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Movie Classic 

















Every day in every town the big 
parade marches up and says, "I 
want Beech-Nut." Beech-Nut is 
on the tip of every tongue. It leads 
in flavor, in goodness, in taste. 
Join the procession. March up and 
say, "Beech-Nut please." 







& & 







ally's baby is the cunningest thing in 
town — and ivomen love Sally! She's 
clever and spirited and gay! But — 
there's a "but" about Sally! 

hen the croud wants to dance or play 

contract, they always say, "Let's go 

to Sally's!" But— the "but" about 

Sally often sends her to bed in tears! 


ally's young husband is handsome- — and 
lately he has had "a wandering eye. " 
Tired of Sally ? Never! But — he's noticed. 
For the "but" about Sally is her teeth. 


ally doesn't know that it's "pink tooth 
brush" which has robbed her teeth of 
their brightness, and ruined the charm of 
her smile. Perhaps she'll ask her dentist. 


e'll tell her at once to clean her teeth 
'tvith Ipana — and to massage Ipana 
into her gums. He'll tell her to get rid 
of "pink tooth brush" — to use Ipana. 


t won't be long before Sally's young hus- 
band will find her just as pretty as when 
they were engaged! Sally's teeth will soon 
be brilliant again! 


OUNG mothers have to 
he even more careful 

d/tAtrLcI Y 1^1 U I Crtrtli I5ru^i4l 

about their teeth than other 
girls do. But every girl 
should know that tender gums are 
responsible for the teeth's looking 
dingy and grayish. 

Your dentist will explain this 
to you. 

"Today's soft foods," he will tell 
you, "aren't coarse or cruncby 
enough to exercise vour gums. 

dull your teeth — but en- 
i (\ i / \/\ / f i danger sound teeth." 

Wr\X\t -IriXtsYtC*, Osvud I I LCuXMJUjC ! But he'll tell you how sim- 

I ' pie it is to check "pink tooth 

Lacking stimulation, your gums brush." "i'ou should clean your 
tend to become flabbv and tender. 
Then — vou notice 'pink' on your 
tooth brush." 

"Pink tooth brush." he'll explain, 
"is often the first step toward gum 
troubles as serious as gingivitis and 
Vincent's disease. It may not only 

teeth with Ipana, and massage a 
little extra Ipana into your gums — 
and you'll soon have "pink tooth 
brush" under control. For the zira- 
tol in Ipana aids in firming tender 
gums. Your teeth will soon be 
brilliant again! 





See the Ipana Electrical Man. General Ex- 
hibits Group Building No. 4 — Chicago, June — 
October, 1934. 



A Metro-GoUwyn-Mayep Picture 






• Produced by Hunt StromUt-i-A • 

©C1B 232990 

AUG -8 1934 

VOL. 7, No. 1 

c v' 

Movie Classic 






Lead the Parade 

This month, presenting Ruby 
Keeler and Dick Powell on 
our cover, we are paying 
tribute to the two most 
popular stars on the Warner 
Brothers lot. But more than 
that. We are also paying 
tribute to their smart bosses 
— the Warners, themselves — 
who are celebrating their 
twenty-fifth anniversary in 
films this month. 

Part of their celebration will 
be the release of "Dames," 
co-starring Ruby and Dick. 
You will find a photo- 
graphic preview of it a few 
pages farther on. 


A Tingle Down His Spine Jack Grant 16 

Too Valuable to Star William F. French 23 

How Movie Stars Keep Young Dorothy Spensley 24 

Getting the Lowdown on These New Heroes Winifred Aydelotte 26 

Scoop! Long-Missing Valentino Film Found! Jack Grant 30 

They Write the Songs the Movies Bring You Doron K. Antrim 32 

Why Small-Town Girls Have More Glamour Mark Dowling 36 

Marie Dressier, "Fatally III," Fights to Live Eric L. Ergenbright 40 

Jean Harlow Now Fears "Love Curse" as Paralysis Strikes 

Hal Rosson Dorothy Donneli 41 

Lilian Harvey Postpones Wedding,- Not Marrying 

Willy Fritsch Abroad Jack Smalley 42 

"Ridiculous!" Janet Gaynor Calls Report That She Has a Hidden Child . . Ann Slater 43 

Gilbert's Up Again! . Gladys Hall 50 

What a Blessed-Eventing Star Thinks About Faith Service 54 


Grace Bradley 19 Scenes from "Dames" 34 

Drue Leyton 20 Ben Bernie 38 

Madge Evans 21 Latest News Pictures of the Stars 39 

Marian Nixon 22 As They Are — Off the Screen 44 

Ann Sothern 28 Wallace Beery and Jackie Cooper. . . 48 

Louise Henry 29 Shirley Temple 49 


Intimate Hollywood Gossip Jack Grant 8 

These Movies — Reviews of the Latest Films Larry Reid 46 

Cocktail Recipes of the Stars 58 

Letters from Readers 74 

Speaking of Stars 76 

For Moviegoers to Puzzle Over L. Roy Russell 81 





COROTHY CALHOUN. Hollywood Editor 



Movie Classic is published monthly at 350 E. 22nd St., Chicago, III., by Motion Picture Publications, Inc. Entered as second class matter July 29, 1931 at the Post 
OjSice at Chicago, Illinois, under the Act of March 3, 1879; printed in U. S. A. Executive Offices, Paramount Building, 1501 Broadway, New York City, N. Y. 'Copyright 1934 
by Motion Picture Publications, Inc. Single copy 10c. Subscriptions for U. S., its possessions, and Mexico $1.00 a year, Canada $2.50, Foreign Countries, $2.50. 
European Agents Atlas Publishing Company, 18 Bride Lane, London, E. C. 4- Stanley V. Gibson, President and Publisher, William S. Pettit, Vice President, Robert 

E. Canfield, Secretary-Treasurer. 


■3-Ulg BIGHT JHUm 


fatten w 

It is, so help me, just about the funniest farce 
I have ever seen." — New York American 

■> "The most gloriously cock-eyed farce comedy 
the season is apt to reveal." — New York Post 
"A wild farce . . .a riotous tale . . . they shouted in 
glee at the 46th Street Theatre last night . " — News 

Biggest Broadway Stage Smash in Years! In New York 
alone, "She Loves Me Not" has already played 250 perfor- 
mances, and every one of them capacity. In addition to this, road 
companies have been doing land-office business everywhere. 
You Ain't Heard Nothing Yet! With Bing Crosby singing 
love-duets with Kitty Carlisle — with Miriam Hopkins as Curley 
Flagg — with gorgeous music* by those sensational Paramount 
song -writing teams — Rainger & Robin, and Gordon & Revel — 
we are certain that the picture will be as big a hit as the play. 

; P.S. We predict that "Love in Bloom" will be the song hit of the year! 

if it's a PARAMOUNT PICTURE it's the best show in town! 

— p 

Charles Ray Returns to Films 
-And Lives a Real Life Drama 

And Other Intimate Hollywood Gossip 


Charles Ray doesn't tell Frances Drake any sob-story in "Ladies Should Listen" — in 

which he plays the doorman and she plays the telephone operator. And he isn't telling 

any sob-stories in real life, either. Not Charlie! 

CHARLES RAY has never played a 
role in his long and distinguished 
acting career that held more of a heart- 
throb than a little scene I saw enacted in 
the Paramount publicity office last month. 
Ray had that day called upon his old 
friend, Douglas MacLean, now a Para- 
mount producer, had been offered a job 
in the latter's new picture, "Ladies Should 
Listen," and had accepted it. Now, he 
was entering the publicity department to 
talk to the men who would broadcast the 
news of his return to the screen after six 
years — whose business it was to "pub- 
licize" Charlie Ray, who for so long had 
had no publicity at all. 

He stood silently for a moment in the 
doorway of the department's "bull pen," 
where the clatter of a dozen press-agents' 
typewriters was making a frightful din. 
He seemed confused by the activity or, 
perhaps, he had not as yet regained 
equilibrium after his stroke of sudden 
and unexpected good fortune. Obviously, 


he was unaccustomed to good fortune. 

Hesitantly, he asked, "Is Mr. Miles 
lure 1 I was told to ask for Mr. Johnny 
Miles." He had to repeat the question to 
be heard. 

"I'm Miles," answered one of the 

I he visitor's voice was still meek, half- 
apologetic. "I'm Charlie Ray." 

"I know," said Miles warmly. The 
cordiality of the greeting changed every- 
thing. Ray relaxed. He was among 

He told of having signed for the part of 
the doorman in the MacLean picture — 
not a terribly important role, but a good 
one. "Maybe it will lead to something 
better." Then, slowly, his own story was 

More than two years ago, he had been 
taken ill. The flu. He was very sick and 
his recovery was slow, arduous. Some- 
how, his strength refused to return. "The 
most I could do was to sit up to a type- 

writer." He waved toward the battery of 
machines. "So I wrote a novel." 

What kind of novel? Why, about Hol- 
lywood, of course. But not an expose. Be 
sure to say that it is not bitter. It is just 
about two kids on the outskirts of pic- 
tures. (They would be on the "out- 
skirts!") Rupert Hughes liked the book 
and sent it to his publishers, who liked it, 
too. It will probably be out in the Fall. 

There was a touch of elation in Charlie's 
tone when he told of his novel, an elation 
that quickly vanished as he was pressed 
to talk of the other months of his six-year 
absence. There was a whirl at vaudeville 
— sixty weeks, and that's pretty good. 
But not much else. He has been living 
quietly with his parents during his long 

And one other thing. Please under- 
stand that he did not call upon his friend, 
Doug MacLean, for the purpose of solicit- 
ing work. It was a social call, purely so- 
cial. Even if he was broke, he wasn't 

(Continued on page 10) 

W. C. Fields gave Baby Le Roy this model 

ship — and Le Roy registers his opinion of 

it. Or is he imitating Bing Crosby, about 

to croon in "Sailor, Beware"? 


'Xvelief every woman should,) 


'ne of the most comforting times to 
have Bromo-Seltzer handy is around the 
trying time of the month. Not only is it 
helpful in relieving cramps and pains of 
nerve origin, but it likewise brings addi- 
tional benefits which every woman will 

Thanks to its effervescence, Bromo- 
Seltzer promptly relieves gas on the 
stomach. If your head is dull or achey . . . 
that, too, is quickly relieved. At the 
same time, you are steadied and soothed. 
And your alkaline reserve, so necessary 
for freshness and well-being, is built up 
by the citric salts in Bromo-Seltzer. Be- 
fore you know it, you feel like your usual 
self . . . comfortable and relaxed. 

Only a balanced preparation like Bromo- 

know about 

Seltzer could be so prompt 
and effective. Mere pain- 
killers do not bring the 
same results. Bromo-Seltzer contains 5 
medicinal ingredients carefully com- 
pounded to bring the most effective re- 
sults. Each ingredient has a special 
purpose. Moreover you take it as a liquid 
— hence it works much faster. 

For over 40 years Bromo-Seltzer has 
been a stand-by for headaches, neuralgia, 
and pain of nerve origin. Always pleasant 
. . . ever reliable ... it contains no nar- 
cotics and doesn't upset the stomach. 

It is easy to mix a Bromo-Seltzer 
at home. Keep a bottle in your medi- 
cine cabinet . . . ready to relieve pain 
at a moment's notice. Or get it by the 

dose at soda-fountains. 
There is only one 

"Bromo-Seltzer" so 
look for the full name. Imitations are not 
the same balanced preparation . . . are 
not made under the same careful system 
of laboratory control that safeguards 
Bromo-Seltzer. A product of TheEmerson 
Drug Company, Baltimore, Maryland. 

NOTE: In cases of persistent headaches, where the 
cause might be some organic trouble, you should, of 
course, consult your physician. 




{Continued from page 8) 

"I'm in good shape now and I can take 
care of myself. I know I am going to find 
myself in this coming year. Don't ask 
me how I know. I just do. I have be- 
come a bit of a philosopher, you know. 
My chance will come. 

" I don't know exactly what it will be. 
It may be something entirely new or it 
may be that boy grown up." (The coun- 
try-boy characterization that Charles 
Ray made famous he always refers to as 
"that boy.") "It was 'that boy' that 
made me a philosopher. To some people 
he may have been simply a comic char- 
acter, but to me he was real." 

"What do you want me to tell people 
about you, Charlie?" asked Miles. 
"Shall I say that you are well off and 
merely returning as a lark to please your 
friend, MacLean? Or shall I say . . . ?" 
and Miles glanced down at the holes in 
Ray's shoes, through which inexpensive 
socks could be seen. They told a poig- 
nant enough story in themselves. 

There was no hesitation in Charlie's 
voice now. "Tell them the truth," he 
said. "But don't write sob-stories about 
me. I've had my fun in this business. 
There is no reason to sob over me. And 
besides, these are my comfortable shoes. 
I always wear them for a walk — a long 
walk." Then Charlie Ray winked and 

It wasn't until after he had gone that 
we realized how quiet the "bull pen" had 
become. Not a single typewriter was clat- 
tering, not a man in the room working. 
All had sat absorbed in the real drama 
that had been unfolded before them — too 
absorbed to fabricate pallid substitutes* 
for the real thing. For this, my friends, 
was a tale of Hollywood, the actual, un- 
varnished, unglorified Hollywood. 

Every one of us out here, you see, 

Wide World 

This is something new in portrait sitting, a la Malibu Beach. Left to right, Peggy 

Shannon, Wynne Gibson, Arline Judge and Randolph Scott seat themselves in the 

Pacific Ocean and let the breakers send chills up their backs 

Buck Jones can — but doesn't — boast about 

how long he has been a star. Long enough 

to have his little girl, Maxine, grow up and 

be his constant pal . . . 

remembers the final gesture, the magnifi- 
cent gesture that Charlie Ray made be- 
fore his retirement. He gave a party, 
perhaps the biggest party Hollywood has 
ever had, invited all of Hollywood to be 
his guests — and the next day announced 
himself bankrupt. And for this gesture 
he is an immortal. 

He would not admit failure! 

Other Old-Thners Return 

CHARLIE RAY is not the only star 
of earlier day who is staging a re- 
turn. Jack Mulhall has been seen re- 
cently in several Paramount pictures, as 
have George \\ alsh, William Farnum and 
Helene Chadwick. 

Now comes the announcement that 
Thomas Meighan has been signed for a 
leading role in "Peck's Had Boy," star- 
ring Jackie Cooper. He has come to 
Hollywood from his home in the East. 

George's Lucky Lateness 

GEORGE BRENT had a miraculous 
escape from death because he was 
delayed on a sound stage and couldn't 
keep an appointment. George has been 
taking flying lessons and needs only a few 
more hours in the air to obtain a pilot's 

He had a date with his instructor for 
two o'clock, but was held up a half-hour. 
I he pilot, tired of waiting, took up an- 
other student and the 'plane crashed in 
the Hollywood hills, killing both men. A 
strut broke in flight. 

George will probably continue to be 
late for every appointment. So far as ob- 
servers can see, however, he has no ap- 
pointment for a reconciliation with Ruth 


AN infantile paralysis epidemic has had 
- Hollywood more than a little wor- 
ried for the past month. Children of the 
stars have been rushed out of town and 
no one is holding swimming parties. It 
seems that the germ thrives in still water. 

One film personality, Hal Rosson — 
estranged cameraman-husband of Jean 
Harlow — is known to have contracted the 
dread disease. He is now on the road to 
recovery without serious effects. Myrna 
Loy and Ida Lupino have been ill, but the 
reports that they have been ill with in- 
fantile paralysis remain unconfirmed. 

It was said, when Rosson was first 
taken ill. that his sickness might lead to a 
reconciliation with Jean Harlow. Jean 
refused to make a statement until she 
knew that Hal was out of danger. Then 
she announced that she would proceed 
with her divorce plans. Papers may be 
filed even before you read this. 

You may take it from us that Jean and 
Rosson won't patch it up. 

Requiescat in Pace 

CERVICES for the late Dorothy Dell 
^ were marked by lack of mob demon- 
strations so frequent at movie funerals of 
late. The street crowds in both Holly- 
wood and New Orleans (where she was 
buried) actually behaved with proper 
respect. . . . Ruth Etting, whom Dorothy 
replaced in the "Follies," thereby winning 
her first important recognition, sang at 
the chapel services in Hollywood. As the 
last notes of her song, "The Rosary," died 
away, Ruth fainted. . . . Dorothy's last 
picture, "Shoot the Works" — was also 
the last picture of the late Lew Cody. 


The Baer Market 

HOLLYWOOD cashed in heavily, bet- 
ting on Max Baer to win the world's 
heavyweight championship. Camera money 
was not to be found out here and tho few 
who journeyed East for the fight placed bets 
by the score for their friends. Richard Ei.x: 
was one of the largest winners; \V . S. \ an 
Dyke, director of Baer in '"Prizefighter and 
the Lady," was another. 

Maxie's screen future is still undecided. 
With the current wave of disapproval 
against pictures at its peak, the studios are 
moving carefully. A canvass of women's 
clubs and other reform organizations is being 
conducted to determine if there is any ob- 
jection to the prizefighter star. If there is, 
Baer won't be signed for films. 

A bit silly, but that's the way it is. 

Dis and Dat 

castle in England. It is a tiny, modest 
place with only eighty-two reported bed- 
rooms. . . . John Gilbert has signed a five- 
year contract to star for Columbia. His 
first will be "The Captain Hates the Sea." 
. . . Jean Miiir is still trying for that reputa- 
tion of the frankest girl in Hollywood. 
Gloria Stuart deserves the reputation as she 
isn't trying. . . . Patricia Ellis has gone 
blonde. . . . Carole Lombard and the croon- 
ing Russ Columbo seem really interested. 
. . . Clara Lou Sheridan, one of the few 
survivors of Paramount's "Search for 
Beauty," is begging to do a Western pic- 
ture. It's the first time on record any girl 
has ever wanted to do one. . . . John Boles 
still trembles and is nervous about walking 
through a preview crowd. . . . John Barry- 
more is very ill on his yacht — and Loretta 
Young was finally operated upon for a two- 
and-a-half-year-old ailment. . . . Francis 
Lederer went without food for a full week 
before starting his new picture. He claims 
that the thinner he is, the more romantic. . . . 
Marlene Dietrich being seen about with 
Brian Aherne. . . . Chevalier squiring Norma 
Shearer to a preview. 

Grace Moore Triumphs 


UCH thunderous applause as your cor- 
O respondent has seldom heard in a movie 
theatre climaxed the preview of Grace 
Moore's starring appearance for Columbia, 
"One Night of Love." Applause was fre- 
quent throughout the film, lor Grace sings a 
total of nine operatic arias. But at the 
finale, the "Madame Butterfly" aria, the 
audience went wild, literally cheering. 

So excited and pleased was Grace Moore's 
Continental husband, Yalentin Parera, that 
he publicly kissed Harry Cohn on both 
cheeks. And was the producer's face red! 

Garbo Notes 

WHENEYER they run out of material 
on Garbo, the publicity department 
remembers her 1925 Lincoln, which she still 
drives. You should see the clippings they 
received from the simple expedient of an- 
nouncing that it had a new windshield 

Until the day they started shooting "The 
Painted Veil," Garbo avoided meeting 
Richard Boleslavsky, her director. Once 
she came as near to it as entering the same 
office where he sat in conference. Then, 
seeing him, she ran. Subsequently, he sent 
her a card saying, "Don't run. I'm more 
afraid of you than you are of me." 

While on the subject of Garbo, allow us 
to announce that she has wired the back 
yard of her present home — barbwired it, a la 
No Man's Land. 

I Thought I was Different, 
I know Better now! 

"T^HIS is a hurly burly world — 
-*- rushing around — gulping down 
food — staying up late — no time 
for exercise. 

"So it isn't strange that, like a 
lot of us, I had to take a laxative 
now and then. 

"And when that happened I 
used to go to the medicine cabi- 
net and get the bottle of 'strong 
stuff' I had been using for years. 

"This time the bottle was empty 
— and next to it was a little blue 
box with the word 'Ex-Lax' on it. 
I knew Ex-Lax. It was that little 
chocolate tablet my children 
always take, which I thought is 
good for children only. 

"But it Avas after midnight and 
the stores closed, so I said to 

myself Til try this Ex-Lax tonight 
— maybe it'll work on me, too.' 

"Next morning I learned that 
Ex-Lax was just as effective for 
me as the strong, nasty stuff I had 
been using for years. That a laxa- 
tive didn't have to be unpleasant 
and violent to be effective. 

"So I say to you: If you think 
you are different, try Ex-Lax 
tonight! A box of six tablets is 
only a dime, and I'm sure you'll 
be as pleased with it as I am." 


Ex-Lax has stood the test of time. It 
has been America's favorite laxative 
for 28 years. Look for the genuine 
Ex-Lax-spelled E-X-L-A-X. At all 
drug stores, in 10c and 25c boxes. 

Keep "regular" with 





n ti mate Hollywood Gossi 

Most college pictures are football films. But "Student Tour" is going to be dif-fer-ent. 

It's going to be a (oot-fa.ll film. The coach is Chester Hale, and the co-eds are quick 

about learning their signals and holding that line 

Three Walk-Outs 

T ILIAN HARVEY and Fox have de- 
J— v cided to call it quits. Unable to 
agree upon her next story, they tore up 
Lilian's contract by mutual consent. She 
is now considering other offers, and Pat 
Paterson and Alice Faye are drawing the 
assignments originally intended for Lilian 
at Fox. 

Bette Davis staged a one-girl rebellion 
at Warners and walked out on her assign- 
ment in "The Case of the Howling Dog" 
with Warren William. After her great 
success in "Of Human Bondage," which 
she steals from Leslie Howard, Bette 
thought her role in the detective story 

With only a few more months to go on 
his RKO contract, Joel McCrea refused 
to play a part on loan to another studio 
and was promptly suspended. 

Charles Boyer, hubby of Pat Paterson, 
is said to have bought up his Fox contract, 
rather than play musical comedy roles. 

It isn't such a dull summer, after all. 

Kate Goes Domestic 

a two-year lease on a home in Bel 
Air. That should be answer enough to the 
reports that Hepburn is quitting motion 
pictures. She is scheduled for "The Little 
Minister," "The Forsyte Saga" and 
"Joan of Arc," among other things— and 
may do "Anne of Green Gables" and 
"Tudor Wench" for good measure. 

Marlene Untroubled 

ONE of those little anonymous items 
in which present-day columnists 
delight appeared during the recent Para- 
mount sales convention in Hollywood. 
It read, "What famous Paramount star 
snooted the visiting salesmen yesterday 
on the lot? She apparently thought them 
a party of tourists." 

Reading the item, Joan Marsh fran- 
tically telephoned the publicity depart- 

ment. "I didn't mean to be rude," she 
said. "I was just in a hurry to get to the 
wardrobe department, so I ran right by 
them. Should I have stopped to speak? 
No one called to me." 

Apologies were subsequently received 
from two other baby starlets on the Para- 
mount roster. But none came from 
Marlene Dietrich, to whom the item 
referred. Dietrich refused to meet the 
salesmen informally. She said she planned 
to come to one party given in their honor. 
That was enough, and more, according 
to Marlene. 

Her rumored feud with Josef von 
Sternberg over "Scarlet Empress" is all 
off. Everything is sweetness and light 
again. Marlene is even going to let her 
director take her back to a cinematic 
Russia for her next picture, "Red Pawn." 

6»^. **t ■ 

The Wests Come West 

MAE WEST is holding a family re- 
union. Her father, Jack West, 
ex-prize-fighter, her brother and sister 
have already arrived in Hollywood. Other 
members of the family are on the way. 

Incidentally, Mae was the hit of the 
Paramount convention party at Emanuel 
Cohen's home. She came late, staging an 
impressive entrance, and stole the show. 
Not a salesman in the room had eyes for 
anyone else after Mae arrived. . . . And 
Mae, ever the smart show-woman, had a 
censor on the set of "That St. Louis 
Woman" (formerly "It Ain't No Sin") to 
anticipate complaints. And only a couple 
of scenes had to be "laundered"! 


IN Lee Tracy's new picture, "You Be- 
long to Me," a boy actor named David 
Jack Holt is giving an amazing perform- 
ance. But this same young fellow is also 
causing an amazing lot of trouble, due to 
the fact that every time Director Al 
Werker is ready to take a scene, David 
wants to go some place. 

How would you like to have this for a 
papa? Norma Shearer does, in "The Bar- 
retts of Wimpole Street." Recognize 
Charles Laughton under side whiskers? 

Fredric March, who just adopted a second 

child, has also adopted sideburns. Which 

makes him Charles Laughton's son-in-law 

in "The Barretts of Wimpole Street" 

They are considering changing the 
title to "Little Man, What Again?" 

Do you know what Isabel Jewell's pet 
name for Lee Tracy is? She calls him 
"Angel," not only in private, but in 
public. Strangers seldom know whom she 
means. You have to get used to it. 

Anent Clean Pictures 

/^ENEVIEVE TOBIN, Irene Castle 
^J McLaughlin's candidate for the 
title of "Hollywood's Best-Dressed Wom- 
an," said a mouthful to New York re- 
porters when she landed there after a 
(Continued on page 14) 



GGERS" FOR 1934! 

■ ■ 

VyVUim 1-4 Holed Cyiars Concluding 


And Hundreds of Glorious Busby Berkeley Beauties 

* m 

directed by RAY EN-RIGHT of "20 Million Sweethearts" Fame 


ill I 

Sumptuous Musical Presentations Created and Arranged by BUSBY BERKELEY 

; : ' ; I?;*-..' ■ 

-five tflew C/ong C/ucc&sses by WARREN & DUBM • KAHAL & FAIN • WRUBEL & DDCON I 

0?%*- fir 

It looks like a class picture — and that's just what it is. These are the newest members of the dramatic art class at Fox Studios, who 

get expert coaching. Left to right, front row, they are: Betty Bryson, Julie Cabanne, Richard Brodus, Joan Sheldon, Paul McVey, 

Shirley Aaronson and Phillipa Hilber. Second; row: Carli Taylor, Ardel Unger, Pat Cunning, Mary Blackwood, Ann Nagel, Fred 

Wallace, Blanca Vischer, William Stelling, Florine Dixon, Glenn Gallagher, Ginger Briton, Vincent Carato and Al Gibson 

(Continued from page 12) 
vacation abroad. They asked her to 
comment on the "clean-up" campaign 
directed against Hollywood. She said: 
"I went to England because I'm sick of 
playing a vamp. I'm not a vamp off the 
screen, so I managed to have a good rest. 
If the churches can reform the movies, 
they're doing something that actors and 
actresses have been trying to do. No 
actress wants to play in an indecent pic- 
ture. You may be able to hold out twice 
against such a picture, but usually, owing 
to contracts, you find you're in a picture 
you don't want to play." 

To date, she is the only star who has 
spoken out on the subject for quotation. 
But others have commented . . . 

Samuel Goldwyn announced cancella- 
tion of plans to produce "Barbary Coast" 
as Anna Sten's third American picture. 
He said he didn't want the present agita- 
tion for "so-called clean pictures, designed 
for children," to spoil "a strong, full- 
bodied story." He says it will still be a 
good story a few years from now, and 
he'll wait — rather than "suffer for the 
sins of other producers." 

Cecil B. De Mille, producer and direc- 
tor, denies that movies are any more in- 
decent or immoral than daily newspapers 
and says that both reflect life. He claims 
that the present agitation is making a 
whole great industry suffer for the step- 
ping-out-of-bounds of a few producers. 

Rob Wagner, editor of "Script," 
Beverly Hills' own magazine, and a friend 
of the movie intelligentsia, expresses sym- 
pathy with the movement to rid the 
screen of vulgarity — which isn't art, he 
says. You may be sure that his attitude 

reflects that of many movie higher-ups. 
Westbrook Pegler, syndicated column- 
ist, pokes fun at the rabid demands of 
some reformers — -saying he is trying to 
write a scenario called "The Sweetest 
Story Ever Told," but he has to have 
both a hero and a heroine, and that im- 
mediately brings in the sex element. He 
says that movies and radio are hampered 
to-day, while newspapers aren't, because 
they cringed at the first adverse blows, 
instead of fighting for free speech. 

Who said Ben Turpin was cock-eyed? He 
saw that musicians are in demand. So, for 
his screen return, he's taking up saxo- 
phone playing, two pieces at a time 

Meanwhile, every studio is announcing 
plans for memorable and worthwhile pic- 
tures — most of which, incidentally, were 
being planned before the present agita- 
tion ever started. Such pictures as: 
"Anthony Adverse," "David Copper- 
field," "Pickwick Papers," "Anne of 
(ireen Gables," "The Little Minister," 
" I he Wizard of Oz," "Great Expecta- 
tions," "Green Mansions," "The County 
Chairman," "The Tale of Two Cities," 
"Pride and Prejudice," "Joan of Arc," 
"Richelieu," "Lives of a Bengal Lancer" 
and numerous others. And don't forget 
the start for a cleaner screen that pro- 
ducers had already made with such pic- 
. tures as "Cavalcade," "Little Women," 
" I he House of Rothschild" and "Of Hu- 
man Bondage," among others. 

Dix' Springs a Surprise 

RICHARD DIX had Hollywood 
thinking that he was giving up pic- 
tures for a long holiday — a holiday long 
enough to take a leisurely trip around the 
world, seeing everything worth seeing, 
doing everything worth doing, tasting the 
foods of all nations. And he had hardly 
reached New York when Hollywood 
picked up its morning newspaper to read 
that Rich had married his secretary, 
Virginia Webster. He met her seven 
months ago, when she won over six hun- 
dred applicants for the job, and was 
attracted to her "more than casually" 
because she "took her job so seriously." 
(There's a tip for you girls who want to 
marry your bosses.) Due to the illness of 
his father in California, Rich canceled 
all plans for a world trip and returned 
{Continued on page 78) 


laud cm 


A Tingle Down His Spine 

A True Hollywood Short, Short Story 

By Jack Grant 

THEY were nearing 
the end of the pic- 
ture. Only the spec- 
tacular fighting se- 
quences remained to be filmed 
and more than half of them 
had been taken. One more 
day, the director was sure, 
would see them through. He 
made this observation to the 
leading man. 

"I fear you are being a bit 
optimistic," the actor said. 
"There is a tingle down my 

"And what might that 
mean?" the director inquired. 

"I shall be injured in the 
very next take," was the 
startling announcement. 

The director glanced at the 
face of his leading man. See- 
ing no signs of an intended 
jest, he attempted reassur- 
ances. Jangled nerves, prob- 
ably. Nearly all actors indulge 
in temperament, entertain hal- 
lucinations, toward the end of 
a picture. And this had been 
a particularly exacting, ardu- 
ous picture. "Nonsense, man," 
the director began. "You're 
simply ..." 

"I know what you are about 
to say," the actor interrupted. 

"I'm overwrought. I'm tired and nervous. It so happens that I 
am none of these things. I'm really completely in control of my- 
self. But — there is a tingle down my spine. 

"We have never discussed anything of the sort, you and I, so 
I have no knowledge of your views upon sub-conscious divina- 
tions, omens, or premonitions of disaster. I don't know if you 
believe such things are possible. I haven't an explanation for the 
strange premonitions I have experienced, but 1 have learned to 
heed the warning of a tingling spine. 

"My earliest recollection of the phenomenon dates back to 
the age of eight. I was born and raised in the West Indies, you 
know, where my father headed an English banking house. I 
played with other children from the English settlement and one 
of our favorite games was our own variation of 'cowboy and 

" Upon one particular occasion, I was an ' Indian ' being chased 
by a 'cowboy.' I ran through the woods toward an old fortress 
ruin, the other lad hot in pursuit. Suddenly, I felt a peculiar 
tingling sensation along my spine and stopped dead in my tracks. 
My pursuer, not expecting me to halt, ran into me, upsetting us 
both. As we picked ourselves up, we saw the gateway of the 
fort crash before us. Certainly, had we continued to run, we 
would have been buried under the falling stone walls. 


Illustrated by 

"It was not until some time 
later that I connected a tingle 
down my spine with impending 
danger. The next time it hap- 
pened, I was swimming. I felt 
an odd sensation and, thinking 
it a sign of exhaustion, stopped 
to tread water. At that moment, 
I sighted the dorsal fin of a 
shark, coming right for me. I 
started a race for shore that I 
won by only a tiny margin. 

"Sharks are very common 
in the waters of the West 
Indies and I had a second nar- 
row escape from one. By 
swimming zig-zag, I eluded a 
vicious big fellow. A tingling 
spine warned me that time, too. 
"Many other times, I have 
received this sub -conscious 
warning. Once, while walking 
in the hills at night, I felt im- 
pelled to stop. Lighting a 
match, I saw I was standing 
on the brink of a rocky preci- 
pice. One more step would 
have tumbled me over. . . . 
Another time, I was descending 
a mountainside when my spine 
began tingling. Something told 
me to climb back to the sum- 
mit. I had just started back 
when there was a landslide 
below me. 
"Scores of automobile accidents have been avoided by some 
involuntary action upon my part. I have said that I can't ex- 
plain it, but I have learned to heed the warning of a tingle down 
my spine. And right now I know I will be hurt in the next scene. 
In the leg, I believe." 

Which is exactly what occurred. Henry Wilcoxon, playing 
Marc Antony in C. B. De Mille's "Cleopatra," walked into the 
scene and was carried out on a stretcher. The shot called for a 
duel with swords in which Marc Antony breaks the blade of his 
opponent, whereupon the other warrior hurls the broken sword at 
. I atony's head. Antony protects himself with his shield. 

But in the fury of the fighting, someone slipped and the sword 
was thrown too low. It caught Wilcoxon in the leg. 

It was three weeks before Wilcoxon was in shape for re-takes. 
When they were ready to shoot the fight a second time, someone 
asked kiddingly: "How's the old spine, Henry?" 

"Sorry, I'd like to say 'all right,'" Wilcoxon replied. "But I 
am going to be injured again." 

He was. The thrust from a broadsword laid open the little 
finger of his right hand, a painful cut, clean to the bone. If you 
watch closely, you can see it on the screen. And when you do, 
remember that he had a premonition of the accident. There was 
a tingle down his spine! 

Here's your h - > , _, J 



for th 

e new season 

. .• -fat CAi* 


PAW" J f£*^ 












For real good times . . . real good movies 
. . . just follow this Fox map. Never be- 
fore such a raft of good stories . . . such a 
galaxy of stars. Read these titles through 
again . . . watch out for them at your 
favorite theatre. Every one's a winner.. . 
ss no movie fan wants to miss. 

Kt : 


K^o/zfrasf A 

erare &/* 

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HER life is outdoors . . . the wind . . . the 
sun . . . the blue, murmuring Pacific. 
Yours is confined . . . the home . . . the school 
room . . . the factory ... the office. Her food 
is plain and invigorating. Yours is rich and 
disturbing. Her breath is as sweet as the 
hibiscus in her hair — and she knows it. Yours 
. . . well, you really don't know . . . you 
merely hope. 

Don't offend others! 

Hurry and worry, over-indulgence in eating 
or drinking, little or no exercise, all have a 
bearing on the condition of the breath. Is it 
any wonder that so many Americans have 
halitosis (unpleasant breath)? The insidious 
thing about it is that you yourself never 
know when you are guilty of this offense. But 
you needn't be guilty if you will simply 
rinse the mouth with Listerine, the quick 
deodorant. Listerine combats unhealthy 
mouth conditions and overcomes the odors 
arising from them. Use it morning and night 
and between times before meeting others. It 
makes you acceptable to them. Lambert 
Pharmacal Company, St. Louis, Mo. 

LISTERINE checks halitosis 
(unpleasant breath) 




why not movie starlets? Grace— who looks at times like 
a new Barbara La Marr — is one worth keeping. She is 
in "The Cat's-Paw" and "The Pursuit of Happiness" 


Is There A Hint Of Garbo In Drue Leyton? 

If there is, it's unconscious. This bright-eyed newcomer 

li&'JllHML-akl-lYAK'JI.V l£*[*[^flFfllL*J*I*I*k4WllllL*IL*Jl 

you noticed her in "Change of Heart." Now she's 
the charmer in the case in "Charlie Chan's Courage" 


Madge Evans Isn't Worried By Reformers 

The college boys and the "clean-up" brigade agree on 
one thing — there's nothing wrong with Madge or her 
acting. She's one movie gal they can go for in a big, 
idealistic way — and, moreover, will — in "Paris Interlude" 

; : assi : 




When a picture 
has to be saved, 
directors call on 

Movie Classic 

You'll Read It in 


Too Valuable to Star 

C3 than a year ago, 
Ginger Rogers was 
yearning for a chance to play Joan of Arc, 
and worrying about passing out of pictures, 
along with the vogue for musicals. Last month, 
rated as the most-sought player Hollywood has 
ever known, Ginger Rogers signed a non-starring 
contract — because she is too valuable to star. How 
come? Because, as support to other stars, she can 
be constantly loaned to other studios — and at a 
steadily increasing rental price. 

Within the year Ginger has skyrocketed from the 
status of a "nice kid for color" to rating as the most 
versatile lady of films. To-day, as the best little team- 
mate in captivity, she is considered a picture-saver by 
producers and a picture-stealer by fans. During this 
past year she has proved conclusively that she can 
team up with any star in Hollywood — dancer, crooner, 
wisecracker, romancer, roughneck or comic dumbbell. 
Ginger came to this town, where bluff and front are 
calling cards, wrth the naive notion that true ability was 
its own best advertisement. She agreed with the 
philosopher that it you invented a better mouse-trap 
than anyone else or had a better high kick, the world 
would beat a path to your door. It was a theory that 

By William F. French 

cost Ginger heartache and 
weary waiting, in spite of her 
background of five pictures and success as a musical 
comedy star on Broadway. 

"You'll have to put on an act to attract attention if 
you expect to get anywhere out here," her agent warned 
her. "You'll have to do something to attract attention, 
something to make 'em want you." 

And after making "The Tip Off," the picture for 
which she was brought from the East, Ginger did hit a 
dead calm. She would not haunt the studios — and she 
would not blow her own horn, in a town where horn- 
blowing is the favorite sport. She didn't tell everyone 
how good she was and what she had done — and, to use 
her own expression, "Hollywood apparently didn't know 
I was alive." 

Still Knows Her Old Friends 

GINGER is real, and hates pretense. She is film- 
dom's truly "All-American" miss. She is as na- 
tive as any girl that the plains of Dakota, the hills of 
Virginia or the woods of Oregon can produce. She is the 
same to-day as she was back in Texas when she won the 
Charleston contest that started her on her career. Her 
(Continued on page 72) 


How Movie Stars 
Keep Young 

By Dorothy Spensley 


America's Fountain 
of Youth — the place 
where men and wo- 
men alike have discovered the 
secret of How to Stay Young, 
where the advancing years 
leave no marks on faces or 
forms. Consider, for example, 

the number of years that you have watched 
and admired certain beauties of the screen 
who must be approaching the four-decade mark. To- 
day they still retain the illusion of youth with their 
supple figures, their smooth, crinkleless skins, their 
soft, luxuriant hair. How? The answer is: Hollywood 

"Where does a woman first show her age?" I asked 
Cosmetician Mala Rubinstein, Plastic Surgeon Rea 


Proctor McGee, Corsetiere 
Beverly Bouvet, Scalp Stim- 
ulator Helen Clark and 
Muscle-Builder Pat O'Dea, 
all catering to a Holly- 
wood clientele. 

"In the backs of the 
hands, the throat, and the 
eyes," answered Mile. Rub- 
instein, at the moment hold- 
ing a skin revival in 

"In the axillary muscles," 
said Dr. McGee. "That is, 
the fleshy portion back of the armpits. 
There is no way, other than by surgery, to 
disguise the attacks of old age when it 
strikes there."' 

"The breasts. They sag, and add ten 
or fifteen years to a woman's appearance," 
responded Miss Bouvet. 

"In the hair which gets thin and loses 
its vitality," said Miss Clark. 

"The posture," Pat O'Dea told me. 
"We don't have women members, but I 
know that a bad posture and a prolapsed 
colon will slow down a man at least 
twenty years." 

Very well, the answer is hands, throat, 
eyes, armpits, breasts, hair, posture. And, 
in modern slang, so what. 

Blonde Toby Wing 
and brunette Clara 
out where old age 
first appears and 
rejuvenation be- 
gins. Top left, the 
chin, which 
doubles. Top right, 
gray hair at the 
temples. Above; 
sacs under the 
eyes. Left: the 

back of the neck, 
where fat comes 

The Battle of All Ages 

wood, capital of lov 


TT means that Hollywood, capita 

-*- beauty, is the world's greatest battlefield. Behind 


olinds, ruffled taffeta curtains, in back of 
and white-enamel waiting-rooms, there is 

They've got to ' keep young and beautiful if they want to be stars — and 
here's the way they do it. These secrets have never been told before ! 

going on in Hollywood, constantly, day and night, the 
biggest battle ever waged against advancing age. 

To the average person, a forehead wrinkle causes a 
momentary fret. To the film star, it is a catastrophe. 
"Crow's-feet" about the eyes, "dowager's hump"; fat 
at the back of the neck, sagging muscles, puffed eyelids, 
baldness, fallen bosoms — all spell professional suicide. 
All the artistic training and professional experience 
that have gone to make them world-famous are for 
naught when old age begins its encroachments. 

True, another wrinkle added to beloved May Robson's 
plastic, expressive face is not a blight, but a benediction. 
The same may be said of other character stars, George 
Arliss, Lionel Barrymore, Helen Westley. But the 

beauty kings and queens who have attained popularity 
through appearance, rather than acting ability, what 
happens to them when Mother Nature decides to slow 
down, to stoke the furnaces less plentifully, to lessen 
glandular activity. They are the people who run 
frantically for help. And find it. 

There are reductionists, cosmeticians, scalp treatment 
parlors, beauty studios, corset and brassiere shops, 
plastic surgeons, peopled with earnest, conscientious 
craftsmen, seeking the answer to the world's most 
baffling problem, How to Stay Young. Many of them 
are scientists, who are eagerly watching the progress of 
this battle against the changes that come with the years. 
They are animated by their desire to help the human 
race, and, above all, to prolong the productiveness of 
useful humans — humans whose profession demands 
outward physical perfection. 

Therefore, if the stars have 
penetrated the secrets of re- 
taining youth, why can't we? 
With Hollywood's youthify- 
ing wizards open to interview, 
let us find out some of their 

Save the Surface 

"TF you do not cherish your 
-*- youth enough to protect 
it — it will leave you," Mile. 
Rubinstein quotes Docteur 
Maurice Delort as saying. 
That is also the hit motif of 
Hollywood's rejuvenation can- 
tata. "Save the surface and 
save all," is one theory, and 
the cosmeticians are, na- 
turally, its disciples. They 
specialize in stimulating skin 
circulation, both youthifying 
and beautifying complexion. 
Forty is the danger 
time for women, Mile. 
Rubinstein finds. Skin 
begins to yellow, mus- 
cles sag, eyes lack lus- 
ter, hand skin wrinkles, 
crinkles appear in the 
neck, some women's 
eyelids puff. Then 
is the time for imme- 
diate action. Ten or 
fifteen minutes of intensive beauty attention a day 
should do wonders. An eye lotion, Mile. Rubinstein 
says, is necessary to restore the youthful sparkle to 
tired eyes. 

Herbal compresses can do wonders for those puffy 

lids, though if they are a network of fine wrinkles, a 

nourishing cream is needed. The backs of the hands 

and the throat are other places that need rich, oily 

(Continued on page 64) 

With young Toby Wing playing 
patient, equally young Clara Lou 
Sheridan points out where plastic 
surgery can work miracles. Above 
she indicates where "face lifting" 
is done. Top: She indicates 
where eye lids may be "lifted" 


Getting the Lowdown 
on These New Heroes 

Are Clark Gable's knees knocking together? Is there 
a shake in Bing Crosby's voice? Are these newcomers 
worrying them? Look over the up-and-coming boys, 
read their answers to Movie Classics "personality 
quiz" — and see which answer the maidens' prayers! 

and what they think about. 
Charles Sabin, twenty-five, 
born in New York City, and 
single, was the first victim. 
He answered the questions 
between shots of "By 
Persons Unknown," 
which vou will soon 

This article is a companion piece to the article, 
"These Li'l Girls Know the Answers!" which 
appeared in the March Movie Classic. That 
revealed the answers of seven young and promis- 
ing feminine newcomers to a series of questions 
about their Hollywood hopes and their designs for 
living. This does the same thing for eleven promis- 
ing young men about Hollywood. ~Edi tor. 

EVERY now and then Hollywood is deluged 
with something — gangster cycles, foreign stars, 
trained animals, Garbo echoes, divorce epi- 
' demies. Right now it is deluged with an ex- 
traordinary number of young men who are making 
their screen debuts — personable young men who have 
been recruited from the stage and the 
radio and who are being groomed for 

There are, at Paramount, Joe Morrison 
and Kent Taylor; at Columbia, Charles 
Sabin; at RKO, John Beal; at Uni 
versal, Guy Brooks, Frank Law- 
ton, and Roger Pryor; at M-G-M, 
William Henry and 
Henry Wadsworth; 
at Warners, Philip 
Reed and Donald 
Woods. Movie 
Classic has 


bright young men to a 
questionnaire scrutiny, and 
their canny answers to the 
thirteen questions (see the 
slate) are pretty good in- 
dications of how they live 

see him with 
Shirley Grey and 
Ralph Bellamy. 
He was a trifle 
bewildered, as he 
had been told to 
make his per- 
formance a com- 
bination of William Powell, Richard 
Barthelmess and Robert Montgomery! 
He would marry an actress if he fell 
in love with one, but it wouldn't work, 
he added pessimistically, for the same 
old reasons that have enlivened all the 
recent magazine stories on the subject. 
He isn't sorry he didn't continue in 
college because he never went to any; he would go back 
on the stage or write if his movie career came to an end 
(he has a play in production in New York now); he wants 
character leads with romantic interest because straight 
romantic types don't last; it depends on the woman 
whether or not he is susceptible; he reads sports, the 
columnists and the funnies in the newspapers (so do 
they all); he "tries unsuccessfully" to save most of his 
salary, and is very superstitious about everything. He 
asks others before he makes a decision, but always 
follows his own hunch; his ultimate goal is everything 
connected with the show business, and he likes, better 
than anything else in the world, honesty. 

Sabin has had years of experience all over the world 



7. How old ... where born . . .married or 

2. Would you marry an actress? 

3. Are you sorry you didn't continue in 

4. What preparation for acting have you 

5. What would you do if your movie career 
came to an end? 

6. Do you prefer character or romantic 

7. Are you susceptible to the women you 
play with? 

8. What do you read in the newspapers be- 
sides the movie columns? 

9. What do you do with the money you earn? 

10. Do you ask others before making a de- 

11. Are you superstitious? 

12. What is your ultimate goal? 
13. What do you like better than 

anything else in the world? 


He danced ir 
Paris, was in 
vaudeville in Lon- 
don, and played 
dramas and musical 
comedy in New 
York. He suggests 
utter grace. 

Joe Studied for Priesthood 

OE MORRISON, at Paramount, is the 
boy who introduced "The Last Round- 
Up." It was his high, tenor voice over 
the radio that made this song one of the 
most popular of the year. He smiled 
nervously at every question. He is twenty-four, was 
born in Grand Rapids, Michigan, and is single. "If 
love were there, it would not make much difference if 
my wife were an actress or not," he said. He studied 
for the priesthood, but was advised that he could do 
more good in the world if he used his voice and so films 




were made a career for him 
when a scout heard him sing 
at the Paramount Theatre, 
New York. 

He would return to the 
radio if he quit films; he 
prefers romantic leads, being 
a singer, but adds, wistfully, 
that "it would be great not 
to be classed merely as a 
singer"; has had musical 
comedy and vaudeville ex- 
perience, and says that every- 
one can get a better effect 
on the screen if he is sus- 
ceptible to the women he 
plays with. He buys an- 
nuities with his money; is 
not superstitious; and asks 
others before he makes a 
decision, but sticks close to 
his own hunch. His ultimate 
goal is: to make a success 
of pictures, to settle down, 
and to marry and have a 
home. He likes, better than 
anything else in the world, 
to overcome difficulties, to 
know he has done it all by 
himself, and to accomplish 
what looks impossible. He 
is appearing as the young 
stage-struck college boy who 
follows a theatrical troupe 
around the country in "The 
Old-Fashioned Way," with 
W. C. Fields. Joe has determination and should succeed. 

Kent Can Take Heart-Break 

KENT TAYLOR, twenty-seven, born in Waterloo » 
Iowa, added a little excitement by being married 
and treating me to a glass of sherry. Taylor is a very 
strong person, pleasantly positive and 
and vital. "When I first saw a motion 
picture, years ago, I said to myself, 
'That's what I'm going to do when I 
grow up.' But it was darned hard 
work — I went right up through the 
'extra' ranks, and I suffered every heart- 
break imaginable to get even where 
I am to-day," he said. But he 
smiled when he 
said it. He is 
too intelligent to 
be bitter. 

He would like 
to have finished 
college "to have 
it in the back- 
ground"; he 
would go on the 
stage if his 
movie career 
came to an end; 
he likes to get 
(Continued on 
page 66) 



■ .... ■ ■ : ' .■;' 

Ann Sothern Has 
Some "Tea For Two" 

At least, it looks like iced tea. 
And Ann kinda looks as if she'd 
like to share it with someone — 
carrying a spare straw V all. 
But don't crowd, boys. That 
extra straw is already spoken 
for by Roger Pryor. (The sex- 
ton is getting ready to pull the 
rope on the wedding bells.) 
Something else Ann is happy 
about is her role opposite 
Eddie Cantor in "Kid Millions" 


* < 2k 




rait by Irving Lippm 




V k /- 

Louise Henry-Harlow Rival? 

Or is Marion Davies the one to worry? Any- 
way, this girl is news — news of tomorrow. Her 
real name is Heiman. (Her Dad is a noted 
surgeon.) She got her stage name from her 
mother, once a variety favorite. Louise has 
diplomas from three movie schools — stock 
companies, vaudeville and night-clubs — and 
starts in "Hideout" and "Paris Interlude" 






■«*.-. . + ^ + 4 


By Jack Grant 


Alberto Valen- 
tino (left), seen 
with his son and 
his famous 
brother, Ru- 
dolph, found the 
private film 

SCOOP! Long-Missing 

Valentino Film Found! 

lives again on the 
screen! A film record 
k^of his most inti- 
mate private life has re- 
cently been discovered by 
his brother, Alberto Valen- 
tino, and it is possible 
that the memoirs of the 
movies' greatest lover may 
be released to the pub- 
lic within the next few 

No more startling news 
has come from Hollywood this 
year and it is with pardonable 
pride that MOVIE CLASSIC 
presents this exclusive scoop 
story upon the occasion of the 
commemoration on August 23 
of the eighth anni- 
versary of Rudolph 
Valentino's death. 
How can his memory 
be honored more 
fittingly than by the 
announcement that 
you may see him on 
the screen again ? 

There has never been a film autobiography of a mo- 
tion picture personality before. Can it be that Rudy 
sensed his destiny as an immortal? Could he have felt 
that his admirers would remain faithful all these years? 
Did he recognize the demands of his public to see him 
after death and therefore provided an undying memorial? 
These are questions to which you and I will never know 
the answers. We can only guess. 


Above, as the camera caught Rudolph 
Valentino in a fast boxing workout, 
with Jack Dempsey as referee. Right, 
Rudy with Pola Negri, Mae Murray 
and Prince David M'Divani at the 
M'Divani-Murray wedding. (Acme Phoio.) 

Amateur photography -was one of 
Rudy's hobbies. As a large num- 
ber of stars to-day are devotees 
of the amateur, or 16mm, 
camera, so did he experiment 
with standard-size moving pic- 
tures. In a particularly gay 
mood, it was his pleasure to 
send for a studio cameraman 
to film little impromptu plays 
that he enacted for his own 
and guests' amusement. This 
private film was later screened 
at other parties. In rum- 
maging through some of Rudy's 

MOVIE CLASSIC, on the eighth anniversary of Rudolph Valentino's death, is proud to 
tell of the discovery of his own screen autobiography — the greatest picture he ever 
made. It should be released to the public who have kept him alive in their hearts 


effects, his brother uncovered Right, Natacha Ram- 

reels and reels of it. fc^ ZEfjfc 

tender love for her 
Why Film Wasn't Found 

'HE reason this film was not discovered sooner was 
that the cans containing it were thought to be 
merely discarded screen tests. It must be remembered 
that Alberto saw very little of Rudolph in the latter 
span of his life. The brothers were separated by 
half the world — one being in Hollywood, 
the other in Italy. 

From time to time, there has been 
talk of the long-lost private Valen- 
tino film. Pola Negri once told 
me of it, regretting its loss. 
Now it has been found. 

I have seen several reels in a 
projection room. Even in 
uncut, unchronological form, 
the film is tremendously im- 
pressive. Imagine, if you 
can, a smiling, laughing 
Rudolph Valentino, a care- 
free, vital fellow, a boy at ^M 
play, a tender lover. It is a 
far more re- 
vealing por- 
trait of the 
actual per- 
son than 
was ever 

glimpsed in any studio- 
plotted movie in which 
he appeared. 

There are scenes with 
Pola Negri, several little 
sketches in which Rudy 
is the dashing hero who 
saves her from impending 
danger. These are in 
the nature of burlesques 
and parodies of familiar 
melodramatic situations. 
In one, brother Alberto 
plays a snake-in-the-grass 
stealing the affections of 
luscious Pola, only to be 

discovered in a compromising 
situation by his wife and 
Rudy. His wife takes Alberto 
away by the ear and Rudy 
proceeds to spank Pola. 

There are many informal 
pictures posed in the swim- 
ming pool. Once, Pola is 
seated astride a rubber sea 
horse waving at the camera, 
when Rudy suddenly dives 
to upset her for a ducking. 
Several other times there are 
evidences of his fondness of 
practical joking. 

Home Life Pictured 

WITH Natacha Rambova, 
he is more sedate, the 
nearest approach to a play- 
ful mood being a romp with 
the dogs on the lawn of his 
Whitley Heights home. Jean 
Acker, his first wife, ap- 
pears only once or twice 
and never with Rudy. It 
seems that she was an unwill- 
ing subject for amateur photog- 
raphy, for the few times she 
figures in a scene, she was ap- 
parently caught unawares. 
The identity of some of the other 
ladies who play with Rudy 
in this, his greatest film, may 
never be known, except to 
themselves. Others, of course, 
are well-remembered actresses 
of the day — Agnes Ayres, 
several times Rudy's leading 
lady; Nita Naldi and Alice 
Terry being easily recognizable. 
The wedding ceremony of Mae 
Murray and Prince David M'Di- 
vani consumes nearly a reel. The 
reception held at Valentino's home 
is peopled with famous guests. 

Contrasting with such intimate scenes is the large 
amount of scenic footage taken with Rudy as the camera- 
man. His devotion to beauty and appreciation of it 
could have no more convincing proof than the pictures 
he made of his beloved Italy. He achieved startling 
and breath-takingly lovely views of imposing cathedrals 
and quaint little churches. He realized fully the art of 
the motion picture camera and made use of it with the 
masterful hand of a true artist. 

The camera was an important part of his luggage 
when he made his last trip to his native land. He must 
have spent days in traveling about, photographing things 

that caught his fancy, 
preserving bits of beauty 
in celluloid that he 
might again enjoy them 
upon his return to 
America — and work. 
There are several dozen 
(Continued on page 80) 

Above, a "home" shot 
— showing Rudolph 
Valentino with his two 
hunting dogs on the 
lawn of Falcon Lair 

Left, a fast action shot showing Valen- 
tino in the act of releasing a medicine- 
ball. Keeping himself in prime con- 
dition was very much a part of his life 


from Hollywood in 



They Write the Songs 
the Movies Bring You 

No wonder Hollywood is turning out the tunes of the times 

— the movies have cornered the market on songwriters! 

(P. S. They're a colorful crowd) 

By Doron K. Antrim 

TIN PAN ALLEY is no longer another 
name for Broadway, which also used to 
be called Melody Lane, because of the 
song hits that were born there. The 
song scribes who made that sector world- 
famous simply do not live there any more. 
You'll find them — thanks to those thousand- 

O n piano: 
Mack Gor- 
don. At piano: 
Harry Revel 

Gus Kahn — champ lyricist Ann Ronell — "Who's Afraid — V 

dollar weekly pay-checks — ensconced right along- 
side the movie stars in arty houses on the hills of 
Hollywood or out at the beaches. 

Yes, sir, with ritzy offices, like executives 
although seldom used the song-writers are very 
important people nowadays out on the studio 
lots. Don't they write the nation's songs, which 
the movies bring to you? That tune you're 
humming now maybe it's "Jungle Fever" or 
"May I?" or "Cocktails for Two" got its start 
in the nickers. It's a moot question whether 
songs make the pictures or pictures make the 
songs. Any way you look at it, the movie moguls 
have pretty nearly corralled the available supply 
of high-class song-writing talent and tied it 
up with juicy contracts. 

Recall the dear, dead days of the mute, but 
not inglorious movie when theme songs were 
used ? That was more or less the beginning. 
Then, when the film found its voice, song-writers 
and song-pluggers stampeded to the Coast and 
we had an epidemic of musicals and straight 
pictures in which everyone, from the star on down 
to the stable boy, sang. When there was nothing 
else to fill a gap in a film, a song was stuck in. 

That's all different now. The boys have cut 
their eye-teeth. They know when and how to 
write for pictures. Occasionally, a number like 


"An Old Spinning Wheel" or 'The Last Round-Up" will 
make the grade outside of pictures, but they are getting 
fewer and fewer. Hollywood is now turning out the 
hit tunes. 

They're a colorful lot — The songsmiths. They usually 
work in pairs — when they do work — one writing the 
words, the other the music. Take Harry Warren and 
Al Dubin, who are just about at the top of the heap. In 
ten months they did the music, wholly or 
partially, for "Footlight Parade," "Roman 
Scandals," "Moulin Rouge," "Won- 
der Bar," "20 Million Sweethearts" 
and "Dames," with one or more 
hit songs in each. It's a record 
and the boys had to miss a little 
sleep to make it. You may 
also recall "42nd Street" 
and "Gold Diggers of 1933" 
- — they're doing one for 1935 
— which were also the 
work of these two pace- 
setters. One of the reasons 
for their success is that 


Lew Brown — handy man 

they are old hands 
at the picture game. 
Harry Warren 
took his first job at 
the old Vitagraph 
Studios in Brooklyn, 
New York. When 
two-reelers were in the making, you would find Harry 
caressing a battered old piano and helping the un- 
requited lovers to emote with such tunes as "Hearts 
and Flowers," "The Curse of an Aching Heart," and 
others. Those were the days of Clara Kimball Young, 
Maurice Costello (father of Dolores and Helene), Anita 
Stewart, the late John Bunny, the late Sidney Drew 
and Flora Finch. Any of those former stars would 
throw a few fancy fits if Harry was not at the piano 
to back them up when the going got glubbery. Harry 
never thought to write down some of the tunes he 
knocked out on that wheezy piano until a friend prac- 
tically made him. He has been doing it ever since. 

For years, Al Dubin, the other half of the combine — 
and he's more than half, if you consider poundage has 
coined catchy phrases that have become the vernacular 
of American speech, such as: "Tiptoe Through the 
Tulips," "Painting the Clouds with Sunshine," "Dancing 
with Tears in My Eyes," "Shuffle Off to Buffalo," 
"You're Getting to Be a Habit with Me," "We're in the 
Money," "I'll String Along with You" and "WJ^ Do 
I Dream those Dreams ?" ▼ 

They call Al "the mouse" out on the Warner lot 
because they can never find him when they want him. 
After scouring the place for him one afternoon, they 
located him in a lunch wagon where he had just taken 
on two hamburgers, one bottle of pop, one hamburger 
with egg, another bottle of pop, one hamburger with 

onion, and one ham and egg. At this point he was 
dragged out and asked what they were paying him for. 

The inscription on the door of their department, 
where they are supposed to work, reads "Warren and 
Dubin" — that is, if Warren comes in first. If Dubin 
is the early bird, it reads "Dubin and Warren." Their 
favorite fracas begins something like this: 

"Any nit-wit can write words, but it takes a genius to 
write a melody." 

"So sez you. I can put more meaning 
into one simple word than you can 
in a whole hour of music." 
"Well, say it." "Scram." 

Asked You to 
Love Thy Neighbor 

F you drop into Moe 
Morton's place any time 
from 2 P.M. till dawn, 
you are likely to find 
Mack Gordon, of the team 
of Gordon and Revel, 
doing an imitation of Bing 
Crosby singing, "I'm 
Hummin', I'm Whistlin', 
I'm Singin' ' from "She 
Loves Me Not." The 

best thing that Mack 
does is to clown and he's at 
it all the time, even when he 
writes songs. These tunesters 
lave fashioned the numbers for 
tting Pretty," "Broadway Thru a 
Keyhole" and, more recently, 
"We're Not Dressing," "Shoot 
the Works," "The Old-Fash- 
loned Way," "Here Comes 
the Groom," "She Loves Me 
Not" and "Here Is My Heart," Bing Crosby's next. 
You can thank them for such tunes as "Did You Ever 
See a Dream Walking?" "May I?" "Love Thy Neighbor" 
and "With My Eyes Wide Open, I'm Dreaming." 

Neither of the boys gave song-writing much thought 
until they met in a publisher's office in 1930. Revel 
had just returned from touring Europe as a concert 
pianist, and was looking for a break. After the pub- 
lisher had introduced them, Harry sat down at the 
piano and began fussing with a few tunes running 
through his head. Mack ad-libbed some words. Two 
{Continued on page 70) 

Nacio Herb Brown, music; Arthur Freed, words 

Al Dubin coins phrases: Harry Warner, tunes; both coin money 




Auove, uiie (-IKJI - 
ine plays "soldier," 
while another one 
plays "pirate" — 
to the music 


Glorifying the American 
Chorus Girl 

If chorus girls 
turned' farmer- 
ettes, like Ruth 
Eddings (above), 
men would go 
"back to the land" 

if a chorus girl were 
turned out into, a cold, 
cold world, she'd still keep 
smiling. At least, that's 
the impression that you 
will get in "Dames" (left) 




.nay be beauties to. you, . 
they're "Dames" to show business — 
and the newest big musical film tells 
their story. Which gives Dick Powell 
and Ruby Keeler a new chance to 
be backstage lovers, singing "I Only 
Have Eyes for You"— while Joan 
Blondell is Ruby's show-girl rival 
(top). Three of the girls who stand 
out conspicuously in different numbers 
are Donna La Barr, Gloria Faythe 
and Blanche Mac Don aid '-(right). 

Why Small-Town Girls 
Have More Glamour 

These glamourous gals of the screen — did you ever realize that most of them 
were born in the 'well-known "sticks"? Where do they get their poise? What 
is it that they have, and city charmers don't have? Here are the answersl 

HAVE small-town girls more glamour than 
city girls? The experts of Hollywood, 
who should know about such things, 
are demanding recruits from small 
communities, preferably in rural dis- 
tricts. In the past, most screen begin- 
ners hailed from New York or Paris 
or some other world metropolis, but 
now they're coming from such 
towns as Talledega, Alabama, 
Deer Lodge, Montana, and 
Valley City, North Dakota 
— the birthplaces of Ger- 
trude Michael, Jean 
Parker, and Ann 
Sothern. Apart- 
girls are out, in 
and whole- 
s o m e 
w ho 



Rowland's 'Girl Friend.' Plucker is ordered to pass 
■up city gals and harness only pure-bred cornfeds 
from Doc Tugwell's agricultural domain." (The 
italics are ours.) 

The reason for this wholesale exclusion of 

big-city girls, according to Mr. Ludlow, is: 

"Country girls are fresher. They don't 

live under the strain of city life, and 

their faces show this. In theory, 

^^ their emotions are mpre apt to 

^^^ be untouched; at any rate, 

^L their emotions are less com- 

^^ plicated. And according 

Ml to the standards of the 

W^ present, small-town 

A m B^ £ H ^ S nave better 

^^| Nv figures. They 

^L. may not be 







up on farms 
are in! 

One of the 
questions asked 
about a neophyte 
these days is not "Will 
she photograph," but 
"What is the population of 
her home-town," for under 
the new regime, special favori- 
tism is shown to newcomers from 
villages whose inhabitants number 
three thousand, or less. A sign of the 
times is this quotation from Variety, a 
Hollywood trade paper. 

"Columbia yesterday dispatched Carter 
Ludlow on a forty-eight-state plane jaunt to 
pluck four dozen beauties for a chorus number ir 

\h a ve 
t h e 
curves and 
healthy ap- 
pearance de- 
manded by the 
present vogue in 
beauty." And these 
new fashions in figures 
require a background of 
country living and health. 
Such sweeping generalizations 
may sound a trifle far-fetched, 
but the backers of bucolic talent 
have more than theory on their 
side. Most of the actresses in Hol- 
lywood who specialize in glamourous 
roles, strangely enough, hail from small 
towns or small cities. Just to name a few: 
Carole Lombard (Fort Wayne, Indiana), Verree 
Teasdale (Spokane, Washington), Miriam Hopkins 


(Bainbridge, Georgia), Myrna Loy (Helena, Mon 
tana), Ginger Rogers (Independence, Missouri 
Kay Francis (Oklahoma City, Oklahoma), 
Joan Crawford (San Antonio, Texas), Bette 
Davis (Lowell, Massachusetts), Pat Pat- 
erson (Bradford, England), Lupe 
Velez (San Luis Potosi, Mexico), 
Karen Morley (Ottumwa, Iowa 
Mary Astor (Quincy, Illinois), 
Helen Vinson (Beaumont, 
Texas), Irene Dunne (Lou- 
isville, Kentucky), Rose- 
mary Ames (Evanston, 
Illinois), and Dolores 
Del Rio (Durango 
Mexico) are all 
lassies from 
"the prov- 
who A 
are Am 

lends attraction. On her foreign tours, Europeans 
frequently tell Grace that she "isn't at all like 
an American." They mean it as a com- 
pliment, which she attributes to her 
early years in Jelhco, Tennessee with 
a total population of a few more 
than one thousand souls! 

"I believe small-town people 
have a more human quality, a 
warmth and naturalness 
that those who have al- 
ways lived in cities 
lack," says Miss 
Moore. "This prob- 
ably comes from 
close contact 
with neigh- 
b o r s - 
t h ei r 

in H oil y- 

Greta Garbo 
comes from a little 
town near Stock- 
holm, Sweden; Kath- 
arine Hepburn, of Hart- 
ford, Connecticut, used to 
spend every summer at a 
small resort; Margaret Sulla- 
van, the screen's newest sensa 
tion (who hails from Norfolk), went 
to school in a small town in Virginia, 
and imbibed that small-town atmosphere. 
More than eighty per cent of screen players, 
male and female, were either born or brought 
up in small tozvns and small cities. 

You might not be surprised to know that Mary 
Brian is a native of Corsicana, Texas; that Joan 
Marsh was born in Porterville, California; that little 
Helen Mack hails from Rock Island, Illinois; that 
Dorothy Granger is from New London, Ohio; or that 
Rochelle Hudson was born in Claremore, Oklahoma 
(Will Rogers' home-town). But what about Glenda 
Farrell (Enid, Oklahoma), Fay Wray (Wrayland, 
Canada), Margaret Lindsay (Dubuque, Iowa), 
Esther Ralston (Bar Harbor, Maine), Marian 
Nixon (Superior, Wisconsin), and one of 
Hollywood's most sophisticated women, Hedda 
Hopper, who came from Hollidaysburg, Pennsyl- 
vania. The late Lilyan Tashman, one of the 
ultra sophisticates of the screen, came from Brooklyn, 
New York. 

This is certainly proof that small-town girls have 
Grace Moore, the world 
famous opera star, who 
has just made a tremen- 
dous hit in the picture, 
"One Night of Love," has 
further evidence that be- 
ing brought up in a village 




These have "homegrown glamour." Above: Rochelle Hud- 
son — Claremore, Okla.; Fay Wray — Wrayland, Canada; Jean 
Parker — Deer Lodge, Mont.; Miriam Hopkins — Bainbridge, 
Ga. Opposite: Glenda Farrell — Enid, Okla.; Mary Brian — 
Corsicana, Texas; Ginger Rogers — Independence, Mo.; and 
Toby Wing — Richmond, Va. The town should take a bow! 

s o r - 
rows. In 
arge cities 
one never 
knows the people 
living next door 
and nothing is 
thought of it. So city 
people seldom have op- 
portunities to cultivate sym- 
pathy and understanding that 
small-town people enjoy. 
"If I ever have a child," she adds, 
"I'll insist on bringing her up in a 
ittle town. A child should be un- 
hampered by too many reserves. Also, a 
child should know how to enjoy the 
out-of-doors. Such a life lends a charm to 
girls and women, especially. And, after all, 
charm is more to be desired than any other quality!" 
And to think that all these years city folk have been 
calling you charming people hicks!" 
Ginger Rogers, who grew up in the not-so-large city of 
Fort Worth, Texas, feels pretty embarrassed in explain- 
ing why she and most of her contemporaries have that 
quality the screen demands, but she admits that 
she probably would never have reached her 
present, position in Hollywood except for 
her background. 

"I've seen hundreds of girls in big cities, 
just as attractive and as good dancers as I 
am, totally submerged by their surroundings. 
They are not such "good mixers" as the small- 
town girl is — are not used to meeting all sorts of 
people. They're just part of the crowd, and they 
have no particular incentive to try to make more of 

themselves. With small- 
town girls it's different. 
They take a part in the 
community life — enter 
into all village activities. 
I won a Charleston con- 
test in Fort Worth, for 
(Continued on page 68) 




Does Bernie Hear 
Applause? Yowzahi 

As the Old Maestro of radio, 
Ben is "the mosta of the besta" 
— what with his sly puns, his 
slang-coining, his smooth or- 
chestrations, his bathroom bari- 
tone, and his kidding of him- 
self "and all the lads." And 
as a movie actor (he grits his 
teeth), he hopes you'll like him. 
The returns aren't all in yet, 
but with 359 precincts report- 
ing, he looks like a win-nah. 
Anyway, he'll be back in the Fall, 
to make "One-Night Stand" 
with Jack Oakie. He likes Jack 
the way he likes Walter Wincheil 




The Newsree l of the Newsstands 

It's hot weather for "dressing up," but Stuart 
Erwin and his wife, June Collyer, and Arline 
Judge and her husband, Director Wesley 
Ruggles (right), are willing Martyrs — to at- 
tend a charity ball with other film celebrities. 
The ball, sponsored by Marion Davies, was for 
the benefit of the Children's Clinic 

Maybe it doesn't seem possible that "The 
Kid" can be grown up — but here's evi- 
dence to prove it. Jackie Coogan, who is 
just a college boy home on vacation these 
days, is sipping sodas with Toby Wing. 
The columnists, rubbing their eyes, are 
starting romance rumors 

Seven months ago, Richard Dix got a 
new secretary. Now, the new secre- 
tary — Virginia Webster — is his new 
bride. Here they are, on the S. S. 
Santa Lucia on their New York-to- 
Hollywood honeymoon trip 

Laura La Plante has a new husband — 
Irving Asher, London film executive 
(left,) whom she recently wed in 
Paris, two months after her divorce 
from director William Seiter. They 
will live abroad 



C. S. Bull 

Even when the portrait above was made, 
Marie Dressier was seriously ill — but tell- 
ing no one. Right, in the garden of her 
Beverly Hills home, bought with money 
she earned in her great "comeback" 

IN a secluded mansion in peaceful Santa 
Barbara, Marie Dressier is waging, as 
this is written, the most desperate battle 
of her strife-torn career. Her adversary is 
illness; her principal weapon of defense is hei 
own indomitable courage and her stubborn 
will to carry on. The issue is not decided 
yet — but it may be that Marie will never 
make "Living in a Big Way" or "Tish." 

The world first learned of the seriousness 
of her illness when her doctor reported that 
she had lapsed into a coma and that the 
end was "only a matter of hours." Two 
days later, she regained consciousness, 
seemed a little stronger. She could smile 
weakly and converse in a half-whisper with 
the devoted friends — Allen Breed Walker, 
resort owner, and his wife — who have been 
caring for her; for brief intervals she could 
listen to some of the messages sent to 
cheer her, from rich and poor, from friends 
and strangers; she was able to ask that her 
nurses be paid each week in advance (always 
thinking of someone else); from her bed, 
she could look out across a pond of water 
lilies to the hazy horizon of the Pacific. 
Daily bulletins in the newspaper have re- 
ported "brief rallies," and "an almost im- 
perceptible slipping." 

Grand old trouper that she is, Marie 
Dressier taxed her strength too heavily 
and too long in order that "the show might 
go on." She would not admit her suffering. 
Day after day, she fought off her growing 
weakness and forced herself to go to the 
studio, to do her job. If anyone told her 
that she looked rired, she answered with 

Coma — Doctor Reports End is 
Matter ot Hours," But She 

By Eric L. Ergenbright 

Marie Dressler 

"Fatally III/' 
Fights to Live 

"Grand Old Lady of the Screen," Who Hid 
Desperate Illness for Months, Lapses into 

'Only a 



humor and her Falstaffian laugh. Marie did 
not want anyore to guess that she was 
seriously ill, for her whole life revolved 
around her work and she could not tolerate 
the prospect jf being "taken out of the 

game." She said to me once, "The one 
prayer of an actress is to die with her 
grease-paint on." 

But between pictures — that was a year 
ago last Winter — she announced that she 
would take a vacation. "I need a little 
rest," she said, "and I want to visit friends 
in the East." 

In reality, she went directly to a famous 
hospital and there submitted to a major 
operation. She knew, when she went under 
the knife, that her recovery was a desperate 
gamble — but still she kept her secret. The 
operation was successful, but specialists 
told her that at least three years must pass 
before they could guarantee her complete 
recovery. If in those three years, she 
suffered a relapse . . . they shook their heads 
gravely and urged the absolute necessity of 
rest and quiet. Rest for a trouper who had 
spent a lifetime in the hustle and pan- 
demonium of show business? Ridiculous! 
Marie rushed back to Holly- 
wood before it was advisable 
for her to travel. No one there, 
except her devoted servants, 
Mamie and Jerry, knew of her 
operation, and she battered down 
their worry with a barrage of 
drolleries about her condition. 
Again she plunged into her work, 
again she tried to play her life- 
long r61e of fairy godmother to 
everyone who sought her help — 
and again she overtaxed her 
strength and fatigue took its toll. 
During the production of "Her 
Sweetheart, Christopher Bean," 
her agony became intolerable. 
She fought to conceal it — and that 
time she failed. On the set, time 
mSp r after time, she nearly fainted ar 
the conclusion of a trying scene. 
Foolhardy to jeopardize her 
i^ life by sucb stubbornness? Per- 

haps — but, remember, Marie 
^" Dressier has been a fighter, first, 

last and always. Her life has 
centered in her work, for she 
lost, years ago, her last family tie. 
To quit and admit defeat, even 
to a severe illness, would have 
seemed to her like the beginning 
of the end. And she has not 
admitted defeat. Even when she sank into 
unconsciousness, her strong heart, which 
first started beating on November 9, 1871, 
in the little Canadian town of Co burg, 
refused to give up. 


The Newsreel of the Newsstands 

Jean Harlow Now Fears "Love Curse 
As Paralysis Strikes Hal Rosson 


Platinum Blonde Oppressed by Fate That Seems to Shadow Her Marriages 
and Men Who Marry Her — III Cameraman, Her Third Husband, Is Now 

on Road to Complete Recovery 

By Dorothy Donnell 

McGrew, II 

A FRIEND, meeting Jean Harlow at 
the studio, noticed that she had been 
crying. Why? Jean's voice shook as she 
asked, "Have you heard about Hal? Isn't it 
awful?" Her estranged husband, camera- 
man Harold Rosson, had just been quaran- 
tined with infantile paralysis — first victim 
in the movie colony of the epidemic sweep- 
ing through Los Angeles. Report had it 
that he was very low. 

Jean's voice sank to the depths of trag- 
edy. "Do you know," she said bitterly, "I 
sometimes wonder if I haven't a curse on 
me that touches 
all the men who 
fall in love with 

A month be- 
fore Jean had 
said to a writer 
who was inter- 
viewing her on 
the subject of 
her separation 
from Rosson, 
her third hus- 
band, "Maybe I 
am one of those 
people just not 
meant for mar- 

The whole 
world knows of the trag- 
edy that ended her sec- 
ond marriage, when Paul 
Bern's body was dis- 
covered on their honey- 
moon a few weeks after 
their wedding, with a 
note that indicated that 
he had committed sui- 
cide. The note ended, 
simply, "I love you." 

It was the popular 
producer's very love for his beautiful, 
platinum-haired young wile that de- 
cided him to take his own life, accord- 
ing to the incoherent words he penned 
before his death, "and so undo the 
wrong I did you." Blameless as 
Jean Harlow was of the unhappi- 
ness that drove him to his death, it 
seems likely that if Paul Bern had 
never met her, he might still be liv- 
ing to-day. This feeling, rumor says, 
is at the bottom of the strained re- 
lationship between Jean and Joan 
Crawford, who fairly worshiped Bern, 
because of his advice in guiding her 

Jean Harlow's first husband, 
wealthy Charles McGrew, II, whom 
she married at sixteen and divorced 
in 1931, has had his troubles, too, 

although tragedy has not 
touched him. His second 
marriage came to an end 
several months ago. 

And now Hal Rosson, to 
whom she had been mar- 
ried only eight months 
when they parted, was 
suffering from one of the 
most mysterious and most 
dreaded of diseases. He 
has since passed the crisis, 
and doctors predict that he 
will not suffer any per- 
manent after-effects of the 
disease, which struck him 
in the shoulders and arms. 
Jean constantly kept in 

Jean Harlow's marriage to Charles McGrew 
II, ended unhappily. Her marriage to 
Paul Bern (above) ended in tragedy. Jean 
and Hal Rosson (left) separated — and his 
illness soon followed 

touch with his doctors — and there were 
premature rumors of a reconciliation, 
based on her very apparent worry. 
When this befell Hal Rosson, is it any 
wonder that Jean — who has found only 
unhappiness in love and has seen un- 
happiness overtake the three men she 
has married — wondered bitterly if some 
malign fate hangs over her and the men 
who love her? 

Gratitude is the strongest trait in 
this girl. What first drew her to listen 
to the love that Paul Bern, himself, 
believed hopeless was gratitude because 
of his part in her success. It was grat- 
itude again that formed the first bond 
between her and the little camera 
genius who had made her not merely a 
pretty girl, but a great beauty on the 
screen — and had, moreover, been her 
most understanding friend after the 
Bern tragedy. 

Apparently, however, her fears that 
she may be an unwilling femme fatale: 
are not shared by her admirers. William 
Powell has recently been Jean's frequent 
dinner escort. Max Baer, new heavy- 
weight champion, is quoted as saying 
that Jean Harlow was one of his principal 
interests in life. And Michael Farmer 
is quoted as saying to reporters in Paris 
that if Gloria Swanson divorced him, he 
would like to marry Jean Harlow. 



Lilian Harvey Postpones Wedding,- 
Not Marrying Willy Fritsch Abroad 

After Parting with Studio, Foreign Star Fails to Return to Germany (and 
Willy), As Planned — She is Staying on in Hollywood, and Wants Him 

to Try American Films 

Hun Jones 

A few months 
ago, Lilian Har- 
vey was telling 
of plans to 
marry Willy 
Fritsch as soon 
as she could get 
to Berlin. Now 
free to go, she's 
staying — and 
has other plans! 

By Jack Sm alley 

LILIAN HARVEY has talked by trans- 
J atlantic telephone with her fiance, 
Willy Fritsch, and hopes to persuade him 
to come to Hollywood next January, when 
his contract with UFA expires, to co-star 
with her in an American picture. Con- 
trary to published reports, she is not say- 
ing farewell to Hollywood until she has 
made at least one more picture. These 

given exclusively 
to Movie Clas- 
sic, came when 
it was generally 
conceded that 
Miss Harvey ter- 
minated her con- 
tract with Fox 
with the intention 
of returning to 
Germany to 
marry Herr 
Fritsch, her for- 
mer co-star in 
German pictures. 
Only recently, 
Lilian gave an in- 
terview in which 
she said, "Holly- 
wood has broken 
my heart," and made no 
secret of the fact that she has 
been unhappy in the film 
capital, not only because of 
her pictures, but because of 
her loneliness. On her finger 
was a wedding ring. "Willy 
gave it to me," she admitted. 
"No, we're not married, but 
we will be when I can get 
away for a visit to Berlin." 

Meanwhile, this reporter has 
discovered a possible explana- 
tion for the silent feud be- 
tween Lilian and Marlene 
Dietrich, who have many 
mutual friends in the German 
colony in Hollywood, but 
have studiously avoided each 
other. The German protegee 
of Josef von Sternberg cor- 
responds with Fritsch; they 
exchange letters and photo- 
graphs by registered 
mail. Before her 

marriage to Rudolf 
Sieber, it is said, 
Marlene and Willy 
were engaged — and 
the memory of the 
romance may still 
linger on. However, 
Marlene seems to be 
on the best of terms 
with her husband, 
who has recently been 
visiting her — which 
Miss Harvey now has 
Yet the wedding date 

would indicate that 
the field to herself, 
has not been set. 

Announcement that Miss Harvey was 
not quitting Hollywood, after all, came as 
a surprise. She told me: "I cannot leave 
without making at least one picture that 
will show my American friends that I'm 
not really a flop. When I asked Fox to 
release me, 1 was very downcast and blue. 
I knew I was giving up a great deal of 
money in making this decision, but so 

many disappointments made all that count 
for little. I wanted to see my home in the 
South of France, and go to Willy. Then 
such a change came — cables, wires, dele- 
gations from producers, from abroad as 
well as Hollywood. My spirits lifted. 
But when I lost the blues, I knew I had 
to stay here. Then a new story was 
offered me, and for a week we've been 
working like Trojans on it. Suddenly, I 
was alive again 

"Then I called up Willy. I want him 
to come here so much! But if you knew 
him — he is so easy-going by nature that 
it's hard to budge him. He argues that his 
English would not be good enough for 
American pictures — but who cares about 
an accent? And he has a smile that would 
surely win him friends here. Why, even 
Chevalier says Willy's smile is the better, 
and doesn't everyone love that grin of 
Maurice's? If I could quarrel with Willy, 
maybe I could get him angry enough to 
take the next boat, but he just laughs and 
you can't fight with him. I don't think 
he has ever quarreled with anyone. He 
is something like Robert Montgomery; 
impish — but maybe more grown up." 

Asked (again) if she weren't really mar- 
ried to Fritsch (there are rumors of a mar- 
riage a few years ago in Switzerland), Miss 
Harvey made a moue and said: "Why 
should I deny it if it were? There would 
be records, you know! No, we thought of 
marriage before I came to Hollywood, but 
we decided to wait. Who knows what 
changes might come from working apart? 
It wouldn't be lair to either of us. But 
I know Willy hasn't changed. I've known 
him for five years, and he's always sweet 
and unruffled and smiling." 

The real truth about her decision against 
making "Serenade" is far different from 
the story that she didn't like the script. 
She helped to write it! And her heart was 
broken when she couldn't make the picture. 
The difficulty arose when she and director 
Paul Martin couldn't agree with the studio 
on the budget for the picture. By mutual 
consent, her contract and the contract of 
her director were torn up. Her new 
contract will give her a choice of pictures — 
and the first one she wants to make will 
reveal her in the simple, universal favorite 
role of a little Cinderella, which in essence 
is the role that Lilian has played in real 

"A simple plot, well done — that is what 
people enjoy, is it not?" she asked. "I 
haven't heard one adverse comment on 
'Congress Dances,' the picture that led 
to my coming to America. In that I was 
a little nobody, swept into an exciting 
romance. That is all — yet it was fun to 
do, and people liked it." 

Stepping to the wide windows of her 
home, which is perched high on a hillside, 
overlooking Hollywood, she tossed back 
her gold locks and exclaimed: "How can 
one leave so lovely a place?" 



The Newsreel of the Newsstands 


Ridiculous!" Janet Gaynor Calls 
Report That She Has A Hidden Child 

Tempest in Teapot Created by Rumor That Janet Has a Three-Year-Old 
Child by Her Ex-Husband, Lydell Peck— But When Could Blessed Even+ 

Have Taken Place? 

By Ann Slater , 

HOLLYWOOD has seldom been more 
surprised than it was when it read in 
newspapers the rumor that Janet Gaynor 
had a three-year-old child by her ex-hus- 
band, Lydell Peck. Janet promptly denied 
the innuendo. 

"Secret" children of stars have been 
sprung on Hollywood before, but they 
have always been children of pre-Holly- 
wood days, like George Raft's son. Could 
it be possible that a famous star, who had 
lived for ten years right under the eagle 
eye of this most gossipy of all towns, had 
had a baby and kept the fact a secret for 
more than three years? On the face of it, 
the assertion seems what Janet termed it, 
"Absurd! — Ridiculous!" 

Hollywood brides are always carefully 
watched possibilities for Blessed Event 
rumors, and in late 1930 or early 193 1 — 
when the baby must have been born, if the 
sensational statement of the chatterer were 
true — Janet was still a bride, her marriage 
to Lydell Peck having taken place in Sep- 
tember, 1929. And there were no Blessed 
Event rumors about her. 

And yet — and yet! The town talkers 
remind each other that none of the great 
stars of the films, not even Greta Garbo, 
lives a more private life than this same 
small, shy Janet. Then, too, Hollywood 
remembers her frequent trips to Honolulu, 
on one of which she bought herself a home; 
her walk-out from her studio, which kept 
her away from the screen for five months-; 
and her trip to Europe. And there was the 
intriguing fact that the rumor got its start 
in San Francisco, home of the socially 
prominent Peck family, including Janet's 
ex-husband, Lydell Peck. 

And Hollywood now recalls a newspaper 
item of December 18. 1930, which said. 
"Janet Gaynor will be operated on for 
appendicitis in Honolulu this morning. 
She was removed last night to the Queen's 
Hospital. Lydell Peck, husband of Miss 
Gaynor, was informed by cable of his wife's 
illness and left hurriedly for San Francisco, 
where he has booked passage aboard the 
President Pierce." Could the "appendi- 
citis" have been a Blessed Event in dis- 

Intriguing as the idea of a hidden child 
sounds, it gives the supposition a severe 
setback to read the dates of Janet's voy- 
ages. Her first trip to Honolulu was a 
honeymoon journey, from February 26, 
1930, to April II, 1930. On December 2, 

1930, she and her mother journeyed to 
Honolulu — where the appendicitis opera- 
tion was performed two weeks after she 
arrived. She left Hawaii on January 23. 

1931. On November 21, 1931, Janet and 
her mother went to Europe, returning two 
and a half months later, on February 2, 
J 93 2 - Janet's last Honolulu trip was from 

December 30, 1932, to February 16, 1933 
Of course, there was Janet's historic 
walk-out when the part in "The Princess 
and the Plumber" didn't suit her. She was 
absent from the screen for five months that 
time. But during this absence writers were 
seeing her constantly, and if Janet had been 
"expectant," the world would have heard 
about it. 

When the story of a concealed child was 
printed, Janet consulted her lawyer. His 
advice is said to have been that, if she 
did sue, it would be difficult to prove that 
she had suffered damages from the story. 
And yet the studio believed that it would 
damage Janet Gaynor with her millions of 
fans to be connected with a "maternal" 

Last year, in the course of an interview, 


Lydell Peck — was 
report news to him? 

children were mentioned 

"Oh," said Janet, "I'd 
love to have a baby some- 
time! I adore children." 

A publicity man was 
present. As the inter- 
viewer left, he asked agi- 
tatedly, "You aren't going 
to mention in your story 
that Janet wants a baby, 
are you?" Hardly had the 
interviewer reached home 
when the telephone rang. 
"You aren't going to call 
your story 'Janet Gaynor 
Wants a Baby,' are you?" 
demanded the publicity 
man. "You see, she isn't the 
type for that sort of thing!" 

Evidently, her studio 
would have collaborated 
with any plan to hide the 
existence of a baby from 

a public that wants its Gaynor girlish, and 
dewy, and untouched by life. Yet could 
any star scoop Hollywood so gorgeously : 

The fact that the rumors can't seem 
to decide whether the allegedly hidden 
child is a boy or a girl is a point in favor 
of Janet's denial that such a child exists. 
If anyone had seen such a child, reputedly 
three years old, the youngster's appearance 
and attire should be adequate sex-de- 
terminants. One of Janet's friends, com- 
menting on the suddenness with which 
Janet "acquired" a three-year-old child, 
thanks to the gos- 
sips, says, "At 
this rate, they will 
have Janet a grand- 
mother next!" 

Last month, the 

rumor that Janet 

was denying had 

her engaged tu 

marry a New 

York dentist. 



As Mrs. Lydell Peck, 
from September, 1929, 
to April, 1933, Janet 
Gaynor was never 
even rumored to be 
"blessed - eventing." 
And in such a gossipy 
town, how could she 
have kept it secret? 



Off The Screen 

cheerios Jimmy 
Dunn (left),, spotting 
a female acquaint- 

ance on a stroll 
across the lot. Jim- 
my's like this with 
all the gals — that's 
why he has so many 
"romance" rumors. 
Over at the far 
left, you see. Esther 

to keep a luncheon 
date; someone left 
a memo in her stu- 
dio mailbox. And, 
below, Cary Grant 
and Rosita Moreno, 
Spanish actress, re- 
lax outside the stu- 
dio commissary af- 
ter lunch. Then 
back to their work 

\ 44 

"I'll be seeing you," Jeanette Mac- 
Donald tosses over her shoulder to 
a friend — and the camera and the 
friend both get one of those de- 
lightful MacDonald smiles. She 
doesn't hoard them for the screen! 

/ 5 


Jean Harlow, 

hanging onto some 
studio apparatus 
(and unconsciously 
keeping the man 
behind it from 

. working), is getting 
acquainted with 

" Gladys George, 
stage star, who has 
just been ■ signed 
by the studio 

I J 



1 fl 




Bette Davis sneers at Leslie Howard's love in "Of Human Bond- 
age" — but that doesn't release him from bondage to her 


Picture Like Novel — Great 

"(^\F Human Bondage," by W. Somerset Maugham, 
^~s is one of the great novels of our time- and the 
picture, starring Leslie Howard, is faithful. to the original 
in story, in mood and in intentions. I can think of 
no higher praise. Maugham set out to show the work- 
ings of the mind of a super-sensitive boy, born club- 
footed, who is in bondage to his limitations and to a 
love that is inexplicable; the picture — an experiment 
in psychology — sets out to do the same thing, and 

Philip first tries to be an artist in Paris, has to com- 
promise with his dreams because of mediocre talent, 
and then takes up the study of medicine in London; 
soon afterward, he meets Mildred, an anemically pretty, 
but cold, common, grasping little waitress, and falls 
hopelessly, helplessly in love with her — with nothing 
able to kill his love. She doesn't love him; she runs 

off, at different times, with two coarse playboys; in 
one frenzied emotional outburst, she wrecks his be- 
loved paintings; but still he cannot turn her away 
when she comes snivelling back, nor can he forget her 
or hate her or let another girl replace her in his heart — 
until fate frees him. 

The picture has few exciting moments, few light 
moments, yet its realism and its suppressed emotions 
are spell-binding. From the first moment that you 
see Philip limping, Leslie Howard has your sympathy 
and never relinquishes it, with his face a mobile mirror 
of thoughts that he does not always need to tell. Bette 
Davis did a courageous thing in accepting the un- 
sympathetic role of Mildred — and in it she gives a 
poisonously perfect performance; it is the best piece 
of acting she has ever done. Alan Hale and Reginald 
Denny, as specialists in cheap conquest, are only too 
real. Kay Johnson and Frances Dee, as two sincere 
women who love Philip, are warmly sympathetic. 
And Reginald Owen, as the hearty Bohemian who is 

Madeleine Carroll, from England, and Franchot Tone are the 
lovers of "The World Moves On," the newest anti-war saga 


Shirley Temple has another romp in "Baby, Take a Bow" — 
this time with James Dunn as her principal support and "Daddy' 

Frances' father, steals every scene in which he appears. 
For his direction, John Cromwell will be well up in 
the running for the Academy award for 1934. 


Has Sincerity, But Too Much Plot 

'"THERE'S an earnest effort behind this picture, 
■■- which has been created on a semi-colossal scale. 
But, somehow, it lacks conviction. It seems to me 
that there is too much plot, which robs it of simplicity 
and compactness. It is intended as a saga of a widely 
scattered family, starting in 1825 and then jumping 
through the World War to the financial panic of 1929. 
The pattern is something like "The House of Roths- 
child," in that the founder of the family gathers his 
heirs around him as he reads his will and advises them 
to keep the family ties together in the succeeding gen- 
erations. But succeeding generations grow up in 
Afferent countries that eventually meet, in war. You 


By Larry Reid 

will also notice a vein of "Berkeley Square" in it, with 
the heroine feeling she is re-living an earlier existence; 
and you will see a superficial resemblance to "Caval- 
cade" — but where "Cavalcade" told its story in even 
sequence, with the reactions of tragedy building charac- 
ter, the new opus never gets down to rock bottom or 
concentrates upon the human touches. It unfolds 
some grand war scenes — with the offspring of the original 
founder at odds with one another. But you never 
feel pity for tragedies that develop because the plot 
jumps so frequently. 

In reality it presents a series of plots — all of which 
are dwarfed by the sweeping war scenes, for which 
director John Ford must be commended. The minia- 
ture of the torpedoing of the liner is also well done. 
Back of it all is a romance embroidered with sub-ro- 
mances and it engenders considerable conflict. In 
all, it is an earnest effort, but lacks greatness. The 
players are all praiseworthy. Madeleine Carroll screens 
beautifully and acts with fine poise, and Franchot 

Richard Barthelmess doesn't look the part, but he's a gangster 
in "Midnight Alibi." Ann Dvorak is the girl in his life 

She is the offspring of James Dunn and Claire Trevor 
— Jimmy being an ex-convict, like Ray Walker, trying 
to go straight. But Alan Dinehart, the meanest de- 
tective that ever got a laugh from an audience, keeps 
riding them, won't leave them alone. And when Ralf 
Harolde, a tough hombre, steals a pearl necklace and 
gives it to Shirley, who thinks it's a plaything and plays 
hide-and-seek with it, things begin to look troublous 
for Daddy Dunn. The action moves along hokumish 
lines, but it moves fast, and Shirley — who sings and 
dances a song about a Copy Cat — doesn't let your in- 
terest wane. Jimmy does good work in his paternal 
role. The others are sufficient; nothing more. 


Mystery Comedy, Old Style 


Everybody present looks surprised at this "Murder in the Private 
Car," except Charlie Ruggles. He's a detective 

IF THEY had gone a little farther, this would have been 
a burlesque ot all the murder mysteries ever screened 
(Continued on page 60/ 

Tone is sincere. But the finest acting is contributed 
by the character actors, Siegfried Rumann and Dudley 
Digges. They seem to be apart from the others in 
humanizing their roles. The photography is excellent. 
Had there been more human touches, more intimate 
scenes and less striving for a big canvas, it would have 
greater appeal. There is a note of propaganda in it — 
one emphasizing the futility of war. It would have 
a bigger meaning, if the characters championing it 
had been more colorful. 


Shirley Temple Is the Whole Show 

SHIRLEY TEMPLE is practically the only reason 
for seeing "Baby, Take a Bow" — but she's plenty. 
This little five-year-old, now a full-fledged star, is not 
just a cute little package with a million-dollar per- 
sonality; she is also a real actress, who knows her ges- 
tures, her expressions, her timing, her vocal acrobatics. 

Grace Moore wins the love of both Lyle Talbot and Tullio Car- 
minati in "One Night of Love." You'll like her, yourself 


- ' 

^. ^N^^^^/(( Here is a great study of Jackie / 
111 Cooper and Wallace Beery, to- 
gether again, in "Treasure Is- 
land." Jackie, who has grown 
inches, is the boy-hero of Steven- 
son's great yarn; Wally is the 
peg-legged pirate, as hard as 
nails, who is always up on deck 

Jim Hawkins and Long Jqhn Silver '. WA% 


Baby Makes a Wow 

Garbo, look to your laurels! And you, 
too, Janet Gaynor! Shirley Temple has 
all the baby stars in history backed into 
oblivion, and now she's starting on the 
grown-ups. And dl she does is to be 
her playful five-year-dd self. She just 
finished "Now and Forever." Her 
salary? Just raised to $1,250 a week 


Gilbert's Up Again! 

Studio fights and marital troubles get this guy down, but he always bobs up 
on top again. Yesterday he didn't have either a job or a wife. But to-day 

he has a new job, at least! 

By Gladys Hall 

news, different news 
with every Hollywood 
edition. One day he 
is in an abyss, brooding 
and bitter; the next day, 
he is sky-high, exuberant 
and excited. He is, actu- 
ally, an exaggerated sym- 
bol of Hollywood, which 
is a roller-coaster with 
sudden, breath-taking de- 
scents and amazing, sud- 
den ascents. He is the 
star, who, one night, shines 
in the highest heavens 
and, the next night, is 
fallen to the blackest 
depths of the earth, only 
to rise again — 

I had an interview with 
Jack recently in which he 
said, "I have been on the 
screen for twenty years 
and I have managed to 
squeeze out of it complete 
unhappiness. To-day I 
can't get a job. I mean 
exactly that: / — can't — 
get — a — job. Four short 
years ago I had a contract 
calling for two hundred 
and fifty thousand dollars 
a picture; to-day I can't 
get a job for twenty-five 
dollars a week or for noth- 
ing at all. It doesn't make 
sense. But there it is." 

Twenty-four hours la- 
ter, Jack came to my 
house for dinner, waving a 
five-year contract with 
Columbia in my startled 
face. He was already in 
production on "The Cap- 
tain Hates the Sea," in 
the role of the reporter. 
He had an offer from Uni- 
versal. He had had an 
offer from England. To 
the man who had thought 
he was starving, the pic- 
ture pie had again been offered, with ripe plums for the 
picking. He was reborn, revivified, recharged as only John 
Gilbert can be recharged. And so, not one word of the 
story I had done the day before was true. I had to tear it 
up and — write this one. 

It was a difficult mental feat to compare this electric 


Gilbert with the man I 
had talked with the day 
before. It was as if the 
hero of the silent ver- 
sion of "The Merry 
Widow" and "The Big 
Parade" had come back 
again, elbowing the less 
vital Gilbert of "Queen 
Christina" and her pred- 
ecessors out of the way 
for good and all. I 
should have known that 
it would be like this. 

Only Wanted to Work 

BUT it was hard to 
believe that this 
was the man who had 
said, only twenty-four 
hours before: "What 
am I to do? Sit here on 
this hilltop and listen to 
the music of the si- 
lences? People advise 
me to 'go to Europe.' 
What for? I don't want 
to go to Europe. I 
don't even want to go 
to Honolulu! I don't 
want to go anywhere. I 

Movie Classic 


to Tell the Newest News 

want to work. I want 
the simple right of every 
creature that walks the 
earth — the right to earn 
my own living." 

I had known that day 
that for that day Jack 
was sick at heart. I 
knew that his contract 
with M-G-M had come 
to its final end and that 
that long strain was 
done. He had known 
that Virginia Bruce, his 
former wife, was back on that lot and he felt that he 
couldn't, with good taste and good feeling, work there, 
too. He had felt, too, that he could not go on living 
indefinitely in the house on the hill. California has com- 
munity property laws, because of which Jack's worldly 
{Continued on page 6Z) 

Printed in Us A 

Virginia Bruce 



Pretty Sally Gibson is getting a hand. 

"Your eyes, your skin— golly, 
you're a knockout," breathes Ted. 

"Oh, really!" blushes Sally. "You 
know the other girls won't believe 
that I just use Ivory Soap, but as 
Doctor MacRae says, a sensitive 
skin needs a pure soap." 

Yes, doctors like their patients to 
use Ivory. They have no use for 
the exaggerated promises of many 
soaps. Doctors say: "Use a pure 
soap." Don't let impure soaps dry 
out your skin. 

PROTECT your complexion. Pure 
Ivory Soap will help you. 

for your skin, young feller," says Jenkins. 

Nurse Tippit smiles. "Do them a lot 
more good to use pure IVORY SOAP!" 

THUMP! THUMP! THUMP! . . . Pete Clancys loving heart 
pounds like mad every time he takes a cup from Julia's smooth 
hands. And when his hand touches hers (by accident, we trust) 
he goes all pink in the ears! 

As for Julia — she silently thanks Mrs. Gibson for saying, 
"Yes, Julia, use Ivory for everything. It will keep your hands 
looking nice when you serve the table!" 


"GO ON, GRIN, Sally Gibson!" says Jane. "I wash-ee 
wash-ee stockings. And I know half of them have runs!" 

"If you wash-ee every night with Ivory Flakes," teases Sally, 
"your stockings would not run-nee, run-nee so much." 

"That's what the salesgirl at Baxton's said," says Jane. "She 
gave me a lecture on Ivory's purity, she did. So don't preach to 
me, Sally. From today I'm using Ivory Flakes." 




reams o 1 


BUTwhile she sleeps she's spoiling her looks % 

Jane leaves daytime make-up choking 
her pores all night! If she'd remove cos- 
metics Hollywood's way, she'd guard 
against unattractive Cosmetic Skin 

JANE dreams of romance — every girl 
does! But like Jane, many a girl is 
taking foolish chances with her beauty. 
She thinks she removes cosmetics thor- 
oughly, but actually she is leaving bits of 
stale make-up in the pores to choke them 
day after day. 

"What can be the matter with my skin!" 
Soon to her dismay she discovers enlarged 
pores — tiny blemishes — blackheads, per- 
haps. The distressing signals of unattrac- 
tive Cosmetic Skin, a widespread modern 
complexion trouble. 

To guard against this loss of beauty, thou- 
sands of women are adopting Hollywood's 
beauty method. For cosmetics need not 
harm even delicate skin unless they are 
allowed to choke the pores. 

Cosmetics Harmless if removed this way 

Lux Toilet Soap is made to remove cosmetics 
thoroughly. Its ACTIVE lather sinks deep- 
ly into the pores, carries away every vestige 
of dust, dirt, stale cosmetics. Before you 
put on fresh make-up during the day — 
ALWAYS before you go to bed at night — give 
your skin this gentle care. Then you pro- 
tect it — keep it beautiful. 

The Hollywood stars, whose complexions 
are literally worth millions, have used this 
pure, mild soap for years. 


f Y~ 





What a 


Star Thinks 
About . . . 

JOAN BLONDELL isn't your typical 
movie mother-to-be. She doesn't say 
what people might expect. She says 
what she thinks — and she thinks she has 
had her fill of movie-acting! 

By Faith service 


BIG happy family," 
laughed Joan Blon- 
dell, "—that's what I 
want from life! Here 
I am, as you see, expecting my 
first baby in about three months 
and hardly able to wait until I 
see it and touch it and hear it; 
and I'm planning already for 
others. George, this house, and 
babies — they are all I want. I'm 
not kidding you or myself or any- 
one; I mean it." 

We were sitting in Joan's 
chintzy living-room, in her hill- 
top house looking down on the 
wide panorama of Hollywood far 
below — a sunny house all pine 
and maple of the Early American 
period when houses were homes 
and women were home-bodies. 

"I want this child," Joan was 
saying, "and six or seven others. 
I don't care what this one is, boy 
or girl, because I expect to have 
so many that sex doesn't have to 
matter. If this one is a girl, we'll 
name her Georgia, after George, 
and if it is a boy, we'll probably 
name him Norman. I wanted to 
name a boy George, but George 
the First thinks a boy should 
have a brand-new name of his 
own, not a second-hand one. 

"I've never been so happy in 
my life. I'm buying teddy bears 
and kiddie cars and Mickey 

"All 1 want from life is George Barnes, our home, 
and children," says Joan. (P. S. She means it!) 

Mouses and downy cats and dogs 
and rubber things. I've ordered 
all of the furniture, and it's all to 
be done in Early American de- 
sign, only painted white. All the 
other things are to be in pink and 
blue. Some of the girls I know 
have had their baby things in 
yellow or green or even a pale 
lavender, but pink and blue are 
the baby colors, and I want this 
to be the babiest baby that ever 

"I'm not reading books on 
Infant Psychology, nor books on 
pre-natal care and influences. 
I'm not going to have my baby 
in any hospital, either. Hospi- 
tals are for sick people and babies 
have nothing to do with sickness. 
I want to be in a home-like, sun- 
ny place where George can be 
with me and my friends can 
come and go and where it will be 
like a festival of nativity." 

Snaps Her Fingers at Career 

SAID, looking at Joan, "How 
will you feel if this affects your 
career in any way?" I was re- 
membering Joan as we have seen 
her in so many pictures, the sym- 
bol of saucy seductiveness. 

Joan laughed. "I'll feel swell," 
she said. "I not only don't like 
making pictures; I hate it. I 
{Continued on page $6) 



So much 
of their 

"Like my hat — like my teeth?" asks 
BETTY DOUGLAS. Her hat (from 
New York creator Lilly Dache, as are 
the other two shown here) is white 
pique with navy blue veil and band. 


on the 

tooth paste 

they use 

you the halter-neck of 
one of the season's new 
and popular swim suits. 


is black crepe-Elizabeth 
with pleated ruffling of 
pink crepe (Bonwit Teller) . 

GAY HAYDEN wears this beige an- 
telope fedora. Her suit is brown wool 
crepe with orange silk foulard scarf 
(Spectator Sports, Inc., New York). 

The country over, 
more than 2 million 
women have changed 
to Listerine Tooth Paste 
. . . it cleans so much 
better ... gives teeth 
such high lustre. 
Why not try a tube? 

Ask smart women why they prefer Lis- 
terine Tooth Paste to costlier brands 
— each has some special reason. "I 
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It's hard to 
outguess this 
adaptable film . • It 
soaks up the sun's 
brilliance . . . it 
drinks in the dull 
light of the shade 
• • works on days 
when ordinary 
films fail. 

What a Blessed-Eventing Star 
Thinks About 

(Continued from page 54) 



1. Double-coated. Two layers of sensitive 

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5. Translucent, instead of transparent. 

Made by an exclusive process of 
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positively hate it, all of it, every part of it. 
I've been unhappy almost ever since I've 
been out here. I still love show business — 
but making movies has nothing to do with 
show business. 

"Any dope can be a movie actress. You 
could go down to a bargain basement right 
now and pick out any girl with a reasonably 
presentable face and take her to the studio, 
and if the studio wanted to badly enough, it 
could make a star of her. There's more 
baloney about this business of becoming a 
movie actress than there is in a chain of 
butcher shops. A girl doesn't need to know- 
how to act. She doesn't have to have a 
thought in her head. She doesn't have to be 
beautiful or anywhere near it. She does 
have to have a studio back of her, and that's 
all she has to have. 

"You don't need to have a thought in 
your head because any thought process is 
cut before it fully develops, anyway. We 
have writers do our stories for us, directors 
to tell us how to enter a room and leave it, 
cry, laugh, get up and sit down again. We 
have voice men to train our voices and 
mixers to pitch them where they should be 
pitched. We have make-up men to do what 
they can to our faces before we face the 
camera — and they can do almost anything. 
We have camera men to do what they can 
with our faces before the camera — and they 
can do everything. 

"And the sum total can be wrecked or 
salvaged in the cutting-room. No matter 
what we do, or how we do it, it doesn't 
matter, once it reaches the cutting-room. 
If we give the grandest performance in the 
world, the cutters can cut it to bits, stupid 
and ugly bits. If we give the world's worst 
performance, the cutters can speed it up, 
patch it with something else here and there, 
and produce a masterpiece of acting. I 
don't say they do, but they can. I repeat, 
any dope can be a movie actress if the 
studio wants to make her one. 

Doesn't Enjoy ( !) the Spotlight 

I'VE never liked any part of it. I hate the 
so-called ' fame ' part — where people 
recognize you on the street and point you 
out. I'm not beautiful. I don't dress up. I 
usually look like sin and never care. I can't 
be bothered. But when people nudge each 
other and say, 'There is Joan Blondell,' I 
feel self-conscious and miserable because I 
know how I must be letting them down. 

"I feel sorry for the girls most people 
envy. I feel sorry for Garbo, awfully sorry 
for her. I feel sorry for Marion Davies and 
Joan Crawford and Mary Pickford and 
Carole Lombard and Claudette Colbert and 
all of them. What they have to be envied 
for, you see, I don't want. I'd rather be 
dead right now than think that 1 would just 
go on with my 'career' until I could go on 
no longer and would then spend the rest of 
my life having — nothingness. And if a 
woman doesn't have children, nothingness 
is what she does have. Women can see 
their names in electric lights and see them 
all over the newspapers and magazines; they 
can have limousines and palaces and furs 
and jewels and everything Fame is supposed 
to give as a handout — but unless they are 
mothers, they are mannikins and nothing 

"I'm more interested in watching babies 
develop than I am in watching productions 
develop. The babies I'm planning to have 
will keep me off the screen and I already 
owe this one a debt of gratitude for just 
that. I don't ever want to go back. I have 

four more years to go on my present con- 
tract and if I can get out of it, I'll sing 

" I haven't much of any use for money. I 
can live on what George makes and be per- 
fectly happy. Babies don't need so much. 
Just a lot of love, and sunshine and milk and 
there'll be plenty of all of those things up 
here. I don't want to have a starchy, pro- 
fessional nurse for my baby, either. I want 
the baby to know which is its mother and 
which its nurse. My babies are going to 
know that I am their mother and no mistake 
about it. I'm going to bathe them and feed 
them and dress them and spank them when 
necessary and show them my love by being 
with them. 

Wants More Time of Her Own 

IF, after this baby is born, they want to 
rearrange my contract so that I can 
make only three or four pictures a year, then 
I might go back. And if this should work 
out and I can go back under this arrange- 
ment, I'll try to like it. I'll try to take an 
interest in it. I'll even try to dress up and 
be elegant and like a movie star. It's awful 
to hate the thing you are doing as I've hated 
it. It's a wonder it didn't show in my per- 
formances — and maybe it did. 

"Why, the last few pictures I made, I 
didn't even read the script before I started 
to work. I hadn't an idea of what the 
stories were about. I didn't even know who 
I was supposed to be, to do, or why. I 
didn't even know what I was supposed to be 
doing in such and such a room. I'd say to 
the director, 'What am I in this room for?' 
and he'd say, 'You have just arrived from 
Washington and you are supposed to be 
taking off your hat.' I'd say, 'Oh!' and let 
it go at that. I'm sure that Guy Kibbee and 
Dick Powell and Ruby Keeler and I got so 
tired of each other's make-ups that we were 
ready to die of exhaustion at the sight of 
each other. 

"There is no life for me that means more 
than my home-life. I will certainly not live 
a life that will interfere with my life as a 
mother. I've been working from seven in 
the morning until eight or nine at night. So 
has George. We come home dead-tired and 
grab a little dinner and are too exhausted 
to go anywhere or to have anyone in, or even 
to talk. No amount of money could make 
that sort of thing worth while. And I've 
never made big money, anyhow. I had one 
of those unfortunate contracts. This past 
year I've made more, but it doesn't seem to 
have whetted my appetite for it. 

"I have just about finished my last pic- 
ture until after the baby's birth — if ever. 
Yes, you may well look surprised, though I 
think I got away with it all right. I didn't 
take time to look at any of the rushes — 1 
didn't care enough. They knew about my 
condition and they still wanted me to make 
the picture, so that was that. I didn't 
worry. George photographed it and, of 
course, he made a slick job of it; and I had 
a double to do all of the running and walking 

"I can talk all around it in circles but, 
inevitably, it narrows down to the same 
thing: all I want from life is George and our 
home and children. I'd rather have 'heaps 
and heaps of babies' than all of the heaps 
and heaps of press notices and contracts and 
fame and money in the world. There isn't 
a shadow of a question in my mind about 
what I'm going to do. If any issue of prefer- 
ence arises- — babies or career? — the babies 
v, in, hands down! " 


The day takes on a new glow — here's a letter! With snapshots of the one and 
only girl. The wonderful, wonderful girl . . . How important it is that snapshots 
can be taken, and sent speeding to their destinations, to make a young man's 
heart tremble and pound ... So anything that improves snapshots is important, 
too. They've become much better since Kodak Verichrome Film came along. 
Eastman Kodak Company, Rochester, New York. 




















>%J : 

tj 6 

*[ > 

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Try Kleenex — at 
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Movie Classic 
is the first — and only — 
screen magazine to pre- 
sent, month after month, 
the favorite cocktail rec- 
ipes of the stars. Every 
recipe is a "scoop." Look 
them over. Better yet, 
try them. You'll find that "good mixing" 
is another of Hollywood's arts! — Editor. 

IN honor of Max Baer, Hollywood's 
own, who is now heavyweight cham- 
pion of the world, our recipes this month 
are devoted to punches. Which may be 
a bad gag, but the recipes are better. 

There are many formulas for Cham- 
pagne Punch, but the one favored by 
Adrienne Ames for a small party is 
mixed as follows: 

Pour one pint of iced champagne into 
a chilled pitcher. Add the juice of one 
lemon, three 
tablespoonsful of 
sugar, and one- 
half wine-glass of 
strawberry syrup. 
Drop in a slice of 
orange and two 
slices of pine- 
apple. Stir with a 
spoon and serve 
in champagne 
glasses decorated 
with fresh fruit. 
This serves four 
people (with a 

Stir and serve with a 
preserved peach on top. 

Alice White suggests 
the equally well-remem- 
bered Mississippi Punch, 
suh — to be served in a 
tall highball glass filled with ice. The 

One teaspoonful of sugar, dissolved in 
a half-wine-glass of water and the juice 
of one-half lemon ; one-half wine-glass of 
Bourbon whiskey; one-half wine-glass 
of Jamaica rum; and one wine-glass of 
brandy. Dress top of glass with fresh 

Few people 
seem to realize 
that it is not com- 
pulsory to serve 
punch in a punch 
bowl. You can 
make large quan- 
tities, or you can 
mix small quan- 
tities — like a 

cocktail. Try an American Beauty Punch, 
from the recipe of Fay Wray: 

Use a large bar-glass, filled with fine 
ice. Dissolve a half-teaspoonful of sugar 
in the juice of half an orange. Pour one 
teaspoonful of creme-de-menthe over 
the ice; then add the sugared orange 
juice, a jigger of brandy, and a jigger of 
French Vermouth. Shake, strain into gob- 
lets and float a teaspoonful of Port wine 
on top. Dress with fresh fruit and serve. 

You have heard of Fish House Punch. 
Here is the way Ralph Bellamy mixes it 
for a party of four. Better use a punch 
bowl or, as the 
prize contests say, 
an equivalent of 
same. It contains: 
One and one- 
half wine-glasses 
of lemon juice ; 
two wine-glasses 
of peach brandy; 
cne wine-glass of 
cognac ; one wine- 
glass of rum ; one- 
half pound of fine 
sugar, and one 
and one-half pints 
of ice water. (By 
icing the water 
first, you do not 
need so much ice 

Clark Gable, the ol* mechanical wizard, 

has a gadget that helps him mix his drinks. 

Bottles feed simultaneously through this 

sypho-twins apparatus. No spilling! 

But that's 
enough of 
punches. Now, for 
a cocktail or two. 
Did you know 
that there is one 
cocktail that can properly be served after 
dinner? That's what it is called, in fact 
— The After-Dinner Cocktail. This is Sid- 
ney Fox's recipe: 

into a shaker, put one drink of Pru- 
nelle brandy; one drink of sherry; four 
dashes of lemon juice; and plenty of ice. 
Shake well and strain. Serve in sherry 

Douglass Montgomery has the recipe 
for that famous old Cohassel Punch. 
Here's how: 

Into a large bar-glass half-full of 
shaved ice, put one jigger of New Eng- 
land rum, one jigger of Vermouth, three 
dashes of gum syrup, one dash of orange 
bitters, and the juice of one-half lemon. 

Then, too, there are several morning 
cocktails. Here's a neat little number 
named The Morning Call and prescribed 
by Grant Withers. It's a sure cure for 
those morning blues. 

Use a tall shell glass, half-filled with 
shaved ice. Add one-half wine-glass of 
absinthe, one-half wine-glass of lemon 
juice, and one-half wine-glass of Mara- 
schino. Fill with seltzer water and stir. 




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1 une in Tuesdays 
and hear JOHNNIE 
"Call for Philip Morris' 

These Movies 

(Continued from page 47) 

it's that improbable. As it stands, however, 
it is a would-be mystery comedy, intended 
to chill you when it isn't making you laugh. 
But its thrills are transparent, its laughs are 
mere snickers. Its setting — like that of the 
swell thriller, "Rome Express" — is a train; 
the immediate setting is a private car, on 
which a millionaire's long-lost daughter 
(Mary Carlisle) is rushing to meet her Dad, 
with kidnapers, murderers and an escaped 
circus ape complicating the trip. There are 
murders and attempted murders, with 
Charlie Ruggles, as a dumb, but wise- 
cracking detective, solving the difficulties 
by accident. The big climax — just to give 
you an idea — has the private car uncoupled 
from the train, rolling down a mountain in 
the path of a fast express. But, just as in 
the good old days, there's a switch handy. 


Story Unreal, with Star a Gangster 

MIDNIGHT ALIBI," from a story 
by Damon Runyon, is Richard 
Barthelmess' last picture on his Warner 
contract — and he does more for the picture 
than the film does for him. It's the least be- 
lievable of the Runyon stories that have 
so far been screened, and Barthelmess just 
isn't the type to play a gangster or sling 
underworld slang. Briefly, this is the plot: 
Dick is in love with Ann Dvorak, sister of 
the boss racketeer, and in escaping from the 
"mob," finds himself in the house of an 
"old doll" (Helen Lowell), who hasn't left 
the premises for nigh onto a hundred years 
because of a blighted love in her youth. 
Dick tells her of his romantic troubles; she 
then tells him the story of her broken ro- 
mance — which Dick (in a dual role) and 
Helen Chandler enact in a fade-back. Dick 
then leaves, gets accused of the murder of 
the boss racketeer, and the Old Doll gives 
him an alibi for a happy ending. It's one of 
those half-way-between pictures — neither 
good nor bad. It will help you pass an 
evening, but won't pay you any memory 


— Columbia 
A Picture You Can Rave About 

ONE NIGHT OF LOVE" is one of 
those pictures that everyone has un- 
consciously been waiting for. Let's hope 
that those who have been telling people to 
stay away from the movies will be sporting 
and tell their followers that here is one 
movie they can't afford to miss. It has 
everything that a musical picture ought to 
have — a good story, good acting, and such 
singing as you have never heard on the 
screen before. Grace Moore, who was in 
the movies two or three seasons ago and 
didn't get the right breaks, now emerges as 
one of the biggest stars of them all. 

Tullio Carminati, playing a great Italian 
voice teacher, discovers Grace and, falling in 
love with her voice, starts her on the long, 
hard road to fame — a road of rigid, relent- 
less training. Into the picture steps Lyle 
Talbot, whose romantic attentions she wel- 
comes as a relief from the grind, though 
Carminati fights them. Finally comes a 
singing triumph in Paris, with the pupil, 
headstrong with fame, clashing with the 
teacher and accepting an offer from the 
Metropolitan Opera in New York. And in 
New York she seems destined for tragic fail- 
ure until Carminati appears to inspire her 
once more. 

Grace Moore is so natural and effortless in 
her role that she seems to be living it — and 

in her rise to operatic fame, perhaps she did 
know similar sacrifices, emotions and tri- 
umphs. In her singing of four popular 
operatic arias (two of them are from "Car- 
men" and "Madame Butterfly"), she is 
equally effortless and emotional, with no 
straining for effect. Tullio Carminati like- 
wise is living a role similar to one he has 
played in real life, and his playing of it 
makes him a candidate for 1934's Hall of 
Fame. Victor Schertzinger, besides his su- 
perb direction, has contributed the theme 
song, "One Night of Love." 


— Paramount 

Oakie and B> 


ernie an Amusing l earn 

SHOOT THE WORKS" received ad- 
vance publicity through the fact that 
two members of its cast — Dorothy Dell and 
Lew Cody — died a few days after comple- 
tion of the picture. Many will probably at- 
tend it out of morbid curiosity. Others — 
who are seeking no more than amusement — 
will find it an entertaining little comedy re- 
volving around Jack Oakie and Ben (the 
Old Maestro) Bernie. Its setting is show 
business. Oakie is a cocky promoter of 
cheap enterprises — flagpole sitters, stuffed 
whales, flea circuses and small-time dance 
bands; he has big ideas, but, somehow, they 
don't pay cash. Finally, Bernie, a band 
leader, leads a revolt against his manage- 
ment, and Oakie is left high and dry, with 
only Dorothy remaining his pal — and he 
does her dirt. Bernie climbs into the big- 
money class and owns a night-club, which is 
as good a setting as any for some song num- 
bers and an amusing reunion between the 
boys. At this point there is an intended 
burlesque of the Bernie- Winchell feud that 
isn't so funny as it ought to be because 
William Frawley makes his columnist-char- 
acter such a low-life. Bernie, the smoothie, 
puts himself across as a movie personality 
by just being himself (though the script 
gives him another name); you-all will like 
him. Oakie humanizes his satirized role — 
also by playing himself. The late Dorothy 
Dell's beauty and promise are tragically 
apparent. The others in the cast — including 
Cody, Alison Skipworth, Arline Judge, 
Roscoe Karns and Paul Cavanagh — have 
little more than "bits." Two songs in it 
that sound like hits are "With My Eyes 
Wide Open, I'm Dreaming" and "Just a 
Bowl of Chop Suey — and You-ey." 


— RKO-Radio 
Notable Only for Its Newcomers 

THEY seem to be trying to make 
Richard Dix a romantic jail-breaker. 
In "Stingaree," he was a bandit who 
managed to get out of the clutches of the 
law; in "His Greatest Gamble," he is a 
convict who has been railroaded to a foreign 
prison and, being a clever fellow, he escapes 
with ease and sails to America, where he has 
a mission. He wants to break the hold of his 
half-insane wife on their daughter, whose 
life is being wrecked. (P. S. He succeeds.) 
The story is trivial and improbable, and 
the Dix talents, which are considerable, 
seem wasted. What is notable about the 
picture is the acting of the newcomer, 
Erin O'Brien-Moore, as his wife; she'll bear 
watching. Little Edith Fellowes, as their 
daughter when a child, also shows promise. 
Dorothy Wilson, as their daughter in 
adolescence, is sincere. 



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Gilbert's Up Again 

(Continued from page jo) 


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goods are considerably sub-divided, now 
that he and Virginia are divided. He said 
to me, "Yes, I can live the rest of my life 
even if I never work again, but that is not 
sufficient. 1 want to work because I love it. 
And I certainly could not go on living here 
unless I do work again." 

I knew that he had wanted to make a 
picture in England after he and Virginia 
parted. He had wanted to get away. There 
didn't seem to be any spot for him at the 
time. It had been suggested to him that he 
make personal appearance tours. The mon- 
ey offered was interesting, but the sketches 
were not. He turned them down. 

He had had plays submitted to him this 
past year. He said, "I did make one ter- 
ribly bad error of judgment about one of 
them. Last year a play was submitted to 
me with an offer to play the leading part. I 
read the script and turned it down. I said 
that it was depressing, and that I didn't be- 
lieve audiences, sufficiently depressed al- 
ready, wanted to be further dragged down 
in the theatres. In short, I turned down — 
the Pulitzer Prize Play, 'Men in White'! 
The only salve for this error on my part is 
that they did change the script later on." 

His Fair-Weather Friends 

IT seemed strange to me that day on the 
hill. The tall white tower that marks the 
Gilbert property seemed to be a giant finger 
upraised accusingly at the studios where the 
hero of "Flesh and the Devil" and "Bar- 
delys, the Magnificent " and others had once 
Hashed his exciting way. It seemed to be 
raising an accusing finger, too, at the people 
who had been wont to come and go freely 
in this house, intimate friends of Jack's who 
were most intimate when he was most cele- 
brated. They were friends for whom he had 
done all of the things one very good friend 
does for another; he had paid their doctor 
bills when their babies were born and they 
were "embarrassed," listened to their prob- 
lems and cares, wined them and dined them. 
They were friends, I happen to know, who 
advised Virginia not to return to the star 
who seemed to be falling. They may have 
forgotten, those "intimate" friends, that 
he who goes down can also go up again. 

Jack said on that day, "I'd like to be 
sixty-seven instead of thirty-seven. It's 
horrible to feel that life is ended before it 
should have got into mid-stream. If I were 
thirty years older, my blood might be 
cooler; I would be less restless, more ready 
for the contemplative life, for sitting here 
on this hill watching the panorama in which 
I take no part. I'm not ready. I can't go." 

And I thought, that day, that here was a 
prisoner of Hollywood who wanted nothing 
so little as his freedom; who loitered in his 
cell even after the turnkeys had, apparently, 
set him free. I should have known that on 
the morrow the lock would spring again and 
Jack would beexulting in the prison-house he 
likes better than all the reaches of the earth. 

Still in Love with Virginia 

HE spoke of his loneliness and of his di- 
vorce. He said, "There is no reason- 
able reason for Virginia and I being divorced. 
It's absurd, because I love Virginia — and 
Virginia says she still loves only me. I 
believed and I hoped that we were destined 
to live all of our lives together, creating a 
home, having more babies, growing old 
together. I'm sorrier about the loss of Vir- 
ginia than I am about anything that has 
ever happened to me in my life before. 

" It was my own fault, of course. I admit 
it. I was arrogant, nervous, overstrung. I 
said things I didn't mean to say, did things 
I didn't mean to do. I was sick over the way 

I was playing my part in 'Christina.' I 
knew that I was giving a bad performance. 
I was working under terrific pressure. I felt 
the conditions around me to be unfriendly. 
The whole thing kept twisting in me like a 
knife. Perhaps I thought that she would 
understand. I forgot how young she is. I 
lost sight of the fact that, after all, who am 
I to suppose that I can go through life being 
arrogant and expecting people to 'under- 
stand '? 

"Odd, too, that this should have hap- 
pened to me just when it did. There was a 
diabolical timeliness about it. Because, for 
the first time in my life, I was becoming 
conscious of the fact that to put grease-paint 
on my face is a contributory part of life, ■ 
but not all of it. 

" I had reached the stage where I was 
thinking, 'Well, I may have to take it on 
the chin professionally — but, personally, 
I'm fixed all right and, so, I have every- 
thing.' I was beginning to develop a social 
consciousness, to realize fully my responsi- 
bility to my wife and child and to the com- 
munity in which I live. I wanted to do so 
many things for the baby. I wanted to give 
her the kind of childhood I didn't have. 

No Super-Friendship for Him 

BUT it is over now and I shall not see 
Virginia again. 1 don't believe in Hol- 
lywood's super-friendly divorces. I mean, 
I don't hold with the couples who, after 
divorce, are seen holding hands, dining and 
dancing together, expressing their regard 
and admiration the one for the other. If 
others choose to behave so, it is their own 
business. It isn't my way. I love Virginia 
and I wanted her for my wife — or not at all. 

" I am probably through with marriage. I 
don't care to become the Nat Goodwin of 
my time. I would feel ridiculous if I should 
start to court a girl again. I can't imagine 
any girl's taking me seriously. After a while 
it does become ridiculous." 

I felt that day that it was all too bad. The 
screen seemed to me to be wilfully and 
deliberately discarding a flaming, exciting 
personality, a flashing hero whose shadow- 
should be accelerating the pulse of all pic- 
ture-goers. I felt that there was, or there 
should have been, a fine balance between 
Jack, that dark and eager man, and Vir- 
ginia, the fair, calm-appearing girl. 

I knew — never mind how! (there is always 
the "little birdie") — that Virginia still sent 
Jack flowers once or twice a week; that she 
sent him flowers the day their divorce was 
granted; that she still writes him notes 
signed "With all my love." I knew that she 
was telling people that she is in love with 
him, that there can never be another like 
him. I knew that she had called Jack the 
day their divorce went through and sug- 
gested that they go out together, celebrate, 
be friendly. Jack hadn't felt like celebrat- 
ing. Does a man, he wanted to know, cele- 
brate the loss of a lovely thing? 

It is curious and paradoxical about Jack. 
For the truth is that the very qualities in 
him — the excitability, the ardors, the "tem- 
perament" — that made him tear the hearts 
of the public apart and will make him, now, 
tear them apart again, are also the very 
qualities that have brought him to grief. 

But that was yesterday. To-day we have 
a star again. He will come back. And he 
will, undoubtedly, marry again. For that 
will be Tomorrow. He is young. He looks 
magnificent. He renews himself, in all ways, 
with the richness and completeness of a 
Phoenix rising, new-born, from the ashes 
and mistakes of Yesterday. There is never 
anything finished about Jack. He is the 
perpetual hero of To-day's Best Seller. 





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Ruth takes Midol in time and avoids 
the expected menstrual pain entirely. 

Midol saves the day! Even for the 
girl whose menstruating periods have 
always meant agony. Not a narcotic. 


Takes Pain 
Off the Calendar 

How Movie Stars Keep Young 

(Continued from page 25) 

creams to supply deficient oil gland secre- 
tions. Exercise, a wholesome diet — these 
two things tend to stimulate circulation, 
tighten muscles. Pay attention to these 
particulars, whether you are twenty or 
forty, and you have the tell-tale signs of 
old age under control. 

Although complexion may be important 
in the game of defeating the visible signs of 
old age, the corset and brassiere makers are 
convinced that it is the torso that betrays a 
woman's years. With this belief in mind, 
Hollywood merchants pay particular atten- 
tion to their lingerie departments. One ex- 
clusive Hollywood shop imported Miss 
Beverly Bouvet from New York to instruct 
the ladies of the cinema (and others) in the 
mysteries of abdominal support. 

Reduces and Builds Up 

WRONG-FITTING corsets can make 
a woman look like her grandmother, 
says Miss Bouvet, and further adds that 
she has actually reduced waistlines and 
demon hip-lines from two to three inches by 
correctly encasing the figure. Flabby, fallen 
bosoms are Miss Bouvet's specialty. 

"The boyish-figure craze did more to ruin 
the American woman's figure, than any 
other fad you can name," she told me. "It 
did more to age young girls, too. Girls of 
twenty come to me now with their breast 
tissues broken down so that their bosoms, 
which should be firm and solid, look as old 
as a forty-year-old's. 

"Of course, I also serve the matron, and 
for each type — the young girl whose upper 
figure has been ruined by tight binding in an 
effort to flatten her natural curves, and her 
mother — I recommend special 'uplift' bras- 

Made of double satin or French batiste or 
Alencon lace, fitted to your figure, these 
spherical containers with the deep indenta- 
tion between the breasts, the elastic strap 
at the back, are less a luxury than a down- 
right inspiration. They tend to develop the 
wasted muscles. The flabby, bound mass 
of flesh that marks maturity gives way to 
a small waistline, curved hips and bosom. 
Ten years are dropped from the body's 

With Hollywood's plastic surgeons (Doc- 
tors Rea Proctor McGee, Josif Ginsburg, 
H. O. Barnes, W. E. Balsinger, et al.), the 
question of combating old age is entirely 
scientific. Their battle is taken far deeper 
than the skin. 

"Every portion of the human body has 
distinct and necessary functions to per- 
form," says Dr. Rea Proctor McGee. "It is 
utterly impossible to maintain appearance 
without maintaining function and so it be- 
comes equally necessary to restore function 
if you intend to restore the appearance that 
has, from any cause, become impaired." 

Preserves Their Usefulness 

DR. McGEE may perform miracles 
with sagging chins and misshapen 
noses, but when he restores youth to an 
aging face, he is doing it not to gratify a 
patient's vanity, so much as to give that 
person a chance to use, until the day of his 
death, the experience that he has acquired 
in life. It is merciful to bring to normal the 
cleft-palate of an infant, yes, but how does 
the surgeon know that the child will reflect 
honor and respect upon his parents when he 
reaches maturity? It is as gratifying to the 
plastic surgeon to restore function and youth- 
ful appearance to someone whose success 
is assured. Such is the case of the motion 
picture star. 

Behind closed doors and on white operat- 

ing tables under carefully sterilized hands, 
the motion picture people have latter-day 
miracles performed on them. New eyelids, 
all satiny, to replace crinkled ones. (The 
hairless skin for eyelids is grafted from be- 
neath the upper arm.) Face "lifts" — six 
different types. And not the Continental 
type that uses a tuck at the temples and 
distorts the shape of the eye, but a "pull 
back" method that restores the natural 
contour of the face. 

There are side face "lifts" — small in- 
cisions, which are later rendered invisible. 
The -forehead "lift." The eyelid "lift." 
The neck "lift" — that's made horizontally 
across the nape of the neck, and its effect is 
so far-reaching that it elevates the breasts. 
The chin "lift." The breast "lift." "Lifts" 
and other operations (enlarging the eyes, 
remodeling the nose, trimming uneven 
ears, et cetera) may be done in the office 
under a local (novocaine) anesthetic. 

Dr. McGee, illustrator, painter, novelist, 
editor, who handled A.E.F. and British 
plastic surgery work during the War under 
special assignment by General Pershing 
(and won a colonelcy for it), agrees that the 
"boyish form craze" played havoc with the 
American woman's figure. 

Most Amazing Operation of All 

MOST amazing of all plastic operations, 
and one which makes an ingenue of 
any grandmother, is the re-arching of the 
neck. Dr. McGee calls it his "dewlap" 
operation. All the flaccid skin that forms 
double chins can be removed with his deft 
scalpel. You would be amazed if I men- 
tioned the name of the once well-known 
actress who was having her "dewlap" re- 
moved, her eyelids made over and her face 
lifted by this doctor's wizardry. Her re- 
ward was a stage contract, and his the fact 
that he had returned her to her professional 

Helen Clark prevents baldness, grows 
hair, keeps hair looking young. So do the 
Barnetts, Harpers, Patteneaudes, and others. 
Cleanliness, inside and out, is Miss Clark's 
tenet, and for that reason filmsters Reginald 
Denny, Fanchot Tone, Lincoln Stedman, 
Johnny Hines, George E. Stone, Joe E. 
Brown, John Beal, Conrad Nagel, David 
Manners, Jack Holt, Walter Byron, Joel 
McCrea, Paulette Goddard, Mae West, 
Joan Marsh and Polly Moran, among 
others, spend an hour and one-half or 
longer, once a week or oftener, under the 
physio-therapy lamps of her establishment. 

Miss Clark's formulas, like Rubinstein's, 
are her own,' but the pungent aroma of oil 
of pine is thick in the Clark suite. Every 
bit of dandruff is removed from her cele- 
brated scalps before each washing, and 
little electricity is used for drying the hair. 
After that, brisk brushing with a boar's 
bristle brush. 

If you are worried about becoming bald, 
here is news. Film performers, swimmers, 
golfers and beach enthusiasts run the great- 
est risk of baldness. The strong lights are 
bad for cinema heads, the strong sun for 
swimmers, golfers, beachers. If you want 
to protect your hair, says Miss Clark, wear 
a head covering that has green in it. Green 
is Mother Nature's protective coloring 
(didn't she make the leaves green?) and it's 
great for diffusing the bright, harsh, aging 
rays of the sun. 

The Sun Cure 

THE sun, however, is what Pat O'Dea, 
of the Apollo Health Club, recommends. 
"Forty-five minutes a day for health" is 
what he asks of his members, and in return 


he gives them mineral oil and alcohol rubs, 
electric cabinet baths, needle showers, physi- 
cal instructions, calisthenics, therapy lights, 
weight reduction, body-building, nude sun- 
bathing, open-air handball games, and a 
complete health examination by Holly- 
wood's own Dr. Harry Martin (husband of 
Louella. Parsons) and his staff of seven 

"Neglect of the body is treason to the 
mind," says Mr. O'Dea. And lest they be 
traitors to themselves, filmsters Sidney 
Blackmer, Walter Connolly, Donald Cook, 
Donald Dilloway, William Gargan, Harry 
Green, Allan Jenkins, Paul Kelly, George 
Meeker, Frank McHugh, Alan Mowbray, 
Jack Oakie, Pat O'Brien, George Raft, 
Charles Starrett, George E. Stone, Gordon 
Westcott and Ben Bard, have joined his 
club. It's the best way, they feel, to retain 
that youthful look of vitality that goes so 
well with the matinee girls and the box 

After thirty, rules Mr. O'Dea, a man must 
not overdo. He must exercise only until 
he is tired, then stop and rest. If Dr. 
Martin's chart shows that the member 
should play only two games of handball, 
and he attempts three in succession, one of 
the attendants interferes. It's like the 
army. Members obey rules. 

Now you know of the intensive battle, 
day and night, that is being waged against 
the March of Time in Hollywood. Nowhere 
else in the world, perhaps, is the battle so 
intense, and are the results, if you allow 
Old Age to catch up with you, so pitiful. 

There is no beauty, to Hollywood, in the 
Browning lines: "Grow old along with me! 
The best is yet to be, The last of life, for 
which the first was made ..." In Holly- 
wood, there must be no Old Age. No one 
can afford it. 

No wonder Ann Sothern has topped the 

ladder to stardom — with underpinnings 

like these. The silken glove doesn't hold a 

candle to the silken — ahem — ankle! 

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from Hollywood Hits 

Easy to copy if your hair 

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If your hair is too oily, the oil glands 
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This sleek-soft coiffure was selected by an 
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Getting the Lowdown on These 
New Heroes 

(Continued from page 37) 

his teeth into character parts, and has had 
stock and high-school stage experience. 
When I asked if he was susceptible to his 
leading women, he laughed and said, "I'm 
a married man." He saves as much money 
as he can, but working in films is expensive; 
he doesn't walk under ladders if he can help 
it, but a black cat crossing his path always 
brings good luck. He asks others about a 
decision because he believes "two heads are 
better than one and I have made so many 
mistakes"; he wants to be a featured player 
without stardom, and he likes his work 
better than anything else in the world. 

Taylor played Rip in "Double Door," a 
part that taxed his ability to the utmost 
because of the fact that his lines were the 
weakest ever given to a weak character, and 
Taylor, himself, is an exceedingly strong 
person. You will see him next as Bob Red- 
ding in "Mrs. Wiggs of the Cabbage Patch." 

John Started Where Ann Did 

I WAS introduced to John Beal on the set 
of "A Hat, a Coat, a Glove," in which he 
plays young Hutchins. "Excuse me," he 
said as director Tony Miner called, "I have 
to do a little acting," and thereafter he 
sprinted around like a madman between me 
and the camera, and succeeded in answering 
the thirteen questions in two hours flat. 

Beal is slight, earnest and ambitious, is 
already well-known on the New York stage, 
and made his screen debut as Helen Hayes' 
would-be lover in "Another Language." He 
is twenty-four, was born in Joplin, Missouri, 
and is single. Would he marry an actress? 
"It would depend." He wouldn't elaborate 
on that answer. He graduated from the 
University of Pennsylvania; goes back to 
New York every Fall for stage work, and is 
an illustrator besides. He likes all parts and 
never wants to be typed; went on the stage 
at the age of twenty with the Hedgerow 
Repertory Theatre (Ann Harding's dra- 
matic springboard); said, "I would rather 
not answer that one," when asked if he were 
susceptible; saves what money he can; car- 
ries a little white elephant in his bill-fold. 
He always asks others about decisions, but 
obeys his own hunch ; wants to be a very fine 
actor, a good artist, and a well-rounded per- 
son. When I read the last question to him, 
he said, "Shall I gag this one? I might as 
well lighten up the deep stuff. I like onions 
and sauerkraut best." Which left me hun- 
gry, but I confess, unimpressed. 

Guy Brooks — an entirely pleasant young 
man, tall, handsome and likable — is thirty, 
single, and hails from Fresno, California. 
He would not marry an actress because two 
people can't have the same career, and mar- 
riage in Hollywood is impossible (he thinks) 
for the reason that all paths lead away from 
the home and husband and wife drift apart. 
He has always planned to be a screen actor, 
starting eleven years ago to collect experi- 
ence as prop boy with Gilmor Brown in 
Pasadena. After leaving this little theatre, 
he toured with an opera company, was road 
manager for a Fanchon and Marco unit, 
and after two years' struggle, achieved two 
colossal flops in New York. He then re- 
turned to Hollywood and appeared in a 
show put on by Ginger Rogers' mother, in 
which he was discovered by film scouts. 

Guy Wants Character Roles 

HE is not sorry he didn't continue in col- 
lege. If he could no longer act, he 
holds a union card as a stage hand. He pre- 
fers character leads because "you have a 
chance of being more outstanding. In fact, 
you can positively spread yourself with 

laurels. There are very few straight ro- 
mantic leads left, anyway. Things have 
changed, and audiences no longer (lucky for 
me) are interested in the merely good-look- 
ing romantic star without any character." 

He is not susceptible to the women he 
plays with; is not superstitious, and pays 
bills with his money. Although he disap- 
proves of one individual's being controlled 
by another, he does ask older persons' 
advice and tries to strike a happy medium. 
His ultimate goal is retirement and travel. 
He likes harmony better than anything else 
in the world. You saw Brooks (real name, 
Earl Eby) in "Cross-Country Cruise" and 
"Finishing School," and he is now playing 
in "Romance in the Rain." 

Frank Lawton, who has the longest lashes 
ever seen on human eyes, met me in the 
commissary at Universal, his face, hair, 
hands and clothes dotted into a rash by 
whitewash paint. They had been shooting 
a scene all morning in which he had to paint 
a ceiling. Underneath the paint, he looked 
like a nice, clean, good-natured English boy 
— which is just what he is. He has had the 
unique experience of playing in two Amer- 
ican films, in one of which, "Cavalcade," he 
played Diana Wynyard's son, and in the 
other, "One More River," on which they 
are now working (and in which he got the 
paint), her lover. Which proves a versatility 
belonging, obviously, to both of them. In 
between a Manhattan cocktail, chicken 
consomme, roast beef, and rice pudding, I 
contentedly elicited from him the following: 

Frank is Semi-Susceptible 

HE is twenty-nine, a Londoner by birth, 
and single. He would marry an ac- 
tress, but is afraid that it would demand an 
awful lot of unselfishness; he is not sorry 
that he did not continue in college as "it is 
more valuable to be learning your job on the 
stage"; character leads are the most inter- 
esting; he went on the stage in London at 
the age of nineteen, and is "inclined to be 
susceptible" to the women he plays with. 
He says he pays his income tax with the 
money he earns; he won't defy any general 
superstition; and sometimes asks others, if 
the decision is ticklish. His ultimate goal 
is to succeed at his job, and his answer to 
the last question — what does he like better 
than anything else in the world? — is heart- 
warming. He likes best the company of 
good friends. I shall remember him for his 
physical slightness and his mental robust- 

Roger Pryor prefaced every one of his 
answers with a hesitant, but booming 
"Well . . . ?" that carried with it an intro- 
spective inquiry and a great desire to be 
honest and spontaneous with his answers. 
He is twenty-nine and a native New 
Yorker; was a married man the day I saw 
him, but was afraid he would be an "ex" 
by the time this story comes out. He claims 
that he is not qualified to say why marriages 
fail in Hollywood as he has been here such 
a short time, but positively will not marry 
again. (There are rumors that Ann Sothern 
will be the next Mrs. Pryor.) He is glad 
that times have changed so that "a fellow 
with a face like mine has a chance in the 

He never went to college. If he could no 
longer act, he would turn to music (his 
father is Arthur Pryor, the band leader), 
playing almost all musical instruments. 
"I'm a sort of Jack-of-all-musical-trades." 
Character roles intrigue him, as he "is not 
the Adonis type and can get by in that stuff 
in spite of his face." He played in repertory 

for five years — one part at the matinee and 
a different one in the evening — and then 
had eight years on the New York stage. 
He is definitely not susceptible to the 
women he plays with; buys annuities with 
his money, and believes that thirteen is his 
best number. He is impulsive, relying solely 
on his snap judgment because after he gives 
a subject- considerable thought he finds 
himself see-sawing. His ultimate goal is 
world travel, and he likes best, inasmuch as 
food is the most important item of life, a 
good dish of spaghetti. You saw him in 
"Moonlight and Pretzels," "I Like It That 
Way," "I'll Tell the World" and with Mae 
West in "That St. Louis Woman." He is 
now beginning "Romance in the Rain." 

Phil Wants to Go to Oxford 

ners' big bet, and, from your side of the 
footlights, a pretty safe bet. Single, born 
in New York City, and only twenty-six, he 
is one of the most charming young men on 
the screen to-day. His apparent sincerity, 
his youthful eagerness and aliveness, are 
accentuated by one of the most beautiful 
speaking voices I have ever heard. Well, 
what if I did spin out the interview a little 
longer than necessary . . . ? 

In spite of the fact that he believes that 
a Hollywood marriage is not probable — only 
thinly possible — he would certainly marry 
an actress if he fell in love with one; and his 
answer to the "susceptible" question — "I'm 
human!" — suggests that developments 
might develop any day. He went to Cornell 
Agricultural College and is so sorry that he 
didn't graduate that he is going to study 
English literature at Oxford when he can 
find the time. In 1927 he stepped his first 
step on a stage, going into a stock company 
at ten dollars a week as a majordomo. The 
next week he had a speaking line and got 
fifteen dollars. He saves what money he 
can and spends quite a bit on his studies. 

"It helps to be superstitious," he told me. 
"It's helpful to say, 'Now that's a lucky 
number and I can't go wrong.' Then if any- 
thing does go wrong, you can blame it on 
the superstition and keep your ego intact." 
He asks others about decisions if he thinks 
they might know, and then follows his own 
ideas; and he wants, as 'his ultimate goal, 
success and enough money to live on the 
income, leisure to travel and to do what he 
wants to do. He likes his mother better 
than anything else in the world. His next 
picture will be "Romance in the Rain." His 
real name is Milton LeRoy. My impression 
of him is: charm, plus padded shoulders. 

Don Has Played 250 Roles 

ANOTHER big bet at Warners is Donald 
. Woods, who resembles Fredric March. 
He has been loaned to Fox to play in "She 
Was a Lady," with Helen Twelvetrees. 

Woods was born in Brandon, Manitoba, 
Canada, is twenty-seven, and is married to 
a non-professional. If he were not married, 
he would marry an actress if they both had 
enough self-confidence to keep their re- 
spective egos in their place. He didn't finish 
college and feels a certain lack of back- 
ground, but is grateful for his theatrical 
training. He plays romantic leads, but likes 
character work; 'has played about two 
hundred and fifty roles on the stage in 
stock and Little Theatres; must know and 
like his leading women to be able to play 
effectively with them, but inasmuch as he is 
entirely wrapped up in his wife and two- 
year-old son, he can't get emotionally ex- 
cited about them; supports his family and 
puts a certain amount aside each week for 
his son; is not superstitious and "gleans the 
news" in the papers. He always asks others 
about decisions. He aims to save enough 
money to buy books, to travel and to main- 
tain a comfortable home in Hollywood for 
the rest of his life. He likes his family 
{Continued on page 69) 

7 stains dim many a Gorgeous Smile 

DID you ever notice this about the girls 
that men admire? They aren't always 
beautiful. Their features may be plain. But 
the minute they turn on a glorious smile — 
they're simply fascinating! 

The secret of those million-dollar smiles? 
This one is very important — sparkling, white 
teeth! This is the secret that counts most 

Remember this- — dull, discolored teeth are 
only stained teeth . . . 

That's why it's so important to remove, 
completely, all the seven kinds of stains that 
everything we eat and drink and smoke leaves 
on our teeth. 

These stains which dull and discolor teeth 
require two cleansing actions to remove them 



if one tube of Colgate's doesn't 
make your teeth whiter 

If, after using one 
full tube, you're 
not satisfied that 
Colgate's has made 
your teeth whiter 
...send empty tube 

completely. Most toothpastes have only one. 

Colgate's Dental Cream completely re- 
moves all stains — makes teeth whiter and 
smiles brighter — because it has TWO cleans- 
ing actions. 

First, Colgate's penetrating foam washes 
away many of the stains. Second, Colgate's 
gentle polishing action removes all the more 
stubborn stains, and in addition, polishes 
your teeth to a brilliant lustre. 

So all you have to do to have whiter teeth 
and enjoy a brighter smile, is to get a tube 
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If you prefer powder, Colgate's Dental Powder 
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to Colgate's, Jersey 
City, N. J., and twice 
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the toothpaste, 
plus postage, will 
be returned to you. 

re classifies the hundreds of food stains into these 7 major groups — 1 . Meats and other proteins. 2. Cereals 
and other starchy foods. 3. Vegetables. 4. Sweets. 5. Fruits. 6. Beverages. 7. Tobacco smoke. 






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Why Small-Town Girls Have 
More Glamour 

{Continued, from page 27) 

instance, and when we had another contest, 
between the Dallas champion and myself, 
all my neighbors and friends came to cheer 
for me. If I hadn't been buoyed up by their 
enthusiasm, I probably wouldn't have won, 
and if I hadn't won I couldn't have gone 
into vaudeville, and if I hadn't gone into 
vaudeville — " 

Miss Rogers, looking fresh and lovely as 
if she had just come off a farm, paused for 

"An attractive girl in a small town — the 
town belle — is a pretty important person in 
the community. This gives her confidence 
and poise, and materially adds to her appeal 
to men. She has lots of beaux, and learns 
how to handle them. In a city, she'd be just 
another cute girl in a million. 

"Small-town girls also have simpler likes 
and tastes, even though they r do say radios 
and automobiles have changed all that. 
They're more naive and appreciative of 
favors. A corsage is a real treat, and a 
dinner invitation means something. No 
matter what people tell you is the secret of 
glamour at the moment, a small-town girl's 
freshness and enthusiasm will attract ninety 
men out of a hundred, any time!" And as 
Ginger is one of Hollywood's most popular 
belles (for Hollywood, itself, is just an over- 
grown small town!), she ought to know 
what she's talking about. 

Town Drove Her to Acting 

AND even if you aren't popular in your 
. little community, Hollywood has an 
argument to prove that you're better off 
than if you lived in a city like New York or 
Chicago. Jean Muir hated the small town 
she comes from (Ridgewood, New Jersey), 
and feels she was badly treated there. 

"I was rather gawky, I had big feet, and 
the girls and fellows snubbed me. I've been 
to dances many times and sat all alone in a 

This made Jean develop the rare quality 
that puts her over on the screen — that gentle 
sweetness and understanding. In a city she 
might have found solace in theatres, lec- 
tures, or some form of amusement or study. 
In the little town she was driven into her- 
self, and as a defense reaction, she decided 
she'd go to Hollywood, and show them! 

"I also think country girls develop more 
naturally," Jean adds. "They aren't such 
slaves to fads and fashions. They don't 
mimic the current styles as city girls do. 
I don't mean just styles in clothes, but in 
personality, looks, and conversation. Coun- 
try girls are freer — they're not so apt to be 
typed. And it is the fresh, new faces — with 
something different about them — that Holly- 
wood is looking for." 

These aren't the only reasons offered for 
the present search for bucolic types, by any 
means. A well-known director offers the 
information that a small-town girl enter- 
tains more in her own home than the city 
girl (who relies on public restaurants and 
hotels), and consequently she has more 
poise and makes a better hostess. On the 
screen, he adds, this is important! 

Why Men Prefer Them 

AND a popular leading man explains that 
. since small-town girls are guarded 
from associations with men more religiously 
than their city sisters — guarded by gossip, 
if nothing else — they are more apt to be 
thrilled by male companionship. A metro- 
politan lass is apt to disappoint a man by 
offering hail-fellow-well-met camaraderie, 
instead of the blushful innocence he is 

Maybe one of these reasons is why Toby 
Wing (Richmond, Virginia) is one of Holly- 
wood's most sought-after femmes, why 
Isabel Jewell (Shoshoni, Wyoming) has 
captured the popular Lee Tracy, and why 
Dorothy Dell (Hattiesburg, Mississippi — 
Roscoe Ates' home-town) was one of our 
most promising newcomers, before her 
tragic death in an automobile accident. 
Ruby Keeler (Halifax, Nova Scotia), 
Heather Angel (Oxford, England), Adrienne 
Ames (Fort Worth, Texas), Dorothy Jordan 
(Clarkesville, Tennessee), Frances Dee (Gar- 
vanza, California), Raquel Torres (Her- 
mosilla, Mexico), Maureen O'Sullivan 
(Boyle, Ireland), Peggy Shannon (Pine 
Bluff, Arkansas) and Merna Kennedy (Kan- 
kakee, Illinois) are some more small- 

And the potency of a small-town back- 
ground isn't confined to the feminine sex, 
apparently. The three greatest screen 
lovers to date all got their start in half-way 
rustic settings. Rudolph Valentino came 
from the small town of Castellaneta, Italy; 
John Gilbert is from Logan, Utah; and 
Clark Gable was born in Cadiz, Ohio. Other 
masculine favorites of today who got away 
to "small" beginnings are Robert Mont- 
gomery (Beacon, New York), Dick Powell 
(Mt. View, Arkansas), Richard Arlen (Char- 
lottesville, Virginia), Gary Cooper (Helena, 
Montana), Johnny Weissmuller (Wimber, 
Pennsylvania), Franchot Tone (Niagara 
Falls, New York), John Boles (Greenville, 
Texas), Charles Farrell (East Walpole, 
Massachusetts), Harold Lloyd (Burchard, 
Nebraska), Bing Crosby (Tacoma, Wash- 
ington), Fredric March (Racine, Wis- 
consin) and last, but far from least, Max 
Baer (Livermore, California). Plenty of 
other small-town boys have made good in 
the movies — and have married small-town 

Yes, Hollywood has gone small town in a 
big way. Even a large percentage of the 
current crop of Wampas Baby Stars started 
their careers in little hamlets. In the 
writing, directing and the technical side of 
pictures, the proportion is even higher. 
Whatever a small-towner wants to do in 
Hollywood, the screen offers an oppor- 
tunity. Once people thought the term 
"hick" an insult, but now it's a compliment 
— and how! 

Raquel Torres, one of Hollywood's most 

glamourous girls, hails from Hermosilla, 



Getting the Lowdown on 
These New Heroes 

(Continued from page 6f) 

better than anything else in the world. 
William Henry, a sleepy-eyed, tousle- 
headed youngster of nineteen and as engag- 
ing a fellow as ever had a grin from ear to 
ear, rushed off the boat on which he lives, 
shook my hand feebly in the publicity 
office, announced weakly that he was 
hungry, and dragged me off to the commis- 
sary where he answered the questions, after 
re-fueling, with much vim and vigor. He 
lives on the boat from choice, with a China- 
man and a German, although he has an 
apartment in Hollywood. He verges on the 
fanatic about water, and has all the ear- 
marks of being a first-class vagabond. 

Half-Sorry He Left College 

BORN in Los Angeles, single, he "couldn't 
say" whether or not he would marry an 
actress, and thinks that happy marriages 
haven't much of a chance in Hollywood. 
He is sorry in a way that he didn't continue 
in college and makes up for it by studying 
every day. If his career came to an end, he 
would hop on a boat and go to Honolulu to 
join the Little Theatre there; he wants 
character work — no wishy-washy stuff for 
him; he learned everything about the 
theatre in Gilmor Brown's" Pasadena 
house, where he sewed costumes, painted 
scenery, directed and acted. When he was 
eight years old, he played in silent films. 

A little while ago he was drafted at a 
day's notice into being master of ceremonies 
for some musical show that "opened and 
closed in one night," giving, however, a film 
scout time to see, sign and send him out to 
Hollywood three days later. He is "too 
young to get mixed up" with the women he 
plays with — and has to work too hard; he 
buys books and records with the money he 
earns; is respectful to "theatrical supersti- 
tions that work"; and asks his mother about 
any decision. His goal is to be a good 
actor, and he likes the business he is in 
better than anything. He was Gilbert in 
"The Thin Man." This lad is the youngest 
and most individual of the crop. 

Full of the ham and eggs, I next saw 
Henry Wadsworth, twenty-seven, born in 
Maysville, Kentucky, and single. He would 
marry an actress if he fell in love with her, 
but thinks marriage in Hollywood would be 
difficult. He graduated from the University 
of Kentucky, and from the Carnegie Insti- 
tute of Technology. If his film career came 
to an end he would go right back on the 
stage; and if he couldn't act, he would 
direct. Character parts are more interesting 
than romantic, and his preparation for 
movie-acting includes one hundred and 
fifty weeks in stock, five New York shows, 
one-night stands under canvas, and every 
other wrinkle of the theatrical business. 

In answer to the "susceptible" question 
he reolied that it was primarily a matter of 
business, but there were always exceptions. 
He budgets his money; used to be supersti- 
tious, but overcame it by a philosophy he 
developed for himself, and very seldom asks 
others before he makes a decision. His 
ultimate goal is to be a great actor, with 
technique blended with inspiration. He 
a,rded that there are good, fine and great 
actors and that there is no excuse for an 
in-between. He has lawyers on one side of 
his family and preachers on the other, with 
Lee grandfather a Congressman — all of 
'Htom gave him his taste for the theatre, 
Ai smuch as "lawyers and preachers are the 
prit actors in the world." His pictures are 
teihis Side of Heaven," "The Show-Off," 
pb>perator 13," and "The Thin Man." He 
mquietly sure of himself and where he is go- 
hej, though totally lacking in conceit. 














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They Write the Songs the Movies 
Bring You 

hours later, Mack grabbed his hat and 
rushed for the door. "Got to catch a train," 
was his parting shot. 

Just when a song was coming up, the big 
boy beat it and didn't say where he was 
going. Upon making inquiry, Harry learned 
that Mack was playing a vaudeville date in 
Utica and next morning found him boarding 
the first train out. During Mack's stay at 
the theatre, they turned out nineteen songs 
— among them, "Help Yourself to Happi- 
ness" — and clicked from the start. 

Mack could not work without a cigar in 
his face and the three old half-dollars that 
his mother once gave him jingling in his 
jeans. He would not lose these for all the 
rice in China. When he begins to worry 
these coins around, another song like "Love 
Thy Neighbor" is coming on. Gordon has 
the non-stop, daytime record for sleeping. 
He always takes a 'plane from Coast to 
Coast so that he can sleep. On a trip in 
early Spring, he took off from California in a 
Palm Beach suit and arrived in New York 
with a snowstorm going full blast. Mack is 
married and lives with his wife and two 
children in a swell-looking house next to 
Jimmy Cagney. Harry has not yet been 
hooked but supports his mother and father 
on the Coast. The boys are clever. You'll 
be singing them. 

He Gave You "Jungle Fever" 

ace tunester. He turned out "Rip- 
tide" for Norma Shearer's picture, "Jungle 
Fever," "Once in a Lifetime" and "Sleepy 
Head" for "Operator 13," and "Dancing 
in the Moonlight" and "I've Had My 
Moments" for "Hollywood Party." Walt 
is also making music for Eddie Cantor's new 
picture, "Kid Millions." He is one of those 
golf hounds and gets nearly all of his ideas 
out on the course. What a life! But he seems 
to thrive on it. 

{Continued from page jj) 

Donaldson usually works with Gus Kahn, 
a veteran lyric writer. Gus is a free-lance. 
He likes to gag — and how — and can write 
as good a novelty song as a sweet ballad. 
His wife, Grace Leboy, can also turn a few 
tricks at a tune. Gus has written some 
songs for "Caravan" and is now writing 
some for the new Joe Cook picture, "Fun 
on the Air." 

Lew Brown, after quitting the trium- 
virate of DeSylva, Brown and Henderson — 
the boys are not speaking now — has been 
going it solo. Lew is an extra-handy man 
at what-have-you. He can write the book 
of a revue, as well as the songs, and act as 
producer. Coming to Hollywood in 1930, 
he helped produce "Sunny Side Up," "Just 
Imagine," "Indiscreet" and lately "Stand 
Up and Cheer" with Warner Baxter. Lew 
is short, dark and very nervous. Most of 
his tunes come to him while strumming a 

Recall the gorgeous music all the way 
through "Flying Down to Rio," especially 
"Carioca"? Yincent Youmans takes that 
bow. He carries on the melodic tradition of 
Yictor Herbert. Yince first jumped to 
popularity with such Broadway produc- 
tions as "Wildflower," "Hit the Deck," and 
"No, No, Nanette," from which emerged 
that tantalizing "Tea for Two." He's a 
likable chap, a kid in many ways. And 
when you get him started, boy, what music 
he can write! 

That song, "All I Do is Dream of You," 
in "Sadie McKee," which popped up sud- 
denly, is the work of Nacio Herb Brown 
and Art Freed. These boys have also done 
"Hot Choc'late Soldiers" from "Hollywood 
Party" and others. Brown — who wrote the 
first big movie song hit, "Singin' in the 
Rain" — has a beautiful apartment in Holly- 
wood overlooking Beverly Hills and some 
of his parties are getting to be the talk. 
Arthur Freed has a summer place at Malibu 

Bill Jason (left) and Val Burton (right) well-known song-writers, are shown tel 
girls how some of the songs they wrote for "Cockeyed Cavaliers" go. The p ; 


left to right, are: Doris Campbell, Betty Egan, Virginia Edwards, Eva Reyno. 
line Wilson and Harriet Duffy. They all appear in the picture 


is ( ost 

Beach near that of Connie Bennett and 
umpires beach baseball for all the movie 
colony there. 

In Tune with the Times 

AMONG the others, we find Arthur 
; Johnston and Sam Coslow, who wrote 
that sprightly "Cocktails for Two" from 
"Murder at the Vanities." Sam can do a 
job on both words and music, as in the 
Burns and Allen picture, "Many Happy 
Returns." Johnston is responsible for "The 
Old Ox Road" in "College Humor," which 
made such a hit. 

And don't forget the country's rallying 
cry from the depression, "Who's Afraid of 
the Big, Bad Wolf?", written for that pop- 
ular children's classic, "The Three Little 
Pigs," by Frank Churchill and Ann Ronell, 
the first and only song from a movie short 
that ever became a hit. Ann has written 
both words and music for "Down to Their 
Last Yacht." 

Then, there are other screen songs that 
the whole country — nay, the whole world — 
has been humming, while it danced. For 
instance: "Let's Fall in Love," by Harold 
Arlen, who also wrote "It's Only a Paper 
Moon" for "Take a Chance"; "My Dancing 
Lady," by the song-writing team of Jimmy 
McHugh and Dorothy Fields (the daughter 
of comedian Lew Fields); "Hold My Hand" 
(from "George White's Scandals") by Ray 
Henderson; "How Do I Know It's Sunday?" 
(from "Harold Teen") by Sammy Fain; 
"Tonight Is Mine" (from "Stingaree") by 
Frank Harling; "Waitin' at the Gate for 
Katy" (from "Bottoms Up") by Richard 
A. Whiting, who also wrote "Gather Lip 
Rouge While You May" for "My Weak- 
ness"; "Are You Makin' Any Money?" 
(from "Moonlight and Pretzels") by Her- 
man Hupfeld; and "A Bowl of Chop Suey 
and You-ey" (from "Shoot the Works") by 
Walt Bullock. Also, don't forget that Mae 
West writes her own songs. And Ann 
Dvorak and Elissa Landi are amateur 
song writers. 

There are still a few song scribes a little 
shy of pictures, such as Jerome ("Smoke 
Gets in Your Eyes") Kern and Irving 
Berlin. No one has so far been able to lure 
Kern away from theatrical productions and 
Bronxville, New York, long enough for 
exclusive picture work, although one re- 
members with pleasure the picture version 
("The Cat and Fiddle." And "Show Boat," 
"Sweet Adeline" and "Roberta" — all Kern 
operettas — are coming up). 

Irving Berlin did the music for "Puttin' 
on the Ritz" with Harry Richman and later 
"Reaching for the Moon" with Douglas 
Fairbanks. There are plenty of legends 
out about Berlin, such as the one that he 
punches out his melodies with one finger 
on the piano while an arranger takes them 
down; but they are exaggerated. Berlin 
can and does play the piano. He writes 
both words and music. Almost every day a 
long-distance call to New York from the 
Coast offers him the whole works if he will 
do the numbers for just one picture. But 
he has not found time so far. Sooner or 
later he'll fall. 'The pictures get them all 
eventually; it is only a question of time be- 
fore they fall for Hollywood. 

With the success of "One Night of Love" 
— the first movie to make grand opera 
palatable to the masses — it looks as if the 
greatest song-writers of them all (composers 
like Verdi, Puccini, Wagner, Schubert, 
Leoncavallo) will soon be represented on the 
screen. Such melody masters as Franz 
Lehar, Oscar Straus and the late Victor 
Herbert have already had operettas filmed. 
And one of these days the movies may 
present "Of Thee I Sing," with music writ- 
ten by that composer of songs and sym- 
phonic jazz, George Gershwin, whose fa- 
mous "Rhapsody in Blue" had a movie 
hearing in Paul Whiteman's "King of Jazz." 



? I Challenge the 
Most Fastidious 

Woman in 
America to Make 

'Hidden Dirt' Test 

Shocking, but Enlightening 

If you think your skin is really clean; if 
you think that your present cleansing 
methods, whatever they are, are getting 
all the dirt out of your skin, just make 
this experiment. 

It may prove shocking to you, but it 
also will prove enlightening! 

First, cleanse your skin as you now 
doit. Clean it extra well! If you use soap 
and water, use an extra amount. If you 
use cream, use two or three coatings. 
Keep cleaning it until your cloth shows 
not a trace of soil. 

Noiv Look at the Cloth! 

Now that you think your skin as clean 
as can be, take some Lady Esther Face 
Cream. Smooth or pat it lightly on the 
skin. Never mind rubbing— it isn't neces- 
sary. Leave the cream on a few minutes. 
Now take a clean cloth and wipe off 
the cream. Look at the cloth. That 
skin you thought perfectly clean has 
blackened the cloth. 

This shows how Lady Esther Face 
Cream cleanses as compared to old- 
fashioned methods. It brings out un- 
suspected dirt and grime because it 
reaches that "second layer"of dirt that 

defies ordinary cleansing methods. It's 
the pore-deep dirt that causes most skin 
troubles. It continues filling the pores 
with wax-like grime until they become 
actually paralyzed, which brings on En- 
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Excessively Oily or Dry Skin, Muddi- 
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At My Expense 

So far as the Lady Esther Face Cream 
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more than enough cream to make the 
test. Just your name and address will 
bring a 7-day tube free and without 

Write for it today and compare my method 
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leave it to your cloth to decide which is the 
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now. Lady Esther, Evanston, 111. 



You can pane this on a penny postcard) C O E E 


2014 Ridge Avenue, Evanston, Illinois 

Please send me by return mail your 7-day 
tube of Lady EstherFour-PurposeFaceCream. 


Address _ 

City State 

This offer is not good in Canada 




Exhilarating as sinking your putt from the 
far edge of the green 1 KGDLS are definitely 
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Cork tips don't stick to lips. Coupons packed 
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Quality U. S. Playing Cards and other na- 
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in U. S. A. only.) Send for illustrated list. 



Too Valuable to Star 

{Continued from page 23) 

Brown & Williamson Tobacco Corp. Louisville, Ky. 


friends of three or four years ago find the 
identical happy, frank, prank-loving ginger- 
top in the studio to-day that they knew 
when she was trying out for her first 
vaudeville act, when jobs were few and 
hamburgers precious and she never even 
dreamed of Hollywood. 

Sudden success has not turned her head, 
and Hollywood's famous high-hat is a red 
flag to her, as many a four-flusher has 
discovered just when his act seems to be 
going fine. It is because of Ginger's natural- 
ness that she can team with almost any 
type of star, her own unaffected personality 
serving as a perfect foil for her partner's 

There are those who can dance (though 
Ginger's astounding foot-work with expert 
Fred Astaire in "Flying Down to Rio" and 
"The Gay Divorce" has yet to be equalled), 
and there are those who can croon back at a 
crooner; there are those who can wisecrack 
at a wisecracker and those who can play 
dumb with the dumbest — but there is only 
Ginger Rogers who can do them all, and 
still have a whole sleeve-full of dramatic 
ability tucked away for possible use on a 
rainy day. 

Critics say that Ginger was the partner 
who set Dick Powell off to best advantage. 
Radio Pictures wouldn't think of attempting 
to team anyone else with Fred Astaire, and 
Fox admits she is a "natural" for Jimmy 
Dunn. Universal selected her as first choice 
to play opposite the debonair William 
Powell in "The Great Ziegfeld," and other 
studios are casting such covetous eyes upon 
her in their efforts to build teams that will 
make the box-office cash register tinkle a 
merry tune that Radio made her new 
contract read for fifty-two weeks a year, 
instead of the customary forty — just so 
other producers wouldn't have to worry 
about what she might do in the extra twelve 

Out of Work Six Months 

BUT in spite of all Ginger's ability, her 
refusal to "put on an act" or tell the 
world how good she was kept her out of work 
in Hollywood for six dreary months. In 
fact, Hollywood never took the trouble to 
look into her case at all. If it had, she would 
not have been cast in a "bit" in a musical 
picture and then casually asked by the 
director in search of a "filler" if she thought 
she could sing the chorus of a song for a 

When he heard her, he stared in amaze- 
ment. "I didn't know you could sing like 
that. Where did you learn?" 

"I sang in musical shows on Broadway," 
replied Ginger. 

"Is that so? What ones?" 

"'Top Speed' and 'Girl Crazy' were a 
couple of them." 

"'Girl Crazy'!" repeated the director. 
"Oh, my gosh — are you that Ginger Rogers? 
Well, what do you know about that? Come 
on, we'll put in the whole song." 

And that's how stars are made. 

"Of course," admits Ginger, "I never was 
any good at impressing people, and I'd 
probably never have been in pictures at all 
if Paramount's scout hadn't happened to see 
me in New York in 'Top Speed' just when 
they needed a girl for the stock company at 
their Long Island Studio. I went out there 

Which brings us to Ginger's first partner- 
ship in films — with Charles Ruggles, in 
"Honor Among Lovers." Ginger's part in 
that picture was not a particularly bright 
one, but the way she got it is certainly 

One by one the principals of that stock 
company had been called back to Holly- 
wood, until only enough remained on Long 
Island to make the picture, "Honor Among 
Lovers." So this was put into production, 
with Dorothy Arzner directing, and every 
member of the company participating. 
That is, every member except Ginger was 

Made Role for Herself 

CONSEQUENTLY, she was not notified, 
and knew nothing of the work going on. 
It was not until two or three days later, 
on one of her regular trips out from Man- 
hattan, that she discovered that a picture 
was being shot. 

"What's my part?" she asked, a little 
breathlessly. (Ginger is always breathless.) 
"Everybody else in the company has a part, 
and I want mine." 

"But there isn't any part you could play," 
explained Dorothy Arzner (who is, by the 
way, the only woman director in films). 

"Charlie's got a part," Ginger said, 
indicating Ruggles, "and if Charlie's in it, 
I ought to be in it." 

A large tear threatened to swamp a couple 
of Ginger's choicest freckles. She turned 
appealingly toward Ruggles. Charlie smiled 
encouragingly, cleared his throat and 
twiddled his thumbs. 

"If there is one," replied Dorothy Arzner, 
"I can't recognize it. But I'll tell you what 
you do, dear. Take home a script tonight, 
and if you find any part that suits you, 
come back tomorrow bright and early and 
tell me about it." 

Next morning Ginger was back, bright 
and early. "There," she exclaimed, trium- 
phantly, opening the book and pointing 
to a certain character description, "that 

"But, good heavens, honey," gasped the 
director, "this calls for a tall, dark, exotic, 
strikingly dressed, sophisticated woman of 
the most evident gold-digging type," and 
she looked down at Ginger's something less 
than one hundred pounds, her freckled face, 
dancing eyes ai*d reddish hair. 

"Oh," returned Ginger, "she doesn't have 
to be just like that. A little change wouldn't 
make any difference. She can have on funny 
clothes, and a funny little hat, poked over 
her eye, like this: and she can be awfully 
dumb. She can just hang on Charlie's arm, 
like this," demonstrating, "and look up at 
him like this," turning a dumb and adoring 
face up at her erstwhile partner, "and in- 
stead of that English accent and always 
trying to get something, she doesn't need 
to say a word — but just follow him around 
wherever he goes." 

"Aside from those slight changes, you 
would leave her just the way the script says, 
eh?" smiled Miss Arzner. "But, Ginger, 
you've made yourself a part. We'll do it 
that way." 

Ginger Rose to the Emergency 

UNPRETENTIOUSLY meeting emer- 
gencies is Ginger's middle name, 
whether those emergencies happen to be 
framing gags with Joe E. Brown, perfecting 
intricate dance steps with Fred Astaire, or 
teaching tricks to chorus girls and "bit" 

One day, when things weren't going so 
well for Ginger, her mother — who is a 
writer and stage director — received a tele- 
phone call from a theatre manager in 
Long Beach. 

"I need help," explained the manager, 
"and I need it quickly. I'm putting on six 
acts of vaudeville and a good picture, but 




this afternoon I had only nine people in 
the house. And there were less than fifty 
here last night. I want Ginger to come out 
and save my life, and I need her for the 
two-thirty show." 

"That ought to be simple," replied her 
mother. "We have no act, no routine, no 
new songs and no pianist — and a whole 
morning to get ready." 

"Oh, Ginger can figure out something," 
assured the theatre manager. "I'll take a 
chance on her." 

Ginger, who had pulled the receiver far 
enough away from her mother's ear to hear 
what was being said, grinned and nodded 

"Well, she's crazy, too," replied 
mother, "so I guess we'll be there." 

"We'll have to hurry to get ready," 
Ginger's amazing suggestion. 

"Why hurry?" ironically inquired 
mother, "Haven't you 'Am I Blue' 
solutely mastered? Your whole repertoire, 
I believe. But a very appropriate song, and 
one the theatre manager will join you in 
after the show. But then, of course, you 
have your reputation as a resourceful young 
lady to maintain — and it wouldn't do to say 
'No' simply because you haven't anything 
to do — unless, perhaps, you sing 'Am I 
Blue' backwards, in case they should 
happen to want an encore." 

"We had to get a musician first," smiles 
her mother to-day. "When I finally located 
one and got him on the 'phone, Ginger 
worked out her routine with him, one at 
each end of the line — humming her songs 
for him to follow on the piano. Then, as 
we drove out to Long Beach from Los An- 
geles, those two did their rehearsing in the 
car. And she sang 'Am I Blue.' She sang 
it slowly, and she sang it fast. She wailed 
it as a dark-skinned gal and moaned it as a 
forgotten lady. And then, after three 
encores, she sang the fool thing in 'pig Latin, 
and brought down the house." 

Wowed Producer, Too 

WHICH brings us to Ginger's work in 
"Gold Diggers of 1933," when she did 
the same thing with "We're in the Money." 
One day, during the shooting of the scene 
in which this song was featured, Ginger 
suddenly waved to a group of the chorus 
girls who were always somewhere near her, 
to draw up close. Then, all bending over in 
true football huddle formation, they listened 

"Erewa inya etha oneyma owna," and 
so on and so forth, and as they giggled and 
chuckled, Darryl Zanuck, studio head, who 
stalked the sound stages during the produc- 
tion like one of the four horsemen, heard, 
drew close and listened. 

"Who did that?" he suddenly demanded. 

As the girls scattered in all directions, 
Ginger grinned, and bowed. "My top 
performance," she announced. 

"Here, come over to the piano and let's 
hear that again." 

Hearing it again, he turned to the director 
of the picture. "That goes in," he announced 
abruptly, and hurried back to the executive 
offices, to start the wheels grinding out more 
film for Ginger to caper through. 

Personality, according to Ginger, is 
merely a matter of letting good enough 
alone, of being natural and not trying to 

"If the public accepts a girl for what she 
is, and gives her success through its recog- 
nition, why should she immediately try to 
remake herself into something she is not?" 
asks Ginger. "Why not be just what you 
are, and ask your friends to smack you down 
if you try to go high-hat?" 

(P. S. — Lew Ayres is the lad she favors — ■ 
and it looks like wedding bells soon.) 


"The trouble, Madame, is not with 
your heart... but in uour head/" 

Dr. Helene Stourzh has 

a large private practice in 
Vienna. She holds rank 
as one of the most distin- 
guished gynecologists of 

" 'Doctor . . . it's heart trouble' . . . these 
were her first grim words as she walked in. 

"And she followed with the most con- 
vincing list of symptoms I ever heard. 
It was all imagined; a neurosis brought 
on by fear. She had a perfect heart! 

" 'The trouble, madame,' I said, 'is not 
with your heart but in your head.' 

"Many married women are like this. 
Some slight feminine irregularity throws 
them into panic; panic may bring on 
physical symptoms. But knowledge of 
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replaces fear with peace of mind. And 
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"The best and simplest technique of 


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marriage hygiene is the "Lysol" method. 

"Lysol" antiseptic, in proper dilution, 
used as a hygienic measure regularly, is 
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"Lysol" is indeed the perfect antiseptic 
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Facts every married woman should know 

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OBEY that impulse to Visit 


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227 West 45th St., New York 
I Now under Arthur Lee Direction 

'little Man, What Now?" 

Answers the Call for 

Better Films, Says Reader 

$20.00 Prize Letter 

With all this discussion going on con- 
cerning the need for better movies, we find 
one motion picture which can quiet the 
clamor, silence the complainant, and give 
peace and quiet to the human soul. This 
picture is, as perhaps you have already 
guessed, Hans Fallada's "Little Alan, What 
Now?" directed by Frank Borzage. 

Margaret Sullavan and Douglass Mont- 
gomery give such sincere performances that 
one leaves the theater feeling that he has 
just had a long heart-to-heart talk with two 
very remarkable people. 

No impossible situations were in the pic- 
ture, no scenes where the red flag of sex was 
waved before the audience, nothing which 
anyone would hesitate to relate or discuss 
freely before the most rigid of persons. 
When a picture can attain this standard and 
still be a box-office success, it has reached 
in my opinion the highest type of drama. 

The love scenes be- 
tween Miss Sullavan 

and Mr. Montgomery j 

were a lovely presen- 
tation of how true 
love should conduct 
itself. It was love 
that was unashamed, 
sincere, and above all 
— powerful enough to 
be the salvation of 
two lives and to cul- 
minate in the coura- 
geous and victorious 
effort to provide for 
the arrival of a third. 
Margaret Hayden, 
Azusa, Cal. 

$10.00 Letter 

A New Note In 

Mystery Stories 

Sounded In 

"The Thin 


Eureka! At last a 
really diverting mystery picture, free from 
the clammy eeriness characteristic of most 
productions of this type. Instead of the 
usual attacks of goose-nesh, cold sweat and 
jittery nerves, I found myself indulging in 
amused chuckles as I followed the deduc- 
tions of that inimitable sleuth of the cellu- 
loid, William Powell, alias Nick Charles in 
"The Thin Man." 

Indeed, contrary to the blood-curdling 
canons of prevalent cinema thrillers, "The 
Thin Man " moves along on a strong under- 
current of humor, that in no wise detracts 
from the suspense and interest. Egged on by 
the beauteous and beguiling Myrna Loy, 
Powell wends his nonchalant way through a 
labyrinth of liquor, laughs and logic to a 
triumphant denouement of the enigma. 

L. W. Pattillo, Jacksonville, Flu. 

$5.00 Letter 

No Fear of Boycotts With 
Stars Like Ruby Keeler 

I can imagine the embarrassment of the 
leaders of the movie industry at the recent 
boycott instigated by the churches. The 

Become a Critic — Win a Prize 
Tell the movie world — 
through Movie Classic — 
what phase of the movies most 
interests you! Advance your 
ideas, appreciations and criti- 
cisms of the pictures and play- 
ers. Each month. Movie Clas- 
sic gives Twenty, Ten and Five 
Dollar Prizes for the Three Best 
Letters published. Keep within 
200 words. Sign your full name 
and address. We shall use 
initials if requested. Address 
Letter Page, Movie Classic, 
1501 Broadway, New York 

mind of the masses at times moves slowly 
but inexorably, and it has at last taken a 
stand against the so-called salacious and 
demoralizing films to which our youth are 
being exposed. 

May I suggest, as a way out of the di- 
lemma, that producers find and engage 
more girls of Ruby Keeler's type — like- 
able, sweet, wholesome, and not obsessed 
with sex. Judging her by her behavior 
before the camera, I would say she is a girl 
that any man would unhesitatingly be proud 
to introduce to his mother. 

Also, if they give us more pictures such 
as "Little Women," in which character 
and courage are justly exalted, there will 
never be any need to worry about boycotts 
by an irate public. 

The movies are one of the greatest agen- 
cies for good in the country, provided how- 
ever, they wish to avail themselves of their 
high privilege. 

R. W. D., Penns Grove, N. J. 


Shirley Temple 

Will Bring 

Them Back 

If the vogue of 
little Shirley Tem- 
ple, the new star, is 
as symbolic of public 
taste as Mae West 
was illustrative of a 
public nausea, then 
we must applaud her, 
not only forherclever 
and innocent acting, 
but also for her in- 
spiring influence upon 
As a feather may- 
turn a scale and de- 
cide the balance, so 
may tiny Shirley 
Temple throw her 
weight on the side of 
wholesome motion 
pictures, and win back the affronted thou- 
sands who. are at present shunning the 
theatres because of unpalatable and sugges- 
tive films. 

May the name, Shirley Temple, always 
mean excellent entertainment. 
J EANNIE Moorhouse, West Los Angeles, Cal. 

American Public Prefers 
Home-Grown Talent 

Why do producers spend thousands of 
dollars to import foreign actors and ac- 
tresses, training them, giving them country- 
wide publicity, when American artists are 
much more to the taste of the American 
public and in my opinion, more capable? 

Why do producers and other officials of 
the screen world tolerate the temperament 
displayed by these foreigners and capitalize 
it, or is it just another way of appealing to 
public interest? For instance, there is the 
recent article in Movie Classic about 
Francis Lederer's passion for reality as dis- 
played by his insisting upon chewing genuine 
blubber in an Eskimo scene instead of a 
substitute much more appealing to civilized 


Picture the simplicity of such able artists 
as Helen Hayes, Ann Harding, Paul Muni, 
Barbara Stanwyck, Alice Brady, — no break- 
ing into tantrums and sending an entire 
staff scurrying on useless errands. It 
doesn't require the expenditure of a million 
dollars in advertising to urge the public to 
see pictures in which the above artists ap- 
pear. Let's have more American pictures, 
with all American players. 

Molly R. Winters, Brooklyn, N. Y. 

Garbo Creates More Interest 
By Her Seclusion 

When I see Greta Garbo in a film, I 
patiently try to find the greatness reputed to 
be hers. All I ever see is an angular person 
wandering about with a lost expression and 
a voice suggestive of a bad cold. She is no 
actress and her off-screen mannerisms are 
simply absurd. 

Perhaps her frantic desire for seclusion is 
because she herself realizes just how much 
she lacks personality and fears that if people 
met her face to face they would find that 
out too. Therefore, she creates more in- 
terest by keeping away than she would by 

I am also positive that Garbo has no wish 
to leave Hollywood despite the " I tank I go 
home" rumors. If she was serious about 
leaving Hollywood, she has the where- 
withal to buy more railroad tickets than 
necessary with which to depart, but I think 
the trouble with Greta is that she does all 
her acting off screen. 

Peggy McNeill, Glasgow, Scot. 

Gary Grant Is The Only 
Leading Man for Mae West 

I READ recently that Paramount is plan- 
ning to star Cary Grant on the strength 
of the public's response to his work as Mae 
West's leading man. 

Evidently, he is going it alone henceforth 
and I regret that this is the case. For his own 
sake, because I doubt that he will ever attain 
the same popularity and success that he 
would if he continued to play opposite our 
most glamourous siren; and for Miss West's 
sake, as I fear she will find in no other lead- 
ing man the complete foil to her blonde 
beauty and frank personality that the dark 
looks and unassuming, almost shy, man- 
nerisms of this tall, handsome chap afford 
her. The rather shocked-but-loving-her- 
just-the-same expression in his eyes, when 
she pulls one of her rowdy wisecracks, is 
priceless. I expect the movie public to raise 
a howl of protest when she appears with 
another leading man. 

Edith Rothrock, Louisville, Ky. 

Colorful Figures of History 
Really Live on Screen 

SHADES of the little red school house! 
When I think of how I hated history 
and how I now go for such pictures as 
"Disraeli," "Alexander Hamilton," "Vol- 
taire " and " Henry the YIII " ! 

Time and fame have a way of setting men 
into historic attitudes. As a school kid, I 
found it hard to believe that the figures ap- 
pearing on history's pages were once human 
beings like myself. The past, somehow, 
seemed like a group of heroic paintings, of 
beruffled and bewigged gentlemen who 
kindly faced the artist and passed into eter- 
nity that way! 

But now, thanks to the talking screen, 
history becomes real flesh and blood . . . 
vivid, alive, fascinating! I am glad that my 
children have the opportunity of learning 
history through this medium, which I was 
denied. Pictures like the above-mentioned 
are a real inspiration and have sent me to the 
library to dig out more about these colorful 
figures. I am now learning the history I 
missed. Lee Thomas, Lynchburg, Va. 

K^lie girl who capiivaies 
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wise she enjoys double 
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her loveliness. It relaxes 
any hard lines there might 
be in her face. (Try it 
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THE biggest picture ovation in 
months was given to Grace Moore 
and Tullio Carminati, when Holly- 
wood got its first glim pseof "One Night 
of Love." Gracewas present, butTullio 
was in New York . . . Kay Francis 
has gone abroad for a long rest — part 
of which she will get in Rome, at the 
home of Count and Countess di 
Frasso, Gary Cooper's friends. Other 
friends relate that she still weeps in 
the silent watches of the night over 
the break-up of her marriage to Ken- 
neth MacKenna. She may have ob- 
tained the divorce, but they claim 
that she wasn't the one who wanted 
it. And, apparently, even Maurice 
Chevalier and William Powell haven't 
been able to console her. Though if 
Maurice can get to Europe before she 
returns, he might try again . . . John 
Gilbert's latest ex-wife, Virginia 
Bruce, telegraphed: "Darling, isn't 
it wonderful?" when she heard of his 
getting a big role in "The Captain 
Hates the Sea," with other offers 
thronging in upon him. She's the 
only one of his four ex-mates who has 
remained a pal. Furthermore: "I 
prefer to be called Mrs. Gilbert. That 
is my legal name — Virginia Bruce 
Gilbert. I have a child and I want 
to keep my married name". . . Ralf 
Harolde just walked up to the altar 
with an astrologist, Georgia Wheeler. 
Wonder if that's a tip-off that Ralf 
has a big screen future? . . . Lew 
Cody, who died in his sleep a few 
nights alter "Shoot the Works" Mas 
completed, was buried in his native 
New England — in the same cemetery 
with his French-Canadian forebears. 
Dorothy Dell, who was killed only a 
few nights later in an automobile 
accident, was buried in New Orleans, 
where she started on her meteoric 
career, rather than in her native 
Hattiesburg, Mississippi . . . Cody left 
$42,000 in realty, $1,300 in cash, and 
#4,450 in personal property — a small 
estate when you consider that he had 
been prominent in films ever since 
1915, but eloquent testimony to the 
high cost of living as a star . . . 
Josephine Hutchinson, who ranks 
next to Eva Le Gallienne in that 
actress' famed repertory company, is 
a phenomenon to Hollywood. In- 
stead of sweeping into Hollywood in 
dazzling fashion as many a stage star 
does, she arrived two months ahead 
of the time when her contract was to 
begin — so that she could sit on the 
side-lines of sets and learn the tech- 
nique of movie-acting. This girl is 
one of Hollywood's increasing crop of 
sincere artists. Her first picture will 
be "Gentlemen Are Born," with Dick 
Powell — who has manifested an in- 
terest in Margaret Lindsay since 

Mary Brian left town . . . Several 
liquor companies are trying to get 
advertising tie-ups from movie stars, 
whose private bars have been photo- 
graphed. The stars are pouting 
"No," displaying false modesty at 
their expertness in mixing cocktails 
and highballs . . . Joe Penner, the 
"Wanna buy a duck?" man, is re- 
ported to be getting $75,000 for the 
six weeks he will spend in making 
"College Rhythm" with Lanny Ross. 
And just a year ago, he was reported 
to be getting $750 a week for strutting 
his stuff in vaudeville . . . Thorne 
Smith, author of the hilarious "Night 
Life of the Gods," is newly dead, but 
his story still lives on. In fact, it's 
going to be immortalized on the 
screen, with Lowell Sherman direct- 
ing . . . George Burns and Gracie Allen 
are gonna have a baby — if they can 
find one they like in an orphanage. 
That is, they will when they return 
from a jaunt in Europe. They sailed 
on the same boat with Kay Francis 
. . . President Roosevelt has had 
enough movies on board the U. S. S. 
Houston to keep him entertained 
every evening. He's a dyed-in-the- 
wool fan and the producers sent him 
their best pictures, many of them not 
yet released. Hollywood hoped he 
would stop off on his way from Hawaii 
. . . Dorothy Mackaill, just back from 
abroad, got so homesick for Holly- 
wood that she hopped a boat without 
saving goodbye to her father in Eng- 
land; she radioed for forgiveness . . . 
Max Baer is coming back to Holly- 
wood — perhaps to play the milkman 
who accidentally becomes a prize- 
fighter in the comedy, "The Milky 
Way" — and he'll be on the same lot 
with Mae West, who has always liked 
prize-fighters. (Her father used to be 
one.) . . . Maxie, reported pining for 
his ex-wife, Dorothy Dunbar, was 
bounced back on the ropes by her re- 
cent court • application to have her 
name legally changed from Dorothy 
Dunbar Baer to Dorothy Dunbar 
Wells, her name by a former mar- 
riage. She doesn't (!) enjoy the pub- 
licity connected with the name of 
Baer . . . Claiming that she had been 
made "ill and nervous" by the cuss- 
ing and furniture-wrecking of her 
Tarzan, Lupe Velez filed divorce pro- 
ceedings against Johnny Weissmuiler. 
Eight days later, hostilities were 
called off — again. Her lawyer an- 
nounced, "They are apparently very 
much in love with each other" . . . 
Charles Ray and his wife, the former 
Clara Grant, recently revealed that 
they have been separated for a year, 
because of incompatibility. No di- 
vorce plans have yet been announced 
. . . Minna Gombell and her hubby, 



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Joseph W. Sefton, Jr., San Diego 
banker, recently celebrated their first 
anniversary uniquely. She was in 
Honolulu on vacation; he was in San 
Diego, but he drew up a "declaration 
of trust," in which he stated "that 
the year ending this day has been one 
grand year, due. solely, entirely and 
without the possibility of doubt, to 
the personality, understanding and 
affection of one Minna Gombell 
Sefton." When they were married, 
he drew up a legal document specify- 
ing that between the hours of 3 p.m. 
and 1 a.m., she would be privileged to 
go out with any unattached male of 
her choice, if business kept the Sef- 
tons apart . . . Barbara Stanwyck and 
Frank Fay have been playing Good 
Samaritans again. Two years ago, 
they went to the aid of Fay Temple 
Mack, stage actress, who was told 
she would never be able to walk again, 
because of a spinal infection. With 
their help, she has fought her way 
back to health . . . The Crosby double 
Blessed Event — now there was news. 
Bing's and Dixie Lee's brace of boys 
are the first twins born to any movie 
couple. Bing and Dixie knew that 
there would be two (X-rays told 
them), but they didn't expect them 
so soon. Result: the babies had to 
live incubator lives at first, with even 
the slightly dazed father not per- 
mitted to see them . . . Gilda Gray, 
the first shimmy-shaker and former 
screen star, is now a Baroness. Her 
husband, Hector Briceno de Saa, just 
inherited the title and part of the 
million-dollar estate of a Baron- 
uncle. Gilda's comment: "Isn't it 
great! Isn't it wonderful! Isn't it 
grand!" . . . Douglas Fairbanks, Jr., 
recently gave Gertrude Lawrence a 
small yacht in England. At the chris- 
tening, when she named the boat 
"Grateful," she couldn't break the 
bottle of champagne in the orthodox 
manner, though she tried three times. 
A hatchet was called for, the bottle 
was broken, the ship named, and a 
yachting party set off for a week-end 
cruise. So that romance is still very 
much "on" . . . And newspaper dis- 
patches tell of Douglas Fairbanks 
and Lady Sylvia Ashley flying to 
France for a week-end with titled 
friends . . . Will Rogers, who has fin- 
ished "Judge Priest," is off for a 
world tour, on which he'll pay par- 
ticular attention to Japan, Soviet 
Russia, Scandinavia and Germany. 
His wife and two sons went along . . . 
Buster Collier, who used to be the 
"date" champion of silent days (the 
Lyle Talbot of his time, at it were), 
sends word from London that in the 
Fall he is marrying Marie Stevens, 
former "Follies" beauty . . . Jack 
Holt is being rumored about to marry 
again — with the prospective bride a 
San Francisco society woman. 

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Mr. Albert D. Lasker : "When the oppor- 
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Madame Amelita Galli-Curci: "I am look- 
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Mr. John Barrymore: "I have always found 
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Carl Van Vechten : "The Ambassador is, I 
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Intimate Hollywood Gossip 

Even a casual visit to the 
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face to face with your ideal of 
living in New York. Gourmets 
praise the cuisine . . the service. 
From its windows a living mural 
of sheer beauty . . Central Park. 
A design for living in New York. 
Suites of various sizes exquisitely 
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Henry A. Rost, Managing Director 
George Suter, Resident Manager 



58th to 5 9th STREETS 

{Continued from page 14) 

West — but by way of the Canal, which gave 
the homeward trip a honeymoon air. ... A 
few days before the wedding, his first wife, 
Winifred Coe Dix, announced her engage- 
ment to Dr. Harley J. Gunderson, noted 
surgeon. Dix and his first wife have one 
child, a daughter, who is in the custody of 
her mother. 

Gloria Re-Decorates 

GLORIA SWANSON decided to re- 
decorate the patio of her home, herself. 
She found some garden tables and chairs 
among the props left from the ill-fated 
"Queen Kelly." "It is the only thing I have 
ever been able to salvage from that pic- 
ture," she explained. 

Wishing to repaint the furniture, Gloria 
bought some eleven dollars' worth of paint 
in several colors. The following day she 
sent for more paint. The chauffeur returned 
for another re-order the third day. 

"What in the world is Miss Swanson 
painting?" asked the paint store proprietor. 

"Furniture," replied the chauffeur. 

Knowing that Gloria had purchased 
enough to paint an entire house, the pro- 
prietor called to investigate. He discovered 
that she was using it without mixing it. 

Title Note 

WE Live Again" is the title finally 
chosen for "Resurrection," which 
Anna Sten is making for Sam Goldwyn. 
When it became known that a new title was 
being sought, one Hollywood gagster sug- 
gested "Sten Up and Cheer." 

Our Gayer Generation 

J her perpetual fiance, Bob Ritchie, re- 
turned from an European talent hunt for 
M-G-M, by giving him a surprise cocktail 
party. As Bob brought his mother to visit 
Jeanette and her mother (it was Mrs. 
Ritchie's first Hollywood visit), the invita- 

tions included other mothers, Jack Oakie's 
and many more. 

There were more than a hundred and 
fifty guests, but the ones who were the 
gayest and who stayed the latest were the 

Winchell Note 

WALTER WINCHELL is more than a 
little annoyed at the character he be- 
lieves to be himself in Paramount's "Shoot 
the Works." The columnist in the picture 
is played by William Frawley and indulges 
in a feud with the band leader played by 
Ben Bernie, with whom Winchell has so long 
engaged in a gag insulting match. 

Winchell has obtained an injunction 
against the use of his name in advertising 
or publicity connecting him with the picture 
in any way. 

Tragedy for Mary? 

WE hear that the young music pub- 
lisher, killed when a passenger air- 
liner crashed recently in the East, was one 
of the latest of Mary Brian's admirers. And 
we also hear that for the first time Mary was 
on the verge of marriage. Still, she and Dick 
Powell have been seeing a good deal of each 
other while he has been filming "Flirtation 
Walk" at West Point, not far from New 
York, where Mary has been rehearsing for 
a revue. And Jack Oakie openly begs her to 
marry him in every interview he gives. 
There's something about these quiet gals. . . 

Franchot's Ex-Romance 

WE heard the other day that Franchot 
Tone was engaged to Judith Wood 
when he arrived in Hollywood and that he 
called her up by long-distance 'phone to 
tell her about Joan Crawford . . . just as 
she (Judith) was about to step onto the 
stage in a Broadway show. Credence is 
added to the story when we remember that 
as Franchot and Joan entered a famous 

The autograph hunters have no regard for vacations at all, but Lanny Ross doesn't seem 
to mind it a bit. The fair admirers caught him on the beach, in Atlantic City, and 
stormed him, with everything from a piece of paper to an inflated rubber sea-horse, 

for his signature 


restaurant during the early days of their 
romance, Judith Wood, dining nearby had 
her table changed to put the length of the 
room between them. . . . 

Kent Is Evelyn's "Steady" 

KENT Taylor, the spies report is worried. 
He is being teamed again with Evelyn 
Yenable, and though he admires Evelyn 
immensely this is the fifth picture in which 
he has made love to her and he is afraid the 
fans will soon not be able to think of him 
in any other role. Kent is quietly and 
happily married, besides being a clean-cut, 
likable young fellow (which, no doubt, 
makes him the continued choice of the 
fastidious Evelyn). With one of the most 
generous contracts in the business, the 
Yenable girl has the right to refuse to do 
anything on the screen that she doesn't 
want to do. That included being "bundled" 
with Francis Lederer in a comedy of Early 
Colonial days. If you don't know the 
quaint and naive custom of "bundling," 
look it up in the encyclopedia and you'll see 
why Evelyn turned down the part! That 
Evelyn Yenable — Hal Mohr is due to end 
in an elopement any day now, say her 

Matrimonial Danger Ahead? 

WITH Charles Boyer parting with Fox 
and mentioning plans of going back 
to Paris, what of his little blonde English 
bride, Pat Paterson? Pat can't break away 
without sacrificing her whole career. Boyer's 
last trip back to Paris cost him his romance 
with Frances Dee. Might this trip lose him 
a wife? 

May Never Come Back 

MADELEINE Carroll may never come 
back to Hollywood. The men of the 
town went goofy about her, which isn't 
strange since report has it that a certain 
Royal Personage has been in love with her 
for years. But what have Hollywood men 
to offer Madeleine? Stardom? But she is 
already a great star in England. Diamonds? 
Don't make me laugh — Madeleine's hu' 
band, Phillip Asthey, is one of Engla - 
wealthiest men. And when you'v 
hausted those two stock prizes, Hoi' 
doesn't know what to suggest. 

They Can't Ruffle L 

THE first preview of "Of F 
age" brought forth a stran 
The audience, growing 
Mildred's cruelties to Phili 
whenever she appeared 
"Take that Jane out!" 
proportions before the c! 
"Amazin'," murmured T 
it, " 'straordinary peo 
ever seen Leslie H 
ruffled. Recently he - 
friend of his and his 
the Howard project! 
privately taken pict 
tured in "stag partif 
unclad females on V 
of yours?" he murrr 
disclaimed any acqi 
ordinary!" said Les 

An Unr 

BETTE Davis ' 
husbands of 
his job in the ; 
Nelson Jr. refusec 
star's husband. 1 
Colony Club ore 
little and sings ■ 
honestly. He < 
dollars recenti 
want a car, an 
spend on one. 
bargain than I. 
do?" Now he i: 
Ford through tr 
• (Cont 



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900 Rooms — 

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Scoop! Long-Missing 
Valentino Film Found 

(Continued from page ji) 

views of the exquisite bay of Naples. 

Scenic Italy has been the subject of 
many screen travelogues. But you have 
never seen it as Valentino photographed 
it. The man was homesick and his nostalgia, 
as evidenced by his almost reverent pre- 
sentation of his beautiful homeland, will 
bring a lump to your throat. Thousands 
of writers have penned great epitaphs for 
Rudolph Valentino. Yet he unconsciously 
wrote a greater one for himself — "I loved 

Rudy also photographed the magnificent 
castle on the Hudnut estate. It is believed 
that he took them after his separation from 
Winifred Hudnut, the girl he married under 
her screen name, Natacha Rambova, and 
continued to love until his death. 

Only once did Valentino take his camera 
with him to the studio and then solely for 
the purpose of filming his blooded Arabian 
horse, Haroun, in action. 

In Alberto's possession is more than a 
reel of film taken at Rudy's funeral in New 
York and interment in Hollywood. Thou- 
sands of people can be seen lining the streets 
of both cities. Movie celebrities by the 
score came to bid him a last farewell — 
Charles Chaplin, Mary Pickford, Douglas 
Fairbanks, Harold Lloyd, the Talmadges, 
Joseph Schenck and hosts of others attended 
the services. It comprises an imposing 
climax for the screen's first autobiography. 

" l Tells More Than Words Could 

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For Moviegoers to Puzzle Over 

















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23 1 


■ S-5~ 



■ 28 


B 30 



■ 33 

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e 7 




The Sun God (poss.) 51. 

His first name is John 53. 
Sarah in "Success at 
Any Price" 54. 

His first name is Louis 
Last name of the star in 56. 
the center 

Starlet from England, 
aged sixteen 58. 

Take a letter from 
Bebe's last name to get 60. 
this 62. 

Rankin's initials 
Carey's initials 64. 

Will Rogers likes to kid 

the S 

Valentino's widow 65. 

*' Mine Tonight" 66. 

Mona Maris played 

Countess in "Kiss 68. 

and Make Up" 

Fuzzy in "Born to Be 71. 


"I've Got 72. 


Her name means "one" 73. 
Screen ' ' heavy ' ' who 
recently died 75. 

" Tide" 76 

Where fan letters go 

when incorrectly ad- -- 

dressed (init. ) ■ 

Natheaux' initials 

What some mistakenly 78. 

call Lyda Roberti 

Poelzig in "The Black 8\ . 

Cat" 82. 

Ever or always 

Conduct a periodical g4 

The movies will have to 

"clean up" or o^ 

A river in the homeland 
of Francis Lederer 

"If I Were " 88 

Theatres enter- 89. 


A peasant 

Littledale in "Opera- 
tor 13" (init.) 
Alice in "The Circus 

We'd like to see Disney 
make more of this 
man's fables 
Slim Sullivan in "Half 
a Sinner" (init.) 
Loretta Young calls 

Sally Blane 

Take son from Helen's 

last name and this is 


Only star who authors 

her own pictures 

First name of the star 

in the center 

Whatever became of 


Carlotta in "Affairs of a 
Initials of the author of 
"Counsellor at Law" 
Kent Taylor's home 
state (abbr. ) 
A symbol or sign 
He authored "Strange 
Interlude" (init.) 
Anita in "Smarty" 

In "Viva Villa" Beery 
led a band of these 

The Thirty-Day Prin- 
cess . 

Dolly in "Sadie Mc- 

A combining form; hard 
or firm 

What puts the bubbles 
in beer 

15. What Carole's name 

used to be 
17. Manners' nickname 
19. A famous movie baby 

22. Johnny in "Viva Villa" 

23. The rubber-legged co- 

27. Initials of a juvenile 

28. Dr. Hitchcock in "Oper- 
ator 13" 

29. Guy Standing's title 
31. Claire D d is always 

"the other woman" 

33. Grace Menken is 

35. His first name is Arthur 
38. A cotton fabric that 
sounds like a star's first 
40. What even stars need 
43. Dorothy Dell had a pre- 
monition she would 


-gava looks 

Kathryn — 
like Garbo 

48. The star of "The Bar- 
retts of Wimpole Street" 

49. Most of us would like 
to pay Hollywood a — 

50. Hale in "The Lost 

52. Dr. Monica 

53. Briggs in "I'll Tell the 

55. A shortening of Roth's 

first name 
57. "The of Nora 

59. The nurse in "Little 

Man, What Now?" 
61 . Raul's initials 
63. Her last name is Chase 
65. Jack Oakic was born in 

this state (abbr.) 
67. Surrender 

69. Jimmy Durante acts as 
crazy as a 

70. Remember the late 
Walter H ? 

71. John Shadwell in "The 
Life of Vergie Winters" 

74. Too 

76. A species of wildcat 

79. Cry of a sheep 

80. Steamer (abbr.) 

82. " America Thirst" 

83. How the Baron would 
say what 

85. Old English (abbr.) 
87. Young's initials 

Solution to Last Month's Puzzle 


Karloff doesn't have to 

say this to scare the 


The first Greek letter 

Character actor who 

recently died 

W. C. Fields and oy 

are "enemies" 

Mrs. Harry Joe Brown 


A stuttering comedian 


"The Dark House" 

8. "Charlie 's Cour- 

9. His last name is O'Neil 

10. Add one letter and you 
have Linden's name 

11. Recently divorced from 
Walter Morosco 

12. Norma Shearer's role in 
"Strange Interlude" 

13. Carole Lombard's 
health is deli 

14. Plural of nebula 








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OB 1 R 









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T M V 


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Intimate Hollywood 

{Continued from page ?g) 

Bette Takes Fan for a Ride 

IT was this car which an ardent Bette 
Davis fan saw standing in front of the 
star's home when she came to call on her 
one day. Bette did not disabuse her of the 
idea that that was the only car of the house- 
hold, but cheerily offered to drive her over 
to the studio for a visit. "Do you know," 
murmured the fan as they jounced and 
rattled breathlessly over Cahuenga Pass, 
"I don't think I'll ever believe what I read 
about movie stars again. ..." 

On Speaking English 

/^ECIL B. DE MILLE, picture pioneer, 
v_j producer and director, confides one of 
Hollywood's big troubles to sixteen promi- 
nent college presidents. He writes them : 
"As a producer and director of motion pic- 
tures, I have found great difficult}- in pro- 
curing actors and actresses in Hollywood 
who can speak the American language cor- 
rectly. Those who do speak correctly are 
at a premium, while the bulk of the avail- 
able players are found to speak in one long 
string of vowels, letting consonants fall 
where they may. These latter actors 
represent the results of the general Ameri- 
can system of education, and my problem 
with them is also the problem of every 
other director in the motion picture indus- 
try. Is there not some way in which our 
language can be made and kept pure at its 
source — where the actor and the man in the 
street first learn it — in the public schools?" 

Genevieve Tobin Is No Vamp 

RETURNING from a vacation in Eng- 
,. land, Genevieve Tobin — Irene Castle 
McLaughlin's candidate for the title of 
"Hollywood's best-dressed woman" — talks 
about another big Hollywood problem. She 
says: "I went to England because I'm sick 
of playing a vamp. I'm not a vamp off the 
screen, so I managed to have a good rest. 
If the churches can reform the movies, 
they're doing something that actors and 
actresses have been trying to do. No 
actress wants to play in an indecent picture. 
You may be able to hold out twice against 
such a picture, but usually, owing to con- 
tracts, you find you're in a picture you 
don't want to play." 

Unworried Until November 

RUDY VALLEE, king of the crooners, 
signs a truce in his legal warfare with 
his estranged wife, Fay Webb Yallee, which 
means that until November 19 he will be 
free to enter California, accept a movie 
offer, and depart without having to dodge 
process servers. The last time he was on 
the Camera Coast, he proved himself as 
elusive as Garbo, but when his picture was 
finally completed, he was reported to have 
had to resort to false whiskers and a dark 
night to make his getaway to the East. 
Fay is trying to set aside a separation agree- 
ment by which she receives $100 a week, 
and has brought action for divorce in Cali- 
fornia, asking $7,500 a month alimony. 
Justice Cotillo, in New York, commenting 
on the temporary cessation of hostilities, 
remarks: "It sounds like the signing of the 
Treaty of Versailles." 

Patricia Ziegfeld's Ambition 

PATRICIA ZIEGFELD, eighteen-year- 
old daughter of the late Florenz Zieg- 
feld and Billie Burke, enters motion pic- 
tures. She has become associated with 
William Anthony McGuire, who, with her 
mother, is producing "The Great Ziegfeld," 
based on the life of the famous glorifier of 
the American girl. 

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FINE . . 

This is the most important 
announcement that the House of 
Colgate has made in 127 years! 

When you reflect that women, for genera- 
tions, have gladly paid 25 cents a cake for 
this exquisite soap . . . 

When you recall that Cashmere Bouquet 
has always stood for the finest and loveliest 
of all fine soaps . . . Then you will realize 

how important this announcement really is. 

Imagine ! Now you can enjoy, as lavishly as 
you wish, the enchanting fragrance of this 
Aristocrat of Soaps . . . the flower-like perfume 
that women have adored for generations. 

And you can give your complexion the 
matchless beauty care of a soap so marvel- 
ously pure that experts know it as the finest 
soap that can be made. You can use it daily 
for your bath. For today, at 10 cents a cake, 
Cashmere Bouquet actually costs you no 

more than many soaps of ordinary quality. 

And it is exactly the same superb soap your 
grandmother knew years ago. The same size 
cake. The same fragrance and creamy purity. 
The same hard-milled, long-lasting quality 
that only the costliest of soaps possess. 

Truly, you will agree, fragrant Cashmere 
Bouquet is the Aristocrat of Fine Soaps. 

Surely you will want to buy at least three cakes, 
now thai three cost only slightly more than the 
former price of one. Why not get them — today? 


^Vhen the party is young and smart, 
serve Pabst Blue Ribbon. When hearts 
are gay and laughter fills the air, serve 
Pabst Blue Ribbon. When good taste and 

good fellowship are in order, serve Pabst 
Blue Ribbon. It's the vital and vivacious 
beer, the sturdy and stimulating beer 
— the beer of truly superlative quality. 

Hear Ben Bernie on the Pabst Blue Ribbon Program every Tuesday Night. NBC Red Network 



© \')3i, Prernler-Pabst Corp. 

dovi e Classic 





Jk " m 


4^' c, 

^r of f\*V 


This is the most important 
announcement that the House of 
Colgate has made in 127 years! 

When you reflect that women, for genera- 
tions, have gladly paid 25 cents a cake for 
this exquisite soap . . . 

When you recall that Cashmere Bouquet 
hns always stood for the finest and loveliest 
of all fine soaps . . . Then you will realize 

how important this announcement really is. 

Imagine ! Now you can enjoy, as lavishly as 
you wish, the enchanting fragrance of this 
Aristocrat of Soaps. . .the flower- like perfume 
that women have adored for generations. 

And you can give your complexion the 
matchless beauty care of a soap so marvel- 
ously pure that experts know it as the finest 
soap that can be made. You can use it daily 
for your bath. For today, at 10 cents a cake, 
Cashmere Bouquet actually costs you no 

more than many soaps of ordinary quality. 

And it is exactly the same superb soap your 
grandmother knew years ago. The same size 
cake. The same fragrance and creamy parity. 
The same hard-milled, long-lasting quality 
that only the costliest of soaps possess. 

Truly, you will agree, fragrant Cashmere 
Bouquet is the Aristocrat of Fine Soaps. 

Surely you will want to buy at least three cakes, 
now that three cost only slightly more than the 
former price of one. Why not get them — today? 


Helen's eyes are brilliant — and her hair A nd Helen's contract is so marvelous that ~\li en li ^ e Helen — they like to play bridge 

_ lies in soft, natural waves. She's charming j£\she could go into tournaments if she didn't I J J. with her. But they don't like to dance 

to look at, and invaluable at the bank. But work in a bank! But— the"but" about Helen with her— and they never propose. For the 

— there's a "but" about Helen. gives her many a bad moment. "but" abotit Helen is her teeth! 

XYfhen Helen touches up her pretty lips with 
fr lipstick— can't she see that her teeth look 
dreadful? They're dingy. "Pink tooth brush" 
could easily be the cause of that! 

Helen's dentist would soon explain that 
tender , bleeding gums need massage with 
Ipana. With Ipana and daily massage— her 
gums would soon improve. 

Once Helen's teeth were bright and attrac- 

'tive again— there'd be plenty of young men 
asking her out to dinner and to dance! 
Romance would come running her way! 

TF YOU— like Helen— 
X have allowed your teeth 

CVvxriA. YVrtn tcxrth Vrw&k 


to become dingy and ugly 
because you have allowed 
"pink tooth brush" to go on and on 
— get a tube of Ipana Tooth Paste. 
Clean your teeth twice a day with 
Ipana. It is a splendid modern tooth 
paste which cleans not only the 
surfaces of the teeth — but deep into 
every tiny crevice. It really cleans 
your teeth. Then — because Ipana 

vvrttli Jjio4ia c*avu VVKxt^yaxtiz,] 

contains ziratol, which aids in stim- 
ulating and toning tender gums — 
massage a little extra Ipana directly 
into your gums. 

Today's foods are neither crunchy 
nor coarse enough to exercise your 
gums properly. That is why gums 
today tend to become flabby and 





tender — and to leave a 
trace of "pink" upon your 
tooth brush. "Pink tooth 
brush" may be the first step 
toward gum troubles as serious as 
gingivitis and Vincent's disease. It 
not only may dull your teeth — but 
may endanger your teeth. 

But with Ipana and massage, the 
dangers from "pink tooth brush" are 
minimized — and your teeth shine 
out when you talk and smile! 



See the Ipana Electrical Man. General Ex- 
hibits Group Building No. 4— Chicago, June — 
October, 1934. 4 

^ry^R PICTUH£ 




Romance... tuned to the beat 
of your heart ... as three win- 
ners of Academy of Motion 
Picture Arts and Sciences "Best 
Performance" awards . . . are 
teamed in a, romance greater 
than "Smilin' Through." As a 
stage play, "The Barretts of 
Wimpole Street" scored a three 
year triumph. As a Metro- 
Gold wyn- Mayer presentation 
it brilliantly dominates the 
1934 cinema scene! 


A Metro-Goldwyn-Mayer Picture!; 




From the play by ... . Rudolph Besier 
Directed by Sidney Franklin 

SEP -7 \m 

VOL. 7/No. 2 



B 236235 

Movie Classic 



OCTOBER, 1934 


Speaks Out 


Anna Sten is the first star 
courageous enough to tell 
what she thinks of the present 
agitation against films. She 
is the first star courageous 
enough to admit that she 
may have to say goodbye 
to films if censorship comes. 

She has no sympathy with 
indecent pictures. But she 
does want to make pictures 
in which she can mirror life, 
can be a woman of many 
emotions, can give a many- 
sided art to the screen. And 
censorship, she says, would 
kill both art and reality in 

She is intensely sincere. 
She rates a hearing, whether 
you agree with her or not. 
Don't miss what she says, a 
few pages further on — in her 
first full-length interview in 


Janet Gaynor Denies Ten Rumors Mark Dowling 27 

'Censorship Means Goodbye to Garbo, Dietrich and Me" — Anna Sten . .Sonia Lee 28 

The 10-Minute Egg Club of Hollywood ' Harry T. Brundidge 30 

Is Hollywood Overworking Shirley Temple? Fred Morgan 32 

George Brent Is On His Own Now — And Likes It .Franc Dillon 33 

Tarzan, Mate Battle for Fun, Not Divorce Ann Slater 37 

Anita Page, Newly Wed, Can't Live with Hubby Maude Lathem 38 

Star Who Coined "Trial Separation" Now Weds in Earnest Eric L. Ergenbright 39 

Bing Can't Retire Now — It's Twins Joan Standish 40 

One Fairbanks Returns,- the Other Stays Abroad Dorothy Donnell 41 

Three Movie Couples Make Pact to Stick Together in Trouble Sonia Lee 42 

"Miss Marie" ... A Story Never Told Till Now John Sherman 44 

"My Marriage with John Gilbert Was Not a Failure" — Virginia Bruce 

Maude Lathem 46 

"I'm Going to Sandpaper Jimmy Cagney's Neck!" — Says Jimmy Cagney 

to Katharine Hartley 47 

"Baby" — The Real Jean Harlow of Whom You've Never Heard Jack Grant 49 

"I've Been So Naughty!" — Jean Parker Mark Dowling 51 

"There's No Romance Between Garbo and Me" — Carl Brisson Grant Jackson 52 


Constance Bennett 19 

Tullio Carminati 

Bruce Cabot 

Gloria Stuart 

-Scenes from "The Merry Widow" 
Helen Twelvetrees 


Leslie Howard 25 

Kay Francis. •?. . : , 25 

Carole Lombard 26 

Anna Neagle 43 

Nils Asther-Pat Paterson,- Brian 

Aherne^Ann Harding 48 

Ruby Keeler-Dick Powell 50 


Intimate Hollywood Gossip Jack Grant 6 

Cocktail Recipes of the Stars 10 

For Moviegoers to Puzzle Over L. Roy Russell 12 

These Movies • Larry Reid 34 





DOROTHY CALHOUN, Hollywood Editor 



Movi£ Classic is published monthly at 350 E. 22nd St., Chicago, III., by Motion Picture Publications, Inc. Entered as second class matter July 20, 1031 at the Post 
Office'lat Chicago, Illinois, under the Act of March 3, 1870; printed in U. S. A. Executive Offices, Paramount Building, 1501 Broadway, New York City, N. Y. Copyright 1034 
by Motion Picture Publications, Inc. 'Single copy 10c. Subscriptions for U. S., its possessions, and Mexico $:.oo a year, Canada $2.50, Foreign Countries, $2.50. 
European Agents, Atlas Publishing Company, 18 Bride Lane, London, E. C. 4. Stanley V. Gibson, President and Publisher, William 5. Pettit, Vice President, Robert 

E. Canfield, Secretary-Treasurer. 

The Truth About Francis 
Lederer's "Romances" 

And Other Intimate Hollywood Gossip 



Says Francis Lederer of himself: "It is 

absurd — this talk of romance. I have no 

time for romantic thoughts now" 

A CTING so much love for the 
/\ screen, Hollywood fre- 
/ — \ quently confuses what has 
Jl. \. been written and rehearsed 
and played before the cameras with 
what is actually felt and lived. That 
is the reason why the movie town is 
so insistent that Francis Lederer and 
Steffi Duna are in love. They would 
be in a motion picture, so they must 
be in private life. But the real cir- 
cumstances of the Lederer-Duna 
alliance make a much more unusual 
story than most romantic tales. 

Francis first saw Steffi dancing in 
a Berlin cabaret. He was with a 
party of friends, but he returned 
alone to watch her dance a second 
time. They did not meet. . . . More 
than a year later, Lederer was cast 
to play the role in "Wunder Bar" 
that won him international acclaim 
abroad. A dancer was needed to fill 
another part. He went to the pro- 
ducers and said, "I know of an extra- 
ordinarily fine dancer. She is a 
Hungarian girl named Steffi Duna. 
If she can be located, she would be a 

She was located and she proved to 

Says Lederer of his protegee, Steffi Duna 

(above): "If she had not been talented, I 

should never have recommended her" 

be all that Francis claimed her to be. 
After playing "Wunder Bar" for 
many months, Lederer went to Lon- 
don for the English production; Steffi 
remained in Germany. In the British 
capital, he met Noel Coward, the 
playwright, and they became fast 
friends. One day Coward spoke of 
the trouble he was having in finding 
a girl with beautiful hands for the 
lead in one of his new shows. 

"I know of just the girl," said 
Francis. "Her hands are exquisite. 
Let me tell you about her." 

When he had finished, Coward 
said, "If this Steffi Duna is only half 
as good as you say she is, I'll send 
for her." 

She was sent for and again she 
justified her sponsor. Her work in 
the Coward show made her the toast 
of London. Then Lederer crossed 
the Atlantic to become Broadway's 
greatest matinee idol since John 
Barrymore. Steffi Duna remained in 
London. But not for long. Francis 
had another opportunity to recom- 
mend her. As a result of his recom- 
mendation, a partner of an American 
producer went to London to see her 

and signed her to come to New York. 

The next step was Hollywood. 
Lederer, with an RKO-Radio con- 
tract in his pocket, and Steffi Duna, 
with tests that Fox studios had made 
of her, arrived within the same week. 
The deal with Fox did not go 
through, so when Francis began his 
first picture with RKO, he suggested 
that Steffi be tested for the part of 
his Eskimo wife in "Man of Two 
Worlds." Steffi was tested and, as 
had happened in each instance pre- 
viously, won the role. 

About this time, Frederick Hollan- 
der, noted German impresario, made 
his way to Hollywood. Hollander 
had long been identified with inti- 
mate musical revues, known in Ger- 
many as the Tingel-Tangel Theatres, 
and planned to open a Tingel-Tangel 
here. He went to see his old friend, 
Lederer, for recommendations in 
casting the revue. And whom did 
Francis recommend? You're right 
the first time. 

After Hollander's show opened, 
everyone went around asking, "Have 
(Continued on page 8) 

Glenda Farrell is back at work after con- 
valescing in the East. While in New York 
her appendix acted up and the surgeon 
rushed to the rescue 

• Coming events cast 
their shadows before 

You will soon be seeing AAAE WEST in her new picture, BELLE OF THE 
NINETIES," with ROGER PRYOR, John Mack Brown, John Miljan, Katherine DeMille 
and Duke Ellington's Orchestra. Directed by, leo McCarey. A Paramount Picture 

{Continued from page 6) 
you seen Steffi Duna in the Tingel- 
Tangel? She is sensational." Again, 
Steffi had made good. The motion 
picture studios were not slow in 
offering contracts. Steffi had the 
refusal of several before she signed 
with RKO. It might be noted, how- 
ever, that Lederer had nothing to do 
with Steffi Duna's present movie 
job. She has just made a spectacular 
appearance in the short, "La Cuca- 

"If she had not been talented," 
says Francis, "I should never have 
recommended her. I would not 
recommend anyone in whom I did 
not believe — not even my own 
brother. It may seem a bit strange 
to you that I have taken such an in- 
terest in Steffi. I assure you it is not 
at all strange, according to the way 
things are done on the Continent. 
Over there we do not have the petty 
jealousies that concern actors here. 
We try to help one another. We give 
praise where praise is due — whole- 
heartedly. I have been discovered so 
many times, myself, that I always 
try to help others as I was helped. 

"But it is absurd — this talk of ro- 
mance. Only people with much 
leisure have time for thoughts of 
love. When I was a young boy, I 
thought about it a good deal. I have 
no time for romantic thoughts now. 
There is so much to be accomplished 
— my movement for world peace, my 
career in motion pictures and the 
theatre, the many other things that 
interest me. There is so much to do 
and so little time in which to do it. 

Tunbrldge, London 

Maybe the gown bears the label of Lucien Lelong, Parisian designer, and maybe it 

doesn't. The lady, however, bears his name; she's Mrs. Lucien Lelong. And you'll 

see her in Douglas Fairbanks' "Private Life of Doan Juan" 

Tunbrldoc, London 

Merle Oberon, England's most promising 

new star, is headed for Hollywood. For 

one thing, she's about to marry Joseph 

Schenck, Norma Talmadge's Ex 

I have no leisure at all for romance. 
"Miss Joan Crawford I have seen 
exactly five times since coming to 
Hollywood. Really, it has been only 
five times. Yet romantic people are 
always linking our names together. 
Naturally, I am flattered, but I as- 
sure you it is not so what they say. 
Hollywood, I find most confusing." 

Hollywood Heat Wave 

THAT heat wave that swept the 
East finally hit California. The 
local newspapers, of course, refused 
to admit an excessive hot spell and 
the worst that was said in weather 
predictions was the familiar "fair and 
continued warmer." 

Yet at Universal City in the San 
Fernando valley, the studio ther- 
mometers hovered around 120 all 
day. Add to this the normal heat of 
the huge artificial arc lights and you 

have a temperature that would put a 
roaring furnace to shame. 

Five companies working at Uni- 
versal were forced to suspend day 
schedules and shift to night hours. 
Claudette Colbert, Edmund Lowe, 
Gloria Stuart, Alice White, Neil 
Hamilton, June Knight and Russ 
Columbo were among the stars 

In Memoriam 

DID you hear the memorial that 
Ann Harding read for Marie 
Dressier a few hours alter Marie 
passed on? It was broadcast nation- 
ally over a radio program that ori- 
ginates in the film city. Ann paid 
Marie a short and dignified tribute 
and closed with a reading of the 
Twenty-third Psalm. So beautifully 
did she deliver it that many in the 
(Continued on page 11) 


that come at the end of the day 

JLou come home tired and de- 
pressed. Your head aches with dull 
pain. Your alkaline reserve may be 
low. Then you take a Bromo-Seltzer 
and before you know it, you feel like 
a different person. You feel more re- 
laxed and have a better appetite 
for dinner. 

Here's what happens. As Bromo- 
Seltzer dissolves, it effervesces. This 
is one of the reasons why it so 
promptly relieves gas on the stomach. 

Then Bromo-Seltzer attacks the 
pain. Your headache stops — your 
head clears. At the same time, you 
are gently steadied. And all the while 
the citric salts in Bromo-Seltzer are 
being absorbed as alkali by the blood- 
stream. Your alkaline reserve is 

made more normal. In a short time 
you will experience marked relief. 

The balanced relief 

Bromo-Seltzer is a balanced prepa- 
ration of 5 medicinal ingredients . . . 
each of which has a special purpose. 
No mere pain-killer can equal its 
effectiveness. And it works faster, 
too, because you take it as a liquid. 

For over 40 years Bromo-Seltzer 
has been a stand-by to relieve head- 
aches. Prompt and reliable, it con- 
tains no narcotics, and doesn't 
upset the stomach. 

You can get Bromo-Seltzer by 
the dose at any soda-fountain. 
Or mix one quickly and easily 
at home. Keep a bottle in your 

medicine cabinet ready at a mo- 
ment's notice to relieve headache, 
neuralgia, "morning-after," and pain 
of nerve origin. Always look for the 
full name "Bromo-Seltzer." Imita- 
tions are not the same balanced 
preparation . . . are not made under 
the same careful system of labora- 
tory control that safeguards Bromo- 
Seltzer. The Emerson Drug Com- 
pany, Baltimore, Maryland. 

NOTE: In cases of persistent headaches, where the 
cause might be some organic trouble, you should, of 
course, consult your physician. 





|c.p| Even a casual visit to the 
?ft* Savoy - Plaza brings you 
face to face with your ideal of 
living in New York. Gourmets 
praise the cuisine . . the service. 
From its windows a living mural 
of sheer beauty . . Central Park. 
A design for living in New York. 
Suites of various sizes exquisitely 
conceived as in a private resi- 
dence. Most reasonable rentals 
for monthly or longer stays. 
Single Rooms from $5. Double 
Rooms from $7. Suites from $10. 

Henry A. Rost, Managing Director 
George Surer, Resident Manager 



58th to 59th STREETS 



And now, as our radio 
announcers so tersely 
phrase it, for some more 
favorite cocktail recipes. 
Grace Moore suggests a 
Daiquiri (pronounced 

Fill cocktail shaker two-thirds full of ice 

Three-fourths London dry gin 

One-fourth Daiquiri 

Juice of one fresh lime 
(or lacking limes, use) 

One-half lemon to each drink 

Shake until shaker is well frosted and 


Two dashes of Angos- 
Two dashes of Mara- 
One wine glass of bran- 
dy. Stir and strain 
into cocktail glasses 
(dressed with berries) 
Dash with champagne and twist lemon 
peel over the drink 

Like many other famous cocktails, the 
Jack Rose has 
several differ- 
ent recipes. 
Try it the 
Walter Con- 
nolly way. 

Shaker half- 
filled with 



lime juice 

One- si x t h 

orange juice 


French ver- 


dry gin 



Two or three 

dashes of 

(i re na dine 

to color 

Shake well 

and strain 

This one is 
called '-Holt 
possibly in 
honor of Jack 

Shaker half-filled with ice 

One-quarter rye 

One-quarter dry gin 

One-quarter lemon juice 

One-quarter orange juice 

One egg 

Two teaspoonfuls apricot brands 

Shake well and serve 

The Trilby from Ralph Morgan's reci- 
pes is equally well known. 

Use a large bar glass filled with shaved 

Two dashes Angostura 

Two dashes absinthe 

Two dashes 
P a r f a i t 
wine glass 
O n e - h a 1 f 
wine glass 
Italian ver- 
Stir and 
strain into 
lemon peel 
on top and 
serve with 
cherry in the 

Mary Boland seated at the bar of her Beverly 
Hills home. The decorating scheme was car- 
ried out in blue and silver 

Try the Fou 
Fou from Mu- 
riel Kirkland's 

Use old- 

Dissolve a 
cube of sugar 
in a dash of 
soda water 
Add two sprigs of fresh mint 
Mash mint lightly 
One cocktail glass London dry gin 
One piece of ice 
Fill glass with soda water 
Stir well and serve 

Angostura bitters are a principal in- 
gredient of most of the cocktails Ralph 
Morgan serves. And why not? The 
Morgans own Angostura. Club Cocktail: 

Use a large bar glass well filled with 
shaved ice 

Ann Sothern is partial to the good old 
Alexander Cocktail for her parties. It 
must be well trapped with the following 

One-fourth Creme de Cocoa 

One-fourth dry gin 

One-half sweet cream 

Powdered sugar and shaved ice 


{Continued from page 8) 
picture studio were openly crying. 

Ann wrote the speech, herself, and 
the Psalm was read directly from the 
Bible. Another evidence of the best 
of taste was that Ann went to the 
broadcasting room attired in deep 
black. These are little refinements 
of which only an Ann Harding would 
think, for no one except a few radio 
people saw her. I thought you would 
like to know about it, however. 

Justifying Stars' Salaries 

LONG-AWAITED, the report of 
, Sol A. Rosenblatt, NRA Ad- 
ministrator, upon the so-called "ex- 

Cecilia Parker grew up with the dream 
of some day meeting Greta Garbo. Now 
she is Greta's sister in "The Painted Veil" 

cessive star salaries" has at last been 
made public. And much to every- 
one's surprise, the Motion Picture 
NRA Code authority recommended 
suspension of any provisions giving 
the government supervision of sala- 
ries. Rosenblatt's report ran one 
hundred and thirty-three pages, a 
lot of wordage to say what Hollywood 
has always known — stars are not 
"excessively overpaid." 

The report declared that no salary 
is too high if the picture meets with 
unusual favor as a result of unique 
artistry. The worth of a star should 
be gaged by what the public is will- 
ing to pay to see him. A recommen- 
dation of a percentage compensation 
was made. 

Rosenblatt's survey showed that 
only sixty-two persons in the motion 
picture industry received compensa- 
tions in excess of $100,000 during the 
past year. The highest-paid was a 
star, unnamed in the report, who 
(Continued on page i/j) 

Think of 


when you take that laxative 


It's easy enough to take a laxative that "works"! But what of 
tomorrow? What of the harm that might be done to the intes- 
tines? What of the danger of forming a habit? 

Violent laxatives are bad for you. They shock your system 
— you feel weak — your day is marked by embarrassing 
moments. And worst of all — you may find yourself more consti- 
pated than ever. For the frequent use of "purging" cathartics 
often encourages chronic constipation— they may form a habit. 

EX- LAX -the laxative that does not form a habit 

There is a laxative that avoids these bad features. Ex-Lax, the 
chocolated laxative, acts so easily and so gently that you 
scarcely know you have taken anything. You take Ex-Lax just 
when you need a laxative — it won't form a habit. You don't 
have to keep on increasing the dose to get results. 

Ex-Lax is gentle — yet it is thoroughly effective. It works 
over-night without over-action. 

Children like to take Ex-Lax because they love its delicious 
chocolate taste. Grown-ups, too, prefer to take Ex-Lax because 
they have found it to be thoroughly effective — without the 
disagreeable after-effects of harsh, nasty-tasting laxatives. 

At any drug store— in 10c and 25c boxes. 


Ex-Lax has stood the test of time. It has 
been America's favorite laxative for 28 
years. Insist on genuine Ex-Lax — spelled 
E-X-L-A-X — to make sure of getting 
Ex-Lax results. 

Keep "regular" with 




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For Moviegoers to Puzzle Over 
















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Last name of the star in 54. 
the center 56. 

First name of the star 
in the center 59. 

Celestine in "Dancing 
Man" 62. 

Demolishes 64. 

Ben Lyon's home state 
(abbr.) 66. 

Late husband of Doris 68. 

Johnny in "Viva Villa" 69. 

Theodore's initials 70. 

First name of a pop- 
eyed comedian short- 71 . 
ened 72. 

" We Civilized?" 73. 

Third letter of the al- 74. 

The Songbird of the 77. 

First name of a band 79. 
leader 80. 

Carlotta in "Affairs of a 81. 

The first name is Ezcll 83. 
Author of "Carnival , 
Boat" 84. 

Max Pascal in "Kiss 
and Make Up" (init.) 85. 
Esther's initials 
Mrs. Bruce Cabot's 
initials 86. 

I'oint of the compass 87. 

His first name is Paul 
Stephen in "Personality 
Kid" 89. 

Sally in "Of Human 
Greek letter 
His last name is Wood 90, 

"We're Dressing" 

Rest 93. 

Sylvia in "Strictly Dy- 
namite" (init.) 96, 
Symbol for Vttrium 
Suffix 97, 
Alan's initials 

Atlantic (abbr.) 
Otto Kruger's role in 
"Paris Interlude" 
Joe and Buzz have this 
last name 

Last name of a director 
She made Diamond Lil 

Caesar in "Cleopatra" 
Author of "Sitting Pret- 
ty" (poss.) 

Thelma in "The Whirl- 
pool" (init. ) 
" American Trag- 
Period of time (abbr.) 

"Born to Bad" 

A serf 

Jerry Clement in "Cross 


Author of "Design for 



"The Big " 

Jackie Cooper is a 


Mrs. Leslie Fenton 


Initials of a member of 
a popular comedy team 
Some pioneer movies 
were made on this 
island (abbr.) 

" More Women" 

T. R. Paige, Jr. in 
' ' The Girl from M is- 
souri" (poss.) 
He played the role of 
The liar bar inn in the 
picture of that name 

Julie in "Paris Inter- 

Author of "Vanity 

" Appleby, Maker 

of Men" 

Her first name is Hen- 


" This Is Africa" 


No (Scot.) 


Symbol for Tellurium 


His first name is Robert 


Larry Wilson in "She 


"I A Spv" 

Learned About Sailors" 


Virginia in "Now I'll 


Paul Drexel in "Danc- 


ing Man" 


The Baron i n ' ' Cock- 


"My , the King" 

eyed Cavaliers" 


His first name is Chris- 


Near (abbr.) 



Nugent's initials 




His first name is Leslie 


Alto (Music) 


''Murder the 


"California Bust" 



"This Man Mine" 


The proud father of 


Author of "Strange In- 


terlude" (init. ) 


The way Jimmy Du- 


A movie actress who 

rante acts in pictures 

committed suicide 



Pat O'Brien's role in 


( onsider 

"I've Got Your Num- 





( agney plays a in 


"Manhattan " 

"Here Comes the 





His first movie w .is 


Special Revenue Ad- 

"Melody in Spring" 

ministrator (init. ) 


"I Suzanne" 


Home State of Richard 


Elnora ( 't>msi<>rk in"TUc 

Arlen (abbr. I 

Girl of the" Limberlost" 


Yes; in Lupe's native 


The clean- up crusade 


w jU . a jj indecent 


Robert in "A Lost 


Lady" (init.) 


Roscoe's initials 


" Old Sweetheart 


"The World Moves — " 

of Mine" 

Solution to Last Month's Puzzle 


1. Bogey in "I Give My 
Love" (init. ) 

2. Clara Bow - - red 

3. Paul Jr. at 21 in "I 
Give My Love" 

4. Betty McGonigle in"The 
Old Fashioned Way" 

5. A player's part in • > pi 

6. Plural suffix 

7. Smiley in "Murder on 
the Blackboard" (init.) 

9. "For Love 


10. Dixie Bell in "Wild 

11. The late Marie Drcss- 
ler's most famous char- 
acter portrayal 

12. Article 

13. Ex-Mrs. Nick Stuart 

14. Mrs. Laurence Olivier 

16. She is Mrs. Bill Boyd 

17. Dr. Ferguson in "Men 
in White" 

20. Her last name is Percy 
2i. Having teeth 
25. He directed "Strictly 
Dynamite" (init. J 






































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Two Great Warner Bros. Stars Bring You 
the Screen Version of the Best-Seller that 
Rocked the Chancelleries of Europe 

The story of one man 
against a million— and of the 
woman who loved him, yet 
was his enemy to the death. 
Told by the man who lived 
this astounding romance. 


Janet Beecher goes Jean Harlow one bet- 
ter; she is a "sapphire blonde." You and 
George Arliss will both look her over in 
"The Last Gentleman" 

{Continued from page Ii) 
received $315,000. The second high- 
est-paid received $296,250. This 
latter had a publicized salary of 
$10,000 a week, which means that 
he or she was falsely publicized or 
worked only thirty weeks of the year. 
And that brings rise to the real 
question about this whole salary 
business. Have stars been overpaid 
or over-publicized? High salaries do 
look so well in print. 

Lupe and Johnny — Continued 

SO Lupe Velez decided to take up 
Johnny Weissmuller's option be- 
fore the end of his year. After one of 
their regular quarrels, Loop rushed 
to court to file divorce papers. They 
were through. Finally. Positively. 
Nothing else but. 

The following day, Loop announced 
that their separation was in the na- 
ture of a probation period. If Johnny 
was a good boy, she would take him 
back by Christmas or New Year's. 
But when the divorce case came to 
trial, Lupe was not there to testify. 
She had apparently decided to take 
up his option immediately. (See de- 
tailed story on page 37. — Editor.) 

(To Be Continued Next Month) 

Movie Christenings 

DID you know that Greta Garbo 
(nee Gustafsson) nearly had her 
name changed again when she first 
came to Hollywood? Producers 
feared the onslaughts of wisecrackers. 
There was a prize contest at the 
studio for a new name, but as no 


really fitting one was suggested, it 
was decided to take a chance with 

Joan Crawford was a name that 
did come from a contest, the prize 
being awarded to a Mrs. Louise M. 
Antisdale of Albany, N. Y. But 
Lucille Le Sueur was Joan Arden be- 
fore she became Joan Crawford. 
Arden was selected and Joan wore it 
for a few days until it was discovered 
that several people had submitted 
Arden. So Mrs. Antisdale's Craw- 
ford was substituted. 

What brought rise to this bit of 
reminiscing was the recent change of 
the name of Dawn O'Day, former 
child actress, to Anne Shirley, the 
character she will portray in RKO's 
"Anne of Green Gables." 

Tunbrldge, London 

This portrait of Douglas Fairbanks ar- 
rived in America just before he did. (See 
story on page 41.) And it proves he hasn't 
changed much — externally, at least 

Ducks and (Frances) Drakes 

AMUSING, too, is the story behind 
L Frances Drake's change of name. 
Her real name is Frances Morgan 
Dean. When Paramount discovered 
her in London, it decreed that Fran- 
ces Dean was too apt to be confused 
with Frances Dee. She was asked to 
change it, please. But she couldn't 
think of any other name she liked. 

All the way across the Atlantic, 
Frances was bombarded with wireless 
messages filled with suggestions. The 
long series of names led the wireless 
operator to suspect a code. So Fran- 
ces had to explain. Whereupon the 
whole ship, passengers and crew, 
joined in the christening game. But 
nothing came of it until Frances 
reached New York. 

"Why are you playing ducks and 
drakes with my name?" she asked 
Paramount officials. 

"Drake. Why that is just right. 
Frances Drake," cried one of the 
group. And Frances Drake she then 

Garbo Went Home 

GRETA GARBO was taken ill 
while in production of "The 
Painted Veil." She just didn't turn 
up for work one morning and it 
wasn't until the following day that 
anyone knew why. She remained at 
home for four days and then returned 
to work as calmly as she had de- 
parted. (She had one of those hard- 
to-shake Summer colds. Neither of 
her two leading men — Herbert Mar- 
shall and George Brent — caught it.) 
Irvin Cobb, the writer, humorist and 
(now) movie actor, has just bought 
Greta's former Santa Monica home, 
complete with furnishings. 

Two on a Raft 

THE romance between Virginia 
Pine and George Raft is reported 
to have encountered difficulties — the 
difficulties being the settlement that 
George expected to make with his 
present wife. At least, it is reported 
that Mrs. Grayce Mulrooney Raft is 
asking a lot of money to free George 
and he doesn't place that high a value 
on his freedom. 

Meanwhile, Virginia Pine has af- 
fixed her signature to a new Columbia 
contract and everybody except 
George is happy. 

(Continued on page 73) 

When her bosses gave this little "Music 

in the Air" girl a new contract, they also 

gave her a new name. It used to be June 

Vlasek; now it is June Lang 



"Talking to Myself." 

"Blue Sky Avenue." 

' I Ain't Gonna Sin No 

"Somebody Looks Good 

To Me. ' 
"Don't Let This Waltz 

Mean Goodbye.' 

******** , 

<t*e s 


M^ s0t V«cO 





A CO* 

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The love story of one woman and one man 




THt 1<* E 


Produced by Winfield Sheehan • Directed by John Ford • Author: Reginald Berkeley 


...that mirrors the emotions of every woman and 
every man facing the turmoil of the world today 

^p^;^^^^;^;JJjS!f'' ih '' (n '' ||p ' m WM 

»: liSeS i'it Si?:? 51 ■":i : -i : ".-i:ii:; ! s'E l J liKKKj : : .:.:\ s.:, ;.« I.S :*:iS31!:s!H;;il:a: ! : 

Critics shout their praises 

A deeply stirring tale . . An exquisite 
mingling of humor and heartache . . 
An important event in motion pic- 
ture history. — New York American 

This massive and spectacular film tells 
a beautiful love story. 

— New York Daily Mirror 

It has plenty to offer as entertainment. 
Stirring moments . . gay and charm- 
ing ones as well. — New York Sun 

A lavish production, made on a grand 
scale. — New York Daily News 


Z<j d^leccauj, 


What a social asset it is . . . the breath of youth, whole' 
somely fresh and delicately sweet. Isn't such an advan- 
tage worth trying for? Is there any reason why you 
should tolerate in yourself the faintest trace of halitosis 
(unpleasant breath), when it is so easy to overcome? 
Fastidious people realise that, due to modern habits, 
everybody is likely to have halitosis at some time or 
other — without \nowing it. The safe, pleasant way to 

correct such a condition is to use Listerine, especially 
before social or business engagements. Its deodorant 
action is simply amazing, and its stimulating, freshening 
effect in the mouth will delight you. Why not begin us- 
ing Listerine every day? It's better to be safe than sorry 
that you offended. 

Lambert Pharmacal Co., St. Louis, Mo. 

Woman of Affairs" — -the old silent 
version of "The Green Hat"? Now 
Connie brings it forth as a talkie 
under a new title. It was a large 
order to follow Garbo, but Connie 
took it in stride without mussing up 
a single strand of her famous goldi-' 
locks. Other good assignments are 
also on her menu. She has dates to 
appear soon in "The Red Cat" 
with Fredric March, and "It 
Had To Happen" with Clark Gable 



If there's one actor who can properly 
be called a man of the world, you 
need to look no farther than Tullio 
Carminati. He is at home in the world 
capitals — including New York and 
Hollywood. And he is always at 
home on the stage and screen — and 
at ease, too — as you'll notice in 
"One Night of Love." It is one of 
the finest performances of the year 

ion *v*A?*;jkV3«*r 

• 1 . V ■■"''*.:■ 

- ■ - - "■ ''"'■' ' 









Man About Town 

To be a man about Hollywood, or 
name your own city, you have to be 
well-dressed and well-poised. Bruce 
Cabot is a good dresser, with the 
necessary poise and bearing, at- 
tributes which have guided him in 
making his way about the boulevards 
and studio sets. After you see him 
n "Their Big Moment," you will want 
to look him up in "The Redhead" 

lly when a girl marries 
the jokesters at her wedding 
place "just married" signs on 
the honeymoon car. But with 
Gloria Stuart, who recently 
divorced Gordon Blair Newell, 
an artist,, to wed the scenar- 
ist,, Arthur Sheekman, the 
jokesters, the car and the 
honeymoon were thrust aside 
in order that "Gift of Gab" 
might be completed on time. 
If plans work out all right, 
the honeymoon and stardom 
are just around the corner 








7 A 








'* ! *»5*** fc s. 



The Lubitsch touch . . . everywhere notice- 
able . . . the settings . . . the sophistica- 
tion . . . the most ornate, if not the most 
expansive , bedstead ever shown on the 
screen . .}. but you know Lubitsch . . . 



Chevaiier is always happy at 
Maxim's ... he admits as much in 
song and dance . . . when the wine 
bubbles over, his feet refuse to be- 
have . . . which makes him disconso- 
late . . . even if the dancing girls do 
help him into his uniform . . . must be 
prepared for your superior officer 




Jeanette MacDonald . . . Maurice 
Chevalier . . . one — the vivacious 
widow, the other — the adventurous 
prince . . . gay hours in Paree .. . . the 
Merry Widow Waltz ... "I love you" 
. . . dancing girls from Maxim's . . . 
colorful uniforms . . . intrigue . . . 
caprice . . . laughter . . . music by 
Franz Lehar . . . Ernst Lubitsch and 
his sparkling direction ... all com- 
bining to make a memorable evening 



% A 


Things Are Looking Up 

It wasn't so very long ago that things were breaking rather 
badly for Helen Twelvetrees — and she seemed to be slip- 
ping. But now things are looking up for her to such an 
extent that she raises her eyes to dwell upon her good 
fortune. She turned in such a good performance in- "She 
Was A Lady," that she sees stellar heights ahead with 
"Wife for Sale," and "Meal Ticket" — sounds like a de- 
pression — tut things are not what they seerryn the movies 

Leslie Howard and Kay Francis have, in "British 
Agent," a picture calculated to bring forth all of 
their well-known emotional resources — what with 
Leslie, a Britisher, on a secret mission to Russia — and 
Kay, a Russian, who holds high rank in the communist 
government. After considerable intrigue, romance 
makes them allies in the end. Leslie is now in England 
making "The Scarlet Pimpernel"; Kay is taking a rest 

Even Movie Stars 
Must Rest 

When a star's services are con- 
stantly in demand, she has very 
little time for recreation. Take 
Carole Lombard, for instance. With 
one role after another being thrust 
upon her, this actress, whose talent 
touched the peak of emotion in 
"20th Century," has had no chance 
to pause and aslc herself — "How 
am I doing?" If she asks us, we 
would answer: "Fine!" She no 
sooner completed "Now and For- 
ever," than she was asked to star 
in another — "Orchids and Onions" 



J J Si 





By Mark Dowling 


Ten R 


For a long time Hollywood has spread wild and fantastic rumors about Janet Gaynor — 
none of which Janet says are true. The rumors and the star's denials are presented in this 

interview. Don't fail to read it 

IT was while leaning slim white arms on a huge prop 
trunk on the set of her newest picture, "Servants' 
Entrance," wearing a fancy-dress Swedish costume 
with low-heeled shoes, a lace Dutch cap, and a 
kerchief around her neck, that Janet Gaynor denied some 
rumors about herself, sometimes with merry laughter at 
their absurdity, sometimes with a flash of fire in her 
warm, brown eyes. Interviewers have misconstrued the 
words of this star, misquoted her so often that now she 
refuses to be interviewed except on rare occasions. 

But without any spoken word of Janet's to go by, 
Hollywood spreads rumors that are wild and fantastic. 
Here are some samples: she is even more naive than her 
film roles; she carouses in secret; she spends every minute 
adding up stocks and bonds her little-girl style of acting 

has earned; she is in love with Charles Farrell. Hollywood 
hears this gossip and sometimes believes it. 

The day I saw her, newspapers were headlining the 
latest of these rumors. Janet Gaynor is supposed to have 
a three-year-old child by her former husband, Lydell 
Peck, they announced. (She married Peck in 1929 and 
obtained her divorce in April, 1933.) Studio officials 
immediately branded the story as "absurd and untrue," 
and Janet said to me; 

'"The rumor that I am a mother is unfortunately not 
true. I love babies, however, and one of my dearest 
wishes is to have one of my own some day. I think mother- 
hood is the greatest career any woman can aspire to, and 
I'm no different from other women in this respect. It 
{Continued on page 60) 



"Censorship Means 
Goodbye to Garbo, 

Dietrich and Me" 

Anna Sten 

Anna Sten is all for banning indecent pictures. But if censorship comes, 
she says, every actress will have to be a Pollyanna. And that will be 
tragic, she adds — staunchly defending her belief that "movies, to be a 

great art, must mirror life" 




F censorship is carried to its ultimate, fantastic 
limit, Garbo and Dietrich and Crawford — and I, too 
— will no longer have a place in pictures! For we 
all portray women of disillusion, women who give 
dramatic interpretation to the realities of life. Our faces 
re the faces of women of wide and encompassing 
xperience. In our eyes are the lessons we have learned 
"rom life. How, then, can we interpret unsophisticated 
and naive Pollyanna heroines?" 

It is Anna Sten — the vibrant, the earthy, the glamourous 
Russian — -speaking! Anna Sten, who, magically, distills 
an overwhelming beauty — who thwarts all those who 
would find a measuring rod for her artistry and her 
arrestingly vital quality. Sten's breath-taking inter- 
pretation of Zola's imperishable cocolte — Nana — has 
nade a country sing hosannas to her art. And, as a result, 
she becomes not so much the champion of Hollywood, 
as of life and of truth ! 

In this, her first interview since her arrival in the 
United States almost two years ago, as the brilliant vision 
of Sam Goldwyn, she appraises censorship for what it is 
worth. She indicates its dangers and justifies its basic 

"There are undoubtedly pictures," Anna says, "that 
should be banned — pictures that should never have been 
made. Their sole purpose is to appeal to sensuality. Not 
so long ago I went to a theatre and a 'short' was being 
shown. The audience snickered and whistled. I was 
embarrassed and disgusted by its fundamental dishonestv. 
It made no attempt at frankness, but it did achieve filth. 
That's the sort of picture that should find no place on the 
screen— and it should be outlawed by studios and theatres, 
and the public, alike. 

"But motion picture.; are definitely an art. Bv making 
them so simple that only uninformed children might see 


Marlene Dietrich has always portrayed sophisticated women- 
and Pollyanna roles don't fit her personality 

them, you would degrade the screen and lower its standards. For 
life isn't all joy. It isn't all laughter. It is tragedy and drama; 
sordidness and beauty; a mixture of every emotion, whether 
worth)' or unworthy; whether good or bad. 

Pictures Must Mirror Life 
E can learn only bv contrast — learn what is good by 


measuring it against the bad. Movies, to be a great art 
must mirror lite. We do not ask that everyone around us be 
beautiful — that everyone have clean and unwrinkled faces — that 

their eyes show nothing but delight. When we ask for 
character, we ask for lines — for those etchings around 
mouth and eyes that indicate experience and a certain 
degree of suffering and a comprehension of what is worth 
while in life. 

"We cannot emasculate a great art by making Polly- 
annas of every actress. It is like asking that great books 
be written in words of two syllables, or great symphonies 

Garbo became a great actress 
on the screen because her ar- 
tistry was never stifled 

composed in one octave. 
An art without highlights 
— without tempests and 
storms — is an uninspiring 
art! It doesn't make for 
growth! It neither in- 
spires the emotions nor 
the mind. 
"I cannot understand 
why 'Barbary' Coast — the 
story of those wretched wo- 
men of San Francisco — should 
not be made." (Sam Goldwvn 
has shelved it — explaining that 
&L the present censorship crusade 

would cost it much of its drama.) 
"It is history. It is truth! Out of 
the Barbary Coast grew something 
beautiful; out of the sordid spot, a great 
and amazing city was conceived. 
"The Barbary Coast was a Cavalcade of 
Sorrow. It has its lessons to teach — as the 
history of any great nation is re- 
plete with lessons. We detail 
defeats and victories. Historians 
neither minimize nor exclude the 
mistakes of nations or armies or 
generals. No one censures his- 
torians — or wishes to do so. Yet 
censors to-day wish to exclude 
from the screen the defeats of mankind and record only 
its victories! We cannot live on fairy-tales! That's a 
diet of mush and milk suitable for infants. We can live 
and progress only by knowing truth. 

"A person whose character isn't a battlefield of every 
emotion, of every reaction, is a static person — lacking the 
essential vital quality. I am not so certain that the 
(Continued on page 6g) 

"We cannot live on 
fairy-tales," says An- 
na Sten. "We can live 
and progress only by knowing 
truth and life" 


RICHARD DIX — took on a champion boxer 

VICTOR McLAGLEN — has an ear for a souvenir 

RICARDO CORTEZ— once a "bodyguard' 

The 10 -Minute 

Want to meet some good eggs — plenty hard-boiled? 

Look over a few of these he-men movie stars. Most of 

them socked their way to success! 

By Harry T. Brundidge 

IN the winter of 1922 a young man crawled out of a snow- 
drift close to the railroad tracks in the Snake River 
Valley of Montana, and felt carefully of his bruised body. 
The freight train from which he had just been booted by 
an unfriendly brakeman roared out of sight. The young man 
was tall, thin, unkempt and hungry, and his tattered clothing 
was far too thin for that near-zero temperature. He blew upon 
his hands to warm them and for hours counted the ties as he 
trudged along. 

Just before darkness he found a haven in a hobo "jungle" 
close to the railroad right-of-way. There was a big fire and a 
stew of sorts was brewing in a battered bucket. The young 
man sat down. 

"What you bin doin', buddy?" the boss tramp inquired. 

"Acting," he answered. 



"Oh! A sissy, huh?" 

There was a brief struggle and Clark Gable, the young 
wanderer, knocked out the boss tramp with a right to the 
chin. "I'm a lousy actor," Gable announced to the tramps, 
"but I'm a damned swell hobo and I'm the boss of this jungle, 

The foregoing dramatic scene from a brief chapter in the 
colorful private life of The Great Gable is characteristic of 
some of the real-life scenes played by many of Hollywood's 
most famous male stars. These hard-boiled gents ought to 
organize and call their club "The Ten-Minute Eggs." A lot 
of them were, as the cops say, "plenty tough" in their day. 

Brought Up on Bottle Fights 

LET'S consider James Cagney, the grapefruit-pusher. His 
^ dad ran an old-fashioned saloon at Eighth Street and 
Avenue D, near the tenement where Jimmy was born, in the 
very heart of the Lower East Side of New York. His early 
recollections begin with petty gang wars, kids fighting with 
rocks. The family moved uptown into "Little Bohemia" and 
before long Jimmy was a full-fledged member of the notorious 
old "Seventy-Ninth Street Gang." 

"It was a tough outfit," Cagney confided to me. "We 
fought the Eighty-First Streeters with bricks, bottles, and 
nails shot from blank cartridge pistols. I was seriously hurt 
several times, once by a hunk of ice, again by a bottle that 
ripped my scalp Open, and by a brick I caught in the chest; 
several ribs were fractured. 

"I was headed toward being a gunman when Fate took a 
hand. We moved to Long Island and for the first time I 
learned about trees, flowers, birds and baseball. But we 
moved back to the city and I became associated with some 
hoodlums. I was graduated from high school with a plaster 
over my right eye. I made up my mind to be a big shot in 
the underworld, but changed it when a friend of mine walked 
through the little green door to the death chair at Sing Sing. 
So I got a job as a bell-hop at the Friars' Club, and then one 
day I met a guy who told me he could get me a job for twenty- 




Ho I ly woo 


five dollars a week if I could dance, and that was the beginning 
of my career." 

"Bad Boy" Barrymore 

WAS I tough?" grinned the candid John Barrymore. 
"I'll say I was," he continued. "I went in for theft as 
a kid. I used to steal money from the other members of the 
family in small amounts, and once I hoarded the stolen coins 
until I had enough to buy a necklace for a symmetrical lady 
in Philadelphia, many years my senior, with whom I was in 
love. Another time I appropriated my grandmother's jewels 
and hid them. While detectives were in the house, asking 
questions, I looked rather too innocent and my grandmother, 
who watched my face, drew her own conclusions, got rid of 
the detectives and used the well-known and well-worn slipper 
on me. 

"I was in trouble constantly and, after being kicked out of 
one school in Philadelphia, was sent to another in Georgetown. 
One of the faculty took me through the school buildings and 
I paused in the gymnasium to swing on the parallel bars. As 
I turned over, there fell from my pockets, including other 
things, a risque novel and a pint of whisky. That mishap gave 
the school more information about me than I could have 
supplied after a third degree. They were kind to me at 
Georgetown, and, although they eventually expelled me, did 
it in a nice way. I can't tell you why I was expelled. 

"As a young man, I borrowed money, ate in saloons and 
slept where I could; and why the law never quite caught up 
with me is, to this day, beyond my understanding." 

Star with a Cauliflower Ear 

VICTOR McLAGLEN ran away from home to become a 
virile he-man, soldier, farm hand, day laborer, miner, 
vagabond, boxer, wrestler, strong man in a carnival, rough, 
tough and ready, a guy who roamed the face of the globe, 
taking his fun where he found it. That's the background of 
rich experience that has enabled him to breathe life into his 
screen characterizations. 

He is the only star in pictures with a cauliflower ear (unless 
you want to count Max Baer) and it doesn't detract from his 
^air or manners. His grammar is good, but his enthusiasm 
occasionally gets the better of him and then he drops into the 
vernacular of the old-time mining camp. He will get up on 
his feet to enact the story he is relating. His eyes flash, his 
body sways and his arms strike . . . 

"He throws a water bottle at me and I ducks, like this, and 
leaps across the table, like this, and lets him have it plenty." 

This big buckaroo's favorite story concerns the wild Cana- 
dian town of North Bay, Canada, and his pal, Jack Chelsom. 

"We were broke, so I made the rounds of the saloons with 
Jack, who could sing. I'd introduce him as an old sailor who 
had been tortured by the Chinese during the Boxer War and 
then, after doing a little dance myself, would pass the hat. If 
the crowd was generous, we would then sing 'The Song of the 
(Continued on page jo) 

WALLACE BEERY— wrestled with elephants 

GEORGE RAFT— still quick with his fists 

CLARK GABLE— talked tough to the hoboes 


Is Hollywood 


"Shirley's studio work is actually 
good for her." — Mrs. Temple 







This is the question 

but which is settled 

WANTED Shirley too 
long and I love her too 
much to do anything to 
hurt her!" 

So Mrs. Temple replies to 
the spreading rumors that her 
famous little daughter is deli- 
cate and overworked. It has 

been gossiped that Shirley suffered a collapse on a studio 
set a year or so ago, and had to be carried home in an 
ambulance from the lot where she was making one-reel 

Movie parents have been known to sacrifice their chil- 
dren's health to fame in the past, and the fact that Shirley 
has played, since last December, leading parts in four 
pictures (as well as "bits" in three others) made Holly- 
wood wonder how much longer this five-year old could go 
on learning long lines, studying full-length parts, and 
bearing the tremendous excitement of sudden world 
fame — a strain under which many a mature star has 
broken down. In fact, it was even rumored that the six-weeks' 
vacation Shirley is now enjoying with her mother zvas because 
the child zvas tired and ill. 

"I honestly believe," Mrs. Temple says, her eyes 


which has been buzzing around the studio town, 
once and for all by Shirley's mother who "loves 
her too much to hurt her" 

By Fred Morgan 

brightening as they always do when she speaks of her 
wonder child, "that Shirley receives better care because 
she acts in pictures than many other children. We have 
our own doctor look her over once a month, and, in addi- 
tion, the law requires that she be examined by Board of 
Health doctors every three months. It might interest 
people, who think this acting is harmful, to know that, 
during the three month period when she made "Little 
Miss Marker," "Baby, Take a Bow," and her new Para- 
mount picture, she gained three pounds. Far from being 
overworked, she thrives on it! Every mother knows this 
is an exceptional gain for a child of Shirley's age. She's 
just forty-three inches tall, by the way, and weighs forty- 
three pounds — exactly the right proportion. 

"Anyone can see by looking at her that she's not delicate. 
{Continued on page 66) 

George Brent Is On His 

Own Now — And Likes It 

Since George Brent separated from Ruth Chatterton he's going places and shouting the 

battle-cry of freedom. He has not only supported Garbo recently but Joan Crawford wants 

him as her next leading man. He doesn't intend to fall in love and marry — but if he does 

he hopes someone will hit him on the head with a baseball bat 

By Franc Dillon 

WHEN Garbo asks for a certain actor to make 
love to her in a picture, it's gossip, but when 
she demands an actor, it's news. Greta chose 
George Brent to play her lover in "The 
Painted Veil." That became Hollywood's accolade, its 
Order of the Greta. Yet George seemed almost indifferent 
over his honors. 

"I'm flattered, of course," he admitted. "But — well, 
I had hoped to have a good rest before I started another 
picture. I'm tired and nervous and scared to death. What 
is there about this woman that terrifies us men?" he asked 
suddenly. "I've never known an actor who 
worked with Miss Garbo who wasn't on the 
verge of fleeing Hollywood, beforehand. Still, 
my part isn't the leading role. Herbert Mar- 
shall plays the husband, and I, the lover. I 
think — " his bold Irish eyes gleamed, "I expect 
that I shall like that a lot." 

All of a sudden after a year's total eclipse, 
Hollywood is George Brent-conscious. He has 
just finished "hero-ing" three successful pic- 
tures and with only one day's rest between, he 
took on a role for which almost every eligible 
actor in Hollywood was considered. Now Joan 
Crawford has spoken for him as her next lead- 
ing man and rumor has it that a fascinating 
new foreign star is casting romantic glances 
Brentward. Still, with all this sudden success, 
George isn't doing any nip-ups. He was 
practically punch-drunk with weariness when 
I talked to him. We sat in his cool, Toluca 
Lake living-room and spoke about traveling — 
traveling in Hollywood, and whether a wife is 
excess baggage. 

"Three months. ago," I ventured, "you told 
me that 'he travels fastest who travels alone.' 
Have you found that to be so, George?" 

"It's truer than I knew when we talked 
before," he laughed. "That is, it worked out 
that way for me." (Is there something espe- 
cially attractive about an eligible male sud- 
denly released from captivity? Did he have to 
separate from his wife to get producers to 
notice that he was alive?) 

Has More Glamour Now 

"' | HERE must be something psychological 
JL about the whole thing," he admitted. 
"Studios seem to think there is more glamour 
about a single man or woman and they, natu- 
rally, reflect the opinion of audiences, who 

resent their romantic idols being married." (And vet 
there's Clark Gable, Fred March, Gary Cooper, and a 
dozen other husbands doing fairly well in the movies! 
The secret, perhaps, is that these men don't look married 
and George did.) 

"But I'm on my own now," George added with an air 
of finality. "I'm not relying on anyone else. I'm standing 
or falling on my own ability as an actor. So far — I don't 
want to talk too soon," he interrupted himself to knock 
on wood, "but I'm doing better than I've ever done before. 
In fact, for the first time since I came to Hollywood, I feel 
that I'm going places." 

{Continued on page 6f) 



Fredric March and Norma Shearer give inspirational perform- 
ances in "The Barretts of Wimpole Street" 

And because the spectacle dwarfs the drama, it doesn't do 
things to your emotions. But while your emotions may 
complain, your eyes won't. De Mille gives you a sensa- 
tional eyeful for your money. And you don't often get a 
chance to see history — or romantic triangles, for that 
matter — made spectacular. 

I'd say the highlights are: Claudette Colbert's beauty, 
and her poise in her undraped role. The settings — 
particularly the one of Cleopatra s barge, on which she and 
Antony have their Big Love Scene. The unexpected 
realism of the broadsword battle scenes. The dialogue, 
which is clipped and rather modern. The three death 


Rogers Tickles the Ribs Again 

IF you like Will Rogers — and if you don't, you are in the 
minority — you will go for "Handy Andy." It's all Will 
Rogers. But this time he is taking a vacation from the 

CLEOPATRA— Paramount 

Colorful Spectacle; Colbert, Great 

CLEOPATRA was the first of the sirens, and if the 
present censorship continues, she may be one of the 
last — on the screen, that is. But there are other reasons 
for seeing Cecil B. De Mille's latest instalment of History 
Made Palatable for the Masses. It is as spectacular as 
anything he has ever produced, even if it has been laun- 
dered a bit. And Claudette Colbert, as Cleopatra, lives up 
to all the legends of the lure of Egypt's queen, while 
Warren William, with a new haircut, also reveals a new 
personality as Caesar, and the English newcomer, Henry 
Wilcoxon, as Marc Antony, looks like a big addition to 
American films. 

You probably remember the story: When Cleopatra, is a 
young girl, Caesar comes to Egypt, sees her, and is con- 
quered, while teaching her how to be a queen. Later 
comes Antony, and Cleopatra, herself, is conquered. The 
sequel: a triple tragedy. 

Because the story is familiar, perhaps, it isn't exciting. 

Janet Gaynor — with Lew Avres — manages to put humor into 
a novel twist of the Cinderella theme. It's "Servants' Entrance" 


A mirror of modern life — with the Forgotten Man fully recognized 
is "Our Daily Bread," ably acted by Tom Keene and Karen Morley 

character-acting he displayed in "State Fair," "David 
Harum" and "Doctor Bull," and is more the comic that 
he was in "They Had to See Paris." Indeed, the formulas 
for the two pictures are much the same. And Rogers is 
always himself. 

In the earlier comedy, he was an oil man whose socially 
ambitious wile persuaded him to take a foreign holiday, 
on which his ludicrous exploits cured his wife of her high- 
fa I n 1 1 n ' ideas. This time, he is a corner druggist, whose 
socially ambitious wife persuades him to take her to the 
New Orleans Mardi Gras, where he, by his antics, succeeds 
in making her ambitions look silly. 

As always, Rogers is natural, human and believable — 
even when hfs antics are most hilarious. The high point 
of hilarity is his disguise as Tarzan at a costume ball, and 
his attempt to do an adagio dance with Conchita Monte- 
negro (which develops into an insane burlesque). Peggy 
Wood, from Broadway, is miscast as his wife, being too 
youthfully attractive for the role; and her singing voice is 
wasted on some music that doesn't matter. Mary Carlisle, 
as his sympathetic daughter, handles her small role 


By Larry Reid 

De Mille's "Cleopatra" makes a spectacular picture — with 
Claudette Colbert in the title role and Wilcoxon as Antony 

ness, sets out to thwart the lovers. The under-current 
of horror in the home, pianissimo until now, rises to 

The picture, with two poets for the lovers, may sound 
highbrow; but its dialogue, as well as its drama, will rivet 
you to your seat. The picture gives Norma Shearer her 
chance to be an idealist again — and she takes full advan- 
tage of it. She is nothing if not inspirational. The same 
may be said ot Fredric March, as the ardent, impetuous 
lover. (Their love scenes are lyrical.) And Charles 
Laughton has never been more convincingly sinister. 
Don't miss this one. 


Lloyd Gets Laughs in a New Way 

TAROLD LLOYD — one comedian who has never 
played an off-color scene or spoken an off-color line 
(and has become a millionaire for his pains) — has one of 
his funniest comedies in "The Cat's-Paw." Certainly, it is 



Triple Triumph for Three Stars 

"' ] HE Barretts of Wimpole Street" is a great love story, 
JL short on action, long on suspense. It is compelling 
from beginning to end, and not to be forgotten. The 
heroine is the invalid poetess, Elizabeth Barrett; the hero 
is the romantic poet, Robert Browning; the villain is her 
tyrannical, jealous, subtly cruel father. And these three 
roles are interpreted by Norma Shearer, Fredric March 
and Charles Laughton, respectively. Moreover, Laughton 
doesn't steal this picture (though he comes close to it); 
the honors are divided — with Maureen O'Sullivan as 
the rebellious sister coming in for a share of them. 

The chief setting is the oppressive Victorian home of the 
Barretts, where Elizabeth lies ill, afraid of both death and 
her father, and tries to forget by writing poetry. Her 
work attracts the attention of Brozvning, whose sympathy 
for her deepens into love and a determination to marry her. 
But her father is equally determined that the marriage 
will never take place and, with typical diabolical clever- 

Harold Lloyd is as funny as ever and much more dramatic in 
"The Cat's-Paw." It is moving, exciting and clever all the way 

You'll go for "Handy Andy," with Will Rogers having the time of 
his life cutting up didoes to please a socially ambitious wife 

his most novel. He does more acting, has more plot to 
work with, and depends less upon slapstick for his laughs. 
In fact, he's indulging in social satire. And there are 
laughs in it for everybody, from grandma to grandma's 

Based on a Clarence Budington Kelland story, it is a 
comical tale of a young American, brought up in China to 
be a missionary, who leaves the philosophical Orient for 
high-pressure America, and suddenly and unwillingly 
finds himself "on the spot." He is lifted off a curbstone by 
some crooked politicians, and boomed as "reform mayor"; 
when he dazedly finds himself elected and tries to live up 
to his campaign promises, he runs up against gangland; 
whereupon he uses an old Oriental method to dispose of 
his enemies. 

Lloyd's horn-rimmed specs are the same, but every- 
thing else is "different." He is less homespun and be- 
wildered; he is more the eccentric. The situations in which 
he finds himself, and the gangsters whom he encounters, 
are all exaggerated to the point of unreality and smart 
satire. And yet he is so natural and his emotions are seem- 
(Continued on page 72) 





The Newsreel of the Newsstands 

Six months ago, Hollywood 
hadn't heard of Ketti Gallian. 
Now, with her first pic- 
ture — "Maria Galante" — fin- 
ished, she looms as a star (the 
only star with broader shoul- 
ders than hips). Her mother 
is French, her father Italian 




"Hollywood's Fightingest Marriage" — That of Lupe Velez and Johnny 
Weissmuller — Heads for the Rocks, But Head(line)s Right Away Again 


SAID Lupe Velez last November, soon 
after her marriage to Johnny ( Tar- 
zan) Weissmuller: "Eet weel be the 
fightingest marriage Hollywood has 
ever seen. But divorce? Nevair! I 
weel keel any judge who tries to take 
my Johnnee away from me." So, per- 
haps, when a justice recently put on 
his robes to sit in judgment on the 
divorce suit of Guadelupe Villalabos 
Weissmuller against Johnny Weiss- 
muller, it was fortunate that Lupe's 
attorney rose in court and announced 
that his client wanted to withdraw her 
action. "They are apparently very 
much in love," he explained. 

This time, Hollywood felt sure, the 
parting of the ways had come for the 
battling lovers, whose domestic differ- 
ences it had seen staged in public. Now 
it is inclined to wonder if the suit could 
have possibly been just a publicity stunt 
to win the headlines. It is fairly safe to 
say that the next time Lupe cries, "Wolf! 
Wolf! Divorce!" newspaper men are 
going to yawn, "Oh, yeah?" 

Clinging Together Yet 

The Weissmuller marriage is about to 
celebrate its first anniversary, with the 
decisions in the various rounds that Lupe 
and Johnny have fought fairly evenly 
divided. The first battle came only a few 
days after the elopement to Las Vegas. 
It seemed that Johnny's great beeg hor- 
rible dog had bitten Lupe's tiny Mexican 
flea hound. And Lupe had ordered both 
the dog and its master out. 

The dogs have been a source of many 
of the Weissmuller battles. But it didn't 
much matter what they fought about. 
Almost anything was an excuse for a 
battle — Johnny's habit of leaving his hat 
on the piano, Lupe's failure to serve ice 
cream and soup at every meal, Johnny's 
seventy-five dollar bicycle, Lupe's brace- 
let. When intervals of peace threatened to 
make domestic life dull, Lupe admits, 
she and Johnny would sit with arms 
about one another, discussing what they 
would fight about next. "We like to 
fight," she once said. 

After about six months of married life, 
Lupe told a reporter, with fire in her eyes, 
"That Johnnee! I am through! I throw 
heem out!" This round was evidently 
Lupe's, for when reporters descended on 
Johnny's new apartment to hear his ver- 
sion of the crack-up, they found him 

Johnny (Tar zan) Weissmuller and his mate, Lupe Velez, have Hollywood guessing. 
Are they serious about their fighting — or is it a gag? 

gone — where? — right back to Lupe Velez. 

From then on, however, things waxed 
hotter. Almost every week the papers 
carried the report of a new public dis- 
agreement of the Weissmullers. When 
Lupe recently went on a personal appear- 
ance tour, and Johnny accompanied her, 
other portions of the country were let in 
on their family fights. Developments 
began to look ominous. 

A week after their return, denying any 
trouble, local papers headlined that Lupe 
was going to divorce Johnny. "Yes, eet's 

true," she sobbed. "We still loff each 
other, but we can't live together." 

This time the hostilities lasted almost 
a week. Then came Lupe's birthday. 
Johnny gave her a party. " He's so sweet," 
she beamed, "maybe I take heem back 
before the divorce is final." 

Two days later, her attorney rose in 
court and withdrew the action. Now, 
Hollywood is trying to figure it out. Can 
it be just a publicity stunt — or is it just, 
as Lupe prophesied, "the fightingest mar- 
riage Hollywood has ever seen?" 





Blonde Actress Marries Nacio Herb Brown, Songwriter, 
in Mexico, But Their Marriage Won't Be Legal in Cali- 
fornia Until His Recent Divorce Is Final — Next Year 

By Maude Lathem 

KEPT PROMISE — Anita Page promised her mother that she would never elope. And 
she didn't. She took her parents along to the sudden wedding! 

WHEN the Justice of the 
Peace at Tia Juana, Mex- 
ico, was called early one 
recent morning to per- 
form a marriage between 
Anita Page, blonde screen actress, and 
Nacio Herb Brown, composer of popu- 
lar songs, he was not even slightly sus- 
picious that he was officiating at the 
marriage of a Hollywood celebrity. For 
one thing, Anita used her real name of 

Many stars have followed the early ex- 
ample of Corinne Griffith and have gone 

to Mexico to be married. Hut, usually, 
famous movie couples are not accompa- 
nied, as in this case, by both parents of 
the bride and a younger brother. So the 
Mexican official thought that he was per- 
forming the ceremony for some Spanish 
family. (You see, the Pomares are of 
Spanish descent.) A long time ago, Anita 
solemnly promised her mother never to 
elope. 1 hat's why the whole family drove 
South all night, after Anita telephoned 
them her good news from the Cocoanut 
Grove at 2 a.m.! 

Herb admits that he has loved Anita for 

six years; that she has never been out of 
his mind since he wrote "You Were 
Meant for Me" for "The Broadway 
Melody." He dedicated that song to her. 
When he first met Anita, he was married 
to his first wife, from whom he was 
shortly divorced. Later he married 
Jeanne Borhni, from whom he was 
granted an interlocutory decree of divorce 
on last June 5. 

Anita had no intimation during those 
six years that Herb was interested in her. 
She thought of him only as a friend of 
the family. JDntil after his recent divorce, 
Herb never tried to see Anita. Then he 
began taking her out occasionally, and in 
July she made the discovery that he was 
in love with her, and that she was im- 
mensely interested in him. 1 hen, one night 
at the Grove, where they had been dancing 
to his latest composition, "The Carlo," she 
discovered she was in love for the first time 
in her twenty-four years. 

They decided that they must pro- 
claim their love to the world. They 
couldn't be legally married in California 
for another ten months, but they could 
go to Mexico and tell the world that 
they belonged to each other. That 
would stop so many men from being in- 
terested in the blonde Anita, and it 
would relieve Herb from the necessity 
of being nice to so many women. But 
the marriage is not to be consum- 
mated until his divorce decree is final, 
at which time there will be another 
wedding in California — a church wed- 
ding. These were the only terms on 
which her father would consent to the 
marriage. Anita continues to reside 
with her parents at Manhattan Beach, 
while Herb has to come calling on her 
from far-away Malibu Beach. 

Unless the ofFer is too good to refuse, I 
don't believe she will return to pictures. 
She has no thought but to do what Herb 
wishes, and he doesn't wish her to work 
in pictures. 

"It would be all right until she came 
to the kissing scenes," he says, "but at 
that point I would insist on a double." 

Six years ago, Nacio Herb Brown wrote 

the song, "You Were Meant for Me," to 







"I'm Going to Be a Wife First, an Actress Second," Says 

Gloria Stuart, Marrying Writer After Divorcing Artist — 

Through With "Experiments" 

By Eric L. Ergenbright 

GLORIA STUART startled blase 
Hollywood two years ago with her 
ultra-modern recipes for living. It was 
Gloria who invented that catchy term, 
"trial separation." It was Gloria who, 
after divorcing her artist-husband, 
Gordon Blair Newell, only to read of 
his remarriage the next day, vowed 
that she would never, NEVER marry 
again. That was two months ago. 
She's Mrs. Arthur Sheekman now! 

An introduction to the Hollywood 
scenario writer on the set of "Roman 
Scandals" was followed by a whirlwind 
romance, a brief engagement. And a wed- 
ding ceremony at Agua Caliente and now, 
says Gloria, "The one great love of my 
life has taught me that all my high-flown 
theories were schoolgirl delusions. I've 
met a man who is everything I ever 
wanted, and I'm content to be an old- 
fashioned wife!" 

Gloria, how greatly have you changed! 
Look back two years and listen to her at 
the time of her Hollywood debut. "Mar- 
riage? An antiquated, to-be-put-up-with 
fact, made tolerable only through applica- 
tion of modern thought. Jealousy? Some- 
thing to be banished relentlessly from 
every intelligent marriage. Individual 
freedom? The sacred, inalienable right 
of every thinking human, to be main- 
tained in the very teeth of marriage." 

And Gloria and Gordon Newell put 
their creed into practice. Surrounded by 
a clique of individualists, they made their 
home a Temple to New 1 hought. Gloria 
did as she pleased, with no questions 
asked or explanations given. Gordon did 
the same. With their friends, they 
argued the nights away on Communism, 
psychology, sex, art, literature, nudism — 
and then dashed away to secluded La- 
guna Beach for a swim in the half- 
light of dawn. But their marriage 
crashed. And now Gloria thinks she 
knows why. 

"The fact that we both mistook a 
pack of sophomoric half-truths for a 
workable scheme of marriage is re- 
sponsible," she says. "I condemned 
jealousy and preached individual rights, 
but at heart / wanted my husband to be 
jealous of me. If my work kept me out 
late at night, I wanted him to be pacing 
the floor when I came home. I wanted 
him to demand an accounting and beat 
into my mind the fact that I belonged to 
him! I went out with other men — and 
he said nothing. He went out with 

other women — and I was furious, but 
too proud to let him think me old- 

"Now, I am deeply in love with 
Arthur Sheekman — and I'm through 
dabbling with ideas about life. They 
don't bring happiness. He is jealous of 
me — and I love it. I want love, not 
academic art-colony theories. 

"After my divorce, I was hurt and be- 
wildered. I was left without a belief in 
anything. I was in a fit mood to commit 
any folly. Even when I fell in love with 
Arthur and knew that this love was the 
biggest thing that had ever come into my 
life, I fought against it. 'Don't fall in 
love with me — I don't deserve you!' I 
told him. But I wanted his love — -des- 

"I'm happier now than I've ever been 
in my life. Arthur's whole existence is 
based on facts that have been tried and 
proved since the beginning of the world. 
We can trust our lives to them. My for- 
mer beliefs were just impractical theories 
that couldn't stand the test of applica- 
tion. This time we will have only one 
marriage 'rule' — under no circumstances 
will we tolerate being separated for more 
than thirty days. If Arthur is forced to 
go to Europe, I will drop everything and 

He Wasn't Jealous 

Gordon Newell was too "modern" to be 
jealous — and Gloria Stuart sought a divorce 

Arthur Sheekman IS a jealous husband — 
and Gloria Stuart hankers to be an old- 
fashioned wife to him (as above, perhaps) 

go with him. I'm going to be a wife first, 
an actress second, and an 'intellectual 
modern' last of all." 

P. S. Her new husband is a writer; so 
is Gloria in her spare time. A publisher 
is bringing out a volume of her poems 
this Fall — a volume entitled "Worm Be- 
hind the Leaf." 

Gloria has made no secret of the fact 
that she has been restless in Hollywood. 
Artistically ambitious, she has been dis- 
contented with her opportunities. Not 
long ago, she said, " I feel that in two 
years I've had only two really good roles 
— believable roles. The rest of the time, 
I've just been there in front of the cam- 
era, occupying space, smiling in love 
pictures, shrieking in mystery stories. 
It's not more money I'm fighting for. 
It isn't big roles I want. Just good 

She was on a "one-woman strike" from 
her studio at the time, to get those roles; 
now she is back, a winner, and roles 
building to stardom have been promised 
her. And, tacitly, she is warning Holly- 
wood that it had better keep its promises, 
or lose her. For one thing, she is an active 
member of a Little Theatre group, stag- 
ing modern classics — a warning that she 
is serious about doing worth-while things. 
And then, there is her poetry. 

At that time, she explained her "trial 
separation" from Gordon Newell by 
saying, "We each want to be free to work 
out our careers." Maybe what she meant 
was that they wanted to be free from 
each other. 



Bing Crosby Is Now a Much Kidded Man, in Every Sense 
of the Word—Stork Left Double Bundle on Friday, the 13th 

By Joan Standish 

THEY are calling him 
Bing-Bing Crosby these 
days, and he doesn't like it 
a whole lot. And the morn- 
ing after the Crosby family 
was increased by two, Para- 
mount songwriters took a 
page in a local trade paper 
to congratulate him — and 
showed him holding twin 
babies and singing "Love 
in Bloom"; Bing scowled. 
The scowl deepened when 
he saw the "felicitations" 
of other friends — a page 
showing the stork deposit- 
ing twins in the crib with 
Gary Evan Crosby, aged 
thirteen months, with the 
caption "Three Rhythm 
Boys," and a bar from 
"Love Thy Neighbor." 

Bing is proud of the twins, 
all right, but he does wish 
people would stop kidding 
him about them. The kid- 
ding began so long ago, too — 
three months before the 
twins' arrival, when Dixie 
Lee Crosby went to the hos- 
pital to have an X-ray taken, 
and the plate showed two 
tiny spines, instead of one. 
His friends at the studio 
started the ribbing then, and 
kidded him about the pic- 
ture he was making — "She 
Loves Him Not." 

In every sense of the word, 
Bing is a much kidded man, 
indeed, these days. And when 
he took to his bed with a bad 
case of influenza the day after 
the twins were born, it didn't relieve his 
feelings to have his pals joshing about the 
"shock" he had had. 

"It's a complete golf foursome!" Bing 
is reported to have shouted gleefully 
when the nurse put her head out of the 
door on Friday, the 13th, and announced, 
"They're boys!" But Dixie was dis- 
appointed. She had a boy already. She 
had hoped they would be twin girls, and 
had the names picked for them. 

As it was, all of a week passed before 
the squirming mites in their incubator 
beds received names. They were big, 
husky names, too, for such small lads — 
Philip Lang and Dennis Michael. But 
whether or not it was Philip who weighed 
a trifle more than four pounds and Dennis 
who weighed a little less than four pounds, 


Bing and Dixie Lee Crosby knew they were going to have 
twins; a little X-ray told them. But Dixie had planned on girls 

nobody will ever be able to determine. 
Dixie named Philip Lang — "Philip" 
always having been a favorite name of 
hers; the "Lang" is in honor of Eddie 
Lang, one of Bing's former orchestral 
buddies. Bing named the other — after 
his grandfather. 

Hollywood has taken a personal inter- 
est in the twins ever since they had their 
X-ray picture taken. They are the first 
twins ever born to an active star in the 
movie colony (although Lawrence Tib- 
bett and Edna Best each had twins before 
they ever started their film careers). The 
interest became painful when it seemed 
for a time that there was little hope of 
their safe arrival in the world. Dixie Lee 
Crosby was very ill for three months, part 
of the time in a hospital bed, and the rest 

of the time a prisoner in her own room, 
shut away from the gaieties that she and 
Bing both love. Bing remained home 
with her when his work permitted, and 
the two youthful parents had a good 
chance to realize the serious side of life, 
about which Bing croons sometimes. 

Bing, who admits freely that he is lazy 
and would like nothing better than to 
sleep all the time he wasn't playing golf 
or going fishing, had been toying with the 
idea of giving up his radio work, or his 
movie work, or maybe both. "But when 
the Doc told me there were going to be 
two more Crosbys, I saw that I had to 
keep on hustling," Bing drawls. Inci- 
dentally, he played a golf 
game with the obstetrician to 
see if the doctor's fee should 
be double or nothing — and 

The Crosby twins have 
spent the first few weeks of 
their existence in incubators 
of the type in which Harold 
Lloyd, Jr., lived for so long. 
There they will remain until 
they have attained the sturdy 
weight of six pounds. Even 
the parents are able to get 
only infrequent looks at them 
as yet. But they are plan- 
ning a royal welcome when 
the boys come home to Tolu- 
ca Lake, to the new cribs 
that have been added to the 
nursery suite once occupied 
in a lordly way by Gary 

Is Friday, the 13th, an un- 
lucky day for the Bing Cros- 
bys? "We couldn't be happi- 
er unless they had been 
triplets!" they chorus. 

One question Hollywood 
is asking about Bing's becom- 
ing not only a father for the 
second time, but the father 
of twins, is: "What effect 
will it have on his popu- 
larity?" Well, Bing has been 
deluged with messages of 
congratulation from admirers 
far and wide; and an ad- 
mittedly shrewd advertising 
department has been adver- 
tising "She Loves Me Not" 
as "Bing's greatest triumph 
since the twins" — amusingly 
reminding everybody of the 
Big Event. 
And last June his manager-brother, 
Everett, told Movie Classic: "We 
thought at first maybe his marriage 
would hurt his popularity, but the fans 
seemed just glad to hear he was happy. 
1 hen, when the first baby came along, 
we thought, 'Maybe, now, being a papa 
and all, he won't seem quite so romantic' 
But do you know that sixty letters out of 
every hundred he gets nowadays ask 
him how the baby is or sent 'love to 
Gary and Dixie' ? Now that the second 
baby is coming in September" — he 
guessed wrong about both the number 
and the date — "everybody seems in- 
terested and pleased. It's because Bing 
seems like an every-day sort of young man, 
who would naturally have a wife and fam- 
ily, that people like him, and his songs." 




Douglas Fairbanks, Sr., Comes Back from England — for a Visit, at Least; But Young 
Doug Shows Signs of Saying "Goodbye" to Hollywood Forever 

By Dorothy Donnell 

WHEN Douglas Fair- 
banks, Jr., returned 
to Hollywood from England 
last Spring to make "Suc- 
cess at Any Price," he took 
occasion to deny vehe- 
mently that either he or his 
father intended to become 
expatriates. "We simply 
find England a charming 
place to live," he said, "but 
we are Americans and in- 
tend to remain Americans." 
Since then, several things 
have happened to make 
Hollywood wonder if he 
would say the same thing 

When the elder Doug went 
to England, soon after his 
parting with Mary Pickford 
(which the public did not 
know about for several 
weeks), and it began to look 
as if he intended to make a 
lengthy stay, newspapers ru- 
mored that he was planning 
to become a British citizen. 
This he denied, and rumors 
of reconciliation with Mary 
(and a possible return to 
Pickfair) followed. These 
rumors suddenly ended when 
Mary went ahead with her 
divorce intentions, and Doug, 
who had been the frequent 
escort of Lady Sylvia Ashley, 
was named co-respondent in 
the divorce suit of Lord Ash- 
ley. (Both Doug and Lady 
Sylvia entered indignant de- 
nials of the allegations.) 

Then Hollywood learned 
that the Fairbanks bungalow 
on the United Artists lot was 
being altered and refurnished 
— and the rumor that Doug 
was coming home took on a 
new boom, until it was 
learned that the bungalow 
was being rebuilt for another star. In the 
meantime, the cables reported that Doug 
had acquired a monocle, with friends ex- 
plaining that his eyesight had been 
affected by studio lights during the mak- 
ing of his new picture, "The Private Life 
of Don Juan." Hollywood wondered: 
Was just one eye affected, or did he need 
only one eye to read with? Then came 
the news that he had rented a castle in 
Hants, Herts (or maybe it was in Herts, 
Hants) — an awf'ly British castle, with 
thirty-four bedrooms and a family ghost, 

When Douglas Fairbanks went over to England, Doug, 
lowed — and now he's apparently even more sold on 
his father 

where his friends in the aristocracy would 
presumably feel at home. And then re- 
turning travelers brought word that 
Doug's English accent was more extreme 
than that of a third-termer at Magdalen 
College. It looked as if America had lost 
Doug for keeps. 

But suddenly, with his new picture soon 
to be released in America, he sailed for the 
homeland, smiled broadly on arrival, and 
flew immediately to Denver, his old 
home-town, to the funeral of the widow 
of his brother and late business manager, 

John. Then on to Hollywood 
for a "business talk" with 
Mary, before sailing away 
again — this time to China, 
to make a picture. Beyond 
this new picture venture, he 
is non-committal about his 
future plans — and home. 

However, it isn't likely 
that America will lose the 
elder Fairbanks — officially, at 
any rate. For one thing, he 
has too many investments on 
this side of the Atlantic to 
sacrifice them for a new flag. 
And the income taxes of a 
well-to-do English citizen arp 
terrifying. And Lady Ash- 
ley? She was an actress be- 
fore her marriage, and if she 
finally heeds Doug's reported 
suggestion that she try a film 
career, it is conceivable that 
she might also be persuaded 
to make Hollywood the scene 
of her debut. 

But while it would surprise 
Hollywood if the father be- 
came a British citizen, it 
would not be surprised if the 
son took the step. For young 
Doug apparently has no 
plans for returning to Holly- 
wood. He has had his busi- 
ness agents sell all his invest- 
ments except the home that 
he built for Joan Crawford, 
whose divorce from him be- 
came final in May. And that 
to-day bears a huge sign, 
"For Sale." 

In the last six months, 
Doug, Jr., has turned down 
two hundred thousand dol- 
lars' worth of Hollywood 
offers — and some of the finest 
roles that Hollywood had to 
give. If young Doug gives up 
a fortune, his Hollywood 
friends and his country, it 
will be for love of a charming English 
comedienne, Gertrude Lawrence, several 
years his senior. He is planning to appear 
with her in a London play this Fall, and 
is also scheduled for an English picture, 
"The Field of the Cloth of Gold," for 
which Charles Laughton and Maurice 
Chevalier are likewise listed. Meanwhile, 
young Doug — who is tremendously pop- 
ular in London — has been cruising with 
Miss Lawrence and a party of English 
friends on a yacht that he presented to 

Jr., fol- 
it than 





The Fredric Marches, Robert Montgomery s and John 
for Strike Emergency, and Agree That It's "All For 

By Sonia Lee 

Lodges Store Away Food 
One, and One For All" 

The Fredric Marches foresaw the need 
of a cow — for a supply of fresh milk 

THE general strike in San Fran- 
cisco, which virtually made it a be- 
sieged city, had its repercussions in 
Hollywood, four hundred miles away. 
An extraordinary compact was made by 
Fredric March, John Lodge and Robert 
Montgomery, when it seemed that Los 
Angeles, too, might be paralyzed by a 
general labor walk-out. They were pre- 
pared for any emergency. 

Troops entered the Northern California 
city. News stories came over the wires 
about thousands of people who faced a 
shortage of food. Graphic photographs 
showed hundreds of motorists lined up 
before gasoline stations in desperate ef- 
forts to buy small supplies of motor fuel. 

It was at a dinner party in the March 
home that these three stars formulated 
their plans. No one at the moment could 
tell how far the strike would spread. The 
latest rumor was that workers in the Los 
Angeles area and in other Coast cities 
were going to walk out in sympathy with 
the San Francisco strikers. In that event, 

The Robert Montgomerys, who have a 
farm, were to superintend the gardening 

the problem of food and of transportation 
would be acute. 

The following morning, Mrs. Mont- 
gomery, Mrs. March and Mrs. Lodge 
placed large orders for cases of canned 
stuffs — vegetables and fruits and tinned 
meats. In addition, they all ordered a 
large supply of flour, coffee, sugar, tea and 
all the other staples that would guard 
them against hunger. They all bought 
large quantities of gasoline and stored it 
in a safe place for emergency. 

Not even to themselves would they ad- 
mit that the tense unrest might have 
serious — even tragic — consequences, di- 
rectly affecting themselves. But like 
thousands of less-well-known couples in 
California, they intended to make " Pre- 
paredness" their motto. 

The Lodges, the Marches and the 
Montgomerys all have small children. 
And because they would need fresh milk, 
John Lodge and Fredric March agreed to 
buy a cow. It could be pastured on the 
March place and would provide against 

emergency. The sextette even discussed 
the advisability of starting vegetable gar- 
dens immediately. Bob Montgomery 
knows something about farming. He has 
acquired several hundred acres of farm- 
land in New York State, and has made it, 
by careful planning and by systematic 
cultivation, self-supporting. He has even 
stocked the streams with trout. If worse 
came to worst, all of them could find 
refuge and subsistence there. So Bob was 
the authority on farming. 

Fortunately, the San Francisco strike 
was settled. The crisis was passed — and 
three stars immediately began distribut- 
ing cases of food to various charities. 

"Our pact was to share and share 
alike whatever we had," explains John 
Lodge. "Not one of us could go hungry 
while the others had food. We all felt 
that the situation was much more seri- 
ous than was generally recognized, and, 
for the sake of our families, we con- 
sidered it imperative to make some 
small provision against a day that we 
hoped would never come." 

The John Lodges were to be part-owners, 
with the Marches, of the cow 


Nell Gwyn, the gay, irre- 
sponsible charmer of Lon- 
don's Drury Lane, who so 
captivated- King Charles II 
(he looked them over, two 
hundred and fifty years 
ago) as an actress, hoyden 
and wit that he made her 
his mistress, lives again on 
the screen. And it's Lon- 
don's Anna Neagle who 
humanizes Nell with all 
the charm and gaiety that 
have made her one of the 
feminine immortals. When 
you see "Nell Gwyn," with 
La Neagle in the title role, 
you'll be taking lessons in 
the, pastime known as love 


Miss Marie". . . . 

a Story Never Told Till Now 

The whole world mourns Marie Dressier — but the one who misses her the most, because 
she was the closest to her in life, is Mamie Cox, her colored maid. For twenty-two years, 
until the very end, Mamie was with her — the most faithful friend of all. Now it should be 
told — the story of the devotion that "Miss Marie" inspired throughout her life and work! 

'Perhaps she learned the Truth when Time was 

And comes again with heaven-songs of mirth; 

And leaves her gods and goddesses alone 

To live with us a little while on earth." 


r HUS read the lines of Mane Dressler's favorite 
poem. Spoken by Reverend Neal Dodd at the 
funeral service in Hollywood for the world's 
most beloved woman, the verse was fraught with 

The "she" really was Marie Dressier. She has lived 
with us a little while on earth and, having made it a 
happier place because of her presence here, she has 
now gone to rejoin her gods and goddesses. 

Old-timers, stretching their memories, can 
recall Marie Dressier in her hey-day as a 
fun-maker on the stage — with Joe Weber and 
Lew Fields in " Higgledy-Piggledy." Mamie 
Cox's memories go back even farther 



John Sherman 

Mane" won the respect of 
all Hollywood. 

Shared Marie's Secret 

WHEN doctors pro- 
nounced a death sen- 
tence upon Marie Dressier 
three years ago, Mamie 
was the only one Marie 
told. Together, they 
guarded the secret jeal- 
ously from the world. To- 
gether, they conspired that 
Marie might carry on. 

"The last words Miss 
Mane spoke were, 'I did 
put up a good hght, 
didn't I?' " Mamie told 
me. "A few moments 
later, she relapsed into a 
coma and never awakened 
from it. 

"Miss Marie was not 
allowed to know how ill 
she reallv was, and news 
of the seriousness of her 
condition did not reach 
her through the news- 
papers. The reporters 
weren't told until after 
she had lost consciousness. 

Marie Dressier used to delight in telling how Mamie Cox (right) shielded her 
and "bullied" her — for her own good. For many months, Mamie was the 
only one to share Marie's secret. And it was to Mamie that Marie spoke 
her last gallant words before the end: "I did put up a good fight, didn't U" 

But we who are left behind are lonesome. Yet there 
is not one of us who can mourn Marie more sincerely 
than Mamie. For not one of us knew Marie as Mamie 
did or was as close to her as Mamie — Mamie Cox, her 
maid and companion, faithful and staunch throughout 
an association that had lasted for nearly a quarter of a 

Mamie never left Marie's bedside during the last four 
weeks of the illness that mercifully ended in death. 
Mamie attended the funeral, sitting in the front row, 
and as the casket was borne from the chapel, Mamie, 
arm in arm with May Robson, led the line of mourners 
slowly walking behind it. And Mamie remained in the 
mausoleum until everyone else had gone, so that she 
might be alone in her grief. 

Mamie is a colored woman. Her devotion to "Miss 

"We went to Santa Barbara last February, upon the 
advice of Dr. Moffet. For a while we lived at the Bilt- 
more Hotel but Miss Marie tired of a hotel room and 
decided to accept the kind offer of Mrs. Billings to oc- 
cupy one of their guest homes on their estate in Mon- 
tecito. Miss Marie had vacationed there several times 
and she wanted to be among her friends again. She 
always loved people around her. One of my duties was 
to keep them from disturbing her too much. She never 
told me so, but I didn't have to be told. 
(Continued on page 74) 


"My Marriage ' r* 

John Gilbert 

Was Not 

a Failure 

-Virginia Bruce 

Although divorced from John Gilbert, Virginia 
Bruce is still in love with him — and prefers to be 
known by her married name. She would go to Jack 
in a minute if he wanted her, but she agrees that 
no woman can make him happy permanently 

By Maude Lathem 

WOMEN never fall out of love with John 
Gilbert. Sixteen years ago Olivia Burrell 
was divorced from him after a few months 
of marriage. She came quietly to Holly- 
wood, and has lived here a few miles away from the 
dashing hero of her youthful romance ever since. She 
still bears his name. There's Leatrice Joy, who, years 
after she divorced Jack, eagerly asked every- 
one she met for news of him. She could not 
talk on any subject for more than a moment 
without speaking his name. The great Garbo, 
breaking a three-year silence, demanded her 
former screen lover as her leading man 
when she made "Queen Christina." 

And now Virginia Bruce 
sets Hollywood abuzz, and 
corrects the publicity man of 
her studio, who introduced 
her as "Miss Bruce," with the 
quiet statement: "I prefer to 
be called by my right name, 
Mrs. John Gilbert." It is 
the first time a divorced actress 
has ever clung to her hus- 
band's name. But then, Vir- 
ginia has always occupied a 
unique position in the film 
world. She possessed a beauty 
so fragile, so evanescent, that 
photographers despaired of ever 
being able to reproduce it on the screen. 
They said she was too beautiful to 

She is the only player on record 
whose picture contract was suspended 
when she married. This is what the 
studio did in her case, judging in 
advance that chances were ten to one 
against her finding permanent hap- 
piness in a marriage with Jack Gilbert. 
When she divorced him, she began 
at the studio where she left off. Now 
she is in the paradoxical position of hav- 
ing divorced her husband while she is 
apparently still in love with him. 

"It's not true that I am writing him 
love letters," Virginia says, blushingly. 
"I only sent him roses when he was 
ill and wrote a note expressing my 
earnest hope that he would soon be 
all right. I can't bear to have him 
feel alone and neglected while he is 
sick. As for still being in love, how 
can you tell just when love dies? 
You can be hurt, desperately, and 
yet, after a time, only the pleasant 
recollections remain." 

(Continued on page 76) 


I'm Going to Sandpaper 
Jimmy Cagney's Neck!" 

Says Jimmy Cagney 

to Katharine Hartley 


"IM Cagney speaking : 
Listen, folks, here's 
something few people 
can realize. I can watch 
Jimmy Cagney on the 
screen and look at him as im- 
personally as I'd look at Garbo 
. . . well, not quite as im- 
personally," he interrupted 
himself with that intriguing 
half-smile of his. "But what 
I mean is that the Jimmy 
Cagney that's me and the 
Jimmy Cagney 
that's an actor 
are two separate 
people. And, be- 
lieve it or not, 
the me is simply 
fed up with the 
Cagney on the 

"I'm sick of 
walking, talking, 
gesticulating like 
a tough. I'm so 
tired of taking 
cracks at women, 
and brow-beating 
them, that when- 
ever I'm asked to 
do that on a 
screen, I feel like 
turning to the 
camera and say- 
ing, 'Pardon me, 
audience, but 
that's just an act. 
I'd much rather 
kiss the girl than 
sock her! It's 
more natural.' 
You see what I 

"Now I don't 
mean that the 
tough guy hasn't 
been successful. 
The public has 
liked me tough, 
but I'm looking 
ahead. The day 
of the gangster, 
the mug, the guy 

Jimmy Cagney is tired of the Cagney you see on the 
screen. He's fed up with the tough guy who slaps his 
woman down. He wants to get out of pinched-in suits 
and into plus-fours — and to wear kid gloves instead of 
brass knuckles. In other words, he wants to play the 
gentleman. It's Cagney talking — and he says a mouthful 

who slaps his women down, 

is through. People won't 

stand for them in reality, or 

on the screen any more. I 

want to take the rough edges 

off Jim Cagney, sandpaper 

his neck, get him out of 

those pinched-in suits, and 

put him in plus-fours . . . 

let him use his natural voice 

and forget the 'dese,' and 

'dems' . . . and let him wear 

kid gloves instead of brass 

knuckles! But 

I'm having a 

devil of a time 

to get my studio 

to see it, for 

audiences don't 

even realize it, 


"Not long 
ago the studio 
announced that 
they were going 
to 'clean up 
Jimmy Cagney's 
parts' — and 
what happen- 
ed? Thousands 
and thousands 
of people wrote 
in and said, 
'Don't! We like 
him as he is. Be- 
sides, we doubt 
if he ever 
could be a 
gentleman!' You 
see what I'm 
up against? 
Even if I did 
do a swell por- 
trayal of a 
they've seen me 
as a tough for 
so long that 
they'd think I 
was ham-acting! 
It's a neat prob- 
lem, isn't it?" 
(Continued on 
page 79) 


Time for 

If Pat Paterson is a 
likeness of the favorite 
lady of the romantic 
Franz Schubert, then 
it's no wonder that 
he wrote those im- 
perishable melodies. 
It's Pat, no less, who 
woos sweet music and 
honeyed words from 
Nils Asther, portray- 
ing the role of the 
great composer. Their 
Viennese serenade is 
called "Lovetime" 


Meet Us At 
"The Fountain" 

You can look high, 
low, near and far for 
an actress capable of 
playing "The Foun^ 
tain," but when your 
searching is done Ann 
Harding is your 
choice — as it was 
Hollywood's. Playing 
opposite Ann is Brian 
Aherne, who has just 
been engaged to ap- 
pear with Helen 
Hayes in "What 
Every Woman Knows" 

Here, for the first time, MOVIE CLASSIC 
presents a new and different chapter 
in the life of Jean Hariow — one ^^| 
in which she is seen through 
the eyes of her mother, 
who has never granted 
an interview before 

Jean Har- 
low may be the 
screen's foremost 
exponent of sex 
appeal, but to her 
mother, Jean is just "Baby." 
I mean this literally. Never 
once in Jean's life has her mother 
called her by her given name. Even 
in speaking of her to others, she remains 

"Baby". Mar- 
ino Bello, 
Jean's stepfather, 
likewise calls her 
"Baby." And, of course, 
the servants and trades- 
people have picked it up, too. 
"Did the Baby like the cut of 
beef I sent yesterday?" the butcher 
asks the cook. "How about some nice 
roses for the Baby to-day?" inquires the 
florist when the chauffeur calls for fresh cut 
flowers. "Take this package up to the Baby's 
room," the butler orders the second maid. 
This habit of speech is so commonplace in Jean's 
household that a servant once addressed her as "Miss 
Baby" instead of "Miss Jean," the customary form of 
direct salutation, and no one at the dinner table even 
noticed the faux pas. 

However unusual this state of affairs may seem, let 
me tell you that Jean Harlow, though a seductive 
vamp in her screen dramas, is but a child in 
her private life — with a child's simplicity 
and directness. I hope I am destroying 
no illusions, but I do want you to (jr- 

know her as she really is. ^' x 

Jean's bedroom adjoins her O^S ^^J*^ 

(Continued on page 62) 


Passes Inspection 

"If I don't adjust the strap to the 
helmet," says Dick Powell to Ruby 
Keeler, "you won't pass inspection 
with me or our public." The popu- 
lar co-stars are together again in 
"Flirtation Wallc," a romance 
which presents Dick as a West 
Point cadet — and Ruby as his 
sweetheart. If the Navy can 
offer a happier combination, the 
Army would eat its 
rarin' mule for breakfast 



H'- 1 ' 

r •* 

* 4 5* 



» ft 



D o w l i n g 

"Tve Been So Naughty!" 

Jean Parker 

America's New Sweetheart says she's naughty, hates to study, loves fairy stories and 

lives in a little dream world of her own. Which either makes Jean Parker something 

of a "Little Woman" in real life or an artful actress 

We offer this amazing interview as one of the curiosities 
that occasionally come our way. Possibly, it was the in- 
terviewer who brought out the Little Girl in Jean Parker. 
Possibly, she is still under the Louisa May Alcott in- 
fluence. — Editor. 

BEFORE I met Jean Parker, I had been told that 
Metro-Goldwyn-Mayer is grooming her to be 
| America's New Sweetheart, to follow in the golden 
footsteps of Mary Pickford and Janet Gaynor. 
The process, I had heard, includes a guardian, reminiscent 
of the good old days of stage mothers, who chaperons 
Jean every minute, to keep her fresh, youthful bloom un- 
touched. I had read, too, that studio heads had forbidden 
the publicizing of her romance with young Pancho Lucas 
(because America's Sweethearts are more successful when 
unattached); and I knew that all of Hollywood speaks of 

her protectively and effectively as "Little Jean." 

I, myself, had watched the cynical eyes of Ben Piazza, 
casting director at M-G-M, grow moist as he murmured, 
"There's nobody like her! She's what you'd want your 
daughter to be like!" Yet I was still totally unprepared 
for the overwhelming naivete of Jean Parker in person. 

She might have stepped from the pages of Laura Jean 
Libbey, curls and clasped hands and all. She might, on 
the other hand, have been a clever little actress, playing 
the role of America's New Sweetheart. She has a gift for 
making artless remarks, which are so amazingly artless 
that conversation becomes difficult, if not actually im- 
possible, unless you've just read "Pollyanna" and know 
the answers. For example: 

"I've been so naughty to-day!" she said, one minute after 
we met. 

Coming from a mature-looking young woman who has 
{Continued on page 56) 


'There 's No Romance 
Between Garbo and Me" 

—Carl Brisson 

Hollywood and the public are all wrong if they believe Carl Brisson and Garbo are 

that way about each other. The Danish actor only "knew her when" — many years 

ago in Stockholm. In this interview he silences the rumors and declares it'll be the last 

time he will talk about the Swedish Sphinx 

By Grant Jackson 

YOU either like Carl Brisson enormously or you 
do not like him at all. His is that kind of 
personality — extremely positive, seeking no mid- 
dle ground. Now that I have met him and we 
have talked at length, I unreservedly cast my vote with 
the great majority who like him enormously. 

More than just a figure of speech, this. Brisson is 
enormous, a regular mountain of a man. His features and 
physique are large — that wide, personahle grin, periodi- 
cally lighting up his face, that heavily muscled body, 
developed in his early days as a professional boxer. When 
he stopped fighting at twenty-four to turn actor, he was 
middle-weight champion of Europe. 

I had heard a number of things about Brisson previous 
to meeting him. One thing in particular I heard and did 
not like — the charge that he was capitalizing upon his 
former friendship with Greta Garbo for personal pub- 
licity purposes. So many men have used Garbo to gain 


publicity for themselves. It is an old and not a very 
praiseworthy Hollywood custom. 

Our interview had run its usual course for several 
minutes — "How do you like America?" "I think it 
charming."- -"And American women?" "Even more 
charming." — when Brisson suddenly asked, "Are you by 
any chance leading up to the inevitable questions con- 
cerning Greta Garbo and me? If so, I fear this interview 
must end." 

"Do you mean to say that you are averse to discussing 

No More Garbo Talk From Brisson 

I MEAN to say that I shall never again speak of her 
for publication. I have been frequently embarrassed 
by being called upon to answer questions about Miss 
Garbo. Because I did not wish to seem rude, I have been 

(Continued on page j8) 





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I've Been So Naughty! 


(Continued from page ji) 

Jean Parker 

worked in Hollywood studios for nearly two 
years, this confession had all the effect of 
a knock-out. Mrs. Wright, Jean's guardian, 
filled the silence. 

"Not really naughty," said Mrs. Wright, 
reproachfully. "You're never really 
naughty, Jean." 

"Oh, I was so naughty!" the star insisted, 
with a lovely laugh. 

Mrs. Wright admitted, "Perhaps we 
should have studied the lines longer last 
night." (The "naughtiness" apparently 
had something to do with Jean's slipping 
up on her day's lines.) 

Jean pouted, "Oh, dear, I hate to study!" 

Again Mrs. Wright was ahead of me with 
the answer. (Mrs. Wright, we'll bet, had 
recently brushed up on "Little Women" or 
"Elsie Dinsmore.") 

"You don't really hate to study," said 
Mrs. Wright. "You're really a good girl." 

Compliments fly constantly between these 
two. They first met, we learned, at the 
home of Mrs. Koverman, Jean's discoverer 
and sponsor. Their liking was mutual and 
instantaneous. Mrs. Wright had just lost 
her husband; Jean was new and strange in 
the studio. 

" I expected an awful old dragon when 
they told me about a guardian," Jean 
giggled. " But when I saw who my guardian 
was, I couldn't help rushing and hugging 
her. I never dreamed I would find a person 
I could love so much." 

Mrs. Wright added, "Once we were sepa- 
rated for four whole days, and I could hardly 
wait to get back to my Jean. She is the 
most wonderful little girl in the world." 

Mrs. Wright lives with the star, comes to 
the studio with her, sits opposite her during 
interviews, and spends almost every waking 
moment in her company. "She is, in a way, 
my mother," Jean says. (She is also the 
mother of two sons, one of whom works in 
the M-G-M publicity department.) 

Her Favorite Occupation 

I WONDERED, next, how the star occu- 
pies her lime when not being naughty 
at the studio. 

"/ love reading fairy stories," she told me 
in a fresh, clear voice. 

By now, my silence had been more or less 
accepted, and Jean continued, "'Green 
Mansions' is one of my favorite books — I 
especially love the part where the mother 
turns into a while flower." 

"Green Mansions,'^ by W. H. Hudson, is 
not strictly a fairy story, but a fantasy that 
is one of the gems of modern literature. 
Dolores Del Rio has been mentioned for the 
screen version. 

"I love the real fairy stories for children, 
too," Jean admitted, and named one or two. 
She is, you see, a lonely person. She lives 
a great deal, she admitted (with a pretty 
blush), " in a little dream world of my own. 

"I don't like the modern world very 
much," she confided. "Boys and girls of 
my own age seem unstable and too highly 
sophisticated. I don't like to see girls smoke. 
I don't like to see them lead boys on, just 
to have beaux. I adore the sort of stories 
Mary Pickford used to make for the screen. 
I want to play parts like that, myself. I 
feel at home in them. I love old-fashioned 
things. P in really just an old-fashioned girl." 

I wondered, out loud, if the star's home 
is decorated to match the personality. 

" I think everyone appreciates the mod- 
ern conveniences," Mrs. Wright reproved 
me, "but Jean's own room is a quaint little 
place with a canopy over her bed, and 
dotted Swiss all around." 

Although publicity men give the impres- 
sion that the star is very young, indeed (her 

actual age is not disclosed), she is in appear- 
ance a beautiful and mature young woman. 
She was discovered when she posed in a 
bathing suit for a poster. In her early life, 
she knew trouble and hardships. She worked 
for her education by being a mother's helper 
after school hours. She knows the embar- 
rassment and pain of family strife. To such, 
knowledge usually comes quickly. It is al- 
most unbelievable that Jean seems as if 
she'd just stepped out of a nursery — and a 
very sheltered, Yictorian nursery at that. 
She seems the quaint, old-fashioned child, 
with sadness in her laughing eyes. 

Her role of the little crippled girl in 
"Have a Heart," who looks on wistfully 
while others dance, is reflected in her 
own life, as she described it to me. She 
hasn't much chance for fun. Not that Mrs. 
Wright is a strict chaperon. ("There's no 
need to be strict with an angel like Jean!" 
that lady assured me.) 

"I'm almost always at the studio," the 
little star explained. " I get up at six-thirty 
and I often work until nine o'clock at night. 
Then I go home and have supper and go 
right to bed." She hasn't been to a dance 
in four months. She rarely sees a movie. 

She seems, perhaps designedly, a pathetic, 
lonely figure in the intense sociability of 
studio life. She is said to have an agreement 
with Pancho Lucas not to go out with others 
for five years, at the end of which time, if 
they still share love's young dream, they 
will marry. The romantic story is that this 
boy was a rich man's son in Pasadena when 
Jean was working as a mother's helper. 
Now she's at the top, and his family has 
suffered financial losses. 

"I do love dancing with him!" she told 
me when we were discussing her dislike of 
young people in general. But when asked 
about Mr. Lucas in particular, she was like 
a child reciting a well-learned lesson as she 
said, primly, " I-feel-that-he-hasn't-seen- 
enough - of - the - world, or — met - enough - 
other-girls, to-know- what -he-really- wants." 

In Mary's and Janet's Class 

JEAN has other claims to the position of 
J America's New Sweetheart beside her 
remarkable naivete. Ben Piazza, the 
aforementioned chief casting director at 
M-G-M, told me, "There are more calls 
from other studios wanting to borrow Jean 
Parker than there are for any actress on 
this lot. Every producer in Hollywood seems 
to have two or three roles that only Jean 
can play. Her wholesome characterizations 
are what Hollywood needs right now, but 
how often do you find a girl who combines 
such emotional appeal with real acting abil- 
ity? / can name only Mary Pickford, Janet 
(inynor, and now Jean Parker." 

Her friends are worrying about how her 
shoulders will bear the burdens of stardom. 
They might remember that beneath all their 
sweetness these homespun girls seem to have 
sharp little minds and to know what it's all 
about. Mary Pickford's business sense en- 
abled her to sign the first million-dollar con- 
tract in the movies. Year after year, Janet 
Gaynor remains the most popular star in 
pictures. As for Jean — 

We were discussing the recent attacks on 
movies, as everyone in Hollywood is these 
days, and the demand of the public for clean 
pictures suitable for children. 

"Oh, I want to please children," Jean 
said. "I love children. I know they like 
me. If you're kind and good, I think they 
have to like you." 

Then she added with quiet confidence, 
"Tli is is the psychological moment for me 
to come along, all right!" And there was 
a beam (of light) on her shoulder. . . . 


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There's No Romance Between 
Garbo and Me 

He'll remember 


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led into statements that have been wildly 
distorted by interviewers. When you know 
that I was hardly more than a bridegroom 
when I knew Greta, you will realize that 
we enjoyed no affaire du coaur, despite the 
suppositions to the contrary. 

"I do not even know where Greta resides 
in Hollywood. Yet a local columnist re- 
cently published a story about a man who 
had been arrested upon her complaint that 
he was trying to break into her home. At 
the studio, I was told that he meant me. 
This columnist printed a retraction after 
learning that neither Garbo nor myself had 
figured in the affair. But, meanwhile, I had 
reached the decision never again to talk of 
the Greta I once knew. Imagine the em- 
barrassment to my wife if this sort of thing 
is to continue!" 

Later, the writer discovered that the 
story of attempted housebreaking, inci- 
dently, actually concerned Marlene Diet- 
rich and a Danish admirer. Because the 
man was a Dane, he was confused with 
Brisson, a fellow-countryman. Because of 
the publicized romance between Garbo and 
Brisson, the yarn was twisted to fit them. 

I pointed out to Carl Brisson that his 
only hope of avoiding re-occurrences of 
similar gossip was to authorize one final and 
complete story that would reveal the truth 
of the situation. Hollywood people learned 
long ago that it takes fire to fight fire suc- 
cessfully. Silence is construed as an admis- 
sion of guilt, and, out here, everyone is held 
guilty unless proven innocent. 

"Perhaps you are right," he replied. "I 
will tell you the true story and you will 
write finis to the whole episode. I will then 
say to anyone else who asks me — 'it has 
been printed before. It is no longer — how 
do you call it? — a scoop. It is old stuff.' 

"Allow me to tell in beginning," he vol- 
unteered, "that my association with Greta 
Garbo would never have been known in 
this country had not Greta's uncle in Sweden 
spoken of it to a journalist, now in Holly- 
wood. After his story appeared, dozens of 
other writers came to ask accusingly, 'What 
do you know of Garbo?' Much to my con- 
sternation I found myself being called The 
Man in Garbo's Past. 

"This is a bit absurd. Greta Gustafson 
was merely a child when I first met her. 
Within her burned the fire of great ambi- 
tion. She wanted to go upon the stage. 
She became Mauritz Stiller's pupil in the 
school he established in connection with the 
Royal Theatre in Stockholm. 

"Stiller had encouraged me to leave the 
boxing ring and seek a career on the stage. 
I had won the middle-weight championship 
of Europe and a certain popularity. Having 
a love of singing and dancing, I opened a 
cabaret in Stockholm, meanwhile studying 
with Stiller. He urged me on to more am- 
bitious achievements and changed my name 
from Carl Peterson to Carl Brisson, just as I 
suppose he changed Greta Gustafson to 
Greta Garbo. 

"It is with the greatest difficulty that 
I reconcile the Greta I knew with the 
Garbo of today," he explained. "I cannot 
believe she is the same person. She used to 
be so fun-loving. She would laugh for the 
pure joy of laughing. 

"Part of her exclusiveness from Holly- 
wood I can understand. This was the train- 
ing Stiller gave us all. 'Do not let your 
public see too much of you,' he would say, 
'lest people grow tired of seeing you.' " 

There have been countless arguments as 
to who has been Garbo's adviser and cre- 
ator of her Swedish Sphinx act. It is gen- 

from page 52) 

erall.y conceded that Harry Edington, her 
manager for many years, was the man 
behind the throne. Now it appears that she 
has been carrying on the creed of her dis- 
coverer, Mauritz Stiller. 

"That famous expression of Garbo's, 
'I tank I go home now,' " Brisson con- 
tinued, "might possibly have come from 
Stiller. It was his stock phrase of disap- 
proval. Often I have heard him say, 'This 
is so very bad, I think I will go now.' 

"The Greta I knew is a quite remote, 
although charming memory. I cannot con- 
trast her with the Garbo she has become 
for the simple reason I do not know the 
present Garbo. As your Will Rogers says, 
all I know is what I read in the papers, if 
I may be permitted a general conclusion, 
however, I will say that everything I read 
is in direct contrast with what I remember. 
And no one could have changed so com- 

"Oddly enough," he added, "I did not 
know that Greta Gustafson was the world- 
famous Greta Garbo until a few years ago. 
I had seen two Garbo pictures, but she had 
grown so much thinner since coming to 
America so that I did not recognize her. 

"I nearly made a picture with her once, 
you know. When Stiller was planning 
'Gosta Berling,' he wanted me for the lead- 
ing role. I was unable to get out of another 
previous contract and was forced to refuse 
the part. It was 'Gosta Berling' that 
brought both Stiller and Garbo to the atten- 
tion of American producers and eventually 
to Hollywood. Lars Hansen played the 
male lead. 

"When I had to go to London to fulfil 
my engagement, I said farewell to my friend 
and teacher, Mauritz, and I did not see 
him again until a fortnight before he died. 

"Greta did me the honor of calling upon 
me backstage some three or four years ago 
when I had to make a personal appearance 
in Stockholm. But she had to say, 'Don't 
you know me, Carl?' before I knew that 
Greta Gustafson had become Greta Garbo. 
I have not seen her since." 

"Hasn't she called you up since you 
have been in Hollywood?" 

"No," Brisson replied. "I was tele- 
phoned one day by someone who said she 
was Garbo and wished to welcome me to 
California. Our conversation was quite 
short and it was probably a practical joker 
trying to make fun with me. 

"I do not make advances upon former 
acquaintanceships. My friends are aware 
that I am here. If they want to see me, 
they look me up. If they do not want to 
see me, why should I look them up? 

"I am not much of a social light. Since 
I have been here I have gone four times to 
public cafes, nowhere else. I entertain in 
my own home and have my own group of 
friends, mostly new friends. Perhaps this, 
again, is the Stiller training. 

"It is with the greatest reluctance that I 
have told you what I have regarding Miss 
Garbo. I assure you that if I did not be- 
lieve that by telling the whole truth I 
would end the silly reports currently cir- 
culating, I would not speak of it at all. 
I guarantee it is the very last time I shall 
mention her name in an interview." 

Carl Brisson has had only one Holly- 
wood-made picture released, "Murder at 
the Vanities." He will soon start a second, 
"All the King's Horses." 

I did Brisson injustice in believing that 
he was capitalizing upon Garbo to gain pub- 
licity. What he has told us in this story 
should leave no room for further doubt. 


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Janet Gaynor Denies Fen Rumors 

{Continued from page 27) 

would be the most marvelous thing in the 
world if I were a mother — but I'm not. I 
adore children. I still have all my own baby 
dolls. I'm going to have a baby if I ever 
marry again." Later she added, "Wouldn't 
it be marvelous if I did have a little three- 
year-old running around?" And if you 
could have seen her eyes, you'd know she 
would never hide her baby in secret, if she 
had one. 

Those Romance Rumors 

THE second rumor: Janet has been 
having a romance with almost every 
eligible young man in town, and one who is 
not eligible. These are the romance rumors 
accorded every attractive actress in Holly- 
wood, and Janet gives a blanket denial of 

"I'm not in love and I'm not planning to 
be married for a long time," she says, and 
the fact that she is planning a three months' 
tour of Europe with her mother very soon 
is further evidence, friends point out, that 
she is now heart-free. 

The third rumor: Janet is desperately 
unhappy about her film roles, and longs to 
play sophisticated parts such as are given 
Joan Crawford, Garbo, and Marlene Diet- 
rich. This is one of the most widespread of 
the rumors, and hundreds of stories have 
been printed on the subject. 

"I realize I am the only star playing this 
type of characterization," Janet explains in 
her denial, "and since the public likes it, it 
would be foolish for me to change. Most of 
the 'Gaynor Revolt' stories started when I 
objected to 'Rebecca of Sunnybrook Farm.' 
I don't mind playing naive girls, but I will 
not play dumb ones! Naturally, I'm not so 
naive myself as when I first began making 
pictures in Hollywood. I would feel hypo- 
critical and absurd playing the 'Oh — Ah!' 
type of innocence I used to portray. I have 
grown up gradually in my screen characteri- 
zations, though Hollywood will never realize 
it because this town cannot see any subtler 
distinction than the one between a fresh- 
from-the-country farm girl and a big-city 

The fourth rumor: She is a keen business 
woman who manages her own business 
affairs and tends to her investments, etc. 
This rumor may have started because 
writers could not resist the delightful con- 
trast between Janet of the screen and Janet 
as a shrewd Hetty Green in private life. 

She's Not a Hetty Green 

"A /TY business affairs are managed for 
1 VJL me by my mother and my lawyer," 
Janet scotches this rumor once and for all. 
"I know absolutely nothing about stocks 
and bonds, and I probably wouldn't be able 
to tell a good investment from a bad one." 

The fifth rumor: Janet is keenly unhappy 
because Hollywood is more interested in 
Garbo (to name just one) than in herself. 
Janet's pictures break box-office records in 
every country in the world, but in the 
vicinity of Hollywood, which fancies itself 
highly sophisticated, they are not so popular. 

"I don't blame Hollywood for not being 
terribly interested in me," she admits as 
matter-of-factly as if she were speaking of a 
stranger. "I know I'd be more interested in 
Garbo myself. // makes me furious, though, 
when people expect me to act like a dumbbell 
simply because I specialize in naive parts on 
the screen." 

The sixth rumor: Janet lives in solitary 
hermit fashion avoiding picture people as 
sedulously as Garbo. 

"I don't dislike picture people and I don't 
try to play the hermit," is Janet's frank 
reply to this rumor. "I think nothing is 
more absurd than making your living out 

of a place and then high-hatting it. I have 
many friends, but it just happens that most 
of them are not connected with movies. I 
do avoid reporters because my words have 
so often been twisted to mean something I 
did not mean when I said them. That's how 
so many of these notions about me started." 

The seventh rumor: She is a czar on her 
home lot, dictating her stories and directors 
with a power unequalled in Hollywood. 

"If I tried to choose my own stories I'd 
have time for nothing else," Janet laughs. 
(If the gossips could appreciate Janet's keen 
sense of humor, which gives her a delight- 
fully common-sense basis in discussing her- 
self, half the rumors would never have 
started.) "I don't believe stars who dictate 
their stories and direction are ever very suc- 
cessful. I find it's a full-time job being an 
actress. My stories are chosen for me, 
though naturally the studio would not force 
me to play any role I could not believe in. 
Just when I'm supposed to find time for 
these many activities is a mystery. I reach 
the studio at eight in the morning and work 
until five. My hours used to be even longer, 
but I found myself so tired at the end of the 
day that I often went right to bed after a 
rub-down and supper. Now I have dinner 
with my mother or two or three friends, and 
usually am in bed by ten. Saturday nights 
I go to parties. I have been working hard 
the past year to improve my voice, reading 
aloud by the hour and studying diction." 

The eighth rumor: Off the screen Gaynor 
is a drab little thing with no attraction for 
men. This is one of the most absurd of the 
rumors and can only be believed by those 
who haven't met her. There is an added 
attraction in her personal appearance which 
the camera fails to catch. Her eyes look 
bigger, darker, and her smile flashes more 
brilliantly. There is a devilish gleam in her 
eyes and an allure in her lips and small, 
cleft chin which bowl the boys right over. 

The ninth rumor: She is painfully un- 
sophisticated — a prim little person who 
refuses to smoke or drink. 

Lives a Normal Life 

JANET has never smoked on the screen 
because it didn't fit her roles — there has 
been no set plan on the part of the studio to 
forbid it. Privately she lives the life of a 
highly successful and intelligent young 
business woman, with a well-paid chauffeur, 
a personal maid, "a cook, and a private hair- 
dresser who travels with her wherever she 
goes. Her escort is often Gene Raymond 
or one or two young men not connected 
with pictures. Just as often she goes to 
parties with her mother, or by herself. 

Her personality is a strange blend of art- 
less unsophistication and of mature under- 
standing. She said to me, "I'm too normal 
to be much fun writing about — like the say- 
ing that it's not news if a dog bites a man, 
but if a man bites a dog, it is news," and 
from her tone she might have just discov- 
ered this moth-eaten proverb. 

She has a lively sense of humor and rarely 
speaks without smiling. Before the camera 
she can call up the most infectious high 
spirits with seeming effortlessness. 

The tenth rumor: She is in love with 
Charles Farrell. This match was decreed by 
the public after "Seventh Heaven," and 
even though both Janet and Charlie mar- 
ried, even though Charlie is still happily 
married, the fans still refuse to believe that 
the "affair" will not reach a conclusion 
before a minister. Janet has denied this 
story again and again. Now she says with 
a humorous shrug, "This rumor might be 
called the Great American Myth!"— which 
is a good enough denial for anybody. 

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Baby - 

The Real Jean 
You've Never 

{Continued from page 49) 

Harlow of 

"I have always ridden horseback, rain or 
shine, except for certain days that de- 
manded quiet. Now, I ride without regard 
for those difficult days because there is no 
longer any difficulty or discomfort connect- 
ed with them. My only regret is the time 
I lost in getting acquainted with Midol." 

Do you ride — or do equally strenuous 
things — or wish you could at times when 
even being on your feet means pain or dis- 
comfort? Midol might end this handicap 
for you — might lead you to give it every 
bit as strong an endorsement as above. 
Why not try it? Midol acts immediately, 
and is effective several hours. 

Don't be afraid of the speed with which 
Midol takes hold; it is not a narcotic. 
It is just as harmless as the aspirin you 
lake for an ordinary headache. 

If you decide to try this remarkable 
form of relief for periodic pain, remember 
the name of this special medicine — and 
remember that Midol is a special medicine 
for this special purpose. Do not take in- 
stead, some tablet that is made for aches 
and pains in general, and expect the same 
results. Ask the druggist for Midol. 

mother's in the home they have built in Bel 
Air. She uses her own bedroom only to 
dress, but sleeps in an extra bed in her 
mother's quarters. Frequently in the early 
morning hours she leaves her bed to crawl 
in with mother. Jean has never conquered 
her childish aversion to the dark. She isn't 
afraid. She just doesn't like being alone at 
night. But, for that matter, she doesn't 
care much about being alone at any time. 
Her mother is her constant companion. 
And if you should see them together, you 
would take them more as chums than as 
mother and daughter. 

Jean's mother married at eighteen. She 
was twenty when Baby was born, twenty- 
three years ago. The child was christened 
Harlean, a euphonious combination of the 
mother's maiden name, Jean Harlow. But 
she was never called anything other than 
Baby and until the last five years, her 
mother was Mama Jean. Mrs. Bello wanted 
her Baby. A daughter of wealth, a girl 
whose every wish and whim had been im- 
mediately gratified by indulgent parents, 
she became an astonishingly splendid moth- 
er. Casting aside all social contacts that 
threatened to interfere, she dedicated her 
whole existence to this tow-headed infant 
that was put in her arms. 

"As a little tot she was never punished," 
Mrs. Bello told me. "I never corrected her. 
I found it sufficient simply to say, 'Mother 
would rather you didn't do that.' " And by 
this method Mama Jean won the confidence 
and respect of her Baby. Under this guid- 
ance Jean Harlow developed her outstand- 
ing characteristics — complete honesty and 

I once heard a chap attempt to pay Jean 
a compliment. It was an exceedingly 
clumsy tribute. "Since I have known you," 
this fellow remarked, "I have grown to dis- 
like " And he named a girl who has 

been bitterly unkind to Jean. 

"I'm sorry you said that," she replied. 
"You were once a good friend of hers. She 
needs her friends, for she is a very lonely, 
very unhappy person. Be nice to her always, 

Fair Play From Jean 

GRACIOUS fairness is reflected in an 
attitude such as this. Jean was not 
talking for publication. She will probably 
be sorry I have mentioned the incident here. 
Other women have long attacked Jean 
Harlow because she is the type of girl of 
whom all women are secretly jealous. Yet 
she continues, serenely, to ignore the 
attacks by minding her own business and 
refusing to stoop to petty bickering. 

"As a little girl," her mother said, "Baby 
was taught what was right and what was 
wrong by my telling her stories that ap- 
pealed to her intelligence. I would relate 
stories containing problems similar to her 
own and ask her what she would do in these 
circumstances. By solving the problems of 
others, she found solutions for her own. 
And her judgment, however immature, was 
seldom incorrect. My father has always 
adored Baby, but he never spoiled her. In 
many ways, he was closer to her than her 
own daddy. Much of the philosophical 
attitude she holds toward life to-day is a 
result of his teaching. He once told her that 
life was like a big department store with a 
price tag on everything. She could buy 
whatever she wanted, he said, providing 
she had the price to pay for it. But she must 
remember that nothing was free. The bill 
would someday be presented and it would 

do no good to protest the necessity for pay- 
ment. I know Baby has never forgotten. I 
have heard her say many times, 'Well, I 
bought it.' 

"I am very proud and equally grateful 
for the good health Baby enjoys. It is a 
mental as well as a bodily good health. The 
world may believe what it pleases about the 
Baby, but I know her for what she is — and 
I am completely satisfied. No mother could 
say more." 

Not Exploited By Mother 

KNOWING of the devotion that binds 
them together, critics have jumped to 
ill-drawn conclusions based, probably, upon 
the popular conception of movie mamas. I 
have heard it said that Jean's mother was 
exploiting her daughter for monetary gain, 
that her interference prohibited Jean from 
indulging in normal social life, that she was 
the direct cause of Jean's two divorces. 
There have been other unpleasant state- 
ments, all of which have undoubtedly 
reached Mrs. Bello's ears as well as mine. I 
know that she needs no defense. Jean 
Harlow is a screen actress because she 
wanted to be, not because of any urging 
from her mother. As a matter of fact, her 
mother once fled Hollywood to escape a per- 
sistent movie scout. Jean was fifteen at the 
time and in high school. 

"I have always looked older than my 
years," Jean says. "In school I appeared 
quite matured. Just before graduation. I 
noticed a man hanging around outside the 
building every day as classes ended. One 
day he followed me home. He asked to see 
mother and presented credentials that iden- 
tified him as a talent scout for one of the 
larger studios. Mama Jean, satisfied that he 
presented good credentials listened to the 
proposal that I come to his studio for a 
test. He was sure that a fine contract would 
be arranged. 

"But how do you know she can act?' 
Mama Jean protested. 'She can be taught 
to act,' the man replied. 'We can get all 
the actresses we want. What we need are 
personalities.' Many mothers would have 
welcomed such a chance to put their 
daughters in pictures. But not mine. She 
was of the opinion that I was too young to 
work. She would not stand in my way if I 
wanted a career later — when I was old 
enough to know my mind. Consequently I 
never even took the test. We left Holly- 
wood immediately for St. Louis and did not 
return until after I had married." 

This episode in Jean Harlow's life has 
never been told before. I offer it in refuta- 
tion of the charge that Jean's mother has 
exploited her daughter for personal gain. As 
to the other accusations of interference in 
Jean's social and married life, I have heard 
Jean say many times, "I would rather be 
with my mother than any other living being 
I know. She offers me the only true under- 
standing and companionship I have ever 
known. I have experienced a great deal of 
unhappiness, even bitter tragedy, all of 
which my mother has shared because she is 
my mother. Merely the knowledge that she 
stood beside me has been a solace when I 
have needed solace. I will never be able to 
pay what I owe her even in the tribute due 

The Price of Stardom 

FORTUNATELY, both Jean and her 
mother have become accustomed to idle 
rumors and gossip. They accept what may 
be said about Jean as a part of the price of 


^J^oUriliu .otcLaM 


a secret Vom should, too 

1 TJU'dk LUX tW^i mm 

XhJuk gX oMi W\ KietoWUt 



young RKO-Radio star, has a 
big future ahead of her. Between 
pictures she loves to relax at her 
beautiful home in Palos Verdes. 

• "In Hollywood we wear washable things 
all the year round," says Dorothy Jordan, "and 
our one simple care for them is lukewarm 
water and Lux. 

"Lux is marvelous for flannels, sweaters, 
dresses, blouses — lingerie and stockings, too. 
It is especially grand for knitted things because 
it never shrinks them. They come out wonder- 
fully soft, and the colors stay lovely as new." 

• YOU, TOO, can keep your things like new the 
way Dorothy Jordan does. It's an economy because 
they'll stay smart looking twice as long. Avoid or- 
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Rubbing with cake soap mats fibres, makes woolens 
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"Lux saves us thousands of dollars," says Walter 
Plunkett, wardrobe director of RKO-Radio Studios. 
"We save on cleaning bills and replacement costs, 
for stockings and fabrics stay new twice as long. 
We find that anything safe in 
water washes perfectly in Lux. 
Not only costumes, but cur- 
tains, draperies, and even rugs 
are washed with Lux here. 
Lux keeps colors fresh, fabrics 
like new." 

. AJWlX VuvST Icr AMXXl 





You don't need to change your brand. Fol- 
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cooling Life Saver and you'll fall in 

love with the old brand all over again. 


Happier You 


WHEN you read fiction, some one else is the chief figure in the story. 
You see her; know what she looks like, how she thinks — but she is not you. 
But, when you read advertisements — then you are the chief figure in the 
drama. You are the one smoothing this fluff of powder on your cheek, 
wearing these bright pajamas, serving these peppery white sandwiches, 
traveling in this luxurious car. 

You may not be able, at once, to act out all the little dramas that ad- 
vertisements suggest; but because of them you know these desirable things 
exist, and that some time they can be yours. 

Advertisements introduce you to a happier You. Your supple mind 
applies what you read to your own needs. You spend wisely — with self- 
assurance, getting your money's full worth. 

Suppose you have in mind a new facial cream. An advertisement steers 
you away from the unsponsored one you thought you might buy, to an- 
other, more fragrant kind, finer for your skin, supported by the name of 
its maker. Suppose you have never even thought of a new easeful shoe. 
An advertisement tells you of an unlined kind that is like velvet on your feet. 

With advertisements, you never need buy a product first to know it. 
They intimately describe its unseen merits. You know what it will do 
for you; you see its Future as well as its Now. What is not advertised may 
be worth buying. What is, must be! 

Advertisements give you glowing truthful pictures of products that please 

' Baby" — The Real Jean 

Harlow of Whom You've 

Never Heard 

{Continued from page 62) 

her stardom. They conduct their lives ac- 
cording to their own standards, which is as 
much as anyone can do. Yet it must have 
been a shock for a sensitive and cultured 
woman to have awakened one morning to 
find that, overnight, her daughter had be- 
come the "wickedest girl in the world." A 
role in a single movie changed everything. 
And Jean was only seventeen when she 
played "Hell's Angels." 

"Immediately, Baby's screen reputation 
threatened to affect her private life," Mrs. 
Bello told me. "Her marriage had been 
kept secret upon the advice of her studio, so 
even the protection of a married name was 
denied her. 

"I will never forget the morning I re- 
ceived a telephone call at seven o'clock from 
a well-meaning acquaintance. This gentle- 
man informed me that the Baby had spent 
the night at a Hollywood carousal. He 
asked my permission to bring her home. 
Now it so happened that I had sat up most 
of the night with Baby. She had tonsilitis 
and had been running a high fever. I told 
my caller of his mistake and thanked him 
for his interest. 

'" There is no use trying to deceive me,' he 
replied. 'I know how you must feel. But I 
saw her enter the apartment across the hall 
with my own eyes and I can hear her voice 
now as I talk to you. The party is still going 
on. I'll bring her home if you say so and you 
can trust my discretion not to speak of it to 
anyone else.' 

"That angered me slightly. My word was 
being questioned. I asked the gentleman to 
listen carefully for the voice he thought was 
Baby's and then drive over to our house. 
When he arrived, I took him up to the room 
where Baby lay asleep. It is a wonder that 
his gasp of astonishment did not awaken 
her! That was my first experience with 
unfounded gossip. Since then I have be- 
come quite inured to it. Do you know that 
twice I have been confronted with 'proof of 
the Baby's death and, once, in New York, 
I was summoned by the police to get a Jean 
Harlow out of jail? You have to learn to 
laugh such things off or life isn't worth 

Hair Not Dyed 

STRANGELY enough the report that 
Baby's hair is dyed is the one that never 
fails to annoy me. It is such a little thing 
compared to the graver charges that are 
hurled against her character. Yet it is, as 
they say, my pet peeve. Silly, isn't it? 

"This is the first interview I have ever 
given about the Baby," Mrs. Bello con- 
cluded. ' ' I want to repeat my most 
vehement denial that she was ever a bru- 
nette. I have seen printed statements 
attributed to her former schoolmates that 
say her hair, when in school, was raven 
black. These statements are absolutely 
untrue. Her father's hair is nearly as light 
as her own and I am a blonde, too. All 
during her school days, she was teased 
about her hair. You have only to see her 
hair to know that it has not been coarsened 
by dye. It is so fine in texture — almost as 
fine as her character. I am completely 
satisfied with her as she is!" So here you 
have a Jean Harlow you've never known 
before — a Jean Harlow seen through the 
eyes of her mother, who stanchly defends 
her daughter's character and silences the 
gossips who viciously or carelessly malign 



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Is Hollywood Overworking 
Shirley Temple? 

{Continued from page 32) 

Mr. Temple and I have had !her under 
the care of a child specialist since she 
was an infant because we wanted her to 
have the proper diets and all the advantages 
of new discoveries in child health. Before 
we considered letting Shirley work in pic- 
tures, we consulted this doctor and another 
famous specialist. Both agreed that a little 
girl as robust and sturdy as Shirley could 
suffer no possible harm. 

"There is no truth in the ambulance 
rumors, although when she was making 
comedies she worked under conditions of 
which I did not thoroughly approve. They 
made the children rehearse three or four 
hours and they did not allow the mothers on 
the set — when it came time for the "takes," 
the children were tired and nervous. At 
this time Shirley had a cold which settled 
in her ear, and this may have been aggra- 
vated by the work. But even here she was 
the leading lady and received special con- 
cessions, otherwise I should not have allowed 
her to continue. Outside of this cold and an 
attack of measles, she has never had a sick day 
in her life. 

Lives and Works Under Ideal 

" I HESE comedies lasted only a short 

JL time," Mrs. Temple adds, "and I 
determined that Shirley would not make 
any more pictures. Then she was given her 
Fox contract and she works now under ideal 
conditions. I will say quite frankly that if 
her talents had not been immediately recog- 
nized, I would have taken her out of pictures 
rather than subject her to long hours wait- 
ing in casting offices, and interviewing 
directors. Fortunately, Shirley never had 
to go through what the average movie child 
must suffer. 

"The law requires a teacher from the 
welfare bureau constantly with her on the 
set, and of course I'm there, too. She is 
allowed to work only six hours a day, and 
while this only includes time actually before 
the cameras or in rehearsal, she has her 
special dressing-room, with her dolls and 
toys, for rest periods. She is not an ex- 
citable or a nervous child, and her studio 
activities take no more out of her than the 
ordinary children's play. 

"I adhere to a rigid diet — cereal and a 
glass of milk for breakfast, vegetable soup, 
meat, vegetables and, so forth, for lunch — 
the usual well-balanced diet prescribed for 
children. She takes a teaspoonful of Cod 
Liver Oil twice a day, and in addition to an 
hour's nap after lunch, she sleeps twelve 
hours every night. They say she's going on 
this vacation because she's tired and ill. 
What do you think/ Just look at her!" 

And she did look full of amazing vitality, 
with her very pink cheeks, sparkling eyes, 
and chubby bare legs. She doesn't pose or 
strike attitudes, as do so many movie chil- 
dren. For once press agents are right in 
saying she is completely natural. A trifle 
precocious, perhaps — she went to a nearby 
office and took up the telephone, and the 
studio publicity department suffered minor 
earthquakes wondering who was "the lady 
from the woman's magazine to interview 
Shirley Temple." Then someone recognized 
the assumed voice as Shirley's own, and she 
returned a moment later looking naughty 
and innocent at the same time, to ask "Am 
I going to have another interview?" 

She likes nothing better than printing her 
name on her still pictures and handing them 

generously to all [comers, and she will look 
around the photograph-covered walls of a 
publicity office and tell you, proudly, 
"There are six pictures of me in this room!" 
But this is not the affected conceit of the 
usual child-star, it's the healthy natural 
conceit of the average child who boasts, 
"I've got six dolls!" 

She never looks at herself in the pictures 
but at the dogs, rabbits, and other animals 
with which she is often photographed. She 
never looks in a mirror, never reads her fan 
mail (or has it read to her), and doesn't 
know that Hollywood is gasping over her 
new contract calling for a salary in excess of 
a thousand dollars a week. She wears the 
same fifty-cent cotton wash frocks, the 
same white shoes and socks, the same 
severely tailored sailor overcoat and beret 
that she wore before stardom arrived. She's 
usually too busy about her own affairs to 
pay much attention while her mother is 
talking about her, and to avoid any possible 
self-consciousness, Mrs. Temple lowers her 
voice or refers to her as "a certain little per- 
son" if she happens to be listening. 

Determined Not to Spoil Her 

" AS well as safeguarding her physical 
l\ health," Mrs. Temple explains, "I 
want to keep her from growing affected and 
unnatural, as are so many movie children. 
I ask the studio employees to talk to her 
as an ordinary normal child, and when 
some woman gushes over Shirley and tells 
her how adorable she is, I shut her off as 
quickly as possible. Then I tell Shirley 
afterward that people praise her merely 
because they like a child who smiles at 
them — that she has an ordinary little face — 
that those who compliment her for her 
beauty are simply silly. / will not let them 
spoil her. 

"This worries me so much that I'm al- 
ways asking people 'Do you see any change 
in Shirley/' And they haven't ! I can truth- 
fully say she acts just the same at home as 
she did before stardom came, and with two 
brothers, fourteen and eighteen, it would be 
difficult for her to monopolize the spotlight. 
Not that she is spotlighted at the studio, 
either! She will recite the most difficult 
lines and then retire to her own corner with- 
out feeling the least bit overproud. 

"Acting really is a game to her; she loves 
catching the other actors missing their lines. 
A cross little expression comes over her face 
and, when he saw it, Gary Cooper, for one, 
used to cry out, 'What have I done wrong 
now?' And Shirley, very solemnly, would 
correct him. She learns her own lines prac- 
tically letter-perfect at a reading, and 
usually can recite the other actors' lines as 

"I do get panicky sometimes at some of 
the stunts she has to perform for pictures. 
Her little double refused to do a bit calling 
for her to be lowered over a pit and have 
gun-smoke blown at her. Shirley did it her- 
self. My heart was in my mouth, too, when 
she went out on a lake with Gary Cooper, 
on location, and transferred from one boat 
to another. You think I should object? 
But I realize the studio is just as interested in 
her health as I am. She's too valuable for 
them to risk in any way! And when I am 
assured by men I can trust that she's in no 
danger, I do not protest. Many of her asso- 
ciates, such as Jimmy Dunn, Gary Cooper, 
and her directors, are almost as devoted to 
her as I am, and they would not dream of 
seeing her take risks. 


"After our first hesitation at the idea of 
letting her work, Mr. Temple and I have no 
feeling against it. We have grown accus- 
tomed to it during the year and a half she 
has been in pictures, and we are not stunned 
or shocked by her success now. She is 
accustomed to it too, for she is, naturally, a 
sociable child with a great deal of poise. 
And when she is older, it is good to know- 
she will have a trust fund from the salary 
she is earning now. 

"Far from harming her, I believe that 
her studio work is actually good for her. I 
believe that she will keep her present com- 
mon-sense attitude always because of this 
early chance to be herself with famous peo- 
ple, f believe that she loves it all so much 
that it would harm her more if she were 
stopped now." 

Mrs. Temple has a wholesome, friendly 
manner, and radiates vitality. She is 
fascinated by the glamour of the studios. 
From a "model housewife," she says, she 
has become a sort of business woman, 
whose duty is to watch over Shirley while 
she works. Fame and stardom may have 
made no change in Shirley herself, but it 
will be interesting to see how it will affect 
this woman, Shirley's father, branch man- 
ager of a local bank, and Shirley's two elder 
brothers. But only time can write the 
answer. Meanwhile, be assured Shirley is 
in the best of health and spirits, and that 
the State, the studio, and the Temple 
family, not to mention doctors, teachers, 
and welfare workers, will do their best to 
keep her so! 

George Brent Is On His 
Own — And Likes It 

(Continued from page jj) 

"And do you like traveling alone in your 
personal life as well as you had expected?" 
1 asked, impertinently, as I looked about at 
the simple furnishings that weren't too mas- 
culine. In fact, you'd never suspect that it 
was a bachelor's house, for everything is in 
exquisite taste — with its simplicity, quiet- 
ness and comfort. 

"It's swell!" he exclaimed enthusiasti- 
cally, giving me no doubt as to his real feel- 
ings in the matter. In fact, George has been 
criticized in print for "kicking up his heels" 
so gaily since his marital separation. Writers 
have complained that he looks entirely too 

"Isn't it peaceful?" he demanded. He 
showed me all over the tiny New England 
house and pointed out that, "it's just for 
one person. You can see there's not room 
for two." 

"I suppose you'll marry again," I taunted 

"If I do, I hope someone hits me on the 
head with a baseball bat," he replied ve- 
hemently. "Besides, I'm still married, and 
that's a very safe way to remain. I can't 
do anything foolish. But there will probably 
be a divorce, sometime. I don't know just 

"But supposing you fall in love," I sug- 

The Battle-Cry of Freedom 

"T'M not going to fall in love," he declared 
JL firmly. "I'm free, and I'm going to 
stay free. I think any man likes his freedom 
once in a while. He can read his newspaper 
at the table; he doesn't have to dress for 
dinner; he can have what he wants to eat 
and have it served where and when he wants 
it; he can play polo, fly an airplane, go 
fishing and hunting and moreover he 

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"Most wives don't want their husbands 
to play polo because of a fear they will get 
broken necks, and rightfully so, too," he 
added soberly. "Polo is a very dangerous 
game. I gave it up for a while but I had to 
play the game in the Garbo picture. Some 
wives like to hunt and fish, but usually they 
don't, and, therefore, they think their hus- 
bands shouldn't. And few wives are willing 
to allow their husbands to fly. I'm in the 
air every moment I can get away now. I 
flew down to San Diego the other day, got 
myself a soda and flew back. It was great! 
You get up there where the air is clean and 
pure and you take a deep breath and then 
forget all about the studios and work!" He 
spoke with all the pride and enthusiasm of 
a small boy allowed to go to a picture show 

"Another thing about living alone," he 
said, "is that you don't have to go out all 
the time. Women like social life. They 
seem to need a certain amount of it, and 
married men have to conform to what is 
sometimes playfully referred to as 'civilized 
existence' in order to have any peace at 
home. I don't like to do a lot of entertaining 
and I don't like to go out much. I enjoy a 
quiet life. Single men are on occasion in 
demand, of course. They may be termed as 
a necessary evil to fill a dinner table or 
to make a fourth atj bridge, but I've been 
working so steadily the past three months 
that the social life has been entirely out. 
Anyway, I believe my house is just as nice 
as anybody's," he added proudly, "so why 
should I go out? 

Saving Money Now 

FURTHERMORE, I'm saving my 
money, which I've not been able to do 
for a long time. I have a business manager 
who collects my checks, pays my bills and 
allows me twenty-five dollars a week for 
pocket money. I have to buy my lunches, 
cigarettes, haircuts, picture shows, pay tips 
and other incidentals out of that. When I 
want extras I have to argue. I'm not going 
to have a beach place or a mountain cabin. 
I can't afford it. Of course, I've bought a 
few things for the house, like lamps, pillows, 
silver and glassware. And I had this little 
bar built in the den. You've no idea how 
much those things cost me in lung power. 
Take my new car," and he proudly pointed 
to a shining small coupe of popular make. 
"I get nearly as much kick out of this bus 
as I do out of my plane. I put ten gallons 
of gas in her and it lasts a week. And it's 
certainly plenty good enough for me." 

His one extravagance, his pet and pride 
and joy, is his airplane, a beautiful open 
job, painted a deep cream color with bright 
red leather upholstery, and its name, 
"Desert Breeze," painted on the nose in red 

We walked down the back-yard to the 
edge of Toluca Lake. The rippling of the 
water, the sighing of the huge weeping 
willow tree, the green of the lawn and 
shrubbery, the flashing coloring of the 
flowers gave the feeling that you were 
miles from Hollywood, from work, from the 
quarrels and bickerings of the movie world. 
"Isn't this heavenly? Isn't this peaceful?" 
he asked, in a tone of deep genuine satisfac- 
tion. "This is all I want. Just quiet and 
peace of mind." 

But you never can tell what may happen 
to an unattached male during the filming 
of a picture. Especially when he is thrown 
in daily contact with the world's most 
glamourous actress. Will "The Painted 
Veil" be the beginning of a new Hollywood 
romance? Will George Brent be able to 
pierce the veil of mystery that has always 
surrounded Garbo? He admits he is willing 
to try! It looks as though George is 
going places, but he may not always travel 


Censorship Means 
Goodbye to Garbo, 
Dietrich and Me 

— Anna Sten 

{Continued from page 2g) 

influence of such a person is not more 
harmful than that of the screen character 
whom the censors would expurgate com- 
pletely from the screen. 

"The pendulum of censorship is swinging 
to the extreme. If we say that a story 
essentially true — a story that involves life 
as it is in reality — cannot be portrayed, 
then we emasculate a great art. 

"We cannot censor life!" (Anna paused 
to note the effect of this truth.) "There is 
the danger, too, that when the movement 
is past, we will be deluged with censorable 
pictures. The intensity of the campaign 
cannot be maintained indefinitely. So in a 
few months at best, certain completed pic- 
tures that producers are withholding to-day 
will be released. For, after all, there are 
financial responsibilities involved. You 
cannot (it isn't fair) cripple a great industry 
so summarily, so completely. Studios must 
redeem the money they have spent and 
realize a return on their efforts. It is wise 
to call a halt on the indecent pictures, but 
it is dangerous to attempt to curb truth! " 

Has Always Fought For Her Ideals 

ANNA STEN is an ardent protagonist. 
. She knows what it is to fight for truth 
— to raise her eyes to an ideal! For she is 
the essence of that Russia that has gone 
through the travail of re-birth, and through 
the pangs of regeneration, to achieve what 
seemed a phantom ideal. 

She knows that life cannot be separated 
from sorrow. She has met it — and con- 
quered it. Indelibly engraved on her mind 
are the days defined by raw emotions and 
stark tragedy. 

At twelve, on the death of her father, the 
burdens of her family were on her ill- 
nourished shoulders. Whatever of value 
the Stenskis had possessed had long ago 
been sold. A kopek was realized here, 
another there. And then began those 
haunting nightmares of food in sufficient 
quantities — nightmares from which she 
would wake desperate with hunger and 
filled with terror at her helplessness. 

At last, bold with hunger, she found work. 
It paid a few cents a week — this job of 
cleaning up a newspaper office. But it was 
enough to keep life in the bodies of her 
mother and her sister and herself. Later she 
worked as a waitress in a restaurant. She 
washed the dishes. She swept the floors. 
She was paid in the scraps of food left over! 

When chaos descended on Russia, she 
foraged the countryside for food. Bundled 
in every shawl and petticoat the three of 
them possessed, she would sally forth with 
courage, hunting those meagre scraps that 
would hold off starvation for yet another 

Those were desperate years. Chaos and 
hunger held her Russia in their grip. And 
in those years Anna Sten learned much of 
life. She learned that life didn't always 
have a freshly scrubbed face — that happi- 
ness wasn't always the order of the day — 
that joy wasn't the only component of life. 

You Cannot Censor Realities 

THAT is why to-day Anna Sten says: 
"You cannot censor life. Terror and 
hardship and tragedy are life, too. To show 
only happiness on the screen is to present a 
lopsided view of unattainable illusions." 

And she says: "I am making 'Resurrec- 
tion' now under the new title of ' We Live 
Again.' It is the tale, as you know, of a 
woman who is regenerated through suffer- 
{Corilinued on page Ji) 




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The Ten-Minute Egg-Club of Hollywood 

{Continued from page ji) 

Thrush' and 'Brave Robert Emmett.' We twenty. He charged, 
ate, and had plenty to drink. . . . Broke 

again, I met Lefebre, a French wrestler, and 
we hired a pool hall, made a wrestling mat 
out of my blanket and a stolen bale of hay, 
sold tickets for two dollars, and faked a 
swell match, which was good entertainment 
for the spectators and earned us two hun- 
dred and fifty dollars each, the most money 
I had ever had in my pants at one time. A 
man who saw the match said I was a good 
boxing prospect, and so I became a fighter." 

Al Jolson, Ex-Bouncer 

NOW for another beloved roughneck — Al 
Jolson. His black eyes were dancing 
and his tongue was wagging wisecracks. 
"One of these days I'm going to write the 
story of my life," he said, slapping me on the 
knee, "and I'm going to call it 'The Rise of 
a Hoodlum.' Was I a hoodlum? Was I? 

"In the first place, I was born in a fightin' 
country — Russia. Then Papa Yoelson took 
me to Washington, D. C. You know Wash- 
ington. The kids were, and are, plenty 
tough. Papa was a cantor, the fifth in a line 
of cantors, and he picked little Al for Num- 
ber Six. But the kind of songs I learned as 
a kid aren't sung in church. However, 
when I sang 'em to the young roughnecks of 
the Fifteenth Pennsylvania Volunteers, they 
adopted me right off. I forgot to mention 
the fact at home. I just went away to the 
Spanish-American War as the regimental 

"When the war was over and we were 
mustered out, Papa wore the khaki out of 
the seat of my pants. I ran away. Papa 
caught me. I could keep on saying that for 
five minutes and it would be true. One day 
Papa told me I was a low-life bummer and 
took me to the priests of St. Mary's at 
Baltimore. It was the same 'school' from 
which Babe Ruth was graduated into base- 
ball. Catholic lickings were no better than 
Jewish lickings and I graduated (by climb- 
ing over the wall) to a job as a circus usher. 

"Time passed. I was getting tougher all 
the time. 1 drifted into New York and 
started working in joints on the Bowery, 
slinging beer and singing songs. I was a 
swell bouncer, too, and I'm not so bad now. 
In the years that followed, I battled my way 
up from joints to burlesque, valeted Joe 
Palmer, the old vaudevillian, drifted to the 
Pacific Coast, and returned to my old em- 
ployment — entertaining in dives. I worked 
in every joint on the old Barbary Coast in 
the days when it was plenty tough." 

Tough? I've seen Jolson in action twice. 
Once in the Cocoanut Grove when he "took" 
a man who outweighed him forty pounds. 
And again in the Sinton Hotel in Cincinnati 
when a big guy was chinning with the 
cashier while Jolson wanted to pay his bill 
and catch a train. 

The big guy looked at Jolson, who had 
asked him to hurry up, and said, "I don't 
hurry for kikes." Jolson clouted him. 
Chalk up another victory for a sometimes 
oppressed people. 

Outweighed, but Never Outfought 

RICHARD DIX is another guy who will 
. fight at the drop of a hat. 

"All the roughnecks love this pal of 
mine," Roscoe Karns told me, speaking of 
Rich, "for he's a real ten-minute egg. Once 
we were up in Sacramento, making scenes 
for a picture, and there was a carpenter on 
the set who didn't like Rich — the only man 
who ever worked on a set with Rich who 
didn't. The carpenter was nasty and made 
a lot of unnecessary remarks about Rich. 
Jack Holt was on the stage and will verify 
this: Rich finally popped the carpenter on 
the jaw. 

"The carpenter weighed two hundred and 

This idiot Dix 
chanced his future to battle that big brute. 
A circle was formed on the stage and they 
went to it. In the first exchange of blows, 
the big guy socked Rich and opened a long 
gash over his right eye. (The scar is still 
visible.) They fought ten minutes and Rich 
gave him a terrific lacing, forced him to say 
'uncle,' and then made the boss put him 
back to work after he was fired. That fight 
cost the studio thousands, because Rich 
couldn't work until the eye was healed." 

Once, in a picture, Dix actually FOUGHT 
Jack Renault, the French-Canadian heavy- 
weight champion, eight regulation rounds. 
After the fight, Dix said to Renault: "Jack, 
I believe you have injured me." 

"No, no," said Renault, "always after a 
beeg fight, you feel terrible." 

Dix collapsed. An examination disclosed 
two broken ribs, a fractured nose, a broken 
left thumb and forty odd bruises. Dix 
weighed one hundred and sixty pounds; 
Renault, one hundred and ninety-five. 

The Elephants Remember Wally 

EVERYONE loves that adorable rough- 
neck, Wallace Beery. Happy-go-lucky, 
homely, careless of his grammar, profane, 
he is one of the screen's greatest actors. 
"Maybe I do look like a bum," he will tell 
you, pulling at a dirty sweat-shirt. "Well, 
I am. 

"One day Pop, who was a cop, took me 
around on his beat for a couple of days and 
got me a job as an engine wiper at the 
Santa Fe roundhouse. When the circus 
came to town, I played hooky from work 
and went to the show grounds. The ele- 
phants fascinated me and I hung around the 
herd all day, listening to the talk of the 
'bull men,' as the elephant hostlers are 
called. I watched how they watered, fed 
and handled the elephants and then, gaining 
courage, walked up to the boss and asked: 
'Do you need a bull man?' 

"'Know anything about bulls?' he ques- 

"'Sure,' I lied. 

"I was hired, and that night the head bull 
man gave me four small elephants to take 
to the train in a terrific downpour of rain. 
I watched the other men hook a bull by the 
ear and pull him to his knees, get on his 
head and ride off with the other elephants 
following. So I selected the smallest of my 
four elephants, hooked his ear, and down 
he came. 

"But, say, that little bull knew within a 
few minutes that he didn't have a genuine 
'bull man' sitting on his head. He shook 
himself, and down I went: there was a 
splash as I hit the mud. Again I hooked his 
ear and climbed on. The stubborn brute 
threw me off once more and this time I got 
up and beat the stuffing out of that elephant 
with the bull hook. From then on I was a 
bull man and at the end of three years I had 
charge of a herd of twenty-six elephants." 

George Still Quick with Fists 

GEORGE RAFT got off to a tough start 
by being born in the Hell's Kitchen of 
New York. Some of the boys on the block 
became sharpshooters, but George decided 
he would rather fight the world with both 
fists than just one finger. So he became a 
pug. In one year, he had twenty-two fights 
(in the ring), was knocked out seven times 
and was cured of ring ambitions by Frankie 
Jerome, who broke his nose, split his ear 
and fractured four ribs. Light on his feet, 
he took up dancing. How many battles 
Georgie lost as a dancer is not of record. 
But we do know that he has autographed 
portraits of most of the real "hots" from Al 
Capone on down. It was only recently (if 
at all) that Raft believed it safe to tell his 


bodyguards to "lam." He's still quick with 
his fists, as a Hollywood news dispatch of 
recent date avers. 

The stork must have grinned and said to 
himself, "Well, Mrs. Jory, here's a problem 
for you," when he delivered little Victor. 
How could a guy born in an Alaskan road- 
house called "60 Below Bonanza" be any- 
thing but tough? Yic was and he is. He 
started egging on the authorities when he 
led a school strike at Pasadena High. As a 
wrestler, boxer, soldier, tramp, ham actor — 
screen star — Vic has had a life that, until 
recently, has been one swell brawl after 

Cortez Can Also Sock 

I like to refer to the suave and polished 
Ricardo Cortez as "the bodyguard. "^Born 
to the rowdyism of New York's East Side, 
Ric could battle with the best, with fists, 
bricks, or whatever was handy. He started 
to work at twelve, educated himself, resisted 
strong temptations, and eventually became 
a respectable citizen. Then came oppor- 
tunity. A certain noted actor was wanted in 
Hollywood. Ric got the job of body-guard- 
ing that actor to Hollywood — guaranteeing 
to deliver the actor to a certain studio in a 
sober condition. It took more than one 
right to the jaw during that transcontinental 
journey for Ric to make good. Cortez 
delivered the actor — sober — to a now- 
famous producer, who was so thankful that 
he gave Ric a chance as an actor. 

"From the day I could walk," Cortez told 
me, "it was every guy for himself." 

Censorship Means 
Goodbye to Garbo, 
Dietrich and Me 

— Anna Sten 

(Continued from page 6g) 

ing. No one can accuse Tolstoy of reaching 
for the sensational. He did reach for truth. 
It isn't a pretty tale; neither is it petty. It 
is a glorious story of a woman's soul, and 
not a record of the kittenish and flaccid 
emotions of a Pollyanna. In this story we 
have the revelation of a soul's progress. 
'Resurrection' is a classic. It has lasted 
because it delves beneath the surface of life 
— because it is a faithful replica of reality, 
which was the same yesterday as it is to- 
day and will be tomorrow. It will be long 
remembered because it is thought-provok- 

"Gear pictures to the mentality of chil- 
dren — censor every adult tale of adult emo- 
tions and we become imbeciles in embryo." 

Anna Sten's eyes are an intense blue, 
fringed with lashes that shadow her cheek- 
bones. There is the light of a zealot, of a 
thinker, in them. They mirror the deep 
passion of a woman who has met life and 
conquered it. But there is placidity in them 
as she tells of her happiness in work. 

"Do you think work is the most impor- 
tant thing in the world, after all, to a 
woman?" I ask her. 

"I can't speak for other women, but to 
me it is important. And that is why I 
haven't entered the Hollywood life, why I 
haven't made friends. I love it here. I am 
content as I have never been before, but I 
came to work — not to meet new people, not 
to play. Only to work. That is my life." 

Undoubtedly, herein lies the reason for 
her astute analysis of the censorship prob- 
lem — for her deep interest in what a care- 
less and overrighteous censorship move- 
ment might mean to an art that has strug- 
gled through dark days towards adulthood. 

Censorship of the licentious is needed, 
she declares. 

"But don't censor life," she warns, "else 
you'll stifle it." 

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These Movies 

(Continued from page 35) 

ingly so spontaneous that everybody not 
only joins in the fun, but shares his reactions 
to his predicaments. It's clever. 


Gaynor Plays Cinderella Backwards 

MILTON BERLE, the comic, recently 
wisecracked that Hollywood has 
taken the "Cin" out of "Cinderella." But 
Janet Gaynor, Hollywood's own pet rags-to- 
riches heroine, has added something to the 
character that the story-books never told 
about — namely, a sense of humor. That 
was never proved better than in her newest 
picture, in which Lew Ayres (also of "State 
Fair" fame) plays hero. 

"Servants' Entrance" tells the Cinderella 
story in reverse. Janet starts out as a 
wealthy girl and disguises herself as a 
servant, in order to learn something about 
housekeeping. (She's planning to marry a 
wealthy lad. What does she need to know 
about housekeeping?) In turn, she becomes 
a cook, a nursemaid and a seamstress — and, 
as each, she is a lovable caricature of what 
she tries to be. Her attempts at cooking are 
disastrous, and when she is a nursemaid she 
has two obstreperous young pests to man- 
age. But while she's living and learning, she 
meets a young mechanic (Ayres) — and he 
repairs her ego. 

Cynics are warned away from it. All 
others — especially, those who like their 
whimsy — may anticipate a good time. It 
has few surprises, but it has a novel back- 
ground, charm, gaiety, and light-hearted 
dialogue. And good acting. 


— United Artists 

A Picture That Pioneers 

"/"^\UR Daily Bread" is a notable picture 
V_y — more, perhaps, for what it at- 
tempts than for what it attains. It is the 
movies' first real recognition of the existence 
of The Forgotten Man; but it goes further 
than merely dramatizing his problems and 
suggests a solution. It is a picture for those 
who believe that movies should be a mirror 
of modern life, as well as a source of make- 
believe. King \ idor — who wrote, directed 
and produced it — deserves a rising vote of 
thanks for his pioneering. It is a courageous, 
frank and forceful picture. 

A city boy and girl, who can find no 
work, find hope, at least, on an abandoned 
farm. They enlist others of the vast army 
of unemployed in their project. Together, 
they struggle to wrest from the land the 
living that the world doesn't feel it owes 
them. It is an epic struggle, full of heroism 
and heartache, dreams and drama. The 
highlights are the scenes of desperate men 
harnessing themselves to plows, of the 
thanksgiving service over the rows of new 
corn, of the frantic efforts to bring water to 
the parched land. 

Tom Keene, who gave up a financially 
remunerative career as a Western star and 
left Hollywood for a year to prepare for this 
dramatic chance, is boyish and intense as 
the young hero. Karen Morley, as the girl 
who shares his struggle, matches his sin- 
cerity. The "bit" players are convincingly 


— Paramount 

A Comic Collegiate Crooner 

ON the stage, this was an uproarious 
farce, stingingly funny. On the screen, 
it is a light romantic comedy, which serves 
as a convenient rack for Bing Crosby's sing- 

ing. The sting is gone, and so is the spon- 
taneity. It isn't Bing's fault. It's the fault 
of the adapters and, behind them, Holly- 
wood timidity. 

A night-club dancer (Miriam Hopkins), 
fleeing from the scene of a murder she has 
witnessed, bursts into the Princeton dormi- 
tory room of Bing, a dignified Senior and a 
campus songwriter. He's in a tight place, 
but he agrees to help her, and wins the 
assistance of his pal upstairs. They trim her 
hair, dress her in boy's clothes, and store 
her in the pal's room, while the pal goes off 
to New York to see if his father (a movie 
magnate) won't give her a job; Bing, mean- 
while, wires his righteous uncle and writes 
his fiancee for their aid. The uncle wires the 
Dean to investigate; the fiancee, in a huff, 
decides to investigate in person; a studio 
publicity man arrives, with a photographer; 
and a gangster arrives to "erase" the fugi- 
tive blonde. In this predicament, Bing's 
only friend is the Dean's daughter (Kitty 
Carlisle), to whom he has been singing 
"Love in Bloom," and even she gets the 
wrong impression of him. How he escapes 
from what looks like an unhappy fate is 
amusing, if not actually hilarious. The 
suspense isn't what it ought to be. The 
ending is one of the world's most sopho- 

Bing does his usual effective job of song- 
plugging, ably assisted by Kitty Carlisle; 
but there is too little of Miriam Hopkins. 
Lynne Overman, as the publicity man, and 
Warren Hymer, as the gangster, walk off 
with the comedy honors. 

— M-G-M 

Jean Harlow Clowns — Harmlessly 
TEAN HARLOW'S sails have been trimmed 
J in her new picture, but the result is still 
amusing, if somewhat frothy entertainment 
— and bears the purity stamp of the Hays 
Office. And Jean steps out to show the cus- 
tomers that she doesn't need revealing 
gowns to hold their attention; all she needs 
is a chance to do light comedy. And she has 
it here, with everybody else pulling on the 
oars with a good will, while she holds the 

She is a keen small-town girl who has big- 
time ideas. Along with Patsy Kelly, who is 
more cynical, she runs off to Broadway to 
become a chorus girl and meet wealthy 
men. Moreover, she insists she is going to 
keep to the straight-and-narrow and marry 
one. She selects a patrician millionaire 
(Lionel Barry more), who decides she is more 
the type for his playboy son (Franchot 
Tone) — never suspecting that the girl in- 
tends matrimony and nothing else but. 
When the suspicion finally dawns upon him, 
he "frames" her; but she is one too many 
for him, and "frames" him in return, for an 
ending that is as improbable as it is amus- 
ing. The dialogue has snap, the direction 
has breeze, and the whole cast has a good 
time. So should you. 


The Players Shame theWriters 

IF the writers had worked with the imagina- 
tion that the players do, "Housewife" 
would have been a thoroughly entertaining 
little comedy-drama. As it is, it is enter- 
taining chiefly because of the acting; the 
story follows a familiar groove, with few 
unexpected deviations. 

Ann Dvorak, in the title role, has been 
married to George Brent through five strug- 
gling years, when she persuades him to take 
his courage in hand, quit his job, and strike 


out for himself. In no time at all, he is an 
advertising czar, with several dozen (or so 
it seems) offices. Bette Davis decides he is 
worth having, goes after him, and finally 
makes him crave a divorce. But before 
the judge can hear the story he intended to 
tell, his little boy is struck by a truck, and 
the judge hears a different story. This 
court scene, and another scene in which the 
two women compare notes, are the amusing 
ones. The others you have seen before. 


Courtroom Drama that's Different 

THE principal satisfaction in seeing this 
drama is the sight of Ricardo Cortez as 
a hero, for a change. He deserved the 
change. But he tries almost too hard to be 
convincing, and as a result seems self- 
conscious — which a suave criminal lawyer 
wouldn't be. 

That's what he is — a smooth lawyer. He's 
a lawyer whose wife is in love with an artist 
(John Beal). He drops around to the 
artist's studio just in time to witness the 
suicide of a discarded girl-friend of the 
painter; in his haste to depart from there, 
he leaves behind a hat, coat and glove. Beal 
is arrested, accused of murder, and Cortez 
becomes attorney for the. defense. About 
that time the audience wonders: Will he 
get his rival out of the way by letting him 
go to the electric chair? How can he save 
him, without involving himself? And those 
questions are answered cleverly, with sus- 
pense. Beal is responsible for this in great 
part. Here is a young Broadway actor of 
talent whom the movies ought to keep busy. 

Hollywood Happenings 

(Continued from page 14) 

Want to Swim a Duck? 

TOE PENNER, of radio fame, arrived at 
) Paramount to take up his picture career 
in "College Rhythm" (with Lanny Ross). 
And under his arm was his equally famous 
duck, a real live one. 

The studio gang were awaiting the duck. 
They had rigged up a little fenced-in en- 
closure, beautifully fitted out with every 
modern convenience to make a duck happy 
and contented. The only thing they forgot 
was water for the duck to swim in. 

Wanta buy a duck? 

That Cute Katy Hepburn 

HAVING tried worn-out overalls with 
an ermine wrap, opening fan mail 
while sitting in the middle of a street, tell- 
ing interviewers that she "couldn't remem- 
ber" if she had a husband, then refusing to 
tell them anything at all, Katharine Hep- 
burn has now resorted to driving a station- 
wagon, instead of a limousine. 

Fooled the Whole Town 

EVER since she has been in Hollywood, 
June Knight has worn a blonde wig. 
Her hair was badly burned by a hairdresser 
and she had to have her head shaved in 
order to save her tresses. A wig was the 
only solution and it was such a good wig 
that no one suspected. June is wearing her 
own hair again now, so she enjoys telling 
the story. 

They Say 

THAT Sue Carol and Nick Stuart are 
about to reconcile. They are seen to- 
gether often. 

That when Charles Laughton isn't swim- 
ming in the Garden of Allah pool, the place 
seems so empty without him. 

That Jean Harlow and William Powell 
are "that way." You can take it from us 
that they're not. 

{Continued on page 82) 



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— A Story Never Told Till Now 

{Continued from page 45) 

"Even in our Beverly Hills home, she 
never scolded when I would interrupt her 
fun. When I would come into the living 
room to say, 'Madam, it is eleven o'clock,' 
she would laugh and tell her friends, 'I have 
to obey Mamie and go to bed. She knows 
w : hat is best for me.' " 

Marie's guests were always sent home at 
eleven by Mamie. Those who overstayed 
that time of night she discouraged from 
coming again — courteously, but firmly. 

How She Guarded Marie 

MARIE, much amused, once told me 
about that habit. "Mamie always 
looks over my guest list. If she sees a name 
she doesn't approve, she will say, 'We don't 
want so-and-so, do we? He stays too late.' 

"It is Mamie's boast," Marie continued, 
"that she always knows what's wrong with 
me. It's really uncanny, for she does. 
Many's the time she has met me at the door 
and said, 'You have a bad headache.' It is 
not a question on her part, but a statement 
of fact. I have stopped asking how she 
knows. Her reply never varies — 'I have the 
symptoms.' " 

It is small wonder that Mamie was put in 
complete charge of the corps of nurses 
during Marie's last illness. 

"They were not allowed to wear nursing 
uniforms," Mamie said. "We didn't want 
the house to seem like a hospital, so the two 
nurses on each shift were dressed as they 
would have been if they had been paying 
us a social call. 

"The same sort of deception was carried 
on when Miss Frances Marion or Mr. Louis 
B. Mayer or Mrs. Ida Koverman came to 
see Miss Marie. Mr. Mayer was forever 
talking about a new story he had just 
bought for his 'greatest star.' He would 
pretend that in a few weeks Miss Marie 
would be well enough to start production. 
Probably she wasn't fooled by all of this. 
But she never let on." 

Similarly, Metro-Goldwyn-Mayer con- 
tinued to announce new pictures for Marie 
Dressier, pictures they knew she would 
never make. She did want very badly to 
make one more before she died. This was 
"Tish," from the Mary Roberts Rinehart 

Thirty Thousand Letters Came 

AS long as she was able, Miss Marie 
l always read every letter or telegram 
she ever received from her admirers," 
Mamie continued. "And she answered 
them personally, too. After it was pub- 
lished that she had gone to Santa Barbara 
for 'a rest,' almost as much mail came to her 
there as to the studio. They were such 
beautiful letters, full of encouragement and 
good cheer. She loved everyone, and every- 
one seemed to love her. 

"We must have received nearly thirty 
thousand letters altogether at Santa Bar- 
bara. After Miss Marie lost consciousness, 
I continued to put her mail on the table 
beside her bed — ready for her to read when 
she awakened. When they overflowed the 
table, they were stacked upon the floor." 

Allow me to repeat Mamie's words — 
"ready for her to read — when she awak- 
ened." Not "if," but "when." 

Mamie, I am sure, never once faltered in 
her belief that Marie would recover. Doubt- 
less, it was beyond her conception that one 
who loved life so much would be allowed to 
die. The doctors said that she could not 
live; but, then, doctors have been known to 
be wrong. All that Miss Marie needed was 
the proper care and this was what Mamie — 

loyal, stout-hearted Mamie — was there to 

In those final weeks of coma, Mamie re- 
fused to leave the bedside. She had to be 
forced to eat, and the tiny naps that she 
took, sitting in her chair, were the only 
intervals when her anxious eyes left the face 
of her beloved mistress. 

Marie Dressier, the world will be glad to 
know, did not suffer any great pain before 
the end. She was not despondent. Nor 
would she allow anyone else to be despond- 
ent. She died as she had lived — with a 
smile and a great courageous spirit that 
nearly defied death, and certainly postponed 

Together Twenty-Two Years 

IN her entire lifetime, Marie Dressier had 
only two maids. The first died in service 
and was given a fine funeral by her mistress. 
The second was Mamie Cox, who was with 
Marie for more than twenty-two years. 

Marie had advertised for a maid, prefer- 
ably a colored one. A friend of Mamie's, 
applying for the position, found it to be 
part-time work. As she was looking for a 
full-sized job, she recommended her friend. 
Part-time work was what Mamie desired. 
Her baby daughter, then nearing a second 
birthday, demanded the rest of her atten- 
tion. That daughter now lives in Savannah, 

Subsequently, Marie and Mamie trouped 
together from one end of the country to the 
other, enduring all of the hardships of what 
the theatrical profession once called "the 
road." There were lean years and fat years, 
but through the entire time, Mamie stayed 
with Marie. Is it any wonder that Marie 
called her faithful colored maid her "friend"? 

When Marie entered motion pictures and 
began a new career, her most triumphant of 
all, Mamie profited, too. They had known 
adversity together and now they were scal- 
ing the heights together. Jerry Cox, 
Mamie's husband, was added to the house- 
hold when the prospects grew brighter. He 
had been working in New York. 

There was one story about Mamie that 
Marie delighted in telling. The incident 
occurred about two years ago. 

"I carry a latch key, but I am never 
allowed to use it," Marie usually began. 
"Mamie nearly always waits up to let me in 
and put me to bed. 

Couldn't Play Truant 

"T"\ 7ELL, the other night, I came in late 

VV and there was no Mamie at the door. 
I used my key and sneaked quietly up the 
stairs so as not to awaken her. I was frankly 
pleased by the prospect of sitting up as late 
as I liked — when I saw a note pinned to the 
coverlet of my bed. 

"'Madam,' it read, 'go right to bed and 
get to sleep. Jerry and I will be home early. 
Put out all the lights except the one in the 
hall and your night light. I will look in on 
you when we come home to see if you want 
anything, though I hope you will be asleep. 
Anyhow, go right to bed. Mamie.' 

"What could I do but obey? Next morn- 
ing, I found that Mamie had gone out to see 
the only picture of mine she had ever 
missed. It was playing in a small theatre 
'way on the other side of town." 

Some time later, I mentioned this story 
to Mamie. 

"It's true," she said. "Miss Marie still 
carries my note in her bag and shows it to 
everyone. She calls it an example of my 
bullying her. But she went to bed ... I 
never go to sleep until she does, and then I 


leave my door open. I wake up every time 
she turns over. As long as she's out, I can't 
sleep at all, so why go to bed?" 

It was the habit of Marie's friends to send 
presents to Mamie when they wanted to 
please Marie. She received more pleasure 
from watching Mamie open a package than 
she did from opening one. herself. Polly 
Moran never forgot Mamie at Christmas- 
time. Nor did many others in Marie's circle 
of intimates. 

"Madam and I both think the world of 
Miss Polly," Mamie once told me proudly 
while I was waiting to interview her mis- 
tress. "Of course, whoever she really likes, 
I like, too. 

Often Guessed Her Wants 

"/"^SUR minds, Miss Marie's and mine, 
V_y work together on a lot of things. 
Often, when she comes home to dinner, she 
will say, 'You know, Mamie, I was thinking 
about such-and-such a thing to eat to-day. 
I wish we had some for dinner.' And, like 
as not, that is just what I had prepared. 

"I do all of the shopping for the house 
and Miss Marie's personal shopping — 
clothes and such. I do her banking, too. I 
have been with her so long it is hard to 
think of home as being anywhere but where 
she is. 

"On Thursday nights, she always does 
the cooking, herself. Won't let me help her. 
Says it's my day off. As if I ever wanted a 
day off! Madam often prepares special 
dishes for her friends, because she honestly 
likes to cook. No diets for her. She's too 
fond of good things to eat. 

"I sometimes wish she didn't like people 
so well. She is too generous for her own 
good. Anyone with a hard-luck story will 
always find her willing to listen and help. 

"People impose upon her and she is not 
as strong as she thinks she is. That puts it 
up to me to keep people away — which is 
pretty hard for me to do, for I like people, 
too. But I love Miss Marie and it's my job 
to protect her." 

So spoke Mamie Cox of Marie Dressier in 
life. Can you now understand why Mamie 
is Marie's sincerest mourner in death? It 
was one of the most beautiful devotions 
Hollywood has ever known. 

When the Bing Crosbys were presented 
recently with twins, Bing was kept so busy 
signing congratulatory telegrams he 
couldn't find time to croon or play golf. 
He doesn't want to see another telegraph 
boy and his bicycle for a year 

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My Marriage With John Gilbert 
Was Not a Failure 

{Continued from page 46) 

Mutual friends tell me that Jack still 
loves Virginia and the baby, but doesn't 
want to see either of them again. "I can't 
be one of those complacent Hollywood ex- 
husbands who go to parties with their 
former wives," they quote Jack as saying, 
savagely. "I still love her too much to 
make light of it! " 

Virginia wouldn't admit that this was 
true. "I've only seen him once since our 
separation," she sighed. "I do know, 
though, that when Jack has a disagreeable 
thing to do he never hesitates. A quick 
amputation is his method. And when he is 
through, he is through." 

As for insisting on being called Mrs. 
Jack Gilbert, why not, she asks. " If it had 
been possible I would have had my screen 
credit in the same manner. After all, 
legally it's still my name and Gilbert is my 
baby's name, — nothing can change that. 
Furthermore, I like the name. You may be 
surprised when I tell you that it pleases 
me that my baby looks so much like 

Still In Love With Jack 

"^\7"OU will never love anybody as you 
X loved Jack," I remarked. There was 
a wistful look in her wide blue eyes as she 
said, hesitantly. 

"Does any one ever love as they loved 
the first time? You see I had never been in 
love before. I had never even imagined 
myself deeply in love, so it was a complete 
surrender in my case. Jack and I met in 
May and were married in August. 

"Besides," she continued, "don't you 
think it would be difficult to find another 
man like Jack? Of course, I am a perennial 
optimist, but you don't often find such a 
combination of good looks and irresistible 
charm. Oh, 1 know what you are going to 
say. I know some of his friends have called 
him mad, but his absolute irresponsibility, 
his complete abandon, is the very thing that 
makes people love him — even people who 

don't always admire him. They look at him 
and wish they could do the same things. It's 
a funny streak in human nature, but we 
can't help half-way envying the other fellow 
who has the courage to do just what we 
want to do." 

Virginia is not embittered, she is not 
cynical. She doesn't even regret marrying 
Jack. She speaks of it as a glorious experi- 
ence. Although it sounds like a contradic- 
tory statement, she is really happy. She 
enjoys her freedom, she has her baby, her 
parents and her beautiful home. And she 
asserts that she is a finer woman in every 
way for having had the experience of mar- 
riage. She will not concede it was a failure 
in any way. 

"In the first place," she said, "and far 
more important than anything else, it gave 
me my baby. If you haven't had a baby, 
you won't be able to understand what that 
means. To me it meant suddenly becoming 
akin to all mankind. It meant under- 
standing my mother, and all mothers, as I 
never had before. I am sorry Jack has 
never seen our little girl since we separated. 
She was such a tiny mite then, and most 
fathers are not particularly interested in the 
little red creature until it is a few months 
old. Now she is so cunning, I am certain he 
would love her if he saw her. 

"In the second place, I was a child when 
I married Jack and in the time that we were 
together I became a woman. I hadn't the 
remotest idea of how to run a house, how to 
entertain or how to assume any of the 
duties of a wife. I am not certain that I 
ever learned a great deal, and, as you know, 
patience was not one of Jack's cardinal 

"Another thing I shall never cease to be 
grateful for,- as a result of my marriage to 
Jack, are the many lovely friends to whom 
he introduced me. They are still my friends 
and I value them immeasurably. You see I 
was just getting a foothold in pictures when 
I met Jack, and my social position was 

It had to happen that the covered wagon was bound to be reproduced as something 

nifty in garden or porch furniture. Betty Furness is glimpsed in this 1934 Barker 

Brothers model which is equipped with radio, air cushions and a lantern 


determined naturally by my professional 

"Another splendid thing that marriage 
did for me was that it developed me emo- 
tionally. Prior to my marriage, I occasion- 
ally saw a woman on the screen sobbing. It 
was incomprehensible to me. I didn't see 
how any woman could feel anything enough 
to cry over it. I know well enough now. 
Then, I had never suffered. You see you 
have to love someone very deeply for him 
to be able to hurt you much. It's a dear 
price to pay, but I should be a much better 
actress. Only as we really understand 
sorrow can we portray it. 

"And the next thing I learned from mar- 
riage will make you laugh, I know. I 
believe rny father would call it 'spunk.' I 
was phlegmatic and easy-going and I never 
really took issue about anything, unless it 
was terribly important. Now I know that 
to get anywhere I must stand up for my- 
self. I've learned it's even good to lose my 
temper occasionally!" 

Virginia told me of an aunt of hers who 
was much opposed to her marrying Jack. 
When she learned of the engagement, she 
wrote Virginia, begging her to change her 
mind, because a marriage with a man who 
had previously had three wives could never 
end happily. Virginia was amused and 
showed the letter to Jack. He rather 
admired the courage of the lady and in his 
gallant, impulsive fashion he wired her 
twenty-five dollars' worth of roses that day. 
It made a hit witli the aunt, and after 
Virginia and Jack were married she was 
anxious to visit them and share their 
happiness. She arrived recently to find their 
happiness ended. But the aunt still wants 
to know Jack. She is certain there is some- 
thing very lovable about him. She will 
make an effort to see him while she is here, 
and Virginia will not oppose her. 

I find that Virginia's father drives her to 
her social functions and always calls for her, 
ever since she left Jack. She leads a busy 

Charles Boyer and Pat Paterson were re- 
cently married after a whirlwind court- 
ship. Now that hubby has returned to 
France, Pat will soon follow — to make a 
foreign film or two before she comes back 
to Hollywood 


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I get over ten thousand letters 
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It's this nefarious habit women have of 
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In a radio talk a few weeks ago, I said I 
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Name _. 




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social life, for she has many friends. Among 
her intimates are Dolores Del Rio, Sandra 
Shaw, Mrs. Donald Ogden Stuart and 
Countess di Frasso. 

We spoke of Jack's contract at .Columbia 
and I remarked on how unfortunate it was 
that he had been sick so much and held up 
the picture. She was furious that the papers 
did not explain fully that Jack had injured 
his ankle in one of the early scenes and had 
not been able to walk since. By further 
questioning, I learned that Virginia had 
kept in touch with some of his friends, and 
so knew of Jack's condition. I wondered 
why she didn't go to see him. 

No Woman Can Make Jack Happy 
"T WOULD have gone in a minute, if he 

J_ wanted me," she replied quietly. "I 
would go any minute if I could make him 
happy. But I can't. I don't believe any 
woman can ever really and truly make 
Jack happy." 

I told her the papers had carried the news 
that Jack was seen with Sally Blane, 
occasionally. " Is he really going with her? " 
she asked, interestedly. "She's one of the 
very finest girls I know." Then it was that 
I observed a very striking resemblance 
between the two girls, an odd shape of the 
bones of the face that makes them quite 

As I talked with this self-contained girl, 
I felt that I was seeing a living tragedy. 
Hers is a love so deep that she cannot pos- 
sibly hide it and even admits it to her 
intimates. And Jack has been known to 
remark to his friends that he doesn't know 
what it is all about — that there is no 
reason on earth why he and Virginia 
should be separated today. Not a word of 
censure escapes her lips. The only admis- 
sion she has ever made to anybody was that 
Jack's career was more important to him 
than love. 

We don't believe this. We believe that 
love will always be essential to Jack's 
career, but we do know he has received 
many hurts and they have not sweetened 
his disposition, nor made him believe more 
in his lellow beings. His is a possessive 
nature and it may be that he never, com- 
pletely, trusts any woman. If this is the 
case he surely forfeits permanent happi- 
ness, no matter how much he longs for it. 
Without knowing any more than outsiders 
ever know, we are constrained to believe 
that if Jack really loved Virginia as in- 
tensely as she obviously loves him, he 
would have made any sacrifice to retain 
that love. 

Virginia says: "How can we ever tell 
when we are right? Don't we have to go 
through lile making decisions and wonder- 
ing whether or not we made them correctly? 
There are moments when I think of Jack 
and his sweetness, the lovely association we 
had together, and I feel that I should be 
right back there sharing in everything that 
touches his life. Then I am brought up 
with a start and the unpleasant experiences 
are etched in my memory with such 
vividness that it all seems like a horrid 
nightmare. I wish Jack and I might have 
remained friends, but he would not have it 
so. Naturally, 1 could never be indifferent 
to what touches his life, no matter how 
widely divergent our lives may become. He 
is still my baby's father. He is still the man 
who taught me what love could mean. He 
is still the man who has been my hus- 
band and I refuse ever to think unkindly 
of him. 

"But," she added, "don't go away feeling 
that I am utterly crushed. My days are 
filled with joy and usefulness and I expect 
to find happiness wherever I am. How 
could I feel my marriage was a failure, 
when it gave me the greatest joy of my life 
and stirred my deepest emotions. I would 
only call it failure if it had embittered my 






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City Stati 



"I'm Going to Sandpaper 
Jimmy Cagney s Neck! 

(Continued from page 47) 

"Yes, Jimmy, it is!" I replied. "This 
business of playing one type on the screen 
year in, year out, has its advantages as long 
as that type is popular, but when that type 
goes on the wane, what then? Many a career 
has been cut off without chance of a come- 
back, for just this reason. Years ago the 
public got fed up with languid, voluptuous 
vamps who did nothing but park on tiger 
rugs draped in black satin or chiffon, smok- 
ing cigarettes in exaggerated holders. The 
public decided that the new woman-menace 
was the hot-cha flapper type who could do 
the Charleston, lift her skirts over her knees 
and lead her man astray with cocktails and 
boop-a-doop songs. Audiences couldn't 
imagine Theda Bara or Nita Naldi doing 
these things, so they went out, along with 
the Barbara La Marrs and the Aileen 
Pringles. It was the same with the old idea 
of villains. The style in villains changed, 
and so there was a change in the actors who 
played the part of villains. One crop dis- 
appeared and another arrived." 

To-day, Jimmy Cagney is anticipating a 
change in heroes. "It's inevitable," he says. 
"The history of the stage as well as the 
movies has always been in cycles. And be- 
cause of the things this country has been 
through, the people are going to want their 
heroes to be constructive, not destructive. 
The part that Tom Keene played in 'Our 
Daily Bread' is an example of the new hero. 
Not that all heroes must face tremendous 
odds, or that a hero must be so very serious. 
I will always have comedy in my roles, 
but I want Jim Cagney to be clean-cut. 
Get me?" 

We get you, Jimmy, all right . . . but can 
Cagney make the change? Will the public 
accept him as a gentleman, when for years 
on the screen he has been such a perfect 

"Let's be frank about this, Jimmy . . . 
what qualifications have you for playing the 
gentleman? We, who know you, know. But 
let's tell your fans. They know very little 
about you personally . . . you seldom get 
into the headlines in the papers . . . you're 

When Bill Powell took recent inventory 
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remote from most of the things that go on 
in Hollywood — " 

Jimmy laughed! "I should think, that, in 
itself, would prove I'm pretty much of a 
gentleman! I don't get into the tabloid 
headlines! But seriously, I've never been 
involved in any sort of scandal, for the 
simple reason that I stay away from the 
kind of people who are. I don't give big 
parties, and I don't go to them! I have a 
few friends, yes . . . and they're all interest- 
ing people. But I don't make friends with 
these people because I think they're the 
sort of people to be friendly with, either. I 
like them . . . they're interested in the same 
sort of things I am. We go to auctions to- 
gether, which, incidently is my favorite 
sport ... I like to pick up old things, old 
china, old bric-a-brac, antique furniture, 
and I love a bargain! We enjoy music to- 
gether . . . you can find us, at least one night 
every week at the Hollywood Bowl concerts. 
I've been studying piano for several years. 
I sketch too, and I love fine paintings, al- 
though 'Bill,' (that's my wife), thinks I 
spend entirely too much money on them. 
She says if I must buy so many paintings, 
why don't I do the best thing and start an 

Cagney paused for a moment, grinned, 
and then said in a spurt of honest-to-good- 
ness frankness, "This is embarrassing . . . 
imagine a person having to say that he is a 
gentleman . . . and as if such a statement 
proved it"! 

"Okay, Jimmy, let's leave it at that. I 
can sav a few things about you mvself, and 
I will." 

Jimmy, the Gentleman 

JIMMY is a gentleman, there's no doubt 
about that . . . you have only to meet him 
once to be sure. His voice is cultured, his 
hospitality, gracious. He never pulls scenes. 
He is kind, considerate, and not in the 
least high-hat. Jimmy has a good back- 
ground. He was a college boy before he 
became a chorus boy! He dresses simply 
and in the best of taste. He has been 
happily married for eleven years, and that, 
in itself, is not only a gentleman's record, 
but it may be added that it is also nearly a 
Hollywood record. And so far as we, in 
Hollywood, are concerned, Jimmy can be- 
come a gentleman on the screen any day 
he likes, and we'll know it's an authentic 

"But I can't expect the public to be so 
quick to change their ideas of me," said 
Jimmy honestly. "I can't make the change 
overnight . . . why, if I appeared as the 
perfect gentleman in my next picture, 
they'd think it was a gag. It'd be just as 
foolish for Ed Wynn to try to get away with 
'Hamlet' on the radio! No sir! I'm smart 
enough to know that it has to be done 
gradually. And I'm taking my first step 
toward respectability in my next picture. 
It's like this: 

"It's a story called 'The Perfect Week- 
End' . . . and it's about two bums, myself 
and Allen Jenkins, who go to the country 
for a change, and run smack into a milk- 
man's riot, and, of course, we get mixed up 
in it. Well, you can't have a strike or a 
riot without a few fights, so I can't give up 
fighting all at once. But I am through tak- 
ing pokes at people on the screen with my 
fists. So what do I do? I offered this com- 
promise to my producers. I said if Allen 
Jenkins wants to get into the fight first, and 
if Jimmy Cagney has to get into it to help 
his pal out, that's all right. But Jenkins has 
to start it. Then I said that in the very 
beginning of the picture I was going to have 
my hands in splints and say to Jenkins: 
Listen, you so-and-so, look at these hands of 
mine. Useless. So keep out of fights, will 
you, cause I'm not going to be able to help 
you out of them for a while! There, I have 

• • • • \ 

-...» •' 

• •/• 

X --V v 

W TO^ 


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registered the thought with the audience 
that I'm not going to slug people as I did. 
Of course, Jenkins does get into a fight and 
I have to help him, but not with my fists. 
With what then? Why, with my head, of 
course, and i mean that, literally . . . you 
know, the old butting business which is a 
good defensive measure, but not an offensive 
one! I may go through the picture butting 
my way out of difficulties with my head, but 
you won't see me lift my hands against any- 
body even once! Then, in my next picture, I 
may be able to give up fighting altogether 
and act like a gentleman, a hundred per 

"That's using your head, all right," I 
replied, "and we don't mean to butt with, 
either, Jimmy!" 

Jimmy gives this same sort of careful 
consideration to every part he plays — he is 
one of the few actors out here who actually 
enjoy the work of making pictures . . . the 
challenge that each and every part is to his 
imagination and ingenuity. Many of the 
well-known stars will admit quite frankly 
that acting for the movies is the dullest sort 
of routine . . . but that's because they just 
read lines, and don't really give everything 
they've got to actually live the character 
they're playing. 

Gives a Role Everything 

JIMMY not only gives everything he's got 
to a part, but he gives a lot of everybody 
else to it, too. He never plays a role but 
that he spends days studying the type of 
person he represents. When he was pre- 
paring for "Winner Take All," he spent a 
week hanging around a training gym where 
he watched a lot of ham fighters. One man 
interested him immensely. Everything he 
said, he said twice, "Have you got a 
cigarette, buddy, have you got a cigarette, 
buddy." "Boy, was that a punch, boy, was 
that a punch!" Jimmy Cagney not only 
saw that such a mannerism would be 
unusual for a picture, but that it was true 
to the type he was to play. In "Winner 
Take All," practically everything Jimmy 
said, he said twice, and it wasn't written 
that way in the script, either! 

And when Jimmy was making "Jimmy 
the Gent," nobody suggested that he cut 
all his hair off and look like an ex-convict. 
In fact, his producers almost cried when he 
appeared on the lot, shorn to the gills. 
"Jimmy, Jimmy, what have you done!" 
They wailed and moaned. "Oh, Jimmy, 
you've ruined the picture! We'll have to 
send you away! What would your fans 
think! Oh, Jimmy, how could you go to 
sleep in a barber's chair!" 

"But it wasn't the barber's fault," said 
Jimmy, smiling. "I had to give him two 
dollars extra to get him to do it, even. It's 
the part. Don't you know that a man like 
Jimmy the Gent would naturally have his 
hair cut like this! Come on, let's get started, 
before even a quarter-inch of that hair 
grows back!" 

And so Jimmy did the first scenes of the 
picture with his hair shaved off like a con- 
vict. Which proves a couple of interesting 
things. First of all, that Jim Cagney, one of 
the most popular men in films, is not con- 
ceited. (Imagine some male stars that you 
and I are both thinking of right this minute 
appearing before the public with their hair 
cropped close in prison style! They'd be 
seen dead first.) Then, second, it proves 
that Jimmy is an actor above everything 
else; he'd sacrifice anything to do a part, 
realistically. He's an actor, not an exhibi- 
tionist on parade. 

And for this very reason, we venture to 
predict that you'll like Jimmy just as much 
as a gentleman as you have as a tough. For 
when Jimmy finally gets himself all sand- 
papered up, with the rough edges taken off, 
he'll be just as good a gentleman as he has 
been a mug! 

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What Guests Have Said 

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Managed by BEN L. FRANK with the co- 
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staff of employees. 

Hollywood Happenings 

{Continued from page 73) 

That Clark Gable will be Gloria Swan- 
son's leading man in "Riff- Raff," her first 
picture for M-G-M. Gloria is now on loan 
to Fox for "Music in the Air," in which 
John Boles is also featured. It was Gloria 
who gave Boles his first screen opportunity. 

That Johnny Mack Brown's part has 
been cut to a bit in the remakes of the new 
Mae West picture, "Belle of the Nineties," 
nee "It Ain't No Sin." Johnny was the boy 
who did most of the love-making, and now 
the love-making is on the cutting-room 
floor. Love's labor lost, as it were. 

They Knew What They Wanted 

"\ 7ISITING British officers, off their 
V ships for a day in Hollywood, were 
entertained royally by the studios. The 
party was split up into small groups and 
each studio entertained a group. 

The naval officers in each case were asked 
what they wanted to do and what they 
wanted to see. The party at one studio 
thought it over for a moment before reply- 
ing, "If you don't mind, we should like to 
see the new Mae West picture — that is, the 
original version." 

This request was made at M-G-M. Mae 
West is a Paramount star. 

Ted Healy's Good News 

TED HEALY had a lion cub given him 
some time ago. As time went on, the 
cub continued to grow until it became a 
good-sized lion and very playful, too. 
Everyone except Healy was afraid of it. So 
he decided to sell it. 

But no one would buy. Then he tried 
to give it away. No one would accept it, 
not even Healy's Stooges. Perhaps there 
■is a limit to the stooging of a stooge. There 
was nothing left to do except to send the 
lion to a farm and pay for its keep. Thus 
Healy, some months ago, sent it to Gay's 
Lion Farm while he kept on trying to dis- 
pose of the beast. 

The other day, he received a call from 
Gay's. The lion farm had good news for 
him. Healy's lion had just had a litter of 

They Can't Lose 

ANITA LOUISE and Tom Brown have 
. posted a thousand dollars each, to be 
forfeited if they marry one another before 
five years. But as each will win the thou- 
sand from the other, neither can lose. Yet 
none of the columnists seem to be hep to 
the gag. 

Steffi Duna, like all good people who come 

to Hollywood to stay, has taken a home — 

and there's where you'll find her when 

the day's chores are over 

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"I feel fine, now . . . 

"Oh, sure, I feel like going now ! But that was the worst headache lever had. I never took Bromo-Seltzer before, 
I don't know why. But thanks a lot, darling, that was just about the quickest relief I've ever experienced. " 

" Bromo-Seltzer's never failed me yet ! And it tastes so good, 
doesn't it? Well, powder your nose and let's get going!" 




In the past 40 years, many millions of 
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So often, to relieve a headacbe, a single- 
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You get many benefits wben you take a 
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Known as a balanced relief 

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Morning- after headache following 
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Headache due to lowered blood alkali. 

Headache due to sea, train or air 

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Headache associated with fullness 
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i&nX~ lea. 




Graceful girl . . . lovely manners. . . but her teeth are dingy, her gums tender! 

She's as gracious as she is grace- 
ful. She is intelligent... friendly. 
It's just too had that the shadow of 
neglected teeth makes most people 
overlook her natural charm. 

Yet sympathy is, really misplaced. 
She ought to know better. The 
"pink" that appears on her tooth 
brush and dims the natural lustre 
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brushing the teeth is not enough. 
Those tender gums say that gingivi- 
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IPANA is needed 

Modern soft foods that give our 
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Clean your teeth with Ipana twice 
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gum walls. Start with Ipana today 
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A good tooth paste, like a good 
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73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA 
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Name ... 



Surrender to the happy seduction 
of Ernst L,ubitsch's most serious 
picture holiday! When Maurice 
Chevalier with delicious gaiety 
flirts, sings, conquers Jeanette 
MacDonald, the rich and merry 
widow, it's your big new screen 
thrill! Because Frans Lehar's 
romance is the greatest operetta 
of our time M=G=M has spared 
no expense to make it memorably 
magnificent! With the stars and 
director of "The Love Parade". 

In the hush of a 
lilac a perfumed 
night to the soft 
sobbing of gypsy 
violins . . . they 
danced the dance 
of love , . , the 
"'Merry Widow 



w^EFNST ICMTSCH) Production 


Screen Play by Ernest Vajda and Samson Raphaelson 

-8 1934 




©C1B 239692 

Movie Classic 


Cv^ 5 

^CRee/K St/? /i Storjcs 

VOL. 7, No. 3 

a Queen of Hearts 
Even Before Movies 

Glorified Her 

Grace Moore is the woman 
of the hour. Her name is on 
every tongue. She is the 
woman that other women 
would like to be — the 
woman that men would like 
to meet. The reason? She 
personifi es romance — ro- 
mance that inspires. 

And this is no overnight 
marvel, no feat of movie 
magic. Long before "One 
Night of Love" made the 
whole movie-going world 
Grace Moore - conscious, 
she was a romantic idol in 
the world capitals where she 
had sung. Men of fame, 
title and wealth wooed her. 

But music always mattered 
more than marriage until- — 
she saw Valentin Parera. 
Then, for the first time, she 
was in love — and in love at 
first sight. A few pages 
farther on, you will read the 
whole glamourous story! 


One Night Stand — Short, Short Story Jack Grant 1 2 

The Heroine of a Hundred Romances — Grace Moore Maude Lathem 28 

From West to Westerns Winifred Aydelotte 30 

Joan Crawford — Good Samaritan > . Eric L. Ergenbright 32 

The "New Deal" For Charlie Chaplin Edwin Schallert 33 

Verree, Verree Happy — Now Jerry Asher 36 

Mary and Doug Silent, But Look "Reconciled" Dorothy Calhoun 38 

Russ Columbo Fatally Wounded in Odd Accident Muriel Madden 39 

Forbes, Angel Become Hitch-Hiking Elopers Joan Standish 40 

George Hill Takes Life; Directs End Carefully Ann Slater 41 

Actors Narrowly Miss Death at Hands of Fiend Hal Hall 42 

Sylvia Sidney — a New Glimpse Dena Reed 61 

Hollywood's Big Surprise — Ketti Gallian Franc Dillon 62 

"If I Were King of Hollywood" — Jack Oakie Gladys Hall 63 

It Pays to Advertise — Katharine Hartley 6 1 r 

Often Deaf, But Not So Dumb— June Knight William F. French 65 


"The Last Gentleman" Fictionized by Mary Chadboume-Brown 43 

"Happiness Ahead" Fictionized by Margaret E. Mahin 48 

"The Human Side" Fictionized by Ethel M. Pomeroy 52 

"Dangerous Corner" Fictionized by Ethel M. Pomeroy 56 


Intimate Hollywood Gossip Jack Grant 6 

These Movies — Reviews of the Latest Films Larry Reid 34 

Letters from Readers 92 

For Moviegoers to Puzzle Over L. Roy Russell 98 





DOROTHY CALHOUN. Hollywood Editor 




Movie Classic combined with Screen Star Stories is published monthly at 350 E. 22nd St., Chicago, III., by Motion Picture Publications, Inc. Entered as second 
class matter at the Post Office at Chicago, Illinois, under the Act of March 3, 1879; printed in U.S.A. Executive Offices, Paramount Building, 1501 Broadway, New York City, 
N. Y. Copyright 1034 by Motion Picture Publications, Inc. Single copy 10c. Subscriptions for U. S., its possessions, and Canada $1.00 a year, Foreign Countries, 
$2. so. European Agents, Atlas Publishing Company, 18 Bride Lane, London, E. C. 4. Stanley V. Gibson, President and Publisher, William S. Pettil, Vice President, 

Robert E. Canfield, Secretary-Treasurer. 


George Raft Suffers Torture 
In Oriental Make-Up For Ro 

And Other Intimate Hollywood Gossip 

JUST try it yourself. Put your two 
index fingers on the outside 
corners of your eyes and press 
upwards to slant them as an 
Oriental's eyes are slanted. Hold 
the position for a few minutes. You 
will find that your vision is becoming 
blurred, your eyes will water and 
your head will begin aching. Very 
few people can stand such pressure 
more than an hour. But George Raft 
endures it for hours at a time playing 
a half-caste Chinese in his new pic- 
ture, "Limehouse Nights." 

Every morning, he spends a full 
hour being made-up by Wally West- 
more. The make-up includes two 
heavy straps of invisible adhesive 
tape over each temple, attached to a 
string that runs through his hair and 
ties in the back of his head to hold the 
tape in place . . . For the next eight 
hours, George is in torture. There 
can be no relief, as the process of 
having himself made-up is more pain- 
ful than continuing to endure the eye- 
strain. He can't read and must study 
his lines by having someone else read 
them to him. 

"My eyesight has always been ex- 
cellent," George told me, his head 
thrown far back as though to relieve 
some of the pressure. "I pride myself 
upon being able to read newspaper 
print at a greater distance than any 

By Jack Grant 

Four of the girls take one last look at 

Malibu Beach for this year: left to right, 

Nydia Westman, Florine McKinney, 

Raquel Torres and Virginia Pine 

guy I've ever met. I remember taking 
a test once when I hadn't had a 
chance to learn the part. They sug- 
gested writing the lines on a big black- 
board where I might be able to read 
them off-screen. I told them that it 

Joe (Radio Duck-Salesman) Penner gets 
movie-spotlighted in "College Rhythm" 

wasn't necessary. I could read the 
typewritten pages just as well if the 
script was held up where I could see 
it. Nobody believed this possible 
until 1 did it. Now I have to be 
read to. 

"Don t tell me that other actors 
have played Orientals without 
squawking. I know they have, but 
I also know that several have had to 
wear glasses as a result. And not a 
man who has ever been strapped up 
as I am has called it a pleasant ex- 
perience. But perhaps my case is a 
little different. My right eye was in- 
jured when I was a professional 
tighter. It has never bothered me 
much, although it doesn't match my 
left eye, isn't open as far. I have to 
remember this whenever I have 'still' 
pictures taken. 

"If by taking the make-up off, I 
could return to normal vision, it 
wouldn't be so bad. But I can't sleep 
at night. I'm dizzy and I constantly 
see double . . . You may take my 
word for it that this is my hist and 
last Oriental role." 

I he studio is exercising every pos- 
sible precaution to help Raft through 
his torturous days. A physician is al- 
ways in attendance on the "Lime- 
house Nights" set and several eye 
specialists call at intervals. The 
{Continued on page 8) 


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H r\ I I \m *a# «. — — I ■ — — - 


ncwn and recognized 

over; packed in ex- 

Kjiners and priced For 

1 yet fine gift giving. 

Cyarjum Deltah 
L'Heure de Minuit 

(Midnight Hour) 

2°o Z ;. S 7 Z 5 E 0l0 00 
1 oz. 5.00 

— the supreme silk sift 
face powder that worn 
ore talking about — 
Golden finish metol bo 

shooting sci. 

to give Raft a u,. 

week as well as on bun^. . 

The Truth About That Fight 

WHILE talking to George, I 
learned his version of the now 
famous Brown Derby fight. Early 
scare-head headlines had Raft maul- 
ing an unidentified wisecracker for a 
remark about his operation to re- 
model a cauliflower ear. Women were 
supposed to have surrounded the 
combatants, mopping their blood from 
the pavement with dainty handker- 
chiefs as souvenirs — a la Dillinger. 

Actually, what happened was this: 
Some chap did make a remark about 
Raft's companion, Mack Gray, known 
affectionately to Hollywood as "The 
Killer," whose nose had been made 
over by plastic surgery and was then 
still bandaged. "The Killer" invited 
the man outside, where George was 
able to stop the fight before a blow 
was struck. The only spectators 
were a couple of newsboys . . . Thus 
do unimportant incidents become 
magnified in the relentless glare of the 
publicity spotlight of Hollywood. 

k of making 
. Gab" 

. Exchange 

- riRISSON has the best idea 

^^ yet for putting to work the fan 

clubs organized in his honor. Instead 

of publishing a fan club bulletin, he 

has the members pay their dues direct 

■ / 




L, >m 


Jm i 

■B .. ■ 

Marlene Dietrich (left) and Norma 
Shearer welcome Max Reinhardt, famous 
German producer of stage spectacles, to 
Hollywood. He may film "The Miracle" 

to a London hospital, where he main- 
tains a cancer ward . . . The fee for 
membership is a half-crown, which 
has caused no end of confusion among 
his hundreds and hundreds of Ameri- 
can admirers. Several dozen letters a 
day are received and must be answered 
as to exactly how much a half-crown 
is in United States money. 

The only possible answer is to refer 
the inquirers to the nearest bank for 
the current rate of exchange. 

'Twas the Night Before Option 

RICHARD ARLEN has finally 
"gone and done it." Dick has 
been with Paramount for eleven 
years, and for the last seven years has 
threatened to quit each time an op- 
tion period came along. In fact, a 
standing joke on the lot has been, "It 
must be option time — Dick wants to 
quit again." 

This year, they said just that, 
smiled and forgot it. Then Dick sur- 
prised everyone. He did obtain his 
release, effective immediately. The 
reason given was a desire to change 
the type of roles with which he has 
been associated for so many years. 

Wide World 
Pola Negri, long absent from motion 
pictures, has come back to make a come- 
back — still unmarried 

Paramount and Metro-Goldwyn- 
Mayer both offered new contracts, 
but Arlen says he wants to free-lance 
for a while, at least. But maybe he 
will change his mind. And Richard 
certainly deserves a chance to change 
his mind after holding to one resolve 
for seven years. 

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Intimate Hollywood Gossip 

Director William Seiter and Marian Nixon 
hopped a plane for Yuma, where they were 
married by the town's marrying judge 

Lew Obeyed That Impulse 

BEING a motion picture star has 
its advantages sometimes. For 
example: Lew Ayres laid down his 
ping-pong mallet and said to Ben 
Alexander, his buddy, "Let's go to 
Chicago tonight, Ben." 

"What for?" asked the slightly 
bored Benny. 

"Take a ride. See the Fair." 

"Can't," said Ben. "Not tonight. 
Got a date." 

So Lew went alone, taking a plane 
that evening and flying back two 
nights later . . . How would you like 
to be able similarly to indulge your 
impulses? But maybe you don't play 


to know. 


C. FIELDS' middle name is 
Claude. We thought you ought 

Babes in Hollywood 

ONE reason Hollywood is so swell 
is because it is so consistently 
unconscious in its humor. Why, it 
was just the other day that someone 
gave a cocktail party for the "Babes 
in Toyland" company. 

No Garbo Mystery This Time 

LAST year, when Greta Garbo's 
_/ contract with M-G-M ended, a 
mystery game was played with the 
press. Thousands of headlines 
begged the question: "Will Garbo 
Return to American Films?" This 
year, with "The Painted Veil" as her 
final picture under current contract, 
it is already widely known that Garbo 

will come back to Hollywood after a 
vacation in Sweden. The figure on 
the contract she has signed for two 
pictures in 1935 is reported to be 
$300,000 apiece. Harry Edington is 
again her manager. 

The Movies' Greatest Fan 

ANOTHER Famous Last Line: 
L "Do you really enjoy the movies, 
Mr. Joe Breen?" ... He has per- 
sonally viewed more than two hun- 
dred pictures to determine whether 
or not they merit the industry's new 
purity seal. He's the one-man court 
that decides. 

The Big Parade of Second Dresslers 

AND still they come — middle-aged 
L women from all over the world, 
aspirants to the throne of the late 
lamented Marie Dressier. From the 
very day that the announcement of 
Marie's death plunged three con- 
tinents into mourning, applications 
from self-styled second-edition Dress- 
lers began pouring into M-G-M 
studios. Nor have they abated in the 
weeks since. Nearly a hundred a day 
is the average. 

All send photos in hope that some- 
one else will note a resemblance. But 
one woman from the Middle West 
(Continued on page 14) 

This ought to make David Holt jealous — 

Shirley Temple stepping out with his rival, 

Baby Le Roy . . . 


Starring in Warner Bros, production 
of Willa Cather's novel 


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One Night Stand 

A True Hollywood Short, Short Story 

by Jack grant 

HE was home- 
sick. No two 
ways about it. 
Just plain, old 
homesick. Yet he didn't 
want to admit it. He 
called it "Broadway 
and 42nd Street 

A vaudevillian, living 
in trunks, sleeping in 
second-rate hotels, eat- 
ing in "greasy-spoon" 
restaurants, he had 
got as far as Australia 
on an around-the-world 
tour. He would play 
India next, doing five 
shows a day. then South 
Africa and Europe. It 
would be months, near- 
ly a year, before he 
could see New York 
again. He was sure that 
he knew how it felt to 
serve a prison term, 
counting the days until 
the end of his stretch. 

Confound Broadway 
and 42nd Street! Why 
should it exert such a 
spell? Why should he 
be suffering a horrible 
nostalgia instead of en- 
joying his trip? There 
were plenty of folks who 
would give a right arm 
to travel around the 
world. Well, they could 
have the whole bloom- 
ing globe. He would 
give it to them gladlv 
in exchange for stand- 
ing room on that crazy, noisy corner of Times Square 
that marked Broadway and 42nd, New York, N. Y., 
U. S. A. 

He played his last performance in Australia, packed his 
trunks and boarded the boat for India that sailed with the 
tide. He hadn't been two hours out when a cable for him 
was delivered at the theatre. It read: "Would you con- 
sider canceling contract to return to New York immedi- 
ately? Will spot your act in Broadway revue this sum- 
mer." The cable was undelivered. The ship had sailed, 
with its next stop, one of the lesser islands in the Malay 

It was a slow, but seaworthy little craft. It had to be 
seaworthy to go poking around in waters where typhoons 
and hurricanes were so common. 

Six days out, it ran into a "blow," one of the worst the 
captain had ever seen. The wind howled through the rig- 
ging and snapped off a mast. Mountains of water crashed 


Illustration by 

On the opening night of the Buffalo try-out performance, his act 

stopped the show. He pave it everything he had and the house rocked 

with applause. He had never been more enthusiastically received 

and flooded over the 
decks, washing cargo 
and food supplies over- 
board. They fought the 
storm as long as they 
could, then turned to 
flee before the wind. 
India was out of the 
question. They had to 
return to Australia 
for food, water and re- 

The vaudevillian vis- 
ited the theatre, learned 
about the undelivered 
cable and actually ran 
to the telegraph office. 
The next boat for Amer- 
ica couldn't leave too 
soon for his taste. 

"I'm on my way," he 
cabled and booked 

His ship was a lei- 
surely liner. It stopped 
at Melbourne, at Syd- 
ney, at Auckland and 
other ports in New Zea- 
land. The long jaunt to 
New York was under 

Forty-nine days after 
it left Australia the tiny 
vessel crept into New 
York harbor. It didn't 
sail majestically, mainly 
because it wasn't that 
kind of ship. 

Yet one of its pas- 
sengers didn't care. He 
was home, with 42nd 
and Broadway just 
around the corner. 
\\ hoever said that New York wasn't a friendly town? 

Then, too, there was that swell job, his first chance at 
crashing the big-time on Broadway. A message awaited 
him. "Join the show in Buffalo. We open Saturday." 

Opening night of the Buffalo try-out performance his 
act stopped the show. He gave it everything he had and 
the house rocked with laughter and applause. 

1 he reviews gave high praise to the production in general 
and to his juggling act in particular. Flushed with elation 
and hope of playing Broadway, he went to the theatre. 

"Morning, Mr. Fields," the doorman greeted him. "You 
sure knocked 'em cold last night." 

"Morning, Bill," said the boss. "Looks like we have a 
hit. But it's too long, much too long. Ran more than four 
hours last night. Got to be trimmed, we'll have to cut out 
some of the acts and yours is one of these to go!" 

W. C. Fields had traveled forty-nine days, sailing half 
around the world, to play a one night stand! 

Mm/. § 


b a laff as the screen's ace comic 

lace! . . . See him as the Adonis of 

—making chumps out of champs 

ng cyclone of mirth— head over 

n love with every gal in the 

ind! . .;. It's an hysteric event! 






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Now you 

climbs tftv 

(Continued from page id) 
had the amazing effrontery to enclose 
a picture of the real Mane, which she 
claimed was herself. The photograph 
was in costume for "Min and Bill" 
and bore the production code number 
in one corner. 

Goin' Home 

NOW that the Dressier estate 
nears settlement, Mamie Cox, 
Marie's faithful colored retainer for 
nearly a quarter of a century (you 
read her story in Mo VIE CLASSIC 
last month) has made her plans. 
Mamie and her husband, Jerry Cox, 
were richly rewarded in Marie's will. 
Although she has had many offers 
from other film stars, she has de- 
cided to return to Alabama and settle 
down. Her daughter is teaching 
school in Alabam'. These colored 
folks, willed $50,000, have more than 
enough money to keep them in com- 
fort for the rest of their days. Every 
penny will be invested in government 

Is Sally Popular, Or What? 

SALLY BLANE, Loretta Young's 
sister, is said to be interested in 
John Gilbert, Hugh Williams, Lyle 
Talbot, an unidentified English lord, 
Phillips Holmes, William Bakewell, 
and three or four other young men 
whose names escape me at the mo- 

.uby Keeler, who 
flirtation Walk" 

ment. Why don't these gossip col- 
umnists get together? 

What Risk Aviation? 

manded that M-G-M take out 
insurance on George Brent before it 

(Continued on page 81) 

Evelyn Laye, English beauty, returns to 
Hollywood to make "Tiptoes" with 
Ramon Novarro. Note the wedding 
band. IS she secretly Mrs. Frank Lawton? 





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The lilting music of Caravan will sing on 

in your heart haunting you for 

days to come! 

** ...REVEL 

Executive Producer: 

Robert T. Kane 

Directed by 

Erik Charell 

From a story by 

Melchior Lengyel 

Music by 

WernerRichard Leymann 



His caressing melodies sang these tempting 
words to her . . . whose heart yearned for 
moonlit nights and joyous revelry, and 
warmed to the gay festival of the wine- 
filled grape! 



■""i*. jp 



r m 












OlHRVING. . .yet they Dreaded 
the coming of the FOOD SHIP 

FREQUENTLY emaciated and ravenously hungry, the people 
of St. Kilda's, the lonely island off the Scottish coast, dreaded 
the arrival of the supply ship from the mainland. They realized 
that though it brought food to the wilderness it brought also 
civilization's curse — the common cold. Illness and death invariably 
followed the rattle of the anchor chain. In the Arctic, the Eskimos 
had the same experience. 

Reviewing such cold epidemics, scientific men came eventually 
to the belief that colds were caused by germs, not by exposure, wet 
feet, or drafts although these may be contributing causes. 

Colds are caused by germs, they say— but by germs unlike any 
others previously known. Germs, if you please, that cannot be 
seen. Germs so small they cannot be measured except as they 
exert their evil effect upon the human body. Bacteriologists call 
them the filtrable virus because they readily pass through the most 
delicate bacterial filters. Using a liquid containing this mysterious 
virus, they have been able to produce repeatedly by inoculation, 
one man's cold in other men. 

Under ordinary conditions, this virus enters the mouth, nose, or 
throat to cause the dangerous infection we call a cold. Accom- 
panying it are certain visible germs familiar to all; the pneu- 
mococcal, for example, and the streptococcus— both dangerous. 
They do not cause a cold— they complicate and aggravate it. 

To Fight Colds — Fight Germs 

Obviously, the important part of the fight against invisible virus 

and visible bacteria should take 
place in the mouth and throat. 
The cleaner and more sanitary 
you keep it, the less chance germs 
have of developing. 

"The daily use of a mouth- 
wash," says one eminent au- 
thority, "will prevent much of 
the sickness which is so common 
in the mouth, nose, and throat. 
Children should be taught the 
disinfection of the mouth and 
nose from their earliest years." 

For oral hygiene, Listerine is ideal— so considered for more than 
fifty years both by the medical profession and the laity. It possesses 
that rare combination absent in so many mouth washes— ade- 
quate germ killing power plus complete safety. And of all mouth 
washes, it has the pleasantest taste. 

Numerous tests under medical supervision have shown that 
regular twice-a-day users of Listerine caught fewer colds and less 
severe colds than those who did not use it. 

.'/ " send free and postpaid a scientific treatise "„ the germicidal 
action ot Listerine: also, a Booklet an Listerine lues. Write Lambert 
Pharmacol Company, Depl. MU-11, St. Louis, Missouri. 

For Golds and Sore Throat . . . LISTERINE . . . The Safe Antiseptic 



Marlene, the paragon of poise, shows no dismay about 
her future. Maybe the new film code WILL cramp her 
style a bit. But why worry? The less you see of her 
attracting ability, the more you will see of her acting 
ability. And she welcomes the chance to demonstrate 
it. In "Caprice Espagnol," you will see a new Dietrich 

Barbara is the exception to the Hollywood rule. No 
one is more dramatic on the screen, less dramatic off 
it. She refuses to put on an act for the curious; she 
demands the right, as Mrs. Frank Fay, to have as private 
a life as Mrs. John Q. Public. Never artificial, she is 
always real. The latest proof of this: "A Lost Lady" 

What does the public want? Fewer sirens, and more 
heroines it can idealize — like Madge. Other, more sen- 
sational stars, who once belittled her "nice girl" appeal, 
are now wishing they were in her place — in the spotlight, 
instead of "on the spot." Madge and Helen Hayes join 
forces in Barrie's comedy, "What Every Woman Knows" 



And we aren't referring only to 
the chapeaux; these girls have 
something under their hats. Joan 
Blondell (left), for example, is 
smart enough to realize that 
stardom won't last forever, and 
wants a family waiting for her 
when she leaves the screen. So, 
with "Kansas City Princess" fin- 
ished, she is vacationing and 
awaiting the stork. Rochelle 
Hudson (bottom left) is only 
seventeen, but she skilfully con- 
ceals the fact in "Judge Priest." 
Mary Astor (below) is going in 
for mystery. She is the woman in 
"The Case of the Howling Dog" 

The movies put them to good 
use; so do their owners. Brian 
Aherne (above) went back to 
England to make a picture and 
was re-discovered. Now he's 
opposite Helen Hayes in "What 
Every Woman Knows." Lew 
Ayres (top right) went romantic 
and won a new public — which 
will see him next in "Lottery 
Lover." Gary Cooper (right) 
took to uniforms. Now he is head 
man in "Lives of a Bengal Lancer" 

Is the name new to you? It's new to this startling nine- 
teen-year-old, too. Until recently, she was June Vlaselc 
and her roles were small. The studio decided to let her 
go. In going, she thanked executives for what breaks 
she had had. Surprised, they changed their minds and 
her name, and are featuring her in "Music in the Air" 



! - ' ..'■■ 

■ ■ 



1 1 



A photographer yields to an impulse and puts Joan on 
a pedestal — for having, in repose, the most dramatic 
face in Hollywood. And a million girls have put Joan 
on an invisible pedestal — for personifying the success 
story they dream about. In "Forsaking All Others," she 
has a comedy — and a chance to be a new Crawford 

Memory is like a photograph album — 
it's a place for storing pictures. And 
Warner Baxter and Myrna Loy are due 
for some mental preservation as the 
newest love team — in "Broadway Bill" 

In "The Captain Hates the Sea," John 
Gilbert reverses his usual procedure 
and lets the girl (Tala Birell this time) 
ask the eternal question. Meanwhile, 
both make great screen comebacks 





MARTY, AS CLUB MAID, gives a good 
performance when she tells Jane to 
use Ivory Flakes for her stockings 
just as fine stores advise. 

Good stores do tell you to use 
Ivory Flakes for your stockings. 
And here's why: The sheer silk of 
stockings is very sensitive. It needs 
a pure soap. Ivory Flakes are so pure 
that both the makers and sellers of 
fine stockings recommend them. 
These people know silk. They like the 
way Ivory Flakes are shaved up into 
tiny, curly wisps, too. Ivory Flakes 
won't flatten down on your stockings 
to cause soap spots and runs! 

And here's a thought for you thrifty 
girls — Ivory Flakes cost less than other 
"silk stocking" soaps. There are lots 
more ounces in the box! Just hold on 
to that thought and the next time 
you're at your grocer's merely say, "A 
box of Ivory Flakes, please." 


99 44 /ioo% 



" 'Scuse me, Miss Jane, but 
yo' sho' is luxurious on 
stockings. That soap yo' 
use must be pow'ful strong. 
Why doan yo' use nice 
gentle Ivory Flakes the way 
stores tell yo' to?" 

wif me?" gasps Sam. 

"LADY, WHY YO' LEAVE dis chile 
"Yo' train goin' soon." 

"Where's the station drug store? Where's my head?" demands 
Nurse Tippit. "Why did I forget to pack Jerry's cake of Ivory?" 

"Lots o' time," says Sam, turning smooth as a chocolate cus- 
tard, now that he knows the reason. Then he chuckles to Jerry, 
"So she's goin' to keep yo' 99 44/100% pure." 


"REMEMBER THIS HAT, HENRY?" asks Mrs. Gibson softly. 

"Sure!" says Mr. Gibson. "It chaperoned us on our honey- 
moon, Sara. And we knew we were made for each other because 
we'd both brought Ivory Soap!" 

"It's still the finest complexion soap," declares Mrs. Gibson. 

"Absolutely!" agrees Mr. Gibson. "Your complexion is as 
clear and fine as the day I first kissed it, 17 years ago!" 





e r o i n e 

u n 


r e 



roses and a note begging her to 
lunch with him. Over the lunch- 
eon, this man — whom she had 
seen only twice before in her life, 
and then only for a few moments' 
desultory conversation — con- 
fessed the reason for his startled 
expression the day before. 

"I have seen you so often in 
my thoughts for two years," he 
told her, "that I couldn't believe 
you were really there before me. 
You see. Miss Moore, I am just 
one of the hundreds of strangers 
you meet, but — since that eve- 
ning when I first heard you sing, 
you have been the only woman 
in the world for me — though I 
never hoped to meet you again — " 

Loved by Men She Never Met 

FOR years Grace Moore has 
been singing the roles of the 
most romantic women that men's 


is Grace 
e to the 
le per- 
sen no 
:s it— 

or the 

:k had 

do" to 

ose two 

she has 

Her love for Valentin Parera was what brought 
Grace Moore back to Hollywood — and fame. 
She wanted him to have his chance in films 

imaginations have ever pictured — Melisande, Juliet, Louise, 
Marguerite, tragic women, beloved women, and always, 
always beautiful women. Grace is lovelv, herself — "One 
of the ten most beautiful women in America," Ziegfeld 
said of her. Wrapped in clouds of hair (golden, black, 
auburn), clad in floating robes, hung with jewels, armored 
in brass, pouring forth the glory of her voice into the gray 
reality of lite, she has been the heroine of countless ro- 
mances she has never dreamed of. Now and then, as in 
this case, she has met one of her unknown admirers and — 
as in this case — has become his friend. 

The next year, just before the beginning of the Metro- 
politan Opera season, she received a cablegram from this 
man. "I am sailing to-day," it read, "to be in the first 
audience to hear you sing in grand opera." But he never 
arrived. Death overtook him on his sentimental pilgrim- 
age. And in his will he had left 
Grace Moore the gorgeous jewels 
that he had never dared to offer 
m lite. 

The other day, I saw Grace 
Moore at a Hollywood partv. 
She sat at one end of a drawing 
room, surrounded by Ruth Chat- 
terton, Kay Francis, Jessica 
Barthelmess, Aline Rothaker, 
and Louella Parsons, engaged in 
conversation, animated, happy. 
Grace Moore, surrounded by 
women . . . and liking it! 

" It is funny, isn't it, when you 
have always seen me surrounded 
by men?" she remarked when I 
commented on it. 

Rejected Wealth and Titles 

HERE is a woman who has 
been the toast of two con- 
tinents, courted by men of almost 
every nationality, loved by hun- 
dreds of men whom she has never 
seen; a woman who has had mil- 
lions temptingly laid at her feet; 
a woman who could have had her 
pick of the social Four Hundred 
{Continued on page j6) 

Who is the most irresistible woman on the screen to-day? GRACE MOORE 
— whom the movies have finally revealed in all her glamour. She was born to 
inspire romance. Princes, dukes, millionaires have wooed — and lost — her. No 
man ever meant more to her than her career, until she met Valentin Parera. 

Then it was love at first sight! 


From West 

to Westerns 

Out in the Great, Clean Outdoors, where men are men, and 
women can't pursue them unless they do it on horseback — 
that's where movie plots are heading. The seat of drama 
will no longer be the sofa, but the saddle,- the only calves 
you will see will be cows' children,- and the sin will be taken 
out of cinema. Can you picture it? 

If all the Great Indoor Lovers have 

to go Western, what will happen to 

Leslie Howard? Will they let him 

be a "dude" rancher, maybe? . . . 


"Oh where, ok where, has my little plot 

Oh where, oh where, can it be? 
With its bedroom scenes and its her-o- 

Oh where, oh where, can it 

HOLLYWOOD'S new theme song! The eternal 
triangle — a man, a woman and a — oh well, we 
might as well call a spade a bedroom — that 
combination that has formed the basis of the 
screen's favorite scenario for lo! these many years, is in 
the discard. A new plot is taking its place. A new type of 
heroine is rearing her lovely head, and a new hero is 
squaring his manly shoulders. If, as some people con- 
tend, life goes in cycles, Hollywood has just completed a 
swell cycle. First Hollywood made the Westerns famous. 
Then Mae West symbolized the change that sent West- 
erns into limbo. Now we are back to Westerns again. 

From West to Westerns! Well, curves one day and 
calves the next. (The kind that bawl.) From chaps to 
"chaps." You figure that one out. From bare backs to 


Marlene Dietrich leaning against 
a tree outside a ranch corral . . . 
it just can't be. It's an optical 
illusion, a composite photograph 

bareback. According to 
the censors, there is 
practically nothing to 
fear from a horse unless 
you kick him; then you 
might stirrup 

Every studio 
in Hollywood is 
racking its brain 
and wrecking 
the nerves of its 

scenario department for stories that will pass safely by 
the suspicious eye of censorship. At the moment, the 
Eyes have it. But, in the future, with the studios giving 

It looks like Constance Bennett, trying to 

learn Will Rogers' rope stunt. But, really, 

it's a composite photograph . . . 

If Diamond Lil ever became Cactus Kate— this is what Mae 
West would be like. (A composite photograph gives you an 
idea.) Picture the stampede if she should ever say to the 
calves, "Why don't you come up 'n' get branded sometime?" . . . 

Every screen cowboy is a detec- 
tive (he's always detecting the 
villain's villainy), and now may- 
be every screen detective will 
have to be a cowboy — even 
William (Philo Vance) Powell, 
below. It's a composite portrait 

chitecturally and emotionally dangerous, the 
film executives are advocating moving from 
the parlor to the prairie; from the sofa to the 
saddle; from the boudoir to the barnyard. 
There is even a rumor that M-G-M may 
henceforth be Metro-Goldwyn-A/ar<r and that 
the accent in Paramount may henceforth be 
on the last syllable and that Radio Pictures 
may have to become Rodeo Pictures. 

Of course, one solution is to combine two 
extremes, and cast Mae West in Westerns, 
After all, her name is appropriate, at least. 
Can't you just hear Diamond Lil slurring to a 
dazzled calf, "Why don't you come up and 
get branded sometime?" Boy, what a stam- 

Imagine Jean Harlow dressed to kill a few 
cattle rustlers! If a composite photograph is 
any guide, she wouldn't be the same gal . . . 

Seriously, though, the screen story 
trend these days is definitely away from 
the sophisticated triangle and toward 
the great outdoor pentagon: a man, a 
girl, a moon and two horses. A boat, a 
pirate island or an airplane may be 
substituted for the horse. Anything 
that takes emotion out of the interior 
into the open. 


Does Maurice Chevalier have a secret yen to 

be another William S. Hart? This is how he 

garbed himself once, on a visit to Two-Gun 

Bill's ranch . . . 

their all to Westerns, 
the Neighs will have it. 
Working on the 
theory that any in- 
terior these days is ar- 

Madge Gets Her Big Break 

OR one group of picture players, 
this change means the glorious dawn 
of a golden opportunity. Consider the 
case of Madge Evans. When she first 
arrived on the Hollywood scene, there 
was nothing for her to play but sec- 
ondary parts. She had little opportun- 
ity to display her real emotional talents, 
because she looked so sedate, and a 
first-string heroine at that moment had 
to be able to look like the kind of girl 
who sins and suffers and sins and suf- 
fers down to the last reel. 
Of course, Miss Evans' career was hobbled by the 
heaviest handicap that an ingenue ever brought to a town 
devoted to the glorification of glamour. Hollywood 
couldn't forget that, as a child, she was the little cherub 
{Continued on page Sj) 




Go o d Samaritan 

By Eric L. Ergenbright 

IN writing this, I am deliber- 
ately violating a promise — 
and I feel justified in so 
doing. This story 
should be written. 
There is, in this mer- 
cenary, case-hardened 
world, so little selfless 
service, so little true 
charity, that it would 
be unfair to leave un- 
told the story about 
Rooms 351 and 353 in 
Hollywood Hospital — 
and the movie star and 
the doctor who are re- 
sponsible for them. 

I first heard about 
them from a man whom 
I had known as an in- 
valid, a man, now hale 
and hearty, who pref- 
aced his account by 
crying, in a voice 
charged with heart-felt 
emotion: "I'm not 
ashamed to say that 
I've gone down on my 
knees and poured out in 
prayer my gratitude to 
Joan Crawford and Dr. 

Carroll Photo s< 

"If ever I am a star/' Joan once told Dr. William Branch, 
"I shall share my good fortune with those who need it." This 
is the story of how she has kept that promise — the story of 
Rooms 351 and 353 in Hollywood Hospital — a story that 
she didn't want told. But it should be told! 

William Branch. Between the two of them, they 
saved my life — and more than my life. God bless 
them both!" 

Rooms 351 and 353 in Hollywood Hospital are 
two-bed wards. Over each entrance hangs a simple 
bronze plaque, which states, tersely: "This room is 
maintained through a grant made by Miss Joan 

That plaque was cast and hung there without 

Joan's knowledge by 
order of Dr. William 
Branch, her partner in 
one of the most beau- 
tiful charities Holly- 
wood has ever known. 
Had she learned of his 
plan, she would have 
opposed it — just as she 
opposed the writing of 
this story. Character- 
istically, Dr. Branch 
neglected to take credit 
for his share in their 
great enterprise; char- 
acteristically, when I 
(Continued on page 86) 

Joan Crawford (right) did not 
approve the plaque (above) placed 
over the door of Room 351 in 
Hollywood Hospital (top) by Dr. 
William Branch, her partner in 
aiding the sick and unfortunate 









for Charlie Chaplin 

Life is beginning all over for Chaplin at forty-five. He is in love for perhaps the first time. 

He has been watching the modern scene intently, and now is starting a comedy about it that 

will be his supreme effort — different from anything he has ever done. After that, he wants to 

show Hollywood a new way of telling a story with spoken words 

By Edwin Schallert 

CHARLIE CHAPLIN— still the great Chaplin— is 
embarking on his new picture, at last. Poet of 
screen comedy, he is going to defy all the rules 
and usages 
of to-day in the mov- 
ies and continue as a 
silent actor. This 
word is definite. Al- 
so, this time, he 
knows in advance 
every move that he 
will make. It is the 
first time in more 
than a dozen years 
that he has had a full- 
fledged scenario. 
And it is the first time 
since "The Gold 
Rush" that he has 
ordered lavish and 
spectacular settings 
— even more lavish 
and spectacular than 
that earlier picture — 
and planned huge 
crowds as the back- 
ground to his blend- 
ing of pathos and 
mirthmaking as the 
central figure. Chap- 
lin is "breaking 
forth," cutting paths 
in a new way; un- 
officially at least, it is 
a "new deal" for him 
and for his unique 
type of creativeness. 
Like the music dra- 
mas of Richard Wag- 
ner, or the books, say, 
of a Leo Tolstoy, a 
Chaplin picture now 
emerges as an event 
and a classic, with 
long intervals be- 
tween productions. 
The mood has to be 

right, and even then the comedian delves long and deep 
for each inspiration that is to light the way. He has been 
in the midst of his most fearful of all sessions of warring 
and battling with the Muses, or whatever it is that fur- 

nishes the proper stimulus for his comedies. He has been a 
virtual hermit, accessible much of the time only to his two 
boon companions and co-workers, Carter de Haven and 

Henry Bergman, and 
the beauteous Pau- 
lette (is she Mrs. 
Chaplin?) Goddard. 
Also, the one studio 
attache faithful 
through the years — 
Alfred Reeves, who 
was with Charlie long 
ago in Fred Karno's 
"A Night in an Eng- 
lish Music Hall." 

Chaplin goes into 
such seclusion as this 
only when the drive 
is searingly on. He 
comes out of it gen- 
erally when the job 
is finished. Mean- 
while, except for just 
a dip into a quiet 
luncheon place on the 
Boulevard, a theatre 
very occasionally on 
an off-night, or pos- 
sibly part of an eve- 
ning spent in dancing 
at some secluded res- 
taurant, he remains 
in practical isolation. 
But even within 
the memory of his 
closest associates 
there has been noth- 
ing like this latest 
plunge into the fervid 
seas of activity. Day 
after day, for weeks, 
he has gone loyally 
to the studio, and 
sequestered himself 
in an old one-story 
house on the back of 
the lot, which is 
known as "the sweat room." He has arrived promptly at 
nine in the morning; De Haven and Bergman have been 
there, but no one else. Paulette has been busy studying 
(Continued on page yS) 



In "The Age of Innocence," Irene Dunne and John Boles give 
poignancy to a problem that WAS a problem back in the Mid- Vic- 
torian era of the colorful '70's 

Claude Rains is both visible and chilling as the criminal lawyer 

whose murder of Margo, Mexican newcomer, is the "Crime 

Without Passion" 

Kay Francis an 
first time, both 


d Leslie Howard, together on the screen for the 
go adventurous in the suspenseful spy drama, 
"British Agent" 


Dunne and Boles as Lovers Again 

TRENE DUNNE and John Boles, together for the first 
JL time since " Back Street," dress up again in costumes of 
the last century and again know an unhappy love. But 
this time, with Edith Wharton the author of the story 
and with censorship what it is to-day, the romance 
doesn't get much beyond the platonic stage, though for a 
few moments it wavers. The result is a likable, if somewhat 
slow-moving sermon on thinking of others, not just oneself. 
The conflict of the drama is not between any two char- 
acters, so much as it is between two ideas: (i) the world 
is well lost for love, and (2) an ounce of righteousness is 
worth a pound of impulsiveness. Irene, an American girl 
who has married a Count, returns to New York of the 
1870's to get a divorce. The social Four Hundred look 
askance at her, particularly when she is seen with Lionel 
Atwill (the screen's best portrayer of roues), but her 
grandmother (Helen Westley) makes society take to 
Irene and like it. She gives her divorce case to the law 
firm of John Boles, who is engaged to marry her sister 
(Julie Haydon) and also commissioned to dissuade Irene 
from her suit. While doing it, he falls in love with her and 
she with him. 

A man of his word, however, he marries her sister; then 
discovers that he can never love anyone but Irene, and 
now goes in for persuasion, not dissuasion. That is the 
cue for the heavy dramatics, leading up to a poignant 
ending. Considering that the problem they labor with is 
archaic (what with divorce so commonplace to-day), the 
cast succeeds notably in winning one's interest and holding 
it. But I would like to see Irene unleash her poised dig- 
nity sometime. 


At Last — a Movie That's Unusual 

"/^RIME WITHOUT PASSION" is a picture that 
V_> should not be missed by anyone seeking something 
unusual in movie art. Ben Hecht and Charles Mac- 
Arthur, the most vivid, virile writing team of to-day, 
have taken an old theme, tricked it out with unexpected 
twists and acid wit, found new ways of telling with a 
camera what is going on in a man's mind, and, after a 
rising crescendo of horror, have ended the story on a note 
of irony. You may like being frozen to your seat and you 
may not, but I guarantee you will talk about it — and 
remember the experience. 

The principal character is a crafty, cold criminal lawyer. 
This is a species not unknown to film audiences, but as 
played by Claude ("The Invisible Man") Rains, now 
totally visible, Lee Gentry has a sinister quality that no 
savior-of-the-guilty ever had before — on the screen, that 
is. When he isn't cheating justice, he is cheating women. 
Tiring of a brunette dancer (played by Margo, a Mexican 
terpsichorean well-known on Broadway), he turns to a 
blonde socialite (played by Whitney Bourne of Park 
Avenue). When the brunette proves troublesome, he kills 
her. Unnerved at first, he listens to his crafty sell, care- 
fully covers his tracks, believes he has committed the 
perfect (i.e., clueless) crime, and thinks he has solved the 
problem of how to play savior to his guilty self. But the 
denouement, which catches audiences off-guard, is some- 
thing else again. I warn you — don't miss it, if you want 


to see some unusual acting (particularly by Rains and 
Margo), some unusual story-telling, and some unusual 
camera-maneuvering by Lee Garmes. And if you want 
to have some new sensations in a movie theatre. 


A New Howard, a New Francis 

BRITISH AGENT," which marks the debut of Leslie 
Howard and Kay Francis as co-stars, also marks a 
change in characterization for both of them. Howard, the 
mental romanticist, goes elemental and adventurous; Kay, 
who is also pretty good at portraying mental suffering, 
turns animated adventuress. And the suspense of the 
story sizzles like a lighted fuse on a bomb, with a terrific 
surprise due any moment. In fact, there is one breath- 
stopping scene in the picture in which the two are together, 
emotion-telling, unconscious of a nearby bomb. 

The scene is Russia; the time, during and just after the 
Soviet Revolution. Howard is a British consul, isolated 
and unwelcome in a turbulent country, but determined 
not to run until he learns a few things it might pay his 
own country to know; Kay is a Russian adventuress who 
is also risking death, for reasons best known to herself 
and a certain group of patriots. Their paths cross; each 
senses the secret purpose of the other; and against all 
reason, they fall in love. Then comes the age-old conflict 
between love and duty, which has more suspense than 
you would expect after all these years and all these movies. 
Here is a skillful blend of realistic acting, realistic back- 
grounds, and a realistic spy story. It's a rare combination. 


It Glitters, But Isn't Gold 

CHAINED" is a better picture than it deserves to be, 
considering its well-worn and hokumish theme. 
Joan Crawford finds herself in another emotional muddle, 
a bit to the sordid, with Clark Gable on one side of her 
and Otto Kruger on the other. First, she is secretary to 
shipping-mate Kruger, who can't persuade his wife to 
divorce him so that he can marry Joan, but has a substi- 
tute proposal. He sends her off on a Southern cruise to 
think it over. First she meets an amusing Americano 
(Stuart Erwin), then an Argentine rancher (Gable) and — 
well, you know the power-over-women these fiery Latins 
have. But she feels "chained" to her philanthropist, par- 
ticularly after she discovers he has found a wav to get a 
divorce, and marries him. Then, there being no villain, 
the hero still pursues her. What should she do? That's 
apparently what the scenarists wondered. Their solution 
of her predicament looks decidedly makeshift, solves 
nothing, proves nothing. If it weren't for the acting, the 
general liveliness, and the settings, it would be time 


The Witty West Clicks Again 

THE long headache that Mae West is alleged to ha 
had in making " Belle of the Nineties" is not manife* 
on her countenance. She never looked better, and she ha 
seldom — if ever — been more amusing. For what the cen- 
sors left can still be called good — and even clean — fun. 
(Continued on page go) 

By Larry Reid 

In "Chained," Joan Crawford debates between wealth and love — 
again. Otto Kruger represents the millions and Clark Gable, the 

Mae West, in a New Orleans setting, makes "Belle of the Nine- 
ties" good, clean fun. Johnny Mack Brown is one of her 
leading men 








By Jerry Asher 

It wasn't so long ago that VERREE TEASDALE 
was the unhappiest girl who had ever been 
dropped by a movie studio — because she "didn't 
have any glamour." Then Adolphe Menjou 
discovered that she was "the most stunning woman 
in Hollywood" — and Hollywood took another 
look. Now she is Mrs. Menjou, and tomorrow she 
will be a star! 

EVERYBODY knows that Verree Teasdale and 
Adolphe Menjou were married on August 25, 
after being engaged for nearly a year, and that it 
was her second marriage and his third. Every- 
body knows, too, that stardom is just ahead for Verree, 
who once was dropped by a studio. The newspapers have 
told that much. But there is another story that hasn't 
- told — the story of how Verree found her 
"s. Let me tell it this way: 

fled shrilly as it slowly began to 

" the Dearborn Street Station 

°-faced little woman, with 

"tngside it for a few yards 

ses to a younger woman 

ain that had begun to 

ulled away from her. 

away and was lost 

" young woman 

'v unaware of 

"•oist from 

season's smartest angle. Slowly, she looked around and 
began to take note of her surroundings. Her eyes fell on 
a copy of the morning Tribune, lying on the seat across 
from her. Gingerly, she reached across and spread it full 
in front of her. Across the top -in screaming bannerlines 
were the words: "Verree Teasdale Divorces Mate In 
Chicago." Slowly, almost mechanically, she folded the 

paper, laid it aside, 
looked out the window. 
This was the pic- 
ture I had of Verree 
Teasdale, as I left Chi- 
cago, on the last lap of 
a lonely journey back 
to Hollywood from New 
York. I could hardly 
believe my eyes as I 
realized who the un- 
happy young woman 
was. The last time I 
had seen Verree Teas- 
dale, she was working 
on a picture in a studio 
in Hollywood. That 
had been only a little 
more than two weeks 

I don't know which 

was the happier to see a 

friend. Verree believed 

n't going through puppy-love. for the moment that she 

us have been married betore. , i 11 - 

us know what is ahead of us. was having hallucina- 

determined to have happiness" {Continued on page Ql) 




The Newsreel of the Newsstands 

Thelma Todd has opened a cafe on the ocean front at Santa 

Monica. Why? "This is going to be my umbrella when that 

well-known rainy day comes along!" 

In "Wake Up and Dream," singing to June Knight, Russ Columbo 

won stardom at last. Two days after the preview, he was tragically 

dead. See story, page 39 




When Douglas Fairbanks Returns to Hollywood, After Long 

Absence Abroad, Mary Pickford Puts Out Welcome Mat at 

Pickfair for Him — Romantic Rendezvous Follow 

J. P. Graham, lid Monte 

By Dorothy Calhoun 

EVER since August 9, when word 
came to the movie town that 
Douglas Fairbanks had abandoned his 
plan for a trip to China to make a picture, 
after a long transatlantic telephone talk 
with Mary Pickford, Hollywood has 
gone ga-ga with expectation of a recon- 
ciliation. Determined to be romantic, 
newspaper reporters managed to make 
the brief pre-reunion statements eman- 
ating from the couple sound loverish, 
even though they consisted for the 
most part in "I won't discuss my private 

"Oh, Doug and I will very likely meet 
when he gets out here next week," Mary 
admitted, as she arrived from the East a 
few days in advance of her estranged hus- 
band. "There's no ill feeling at all 
netween us." 

Pickfair underwent a hasty house- 
cleaning. Fresh flowers bloomed in all 
the rooms. In Doug's old quarters Mary 
has never had anything changed. Friends 
say that Doug's things are scattered 
around as though awaiting him, and that 
his clothes still hang in the wardrobes. 

With everyone in Hollywood watching 
the returned prodigal, and keeping close 
tab on Mary's whereabouts, it was diffi- 
cult to stage a private first meeting, 
although the affair was managed in the 
best movie style. Mary's limousine idled 
before the Beverly Hills Hotel. The car 
bringing Doug from the station passed it, 
and the athletic star made a quick trans- 
fer from the one to the other. 

On succeeding days they lunched and 
dined together frequently. ("We are still 
pals," they explained.) They went on 
long, secret automobile rides, and they 
spent one day wandering over Doug's 
huge Rancho Zorro near San Diego. The 
actor started off for his country place 
alone, then turned around, drove back 
and induced Mary to accompany him. 
The breathless public was assured that 
"Mary Pickford smiled happily" or 
"blushed demurely," that "Doug was 
bubbling over with high spirits." 

Mary has said, "Reconciliation? ... I 
can't deny it. . . I can't say anything now." 

each year, and that Mary realizes that 
Doug's restless spirit cannot be content 
in one place for long, and she is willing to 
share his future explorations with him. If, 
as all the world sincerely hopes, Doug and 
Mary do take up life together again, the 
Cupid who will have brought them to- 
gether will certainly be rotund, senti- 
mental Joseph Schenck, producer and 
former husband of Norma Talmadge. 

He returned from Europe on the same 
boat with Doug and was the first to reveal 
the couple's transatlantic telephone talk. 
Schenck's own thoughts are naturally of 
a romantic turn these days, because of 

Have They Both Played "Cupid"? 

Producer Joseph Schenck (right) is credited with being the chief arranger of the happy 

reunion of Mary Pickford and Douglas Fairbanks. And Doug is said to have introduced 

Schenck to Merle Oberon, whom he will marry at Pickfair 

"I have no intention of returning to 
England," Doug has told intimates, as well 
as reporters. "I shall probably make my 
next picture right here in Hollywood, 
with some shots taken in China," he has 
announced. His plan is to make a "Caval- 
cade" of China, an idea that he has been 
mulling over for years. 

Mutual friends assert that Mary's long- 
pending divorce suit will be withdrawn, 
that Doug realizes that Mary is constitu- 
tionally unable to give up work and he is 
willing to work alongside her for part of 

his coming marriage to Merle Oberon, 
lovely English actress (you will see her in 
Doug's picture, "The Private Life of Don 
Juan"), whom he met and proposed to on 
the Riviera. "Doug and Mary really 
love each other," he declared recently. 
"I'd like nothing better than to be the 
instrument of their reconciliation." 
Schenck expects to fly East within the 
month to meet his fiancee, "if she doesn't 
change her mind," and has already ac- 
cepted Mary Pickford's invitation to be 
married at Pickfair. 




Radio and Screen Star Shot by Closest 

Friend, Photographer Lansing Brown, 

Who Thought Pistol Unloaded 

Brown, the Hollywood photographer. For 
seventy years the bullet had lain within 
the old pistol, one of a pair that Brown 
had acquired seven years ago for his curio 
collection. The two friends had been 
sitting in Brown's study facing each 
other across the table, and had been 
"talking about the future." 

Brown, toying with one of the old 
pistols on the table in front of him, had 
idly clicked the trigger time after time; 
then a match he was holding in his left 
hand caught between the hammer and 
the firing pin; there was an explosion as 
powder was ignited by the flash of the 
match; and a bullet struck the table, 
ricocheting to enter Columbo's forehead. 
If the other pistol had been in his hands, 
Columbo would be alive to-day; that was 
unloaded as Brown had thought both 

And so, at twenty-six ended the life of 
the poor Italian boy born Ruggiero Colum- 
bo, who had struggled up through dis- 
couragements, sickness and heart-break 
to the position of radio favorite and 
screen star. 

His last week of life was a fateful one 
for Russ Columbo. Only a few days be- 
fore his death, he had signed contracts to 
make phonograph records, and had re- 
ceived several fantastically generous offers 
of radio appearances. His movie contract 
earned him five thousand a week. Since 
his return to his native city two years ago, 
penniless and discouraged, this boy had 
made a fortune, which he invested in life 
annuities for his parents, his- brothers and 
sisters. The youngest of twelve children, 
Columbo regarded success as his chance to 

By Muriel Madden 

NOT many weeks ago, a writer sat 
in a barber shop in the next chair 
to Russ Columbo. George Hill's sui- 
cide had just rocked Hollywood and 
the two discussed it desultorily. "Well," 
said Russ, "I wouldn't want to kill my- 
self, but at least it's a quick way out. 
When I get mine, I hope it comes quick 
and sudden" — he snapped his fingers — 
"like that, so I don't even know what 
hit me !" How quick and how sudden 
it would be, he could not guess then. 
At twenty-six, death is unreal and im- 
possible. And just at the moment Russ 
Columbo had more to live for than ever 
before in his life. 

On a Friday evening three weeks later, 
as he climbed into his car after attending 
the preview of his first starring picture, 
"Wake Up and Dream" (whose title now 
has an ironical tinge), he said, "Well, it 
looks now as if I were really going places 
at last." 

The next Sunday afternoon he lay 
dead, from a bullet in an antique French 
dueling pistol, accidentally discharged by 
the hand of his closest friend, Lansing 

Above, a portrait of 
Russ Columbo made 
by Lansing Brown, 
below, who thought 
old pistols at right 
were unloaded. But 
one had a bullet 

do something for his family. They were 
never out of his thoughts or plans. 

Although it was Sally Blane who sat 
outside the hospital door when he died, 
it is Carole Lombard whom his death 
leaves inconsolable. For five months 
they had been That Way about each 
other. Russ wanted to marry the beau- 
tiful blonde star, but Carole hesitated at 
another marriage after the failure of 
her union with William Powell. His 
friendship with Sally Blane dated from 
childhood; he used to beau her about in 
high school. It is a curious coincidence 
that Russ Columbo at one time went 
with Dorothy Dell, another young and 
recent victim of swift Fate. 




When Car Breaks Down, Ralph Forbes and Heather Angel 

Thumb Rides to Yuma — English Couple Wed Six Weeks After 

Meeting, Much to Hollywood's Surprise 

By Joan Standish 

HOLLYWOOD was surprised and a 
trifle vexed to read that Heather 
Angel and Ralph Forbes had departed for 
Yuma to be married — and had continued 
onfoot,thumbingrides (dla 
"It Happened One Night") 
when their car broke down. 
Their respective employ- 
ers, mothers and friends 
had no advance hint of the 
wedding plans. And it is 
hardly considered palsy- 
walsy in Hollywood to 
keep one's romance com- 
pletely to one's self. People 
are not supposed to elope 
until the entire affair has 
been thoroughly discussed 
at all the luncheon tables 
in Hollywood. 

One of the most sur- 
prised people in town, when 
the news broke, was Ruth 
Chatterton, the First Mrs. 
Forbes, whose famous "civ- 
ilized divorce" still per- 
mitted her to claim him 
as an escort, confidant and 
dinner guest. There had 
even been rumors that 
Ruth and Ralph might re- 
marry, when she and George 
Brent decided which would 
get the divorce. "All of us 
think it was very incon- 
siderate of Ralph to get 
married just when poor 
Ruth is having so much 
trouble over her separation 
from George and all," a 
close friend of Ruth's con- 
fided to me. 

Though both are mem- 
bers of the British colony 
in Hollywood, Heather and 
Ralph had only known each 
other a few weeks, six at 
the longest. One explana- 
tion of their sudden dis- 
covery that they were made 
for each other is a common 
fondness for polo. Ralph 
Forbes is one of the best 
players in town, while Hea- 
ther has spent nearly every 
Sunday since her arrival in California at 
the Riviera field watching the games. 

The most plausible explanation of why 
a girl who had managed to remain un- 
married for twenty-four years should sud- 
denly succumb to matrimony is Heather's 
intimacy with Pat Paterson who once 
lived with the Angels in London and is 
Heather's best friend. Pat, as the whole 

world knows, is now Mrs. Charles Boyer, 
and a radiantly happy bride despite the 
sadness incident to seeing her bridegroom 
of three months off to Paris a few weeks 


they arranged to start for Yuma. Ralph 
telephoned his mother, Mary Forbes 
(who is a considerable actress in her own 
right), and she hurried over with her 
blessings and a gorgeous 
antique family ring of sap- 
phires and diamonds, which 
she took from her own fin- 
ger for her son's engage- 
ment ring. Next Heather, 
so the story goes, tele- 
phoned her mother, but 
Mrs. Angel's objections to 
such impulsiveness were so 
strong that she decided not 
to go home and get dressed 
for the trip, but to go as she 
was (in a green dress, the 
odd jacket to a suit, and a 
pair of patent-leather 

The last person to hear 
the news was Ruth Chat- 
terton, whom Ralph called 
just as they were starting 
out for Yuma at 2 a.m. 
Ruth thought that he was 
joking, apparently, for she 
kidded him about his ro- 
mantic plans at such an 
hour, while wishing him 

The car that carried the 
• elopers into Arizona suffered 
engine trouble, and in the 
chill gray light of early 
dawn the pair had to aban- 
don their automobile and 
start trudging along the 
dusty highway. A ram- 
shackle and aged machine 
with a kindly citizen of the 
neighborhood overtook 
them, noticed their frantic 
thumbing and took them in, 
and so Heather Angel and 
Ralph Forbes became Hol- 
lywood's first hitch-hiking 


Ralph Forbes and Heather Angel did the impossible — they kept 

Hollywood from hearing about their romance until the wedding. 

Ralph's former wife, Ruth Chatterton, was surprised 

ago. Pat's own romance was even swifter 
than Heather's, being just two weeks 
from introduction to altar. Friends of 
both girls say that Pat has been praising 
the married state to her friend ever since 
and doubtless sold her on the idea. 

At any rate, it was at Pat's home one 
evening that Heather decided to say 
"Yes" to Ralph. All in a few minutes, 

Ralph is having an addi- 
tion built on his house. 
Heather — at the time of the 
last reports — was still wear- 
ing the green dress and 
patent leathers, much the 
worse for wear after their hiking. 

Heather will continue her career. In 
fact, because she was scheduled to begin 
work almost immediately on "The 
Mystery of Edwin Drood" (Dickens' 
famous "unfinished" story, for which 
Universal has found an ending), all 
of I feather's honeymoon plans had to 
be delayed. 



Took name off his door, himself . 

'It was because he was alone . . ." 


Motive for Suicide of Young, Successful Director Remains a Mystery — Wills 
Bulk of Property to "Beloved Divorced Wife, "Frances Marion 

By Ann Slater 

GEORGE HILL, thirty-nine-year- 
old director at Metro, never 
planned the details of a picture he was 
about to make more carefully than he 
planned his own death. The news that 
he had shot himself, alone in his 
Malibu Beach cottage, was a complete 
shock to Hollywood — and a complete 
mystery. In the weeks since then, 
details have cropped out, bit by bit, 
revealing as strange a story as this 
town of strange stories has ever heard. 

Most suicides are the result of a mo- 
ment's despair, a temporary frenzy. In 
the case of successful, well-liked, always- 
smiling George Hill, it was evidently the 
result of many weeks of careful, system- 
atic planning. All the while that he was 
working daily at his studio, joking with 
his friends, taking trips, and consulting 
with his ex-wife, writer Frances Marion, 
over the script of their next picture, " The 
Good Earth," he was coolly considering 
the final scene in his own life-story. 

Just how long he had been thinking of 
an exit from life seems to be shown by his 
remark to a friend at Marie Dressler's 
funeral. George had been very fond of 
Marie, whom he directed in "Min and 

Bill," and during the simple funeral serv- 
ice the tears poured unabashed down his 
cheeks. As the company left the ceme- 
tery, a studio acquaintance said to him, 
"It was a beautiful service, wasn't it, 

"Beautiful, yes," Hill replied somberly, 
"but not the kind of funeral I want. I 
have been getting figures on cremation 
and I've got one place down as low as 
twenty-five dollars. I don't want my 
funeral to cost my friends much." 

Several days before his death, observ- 
ant associates at Metro might have 
noticed a mute warning that something 
was amiss with the director, but no one 
remarked that the door of his office 
looked unnatural. George Hill, without 
comment to anyone, had pried from the 
door the plate bearing his name. 

Different explanations are offered for 
George Hill's act. One is that on his 
recent trip to China to get scenes and 
material for "The Good Earth," he had 
seen so much human misery that he had 
no heart to go on in a world where such 
things were possible. He was known to 
have read and reread the book of Pearl 
Buck's, which leaves the taste of inescap- 
able sorrow and futility. 

His physician, on the other hand, be- 
lieves that George Hill, who was in an 

automobile accident several months ago, 
received injuries that had affected his 
mind. He had driven his car into a tele- 
phone pole to avoid hitting several chil- 
dren playing in the streets. 

But most of Hollywood is inclined to 
agree with columnist Harry Carr, who 
wrote, " George Hill died because he 
could not live with Frances Marion and 
could not live without her." The devo- 
tion between the director and his divorced 
wife — he was her fourth husband — was 
well-known. They were often seen to- 
gether, lunching and at previews. 

That this was the true explanation 
seems to be borne out by his will, which 
left three-sevenths of his fortune to "my 
beloved divorced wife, Frances Marion, 
and her two sons." To her, too, he left 
most of his personal belongings, with the 
note to relatives and friends that they 
were not to accept them when "knowing 
her generosity as I do, she tries to give 
them away." 

Since George Hill's death, Frances 
Marion has been in a serious automobile 
accident, herself, sustaining a broken 
collar-bone and a bad case of shock. She 
was shaken by the death of her former 
husband. " It was because he was alone," 
she told a friend, sadly. "He didn't have 
anyone dependent on him." 




Douglass Montgomery Lucky When Car, Whose Wheels Have 
Been Tampered With, Crashes on Straight Road — Jack La Rue 
Attacked in Sleep — Police Seek Madman 

By Hal Hall 

TWO ruthless and mysterious at- 
tempts upon the lives of prominent 
male players in Hollywood within the 
past few weeks have film stars trem- 
bling and local police trying to figure 
out whether or not there is a madman 
loose in Hollywood who is obsessed 
with the desire to kill picture stars. The 
two stars who have had narrow escapes 
are Douglass Montgomery and Jack La 
Rue. Both came within inches of death 
at the hands of unknown assailants, and 
both declare they do not know of a 
single enemy in the world who might 
want to see them dead. 

Montgomery's escape was miraculous. 
He was rehearsing a stage play at the 
Pasadena Community Theatre. Night 
after night, he parked his car in a dark 
and obscure corner of a lot adjoining the 
theatre. And he drove to his mother's 
home in Altadena each night after re- 
hearsal. One night, he was leaving the 
theatre when Universal Studios called 
him on the 'phone and asked if he could 
come right over to make a retake. He 
dashed out, climbed in his car and started 
for Hollywood, instead of up the hilly and 
winding mountain road to Altadena, 
where the slightest mishap would send 

His Window Crashed 

A heavy piece of timber shattered Jack 

La Rue's bedroom window late at night, 

and landed only inches from his head 

his car careening over steep embankments 
to the rocks far below. 

And — as he sped along the wide, smooth 
highway toward Universal City, one of the 
front wheels of the car came off and the 
car veered crazily, tilted to one side, 
crashed to the ground. The wheel rolled 
swiftly through the darkness and struck 
a nearby house. People came running to 
the scene. Then it was discovered that 
some fiend had taken of the hub caps of all 
four wheels, had removed the nuts that 
hold on the wheels, and had slipped the 
caps back on the wheels so that no one 
would notice what had been done — until 
too late! 

Montgomery shuddered as he made the 
discovery and realized that, had he gone 
to Altadena, as was his custom, his car 
would probably have been a tangled mass 
of wreckage in a canyon with his crumpled 
body beneath it. Pure luck saved him, 
and thwarted the vicious attempt at 

A few nights later, Jack La Rue was 
sleeping peacefully in his bed in a ground- 
floor bedroom of his home on Holly Drive. 
Suddenly, there was a crash of glass and 
a long four-by-four log of wood came 
smashing through the window and landed 
on the pillow only inches from the actor's 
head. The log was snatched back by the 
mysterious assailant and came crashing 
through again, but La Rue had rolled ex- 
citedly off the bed and was dashing for 
the bureau where he kept a pistol. As he 
turned on the light, his assailant slammed 
the log through the window a third time 
and fled into the darkness before La Rue 
could fire a shot. 

When the police arrived, they found the 
bed covered with broken glass, the log 
lying across the pillow, where it had been 
hurled, and La Rue, his father, a brother 
and two sisters almost in hysterics. An 
examination of the piece of wood revealed 
that the would-be murderer had worn 
gloves, thus leaving no tell-tale finger- 

The possibility that gangsters might be 
trying to intimidate stars for extortion 
purposes has been ruled out; the vicious 
methods indicate a desire to kill, not just 
frighten. So the police are seeking for a 
madman who, they think, is trying to 
avenge some imaginary wrong; or, per- 
haps, a man who has failed in pictures and 
is trying to gain satisfaction by maiming 
or killing men who have risen to promi- 
nence that he never can reach. And stars 
are doubling their vigilance and are won- 
dering who will be the next man to feel 
the wrath of this mysterious would-be 

His Car Crashed 

A wheel of Douglass Montgomery's car 

came off; later he discovered that all four 

were intended to do likewise 

The darkest part of the mystery is the 
fact that neither actor had received any 
threat, any forewarning of any attempt on 
his life. Even paranoiac madmen have a 
liking for frightening their prospective 
victims before trying to carry out their 
murderous intentions. 

Another baffling angle to the double 
mystery is the fact that Montgomery and 
La Rue are direct opposites — one being 
blond and a specialist in sensitive young- 
lover roles, and the other being black- 
haired and a specialist in character roles. 
Montgomery grew up locally; La Rue is 
from New York. They do not travel in 
the same circles, have never played in the 
same picture together. If a man should 
feel some unknown animosity for one, why 
should he feel it for the other? 

The police are convinced that one man 
attempted both murderous assaults. 1 hey 
reason thus because the movements of 
both actors had been so carefully studied 
in advance, and because gloves were worn 
in both cases, leaving no fingerprint clues. 
The cold-bloodedness of the preparations, 
coupled with the lack of warning, is what 
chills Hollywood. 

Of all the horror stories the screen has 
produced, none has chilled Hollywood 
like this true-to-life terror tale. 


Sjcrcc/k St/? /i Stor/cs 





Adapted from the 2.0th Century Pictu: 

# S c r e e n Play by Leonard Praskins 

^Directed by Sidney Lanfield 

# Released through United Artists 

'< F i c t i o n i z e d by 

M a r v Chad bourne-Brown 

THE wide white curve of staircase swept up and up, 
lighted by sunlight from an upper window. Mar- 
jorie's hand tightened on her mother's arm and she 
stood very stiff and straight, in the doorway. This 
was the Barr house. The house her first forefathers in 
America had built. The house where generations, all 
her own Barr features — the delicate aquiline nose, the 
long upper lip, the wide-set eyes — had been born and 
lived out their lives and died. . . . The most beautiful 
house in the world! Her ancestral home . . . she belonged 

Soon now they all would be here, all the living Barrs. 
Her uncle Judd Barr. Her great-aunt Augusta Barr 
Prichard. Aunt Augusta's adopted son, Allan Blaine; 
but he was negligible because he wasn't really a Barr. 
And the head of the house, Cabot Barr, her grand- 
father! Marjorie shivered a little with excitement, and 
then stood straighter than ever. For no Barr showed 

"Whether Mr. Barr is expecting me or not, I can't say," 
her mother was telling the butler, Claude. "He wired 
me about the memorial services for Lovicy. . . . This is 
the baby." Her mother's voice had a slightly defiant ring. 

Of course. She was the 
Barr baby, the last of the 
line. She'd been two years 
old when Claude had last 
seen her, sixteen years ago 
-when Cabot had turned 
her mother out of the house 
because she hadn't been 
born a boy! She ought 
to hate Cabot for that. 
But, curiously, she didn't. 
. . . The last of the line. 
He had had a right to want 
her to be a boy. . . . She 
followed her mother into 


George Arliss. . . .Cabot Barr 
Edna May Oliver. . .Augusta 

Janet Beecher Helen 

Charlotte Henry. : .Marjorie 

Ralph Morgan Loring 

Edward Ellis Claude 

Frank Albertson Allan 

Rafaela Ottiano. ..... Retta 

Donald Meek. { Judd 

the dim library. Other relatives waited there. 

The room buzzed and whispered with the 
tickings of twenty clocks. There was a little 
French one on the Adam mantel. The room 
was wide and the corners deep and cool. The 
Barrs had builded well. Gentlemen of taste, 
they had been, even in Puritan Massachusetts; 
lovers of beauty, even when beauty was forbidden 
the righteous. Stalwart, God-fearing stock, yet 
with a taste for wine and lovely women. . . . They 
married girls as beautiful as her mother had been, and 
they built houses like this one. . . . She ought to hate h 
grandfather. He had been stubborn, pig-headed, abou 
her mother. But she didn't hate him. Ever since s 
could remember, she had wanted to know him . . . 

Suddenly, somewhere up above the curving staircase 
she heard a voice speaking an old man's voice, but ri 
and deeply resonant 
and full of a twisted 
kind of laughter. "I'm 
holding these services 
for Lovicy because she 
was a Barr," it said. 

Her grandfather! 
Marjorie leaned for- 
ward, listening. 

"She felt it her duty 
to go to China and be a 
missionary," the deep 
voice went on, hiding, 
somewhere in its 
depths, a sardonic 
chuckle, "although per- 
sonally she loathed the 
Chinese. That's the 
sort of stuff the old 
Barrs were composed 

Another voice an- 
swered, indistinguish- 

"These," her mother 
was saying, "are your 
Uncle Judd and your 
Aunt Retta. This is 
Aunt Augusta Prich- 
ard, Marjorie. And 
this is Allan." 

"You've grown very pretty, my dear," Aunt Augusta 
said, kissing her. "You look exactly like your grand- 

"Is he very pretty, too?" Marjorie asked, demurely. 

There had been no footfall on the stairs- no sound at 
all — but, suddenly, the deep voice made Marjorie jump. 
She had a feeling it was intended to make her jump. . . . 

"So you came, Helen ?" Cabot Barr said. "After 
sixteen years!" 

Her mother's arm tightened about her waist. But 
Marjorie turned, stiffly. Barrs weren't frightened, not 
even by the head of the house. 

"So you sent for me?" she heard her mother say, 

"Let's have a look at you," Cabot Barr said to her 
mother, looking down his nose and ignoring Marjorie. 

She could ignore him, too, then! But out of the tail of 
her eye she watched him. A grand old man, fit to be the 
head of the house of Barr. A slight, erect old figure, with 
the family's aquiline nose made narrow and more pro- 
nounced by age, with the delicate Barr fingers, clasped 
over the slender, beautiful head of an ivory cane. With 
the shrewd mouth and the kind eyes of a man who has 
lived life long and fully and with discernment. 

"I'm bound to say you've worn well, Helen," he was 

face is 

a trifle 
raddled, but 
thank Heaven 
you've kept 
your stomach 

"Mother," she 
said, "I think 
grandfather is 
rather a dar- 



"Augusta, I -want to be buried in white satin, please" Cabot Barr said. 

Her grand- 
father's expres- 
sion never 
changed at al 

except that his eyebrows lifted and he stared at her. 
"Oh, do you?" he said. "I'm sorry I can't return the 

But that, of course, meant he did return it, thought 
Marjorie with satisfaction. All Barrs were always afraid 
of being sentimental. 

"And why in the name of heaven do you think I'm a 
darling?" he snapped. 

Marjorie giggled again. "I think you're funny," she 
said. "I think of funny things, too, but I haven't the 
courage to say them!" 

"At your age!" Cabot Barr snorted, and turned his 
back on her. "You're a disgraceful young miss with a 
perverted mind." 

"I suppose it's because I'm like you," Marjorie offered 

The whole family stood silent, staring at her. Aunt 
Augusta gaped, and Uncle Judd's pouchy eyes were 
glassy. It was he who broke the silence. "So Lovicy is 
dead," he said at length. 

Aunt Augusta began to sniffle. Uncle Judd turned 
the corners of his mouth down, and eyed the floor 

"And I'll probably be the nexjt," Cabot Barr said. 
"Augusta, I want to be buried in white satin, please. 


sent for 

er father 

It makes one look so much deader!" 

Beyond the doorway the sunlight lay on the 

polished dark flooring, on the silky pattern of the rug. 

A breeze blew warm through the doorway, and all 

about the shadowy room the clocks whispered: 

"Don't talk about such things, Cabot, they're horri- 
ble," said Aunt Augusta, shuddering visibly. 

Cabot smiled, gently, this time, his eyes on the warm 
patch of sunlight. "One the contrary, very beautiful," 
he said. "I've done my living. I haven't been nig- 

Tears were hot behind Marjorie's lids as she listened, 
and the room swam in a mist of them. 

"Life's been like a bottle of fine wine," her grand- 
father was saying. "I've drunk slowly, discriminatingly. 
Now I'm ready for the next bottle. Death's the next 
bottle . . . I'm getting thirsty for it." 

That had been one of the things his shrewd old eyes 
had been trying to say to her. Don't be afraid of me. . . . 
Don't be afraid of living. . . . No Barr is afraid of any- 
thing. . . . 

Marjorie sat at the luncheon table, and something 
in the neighborhood of her diaphragm contracted un- 
comfortably. Not because of Aunt Lovicy's services. 
They had been bad enough, with the minister suffering 
from laryngitis and the townspeople murmuring vapidly 
about Aunt Lovicy's virtues. . . . No. 
Because of the clocks. Because she had 
started all forty-eight of them so they 
would strike in the middle of the services! 
It had been a horrible thing to do! 

But it had been Allan's fault. If she 
hadn't overheard him telling Claude that 
she was being nice to her grandfather only 
because she wanted his money. . . . He 
should have known a Barr never did any- 
thing because of anyone's money! Not a 
proper Barr. Uncle Judd might. . . Anyway, 
Allan ought to know now. Her grand- 
father would probably boil her in oil, and 
that would prove to Allan that she wasn't 
trying to get around him. She sat, her 
small fists clenched under the table, watch- 
ing the old man make his progress to its 
head. Cabot Barr's face was sober, imper- 

" Hooligans, both 
of you! Get out. 1 " 
Cabot stormed. 

turbable. Marjorie could feel the back of the 

dining-room chair straight behind her spine; 

her face was as expressionless, as impassive 

as his own. She sat very still, and waited. 

Cabot Barr slipped into his place and laid the 

ivory-headed cane on the floor beside him. 

"At your age, Augusta, I would call that a silly 

prank," he said suddenly, after he had asked the 


Aunt Augusta turned purple. "Call what a silly 
prank?" she demanded, hotly. 
"Starting those clocks. ... I gather that you are 
trying to deny your guilt ?" 

Aunt Augusta's aquiline Barr nose turned red at its 
tip, and she began to sniffle. "Judd!" she wailed. 
"Allan! Lend me a handkerchief!" 

Scared as she was, Marjorie chuckled inwardly. 

Grandfather's gray-haired, kind friend, Henry Loring, 

silently handed Augusta a handkerchief, across the table. 

She took it gratefully, then rose to her feet and scurried 

from the room, mopping her eyes. 

"She probably only helped start them," Cabot re- 
flected, aloud. "It was somebody else's idea. . . . Some- 
body who wanted to bring me to an early grave. . . . 

Uncle Judd lifted a carefully-aggrieved face. "There 
are some things which even a devoted son cannot accept 
from his father," he intoned. "Such an accusation — 
I'm leaving, sir!" He turned from the table, and Aunt 
Retta followed. In the depths of her grandfather's 
eyes Marjorie saw the faintest hint of a twinkle. 

It hadn't been her mother, nor Henry Loring, nor 
Claude. But it was fun to watch her grandfather accuse 
each of them — fun, if it hadn't so prolonged her own 
agony. At last, she found her voice and managed to 
make it heard. "I did it, grandfather," she said. 
"And I helped her," said Allan. 

Old Cabot smiled. "I've been waiting for you two to 
confess," he said. 

Almost, for a moment, Marjorie thought that he hadn't 
minded much. That he wasn't angry, really. That he'd 
thought it funny. Then his deep, accusing voice cut her 
comforting reflections short. 

"A disgraceful thing to do," he said, curtly. "A very 
disrespectful thing. Hooligans, both of you. Leave 

Tears welled in Marjorie's eyes, and she could hardly 
see to find her slow way to the door. She hadn't wanted 
his money. But she had wanted him to like her- and 
now she'd disgraced herself past any chance of his lik- 
ing! Then she heard his deep-throated chuckle. 

Far down, below the green slope of hillside, the river 
flowed, a wide flat ribbon of silver. A humming-bird 
hovered over Marjorie's head in the fragrant syringa 

hedge, and the little handkerchief-square of field was pied with 
daisies. She turned the page of her book, unseeing, and sighed. 
If only it weren't for the absurd stuffed peacocks, and Allan. 
. . . The stuffed peacocks made more sense than Allan! Even 
if you did fall over one under every bush. ... A long shadow 
fell across her book, and she turned another page and stared 
at it in careful preoccupation. 

"You needn't think I'm trying to make friends with you," 
Allan protested. "It's only that you represent something a 
little less boresome than stuffed peacocks. And a bunch of 
stuffy people." 

He shouldn't make fun of her grandfather, thought Mar- 
jorie. Nor of the family. Why, he wasn't even a Barr. . . . 

"I like the people and I adore the peacocks!" she told him 
tartly, rising. "And since I can't read while you're around, 
I'll go elsewhere." 

A week of this already, she thought, groaning inwardly. 
And three weeks more to come. . . . If only their elders wouldn't 
stare out of the window at them so hopefully. As if they 
really thought she'd fall in love with Allan! She could see the 
whole row of their heads, now, at the cottage window. 

"Marjorie!" her mother called. 

"Allan!" called Aunt Augusta. 

Marjorie made her slow way to the house, peevishly kicking 
a stuffed peacock in the doorway. 

Cabot Barr sat, a king enthroned for judgment, in a chair 
far away across the living-room. The sun shone on his white 
aureole of hair, and his long fingers clasped the ivory head of 
his cane. He glared at the pair of them as they crossed the 

"Oh, there they are!" he said, and Marjorie quaked. What 
was wrong now ? What had she been doing ? 

"I tell you both," Cabot thundered, "I forbid this love- 

Marjorie gasped. Love-making! But her grandfather, 
her darling, wise grandfather, the only person who made this 
place bearable her grandfather had gone mad! Her own 
wide-set eyes glared back into his. A lump rose in her thro;it\ 



it ha 

had icon- -but 

d hurt him ier- 

M ' arjorie saiv. 

But he looked beyond 
her. He rose to his feet, 
pointing his cane accusingly 
first at her and then at 
Allan. "I forbid this moon- 
ing about," he said. "The 
country hereabouts has, I 
admit, a romantic atmos- 
phere. But that is no 
reason for you to regard 
it as a stimulus. The trees 
and flowers you are to 
look upon merely as trees 
and flowers. Not as a 
background for puppy 

But this was awful! 
What a thing for him to 
think, about her and Allan. 

Allan! Outraged, she 
turned and fled from the 

By the brookside the 
moss was cool and the 
shade grateful. Marjorie 
laid her aching head against 
the damp earth and bit 
her lips to keep back the 
tears. Barrs shouldn't cry. 
Not even when they were 
insulted by their darling 
grandfathers. . . . 

"Lying on wet ground is 
an old Barr custom for 
curing colds, I suppose," 
said Allan. "I'm sorry. 
It's all my fault — those 
beastly clocks. I got you 
into this. ..." 

He sat down beside her. 

Just now she was glad to have him. She felt so awful 
about all this. . . . Queer, how nice his cheek felt against 
her own, how comfortably his arms went around her. 
"You're the only one in the family who's got any 
sense," he was murmuring tenderly. 

An hour later, arm linked in arm, they faced their 
elders again across the wide living-room. Cabot Barr 
looked at her strangely. "Grandfather, Allan and I 
want to tell you — " she began. 

But Allan's voice was stronger and he finished bravely, 
for both of them. "That we're going to get married," 
he said, "and you're not going to stop us!" 

Her mother was smiling. Aunt Augusta fluttered over 
to them, murmuring something congratulatory. But 
Marjorie's eyes were on her grandfather's face. She 
hoped he wouldn't be too angry. . . . But he was laughing! 
He was slapping his knee, and roaring with laughter! 
The ivory cane had fallen to the floor. 

Suddenly Marjorie saw. This was what he had 
wanted. He had known that the way to make a Barr 
do something was to forbid it! She caught his eyes and, 
throwing back her head with his own gesture, laughed as 
gaily as he. She was glad. He had been right. She 
and Allan belonged together. 

"Get my lawyer on the wire, Henry," said Cabot 

Henry Loring dialled the operator and Cabot took up 
the receiver. 

"In my former will, Johnson," he said, "I left all my 
property to my eldest son, Judd. Draw up a new one. 
I want all my money, with the exception of the minor 
bequests, to go to my granddaughter, Marjorie Barr— 
and to her husband, Allan Barr." 
Marjorie gasped. 

"Blaine, sir," Allan corrected amiably. "My name's 

Cabot lifted his eyebrows. "You're to change your 
name," he said. 

Allan shook his head, still courteous. "Not I," he said. 
Old Cabot's heavy eyebrows drew together. "What's 

wrong with the 
name of Barr?" 

"Nothing," Al- 
lan answered re- 
spectfully. "It just 
doesn't happen to 
be my name. It's a 
good name, but so 
is Blaine." 

Allan simply 
didn't understand, 
thought Marjorie. 
She'd have to ex- 
plain to him how 
much it mattered 
to her grandfather, 
having the name 
of Barr go on with 
his descendants. 
But it was too 
late. . . . 

"Hello, John- 
son!' Cabot 
screamed into the 
mouthpiece. "Did 
you take down 
everything I said ? 

"Need you ask? 
You've seen my son, 
Judd" Cabot Barr 
said meaningly . 

Well, tear it up again!" He turned back to his gaping 
relatives, his face livid. "Every penny I have goes to 
Judd," he thundered. "And you all can go to the devil!" 
Marjorie collapsed in Allan's arms, weakly. Aunt 
Augusta whimpered. Her mother stared stonily out of 
the window. 

Then wheels spat gravel on the drive outside, and Uncle 
Judd was in the doorway. "I want to know why you 
come up here, and tell me nothing about it?" he began 
truculently. "You don't invite me. So I come up — 

The mild man in Uncle Judd's wake looked benignly 
over his spectacles. Cabot Barr glared belligerently at 
both of them. 

"A reasonable statement," Cabot Barr said, with sur- 
prising mildness. "I don't invite you, so you come. How- 
ever, for once you've come at the right time. I've an 
announcement to make to you." 

"I know," Uncle Judd roared, "you've changed your 
will again. Well, I'm not going to stand for it! I'm your 
only son, and therefore your only heir. This is Professor 
Shumaker, the alienist. I've brought him up here to 
examine you." 

Marjorie clutched Allan's hand tightly, shocked to her 
very soul. So this was the sort Uncle Judd was! Calling 
her grandfather insane! Wanting only his money! Not 
liking him, not being proud of him, not understanding 
him. ... So that was why Uncle Judd had been so ab- 
surdly interested, had scribbled so earnestly in his fat 
little black book, when Claude told him about the collec- 
tion of clocks, the stuffed peacocks. Symptoms. Evi- 
dences of insanity. Uncle Judd was horrible! 

Cabot Barr looked the gentle-faced professor over at 
length, dispassionately; and the ivory-headed cane 
tapped on the floor. "When would he like to begin his 
examination?" he asked. 

"At once, if you like," said the professor. "Of course, 
you realize this will be a completely fair examination. 
I do not intend favoring your son's opinions at the ex- 
pense of the truth." 

Cabot bowed, and seated himself, a king enthroned 
again, in the armchair. 

"Do you ever hear voices?" Professor Shumaker 

Cabot nodded soberly. "Almost constantly," he said. 
"Surrounded as I am by an exceedingly garrulous family 
and having excellent hearing — " 

The Professor chuckled a little. "Do you suffer from 
nightmares ?" 

Cabot Barr's eyebrows lifted. "Need you ask?" he 
said. "You've seen my son, Judd." 

The Professor chuckled again. "Have you ever 
suffered from epilepsy, Mr. Barr?" he continued. 

"No," he said. "Not myself. But in my family — 

Judd looked hopeful. The professor leaned forward, 

"My son, Judd," said Cabot Barr, "used to throw 
terrific fits when he was a child. ..." 

Uncle Judd grew red, and snorted. 

"Terrible ones," Cabot continued, blandly. "His 
nurse dropped him on his head when he was a year old. 
Purposely, I think. However, we thought at the time 
it was an accident and discharged the girl. . . . Professor 
Shumaker, I expect to call you very shortly and con- 
sult with you about having my son placed in an asylum." 

"I shall be very glad," said the Professor, "to be of 

He had won, of course. But it had hurt her grand- 
father terribly. Marjorie knew. Barrs joked when they 
were really hurt. She watched Uncle Judd driving away 
with the alienist, and her hands ached to close about his 
throat. . . . 

The red disk of the sun lit the mist beyond the hills 
to crimson. Cabot Barr's head {Continued on page] 2) 


she k~j i andJ oan 
lost £ ( 


laid a 

THE peace of the Bradford library and of Mr. Brad- 
ford were disturbed by a voice calling imperatively: 
"Joan! Joan?" 

Mr. Bradford glanced up briefly from his paper 
and quickly buried himself in it again as the voice 
came closer. 

"Henry!" said Mrs. Bradford, entering, "Where's 

I don't know," he said and returned to his paper. 

Mrs. Bradford took it from him firmly and tossed it 
on the table. "Henry, what are we going to do about 
her?" she demanded. 

"What's the matter?" 

"To begin with, she refuses to give any explanation 
for her conduct New Year's Eve." 

Henry Bradford's eyes dropped. "Oh, that ' he 
said uneasily. 

"I never was so mortified in my life!" insisted Mrs. 
Bradford. "I must have an explanation of why Joan 
would deliberately fail to appear when all her guests 
were here; when she knew her engagement to JellifFee 
Travis was to have been announced! I must have an 
explanation!" Agitatedly she moved about the room. 

"Have you tried the third de- 
gree?" he suggested. 

"I think she owes it to her parents!" Mrs. Bradford 
exclaimed forcefully. "And where does she go nights? 
Every Wednesday, Friday and Sunday night for the 
last three weeks? I think we both ought to talk to her. 
I think " 

"Now, dear," he soothed her. "Let's not fly off" the 
handle. Suppose I have a talk with her alone? I'm 
sure we'll find there's nothing to worry about. Joan's 
a pretty level-headed girl." He pinched her cheek. 
"Takes after her mother." 

She went away, shaking her head dubiously. 

Bradford went back to his paper, but presently 
dropped it, listening attentively as he heard a door 
open. "That you, Joan?" he called lightly. 

"Yes, Dad," answered a girl's pleasant voice. 

"Why don't you come in and say 'hello' to a fellow?" 

"I thought you might be busy." Joan, a slender, 
pretty girl of twenty or so, came into the library. 

"Just trying to learn something about the stock 
market," he said, folding the paper. 

Then, very casually: "Going to the theatre?" 

"No," Joan said. 

"The usual Wednesday night?" 

;;Ye S .;' 

"Don't you think we ought to get together on this?" 
he asked, smiling affectionately at his young daughter. 


"We couldn't do better if we had a million 
dollars," Bob commented enthusiastically . 

"You want to know where I go?" she studied him. 

He shook his head. "Not unless you want to tell me. 
But your mother is a little worried." 

She nodded. "I know." 

Joan's father studied her for a moment. For years 
he and the girl had been cooperating to avoid scenes 
and tension with Mrs. Bradford. "I think we should 
agree on some convincing explanation," he suggested. 
"It would save a lot of trouble. Now let's see . . . 
where would a girl go every Wednesday, Friday and 
Sunday night?" 

"The movies," Joan offered, not very helpfully. 

He shook his head. "Not very 
convincing. How about settlement 
work? Seeing how the other half 
lives ?" 

Joan's face brightened. "That's 
what I'm doing," she said sur- 
prisingly, "and I'm learning a lot!" 

Her father looked at her ques- 
tioningly and she came and perched 
on the arm of his chair. 

"I've found people in this town 
who have never been to the opera 
or seen a polo game, and they're 
still human beings," she told him. 

He nodded. "I can understand 
that." Bradford had started from 

'Where is this settle- 
"There isn't 

the 'other half himself, 
ment house?" 

"Why ..." she hesitated, 

"Don't you think we'd better have one?" 
"Oh, Dad," she said impatiently, "if Mother 
insists on knowing, I'll tell her the truth!" 

"Now wait a minute — that depends . . . 
What is the truth?" 

For a moment she gazed thoughtfully at 

the floor. "I met some people New Year's 

Eve in a chop suey place. They think I'm 

poor, broke, out of work. I took a little 

place in the house where I told them to 

let me out that night. They think 

I live there." She looked up with 

sudden enthusiasm. "Dad, we have 

such good times — and they're the 

finest people I ever met. They've 

tried to help me — tried to find me 

a job. They're — they're real. They 

don't stop where the pavement ends." 

Bradford patted her arm. "I see," 

he said thoughtfully. "I don't think 

your mother would wholly approve, 

but — why don't you invite them to 

the house?" 

Joan looked up with a start. "Oh, I 

couldn't! That would spoil everything. 

He thinks I'm . . ." she halted, her face 


"That's what I was afraid of," her father 

said seriously. 

"But you needn't be." Joan's voice was 
firm, assured. "It's perfectly all right." 

"My dear, I wasn't thinking of that. You 

know I trust you. I'm thinking of what your 

mother would say." He rose and took a 

worried turn up and down the room. "And 

suppose the newspapers get hold of it?" he 

continued. "Joan Bradford 's double life . . . 

society girl's romance with poor young clerk . . . 

Or what does he do?" 

"He's a . . ." Joan gulped. She couldn't say to her 

father, so many prosperous years removed from his 

humble beginnings, "He's a window cleaner." She 

tried again. "He helps manage a business firm." 

Bradford groaned a little. "Joan, this is loaded with 
dynamite! You can't tell your mother any such story 
as this." 

Joan put her arm around his waist. "Then we won't 
tell her," she concluded lightly. "Let this be our secret. 
I can take care of myself, Dad. You can trust me." 

He looked searchingly into her clear eyes, smiling 
fondly. "You'd better hurry or you'll be late for your 

settlement work." He gave 
her a parting hug, was 
kissed for his trouble, and 
watched her run from the 

Far up Riverside Drive 
Joan and Bob got out of 
his little Ford and walked 
to the edge of the embank- 
ment. The lights on the 
Palisades across the river 
were scarcely brighter than 
the stars. Close together 
they stood, looking out over 
the river. 

Bob said meditatively: 

• Adapted from the Warner Brothers 

• Directed by Mervyn LeRoy 

• Fictionized by Margaret E. Mahin 


Dick Powell ........... .Bob Lane 

Josephine Hutchinson./oem Bradford 
John H alliday ..... Henry Bradford 

Frank McIIugh ...... Tom Bradley 

Marjorie Gateson . . . .Mrs. Bradford 


"// you want 
to quit, go 
ahead!'' he 
the others. 

"Funny how a fella can get to like the things he used 
to think were silly ... I used to pass this spot and 
see couples gazing at the moon like a lot of saps. That 
is, I called them saps then. I bet there's many a guy 
passing right now saying the same thing about us!" 

Joan smiled silently, hugging his arm against her. 

"'Cold ?" he asked. 

She nodded. "A little." 

"Let's sit in the car." 

They walked back to the car, and he settled her 
warmly, then turned on the radio. "Pretty swell, isn't 
it," he said contentedly, as Joan snuggled against him. 
"sitting here, with a band playing for us. Say, we 
couldn't do any better if we had a million dollars." 

Joan darted a quick, half-amused glance at him. 
"Not as well," she said. 

"How do you know?" he kidded her. "Did you ever 
have a million dollars?" 

"No — not quite," Joan said in a small voice. 

Bob laughed. "I'll say you didn't! Me either but 
that doesn't mean we won't! You know, I got a 
hunch . . ." he stopped as a familiar tune drifted in 
over the radio. "Remember?" he whispered. 

She nodded. "New Year's Eve!" 

They both listened, then Bob began softly to sing 
the words. They were silent again after the song was 
finished. A note sounded and the announcer's voice said: 
"This service comes to you through the Lamb Broth- 
ers, the home of blue-white diamonds. A wedding or 

engagement ring is intended to last a lifetime. Why 

not let her wear it while you pay for it ? One dollar 
down and the ring is yours." 

Bob fished in his pocket. Quizzically he regarded 
the few crumpled bills produced by the search. "That'll 
be taken care of," he commented, and they both laughed. 

He started to put the bills back in his pocket, then 
looked from the money to Joan. "You know, Joan, 
he said hesitantly, "you've been out of a job for a long 
time, and while you that is, your clothes still look 
pretty good, still — a girl needs a pair of stockings every 
now and then. And then again, you have to eat . . . 
so . . . until you get a job, why ... I ..." he tucked 
the bills into her hand. 

Joan found her eyes moist, her voice shaky. "Thanks, 
Bob," she faltered. "I couldn't " 

"What do you mean, you couldn't ?" he asked quickly. 
"It's not like we're strangers. You're my girl, aren't 
you? Gee, I get worried about you — no folks, no job! 
I'd like to help out." 

"You have, Bob," Joan said warmly. "And I well, 

I have some pros- 
pects. I'm sure 
something will turn 


"Sure, it will," he 
agreed stoutly. "But 
I wish you didn't 
have to work at 
all. Maybe some 
day. . . ." He broke 
ofF, his eyes on the 
starry river. "Say," he 
said confusedly, "you' 
make a fellow forget ani 
thing! I've got an appc 
ment in half an hour wit! 

"About your window- 
route ?" 

He.nodded. "Yeah- 
it for me I'm all set to 
week-— maybe more." 

Seeing the eager interest in Joan's face, no one 
could have guessed that a hundred a week was just pin 
money to her! 

Bob's voice went on: "You know what that means? 
Why say, we could . . ." again he caught himself self- 
consciously. "Well," he stammered, "it means a lot 
more than it used to." He put his arm lightly about her 
shoulders. "Wish me luck, will you?" he asked. 

Joan snuggled close into the circle of his arm. "I 
wish you all the luck in the world," she said tensely, 
and as she looked up into his eyes the star-gleams in 
them tangled with those in her own. Their lips met 

Presently Bob said breathlessly: "I don't know how 
it happened . . ." he glanced up again with a little 
smile . . . "but I'm not apologizing." 

Joan laughed softly. "Nor I . . ." she gave his 
hand a quick, happy squeeze. "Good luck!" she said. 

But Bob had forgotten that politicians are not in 
business just to help along ambitious young men. Jim 
Meehan smiled disdainfully at Bob's seven hundred 
dollars. He seemed impressed by the fact that Bob 
had saved his seven hundred in three years, but two 
thousand was his price — and a bargain at that, he gave 
Bob to understand. 

Bob went away with dismay in his heart. Two thou- 
sand dollars! And it had taken him three years to save 
the seven hundred! Despairingly he thought of Joan. 


' ' W e r e you 
really in love 
with her?'' 
B r a d f or d 
asked slowly. 

'Don't worry 
about it" Bob 
said. "I've got 
xt all figured 
out, right now!" 

And when he got 
to the office the 
next morning, he 
found more trouble 
waiting for him. 
Racketeers had de- 
eded to invade the 
window-cleaning business, 
by the simple method of 
itting out of business all 
the firms legitimately in it. 
3ob's boss had told him of the 
lation several days before, but 
s morning he came in to find his 
men mutinous. They had been warned 
by the racketeers that they would go on the 
job at their own risk, and several of them were quitting. 
"Yeah," one of them said bitterly to Bob when he 
protested, "what have you got to worry about? Sittin' 
at a desk all day — not out on a window ledge waitin' 
for somebody to take a pop at you." 

Bob scrambled into a pair of overalls, picked up 
bucket, sponge and safety belt, and beckoned to his 
friend, Tom. "Come on, Tom," he challenged. Then 
turned to the others. "If you fellows want to quit, go 
ahead." Slowly they followed him out. 

The first few days went smoothly, and none of the 
Ryan gang's threats were carried out. 

He told Joan all about it on Sunday night. "It 
won't take me long now," he assured her. "You see, 
this new job gets me thirty bucks a week extra, and 
every nickel of that goes in the bank." 

Joan laughed affectionately. "With your ambition, 
you'll be a millionaire before you're thirty!" 

"I don't want to be a millionaire," Bob said soberly, 
"but I do want to get fixed so I can — well, I want to be 
able to ask a certain girl to marry me." 

Joan's eyes lighted, and a little smile curved her 

"Meehan says if she's any good she'll wait," Bob 
went on softly. "Think he's right ?" 

She nodded. "I think so — if she loves you." 
They had come to a halt before Joan's rooming-house, 

and Bob scanned the girl's face with eager speculation. 
"How do you find that out?" he asked. 

"You can usually tell," Joan said reflectively. "But 
if you want to make sure, you might ask her." 

"Say, that's a good idea!" Bob leaned toward her, 
but a cop strolled into the scene, grinning a friendly 

"Oh, hello, officer," Bob said, embarrassed. He turned 
back to Joan. "I'll talk the matter over with you the 
next time I see you." 

"I wish you would." A smile lurked behind the sober- 
ness of her tone. "I might be able to give you some 

On Wednesday, the- Ryan gang's threats were made 
good. Bolts were loosened on the building where Bob 
and his crew were working, and one man fell to his 
death. Bob, himself, missed it by a finger clutch, and 
Joan was frantic when she heard of it. 

"But everything is all settled," Bob assured her, as 
he met her outside the office. 

"They got Ryan and his crowd where they can't do 
any more harm. And then again, if I'm going to be a 
boss, I've got to be an example to the men. Besides, I 
want to make that extra money now, more than ever." 
He drew a little closer to her. 

"If you only had that two thousand dollars now!" 
she murmured. "Mr. Meehan would see that you got 
your own business right away, wouldn't he?" 

"Sure," he said lightly, "but who's got two thousand 
dollars ? Now, don't worry about it, will you ? With 
me holding down two jobs and saving my pennies, I've 
got it all figured out . . ." 

Some one called him, and with a quick glance around, 
Bob took Joan in his arms and kissed her. "See you 
tonight, dear," he said tenderly. 

"Well," said Tom's voice behind them, "I guess that's 
taken care of!" 

Tom grinned wickedly next morning as the sound of 
lusty singing came up to him where he was working on 
a window. He leaned out and looked down. A story 
below, Bob was vigorously applying cleaner to an office 

"Feeling kind of peppy this morning, eh ?" Tom called. 

Bob glanced up and grinned. "You bet I am — and 
I've got a right to feel that way." 

"All right, I'll bite — why?" Tom asked accommo- 

"Well," Bob explained, as he adjusted the handle of 
his wiper, "last night I asked a certain somebody a 
{Continued on page 70) 



I've got as 

much money 

as she has 

— morel 




GREGG was back again! 
When, after sixteen years of assorted joys and 
sorrows, you at last had yielded to the inevitable 
and divorced your husband. . . . When you had tried gal- 
lantly and valiantly to adjust your life, and those of your 
children, to a new routine in which he had no part. . . When 
nothing ever altered the fantastic emptiness of life with- 
out him. . . . There was no use in being upset, Vera con- 
cluded, whenever he dropped in, in the old gay, irrespon- 
sible way, to see you and the children. Even though your 
heart turned over frighteningly. . . . Even though you could 
not forget that Gregg was unpleasantly in the toils of his 
leading-lady, Alma Hastings. . . . Even though you tried 
desperately to remember that James Dalton had asked you 
to marry him. . . . You were just so happy to see Gregg 
again! And the children were so happy. . . . 

It had been momentarily embarrassing. . . . To come into 
the shabby little house, which was their home if she some- 
how could manage to raise the rent— now two months over- 
due. . . . To step out of James Dalton's impeccable 
car, and, followed by the impeccable Dalton, to enter 
a scene so typical of the irresponsible Gregg — Gregg, 
in his shirt-sleeves, merrily assisting Bobby to bathe 
the dog, Prince. . . . Prince, leaping from the tub, 
to smear egg shampoo plentifully upon Dalton's 
impeccable trousers. . . . Gregg's cheerful aplomb. . . . 
The shining faces of the children. . . . Dalton's pained, 
reproachful smile. . . . His hasty, and unregretted, 
almost unremarked leave-taking. . . . 

Vera Sheldon looked at her ex-husband. Looked 
at Phil and Lucille and Tom and Bobby. Despite 
her confused emotions she smiled. 

"They turned off the gas, Mother!" Lucille spoke 

"Oh, dear — well, never mind. . . . Run along, chil- 
dren. I want to see your father alone." Vera took 
off her hat, and, as the youngsters scampered out, 
she turned to face Gregg. 

"You're as pretty as ever — prettier!" He gazed 
at her approvingly. 

"Am I ?" Again her heart leaped oddly. Why 
should it matter to you, now? she reminded herself. 
"Gee! I'm glad to see you!" Gregg's eyes shone. 
"I'm glad to see you," Vera said with quiet emphasis. 
Gregg was supposed to contribute to the children's support — 
but it had been a long time now since anything had come 
from him. He had been on the road, with his show. "You 
came in the nick of time," she smiled, "to save us from 
eviction and starvation. You can begin the rescue by tak- 
ing us all out to dinner. The children will love it." 

Gregg's face fell. "I can't, Vee — I'd love to — but I can't." 
He turned away, troubled. 

She looked at his back. "What's the matter, Gregg — 
broke ?" 

He nodded. 
"The show was a flop?" 
He turned toward her. "On account of Miss Alma 
Hastings' superb acting," he said with bitterness. 
"So she's shut down on you ?" 
"For the moment, yes. . . . You've no idea what I've 
been through," he continued vehemently, "ever 
since we started rehearsals. . . . Her money — her 

show " 

"And her man!" Vera could not resist the thrust. 
"Don't rub it in, Vee!" He gazed at her pleadingly. 


"You don't expect me to sympathize, do you ?" She 
smiled wryly. 

"Of course not. I'm only getting what I deserve. . . . And 
I'm getting it! I only wish you and the children didn't 
have to pay for my mistakes. . . . I'll make it up to you some 
day, Vee! Some day I'll produce a show that's a knock-out." 

"I'm sure you will, Gregg." 

He smiled gratefully. Picked up his hat and coat. "I'll 
get some money for you, somehow " 

"Forget it," Vera said quickly. "There's enough in the 
larder for a meal of sorts. Stay here." 

"You haven't asked me to dinner since — the divorce." 
He looked at her eagerly. 

"I'll see what I can dig up." She started toward the 

"But I can't stay, Vee." His face clouded with distress. 
Stumbling, he tried to explain about Alma. She was so 
jealous of his former wife and his children. . . . She'd raise 
such a row. ... "I told her I was going to the Lambs'," 
he ended ruefully. 

"She certainly has you scared." Vera looked at 
him oddly. 

"Me— scared ?" He rose to the bait. "I'll stay. . . . 
I'll show you how scared I am!" He picked up the 
phone. Dialled a number. "Miss Hastings?" he 
assumed a business-like voice. "This is the Lambs' 
Club. Mr. Gregory Sheldon asked that you be in- 
formed that he is tied up in an important theatrical deal 
and won't be able to dine with you." He hung up 
abruptly and grinned at Vera. "There!" he exulted. 

"Not scared — much!" Vera mocked. "Well, come 
on — you can make the salad dressing — as you used 
to do." 

"You're adorabJe, Vee!" Gregg sighed. 

Even a meagre meal was a merry one tonight. 
Gregg was in marvellous form. The children openly 
worshiped him. 

"Gee, Daddy — " Bobby besought him, "why don't 
you come back here and live?" 

And then the doorbell rang, and into the briefly 
possessed Eden came the serpent. 

Miss Alma Hastings was not for a moment deceived by 
the business-like message from the Lambs' Club. She 
knew where she would find Mr. Gregory Sheldon. She knew 
what she would say to him. She said it. All Gregg's suave 
diplomacy was of no avail against that bitter venom. And 
when she had thrust at him, she turned on Vera. 

"You enticed him here — out of spite — and jealousy!" 

"I've never been jealous of any of Gregg's women," Vera 
thrust back, quietly, scornfully. 

"I'm not 'one of Gregg's women'! I tried to put him 
back on his feet, after you made a failure of him," Alma 
raged. "And you keep him so worried, he can't keep his 
mind on his work, and the show's a flop!" 

Vera's face grew white. 

"None of that, Alma," Gregg warned her. 

"So long as you get money for those children, you don't 
care whose money it is, or where he gets it!" Alma cried. 

"Not in the least," Vera said coldly. "But — get out 
of my house." 

"Yes!" Gregg added. "How dare you come here 
and insult her? As for taking your money — I've 
earned every cent — trying to make an actress of 
you! Belasco couldn't do it! Lubitsch couldn't do 
it " And he glared at her reproachfully. 

think I'll 
never suc- 
ceed at any- 
thing!" Gregg 
looked dejected 

# Adapted from the Universal Picture 
^Directed by Edward Buzzell 
Based on the Stage Play by Christine Ames 


Adolphe Menjou Gregory Sheldon 

Doris Kenyon Vera Sheldon 

Charlotte Henry Lucille 

Reginald Owen James Dalton 

Betty Lawford Alma Hastings 

Dick Winslow Phil 

Dickie Moore Bobbie 


B o b b y 



don't you 






Absorbedly Gregg helped the children to bathe Prince. 

"Oh, couldn't they ?" Alma's face was scarlet with furv. 

"No! They couldn't!" 

"Well — you won't get another chance to make a 
sucker of me! Losing my money on flop shows — kidding 
me — just to get money for her — well, you're welcome to 
her! I'm through!" And she flounced out. 

"Charming woman- — delightful conversationalist!" 
Gregg smiled wryly. 

"I'm sorry I lost my temper and ordered her out," 
Vera said. 

"If you'd been a little more tactful — " Gregg mused. 
"I had an idea of talking her into doing another play. . . . 
But that's out now." 

"Completely," Vera agreed. "And you're out, too." 

"Completely." He shrugged. 

"And the rent's due," Vera chanted, "and the light — 
and the telephone." 

Gregg picked up his hat. 

"Where are you going?" 

"The rent's due," Gregg chanted. "And the light 
and the telephone!" 

Thoughtfully he went down to the Lambs' Club. 
One might pick up a lead there. . . . Make a contact. . . . 
As he sat with some friends, over a glass of beer, he 
listened abstractedly to a drift of music from a piano 
in a corner of the room. Suddenly he rose. Went over 
to the pianist. 

"What is that junk you're playing?" he demanded. 

"Junk?" Fritz Speigle looked up at him reproachfully. 
"Dot iss de music I haf composed for my operetta — 
'The Princess and the Yodler'!" 

"It's terrible," Gregg commented. 

"Terrible? I haf played it for Guitry in Paris — for 
Cochrane — for Rinehart in Berlin — und dey say my 
music iss better than Wagner! Fifteen minutes applowse 
in Berlin— Miinchen — Prague — everyplace!" He turned 
back to the piano excitedly, playing, describing the 
action in rapid, broken English. 

Other actors gathered about to listen. "It doesn't 
sound like a bad idea," one said. 

It wasn't! Gregg knew — it was the idea — the very 
one he wanted! Swiftly he talked with Fritz. And 
presently, the precious manuscript lovingly tendered 
into his hands, he strode off to telephone Alma Hastings. 

But that lady, hearing Gregg's voice, hung up. 

For a moment Gregg was disconcerted, but only for a 
moment. Summoning a messenger, he instructed the 
boy to take the manuscript, hastily thrust into an en- 
velope and addressed to himself, in care of Miss Alma 
Hastings, to the lady's apartment. And there, presently, 
he presented himself — thrusting through the barely 
opened door, past the indignant woman, into the room. 

"There's a package here for me — a manuscript," he 
said. "Give it to me, and I'll go." He looked about. 


Saw the envelope, lying open on a table. "You've got a 
nerve, opening my mail!" he exclaimed, hiding his satis- 

"What are you going to do with it?" Alma came 
toward him anxiously. 

"It's great?" Gregg whistled a few bars of the score. 
"Can you imagine Gilda Thorndyke in it?" 

"Gilda Thorndyke!" Alma's voice was charged with 

"She's perfect for it," Gregg burbled happily. "Voice 
— -figure — everything. . . . Well, goodbye, Alma. I'm 
glad we're parting friends." 

"Friends!" Alma exclaimed bitterly. "You get me 
into flops — then when you have something decent, you 
give it to Gilda Thorndyke!" 

"You said we were through," Gregg reminded her. 

"I didn't — I've always wanted to do an operetta — — " 

"You'll find one, some time." Gregg's voice was 

"When? Where? You have one right in your hand. 
... I know it will be a hit!" 

"But it's all set with Gilda." Gregg assumed an air 
of discomfiture. "She's got the dough." 

"I've got as much as she has — more!" Alma cried. 
"Please, Gregg — don't I mean anything to you ?" She 
flung her arms about him. "This is my chance, Gregg, 
darling! You can have everything just the way you 
want it. I'll give you the money. ... I won't inter- 
fere " 

Gregg sighed happily as the taxi bore him back to 
Vera's cottage. Smiled as he gazed at the huge hamper 
of food beside him. Exulted, as, presently, he explained 
the situation to Vera. "It's a knock-out!" he boasted. 

"They're all knock-outs — " Vera's voice was faintly 

"I've never been wrong, Vee," Gregg insisted. "Not 
about an operetta. I haven't been right several times — 
but I've never been wrong!" 

But this, alas, was one of the times when he was not 
right. . . . Not quite right, at least, in his choice of Alma 
Hastings for the leading r6le in the operetta. What the 

Once more Gregg appeared with a hamper of goodies. 

critics said of her, after the opening performance, left 
that lady in a state of frenzy beyond description. 

Beyond description, also, was the state of the apart- 
ment, when alarmed neighbors summoned the police. 
Everything movable had been thrown — at Gregg! 
Everything breakable had been broken — including 
Gregg! Even the policeman laughed unkindly when 
a curious neighbor pointed out the obvious origin of the 
war, in the newspaper comment. And in the midst of 
the confusion Gregg slipped out. 

Vera, looking eagerly for the morning paper, was 
astonished to be unable to find it. How odd, that it 
should not have been delivered! She was so anxious 
to know the reports on Gregg's operetta. 

Then Dalton phoned. 

"What?" Vera answered. "Something about Gregg — 
on the front page? No, I haven't seen the paper yet." 

"Wait till you see it . . ." Dalton's voice came exul- 
tantly over the wire. "No ... I won't spoil it for 
you. . . ." He laughed meaningly. 

Puzzled, Vera went back to the breakfast table. The 
children seemed strangely abstracted this morning. 
She had to urge them to eat. 

"Did you see the paper, Phil?" Vera asked. 

Phil looked at Lucille. "It didn't come, Mother," 
he said. 

"What do you want with the paper, Mother?" Lucille 
put in. "There's never anything in it." 

Going to the kitchen to replenish the milk-pitcher, 
Vera caught sight of an edge of paper, protruding from 
beneath a cushion on the living-room couch. With a 
hasty glance at the dining-room to be sure that she was 
unobserved, she hastened across the hall and took out 
the paper. As she looked at the headlines, her face 
clouded with pain and dismay. Hastily she read: 

"Impresario and Star Battle in Love Nest 

Gregory Sheldon, -producer of 'The Princess and 

The Yodeler , and his star, Miss Alma Hastings, 

apparently got into a fierce altercation in the wee hours 

of this morning. When the police arrived, the love 

"Everything is settled now," he declared triumphantly. 

"Obtaining money under false pretenses,''' the officer said. 

nest was practically wrecked. Miss Hastings was 
in a hysterical condition and refused to divulge the 
cause of the quarrel ..." 

Replacing the paper where she had found it, she 
went back into the dining-room. Her eyes softened 
as she looked at the four children, understanding how 
they had tried to save her pain. Then her heart con- 
tracted sharply with anger at Gregg, for putting his 
children in such a position. She must do something 
about it — for their sakes . . . 

At last the children were ready for school. She saw 
Phil dash into the living-room. When he came out, he 
had his school-books hugged tightly under his arm, con- 
cealing something. Her eyes misted with tears as she 
watched them run down the walk. Saw Phil, looking 
anxiously about, thrust a paper into the ash-can, then 
hurry after the others. 

She must do something . . . Jim Dalton never would 
embarrass the children. . . . He was so — she smiled 
sadly at the word J — impeccable! Jim Dalton was a 
millionaire. . . . He could provide so pleasantly for 
them — schools, colleges, horses, cars — clothes for Lu- 
cille. . . .Pretty things. . . . Pleasant things. . . . Not 
embarrassments — not hardships — not disillusion and 
regret and pain. . . . Jim wanted to marry her — 
wanted to give her and the children everything. . . . 
For herself, she wouldn't consider it — but you had to 
take material things into consideration, if you had 
children. . . . Jim Dalton was a gentleman. . . . He 
was a friend. . . . She checked a sob rising in her throat. 
He just didn't happen to be the man she loved! 

When the children came home from school she looked 
at them anxiously. Awkwardly they evaded her subtle 
questioning. Everything was all right at school, yes, 
indeed. . . . Silently she pasted sticking plaster on 
small Bobby's cut chin. 

"I'm going out with Mr. Dalton," she said suddenly, 
after luncheon. "Don't worry about the dishes. I'll 
do them when I get back." 

"We'll do them," Lucille said quickly. 

Bobby strutted. "No kid's gonna call my Dad an 
impresario!" he boasted. 

"Impresario? There's nothing wrong in that," Vera 
said casually. 

"He said he was a lady-killer, too — it was in all the 
papers — all the kids saw it — Daddv didn't kill a lady, 
did he?" 

"Shut up!" Phil vainly tried to stem the small boy's 

But Vera only smiled. 

"Of course not, dear," she told Bobby. "It was 
sweet of you, Phil — and you, Lucille, and Tom — to 
try to keep it from me." 

{Continued on page 72) 




IT was a year since Martin had died. . . . They had 
learned to speak of him casually now, remembering 
his gaiety, his wit, shutting away in their hearts the 
manner of his death, the cruel significance of it. . . . Shut- 
ting away, each one of them, secret knowledge, deter- 
minedly hidden. 

Except to Maud Mockridge, perhaps, the truth re- 
mained forever unguessed. Only to her penetrating 
novelist's mind were the half truths strangely revealing. 
She was a writer. Her books dealt with just such 
tragedies — the tragedy of unrequited affection, the 
tragedy of faithlessness, of momentary follies leading 
to disillusion and disaster. 

She was aware of Martin's 
tragic death. It had hap- • Adapted from the RKO-Radio Picture 

pened while she was visiting • Directed by 

the Chatfields the year before. Phil Rosen and Arthur Sircom 

Suicide, the Coroner's jury • Based on the Play by J. B, Priestley 

had decided. Martin was 
Robert Chatfield's adored 
young brother and a junior 

member of the publishing PLAYED BY 


She sat now at the Chat- Mclvyn Douglas. .Charles Stanton Robert zoas wrong, Charles thought. 
fields' dimng-table, her eyes V ; ■ • R riir „ nhn**i PppI Much beiter t0 let sleeping dogs lie! 

resting now on Robert Chat- Virginia Bruce (Jlwen feel r « * 

field, her publisher, on Freda, Conrad Nagel .... Robert Chatfield 

his wife, who she surmised, EHn O'Brien Moore Freda tlJ 0l T n Pee, u cam ? toward th u er P- 

did not love nun, on Lharles Is there anything 1 can do to help 
Stanton, one of the junior Betty r urness Betty y OUj before you sail, Miss Mock- 
members of the firm, and on Henry Wadsworth Gordon ridge?" she inquired. 

lovely young Olwen Peel, the n • n i A/f , A/f , • , "Thank you, I don't — " suddenly 

firm's readeF, for whose favor Dor,s L,o y d ■ ■ • • Maud Mockridge the older w ' Qman fixed quizzical ey / s 

Stanton sought in vain, now Ian Keith Martin on the girl, "well, yes— you might do 

on Betty and Gordon, a pair something about Charles." She smiled 

of charming youngsters who as she saw the girl flinch slightly, 

seemed still to live in the glamour of their honeymoon. "He seems so at loose ends. Couldn't you marry him, 
Miss Mockridge had come over from England to see her my dear?" 

publisher, and the Chatfields were giving a dinner for "Really ..." Olwen felt an embarrassed flush stain 

her on the even of her departure. her cheeks. 

Dinner over, the ladies went into the drawing-room, "I find him utterly charming," Maud Mockridge 

leaving the men to their cigars. Miss Mockridge settled gazed at her innocently. 

herself in a chair and lighted a cigarette. "This place Olwen stammered: "The world is full of charming 

is so enchanting — " she looked at Freda. "I shall people." 

remember you when I get back to England. Such a "You're entirely mistaken. It isn't ..." the other 

snug little group. Everybody so happy." insisted. "Besides— I like neat patterns — Freda and 

"Are we?" Freda returned her smile. "I wonder. ... " Robert, Betty and Gordon if you'd interest yourself in 

"Well, aren't you?" Charles, there'd be perfect symmetry." 

"Yes, I ... I guess so." It wasn't too convincing. Desperately Olwen changed the subject. "I'm inter- 


"Telling the truth," Charles maintained, "is about 
as healthy as skidding around a corner at sixty!" 
But Robert was determined to know the truth about 
Martin's death. He regretted it bitterly, afterward! 

ested in a white owl Freda 
saw in her garden. . . . Any 
chance of seeing it tonight, 

"Why, yes — we might. 
It comes every evening, 
about this time. I'll turn 
out the lights." 

In a soft ray of moonlight 
the four women stood for a 
moment silhouetted against 
the window. Then, with 
shattering suddenness, came 
the sound of a shot. 

"Robert! ROBERT!" 
Freda cried, and with one 
impulse they all rushed to 
the dining-room door. 

In the shaft of light from 
the candelabra on the dining- 
table, Robert Chatfield 
stood, a revolver in his hand. 

Martin's suicide inevitably suggested that he had taken the 
missing bonds! It was hard to believe — harder to bear. 

Gordon and Charles stood beside 

"What are you doing?" Freda's 
voice shook with mingled relief and 

"It's all right." Her husband 
smiled apologetically. "I was show- 
ing my gun. Took a crack at a flower 
pot out there. It was stupid. . . . 
Hope I didn't frighten anybody." 

"It's all right — " Freda sighed 
shakily, "so long as no one is hurt." 
Back in the drawing-room she 
switched on the lights. 

"They frightened the life out of 
me!" Betty exclaimed. "I hate 
guns." She shuddered as she re- 
called that dreadful morning when 
Stanton had called up Robert to 
tell him of Martin's death. 

Miss Mockridge smiled musingly, 
as if she were building a story in her 

"You must miss your brother-in- 
law," she said. 

"What made you think of Martin ?" 
Freda looked at her. 

"Just being here, I suppose. . . . I'm 

Freda said: "It was the pistol 

"Oh, no." the novelist protested. 
"Oh, don't feel 
upset, Miss Mock- 
ridge. We talk of 
Martin a lot." Freda 
crossed the room, 
pulling on a light 
to illuminate a por- 
trait. "Perhaps you 
remember this," she 
went on. "One can't 
afford to forget any- 
one so gay and 
charming and hand- 
some." She extin- 
guished the light 
abruptly. "Yes — - 
we all do miss 
him. ..." 

"Miss whom ?" 
Stanton came in, 
followed by Gordon. 
"Did you miss me?" 
He looked at Olwen. 
"If it pleases 
you." She smiled 

"It does — very 
much." He sat 
down beside her. 
But her eves 


voice came 
over the wire, J 
telling Robert { 
of Martin's • 
tragic death! 

turned toward the door, lighting softly as Robert Chat- 
field came in. 

"And what have you all been talking about?" he in- 
quired pleasantly. "Miss Mockridge's new novel — 
'The Sleeping Dog' ?" 

"Wrong," Olwen said. "We were talking about a 

"What does the title of the book mean ?" Betty asked. 

"It's taken from the old proverb," Olwen answered. 
" 'Let sleeping dogs lie.' " 

And Robert explained: "The 'sleeping dog' is the 
truth, which the chief character of the book — the hus- 
band — insisted on disturbing, with strange and dis- 
astrous results." 

"Truth is always strange," Stanton said. "Often 

"Strange or not, I'm all for it," Robert persisted. 
"It's healthy." 

Stanton smiled wryly. "Telling the truth is about as 
healthy as skidding around a corner at sixty." 

"The real truth," Olwen mused, "with nothing miss- 
ing — wouldn't be dangerous. . . . But what most people 
mean by the truth is only half the real truth. ... It 
doesn't tell all that went on inside everybody. ... It 
simply gives you a lot of facts that were, perhaps, a lot 
better hidden away." 

"Right you are." Stanton's grin was faintly mocking. 
"It's treacherous stuff." 

Robert moved toward them, his lean, sensitive face 
deeply earnest. "I don't agree," he insisted. "I'm al- 
ways ready to welcome what you call truth . . . the facts." 

"You would be, Robert." Freda sighed. 

"What do you mean by that?" 

"Anything. Nothing." She turned away. 

The radio emitted a weird howl. Gordon, who was 
twirling the dials, shrugged. "A tube's out," he said. 


"There may be another one in the cabinet," Freda 
said. She turned to the others. "Who wants a drink? 
Fix the highballs, will you, Robert?" Lifting a small 
box from the table, she passed it to Miss Mockridge. 
"A cigarette?" she offered. 

"No, thanks. I'm a slave to my own brand." 

"Olwen ?" 

"Oh, I remember that box. ..." Olwen took a cig- 
arette from it. "It plays a tune, doesn't it?" 

Freda closed the box and put it on the table. "It 
can't be this box you remember." There was a faint 
edge to her voice. "This is the first time I've had it 

"It belonged to Martin, didn't it?" Olwen said. "He 
showed it to me." 

"He couldn't have shown you this box, Olwen. Martin 
didn't have it when you saw him last." Abruptly she 
turned away. 

"Couldn't he ... " Olwen gazed at Freda's back. 
"Then. . . . Perhaps I'm mistaken. ... I must have seen 
a box like this somewhere, perhaps, and thought ..." 
She broke off. Looked up nervously. Robert stood 
beside her, his eyes thoughtful. 

"Olwen — " He set down on a table the tray of high- 
balls he was carrying, "I'm going to be rather rude. . . . 
You stopped telling the truth then, didn't you ? You're 
positive that is the box Martin showed you. . . . And 
Freda is positive that it isn't." He looked from one to 
the other. 

"It was Martin's." Slowly Freda turned and faced 
them. "But Olwen couldn't have seen it because she 
said, at the inquest, that the last time she saw Martin 
at his cottage was a week before he. . . . And Martin 
didn't have the box then." 

"You gave it to him?" Betty put in curiously. 

Freda nodded. "I saw it in a shop. It was amusing 

Printed in V . S. A. 

and rather cheap. So I had it sent parcel post — two days 
before he ... " 

"So he must have got it that last Saturday?" Robert 

"But he didn't," Gordon exclaimed. "I was there 
that day, when the mail came. There was no parcel. 
Freda — you didn't send it — -you took it to him." 

"Well—" Freda hesitated. "I did. I saw him that 
night — shortly before dinner." 

"Then — " Robert said slowly, "you were the very last 
person to talk to Martin, betore " 

"Was I?" Freda looked at Olwen. "You must have 
been at his cottage — that night." 

"I was . . . After dinner — about nine o'clock — " Olwen 
grew pale. 

"But this is crazy! First Freda — then you — and 
neither of you said a word about it at the inquest!" 
Robert stared at them. 

"I'd been worried — about something. ... I had to see 
Martin, to ask him about it," Olwen stammered. "No- 
body saw me go — nobody saw me leave — I felt it couldn't 
do any good to tell about it." 

"Was it something to do with the missing money?" 

A tension grew in the momentary silence that followed. 
The hardest thing to bear in Martin's death was the 
thought that he had stolen some money from the firm, a 
bond belonging to one of its writers, which had been 
kept in the firm's safe and, when the writer asked for it, 
had been missing. Martin's suicide inevitably had led to 
the conclusion that he had taken the bond. 

"Martin's gone." Gordon stirred nervously. "Leave 
him alone, can't you? Shut up about the rotten money!" 

"Gordon!" Freda looked at him warnmgly. "I think 
we'd better change the subject, Robert. We must be 
boring Miss Mockridge." 

"I beg your pardon," Gordon 

"Not at all." She rose. "But I 
really must leave — I'm sailing soon." 

The room seemed suddenly quiet, 
after she had left — something like the 
hush preceding a storm, Olwen 
thought nervously. She strolled out 
on to a small porch and stood gazing 
over the moonlit garden. Betty and 
Gordon bent over a jig-saw puzzle. 
Stanton followed Olwen. 

"It doesn't seem quite real, does 
it?" she murmured dreamily. 

"A perfect setting for a romantic 
scene." His voice was sentimental. 

"Don't be silly — " she turned her 
face up to his. "I meant, I feel as 
though none of us is quite real tonight 
— as though we might wake up any 
minute and find that all the things 
we've been saying and doing are just 
a dream. ..." 

Charles Stanton looked thought- 
fully down into her eyes. "I feel that 
way — when you smile at me," he 

Olwen shook her head reproach- 
fully. She was conscious of mingled 
relief and uneasiness when Robert 
joined them. Uneasiness mounted as 
he returned to the subject they had 
been discussing — drew them back 
into the room, where, presently, 
under his insistent questioning, truth 
rose like a fearful ghost. 

It wasn't, Olwen thought again, 
real. . . . They weren't really saying 

these things to one another. . . . They were intelligent, 
sophisticated young people, who understood the im- 
portance of maintaining illusions — illusions of happiness, 
of faithfulness, of mutual respect. . . . One didn't tear 
them down, whatever happened. . . . 

She looked at Robert, at Freda, at Charles, at Gordon 
and Betty — and as she looked each seemed to undergo 
some dreadful transformation. And in their startled eves 
she saw herself equally strange to them, as, inexorably, 
the illusions that made lite sane were shattered . . . 

Like words heard in a dream, the dreadful sentences 
fell. . . They had believed Martin a thief, when he shot 
himself. . . . Now, it appeared, he had not taken the 
money. . . . Who, then? Who, among them, was both 
thief and liar? 

Olwen trembled as she was forced to reveal that Martin 
had thought Robert had taken the bond. ... It came out 
that Charles had led him to think so. . . . Then — Charles 
was the double scoundrel! Olwen heard Robert's voice 
flaying him. . . . Heard Charles confess to having taken 
the money, because of a pressing need — meaning to pay 
it back before it was wanted. . . . Heard Freda saying 
that Olwen had kept silent because she loved Robert. . . . 
Freda confessing that she had loved Martin. . . . 

A darkness seemed to envelop them all, like that dark- 
ness when Freda had turned ofF the lights so that they 
might watch for the bird in the garden. Darkness seared 
with flashes of bitter hate, cruel accusations and sus- 
picions. . . . 

"You drove him to suicide," Robert raged at Stanton. 
"Letting him think I took that money!" 

And Gordon: "You liar! You made Martin shoot 

Like one in a dream Olwen heard her own voice saying: 

It' s all right, Betty?'' Stanton patted her hand encouragingly. 


"Martin didn't shoot himself — / shot him." 

She must be hysterical, Robert was saying. 

And Charles: "You might as well tell us exactly what 
happened. I suspected this, from the first. ..." 

Olwen seemed to be living over again that night when 
she had gone to Martin's home. He had been drinking. . . . 
He was in an amorous mood. . . . Had mocked at her 
virtue. . . . Laughed when she asked him if he had taken 
the money. . . . Laughed at the thought of the virtuous 
Robert being a thief. . . . "Your little tin god is a thief!" 
he had sneered. "And I, Martin, am shielding him!" 
Martin, so gay, so witty, so fascinating, when he was him- 
self, was a devil when he was drinking. He had seized her 
in his arms. "Beautiful, outraged spinster!" he had 
jeered. And when she cried: "I could kill you!" he had 
brought out a gun — dared her to do it. Then, as they 
struggled, the gun had gone off! 

In that room, so still, so silent, terror had mounted to 
Olwen's brain. She had fled for help, for comfort, to 
Stanton's home, near by. Then, at the door, she had 
paused. Through a window she had seen. . . . 

"How could you suspect this?" Robert was demanding 
of Stanton. "All the evidence pointed to suicide." 

Stanton, opening his bill-fold, taking out a piece of her 
dress, torn in the struggle with Martin. ... "I found it, 
when I found — him," Stanton was saying. "But I knew 
that if Olwen had had a hand in it, she couldn't be blamed. 
I trusted her. ..." He was looking at her thoughtfully. 
"So — you came to my house, that night " 

Betty was crying. 

"What do you know about this?" Gordon's eyes were 

Betty sobbing: "It's true. . . . Our marriage, that you 
all think so sweet — a sham, a pretense! We hate each 
other! I was in trouble — I gambled — I had to have some 
money. I went to Charles — -he helped me — no one else 
would have!" She laughed 
wildly. "I thought I loved him 
— but he was Sir Galahad — " 
she turned to Olwen. "If you 
had waited, you would have 
seen him showing me out!" Her 
eyes sought those of Stanton, 
pitifully. "So that's why you 
took the monev — to help me!" 

"It's all right, Betty." He 
patted her hand. 

Gordon looked miserable. "If 
we'd gone on pretending, as we 
did — we might have been happy 
together. ... It often works out 
like that." 

"Yes, it does!" Olwen cried. 
"That's why all this is so wrong, 
really! The real truth is some- 
thing so deep, you can't get at 
it this way— and all this half 
truth does is to blow everything 
up. ... It isn't civilized!" 

"I agree," Stanton said. 

"You agree?" Robert raged. 
"I never want to set eyes on you 
again, Stanton! You're a thief, 
a liar, and -" 

"And you're a fool!" Stanton 
burst from his calm at last. 
"You won't face things. . . . 
You've been living in a fool's 
paradise— and now you've got 
yourself into a fool's hell!" 

"Get out!" Robert's face was 

Stanton was gone now. Betty 

"/ tell you 

tortured. ' 

and Gordon were gone. Freda and Olwen and Robert, 
looking at each other. 

"Tomorrow won't seem so bad. ..." Olwen was 

"It isn't going to be any better tomorrow," Robert said 

"You asked for it," Freda said. 

"Because I'm a fool! Stanton was right. I had to 
meddle. I began this evening with everything — and 

now " 

"Please, Robert — " Freda begged. 

And Olwen said again: "It won't be like this tomorrow, 

Robert " 

"Tomorrow?" Robert's eyes were haggard. "I tell 
you, I'm through. . . There can't be a tomorrow!" He 
rushed out into the dining-room. 

Then, with shattering suddenness, came the sound of 
a shot. 

"Robert!" Freda erred. " ROBERT! " 
They stood at the dining-room door. "It's all right — " 
Robert smiled apologetically. "I was showing my gun. 
Took a crack at a flower pot out there. It was stupid. . . . 
Hope I didn't frighten anybody." 

"It's all right — " Freda sighed shakily, "so long as no 
one is hurt." 

They were all there— Betty and Gordon, Miss Mock- 
ridge, Charles. ... It hadn't happened, really. . . . The 
illusions were still safe. ... 

"They frightened the life out of me!" Betty exclaimed. 
"I hate guns!" 

Miss Mockridge smiled musingly, as if she were building 
a story in her mind. "You must miss your brother-in- 
law," she said. 

"What made you think of Martin?" Freda looked at 

"Just being here, I suppose. I'm sorry." 

Freda said : " It was the pistol 

"Oh, no," the novelist pro- 

"Oh, don't feel upset, Miss 
Mockridge. We talk of Martin 
a lot." Freda crossed the 
room, pulling on a light to 
illuminate 'a portrait. "Per- 
haps you remember this," she 
went on. "One can't afford to 
forget anyone so gay and 
charming and handsome." 
She extinguished the light 
abruptly. "Yes — we do miss 

"Miss whom?" Stanton 
came in from the dining-room, 
followed by Gordon. "Did 
you miss me?" He looked at 

"If it pleases you." She 
smiled faintly. 

"It does, very much." He 
sat down beside her. 

They talked about Miss 
Mockridge's new book, dis- 
cussed the comparative values 
of truth and illusion. Gordon 
fiddled with the radio. A tube 
burned out. It emitted a 
weird howl that shook them 
all. Freda, the perfect hostess, 
told Gordon where he would 
find a new tube, suggested 
that Robert bring in highballs. 
(Continued on page 75) 

I'm through!" Robert's eyes were 
There can't be any tomorrozvl" 



as revealed to Dena Reed 

FEW of her fans know that little Sylvia Sidney — she of 
the wistful eyes and the strangely haunting smile — 
is a very serious person with a solid philosophy be- 
neath her usual banter and wit. I chanced to catch Sylvia 
in one of her pensive moods during a recent visit to New 

As she puffed at her cigarette and looked out over the 
Manhattan rooftops from her apartment high above 
the city, she said: ^ 

"Work is the only satisfactory thing in life. I 
learned that early. Although I went to the Theatre 
Guild School at fifteen, I worked with my hands 
before that and I've been working hard at my 
career ever since. 

"I used to envy the women who could get by with 
glamour — the ones who didn't need to work hard. But I 
don't any more. Glamour doesn't last, but if you're 
trained to use your head and hands and talents, you're 
never lonely. Everyone who wants to have a happy life 
must learn the value of work sooner or later. 

"That's why I'm trying to teach it to my little godchild. 
He's only a tot yet and I adore him. We have the grandest 
times together when I come to New York. We go shopping 
and play long hours, but 
I never buy him toys 
that are meaningless. I 
buy him things to build 
with and things that will 
show him the result of 
using his own ingenuity. 
Things that stimulate his 
imagination and inven- 
tiveness by affording pos- 
sibilities of combination 
and construction. 

Consequently, though 
he's scarcely five, he al- 
ready has learned the 
value and happiness of 
accomplishment. H i s 
mother, who is my aunt, 
approves heartily and 
I'm sure that when he 
grows up he'll never lose 
this joy. 

"I myself can't imag- 
ine a life without work. 
I hope I'll act until I'm 
old, but at any rate I'll 
be working at some- 





thing. It's the only thing there is 
in life." She looked thoughtful. 

I de- 
manded. "What 
about love?" 
Sylvia's lovely gray eyes 
did not falter and they still 
were serious as they met 

"Love is very nice," she 
replied, "but one should not 
depend on it alone. How 
many hearts has it broken! 
The same thing holds true 
of friendship and family 
ties. If we live for one per- 
son and that person dis- 
appoints us — as is only 
natural since he is human 
and we all expect too much 
from people — what will be- 
come of us, if we never have 
learned to depend on our 
own resources — our brains, 
and fingers and talents? 
"No, work and laughter are the only things to 
cling to." 

She smiled at me seriously but she spoke as 
one who has reached a satisfying and incontro- 
vertible conclusion. And I found myself agree- 
ing with her. 

Wise Sylvia, who seems to have found the 
formula for happiness: Work and laughter. 
Not a bad formula for any one of us to adopt. 


Big Surprise 


For months, this little French "find" 
started no picture, posed for no portraits, 
gave no interviews — and showed no signs 
of being a sensation. But in "Marie 
Galante" she bowls Hollywood off its 
feet. She's a mystery that needs solving. 
And here is her whole story — as told by 
Ketti, herself! 

KETTI GALLIAN is a beautiful, slim, blonde, blue- 
eyed French War Baby, who was deposited on 
Hollywood's doorstep last Christmas Eve. She 
k was briefly hailed as a "find" (like all new- 
comers), then was kept idle, in guarded and unexplained 
seclusion (as few newcomers ever are, lest they be for- 
gotten) — only to emerge now, with startling suddenness, 
as the newest candidate for overnight stardom. And is 
Hollywood surprised ! 

By the time this is printed, Ketti will have finished 
"Marie Galante," her first picture, in which she is co- 
starred with Spencer Tracy. Those who have seen parts 
of this Panama Canal drama declare that she will be 
nothing short of a sensation — perhaps THE sensation of 
the year! But what Ketti suffered for seven months before 
she actually started work in Hollywood is another story. 

Not that she doesn't consider herself lucky to be here; 
she does. For if a certain London producer had not gone 
to Paris in search of a French girl to play in his stage pro- 
duction of "The Ace," and if Winfield Sheehan, head of 
Fox Films, en route to France to search for a French girl 
for the title role of "Marie Galante," had not stopped in 
London to look over "The Ace" as a picture possibility, 
Ketti might never have come to Hollywood. 

But more than luck was responsible for her arriving 
with a starring contract in her bag. She looked like a star, 
not to mention a million dollars, in her first screen test. 
She was young — only twenty-one — with valuable years 
ahead of her. She was eager, enthusiastic. She was willing, 
in signing a contract, to agree to learn English within 
three months after her arrival, and to agree not to asso- 
ciate with anyone speaking French (thus making it imper- 
ative that she make herself understood 
in English). 

When she signed her contract in Lon- By FRAN 


don, those conditions didn't seem very ominous to Ketti, 
who was so thrilled over having a contract and so deter- 
mined to make good that no task seemed too difficult. But 
her ardor was slightly dampened when, through tear- 
dimmed eyes, she waved goodbye to her mother and 
watched until she could no longer distinguish her among 
the others on the pier. She was suddenly terrified at the 
feeling of being alone among strangers, of going to a new 
country, of not being able to understand or speak more 
than a dozen words of their difficult language. 

Imagine yourself arriving in France, unable to speak or 
understand any more of the French language than, pos- 
sibly, "parlez-vous francais?" "oui," and "hors- 
d'oeuvres," and you will understand just how Ketti felt. 
But she shook off her fright. She must think only of her 
career, the fame, riches and success ahead of her. When 
she had become a star in America, she could send for her 

For Ketti, in far-off France, knew all about the tre- 
mendous salaries paid to movie stars in Hollywood; she 
had read of their beautiful homes, their fine cars. When 
she had made a few pictures for Paramount at the studio 
in Joinville, people had even said to her: "You should go 
to Hollywood." To which Ketti only laughed and replied: 
"You make the beeg joke with me." Because, as she 
explains it now, Hollywood meant, to her, a place where 
every girl was exquisitely beautiful, could sing and dance, 
and had many other accomplishments. So Ketti onlv 
laughed at their suggestions and said: "Me? I can do 
nothing. I am not beautiful." 

"They made me all over," she told me, casting a hastv 

glance toward the mirror. " I look at myself and I am not 

Ketti. I am someone else. I don't know 

myself in the looking-glass. My hair 

C DILLON (Continued on page So) 

"If I Were 


of Hollywood - 


That great kidder, JACK OAKIE — who kids every- 
body and everything, including Jack Oakie — has 
a bit of fun, telling what he would do with Holly- 
wood if he had it. It's the Court Jester's idea of 
what it would be like to play King 



"F I were King of Hollywood," said Jack Oakie, "I'd 
spank the posers — oh, just a friendly touch — but I'd 
spank them, and I mean spank. Why, the mere 
thought of it makes me feel more than a little drunk 
with the power that would be mine. You've heard of the 
feeling — give a man a little power and he turns into a 

Oakie was going Upton Sinclair one better. Upton 
Sinclair wrote a pamphlet called "I, Governor of Cali- 
fornia," detailing what he would do as Governor from 
1934 to 1938, and no newspaper in the state took it 
seriously; in fact, newspapers ignored both the pamphlet 
and its author. But the citizenry did just the opposite 
and, by an overwhelming margin, made him the Demo- 
cratic nominee for the job and on Election Day may 
actually hand him the office. Of course, Sinclair was in 
deadly earnest and Oakie isn't. But who knows what his 
proposed projects, if he were King of Hollywood, might not 
do tor Mrs. Offield's son? 

When Jack cut loose with his ideas, he was tip-tilted 
back in his chair in his dressing-room, awaiting a summons 
to the set of "College Rhythm." He was drumming on 
the desk with a pair of regal white drum-sticks, presented 
to him one gay evening by the drummer at Grauman's 
Chinese Theatre. And he was calling "Hi, there!" and 
"//oziyer?" to all who passed his open door — to Marlene 
Dietrich and Ida Lupino, to Dick Arlen and Bing Crosby, 
to assistant directors and cameramen and secretaries and 
electricians and producers. A way with the commoners 
has this founder of the House of Oakie. 

Would Spank Hollywood, Too 

HE said, "Yes, I'd turn this old oil-tank town upside 
down and spank it — for being more interested in 
gossip and glamour and publicity than in art. Then I'd 
go and live in New York, where no one ever hears of you 
unless you have something on the ball. I'd execute at 
sunrise all of the leading ladies who think I am an eligible 
bachelor and behave accordingly. And if I were King, I 
wouldn't be annoyed by the Why-of-Things. I'd write the 
{Continued on page 84) 

"I'd spank the posers . . I'd turn this oil-tank town upside down and 

spank it . . . I'd drown all the female comics . . . I'd marry Mary 

Brian, if she didn't marry Dick Powell" 


It Pays to Advertise 

Tom Mix put his name in electric lights atop his house. Fredric March has his name on his 
cigar wrappers. Practically all stars, when bestowing gifts, put their names on them — 
indelibly. It's all part of that urge they can't resist — the urge to keep their names alive! 


WHAT is the most valuable thing that a star 
has — after he becomes a star? His name. 
And it is up to him to keep that name before 
the public, if he wants to last. His pictures 
don't come out often enough to keep his name constantly 
on theatre marquees, or in theatre ads, where the public 
can't miss it. So he hires a press-agent — to get his 
photograph in the Sunday supplements, and his name in 
the dailies, with headlines if possible. Stars can't help 
being name-conscious; competition, if nothing else, 
makes them conscious of the fact that it 
pays to advertise, to keep their 
names alive. But how they 
work at it a bit on their 
own brings up some 
amusing incidents. 

Not so many years ago, 
when Tom Mix was the 
reigning favorite of the 
day, he moved into a real 
mansion in Beverly Hills. 
For days workmen perched 
on the roof of the house, en- 
gaged in mysterious construc- 
tion. Then one evening, the 
sky for blocks around 
gave off a rosy glow. 
Curious spectators went 
around to see what the 
fire was, if it was a fire. 
It wasn't a fire, but it 
caused just as much com- 
motion as a holocaust 
would have. Over Tom's 
house, there now reposed an 
immense Neon sign that 
spelled "Tom Mix." There 
could be no doubt among 
visiting tourists where Tom 
Mix lived. . . . 

The professional "guides to 
movie stars' homes" saw their 
business threatened, if other 
stars should follow Tom's dis- 
turbing lead. But no one else did, 
fearing to be dubbed "copy-cat"; 
Tom Mix had cornered that mar- 
ket. And just to make still more 

sure that there could be no doubt as to where he lived, 
Tom's gardeners were instructed to plant flower beds 
all across the front lawn — and the designs of these 
flower beds also spelled "Tom Mix"! Just recently, 
when a foreign movie director took over Tom's house, 
you can imagine what the first renovations were. But 
with all the recent kidnaping scares, many Hollywood 
stars do not want their addresses known. 

Put Two Extra Horns on Car 

TOM also had a long white car, which was known by 
everyone for miles around. Buck Jones, runner-up 
for the Tom Mix laurels couldn't outdo him in the matter 
of houses, but cars — well, that was another story. Buck 

bought himself a long red car, 
just as long as Tom's, and just 
as red as the other was white. 
On each front fender he had a 
buck's horn erected — and be- 
tween those two buck-horns 
he stretched a flaming banner 
with "Buck Jones" on it in 
foot-high letters. Darned 
clever, these cowboys! 

Of course, many stars brand 
their cars in one way or an- 
other. Almost all of them, 
except Greta Garbo's, bear 
distinctive insignias, mono- 
grams, or even full names. 
Not long ago, when Lupe and 
Johnny (does anyone ever 
have to give their last names 
to identify them?) bought a 
brand-new car, there was a 

In the movie king- 
dom, even letter- 
heads are personal- 
ity ads. Some good 
examples are those 
of Carl Brisson, Ken 
Maynard and Laurel 
and Hardy (whose 
pictures are also on 
a Czech coin) 


Strangely enough, few Hollywood yachts bear Hollywood names. 

One is the boat on which Gary Cooper, Bing Crosby and Richard 

Arlen are relaxing — the Jobyna R., named for Dick's wife 


royal battle in that mad household, over whose name 
should be on the doors of the car. Lupe swore that if 
Johnny didn't give the order for her name to be engraved 
on the car, she'd go out and engrave it on, herself — with 
a pen knife, a butcher knife, a pair of scissors, or anything 
she could lay her fingers on. (Her long, sharp fingernails 
would probably have been sufficient to turn the trick.) 
Anyway, after an argument that lasted for days, they 
kissed and made up, and compromised. Lupe now has 
her name on one door, and Johnny has his name on the 

Monogrammed cigarettes are, of course, most common 
out here in the picture colony — and, 
naturally, I wondered if anyone had 
been able to work out a way of 
monogrammmg cigars. I really ex- 
pected to find such a thing, but was 
disappointed. Fredric March has 
come the closest to accomplishing it. 
When Freddie gives you a cigar, 
look twice before you crumple up 
the cellophane wrapper and throw 
it away. The wrappers of Freddie's 
cigars actually bear his name in 
simple white lettering. However, 
he doesn't blandly hand out samples; 
in fact, he is a bit self-conscious 

An actor, to be 
an actor, must 
be an individu- 
alist. And Ken 
M a y n a r d 
makes the 
grade. Yo u 
cou Id never 
mistake his 
airplane (left) 
for that of any- 
one else. And 
the same is true 
of his horse- 
transport truck 

closest to having monogrammed cigars — but I overlooked 
Ken Maynard. And with such a delicate subject as this 
one, I can't afford to overlook anyone. Ken actually has 
his cigars made especially for him in Mexico City, and 
they wear cigar bands with his name engraved on them. 
He makes special trips to the border for them, in his own 
airplane. I guess that outdoes Freddie's engraved cello- 
phane wrappers, after all! 

And, speaking of Ken Maynard's 'plane, you could 
never mistake that plane for anyone else's. It not only 
bears Ken's name and address, but a large picture of Ken 
on his favorite horse, "Tarzan," with the three words 
"Let 'er Buck!" under it. We're sur- 
prised that Ken used that last word, for 
fear it might remind someone of Buck 
Jones. Well, mistakes will happen! 

Ken's letterheads and envelopes are 
also something to look at. He has two 
large pictures of Cowboy Ken at the 
top of the page, with a drawing of 
Indian teepees in between. He has to 
make his letter brief and to the point 
because of the space taken up by his 
letterhead. Even Ken's bank checks 
have his picture and name on them. 
Then there is that truck he uses to 
transport his horses to and from loca- 
tion. It carries six horses inside and 
Ken's name on the outside, each letter 
of which is almost the size of a colt! 
Even Gary Cooper has joined the 
"get your name on it" crusade. 
You remember when Gary 
was in Europe, hobnobbing 
and rubbing elbows with roy- 
alty, as the story goes? Well, 
Gary was introduced to a cer- 
tain Balkan king, and they 
became very good friends, 
palsy-walsy in fact. And as a token of their 
friendship, Gary is having a beautiful western 
saddle made especially, all by hand, for the 
royal horseman. This saddle is costing Gary 
several hundred dollars and not the least ex- 
pensive part of it is a silver placard on the side, 
which is fancily engraved with that famous name, 
"Gary Cooper." Of course, maybe Gary told 
the king that he would send him one of his own 
saddles, can't bear to part with any, and is 
adopting this method to give the king the im- 
pression that he is getting a Cooper saddle. 
{Continued on page 88) 


James Gleason (above) invites his 

friends to advertise with him — by 

autographing his cigarette case. Most 

stars autograph those they give away 

about it and 
laughs it off by 
saying that 
someone gave 
them to him. . . 

Maynard, the 
' Individualist 

OH, oh, wait 
a minute. 
I said that Fred- 
ric March came 


By Willi am F. Frenc 

Often Deaf, But Not So Dumb 

-June Knight 

When anyone says "No" to June, she plays deaf — and keeps right on fighting to get what 
she wants. Another thing — she's willing to try anything once. That's why hard luck hasn't 
got her down, and why she's on her way up — where everybody will be "Yessing" her! 


ERTAINLY, I'll try anything once," cockily 
maintains June Knight, "and then fight to 
make 'em like it. That's my religion: Fight 
to get what you want and play deaf if anybody 
says 'No' to you." And this little blonde is living up to 
her religion — and keeping the onlookers all a-jitter in 
doing it. 

Because if June thinks she would like something, she 
goes after it — and keeps after it, until she gets it. She is 
about as shy and retiring as a bolt of lightning. She 
has the ambition to want things, the nerve to ask for them 
and the spunk to get out and work for them. "Give me 
a chance" and "I can" are the two most dog-eared phrases 
in her vocabulary. And the girl has never been known to 
refuse a dare. 

For example; after one of her many operations (this one 
to remove a pair of badly infected tonsils) June suddenly 
discovered she could sing, and started out to prove it to 


the world at large. At the time, she was dancing in "The 
Nine O'Clock Revue" in San Francisco — and warbling on 
the side, mostly in the dressing-room and far enough back 
in the wings not to be heard by the audience. 

"My voice is getting better," she announced to the 
various members of her company. "I believe I could do a 

"Forget it," they advised. "As a singer, you're a swell 

"Yeah — and as a dancer I'm a swell singer, too — even 
if you can't appreciate it. All I need is a chance." 

They Laughed When She Sang — 

AND a chance she got — exactly when and how she least 
l. expected it. She and her partner were dancing at 
the Mark Hopkins Hotel after the show, when some of 
her company dared her to go out on the floor and sing her 

(Continued on page 82) 





. . yet she uses a 
25^ tooth paste 

At Palm Beach and Nassau, California 
and Cannes, every year they flock by scores 
— those smart, cultured women with 
enough money to indulge the slightest 
whim. And the number of them who use 
Listerine Tooth Paste is amazing. Obvi- 
ously price could be no factor in their 
choice. Why then did they choose this 
tooth paste with its modest price of 2 5^ ? 
Only one answer: better results. 

Direct Cleansing 

Listerine Tooth Paste does cleanse teeth 
better than ordinary pastes, says a great 
dental authority. That is because its cleans- 
ing agents come in Direct Contact with 
decaying matter on teeth. "With the aid of 
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faces and penetrate hard-to-reach crevices, 
attacking tartar and sweeping away germ 
laden debris and discolorations. 

Unlike some dentifrices, Listerine 
Tooth Paste does not cover teeth with a 

slippery barrier over which the brush 
slides only partly removing the debris 

See and Feel the Difference 

You can feel the difference Direct Cleans- 
ing makes, the moment you use Listerine 
Tooth Paste. Your teeth actually feel 
cleaner when you run your tongue over 
them. Try it yourself and see. And within 
a few days your mirror tells you that 
they look whiter. 

Try It One Week 

Why not give Listerine Tooth Paste a 
trial? Why not let it make your teeth 
cleaner, more brilliant, more sparkling? 
In every way this modern tooth paste is 
worthy of the quality name it bears; 
worthy too, of the confidence placed in 
it by millions of women. In 2 sizes — 
regular 2 5^ and double size 40^. Lambert 
Phariviacal Company, St. Louis, Mo. 




^Z&> Ucu&f jfot 5wufo 

Let's hope Betty removes daytime make-up the Hollywood way. 

Cosmetics left clogging the pores cause unattractive Cosmetic Skin 

BEAUTY sleep's important — for you and 
for your skin, too. So don't go to bed 
with daytime make-up clogging your pores — 
spoiling your beauty. 

Many a girl who thinks she removes cos- 
metics thoroughly may all unconsciously be 
leaving bits of stale rouge and powder in the 
pores day after day. It is this choking of the 
pores that causes unattractive Cosmetic Skin 
to develop. 

Look closely in your mirror now. Do you see 
enlarged pores, tiny blemishes — blackheads, 
perhaps — warning signals of this modern com- 
plexion trouble? Then it's time to start using 

gentle Lux Toilet Soap- 
beauty care! 

■Hollywood's famous 

Cosmetics Harmless if removed this way 

Lux Toilet Soap is made to remove cosmetics 
thoroughly. Its ACTIVE lather sinks deeply 
into the pores, swiftly carries away every ves- 
tige of dust, dirt, stale cosmetics. 

Before you put on fresh make-up — ALWAYS 
before you go to bed at night, use Lux Toilet 
Soap — the gentle care that for years has 
guarded Hollywood's priceless complexions. 

In ,this way you can protect your skin — 
keep it clear and lovely ! 


peautif sleep . . . 


C/audeffe Colbert 




Happiness Ahead 

{Continued from page 57) 


question," he started wiping glaze from the 
window, "and the answer was 'yes'! So 
now I'm going to save all my pennies," his 
eyes widened. Through the cleaned space in 
the window he gazed at Joan — Joan dressed 
in a gorgeous mink coat, leaning over a desk 
where an elderly man was writing a check. 
The man came around the desk and handed 
the check to Joan. She folded it, put it in 
her purse, and kissed him affectionately. 

Bob went through the rest of the day in a 
torment of suspicion and grief. 

But at Joan's apartment, later, he re- 
ceived no response to his ring, and the land- 
lady said dourly: "No sense your coming to- 
night. She's never here on Thursday." 

Bob's face clouded. "Where does she . . ." 

"That's what I'm wonderin' about — that 
and a lot of other things," the landlady told 
him. "When she rents the apartment she 
flashes a roll of bills and then she drives up 
like the Queen of Sheba in a big limousine." 

With his heart in his shoes, Bob turned 
away. Might as well go over and see why 
Meehan had phoned him. 

Meehan smiled as Bob came in. "Well, 
son, you're a pretty fast worker." 

Bob shook his head perplexedly. "I don't 
know what you mean. Mr. Meehan." 

"You know what I mean, all right." 
Meehan's tone became accusing. "Nice 
little story you told me the other night — 
saving up your money. "Then, you send 
around the little girl with a check from 
Henry Bradford. Well, it don't go, son. If 
you have Bradford backing you, you're pay- 
ing regular rates." 

"Bradford?" Bob exclaimed. 

"Don't look so surprised," Meehan said 
with a crooked smile. "The Smith girl put 
on a good act, too — wanted me to make out 
I was lending you the money, so you wouldn't 
know where it came from . . ." 

"But I really didn't know " 

"No? Well, you know now. So you can 
tell Bradford there's no mark-down sale." 

With an effort, Bob assumed an easy air. 
"Why, sure I will, Mr. Meehan. Have you 
got the check?" 

Meehan took the check from the drawer. 
"Yeah, and that's another thing. Tell him I 
want it in bills. Checks can make trouble." 

Anger crept up Bob's face as he scanned 
the check, then, catching Meehan's eyes, he 
said quickly: "I understand." 

When he walked into Joan's apartment 
that night, his face was so strange and white 
that Joan stopped in the middle of her 
greeting. "Why, what's the matter?" she 

"Matter?" Bob assumed a hardboiled, 
jaunty air. "Nothing's the matter. Just got 
a lucky break." 

"Yes?" she prompted eagerly. 

"Good old Meehan — what a pal! I told 
him that just as soon as I could go in busi- 
ness I was going to get married, and he sent 
lor me and lent me that two grand himself." 

"Why, Bob, that's wonderful!" 

He put his hands on her shoulders and 
swung her around a little roughly. "Yeah, 
isn't it?" His voice faltered strangely. 
"Swell to have a friend like that, but there's 
one thing he didn't know — that the marry- 
ing thing was just a gag." 

Joan's face grew puzzled. "Bob, what are 
you talking about?" 

"Just this," said Bob, still in that strange 
bitter voice, "I've been wise to you all along. 
Did you really think I fell for that line of 
yours about being out of a job? I had you 
figured out from the beginning!" 

By the time Bob had finished his tirade 
and slammed out the door, Joan was sitting 
still, her face white with hurt and disbelief. 


And Bob, on the other side of the door, 
shook his head as if to clear his eyes. "Well." 
he muttered chokily, "that's taken care of." 

Next day, Henry Bradford was mystified 
and disturbed to discover that Joan had con- 
sented to go with her mother for a trip on 
Jellife Travis' yacht. 

"What's up?" he asked her gently. "Two 
days ago you were absolutely opposed to 
yachts and oceans in general." 

"I know," she agreed. 

"What — er — what about your settlement 
work?" he hazarded. 


He raised his eyebrows and waited. For a 
few moments Joan went on packing, main- 
taining her attitude of unconcern. At last 
she turned, her eyes shining with tears. 

"Dad, I was wrong," she said chokily. "I 
thought I had found someone real. I thought 
I'd found a whole new world of real people. 
But they're just as insincere as our crowd!" 

"I'm sorry, dear." He put his arm around 

She blinked back the tears. "It's my 
fault." she said, her face buried on his 
shoulder. "I built up something in my 
imagination — something that didn't exist!" 

"But that doesn't make disillusionment 
any easier," he said understandingly. 

"But Dad," she cried, "all he wanted was 
the two thousand dollars! He told me so!" 

"And so you're rebounding right into 
Jelly's yacht?" 

"I suppose so," she said wearily. "But at 
least Jelly's a gentleman. And it'll please 

"Yes, dear," Bradford said quietly. 

He still yearned over Joan when he said • 
goodby the next day, with the promise that 
he would try to join them in Havana. 

He had been at his desk only a little while 
when his secretary brought in to him a 
young man who would not give his name and 
looked as if he had not slept for several days. 
Bradford looked at him curiously. 

"What can I do for you, young man?" he 
asked genially. 

"You can't do anything for me, but 1 can 
do plenty for you." Bob came over to his 


"Yeah." Bob braced himself. "You've 
been taken by a dame — that is, we've both 
been taken." 

Bradford could only stare, as Bob laid on 
his desk the check he had received from 
Meehan. Then, as he recognized it, he 
looked at Bob questioningly. 

"A girl was trying to use it to salve me 
into marrying her," the boy explained. "Sur- 
prised, eh? So was I. I figured she was on 
the level — a poor kid out of work, and now 
I find that she's been digging you and plan- 
ning to hook me with a marriage license . . . 
Well," he sighed, "I guess we're both lucky." 

A faint smile came over Bradford's face 
as he looked at Bob's drooping form, but he 
quickly concealed it. "Why, the crooked 
little gold-digger!" he exclaimed. 

Bob agreed without enthusiasm. "But 
she didn't get the satisfaction of knowing 
she took me for a sleigh-ride. I put on an 
act for her — told her I'd played her for a 
sap, just to grab that two grand. That did 
the trick." 

Bradford, remembering Joan's white, mis- 
erable face, was inclined to agree. "Were 
you really in love with her?" he asked. 

"I was crazy about her! Saving up my 
pennies so I could marry her." 

Bradford looked at him thoughtfully. 
"Mr. — er — Lane, I think you and I have a 
lot in common. What are you doing for the 
next couple of hours?" 

"Me? Not a thing," Bob said. 

"I must make a hurried trip to Jersey." 
Bradford put the fateful check in his pocket. 
"Come with me." 

For the first two hours, Bob enjoyed the 
ride in the motor launch which Bradford 
drove at breakneck speed out through the 
harbor and down the Jersey coast. Gradu- 
ally, however, he began to get a little appre- 
hensive, and as Bradford showed no inten- 
tion of turning back, he became convinced 
that he was riding with a madman. 

"Take a look at that yacht," Bradford 
said, at last, handing a pair of binoculars to 
Bob and gesturing toward a boat which they 
were approaching. 

As he focused the glasses on the deck rail, 
Bob gave an exclamation of surprise. "Why, 
it's the Smith girl!" 

Bradford nodded grimly. "Yeah, this trip 
she's taking is costing me plenty, and I'm 
not going to let her get away with it." 

At Bradford's hail, a rope was thrown 
them from the yacht's deck, and Bradford 
started clambering up the ladder. Bob went 
up behind him, his heart filled with mis- 
giving. As Bradford stepped on deck, Bob 
heard Joan's voice say: 

"Why, Father! I thought you said you 
couldn't " 

At that moment Bob's head came over the 
rail and Joan stopped suddenly, while they 
stared into each other's eyes. 

"Changed my mind," said Bradford cheer- 
fully. "Met a friend of mine and thought 
we'd like to join your party." He turned to 
Bob, who now had climbed on deck. "Bob, 
this is my daughter, Joan." 

Bob tried to speak and failed miserably, 
while Bradford's voice went on: "Mr. Travis 
— Mr. Lane." 

Bradford walked up the deck a few steps 
with Travis, and as Joan turned her back on 
Bob, the boy swallowed hard and started 
back down the ladder. 

Bradford turned just in time to see Bob's 
head disappearing over the side. Taking the 
check from his pocket, he waved it before 
Joan's puzzled eyes. "He's a regular fellow, 
and crazy about you." He winked mean- 
ingly. "I wouldn't let him get away." 

Joan turned quickly to the rail. Bob had 
started the motor of the little boat, and was 
determinedly steering it away from the yacht. 
Joan grinned, and dived cleanly over the 
side of the yacht. She came up close beside 
where Bob sat. "If you're in such a hurry 
to get away, Mister," she called, "why don't 
you untie that rope?" 

Bob stared at her. Then, as he saw the 
taut rope which fastened him securely lo the 
yacht, he grinned sheepishly. 

"Aren't you going to help a fellow in?" 
Joan asked. 

He leaned toward her. "Will you forgive 
me?" he begged. 

"I'll never forgive you!" she retorted. 

"Then you don't get in!" He reached out 
a hand to push her under the water. A 
minute passed while he waited, his hand ex- 
tended, for her to come up again. No head 

"Joan — Joan!" he called frantically, and 
when she still failed to come up, he started 
to strip off his coat. 

"Paging me?" inquired a"cool voice from 
the other side of the boat, and he whirled to 
find her clinging there. 

His face clearing, he leaned over to grip 
her arms, and Joan flung up her hands to 
take his head in a watery clasp. Raising his 
head from her kiss, he grinned happily. 

"Well, that's taken care of," he said and 
pulled her up into his arms. 
The End 








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The Last Gentleman 

(Continued from page 47) 

was etched against the window, his fingers 
clutched the cane. He looked tired, thought 
Marjorie. For the first time since she had 
known him, old and hurt and helpless. She 
caught his hand. It was cold, and the deli- 
cate bones were very close under the wrin- 
kled, transparent skin. Her eyes misted 
with tears at its answering pressure. 

"You can help me to the door," he said. 
"Henry, come to my room. And bring Claude. 
I have some instructions for you . . . Augusta, 
all your life you've been wanting me to see 
a doctor. You can send for one now . . ." 

All over the old Barr house, the clocks 
were silent. The sunlight lay, again, in a 
wide patch on the upper landing; there were 
flowers in the library. But it was so still. No 
good, now, listening for that resonant voice 
from above the stairway; no good listening 
for the tapping of the ivory-headed cane. . . . 

Allan laid his hand along her arm. "I 
wish you wouldn't look that way," he mur- 
mured. "I'll change my name to Barr, any 
time you say the word. Marjorie! You're a 
million miles away from me . . ." 

They found their way slowly into the 
room where they had sat for Aunt Lovicy's 
services. But there was something queer 
about the place, today. Drawn curtains at 
the windows. Heavy draperies, drawn 
across the little platform. 

Uncle Judd came in on soft obsequious 
feet, long-faced and pious. "It's two 
o'clock," he said. "Where's the lawyer? 
Who's going to read the will?" 

"It will be read, Judd, it will be read," 
said Henry Loring. "Sit down, all of you, 
in your proper chairs — the ones I have 
designated. It is (jabot's orders." 

It was dark here . . . Marjorie caught 
Allan's hand, held it tightly. Surely this 
wasn't the way wills usually were read, in 
the darkness, from a curtained platform! 

"I don't like this, Judd, and I'm not 
staying!" Aunt Retta rose to her feet. 

"Oh, sit down, Retta," urged Henry 
Loring. "It is Cabot's orders." 

"Exactly, my orders!" said Cabot Barr's 
voice, out of the blackness. 

Marjorie gasped. 

Then the heavy curtains on the platform 
parted, and her grandfather stood there, 
smiling, a picture on a white screen! Aunt 
Augusta screamed. 

"Control yourself, Augusta," said the 
picture, "there's no need to be nervous." 

Aunt Augusta began to sniffle. 

"Augusta, where's your handkerchief?" 
Cabot Barr's likeness demanded. 

He knew, thought Marjorie. Knew 
exactly what they'd do when 

"To provide for your future weepy peri- 
ods, Augusta, I am leaving you ten dozen of 
the very finest Point de Venise handker- 
chiefs," he went on. "You'll find them hand- 
some, and at the same time practical." 

"I don't think this is funny!" Judd Barr 
rose angrily to his feet. 

"I didn't think you would enjoy it, Judd," 
said Cabot from the screen. 

"You're not having hysterics at seeing me 
again, are you, Helen?" the voice went on. 
"I knew you wouldn't. . . . I'm leaving you 
the house and furniture. To go to Marjorie, 
eventually, of course. And to you, Henry, 
my cellar, including all my 1812 brandy. . . . 
To Claude, my clothes, and five thousand 

Uncle Judd was fidgetting impatiently. 

"Judd, my son, you have hurt me very 
much," said Cabot. "You brought in an 
alienist, in an effort to prove me of unsound 
mind. That hurt a great deal. But what 
stung most was that little black book of 
yours, in which you wrote down all my 
eccentricities. The clocks, the peacocks. . . . 

Therefore I'm going to cut you off with the 
proverbial shilling." 

"Oh, this is a dirty trick!" Uncle Judd 
raged, rising to his feet. "The old devil!" 

"Stop acting violently, Judd," the calm 
voice from the screen said. "And before you 
go — I'm relenting. I'm leaving you the 
clocks and the peacocks." 

Uncle Judd strode out and Aunt Retta 
followed. The door slammed behind them. 

Then the kind old face turned to Allan. 

So you're sorry you didn't become a Barr 
before I died?" the voice asked? He knew, 
then, thought Marjorie happily. He'd been 
wiser than anyone else on earth! "Marjorie, 
my dear, forgive him," her grandfather was 
saying now. So it was all right! She could 
marry Allan now, with a clear conscience. 

"To you, Mr. and Mrs. Allan Barr, I 
leave my name, my possessions and my 
especial love," he went on. 

Against Allan's shoulder Marjorie began 
to cry, quietly, happily. "It's your love I 
wanted most, Grandfather," she said. 

The image on the screen rose from its 
chair, and looked out through the open door- 
way into the sunshine. "And now, my 
dears," said Cabot Barr, "to all of you I say 
my final goodbye. I go to taste that finer 
vintage which waits for me — beyond." 

Her mother, Marjorie could see, was wip- 
ing away a tear, and smiling. Wit h her own 
left hand she fumbled for Aunt Augusta's. 

"It has been a pleasure and a privilege, 
being alive with you," said Cabot. "It will 
be my hope to see you all again, in due time. 
God bless you!" 

On the screen beside him, the grand- 
father's clock struck, once, twice, again. . . . 
His delicate fingers clasped around the fine, 
narrow ivory head of the cane, he passed 
through the door, into the sunshine. 
The End 

The Human Side 

(Continued from page 55) 

"It didn't do much good," Phil gloomed. 

"The papers always make things sound 
worse than they are," she consoled them. 

"You can't live a thing like that down!" 
Phil's face flushed. 

"The girls at school won't forget." Lucille 
added. "I'm never going back there — never! 
I just can't face those girls again!" 

"Can't we move away, Mother?" Tom 
put in. 

"You poor darlings!" X'era drew a long 
breath. "Well, we are going to move. I've 
got something to tell you . . . I'm going to 
marry Mr. Dalton." She winced a little at 
the unthinking eagerness of their response. 
Their excited anticipation of being "rich." 

"Will Daddy come to see us, the same as 
he does now?" Tom asked suddenlj . 

"And can Prince come, too?" from Bobby. 

"Of course," Vera said hastily. "Now, 
run along — and be very nice to Mr. Dalton, 
when he comes." 

They were . . . But their eager naivete 
somewhat overwhelmed the bachelor. Chil- 
dren, he thought decisively, should be in 
school — not in the home .... 

Lucille, bursting into her mother's room, 
saw her hastily thrust a ring into a small box 
which she tucked into a drawer in her desk. 
She looked curiously at her mother. Her 
eyes looked — queer . . . "Mr. Dalton's here," 
she said. "Are you going with him this after- 
noon, to get the license?" 

"Yes." X'era tried to sound casual. 

"Mother! You're crying!" 

"Me — crying?" X'era summoned a laugh. 
"What would I have to cry for? I'm going to 
be able to — to give you children all the 


advantages I've always wanted for you — all 

the things " She dabbed powder on her 

face to cover the trace of tears. 

When her mother had gone, Lucille tip- 
toed to the desk. Daringly she took out the 
small box. Opened it. Gazed at the ring. 
"Forever — and forever, and forever," it said, 
inside. Slowly she put it back and went 

She sat very thoughtfully', after her 
mother and Mr. Dalton had gone, listening 
abstractedly to the boys' excited plans. 

"Gee," Tom enthused, "it's swell of 
Mother to marry that guy!" 

"I'll say it is," Phil agreed. 

Suddenly Lucille roused herself. "Well, 
she isn't going to marry him," she declared 
passionately. "Not if I can help it!" 

"Why not?" Tom demanded. 

"She doesn't love him! She's doing it just 
to get us things — and it's going to be awful 
for her — awful!" Lucille wailed. 

"But she likes him. Luc," Phil said. 

"She likes him all right, but she doesn't 
love him," Lucille insisted. 

And loyally they drew together. They just 
couldn't let Mother be unhappy! For a long 
time they discussed plans . . . Then, at last, 
tense with excitement, Lucille and Phil went 
out, leaving Tom with Bobby. 

Timidly they sought Miss Alma Hastings' 
apartment. Felt a sudden vast relief when 
the maid informed them that Mr. Gregory 
Sheldon was not there and would not be 
there. The Lambs' Club next . . . And more 
relief, when Daddy explained that he had 
only stopped at Miss Hastings' apartment 
as a matter of business, that he lived at the 

Club — where no women were allowed. Ea- 
gerly they told him their story. 

It was late evening when Dalton at last 
left her at her door. Wearily X'era turned 
her key in the lock and went into the living- 
room. Then she gasped. In slippers and 
dressing-gown, Gregg lay stretched in a 
comfortable chair before the fire, asleep. 

"Gregg!" she exclaimed unbelievingly. 
Gazed incredulously at his trunk. 

He woke. Jumped up. Greeted her joy- 
ously. "I'm through with the theatre," he 
explained hurriedly. "Going to get a job 
. . . Going to be a fireside-and-slippers man 
from now on — going to settle down and live 
peacefully with you and the children." 

"But, Gregg — ' Patiently she tried to 
explain to him. About the children . . . 
About Dalton . . . "He's coming for me 
tomorrow at nine sharp," she ended wearily. 
"Gregg — you've got to get out. \\ : hat wouid 
he think, finding you here?" 

But Gregg refused to be impressed. 
"You've got it all figured out, haven't you? 
XX ell — get this, my girl — you're not going to 
marry him! You belong to me! No other 
man's going to have you — " He tried to 
take her in his arms. 

But she moved away. "It's for the best," 
she insisted. "Now — do call a taxi." 

"I can't — " He turned out his pockets. 

"Oh, Gregg!" 

He looked at her in sudden dejection. 
"You think I'll never succeed — at any- 

"Oh, I'm sure you will," she said quickly. 

"Then — why won't you wait?" 
(Continued on page 74) 



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"Gregg, darling — Phil's fifteen!" 

He sighed. Dejectedly he turned away. 

"You can crawl in with Phil," she said, at 
last, pityingly. "Good night, Gregg." 

He didn't answer. But later he tapped 
softly at her door. Looked at her pleadingly, 
hopefully, when she opened it. "I just — 
wanted to say — good night." He waited. 

"Good night, Gregg." She closed the door. 

He stood there for a moment. Then dis- 
consolately he went off to Phil's room. 

Somehow, cheerfully, he managed to de- 
lay them all in their turns at the bathroom 
the next morning. So that when Dalton 
arrived, Vera was not yet dressed. In bath- 
robe and slippers, Gregg came in to greet the 
prospective bridegroom. 

Dalton stared at him amazedly. "What 
are you doing here — like that?" he asked. 
"From your attire, one would infer that you 
had spent the night here." He frowned. 

"A most beautiful night," Gregg assented 
cheerfully. "And today's a most beautiful 
day! The second most beautiful day in my 
life. The first was our wedding-day . . . And 
today, Mr. Dalton, that little bride of six- 
teen years ago has consented to walk to the 
altar with me again." 

Dazedly Dalton tried to comprehend. 
Stammeringly he tried to present his own 

"You know how women are — " Gregg 
hurried him out. "She'll write you — a nice 
long letter." 

As Vera came down the stairs the doorbell 
rang. "It must be Mr. Dalton," she said. 
"Open the door, Phil." 

It was Mr. Dalton. Escorted by two 
detectives, he came into the room. 

"These two men saw me coming from 
your house," he explained irately, "and 
insist I'm Mr. Sheldon." 

"I'm Mr. Sheldon." Gregg came forward. 

One of the officers extended a paper. "A 
present for you, Mr. Sheldon — " he placed 
the paper in Gregg's hand. "A warrant for 
your arrest." 

"Alma Hastings!" Gregg gasped. 

"Plaintiff charges battery and assault — 
deception — fraud — obtaining money 
under false pretenses," the officer recited. 

"Is that all?" Gregg sighed. 

"The car's waiting," the other officer 
stated compellingly. 

"Better let me change my clothes." 

"You get 'em, Bill," the officer ordered. 

"Gregg!" Yera cried, as they took him 
away wil h them. Then, to the consternation 
of James Dalton, she burst into wracking 
laughter and sobbing. 

With the help of the alarmed children he 
ministered to her. At last she recovered her 

"It's so funny!" she said shakily. "Gregg, 
going off to jail — me, going off to marry 

"Marry me?" Dalton stared at her. 

"That was the idea, wasn't it?" She 
gazed at him wonderingly. 

"But — but — he told me — right here — 
not five minutes ago — " It took him some 
time to explain, but at last Yera understood. 

"It's not true — not a word of it," she 

"The scoundrel! He ought to be in jail!" 
Dalton ejaculated. 

"I believe he's on his way!" Vera laughed 

Dalton drew himself up pompously. "And 
we'd better be on our way — it's getting late. 
Are you ready?" 

"I'm ready, Jim," Yera said. 

Dalton talked complacently, as they 
drove to the office of the Justice of the 
Peace who was to marry them. He had it all 
figured out. Lucille and Phil should be 
packed off to boarding-school. The two 
younger children should have every minute 
of their time regimented, from the time they 
rose till they went to bed ... In that way, 
no one need be troubled by them at all ... . 

Yera was very silent. 

"Like little trains," she mused suddenly 
as she sat beside Dalton in the office of the 
Justice, awaiting their turn to be married. 

He handed her slips of paper with the 
time schedules on them. "It was quite a 
job, figuring it all out," he said proudly. 
Then, aghast: "What are you doing?" 

"What they would feel like doing!" Yera 
tore the slips into minute pieces. "Let's go, 
Jim." She rose. Turned toward the door. 

"Next!" the Justice called pleasantly. 

"The lady's changed her mind," Dalton 
said aggrievedly, tearing up the license. 

Vera gathered the children together, to 
tell them of her plans. She had got a job, 
travelling and demonstrating toilet articles. 
Tom was to go and stay with Aunt Martha. 
Phil with Uncle Henry. Lucille and Bobby 
to Aunt Minnie's. 

"We'll be together for Christmas," Yera 

A moving van drew up outside. And pres- 
ently, in an ordered confusion, the furniture 
disappeared into its capacious depths. Mr. 
Jenkins, owner of the house, gazed doubt- 
fully at Prince. He didn't wholly relish the 
idea of caring for the dog till the family 
should be reunited. Prince returned his gaze 
with pained concentration. He didn't relish 
Mr. Jenkins at all. Bobby, looking from one 
to the other, suddenly began to cry. Phil 
and Lucille exchanged uneasy glances. 

"Come now — " Yera bent over Bobby. 
"Be brave, dear ..." But her own eyes 
were misty. Always, till now, she had 
managed to achieve some small, income-pro- 
ducing employment that, with Gregg's occa- 
sional assistance, had kept the family to- 
gether. But now this travelling job was 
their only hope. They had to be brave. 

There was a new confusion in the hall. 

"Right in there, driver," a well-known 
voice was saying. And Gregg burst into the 
room, followed by the taxi driver, who bore 
an enormous hamper of goodies. 

"Gregg!" Yera stared. 

"My darlings!" He gazed about the 
room. "But — you're moving?" 

"Going to our summer mansion in the 
Berkshires, my dearest," Yera said airily. 
"When did you get out?" 

A look of pitiful apology crossed Gregg's 
face, as he understood Yera's gay explana- 
tion. Then he smiled as he answered her 

"This morning, darling! Joe Franklin — 
remember Joe? — came into a lot of dough. 
And he's going into the show business. He 
heard where I was, and came and bailed me 
out. Everything's settled. He has the play 
— the star — the dough — and me to produce 
for him!" 

"Then we don't have to move!" Stars 
shone through Lucille's misty eyes. 

"And you won't have to work!" Phil 
hugged his mother. 

"Prince!" Bobby and Tom flung them- 
selves upon the dog. In a happy huddle they 
rolled into the dining-room. 

With a look of vast relief, Mr. Jenkins 
stepped out. 

Understandingly Lucille caught Phil's 
eye. "Come on," she whispered, and they 
followed the happy youngsters into the 

Gregg looked adoringly at Yera. "And 
the best part of this is," he assured her 
meaningly, "the star is Joe's business. I 
won't have her to worry about. I'll be able 
to put all my energies in the work." 

"Then you will succeed," Yera said con- 

"Do you think so, Yee?" He came very 
close, his eyes shining down into hers. 

"'I've never been wrong,'" Vera quoted 
ha,ppily. "'I haven't been right several 
times — "' she laughed. "'But I've never 
been wrong!" ' 

There wasn't any more to say. His lips 
were on hers. His arms, holding her close — 

The End 

Dangerous Corner 

(Continued from page 60) 

She rose. Lifted a small box from the table. 
Passed it to Miss Mockridge. 

"A cigarette?" she offered. 

"No, thanks. I'm a slave to my own 


"Oh, I remember that box — " Olwen 
took a cigarette from it. " It plays a tune, 
doesn't it? " 

Freda closed the box and put it on the 
table. " It can't be this box you remember." 
There was a faint edge to her voice. "This 
is the first time I've had it out." 

" It belonged to Martin, didn't it?" Olwen 
said. "He showed it to me." 

"He couldn't have shown you this box, 
Olwen. Martin didn't have it when you 
saw him last." Abruptly she turned away. 

"Couldn't he. ..." Olwen gazed at 
Freda's back. "Then. . . . Perhaps I'm 
mistaken. ... I must have seen a box like 
this somewhere, perhaps, and thought " 

Gordon got the new tube adjusted in the 
radio. Dance music flowed forth. "Here 
we are!" he exulted. "Come on, Sweet- 
heart." He held out his arms, and Betty, 
laughing happily, drifted into them. 

Robert joined Freda. They smiled at each 
other. Miss Mockridge smiled musingly. 

"There's a moon outside," Stanton 
whispered to Olwen. 

"Is there? " 

"Prove it to you!" He led her out on to 
the porch. "Had to see you alone — matter 
of business," he said. "It's about a book." 

"What is it called?" 

"'The Life and Love of Charles Stanton' — 
Olwen, for the nine millionth time — will you 

marry me? " 
There was 

in Olwen's 

a tender smile 
eyes. Softly she said: "Yes." 

Stanton's arm, which had been about her 
waist, slipped off. He staggered. "Good 
Lord, girl!" he gasped. "Don't you know 
I've got a weak heart? " 

"You brought it on yourself!" 

"But — you don't know what a shock this 
is — for years and years and years, every 
time there was a lull in the conversation, 
I've proposed to you. ... I came to depend 
on it. . . . Now you've left me with nothing 
to talk about for the rest of my life! What 
shall I do? " 

"Some men kiss. ... At least, they do in 
books," Olwen offered. 

"Thank goodness you can read, darling!" 
He took her in his arms. Kissed her tenderly. 
"I daren't be serious," he confessed pre- 
sently. "I might cry! I've waited so long, 
Olwen. I'd almost given up hope. . . . Why 
did you. . . . You did mean it, didn't you? 
You didn't mistake me for anyone else?" 
And, as she shook her head, smiling, he 
added: "I'm still the same — -I haven't 

" But I have. ..." Olwen's face was very 
serious. "Tonight. . . . For a moment. . . . 
I saw something — something horrible — 
that might have happened. ..." She 
shuddered. "It was a — vision — a night- 
mare!" She clung to him. "I need some- 
body, Charles. ... I always have, but 
I. . . . " She bit her lip. "Never mind — 
I need you!" 

Once more he took her in his arms. Held 
her comfortingly, happily, close. 

In the darkness of the garden a white 
bird flew up suddenly. " Who? Who?" it 
murmured softly among the trees. 

Charles laughed contentedly. "Who? 
Me — you fool — met Didn't you just hear 
her say so? " 

Gently he drew Olwen's face close to his. 
Kissed her sweet,, upturned lips. 
The End 

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tEven a casual visit to the 
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Henry A. Rost, Managing Director 
George Suter, Resident Manager 



58th to 59th STREETS 


eroine o 

( a Hundred Romances 

(Continued from page 28) 

of America or might have attached to her 
name a title carrying great prestige and dis- 
tinction. Instead, this romantic star ac- 
cepted the heart and hand of a Spanish 
gentleman — Valentin Parera, "the Ronald 
Colman of Spain," and himself an excellent 
actor — and cared not a whit if he had fame 
or fortune! 

By the time Grace was fourteen years old, 
all of the boys of Jellico, Tennessee, had 
recognized her charm and practically every 
one of them wanted her to wait for him 
until he could make his fortune. (My own 
cousin was one of the number who had to 
see her pass him by.) But Grace, who sang 
in her church choir and was deeply religious, 
wanted to be a foreign missionary. She 
couldn't interest any of the boys in saving 
the heathen, which somewhat disconcerted 
her. Even then she was vaguely sensing the 
fact that her life would not be complete 
without male companionship, and had she 
gone to some far-away wilderness, she would 
have taken romance with her! 

When her family and friends dissuaded 
her from her original purpose, she vowed 
that she would still pursue a career with a 
high purpose. She would sing . . . sing glori- 
ously ... so that people would be lifted out 
of themselves and forget the cares of every- 
day life. 

So Grace ran away to New York to have 
her voice trained. With almost nothing to 
live on, and that earned by small and infre- 
quent singing engagements, she was one of 
the young, ambitious hopefuls of squalid, 
but glamourous Greenwich Village, dream- 
ing great dreams of some day thrilling the 
world with her art, thriving on constant, 
endless work, determined to deserve fame, 
fortune and — some day — a great and en- 
during romance. 

One Thing She Never Forgot 

"T HAD so little and yet so much," she 
JL said. "The struggle was inspiring, and 
I wouldn't, take anything for it. Success 
comes much too easily in Hollywood. People 
who have lived moderately all their lives are 
suddenly able to purchase beautiful homes, 
expensive cars, and all the latest clothes they 
desire, and it changes their outlook. They 
are sought after by hundreds of people and 
they believe they are really important. They 
lose sight of the fact that all growth must 
be from the inside.'' 

Grace doesn't want to talk of her early 
admirers, for to her it is just as if her life 
began when she met "Val" — and if you 
could hear the tone of her voice as she speaks 
his name, you would be convinced. All 
pseudo-loves of former years have disap- 
peared from her consciousness as completely 
as the fog that passed over the Hollywood 
mountains this morning. But, you see, I 
knew about these early engagements, so she 
couldn't deny them. 

" Now, put yourself in my place," she 
said. "I was a little country girl of Jellico, 
Tennessee, who had never been out of the 
state. How could I res st the temptation to 
be engaged when a young man promised me 
that we would go to Niagara Falls on our 
honeymoon? The next probably promised 
me a trip to California, if we married. While 
I was still dreamy-eyed from visioning Cali- 
fornia, another offered a honeymoon trip to 

"As I see it now, I was suffering from 
an urge to see far, romantic places. It 
was the dreams, not the suitors, that I loved. 
But I couldn't settle on any one dream to 
the exclusion of all others, so at the end of 
the season, I frequently found myself in 

possession of at least six college fraternity 


Relied on Her Intuition 

BEFORE we go a step further, I want 
you to know that I was never in love 
until I met Yal. I could never bring myself 
to the point of marrying any man. Always 
I knew that I had not yet found the real 
thing, and always I knew that I would rec- 
ognize him instantly when I did meet my 

Like the heroine of "One Night of Love," 
she has been torn between two forces — the 
desire of youth for romance, and the desire 
of an artist for a great career ... a career 
that would place her on a unique pinnach 
in the musical world and win for her a last- 
ing place in the Hall of Singing Fame. You 
are probably aware that she is native-born, 
native-trained, and America's grand opera's 
first one-hundred-per-cent American prima 

As some women of the cinema have 
brought romance to the screen, so Grace 
Moore brought romance to opera. Emotion 
was always present in the music itself, of 
course, but few of the artists personally sug- 
gested romance — unless they were heard, 
not seen. The operatic heroines were heavy, 
seldom beautiful, never young. Men, listen- 
ing to them, closed their eyes — to picture 
dream-women to fit their voices. But no 
man ever took his eyes off Grace while she 
sang. Everything about her spoke of ro- 
mance — her youth, her figure, her face, her 
glorious voice, her glamour, her vitality. It 
was inevitable that men of all walks of life 
should be drawn to her. 

Might Have Been a Princess 

NOT only the men of America bowed at 
her altar, but any number of titled 
foreigners paid court to her. At one time 
she was reputed to be engaged to a Prince — 
who was reported willing to sacrifice all 
royal rights to marry the American prima 

In his case, her friends say, Grace was 
actually in wedding raiment and on her way 
to the Paris City Hall to marry him, ac- 
companied by a gay party of friends — when 
she suddenly drew back. "I'm not sure! 
Let's go to a cafe and talk it over," she 
told them. They did not return. Instead, 
Grace invited the entire party to Deau- 
ville for a week-end of gaiety! I have heard 
this story too often not to believe that 
there is some truth in it. 

You see, while Grace could not live with- 
out adoration, and all the little attentions 
that go with it, she had in her heart an ideal 
and a firm conviction that once she met the 
right man, his presence would be so electri- 
fying that she could not resist it. It was 
this conviction that always made her side- 
step matrimony — until she met Valentin 

You probably recall when the newspapers 
headlined a report that she was engaged to 
marry the scion of a wealthy Philadelphia 
family. A mutual friend, who thought that 
they were suited to each other and should 
marry, hoped to hasten a romance by telling 
reporters that there already was one. The 
chap was in Europe at the time and when 
Grace went over shortly afterward, the 
two of them laughed about being "engaged" 
and then decided it was not a bad idea 
after all, and actually found themselves 
discussing marriage. 

But before the wedding bells could ring, 
Grace had her call to the Metropolitan, the 
goal for which she had been striving for 


years. With her chance, so the story goes, 
came the edict that marriage could not be 
allowed to interfere with her contract. She 
must choose between the two. She frankly 
told her suitor that it would be unfair to 
both of them for her to marry on the eve of 
the biggest step in her career, and the next 
day sailed for New York and Fame. They 
are still good friends. 

I must not fail to mention the Due de 
Luynes, who was much enamored of Grace 
Moore, according to rumor. He is the owner 
of thirteen chateaux, and the story has it 
that he was not satisfied until he had shown 
Grace through every one of them, appar- 
ently believing that no American girl — even 
a Grace Moore — could resist such a title and 
such holdings. 

But Grace hadn't breathed the freedom 
of her native Cumberland Mountains for 
nothing. As she strolled through these 
stately mansions, she was conscious only of 
the gloomy interiors, where it would take 
more than a sunny disposition to dispel the 
murky atmosphere — the accumulated vibra- 
tions of several generations. So the Due de 
Luynes passed out of the picture, much to 
the disgust of her friends in New York. But 
Grace still held to her romantic dream of 
a man she would love at first sight. 

Knew She Would Marry Him 

SHE doesn't believe you when you tell 
her that Valentin Parera was on the 
same studio lot, within a few feet of her 
many times, when she was making "The 
New Moon " with Lawrence Tibbett. She 
doesn't believe that it could have been so 
without her knowing it. 

When she first saw him, they were both 
on the deck of the He de France, returning 
to America. She looked at him a long time 
and then said quietly to her secretary: 
"Do you see that man over there? That is 
the man I'm going to marry." 

"How silly!" replied the secretary. "You 
don't even know whether or not he is mar- 
ried already!" 

"But I do know," said Grace. "There is 
an unmistakable look about a married man. 
I know he is not married. I know he is the 
one for me." 

In that first instant, she knew why she 
had been waiting so long. This time it would 
have made no difference if it had meant 
giving up her career; if it had meant going 
to a remote place among strangers; if it had 
meant living in poverty. No matter what 
it meant, she knew that she would spend the 
balance of her life with that man. He spoke 
no English and she spoke no Spanish, but 
they both spoke beautiful French — a lan- 
guage ideally adapted to romance and love. 
Before they parted, the first evening of their 
meeting, he said: "I will never leave you 
again." And she replied, "And I will never 
leave you." 

Grace says now that motion pictures are 
the great romantic medium of the future, 
and she wants to be a part of them. " But," 
she continued, "the real reason why I came 
back to Hollywood was that Yal might have 
his chance. Producers have told me that he 
has a great future, both in Spanish and 
English productions, if I will not take him 
away. I am more interested in his career 
than in mine, and he feels that mine is more 
important. Neither of us requires much 
money to make us happy. We are content 
with simple joys. It doesn't matter what 
else we have — so long as we have each 

Then, suddenly ending the conversation, 
she turned to me and held up her arm for 
inspection. "Do look at my bracelets." 
There were three gold chain bracelets, gifts 
from Yal, one for each marriage anniver- 

"I expect to be able to have fifteen of 
them on each arm," said this heroine of a 
hundred romances. 

















a frank talk wttk F- 












bad times over for the F-'s 



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New Deal 7 

for Charlie Chaplin 

(Continued from page jj) 

dramatics and dancing, preparing herself for 
her debut as a leading lady under Charlie's 
direction. The silence of the tomb, so long 
observed on the Chaplin premises, has been 
shattered recently by the set-building that 
has started with promise of unusual pre- 

A Hint about His Picture 

SECRETLY, Chaplin has been getting an 
enormous amount of background ma- 
terial for his picture. It is to be an industrial 
subject. He has shot views of strikers, 
bread lines, food riots, workmen at lunch- 
time, workmen going to work, interiors of 
automobile, furniture and other factories. 
He has accumulated a mass of this stock 
material. Perhaps he could have borrowed 
huge gobs of it from other studios, but 
Charlie is always independent. He wants 
his own particular photographic angle on 
each scene; it must be truly individual. 
Hence he works apart and alone always. 

This is to be Chaplin's great effort. He 
virtually told me that; and whether or not 
he will make another picture in which he, 
himself, will star is a question. He is, how- 
ever, seriously considering the production 
of a talkie, which he will direct and which 
will be planned, probably, to cause as much 
of a revolution as "A Woman of Paris" did 
in screen technique when it was produced. 
You may recall that in that feature Chaplin 
achieved a new note of simplicity in story- 
telling, and that he conveyed much by 
subtle suggestion, especially in dealing with 
the implied relationship between the two 
principal characters (played by Adolphe 
Menjou and Edna Purviance). The manner 
in which Menjou removed intimate be- 
longings from the heroine's dresser drawer 
was considered to be very daring at the 

Chaplin feels that his new silent comedy 
must compete with all the power of the 
talkies. "Talk has made I he screen more 
vital," he told me recently. "I think that 
most talkies fall far short of their possibili- 
ties, but in increasing the vitality and 
reality of the screen the spoken word has 
been revolutionary and I am not unaware 
of this. 

"We have taken that added power into 
account in our scenario for my new film. 
We will use sound; wonderful effects can be 
secured with sound alone. It is an added 
accent, and can lend dramatic or comedy 
emphasis to the scene. I still personally pre- 
fer to use it in an abstract way." (You may 
remember how well Chaplin did use it in 
that way in the mumbled speech in the first 
scene of "City Lights" and in the one in 
which he swallowed a whistle.) "I still 
definitely believe in the art of the silent 
picture," he continued, "as something sepa- 
rate and distinct from the audible produc- 
tion. It is more difficult to make a silent 
film to-day, but it can be done. 

Preparation — Not Inspiration 

WE are taking no chances about prepa- 
rations. I am not going to rely 
upon inspiration on the set. We have 
mapped out the story completely. We will 
have a shooting script and a script for the 
camera. Every detail is to be worked out. 
The need for economy in making the picture 
dictates this. We are undertaking a feature 
that is going to be far more elaborate and 
expensive than usual. Many of the scenes 
will have huge crowds of people. We must 
know in advance exactly what they are to 
do. Our settings will be larger and more 
costly, and must all be built according to 
exact specifications. Everything is to be 
highly systematized." 

It is strange to hear such words uttered 
by Charlie Chaplin — who has said in the 
past: "I like to know the end of a picture, 
where I am going, but not too much about 
how I will get there. What is just beyond 
the next hill does not necessarily interest 
me; I like to know the surprise of dis- 
covery." Which would explain why he so 
often ceased work during the making of a 
picture, sometimes for weeks; stopped for 
hours of thought and meditation during the 
most industrious times, and indulged in 
other digressions that were considered 
erratic. He has been known to walk out 
and leave a whole set full of people for what 
seemed like an interminable time. Maybe 
days, if they had waited. It was all due to 
the budding of some grand new idea. 

The system of preparation in advance is 
so absolutely new in his case that it is 
baffling. Only once before, to my best 
recollection, did he ever attempt a film 
with a full-fledged scenario, and that was 
'The Idle Class." Incidentally, I don't be- 
lieve he was ever very keen about that short 
picture, because it was specially written for 
him. You may remember that in the film 
he played a dual role — a well-tailored Chap- 
lin without disguise on the one hand, and 
the derby - hat - bamboo - cane - and - baggy - 
clothes Chaplin on the other. While he did 
not like that scenario-preluded picture, he is 
enthusiastic about the scripty brain-child 
that he so carefully and meticulously has 
nurtured, himself. 

Chaplin is secretive about the plot of his 
picture, but it is known that he will become 
a successful industrialist during one portion. 
From what I hear, he will even be a sort of 
wonder of finance, organization and manu- 
facturing, though remaining the comedy 
character. Much machinery will be utilized 
in the film, and Chaplin asserts he will deal 
with it humorously. He will probably in- 
stall fantastic equipment in a factory that 
will turn out automobiles at the rate of one a 
minute, and with the pressure* of a button. 
In the end he will be caught in the whirlpool 
of an industrial upheaval. 

Gibes at Big Business 

ONE surmises that he is going to do a 
lot of satirizing of the machine age, 
and that his picture will be a light com- 
mentary on everything from the N. R. A. 
down to clock-punching. He'll probably 
send a gibe or two at big business and 
capitalism, but it won't be in a serious way. 
In this picture will be concentrated all of the 
thinking and meditating that Charlie has 
been doing as a result of his travels around 
the world. He has led an unusually quiet 
life since returning to Hollywood in 1932, 
and has been on a long mental excursion. 
His last picture, as you know, was released 
early in 1931. 

Then, too, there is Paulette Goddard's 
influence — the brightest that has ever come 
into his life. The reiterated rumor that they 
are married now takes this form — namely, 
that the ceremony actually did occur at sea, 
and that the license is filed in England. It 
was all supposed to have been arranged by 
a prominent friend of Chaplin's in the legal 
profession. But whether they're wed or not, 
no announcement concerning the marriage 
will be made until the picture is completed, 
and you can look for it right then. 

Miss Goddard has grown steadily more 
attractive. She has made herself highly pro- 
ficient in a variety of cultural respects. 
There are great expectations for her future 
as an actress if she wants to prove herself in 
that way. Chaplin's leading women have 
never been too fortunate after they have 
left the fold, but she is expected to be the 


bright exception. It is doubtful, though, if 
she will go on with her career when she be- 
comes Mrs. Chaplin . . . officially. 

What effect romance will have on Chaplin 
in his picture is going to be the fascinating 
thing to observe. He is more content to-day 
than he has ever been. He feels that this is 
to be the great period of his life. He is 
forty-five now, and views this time as one 
of highest productiveness, of glowing mental 
concentration. Life is beginning for him 
anew ! 

He's Living for To-day 

CHARLIE even views changes in the 
outside world with a certain supreme 
calm, although still as intense as ever about 
them. He is concerned with only to-day. 
When someone made the suggestion re- 
cently that he should play in a Shakespearian 
comedy, he expressed the feeling that the 
play was too archaic — not necessarily for 
the stage, but for himself. "If I went on 
the stage, I would want to do something 
thoroughly modern; there is too much of 
overwhelming interest in life to-day to go 
back to the past," he said. "How foolish of 
the films to go back to Dickens, for in- 
stance, when there is so much alive and vital 
to-day to be dealt with. Why, why, go to 
the past? 

"The public wants to know what the 
future holds. Are we coming completely 
out of a capitalistic regime? Is Bolshevism 
on the horizon? What's coming? We're 
changing vastly; that's a certainty. There's 
Utopianism. It is being viewed with curi- 
osity, mixed with apprehension, by the 
older forces. They wonder what it is, what's 
behind it. Is it Bolshevism in some new 
form, sugar-coated? You can see that atti- 
tude reflected in the press and elsewhere. 
They're puzzled by it. 

"They're all watching Russia, too. They 
want to know what its influence is going to 
mean eventually in the world's history. Will 
it be the power that is going to bring about 
change? I doubt that, but points in various 
systems that are being suggested go back 
to this common source when they are 
analyzed — the same principles of freedom, 
say, for the soldiery that were enunciated at 
the beginning of the Russian revolution. 

Wonders What Leisure Will Do 

"\\ 7" HAT will the granting of more 

W leisure time that is aimed at in so 
many systems result in? Will it produce 
more art and culture, or less? Fear has been 
the great driving force under the capitalistic 
regime. It eventuated in a highly com- 
petitive system, and art thrived under that 
system. Still, leisure has possibilities, too. 
It will afford more time to concentrate on 
the artistic, on creativeness. It may be 
ideal. On the other hand, it may result in 
inertia. Work inspires work. Activity 
stimulates activity. We cannot lose that 
spirit either. It would be a very unfruitful 
outcome if leisure merely produced idleness 
and nothing else." 

Chaplin takes no part in any movement, 
nor is he on any side. He is the observer of 
what goes on in the world, bent on absorbing 
it all into his consciousness, so that he may 
express these larger cosmic influences in his 

Chaplin keeps close to the public, even 
though he hides from it. He is always 
acutely aware of what is going on to-day 
and now. He has his own perspective, his 
particular bird's-eye viewpoint on the whole 
scheme of civilization, yet he is truly un- 
affected by it and remains himself. 

Therefore, in his new comedy you will see 
both the new Chaplin, the product of his 
many observations and thoughts, and yet 
the same Chaplin you have long known. 
In many ways it holds more promise, I 
would say, than anything that he has made 
— since "The Gold Rush," at least. 



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Hollywood's Big Surprise 
— Ketti Gallian 

(Continued from page 62) 

was long, so," measuring to her shoulder. 
" It was white, but now it is short and darker 
because that is better for the camera. My 
teeth have been straightened because the 
camera likes teeth all even. 

"My weight — I was so fat. Of course, I 
was not fat like this" — purring out her 
cheeks. "But I weighed one hundred and 
eighteen pounds, and now I weigh one 
hundred and ten pounds, so I will look slim 
for the camera. I cannot eat the things I 
like. I must starve myself. I must take 
exercise. All for the camera. When I finish 
this picture I am going to give myself a big 
banquet and eat everything! . . . My eye- 
brows are changed. I have learned to sing 
and dance. I have learned to speak English. 
No, I am not Ketti any more." 

It seems almost unbelievable that one 
person could accomplish so much in seven 
months. But this is the way she did it: 

"I arose at six o'clock every morning," 
she explained. "My masseuse was waiting 
to give me exercises and a pounding. At 
seven o'clock the hairdresser came. I had 
to have my hair dressed every day because 
they were making new tests of me, trying 
new ways of arranging it and also trying out 
the color. At eight o'clock I had to be at the 
studio, where my 'professeur' was waiting 
for me." 

Her "professeur" is Margaret Knapp, a 
well-known New York actress, who has been 
Ketti's constant companion since her arrival 
in Hollywood. She has taught her to read 
and speak English, and coached her in her 
lines for the picture. 

Her Crowded Hours 

" AT the studio," Ketti continued, "I had 
l\ to be made up. Every day they ex- 
perimented with different kinds of make-up. 
I made new tests and looked at the tests I 
had made the day before. I spent two hours 
with a dancing teacher; I took a singing 
lesson; and I spent two hours every day at 
the dentist's. 

"Every night I had to go to a picture 
show. Miss Knapp went with me and at 
first she had to interpret the dialogue for 
me. Now I understand everything that is 
said to me, but I cannot yet speak every- 
thing. During my spare time, if I had any, 
I listened to the radio in order to learn 
American intonation and pronunciation. 
English is so difficult!" 

You wouldn't imagine that little Ketti 
had time to become lonely, but she insists 
that she suffered terribly. 

"Mr. Sheehan wanted me to meet many 
people, as I would have more opportunity 
to hear and speak English, so I went to 
parties. But I couldn't understand what 
they said and every night I cried myself to 
sleep. I decided to tell Mr. Sheehan that I 
was too lonesome, that I must go home. 
Every morning, when I went to the studio, 
I asked to see Mr. Sheehan so that I could 
tell him. But when I got into his office, he 
would always begin to talk about the picture 
— about how wonderful it would be — about 
my success. Pretty soon I would be just as 
enthusiastic as he was and I would think, 
'I'll tell him tomorrow about going home.' 

Ended Loneliness by a Ruse 

BUT one day I told Mr. Sheehan that I 
must have my mother here with me 
or I couldn't stand it another minute. He 
said my mother couldn't come because he 
didn't want me to have anyone to speak 
French with. I told him my mother could 
speak English and, finally, he let me send 
for her and she came. I thought I would 
have time to teach her a few words before 

he saw her, but he insisted on seeing her 
right away and when he talked to her, she 
couldn't understand a thing he said." 

Ketti laughed as she described Mr. Shee- 
han's surprise to learn that he had been 

"You'll have to go to San Francisco and 
stay until you learn English," he stormed. 
But Ketti stepped in with a woman's best 
weapon — tears — and Mr. Sheehan relented. 
Madame Capot agreed to learn English im- 
mediately and Ketti promised to speak no 
French to her mother. 

"Now she speaks English very well," 
Ketti told me proudly. 

But even having her mother with her has 
not entirely prevented Ketti from being a 
little bit homesick. She longs to see La 
Belle France again, her friends, her sister 
and has been promised a month's vacation 
so that she can go home for a little holiday. 

"But an astrologer told me I would be 
so busy, making pictures, after I finish 
'Marie Galante' that I wouldn't go home 
for ever so long." 

(She is scheduled to begin work almost 
immediately on "Hell in the Heavens" — 
the picture version of "The Ace" — co- 
starring with Warner Baxter.) 

How She Got Her Start 

EDUCATED in a convent, Ketti had 
little thought of a stage career until she 
went to Paris to visit relatives, who intro- 
duced her to professional people. Eventu- 
ally she was given an opportunity to under- 
study Davia, a leading Paris vedette, who 
was appearing at the Theatre des Capu- 
cines. She watched the star's performance 
every night from the wings. She learned the 
role letter-perfect. .She mimicked every 
gesture and mannerism of the star. Then 
came a night when Davia was stricken ill 
and Ketti played the part — played it so 
well she received an ovation from the au- 
dience and the compliments of the manager. 

This success at mimicry prompted her to 
seek appointment to the Conservatoire, 
where artists for the great national theatres 
of France are taught. It was there that the 
London producer found her and put her in 
"The Ace," which played to packed houses 
for months at the Lyric Theatre in London. 
She had learned her role by rote, not under- 
standing a word of what she was saying, but 
she was the hit of the show. It was there 
that Mr. Sheehan, on his annual talent hunt, 
spied her and knew he had found his Marie 

She is happier now. She can see the 
results of her day's work in the rushes every 
evening. She has her mother with her in a 
lovely Beverly Hills home. She has prac- 
tically everything that motion picture stars 
cry for. 

She doesn't like the big, burly guard, 
whom Mr. Sheehan hired to protect her, and 
who walks up and down in front of her home 
day and night — "but he is necessaire," she 
admits philosophically. It is difficult for her 
to imagine that she might be in danger 
from kidnapers, but she accepts it as a part 
of the game. 

Since her arrival in Hollywood she has 
been surrounded by secrecy. No writer 
could get near her; not a portrait of her was 
given out until her first picture was in pro- 
duction. The reasons are now obvious. She 
couldn't speak English, which prevented her 
from giving interviews. And the pictures of 
her as she looked a few months ago wouldn't 
have been pictures of the Ketti Gallian you 
will see in "Marie Galante." 

And there you have Ketti Gallian — the 
girl who is Hollywood's big surprise of 1934! 


Intimate Hollywood 


(Continued from page 14) 

would consent to loan him as a leading man 
for Garbo's "Painted Veil." The home 
studio wanted to make sure that Brent 
would not suffer any accident that would 
hold up production of the film planned for 
him upon his return. M-G-M agreed to the 
terms. Brent was prohibited from playing 
polo and all the other sports in which he 
might be injured. Due precautions were 
taken and the insurance policy granted. 

The second week of shooting, a mysterious 
plane hovered over the studio at odd mo- 
ments of the day. Investigations were 
ordered and the aviator proved to be Brent. 
They had forgotten to tell him that flying is 
dangerous . . . Brent, by the way, under his 
real name of George Nolan, recently took 
out American citizenship papers. 

How to Lose a Movie Job 

BARBARA PEPPER was a Goldwyn 
chorus girl before she was given a lead- 
ing role in King Yidor's "Our Daily Bread." 
When time came to start "Kid Millions," 
the new Eddie Cantor film, Miss Pepper was 
informed she was a chorus girl again. 

In the daily rushes of one of the big 
chorus numbers, all the girls were shown 
smiling in the approved manner of chorines. 
All save one. She wore a pout and a frown. 
The scene had to be retaken . . . Now, 
Barbara Pepper doesn't work there any 

Doubling for Bing Crosby 

BING CROSBY was threatened with 
appendicitis just before starting his new 
Paramount picture, "Here Is My Heart." 
By X-ray it was proved that he was in no 
immediate danger, so production started. 
Then they couldn't find Bing's stand-in. 
He was finally located in a hospital. You're 
right. He had had his appendix out. 

Which reminds me that Joe E. Brown 
has asked for a mouth-in. 

Love Will Find a Way 

TAKING the "Lives of a Bengal Lancer" 
troupe on location, the company made 
definite restrictions against having any 
women in the camp, because of the large 
number of unpredictable East Indians play- 
ing natives. But four miles away is the 
Lake Malibu Lodge. There was registered 
Sandra Shaw Cooper, Gary's bride of less 
than a year. 

Another Silly Feud 

A FEUD has been brewing between Fred 
Astaire and Ginger Rogers ever since 
they appeared together in "Flying Down to 
Rio" and it broke out for fair (or foul) 
during the recent production of "The Gay 
Divorce," now "The Gay Divorcee." 
Astaire refused to go to the gallery to have 
portraits made with Ginger unless RKO 
paid him for his time. No charge to the 
studio for portraiture alone. But full 
salary if Ginger were in the same still pic- 
ture. No one knows why, except Fred — 
and (maybe) Ginger. 

Just Plane Luck 

HIRING an airplane to take "The Merry 
Widow" for a secret preview in Oak- 
land, executives and members of the com- 
pany ran into difficulties. It seems that the 
plane was limited by law to a freight capac- 
ity of twenty-five hundred pounds. The 
pilot looked over the group of passengers 
and demanded that they be weighed. 

Obligingly, Irving Thalberg (the pro- 
ducer), Norma Shearer (his wife), Jeanette 
MacDonald (the Widow), Robert Ritchie 
(Continued on page 8g) 




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■ "P Bath 


227 West 45th Street, New York 
W. Stiles Koones, General Manager 

Often Deaf, But Not So Dumb 
— June Knight 


favorite song, "Love for Sale." They 
warned her: "With that voice, you won't 
even be able to give it away." 

"We'll see about that," she snapped back 
(her hair was red in those days). "Just get 
somebody to play it for me." 

She sang that song — and the following 
week it was added to their act in the 
theatre. Two weeks later it was heard by 
Ziegfeld's scouts and on the strength of it, 
and her dancing, June was signed up for 
"Girl Crazy." 

On another occasion she told Carl 
Laemmle, Jr., production head at Universal, 
that she thought she should have a chance 
to sing in his prospective production of 
"Show Boat," thus casting herself in the 
most sought-after part in pictures, and one 
that Irene Dunne, Jeanette MacDonald 
and all the best singing stars of the films 
have been eyeing for the past two years. 

"But, June," protested Junior, "you're 
a dancer — not a singer." 

"You ought to read my contract," sug- 
gested the nervy little blonde, who, inci- 
dentally, had insisted that her contract be 
re-written twice, in order that it should 
specify her as an actress, a dancer and a 

Junior, still not convinced that he had a 
second Jenny Lind in his fold, laughed oft 
her demands, and adroitly changed the 
subject — a system that usually works per- 
fectly for movie producers. In this case, 
however, he had reckoned without June. 
A couple of days later her snow-white car, 
locally known as the "flying refrigerator," 
was parked under his window, and he was 
being serenaded with an accordion and all 
of Miss Knight's singing personality. 

Always Ready for That Break 

"T COULDN'T take a piano over there," 
_L June explained to me, "so I did the 
best I could with my accordion. I keep 
that accordion handy, because I never 
know just when I'll have a chance to show 
what I can do." 

June's hopes and schemes were not all 
centered around Junior, either. She had 
other worlds to conquer. For instance, she 
felt it would be nice to sing a song in "Wake 
Up and Dream," the picture she just did 
with Russ Columbo, whose tragic death 
occurred only a few days after completion 
of the picture. 

No song had been written into it for 
June, however, and the director wasn't 
aware of her vocal talents and aspirations. 
That is, for a while he wasn't. But that 
was a condition that could be remedied. 

"God didn't give me a good pair of lungs 
for nothing," June told me. "I had always 
used them to yell for what I wanted — and 
now, with my tonsils out of the way, I was 
going to use them to sing for what I wanted. 
I didn't dare to sing on the stage when they 
were shooting, because that would be too 
easy to see through. So I waited until one 
day they were shooting outside, near my 

"The instant my take was over, I rushed 
in there and started vocalizing. I hit high 
'C for them, and rang the scales and did a 
little bit from a couple of songs. Then 
somebody knocked at my door, and I went 
into the best song I had. I made them stay 
there until I had finished it, until they knew 
what I could do." 

"And who was there, June?" I asked. 

"Oh, I don't know exactly — a supervisor, 
a couple of assistant directors, and the 
sound man. They said they couldn't hear 
their signal bells when I hit the high notes. 


from page 66) 

They were just a little mad — but they 
heard me sing, all right." 

No, June isn't suffering from an inferiority 

Often Deaf, But Never Dumb 

'M not over-burdened with worldly ex- 
perience and wisdom," says June, "but 
I've learned that nine-tenths of the formula 
for getting ahead consists of not being able 
to hear the word 'No.' They may Yes' you 
to death once you reach the top, but the 
way up is surely paved with ' No's' — 'No's' 
that you musn't hear, if you want to suc- 

"Anyhow, that's what I believe — be- 
cause I got it from a good authority. I once 
heard one of the biggest producers in the 
country predict failure for a fine actor, 
because he was willing to take 'No' for an 
answer. 'I didn't mean "No" when I said 
it to that fellow,' this producer explained, 
'but I meant it as soon as I discovered he 
would take that for an answer. If he can be 
discouraged that easily, I don't want him 
in a show of mine.' 

"I'll never forget what that producer 
said," added June. "Right then and there 
I made up my mind that I was going to 
have the grit to fight for what I wanted. 
The spunk to want something, the nerve to 
dare to try for it, and the grit to stay with 
it — that's the combination I've prayed for 
ever since I was a kid." 

And does this girl really mean what she 
says, and has she lived up to her claims — 
or is she just talking big for effect? 

There are three outstanding facts regard- 
ing her known to everyone familiar with her 
past experiences. First, that she is perhaps 
the hardest worker in Hollywood — sharing 
with Jean Muir and Joan Crawford the 
reputation of being at it, every waking hour. 
Second, that misfortune and plain hard luck 
have dogged her from the cradle. Third, 
that she will tackle anything, and can take 
it and take it — and then take it some more. 
\\ ithout a shadow of doubt she has taken 
twice the punishment that fate has meted 
out to any other player of her age in pic- 

The old-time directors are unanimous in 
declaring her the perfect type for a serial 
heroine, as she will attempt anything, and 
carry on in spite of everything. So it's 
lucky for June that serials aren't popular 
these days, or she would probably kill her- 
self in one. 

Pain Can't Stop Her 

AT the time I visited June on the set, and 
l\ later took a flying luncheon with her 
in the studio dining room, she had been out 
of the hospital two weeks (a record for her, 
many people claim). That particular day, 
she was sitting on the back of a truck with 
Roger Pryor and ill-fated Russ Columbo, 
and taking a steady bumping that was de- 
signed to give the effect of riding over a 
rough road. Her recent operation had been 
for adhesions, resulting from a previous 
operation for appendicitis, and she was 
under doctors' orders not to do anything 
strenuous for weeks. Between smiles, she 
had to grit her teeth. 

But that didn't stop June from carrying 
on, any more than a series of sicknesses, 
including double pneumonia, scarlet fever, 
whooping cough, chicken-pox, mastoiditis 
and infantile paralysis stopped her from 
being leading lady in a juvenile theatrical 
company at the age of nine, and in big-time 
vaudeville at thirteen. In fact, June ex- 
plains, it was to overcome the effects of 


infantile paralysis and weak lungs that the 
doctors prescribed dancing for little Mar- 
garet Rose Yalliquette at the age of three 

"This dancing led to my future work," 
says June, "and to my first big tragedy. I 
was only twelve when I started to work in 
a prologue at the Million Dollar Theatre in 
Los Angeles. I'll never forget that engage- 
ment, because Rudolph Valentino was ap- 
pearing there in connection with his picture, 
'The Son of the Sheik.' 

"It was there that he had the accident 
that many claim was really responsible for 
his death. We were all on the stage, and 
Valentino started to go down the narrow- 
stairs at the edge of the stage. He lost his 
balance, half-turned, and fell into the 
orchestra, right on top of the big bass 
violin. I was one of the first to reach him. 
The sharp top of the big violin had pierced 
his side. I helped pick him up. 

"After that engagement I went on the 
road for Fanchon and Marco, and at thir- 
teen I was head line-girl for them. Then 
came more vaudeville work, and my join- 
ing the dance team of Holland and Knight, 
and taking the name of June Knight. While 
I was dancing at the 'Cocoanut Grove' and 
appearing in vaudeville, I was also dance- 
doubling in the movies. I doubled for Sally 
Eilers in the Dunn and Eilers picture, 
'Dance Team,' and for Greta Garbo in her 
dance scenes in 'Mata Hari.' " 

"All in a Lifetime" 

DURING the next three years June 
raced back and forth between Califor- 
nia and Xew Vork and Florida, playing in 
vaudeville and appearing in such shows as 
"Girl Crazy" and "Take a Chance," and in 
such pictures as "Ladies Must Live" and 
"Cross Country Cruise" and yet finding 
time to appear at t-he World's Fair and be 
elected Queen of the American Legion. 
Also, she found time to step back into her 
role as champion hard-luck girl with a 
severe attack of laryngitis and three opera- 
tions — one for appendicitis, another for the 
removal of four impacted wisdom teeth and 
the third to take out a pair of badly infected 
tonsils. And according to the records, she 
was only twenty-one last January. 

Outside of her childhood troubles and an 
emergency operation for adhesions (which 
jerked her out of the lead in "Romance in the 
Rain" and put Heather Angel in her place) 
and the incidentals mentioned above, June 
has never really had anything the matter 
with her. 

Yet, in spite of how old Dame Hard-Luck 
camps persistently in her front yard, June 
Knight is probably the most optimistic and 
ambitious girl in Hollywood. Her whole 
life is made up of what she is going to do 
next — and what she is going to accomplish 
in pictures. 

"I've been carved like a Thanksgiving 
turkey," grins June. "But it's all in a life- 
time, and now there's not much else left to 
happen to me, and I'll probably reach a 
ripe old age with nothing more than a 
toothache to worry me. And you can lay 
your last dollar that I'm not going to tread 
softly for fear of what might happen. I'm 
going to be so busy getting the things I 
want that from now on I won't have time 
to be sick." 

Two of those things June alread}' has: a 
fine part in "Wake Up and Dream," and a 
millionaire boy-friend. Paul Ames, Steph- 
en's brother, is seldom out of June's sight — 
or vice versa. Whether it is on the lot where 
June is working or out in Paul's lovely 
beach home, you'll find this young couple 
working and playing together — planning 
June's future and sharing her present. 

And Paul supervises everything, from 
June's diet to her fan mail. Anyhow, they 
have a great time together — and June's suc- 
cess is their mutual goal. 


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If I Were King of Hollywood — 


(Continued from page 63) 

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Why-of-Things "right off the royal list of 
headaches. I'd issue an Edict: 'There IS 
no Why-of-Things!' 

"Then I'd kill off all my competitors who 
don't give people anything to laugh at 
except wisecracks that someone else thought 
up for them. This might seem like I'd be a 
crool sovereign, sort of Romanoffish or 
stand-offish or something. Well, mebbe. 
But what's the use of being a King if you 
can't execute your rivals? Don't they all? 
At any rate, and at the least, I'd exile 'em 
to Siberia, where full many a wisecracker 
would languish under a bushel of chin 
whiskers and have nothing to keep the 
wolves from his door except wisecracks. If 
Hitler were still in power, I'd consider mak- 
ing Eddie Cantor the Ambassador to Ger- 
many. Boy, would that appointment make 
a hit! I'd order Will Rogers to turn Repub- 
lican. Or may be I'd order all the Republi- 
cans to become Will Rogerses. 

"I'd drown all the female comics, taking 
my cue from China, where all females are 
considered potential comics — and aren't 
given champagne to drown in, either. The 
Chinese have the right idea. The only one 
I'd spare would be z.asu Pitts. 

" I'd set a trap for Mickey Mouse 'cause 
he's cuttin' in on my publicity and then I'd 
commandeer his salary and raise my own by 
several thou' a week. By so edicting, the 
exchequer would grow apace. I'd adopt 
Shirley Temple and Jackie Cooper and Cora 
Sue Collins and David Holt and live on the 
revenues of the child labor thereof. 

"I'd give fifty lashes to every man, 
woman and child who didn't laugh at me in 
'Shoot the Works' and I'd have laughing 
machines installed in every theatre where 
my pictures are shown. They'd be geared 
to laugh only when I was on the silver sheet. 

Would Make Comfort Compulsory 

I'D put all the boys like Gable and 
Powell and Kruger and Chevalier in 
sweat-shirts and they'd feel comfortable and 
look it. 

"I'd call a special session of Parliament 
and appeal to the masses to silence by cut- 
lasses, slink-bombs and other suitable 
methods all blonde stars who say 'Hulloa, 
everybody, wish you were here' over the 
mike at premy-aires. 

"1 wouldn't let any beauties hide behind 
smoked glasses — not even to protect them- 
selves from autograph-hunters. Because 
there wouldn't be any signature-snatchers 
in my Utopian realm. 

"I'd buy All Rights to Otto Kruger. I'd 
reduce Mae West's curves to straighter 
lines and thus make the world safe for 
dame-ocracy and okay for Oakie. I'd put 
Katy Hepburn on a fattening diet of suet, 
starch and cream. I'd shout, 'No, no, and 
a thousand times NO!' to Cecil B. DeMille, 
the Knight of the Bath. 

"I'd have a swell palace. I'd take over 
the Harold Lloyd estate, Pickfair, one or 
two of Marion Davies' little residencias and 
run 'em all together like a chain of hotels. 
Then I'd buy up a few swimming pools and 
put Johnny Weissmuller iti charge of 'em. 
I'd open a radio station and give the air only 
to those who don't need audiences to be 
entertaining. I'd have Bing Crosby to sing 
for me and I'd protect posterity by entailing 
his job on his sons. I'd spot Bing-Bing, in 
stead of a radio, in a corner and keep him 
going day and night, without intermission. 

"I wouldn't live in my palace. I'd go 
down to Lew Cody's place, where I always 
felt at home, and buy that. I'd keep the 

court in perpetual mourning for Lew, and 
Lil Tashman and Marie Dressier and Doro- 
thy Dell, if I were King. 

Mae Could Queen It 

" T'D make Mae West my Queen. Yes sir, 
_L Mae would be sittin' right up there 
'longside o' me and I'd rake a broadside at 
any rival King w r ho looked Queenwise — and 
that would go for Winchell, too. Yes'm, 
Mae would be right there on the throne, 
wearin' the diamonds and the ermine 
(which I wouldn't have to buy because she 
has 'em already) and feelin' right at home. 
And how I'd feel would be the King's busi- 
ness and none of your proletariat nosiness. 
I wouldn't even tell a magazine writer! 

"I'd make some moom pitchers, too, just 
to keep my hand in, and I'd do the things I 
really want to do — the farm-boy parts like 
'Elmer the Great' and others. I',d have 
Claudette Colbert as my leading lady in 
every picture I'd make — I'd have her for 
the huggin' and kissin' parts — and I'd cast 
Mary Brian as my perpetual ingenue. I'd 
take a fling at the theatre, too, and those 
that didn't pick up their rain-checks would 
be pickin' up their heads. 

" I would issue a proclamation against 
having folks ask me why I'm late for this 
or that appointment. I'm running out of 
excuses and, besides, I'm Tired of It All. 
I'd abolish clocks, wrist-watches, bridge 
games, backgammon, ping-pong, potato 
races, Pin-the-Tail-on-the-Donkey and oth- 
er Hollywood sports and just relax. 

"I'd have a bar installed on every set in 
every studio in this, my realm of Holly- 
wood, and I'd have Gary Cooper, W. C. 
Fields and Bing Crosby as attendants, with 
Lee Tracy as official bouncer. 

"I'd give Spencer Tracy — my buddy in 
'Looking for Trouble' — a big build-up and 
keep him busy giving command perform- 
ances. That guy can't give a bad perform- 
ance and always gives a good one. 

Fields Would Be the Jester 

"T'D appoint Bill Fields as my Court 
1 Jester, if I were King. I'd have him on 
hand with his cigar boxes and tennis balls 
and let him juggle away the cares of State. 
I'd have breakfast with W. C. every morn- 
ing because when you go to his house in the 
morning and say you haven't had breakfast, 
he always leads the way right to the bar atid 
says, 'Step right in — I'm thirsty, too.' 

"I'd appoint Stu Erwin as my Most Privy 
Counselor. I'd appoint Toby Wing as my 
social secretary — my date ' fixer.' I'd make 
my mother the Dowager Queen and I'd still 
be the Jack of Hearts who stole the cookies! 

"I'd make two takes of every scene I do 
on the screen and only two and any director 
who made mention of a third — him I'd take 
for a ride. I'd keep on working because if is 
my dream to make good pictures for to 
please the kiddies with. 

"I'd get married and have heirs and 
heiresses to the throne. For less than the 
presentation of royal quintuplets, to the 
Tower would my good Queen go. I'd page 
Charlie Laughton and order him to summon 
the royal executioner, yclept Boris KarlolT. 

"I'd marry Mary Brian if she didn't 
marry Dick Powell. I've often said to 
Mary, 'Look here, why don't you marry me 
and become the mother of a genius?' 

"Yea, veril> — if I were King of Holly- 
wood, I'd be the Good King John in this 

year of our Lordly Producers, 1934 



From West to Westerns 

(Continued from page ji) 
who glorified a soap. Her picture in a 
thousand different poses and in a hundred 
different magazines, newspapers and post- 
ers, strengthened the national parental 
morale when it came to "Wash your neck 
and ears and don't forget your elbows!" 
Nothing could be cleaner than a cake of 
soap as background for a career. Against 
the alluridness of parts played by silken 
sirens, Madge Evans didn't have a chance 
at stardom. 

Xow the tables are turned, and, as the 
silken sirens' careers (momentarily, at least) 
go into eclipse, M-G-M is enthusiastically 
starring Madge Evans. 

Gail Patrick's experience is similar to 
that of Miss Evans'. She is talented and 
beautiful, with the charm of a nice sorority 
girl, typical of most of the kid sisters of 
America. But America would give a hoot 
of derision if its kid sister donned grease- 
paint and attempted to portray the gentle 
art of man-baiting in competition with 
Diamond Lil. So Gail had the heart-break- 
ing experience of playing comparatively 
small parts until finally Paramount failed 
to take up her option, and her place in the 
cinematic scheme of things seemed lost 
definitely. Xow, "Goodness has everything 
to do with it, dearie." and she has been 
yanked back from oblivion and given a 
long-term contract. 

It's An 111 Wind That— 

GOOD luck in Hollywood for one person 
nearly always means disaster for some- 
one else. Any change in this ever-changing 
town means tragedy, and usually it is un- 
deserved tragedy for someone. There are a 
number of stars, perfectly sedate and con- 
ventional in their private lives, who have 
risen to the top on the appeal of highly col- 
ored tales. These women are actresses. 
They can play types entirely foreign to 
themselves, and make them convincing be- 
cause they possess that intangible some- 
thing called glamour, or sex appeal. The 
public is accustomed to seeing these actresses 
portray parts of a certain type. It is not 
likely that all of them will be so intriguing 
in roles scrubbed lily-white. And there is 
small room for them in the Western series. 

Imagine Jean Harlow riding range! Pic- 
ture Norma Shearer reduced to the negative 
role of heroine in a nice, clean, football film! 
Feature Constance Bennett roping a buck- 
ing bronco! Or Mae West as a lonesome 
cowgirl who could look at the moon till the 
cows come home! 

It can't be done. 

Not that these glamourous gals couldn't 
give good performances, but even the bril- 
liant make-up artists of Hollywood cannot 
make them look like Cactus Kates. Take a 
moment off, and try to visualize the stars 
whose stock-in-trade is glamour, and who 
never have stepped foot off a set, all rigged 
out in pants and boots, jolted around on 
horses, bitten by mosquitoes, and stung by 
wind and dust merely for the sake of art 
and clean pictures. Think of Marlene 
Dietrich in a cowboy story. You just can't 
lean against a horse. 

No Tom Mixes in This Group 

THEN consider the plight of William 
Powell, Franchot Tone, Robert Mont- 
gomery, and Leslie Howard. What figures 
these suave gentlemen would cut in "chaps" 
and ten-gallon sombreros, riding hell-bent 
for election after those mean old rustlers, 
Maurice Chevalier, Edward Everett Hor- 
ton, Dick Powell and Frank Morgan. Ob- 
viously, these valuable contract players 
cannot participate in the great back-to-the- 
range movement now taking place on the 
polished desks of Hollywood executives. 
{Continued on page 87) 


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Joan Crawford — Good Samaritan 

{Continued from page J 2) 

sought him out to confirm the facts that I 
had already gleaned, here, there and every- 
where, he made me promise that I would 
not reveal his name. That's the promise 
that I am breaking. 

A Promise Joan Made to Herself 

LET'S turn back the clock. The time is 
^ 1926; the scene is a meagerly furnished 
doctor's office; the players are a young 
actress who is struggling for livelihood and 
recognition, and a young doctor, who is 
fighting for a foothold in his profession. 
Both are poor, ardent, and given to dream- 
ing brave and beautiful dreams. 

Watching the swift play oj emotion that 
animates the girl's mobile features, the 
doctor remarks, calmly yet with emphasis: 
"Some day, you will be one of the brightest 
stars in pictures!" 

Her face lights with pleasure, for she 
knows that in a town steeped in meaning- 
less flattery, she has heard the expression of 
an honest conviction. 

"If that prediction comes true — if ever I 
am a star," she replies, "I shall share my 
good fortune with those who need it. I 
want to do something worth while for 
people . . ." 

The girl was Joan Crawford; the doctor 
was William Branch. 

The years flew by, and both scaled the 
ladder of success. True to his prediction, 
Joan became a featured player, then a lead- 
ing woman, and, finally, a star — certainly, 
one of the greatest in pictures. Meanwhile, 
his clientele grew by leaps and bounds; 
eventually, he became known as one of the 
outstanding physicians and surgeons on the 
Pacific Coast. Through the years, their 
friendship was firm. She sent him clients; 
he gave her understanding and advice. 

But, with success, Dr. William Branch 
grew dissatisfied, self-critical. He repeat- 
edly asked himself this question: "Am I 
going on forever, mollycoddling the rich for 
the sake of fat fees — or am I going to be 
an honest servant of humanity, giving my 
services without question of pay to anyone 
and everyone who needs me . . .?" Money — 
that was the stumbling block. He had not 
amassed wealth, despite his success. He 
could donate his time and his skill — but 
how could he pay for the hospitalization of 
his needy patients? 

So They Started a Clinic 

WHILE he pondered the question, Joan 
came to his office. "Do you remember 
the day, eight years ago, when you predicted 
I would be a star — and do you remember the 
promise I made then?" she asked. "1 want 
to keep it now. I want the money that is 
being showered on me to benefit others. I 
want to centralize my charities. How can 
I do it?" 

"Fine!" shouted Bill Branch. "We're 
going to start a clinic!" 

And that's how Rooms 351 and 353 were 

Dr. Branch donates his services; Joan 
pays all the hospital expense. The rooms 
are leased permanently from the Hollywood 
Hospital, and, at all times, are ready to 
receive patients. A third two-bed ward is 
to be added immediately. 

No questions are asked regarding a pa- 
tient's race, creed, social standing or wealth. 
Rooms 351 and 353 are waiting for ex- 
millionaires or for social outcasts. "Are you 
ill? Do you need a doctor's care? Are you 
unable to pay at the moment?" Those 
queries comprise the entire questionnaire. 

During the past eight months, the two 

wards have been occupied constantly. Dr. 
Branch has donated his services for fifty 
major operations, countless minor sur- 
geries, innumerable medical cases! Cancer, 
appendicitis, basal fracture, gall-stones, 
tumors — all the long list of human woes 
have passed, and are passing, through the 
clean, white rooms numbered 351 and 353. 
Payment? Oh. some day ... if you happen 
to find it convenient. Never . . . unless you 
are able. Don't bother about it — just get 
well, that's what matters! That's what 
Rooms 351 and 353 are for! 

Try to Help in Two Ways 

IT'S just as important to salvage a man's 
pride as to repair his body," declare 
Dr. Branch and Joan Crawford. "There 
are people who are down on their luck, 
without friends, without funds. Sometimes 
they would rather die than go to the county 
hospital and admit their state. Those people 
are our patients!" 

There was a man — why call his name? — 
who came to Southern California from 
Chicago with a cool half-million as a re- 
tirement fund. He was in his fifties, still 
able to work, but content to quit and live 
in comfort with his family on his savings. 
The stock-market crash left him a pauper. 
He tried for three years to obtain work — 
manual labor, anything — and couldn't. 
Finding the wherewithal to eat became a 
terrifying problem. Nominally, he owned 
a mansion, but the threat of immediate 
foreclosure hung over it. He had a ninety- 
thousand-dollar life insurance policy, but 
it would be canceled within a week or two 
for non-payment of premiums. 

And then, he suddenly found himself the 
victim of agonizing pains in his right side. 
He suspected appendicitis, but went to bed 
without mentioning his fears to his family. 
He lay there for four days, sweating with 
horrible pain. Through mutual acquaint- 
ances, word of his condition reached Joan, 
and, through her, Dr. Branch. A hasty 
examination revealed general peritonitis — 
the man's appendix had burst days before. 
He was rushed to the hospital. 

He refused an operation. "Look at the 
thing sensibly," he said. "I can't pay — and 
even if I could, why should my life be saved? 
If I die now, my family will collect my in- 
surance and they can save the house and 
live comfortably. It's the only way out. 
I'm through! My nerve's gone!" 

Finally, he consented. He had less than 
a fifty-fifty chance of recovery. Seven 
operations were performed before he was 
out of danger. Every day, Joan sent him 
flowers and a message of cheer, as she sends 
flowers to all those who live, briefly, in her 
two hospital rooms. To-day, he is back on 
his feet, working and making a living. They 
saved his body — and saved his self-respect. 
Can you wonder if that man worships Joan 
Crawford and Dr. William Branch? 

Good Samaritans Not Choosey 

AND there was a little "extra" girl . . . and 
k there was the wife of a penniless, out- 
of-work gardener . . . and there was a former 
newspaperman . . . and there was a prosti- 
tute. . . . You see both sides of human nature 
when you try to be a Good Samaritan. And 
Joan, sensitive, sympathetic and forever 
trustful, is quick to respond to gratitude, 
quick to be crushed by the lack of it. 

There was a girl who suffered from a 
mental disorder. Her parents, their funds 
exhausted in caring for her, appealed to 
foan as a last resort. She sent them to Dr. 
Branch — and I saw her cry when they tried 


to express to her their gratitude. Through 
her tears she told me how happy such ap- 
preciation made her. 

And then, on the other hand, there was 
a man who tried to capitalize on her sym- 
pathy. She sent his desperately ill wife to 
Dr. Branch and loaned him money, only to 
discover that he regarded his benefactress 
as an "easy mark." He later left this 
message with her maid: "Tell Miss Craw- 
ford I need one hundred and fifty dollars. 
I'll be around for the check tomorrow." 

A few months [ago, you read in Movie 
Classic the story of the hopelessness and 
helplessness of Edwina Booth, who played 
the White Goddess in "Trader Horn." She 
contracted a mysterious j ungle malady on the 
long location trip in Africa, and for two 
years has lain in pain in a darkened room. 
With her family in actual want, there has 
been no money for hospitalization, for ex- 
pert medical treatment for Edwina. The 
sequel of that story is: Joan Crawford and 
Dr. William Branch have given her "the 
chance to live" . . . 

People are learning about Rooms 351 and 
353, and now there's never a week or a day 
that doesn't bring its tide of applicants. 
Sufferers write to Joan — and Joan gives 
their names to Dr. Branch, who investigates 
their needs. 

She gives him the credit; he passes it back 
to her. She pronounces his name in a tone 
that tells you that in her eyes he is vested 
with God-like qualities; he says: "Joan is 
the most sincere woman I have ever known, 
and the greatest-hearted; she can't see a 
sick kitten v : *hout wanting to help it back 
to health and crying over its suffering . . ." 

Now, they are dreaming of an experi- 
mental farm, large enough to accommodate 
everyone who needs their aid. Their dreams 
have a way of becoming fact. 

Hollywood is very proud of Rooms 351 
and 353! So proud that I feel justified in 
breaking one little promise. 

From West to Westerns 

(Continued from page 8j) 

But, there is a brighter side to the story. 

Paramount let out Randolph Scott a year 
ago. It didn't know what to do with him, 
for at that time, the Westerns in which he 
had appeared to advantage were at low- 
ebb. Now they have snatched him back for 
three Zane Grey stories. On the Paramount 
list are "Wagon Wheels," with Scott, Gail 
Patrick and Monte Blue; "Code of the 
West," with Scott, Miss Patrick, Kent 
Taylor and Jackie Coogan, and "The Van- 
ishing Pioneer." 

George O'Brien has just been signed for 
a series of Westerns by Sol Lesser, featuring 
Zane Grey yarns. At RKO-Radio, another 
Zane Grey story, "West of the Pecos," is on 
schedule, and Francis Lederer will appear 
in a tale based upon the life of that swagger- 
ing figure of early California days, Joaquin 
Murietta. Columbia is making enthusiastic 
plans for another series of Tim McCoy 
Westerns, the first of which is "Wolves of 
Cat Claw." Ken Maynard, who was 
glumly prophesying the end of the screen 
cowboy a year ago, is planning a large out- 
put this year. 

All the stories by Harold Bell Wright, 
James Oliver Curwood and Zane Grey are 
being taken off the shelves and dusted. And 
the fire-plugs along Poverty Row no longer 
are decorated by bored cowboys, waiting 
for jobs to turn up. They're all out wrang- 
ling themselves into costumes. And story 
editors are frantically reading everything 
from "Little Rollo on the Range" to "The 
Cowboy's Lament." And having a hard 
time finding enough Westerns to go around. 

Y 13? 

B > ^Ccumj CdtAeA. 

Think of the many times a day you powder your 
face. And all the time you may be only succeeding 
in making yourself look years older than you. 
really are! 

It's an actual fact, as you can readily demonstrate, 
that the wrong shade of face powder can add years 
to your looks. Just as the wrong color hat or dress 
can make you look dowdy and years older than 
your age, so can the wrong shade of 'face powder 
make you look worn and faded, and, apparently, 
years older. 

It's a shame, the women who are innocent vic- 
tims of the wrong choice of face powder shades ! 
Otherwise pretty, young and fresh -looking, they 
actually, if unknowingly, make themselves look 
years older than is their age. 

Are You Being Fooled? 

Is the shade of face powder you are using making 
you look your youngest and freshest or is it mak- 
ing you look years older than you really are? It all 
depends on how you choose your shade. It's a 
"snare and delusion" to choose a face powder 
shade simply on the basis of type. 

A brunette may have a very light skin while a 
blonde may have a very dark one. Moreover, to try 
to match any tone of skin is practically impossible, 
for there are endless variations of white, ivory and 
olive skin. 

A face powder shade should be chosen, not to 
match any particular type, but to flatter one. What 
would be the most flattering to one shade of 
brunette skin might be utterly devastating 
to another. Therefore, the thing to do, re- 
gardless of your coloring, is to try all the five 
fundamental shades which color experts 
agree meet the demands of all skins. 

Your Shade Is One of These Five 

Lady Esther Face Powder is made in the re- 
quired five basic shades. One of these shades 
you will find to be the most flattering to you ! 
One will instantly set you forth at your 
best, emphasize your every good point 
and make you look your most youthful and 

Copyright by Lady Esther, 1934 

13 Out of 20 

Use the Wrong Shade of 
Face Powder and as a 
Result, Look Years Older 
Than They Really Are! 

But I don't ask you to accept my word for this. I 
say: Prove it at my expense. So I offer to send you, 
entirely without cost or obligation, a liberal supply 
of all five shades of Lady Esther Face Powder. 

When you get the five shades, try each one be- 
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advance. Try all five! Just theone you would least 
suspect may prove the most flattering for you. 
Thousands of women have written to tell me they 
have been amazed with this test. 

Stays on for Four Hours— Ends Shiny Nose 

When you make the shade test withLady Esther Face 
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Lady Esther Face powder excels anything ever 
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Write Today! Just mail the coupon or a penny 
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( You can paste this on a pen ny postcard) 

Lady Esther (8) 

2014 Ridge Avenue, Evanston, Illinois. 

Please send me by return mail a liberal supply of all five 
shades of Lady Esther Face Powder. 




( If you live in Canada, write Lady Esther, Toronto, Out. ) 


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It Pays to Advertise — 

(Continued from page 65) 

Memento from Maurice 

BUT it isn't terribly unusual in Holly- 
wood to see the donor's name on a gift. 
They seem to provide the best chance of all 
for a little modest advertising. On the com- 
pletion of "The Merry Widow," Maurice 
Chevalier gave every member of the cast a 
cigarette lighter with "Maurice" engraved 
on it. Just a little something for them to 
remember him by (as if they could ever for- 
get him). 

Grace Moore gave handsome mementoes 
to the cast of "One Night of Love." Most 
of them were silver — silver cigarette cases, 
silver cigarette lighters, et cetera. To her 
cameraman, she gave a stunning "recipe" 
cocktail shaker, affectionately inscribed to 
Whitey Schaeffer from Grace Moore. And 
all the gifts were delicately engraved with 
her name. 

James Gleason owns a most unusual ciga- 
rette case, which was a gift to him from his 
wife. In the case of this case, the procedure 
is reversed a bit — for it bears the mono- 
grams, names and insignias of his most- 
intimate friends. Jimmie does not ask these 
famous friends if he may put their auto- 
graphs on his cigarette case, but they ask 
him if they might be allowed to do so, at 
their own expense. If you get to be a good 
enough friend of Jimmie's, you just ask if 
you may borrow his cigarette case for a day 
or two, and when you bring it back, it has 
your name or "symbol" on it! 

Thelnia Todd is the latest star to develop 
a sideline to acting, with her name in big 
letters in front of her place of business. In 
Thelma's case, it is a "sidewalk cafe." (See 
photo on page 37.) Not only keeping her 
name before the public, Thelma is capitaliz- 
ing on it. Andwhynot? Wouldn't you do the 
same in her place? Other stars have flower 
shops, antique shops, dress shops, haber- 
dasheries, markets, parking spaces, resort 
ranches. Several stars have had commercial 
products named after them. Raqucl Torres 
has her perfume especially made for her, 
with her name on I he bottle — and when 
acquaintances really coax her, she can get 
them a bottle or two of it, too! 

Lilian's Monogram on Ermine 

LILIAN HARVEY once showed me her 
_j most luxurious ermine coal. It is 
ankle-length (and that means a lot of 
ermine) and is trimmed with six silver foxes. 
On the lining of the coat, right where the 
coat flaps open as she walks, there is 
embroidered one of the most tremendous 
monograms 1 have ever seen. Even Lilian 
had to laugh about it — and then said il was 
there in case the coat was lost or stolen. 
(Of course, they always leave the lining in a 
stolen coat?) Adrienne Ames has her name 
spelled out in exquisite embroidery across 
the corners of all her handkerchiefs. But 
how about the star who gave handkerchiefs 
to her friends at Christmastime, and all the 
handkerchiefs were embroidered with her 
name, not with the names of those who 
received them? 

I have an actor-friend who once received 
a personal gift at Christmastime from a cer- 
tain star, with "Season's Greetings from 
— " on it — and he was resentful. But I 
felt that it was mostly because he was an 
actor that he resented it, as all actors are in 
competition with all other actors. Perhaps 
he was just peeved because he hadn't 
thought of it first and hadn't been able to 
grab off a little advertising for himself. If 
that gift had been bestowed on any of us 
fans, it would have been a different story 
altogether. We would have been displaying 
it with seeming nonchalance, just to show 
off that this star was a friend of ours! 

Colleen Moore has spent several years 
and many thousands of dollars in collecting 
miniature furnishings for a most elaborate 
doll house, which she intends to take around 
the country on display. The money that it 
earns, at ten or fifteen cents a look, will go 
to charity. The attention the exhibit gets 
will go to herself. 

Probably the most successful bit of per- 
sonal advertising is something that Carl 
Brisson instigated in England. At the re- 
quest of many ardent fans, this Danish 
star, whom you saw first in this country in 
"Murder at the Vanities," organized a Carl 
Brisson fan club. He gave away goodness- 
knows-how-many badges, which are in the 
shape of a sheep-dog's head, with Carl 
Brisson's name on it. Carl owns some 
famous sheep-dog kennels over there, and a 
sheep-dog's head is his "symbol." Thus 
half the youngsters in England (or maybe 
I am exaggerating) go around advertising 
Mr. Carl Brisson (and his kennels). In this 
country, there are literally millions of boys 
who have signed up as Buck Jones Rangers. 

Several stars have got their names on 
books. Will Rogers' literary adventures as 
an Ambassador-at-Large and Congressman- 
at-Large are still widely read. Eddie Cantor 
comes out almost yearly with a humorous 
tome. Elissa Landi's third (or is it her 
fourth?) novel is now in the book stalls. 
Charlie Chaplin has written and published 
his memoirs. Mary Pickford has written 
and published her first short story. Douglas 
Fairbanks, Jr. is a frequent contributor to 
the magazines. Gloria Stuart is coming out 
with a book of poetry. 

Laurel and Hardy on a Coin 

NOT all of the stars, however, have 
organized this fan-worship them- 
selves. Didn't Sweden bring out a stamp in 
honor of Greta Garbo? But an even more 
unusual honor came to Laurel and Hardy 
last year through no efforts of their own. 
Czechoslovakia, where they are very pop- 
ular, brought out a national coin it was 
copper and worth a few cents, I believe — 
with a picture of Laurel on one side, and a 
picture of I lardy on the other! Yes, really. 

You sec, Laurel and Hardy have even 
more of a following in European countries 
than they have here, and, incidentally, they 
are known by many names other than their 
own. For example, throughout Latin 
America, they are known as "El Gordo y El 
Flaco" — meaning "The Fat and the Lean." 
In Germany they are called "Dick und 
Dof," which means "Fat and Dumb.'-' 
Sweden knows them as "I [elan och 1 lalvan" 
which, translated, means "A Stimulating 
Aperitif"! And so on, and on. But Czecho- 
slovakia really did right by them when 
she put them on a coin! Laurel and 

I lards-, doing a Ken Maynard, have put 
their pictures on their .stationery. 

Strangely enough, of (he many stars who 
own yachts, few call their boats by their 
own names. As a matter of fact, the only 
one I could find which was named after ils 
owner was the one sailed by Richard Arlen 
and his wife, the former Jobyna Ralston. 
The boat is called Jobyna R. 

I can't help thinking that maybe the 
Stars have missed a trick or two here. 

On the other hand, maybe they wanl 1 > 
use their boats as hide-outs only -to sneak 
away to smoother waters for a resl and a 
change. For even the stars will admit that, 
al times, there can be such a thing as too 
much publicity! Il sounds doubtful, in the 
face of the many things revealed in this 
article . . . but then you can't blame a star 
if, once in a while, he does get Tired of 

II All! 

Intimate Hollywood 


(Continued from page 81) 

(her manager-fiance), Ernst Lubitsch (the 
director) and others stepped upon the 
scales. Their total weight came to 2244 
pounds and the film to 250 more. By six 
pounds they were within legal limit, so the 
pilot agreed to take off. It wasn't until 
their return trip that anybody bothered to 
count the passengers — which was fortunate 
for the superstitiously minded. There were 

Ziegfeld Girls, New Crop 

THERE has been a regular stampede of 
chorus girls trying out for jobs in "The 
Great Ziegfeld" (starring William Powell) 
at Universal. The glamour attached to be- 
ing called a Ziegfeld Beauty is still great. 
And if these kids are really too young to 
have been original Glorified Girls, the least 
they can do is to bask in reflected glory. 


Mystery Set 

OME weeks ago, the picture was fin- 
vD ished. Yet they continue to work upon 
one set of "The Gay Divorcee." Tech- 
nicians visit it daily, stand around viewing 
it, scratch their heads in bewilderment, 
then go back to their offices and try to 
figure out the mystery on paper. On the 
screen, this set proved to have third dimen- 
sional effects. No one has been able to find 
out why. So the set will be kept standing 
until they do. 

What's the Difference? 

FRANCIS LEDERER, staunch advocate 
of peace that he is, found one line in the 
dialogue of "Pursuit of Happiness" that he 
could not force himself to say. The line 
read, "For that, I would fight." It took 
several editorial conferences and many dis- 
putes before the line was changed. It be- 
came, "For that, I would argue." 

Wedding Belles 

WE had another bull market in mar- 
riages last month — several were elope- 
ments to Yuma. The one least suspected 
united Heather Angel, petite British star, 
with a fellow-countryman, Ralph Forbes, 
former husband of Ruth Chatterton. It had 
been a whirlwind courtship of six weeks. 
(See detailed story on page 40. — Ed.) 

Marian Nixon also hopped off to Yuma 
with William Seiter, the director — after de- 
nying an engagement four days previously, 
when her divorce from Edward Hillman, 
Jr., was becoming final. Onslow Stevens 
was another Yumaite, taking with him 
Phyllis Cooper, daughter of a local banker. 
Adolphe Menjou and Yeree Teasdale said 
"I do's" in a Judge's office in Los Angeles 
without pomp or ceremony. (See detailed 
story on page 36. — Ed.) But it was a very 
formal wedding for Eddie Buzzell, the 
director, and Sara Clark, wealthy society 

Getting the Papers 

THERE were two divorces. The Conrad 
Nagels were officially declared two in 
Mexico, and Sue Carol filed papers locally 
against Nick Stuart. The newsboys made 
much of the latter, crying headlines reading 
"Another Movie Split-up." (And most 
people were of the impression that this par- 
ticular divorce had taken place long ago — 
they have been separated so long!) 

Sue charged that Nick had thrown a 
cross-word puzzle book at her, the judge 
allowing the action one of cruelty. He didn't 
say, however, who had been cruel — Nick 
for throwing the book or Sue for doing cross- 
word puzzles. 

Have you ever really 


IF you really want whiter, more attractive- 
looking teeth, REMOVE FILM, say leading 
dental authorities. Film is that dull, dingy 
coating that constantly forms on teeth. It 
catches bits of food. Harbors stains from 
smoking. Combines with substances in the 
saliva to form hard deposits. And worse still, 
film is laden with millions of tiny germs 
that are often the forerunner of tooth de- 
cay. Film unremoved invites dental disorders. 
Thus film must be removed — kept off teeth. 
Brushing alone cannot remove film satis- 
factorily. Ordinary tooth pastes or powders 
may be ineffective in removing film. There 
is now a dentifrice you can depend on regu- 
larly—a dentifrice thousands of dentists use 
in their own homes and millions of people 
have used successfully. This dentifrice is 

Pepsodent— the special film-removing tooth 

The safe way to cleaner teeth 
No other equally safe way removes film as 
thoroughly as Pepsodent. Pepsodent is differ- 
ent in formula, hence different in the way it 
works. It contains no grit, pumice or soap. 
The basis of this definitely modern tooth 
paste is a new and revolutionary cleansing 
and polishing material — recently developed. 
This cleansing agent is far softer than the 
polishing material used in other leading tooth 
pastes or tooth powders. Yet it removes 
film and polishes teeth to new gleaming lus- 
tre as more abrasive kinds can never do. 

So why take chances with "bargain" denti- 
frices or questionable ways ? Remember that 
this unique film-removing agent is contained 
in Pepsodent exclusively. Thus no other 
tooth paste can assure you of true Pepsodent 
results. Use Pepsodent twice a day — see your 
dentist at least twice a year. 


Extra Long 



Tall people rest comfortably 
at Hotel Fort Shelby, for 100 
of its 900 rooms and suites 
are equipped with box-mat- 
tressed beds, eight feet in 
length. All rooms with private 
bath — circulating ice water 
and tip-eliminating servidors. 

Rooms $2 to $10. 
Suites $6 to $25. 

Three popular priced 
restaurants. Garage, 
lobby Shops. Radio. 




Strange Gaynor Robbery 

TANET GAYNOR returned to the United 
) States from Europe, some believe, earlier 
than planned. Actually, she was right on 
schedule. Janet wanted another couple of 
months in that Wisconsin resort where she 
spent last summer as "Miss Smith." May- 
be she's "Miss Jones" there this year. 

Meanwhile, Janet's Hollywood home was 
robbed, a most unusual robbery, for nothing 
was taken and everything disturbed was in 
orderly disarray. The potted plant, for 
instance, was upset on the floor so care- 
fully that not a drop of dirt spilled out. The 
desk appeared to be the focus of attention. 
Could it be that someone was searching for 
papers to prove that recent absurd rumor 
that Janet, the former Mrs. Lydell Peck, 
has a three-year-old child? 


ANEW blonde actress from New York 
had her first experience with autograph 
seekers at a Hollywood preview. After 
furiously signing books for five minutes, she 
announced herself much pleased to be so 
well-known in Hollywood. She hasn't been 
told as yet that a practical-joking friend 
tipped off the autograph crowd that she was 
Mrs. John Dillinger! 

Miriam Hopkins Goes Goldwyn 

SAMUEL GOLDWYN seldom contracts 
established players, preferring to pick 
newcomers and build them to stardom. He 
has departed from his usual rule in the case 
of Miriam Hopkins. They are both to be 
congratulated. Wonder how Miriam and 
Anna Sten will enjoy being studio rivals? 

Helping Out a Pal 

TOM LENNON is "just a publicity 
man" at RKO. But he has written a 
splendid novel in "The Laughing Journey" 
and upon the occasion of Ann Harding's 
birthday made her a present of an advance 
copy. Ann called him the following day to 
tell him how much she enjoyed reading the 
book and found him in a seventh heaven of 
delight because he had just received per- 
mission to dramatize a scene from it for pres- 
entation on "Hollywood on the Air," 
RKO's Coast-to-Coast radio broadcast. 

So what did Ann do? She offered to play 
the girl in the skit. And previously. Ana 
had turned down as much as seventy-five 
hundred dollars for commercial broadcasts. 
That's helping out a pal . . . The stunt, by 
the way, marked the first time a book had 
ever been previewed on the air. 

These Movies 


It may be a variation of "She Done Him 
Wrong," but the character of the heroine is 
as creamy-white as her hair. 

Having learned by experiment that she 
dazzles most in the styles of the Nineties, 
Mae wears fluffy-ruffles again; also again, 
she is a burlesque queen, who draws as 
sharp glances from men as they draw- 
sharp remarks from her. She starts out 
in St. Louis as the belle of a small-time 
music hall, gets ambitious, and drifts down 
the Mississippi to New Orleans, where she 
becomes queen of the lavish gambling re- 
sort, the Sensation House, and that soft 
slur of hers is right at home. Roger Pryor 
and Johnny Mack Brown both find her ir- 
resistible, but she gives each enough rope 
to hang himself with before she does her 
choosing. The well-known "battle of the 
sexes" devolves into a battle of wits, in 
which the female of the species never comes 
off second-best. But while she is still prac- 
tically the whole show, her leading men 
have more chance to act than any of their 
predecessors. That is because the story has 
more plot than any of its predecessors. As 
a story, it won't change the destiny of na- 
tions, but it will amuse those nations where 
English is spoken. 


— Columbia 

Grace Moore Performs a Musical Miracle 

THERE is only one thing wrong with 
"One Night of Love" — its trite, silly 
title; nothing else about it is trite or silly. 
In fact, it is a picture that works a miracle. 
It is a picture that at last brings grand 
opera to the masses in a way to make them 
like it. Its story is simple, with no false 
emotions, and it is persuasively told. And 
in the telling Grace Moore becomes a sen- 
sation — with Tullio Carminati only a pace 
behind her. 

1 le is a voice teacher who discovers her in 
an Italian town, falls in love with both her 
and her voice, makes her his protegee. In 
a non-sinister way, he becomes a Svengali 
to her Trilby. Believing in him blindly, she 
tries to forget the normal impulses and 
pleasures of a young girl, shuts her door on 
the world, and sacrifices her youth to music. 
Once, answering the call of youth to youth, 
she listens to the love-story of Lyle Talbot 

from page 35) 

— but she decides that she loves music 
more. Success and fame come at last, and 
she breaks with Carminati. Then, just as 
she seems about to fail in her greatest sing- 
ing test and she realizes that without him 
she is nothing, he re-enters her life. It is a 
simple story, as I have said, but it is also an 
intensely absorbing one. It looks real; it is 
real. And Grace's voice, singing three oper- 
atic arias and glorifying the title-song of the 
picture, is such a voice as the screen has 
never given the world before. It isn't a 
golden voice; it's platinum. In addition, she 
is one singer who can act. Even the smooth, 
effortless Carminati cannot be more be- 
lievable than she is. 

Then, briefly, I might tell you that : 

THE FOUNTAIN is a sensitive, faithful 
screen translation of Charles Morgan's 
novel of a woman torn between love and 
pity, with Ann Harding as the English wife 
of a German officer; Brian Aherne as a 
British officer interned in Holland; and 
Paul Lukas as the German who returns to 
her, wounded. Being a study of the intricate 
emotions of three intelligent people, it is 
long on moodiness and conversation, short 
on dramatic action. (RKO-Radio) 

DAMES glorifies the American chorus 
girl and is a spectacle in the best Warner 
Brothers manner, which means that it has a 
good story, lavish and dazzling chorus 
numbers, catchy music, singing by Dick 
Powell, Ruby Keeler and Joan Blondell, and 
comedy by Hugh Herbert, Zasu Pitts and 
Guy Kibbee. You may be surfeited with 
spectacular musicals, but there is more 
comedy this time, to rescue you from ennui. 

amusing little comedy about a harried pub- 
lisher of lurid love tales who is inveigled into 
promoting a Cinderella contest, then a 
Prince Charming contest, with results that 
he doesn't want. Victor Moore, from Broad- 
way, is a delight as the quavery-voiced 
publisher; and Roger Pryor, Heather Angel 
and Esther Ralston are all helpful. (Uni- 

YOU BELONG TO ME finds Lee Tracy 
miscast as a clown who suffers and suffers, 
trying to deserve the affection of a little boy 
who idolizes him. The little boy — David 
Holt by name — will give Shirley Temple a 
run for ht big money. (Paramount) 


Verree, Verree Happy 

(Continued from page J 6) 

tions. She started to cry again and then 
started laughing and crying by turns. 
Actually, she had been in Chicago just long 
enough to get her divorce from William 
O'Neal, a stage singer, who had not offered 
any opposition. The little woman back at 
the station had been her mother. It had, 
perhaps, been one of the darkest moments 
of her life. • 

All that day we exchanged stories. Mine 
doesn't warrant repetition. Yerree's proves 
how much a woman must go through, before 
she finds what she wants. If Yerree had 
been able to look into the future and realize 
that she was going to marry one of Holly- 
wood's most sought-after stars, the prospect 
of returning might not have been such an 
unhappy one. Yerree was going back to 
Hollywood to prove that she could make 
good. The studio had failed to renew her 
contract. In the short time that she had 
been out there, she had made very few 
friends. And among the men she had met, 
there was not one she felt worthy of giving 
a second thought. 

Yerree's case was typical of what can 
sometimes happen. After making a Broad- 
way hit as one of the original gold-diggers 
in "The Greeks Had a Word for It," she 
had been paged insistently by Hollywood, 
promising great opportunity. And what 
happened? Famous for a knife-edged sense 
of humor and an ability to roll 'em in the 
aisles with her comedy, she was cast as 
nfemme fatale. After a few such roles, \ er- 
ree's sense of humor almost became a thing 
of the past. 

Was Going Back to Show 'Em 

JUST before she left for Chicago, the studio 
notified Yerree that her option would not 
be renewed. Rather, they didn't notify 
her, which is Hollywood's subtle way of 
letting a player know that she hasn't rung 
the bell. Yerree was hurt to the quick. But 
she wasn't ready to let them think that they 
had her licked. After the little business of 
getting a divorce from the husband who had 
not made her happy, she was determined to 
face the cameras again — somewhere else. 

The morning of the second day on the 
train, I met her at breakfast. The morning 
paper carried the news of the death of Sara 
Teasdale, famous poet and Yerree's aunt. 
Verree had not seen her in some time, but 
had great respect for her writing. We talked 
of everything that morning and, as is usually 
the case, the conversation turned to Holly- 

"In Hollywood, for the first time any- 
where, I almost got the jitters," said Yerree. 
"I didn't think, with all the gay stories 
written about the colorful life that one was 
sure to lead there, that I could ever be so 
lonesome. I met men — many of them very 
nice. But all they wanted to talk about was 
pictures and their work. Much to my sur- 
prise, many of them had never traveled and 
knew very little about what was going on in 
the world. 

" I think Hollywood is a man's town. A 
woman hasn't a chance. If she hasn't a 
husband or a sweetheart, she can be the 
lonesomest person in the world. That is, 
unless she wants to add her name to the 
long list of single girls who are asked out by 
the same single men night after night. At 
first I accepted a lot of invitations. But I 
began to see the same faces every time and 
hear the same conversations. Gradually, I 
began to cut down. I had to. I couldn't 
believe that this was all that life had to 
offer in a place where there should be so 
many interesting people. Where were the 
cosmopolitan, stimulating people I had 
heard about?" 

News That Stunned Her 

THEN we got to talking about some of 
the mad things that newcomers discover 
when they arrive in the film city. Yerree, 
who has a figure that any woman would 
envy, and carries the title of "one of Holly- 
wood's best-dressed women," told about a 
certain supervisor, who called her into his 

"He wanted to see the costumes I was 
going to wear in one of his pictures," said 
Yerree. "I tried them on one by one, 
explaining why I had selected them for each 
particular scene and how I felt I could get 
the most out of them. Together with 
a famous designer, I had put a great deal 
of thought behind them. The supervisor 
just sat there and never said a word. After 
I got all through, I asked him what his 
reaction was. He said he didn't think I had 
any glamour. For the moment, I was 
stunned. It had nothing to do with what 
we were discussing. I thought he was 
kidding and then I realized that he was on 
the level." 

Yerree got off the train in Pasadena and I 
came on to Los Angeles. I didn't see her 
again for months. Then one day I walked 
on the Warner Brothers set where "Fashions 
of 1934" was in production. There, abso- 
lutely radiant in a dress of clinging gold, 
carrying a huge black ostrich fan, Yerree 
was far from being the unhappy young 
woman I had seen on the train. Under the 
microphone she was recording a song. Up 
to now, Hollywood hadn't even been aware 
of her beautiful voice. 

When she spied me, she came all the way 
across the stage and gave me a typical 
Teasdale meeting. She was bubbling over 
with life. She had never looked more beau- 
tiful. She was one of the most devastating 
beauties ever to reach the screen. 

Menjou's Early Praise 

"^V7"OU'YE got to meet Adolphe," she 

1 said, and just then Menjou walked in. 
It was not difficult to see how they felt 
toward each other. As Yerree went back to 
the camera, the world's most debonair actor 
told me: "She is the most stunning woman 
in Hollywood. There isn't another woman 
who can wear clothes as she can. Not only 
that, she is clever, sings divinely, and is one 
of the most intellectual women I have ever 
met." What greater compliment than this 
could be paid a woman by the discriminating 

The next time I saw Yerree, it was at the 
Beverly- Wilshire Hotel. The papers had 
carried a story of her engagement to Men- 
jou, who had recently been divorced from 
Kathryn Carver. Cameramen were hot on 
their trail. I managed to have a few words 
with her before something happened that 
almost broke up the party. 

"Yes, Adolphe and I are engaged," she 
told me. " It was love at first sight. We met 
at a party given by the Frank Morgans — a 
party I almost didn't attend. Think what 
I might have missed! The minute he walked 
in, I knew that I had met someone who 
really had something to offer. But this 
isn't any Hollywood romance. We aren't a 
going through puppy-love. Both of us have 
been married before. Both of us know what 
is ahead of us. We are determined to have 
our happiness and have it only for ourselves. 
Every time we turn around, we run into a 
camera. We want them to leave us alone. 
We don't want our coming marriage to be 
splashed all over the front pages. We're 
much too serious and too much in love to. 
take a chance of having it spoiled." 

Just as she finished this last remark, there 
was a flash of light and a cameraman went 
tearing away with his camera. At first it 
(Continued on page 93) 


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Do Not Bury Their Works With 
Them When Stars Pass Away 


First prize 

When Stars Pass Away, Do Not Bury 
Their Works With Them 

The custom of producers to call in all pic- 
tures of artists who have passed away, 
immediately storing them away, never to 
be shown again to the public, is to my mind 

Now that Marie Dressier has left us and 
will be unable to make more pictures, why 
should the public be deprived of the privi- 
lege of seeing her pictures again? 

This isn't the case with publishers of 
music by great composers. No one would 
think of forbidding the printing of songs 
like "Kiss Me Again" and "A Gypsy Love 
Song" because Victor Herbert is dead, and 
can compose no more songs, therefore, we 
must not make money further from his 

Think of the art that would be lost to the 
world if we only 
looked at the works 
of living artists. 

There are many 
old silent pictures 
made with period 
costuming by artists 
both dead and living 
that are works of art, 
and are representa- 
tive of the living art 
of this generation. 
There's no reason 
why we should be 
denied the privilege 
of seeing their pic- 
tures after they are 

Harriet M. Capel, 
Hollywood, Cal. 

Second Prize 

Bette Davis and 
Leslie Howard Ex- 
cellent in "Of Hu- 
man Bondage" 

"Of Human Bond- 
age" will no doubt be considered one of I he 
outstanding pictures of the year. In this 
dynamic, human story of a sensitive man 
under the almost hypnotic spell of a cheap, 
utterly heartless wench, both Leslie Howard 
and Bette Davis portray their characters in 
excellent fashion. The intangible spiritual 
quality which is the basis of Philip's charac- 
ter is admirably sustained throughout by 
Leslie Howard, even in the most dramatic 
moments of the picture. Miss Davis is 
almost too perfect as the unresponsive, 
mercenary Mildred. 

The way Philip finally gains freedom 
from his bondage and peace for his soul, 
and finds comfort in a clean, wholesome 
love, is most encouraging to all who have 
similar problems to meet, for it proves the 
power of the spiritual nature to triumph 
over that which is sensual and demoralizing. 

Let us have more of these powerful, mov- 
ing dramas with a plot that is possible and 
a moral that is inspiring, and we will be 
well on our way to giving an intelligent 
public what it wants and deserves. 

May Wight, Kansas City, Mo. 

Become a Critic — Win a Prize 

Tell the movie world — 
through Movie Classic — 
what phase of the movies most 
interests you! Advance your 
ideas, appreciations and criti- 
cisms of the pictures and play- 
ers. Each month. Movie Clas- 
sic gives Twenty. Ten and Five 
Dollar Prizes for I he Three Best 
Letters published. Keep within 
200 words. Sign your full name 
and address. We shall use 
initials if requested. Address 
holler Page, Movie Classic, 
1501 Broadway, New York 

Third Prize 

"Treasure Island" Can't Miss Being 
Box Office Success 

Perhaps no other production could have 
caused so much evinced pleasure among 
male hearts both here and in English speak- 
ing nations everywhere as the production of 
"Treasure Island," that best work of the 
beloved writer, Robert Louis Stevenson. 
We, youngsters from eight to eighty, who 
were brought up on this literary classic, 
have been hungering for a talkie version of 
this most enchanting pirate tale for ages — 
and here we have it, and there is no torture 
of sitting thru a lot of lovey-dovey mush, 

Metro-Goldwyn-Mayer has given us a 
treat and we won't forget it. And if 
"Treasure Island" doesn't prove to be one 
of the outstanding productions of the year, 
I'll be very much surprised. 

With a splendid 
cast headed by 
Jackie Cooper as Jim 
Hawkins and our old 
favorite, Wally Beery 
as Long John Silver, 
plus fine support of 
the other major char- 
acters, it can't miss 
being a box office hit. 
Ed Kraley, 
Braddock, Penna. 


Films Like "Viva 
Villa" Make Us 
Understand ing 
and Tolerant 

We need more pic- 
tures like "Viva Vil- 
la" to make us think, 
and, thinking, be- 
come wise and toler- 
ant. Most of us give 
so little thought to why these foreign 
children in our midst are sometimes unruly 
and disobedient; we become impatient be- 
cause it seems so difficult to win their con- 
fidence and trust in our government. It 
takes a picture like "Viva Villa" to jerk us 
out of our complacency, to squeeze our 
hearts and make our throats ache for the 
little peoples of the earth — the workers who 
go on toiling dumbly for generations under 
a yoke, to go suddenly mad with rebellion 
against the whip — who do mad, bloody 
things in that violent first taste of liberty. 
Deep in the eyes of our foreign children are 
memories of sorrow and slavery. We need 
pictures like "Viva Villa" to interpret their 
deep, suspicious, evasive ways when we are 
doling out our charity and lighthearled 

The censors will doubtless cleanse all 
semblance of reality from "Viva Villa" and 
similar pictures but perhaps they will leave 
enough to make us go home kinder and a 
liitle more understanding of our foreign 

Joy O'Hara, Santa Rosa, Cal. 
{Continued on page Q4) 


Verree, Verree Happy 

[Continued from page qi) 

looked as if Menjou intended to tear him 
limb from limb. But when he finally caught 
him and lifted up the black cloth, it turned 
out to be Director Mervyn LeRoy. He had 
sneaked one of the cameras from the waiting 
boys, and had had his little joke. 

Never So Busy — Or So Happy 

THE last time I saw Verree Teasdale, she 
was doing some finishing scenes for 
"The Firebird." (She had been recalled 
from a trousseau-shopping trip to New York 
for the leading role — a role that will mean 
stardom for her.) 

" I've never been so busy in all my life — 
or so happy," she told me, breathlessly. 
"We're to be married soon, but we'd rather 
not give out the date. We want it to be as 
simple as possible and hope to avoid as 
much publicity as possible. Our new home 
is all finished. We've decorated 'it our- 
selves. No Hollywood decorators for us. 
We want it to reflect our individual tastes 
and personalities. We hope to live there and 
enjoy it. We want to have out a few close 
friends from time to time. But one thing is 
sure — no cameraman is ever going to set 
foot on the place. It belongs to us and 
when we stop acting before the cameras, we 
want to have our own little world for our- 

On August 25, a few days after the 
Menjou-Carver divorce was final, Verree 
and Adolphe were married. Adolphe was 
resplendent in tailored navy blue. Verree 
wore contrasting shades of purple, a velvet 
coat with beret to match, diamond bracelet, 
clips, engagement ring and band. Orchids 
to match her costume graced her shoulder. 
The ceremony took place in the private 
chambers of the Superior .Court Judge. 
Menjou's mother and brother and Verree's 
manager made up the wedding party. 

They had planned a honeymoon in Spain. 
With Europe seething with unrest, their 
destination had changed to Lake Louise in 
Canada. At the last minute, a motor trip 
through California sufficed. What more 
ideal place for a honeymoon could there be 
than their artistic new home in the Los 
Feliz hills? For next year they have bigger 
and better plans. Meanwhile, Warner 
Brothers are going to make a star of Verree, 
and Adolphe has more jobs offered him than 
he knows what to do with. It looks like the 
happy ending. 

A scene from "Peck's Bad Boy," in which 

Thomas Meighan and Jackie Cooper play 

the roles of father and son 


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{Continued from page gz) 

Wants Brief Intermission Between 
Movie Subjects 

I have a pet annoyance with the movies 
which I am eager to air. Although I am an 
ardent movie fan, this fault has interfered 
with my thorough enjoyment of many pic- 
tures. Most movie houses are now showing 
two features as well as many added attrac- 
tions for a single admission and, no doubt, 
are pressed for time. But how often, alas, 
have I been moved to tears at some tragic 
ending, only to be compelled to witness a 
slapstick comedy immediately after. The 
tragedy loses effect and sometimes seems 
ridiculous; the comedy is half missed since 
one's eyes are blurred with tears, and one's 
thoughts full of sympathy and compassion. 

Neither is it wise to show the Newsreel or 
"Coming Attractions" directly after a 
feature. The situation, the dramatic effect, 
the characters are blurred, and the audience 
is lost between two worlds and two atmo- 
spheres. If the managers would allow an 
intermission of only five minutes in a dark- 
ened theatre after features, I feel sure I 
would find increased enjoyment in the movie 
theatres. Do any of your readers agree 
with me? 

Frances Wexler, Flushing, L. I. 

Suggests Parents Seeing Pictures Be- 
fore Sending Children 

While I am not in favor of certain pictures 
which the producers sometimes give us I 
must express my appreciation of the screen's 
wonderful improvement — the nation-wide 
entertainment it affords — with instruction 
and entertainment! 

I confess that I find the unexpurgated 
stories and novels of to-day much more 
harmful in their influence than any movie 
I ever saw. It is my contention that if 
parents wish to prevent their children from 
seeing pictures of a salacious character they 
can easily do so by reading the screen pub- 
lications which frankly and impartially, re- 
view them all. 

While I am being critical, I may as well 
say that I have noticed a few done-to-death 
touches which I'd like to see eliminated from 
the screen : for instance, the hurrying mother 
and child accosting the official who points 
the way to a necessary part of the building. 
Even that gem of pictures, "It Happened 
One Xight," had its coarse suggestion in 
the "magnesia" woman. 

This supposedly humorous touch always 
seems so unnecessary — so pointless! 

L. W. Carter, Dalton, Ga. 


All Hail Columbia! 

What masterpieces Columbia has been 
turning out! "Lady For A Day," "It Hap- 
pened One Night" and now that invigorat- 
ing, delightful musical play, "One Night Of 
Love"! The picture again introduces to the 
screen, Miss Grace Moore, a superb singer, 
who has unquestionably the finest singing 
voice ever heard from the screen. 

To see this picture is to have a most 
exhilarating theater experience, the fascina- 
tion of its music will linger long with you. 
Miss Moore gives dignity to the screen 
through her superior singing and charming 
stage presence. Here is something rare — a 
voice of true grand opera calibre, combined 
with a beauty of face and figure that satis- 
fies the most critical eye. Imagine a prima 
donna able to appear in a scanty gymnasium 
suit and to be of such slight and perfect pro- 
portions as to please and not offend. 

We welcome and applaud Grace Moore 
and congratulate Columbia for presenting 
to us such a completely satisfying star in a 

picture filled with gay, lighthearted enter- 

Kay Newton, Minneapolis, Minn. 

I went to see "Of Human Bondage" to 
thrill at the always superior acting of my 
favorite, Leslie Howard, and came out of 
the theatre with nothing but the perform- 
ance of Bette Davis in my mind. 

Hers was a magnificent performance of a 
very distasteful role, one which, I daresay, 
many an actress would have refused to play 
on account of being so unsympathetic. 

To Bette Davis goes my heartiest praise 
for having the courage to essay this role, 
and playing it in all its cruelness, all its 
hate, all its sordidness. Not once did she 
allow the spectator to feel sympathy for 
Mildred. And that's just what Maugham 
intended when he wrote the story. 

After a series of unimportant roles, Bette 
Davis has emerged from "Of Human 
Bondage," a great actress, and a future star. 
G. Hexrichson, Eureka, Cal. 

Frank Morgan Adds Sparkle to Dull 

So long as Hollywood presents such a 
sterling actor as Frank Morgan it can have 
no fears that the public will remain away 
from the cinema palaces, regardless of what 
the film-cutting censors may do to our 
movies. He has excelled in every picture 
I have seen him in, but as the silly, foppish 
Duke of Florence in "The Affairs of Cellini," 
he has the best role in his movie career. 
Naturally, he makes the most of it, as he 
does with even mediocre roles. May we see 
more of Frank Morgan, because his splendid 
characterizations add a sparkle to an other- 
wise dull show. 

William J. Mathews, Chicago, III. 

One Star Who Remains Unaffected 

Like thousands and thousands of others — 
suddenly I find myself seriously caught in 
the snares of hero, rather heroine, worship. 

A comparative new-comer on the screen 
sold me — body and soul — at her first appear- 
ance. An entrancing person — radiating 
vitality — lovely to gaze upon — a devastat- 
ing smile, and no-one has been able to 
fathom the limits of her acting ability. Am 
I keeping some-one guessing? 

Let me try again. Here's the riddle. 
Who has oodles of short curly hair, an 
adorable "turned-up" nose, a little rose- 
bud mouth with dainty little teeth shining 

through at every contagious grin? Of 
course, Shirley Temple. 

Not in years have I found anyone as 
delightfully refreshing. With each new pic- 
ture, I wonder if perhaps, her mother has 
ceased her constant vigilance — if Shirley has 
become suddenly all too conscious of her 
charms and talents? As yet the answer is 
decidedly in the negative, and I'm beginning 
to feel now that she will remain unspoiled 
indefinitely. Such unaffectedness in a world 
so full of pretense merits the highest praise. 
Mks. J. R. Garrison, Knobnoster, Mo. 

Disney's Brain Children 

Bring Grandma, Grandpa, the "teens." 
tiny-tots, and "in-be-tweens" to the new 
Disney Sillies — "Peculiar Penguins," "The 
Flying Mouse," and "The Wise Little 
Hen" and while you are inviting, include 
Mr. and Mrs. Censor. No matter how 
many little mules they conceal within their 

. VSXVFrt, , O. 

Bring Back the Old Plots 

Those good old museum pieces; "the paid 
off mortgage, the thwarted villain, and love's 
young dream come true" have been too long 
hanging on the musty walls of realism's 
dark closet. Let's bring them back into the 
light. Let's dust them off and restore them 
to their former glory. 

To a generation whose amusement beat 
to a "ten, twent, thirt" rhythm, they are a 
long, lost love. And to a modern age, a new 
love because their theme song is universal. 

To you hard-bitten realists, they may 
seem mere illusion, a magician's trumpery. 
But to the majority of us who make up the 
great movie public, they are the sugar in 
our coffee and the syrup on our pancakes. 
Just the right amount of sugar and the 
right consistency of syrup. Sweet but not 

Mrs. Earl T. Durbin, Detroit, Mich. 

Joan's Progress 

An armful of orchids to Joan Crawford! 
or perhaps Joan would prefer gardenias. 
Nothing is too good for a star whose career 
is a fine record of the progress and success 
obtained through courage, hard work, and 

The improvement in her acting and the 
growth of her personality are so pronounced 
in "Sadie McKee" and "Chained" that I 
often wonder just how high a star Joan has 
set for her goal. She shows a far clearer and 
subtler sense of characterization than ever 
before, a wider and fuller range and, in the 
majority of the emotional scenes, such new 
restraint that her former intensity has 
almost disappeared. The old lovable but 
often too turbulent Joan is gone; she has 
achieved dignity and calm. In every scene 
she gives us a feeling of directness and pur- 
poseful honesty which in turn gives convic- 
tion even to trivial moments. 

If Joan Crawford were given a first-rate 
picture, she would stir the enthusiasm, not 
only of her own following, but of the whole 
film-going public, and out of it would come 
that great performance towards which all 
her energies seem directed. 

Mary Jansen, Minneapolis, Minn. 

Ann Harding and Norma Shearer 
Praised by Newfoundland Fan 

At such a distance from the Movie 
World, it is rather difficult to give an 
opinion on the latest pictures, but from 
what we have the opportunity of seeing in 
this city, I contend that more pictures star- 
ring Ann Harding and Norma Shearer 

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This picture illustrates how Raquel Torres feels about those movie offers. They interest 

the new Mrs. Stephen Ames — but, with the mercury boiling in the thermometers, 

she would rather be under the sun than under the studio sun-arcs 

would be received with open arms by the 
public and attract them more and more to 
the shows. 

Their acting is so fine that it is not neces- 
sary for them to race around, make funny 
antics, or appear flighty, but they can 
always act the perfect lady with impunity. 
They show exquisite taste in clothes, which 
by their utter simplicity make them the 
acme of perfection. Also their diction is so 
pure and clear, that one could learn how to 
speak and deport oneself on occasions by 
taking a pattern from them. 

Such a picture as "Smilin' Through," 
starring Norma Shearer, could not be criti- 
cised to its detriment even by those who 
are hardest to please and they make one 
long for more pictures with such high ideals. 
F. L. G., St Johns, N. F. 

Resents "Little Man" Being Black- 

On one of the first "black" lists of plays 
issued since the new furore for reform set in, 
I read "Little Man What Now?". Pro- 
scribing that beautiful and profoundly 
thoughtful masterpiece is not a step for- 
ward. Rather, it is an insult to the con- 
scientious Mr. Frank Borzage, to Mr. 
Hans Fallada, to the stars and members of 
the cast, to the Laemmles, Sr. and Jr., who 
personally sponsor all Universal productions 
and finally to the taste and judgment of 
the millions whose enthusiastic acceptance 
of the book inspired this translation to the 

Now, while I'm thoroughly keen for 
decency on or off the screen, I'm just as keen 
against stupidity — on or off the screen. If 
this straw indicates the trend of the wind, 
we theater-goers are in for a disastrous hur- 
ricane. If this be decency — then let's bring 
back the pillory, the stocks and the ducking- 
stool and round out our cycle of retro- 

TllERlCSA PlCHA, St. Louts, Mo. 




Is Garbo on the Wane? 

How often we see those words flung at 
Garbo, at the head of some columnist's 
page; or hear them spoken by some self- 
styled movie-critic. From the former, per- 
haps because columnists, too, must have 

their bread and butter; from the latter, — 
as with a classic: the lines are too closely 
written for beginners. 

Whether Garbo be perplexed or baffled, 
stimulated or fascinated by the behavior of 
America's movie-theatre-going public, her 
interpretations remain strict, brilliant, pre- 
cise, and accurate. In addition she offers an 
original contribution in her own inimitable 

True, some have tried to chase Garbo 
away with their verbal armaments; others 
have tried to crush her; some would like to 
smote her for the sake of having smote; 
others would like to touch her, simply for 
the sake of that touch. But no one can 
reach Garbo. She is intangible. 

Movie actors will come and movie actors 
will go, but Garbo will go onward and up- 
ward. She is a monument to truth in her 
coherent and meaningful interpretation of 
any character which has been assigned to 
V Mark Hanna, Colorado Springs, Col. 

Why Not Export Only Films We Can 
Be Proud Of? 

Have visited my twentieth foreign coun- 
try and as an ardent "movie fan," have 
attended the movies from Hong Kong to 

We export our finest commodities to 
other lands and take a pride in the fact that 
American goods are the best in the world. 
Our fruits, our automobiles, cotton and 

Then why do we swamp the foreign mar- 
kets with so many trashy films? We are 
proud of America and want other people to 
respect us and our mode of living — but how 
can they when they get the wrong impres- 
sion of how we live? 

Why not export more of our better pic- 
tures? We have so many of them. Let 
other nations see us at our best rather than 
at our worst. 

We don't ship rotten oranges and worm- 
eaten raisins abroad. Then why not have 
the same pride in the better quality of 
films? A restricted quota on sexy and 
gangster films would also do much to raise 
our standards abroad. 

Every other country in the world resents 
having her standards of living played down 
and I am posit ive the American people feel 


the same way. We are proud of our country 
and want other nations to see why we are 
proud of America. 

Grace Potts, on the Pacific Ocean. 

Screen Stenographers Not True to Life 

For the life of me, I can't understand how 
the producers expect us to believe some of 
the impossible tales being filmed to-day. 

For instance, I've seen picture after pic- 
ture wherein the heroine served in the ca- 
pacity of stenographer or secretary as the 
case might be. In such roles we see the star 
perfectly groomed, wearing gorgeous clothes 
(the average stenographer couldn't pos- 
sibly afford), living in sumptuous apart- 
ments and climbing to the top in rapid and 
unbelievable strides. Vet, in the execution 
of her duties, we see her taking dictation 
at a "staggering" rate of about 30c words a 
minute and transcribing it at about 10, if 
the shot happens to be a close-up. (They 
taught typing where I went to school.) And 
in the end marries a millionaire. (That is a 

Now, I've been a stenographer for seven 
years and still haven't reached the "dizzy" 
heights. I strive constantly to keep my 
living expenses to a minimum (my quarters 
being a flat by the way), wear home-made 
dresses (really!), and have never even seen 
a millionaire. There are hundreds of others 
in the same boat. 

Mind you, I don't mean to imply that 
such goings-on have any ill-effect on our 
morals. They don't. To those of us who 
are experienced, the idea is far too absurd 
but, being a clan of normally intelligent 
individuals past the Santa Claus age, we 
would like to see ourselves picturized as we 
really are just once in a while. For the sake 
of consistency, at least. 

Louise V. Williams, Richmond, Va. 

To the Director of "No Greater Glory" 

I am ashamed to say that I paid no 
attention when your name appeared on the 
screen tonight, but may I figuratively shake 
your hand? You certainly understand 
children, or it wouldn't be possible for you 
to handle them as you have. 

If we had a son old enough to understand 
movies, "No Greater Glory" is the one pic- 
ture of all that I have seen that I should 
like him particularly to see. 

Mrs. Venus Ixglish, Omaha, Neb. 

Wrong Flag Used 

Recently, when I saw the motion picture, 
"Operator 13," I noticed that, although the 
story was interesting, Miss Davies was her 
usual decorative self and the costumes and 
settings were well reproduced, the persons 
responsible for the picture slipped up on 
one point. 

Perhaps it was not noticed by many, but 
more attention should be given to details 
and the producers of this picture should 
welcome criticism that is well meant. 

Several times during the film, but most 
noticeably in the first shot, where they 
desire to show the dissension of the north 
and the south by drawing apart the flags, 
good bits of atmosphere are lost by so 
trifling a mistake as the use of the wrong 

May I add that anyone taking the trouble 
to refer to those times will find that the 
United States flag, used by the northern 
troops at the time of the Civil War, con- 
tained only 36 stars on its blue field and 
that the flag used in the picture, the present 
one, was not adopted until 1916? 

(Miss) Valborg Helene Stenholm, 

Hempstead, L. I. 

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For Moviegoers to Puzzle Over 


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Last name of the star in the center 

Reynolds in "Dancing Man" 

A creed 

Nicky in "Shoot the Works" 

"She Loves — Not" 

Billy Bonis in "Treasure Island" 

Vivienne'a initials 

"P — y Days" 

Pat Rockland in "Let's Talk It Over" 

" — We Civilized" 

He's married to Bcbe Daniels 

Graduated circular plates 


/■Kink Cousins in "The Girl from Missouri" 

Sandra Shaw's husband 

Bertha in "Side Streets" 

Combining form: broad 

Lammachen in "Little Man, What Now?" (init.) 

Lucky Wilson in "Hide-Out" (init.) 

Iledda Nilsson in "Servant's Entrance" 

An old-time screen favorite 

" — More Women" 

"Romance — the Rain" 

Recently deceased character player 

" Scandals" 

First name of the star in the center 

Shortening of Miss Mackaill's first name 

Retired screen cowboy 

An English landed estate 

Avenues (abbr. ) 

Francis Lederer had to — blubber in "Man of Two 


Daughter of a well-known English comedian 

Solicitor General's Office (abbr.) 

"All of—" 

Goof's wife in "The Fountain" 

N ugent's initials 

Clare in "One More River" 

Olga in "Return of the Terror" 

Old-time screen cowboys used this to get their man 

Near (poetic) 

24. Eleanor's last name (possO 

26. Lola Field in "Bulldog Drummond Strikes Back" 


28. Eddie Dowling's home state (abbr.) 

.SO. London's initials 

32. Jessica Wells in "The Man with Two Faces" 

33. Johnny in "Viva Villa" 
35. " — In White" 

37. "The Thin — " 

40. ■' — Satan" 

43. Inspector Parr in "The Notorious Sophie Lang" 

45. "I You Wednesday" 

46. Home state of Robert Ames (abbr.) 

48. Richard Field in "Chained" 

49. Home state of Jack Oakie (abbr.) 

50. Among 

51. Court of Appeals (abbr.) 

52. Charlie in "Romance in the Rain" 
54. Brings forth young; as sheep 

56. A stroke in billiards 

59. Associate of the Royal Academy of Surgeons (abbr.) 

61. Her first name is Friscilla 

64. Cry of a sheep 

65. " — ■ Marriage Ties" 

66. Station (abbr. ) 
69. Ivan's initials 

71. "For Love — Money" 

Solution to Last Month's Puzzle 


1. Reported engaged to Virginia Pine (init.) 

2. Initials of the famous Antarctic explorer 

3. O'Brien in "Crime Without Passion" 

4. Mvrna Loy's role in "The Thin Man" 
o. "Double — " 

7. Both a Helen and an Irene have this last name 
i poss, I 

8. Cliff Edwards is known as Ukelelc — 

9. Symbol for nickel 

10. A girl's name 

11. Jack Forrester in "Whom the Gods Destroy" (init.) 

13. Joan Blondell is awaiting a blessed 

14. Lady Mary Fielding in "Grand Canary" 
1 6. A spool of film 

1 7. She plays motherly roles 

19. Her first name is Sally 

21. She played Mary Lane in "Only Yesterday 







































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fANY have -bought it as 
a "guest soap". . . as a 
soap for rare and special occa- 
sions . . . often to put among 
the linens to make them sweet 
and fragrant. 

Generations of women have 
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Soap experts know why this 
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How hard-milled and long- 
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And now — every woman can 
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complexion benefits that only 
a soap so fine can give! 

For today Cashmere Bouquet 
— the same size cake, the same 
supremely high quality soap 
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25 cents a cake — actually costs 
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ordinary quality. 

At only 10 cents a cake, 
you will surely want to buy at 
least three cakes. Make a note 
to get them — today! 

1 4 

fo ^r „r^\f 


SHE HAS SCALED 90 MAJOR PEAKS' Slender, but a marvel af endurance and 
energy, Miss Georgia Engelhard says: "When people tell me of being tired out, or 
lacking 'pep,' I don't know of better advice to give than, 'Get a lift with a Camel.' " 


this thrilling response in your flow of energy! 

Miss Georgia Engelhard, cham- 
pion woman mountain climber, 
knows what it is to need energy... 
quickly. In light of the recent sci- 
entific confirmation of the "ener- 
gizing effect" in Camels, note what 
Miss Engelhard says : 

"Mountain climbing is great 
sport, but it taxes your stamina to 
the limit. Plenty of times up there 

above the timber line, within a 
short climb of the goal, I have 
thought, 'I can't go another step.' 
Then I call a halt and smoke a 

"It has been proved true over 
and over that a Camel picks me up 
in just a few minutes and gives me 
the energy to push on." 

There is a thrilling sense of 

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Costlier Tobaccos 

never get on 

your Nerves 

Camels are made ixom iiner, MORE 
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Copyright. 1934. R. J. Reynolds Tobacco Company 




SjcueeM St/jji Storics 

M 5 


"That was the worst 

headache . . . 




. . . what a relief! A few minutes ago, I could have screamed when I thought of playing bridge 
tonight. Now, I feel line ! If I'd only known before that Bromo-Seltzer was as quick as that! " 

"Lucky for us it is so quick. We've just time to make the party. Dad's 
used Bromo-Seltzer ever since I can remember. Calls it 'the old reliable.'" 


Known as a balanced relief 
for the following headaches: 

Overwork or fatigue headache. 

Morning-after headache following 

Headache due to lowered blood alkali. 

Headache due to sea, train or air sickness. 

Headache of the common cold. 

Headache associated with fullness after 
eating, drowsiness, discomfort, distress. 

Headache at trying time of month. 

Neuralgia and other pains of nerve origin. 

Suppose you have never taken a Bromo- 
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exactly what it does. Let's make one and see. 

You simply fill a glass half full of water 
then put in a teaspoonful of Bromo- 
Seltzer. Instantly Bromo-Seltzer effer- 
vesces. The taste is pleasant. You can 
drink it immediately, or wait a second 
until the fizz subsides, if you prefer. 

Notice the difference now between 
single-ingredient remedies that merely kill 
pain and Bromo-Seltzer — the balanced 
relief containing five medicinal ingredients. 

Each ingredient in Bromo-Seltzer has a 
special purpose. 

Thanks to one your headache is quickly 
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the while, the citric salts in Bromo-Seltzer 
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self again. Dependable Bromo-Seltzer not 
only has relieved the pain of your head- 
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For over 40 years, Bromo-Seltzer has 
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. . . pleasant . . . and prompt, it contains 
no narcotics and doesn't upset the stom- 
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. . . Bromo-Seltzer. 

Listen to The Brcmo-Sellzer Revue. WJZand NBC Network, Friday, 8:30—9 P. M., E. S. T.—9:30- 10:00 P. C. Time 


iQ^tfa SHAME! 


/'f Judy isn't a genius, it isn't because she 
doesn't create rhythms that bring the young 
crowd "ganging" 'round! But — there's a 
"but" about Judy! 

A nd Judy is dazzling in a costume play! 
j[\_ She's clever— she's pretty— and she's a 
grand little actress! But the "but" about 
Judy spoils many a big moment. 

~\/fen like Judy's music— and the whole 
/ Vx town turns out when Judy's in a play! 
But nobody ever proposes to Judy. For the 
"but" about Judy is her teeth. 

Judy sometimes wonders why her teeth look 
J so grayish— so dingy and ugly. She doesn't 
knoiv that "pink tooth brush" is often the root 
of this trouble! 

/f Judy will ask her dentist, he'll advise her 
to clean her teeth with Ipana Tooth Paste 
—and, each time, to massage extra Ipana 
into her tender, bleeding gums. 


^y the titne Ipana and massage have 
brought brilliancy back to Judy's teeth 
and smile — she'll find that romance was just 
hiding behind the piano — all this ivhile! 

IF you have been a "Judy" 
—and have let"pink tooth 

brush" go on and on— and if 
your teeth have grown more 
and more dingy and ugly— get a tube 
of Ipana Tooth Paste (before 
another day goes by!) 

Clean your teeth with Ipana. It 
is a splendid, modern tooth paste 
which cleans not only the surfaces 
of the teeth, but deep into every 
little crevice — gently, thoroughly. 




Your entire mouth feels refreshed! 
But — care for your gums with 
Ipana, too. Each time, massage a 
little extra Ipana into your lazy, 
tender gums. The ziratol in Ipana 
plus massage helps speed circula- 
tion, aids in toning the gums and in 
bringing back necessary firmness. 

Modern foods, so soft, so 
creamy, fail to exercise the 
gums. For this reason, your 
gums tend to lose their 
vigor. Sometimes they bleed a lit- 
tle. "Pink tooth brush" may dull 
your teeth — it may even endanger 
your teeth! It may lead to gum 
troubles as serious as gingivitis or 
Vincent's disease. But Ipana and 
massage will help keep your gums 
firm, and your teeth sparkling! 

BRISTOL-MYERS CO., Dept. 11-124 
73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA 
TOOTH PASTE. Enclosed is a 36 stamp 
to cover partly the cost of packing and mailing. 






Warner Oland • Jean Hersholt • Katharine Alexander 



This is the Garbo whose flame fires the world! This 
is the STAR who enthralls love-hungry hearts! Not 
in all her past successes whether in silent or 
talking pictures has she been so exciting on 
the screen as now in this story of a smoul- 
dering love, of high adventure, of ten- 
derness that yields tears. This is your 
Garbo, the Star of exquisite mys- 
tery and provocative romance! 


Bosed on the novel by W. SOMERSET MAUGHAM 

NOV -9 193^ 







Movie Classic 



$cr&ok St/jr^ Storjcs 

VOL. 7, No. 4 

Joan Crawford 

Never Loses 
a Friend 

Joan Crawford has become 
famous on the screen not 
only for her beauty and her 
personality, but for the in- 
tense sincerity of her acting. 
It has won her millions, of 
friends all over the world. 
And she doesn't limit her 
sincerity to her acting. It is 
just as evident in her private 
life . . . 

She is irresistibly attractive 
to a variety of men. More- 
over, she holds their interest. 
They may bow at her altar 
to pay romantic homage, but 
when they find that their 
hopes are doomed to extinc- 
tion, they still remain — to be 
her friends for life. 

How does she convert adora- 
tion into enduring comrade- 
ship? The secret is revealed 
a few pages farther on, in 
one of the greatest Crawford 
stories ever told. 


Tense First Night — Short, Short Story Jack Grant 16 

"It's All In Fun," Soys Mae West William F. French 27 

How Joan Crawford Keeps Her Men Friends Interested Sonia Lee 28 

Have \ ou Got the Makings of a Comedian? Gladys Hall 30 

He'll Make Movies That Will Live Harry T. Brundidge 32 

Our Mary Becomes Queen of the Air! Katharine Hartley 33 

Broadway's Greatest Actor Comes to the Screen Elsie Rand 36 

"We Would Have Married — " Sonia Lee 37 

Connie Plans "Second Honeymoon" with Henri Joan Standish 39 

Pola Negri Returns, Buys Valentino Home Ann Slater 40 

New Film Shows Modern Miracle Raymond Palmer 41 

Sinclair Plans Movies Made by the Unemployed Grant Jackson 42 

The Movies Capture Joe Penner Thornton Sargent 52^ 

Doug and Gertie Rival the Royal Romantics Dorothy Calhoun 53 

"Unusual . . .?" That's Putting It Mildly! Hal Hall 54 

"There's Romance in Everything" — for John Boles Luke Borden 55 


"By Your Leave" Fictionized by Ethel M. Pomeroy 43 

"Great Expectations" Fictionized by M. D. Malcolm 48 

"Transatlantic Merry-Go-Round" Fictionized by Ethel M. Pomeroy 56 


Intimate Hollywood Gossip Jack Grant 6 

Letters from Readers 10 

Lessons in Loveliness Nell Vinick 13 

These Movies — Reviews of the Latest Films Larry Reid 34 

For Moviegoers to Puzzle Over ■ . . . . L. Roy Russell 79 





DOROTHY CALHOUN, Hollywood Editor 



Movie Classic combined with Screen Star Stories is published monthly at 350 E. 22nd St., Chicago, III., by Motion Picture Publications. Inc. Entered as second 
class matter October 2, 1934 at the Post Office at Chicago, Illinois, under the Act of March 3, 1879; printed in U. S. A. Executive Offices, Paramount Building, 1301 Broadway, 
Neu\ York City, N. Y. Copyright 1934 by Motion Picture Publications, Inc. Single copy 10c. Subscriptions for U. S., its possessions, and Canada $1.00 a year, 
Foreign Countries, $2.50. European Agents, Atlas Publishing Company, 18 Bride Lane, London, E. C. 4. Stanley V. Gibson, President and Publisher, William S. Pettil, 

Vice President, Robert E. Canfield, Secretary-Treasurer. 

Why Sylvia Sidney Has Never 
Been To A Hollywood Party 

And Other Intimate Hollywood Gossip 

By Jack Grant 

Sylvia Sidney — whose hobby is drawing — doesn't go to big parties, or give them, for this 
very simple reason: "I just can't afford to waste my energy in trying to be a social light. 
All the energy I have, I need for my work" 

ONE of her friends gave me 
j the tip: "Ask Sylvia Sid- 
f . ney why she is the one 
star in Hollywood who has 
practically no social life. You never 
see her name 'Among those present' 
in accounts of Hollywood soirees. 
There must be a reason. Ask her 
why. It might make a story." 

I did and it does. 

"The answer is easily given," Syl- 
via said. "You don't read my name 
in the society columns because I have 
never been to a Hollywood party. 
Society, simply because it is society, 
doesn't interest me at all. I have a 
number of friends in Hollywood 
whom I see often. I visit them and 
thev visit me. But we don't give 
parties with guest lists for publication. 

"I seldom receive invitations these 
days from those who do entertain 
lavishly. Possibly I have offended 
them by continually sending regrets. 
I haven't meant to offend, but I just 
can't afford to waste my energy in 
trying to be a social light. I mean this 
literally. All the energy I have, I 

need to conserve entirely for my work. 

"Like most girls of my size, I have 
ambitions far beyond my strength. 
Every morning, I awaken with seem- 
ingly boundless energy. I plan my 
day — and it is always a very full day. 
I refuse to admit to myself that my 
plans are overly ambitious, refuse to 
countenance the thought that I may 
be planning not wisely, but too well. 
It is only when fatigue overtakes me 
that I am forced to concede my defeat 
and to postpone my dreams of accom- 
plishment until the morrow. That 
appears to be the sum total of my 
life — a series of tomorrows and to- 

"When I'm working on a picture, 
of course, there can be no postpone- 
ments. I must do a day's work on the 
day it was planned to be done, seizing 
each possible moment for rest to stave 
off exhaustion. 

"I dislike the necessity of explain- 
ing all of this. But I dislike even more 
the false impressions some people 
have of what they term my 'exclu- 
siveness.' I have no wish to be exclu- 

sive. I would like to be in the thick of 
everything that is worth-while, but I 
can't be. My will to do and my lack 
of power to do it are at continual war. 
The fate that decreed me such a 
limited strength was unkind." 

And this is Sylvia Sidney's answer 
to why she has never been to a Holly- 
wood party. And it is also a new and 
revealing light upon the character of 
Paramount's diminutive star, who, 
by the way, is now making "Behold 
My Wife." 

Sixty Homes for a Dollar 

J last gratified a desire she has had 
ever since she came to Hollywood. 
She has gone on a sight-seeing tour of 
the homes of the stars, personally 
conducted by one of the numerous 
"For Hire" guides who know all and 
see all. It started this way: 

Jeanette's sister came out for a 
visit and the Sunday before her return 
to Philadelphia, (Continued on page 8) 

Newlyweds Pat Paterson and Charles 
Boyer will soon be smiling like this again. 
He's due back from picture work abroad 

Grand FUN . . Beautiful GIRLS . . Dazzling SCENES 

It's Eddie! Going 
harem - scarem in 
harem ! . 

Eddie gets a heart 
Merman for Ethel! 

Just a big dame hunter! 
Out for bigger and bedouins! 

EDDIK CANTOR in Samuel Goldwyn's 
production of "KID MILLIONS" 

Released thru UNITED ARTISTS 

ntimate Ho lywood Gossip 

{Continued from page 6) 

the family sat over a late 
luncheon in the sheltered patio of 
their Beverly Hills house. The quiet 
of the Sunday afternoon was suddenly 
shattered by a voice shouting through 
a megaphone, "And on your right is 
the home of Edward G. Robinson, 
star of many horror pictures, includ- 
ing 'Dracula' and 'Frankenstein.'" 

Robinson is Jeanette's next-door 
neighbor. "Wonder what he will say 
about us?" she said. She didn't have 
long to wait. "The next house," he 

Max Reinhardt's great spectacle, "The 
Miracle," is coming to the screen — and 
Jean Muir will play the part of The Nun 

shouted, "is the property of Corinne 
Griffith, now being rented by Chico 

Jeanette, who has a sense of humor, 
needed no further encouragement. 
She organized the party then and 
there. Dressing in their oldest clothes 
they started in search of a Hollywood 
guide, and driving a four-year-old car. 
Mrs. MacDonald and Robert Ritchie 
(Jeanette's fiance-manager) were in 
the front seat, Jeanette and her sister 
in the rumble. As a last-minute pre- 
caution against recognition, Jeanette 
borrowed her mother's glasses. She 
couldn't see a thing through them 
and her mother couldn't see without 
them. But they were out to listen, 
not to see. 

The boy they picked up as guide 
was a young college lad whose sign 
advertised "Sixty Homes of Stars for 

a Dollar." All the 
silly questions 
they asked and 
all the amazing 
replies he gave 
would fill a book. 
They were posing 
as typical tourists 
and their imper- 
sonations were 

Toward the 
end of the trip, 
they were driven 
down their own 
street. The guide, 
better informed 
than the first one 
they heard, 
pointed out their 
home accurately. 
Jeanette insisted 
upon stopping be- 
cause her "very 
favorite movie 
star was Jeanette 
MacDonald." She 
tried to get all the 
information she 
could, but their 
guide didn't 
claim to know 
much about Miss 
MacDonald off 
the screen. 

It was then that 
Jeanette con- 
ceived her wildest 
idea. She pro- 
posed ringing "Miss MacDonald's" 
door-bell and asking her for a picture. 
In vain, the guide tried to dissuade 
her. When the butler opened the 

Jeanette MacDonald's merriment in "The 

Merry Widow" is no masquerade. Read 

about her real-life sense of humor 

The actor who won the coveted role of Katharine Hepburn's 

idealistic hero in "The Little Minister" is young John Beal. 

And you and he will both hear Katharine sing 

door, Jeanette put on quite an act of 
getting into the house. Seeming at 
last to force her way in, she found a 
photograph, autographed it to herself 
and came out proudly bearing it. She 
says she will never forget the expres- 
sion on the guide's face. 

Later, however, she may have 
cause to regret her prank. Maybe this 
professional guide will be encouraged 
to bring a whole parade of folks to 
ring her bell. He might even change 
his sign to read "Sixty Homes of 
Stars and an Autographed Picture of 
Jeanette MacDonald for a Dollar." 

French as She Is Spoke 

RALPH BELLAMY, just returned 
^ from Europe (he made a picture 
in England), tells of an amusing ex- 
perience in Paris. He planned to give 
a party to the press and, accompanied 
by John Cromwell, the director, he 
set out to buy the necessary libations. 
Now, Cromwell speaks no French and 
Bellamy shouldn't. He didn't know 
the words for anything except brandy 
and Cointreau. So he decided on 
Side-Cars. {Continued on page 12) 


CARLLAEMMLf Pswent* I \\i 1 (| fjfi 



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Movie Classic Reader 

Names Six Best Directors 

First Prize 

Six Directors Who Can Always Be De- 
pended Upon 

When I shop for pictures, the director is 
paramount, regardless of the star billed. 

There are six directors who overshadow 
even their most glittering movie puppets. 
They infuse the best that is mental and 
physical appeal in the stars who are for- 
tunate enough to be under their directorial 

Foremost is Frank Capra. His directorial 
personality is the human every-day appeal 
of the man in the street. How his pictures 
strike home is best realized by "It Hap- 
pened One Night" and "Lady For a Day." 

Directorial ly 
speaking, Ernst 
Lubitsch is as 
colorful and ex- 
otic as Greta 
Garbo. His is the 
power to mold an 
American player 
into a subtle, in- 
sinuating, pro- 
vocative char- 

Brown brings 
out the best 
points of an es- 
tablished star's 
Garbo and 
Crawford have 
benefited by his 
directorial meth- 

Cecil B. De- 
Mille is the an- 
swer to the 
prayers of the 

ugly duckling stars. I believe he has the 
power to transform plain ZaSu Pitts into a 
golden cocoon. His rich, tapestry dramas 
are the delight of fans who lead humdrum, 
every-day existence. 

Frank Borzage appeals to the sentiment. 
His directorial powers of reeking out balefuls 
of tears, even out of the case-hardened 
movie-goers, is proof that the cinema world 
loves a good cry. 

Last, but not least, W. S. Van Dyke. 
Versatility is his first name. He is at home 
directing jungle pictures, melodramas, mys- 
tery and sex pictures. Who could forget 
"Eskimo," "Tarzan," "Manhattan Melo- 
drama" and "The Thin Man"? 

George A. Abbate, Utica, N. Y. 

The meeting of the two poets, as por- 
trayed by Miss Shearer and Fredric March, 
is an exquisite scene, as fine as anything of 
a like nature that the writer has seen on any 

It was breathtaking, fascinating, and 
dynamic. One does not miss Katharine 
Cornell and Basil Rathbone of the stage 
"Barretts" in having these two fine players 
in the cinema version. In fact, with Charles 
Laughton in his masterful portrayal of the 
tyrant father and other members of the cast 
giving performances that measured up to 
the high standard set by the principals I 
would say the screen play is superior to the 
stage production. 
Mrs. Catharine N., Minneapolis, Minn. 

Become a Critic — Win a Prize 

Tell the movie world — 
through Movie Classic — 
what phase of the movies most 
interests you! Advance your 
ideas, appreciations and criti- 
cisms of the pictures and play- 
ers. Each month, Movie Clas- 
sic gives Twenty, Ten and Five 
Dollar Prizes for the Three Best 
Letters published. Keep within 
200 words. Sign vour full name 
and address. We shall use 
initials if requested. Address 
Letter Page, Movie Classic, 
1501 Broadwav, New York 


"The Thin 
Man" Has 
Enough Mate- 
rial for Three 
Fine Films 

After having 
seen "Thin Man" 
at every theater 
in town (from the 
40c ones to the 
" 10c any seat, any 
time"), I've come 
to the conclusion 
that the order of 
the day should be 
more and thinner 
men ! 

The dialogue 
was so brilliant, so 
racy, and above 
all so human; the 
love story be- 
tween the gor- 

geous Loy and the 
debonair Powell so unusual, in that it de- 
picted love after marriage; and the murder 
story so tense and well worked out that it 
kept the audience gasping. 

The scene at the dinner-table where 
Powell unravelled the baffling mystery was, 
to put it mildly, suspense incarnate. 

"Thin Man" really had material for three 
excellent pictures — the love story — the 
comedy — the murder — , but combined in 
one picture it adds up to superlative enter- 

"Thin Man" gets my vote for the best 
picture of this year or any year. 

Betty Holloway, Gleitdale, Calif. 

Second Prize 

Screen Version of "The Barretts of 
Wimpole Street" Superior to Stage 

What perfect, flawless entertainment 
"The Barretts of Wimpole Street" provides! 
To give us this truly great picture its pro- 
ducers must have marshalled their most 
brilliant talent, for here we find a grand cast, 
directorial genius and a high order of pro- 
duction ability. The result is a picture 

Norma Shearer for once is not Norma 
Shearer, but Elizabeth Barrett, a charming, 
sensitive, beautiful and intelligent woman of 
forceful character, but poetic soul. 

Honorable Mention 
Garbo Still Reigns 

With all the controversy waged about the 
throne tottering, with the handicap of mak- 
ing a beautiful but not particularly spec- 
tacular picture, with a battle on as to 
whether there will be a new contract, thru 
it all Garbo is still the Queen. 

Garbo, contrary to other actress's pub- 
licity, is still unsurpassed in heavy dramatic 
emotional roles. She has that Duse quality 
of becoming the very character she im- 
personates, that vibrant quality that brings 
a shadow to life. 

Garbo is also one of the best business 
women in the industry. She has built up for 
herself a fine fortune, she has deliberately 
created a veil of mystery which even the 


debunking processes and the many copies 
have not lessened. 

Garbo is certainly one of the few beautiful 
women on the screen to-day. She can and 
has worn some of the most impossible of 
costumes and makeup and still gives the 
illusion of beauty. Her beauty is of a warm 
vibrant perfection. 

Garbo is still the Queen. Garbo will never 
be forgotten. 

Francis Martin, Berkeley, Calif. 

Players Are Often Miscast 

The strange and mysterious motives be- 
hind the average Hollywood casting have 
long been a source of wonderment to me. 
Actors, for example, famed for prowess in, 
let us say, dancing, are instead required to 
be comedians, singers, or, in fact, anything 
but what their particular talent calls for. 

Two very good exponents of this common 
fault are Patsy Kelly and John Boles. Patsy 
has been every star's pal, but has had 
few chances to display her remarkable 
dancing ability. The golden-voiced Boles 
hasn't warbled a note for some time. 

Another instance of miscasting is the per- 
sistence of the producers in casting such un- 
collegiate types as Bing Crosby and Jack 
Oakie in campus roles. 

While I am registering complaints I also 
want to point out another fallacy of movie 
moguls which tends to make pictures border 
on the ridiculous and that is the practice 
of clothing the players in attire which has 
no relation to the parts being interpreted. 
It is errors such as these that keep movies 
from attaining greater reality. 

Phyllis Webber, Springfield, Mass. 

Wants Will Rogers In a Different Type 
of Picture 

Have the movie producers ever taken into 
consideration the fact that we movie fans 
would like to see a different type of Will 
Rogers picture? Oh yes! We know they're 
good and guarantee the best of entertain- 
ment, but, with one or two exceptions, the 
plot is always the same. Outside of a few 
new jokes and several la-ughs, we are seeing 
the same movie. 

Must he always have a daughter or son 
whom he trys to help and we know will come 
out all right in the end? .Must the wife al- 
ways have higher ideas and make a monkey 
out of him only to return in the finish and 
admit she's wrong? These points recall: 
"So This is London," "State Fair," "Light- 
nin'," "Mr. Skitch," "Handy Andy," and 

Why not create a new story and introduce 
a new Rogers which would make a picture 
we would want to see again. 

Frances Beatty, Smartville, Calif. 

More Fitting Titles Wanted 

The only quarrel we have with Grace 
Moore's great picture concerns the title. 
Why not call it "One Night of Music"? 
With one eye, or both eyes, on the box office, 
the producers called it "One Night of Love." 

If you knew nothing at all about Miss 
Moore's picture except its title, you would 
probably suspect it to be the standard 
brand, featuring close-ups of catch-as-you- 
can boudoir scenes. We are happy to report 
that those who went to "One Night of Love" 
with any such hopes were disappointed. 
"One Night of Love" is a thrilling picture, 
but the thrills are perfectly proper ojtes. 
Miss Moore's magnificent voice provides 
enough entertainment for any one night. 

Give us MOORE and better titles. 

M. K. R., Chattanooga, Tenn. 

Women Must Avoid 
Harsh Laxatives 

THE feminine sex must be particu- 
larly careful in the choice of a 

Women should avoid a laxative 
that is too strong — that shocks the 
system — that weakens. They should 
avoid laxatives that are offered as 
cure-alls — treatments for a thousand 
ills. A laxative is intended for one 
purpose only — to relieve constipation. 

Ex-Lax is offered for just what it 
is — a gentle, effective laxative. 

Ex-Lax is effective — but it is mild. 
It acts gently yet thoroughly. It works 
over-night without over-action. 

Ex-Lax will not form a habit — 
you take it just when you need a 
laxative. You don't have to keep on 
increasing the dose to get results. 

For 28 years, Ex-Lax has had the 
confidence of doctors, nurses, drug- 
gists and the general public alike, 
because it is everything a laxative 
ought to be. 

Children like to take Ex-Lax be- 
cause they love its delicious choco- 
late flavor. Grown-ups, too, prefer 
to take Ex-Lax because they have 
found it thoroughly effective — with- 
out the disagreeable after-effects of 
harsh, nasty-tasting laxatives. 

At all drug stores— in 10c and 25c 


Get genuine Ex-Lax — 
E-X-L-A-X — to make 
getting Ex-Lax results. 

sure of 

Keep "regular" with 




nt i mate Hollywood Gossi 

Lili Damita is now in England, making 
"Brewster's Millions"; fiance Hugo Bras- 
sie is in Australia; but they have a wedding 
date in Hollywood "before New Year's" 

(Continued from page 8) 
But the lemon or lime juice was still 
to be obtained. 

As everyone who has ever been 
abroad knows, fresh fruit is at a 
terrific premium on the Continent. 
Despairing of finding fresh limes or 
lemons, Ralph decided to ask for 
extracts. He thought he was phrasing 
his request very well and the startled 
expressions that came over the faces 
of the French clerks he mistook for 
their lack of knowledge of fruit juice 

Only after he returned to the hotel 
and recited his difficulty to Mrs. 
Bellamy, who speaks French like a 
native, did he learn the horrible 
truth. Literally translated, his re- 
quest had been for "gasoline from 
nail files." 

Mr. SternBERG to You 

J the headlines again on two counts, 
both of his own devising. He has 
posted an offer of $100,000, payable 
to anyone who can prove that his 
name was ever Joe Stern. He admits 
adding the "von" when he was an 
assistant director on a picture that 
was thought to need "class" such as a 
"von" might give it. This is the same 
story reported many months ago by 
this department. But the Joe Stern 
rumor irks Mr. von Sternberg no end. 
He declares his name was always 
Sternberg and defies anyone to prove 
differently, defies such a person a 
hundred thousand dollars' worth. 

The second story that gained head- 
lines for von Sternberg recounts how 
he joined the cameramen's union, 
thereby having the right to add the 
initials A. S. C. (American Society of 
Cinematographers) to his name. His 
new picture, therefore, may have 
screen credits which read "A Josef 
von Sternberg Production — Directed 
by Josef von Sternberg — Photo- 
graphed by Josef von Sternberg." 

Incidentally, he has announced 
that he and Marlene Dietrich are 
ending their professional association 
as director and star with their present 
picture, "Caprice Espagnole." The 
reason: "in order to give Miss 
Dietrich the benefit of varied types of 
direction." Meanwhile, of course, he 
will be achieving directorial variety 
by directing varied types of stars. 
Marlene's director-husband, Rudolph 
Sieber, a frequent commuter from 
Europe, is not returning to the "old 
country" this time. Having a Holly- 
wood studio position now, he faces no 
more separations from Marlene and 
their small daughter, Maria (whom 
you saw in "Scarlet Empress"). 

Tough Luck Pictures 

HOLLYWOOD always has one 
hard-luck picture in work. The 
season's champion so far has been 
"The Captain Hates the Sea," filmed 

on an old sailing vessel, on which 
cramped quarters and rough weather 
frayed everybody's nerves — with 
many retakes necessary. And no 
sooner was "The Captain" in port at 
last than the tidal wave of hard luck 
moved out to Fox where Jesse Lasky 
is producing "Helldorado." The pro- 
duction, finally under way after a 
delay due to casting difficulties, was 
halted when a mysterious eye ailment 
hit the troupe. Richard Arlen, Direc- 
tor James Cruze and several others 
suffered from something to which 
doctors are unable to give a name. 
Their eyes simply closed up tight and 
they were unable to open them. 

Joan Does It Right 

JOAN CRAWFORD'S new dressing 
J rooms, decorated for her by Wil- 
liam (Interior Decorator-on-the-side) 
Haines, were finished, and all that 
remained was for Joan to transfer her 
personal belongings. This she went 
to do, making an appointment with 
the wardrobe department for an hour 

Two hours passed and the fitters 
began to wonder about Joan. Finally 
someone went to her new place to 
check up. There was Joan, a towel 
bound around her hair, down on 
hands and knees, scrubbing the floor. 

"Sorry if {Continued on page 14) 

Richard Dix, who has been honeymooning, is getting to work again in "West of the 

Pecos" — the most ambitious Western of the season — with Martha Sleeper as his heroine. 

It was as a Westerner, in "Cimarron," that he made his greatest hit 


Lessons In Loveliness 

This is the first of a series of "Lessons in Loveliness" by Nell Vinick, definitely 
recognized as New York's favorite beauty adviser. For eight years, her tri- 
weekly beauty talks — also called "Lessons in Loveliness" — have been fea- 
tured on Station WOR, New York. It is her idea that every woman, by 
attention and correct care, can bring out her hidden beauty, herself, at home. 
To the countless thousands who already know Miss Vinick, she needs no in- 
troduction. To others, it will be a revelation to learn how simple and success- 
fully she solves beauty problems. — Editor. 

By TUl lljJ^K 

so many 
letters from 
girls with 
round faces who 
yearn for oval 
faces — and just 
as many with 
oval faces, wish- 
ing theirs were 
round. So many 
girls bewail the 
fact that their 
eyes are too 
small or their 
mouths are too 
large, or there's 
this or that the 
matter with the 
shape of their 
features (so they 
think) . . . 

What was it 
Milton wrote . . . ? 
"Blame not Na- 
ture — she hath 
done her part ; do 
Thou but yours" 
. . . which is just 
another way of 
saying that it is 
silly to be dis- 
contented with 
your features, 
because any girl, 
in fairly good 
health, can get 
the reputation of 
being beautiful 
— can make her- 
self look beauti- 
ful — IF she will definitely and sincerely set out to do so. 

And, as glorious proots of this statement, you have such 
stars as Ginger Rogers, Miriam Hopkins and many others, 
who have willingly revealed that they started out as down- 
right plain or the traditional "ugly ducklings " 

You can do the same, if you really set out to do so — - 
and stick to it, day in and day out. . . . 

With the formal social season and holiday party dates 
close at hand, let's have this "Lesson in Loveliness" on 
Make-Up, because make-up is the quickest way to add 
delicate warmth and vitality to your skin, a more appeal- 
ing expression to your eyes — in other words, to make 
YOUR beauty quickly noticeable. 

You understand, of course, that make-up for personal 
or social use must necessarily be different from make-up 
for the movies. . . . 

For personal make-up, first of all comes the powder- 
base. The powder-base should be a delicate cream for 
dry, sensitive skin — or a corrective lotion for the oily or 
open-pore type of skin. 

Cream rouge (also called paste rouge) goes on immedi- 
ately after the powder base and BEFORE face powder. 
DRY rouge goes on AFTER face powder. ... I advocate 

Miriam made herself beautiful 

and so did Ginger 

Remember to 

cream rouge be- 
cause, if it is a 
good brand, it 
will look much 
more natural, 
and stay on 
much longer 
without fading, 
than dry rouge. 
...The chief pur- 
pose of dry rouge 
is for hasty re- 
newal of color at 
odd moments. 

Here are three 
important rules 
for applying 

Rule No. i: 
Keep your rouge 
ABOVE the lip- 
line. By that, I 
mean that the 
rouge on your 
cheeks should 
never be lower 
on your face than 
the lip-line — or 
else it will give 
a dragged-down, 
aged look. 

Ride No. 2: 
NEVER, never 
get your rouge 
inside the smile 
curve. . . . When 
you smile, there 
is a distinct 
curving line from 
the nose down to 
the lips — that's 
keep your rouge 

the smile-curve. . . . 
OUTSIDE that curve. 

Rule No. 3: Always apply rouge (or any make-up) in 
the light in which you will be seen. . . . When you dress 
in the morning, apply your make-up in natural daylight. 
If you should put on your make-up under electric light, 
make it a point to carry your hand-mirror over to the 
window and see what you look like in daylight. That's 
the way others will see you. . . . 

You'd suppose, wouldn't you, that no one needs to be 
told how to use face powder? But what I observe more 
often than not prompts me to tell you that powder should 
not be rubbed on. PUFF it on all over your face, with 
quick little dabs, and then "sweep it down" gently with 
either a powder-brush or what is just as good — a clean, 
dry piece of absorbent cotton. If you do your face pow- 
dering that way, you'll get a lovelier, more velvety effect. 

Carry Tissues with You 

HERE'S another tip: If your nose — or face — needs 
powdering during the day or evening, don't just 
bring out your powder puff and dab it right on. ALWAYS 
wipe your face or nose gently with (Continued on page 71) 


Intimate Hollywood Goss 

i p 

Gloria Svvanson has two leading men in her promising "comeback" picture, "Music in 

the Air." One is an old friend — John Boles — whose first screen role was opposite her. 

The other is Douglass Montgomery, making friends with her above 

{Continued from page 12) 
I'm late," she said, smiling happily. 
"I've turned scrubwoman because I 
want to be sure the job is done right. 
And I find I'm enjoying it and hav- 
ing a grand time, so I've lost track 
of time." And yet some people try to 
say Joan has gone high-hat! 

Otto's Embarrassing Moment 

SPEAKING of unexpected stories, 
there is the tale of the time Otto 
Kruger, arriving late for the theatre, 
drove his big car into a parking lot 
and, because the attendant was busy, 
parked it himself. After the final-act 
curtain, he returned to the lot, but 
couldn't find the car. Thinking it 
stolen, he raised a hue-and-cry for the 
manager of the lot. The manager was 
able to explain — with great pride. 
Kruger, by mistake, had parked in a 
second-hand automobile sales agency. 
They sold the car for him during his 

Autograph, Please 

THE autograph-hunters of Holly- 
wood (distantly related to the 
head hunters of the South Seas) have 
a new dodge. They now go armed 
with little rolled up pellets of paper 
upon which are their names and 
addresses. Holding their autograph 
books in one hand and the paper 
pellets in the other, they offer the 
him star a choice — an autograph now 
or an autographed photo to be sent 
to them later. 

Out-Staring Astaire 

EVERY month there is at least one 
new autograph anecdote. I par- 
ticularly like this one. Fred Astaire, 
still very new to Hollywood, was 
trapped by a crowd of youngsters as 
he was leaving the NBC broadcasting 
studio on the RKO lot. Fred was 
busily signing books when he remem- 
bered that someone had told him that 
youngsters could frequently be put to 
rout by suddenly asking them if they 

really knew their victim's name. He 
tried it and was successful in embar- 
rassing all but one little girl. She 
stared up at him as she said, "Of 
course, I know who you are. You're 
Fred Allen. I hear you on the radio." 

Short Short Story 

WE quote verbatim from a classi- 
fied advertisement in a local 
paper: "Job Wanted: Young man, 
clean cut, honest, Ai refs., chauffeur, 
handy man, waiter, dishwasher, or 

Boys Will Be Boys 

THE year's wildest bet was made 
by Roscoe Karns and Al Hall, 
Paramount director, on the outcome 
of the World Series. Rabid baseball 
tans both, Karns favored the Detroit 

Phyllis Seiler, from the stage, gets her film 

start as one of the "glorified" in "The 

Great Ziegfeld." And why not? 

Grace Moore, reaping royalties from "One 

Night of Love," is lending her voice to 

radio, waiting for a new screen story 

Tigers, while Hall was a St. Louis 
Cardinals rooter. Their wager al- 
lowed the winner to throw six base- 
balls at the home of the loser, break- 
ing as many windows as he could. 

Ginger Turns Playwright 

MAE WEST writes her own 
stories, dialogue and songs; 
Elissa Landi writes novels and has 
been known to turn p,ut songs; Jean 
Harlow has just written a novel, 
which will be looked over by literary 
agents for the movies. Ginger Rogers 
is revealed as an author-beauty. She 
concocted a musical comedy — com- 
plete with plot, music and lyrics, calls 
it "Three to Go," and plans to pro- 
duce it on the stage, unless the movies 
insist on it first. 


y t/ufu 




gives women freedom never 

before dreamed of 

ffyucisi fcJazs Ctfi<uz44ftia£uw 

• At the bridge-table, she used to squirm and fidget 
on those days. But Wondersoft Kotex stays dry at 
the edges, stays soft for hours. No chafing or harsh 
rubbing because sides are covered with filmy cotton. 


• But the modern girl can enjoy sports with- 
out discomfort. Wondersoft Kotex never 
ropes or pulls; it keeps readjusting itself be- 
cause of the special center — unlike other pads. 

Oi fd&t4u/, {za^&feoc/^ 

• The kind of frock she wouldn't have dared to wear yes- 
tetday; so sheer, so light in color. But she is sure of abso- 
lute protection to both dress and lingerie, when she wears 
Wondersoft Kotex. The special center absorbs safely; the 
sides stay dry. And not a single tell-tale line shows. 

• Too bad all women don't know the special patented ad- 
vantages found only in Wondersoft Kotex. Wear it on 
either side, of course. Buy it in that smart new box that 
doesn't look like a sanitary napkin package. All stores have 
it— and you pay the same price for either Super or regular size. 
Inemergency, findKotexin West cabinets in ladies' restrooms. 

\ * 

One Woman Tells Another About This New Comfort 















""" TAVE you tried this form -fitting 
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ride or irritate. It's soft, inconspicu- 
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curved tofit thecontoursof thebody. 


Tense First Night . 

A True Hollywood Short, Short Story 

by Jack grant 

SHE made her stage 
debut in England 
when she was only 
sixteen, but as this 
is a true story, not just a 
Hollywood success story, it 
must be recorded that her 
first two years in the theatre 
were not greeted by over- 
whelming triumphs. She 
toured the British Isles with 
traveling repertory players 
and did a role or two in 
London. But nothing really 

The main trouble was that 
she looked so very young, 
no older than her years. 
Everywhere she went to ap- 
ply for larger roles, she was 
told, "Go 'way and get some 

"How am I going to get 
experience," she finally ask- 
ed an agent in exasperation, 
"unless I have the oppor- 
tunity? Suppose you tell 
me where to 'go 'way.' I'm 
willing to take anything." 

The agent, more amused 
than impressed, suggested a 
second lead in a repertory 
company headed for India 
and China. He expected 
the young applicant to re- 
fuse the offer and was more 
than a little surprised at her 
ready acceptance. Nor 
could she be dissuaded by 
stories of the dangers and 
hardships of such a tour. 

The troupe numbered 
only eight players, performing a total of seven plays. For the 
most part, they played one-night stands. When they traveled by 
railroad, their car was their hotel. But more often, they went 
from town to town by automobile and even by horseback, often 
living in tents. In lowland towns, they sweltered in breathless 
heat. In the mountain regions, they were frozen half to death. 
They played many places that did not even boast a theatre. 
Barrack rooms, barns and stores were often turned into make- 
shift playhouses. But they always gave a show. 

The leading lady fell ill of fever in India. The second lead, 
having understudied her, was to take her place. Suppose the 
scene of her triumph was only a tiny village in the wilds of India. 
Suppose her audience was only a handful of English settlers. 
Suppose her stage was hardly more than a platform in a tin- 
roofed barracks. Nevertheless, tonight she was to be the star! 

Monkeys chattered at her as she walked to the theatre. She 
hardly heard them, although ordinarily monkeys were the bane 
of her existence in this wild country. They were forever stealing 
make-up and everything else in sight from the dressing-rooms 
unless she was careful to close all the windows. And it was so 
hard to remember to close windows in such heat. But what did 
she care about monkeys now? Tonight she was to be the star! 


Illustrated by 

At the theatre, she was told, 
"There may be trouble to- 
night. A native was caught 
sneaking into the English set- 
tlement right after dark with 
a bomb. Last year several 
whites were killed in a native 
uprising. And trouble is brew- 
ing again." 

Disquieting news this, par- 
ticularly upon the eve of one's 
first starring opportunity — a 
new cause for stage fright. 
But she determined to pre- 
tend that nothing had hap- 

The first act w r as almost 
safely over when — Bam! The 
rafters of the make-shift the- 
atre shook with the noise. The 
actor, with whom she was 
playing a tender love scene 
whispered tensely, "The na- 
tives must have attacked." 

"I know," she replied, with 
equal tenseness. "But we'll 
have to carry on." 

And carry on they did, al- 
though they had to shout their 
most intimate lines to be heard 
over the racket, now almost 
continuous. They could see 
the company manager nerv- 
ously pacing behind the wings, 
walking faster with each loud 
Bam! Finally, they saw some- 
one stop to speak to him and 
the manager started toward 
the stage. 

"Here he comes," said the 
girl. "I guess he is going to 
stop the show. Maybe the 
natives are getting closer. Maybe the building's afire." 

"Ladies and gentleman," the manager shouted to the audi- 
ence, "it is impossible to continue the play with all this noise going 
on. If you will be patient for a few moments, we'll try to chase 
away the monkevs that are throwing cocoanuts on the tin 

This is just one of the many strange experiences that made 
Heather Angel a trouper, a veteran trouper, despite her youth. 
And now that Heather is under long-term contract to Universal 
Studios in Hollywood, she can laugh at the apprenticeship she 
served, playing one-night stands in India — thousands of miles 
from the "civilized security" of Oxford, where she was born, 
and where she and Ralph Forbes, newly married, may go on 
their honeymoon . . . 

Not all of the hardships she endured on that long trip had 
comic endings, as did this episode of monkey business. Yet it 
would be well to consider that the ordeal that Heather Angel 
underwent in playing her first leading role was none the less 
terrifying because the tumult turned out to be caused by cocoa- 
nuts, instead of bursting bombs. If you had ever heard cocoa- 
nuts being thrown on a tin roof, you would have believed them 
to be bombs, too. 

JM.arks two spots most 

important to every lamp user 

Xoor lamps are current wasters, 
just as poor carburetors are "gas hogs." 
In addition, they may add to your true 
cost of light by blackening prematurely or by 
burning out too soon. All three, or any one of 
these inefficient lamp characteristics, add nothing 
to the initial cost of your lamps but they all add 

The best way to be sure of getting low cost light 
is to look for the mark of a manufacturer you can 
trust. The General Electric monogram (fi) is such 

a mark. When you buy a lamp bearing 
this mark, you can be sure not only of a 
lamp that is reasonable to buy, but one 
that is economical to use ... a lamp that can be 
relied upon to give you ALL the light you pay 
for. Long nights are ahead. Fill every socket with 
fresh lamps and, as an added precaution, keep a 
carton of spares on the kitchen shelf. General 
Electric Company, Nela Park, Cleveland, Ohio. 





Se/cfom Catcti Co/cf 

UP from the mine pits, dripping with per- 
spiration after a day of the hardest kind 
of labor, the men of Spitzbergen travel miles 
over icy glaciers, arriving home with their 
shirts frozen to their backs. Yet they seldom 
catch cold. Only when the supply ship 
arrives in the spring does this malady attack 
them. Then hundreds are stricken. 

A review of such cold epidemics led scien- 
tific men eventually to the belief that colds 
were caused by germs, not by exposure, wet 
feet, or drafts on the neck, although these 
may be contributing causes. But only re- 
cently have they come close to the truth as 
to the source of this common affliction. They 
now declare it to be a virus. 

Of all the germs known to Science, none 
is more mysterious, more baffling, and elusive. 
No one has ever seen the filtrable virus. No 
filter yet devised has been able to trap it. It 
can neither be weighed nor measured. Yet 
it exists and causes damage estimated at 
$450,000,000 annually. Only by such destruc- 
tive results can its presence be established. 

Our leading scientists, using this virus 
withdrawn from the nose of a cold sufferer 
and made into a serum, have been able to 

produce the sufferer's cold in many other 
men. Apes, too, have responded in precisely 
the same way. 

Under every-day conditions, the virus 
enters the mouth, nose, and throat. Unless 
overcome by natural or medicinal forces, 
it is likely to cause a cold. The "secondary 
invaders" such as the pneumococcus, strep- 
tococcus, and influenza germs which so 
often accompany the virus, frequently com- 
plicate and aggravate the original cold. 

Fight germs with Listerine 

Clearly, the places to fight both invisible 
virus and visible germs are the mouth and 
throat, warm fertile breeding grounds that 
welcome all bacteria. The cleaner and more 
sanitary you keep them, 
the less chance germs and 
infection have of develop- 
ing, leading authorities de- 

Many go so far as to say 
that the daily use of an an- 
tiseptic mouth wash, pro- 
vided it is safe, will prevent 
much of the sickness so 

common in the mouth, nose, and throat, 
and urge the instruction of children from 
their earliest years in the disinfection of 
these cavities. 

For this purpose, Listerine has been con- 
sidered ideal for more than 50 years, by the 
medical profession and the laity. Non- 
poisonous and possessing adequate power to 
kill germs, Listerine is so safe that it will not 
harm the most delicate tissue. At the same 
time its taste is delightful. 

Numerous tests conducted by our staff of 
bacteriologists, chemists, and doctors, and 
checked by independent laboratory techni- 
cians, reveal Listerine 's power against the 
common cold. Twice-a-day users of Lister- 
ine, it was shown, caught fewer colds and 
less severe colds than those 
who did not use it. Enthusi- 
astic users have testified to 
similar results in unsolicited 
J§^> JB letters to this company. 

Why not make a habit of 
gargling with Listerine 
every morning and every 
night? Lambert Pharma- 
cal Co., St. Louis, Mo. 

For Colds and SoreThroat. .LISTERINE. .The Safe Antiseptic 

<h c R>^,M^s e lf 


Gloria Stuart, who has just published a volume of verse, 
is a grouping of beautiful lines, herself. Versed in the 
art of light comedy, also, she is in "Maybe It's Love" 



C \jOtiftou,t ^Woed 

In "Come On, Marines," Richard Arlen and 
Ida Lupino first matched smiles. And on 
close inspection in "Ready for Love," it's 
hard to tell which is happier to be with the 
other again. Looking at them, who'd think 
that they would ever part — Dick to make 
"Helldorado," Ida to vacation in England? 

Their roles In "The Richest Girl in the 
World" did things for both Miriam Hop- 
kins and Joel McCrea, teamed for the first 
time. As the masquerading millionairess, 
Miriam proved herself one of the screen's 
most gifted comediennes. Now she'll do 
"Becky Sharp." Joel will be Marlene 
Dietrich's hero in "Caprice Espagnoie" 

^* s "* k> 





||Lombard — newly loaned by Para- 
d Columbia, where she made such 
"20th Century" — has the role of 
dancer in "Lady by Choice" and 
pryor for her most ardent admirer. 
|ooks like a big break not only for 
I but for Roger, fresh from his win- 
gthe Wesf in "Belle of the Nineties" 


. '--■ 

Lyle (Versatile) Talbot, right, has never 
turned down a role, playing any type re- 
quested. Now he gets his reward — star- 
dom — in "Murder in the Clouds." Fred 
Astaire, center, entered films to dance, 
stole two pictures and now is starred in 
his third, "The Gay Divorcee." Robert 
Donat, below, became a star overnight 
in "The Count of Monte Cristo" 

% ♦ 

& P 




KDheec X^ue - foe f^-to-edom * ♦ ♦ 

When a girl gets a title role in her first 
film, stardom is ahead. And Ketti Gallian, 
left, French "find," starts out in the title 
role of "Marie Galante." Elizabeth Allan, 
center, has been given so many memor- 
able roles (the latest is Dora in "David 
Copperfield") that she'll soon be given 
stardom. Patricia Ellis, below, is with 
James Cagney in "A Perfect Week-End" 








h Uictoeian, + ♦ 


She may be gowned in the style of a past era, 
but they're predicting a great future for 
Jane Wyatt (below). So they made her 
Henry Hull's leading lady in "Great Expec- 
tations," by Charles Dickens. She's a for- 
mer stage actress and Junior Leaguer — 
and a potential rival of Margaret Sullavan 

C J>*eitu °lU 

>neev ♦ ♦ 

Gail Patrick (above) was burying her 
beauty in law books when the movies 
found her. And she is still studying — 
because she still has the ambition to 
be first woman governor of Ala- 
bama. A girl with pioneering ideas 
— that's Gail. So why shouldn't she 
act the part in "Wagon Wheels"? 



ded hit ZJ*vi&nxl 


That's true of Robert Montgomery, 
even in his library, all by himself. For 
his library is circular, lined from floor 
to ceiling with books — friends of a kind 
that will never fail him. But he hasn't 
had much time of late to fraternize 
with them. He has been busy co-star- 
ring with Ann Harding in "Biography 
of a Bachelor Girl," and with Joan 
Crawford in "Forsaking All Others" 




Shirley Temple has had 
huge personal-appear- 
ance offers, but she's 
staying right in Holly- 
wood. For films are fun 
- — especially, films like 
"Bright Eyes," with James 
Dunn and Alice Faye. 
And when she isn't play- 
ing in a scene, she can 
play between scenes — 
with -a coloring book or 
teddy bear and camera 

- ^ 


t i 

;j; Sgl 

'■mil \ 
> ] 

9ts &UI Tiny 

U. S. A. 

Movie Classic 



$cruk Smu Storjcs 

By William f. French 

"I thought everybody 
"Audiences laugh at 
my gals as much as I 
do — and you ought to 
seethe letters I get " 

"It's All in Fun," 

Says Mae West 

A Lady Lou and Tira and Ruby Carter, I've been 
playing a part — not giving a thumb-nail sketch 
of Mae West, herself," suddenly declared Para- 
mount's ace actress-p^wright, half-turning on 
the settee to face me. "I thought everybody realized that. 
If I happened to do a good job of it, that doesn't mean I 
couldn't have done something else equally as well, does it? 
And it shouldn't mean that in private life I have to be like 
these gals in the pictures, should it? 

"If it should, then we ought to start running every time 
we see a horror star walking down the street. On the 
screen, they aren't fit playmates for any of us. If we are 
supposed to be what we play, then Johnny Weissmuller 
can't be civilized," and Stan Laurel and Oliver Hardv need 
guardia; s ffid Harold Lloyd needs glasses, and somebody 

ought to send Charlie Chaplin a pair of suspenders. 

"Those stars aren't just acting natural when you see 
them on the screen. They are playing parts. And so am I. 
The main difference is that I generally write what I play." 

Which is Mae's way of telling us that she doesn't just 
walk out of real life onto the screen — and, also, that if she 
wasn't playing the parts she is, she would probably be do- 
ing as good a job as a different screen type. Unlike Topsy, 
Lady Lou, of "She Done Him Wrong" fame, didn't just 
"growed." And neither did she just happen to "c'm up 'n' 
see" Mae West. 

Take Mae's word for it; she didn't just strut out on the 
stage and give the theatre Diamond Lil — under which 
name our own Lady Lou was originally presented to 
Broadway. Lil, or Lou, was {Continued on page 70) 


How Joan Crawford 

Keeps Her Men Friends 



JOAN CRAWFORD has learned a secret that few 
women ever learn. She has discovered how to trans- 
mute the adoration that men lay at her feet into 
tenuous, abiding friendship. Her home is a court. 
Within it, regularly, gather the men who once have ad- 
mired Joan Crawford as a woman and have come to ad- 
mire her in new terms — in terms of comradeship, of un- 
derstanding. They have formed a spiritual alliance with 

This Joan of the searching eyes — this Joan who is con- 

There is Franchot Tone, who is admittedly in love with 
Joan, yet whose love has the flavor of a lasting friendship. 
If Joan and Franchot were never to see each other again, 
their interest in each other would not cease. There is Lynn 
Riggs, a quiet, unassuming, brilliant writer. There is 
Jerry Asher, whom Joan first met when he was a member 
of the publicity staff of her studio, and who to-day is be- 
coming one of the most earnest chroniclers of the Holly- 
wood scene. Others who have been in Joan's court and 
who to-day remain her steadfast admirers, her staunchest 

stanrlv seeking for an unknown, undefined something that 
she feels life should hold for her — has found one thing that 
few women ever find, particularly if they are glamourous 
and famous: masculine friendships that know no self- 
seeking, that do not change with the changing years or 
changing fortunes. 

Joan is not a woman's woman. She doesn't know the 
devious routes which women take to accomplish their am- 
bitions. Hers is a man's way. It's the difficult way, and 
the shortest way. She doesn't lend herself to feminine in- 
trigue, but to masculine straightforwardness. 

And because Joan has never found temperamental kin- 
ship with any of the women she has known, she has, of 
necessity, turned to the men who have entered her life, 
who understand the many-faceted personality that she is. 

Varied in character, in profession and in position are the 
men to whom Joan Crawford is a compelling magnet. 


friends, are Alexander Kirkland, Ricardo Cortez, and 
Robert Young. 

Even Douglas Fairbanks, Jr., has been metamorphosed 
from a husband into a friend. They parted with expres- 
sions of mutual regard. When Joan and Doug were no 
longer in love, there still remained that sincere affection 
that is the basis of friendship. 

When Doug returned to Hollywood last spring after his 
first sojourn in England, Joan was the first person he tele- 
phoned, and to her he undoubtedly confided the state of 
his heart in relation to (Jertrude Lawrence, the British 
star whose name has been romantically and constantly 
linked with his. His first evening in town, he hurried out 
to her house — which had been his also — and Joan showed 
him over the house, pointing out changes, bringing in the 
new puppies of his dog, and introducing him fondly to a 
newer friend, FranchotjjTone, with whom he got along very 

Famous as both a beauty and an actress, Joan uses no feminine arts to intrigue admirers. 
Every glamourous woman has admirers. But few have what Joan has — friends who are 

her friends for life 

well. Love had died — but friendship, possibly as import- 
ant, remained. 

Still Friends Ten Years Later 

NEITHER distance nor time lessens the staunch in- 
terest of men who have had the privilege of knowing 
Joan. To this day, an old school-day suitor writes to her 

every few weeks. It has been all of ten years since Joan 
Crawford and this chap went places arm in arm. His 
letters are not the letters of a perennial suitor — or of a man 
in love who has recovered from it — but, rather, of a man 
who understands the worth of a woman as a personality. 
He writes her about himself, about his progress, about his 
thoughts, of all those small interests that knit two people 
together. And he tells her about the 
shadowy Joan Crawford he sees on the 
screen. He analyzes her performances. 
And Joan has only gratitude for the 
sincerity of his interest. 

Joan is a girl whose every feature, 
whose every movement, whose every 
mood betray her femininity. Her na- 
ture has all the sensitivities of a woman 
who reacts spontaneously to the beauty 
of flowers, to the softness of silk. Yet, 
singularly enough, she meets men on 
their own (Continued on page 6y) 

To each one of her court, Joan gives the 
understanding that his individual nature 
needs. That is the secret of her friend- 
ships with (left to right) Robert Young, 
Douglas Fairbanks, Jr., Franchot Tone, 
Alexander Kirkland and Ricardo Cortez 


Have you Got the Makings 

Six famous funsters tell you 
what it takes to be a comic 


WHAT does it take to be a comic? What are 
the ingredients that go into the making of a 
famous clown? Nearly everybody who is 
"the life of the party" suspects that he is a 
comedian and that all the world should be his stage. Let 
it be said to one of us "Aren't you a sketch, though?" and 
we are ready for the motley mantle of Mirth to descend 
upon us. But do these parlor pranks signify that we could 
be paid comedians? 

We have all read about what it takes to become a 
dramatic actor, a trapeze artist, a prima donna. There 
have been "schools" of Bernhardts and Booths. Circus 
performers train their young to carry on after them as 
aenalists, lion tamers or whatever the hereditary talent 
happens to be. Singers practise endlessly. The one form 
of Art we never hear much about, and know very little 
about, is the Comic. Are comedians "born" or are they 
"made"? What must an individual have to be a come- 
dian? What does it take? I decided to canvass the caper- 
cutters and find out. 

I asked W. C. Fields first of all. And W. C, with his 
blue eyes shrewd and thoughtful, said, "I can speak only 
for myself, of course. Com- 
edians are more individual 
than any other group of 
performers. No one come- 
dian is like any other 
comedian — did you ever 
think of that? Take Chap- 
lin and Lloyd and Durante 
and Ruggles and myself, 
among others. We haven't 
one trait in common. We 
are totally dissimilar types, 
in every way. It's the 
same with the women — 
there's nothing similar 
about Zasu Pitts and, say, 

Mary Boland, Edna 
May Oliver, Louise 
F a z e n d a and the 

Funnier Without 

THERE are cer- 
tain definite for- 
mulas for invoking 
tears — but there is no 
definite formula for in- 
voking laughter. And 
so I can only speak for 
myself. My recipe for 

being a comedian is this: 'Never have much money.' 
I know whereof I speak: I once made a lot of money, 
and I almost fell off" the screen and stayed off", as a 
result. It wasn't until I went broke again that I got 

"There are two reasons for money's being a handi- 
cap to mirth. First, no person can have spontaneous 
sympathy for the man or woman who is wealthy. 
There is something about wealth that coats the human 
heart and makes laughter ring with a metallic sound. 
There was nothing funny about Midas, you know. 
He was tragic. And if a comedian doesn't excite your 
sympathy, you don't laugh at 
him. You may not have real- 
ized this, but it's the truth. 
Think of Chaplin and Hollo- 
way and Butterworth — you 
really laugh at us all with 
your mouth twisted with sym- 
pathy. It's a fact, or it is for 
me, that if an audience sits 
back and remembers that the 
funny fellow on the stage or 
screen has a fortune salted 
away, he has to work a million 
times harder to convince them that he's funny. 

"Secondly, and most importantly, when a comedian 
acquires money, he acquires dignity along with it. Dig- 
nity is fatal to didoes. He gets the capitalistic paunch and 
the capitalistic 'er-hum' sort of personality. He cuts 
coupons, instead of capers. My point is that a comedian 

Mary Boland (above): 
"You must laugh from 
within" . . • Charlie 
Ruggles (center): "You 
must know what makes 
the other fellow laugh" 
. . . Jimmy Durante 
(left): "Supposin' I 
wasn't rich?