  many 
sparkling  bracelets.  Her  small  feet  arc 
encased  in  slippers  of  beaten  gold.  A 
lovely  lady,  indeed.) 

Scene   III.— On  the  set. 

A  bedroom  hung  with  powerful  lights 
.  .  .  while  here  and  there  an  electric  cable 
stretches  across  a  priceless  Persian  rug  or 
white  bearskin.  The  dressing-table  hung 
with  mauve  taffeta,  and  covered  with  glass 
is  littered  with  tiny  boxes  of  alabaster  and 
jade  .  .  .  bottles  of  glass  the  color  of  lapis- 
lazuli  .  .  .  lip-sticks  in  cases  of  gold  and 
silver  .  .  .  flagons  of  perfume  .  .  .  toilet 
articles  of  green  enamel  filigreed  in  gold. 
Everywhere  the  astounding  detail  of  pic- 
ture sets  (some  of  'em)  today. 

The  bed  is  a  far  hail  from  the  Puritani- 
cal affair  of  our  forebears.  It  suggests  a 
divan  rather  than  a  bed.  And  it  is  piled 
high  with  coverlets  of  lavender  fleece  .  .  . 
sheets  of  crepe  de  Chine  .  .  .  spreads  of 
mauve  and  fragile  lace  .  .  .  mounds  of  tiny 
cushions  in  miniature  shapes.  .  .  . 

Mal  St.  Clair  (leaning  on  his  cane  in 
ivhat  seems  to  be  his  habitual  directorial 
position):  Ah,  Florence  .  .  .  ready? 

Miss  Hall  and  Miss  Fletcher  will  sit  on 
the  side-line  and  watch  you  flirt  with  your 
first  husband. 

A.  W.  F.  and  G.  H.  (in  the  by-notv 
traditional  unison):  First!  How  many 
does  she  have? 

Florence  Vidor  (gaily):  More  than 
one!  "The  Popular  Sin,"  you  know,  is 
divorce. 

(She  steps  into  the  scene.  The  action 
shows  her  standing  by  her  dressing-table 
with  her  husband  who,  hat  and  gloves  and 
stick  in  hand,  enters  and  continues  along 
what  might  be  called  a  Parisian  effect.) 

Mal  St.  Clair  (still  leaning  on  his  cane 
.  .  .  it  will  save  space  to  note  here  that  he 
is  leaning  on  his  cane  whenever  he  is  men- 
tioned and  all  the  times  he  isn't)  makes  a 
few  suggestions.  The  cameramen  and 
electricians  stand  by. 

The  first  husband  doesn't  do  whatever  it 
is  he  is  doing  quite  as  Mr.  St.  Clair  wishes 
it  done.  He  steps  into  the  scene  and 
demonstrates  the  effect  he  wants  to  get, 
said  demonstration  consisting  of  taking 
Miss  Vidor  into  his  arms,  acting  in  what 
seemed  to  be  a  conciliatory  manner  helped 
out  by  ardor. 

Then : 

Mal  St.  Clair:  All  right,  we'll  take  it. 


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Commissions  paid  in  advance.  Striking 
leather  brief  case  containing  100  larweu 
swatch  samples  furnished  —  other  equally  I 
remarkable  values  at  $29.50  and  $34.53.  i 
We  tr»ln  thr  inc-zpsrienced.  Urn  with  determl-  f 
and  wlllin«ni-m>  to  work    for  nuccea*  writ*  for   this  bi»R 

St.Dept.  A-l  098,  Chiojo  * 

■xsk 


'...,  TViiorml"co..'lS9  W 


! 


ONLY  ONE  TO  A  CUSTOMER 
Jutt  to  introduce  NAOOM A  DIAMONDS 

,','DS  »nd  Judge  for 

..    i  on  every    - 

- 

:  '  .     :      :'■■ 

SI  It  All  Vos  F'.,  ■•!  II  do)  S..i,..i.  .1 

NAGOMA  SPECIALTY  CO.  _„„„„ 

Oeot    B-1  309  SIXTH  AVENUE.  NEWY0HK 


Advertising  Section 

Lights!  Readv,  now  ...  a  little  gav  music 
please  .     .  right  .  .  .  CAMERA.  .  .  . 

(The  scene  progresses  as  it  was  re- 
hearsed. ) 

Mal  St.  Clair:  Fine!     Cut! 

(Florence  Vidor  zvalks  over  to  where  the 
two  interviewers  are  sealed  as  precariously 
as  one  is  always  sealed  upon  a  collapsible 
chair.) 

Florence  Vidor  :  T  can  talk  for  a  minute 
or  so  while  they  take  a  close-up  of  the 
dressing-table,  and  my  first  husband's  re- 
flection in  the  mirror. 

A.  \Y.  !•'. :  Mr.  St.  Clair  doesn't  make 
it  seem  like  work,  somehow,  from  the  lit- 
tle we've  seen  of  his  work. 

Florence  Yidor:  Xo,  he  doesn't.  That 
is  the  secret  and  the  charm  of  his  success, 
I'm  sure.  When  he  tells  me  that  my  work 
in  a  picture  is  finished,  1  always  have  the 
feeling  that  my  part  cant  have  amounted 
to  anything  very  big,  or  important  ...  I 
seem  to  have  done  so  very  little.  We  come 
to  the  studio  .  .  .  we  talk  .  .  .  now,  and 
then  we  take  a  casual  scene  .  .  .  now  and 
then  we  rehearse  ...  in  the  many  apparent 
interims,  it  all  seems  very  sociable  and 
gay.  .  .  .  But,  somehow,  thru  some  magic, 
he  finishes  his  picture  on  schedule  time,  and 
no  member  of  his  company  ever  has  a 
sense  of  having  done  very  much  about  it. 

G.  H. :  What  a  gift !  I  wish  I  could  find 
an  editor  with  the  same  genius.  (Here 
A.  ./'.  F.  averts  her  eyes,  as  zvcll  she 
might).  Then  you  must  like  working  here, 
or  dont  you?  Are  things  very  different 
from  the   Coast? 

Florence  Vidor:  Not  very.  I  think  the 
stage-hands  are  a  little  harder.  They  seem 
so  to  me.  But,  I  dont  mean  that  in  a 
derogatory  sense.  Harder,  without  being 
unkind  or  crude.  And  how  they  know  peo- 
ple!  I  would  be  very  much  worried  if  the 
stage-hands  didn't  like  me.  I  think  their 
opinions  of  the  players  are  more  than 
apt  to  be  correct. 

Mal  St.  Clair:  Will  you  come  on  the 
set  again,  Florence,  please? 

A.  W.  F.  (rising  aristocratically):  We 
must  leave.  It  was  ever  so  nice  seeing  you. 
Perhaps  you'll  have  tea  with  us  before  you 
go  back  to  California? 

G.  H.:  Yes,  please  do.     We'd  love  it. 

Florence  Vidor  :  That  would  be  fun. 
I'll  telephone  you  when  I  have  a  free  after- 
noon. Bertha  will  show  you  the  way  out. 
My  car  is  outside.  Please  let  Haynes  take 
you  wherever  you  are  going. 

G.  H.  and  A.  W.  F.  (again  in  unison  .  .  . 
a  -eery  pleased,  polite  unison  this  time): 
Oh,  thank  you.     Good-bye. 

Scene  IV. — Somewhere  on  Long  Island, 
between  Astoria  and  Kew  Gardens.     This 


time  it  doesn't  matter.  Matters  and  meters 
are  different.  Again  the  interviewers  are 
discovered  within  a  motor  vehicle.  But  it 
might  be  difficult  to  believe  that  there  was 
any  similarity  between  the  coach  in  which 
they  are  now  riding  and  that  in  which  they 
were  to  be  found  at  the  rise  of  the  curtain. 

There  are  jade  fittings.  A  tiny  jade 
clock.  And  the  upholstery  is  pale  gray 
suede.  The  chauffeur  is  smartly  uniformed 
and  it  would  appear  that  the  bumps  in  the 
road  so  evident  on  the  way  over  have 
since  been  ironed  out.  Thus  can  money  re- 
make even  roads. 

A.  W.  F.  (with  the  air  of  one  whose 
every  act  may  be  misconstrued,  but  is 
eventually  proved  to  be  correct):  You 
see,  the  luncheon  wasn't  terrible,  after  all. 
Quite  the  contrary. 

G.  H. :  No  fault  of  yours.  You  nor  I  nor 
anyone  else  has  a  right  to  expect  to  be  so 
perfectly  fed  in  a  studio.  But  you  know, 
I  get  the  impression  that  Florence  Vidor 
would  do  everything  that  way.  The  right 
way.  The  dainty  way.  The  elegant  way. 
The  lovely-lady  way. 

A.  W.  F. :  I  believe  she  would.  Her  ap- 
pointments. Her  gowns.  Her  voice.  Her 
hair  and  nails.  Everything  she  says  .  .  . 
her  poise  .  .  .  very  charming,  dont  vou 
think  ? 

G.  H. :  Very.  Michael  Arlen  might  have 
written  about  her,  except  for  the  fact,  that 
he  paints  in  more  flamboyance  .  .  .  but  you 
know  .  .  .  one  of  these  charming 
people.   .   .   . 

A.  W.  F. :  A  charming  mother,  too. 
You  could  tell.  Intelligent,  balanced,  sane- 
ly affectionate.  Yet  she  has  a  sophisticated 
sparkle,  too.  There  is  something  slightly 
Continental  about  her  in  spite  of  her 
American  background. 

G.  H. :  Yes,  there  is.  It's  probably 
acquired,  but  after  all,  so  is  almost  every- 
thing. I  mean,  we  evolve  .  .  .  some  of  us 
not  so  far  as  others  (this  with  a  pointed 
glance. ) 

A.  W.  F.  (whether  in  an  access  of  affec- 
tion, or  a  delicately  pronged  sarcasm,  it 
would  be  hard  to  say):   Sweet  friend! 

G.  H.  (as  the  car  comes  to  a  stop,  and 
the  interviewers  prepare  to  alight):  Give 
him    (pointing  to  the  chauffeur)    a  dollar. 

A.  W.  F. :  Suppose  you  play  another 
tune,   and  give   it  to  him,  yourself. 

G.  H. :  What  does  it  matter,  who  gives 
it? 

A.  W.  F. :  It- doesn't.  Only,  I'd  rather 
owe  you  fifty  cents,  than  have  you  owe  it 
to  me.  I  dont  believe  in  compound  in- 
terest. 

G.  H. :  Sweet  friend! 

Curtain. 


.razy 

(Continued  from  page  95) 


Quilt 


rupted  her  with  a  slight  manifestation  of 
nervousness. 

"We  know  each  other,''  he  said. 

Judith  realized  that  Mr.  Landis  had 
been  going  to  permit  the  introduction  to 
proceed,  she  sensed  Harvey's  nervousness, 
and  she  paused  to  remember  that  only  a 
few  weeks  ago  Harvey  had  said  that  he 
had  never  met  Landis.  They  had  been 
reading  something  by  him  in  one  of  the 
magazines. 

He  had  just  got  back  from  California 
yesterday. 

"Oh,"  Judith  made  her  voice  quite 
casual.     "You   two  met   last   night.    ..." 

"She  knows  all  about  it,  then,"  thought 
Landis,    and   aloud   he   said  : 

"Yes,  Letty  Larl  introduced  us  at  the 
party." 

Judith    placed    her    hand    on    the    back    of 

id;     herself.      I  larvey    had 


told    her    that    he    had    a   business    engage- 
ment at  the  Lambs  last  night. 

She  heard  the  two  men  talking  thru  a 
dizzy    fog. 

"Is  that  right  about  Letty  Earl  going 
into  the  movies?"  Landis  asked. 

"Dont  think  it  is  settled  yet,"  said  Har- 
vey.    "She   lias  had  an  offer,  I   hear." 

"God  help  the  movies,"  groaned  Landis. 
"We've  too  many  empty  little  faces  clut- 
tering up  the  screen  already.  Tell  her  to 
stay   on  the   revue   stage." 

Then  he  turned  again  to  Judith,  who 
gave  no  outward  sign  of  her  hurt  and 
confusion. 

"Good  luck  with  'Woman,'"  he  said. 
"Mac  tells  me  the  role  was  made  for  you." 
He  laughed.  "But  I  corrected  him  on  that 
score.  1  told  him  you  would  make  the 
role." 

(Continued  on  page  121) 


Every  advertisement   In   MOTION   PICTURE   MAGAZINE   in  guaranteed. 


Advertising  Section 


W 


The  Picture  Parade 

(Continued  from  page   63) 


THE  NERVOUS  WRECK-C^- 

"VY/E  really  should  not  be  sent  to  review 
™  these  screen  screams.  We  simply 
cannot  scream.  And  if  one  cant  scream 
at  a  scream,  there  seems  to  be  nothing  left 
but  sleep.  "The  Nervous  Wreck"  is 
solemnly  embodied  by  Harrison  Ford.  For 
the  first  reel  or  two  we  were  mildly 
amused  and  interested  at  the  spectacle  of 
this  immensely  reserved  young  man  being 
with  conscious  unconsciousness  "funny." 
He  did  it  well,  too.  He  believes  himself 
to  be  a  nervous  wreck,  indeed.  For  him 
Death's  dark  door  yawns  but  three  months 
away  and  he  is  far  more  concerned  with 
pink  pills  for  pale  people  than  for  any  of 
the  other  phenomena  of  living,  including 
Sally  Morgan — at  first.  He  arrives  in 
the  West  as  the  picture  opens  and  there 
•he  meets  Sally  Morgan,  dizzily  portrayed 
by  Phyllis  Haver.  They  have  adventures, 
of  course,  and  in  the  midst  of  them  they 
encounter  Mort,  a  cowboy,  who  is  the 
inimitable  Chester  Conklin.  That  series 
of  episodes  is  good  for  some  laughs  be- 
cause of  Chester  Conklin — Chester,  who 
ought  to  make  any  nervous  wreck  split 
his  sides. 


The  cast  includes :  Harrison  Ford, 
Phyllis  Haver,  Chester  Conklin,  Mack 
Swain,  Hobart  Bosworth,  Paul  Nicholson, 
Vera  Stedman,  Charles  Gerrard  and 
Clarence  Burton. 

It  was  directed  by  Scott  Sidney. — Pro- 
ducers Distributing.  G.  H. 

THE  SENSATION  SEEKERS 

— Drama — 75% 

AFTER  Lois  Weber's  excellent  handling 
*^  of  "The  Marriage  Clause,"  her  new 
picture  is  decidedly  disappointing.  A 
hackneyed  plot  about  a  sensational  small- 
town girl  and  a  young  minister,  unusually 
poor  photography  and  an  abundance  of 
conversational  titles  all  contribute  to  its 
mediocrity. 

Billie  Dove  is  not  in  her  element  as 
the  cocktail  drinking  Egypt,  who  gets 
arrested  in  cafe  raids  and  even  her  great 
beauty  is  lost  in  the  harsh  camera  work. 
Huntly  Gordon  wanders  in  and  out  drunk- 
enly  in  what  is  little  more  than  a  bit  as 
her  dissipated  partner  in  crime,  and  the 
only  interesting  performance  of  the  pic- 
ture is  given  by  Raymond  Bloomer  as  the 
minister.     He   plays   with  dignity   and  re- 


Count  Ilya  Tolstoy,  the  eldest  son  of  the  famous  novelist,  who  is  known 
as  a  great  lecturer,  is  assisting  Edwin  Carewe  in  filming  "Resur- 
rection," his  father's  great  love  story.  .  .  .  Despite  the  fact  that  Count 
Tolstoy  is  on  in  years,  he  continues  to  lead  a  very  active  life  and  to 
enjoy   a   physical   fitness 


Mrs.  Jack  Alden 

was  such  a 

woman 

People  were  jealous  of  her 
invitations.  Her  little  in- 
formal afternoons  were  as 
eagerly  sought  as  big,  formal 
evenings. 

Hers  was  the  secret  of 
entertaining  well — of  saying 
and  doing  and  serving  just 
the  right  thing  always. 

Those  fortunate  women 
who  may  be  called  perfect 
hostesses  are  becoming  more 
and  more  numerous  every 
day.  You  no  longer  find 
them  only  in  the  ranks  of 
wealth — but  every  day  in 
every  society. 

Advertising  keeps  these 
women  ahead  of  the  com- 
monplace. The  advertise- 
ments tell  them  what  rs  new 
— what  is  most  delightful  to 
serve  and  what  to  do.  Above 
all,  the  advertisements  tell 
how  to  accomplish  much  on 
little  money — how  to  buy 
wisely    and    profitably. 

Advertisements  are  a  di- 
rectory of  the  better  things 
in  life.  Read  them  to  know 
where  and  what  to  buy. 


^ 


To   buy   advertised  goods   is 

to    profit    by    the    experience 

of  the  best  informed 


When  you  write  to  advertisers  please  mention  MOTION   PICTURE  IKAGAZINE. 


119 
PA  6 


f 


Transform 
Your  Skin! 

I  have  the  honor  to  present  a  new 
kind  of  cosmetic  .  .  .  an  amazing 
skin  whitener  .  .  .  that  often  brings 
bewildering  beauty  to  an  ordinary 
skin  in  just  3  to  6  days.  It  not  only 
clears  your  skin  of  every  blemish  .  .  . 
it  simply  transforms  your  skin  from 
ordinary  texture  to  smooth,  lumin- 
ous, ivory  whiteness. 

NEW   KIND   OF  LOTION 
Whitens  .  .  Clears  .  .  Smooths 

Some  skins  are  dull,  sallow — some  are  tanned, 
freckled,  reddened — weather  has  roughened  and 
neglect  has  robbed  some  skins  of  freshness  and 
smoothness — rare  indeed  is  the  clear  white  skin! 
But  now  every  woman  who  wants  a  glorious  com- 
plexion can  have  it. 

My  marvelous  discovery  whitens  the  skin  to  almost 
milky-whiteness.  It  smooths  the  skin  to  flawless, 
velvety  texture.  In  3  to  6  days  all  trace  of  freckles, 
tan  and  sallowness  fade  out.  Blackheads  and  im- 
perfections disappear  completely. 
Never  before  have  women  had  such  a  cosmetic.  Never 
before  have  such  amazing  results  bean  possible. 
From  all  over  the  world  comes  praise  of  this  new 
preparation — even,  from  American  and  English 
women  in  China,  India,  Australia.  They  call  it  the 
most  important  beauty  discovery  of  the  age. 

Test  It  .  .  .  Whiten  Your  Neck 

Lotion    Face  Bleach  to  whiten   your  face, 

hands,  or  the  back  of  your  neck,  where  the   skin   is 

ich  darker  than  on  the  face.    Test  it— see 

what  a  striking  improvement  just  three  days  make! 

Large  Bottle  .  .  .  Fully  Guaranteed! 
money.    Simply  mail  the  coupon,  and  when 
the  package  arri\  man  only  JSi.iO  for 

Iarge-siz4    bottle,      Use   this  wonderful 
then  il  you  are  not  more  than  de- 
lighted, I  will  refund  your  money  without  comment. 
pon  now  and  mail  it  today  to  (Mrs.) 
e  Graham,  25   \V.  Illinois  St.,  Chicago. 

GERVAISE  GRAHAM 

Jetton  FACE  BLEACH 


-  li.     On 

tman  only  SI. 50.     If  not  delighted 

lie,  you  will  at  once  refund   my  money. 

<   or  check,  il  you  expect 

0  It  when  the  postman  calls.) 


Advertising  Section 

pression  and  deserves  something  better 
than  the  dramatic  fate  of  reforming 
Egypt. 

Naturally,  as  there  is  a  minister  in  the 
plot,  it  rains  like  merry  old  thunder  for 
the  climax  and  there  we  have — a  bold 
woman,  a  praying  man  —  and  rain,  rain, 
rain ! 

Where  have  you  heard,  that  one  before? 
—  Universal.  D.  M. 

THE  FOURTH  COMMANDMENT 

— RomanticDrama — 70% 

1V/J OTHER  love  runs  rampant  thru  gen- 
*■  eration  after  generation  in  this  sickly 
and  sentimental  epic.  Its  virtues  are  few 
and  among  them  the  performance  of  Belle 
Bennett  unfortunately  cannot  be  numbered. 
It  starts  off  with  an  earthquake,  and  is 
punctuated  by  storms  thruout — both  the 
domestic  and  natural  variety.  And  how 
Belle  Bennett  can  storm !  How  she  can 
pout,  and  fling  herself  petulantly  about! 
She  sticks  close  to  the  pattern  she  set  for 
herself  in  "Stella  Dallas,"  but  somehow 
the  spell  is  broken.  Of  course,  she  hasn't 
much  of  a  story  to  help  her  along.  The 
moral  of  the  tale  is,  DONT  live  with  your 
mother-in-law.  Belle  is  cruelly  jealous  of 
hers.     Only  to  find,  many  years  later,  that 


she  is  hated  with  the  same  intensity  by 
her  son's  wife.  And  there  is  much  despair 
and  suffering.  Along  about  the  ninth  reel 
the  scene  shifted  suddenly  to  Paris,  and  I 
was  afraid  she  might  be  going  to  Fanny 
Ward's  beauty  shop  to  have  her  face  lifted 
and  start  all  over  again.  I  made  a  hasty 
exit.  So  if  you  really  care  how  it  all 
turned  out,  you'll  have  to  go  and  see  for 
yourself. — Universal.  E.  G. 

MICHAEL    STROGOFF-Drarna-80% 

""THE  direction,  acting,  and  locale  of  this 
elaborate  picture  are  Russian,  but  un- 
fortunately it  has  none  of  the  power  and 
simplicity  we  have  come  to  look  for  in 
foreign  productions.  Maybe  that's  be- 
cause the  story  is  by  Jules  Verne.  It  is 
a  rambling  affair,  which  traces  the  journey 
of  a  heroic  officer  of  the  Czar's  army,  who 
is  sent  on  a  mission  requiring  courage  and 
self-sacrifice.  It  is  like  something  Cecil 
De  Mille  might  have  done,  had  he  been 
born  a  Russian.  Its  great  fault  is  that 
story  is  sacrificed  to  spectacle ;  yet  its 
greatest  virtue  is  the  treatment  of  the 
spectacular  scenes.  There  are  some 
glorious,  barbaric  scenes  in  the  Tartar 
camp,  done  in  colors,  and  the  dancing  at 
the  Czar's  ball  is  effectively  handled.     But 


It  began  when  Dick  Barthelmess  selected  Dorothy  Dunbar  for  his 
leading  lady  in  "The  Amateur  Gentleman."  The  F.  B.  O.  company  saw 
her  and  thought  she  looked  as  if  she  possessed  the  stuff  of  which  stars 
are  made    .     .     .    and  now  her  name  is  on  one  of  their  long-term  contracts 


I 


n 


120 

Ci. 


Mm  [ON    PICTURE   MA6A2 


if  you  want  real  drama  that  touches  and 
convinces  you,  dont  look  for  it  here. — 
Universal.  E.  G. 

THE   FIRE   BRIGADE-Drama-75% 

I— Fere's  the  greatest  fire  epic  to  date 
with  the  entire  fire  department  of  a 
large  city  participating  and  co-operating 
and  otherwise  furnishing  the  greatest  in- 
terest and  entertainment  in  the  picture. 
Said  picture  is  a  heavily  hokumized  story 
designed  to  glorify  the  American  Fire- 
man, and  to  show  all  grafters  the  error 
of  their  ways. 

The  Widow  O'Neil,  wife  and  mother  of 
firemen,  sacrifices  two  sons  in  fires  which 
might  have  been  prevented  if  the  building 
laws  of  the  city  had  been  enforced.  But 
graft  rules,  and  the  latest  crime  is  the 
erection  of  an  orphanage  whose  walls  are 
constructed  of  concrete  that  seems  to 
be  about  two  hundred  per  cent.  sand. 


Advertising  Section 

All  the  fire  stuff  is  wonderful.  The 
framework  of  the  picture,  lavish  and 
satisfying — but  it  is  hard  to  believe  the 
story,  where  it  isn't  impossible  it  is  worn 
threadbare  by  use. 

There  is  a  color  sequence  of  a  costume 
ball  that  is  exquisite. 

Thruout  the  picture,  Charlie  Ray  is  good. 
He  does  everything  that  he  ever  has 
done  and  new  stuff  besides.  In  fact,  all 
the  acting  is  good,  and  old  Bert  Woodruff 
as  the  grandfather  who  clings  to  his  steam- 
engine  and  three  white  horses,  and  drives 
them  in  competition  with  the  motor  trucks 
to  the  big  fire,  furnishes  some  delightful 
comedy   and   real   thrills. 

With  all  its  assets  and  with  all  the  time 
and  money  that  evidently  was  spent  on 
it,  it  is  too  bad  "The  Fire  Brigade"  does 
not  hit  on  all  six,  but  it  doesn't.— Metro- 
Goldwyn-Mayer,  D.  B. 


Say  It  With   Letters 

{Continued  from  page  70) 


A  Hint  for  Scenarists 

'"The    movies    are    the    greatest     pastime 
we  ever  had.     They  serve  as  entertain- 
ment and  education. 

There  is  onry  one  kick,  however,  that  I 
can  make.  Why,  when  there  is  trouble 
between  the  hero  and  villain,  does  the 
heroine  always  have  to  promise  to  marry 
the  villain  in  order  to  save  the  hero  from 
death?  Why  not  let  the  heroine  be  more 
peppy  and  form  up  some  idea  to  save  the 
hero,  rather  than  yield  to  the  villain.  I 
am  sure  this  little  incident  is  getting  on 
the   nerves   of  people. 

All  the  players  I  have  seen  are  very 
talented,  especially  Neil  Hamilton,  Rich- 
ard Dix,  Ronald  Colman,  and  Ramon 
Novarro.  There  are  many  others. 
Roughly  guessing,  I  have  seen  from  250 
to  300  different  plays  in  the  last  year  and 
six  months,  and  I  think  that  the  directors 
are  entirely  responsible  for  their  success, 
and  may  there  be  more  rising  success  in 
the   future  and  may  the  movies   live   for- 

C.  J.  S„ 

Monroe,    Michigan. 

Which,   Indeed? 

]V/Tay  I  suggest  my  criticism  of  movies  in 
general?      It    is    best    proved    by    an 
illustration. 

Two  boys  sat  in  a  darkened  movie.  One 
was  watching  the  picture  with  an  intelli- 
gent,  reasoning   glance,   the   other   seemed 


to  hang  onto  each  successive  scene,  eager, 
feverishly  interested.  The  first  was 
amused  by  the  picture  but  did  not  blindly 
idolize  each  successive  panorama.  On 
the  screen  a  common-enough  plot  was  un- 
rolling— the  eternal  triangle,  garnished 
with  the  highly  extravagant,  artificial  life 
of  its  components — an  emotional  film  play- 
ing the  dry  chords  of  passion  in  an  attempt 
to  squeeze  hence  some  momentary  interest. 
This  shallow  philosophy  merely  enter- 
tained the  first  boy,-  but  was  intensely  real 
to  the  latter.  He  sat  engrossed,  thrilling 
to  each  climax,  glorying  in  each  strain  of 
passion. 

The  movie  over,  these  two  lads  went 
their  respective  ways.  The  first  felt  a 
little  wiser,  a  trifle  bored.  The  latter 
swaggered  off,  drunk  with  an  unnatural 
elation,  pulsing  to  the  air  as  it  bit  his 
cheek.  Which  of  these  boys  could  best 
be  trusted  in  a  situation  calling  for 
chivalry  ? 

The  above  story  illustrates  my  criticism. 
The  movie  producer  must  select  pictures 
that  will  not  harm  the  ignorant,  highly 
reactionary  public.  He  must  protect  the 
weak,  for  they  are  the  multitude.  Does  he 
ever  figure  the  effect  of  his  virile,  exotic 
pictures  on  the  starved  imaginations  of 
the  common  man?  A  movie's  effect  on 
the  general  public  must  be  considered  be- 
fore it  may  attain  that  role  of  public  bene- 
factor that  is  its  due  heritage. 

K.  K., 
Biddeford  Pool,   Maine. 


Crazy  Quilt 

(Continued  from  page  118) 


"Damn  his  impertinence,"  said  Harvey, 
almost  as  soon  as  he  had  gone. 

Judith's    mouth    curled    contemptuously. 

"That  is  not  gratitude,  Harvey,"  she 
said.  "Mr.  Landis  planned  to  be  very 
kind  to  you.  He  was  going  to  permit  me 
to   make   the   unnecessary   introduction. 

"Or  perhaps  it  was  me  he  planned  to 
spare.  Maybe  he  understands  that  it  is 
rather  humiliating  to  share  a  husband  with 
a  creature  like  Letty  Earl. 

"I  could  bear  it  better,  I  think,  if  you 
sought  ladies  for  your  extra  marital  af- 
fairs," 

"You  would  jump  to  that  conclusion," 
Harvey    said    sullenly. 


Judith  did  not  answer  him.  She  saw 
that  Robert  Landis  had  paused  at  the  door 
to  talk  with  Mr.  Irving. 

"Where  are  you  going?"  Judith  called 
to  him.     "What  direction?" 

"Down-town,"   he  said. 

"Let  me  take  you,"  she  said.  "My  car 
is  outside.     I  am  going  your  way." 

Was  there  something  prophetic  in 
Judith's  remark  to  Robert  Landis?  Here 
is  a  man  who  is  evidently  on  the  verge 
of  falling  in  love  with  her.  And  she  has 
liked  him  from  the  first  time  she  saw  him. 

Unexpected  and  exciting  things  bring 
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