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Full text of "Photoplay (Jul-Dec 1926)"

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SCANNED PROM THE COLLECTIONS OP 



PFA Library and Film Study Center, 

University of California, Berkeley Art Museum & Pacific Film Archive 

bampfa.berkeley.edu 



Coordinated by the 

Media History Digital 
Library 

www.mediahistoryproject.org 



Funded by an anonymous donation 
in memory of Carolyn Hauer 



UNIVERSITY OF CALIFORNIA. BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE 



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The "Rational guide to ^Motion ^ict 

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JULY 25 CENTS 



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o/esale 
^Murder and 
ofcicccdt. 

Dont start to 
reduce until 
you read this 
amazing; article 

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DANDRUFF? 





Bottle Bacilli, tl 
of Dandruff. Ulu 
Reproduced from 



C. V. Mosby, Publisher. 



Dandruff is a disease difficult to 
cure, but easy to check. 

Unless checked and properly 
treated it has a persistent ten- 
dency to reappear, and often in 
more virulent form, with possible 
loss of hair or even total baldness. 

The treatment to check dan- 
druff requires constant cleanliness 
and the use of a suitable antiseptic 
solution to combat the disease and 
to heal the scalp. 



It's a danger signal! 



D, 



'ANDRUFF is a danger signal. If you have 
it you should do something about it. 

Perhaps you never knew it before, but dan- 
druff is a germ disease. It spreads by infec- 
tion from personal contact, as with the com- 
mon use of combs and brushes. Children, for 
instance, are never troubled with dandruff until 
actually infected by some contact. 

Dandruff is a disease difficult to cure but 
easy to check. It has a tendency to reappear, 
unless properly treated, and often brings with 
it the possible loss of hair or actual baldness. 

The ideal treatment to combat dandruff con- 
ditions is the systematic use of Listerine, the 
safe antiseptic. 

We have received hundreds of unsolicited 
letters from Listerine users, who are most 
enthusiastic in their claims for what Listerine 
will do in this way. If you are troubled with 
dandruff you owe it to yourself to try it. 

The use of Listerine for dandruff is not com- 



plicated. You simply douse it on your scalp, 
full strength, and massage thoroughly. The 
effect is antiseptic, cleansing and healing. 
And you will be amazed to see how this treat- 
ment, followed systematically, combats dandruff. 

Moreover, Listerine will not discolor the hair 
nor will it stain fabrics. 

Not only men but women have become de- 
voted users of Listerine for this purpose — 
women, particularly, since bobbed hair has been 
in vogue and has made them more conscious of 
dandruff if it happened to be present. 

Try Listerine some evening when your scalp 
feels tired and itchy. Dandruff is probably 
causing the trouble. Apply it generously and 
then massage vigorously. You will find it a 
stimulating tonic for the scalp, and in addition 
to combating dandruff, you will find that it adds 
that luster and softness to the hair that is so 
important a part of being well-groomed. — 
Lambert Pharmacal Co., St. Louis, U. S. A. 



LISTERINE 

—and dandruff simply do not get along together 



Photoplay Magazine — Advertising Section 



?? 



Pink Tooth Brush 

A modern evil with a very 
simple treatment 



THAT slight bleeding of the gums which 
tinges the tooth brush with pink, is often 
dismissed from the mind too quickly. 
Yet even if it occurs infrequently, it is the 
first warning that heralds the approach of 
more-stubborn gum troubles — troubles so 
prevalent today. 

Taken early enough, "pink tooth brush" is 
not difficult to correct; it is, in face, rather easy 
t j combat. In itself, it is not dangerous. 

But "Pink Tooth Brush" means 
that your gums need care! 

When "pink tooth brush" comes, your gums 

need your closest attention. Much worse things 

can follow in its train. You mustre- 

store to thegum tissues thestimula- 

tion which in the ordinary course 

of modern life they do not get by 

natural means. You must stimulate 

them. You should massage them. 

You need Ipana Tooth Paste. 



The primary cause of the modern 
break-down of the gums is easily 
traced to the food that we eat every 
day. In former generations the 
mere act of chewing more-fibrous, 
crunchy foods supplied to thegums 
the natural stimulation of massage. 
But today this modern food of ours 
is soft — it is lacking in fibre — it 
fails completely in its function of 
giving to the gums the massage 
they need so much to keep in good 
condition. So gums grow lazy and 
stagnant. They grow tender and 
sensitive. On occasion they bleed 
—and after that a long list of more- 
severe troubles threatens. 

How to restore the gums to 
health with Ipana and massage 

Dentists will tell you of the value 
of massage for gums that cannot, 



■f 1 f 



without bleeding, stand the touch of the brush. 
Thousands of them recommend it and thou- 
sands of them praise Ipana Tooth Paste as well, 
because of Ipana's efficacy in toning and stimu- 
lating weakened, under-nourished gum tissue. 
For Ipana contains ziratol, a hemostatic and 
antiseptic used for years by dentists in their 
work at the chair. 

Your own dentist knows Ipana Tooth Paste. 
Our professional men have demonstrated its 
benefits to over 50,000 dentists. In fact, it was 
by professional recommendation that Ipana 
fitst got its statt. 

So use Ipana and practice massage if the 
health of your gums is not all it should be. 





{BREAKFAST, luncheon, dinner 
— three reasons every day -why 
our gums need massage -with 
Ipana. For our delicious soft 
foods lack the power to stimulate 
our gums. 



This simple treatment night and morning will 
stir up the sluggish circulation within thegum 
walls and bring fresh, clean blood to clear the 
tiny capillaries. If at first, the gums are too 
tender, begin by massaging them with a little 
Ipana on the finger. And then 
as the tender tissue is restored to 
fitmness and health the tooth brush 
should be used for this gentle fric- 
tionizing after the usual cleaning of 
the teeth with Ipana and the brush. 

Switch to Ipana for one month 
— a full, fair trial 

Ipana is delicious. Its fresh flavor 
will bring you a new sense of oral 
cleanliness and its power to keep 
your teeth brilliant will delight 
you. Even if your tooth brush 
seldom or never "shows pink" — 
even if yourgums are firm and hard, 
— be thankful, and let Ipana help 
you to keep them so. 

The coupon on this page offers a 
ten-day trial tube. We will gladly 
send it, for at least it will prove 
Ipana's taste and cleaning effect. 
But as your dentist will attest, ten 
days is barely long enough to be- 
gin the good work. So when next 
you are at your druggist's, get a 
full-size tube— use it faithfully for 
a full month — and then decide 
whether Ipana is the tooth paste 
you should use for life. 



IPANA Tooth Paste 



— made by the makers of Sal Hepatica 



BRISTOL-MYERS CO. 

Dept. I76, 73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 




Bnato'-Myera Co.. J"2* 



riiuTui'LAY magazim;. 



Photoplay Magazine — Advertising Section 



trnoons 
Out 







Paramount Pictures 

you tvill enjoy 



Raymond Griffith in 

"WET PAINT" 

With Helene Costello and Bryant 
Washburn. From the Story by 
Reginald Morris. Screen play by 
Lloyd Corrigan. Directed by 
Arthur Rosson. 

Richard Dix in 

"SAY IT AGAIN" 

With Alyce Mills. Directed by 
Gregory La Cava. Story by Luther 
Reed and Ray Harris. 
A Clarence Badger Production 

"THE RAINMAKER" 

With Ernest Torrence, William 
Collier, Jr., and Georgia Hale. 
From the story " Heavenbent," 
by Gerald Beaumont. Screen 
play by Hope Loring and Louis 
D. Lighton. 

Bebe Daniels in 

"The PALM BEACH GIRL" 

With Lawrence Gray. Directed 
by Erie Kenton. From the story 
by Byron Morgan and the play 
"Please Help Emily." 



m^ 



Afternoons out at the Paramount show 
are the happiest times of the week. It's 
such a comfort to know — before you go 
— that a good time's ahead ! The name 
"Paramount" fixes that! The healthy 
excitement of first' class entertainment 
in a quiet, cooled theatre is a happy 
program for any afternoon. Why not 
this afternoon? Arrange a date over 
the 'phone with your friends. Paramount 
puts a touch of romance, "a castle in 
Spain," into any day! 



^aramjCMmt^iehLresM 

^^ "if it's a Paramount Picture it's the best show in town/"^ <v^^ 

Produced by FAMOUS PLAYERS "LASKY CORP, Adolph Zukor.Pres., New York City. 



The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



JAMES R. QUIRK, Editor 



IVAN ST. JOHNS 



Vol. XXX 



No 2 



Contents 

July, 1926 



Cover Design: Dorothy Mackaill 

From a Painting by Walter A. Wagener 

Brief Reviews of Current Pictures 8 

In Tabloid Form for Ready Reference 

Brickbats and Bouquets 10 

Frank Letters from Readers 

Rotogravure: New Pictures 19 

Jackie Coogan, Dolores Costello, Irene Rich, John 
Gilbert, Greta Garbo, Jack Mulhall, Dorothy Hughes 

Speaking of Pictures (Editorials) James R. Quirk 27 

The Foreign Legion In Hollywood Ivan St. Johns 28 

The Influx Continues. And They Remain and Prosper 

Wholesale Murder and Suicide Catherine Brody 30 

The First of a Series of Great Articles on Reduceomania 

Antonio Moreno (Photograph) 34 

Mrs. Coolidge Knew Him When Herbert Howe 35 

Tony — Peasant Boy, Meter Reader, Movie Star 

Madge Bellamy (Photograph) 36 

Cleopatra's Kiss (Fiction Story) James Oppenheim 37 

She Drove Him ; He Rose to the Heights and Love Won 

Illustrated by George Howe 

Desert Stuff Dorothy Spensley 40 

Turning Arizona Into Africa for "Beau Geste" 

(Contents continued on next page) 



Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, 111. 

Editorial Offices, 221 W. 57th St., New York City 

The International News Company. Ltd.. Distributing Agents. 5 Bream's Building, London, England 

Edwin M. Colvin, Pres. James R. Quirk. Vice-Pres. R. M. Eastman, Treas. 

Kathryn Dougherty. Sec. and Ass't Treas. 

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24, 1912. at the Postoffice at Chicago, 111., under the Act of March 3, 1879. 



Photoplays Reviewed in the 
Shadow Stage This Issue 

Save litis magazine — refer to 
the criticisms before you pick out 
your evening's entertainment. 
Make this your reference list. 

Page 54 

Aloma of the South Seas. . .Paramount 

A Social Celebrity Paramount 

Brown of Harvard. . . .Metro-Goldwyn 

Page 55 

Wet Paint Paramount 

Beverly of Graustark. .Metro-Goldwyn 

Mile. Modiste First National 

Page 56 

The Rainmaker Paramount 

The Old Soak Universal 

Other Women's Husbands 

Warner Brothers 

Old Loves for New First National 

Money Talks Metro-Goldwyn 

Paris at Midnight. . .Prod. Dist. Corp. 

Page 57 

The Shamrock Handicap Fox- 
Hell Bent for Heaven 

Warner Brothers 
The Wilderness Woman First National 

Rolling Home Universal 

Eve's Leaves Prod. Dist. Corp. 

Early to Wed Fox- 
Page 142 

The Palm Beach Girl Paramount 

Her Second Chance First National 

The Exquisite Sinner Metro-Goldwyn 
The Galloping Cowboy 

Associated Exhibitors 

Page 143 

Silken Shackles Warner Brothers 

A Man Four Square Fox 

Outside the Law Universal 

The Impostor F. B. O. 

Hell's 400 Fox- 
Rawhide Associated Exhibitors 

The Phantom Bullet Universal 

Tony Runs Wild Fox 

Wild to Go . F. B. O. 

The Big Show. . Associated Exhibitors 

The Isle of Retribution F. B. O. 

The Broadway Gallant F. B. O. 



Copyright. 1926, by the Photoplay Publishing Company. Chicago. 



Contents — Continued 

Donald Ogden Stewart's Guide to Perfect Behavior in 

Hollywood 42 

Close-Ups and Long Shots Herbert Howe 44 

Witty Comment on Screen Personalities 
Yep— It's the Same Gal Dorothy Herzog 46 

Success Came to Pauline Through Drinking Goat's Milk 

The Censor Bird (Drawing) 47 

Studio News and Gossip— East and West Cal York 48 

What the Screen Folk Are Doing 

Felix Is Mad 52 

His Monopoly on Hollywood's Catnip Is Threatened 

The Lark of the Month 53 

Leatrice Joy Gets by as a Boy Illustrated by Frank Godwin 

The Shadow Stage 54 

The Department of Practical Screen Criticism 

$5,000 in Fifty Cash Prizes 58 

Rules for Photoplay's Great Cut Puzzle Picture Contest 

Rotogravure : 59 

Aileen Pringle, Cut Picture Puzzles, Anna Q. Nilsson 

On With the Pants Madeline Mahlon 63 

Anna Q. Plays a Lady Tramp 

What Was the Best Picture of 1925? 64 

Vote Early for Your Best Picture of 1925 

Community Clothes (Fiction Story) 

Agnes Christine Johnston 65 
A Peep at the Extras in Hollywood Illustrated by Connie Hieks 

Alyce Mills and Richard Dix (Photograph) 68 

Mr. Columbus Dix Dorothy Herzog 69 

Dick Is the Undiscovered Discoverer of Stars 
Mae Murray (Photograph) 70 

For the Sake of Speed (Fiction Story) Steuart M. Emery 71 
Tingling Romance of a Daring "Get-away" Man of the Under- 
world Illustrated by W. G. Starrett 

Summer Suggestions from Hollywood 74 

Photoplay's Shopping Sen-ice Will Help You Complete or Change 
Your Wardrobe 

As We Go to Press 76 

Last Minute News from East and West 
He Who Got Slapped and Why Cal York 78 

A Bump in Rudy's and Pola's Path of Love 
Taking the Bunk Out of Pictures Frederick James Smith 81 

As Told by Sidney R. Kent, Paramount Sales Manager 

Ronald Colman (Photograph) 84 

The Girl Who Wouldn't Stay Down 86 

That's Georgia Hale 
His Last Fiftv Cents Herbert Howe 91 

Jack Holt Broke Into the Movies Broke 
Girls' Problems Carolyn Van Wyck 94 

The Department of Personal Service 
Came Lava (Photograph) 96 

Into the Path of Newsreel Cameramen 
Utopia of Machinery 98 

Scenes from the UFA Picture "Metropolis" 

Questions and Answers The Answer Man 101 

The Girl on the Cover— Dorothy Mackaill Cal York 106 

Casts of Current Photoplays 140 

Complete for Every Picture Reviewed in This Issue 



r<s$>jt 



iiufM! 



How do 

You 

Like 

the 

New 
Style 

of 

Photoplay 

♦ 

Watch 
the 

August 
Issue 
for a 

Surprise 



Addresses and working programs of the leading picture studios 
will be found on page 104 



iC<2i>TH 



*^9:i 



Photoplay Magazine — Advertising Section 
A THOUSAND THINGS MAY HAPPEN IN THE DARK 




Vacation days are 



In THE grip for 
the trip . . . your 
Eveready Flash- 
light. Ever ready to light your 
path at the shore, lake, farm, 
mountains. Be sure to take a 
genuine Eveready — the pio- 
neer flashlight and still the best 
by long odds. 



flashlight nights 



Eveready 

Long-lasting 

I nit Cell 




Every worth-while flash- 
light improvement has been an 
Eveready improvement. Ever- 
eady has features found no- 
where else. Hinged metal ring 
in end-cap for hanging up 
flashlight when not in use. 
Greatest flashlight convenience 
in years. Safety-lock switch, 
proof against accidental light- 
ing and wasting of current. 

To get all the newest fea- 
tures, as well as those tried-and- 
true improvements that make 
for long and trouble-proof ser- 
vice, get the genuine Eveready. 



Keep a reload of 
Eveready Unit 
Cells on hand. 
Then you're all set for a better, 
safer, happier vacation. 



Eveready Unit Cells fit and improve all 
makes of flashlights. They insure brighter 
light and longer battery life. Keep an 
extra set on hand. Especially designed 
Eveready-Mazda Lamps, the bright eyes 
of the flashlights, likewise last longer. 
Manufactured and guaranteed by 

NATIONAL CARBON CO., Inc. 
New York San Francisco 

Canadian National Carbon Co., Limited, Toronto. Ontario 

EVEREADY 

FLASHLIGHTS 
& BATTERIES 

-they last longer 



write to advertisers please mention rilOToI'LAY MAGAZINE. 







■ >■ 



Brief Reviews of Current Pictures 



AMERICAN VENUS, THE— Paramount.— We 
think this is great entertainment. Esther Ralston 
and Lawrence Gray are romantic figures against a 
background of the Atlantic City Beauty Pageant — in 
color. {March.) 

ANCIENT HIGHWAY, THE — Paramount. — 
A passable story of the timber lands with Jack Holt 
preventing the villain from jamming the heroine's 
shipment of logs. (January.) 

ARIZONA SWEEPSTAKES, THE— Universal.— 
A snappy Hoot Gibson western with some novelty 
and good comedy situations. (February.) 

AUCTION BLOCK, THE— Metro-Goldwyn.— 
Charles Ray is the man about town in this picture. 
There are a lot of laughs throughout, and you'll enjoy 
this. (April.) 

BACHELOR'S BRIDES— Producers Dist.— The 
title has nothing to do with the picture; the story has 
nothing to do with either comedy or melodrama; in 
other words it's much ado about nothing. (June.) 

BARRIER, THE— Metro-Goldwyn.— The story of 
a half-caste told in an interesting manner by a splen- 
did cast — Norman Kerry, Marceline Day, Henry 
Walthall and Lionel Barrymore. (June.) 

BAT, THE— United Artists.— It's thrilling and it's 
chilling. Your spine will quiver and your hair will 
stiffen every moment. See itl (A/ay.) 

BEAUTIFUL CHEAT, THE— Universal.— Very 
amusing at times, but nothing to get real excited 
about. (April.) 

BEAUTIFUL CITY, THE— First National.— The 
story not up to the Barthelmess standard. Contains 
good atmospheric shots of New York's tenement 
district. (January.) 

BEHIND THE FRONT— Paramount.— A satire 
on the lives of the buddies "over there." Slapstick 
comedy with enough kick in it to make one realize 
that Sherman spoke the truth. (April.) 

BENHUR— Metro-Goldwyn.— The undying drama 
of Christ interwoven with the story of Ben Hur, the 
young Jew who aimed to serve him. Ramon Novarro 
is at his finest. A picture everyone should see. 
(March.) 

BEST BAD MAN, THE— Fox.— Unsuitable for 
Tom Mix. A flimsy plot, but Clara Bow makes it en- 
durable. (February.) 

BEST PEOPLE, THE— Paramount.— An enter- 
taining story of a son and daughter of the hoipolloi 
who insist upon marrying a chorus girl and chauffeur, 
believing that love is the only thing. (January.) 

BIG PARADE, THE— Metro-Goldwyn.— See this 
if you have to pawn your shirt. One of the finest 
pictures ever made. A thrilling love story against the 
World War background with John Gilbert and Renee 
Adoree. (January.) 

BLACK PIRATE, THE— United Artists.— This 
will prove to be a real treat for the youngster, and 
grownups will find themselves youthful again while 
enjoying this story of the adventures of the wicked 
pirates. (May.) 

BLACKBIRD, THE — Metro-Goldwyn. — Lon 
Chaney is at his best in this picture. He wears no 
make-up. Don't pass it up. (April.) 

BLIND GODDESS, THE— Paramount.— An ex- 
cellent murder story by Arthur Train plus Louise 
Dresser's splendid performance makes this one of the 
finest pictures of the season. (June.) 

BLUE BLAZES— Universal.— A fair Western with 
Pete Morrison as the star. The usual riding, shoot- 
ing, conflict and love. (March.) 

BLUEBEARD'S SEVEN WIVES— First National. 
— Let the gas go out and use the quarter to see this. 
You'd never believe Ben Lyon could be so funny, 
with Lois Wilson in the role of a flapjack flipper at 
Childs. (Feb.) 



BORDER SHERIFF, THE— Universal.— A Wes- 
tern and nothing to brag about. Jack Hoxie is the 
star. (May.) 

BRAVEHEART— Producers Dist.— Rod La 
Rocque's first starring picture, and a good one. The ro- 
mantic tale of an Indian in love with a white girl, 
played by Lillian Rich. (March.) 

BRIDE OF THE STORM— Warner Bros— A 

gripping melodrama against the background of the 
sea. Gruesome at times. (June.) 

BRIGHT LIGHTS— M-G-M— Charlie Ray as 

the country bumpkin again, and Pauline Starke a 
smart chorus gel. Good entertainment. (February.) 

BROADWAY BOOB, THE — Associated Ex- 
hibitors. — Glenn Hunter is back with us again in 
another of his famous country roles. Fair. (May.) 

BROADWAY LADY. THE— F. B. O.— Pretty 
good story with Evelyn Brent as a chorus girl with a 
heart of gold who marries into society and is inno- 
cently involved in a murder. (March.) 

BROKEN HEARTS— Jaffe.— A series of realistic 
east side scenes strung together by a slender plot. 
Lila Lee is the only familiar player in the cast. (May.) 



AS a special service to its readers, 
Photoplay Magazine inaugu- 
rated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers 6nd this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this— and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



CAT'S PAJAMAS, THE— Paramount.— Betty 
Bronson has advanced from a Barry heroine into a 
bedroom comedy heroine. The result — see it and be 
convinced. (June.) 

CAVE MAN, THE— Warner Bros.— Another silly 
vehicle featuring Matt Moore and Marie Prevost. 
Not the fault of members of the cast, but in the 
ridiculous story. (April.) 

CLASH OF THE WOLVES, THE— Warner 
Brothers. — Rin-Tin-Tin makes another big hit, this 
time in a beard. A good story. (January.) 



CLASSIFIED— First National.— Don't miss this 
one. Corinne Griffith, "the screen's most beautiful," 
proves she can act, in this unusually entertaining 
comedy-drama of a New York working girl. (January.) 

CLOTHES MAKE THE PIRATE— First Nation- 
al. — Leon Errol of the collapsible knees, and Dorothy 
Gish as his shrewish wife make this a fairly amusing 
comedy-drama. (February.) 

COBRA — Paramount. — Disappointing to Valen- 
tino fans. Rudy is not rightly cast in this and Nita 
Naldi is entirely unbelievable. (February.) 

COHENS AND THE KELLYS, THE— Universal. 
— New York went wild over this and so will every 
other town. See it and howl! (May.) 

COMBAT— Universal.— He who likes a lively 
romping tale crammed with action will like this. The 
youngsters will enjoy it. (April.) 

COMPROMISE— Warner Brothers.— A good cast, 
Irene Rich, Pauline Garon and Clive Brook, in an 
inadequate story. Fairly entertaining. (January.) 

COUNSEL FOR THE DEFENSE— Asso. Ex- 
Good acting of Betty Compson as a modern Portia 
make this a passable movie. (March.) 

COUNT OF LUXEMBURG, THE— Chndwick — 

George Walsh, as a penniless count in the artists' col- 
ony of Paris, marries a beautiful actress without see- 
ing her. Fairly entertaining. (February.) 

COWBOY AND THE COUNTESS, THE— Fox. 

— One finds no amusing tricks of style to divert this 
from the commonplace. And such an absurd story. 
(April.) 

COWBOY MUSKETEER, THE— F. B. O.— Tom 
Tyli r looks fine and rides well in this Western, which 
is presented with snap and clearness. (February.) 

CROWN OF LIES, THE— Paramount.— Another 
impossible Pola Negri vehicle. If you have nothing 
else to do — see this and suffer with Pola. (June.) 

DANCE MADNESS— Metro-Goldwyn.— Nothing 
new in the plot, but it establishes Conrad Nagel as a 
splendid comedian. It's too sexy for the children. 
(APrU.) 

DANCER OF PARIS, THE— First National.— 
Written by Michael Arlen and as you might have 
suspected there is plenty of jazz, bachelor apartment 
parties, love scenes and nudity. Not the least bic 
impressive. (May.) 

DANCING MOTHERS— Paramount.— Story of a 
gentle wife who would a-flappering go. Result, a lot 
of complications. Clara Bow's performance is beauti- 
fully handled. Alice Joyce and Conway Tearle are in 
it. (April.) 

DANGER GIRL, THE— Producers Dist. Corp. 
— Priscilla Dean as a clever secret service lady in a 
good mystery yarn. She has able support from John 
Bowers, Cissy Fitzgerald and Arthur Hoyt. (April.) 

DESERT GOLD— Paramount. — A melodrama of 
the great open spaces adapted from a Zane Grey 
novel. Fair. (June.) 

DESERT'S PRICE, THE— Fox.— Buck Jones is 
always interesting, although this film play has not 
much originality. Plenty of good fights. (February.) 

DESPERATE GAME, THE— Universal.— A mild- 
ly amusing Western of a college cowboy. (Feb.) 

DEVIL'S CIRCUS, THE— Metro-Goldwyn.— An 
interesting vehicle with lots of good circus stuff. 
Hokum reigns throughout. Norma Shearerand Charles 
Mack head the cast. (May.) 

DON'T— Metro- Goldwyn-Mayer.— The title tells 
you. Don't. It's a silly picture with the story wan- 
dering all over. (April.) 

EAGLE, THE— United Artists.— Rudolph Val- 
entino in three fascinating roles, a Russian lieutenant, 
a bandit and a French tutor. Pretty good Valentino 
fare. Vilraa Banky is lovely. (January.) 
[ CONTINUED ON PAGE 12 ] 



Photoplay Magazine — Advertising Section 



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It is the Nestle METER SCALE that 
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Permanent Waving . . . that tests 
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out the readings of the Nestle 
Meter Scale to the letter. By this 
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-O -^P^-^f 




Brickbats &? Bouquets 



Three prizes to be given every month 
for the best letters — $25, $10 and $5 



LETTERS FROM READERS 



$25.00 Letter 

New Orleans, La. 

The most beautiful, most treasured thing in 
this world is youth. And Mary Pickford has 
captured the elusive quality of youth, a kindly, 
sympathetic, glorious youth. Mary's appeal is 
universal, because she has brought to the tired 
hearts, as well as the joyous, youthful hearts of 
her "followers," a refreshing influence. She 
has held her audience and swayed them at her 
will, not alone by her beauty, but through her 
simplicity and appeal to all that is good in 
their nature. 

Her loveliness is not a matter of features. It 
is the spirit which shines through those wistful, 
intelligent, understanding eyes. Others have 
come, but have not taken Mary's place. She is 
the same Mary today as she was in the years 
gone by. But, in this, she has deprived herself 
of a deeper expression of her genius. " Dorothy 
Vernon" proved that Mary is an emotional 
actress of the highest ability. But there is no 
other actress who can portray a child so per- 
fectly as Mary, and, though her fans desire to 
see her always as a child they, too, have de- 
prived themselves and the screen of the full 
benefit of Mary's power. 

Leontine Brennan. 

$10.00 Letter 

Syracuse, N\ Y. 

I ask justice for the much maligned "dime 
novels" of Elinor Glyn. Hearing much hue 
and cry about the lady, pro and con, I sought 
her photograph and discovered the face of a 
cultured Englishwoman. Still skeptical, I at- 
tended a showing of " His Hour." Instead of a 
crude, "sex handled" atrocity, I saw a well 
directed, artistically screened and superbly 
acted photoplay and I asked myself "where- 
fore the con?" Further investigation disclosed 
the facts: 

There are so few souls capable of the "Grand 
Passion" that we ordinary mortals, with our 
insipid infatuations and smug marriages, do 
not understand that we are unable to attract. 
A love that is life is beyond our comprehension. 
However erotic Elinor Glyn's writings, she 
always displays a delicacy sadly lacking in the 
modern "sex" novelist. Her love interest is 
neither trifling nor sordid. Her marriages en- 
dure! Like herself, her heroines are beautiful, 
high born and intelligent (they never flap). 

It might not be amiss to direct our American 
youth toward the Glyn ideals — finer, more 
graceful lines of character, higher mental at- 
tainments and physical beauty. Thus equipped 
he might repulse the common, petty philander- 

10 



The readers of Photoplay are in- 
vited to write this department — to 
register complaints or compliments — 
to tell just what they think of pictures 
and players. We suggest that you 
express your ideas as briefly as pos- 
sible and refrain from severe per- 
sonal criticism, remembering that the 
object of these columns is to exchange 
thoughts that may bring about better 
pictures and better acting. Be con- 
structive. We may not agree with the 
sentiments expressed, but we'll pub- 
lish them just the same! Letters 
should not exceed 200 words and 
should bear the writer's full name 
and address. 



ings of our "conventional" life and make him- 
self worthy of the best. 

Elizabeth Dtjvaix Russell. 

$5.00 Letter 

Minneapolis, Minn. 
If I only were a poet 
And could write the things I dream 
The sweet hands of Jetta Goudal 
Would be my graceful theme! 
I would write of fragrant lilies, 
Standing fair in golden bands; 
I would write of glowing tapers 
While I thought of Jetta's hands. 
I would tell you how they move me. 
Now to smiles and now to tears, 
In and out her story weaving 
All her loves and all her fears. 
How I wish I were that poet! 
With no ifs or buts or ands, 
I would set these words to music: 
"Lovely Jetta! lovely hands!" 

Agnes Joegene. 

A Constructive Critic 

Tucson, Arizona. 

"What's wrong with the movies?" 

Nothing, only a tendency to "can" plots 
like pineapples and tomatoes. 

Let us have fewer plavs and better ones and 
above all— SINCERITY. 

Art is the twin of Truth. Truth may be 



expressed in any kind of picture by any type of 
player. It is not necessary, however, to dwell 
on the vulgar and morbid. All of us are pretty 
fortunate and happy. Personally, I believe in 
the happy ending. 

Pictures like "The Salvation Hunters" are 
depressing and harmful. Consider, instead, 
"That Royle Girl", "Stella Maris", and "The 
Big Parade." 

MR. PRODUCER we need more good 
mystery plays. And cannot something be 
found to take the place of these imbecile "two 
reelers"? Mrs. Paul Murdoch. 

She Saw Him When 

Port Huron, Michigan. 
That ancient picture. "A Lover's Oath.'' so 
long withheld from public view, recently made 
its local debut. The glamorous name of 
Novarro induced me to see it, and I was pleas- 
antly surprised. The Don Ramon in early 
youth possessed a spirituel loveliness that I 
have never seen equaled by any other, not even 
by himself in maturity. His cherubic counte- 
nance and lyric grace caused me to regret that, 
at that time, some far-sighted director had not 
cast him in the role of Kim, the immortal little- 
Buddhist "chela" of Kipling's vivid novel, 
now that the author's consent has been gained. 
Alas, the cinema lost a radiant bit of beauty 
when this opportunity was ignored. Today 
Mr. Xovarro is surpassingly handsome and the 
greatest artist of the screen, but one cannot 
but sigh when he thinks of the boy Ramon, un- 
sung and vanished. J. Elaine Thompson. 

Giving a Star a Chance 

St. Louis, Mo. 

The star system is what is ruining a great 
many popular cinema favorites today. The 
only difference between a star and a popular 
featured player in many cases is that the pic- 
tures of the star are rushed up more, the direc- 
tion is cheaper and the other players less able. 
The name goes up in electric lights, but the 
poor pictures, which so often result, will, in 
time, kill the star's drawing power. 

The critics, the highbrows, the public, all of 
us, want good pictures. The producers tell us 
they want to give them to us. Well, why don't 
they prove it by letting their most capable 
players (namely, the stars') make them? These 
stars have proved what they can do. If anyone 
is fitted to enact big roles, they are. Instead, 
we see them submerged in comedy riff-raff and 
mediocre program pictures. I say it's a shame. 
O. K. 

[ CONTINUED ON PAGE 105 1 



Photoplay Magazine — Advertising Section 



i I 




The (greatest Adventure Romance of Alll 

THE 

A BEAST 



starring 



JOHN BARRYMORE 

with 

DOLORES COSTELLO 




The great supporting cast includes George 

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From the famous adventure novel, 
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Directed by MILLARD WEBB 




Gripping in its dramatic intensity and photographic beauty. "The Sea 
Beast" has been acclaimed by millions as the greatest photoplay of 
Against a background of stirring, colorful adventure at 
sea, John Barrymore enacts his finest role. Opposite him is Dolores 
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Varied and Delightful Entertainment! 

Watch for these pictures at your favorite theatre. 



LADY WINDERMERE'S FAN 

An ERNST LUBITSCH Production 

The directorial genius of Ernst Lubitsch brings to the screen 
all the subtle charm and delightful moments of Oscar Wilde's 
masterful play. Irene Rich in the stellar role portrays the woman 
of the world of sophistication. Sparkling, satirical, captivating. 
One of the year's outstanding productions 



HELL BENT FER HEAVEN 

with Patsy Ruth Miller 

The splendid stage play which was awarded the Pulitzer prize 
is the year's greatest drama — now more inspiring than ever on_ 
he screen. A monumental tribute to all that goes to make absorb-' 
Directed by J. Stuart Blackton. 



THE NIGHT CRY 

starring Rin-Tin*Tin 

The famous police dog star in the most amazing picture of its 
kind ever screened. It is a story of the sheep country with melo- 
dramatic thrills, suspense and romance interwoven. Every lover 
of dogs or pictures, young and old, will want to see this. Directed 
by Herman Raymaker. 



THE MAN ON THE BOX 

starring SYD CHAPLIN 

Even the most blase of theatregoers burst into spasms of spon- 
taneous merriment at the antics of Chaplin. In this picture Chaplin 
becomes a groom just to be near the girl headmires. The ensuing 
complications make a mirthful riot from start to finish. Directed 
by Chuck Reisner. 

WHY GIRLS GO BACK HOME 

starring Patsy Ruth Milter 

You'll never guess why they do go back"homel The climax of 
this picture will be a complete shock to you. Here is a flippant^ 
lively and diverting story of Broadway theatrical life. Filled with . 
absorbing situations. Directed by James Flood. 



OH, WHAT A NURSE! 

starring SYD CHAPLIN 

Oh, what a picture! Syd Chaplin in this latest and best. Funnier, 
faster laughing thrills than you've ever seen. In the big city — out 
to sea— and back again. Sure, there is romance, but it is funnyl 
Directed by Chuck Reisner. 






WARNER BROS. PRODUCTIONS 



1600 BROADWAY, NEW YORK, N. Y. 



mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine — Advertising Section 



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[ CONTINUED FROM PAGE 8 ] 

EAST LYNNE— Fox.— This decayed old melo- HIGHBINDERS, THE— Associated Exhibitors 

drama is almost interesting with such a fine cast and — William Tilden stepping out as an actor, but he 

beautiful backgrounds. Alma Rubens, Edmund better stick to tennis if he wishes to become a success 

Lowe and Lou Tellegen play the principals. (March.) in life. Terrible. (June.) 

HIS SECRETARY— M-G-M.— The story of the 
ugly duckling better done than ever before. Norma 
Shearer unbelievably homely for a few feet, then her 
own ravishing self. (February.) 



ENCHANTED HILL, THE— Paramount.— The 
shop-worn Western plot, brightened up by the pres- 
ence of Florence Vidor and Jack Holt, and capable 
direction. (March.) 

ESCAPE, THE— Universal— Filled with plenty of 
pep and humor that the children will be crazy about. 
Pete Morrison shows us what he can do. (May.) 

FAR CRY, THE— First National.— Nothing much 
to recommend. A good cast. Blanche Sweet, Jack 
Mulhall and Myrtle Stedman. (May.) 

FASCINATING YOUTH— Paramount.— The six- 
teen graduates of Paramount 's school of acting show- 
ing, how well they've studied their lessons. Good 
entertainment. (May.) 

FIFTH AVENUE— Producers Dist. Corp.— A 
story of New York. There's a certain sophisticated 
twist to the plot that makes it inadvisable fur children 
tosee. (April.) 




HOGAN'S ALLEY— Warners.— We hate to 
it — but don't go. A hash of every Bowery story e 
made with Patsy Ruth Miller mimicking Ar 
Roaney all the way through. (February.) 



■First National. — Dull and un- 
nne Griffith fans will go anyhow 
ybody's quarter just to look at 



FIGHTING BUCKAROO, THE— Fox.— Buck 
Jones still does all the necessaries to keep one amused. 
It's good stuff. (June.) 

FIGHTING EDGE, THE — Warner Bros. — A 
melodrama with no pretentions, but with 
thrills. This is not art, but it's exciting entertain- 
ment. The children can go. (April.) 

FIRST YEAR, THE— Fox.— A highly amusing 
comedj of the vicissitudes of married life during the 
first twelve months. Many of the incidents will 
strike home. Matt Moore is funny and pathetic. 
(March.) 

FLAMING FRONTIER, THE— Universal.— An- 
other absorbing tale of the Old West which carries out 
the spirit of pioneer America. Good stuff for the 
children. (June.) 

FLAMING WATERS— F. B. O.— It looks as 
though F. B. O. went through their old pin 
picked out the thrill scenes from each one. (April.) 

FOR HEAVEN'S SAKE— Paramount.— For your 
own sake go see tlii- Harold Lloyd production. Sure. 
take the kiddies! (June.) 

FREE TO LOVE— Schulberg — Clara Bow as a 

reformed crook does her bi st with an impossible role. 
(March.) 

GILDED BUTTERFLY, THE— Fox— Alma Ru- 
bens bluffing her way through society and Europe 
without any money. If you're Fussy about your film 
fare you won't care for this. (March.) 

GIRL FROM MONTMARTRE, THE— First Na- 
tional. — See this, if it i* only to gaze on th( fail 
loveliness of the gorgeous Barbara La Marr once 
again. (May.) 

GO WEST — Metro-Goldwyn. — Hardly a comedy 
I because hardly a laugh. Yet the picture is very inter- 
esting. " Brown Eyes," the cow, gives a fine perform- 
I ance. (January.) 

GOLD HUNTERS. THE— Davis Dist.— A fairly 
il ti n sting Curwood melodrama about a trapper who 
finds the map of a lost mine. (January.) 

GOLDEN COCOON. THE— Warner Bros.— An 
unconvincing story about politics, with Helene Chad- 
wick crying through reel after reel. (February.) 

GOLDEN STRAIN, THE— Fox— A worthwhile 
photoplay of Peter B. Kyne's story of the boy with 
the yellow streak. (February.) 

GRAND DUCHESS AND THE WAITER, THE 

— Paramount. — Sophistication and sex at their 
merriest are here. Yet so beautifully is it all handled 
it is safe for everyone from grandma to the baby. 
(April.) 

GREATER GLORY. THE— First National.— An 
excellent picture featuring an Austrian family before 
and after the war. One of those rare pictures that 
you can stand seeing twice. (May.) 

GREEN ARCHER, THE— Pathe — A stirring 
chapter play with more thrills than Sherlock Holmes. 
Worth following. (March.) 

HANDS UP — Paramount. — Raymond Griffith as a 
Confederate spy in the civil war. Right funny. 
Marion Xixon and Virginia Lee Corbin make ador- 
able heroines. (March.) 

HIDDEN LOOT — Universal. — A straightforward 
storv with Jack Hoxie as a deputy after a gang of 
j crooks. Fine for the children. (January.) 

,-v advertisi ,,• in PHOTOPLAY MAGAZINE is guarann 



INFATUATION- 

interesting. But Cor 
because it's worth ai 
her. (March.) 



IRENE — First National. — Colleen Moore pleases 
again. George K. Arthur's work is one of the out- 
standing points of the picture. (April.) 

IRISH LUCK— Paramount. — Tom Meighan in a 
good old Irish yarn with some gorgeous shots of the 
Emerald Isle itself — and Lois Wilson. (February.) 

JOANNA — First National. — Well, Dorothy Mack- 
aill is always good, but she almost gets snowed under 
in this impossible story. (February.) 

JOHNSTOWN FLOOD, THE— Fox— A thrilling 
melodrama centered around the flood of 1889. George 
O'Brien, Florence Gilbert and Janet Gaynor are in the 
cast. (May.) 

JUST SUPPOSE— First National.— Richard Bar- 
thelmess is a prince of Europe who falls in love with 
an American girl, played by Lois Moran. Very mild 
entertainment. (March.) 

KIKI — First National. — Here's Norma Talmadge 
as a comedienne and she's a WOW. Ronald Colman 
is the male attraction. Be sure to see it! (June.) 

KING OF THE TURF, THE— F. B. O.— A dash 
of racing stuff, some crooks thrown in. love sequences 
and presto! A picture that is pleasing and enter- 
taining. (May.) 

KING ON MAIN STREET, THE— Paramount — 
A dandy picture, with the suave Adolphe Menjou as a 
European king on a holiday in New York. And 
Bessie Love doing the Charleston. (January.) 

KISS FOR CINDERELLA, A— Paramount.— 
Barrie. Betty and Brenon. the incomparable trio. A 
beautiful fantasy of the little slavey's dream of 
marrying a prince. (February.) 

LA BOHEME — Metro-Goldwyn.— A simple love 
story wonderfully directed by King Vidor and acted 
with much skill hv John Gilbert. Lillian Gish is also 
in the cast. (May.) 

LADY WINDERMERE'S FAN— Warner Bros.— 
A very' smart film version of Oscar Wilde's sophisti- 
cated play. (February.) 

LAWFUL CHEATER. THE— Schulberg.— Clara 
Bow. masquerading as a boy, makes her personality 
count in spite of a far-fetched story. (February.) 

LAZYBONES — Fox. — A real characterization of 
a small town fella given by Buck Jones in a well told 
story. Fine supporting cast. (January.) 

LET'S GET MARRIED — Paramount.— Richard 
Dix at his best. Plenty of laughs that come fast and 
furious. Don't miss it! (May.) 

LIGHTS OF OLD BROADWAY— Metro-Gold- 

wvn. — Interesting for its historical sidelights on early 
New York. Marion Davies does a dual role. (Jan.) 

LITTLE IRISH GIRL, THE— Warner Bros — 
Good entertainment. More crooks in a logical story. 
Dolores Costello and Johnny Harron head the cast. 
(May.) 

LORD JIM — Paramount — A fair translation of 
the well known book with Percy Marmont giving a 
good performance. If you don't know the book, the 
picture is a pretty good melodrama. (January.) 

MADAME MYSTERY— Pathe.— The first Theda 
Bara comedy and it's a riot! Be sure to see it. 
i May. I 

MADE FOR LOVE— P. D. C— Arabs, a wicked 
prince, an indifferent fiance, and some mummy ex- 
cavating make this interesting. (February.) 

MAN FROM RED GULCH. THE— P. D. C.- 
Harry Carev makes a pretty good Bret Harte hero 
playing the good Samaritan in the desert. (February.) 

MANNEQUIN — Paramount.— Somewhat disap- 
pointing as a Fannie Hurst prize story' directed b> 
James Cruze. (February.) 



Photoplay Magazine — Advertising Section 



MARE NOSTRUM— Metro-Gold wyn.— A not so 

satisfactory film from the man who directed "The 
Four Horsemen." (April.) 

MASKED BRIDE, THE— M-G-M.— Mae Mur- 
ray as an Apache dancer and the toast of the Paris 
cafes. Mae can dance, nobody will deny that; but 
rather disappointing after "The Merry Widow." (Feb.) 

MIDNIGHT LIMITED, THE— Rayart— Gaston 
Glass and Wanda Hawley make a good team in this 
railroad melodrama. Above the average. (February.) 

MIDNIGHT SUN, THE— Universal.— The story 
pf an American ballerina in Russia, grand dukes and 
moneyed power behind the throne. (February.) 

MIRE — Metro-Goldwyn. — A Marshall Neilan bag 
o' tricks. Fairly amusing through the efforts of 
Charlie Murray and Ford Sterling. (March.) 

MILLION DOLLAR HANDICAP, THE— Pro- 
ducers Dist. Corp. — A thrilling story of the race 
track. Splendid entertainment. (April.) 

MIRACLE OF LIFE, THE— Associated Exhibit- 
ors. — It will be a miracle if you are able to sit through 
this. Neither for the children nor grownups. (June.) 

MISS BREWSTER'S MILLIONS— Paramount. 
— Bebe Daniels attempts to be funny but falls down. 
Filled with all the old-gags used in two-reeters. The 
children like this sort of thing. (May.) 

MOANA OF THE SOUTH SEAS— Paramount — 
The plot consists chiefly of the daily tasks of the 
natives in the isles. (April.) 

MY LADY OF WHIMS— Arrow.— Clara Bow 
again as the carefree flapper who defies Papa and goes 
to live in Greenwich Village. Pleasing. (March.) 

MY OLD DUTCH— Universal.— This could have 
been a knockout, but at present it is missing on all 
sixes. (June.) 

MY OWN PAL— Fox.— Tom Mix and Tony with 
two additions — cute little Virginia Marshall and a 
clever little white dog. The children will love this. 
(May.) 

NELL GWYN— Paramount.— The first of the 
English productions that will meet with approval in 
America. Dorothy Gish gives a remarkable per- 
formance. (April.) ' 

NEW BROOMS— Paramount. — It won't sweep 
you off your feet, but it might do to put in an even- 
ing. Everybody overacts but Bessie Love. (January.) 

NEW COMMANDMENT, THE— First National. 
— It's "Thou shalt not doubt." Wealthy boy, 
artist's model, misunderstanding, war, and the thrill- 
ingest love scene in months. (January.) 

NEW KLONDIKE, THE— Paramount.— One of 
the finest of Meighan's vehicles. An excellent story 
by Ring Lardner enhances the comedy value of this 
picture. Fine for the children. (May.) 

NIGHT CRY, THE— Warner Bros.— Rin-Tin- 
Tin is just the doggiest dog you've ever seen. This is 
by far his best picture and will prove a real treat for 
grown-ups and kiddies. (June.) 

NUTCRACKER, THE— Associated Exhibitors— 
An attempt to make this a rip-roaring comedy proved 
that there are few comedians of whom we can be 
justly proud. Passable. (June.) 

OH! WHAT A NURSE— Warner Bros.— We think 
it's time for Syd Chaplin to "be himself." Syd in 
petticoats again gets to be an old story, even though it 
affords splendid entertainment. (May.) 

OLD CLOTHES— Metro-Goldwyn.— The last 
time you will have to look at Jackie Coogan without 
a haircut. Maybe that's worth a quarter. (January.) 

ONLY THING, THE— M-G-M.— Conrad Nagel 
with sex appeal 1 And a mustache. Eleanor Board- 
man in a blonde wig. An Elinor Glyn story of a prin- 
cess forced to marry an old king. See it. (February.) 

OTHER WOMAN'S STORY, THE— Shulberg — 
A tiresome story that might have been a good 
mystery melodrama. (January.) 

OUTLAW'S DAUGHTER, THE— Universal.— A 
whale of a climax in this melodrama with hero and 
villain fighting to the death in an aerial bucket. (Feb.) 

OUTSIDER, THE— Fox.— An intriguing story of 
a mysterious healer who puzzles London medical cir- 
cles. The crippled daughter of a physician is restored 
to health, and love enters. Jacqueline Logan is ex- 
cellent. (March.) 

PALACE OF PLEASURE, THE— Fox.— Ed- 
mund Lowe kidnaps Betty Compson, a gay senorita 
of vamping tendencies. Nothing to get excited over. 
(March.) 



PERFECT CLOWN, THE— Chadwick— A very 
bad comedy with Larry Semon. Might have been 
funny in two reels. (February.) 

[ CONTINUED ON PAGE 14 ] 



13 



Most Astounding 




"Marvelous!" "I cannot be- 
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astounding thing I've ever seen!" 
"How in the world is it possible!" 

These are some of the exclama- 
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beauty miracle of the century. 

Think of it! A new complexion 
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Milk has always been 
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But never has it been possible 
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How can words describe the 
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Photoplay Magazine — Advertising Section 



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Brief Reviews of Current Pictures 



[ CONTINUED FROM PAGE 13 



; 'Bow Legs and Knock- 
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PRINCE OF BROADWAY, THE— Chadwick.— 
A wow with the boys and prize ring enthusiasts. A 
defeated fighter stages successful come-back. Many 
famous fighters introduced. (.March.) 

PRINCE OF PEP, THE— F. B. O.— Richard Tal- 
madge as a young doctor who loses his memory and 
becomes a modern Robin Hood. Some good stunts. 
{March.) 

PRINCE OF PILSEN, THE— Producers Dist.— 
This is supposed to be a comedy, but if you can laugh 
you're a better man than I. {June.) 

QUEEN O' DIAMONDS— F. B. O— There's not 
much to recommend in this picture, but we think 
you'll live through it. (April.) 

RADIO DETECTIVE, THE— Universal.— An ex- 
cellent serial for the boys. The Boy Scout Movement 
co-operated in the production of this picture, so the 
youngsters will find this thoroughly enjoyable.'f../"'"'.) 

RECKLESS LADY, THE— First National.— 
Another mother love theme, with Belle Bennett and 
Lois Moran. Good entertainment. (April.) 

RED DICE— Producers Dist. — A twisted melo- 
drama of crooks, bootleggers and a desperate soldier, 
that is swift moving and frequently amusing. (June.) 

RED KIMONO, THE— Vital.— Avoid this picture. 
It is a very stupid version of a good story by Adela 
Rogers St. Johns, and not worth anybody's time. 
(March.) 

ROAD TO YESTERDAY, THE— Producers Dist. 
— Catch this picture for the gorgeous train wreck. 
The story is a little muddled but fairly entertaining 
due to the reincarnation theme. {January.) 

ROCKING MOON— Producers Dist. Corp.— A 
good story with a new and interesting background — 
an island in Alaskan waters. Laskn Winter is the 
outstanding member of the cast. (April.) 

ROSE OF THE WORLD— Warners.— Sincere per- 
fnrinain ( s by a eood cast, but an unconvincing story. 
Not very worthwhile. (January.) 

RUNAWAY, THE — Paramount.— Love, suspense 
and hate, plus a good cast — Clara Bow, Edythe Chap- 
man and Warner Baxter — form this recipe for an 
evening's entertainment. {June.) 

RUSTLING FOR CUPID— Fox.— Cow thieves 
double for Cupid giving us a new slant on the love 
question. Good entertainment. (June.) 

SALLY, IRENE AND MARY— M-G-M — An ex- 
tremely interesting story of chorus girl life, with a 
splendid cast and a goodly sprinkling of laughs and 
tears. Sally O'Ncil is a knockoutl (February.) 

SANDY — Fox. — A splendid flaming youth story 
thai will appeal to everyone in an audience. Madge 
Bellamy's performance is excellent. (June.) 

SAP, THE — Warner Bros. — And a very sappy 
picture. Don't waste your time. (June.) 

SCANDAL STREET— Arrow.— An interesting 
picture because of movie studio atmosphere. Story 



actress and her husband who are both 
starred at the same studio. (January.) 

SCARLET SAINT, THE— First National.— A 
very dull story and inexcusably sexy. (February.) 

SCRAPPIN' KID, THE — Universal. — A conven- 
tional Western with Art Acord. Fair. (February.) 

SEA BEAST, THE— Warner Brothers.— The ex- 
quisite Dolores Costello overshadows John Barry- 
more and the thrilling tale of Moby Dick, the white 
whale. Almost unbelievable, we know. See for 
yourself. {March.) 

SEA HORSES— Paramount. — Fair stuff because 
of the presence of Florence Vidor in the cast. Not as 
snappy as the usual Allan Dwan production. (May.) 

SEA WOLF, THE— Ralph Ince Prod.— A well- 
made picture of Jack London's famous novel. (Feb.) 

SECRET ORDERS— F. B. O— The war spy sys- 
tem is again served for your entertainment. \ou 
won't object because Evelyn Brent is a treat for the 
optics. (June.) 

SET UP, THE— Universal. — Art Acord does some 
hard riding and shooting. And that's about all except 
that he marries the girl in the end. (May.) 

SEVEN KEYS TO BALDPATE— Paramount.— 

Leave the dishes in the sink. If you miss the first of 
this, you're lost. A corking comedy-melodrama with 
Douglas MacLean and Edith Roberts. (January.) 

SEVEN SINNERS— Warner Bros.— A hilarious 
crook story with Marie Prevost and Clive Brook 
heading a good cast. (February.) 



SEVENTH BANDIT, THE— Pathe — A splendid 
Western that grownups and children should not over- 
look. Harrv Carey and Harriet Hammond head the 
cast. (June.) 

SHADOW OF THE LAW— Associated Exhibitors. 
— Some more crooks in an old, old story. Clara Bow 
is the only attraction. (May.) 

SHIP OF SOULS, THE— Asso. Ex.— Lillian Rich 
and Bert Lytell in a story of the north where men are 
driven mad by the silence and solitude. Only fair. 
(March.) 

SIBERIA — Fox. — Some more Russian revolutions 
— that is, if you like 'em. (June.) 

SIMON THE JESTER— Producers Dist.— A 
hodge-podge story about a clown with a broken heart, 
played uninterestingly by Eugene O'Brien. (Feb.) 

SIX SHOOTIN' ROMANCE, A— Universal.— 
Another conventional Western with Jack Hoxie win- 
ning an unwilling bride. (March.) 

SKINNER'S DRESS SUIT— Universal.— Regi- 
nald Denny and Laura La Plante screamingly funny 
trying to teach some society folk the Charleston. (Feb.) 

SKYROCKET, THE — Associated Exhibitors — 
The best picture about motion picture people so 
far, and Peggy Hopkins Joyce's debut on the screen. 
Adapted from Adela Rogers St. Johns' novel of the 
same name. (January.) 

SMILIN' AT TROUBLE— F. B. O.— A nifty pic- 
ture with Lefty Flynn as a civil engineer working on 
the construction of a dam. (February.) 

SOME PUNKINS— Chadwick.— Charles Ray in 
his old hick role is fairly amusing. (February.) 

SONG AND DANCE MAN, THE— Paramount — 
Tom Moore and Bessie Love in an interesting story of 
back stage life. Bessie does the Charleston again. 
{March.) 

SOULMATES— Mctro-Goldwyn. — A highly un- 
convincing romance between an English lord and a 
plebeian lady. Aileen Pringle and Edmund Lowe 
play unsuitable roles. Not worth while. (March.) 

SPLENDID CRIME, THE— Paramount— A com- 
monplace crook drama, without humor to lighten it. 
(February.) 

SPLENDID ROAD, THE— First National.— A 
colorful drama of the Gold Rush of '49 with Anna Q. 
Nilsson giving a fine performance. (February.) 

STAGESTRUCK — Paramount. — A rip-snortin' 
comedy with Gloria Swanson juggling cups in a cheap 
restaurant and taking correspondence lessons in act- 
ing. Lawrence Gray is great as her boy friend. (Feb.) 

STEEL PREFERRED— Warner Bros— William 
Boyd stands out in this fairly entertaining comedy- 
drama of strong men and steel. (February.) 

STELLA MARIS— Universal.— Mary Philbin in a 
dual role; that of a deformed slavey and a beautiful 
cripple girl. A lovely story. Do not miss it. (March.) 

STEPPIN' OUT— Columbia.— A brisk comedy 
with Ford Sterling as an errant husband. (February.) 

STILL ALARM, THE— Universal.— Has all the 
ingredients of an entertaining picture. Drudging 
wife leaves her husband and elopes with charming 
villain. (March.) 

STOP, LOOK AND LISTEN— Pathe— A good 
Larry Semon comedy taken from the stage play, full 
of the Semon gags that youngsters enjoy. {March.) 

SWEET ADELINE— Chadwick. — Charles Ray, 
the country boy, goes to New York and makes a hit 
singing "Sweet Adeline" in a cabaret. Full of de- 
licious bits of humor. Mighty good. (March.) 

TESSIE— Arrow.— This would have been utterly 
impossible if it were not for the wise-cracking sub- 
titles. May McAvoy is out of her class in this. {May.) 

THAT ROYLE GIRL — Paramount. — Carol 
Dempster will surprise vou in this. It's a peppy story 
of a misguided youngster in the cabaret world of 
Chicago. Something entirely new from D. W. Grif- 
fith. See it. (March.) 

THAT'S MY BABY— Paramount. — Sixty minutes 
of farce comedy fairly dances across the screen with 
Douglas MacLean in the leading role. Need more be 
said? {June.) 

THREE FACES EAST— Producers Dist.— Drop 
everything and see this corking mystery play of the 
English and German secret service activities during 
the war. Jetta Goudal is wonderful in it. (March.) 

THREE PALS— Davis Dist.— An uninteresting 
story, badly played and badly directed. (January.) 



Every advertiE 



rilOTOPI-AY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



TIME, THE COMEDIAN— M-G-M— Worth see- 
ing for the Rood performances of Mae Busch and Lew 
Cody. (February.) 

TONIO, SON OF THE SIERRAS— Davis Dist.— 

A pretty good story of the by-gone West. (Feb.) 

TOO MUCH MONEY— First National.— Lewis 
Stone in slapstick comedy — can you imagine it? But 
he actually puts it over. Rich man pretends he's poor 
so wife will come down to earth and be human. 
Good. (March.) 

TORRENT.THE— Metro-Goldwyn. — Introducing 
the charming now Swedish importation. Greta Garbo 
— and she's the kind of a girl the men won't forget. 
A vivid delight for grownups. (May.) 

TRAFFIC COP. THE — F. B. O. — Only the ad- 
mirers of Lefty Flynn will enjoy this. And the 
youngsters, too. (April.) 

TRAMP, TRAMP, TRAMP— First National— 
The first feature length comedy featuring Harry 
Langdon— and the boy's good. Worthwhile. (May.) 

TRIPLE ACTION— Universal.— Rightly named; 
enough action for three Westerns. Rides, flights, 
parachute jumps by a sheriff. (January.) 

TRUE NORTH, THE— Griffith Prod.— A splendid 
scenic novelty of Alaska and Siberia with plenty of 
thrills. (February.) 

TUMBLE WEEDS— United Artists.— Bill Hart re- 
turns to the screen in a story of the days when the 
Indian territory was thrown open to settlement. (Feb.) 

UNCHASTENED WOMAN, THE— Chadwick.— 
Theda Bara returns to the screen in an unsuitable 
story and with bad direction. (March.) 

UNGUARDED HOUR, THE— First National- 
Doris Kenvon is disappointing in this tale of a young 
lady who sets out to capture a woman-hater, said 
woman-hater being none other than Milton Sills. 
(February.) 

UNTAMEDLADY.THE— Paramount.— An awful 
disappointment in spite of the fact that it stars 
Gloria Swanson. A total washout from beginning to 
end. (May.) 

VOLCANO — Paramount. — Fine entertainment, 
with Bebe Daniels as a girl who believes she has black 
blood in her veins, and is forced to renounce her love 
of the white man. Ends happily. (March.) 

VOLGA BOATMAN, THE— Producers Dist.— 
Not Cecil De Mille at his best, but the strength of the 
theme and the beautiful composition and photography 
lift it above the ranks. (Jane.) 

WAGES FOR WIVES— Fox.— A nice little com- 
edy-drama based on the idea that Mr. and Mrs. 
should split fifty-fifty on the husband's salary. (Feb.) 

WALL STREET WHIZ, THE— F. B. O— All 

right for the young boys, who aren't particular about 
sense and logic. An absurd story with Richard Tal- 
madge doing unnecessary gymnastics. (January.) 

WANDERING FIRES— Arrow.— Constance Ben- 
nett and George Hackathorne save this picture from 
the cheap sentiment of Wallace MacDonald's acting. 
(Feb.) 

WEDDING SONG, THE — Producers Dist. — 
Don't pass up this corking crook yarn. Leatrice Joy 
is a lady of shady reputation. (February.) 

WE MODERNS— First National.— If you aren't 

bored with flapper pictures by this time, you will en- 
joy Colleen Moore as the English flapper. (Feb.) 

WHEN LOVE GROWS COLD— F. B. O — 

Natacha Rambova (Mrs. Rudolph Valentino) does 
her best in an unsuitable role. Clive Brook is 
equally miscast. (April.) 

WHISPERING SMITH— Producers Dist. Corp. 
— Well worth seeing. A splendid detective story that 
the boys will love. Look at the cast — H. B. Warner. 
John Bowers, Lillian Rich and Lilyan Tashman. 
(May.) 

WILD OATS LANE— Producers Dist. — An inter- 
esting crook drama with Viola Dana and Bobby 
Agnew. (June.) 

WOMAN OF THE WORLD, A— Paramount.— 
An entertaining story of an Italian Countess who 
comes to Iowa to visit relatives, with Pola Negri in 
her most dangerously devastating mood. (February.) 

WOMANHANDLED— Paramount.— Worth break- 
ing a date to see. Richard Dix in a sparkling satire on 
the Great Open Places, with lovely Esther Ralston 
in it. Peachy. (March.) 

YANKEE SENOR, THE — Fox. — Tom Mix 
pleases again, especially the children. Olive Borden, 
the heroine, is most appealing and attractive. (April.) 

YELLOW FINGERS— Fox.— There is a little 
beautv in this picture. Olive Borden, that just makes 
you forget all about the story as you see her flittering 
across the screen. And we don't mean maybe! (June.) 



'TheMostSematwtuilBookBatgainEverOffered 



ELINOR GLYN'S 
BIG NOVELS 

formerly $2022 
All For Only 

$298 



NEVER was there such an amazing offer! 
Think of it ! Ten volumes — a complete 
set — of the most startling, most heart- 
gripping romances of love and marriage that 
Elinor Glyn has written. Books that sold 
in the original edition for S2.00 a volume — 
yet you get the entire 10 volumes at the 
astounding low price of only $2.98 for all. 

How can we do it? How can we give you 
10 fascinating volumes for the absurdly low 
price of only $2.98? This wonderful offer is 
made possible only by paying Elinor Glyn a 
few pennies royalty— by economically print- 
ing carloads of books at one time — and by 
selling great quantities at small profit. 



10 Thrilling Books 

By ELINOR GLYN 

1 "The Price of Things** — Is there a price too 
great to pay for love? This is the problem 
that faced the heroine in one of the most grip- 
ping romances that Elinor Glyn has written. 

2 "The Man and the Moment"— Every page 
of this thrillitiR love story will hold you spell- 
bound. One of Elinor Glyn's best. 

3 "Guinevere's Lover" — What happens when 
a married woman falls in love with another 
man? A perilous situation worked out to a 
breath-taking climax. 

4 "The Reason Why" — Imagine a beautiful, 
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she despised. And when a man she could 
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5 "His Hour**— Under the spell of the sensuous 
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"You love but once. Only the things you can 
feel and touch are worth while. Seize them 
now — for tomorrow you may die." To the 

man the Sphinx said: "She is a woman, she is 
lovely. Take her — make her yours." 

6 "The Seventh Commandment"— Only 
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art. 

7 "The Point of View'*— You will follow with 
breathless interest the romantic adventures of 
this tempestuous Russian lover. A great 
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to last. 

9 "Love Itself"— The wonders of true love as 
revealed in this absorbing novel proves Elinor 
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10 "This Passion Called Love"— A thoughtful 
treatise on this vital subject written in simple 
language that anyone can understand. 
Madame Glyn's latest sensational success. 



Elinor Glyn needs no introduction. Her 
fame as a daring writer of flaming love stories 
is known all over the world. If these 10 
volumes — the best she has ever written — 
do not measure up to her reputation, simply 
send them back and you won't be out a penny. 

Thrilling Stories That 
Hold You Spellbound 

A mere glance at the titles of her books in 
the panel on the left, all of which have been 
sold in bookstores at S2.00 each, is a fore- 
taste of what the books themselves contain. 

Included in the 10 volumes is Elinor 
Glyn's latest sensational success, "This Pas- 
sion Called Love" — a powerful, convincing 
treatise on the plain truth about love that 
every woman and man should read. The 
regular bookstore price of this great book 
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Yet for only a dollar more, you can now gefnot only 
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—now all for only $2.98. 

These 10 volumes are not tiny paper booklet? with 
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looking books than the original $20.00 edition! 

But if you want to take advantage of this extraor- 
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the supply of these 10-volume sets will soon be 
exhausted. 

SEND NO MONEY 

Simply mail the coupon and the books will be 
shipped to you at once. When they arrive, pay the 
postman only S2.98, plus a small amount for postage. 
If you are not delighted with your purchase, simplv 
return the books within five days, and your S2.98 
will be promptly refunded. So don't put it off — 
but fill in and mail the coupon — Now. Authors' 
Press, Dept. 858, Auburn. New York. 



The Authors' Press. Dept. 858, 
Auburn, New York. 

Please send rue the set of Elinor Glyn's famous books 
in 10 volumes. <tu arrival I will pay the post man only 
S2.98, plus a small amount for postage, with the under- 
1 the books within five days if 



mling l hat I may l 
t satisfied. 



IMPORTANT: If W'it may not be fv-me win n pnsi- 



ment.ion PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 

^eat Jtqrs injhur Greatest ^ales 



♦ ♦ ♦ 



COLLEEN 

MOORE 

in 

£lla Cinders 

with LLOYD HUGHES 

^rom Ike celebrated comedy strip bi/ 

Mliam Conselman »i Charles Plumb , 

dn ALFRED E.GREEN production! 



tRight in through Hollywood's back door! 

Kleig lights turned full force on movies in 
the making .... 

Stars and studios as they are before the 
cameras start clicking. 

"Ella Cinders " whisks you backstage in 
Filmdom. Shows you how a small-town 
girl breaks into pictures — and makes 
good! 

COLLEEN MOORE adorable as a twen- 
tieth-century Cinderella — the popular 
newspaper character millions chortle 
over every day. 

And a superb First National production 
for this famous First National star! 



*iayg> . 
successes? ** 

ada Ptat, on <v" ee ' 1 Moor. ■ 

"""sSU "' from 
^ "^success. 



3itt* 

national 

Picture* 



A lirat national Picture 



PHOTOPLAY MAGAZINE is guar; 



Photoplay Magazine — Advertising Section 



Star Una ^irst Mationds Qmcwiiq WwSerief 



liarthelmess — everybody's hero . 

See him now in his part of parts! 

Daredevil — dauntless — a dash- 
ing gallant of furious frontier 
days. 

c Reckless riding and romancing . . . 
His heart on his sleeve and his life in 
his hands. 

The story — Thrills, Romance, Suspense — 
ENJOYMENT. 

— and a surprise finish that will bring you 
straight up in your seat! 



4 



<-Jg&* 





And do*'* f> 
these other 

"J U f as the m«, w oos an 



mess ** . Korom a 
Amen« n 6 



>tby 



LOTH ^£*r^* t £& 



Inspiration Pictures Inc., presents 

RICHARD 

BARTHELME8S 

milk 

DOROTHT MACKA1LL 

in 

RANSON'S 

FOLLT 

Jdaphdf™, the for,/ b H RICHARD HARDING DAVIS 
Scenario by ULL1E HAYWARD 

d SIDNEY OLCOTT production 



3irAt 
national 
Picture* 



"Produced by 

INSPIRATION 
PICTURES 



A liiat national Picture 



IMIllTllPl.AY MACAZIMO. 



Photoplay Magazine — Advertising Section 



TN THE FASHIONABLE SUMMER COLONIES 

1 AT NEWPORT AND BAR HARBOR 

169 women tell why they find 
this soap best for their skin ~ 




THE Italian ambassador arrives. 
Dinners, dances, bathing-parties 
. . . The Brazillian envoy arrives. A 
lawn-fete, a polo-match, in honor of a 
distinguished .Russian prince . . . 
Tennis week. The Horse Show. A 
wedding of international interest. 
Yachting, sailing, golf on the Ocean 
Links . . . the Newport season! 
Far more picturesque, more in- 



i 



f 



h 



r\ 



<lA1ore than three-fourths of these beauti- 
ful women said, "Woodbury's" 




sottciant, than in winter— society, at 
its two favorite summer resorts, New- 
port and Bar Harbor, becomes like a 
wonderful cubist pattern, all dazzling 
movement and color. 

Never were the women as beautiful 
as now— like tropical flowers in their 
brilliant sports frocks; their cheeks 
touched to carnation by sun and 
wind, arms and throats delicately 
sun-browned. 

WE asked 193 women of the cot- 
tage colonies at Newport and 
Bar Harbor what soap they find best 
for the care of their skin. 

More than three-fourths answered, 
" Woodbury's Facial Soap!" 
"It keeps my skin in beautiful condition," 
they said — "Protects it from salt water." — 
" The tonic effect of Woodbury's Soap is de- 
lightful, especially used with ice as an after 
treatment."— "Has greatly improved the 
texture of my skin." 

A skin specialist worked out the formula by 
which Woodbury's Facial Soap is made. This 
formula not only calls for the purest and finest 



ingredients; it also demands greater refinement 
in the manufacturing process than is com- 
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A 25-cent cake of Woodbury's lasts a month 
or six weeks. Around each cake is wrapped a 
booklet of famous skin treatments for over- 
coming common skin defects. 

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rMt.vriKUt i!i_r, by Tin- 



Even advertisement in rnoTor-LAY magazine is guamntecil. 




Ruth Hariett Louise 



(Pictures 



GOOD-BYE, little boy, good-bye. Its a 
long bob that has no clipping and 
Jackie Coogan has decided his is ending. 
They're taking a whole film to do it, "Jackie 
Get Your Hair Cut" but it's worth it. The 
Kid is eleven now. 




USUALLY Dolores Costello faces the camera gravely, her charm as brooding and com- 
pelling as an April twilight. But here Dolores smiles, and does it seem possible 
that any girl anywhere at any time could have been more lovely? 




±* 



STRANGE how popular the very nice women of the screen become when they get just 
a little bit wild. Take Irene Rich, for instance. She played good wives and won a 
small public. Then she did a shady lady in "Lady Windemere's Fan" and became a major star. 




H 



ERE he is — the answer to the maiden's prayer, the reason girls leave home for Hoi ly- 
ood — John Gilbert, the glamorous in"Bardelys, the Magnificent." It's difficult 
looking at Jack today to understand how he remained an unknown star for years. 




N 



O still photograph registers the quality that proved Greta Garbo a star in her first 
American film. It's when Greta flashes into action, amused little smile on her lips 
and keen intelligence lighting her eyes, that you behold her exotic charm. 




SCORE another hit for the Irish. Jack Mulhall, by Erin out of Hollywood, has recently 
signed a contract to be featured in First National productions. The salary stimulator 
came as reward for his fine work in "Sweet Daddies." His next is "The Charleston Kid." 




YOU can't keep a beauty contest winner off the screen. Dorothy Hughes at sixteen 
won the title "Miss New York" from some 85,000 Manhattan girls and then journeyed 
to Atlantic City to become a national beauty. She's playing in "The Sorrows of Satan." 




11 Uan.bU- Co . Cinei 




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Volume XXX 



The c IS[dtional Quide to ^Motion 'Pictures 



Number Two 



PHOTOPLAY 



July, 1926 



Speaking of Pictures 



By James R. Quirk 



MR. WILL HAYS' specially inaugurated Greater 
Movie Season will make its second annual ap- 
pearance on August 1st. 

If the Greater Movie Season does nothing 
else, it centers the public mind upon the importance of 
the motion picture. Have you ever stopped to give 
a thought to the part the screen plays in our everyday 
life? For instance, when news came recently of two 
successful Arctic flights, one by Lieutenant Commander 
R. E. Byrd in his plane and the other by Captain Roald 
Amundsen in his dirigible, the Norge, the first question 
that was asked was: Did they get pictures of the North 
Pole? 

The motion picture brings adventure and history to 
your very doorstep. You couldn't get along without it 
any more than you could pass a day without your news- 
paper. It's an essential, integral part of your life. 

And, speaking of polar flights, Captain Amundsen 
may have filmed the lonely stretches of the Arctic. 
Lieutenant Commander Byrd did, anyway. Watch 
for the North Pole at your local playhouse! 

"""THERE are 14,673 picture theaters in the United 
States open once a week or more. We are indebted 
to The Motion Picture News, the film trade paper, for 
these interesting figures. 

Of this number 7,178 are in towns and cities of over 
5,000 population and 7,495 in towns and villages under 
5,000. New York State leads in motion picture houses, 
having a grand total of 1,194. Pennsylvania is second 
with 1,032 and Illinois is a close third with 1,008. At 
the bottom of the list of states is Nevada with 23. 

The Motion Picture News devoted two years to mak- 
ing this survey and we have no reason to doubt the ac- 
curacy of the figures. The average estimate has placed 
the total at 13,000 or a bit less. 

Stop then to think of the power of the screen. Con- 
sider the number of people sitting in front of projection 
machines every night of the year. Then remember that 
this is the portion of your life that self-made censors and 
certain types of politicians would like to control. No 
wonder! What a source of pleasant graft lies in 
14,000 theaters! 

P T"'HE other day Jesse L. Lasky, one of the heads of the 

Famous Players-Lasky Corporation, predicted that 

practically fifty per cent of all features during the com- 



ing film season would be based upon stories written ex- 
pressly for the screen and that eighty per cent of the 
successes would come from these originals. 

This statement, disclosing definitely that the motion 
picture can now stand upon its own feet, has created a 
lot of discussion in the ranks of picture folks. A check- 
up shows that 174 of some 400 features will be originals. 
Famous Players has in preparation 22 originals as 
against 20 adapted stories. Metro-Goldwyn has 30 
originals against 22 adaptations. This is a definite indi- 
cation of the way the wind is blowing in screenland. 
The success of "The Ten Commandments" and "The 
Big Parade" was a forerunner of this shift. 

It must be noted, however, that the word original 
does not mean a story purchased in the open market. 
The beginner has no more chance of breaking into pic- 
ture writing than he had two years ago. These originals 
are the work of experienced men and women trained by 
years of work in the motion picture field. Which is as 
it should be. To succeed in any kind of work, one must 
learn the fundamentals. The writers of the originals 
of 1926 are the people who labored through the adapta- 
tions of 1910. 

Thus the screen, as I have said, is now upon its own 
feet. No longer does it depend upon passing phases in 
the current literature and drama. It is creating and 
building for itself. 

/^\XE hundred and twenty million dollars is going to 
^^oe spent making the motion picture of 1926-27. 
Over a hundred million of this will be spent in coast 
production. 

This total, by the way, exceeds by twenty-five per 
cent the amount expended in manufacturing the silent 
drama during the last year. 

A GAIN let me quote Mr. Lasky. He has just stated 
to a gathering of press agents that it is high time for 
the motion picture industry to be debunked. "You 
must help me and help the public to maintain a proper 
sense of values," he says. " I do not think it is good 
publicity to over-exploit a picture, a star, a director — 
or even a producer. The public today is picture wise." 
Photoplay was the first publication to discard the 
old fashioned hokum of the pioneer days. For years 
it has held steadfastly to a sane, conscientious and 
honest treatment of pictures and picture people. 

27 




Metro's bringing them in by the car load. This is the 

arrival of Greta Garbo, a Swedish beauty, who seems 

destined for the lights. Beside her is Mauritz Stiller, 

another Swede, who will direct her 



By Ivan St. Johns 



The 



T 1 



(HIS is a tale of the Foreign Legion. Not those pictur- 
esque soldiers of fortune sung of in "Beau Geste", who 
are protecting the advance of French civilization into 
the wilderness of Northern Africa. 

It is a tale of other adventurers — foreign invaders who arc- 
pouring in with the American motion picture industry as their 
objective and American dollars as their goal. 

There are many and strange tales of these invaders floating 
around Hollywood. How the foreign legion is increasing by 
leaps and bounds. How one foreign director kept his job 
through the angry mutterings of his army of German extras, 
who threatened to strike when their 
leader was removed from a picture and 
was only quieted by his return. How 
clannish they are, playing their own 
game together against American pro- 
ducer, director and actor alike. Of the 
little Scandinavian colony at Santa 
Monica, where an American is a foreigner. 
And many, many other similar stories. 

I am going to set down a few facts and 
anecdotes, just the way they have come 
to me. I will jump at no conclusion and 
let you arrive at your own. 

Pola Negri started it all. Quite in- 
nocently, to be sure, but she started it 
just the same, this hegira of foreigners in 
quest of good American dollars in our 
motion picture field. 

It is fast becoming serious. Directors 
are worried. Actors and actresses more so. And why shouldn't 
they be? Where three years ago a foreign star was a novelty, 
a foreign director a curiosity, today they are almost a menace, 
so rapidly are they arriving and so closely do they stick together. 

If foreign servants could be imported as easily as foreign 
artists, there wouldn't be any servant 
problem. But thev can't. Organized 
labor is powerful— ft is ORGANIZED— 
and it won't stand for cheap foreign 
competition. So we have our servant 
problem. 

A few of our foreign importations are 
becoming Americans. But a very small 
minority. 

Pola Negri, for example, has pur- 
chased a beautiful Beverly Hills home 
and put thousands upon thousands of 
dollars back into Hollywood by redeco- 
rating and refurnishing the house and re- 
landscaping the already charming 
grounds. 

Pola has made for herself a lovely 

28 




Foreign 




egion 

in Hollywood 






de Putti, 
Hungarian 



ff-' 



Marchal, 
French 



Sojin, 
Japanese 



Rudys from Italy. Polas 
from Poland. Gretas from 
Sweden. Vilmas from 
Vienna. The march is on. 
Every type of performer, 
one nationality after the 
other, they are following 
each other across the gang- 
planks on the stellar way 
to Hollywood 



home. She is an investor and her earnings are going into Holly- 
wood business property. And Pola has taken out first natural- 
ization papers. She wants to be an American. 

So does Ernst Lubitsch, who followed his Polish star from 
Germany to America. He owns a fine home but a few blocks 
from Pola. He, too, has taken out his 
first papers, is interested in all things 
American and acts like he is here to stay. 
I can't say as much for most of the 
foreigners who followed Pola's lead. 

One director, who came over with 
much acclaim, Buchowetzki, hasn't 
made much of a success with his Ameri- 
can pictures. They haven't been going 
so good. 

As a sort of cheer to the selling organi- 
zation, the publicity department at the 
studio employing him wanted to send 
out a story that this director was becom- 
ing Americanized — that he was getting 
the American angle on entertainment. 
Do vou think he would stand for it ? 




The foreigners are going through the 
studios with the speed of mumps 
through a day nursery. Every lot's 
swollen with them. They're not all 
stars. There are foreign cameramen, 
directors, scenarists, dress designers, 
too, and they all bring a relative along 




Buchowetzki, 
Russian 



Not for a moment. He insisted he was still a Continental and 
a Continental he would remain. He hasn't taken out any 
naturalization papers or bought a home with his picture earn- 
ings. He lives in a rented house and once told me he was saving 
every dollar so he could leave America and the picture business 
as soon as possible and return to his 
beloved Europe, there to retire and lead 
the life of a country gentleman. 

If he doesn't make better pictures, he 
may return to his beloved Europe before 
he gets all the money he is after. 

To get back to the hegira. First came 
Pola Negri, brought over by Paramount. 
She was followed shortly by Lubitsch, 
who directed her in the German-made 
"Passion." But Lubitsch didn't stay 
long. He just looked New York and 
Hollywood over and returned to Europe, 
to be brought back later to make "Ro- 
sita," with Mary Pickford, and then 
signed to a long term contract by War- 
ner Brothers. 



The foreign invasion of 
filmdom is no idle chatter. 
It's a populous fact. The 
foreigners have come, have 
seen American gold and in 
one or two instances have 
conquered the American 
public. Are our movies to 
lose their private rights, in' 
eluding the Scandinavian? 



Three big Swedes and one wife. She is Karlin Nolander, 

in private life Mrs. Lars Hansen. He with the cap, at 

the left, is Mauritz Stiller. Lars is on the other side, 

next to Victor Seastrom 



Next came the Russian, Dimitri Buchowetzki, who had also 
made German pictures with Pola. After several American 
directors had tried their hand, with more or less indifferent suc- 
cess, with the great Polish actress, Paramount sent for the 
rotund little Russian. 

These three were the vanguard of the movement. 
I will never forget the first time I met Buchowetzki. It was 
on the set where he was directing Pola in " Men." 

I found him a jolly, charming little chap, but the thing which 
hit me much more forcibly than his unusual personality was 
that, with the exception of Pola's leading man, Robert Frazer, 
there wasn't an American acting on the set. 

It was both a novelty and a shock to me. There was almost 
every nationality among the score of bit 
men and extras on the set. I was truly 
grateful that Bob was there to show that 
the American flag was still flying. 

I asked "Bucho" about it. I won't 
attempt his dialect, for his English was 
none too good then. But this was the 
idea: "These poor foreigners were try- 
ing to make a living in a strange land. 
They were so hungry. He felt sorry for 
them and was giving them work." 

At the time I decided it was mighty 
thoughtful of the little Russian director. 
It made a hit with me to see a chap so 
considerate of other less fortunate exiles. 
But since, I have changed my mind 
somewhat. Yes, I have changed it a 
great deal. 

In those days, with the exception of 
Pola. Lubitsch, "Bucho" and possibly Victor Seastrom, noted 
Swedish director with Metro-Goldwyn-Mayer, the Foreign 
Legion was a small group made up of almost every nation and 
trying to earn its living in the great army of extras, 
that swarm the Hollywood studios, by playing types. 

If you wanted a couple of Italians, a 
Czecho-Slovakian, a German or Russian 
officer you just asked the casting office 
and you got the real thing. 

Occasionally some of them did try to 
gain a rather unfair advantage over 
their fellow extras by sporting real or 
spurious titles. But all things consid- 
ered, you couldn't help feeling sorry for 
them, for anyone who, driven by ambi- 
tion or hunger, is trying to live on the few 
dollars to be gained from extra tickets. 
They were just part of the army of 
extras, that army which to me still re 
mains the saddest sight in all Holly- 
wood. So it isn't any wonder that for a 

[ CONTINUED ON PAGE 1 33 ] 



Hansen, 
Swedish 




1 



esaie 



1 



By Catherine Brody 



JN Ihcir efforts to reduce, thousands of Amer- 
ican women are ruining their health and 
preparing their bodies for tuberculosis and other 
diseases by lowering their resistance. In many 
instances, death has resulted. Barbara La Man- 
was a victim of fashion's demand for slcndcr- 
ness. Millions of people in public and private 
life are facing Miss La Man's fate. 

Photoplay has been receiving thousands of 
letters through Miss Carolyn Van Wyck's de- 
partment, asking questions and requesting ad- 
vice about reducing. Realizing the menaces of 
reduceomania, Photoplay has launched a na- 
tional investigation, putting Catherine Brody, 
the ivell known writer, in charge as special inves- 
tigator. James R. Quirk. 



Photoplay Magazine refuses to admit to its ad- 
vertising columns any internal reducing prepara- 
tions or questionable methods. 

Photoplay is going to fight to the end to force 
these dangerous preparations from the market. 
Why is the sale of mind and body wrecking drugs 
prohibited and the sale of dangerous reducing nos- 
trums permitted? 

After its investigation and exposure of reduction 
drugs is completed, Photoplay believes that na- 
tional action will be necessary. 

Medical quacks must be prevented from killing 
American women. And American women must be 
prevented from committing suicide in the pursuit 
of fashion. 



SOME months ago, the newspapers recorded the death 
of a young and beautiful and popular motion picture 
star. The star was Barbara La Marr. She died, 
specifically, of tuberculosis. This the public knows. 
What her friends knew at her death, however, was that 
Miss La Marr had, at a period preceding her collapse, taken 
a thyroid treatment to lose weight. They knew that her 
ill-health dated from that time, affecting her lungs and 
finally causing her death. 

Reducing is not a new idea nor are dangerous reducing 
methods new. Even in 
in the days when busts 
^^^___ and hips were not only 

permissible but highly 
desirable, patent medi- 
cine fat reducers exist- 
^^ ed and prospered. In 
these days of the boyish 
figure, however, reduc- 
y ing has come to be more 

than an idea. It is 



"There were 225 
women in the psy- 
chopathic ward at 
my hospital last 
year, suffering from 
serious' mental dis- 
orders caused by 
anxiety about their 
increased weight. 
There are numerous 
women suffering 
from depression, 
melancholia, rest- 
lessness, for the same 
reason" 





Dr. Menas Gregory 
Head of Bellevue Hospital 



Barbara La Marr as she was before she fell victim to 
fashion's demand for the so-called "slim silhou- 
ette." Miss La Marr's thyroid treatment brought 
on tuberculosis 



30 




urder 
ancrSuicide 

Do you \now the menace of Reduceomania. 



Today millions of women are trying to reduce by means of various 
methods. This has been brought about by fashion's demand for a slender 
figure. Records show that one out of every five persons in this country 
is overweight. 

The perils of reducing are so great that the American Medical Asso- 
ciation called a special conference to consider ways and means of meeting 
its dangers. 

There are 75 pills, capsules, tablets, etc., on the market, advertised 
as reducers. New nostrums appear daily. These are divided into two 
classes: those that are harmless and worthless and those containing 
thyroid or other harmful drugs. 

These drugs can and have caused tuberculosis and other diseases. 
They have caused insanity. Death stalks close behind them. 

The heads of tapeworms have been prescribed and sold to women 
seeking to reduce. 

Photoplay is exposing these perils of reducing. Read how a large por- 
tion of America is playing with murder and suicide. 




It is 




even more than a fad, doctors say. 
mania. 

The word, reduceomania, has been coined 
by Photoplay to describe it. Reducing 
methods, by medicine and otherwise, do more 
than exist. They increase and multiply from 
day to day and year to year. In the last 
two years, especially, according to Dr. Lyman 
F. Kebler, who has been investigating patent 
medicines for the Department of Agriculture 
for the last twenty years, their number has 
become legion. 

Reduceomania is a disease from which a tre- 
mendous number of women are suffering, not 
only in America, but in Europe. Paris, which sets the styles, 
demands the silhouette figure. Consequently, the Sunday 
supplements personify the tall, narrow, hipless, almost 
angular slimness of a Peggy Joyce. 

Just how reduceomania has come to be is a hopeless ques- 
tion. Did the popularity of the straight up and down, one- 
piece frock in America make the boyish figure an ideal for 
women of all ages? Was it envy and the desire to emulate 
the corsetless, pliant, bob-haired flapper? Many people 
blame the movies for this as for other sins. They say that 
the movies, which set standards of beauty for more people 
and to a far greater degree than the stage, have emphasized 
slightness, thinness, to such an extent that any other kind 
of figure looks strangely overnourished to American eyes. 
No matter what the cause, the big parade of women who 
want to be fashionably thin and do not stop to reason why 
or even how has been 
increasing. The prob- 
lems raised by these 
women, ignoring health 
in their search for what 
they consider beauty, 
were brought suddenly 
before the public when 
the American Medical 
Association called a 
special conference on 
weight reduction. 



"Anyone who takes 
medicines to reduce 
or who follows vio- 
lent methods is 
committing a crime 
against his or her 
body" 




Miss La Marr in her last appearance before the 

camera in "The Girl from Montmartre," with Lewis 

Stone. The popular star was close to death when 

this scene was filmed 



Senator Royal S. Copeland 

Former Health Commissioner 

of New Tor\ City 




■ II 



Photoplay Starts Fight 



The opinions of these doctors, together with knowledge of 
sickness and death caused by drastic methods of losing weight, 
and the numerous letters which we get from readers, who, 
without reference to their height, age, or condition of body, 
want to reduce in the shortest possible time and with a mini- 
mum of effort, to resemble the screen star of their choice — all 
these reasons caused Photoplay to commission me to find out 
how women were reducing, what dangers their methods held, 
especially when they used internal medicines, how they should 
reduce, if at all, and what healthy standards existed for them 
to follow. 

I found doctors in agreement on several facts. 

The first and most important fact is 
this: In the words of Dr. Arthur Cramp, 
director of the Bureau of Research of the 




American Medical Association: "The desire to be slender 
causes thousands of women to throw away money on reduction 
treatments which are either dangerous or worthless." 

In the words of Senator Royal S. Copeland, who, as New 
York City's Health Commissioner, conducted experiments in 
reduction among a large number of women: "Anyone who 
takes medicines to reduce or who follows violent methods is 
committing a crime against his or her body." 

In the words of Dr. Eugene Lyman Fisk, Medical Director 
of the Life Extension Institute: "There is no such thing as a 
reducing medicine, reducing pill, bread, or anything of that 
kind for external or internal use." 

And every doctor with whom I talked 
concluded the interview by stressing 
this fact: "There is only one way for 
most people to reduce. Diet and exer- 
cise, modified according to the needs of 
the individual." 

Obesity is a not uncommon condition. 
Dr. Kebler, head of the Bureau of Collab- 
orative Research of the Department of 
Agriculture, estimates that one out of 
every live persons in this country is 
overweight. And probably two of the 
remaining four, especially among women, 
think they are. Judging by doctors' 
records, these people hesitate to take 
medical advice about overweight and 
reduction. But they fall readily enough 
under the spell of advertised "easy' ; 
methods. 

I found, in Washington, that there are 
about seventy-five nationally known 
pills, capsules, tablets, chewing-gums, 
breads, etc. on the market, advertised 
as reducers, as well as countless concoc- 
tions for external use and many nos- 
trums that are here today and gone to- 
morrow, as it were. A staff of inspectors 
keeps busy following them up by their 
advertisements and testing them. There 
are a round dozen under investigation 
now, scheduled for hearings to show 
cause why they should not be put out of 
business. The Government has only 
one check on these nostrums. If they 
make misleading claims on package or 
by letter, the Post Office may refuse to 
carry drugs and mail to and from, which 
automatically stops all business. 

Those who set forth their claims 




Dr. Lyman F. Kebler 

Head of Bureau of Collaborative 

Research, Bureau of Chemistry, 

Department of Agriculture 



It is impossible to tell what re- 
ducing medicines are made of. 
"These reducing drugs are not 
standardized," Dr. Kebler says. 
"They change composition from 
time to time. One year a drug 
will contain thyroid, the next 
year it won't, and when we 
come to examine it again, on 
some complaint, we will find 
thyroid" 



Nita Naldi was sick for weeks after 

following a rigid pineapple and lamb 

chop diet 



The quick road to slimness is the quick road to neurasthenia, 
hyperthyroidism, Bright's disease, hysteria, heart palpitations, 
tuberculosis, colitis and possible death. 

Read what Dr. William S. Sadler, of the American Medical Associa- 
tion, has to say about the various "get thin quick" methods: 

THE DRUG METHOD. "The use of drugs for reducing purposes 
is decidedly dangerous. The long continued use of saline cathartics, 
the use of thyroid preparations and other drugs designed to produce 
a loss in flesh should be looked upon as of doubtful value and never 
should be undertaken without expert counsel and advice." 

THE PURGATIVE REGIME. "The Purgative Regime can be pro- 
ductive only of evil, resulting in serious disturbances of the digestive 
canal and otherwise jeopardizing one's health and efficiency." 



Against Reduceomania 

What the American Medical Association says about the use of thyroid in reducing: 

"That the prolonged administration of thyroid gland will sometimes bring about a marked 
reduction in weight is true, but its use, even under skilled medical supervision, is fraught with 
danger. It is little less than criminal that ignorant quacks should be permitted to distribute indis- 
criminately drugs that have the potency for harm that is possessed by the thyroid preparations." 



ambiguously enough, however, may stay on. And do they pros- as a result, the doctor who informed me, said, of a strenuous 

per? They do. One manufacturer of a reducing drug, now off physical culture system which this woman thought would 

the market, testified that on a good day his office received 1500 make her slim. Nita Naldi, the motion picture actress, was 

letters, and in general an average of 20,000 letters a month, sick for weeks after following a pineapple and lamb chop diet. 



asking for treatment. 

These internal medicines may be di- 
vided into two classes. Some contain 
thyroid or other harmful drugs. Others 
are, if not harmful, absolutely worthless. 
The former medicines, together with the 
fad diet systems, and the strenuous exer- 
cise systems that women follow in a mad 
effort to get thin quick, have brought to 
doctors, as I found, numerous cases of dis- 
orders of the nerves, disorders of the 
stomach, of grave consequences to the 
thyroid and other glands, have weakened 
the resistance of patients to diseases like 
tuberculosis, to which they might have 
been naturally liable, and in instances, as 
in the case of the motion picture star I 
have related, led to death. 

"There were 225 women in the Psycho- 
pathic Ward at my hospital last year," 
Dr. Menas Gregory, the head of Bellevue 
Hospital, says, "suffering from serious 
mental disorders caused by anxiety about 
their increasing weight. There are nu- 
merous women suffering from depression, 
melancholia, restlessness, for the same 
reason." 

No neurologist with whom I have talked 
but can recall some cases of patients, 
chiefly women, who have had to be 
treated for disorders arising from reduc- 
tion methods, especially the use of thy- 
roid. I know personally one woman, a 
w-riter, who is in a sanitarium as a result 
of taking thyroid extract to reduce. I 
came across at least one death as a direct 
result of thyroid on the weakened heart 
of a stout woman. 

I learned of another death of apoplexy 




Another, Betty Blvthe, is in Europe try- 
ing to recover from the effects of another 
fad diet. [ continued on page 92 1 



Catherine Brody, the famous 
newspaper and magazine writer, 
has been commissioned by 
PHOTOPLAY to investigate and 
expose the perils of reducing 
now confronting America. 

Miss Brody won a name for 
herself on The New York Even- 
ing Globe and The New York 
World. For The World she 
made a tour of America, visiting 
all the principal cities and in- 
vestigating the living condi- 
tions facing the working girl. 
To secure this material, she 
went from city to city, working 
and living under conditions con- 
fronting the wage earner. 



MASSAGE. "While massage has a reputation for reducing fat, 
careful observation over a long period of years has led us to believe that 
most of this reputation is without scientific foundation." 

FASTING. "Fasting is also a fallacy. Fasting may be beneficial for 
a few days in the case of an overfed individual. But just as soon as 
glyocen stored by the liver is exhausted then the fasting patient starts 
in to live upon himself — an exclusive flesh diet — and at that, his own 
flesh. You are liable to contract any passing contagious or infectious 
disease when fasting." 

Is There Any Sane V/ay to Reduce? 

Says Dr. Sadler: "Work, exercise and sane diet are the best reducers, 
but in absolutely every case this work and diet should be an individual 
thing, laid out for each patient, for everyone is a law unto himself. 




Katherine Grant is now in a coast 

sanitarium fighting to recover from 

reducing effects 




c~z 




NTONIO MORENO proves that the fairer sex has no 
monopoly on charm or # the rewards it brings. Tony's 
charm has made him rise in the world like a regular Alger 
hero. Across the page is his from peasant to palace story. 



34 



Goolidge 

knew him 

When 



By Herbert H 



T 1 



owe 



•HE scene was a luncheon at the White House when 
President and Mrs. Coolidge were entertaining Mr. and 
Mrs. Howard Chandler Christy. The name of Antonio 
Moreno was mentioned. 
"Yes, we have known Tony for a long time," said Mrs. 
Christy, wife of the famous artist. "It was in 1914, when he was 
working with the old Vitagraph company, that I first met him. " 
"That is a long time." commented Mrs. Coolidge. "But we 
have known him much longer. When Mr. Moreno was a boy 
about fifteen he read the gas meter in our house at North- 
ampton." 

Edging my voice into the chorus of celebrities, let me say that 
I also knew him when . . . 

My meeting with Tony dates from a period much later than 
the days when the Coolidges and Christys knew him, but during 
the past eight years I have come to know him very well. 

If ever there was a Horatio Alger hero, or a prize example for 
an American magazine article, it is Tony Moreno. 

An urchin of Spain, with a widowed mother, earning money 
as a baker's boy and by holding the polo ponies of Englishmen 
at Gibraltar, he has passed from miserable penury to opulence 
and fame with amazing incident. 

While employed as a helper on the buildings for the annual 
fair at Gibraltar he was noticed by two gentlemen touring 




Paris. The Champs Ely- 
sees. A movie star. On his 
arm, a charming, intelli- 
gent wife in a summer 
ermine coat. And Tony 
was born a Spanish peas- 
ant boy. Now he's very 
humble in the presence of 
his good fortune 



Spain: Mr. Benjamin Curtis, 
the nephew of Seth Lowe, 
mayor of New York in 1901-2, 
and Mr. Enrique de Cruzat 
Zanetti, a Spanish gentleman 
who had been graduated from 
Harvard and who had become 
a wealthy Cuban land owner. 

Fortune, that wrote the 
plot of Tony's story, waved the wand over him at that precise 
moment. Yet it was not entirely Fortune. The character that 
shone out of his brilliant black eyes had something to do with it. 
For Tony is one of those rare individuals who, at first meeting, 
impresses you indelibly with character. 

The gentlemen talked with him, enjoyed his sunny ebullience 
and finally prevailed upon his mother to let them take him on a 
tour of Spain. Mr. Curtis was in ill health, and Tony provided 
cheering tonic while serving him his medicines. 

They returned to the United States, but they did not forget 
the bright-eyed, sympathetic Spanish boy. They sent for him, 
and his mother, with the great hearted sacrificial generosity of 
mothers, permitted him to go. 

He wept ignominiously as he sailed away from mother and 
Spain with a vow that he would return and transform every- 
thing for her. [ continued on page i 36 ] 




ff i I """M fc 



The famous home of Antonio Moreno and his wife, who was Daisy Canfield Danziger. It cost close to a million 
dollars and from it the Pacific Ocean, Catalina Islands, the Sierras and all Hollywood are visible 

35 





HE tragic brows, the appealing dark eyes, the sensitive 
nose, the tantalizing mouth — here are all the features of 
Barbara La Marr. And yet this is the photograph of a girl who 
is, in personality and appearance, the very antithesis of Bar- 
bara. And yet, by some trick of the camera and make-up, 
Madge Bellamy has achieved a startling and striking resem- 
blance to the girl whose life and death was one of the supreme 
tragedies of motion pictures 



36 





He stood hesitant and awkward. "Gwyna," he said apologetically, 
"did you notice the papers?" 



leopatra's Kiss 



By James Oppenheim 



Illustrated by 
George Howe 



IN that particular hotel, which caters exclusively to vaude- 
ville actors, and which is in the West Forties, Gerald Black- 
stone sat in a little room on the tenth floor with Babby 
Blake. He sprawled in the easy chair and she leaned for- 
ward intently from the edge of the couch, a cigarette between 
her fingers. 

Gerald was watching her. She was undeniably pretty, 
petite, graceful and lovable. Her legs were crossed, her curly 
head held high, her bright eyes full of laughter. 

He, and others as well, liked to say to her: "You're so sweet 
I could eat you up." Indeed, she seemed a delicate morsel, 
tempting and delicious. And she could dance, after a fashion, 
and sing and act; but mainly she had merely to appear on the 
stage, the apparition of a bewitching imp, and the audience 
applauded. . . . 

"Oh," she was saying, " I've heard all about you and Gwyna 
Marsh and how she wants you to go into Shakespeare. Why 
don't vou do it?'' 



Once it wrec\ed an 
Empire . . . what did it 
do to Gerald Blac\stone? 



If he liked to watch her, she, no less, liked watching him. 
There was that about him, just sitting there, which made him 
striking. His rather heavy mouth could cut into a leer, or a 
warm smile, or be pursed with contempt; his large forehead 
could become a shaggy brow, darkening his large eyes. The 
eyes, with their wrinkles about them, were full of changing 
meaning. His mane of hair was thick, his jaw pronounced. 
There was something lion-like about the head. He was tall, 
loosely made and fell into attitudes with imperceptible ease. 
He was spoken of as powerful, rather than handsome, the kind 
of "man's man" whom women adore. A brute lurked in him, 
a dreamer sometimes peered through the dark eyes, a primitive 
heroism was sometimes in his firm mouth and the set of the 
head. 

His mouth cut into a half-leer. 

HI 



Then suddenly 
she stood before 
him, an ugly 
curling whip in 
her hand . . . . 



"What have you heard?" he 
asked. 

She laughed, delighted. "You 
needn't eat me up, Jerry. I've 
only heard you and she were in 
love with each other." 

"Well," he said slowly, "if 
Gwyna Marsh were in love with 
me, I'd go down to Hell for her." 

"You mean by that," she 
laughed, "you'd even go into 
Shakespeare for her? " 

"Oh, that," he snorted, "that's 
nothing. A mistake of my youth." 

"What does she say about it?" 
Babby asked eagerly. 

"She?" his face looked brutal 
for a fleeting moment. "She 
wants to save me. Every woman 
but you, Babby," he smiled 
warmly at her, "wants to save 
this old drunk. Only — Gwyna's 
got a new one." 

"What is it?" 

"She says," he spoke with dif- 
ficulty, "that a man must have a 
job big enough to fit him. She 
says my work is not up to me — 
that's why I drink. She says I 
need a bigger job to use me up and 
make me feel honest with myself. 
In other words, she's handing me 
the stuff about being a great 
actor." 

"Suppose it's true?" 

"Bunk!" he snapped. "Babby, 
I thought that fifteen years ago, 
and studied and worked, and got 
into stock, and then small parts 
on Broadway and all that. It 
faded out. No manager came for- 
ward and said, 'You're the man.' 
So I came down off my high horse 
and took to drink. Now I'm con- 
tent." 

"Then why do you booze?" 

"To stay so." He laughed 
somberly. "And here Gwyna 

comes and wants me to do the Antony to her Cleopatra. . . . 
That's about it." 

"What is?" 

"Don't you know the storj — a great man hanging on to the 
apron-strings of a woman, infatuated with her, till he lost 
everything, including his life? ..." His voice rolled, 

" 'O, whither hast thou led me, Egypt? See, 
How I convey my shame out of thine eyes 
By looking back what I have left behind 
'Stroy'd in dishonor.' 

"That's not a part I relish, Babby; not much. For don't you 
see, I'd have a chance, if Gwyna loved me. But her coldness 
makes me ten times her slave, 'stroy'd in dishonor.' If I give in 
to her, I'll never be my own man again." 

"She must be beautiful," sighed Babby. 

"Instead of giving me love," he went on, "she makes me un- 
comfortable. I have to be so noble to get on with her, pretend 




I'm something. But you," he laughed, "I'm just my old self, 
any old thing, don't care what a duffer I am or how rotten. You 
like me any old way, don't you. Babby? It's comfortable and 
it's easy. But she's discipline." 

"Ah," Babby's musical laugh ran up the scale, "if that were 
all! I can see she makes you dizzy, Jerry, dizzy blissful and 
dizzy sick, but I — I only make you happy." 

She came over, perched on the side of his chair, put a light 
arm about him and pressed her curly head against his. 

"It's lucky," she said softly, "I'm not in love with you, 
Jerry, or how jealous I would be." 

"Lord, you're a relief," he muttered, his voice warm. 

"Yes," she said, "I'm your comic relief. But a little goes a 
long ways." 

"Not much," he answered. "Bab, if you're game, why 
shouldn't we do an act together? " 

"I'm game," she said, "but you'll never show up when the 
time comes." 




"Well, I'll think it over." 

"I thought so," she laughed. 

" No, I mean it. I promised Gwyna I'd see her at five — but 
to-night I'm going to settle matters, once and for all." 

He rose then, put on his heavy coat, picked up his cane and 
took his hat. He paused at the door and regarded Babby 
darkly. 

"You know," he said, "Gwyna's the only woman I've ever 
been afraid of." 

"Oh, you're in love with her," Babby smiled. 

"She makes me feel small — like a child." 

"And wants you to be great," laughed Babby. 

"That's it." he growled, "with one hand she makes a monkey 
out of me and then expects, with the other, to make me a second 
Booth. You'll be in to-morrow, Babby? " 

"Yes, Jerry." 

"It'll be yes, I'm sure. So long." 

He was down in the street in a few minutes, intent on get- 



He smiled . . . incredulously. 

But she did it. The blind' 

ing sna\e of fire went 

across his face .... 



ting a taxi. Then he felt his heart tighten with apprehension. 
How pretty Babby was, and how she pleased him, and how 
free she left him. She might have been a boy for all his heart 
said about her. But if Gwyna sat exactly like Babby, legs 
crossed, and straightened the outer leg till the toe pointed, he 
would shudder with an uncanny ecstasy, he would be 
flecked for a moment with madness. Why was it? 

Certainly people saw at once how lovely Babby was, but 
they took a long time to learn the beauty of Gwyna. She 
had become well known as an actress, had had leading parts, 
had made money — enough to launch herself on a Shakes- 
pearian revival — but she was not famous, she was not a 
favorite. Her beauty was deep and subtle; it showed itself 
bit by bit, but after it captured you, you became its slave. 
Then it seemed more and more wonderful and enchanting, 
the peculiarly pure tones of her voice, the exquisite gesturing 
of her fine hands, the elusive roundedness of her body, the 
hair that was not quite light or dark, the delicate nose that 
yet could look almost angry in its broken line, the thin lips 
that could bloom into softness, the blue eyes that could 
shade from a dreamy tone to a fiery concentrated color shot 
with golden sparks . . . her changeableness, her variety, 
so that she seemed at times to turn from a thin coldness to a 
rounded voluptuousness . . . 

"Yes, an actress," thought Gerald, "if ever there was one 
Her body, her face seem to change with her part. Cleo- 
patra!" He laughed to himself. "How perfect! 

" 'Age cannot wither her, nor custom stale 
Her infinite variety.' " 

How she would look in cloth of gold; what subtlety and 
passion she would put into the love-scenes; with what fury 
she would attack the messenger; how beautifully she would 
weep, and how nobly kill herself . . . He could see it . . . 
And he shuddered. He saw himself, not acting, but living 
the part of Antony ; caught through all the senses, drowned in 
her perfumes, snared in her softnesses, "'stroy'd in dishonor." 

He decided to have a few drinks to brace himself for the 
encounter. 

THE maid opened the door of the apartment — it was on 
lower Fifth Avenue — and let him in. He was visibly under 
the influence of liquor, though he was not drunk. His mo- 
lions were a little jerky as he pulled off his scarf and his 
overcoat and handed them to the maid. Then he stood and 
carefully lit his pipe . . . 

When he entered the large drawing-room, dusk was in the 

air. The windows looked to the west, and the last of a dark, 

rich crimson sunset. . . . Yes, it was dusk. Everything 

in the room stood with negligent soft glimmers about it, 

ready to melt into darkness. It was the moment when the 

prose of the day turns into the poetry of the night. A music 

begins of dream-worlds, worlds of love and crime and things 

beyond. . . . The thought of women comes, the thought of 

song. . . . 

He entered, and paused, and looked for her. She was on the 
couch. He had the impression that she lay with head raised 
on her hand, that her knees jutted forward sideways, and that 
she had on a thin serpent-pointed crown, and flowing, shim- 
mering garments, for there was the suggestion of her white 
beauty. . . . 

He stood, bewitched. . . . The spell was intense. Her beauty, 
her poetry (or was it music?) overmastered him. made him 
giddy, made him want to go to her and draw her up in his arms, 
and spend himself at her lips. . . . 

And then her voice came, cool, calm and edged with blame. 
" You've been drinking, Gerald." 

He laughed, harshly, shattering his own mood of enslaved 
passion. He felt himself again. I continued on page 82 j 

39 










Herbert Brenon simply had to keep work- 
ing for he couldn't reach anyone on his 
desert telephone except his "Beau Geste" 
company. Even the phone is foreign. 
Realists, these movie folks 



Desert 
tuff 




The Greatest "Location 11 in History By Dorothy Spensley 



MODERN science waved its wand and a city 
of 2000 men arose from the scorching wilderness 
of an Arizona desert. 

Plank roads stretched across the trackless wasteland. 
Water was coaxed from arid ground. 

Telephones were conjured by the magic. Electricity 
bowed to the will of the genii. 

$10,000 worth of meat and $25,000 worth of groceries 
were devoured bv the hosts of Aladdin. 



And then with a puff of smoke and fire the city 
disappeared, mirage-like, and there remained only the 
eternity of the shifting sands. 

This is the story of the most colossal undertaking 
ever made in the history of motion pictures when the 
burning sands and wastes of rolling wilderness thirty- 
five miles southwest of Yuma was transformed into a 
North African desert for the locale of Paramount's 
"Beau Geste." 




■t 



Actors demand 
baths even in a 
desert. Three 
water tanks hold- 
ing enough water 
for eighty-two 
daily showers, 
were erected. 
That's Ronald 
Colman doing the 
hat waving 

Semaphoring the 
mob. Military 
tactics were used 
in directing the 
horsemen and a 
broadcasting set 
aided Brenon in 
hurling his words 
to the throngs. 
The oasis is an 
import 





w 




One of the breath taking scenes staged near the Mexican border in 
Arizona. Here are the reserve French Legionaires marching up to 
the silent and ominous fort of dead men after the Arabs have 
attacked and killed their handful of comrades within the garrison 



I HAVE just returned from a wonder spot. A modern mira- 
cle. I have seen what the great genii Motion Picture has 
done with a wave of his wand. How he has created on a 
barren ground, tenanted only by lizards, coyotes and rep- 
tiles, a city of two thousand people with all the comforts a city 
can boast. All this was done in two months time. It is tre- 
mendous. It is overwhelming in its vastness. And to tell of it 
in a few words is to cut a glorious tapestry to fit a small serving 
tray. 

For the construction of this movie city, first arrived the car- 
penters — two hundred strong. The valley rang 
with the song of their hammers, the screech of 
boards being laid into tent floors, the whir of rat- 
tlesnakes being dislodged from nests in the roots 
of scrubby mesquite trees. Then began an exo- 
dus of the poisonous reptiles — the deadly orange 
and black gila monster, the crab-like scorpion of 
toxic sting, the treacherous side-winder that does 
not coil before it strikes. All these denizens of an 
age-old desert departed with hiss and whir. 

The securing of water was the first problem 
that confronted the invaders. An eight-ton well 
rig was brought in on a board track, a squad of 
men taking up the boards as the truck passed over 
them and laying them down again in front. Tire- 
less energy. They drilled for fifteen hours and 
struck water in that arid wasteland at ninety feet. 
But they continued to drill to the 153 foot level. 
Fifty thousand gallons of water daily were 
pumped from the well and distributed through 
eighty-eight shower [ continued on page 136 ] 





The three little 
Gestes, Maurice 
Murphy, Phillippe 
de Lacey and Mickev 
McBan. Thev played 
together in "Peter 
Pan" and now they 
are portraying the 
brothers who grew 
up to join the For- 
eign Legion 



The mature Gestes, Neil Hamilton and 
Ronald Colman play the twins, Digby and Michael. Ralph Forbes, 
making his movie debut, will be John, the brother who survived 




Donald 

Ogden Stewart's 

-p^ GUIDE to 

Perfect 



Beh 




avior in 
Hollywood 



HE first requisite for success in making "movies" (as 
they are called by us "on the inside") is a moving picture 
camera, a "star," and eight million dollars. 

The camera can be easily made from any ordinary kodak 
or "Brownie" camera by adding a crank and a couple of 
things which look like big round flat cans. Therefore, as soon 
as you have obtained a crank and something that looks like a 
big round flat can, you should attach it securely to your 
"Brownie" and you have the beginning of a pretty fair "movie" 
camera. A handy tripod, on which to rest the instrument, can 
next be made out of barrel staves or a pair of your grandfather's 
old discarded crutches, and in case your grandfather does not 
use crutches you can easily remedy that defect by taking the 
old gentleman, on some dark night, to the top of a neighboring 
cliff or some convenient precipice. So much for the camera. 

The "star," however, might not be so easy to obtain. 



"Stars," like a great many other things in Hollywood, are 
divided into "sexes" — (1) "male" and (2) "female" — and it 
will of course be necessary for you to decide which "sex" you 
want before proceeding further with your picture. The " male" 
stars have lower voices than the " female" and can grow beards, 
whereas the "female" stars are fond of alimony and diamond 
bracelets. "Stars" often intermarry, however, provided they 
are of opposite "sexes" and in need of publicity, and these mar- 
riages frequently result happily, some of them lasting three and 
four months. The offspring of these "unions" are generally 
taken care of by the State and later become Assistant Directors 
and Elevator Attendants and lead very happy, useful lives. 

Let us, now, for the purpose of this article, say that you have 
decided to make a picture which will feature a "female" star. 
Inasmuch as most of the well known "female" stars are at 
present "under contract" (which will be explained later) it 




would perhaps be cheaper (and a lot more fun) if you were to 
take some hitherto unknown, but ambitious and willing girl 
and develop her, yourself, into a "star." 

In order to do this, it will be first of all necessary to find the 
"right girl," and by the "right girl" is meant a girl who is very 
beautiful and has the sweet, simple, unspoiled mind of a child 
of three. To find such a girl in Hollywood ought not to be at 
all difficult, but in order to get a thoroughly unknown girl, and 
at the same time obtain a certain amount of desirable publicity, 
it might be better if she were to be selected only after holding a 
National Beauty Contest, perhaps among the various private 
institutions for Slightly Backward 
Girls all over America. It would 
help, also, if several important and 
interesting personages could be in- 
duced to serve as judges — such as 
Chief Justice Taft, Red Grange, or 
perhaps Will Hays — and then, after 
the contest has been given the prop- 
er amount of publicity, you can 
arrange to have the various lovely, 
but slightly subnormal, contestants 
parade in bathing suits and there 



Coming; next month Donald 
Ogden Stewart's "How to Write 
Scenarios. 1 ' No experience — no 
brains necessary. Just buy the 

Aup-ust PHOTOPLAY for full 

o 

instructions. 



You can arrange to have the various, but slightly 
subnormal, contestants parade in bathing suits and 
there should be no difficulty at all in finding some 
one quite suitable to take a leading part in your 
first picture 



should be no difficulty at all in finding some one quite suitable 
to take a leading part in your first picture. 

You have now a camera and a "star" and all you need is 
eight million dollars. The obtaining of this may at first seem to 
present some difficulties to the mind of the young beginner, but 
there is no reason why any boy or girl who has perseverance and 
a little spare time in the evenings cannot eventually succeed. 
Go, first of all, to your neighborhood druggist and request two 
or three ounces of Squibb's Household Nitroglycerin. 

Then, after you have selected a fairly quiet night and some 
reliable Bank or Trust Company your procedure should be 
comparatively simple. 

Having, therefore, obtained your 
camera, your "star" and your 
" working capital " you are ready to 
begin production, for which pur- 
pose it will be necessary to have a 
"story" and a director. The 
"story," which is relatively unim- 
portant, will be discussed in our 
next issue, and as for directors, they 
may be found almost anywhere, 

! CON'TIXrED OX PACE 135 ] 



;■/ 



CLOSE-UPS and *> HerbertH ™ 

Long-Shots 



Satire, Humor and 
Some Sense 




Cecil's Ark will be a great im- 
provement over Noah's. It 
will be equipped with a radio 
so you can enjoy the drown- 
ing cries of relatives back 
home 



BEVERLY HILLS, CAL.: 
The town's been practically dark this month. Doug 
and Mary gone to Europe . . . Norma and Joe 
Schenck in New York . . . Marion Davics away . . . 
Harold Lloyd temporarily out of work until " For Heaven's 
Sake" brings in enough money for him to stagger through 
another picture . . . 

Besides, it's been raining. O Dio Mio, and howl When 
Heaven starts weeping over Hollywood there's no stopping it. 
Its emotional performance is as exaggerated as all the rest out 
here. 

TF you heard Jeanne Eagles express herself in "Rain" you 
know what she thought of the moisture in Pango Pango. 
All I can say is ditto, this being Hollywood, where the cen- 
sors won't let you exclaim anything more than "Oh Shucks !" 
as you go down for the third time in your own backyard. 

BUT it's a dark day that doesn't bring a director a bright idea. 
In the midst of the deluge Cecil De Mille announced he would 
film the Flood and Noah's Ark. If a Hollywood contractor 
builds the Ark I'm one animal who won't attend the party. 

I FIGURE it will be drier outside. I'd rather drown quietly in 
the open than be smashed down by a chunk of ceiling with- 
out so much as a chance to take a deep breath. 



never ha\ 



ANOTHER thing, the chances are that 
when the Ark arrives at Mt. Ararat 
there will be a "No Parking" sign and we'll 
have to drive around until the licker supply 
gives out and we all die of thirst. 

THERE'S no doubt but that Cecil's Ark 
will be a great improvement over Noah's. 
It will be equipped with a radio so you can 
enjoy the drowning cries of relatives back 
home. There will be a projection room where 
the animals can view their latest releases. 
And there'll probably be a bar. 

TX7HAT is home without a bar? All 
the new castles in Beverly Hills 
have bars. They vie with the bath- 
rooms for color and trickery. Some are 
of Spanish tiles, others of illumined 
alabaster. One star has a combination 
bar and projection room where on view- 
ing his latest picture you always think 
he's playing a dual role. I'm planning 
one after a famous Montmartre resort 
with a coffin for a bar and a skull and 
cross-bones to typify the stuff that's 
served. There's not much hope, though. 
They'll drink it anyhow. 

BUT to get back to the weather. "Every 
cloud lias a silver lining." as the noted old 
philosopher, Marilyn Miller, 
used to chant from the Zieg- 
feld stage, whereupon a lot 
of little clouds would dance 
nut and give her the lie by 
showing that every cloud has 
silk underwear. But the idea 
is the same. We should al- 
ways look on the bright side 
even though it is under. 

While it rains harder in Hol- 
lywood than anywhere else we 
dark days because we have sunlight arcs. 



TN STEAD of shouting about the sunshine the California 
boosters should feature the fact that you can see the sun 
from anywhere, but this is the only place where you can see 
the most beautiful women on earth. 

INVEST IN BEVERLY HILLS REAL ESTATE— FEMI- 
NINE PULCHRITUDE A PERMANENT CIVIC FEA- 
TURE. (Adv.) 

WHENEVER there's a rainy day I take my gold-handled 
parapluie, borrow Rudolph Valentino's overshoes and 
galumpf over to Corinne's studio. 

Corinne has been playing the Russian princess Taliana — the 
one who didn't get shot. When you see her you'll understand 
why she didn't get shot. Bolshevists may be impolite, but 
they're not blind, and if Taliana looked like Corinne there is no 
man who could be a lady killer. 

IT isn't polite to shoot women at all, though we must admit 
there is a time for all things. However, there is no time for 
shooting Corinnes. What would become of the world on rainy 
days if we did? I mean we should save for rainy days, as the 
Lord or somebody said. (I just looked it up — it wasn't the 
Lord who said it, it was the President of the First National 
Bank here in Beverlv.) 



Lo , the rain fell and the waters rose and 
poor old Herb thought Hollywood was all wet 



I CAN safely say that Corinne's picture, "Into Her Kingdom," 
will be her greatest because I sat on the set every day, saw all 
the rushes and told them just what to do. 

Her director is a Swedish gentleman named Svend Gade. 
The correct pronunciation is " God," but as there are so many 
directors out here who think they are, Mr. Gade has changed it 
to avoid confusion. He is anxious not to incur enmity. 

TV/TR. GADE directed the famous foreign production of 
■"-'■"Hamlet," and I expected to find him a dark and 
gloomy thinker. But when I asked him what interested 
him most in America, he said, "Tell me, what do the girls 
do with their chewing gum when' they kiss?" 

DISSOLVE to the projection room where Corinne and your 
favorite author are viewing the rushes. 

"He looks like John Gilbert — the eyes," I said. 

" He reminds me of Ronald Colman in that shot." exclaimed 
Corinne. 

"Has the poise and manner of Novarro," cry I. 

" I'll tell you who he is like," cries Corinne, " Henry 13. Wal- 
thall in 'The Birth of a Nation'." 

" Well at least," I shout, "you've got to admit the boy has a 
chance!" 

His name is Einar Hansen, and he plays the leading male role. 

He's Swedish, young, poised and electric, with command in 
his manner and character in his face. Dark defying eyes, brown 
hair, a nose, a mouth, a chin, etc. (Weight unknown.) 

He was let out by two companies before Miss Griffith gave 
him a test for "Into Her Kingdom." After watching him on 
the set she remarked very calmly, "I don't need to see him on 
the screen — I'll take him for two pictures." 



Do you think Novarro has a future? Can Colman go much 
further?" 

From force of Hollywood habit I say, "Yes," and get such 
disappointed looks that I hurriedly say "No." 

NO mere actor-idol can last beyond a short allotted time. 
Fairbanks, Lloyd, Chaplin are not mere actors. They are 
artists — producers. We go to see them because the.ir names 
assure great entertainment. 

" A MAN'S only as good as his last picture," says Doug, 
■^*- and I heartily concur. 

AN actor who endures as an idol must have not only char- 
acter but creative force — and the chance to exercise it. 



JOHN GILBEI 
J He gives. He 1 



!ERT has this force. He is tremendously vital. 
: gives. He has contempt for bunk and the courage to walk 
out on it. For that reason his life has been a series of hard 
knocks in Hollywood — with reward in the end. Hence he 
knows that an actor is a pitiful little puppet without great di- 
rectors, stories and associates. The fact that he credits King 
Yidor and others with his success is proof that a lot of the 
credit belongs to him. 

As one who knows the idols behind the front I can applaud 
Harold Lloyd and Doug Fairbanks with an honest heart lie- 
cause they are thoroughly deserving men. I believe Gilbert is 
of their line. Time will prove him. 

'PHE director supplies the acting ability. 
■*■ The press agent supplies the reputation. 
God supplies the face. 
And the actor takes the bow. 

SO positive am I of Mr. Hansen's ascension to favor that I 
predict he shortly will be entertained by all the current male TF movie idols had brains superior to our brothers, the chim- 
idols of Hollywood. J-panzees, they would avoid offending the popular prejudices. 



I pause to note the nobility of stars' natures. The males 
entertain their rivals to prove they are not jealous, while the 
females content themselves with purring nice things about 
theirs from a distance. 

Some of the finest acting in Hollywood is done off-screen. 



"DOOR little idols of a day. 

We put them on a pedestal 
and defy them to stay there. 

Already they are asking me 
eagerly in Hollywood, "You don't 
think Gilbert will last, do you? 



The public will endure a lot from a star but at the first mani- 
festation of conceit the applause ceases and thumbs fly noseward. 
An actor is necessarily egotistical but he is not necessarily a 
preening fashion rival of Peggy Joyce. Yet one after another 
they hang on the jewelry until they appear decked out like 

Aunt Maggie in the regalia of a Lady 

Maccabee. 



Instead of shouting about the sunshine 
the California boosters should feature 
the fact that you can see the sun from 
anywhere, but this is the only place 
where you can see the most beautiful 
women on earth 



WHEREVER you find greatness 
you find modesty. Sometimes 
it is close to the inferiority complex. 

[ CON'TIXl'F.D ON" PAGE 1 10 ] 




r> 




ep— It's the Same Gal 




The peril of Pauline was 
malnutrition. For 
years she longed for 
"IT," bvit she was too 
thin. Producers hired 
her only to weep 



Being the story of Pauline Starke, that 
hardworking girl, and of how success 
came to her through drinking goat's milk 



But look what she has 
become, a Glyn hero- 
ine, a luring, lissom 
lady. It took seven 
years, but just look at 
her now 



GIRLS, at last we have discovered the 
answer to a maiden's prayer. Don't 
bother your heads with correspond- 
ence schools. Goat milk will give 
you "IT." The recipe is not ours. It comes from no less an 
authority than Pauline Starke. When we first met Pauline, 
several years ago, while she was playing Tom Mix's heroine in 
a western drama, she was so thin a loud speaker might say she 
was scrawny. Inasmuch as she supported her mother and her- 
self, Pauline could not afford to vacation from pictures and 
devote time to courting avoirdupois. So she drank goat milk 
instead. 

That girl drank so much goat milk she restored the goat's 
self respect. This bearded, baa-ing, indiscriminate consumer 
of foodstuffs once ranked high in days of yore as family pro- 
viders. It was not so many years ago in New York City that 
goats ran wild in the Bronx and the Murray Hill Section. Now, 
landlords serve that purpose and mournful tenants wail: "They 
get my goat." Which may be a figure of speech. 

There is a goat in Astoria, Long Island, today, that knows 
every extra who plods to Famous Players' Studio. To think 
those extras could have climbed into the spotlight had they only 
known what we are going to reveal here. 

Pauline Starke, who drifted about in pictures seven years 
before she became really known to the flicker public, admits 
that goat milk gave her sex appeal. She hesitates to claim " IT," 
as Madame Glyn has not anointed her among her five high 
priests and priestesses of the love order. No, Pauline cannot 
quite take her place with Gloria Swanson, John Gilbert, Vilma 
Banky, Rudolph Valentino, and Rex, the horse, but she has 
sufficient sex appeal, now, to win approval from the Glorifier of 
seconds, minutes, and hours. 

-16 



By Dorothy Herzog 



"When did the motion picture producers 
discover you had sex appeal?" we quizzed 
Pauline, the afternoon we treated her to a 
difficult talkfest in her suite at the Marguery. 

"I don't think I ought to answer that question," she hesi- 
tated, only to laugh recklessly, blue eyes merry. "Oh, all 
right. It happened after I played in "The Devil's Cargo.' For 
the first time in my life I had a role that meant something, and 
I loved it. 

"The result was several good offers to play real parts and finally 
I signed with Metro-Goldwyn-Mayer." 

"And now you're a sex appeal alumni-ist. You've played in 
an Elinor Glyn love opera." ("Love's Blindness.") 

•' Mrs. Glyn didn't say I had 'IT,' " wistfully. " But she said 
she wanted me to play in her first United Artists picture, 'The 
Man and His Minute.' " 

"I like working with Mrs. Glyn." Pauline stated. "You 
know, she sits on the set beside the camera and just looks at 
you, concentrating, while you do a scene. I don't know how 
she docs it, but she helps a lot." 

"Mesmerism?" 

"Perhaps." 

Whereupon we recalled being told once that Mrs. Glyn 
could not wear a watch. Neither could she have a compass in 
her boudoir. After a few days there, the compass, regardless 
of propriety, pointed to her couch. 

"That's going some to 'hip' a compass." we mused. 

Pauline found silence the better part of diplomacy. 

" At least vou feel remorse for the prayer you used to offer 
when vou drank two quarts of goat milk a day, don't you?" 

"What was that?" 

" ' Dear God, please get my goat.' " [ continued on tace 117 ] 




T' 



IHIS is the Censor Bird, 

skunkus oris, a native of 

the United States. It is a 

creature of devastating 
habits and flourishes in Kansas 
and Pennsylvania. Just now it 
is trying to make its nest in Wash- 
ington. The Censor Bird is a 
destructive vulture that lays 
waste the land it inhabits. Its 
ways are most peculiar. The 
sound of laughter or merriment 
throws it into an unreasonable 
rage. The mention of sex sends 
it shrieking through the land. Al- 
though near-sighted, it is able to see filth that is invisible to 
the ordinary human eye. 

There are no young Censor Birds. The average Censor 
Bird is over fifty years old and fanatically Jealous of youth 
in any form. It feeds on twenty-foot kisses, bathing girls, 
romance, flappers and any sort of beauty not clothed in the 
flannel petticoat of prudery. Its eye is strangely constructed; 
it magnifies innocent fun into sinister evil. Where the normal 
eye sees only beauty and romance, the eye of the Censor Bird 
sees dirt and wickedness. 



The 

Censor 
Bird 



The domestic habits of. this 
creature are worthy of study. The 
Censor Bird is so busy snooping 
into the nests of others, that it 
seldom has time to lay eggs. Such 
eggs that have been found are 
very rare and a sickly blue in 
color. Like the Cuckoo, it lets 
other birds do its work. Its eggs 
are usually hatched out by politi- 
cian birds and then turned loose 
to prey on the young of other 
birds. Naturally, the Censor 
Bird's most bitter enemy in the 
bird kingdom is the Stork. At the 
mere mention of a Stork, the Censor Birds in Kansas and 
Pennsylvania have convulsions, followed by a high fever. 

The Eagle of Freedom is also its natural enemy. In spite 
of its sinister cunning, the Censor Bird is a cowardly opponent 
in an open fight. It is always open season for the Censor Bird 
and it is more easily killed by ridicule than abuse. Laughter 
which makes it dangerously angry, is fatal in the end. 

Do not allow the Censor Bird to get a foot-hold in 
Washington. 

Kill it before it lays waste the land. 

\7 



STUDIO NEWS & GOSSIP* 




Here's "Sey Yes," a real stellar horse, with his trainer, 
Larry Trimble. Larry trained that marvelous dog, 
Strongheart. Now he'll present "Sey Yes" in a series of 
pictures in which the animal is not a mere Incidental, 
but the main thing 



Another way to get into the movies — work for PHOTO- 
PLAY. Both Julian Johnson and his wife, here camping 
in the desert on location with "Beau Geste," used to be 
on PHOTOPLAY'S staff. Now Mr. Johnson is supervisor 
of several Paramount units 



DID you ever see an actor who didn't want 
to be a writer? 

A married man who didn't wish he was single? 

A comedian who didn't think he was a real 
tragedian or vice versa? 

That's just why I think I'd be a great pro- 
ducer. 

And thinking of producing makes me fairly 
itch to get my hands on things over at Para- 
mount. 

First thing I'd do would be to get some 
directors. 

True, they've signed up Frank Lloyd and 
given Luther Reed a chance to direct. That's 
progress. 

And the} 7 have also signed Monta Bell, at 
least for one picture. 

But they let M-G-M sign Clarence Brown 
while they were flirting with him and now it 
looks like M-G-M is also going to resign Fred 
Niblo, although Paramount is trying to get 
him. 

AND how about George Fitzmaurice. who 
made two of the fifty-two best box office 
pictures of last year? His contract with 
Goldwyn is up or about up. Will Paramount 
let M-G-M or First National beat them to Fitz 
as well? 

It takes good directors, among other things, 
to make good pictures. But there are such 
things as good stories and good actors, which 
help. 

Zukor is said to be the greatest promoter in 
the business. Paramount has unlimited re- 
sources. Headed by Sidney Kent, Para- 
mount is reputed to have the greatest selling 
organization ever gathered together. And 
Paramount has the theaters. All they need is 
the pictures. 

-is 



Why not buy the contracts of Ernst Lubitsch 
and Bill Beaudine from Warner Brothers? Two 
great directors! Anil while they're at it, also 
buy little Dolores Costello, to me the greatest 
bet in the industry today, if properly handled. 
Theyhadachanceatheronce,butdidn't sec it 

THEX, if I were running things, and while 
Mill on my spending spree. I'd -catch Sam 
Goldwyn when he needed cash and buy Ronald 
Colman and Vilma Banky from him. 

The big leagues buy stars from other teams. 
They don't insist on developing them all them- 
selves. Why not in the picture business? 

After closing these deals. I'd hop over and 
sign George Marion. Jr.. who is making such a 
sensation with his titles lately, take my new 
directors, my new actors and the really good 
talent, like Di.x, Daniels and a few others who 
already belong to Paramount, buy some great 
stories ami give Mr. Kent and his men some 
pictures that wouldn't be hard to sell. 

Oh, why wasn't I born a producer instead of 
a comedian? 

■jVTAZIMOVA says: 
■^ ' "I have been called every- 
thing. Some people call me Na-zim- 
o-va. Others, Nazzy-mo-va. Now 
they are saying No-ma-zoo-ma." 

IDOX'T know what the Xew York theater 
managers will do if the steady procession of 
stage celebrities continues Hollywood-ward. 
First, there is Xorman Trevor, brought west 
by Paramount, who is established with his 
friend. Montagu Love, in a quaint Hollywood 
hillside home that clings with the tenacity of a 
Swiss chalet to the side of a canyon. Trevor. 



who is well known in this country and abroad, 
is becoming famous for his intimate little din- 
ners, where you see such celebrities as Charles 
Kcnyon, the scenarist; Ronald Colman, Wil- 
liam Powell. Robert Yignola and other peo- 
ple of note. And nothing short of Jesse 
Lasky or an earthquake could persuade him to 
li :n e lii-. morning tennis, his Sunday morning 
canter and the busy social life that is Holly- 
wood's. 

LOWELL SHERMAN, another celebrated 
New Yorker, and his new wife. Pauline 
Garon, are seen at every affair, to say nothing 
of James Kirkwood and Lila Lee. 

And there is Ralph Forbes, a British young 
man who stepped from London to Broadway 
and married Ruth Chatterton. who is in the 
west making a picture. 

Jason Robards came to Hollywood with the 
" Seventh Heaven" company and was so over- 
come, either by the Chamber of Commerce 
bulletins or the fact that you could have 
oranges for breakfast all the year around, that 
he hastily w-ired for his wife and baby and has 
settled down to the comforts of a country 
squire. 

Even John and Lionel Barrymore seem very 
happy in their new environment, although 
Lionel did pause long enough from his screen 
activities to step before the spotlight in his 
celebrated role of "The Copperhead" for a few 
weeks at a Los Angeles theater. 

TACK BOLAXD. Al Green's assistant direc- 
Jtor. saved Colleen Moore from disfigurement 
or death while they were filming scenes for 
"Ella Cinders" and I was one of the slow- 
witted and horrified spectators to this bit of 
calm heroism. 



EAST AND WEST «ycrfy«* 





^m& 



Estelle Clark never forgets her key, 
for she keeps it on her mind all the 
time ! The neat tailored bow on her 
sports hat is really a key pocket 
for the fair Estelle 



Colleen was working in a scene where the 
room was supposed to be on lire and she is 
caught between the flames and a lion. 

Quite a thrill in itself, but nothing to the one 
when Colleen, fleeing, swept over a blow torch 
and her clothing burst into flames. 

While the rest of us yelled for help, hunted 
for blankets or tried to tear off our coats to 
smother the flames, Boland made a flying 
tackle, caught Colleen around the waist, rolled 
her over and over on the stage and smothered 
the fire. 

Miss Moore was not injured, while Boland 
suffered only slight burns on his arms and face. 
It was one of those times when seconds counted 
and Boland didn't waste a single precious 
second. 

Colleen didn't even know she was on fire and 
confessed to me afterward that she thought the 
lion had her when Boland tackled her. 

A HOME town friend of Ray Grif- 
■**■ fith's, visiting him on the set, 
found him with a dozen beautiful 
girls. To give the visiting fireman a 
thrill Griffith secretly instructed the 
girls to parade in front of his friend. 

After a few minutes of this high 
pressure stuff, the visitor buried his 
face in his hands and moaned : 

"Awful, terrible, horrible!" 

No wonder Griffith was peeved. 

"What do you mean terrible?" he 
demanded. "Those are the best 
looking girls in Hollywood." 

"I'm not talking about them," the 
other groaned. "I'm thinking of my 
wife." 




No, no, Anna Q. Nilsson didn't read 
and weep. She looked and curled, for 
that dingus Percy Westmore holds to 
her optic is an eyelash curler. Just 
another beauty invention 



LI LA LEE has come back to Hollywood, 
after a couple of years in New York, where 
she scored a big stage triumph. Of course 
even-body welcomed Lila back. But, she gets 
surprisingly little attention for one who grew up 
with the gang out here and was always known 
and loved by everybody. The truth of the 
matter is that everybody is completely fasci- 
nated by Lila's small son, James Kirkwood. 
Jr., and. therefore, hasn't the time to spend on 
mother or Daddy — James Kirkwood, Sr. 

When young Kirkwood, aged two and a half, 
appeared on the United lot the other day. 
wearing a man's overcoat about two inches by 
four, and swinging a cane in the best Lamb's 
Club manner, he almost started a riot. He 
looks exactly like his father, but he has his 
mother's fatal gift of stopping the show. 

Anyway, he has been voted the cutest kid 
seen in these parts in many a long day. 

AT ONE of Constance Talmadge's recent 
-''■dinner parties — it was her birthday, by the 
way — the guests witnessed a tango contest 
that couldn't be repeated for love nor money. 
Constance, considered by the great Maurice 
the finest ballroom dancer in the world, with 
the possible exception of Mrs. Castle and 
Leonora Hughes, danced with Manuel Reachi. 
the young Mexican diplomat who is married to 
Agnes A> res. And Rudolph Valentino and 
Pola Negri danced together. Must admit that 
1 thought Constance and Reachi had a l>it the 
best of it. though maybe I am prejudiced in 
( 'onstam e's favor. 



It must just tickle Jane Arden all over to be as stylish as she is here, 
movement and she can give herself a laugh 



A single 



49 




Does she look sad? Well, she's a great comedian's wife! 
Rose Langdon, wife of the amusing Harry, went into 
pictures incognito to see if she could succeed on her 
own. She did this bit in the "Road to Mandalay." 
Now she's under contract 



This luxurious dressing room of Marion Davies' is just 
like Mary's lamb. Everywhere that Marion goes the 
dressing room is sure to follow. Being portable, it can 
tag Marion all over the lot. No wonder that gel always 
looks so lovely 



ONE of Hollywood's indoor pastimes is 
picking the belle of each Sixty Club dance. 

The Sixty Club, you know, is Hollywood's 
own exclusive dancing club, which meets in the 
Biltmore hotel ball room every other Saturday 
night. And believe me. it takes a real belle to 
shine among the gathering of gorgeously 
gowned screen beauties. 

Florence Yidor swept all before her at the 
New Year's Eve Sixty party. I saw Blanche 
Sweet achieve first honors one night, in a bright 
red creation brought back from Paris, and 
Anna Q. Nilsson was a huge success the night 
she first wore her white powdered wig. 

THE latest triumph goes to Virginia Yalli. 
In talking over those who shone at the last 
Sixty, opinion seems to be unanimous. In a 
gown of very soft white chiffon, reaching clear 
to the floor, and enveloping her bare shoulders 
in a cloud, with her dark hair cut shorter and 
brushed more severely than ever, she was 
really a dream. 

It was an especially brilliant Sixty. Irving 
Thalberg had a huge party, in which were 
Marshall Neilan and Blanche Sweet, King 
Vidor and Eleanor Boardman, John Gilbert 
and Mae Murray, Norma Shearer and a lot of 
other M-G-M celebrities. Mr. and Mrs. Sidney 
franklin had a charming dinner. Their guests 
included Mr. and Mrs. Fred Niblo (Enid 
Bennett), Capt. and Mrs. Alastair William 
Mackintosh (Constance Talmadge), Florence 
Vidor, Conrad Nagel, Mr. and Mrs. Antonio 
Moreno, Mr. and Mrs. Charles Ray, John 
Considine and Catherine Bennett, Mr. and 
Mrs. Douglas MacLean, and Mr. and Mrs. 
Jack Holt. 

OLD Doc Stork has been so busy in Holly- 
wood the last month that he has been 
forced to add a couple of storklets to his staff, 
and one of the first infants the apprentices 
delivered was to Mr. and Mrs. Monte Blue. 
The Blues chose a girl whom they have 

50 



named Barbara Ann, and Monte is so happy 
that even the recent terrific downpour of rain 
(quite unusual for California. I assure you) 
couldn't dampen his spirits. 

Then immediately after the arrival of Miss 
Blue, Maria Elizabeth Reachi made her 
appearance to bless the home of Agnes Ayres 
and .Manuel Reachi. They say that Senor 
Reachi had his heart set on a boy and even 
went so far as to have the engraved announce- 
ments read "Manuel Reachi, Jr." And then 
thestorklet left agirl! 

The first boy to make his arrival among the 
cargo of infants was Clive Brook, Jr.. an eight- 
pound lad, who is the second child to be born 
to the English actor and his wife. 

TI7HEN Paramount had some two 
'' thousand men encamped in the 
sand hills of the Arizona desert, 
filming scenes for "Beau Geste," a 
bugler was charged with rousing the 
camp at 5:30 a. m., announcing 
breakfast at 6 and so on. 

What the bugler lacked in tech- 
nique, he more than made up in 
noise and willingness. 

One morning he took his stand di- 
rectly in front of the tent occupied by 
Noah Beery and blew his adaptation 
of reveille. 

As the last squawking note died 
away in the sand dunes, Beery, 
awakened from a sound slumber, 
bellowed: 

"No, we don't want any fish today." 

ANOTHER wedding march of the month, 
that timed the paces of bride and groom to 
the altar, was played for the marriage of Ouida 
Bergere, former wife of the noted director. 
George Fitzmaurice. to Basil Rathbone. Thev 



were married in Xew York and. following their 
honeymoon, will make their home in Holly- 
wood. 

BR \1>I.KY KING, whose agility at juggling 
plots and plays, places her high in the Fox 
scenario stall, slarted out in life as Guiseppina 
Arezzana Romano and every story she sent to 
a magazine came back promptly with a rejec- 
tion slip. 

"This will never do." said Guiseppina 
Arezzana Romano, who is a niece of Baron 
Furio Arezza Tomano. Italian ambassador to 
France — making it all the more imperative 
that she make good. So she sat down with a 
friend and figured that if her name was Bradley 
King, the gods would undoubtedly grin down 
upon her. 

She became " Bradley King." Sold the 
same stories. Adapted "Anna Christie" for 
the late Thomas Ince. And then the rocky road 
to fame became a chute to success. 

Who says there is nothing in the science of 
numerology? 

THAT boy Dix must spent his spare time- 
reading the joke book. Anyway, here's 
Richard 's latest: 

A sprightly widow from the north, with a 
vanity ease full of travelers' checks, went to 
Florida on the still hunt for a man. After 
registering at a Miami hotel she sauntered onto 
the piazza and seated herself near a handsome 
chap. 

Her short skirt revealed much shapely leg. 
Her slight cough revealed a desire to become 
acquainted. 

The handsome chap smoked on. 

Finally a piece of cambric was wafted to the 
ground. 

"Oh! I've dropped my handkerchief!" she 
trebled coyly. 

The handsome man turned and coldly looked 
at her: 

"Madame, my weakness is liquor." 




Here is Lori Bara, the only Theda's sister, as an old- 
time belle in "In Praise of James Carabine." Lori has 
been steadily working upward in the film ranks. Won- 
der what ever became of those two beautiful girls' 
brother, Paul Bara? 



No, Joan Crawford is not moulting. That feathered 
anklestrap turns her pump into a winged Mercury. 
Maybe it helps her in being Hollywood's swiftest Charles- 
toner. She's a nice girl, Joan. We really ought to see 
more of her 



WALTER LONG, that sterling villain of 
the screen, went to the American Legion 
Stadium lights one Friday night. 

When he left home he said good-bye to one 
black cat, his very especial pet, and when he 
returned seven black cats greeted him. Six 
kittens had been born during his absence. 

Just think seven black cats and Friday night. 

Walter, who has just signed a Cecil B. De 
Mille contract, is sure he has a great year ahead 
of him. 

THE new Chaplin heir, son of Charlie 
Chaplin and little brother of Charlie, Jr., 
who was recently born to Charlie and his girl- 
bride, Lita Grey Chaplin, will be named Syd- 
ney Earl. Mrs. Chaplin picked out the name, 
which is an old one in her family. 

Charlie and his wife are both enraptured with * 
the latest addition to their family. The young 
man weighed seven pounds upon his arrival, 
looks like his beautiful mother, and is getting 
huskier by the minute. He has completely 
overcome their disappointment that the second 
Chaplin child wasn't a girl. 

However, with less than a year between these 
two, and both Chaplin and his wife "crazy for 
a little girl, " nobody would be surprised if the 
large family Charlie has always wanted would 
grow by leaps and bounds. 

IT wasn't so very long ago that Larry Trimble 
astounded the picture world by making "The 
Silent Call," with the real wonder dog of them 
all, Strongheart. That picture was a sensation 
and it stood out, with its sequel. " Brawn of the 
North," as the finest thing of the kind ever 
made. Other dogs have done tremendously 
smart and clever things, but to me, at least, 
Strongheart was in a class all by himself. 
More than they he pioneered the field, did 
what they said couldn't be done, and won 
hearts as no other dog ever has. 

For the past year, Trimble, who is famed for 
his work with animals, hasn't been much 



heard of. I've just found out why. Larry has 
been working day and night with a beautiful 
Arabian horse, "Sey Yes." and he is just about 
ready to start a picture with him. Not a 
picture in which the horse will be incidental, 
but a real starring picture. And he swears that 
"Sey Yes" will be to all horse pictures what 
Strongheart was to dogs, that the horse has the 
same intelligence. 

I shall look forward greatly to seeing that 
picture, for Larry Trimble is a wizard with 
animals who has never been equalled or even 
approached in the film industry. 

JAMES CRUZE, Paramount's pet 
director, believes he has received 
the prize fan letter. It came to Jim- 
mie from a dealer in rags, bottles and 
old metal in Davenport, Iowa. It 
read, in part: 

"I see by the papers you are going 
to make a film play called 'Old Iron- 
sides.' I am glad of that. I have 
watched film plays immortalizing the 
American policeman, the fireman and 
the mailman, but no one has before 
ever made one about the American 
junk man." 

ANNA Q. NILSSON'S eyes were still 
twinkling when I met her, and, of course, 
I asked her the cause. One always should. 

You see she has been masquerading in male 
attire again after her terrific "Ponjola" suc- 
cess, and the "Hiss Nobody" company, of 
which she is the important member, had been 
on location at Chatsworth. a little mountain 
town near Los Angeles. On the return trip 
Lambert Hillyer, the director, stopped at a 
wayside inn for some cigarettes, and Anna Q., 
in the glory of her baggy pants, took the oppor- 
tunity to sneak into the rest room. Naturally, 



she walked toward the room reserved for her 
sex. 

The innkeeper saw what he took to be a male 
invasion of tlie sacred precincts of ladyhood and 
he dashed after Anna. Hillyer dashed after the 
innkeeper and Anna kept sublimely on. 

It took three minutes for Hillyer to convince 
the proprietor that Anna was in her right 
domain. 

THIS seems to be the month for discoveries. 
Irving Cummings was tearing his hair over 
at Fox's because he couldn't find a leading man 
for " figs." It wasn't really a man he wanted. 
It was a boy — but none could be found to suit 
his wishes. 

One day he was pacing the lot and in the dis- 
tance he saw just the boy he had been looking 
for. 

"Hey, boy' Where have you been all my 
life?" he yelled. 

"Right here on the lot, sir, working in the 
photographic department," returned the boy 
who was just the type to play the lead in 
"Pigs." 

And that is the way young Richard Walling, 
who is the son of William Walling, a well- 
known Hollywood character actor, started in 
pictures. 

THERE is Dorothy Dunbar, too, who has a 
figure that would make Aphrodite gnash her 
teeth and pretty, apple-round cheeks. You've 
probably seen her in pictures a hundred and 
one times and always in tiny bits that call for a 
girl who wears clothes well. 

Dorothy is rather tall and when Dick Bar- 
thelmess met her at the birthday party given 
for Dorothy Mackaill he immediately desig- 
nated her as "the tall girl who wasn't tall." 
On the strength of the endorsement she is to 
play the leading lady in his next picture, which 
will be "The Amateur Gentleman." 
[ CONTINUED ON PAGE 98 ] 

51 




Curse that cat ! Try- 
ing to crab my cat- 
nip. Trying to lap 
up all the cream. It 
goes against my fur. 
Think of such com- 
petition placed in the path of an artist 
like myself. After all I've suffered for my 
public 



Felix is Mad 



Photoplay's favorite star, Felix the cat, 
came in to spit his mind about the 
screens newest cat, Tommy, who wears 
"The Cat's Pajamas.'''' Felix kindly con- 
sented to pose for a few photos and he gave 
his opinion of the new feline without fear 
or favor. No Felix has ever been known 
to lower his back 



Who do you think 
you are, anyway, you 
with your Para- 
mount contract? 
Born Persian, were 
you? Who's your 
press agent? Let me 
tell you something. 
I'm a 100 per cent 
American male 
cat and proud of it 




Yes, and I'll talk to 
you from this side, 
too, if I want to. 
You and your Men- 
jou clothes. I may 
not be aristocratic, 
but there's nothing 
I can't do and that's 
more than any Per- 
sian can say. And if 
you ever saw my fan 
mail you'd die of 
convulsions 





You Persian, you're beauti- 
ful but dumb. I've seen 
many cats like you come and 
go. Mostly go, just in front 
of a brick. You're the kind 
of a cat that kittens forget. 
You may have been born 
high up, but wait till you 
reach the end of your ninth 
life, my dear. He who purrs 
last, purrs best 



Somewhere in all this I smell 
a rat. Dirty work at the 
booking offices. My tail 
aches under the injustice of 
it all. I must get my man- 
rger, Pat Sullivan, after this 
Lasky person 





The Lark of the Month 



LEATRICE JOY has been wearing mannish attire for her 
latest picture "Eve's Leaves" and with her sleek haircut 
she looks like a college youth. The other morning she was 
ready to leave for the studio when Lois Wilson drove up and 
asked Leatrice to drive to town with her to do some shopping. 
Naturally, Leatrice wanted to shop too, so she joined Lois, giving 
her chauffeur orders where and when to meet her. 

At the first shop the girls parted, Lois taking her car with her. 
But Leatrice, not finding just what she wanted, hailed a taxi and 
drove to another. When she came out she found the taxi gone. 



What to do? Hail another? There wasn't one in sight. There 
was only a street car and Leatrice made up like a boy! 

She couldn't waste time, however, so she got on the trolley. 
Believing that when in Rome be a Roman, Leatrice gave her seat 
to a pretty girl, received the reward of a dazzling smile, and care- 
fully tipped her hat. 

Then she retreated to the back platform and got into a brisk 
flirtation with two highschool girls and to add the artistic touch 
to her masquerade she winked at them as she got off at the corner 
where her motor was waiting for her. 

53 



THE NATIONAL GUIDE TO MOTION PICTURES 




A SOCIAL CELEBRITY— Paramount 

THIS month Adolphe Menjou, by way of having his 
little joke, is making believe he is a small town barber, 
who goes to the city, becomes a celebrity, in borrowed 
clothes, for a night or two and then, discovering the big 
town folks to be small minded snobs, goes back to the 
village and the shaving cups for marriage in a little cottage 
with Louise Brooks. 

Naturally, you won't believe it when you look at Adolphe 
or Louise Brooks, either, but that's half the charm of 
Menjou films. 

Mr. Menjou plays Mr. Menjou as fascinatingly as usual. 
Miss Brooks looks more than ever like stellar material. 
Malcolm St. Clair's direction is above average, and Chester 
Conklin, as Menjou's father, is simply swell. Go see this one. 




BROWN OF HARVARD— Metro-Goldwyn-Mayer 

THERE'S college life, flip and lively, set against the 
real background of Harvard College. 

It was ideal casting making William Haines Tom Brown. 
He is as fresh a Harvard freshman as ever muddied Cam- 
bridge. He arrives, gay and irresponsible, prepared to 
tame the whole college. In retaliation the college, with the 
exception of one poor little freshie, named Doolittlc, set 
out to annihilate him. 

Tom loses the boat race to Yale. He makes the football 
team and gets scratched in his first big game. The only 
girl drops him. But Tom wisecracks on until Doolittlc, 
having run through the rain to tell him of his second chance 
on the football team, dies of pneumonia. 

Jack Pickford supplies the sobs, Mary Brian the girlish 
influence, but most of the picture is William Haines. 

51 



The 

Shadow 
Stage 

A Review of the 7V[eu> Pictures 




ALOMA OF THE SOUTH SEAS— Paramount 

HERE is a film of startling beauty, beauty as compelling 
and as perfect as any the screen has ever shown. It 
creates the South Seas as we all like to imagine them, 
palms tall and beautiful against skies piled with sullen 
clouds, far-flung white beaches lapped by scented seas 
and native girls as radiant as hibiscus blossoms. 

"Aloma" reveals all this plus Gilda Gray. Almost all of 
Gilda is revealed, and what a personality she proves to be! 
Product of Middle Western poverty, product of Broadway's 
most hectic cabarets, winner of wealth and fame, something 
has saved Gilda Gray's great simplicity. She is as child- 
like and primitive as a man's first dream of love. She moves 
across the screen, undisturbed by it. Watching her, it is 
almost impossible to believe that it is her first important 
film role. She photographs perfectly and so completely is 
she Aloma, one's only wonder is whether she can possibly 
play any other character. 

Compared with these factors, the story fades into insig- 
nificance, which is just as well, since it is an insignificant 
story. It's the old one about the soldier who left his sweet- 
heart behind; who was reported killed, but really wasn't, 
who returns to find the sweetheart married and then goes 
to the South Seas to drown himself behind a heavy growth 
of whiskers and a row of whiskey bottles. 

Maurice Tourneur's direction is excellent. The playing 
of the cast, Warner Baxter, as a native; Percy Marmont as 
the suffering gentleman; William Powell, as the marrying 
rascal, is all that is necessary. But it is Gilda Gray and 
beauty that make "Aloma" a glorious experience. Take 
the children. It will be good for them. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 
ALOMA OF THE SOUTH SEAS WET PAINT 

A SOCIAL CELEBRITY BROWN OF HARVARD 
BEVERLY OF GRAUSTARK MLLE. MODISTE 

The Best Performances of the Month 
Gilda Gray in "Aloma of the South Seas" 
Chester Conklin in "A Social Celebrity" 

Raymond Griffith in "Wet Paint" 

Marion Davies in "Beverly of Graustark" 

Gardner James in "Hell Bent fer Heaven" 

Adolphe Menjou in "A Social Celebrity" 

William Collier, Jr., in "The Rainmaker" 

Casts of all pictures reviewed will be found on page 140 




WET PAINT— Paramount 

GLORIFYING the American Gag— or Jag. It's a pic- 
ture so innocent of plot, moral, meaning or message 
that we wouldn't be surprised if it didn't foreshadow the 
Art of the Future. 

It also bears a family resemblance to the Art Works once 
tossed off by Papa Sennett. 

The settings are more gorgeous, the gags are slightly 
laundered, but it is dominated by the old, wayward, get- 
no-where comedy spirit. 

Although Raymond Griffith is the flashing, outstanding 
personality of the film, the picture is far from being a solo. 
Mr. Griffith generously allows other members of the cast — 
yes, and even the title writer — to take some laughs. Some 
rich business, for instance, falls to Henry Kolker. And 
Natalie Kingston, who looks strangely like Dorothy Sea- 
strom, is given a chance to make the hit of her life in a 
"vamp" part. 

Miss Kingston — if it is she and not Miss Seastrom — 
ought to cling to her blond wig. 

Helenc Costello is almost as distractingly lovely as her 
sister in a role that means nothing at all. 

The players and the titles in "Wet Paint" are more im- 
portant than the story which is nothing but a lot of gags — 
old and new. 

The episode of Griffith's wild ride on the fire engine will 
go down as one of the best of the year. 

And the scene of Griffith's first swallow of bootleg hooch 
ought to be shown before the next Dry Investigation in 
Washington. 

All in all, a great film for those to whom fun is fun. 




BEVERLY OF GRAUSTARK— Metro-Golduyn-Mayer 

ALIGHT, frothy, romantic piece of nonsense, this, 
spiced with the presence of Marion Davies and Antonio 
Moreno. 

Clothes may not make the man, but give Marion Davies a 
pair of close-fitting trousers and she can create the merriest 
comedy in filmdom. She wears the trousers in this one. 

Beverly's brother, Prince of some Balkan principality, is 
unable to go take his throne, endangered by revolutionists. 
Beverly assumes his role and his uniforms and tries to get 
away with the royal manner. Her life is in danger, her 
masquerade is suspected by the leering general, played by 
that fine leer-er, Roy D'Arcy, and she falls in love with 
Tony Moreno, who believes she is the Crown Prince. 

It ends with Marion in skirts and Tony's arms. 




MLLE. MODISTE— First National 

TAKEN from the operetta by Victor Herbert and Henry 
Blossom, this amusing story of Fiji, a French manne- 
quin, is as light and airy as the first days of Spring, as are 
most musical productions. 

Through some very clever wise-cracking titles and the 
excellent work of Corinne Griffith and Willard Louis, this 
is developed into one of the most entertaining pictures of 
the month. 

Corinne as a model, who said she wasn't that kind of a 
girl and she really wasn't, has the opportunity to display 
some ravishing gowns, that will send most of the feminine 
audience into ecstasies. Corinne shows us that she has 
not lost the delightful comedienne qualities that she ac- 
quired in "Classified." 

1 1 you want a good laugh — sec it! 

55 



THE RAIN- 
MAKER— 
Paramount 




THE OLD 

SOAK— 

Universal 



A GERALD BEAUMONT story picturized into a 
splendid entertainment that falls just short of being an 
outstanding production. William Collier, Jr., plays an 
ex-jockey who has acquired a reputation as a weather 
prophet, but knows he is a fraud. During an epidemic 
caused by drought he prays for rain to save the life of his 
sweetheart, and a cloudburst follows in melodramatic 
fashion. Georgia Hale gives a splendid performance. 



ANOTHER stage success ruined. All about an old toper 
who turns hero in the end and, abetted by one of 
those nifty but nice chorines, outwits crafty Cousin Web- 
ster. Louise Fazenda's slave}' antics keep the first half 
from dragging, and the fine portrayal of Jean Hersholt 
in the title role, skillfully aided by Lucy Beaumont, June 
Marlowe, William V. Mong. fills the final reels with rich 
human drama. Take Aunt Bella, too. 



OTHER 
WOMEN'S 
HUSBANDS 
— Warner 
Bros. 




OLD LOVES 
FOR NEW— 

First 
National 



ACCORDING to the sub-title "are liable to fall but a 
really clever wife can succeed in picking them up in 
the first bounce." A thoroughly amusing and clever 
domestic comedy directed by Erie C. Kenton who can be 
readily called the American Lubitsch. He has developed the 
plot with a delightful sophistication as sparkling as cham- 
pagne. Monte Blue, Marie Prevost and Huntley Gordon 
head the cast. So we don't have to tell vou it's well acted. 



INTRODUCING Lewis Stone as a sheik, but we'll wager 
he won't burn up the town as did his predecessor, Rudy. 
There is nothing outstanding in this production with the 
exception of the performance by Barbara Bedford. And, 
oh yes. Kathcrine MacDonald stages her comeback — but 
it's nothing to get excited about. Fair entertainment, if 
you like desert stuff, but nothing to cause a rush of adjec- 
tives to the typewriter. 



MONEY 

TALKS— 

Metro- 

Goldwyn- 

Maver 




PARIS AT 
MIDNIGHT 
— Producers 
Dist. Corp. 



SLAPSTICK at its best— a la Syd Chaplin style. It is 
all a lot of fun though inconsequential and, granted that 
you are not highbrow, you won't be bored. Owen Moore is 
very much in evidence as an advertising man who, with faith 
in his own abilities as an exploiter, uses bluff to sell his 
ideas to a hotel man. He not only gets away with it and 
makes good, but also wins back friend-wife, Claire Windsor. 
It's fluffy but lots of fun. 



AN UNUSUAL theme of a father's noble sacrifice for 
his daughters' social prestige, excellently portrayed 
by Jctta Goudal, Lionel Barrymore, Edmund Burns and 
Mary Brian. The' plot suffers from a loose and jerky 
continuity. Just as you are about to give up in despair a 
wild Parisian orgy is staged or else Jetta Goudal appears 
on the screen and your interest is revived. Parts of the 
picture are a treat to the eye. Leave the children home 






THE 

SHAMROCK 
HANDICAP 
—Fox 




HELL BENT 
FER 

HEAVEN— 
Warner Bros. 



SHURE an' I know ye all love a story with an Irish back- 
ground for ye know it will be filled with a wealth of good 
humor and beautiful locations. And here ye have a capable 
cast doing excellent work — thanks to John Ford, the direc- 
tor, and Peter B. Kyne, the author, for his lovely story. 
Trot yourself down to the first theater showing this if ye 
want an evening's fun — and that's not blarney! Shure we 
wouldn't fool ve. 



THE original stage play won the Pulitzer prize, but the 
movie-version will not be placed in any gold-medal class, 
for, in the transposition, it became one of the slowest moving 
stories of the back-woods. The character development is 
decidedly different from the stage production — so again 
legitimate theater fans will be disappointed when they see 
this finished product. Gardner James, as the fanatic, 
gives an excellent and inspired performance. 



THE 

WILDER- 
NESS 
WOMAN— 
First 
National 




ROLLING 
HOME— 

Universal 



THIS is that faithful standby, the yarn of the beautiful, 
feminine rough diamond, who eats with her knife and 
wears trick clothes until love and the city chap lead her to 
Fifth Avenue for a hair cut and a complete change of per- 
sonality. Some of the gags are good. Aileen Pringle plays 
the girl well enough, but the outstanding performer is 
Chester Conklin as a miner with a million. Mild enter- 
tainment. 



WHILE this does not contain the hilarity of the former 
Reginald Denny pictures, still there are many funny 
sequences which will make an otherwise dull evening 
amusing. Here Reggie is a bluffer who finds himself in a 
tangled web which he spun by his deception. How he is 
extricated is where the fun comes in — and of course a hero 
always manages to make good his bluffs. Denny gives a 
neat performance. Take the whole family. 



EVE'S 
LEAVES— 
Producers 
Dist. Corp. 




EARLY 
TO WED- 
Fox 



"DOOR Leatrice Joy! A couple more vehicles like this ami 
J- she'll have to go into vaudeville. Looking very debonair 
in her boyish garb— she never wears skirts throughout the 
production — she works hard, but no one in the cast, which 
includes William Boyd and Robert Edeson, could triumph 
over its bad comedy and hectic melodrama. A set of un- 
funny, wise-cracking subtitles make matters worse. For- 
tunately, it's a rare film as piffling as this. 



ALIGHT comedy — and oh so very light — of a young 
married couple. Matt Moore and Kathryn Perry are 
again the newlyweds and do some excellent work in a story 
— a groom loses his job after furnishing a home on the in- 
stallment plan, troubles, etc., etc., — which has been food 
for thought for many recent comedies. But the situations 
always have human interest. 

The children can see this. [ contixued on* pack 142 | 

57 



$5,000 in Fifty Cash Prizes! 

RULES OF CONTEST: 

1. Fifty cash prizes will be paid by Photoplay Magazine, as follows: 

First Prize $1,500.00 

Second Prize 1,000.00 

Third Prize 500.00 

Fourth Prize 250.00 

Fifth Prize 125.00 

Twenty Prizes of $50 each 1,000.00 

Twenty-five prizes of $25 each 625.00 



2. In four issues (the June, July, August and 
September numbers) Photoplay Magazine is publish- 
ing cut puzzle pictures of the well-known motion 
picture actors and actresses. Eight complete cut 
puzzle pictures appear in each issue. Each cut puzzle 
picture will consist ol the lower face and shoulders 
of one player, the nose and eyes of another, and the 
upper face of a third. When cut apart and properly 
assembled, eight complete portraits may be produced. 
$5,000.00 in prizes, as specified in rule No. 1, will be 
paid to the persons sending in the nearest correctly 
named and most neatly arranged set of thirty-two 
portraits. 

3. Do not submit any solutions or answers until after 
the fourth set of cut puzzle pictures has appeared in the 
September issue. Assembled puzzle pictures must be 
submitted in sets of thirty-two only. Identifying 
names should be written or typewritten below each 
assembled portrait. At the conclusion of the contest 
all pictures should be sent to CUT PICTURE PUZZLE 
EDITORS, Photoplay Magazine, 221 West 57th 
Street, New York City. Be sure that your full name 
and complete address is attached. 

4. Contestants can obtain help in solving the cut 
puzzle pictures by carefully studying the poems appear- 
ing below the pictures in each issue. Each eight-line 
verse refers to the two sets of cut puzzle pictures appear- 
ing directly above it. The six-line verse applies generally 
to the four sets on that page. Bear in mind that it costs 
absolutely nothing to enter this contest. Indeed, the 
contest is purely an amusement. You do not need to be 



a subscriber or reader of Photoplxy Magazine to com- 
pete. You do not have to buy a single issue. You may 
copy or trace the pictures from the originals in Photo- 
play MAGAZINE and assemble the pictures from the 
copies. Copies of Photoplay Magazine may be 
examined at the New York and Chicago offices of the 
publication, or at public libraries, free of charge. 

5. Aside from accuracy in assembling and identifying 
cut puzzle pictures, neatness in contestants' methods oi 
submitting solutions will be considered in awarding 
prizes. The thirty-two cut puzzle pictures or their 
drawn duplicates, must be cut apart, assembled and 
pasted or pinned together, with the name of the player 
written or typewritten below. 

6. The judges will be a committee of members of 
Photoplay Magazine's staff. Their decision will be 
final. No relatives or members of the household of 
any one connected with this publication can submit 
solutions. Otherwise, the contest is open to everyone 
everywhere. 

7. In the case of ties for any of the first five prizes, the 
full award will be given to each tying contestant. 

8. The contest will close at midnight on September 
20th. All solutions received from the time the fourth 
set of pictures appears to the moment of midnight on 
September 20th will be considered by the judges. No 
responsibility in the matter of mail delays or losses will 
rest with Photoplay Magazine. Send your answers as 
soon as possible alter the last set of cut puzzle pictures 
appears in the September issue, which will appear on 
the newsstands on or about August 15th. 



Cut Puzzle Pictures Are on Second Page Following This Announcement 



SUGGESTIONS 



Contestants should study the poems appearing in connection 
with the cut puzzle pictures. These arc the indicators for 
identifying the contest puzzle pictures and winning prizes. 

Contestants will note that identifying numbers appear at 
the margin of the cut puzzle pictures. These numbers may 
be copied upon the cut portraits, with pencil or pen, so that, 
in pasting or pinning the completed portrait, it will be possible 
to show the way the cut pieces originally appeared. 

56' 



As no solutions may be entered before the fourth set of 
puzzle pictures appears, it is suggested that contestants merely 
pin their solutions together until the conclusion. This will 
permit the shifting and changing about of pictures as the con- 
test progresses — and will give time for lengthy consideration 
and study. 

Each cut puzzle picture is a portrait of a well-known motion 
picture actor or actress. 






*SMT 



AUEEN PRJ NCil E 

has yet to cncoun 
ter her real oppor 
tunity The other 
Jay someone sak 
to her, "I just sav\ 
your picture 
•The Wllderues 
Woman.' " "My 
picture!" exclaim- 
ed Aileeu, "You 
mean Chester 
Conklm's. I'm still 
on the cutting 
room floor!" 
Here's hoping 
Miss Pnngle gets 
her chance soon. 
She's a big poten- 
tial personality. 








The hair plays, quite otten, the good, mls-uaed 

wife. 
The eyes rose — through beauty — to fame. 
The mouth is a blonde, and the loveliest far 
In Hollywood, so critics claim. 

The hair knew the stage ere it shone on the screen. 
The eyes are Sam Goldwyn's best bet, . 

The mouth is unmarried — its owner, you see. 
Is not even twenty -one yet ! 



The hair played with John and with Doug I pretty 

good !) 
The eyes have a daughter, well grown ; 
The mouth made a hit in her first feature film — 
The sort of success rarely known ! 
The hair is as gold as the sun in the spring. 
The eyes were re-married, last year. 
The mouth wants to smile, for a change, in new 

roles. 
She's been linked, far too long, with life's tear : 



RESUME 
One 0} them has dark hair, and one auburn locks. 
And one has grey eyes, and one blue: 
Then come from the Trent. Middle Weat, and the 

East. 
And one from the old to the new .' 
And two have brown orbs, and the prettiest <"it 

is said to be proud of her handsome, small son. 









The hair might be called — if you will — P. 

The eves bailed from Alsace-Lorraine; 

The mouth played with Norma, at first, as her 

son, 
In n scene that was touched with great pain. 
The hair was in stock for a couple of years. 
The eyes won a letter nt Yale ; 
The mouth, as a youth, had a try at a sport 
That makes even great heroes turn pale. 



The hair has a vote for the first time next fall. 
The eyes helped great stars, on the stage ; 
The mouth won attention upon a dance floor, 
At a time when King Jazz was the rage ! 
The hair was a Vitagraph star, long ago, 
The eyes opened where beans abound ; 
The mouth (after doing small bits for a while) 
In a Rex Ingram picture was found. 



RESUME 
arc married — 



three 



bru- 



Three of the 

nettes — 
The lone one, unwed, has blue eyes; 
And one rose quite slowly to fame, but the rest 
Have quickly found where success lies. 
One has a small daughter — a child much adored — 
Two came front the East and two came from 

abroad. 




THE movies' gilt-edged security, Anna Q. Nilsson. She's a movie veteran, who never 
looks it. She's a fine actress, who never talks about her art. Stars rise and set but 
Anna Q. with beauty and distinction undiminished plays on. 




She wore the pants first in 
the movies, did Anna Q. 
Nilsson. That was for 
"Ponjola." Now she's go- 
ing to be a shebo, a lady 
tramp in "Miss Nobody" 




On with the 

ants 



By Madeline Mahlon 



OF course I suppose the credit goes originally to Marion 
Davies. She was the first girl on the screen to disport 
in pantaloons. But hers were broadcloth and form- 
fitting. Marion, you recall, wore them in "Little Old 
New York." And everybody who saw her smiled, in that quiet 
condoning way, and said: "She is so rascally cute in them, she 
can get away with it." 

But it remained for Anna Q. Nilsson to strut out in the cin- 
ema calcium with whipcord breeches and mannish shingle and 
follow Love, admirably portrayed by James Kirkwood, into that 
part of Africa called "darkest." This was in "Ponjola." No 
cute tricks for Anna Q. No coy actions. She was a man's man. 
She smoked cigarettes. She walked with mannish stride. 

And the result was a gale that shook the country like the well 
known aspen leaf and gave Anna Q. the title of First Lady of 
Pants. Marion won't mind. She is too generous to grab all of 
the titles, and, anyway, Marion's "Little Old New York" 
trousers were not trousers in the truest sense of the word. They 
might have been glued on her, so perfectly did they fit. Ortho- 
dox trousers should wrinkle here and there. 

After Anna Q. put on the pants with such terrific success all 
the actresses in Hollywood furtively tried male attire. Some of 
the results were astounding. Others encouraging. A few were 
bowlegged. And thereupon producers were assailed by pant-ing 
players anxious to follow in the lead of Anna Q. 

So now, after watching Gloria [ continued on page 13S ] 




One of the most feminine 
girls in films, Anna Q., 
doesn't go coyly cute in 
trousers. She makes such 
characterizations real 

63 




The 
Award 
0/1924 



hat was the 

Best Picture 
0/1925? I 



ote 

for the 

picture 
you think 
should win! 




Winners of Photoplay Medal 



1920 

"Humoresque" 

1921 

"Tol'able David" 

1922 

"Robin Hood" 

1923 

"The Covered Wagon" 

1924 

"Abraham Lincoln" 



THE Photoplay Magazine Medal of Honor, the highest 
reward of merit in the world of motion pictures, is to be 
awarded for the sixth time. The three million readers 
of Photoplay are now invited to award the medal for 
the best picture drama of 1925. 

The conferring of this award rests entirely with the readers of 
Photoplay. Back, in 1920 Photoplay awarded its first Medal 
of Honor. As was pointed out at that time, the medal was 
created as an opportunity to encourage the making of better 
pictures. Each year it has been given to the producer who, in 
the minds of Photoplay readers, has come nearest the ideal in 
story, direction, continuity, acting and photography. Photo- 
play is proud of the selections of its readers in the past five 
years. 

William Randolph Hearst won the first medal, of 1920, for 
his production of "Humoresque," created in the Cosmopolitan 
studios. 

In 1921 the medal went to Inspiration Pictures for its pro- 
duction of Joseph Hergesheimer's story, "Tol'able David." 



Photoplay Medal of Honor Ballot 

Editor Photoplay Magazine 

221 W. 57th Street, New York City 

In my opinion the picture named below is the 
best motion picture production released in 1925. 



NAME OF PICTURE 



7<lame — 
Address- 



Richard Barthelmess' first starring vehicle. 

Douglas Fairbanks captured the medal of 1922, with his pro- 
duction of " Robin Hood." 

"The Covered Wagon" won the award of 1923. This now 
famous epic was produced by Famous Players-Lasky, with 
James Cruze directing. 

First National's "Abraham Lincoln," produced by Al and 
Ray Rockett, was given the medal of 1924. 

Photoplay turns to its readers with a complete faith in their 
sane and accurate judgment, realizing that this year the deci- 
sion will be unusually difficult. Probably no one year in the 
history of the screen has produced so many thoroughly excellent 
pictures. 

Be sure to register your vote as soon as possible. Fill out the 
coupon on this page and mail it to Photoplay's editorial offices, 
Xo. 221 West 57th Street, New York City. Your vote must 
reach these offices not later than October 1st, 1926. Photoplay 
is always glad to receive short letters from readers, explaining 
the reasons of your choice. [ continued ox page 1.35 1 



Fifty Pictures Released in 1925 



Are Pun nls Peoph ' 
Beggar on Horseback 

Big Parade 

Charley's A mil 

Chickie 

Coast of Folly 

Dark Angel 

DonQ 

Drusilla Willi a Million 

Freshman 

Gold Rush 

Goose Woman 

Graustark 

Her Sisler Fron 

Inlrodiiee Me 

Isn't Life Wonderful.' 

King on Main Street 



Par 



Kiss For Cinderella 

Kiss Me Again 

Lady 

Lady Windermere's Fan 

Last Laugh 

Little Annie Room* 

Lord Jim 

Lost World 

Mannequin 

Merry Widow 

Midshipman 

Mme. Sans-Gene 

Never Say Die 

Never the Twain Shall 

Meet 
Paths to Paradise 
Phantom of the Opera 



Pony Express 
Road to Yesterday 
Sally 

Sally of the Sawdust 
Siege 

Shore Leave 
Sky Rocket 
Stage Struck 
Stella Dallas 
That Rovle Girl 
Trouble With Wives 
Thundering Herd 
Unholy Three 
Vanishing A meriean 
Wanderer 
Womanhandled 
Zander the Gre,il 



64 






"She just turned 
around to Cousin 
Charles with her 
eyes looking like big 
hot house violets 
. . . 'It's just this,' 
she blurted out ; 
'I'm not what you 
think I am. I'm 
not a big star.' " 



Illustrated by 
Connie Hicks 





ommunity 
Clothes 



Are Hollywood girls good 

sports? 

Here's a story that gives 

you the answer 

By Agnes Christine Johnston 



m 



HIS old leopard coatee of mine has been photographed 
about as many times as any movie star in the bus- 
iness, " said Cleo. "But not often with me inside," 
she added with a wry smile. 
"Why, Cleo, I never thought that coat belonged to you!" I 
exclaimed in astonishment, for she was about the only girl in 
Hollywood I hadn 't seen wearing it. 

"Sure, I'm its mother. I'm mending it now to lend it to 
Phyllis Joy, where it will star as the wages of sin in a Universe 
picture. Oh, I know you'll say the keeper of a gentle little tea 
room like the 'Brass Kettle' hasn't any business with a giddy 
garment like this, but I came to Hollywood for the same reason 
that every other man, woman and child does, these days. 
Screen struck! It's the California gold rush all over again." 

She fanned herself lazily with one of her hand painted menus 
as she talked and I listened. Everyone listens when Cleo talks. 
"After paying all my expenses out here, I sunk what remained 
of my money in this old spotted pussy. And I don't regret it, if 
for no other reason than the good turn it did Violet Mason. 
That wasn't her screen name, but I guess she got about as much 



out of Hollywood as any girl, who wandered out here to make 
her fame and fortune. Not that everybody would think so. 
considering the suffering she went through, though — " 

"Yes?" I asked, knowing that the interrogatory affirmative 
was all that was needed to woo Cleo into one of her famous 
anecdotes. She smiled as she began to reminisce — that wry 
smile again that you so often see in Hollywood. 

"When I first struck here, — a crazy, hopeful little fool from 
Kansas, I parked my other hat at the Studio Club. It 's that big 
white house on the hill above the Boulevard — you know — any 
movie struck girl from points East can get a room and break- 
fast at cost — run a bill too, if she doesn 't get work right away — 
and she most generally doesn't. 

"There were a great bunch of kids living at the Club when I 
hit it. Some — yes, most of them famous now. Louise Huff, 
Marjorie Daw, Julanne Johnston and ZaSu Pitts and three of 
the big women scenario writers, who don't count so much to the 
fans. And as for myself — well, I'm just keeping this tea room, 
but I suppose you'd call it a success to find out you are a failure 
in pictures, before it's'too late. 

65 



"But with a bunch of live wires like those girls, there wasn't 
anything slow about the Club — not then! For instance, when 
it came to clothes, which are next to personality in importance 
if you're a movie actress, we doped out the 'Community 
Clothes' rule. 

" Any part of any girl 's wardrobe belonged to any other girl, 
who needed it badly. Maybe it didn't help out when you were 
cast for a society picture at a studio where they don 't supply 
the clothes! It also went whenever a girl had to make an 
impression on a casting director or even just to dazzle a boy 
friend into thinking you're worth a whole dinner at the Bilt- 
more. 

WHEN I took this leopard out of my trunk, the whole 
Club went woozy with joy. You see it's one of those 
loose things that fits everybody, which the girls tumbled to at 
the first glance. That very afternoon an assistant director 
came to the Clublooking for a vamp, 
and when Betty Rose slithered 
downstairs with Margot's jade 
earrings, Zella's French hat and 
this leopard hiding her ingenue stare, 
she landed the job on the spot. 

" It started Julanne on her career 
as a sure enough star, and it helped 
Virginia Flowers land Fleming, the 
great producer, for a husband. But 
I'm almost forgetting about Violet 
Mason. When she hit the Club the 
Community Clothes rule was going 
strong — and the way it helped her 
— well, it 's almost melodrama! 

"It was one of those cheerful 
little days of the rainy season, when 
quotations on our famous California 
weather are way below par. I'd been 
cheering myself up, making fudge, 
and I went up to Vi 's room to give 
her a sample. I found her spilling 
tears all over her purple sofa cush- 
ions and trying to figure out which 
was the best way to commit suicide 
so she would make a good looking 
corpse. 

"Violet and I were quite chum- 
my. Perhaps it was a case of misery 
loving company, because, next to 
me, she was the jobless wonder of 
the Club. Her parents had been 
those old family kind who spend 
about three times their income 
proving it, and think it 's a disgrace 
to have anything to do with money, 
except to borrow it. They never 
taught Violet a thing, except how to 
act like a lady, so when they both 
got killed in a motor car that wasn't 
even paid for, the poor kid was left 
high and dry. 

"She had great big dreamy eyes 
and a soft baby face, and some poor 
fool told her that she ought to try 
the movies. So when she'd worn 
out her clothes and her welcome, 
visiting with her rich friends back 
East, she borrowed the money to 
come out here. 

"And say, did you ever see a 
collie dog — one of those graceful 
blue-blooded kind — who's been 
clipped? Well, it's the funniest and 
the saddest looking thing in the 
world. It just slinks around with its 
tail between its legs and whines. It 
looks like a sort of caricature of a 
dog and feels worse than it looks. 
Well, that was the trouble with Vi. 
She was used to plenty of rich fluffy 
fur and a tail that would take the 
prize at any dog-show. She simply 
couldn't hold her head up after 
she'd been clipped. 




"What with the fudge and the patter of the rain outside, it 
wasn't long before we got confidential. 'I don't know what's 
going to become of me, ' she wailed, and if she could only have 
put on the face she said it with in front of a camera, when the 
director yelled, ' Sorrow, please, ' she would have been a star in 
no time. 

" 'Oh, I know I haven 't any talent,' she went on. ' I hate act- 
ing anyway. It scares me too much. I '11 never get anywhere and 
nobody cares whether I live or die. ' And then when I started 
to protest, she said: 'Oh, I know you're wonderful to me, but 
you're my only friend in all the world. I haven't any others. I 
haven 't even a boy friend who cares enough about me to ask me 
out; and I'm getting old — and — everything!' And she turned 
on the weeps again. 

" 'Oh, so that 's the complex, ' I cried. ' I suppose you 're all of 
twenty-two and you've found one dead hair that's turned 
white. Well, by the time you're twenty-eight like me, and have 
picked out dozens of real gray ones, 
you'll begin to hope again. The 
Handsome Hero always comes 
along, some day, dearie — if you wait 
long enough and don't expect him 
to be too handsome.' 

"And then as a last attempt to 
cheer the poor kid up, I got out my 
pack of cards and started to tell her 
fortune. You'd be surprised how it 
helps a person, who's down in the 
dumps, to learn about the 'rich dark 
admirer' or 'letter bearing good 
news from a tall building. ' And I 
slipped every King and Jack in the 
pack into Vi 's hand so as to give her 
plenty of men who admired her. 

"I'd hardly gotten half way 
through and the corners of her 
mouth were beginning to waver up- 
ward, when Fuzzy came in trailing 
the leopard coatee, which she'd 
been using in a mob scene of one of 
DeMille 's society pictures. She had 
brought up the mail and Violet al- 
most jumped out of her chair when 
she found there was a telegram for 
her. 

"She ripped it open and then 
looked up all smiles and kitteny 
looks. 'Why, Cleo,' she said, 
'you're a perfectly wonderful for- 
tune-teller. You told me I'd hear of 
a dark stranger in a letter and, of 
course, this is a telegram and I 
don't know whether he's dark or 
light. I've never seen him, but — ' 
" 'For Heaven's sakes, who arc 
you talking about?' shrieked Fuzzy, 
'a new producer or the author of 
"Blazing Youth?" ' 



TWO months ago Frank Godwin, 
the eminent young illustrator, 
wrote and drew the story of his 
personal experiences as a cinema 
actor. He got as far as a test and 
flopped, but he was not embittered 
and really was very nice about it 
all. With his story he drew a pic- 
ture of Hezi Tate (that's his real 
namel, one of our serious thinking 
young directors. Tate threatened 
to sue for libel because Frank did 
not show his new horn-rimmed 
glasses. So rather than have a fuss 
about it, Frank redrew Hezi and 
threw in curly hair for good meas- 
ure, although the director's hair 
is really quite straight. But it all 
shows what a nice, kind-hearted 
guy an artist can be when his 
emotions or pocket-book are 
touched. 



THEX Violet calmed down anil 
explained that the telegram 
was from a distant cousin — one 
that was distant enough to be eligi- 
ble as a romance too. She had never 
met him, but when he learned of her 
departure for Hollywood he started 
writing to her. He thought, of 
course, that it would be no time 
until Vi was as famous as Cloria 
Swanson; and she let him think it, 
in the occasional letters she wrote 
back to him. 

" 'There was nothing romantic 
about our correspondence,' she went 
on, sort of wistfully, 'but I got so 
tired of never receiving any mail 
except bills and wedding announce- 
ments from my friends in New York 
that I couldn't bear to discourage 
him. He's on his way around the 
world now, via Honolulu, and he's 
just stopping off to see the movie 



66 




"What with Vi's new-found per- 
sonality and Cousin Charley's 
millionaire manner, everybody 
began looking at us. The stars 
seemed to sense that Vi wanted 
to show off ..." 



people in Hollywood, the way he'd see the Eiff 
tower in Paris or the Pyramids in Egypt. I don't 
suppose he'd even bother with me if he knew the 
truth — that I'm not a success, but a failure. He 
thinks I 'm a rising young star with a French maid 
and a flock of motors!' 

" 'Is he rich?' I asked, immediately. 

" ' Oh, yes, he has a couple of millions,' answered Violet with- 
out enthusiasm. She always did have that 'supreme indiffer- 
ence to money, ' as they say in the movie subtitles. 

" But when I heard this glad news, I jumped on the couch 
and did a regular Apache of joy. 'It was in the cards, ' I cried, 
'he's going to fall for you. Hotsie Totsie, the millionaire's 
bride!' 

" 'He'll never forgive me, when he finds I've deceived him 
about being a star, ' protested Violet, almost in tears again. 

" 'Nonsense,' I said. 'Just dress and talk the part and he'll 
never know the difference — not until you've had time to land 
him, anyway.' 

" 'Deceive him even more? Oh, I couldn't!' She shook her 
head dismally. 

" 'Oh, yes, you could. See here, how long has it been since 
anyone 's taken you out to a real dinner, anyway? ' 

" 'Oh, years and years — it seems!' she said with a sigh, and 
then impulsively, 'Cleo, do you really think it would be all 
right for me to go out with him just once, without telling him 
the truth?' 

" 'I'll show you what I think,' I answered, taking up the 
telegram as if I owned it. And then I whistled aloud, for Cousin 
Charley was coming that very afternoon. He had asked Violet 
to wire the Limited at San Bernardino what costume she would 
wear at the station, so that he could identify her. But, by this 
time, his train was due in that town in an hour and as it is only 
about a fifty mile run from L. A. something had to be done in a 
hurry. 

"I rushed Fuzzy off with an answer warning the millionaire 
to watch out for a blond girl in a gold toque and a leopard 
coatee. 

" 'But I haven't any gold toque,' protested Violet. 



" 'I know, but May Ann has.' 

" 'No, she ripped it up yesterday to make one of those new 
handbags with fringe.' 

" 'Well, why not reverse the process. May Ann's a good 
scout,' I said, and Violet was finally convinced. 

"But just as I was trying the leopard coatee on Vi to show 
her how stunning she 'd look in it, Rita Norwood stuck her head 
in at the door. Rita 's one of those girls with what the press 
agents call 'an appealing personality.' Gee, she can make you 
like her when she wants to! 

" She gets to chumming around with you for a few days, telling 
you how charming and congenial you are, and then the first 
thing you know she's appealed something out of you that you 
had no intention of giving her — usually something you need 
yourself like part of your pay check, or a letter of introduction 
to a big director. After she gets what she's after, she doesn't 
know you're on earth, until she wants something else and 
comes back to tell you how dear and good and generous you 
have been and how much she values your friendship. And, 
believe me, it took me half a dozen of those sudden friendships 
to get cured! 

"This time, she paid no attention to my cold and stony stare, 
but plumped down on the couch fairly purring out loud. 

" 'Oh, my dear,' she cooed, 'how wonderfully lucky that 
Fuzzy has finished with the leopard coatee — my life is saved — 
you dear, noble, generous girl! Your coat and your generosity 
are going to help another career to success.' 

" And before I could even get a [ continued on pace 96 ] 

67 





ND here is another little discovery, omitted from 
the article by Dorothy Herzog. But the omission 
wasn't Miss Herzog's fault. Dix discovers 'em so fast 
that even expert reporters cannot keep up with him. 
Richard discovered Alyce Mills when she was playing 
small parts and asked her to be his leading woman in 
"Say It Again." Asked to describe his new find, Dix 
summed her up as a "tiny Mary Garden." 



68 



Mr. j^y Columbus 

Dix 




"He has a little list"— filled 
with his candidates for the 
Hall of Fame. As a discoverer 
of talent, Richard Dix bats 
1.000 



It's a wise star 

who recognises 

another star when 

he sees one 



By Dorothy Herzog 



THE family living across the court from our palatial 
apartment has just purchased a parrot. We don't 
know to whom the talkative bird owes its education, 
but it prates most irrationally in studio lingo, ofttimes 
being so indiscreet as to mention names. 

Returning home late one evening we paused to hark to the 
parrot race along madly in this wise: 

"Polly wants a contract. Kill the light, you fool. I'm 
just a girl who can't say no. Richard darling, you must come 
over." 

We leaned out of the window and espied sundry other heads 
in the same dizzy position. Accordingly, we made mental 
memorandum to notify Wil Hays that a dumb bird was prop- 
agating choice headlines against the flicker industry and its 
w.k. folk. Of course, it slipped our memory, but we found 
comfort in what May Allison once philosophized: 

"A memory, my dear, is not an asset if it remembers every- 
thing." 

Zounds, that smacks of depth. 

To return to the parrot, the name Richard, broadcasted so 
brazenly, did serve to recall that we had promised to jingle 
young Mr. Dix about a luncheon. Which we did forthwith. 
... (Time lapse unbridged by subtitle.) 
"Did you ever own a parrot?" we interrogated Richard. 
once sustenance in abundance surrounded us — and we aren't 
the dieting type. 
"A what!" 

"A parrot," complacently attacking a piece of celery. 
"Ye gods, NO." 

"Did you ever know a fem with one?" munching a la a 
lawnmower. 

" 'Shelp me — no." 
"Then vou're safe." 

Explanations followed and Richard gratified us by succumb- 
ing to a right merry siege of laughter. Whereupon, shortly 
afterward, we made a discovery. 

Now. be it known, the Navy discovered the value of ketchup 
and Mark Twain discovered that cauliflower was merely 
educated cabbage, but we discovered — 



That voting Mr. Dix was a discoverer. 

Ere this, Richard, who likes being interviewed as much as 
most of us relish a warring bumblebee getting fresh, has con- 
sented to publication quotes concerning why he isn't and hasn't 
married. We know he may, when he finds the right girl, or 
she finds him. Which is the same thing. 

He has expressed himself as adoring mothers. Indeed, he 
is prone to slip up to visit the respective mothers of the Misses 
So-and-So, and over a cup of tea, or what will you, yield him- 
self to being bullied by maternal scolding. And departs 
chastised and happy. 

Richard is also famed as an athletic youth who prefers his 
dumbbells in a gvmnasium and most of his bars in the same 
place. Though he can be broadminded, should occasion 
warrant it. 

As a discoverer, however, he admits he has "never talked 
about this before," and hedges into silence with a hesitant 
smile, as if he suspects to be razzed for such "I" ness. As a 
matter of fact, the only reason Dick agreed to talk about his 
"discovering past" — very well, bring a cameraman and 
we'll pose for a closeup! 

" I've onlv been in pictures about six years," Richard snapped 
into his story. " I went West with the hope I could get a job 
as a director. I couldn't, but I played in several pictures 
which resulted in my being signed to a Goldwyn contract. 
That was before Goldwyn merged with Metro. 

"One day, Mr. Goldwyn cast me to hero in 'Hungry Hearts.' 
I didn't want to play in it. I wanted to direct. I still want to. 

"At that time, I was going with a girl named Derlys Perdue, 
who danced at the Kinema Theater in Los Angeles. Her 
dancing partner was a handsome young Mexican named 
Ramon Samoiniegos. I had seen him play a bit in a Mabel 
Normand picture. And he played it! I was so sold on him. 
I tried to induce the company to give him a chance. No one 
seemed especially interested. 

"So I took it' upon myself to have a screen test made of 
him. Photographed it myself. At that time. Colleen Moore 
and I were being co-featured in 'The Wall Flower,' direction 
of Rupert Hughes. [ continued on page 118 1 

69 




M 



AE MURRAY possesses a magic watch — it runs backwards. The 
man who wrote "Backward, turn backward, O Time in your flight" 
dedicated a fine line to Miss Murray. For here is a picture of Mae 
that makes her look just the way Lillian Gish would look if Lillian had 
IT. Mae has had a little vacation from the screen ; she has been traveling, 
resting, divorcing and signing new contracts. Now she has returned to 
Hollvwood to star in "Altars of Desire." 



70 






He wanted speed — things to happen fast. . .They did 




Illustrated by 
W. G. Starrett 



For the Sake 

of /peed 

K — * By Steuart M. Emery 

That's why Barry ran over her — and 
that's why he stood to lose her afterward 



"Come on," he urged 
automatically. "You're 
all right now. Open 
your eyes, I'm tell- 
ing you. You're not 
hurt. You've only 
been jarred up" 



THE screech of the brakes as Barry Adams thrust them 
on with a single flirt of the hand went jarring down 
through the murk of a street splashed only at intervals 
with the feeble yellow of lights and then died away into 
silence. There followed the impact of a front wheel against the 
curbing and the big, black motor stood at rest, brought ruth- 
lessly to a stop without regard for the good of tires or brake- 
linings. He leaned over the wheel, his high-boned, ordinarily 
mirthful face keen and alive in the emergency. No help up and 
down the street. Not a soul in sight. All abed, as they should 
be at this drab hour of three a. m. His one swift glance seemed 
instinctive, a matter of the twentieth part of a second, before 
his eyes swept to the form of the girl who lay on the pavement. 
With never a glance towards the rolling bulk of his motor she 
had stepped into the street from the sidewalk directly in front 
of him. His skill could do no more than stop the car in its own 
length, and that had not been enough. 

He was out of the car and bending over her. It is not a 
pleasant thing to knock a girl down with a high-powered auto- 
mobile. Her hair had come undone in her fall and strayed in a 

71 



There was a splintering crash, 
a lift and fling of red cloth, 
and before the gray motor 
opened a bloc\ of ragged' 
edged road . . . 




cloud about her shoulders — the white unconsciousness of her 
struck at him with the force of a blow. Poorly dressed and not 
a day over twenty. It was all her own fault. She had no busi- 
ness to be on the streets at this hour. S'he should have looked 
where she was going. 

He slipped his hand inside her jacket, thrusting aside the 
tangling chain of what appeared to be a locket, and brought his 
fingers over her heart. A strange nervousness stole over him as 
he felt the delicate pulsations beneath his touch, a nervousness 
compounded of relief and something else which he could not 
define and had no intention of halting to analyze. Her head fell 
limply back until it met his shoulder and he could see the softly- 
molded lips move a little. Whatever her injury might be it did 
not show on the surface. 

Once more Barry swept the shabby street with his eyes but 
still no figure moved along its paving. Three blocks away, as he 
was well aware, a corner held a patrol box from which an am- 
bulance could be summoned. It would be, of course, the thing 
to do to hand this unconscious girl over to the nearest officer, 
who would methodically ring up the hospital which, equally 
methodically, would send an ambulance clanging down at top 
speed, a sleepy interne in white riding its rear. After that the 
girl would be in competent hands and it would be a simple 
matter for him to explain his lack of blame to the police. 

With the girl's head still resting against him, Barry twisted 
himself about until he had reached a hand into his coat pocket 
and in an awkward way got a cigarette alight. He only wanted 
two or three puffs — in another moment the bright stub was 
spinning into the street. The flaring match had limned the 
contours of a fresh young face, had brought out long, veiling 

72 



lashes and a brave little chin. He could not, somehow, picture 
her amid the chilly charity of a city hospital. 

She seemed hardly the weight of a child as he raised her up 
and placed her on the cushions of the front seat. His arm went 
about her, steadying her, his free hand closed on the wheel and 
the black motor moved slowly forward and around the first 
corner. It was here that he met the first person abroad in the 
neighborhood, a bulky, round-faced policeman who grinned 
wisely at the car and its burden when it passed him under the 
light. Barry's lips sent a half-twist of contempt at him and he 
notched a little higher burst of speed out of the machine. He 
knew now he was doing the right thing. He was even surer of it 
as he sent the car arrowing along a broad boulevard towards the 
nearest entrance to the park whose quiet reaches stretched for 
miles along the concourse. 

The girl had made no sound by the time the motor slid to 
rest on a bypath under a dark canopy of trees. Her head still 
lay against the cushions, but her breath was coming more 
strongly now. Fumbling in a side-flap his fingers routed out a 
flask, in the bottom of which there remained a couple of inches 
of liquid. He drew the cork and sniffed at it tentatively. 
Some passenger had left it in the car days before — vile stuff, 
but it must be made to do. He got a little of it between her lips 
and waited for it to have its effect. If he lost out on that there 
would be nothing but hatfuls of water from the diminutive lake 
that beckoned close by, its surface gray with the first mists of 
day. 

"Come on," he urged automatically. " You're all right now. 
Open your eyes, I'm telling you. You're not hurt. You've 
only been jarred up." 




He took one of her hands in his, then stopped abruptly. He 
didn't feel like slapping it yet to bring her around. As though 
in answer to this hesitation he saw the faint flutter of her eye- 
lids. A tiny gasp ran through her. Almost immediately her 
eyes were open, hazy and wondering as returning consciousness 
began to dawn in them. Words escaped her— uncertainly. 
"What — what has happened?" 

"You're with me," said Barry, making his voice as casual as 
possible. "Now listen— you're all right. I bumped you with 
my car when vou stepped' into the street and brought you here 
to get you around. I didn't want to turn you over to any 
hospital. I was in one once and they're rotten places." 

" There was a noise," she said vaguely, "and 
then — it went dark." 

"That was me — me and my car. Don't 
talk any more. Just sit and breathe 
a bit till your head gets clear." 
With a trustfulness that amazed 
him she closed her eyes again 
and put her head back against 
the cushions. Stirred by some 
odd impulse he took off his 
hat and clumsily began to 
fan her with it. 

"That's 
nice," she 
murmured. 
" That's 
very nice." 
For a mo- 
ment he al- 
most stop- 
ped in order 
to look 
more closely 
at her. 
Throughout 
his career of com- 
bating a world that 
failed to pay much 
attention to young men with 
nothing other than their own 
efforts to recommend them, 
Barry Andrews had steered a 
course that had kept "the 
janes," in his often own crisp 
language, "out of the picture." 
He had no use for the ones he ordinarily met — somewhere in him 
there lurked an antipathy towards cheap powder and cheap 
conversation. He had his way to go and he preferred to go it 
undistracted. He resumed the business of fanning, conscious 
that he had met someone well outside of his usual orbit. He 
was not aware that he was doing anything more than the 
necessary as slowly the muscles of his arm grew cramped from 
the swing of the hat. 

A little sigh broke out beside him. The girl's eyes were open 
once more, this time clear and softly brilliant. 

"You're on your toes now — sure?" She met his smile with 
one equally frank. 

"I'm sure of it. And thanks." 

"Don't thank me. I haven't done anything much. Just 
don't you walk in front of a car again 
in the middle of the night. It might 
be somebody else's, next time." 

Still her smile played over him. 
"It was the girl next door to me — 
she's not well. So I had to run for 
the nearest drugstore. It was only 
something for her cough she wanted, 
but I thought she'd better have it 
quickly. You know how people are 
when they're sick." 

He pictured her, quiet, soothing 
above tumbled covers. The girl next 
door, whoever she might be, was 
playing inluck. Oddly enough, as the 
minutes passed he realized that the 
subject of the accident had faded into 
the vagueness of forgotten, unimpor- 
tant matters. It seemed the most nat- 
ural thing in the world to be sitting 
here in the black motor beside this 



new and alluring girl while slowly the creeping light was lifting 
the veil of the dark. She, too, seemed content, her hands resting 
tranquilly in her lap. He did not even feel like talking — he only 
wanted to sit and watch the vagrant breezes stir the edges of 
her hair. 

"Do you know," she said dreamily, "I like it just the way 
it is now. Two or three times I've come out here, I really have, 
when the park and the trees and things were just turning awake. 
Those were the times when I felt I couldn't stand the city one 
moment longer." 

"Small town stuff?" laughed Barry. "Yes — ?" 
He hesitated and she supplied the rest. "April — April Con- 
sidine. You never heard of my place — it's just over the state 
line." 

So her name was April and she came from a place over the 
state line. He, too, had known his small town world before this 
larger one had sent its call out to him. Perhaps the luck should 
have been different and he should have met her in that small 
town instead of here in this way. He pulled, almost roughly, at 
a lever and the big car rolled smoothly out without a jolt. 
"You work, of course?" 

"Hats." She dimpled. " In a beautiful place right near the 
Corners. And you're — " 

He gave an expert twist that sent the car aroufid the first 
curve. 

" A demonstrator," he said briefly. 

"I thought something like that," she murmured. Their 
glances met and exhilaration broke out in his. At the wheel of 
his car Barry Andrews presented a picture of keen young effi- 
ciencv and, what was more, he knew it. His glance roved from 
her towards the east, already flushing. In another half hour it 
would be the plain, cool light of morning. 

" I'm taking you home now," he pronounced. " You've had a 
bad jolt, even if you don't feel it any more. Bed's the place for 
you and don't you go to the shop today. Take that from me. 
Got anvbodv to look after you? " 

She sent a swift smile arching to him. "Just Dennis. But 
Dennis is the best ever." 

He cut a sharp corner. " And who is Dennis? " 
Ahead of him loomed the opening of her street, more leaden 
and unattractive than ever. Somewhere in that row of identical 
red brick fronts this girl concealed her radiance. Soiled curtains 
hung at the windows, cloaking interiors which would be stifling 
andlmpoverished. It was a street not yet awake and dreaming 
tawdrily. He felt a touch at his arm and swung the motor up 
before a house halfway down the block. In an upper window a 
dim light still burned. 

She was rising. She was getting out of the car. She was on 
the pavement, a slim, fresh figure in that dun corridor. The 
face she lifted up to him was demureness itself. 

" Dennis is my best darling," she said softly. " He's going to 
buy a cottage out on the East Line a bit pretty soon and then 
I'm going there with him. He's planned it for years— it'll come 
as soon as he gets his next promotion. I love Dennis." 

Around the corners of Barry's lips a little restless quirk 
played for a moment. "I asked you who this Dennis was, 
didn't I? What's the rest of the stuff on him? " 

He did not know that he was speaking abruptly. The girl 

glanced up at him with sparkling eyes. "If you want to know 

that," she said, "come around tomorrow night and meet him. 

It's movie night for Dennis and me, but we can make it three." 

From the top of the steps she 

waved a fluttering hand. He was 

looking up, a hint of challenge in his 

face. 

"Right," he called out. "I'll be 
on the map — April." 

Just before the door closed he had 
a flash of her framed against the 
drab background of lodging house 
hall and stairs. Her smile and voice 
drifted down to him. 

"And thanks for what you did 
for me. It won't hurt to tell you 



SHE was a Wampus star of 1926, 
demure, cute and unsophisti- 
cated. In her fan mail came a very 
complimentary letter that con- 
cluded, "Hoping that sometime I 
may see you in the flesh.''' 

The starlet turned to her Mam- 
ma. "What does that mean?" she 
asked. 

"My darling," gasped Mamma. 
"That man wants to see you in the 
nude." 

"The fresh thing," said the in- 
fant. "He'll not get my photo- 
graph." 



again — 

"Again what?" he shouted. 

She put her head around the cor- 
ner of the door. "Again — Barry." 

The traffic officers would not be 
on the street corners for some time 
yet and Barry Andrews had a long 

[ CONTINUED ON PAGE 88 ] 





J 



•4, 

3 





ummer „ „ f ron \ 

Hollywood 



estions 



Here is a most attractive remedy for 
freckles and sunburn. It is a smart 
cretonne parasol in the new stub shape. 

S4.50 
Have you the latest thing in cigarette 
case?? This one in silver plate, decorated 
with a silhouette, costs S2.95. Give your 
Imi a smart monogrammed pin of rhino- 
stones, either square or round shaped, 
liny initial, 95c 

For weekends or trips to the beach, this 

bag, covered with rubberized cretonne, is 

as practical as it is good-looking. With 

zippt r closing, $5.95 



The black taffeta bathing frock beloiv, at the 
left, has a colorful trimming of contrasting 
printed silk around the hem and neck. In 
size 36 to 42 — price S7.95. Bathing tights 
to wear with this frock are S2.95 in black or 
S3.95 in all bathing colors such as green, 
blue, orange, red, etc. Sizes 36 to 44- 
A gypsy cap in colors to match — price 95c. 
The one strap sandals are in black satin 
only, sizes 3 to 8 — price $2.25 




Hollywood has taken up a fad that you 
might well follow — painting designs 
on scarfs, dresses, handkerchiefs, etc. 
Tin re is a new special fabric paint 
that is already mixed — easy to apply 
— complete set with six principal col- 
ors, brush, patterns and instructions 
—SI. 75 



The. smartest thing in bathing capes you 
will see on the beaches this summer, 
shown above on Laura LaPlante, is of 
fine absorbent toweling in blue, green, 
orange, etc. Price S7.50. The wool 
bathing suit comes in a combination 
stripe with either red, blue or green pre- 
dominating — sizes 36 to 44% price SS.95 



Order your Summer clothes now 
through Photoplay's Shopping Service 



This Shopping Service is for your benefit and it makes 
no difference whether you are a subscriber or not — its 
jilable to every PHOTOPLAY reader. 
Send certified check or money order — no stamps 
together with size and color desired. No article sent 
C. O. D. If you are not pleased with any purcha 
return it within three days after receipt direct to 
Photoplay Shopping Service, 221 West S7th Street, 
New York, and your money will be promptly refunded 




The old-fashioned dotted Swiss has 
come into its own, again and this 
one with the double organdy collar 
is of fine imported quality. It has 
a straight back. Colors are rose, 
orchid, copen blue, green, navy and 
honeydew — all dotted in white. 
Sizes 16, 18 and 20. Price $4.95 



This smart waistcoat sports frock, of fine light w( ighl 
French spim jersey, is a copy of a much more expensive 
model; just the thing for summer outings or to make hot 
days in town more bearable. The tie is a polka-dotted silk. 
The frock comes in white, green, flesh, tan, copen blue and 
rose. Sizes 16 to 40. Price, S10.95 

This flat crepe frock, with smocked shoulders and cuffs and 
novelty pockets, first appeared in a Hollywood shop and is 
one of the season's newest models. It is for all round use 
and is obtainable in white or beautiful shades of green, 
blue, tan, Rose Marie, maize or gray. Sizes 16 to 42 and 
an exceptional price of $15.75 



At tlie top of the film strip is one of 
the large hats so popular this sum- 
mer. It is of fine straw, bound 
with grosgrain ribbon. Copen 
blue, nary, green, ton, brown, 
white — price S5.95 



Below it is the most popular hat of 
the season, of grosgrain ribbon, 
which is collapsible and soft 
enough to be tucked away in a 
weekend bag. Comes in. all sport 
shades — price $4.50 



The coolest lingerie for summer is voile and the 
chemise and night robe shown may be had in any 
pastel shade. Lace trimmed. All sizes. $1.95 

Hollywood has taken to metal wrist watch straps. 

Price $5.00 in white gold. Give measurement. 

around wrist from one end of watch to the other 

as well as width of end lugs of watch 

Stunning sports oxfords. Combinations are: tan 
alligator and calf; alligator and gray buckskin; 
alligator and white buckskin. Sizes 3 to S — 
AA to D — $10.50. The dress oxford is patent 
with snakeskin trim or patent with green python 
trim— 3 to S— $10.50 



75 



Last Minute J\[ews frojn East and West 

s 4HP** r P 

we go * to Iress 





ROUGH sailing for Noah's Ark. After 
thundering his intention of producing 
" The Deluge," Cecil B.DeMille learned 
that Warner Brothers had a prior claim 
to the Ark. Months ago, Warner registered its 
intention of filming the adventures of Noah and . 

the Hays office received due cognizance of the various stars bidding for his services 
fact. A Long Beach, Calif., 
school teacher had the same idea 
and submitted it to Mr. De Mille, 
by way of a contest. 

De Mille ate up the idea and 
spent a month working on the 
preliminaries of production. He 
also spent about $40,000 in re- 
search. Then Warner Brothers 
made a trade announcement of 
its Flood picture and Mr. De 
Mille's Ark went on the rocks. 

Is De Mille down-hearted? He 
is not. He claims that he has 
another smashing idea for a big 
special and will go right ahead on 
schedule. 

DOUGLAS FAIRBANKS 
and Mary Tickford had an 
audience with Mussolini in Rome. 
The usual situation was reversed. 
Mussolini was the star and Doug 
and Mary were the admiring 
audience. The two movie stars 
asked the Italian Dictator for his 
picture and Mussolini auto 
graphed a couple of photographs 
for them. To be perfectly fair, 
Mary and Doug should have 
handed him a quarter apiece for 
the pictures. Mussolini also 
wrote his name in Mary's auto- 
graph book. Then the Napoleon 
of Italy told them how much he 
enjoyed their films and Mary anil 
Doug told Mussolini how much 
they liked his stirring perform- 
ance in the drama of inter- 
national politics. 



dim because Marion bought it when she ac- 
quired the other rights to "The Miracle." 
Miracle," as you probably know. Marion un- 
doubtedly will want the assistance of Mr. (T.ORIA SW ANSON'S first picture for 
Reinhardt. Obviously Mr. Reinhardt is in a ^-^Unitcd Artists has been tentatively titled 
position to name his own salary, what with "Personality." Gloria has recovered from her 

rvous breakdown and has gone back to work 
at the Famous Players-Lasky 




MARY and Doug may be able 
to shake work on their trip 
through Europe but they can't, 
shake the rumors that follow 
them everywhere. They say, for 
instance, that Mary and Doug 
will appear in a picture together. 
This special, so the story goes, will be directed 
by Max Reinhardt and Ernst Lubitsch. Max 
will film the big scenes and the close-ups will 
fall to Ernst. 

To continue with the tale, the scenario will 
be written by Karl von Moeller, author of 
"The Miracle." 

It all sounds like a beautiful dream — too 
good to be true. Anyway, we are passing the 
story on to you for what it is worth. 

Complications and then some more com- 
plications. Marion Davies is to star in "The 

76 



Carl Laemmle, President of Universal, and his 
favorite Super- Jewel — little Carlotta. Carlotta is 
Mr. Laemmle's grand-niece and a daughter of 
Edward Laemmle, who directs pictures for his uncle's 
company. She is the pet star of this famous motion 
picture family 



Studio on her new comedy, " Fine 
Manners." 

IT seems that there will be 
plenty of little Chaplins to 
carry on the illustrious name. 
Shortly after the birth of the 
second son, little Earl, Mrs. Lita 
Chaplin said encouragingly to 
Charlie, "Well, I hope the next 
one will be a girl." 

ERNEST TORRENCE has 
completed his contract with 
Famous Players-Lasky. After 
this, he will be a free-lance per- 
former. Mr. and Mrs. Torrence 
have left for a vacation in Europe. 
Probably they will visit the 
haunts of the notorious villains 
of history. 

ALSO on the sailing list is 
Marion Nixon, sent to Ger- 
many by Universal to make pic- 
tures for UFA. What becomes of 
Joey Benjamin, Marion's prize- 
fighting husband, is not stated. 

MORE international news. 
Erich Plommer. a German 
director, will be imported by 
Famous Players-Lasky to direct 
Pola Negri and Emil jannings in 
made-in-America films. 

ANOTHER traveling note: 
Florence Vidor will come to 
New York to appear in "The 
Great Gatsby." And so Man- 
hattan will have a good chance 
to get acquainted with Holly- 
wood's most famous social queen. 



"The Miracle" was filmed years ago — in 
1012. When the big spectacle was first pre- 
sented in London, an English film company 
t urned cameras on the stage and photographed 
the stage presentation. Came the War and 
"The Miracle" was shelved with all things 
Germanic. Morris Gest brought it to life in 
this country and the old film became of im- 
mense value, not because of its artistic worth 

but because it represented part of the rights to Eighty Days." Harry Reichenbach has sailed 
an enormously expensive piece of stage for Europe to arrange the preliminary, 
property. You will never see this crude old [continued on page 130] 



THE cornerstone of the new 
Paramount Theater onBroad- 
way was laid with appropriate 
ceremonies recently. Mayor Walker was the 
presiding official and Will Hays also made a 
speech. The new building is a magnificent 
structure and will house what will probably 
be the finest theater in the world. 

FIRST NATIONAL plans an ambitious new 
spectacle for the fall. It will film Jules 
Verne's famous story. "Around the World in 



Photoplay Magazine — Advertising Section 



77 



(Uoirs. iSgginald 

yanderoilt 
says- 

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










HE lovely younger women of 
society have learned that even 
in the proud bloom of youth 
it pays to keep the lamp of 
beauty filled and trimmed. 
Listen, for instance, to Mrs. Vander- 
bilt: — " Youthfulness is the real pot of 
gold at the end of every woman's rain- 
bow. How to keep it, how to achieve it is 
her goal." 

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

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

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

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

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




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




the TWO CREAMS -which cleanse, 
tone and preserve your delicate skin 



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

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

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



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

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

Other women of beauty and social prestige 

who have praised Pond's Creams are: 

Her Majesty the Queen of Roumania 

The Princesse Marie de Bourbon 

The Duchesse de Richelieu 

Mrs. William E. Borah 

Miss Anne Morgan 

Mrs. Nicholas Longworth 

Miss Marjorie Oelrichs 

Miss Elinor Patterson 

Miss Camilla Livincston 

Vrt>P Ciffpv Why not try Pond's Two Creams, 
1 I cc KSjjcr . f ree? Mail cou p on j or tu i,e S f 

each and instructions for using them. 

The Pond's Extract Company, Dept. G, 

147 Hudson Street, New York City 

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

Name 

Street . , 

City State 



-vrilc tx> advi-iti- 



rplc 



niOTOPLAT MAGAZINE. 




He who 




Slapped 

and why 



By Cat York 



I AM not one of those who hold with s'ang phrases. 
But really, this Pola-and-Rudy affair has reduced me to 
one of them — an ancient one at that. 

For how else describe it, save as "Off-again, on-again, 
gonc-again, Finnigan." 

I am not a fussy man, socially. It has even been said that I 
am not a fussy man morally, though I do prefer blondes, but I 
do like to know how things stand. 

And in this Pola-and-Rudy business nobody knows where 

76' 



When Rudy and Vilma did this little act in "Son of a Sheik" Pola 
was watching on the side-lines. "Sure he makes beautiful love to 
her," Pola said. "Why not? All the time he is thinking of me" 



anybpdy stands — least of all do Pola and Rudy know it. 

From day to day, you cannot tell whether they are in the 
midst of a flaming romance, or whether they are engaged in a 
none-too-private war. 

What with first one thing and then another, they do seem to 
be having a very hectic time of it. 

And one of the first things, so they say, was Lady Sheila 
Loughborogh's visit to Hollywood. 

Now. nobody has anything to say against Lady Loughborogh, 
except Pola, who thinks she should have brought her husband, 
or at least a chaperon, if she intended coming to Hollywood. 

But Her Ladyship seemed to feel she would be safe enough, 
and no doubt she was. Certainly she had an almost constant 
and gallant escort in young Mr. Rudolph Valentino, who had 
met her in London. 

And, having met her there, what more natural than upon her 
coming to Hollywood shortly thereafter Rudy should do the 
right thing and entertain her, and take her about a bit, and 
show her the sights. He did. 

He gave a very charming dinner party for her one evening. 
The elite of Hollywood, which is quite an elite and very fond of 
titled foreigners, was there in force. The dinner was delightful. 
The entertainment enchanting. There was, it would appear in 
rehearsing the matter afterwards, only one slight mistake. 

Rudy had two photographs on the dressing table in his bed- 
room where one was wont to be, right where his eyes fell upon 
them the last thing at night and the first thing in the morning. 
Only one of them was Pola. [continued on page 139 1 







Within the Reach of Everyone! 



More people are eating Baby Ruth every day— simply 
because no better candy can be found at any price. Yet 
all you pay is a nickel a bar. 

Chock full of deliciousness— with its opera cream center, 
freshly roasted peanuts, luscious caramel, and rich choco- 
late coating. 

Try a bar at your nearest candy counter — or, better still, 
take home abox of 24 bars and give the whole family a treat. 

Curtiss Candy Company 

New York CHICAGO San Francisco 





-A. h 




(jainsborough j 
Offers her TSlgweB puff-creation 

— in smarteSi of summer colors, natures own! 



Man in his most creative moments 
cannot do morethanstriveto match 
the lovely colors nature chooses as 
her own. Blues from the sky, reds 
from the sunset, greens from the 
sea — one finds them in their rar- 
est combinations in some bit of 
foliage or the plumage of a trop- 
ical bird. 

Most exquisite of colors is "Love- 
bird" green. The smartest shops are 
featuring it for summer— in lovely 
hats, ensemble suits — and now in 
powder puffs! For now translated 
into your own daintiest of puffs is 
Gainsborough's newest offering — 
"Lovebird." A cooling touch to 
blend with smartest costume.Gains- 
borough quality in all its luxuriant 




softness plus the added smartness 
of this— smartest of summer colors 
gives to this, newest of powder 
puffs, an added charm. And these, 
as all other Gainsborough puffs, 
are made from deep-piled, specially 
loomed materials. 

Never before has fashion offered 
so many subtle touches to enhance 
feminine loveliness. Now the ex- 
act costume may be achieved to suit 
the occasion — and one may choose 
her colors to a nicety. 

Gainsborough contributes seven 
lovely puffs ot pastel shades— Ca- 
nary, Azure, Persian Pink, Orchid, 
Peach Glow, Corail — and Love- 
bird. In sizes for every need — for 
vanity, dressing table and bath. 



ainsborough 

POWDER PUFF 
k 

Gainsborough powder puffs > 

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tel shades. Prices 15. 20 

(other puff's in wool or-velour, 
iceslOto75c). Onyourdeal- -, 
s counter. IRRESISTIBLE! r^ 




Taking the 

Bunk 

Out of Pictures 



Sidney Kent is of the newer type 
of film executive 

By Frederick James Smith 



" A REFINING process is going on with the public as 
J \ well as with motion picture producers," declares 
/ V Sidney R. Kent, head of Famous Players-Lasky's 

sales and distribution. "We are coming to the 
point where there is a uniform demand for absolutely clean 
pictures — pictures to which every one in the family can go for 
an evening's entertainment. 

" We hear a great deal of talk about sex on the screen. It is 
a sort of bugbear. Now, sex is never going to be eliminated 
from the films any more than you can eliminate it from life. 
I, for one, believe that pictures should picture life. The only 
way the screen can justify its existence is to tell the truth. 
These mature pictures will go on to a restricted audience. 

"There is a mistaken thing sometimes called sex. This, Let 
us say, is mere brazen sensationalism. When this is introduced 
and exploited, a genuine injury is done to pictures. But 
truthful, honest pictures will continue to be made, and they 
will go, as I have said, to a restricted audience. 

"These film dramas will find their audiences not through any 
arbitrary division. There will be no special theaters for them. 
Audiences will draw their own line as to what the}' want to see 
and what they do not want to see. 

"This is becoming more and more possible through honesty 
and sanity of advertising. People can now choose and select 
their film fare. It is no longer necessary to be deceived by film 
advertising. This cleaning up of 
exploitation is as important to the 
advancement of pictures as the 
making and selling. 

"This cleaning-up process in ad- 
vertising and exploitation is going 
to remove harmful bunkum about 
players. The bar is up against the 
type of exploitation that hurts. 
This goes for the old-fashioned ex- 
travagant way of attracting public 
attention to the inside life of the 
players. Not that there will be any 
less personality in pictures. Per- 
sonality is the clothesline upon 
which the whole motion picture 
business is hung. There will always 
be stars, popular players and favor- 
ite directors." 




SAYS MR. KENT: 



THE picture field is one of passing 
vogues, as definite as the vogues 
sweeping drama and literature, 
points out Mr. Kent. "The sheik, 
the big Western and the sea picture 



"T BELIEVE that pictures should picture 
*■ life. The only way the screen can 
justify its existence is to tell the truth." 

"There is a mistaken thing on the screen 
called sex. This is mere brazen sensation- 
alism. When this is introduced and ex- 
ploited, a genuine injury is done to pic- 
tures." 

"A cleaning-up process in advertising and 
exploitation is going to remove harmful 
bunkum about players. This goes for the 
old-fashioned extravagant way of attracting 
public attention to the inside life of play- 
ers." 

"Not that there will be any less personal- 
ity in pictures. Personality is the clothes- 
line upon which the whole motion picture 
business is hung." 



Sidney R. Kent 



have followed in turn," he says. "This last came in with the 
success of 'The Sea Hawk.' 

"The present popularity of comedy in films is not a passing 
vogue," continued Mr. Kent. "It is a definite, healthy devel- 
opment — and comedy is going to stay with us." 

Mr. Kent believes that the biggest advance made in pictures 
has been revealed in man power. "In the eight years I have 
been in pictures," he says, " I have watched a steady advance in 
personnel. Every time the wheel turns, a few older film men 
are tossed off. 

'The whole type of executive has been changing. The 
motion picture is being more and more respected as a busi- 
ness. Its high financial standing proves that conclusively." 

Mr. Kent is himself an outstanding figure among these 
newer film leaders. He is thirty-six and a middle-westerner. 
At fourteen he was stoking boilers in a Lincoln, Neb., green- 
house at five dollars a week. At twenty he was high in the 
ranks of the Colorado Fuel and Iron Company. Then he 
allied himself with the American 
Druggists' Syndicate, advancing 
rapidly to the post of assistant to 
the president. After that he as- 
sisted in the unraveling of the 
tangle of the old General Film Com- 
pany, indicted under the Sherman 
law and engulfed under judg- 
ments. All of which led finally to 
Famous Playcrs-Lasky. 

Mr. Kent, by the way, points to 
the motion picture business as a 
singularly fine field for young 
America. "I know of no business 
at this moment where there is so 
much opportunity and so little 
competition," he states. "In our 
department of distribution, for in- 
stance, there are only three men 
who were a part of it seven years 
ago. The rest have risen from the 
ranks. All the way through the 
various branches of making and 
selling pictures there are places for 
young men with ambitions." 

81 



Cleopatra's Kiss 



' CONTINUED FROM PAGE 3g ] 



He went jaggedly to the wall and pushed the 
button. 

The soft, golden light played three pools 
from floor-lamps, and the dusk was gone. 
Instead now, the piano was there, and tables, 
and chairs, couches and bookcases. . . . He 
saw her now. She was dressed up as Cleo- 
patra. . . 

"Why the deuce llml?" he cried harshly. . . 

Her smile was almost imperceptible. 

It flicked him with fear. 

" I wanted to see if you thought it was right." 

"Get up," he said. 

She rose gracefully, yet languidly, Egypt's 
queen, and then stood, seeming much taller 
than herself, regal and powerful, her eyes level, 
her gaze penetrating him. 

"Well," he said, "it's old serpent of the Nile 
all right. ..." 

Then, conquering a sudden wish to shudder, 
he sat down in an arm-chair near the couch and 
puffed on his pipe. . . . 

She reseated herself on the couch. He dared 
not look at her. 

"Have you decided?" she asked. 

"Yes," he tried to speak with authority, 
"I've decided against it." 

"Why?" 

"I'm not the actor you think I am." 

"You are," she said sharply. 

"I have no ambition." 

" You kill it with drink." 

"Besides," he said, looking at her miserably, 
"you don't love me." 

THE words electrified her. She clenched her 
fists and leaned forward. "Love you? No." 
Her nostrils seemed to snort contempt. "/ 
love a weakling, I? The man that conquers 
me, and that man alone, is the one I love." 

He shrank back a little, but he muttered: 
"You mean you want me to act parts in front 
of you, instead of being natural?" 

"I mean," she said fiercely, "I want you to 
be something, and not merely a bullying 
drunkard." 

The words lashed him. 

" Gwyna, what you want is a slave. A little 
Antony," he sneered, "my Cleopatra." 
He rose. 

"Wrong number. Excuse me, please." 
She rose, facing him. There was a white 
thin look about her face that made him shiver; 
but the drink still warmed him. 

"Where are you going?" she asked. 
"Wrong again," he said with acted polite- 
ness. 

He was seeking for words to hurt her. 
"Not drink, O Egypt. I am going — into 
vaudeville, if it interests you." 
"With whom?" 
He could not help a leer. 
"Babby Blake." 

Her face stood out toward him in quite a 
serpentine fashion. 

' "Wait a minute," she breathed, and glided 
away. . . . 

Then, suddenly, she stood before him, an 
ugh' curling whip in her hand. . . . Her nos- 
trils were dilated. . . . She was in a high fury. 
He smiled, incredulously. But she did it. 
The blinding snake of fire went across his 
face. . . . 

Then he saw red. The brute in him rose like 
a bull. 

He clenched his fists, and stood still only 
by the effort of all his strength. 

"What's to prevent me," he roared, "from 
breaking every bone in your body?" 

She was trembling, white; the whip had 
dropped from her hand; but her eyes met his. 
" You can't touch me," she said. 
" You vile — " he began. 
"Sit down," she commanded. . . . 
He sat down slowly. He was confused, for 
a terrific thought had crossed his mind. She 



had gone into a fury of jealousy, she was 
jealous of Babby, she was in love with him. . . . 
He forgot his rage, his heart pounded so, his 
head was so giddy. 

He saw her two hands there, one tightly 
gripping the other. What enchanting hands 
to snatch to his lips. 



Octavus 

Roy 

Cohen 

will be prominent among 
the contributors to 

AUGUST 

PHOTOPLAY 




The famous fiction writer 
will be represented by "Ben 
Hurry," the first of a series of 
delightfully amusing short 
stories of a darktown motion 
picture company. You know 
Mr. Cohen's ability in spinning 
hilarious negro yarns. "Ben 
Hurry" is one of his best. 

Be sure to watch 
for Mr. COHEN in 

AUGUST 

PHOTOPLAY 



"Gwyna," he found himself saying, "you're 
in love with me. Why didn't you say so?" 

"In love with you," she said icily, "because 
I struck you? Love you? a drunken ruined 
man who scorns the gifts God gave him and 
would fritter away his life in vaudeville and 
idleness and drink. You? I struck you to 
bring you to your senses. You're addled, half- 
drunk all the time. And I have brought you 
to your senses," she said vehemently, "because 
you are going to play Antony now." 

He looked at her blankly. Somehow she had 
knocked the fight out of him. 

" Yes, I am," he sighed. 

She did not trust his word, but signed him up 
duly w illi a contract. He held, however, to his 
word, because he feared her. If he loved her 
madly, as an infatuated man, he feared her also 
as a child does a stern and dangerous parent. 
She had threatened him with more medicine if 
she found he had had anything to drink, and so 
through all the harsh, bare difficult weeks of 
rehearsal, he abstained, as mortally afraid of a 
drop of liquor as though it had been carbolic. 

As the time wore on he found himself getting 
interested in the part, and it was a sweet mad- 
ness, compounded of ecstasy and agony, to 
rehearse the love-scenes with Gwyna. If he 
looked forward, however, to any deep joy in 
taking her in his arms and kissing her, he was 
disappointed fully. For at the height of pas- 
sion and by almost imperceptible motions 
Gwyna, in his arms, was yet aloof from him, 
cool, detached, even businesslike, and she 
evaded the full kiss, turning her head from the 
supposed audience to slide by his lips. This 
tantalized him to a fury. To the outsider she 
seemed all passion, but he felt she was like 
empty air in his arms. . . . 

And if he mentioned love she poured her 
bitter scorn upon him, she held him up to 
himself for what he was. 

"I told you," she said, "that I can only love 
the man who conquers me. I can only love, 
looking up. On you — I look down." 

Sometimes he called himself every kind of a 
fool, and once when he met Babby on Broad- 
way he said to her whimsically: 

EYKRYTHING'S happened that I told you 
would happen if I gave in. I do her 
errands, I see that she doesn't get in a draft, 
and my whole use is to set her off as a gold 
band does a jewel. 

"I am unmann'd, Babby; I'll never be the 
happy old fellow again that had such good 
times with you." 

Babby looked down at an extended Russian 
boot, and then up at him, laughing. 

"You have changed, Jerry. But you're 
sober, anyway." 

" Sober is right," he said. "I'm dull. I'm 
so buffaloed, I can't even act any more. I get 
awkward and self-conscious." 

"Oh, rehearsals," she said. 

" Ah, Babby," he sighed, "why didn't I sign 
up with you?" 

"Some other time, Jerry dear. . . ." 

And she was gone, softly laughing. . . . 

No, his part in the play didn't shine. In 
every rehearsal Gwyna was superb, all that he 
dreamed a Cleopatra should be. But he felt 
baulked, unwieldy, over-anxious to please her. 
She took him to task, she told him that he 
might spoil the play. 

"It's your doing," he said. "I told you I 
didn't want it." 

"You coward," she retorted, "blaming me. 
I say you can act, and you must act." 

The opening up the State was successful 
enough. But it was Gwyna who carried the 
burden. Though Gerald tried with all his 
power, for now he was thoroughly engrossed 
with the role, he could not make more of it than 
a stiff caricature of what he knew was the part. 

[ CONTINUED ON PAGE 137 ] 



Photoplay Magazine — Advertising Section 



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ONALD COLMAN saw the rubber stamp on the wall and 
acted differently. The world was proclaiming him a great 
lover and Ronald, while admitting the pleasant moments of 
that role, did not want it for all time. So he started in for 
drama with "Stella Dallas," for comedy with "Kiki" and now 
he's biting the dust in the desert of " Beau Geste." 



81 



Photoplay Magazine — Advertising Section 



85 



In the Lives of Other Women 



You may find a simple solution of the greatest 
of hygienic handicaps 



This new way insures charm, immac 
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Qradualc Nurse 



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mention rnoTlU'l.AY MAGAZINE. 




WO years ago Georgia Hale was 
led the Extra Girl of Poverty Row, 
of that bedraggled group who 
lorked for Hollywood's flimflam out- 
fits. Now Paramount, lordliest com- 
pany of the business, regards her as 
one of their most promising bets. 
"The Salvation Hunters," played for 
the price of her lunches, gave Georgia 
the break. Next came Chaplin's 
"The Gold Rush." Her first Para- 
mount release will be "The Rain- 
maker." 



The girl who 
wouldn't stay down 



86 



Photoplay Magazine — Advertising Section 




"How well 
you look 

Pompeian Bloom gives 

your cheeks a color 

exquisitely natural 

By MADAME JEANNETTE 



\smetician, retained by The Pompeian 
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When 



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Madame Jeannette, 

Thk Pompeian Laboratories 

2912 Payne Ave., Cleveland, Ohio. 

I enclose a dime (10c) for sample of Bloom, 
described above. Also send a sample of 
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Nam- 

Street 

Address 

City State 

Shade of rouge wanted 



PlIOTlirLAY MAGAZINE. 



For the Sake of Speed 



CONTINUED FROM PAGE 73 ] 



way to go before he would be home. He found 
a straight street with a good paving on it and 
went down it at a tingling speed. 



II 

A relieved smile visited Barry's lips at sight 
of the solid, gray-haired man with the square 
shoulders and honest face, from which looked 
a pair of good, brown eyes. Detective Sergeant 
Dennis Ilarland, in a plain, readymade suit of 
sober cut, remained still the officer of the law — 
heavy-handed, lumbering, and no figure of ro- 
mance. It was clear that into his job he put 
e\ eryl lung that was himself. Courage, respon- 
sibility and steadfastness stood oul in a level 

gaze. 

"The little girl's told me about ye," hi aid 
heavily, while his glance went 
deep into Barry. "I was her 
father's friend. So she comes to 
me with all her troubles and her 
adventures. Don't ye, April?" 

The look she flashed to him 
was one of affection. 'Acs, 1 
do, Dennis. And I've told him, 
too, all about the cottage that's 
coming some day soon when you 
get your raise. So that's what 
I think of you." 

Watching the fine bond be- 
tween the two Barry felt the first 
twinge of a new emotion. He 
read in the sergeant's face that 
he was under inspection, that if 
the redoubtable Dennis decided 
against him it would be the la.^i 
he saw of April. A little reck- 
lessness tinged his expression as 
he left them that evening. 

Dennis had liked him on that 
first occasion, although it would 
be a long time before he would 
utter any final judgment. In the 
meanwhile, as he piloted the long 
black motor about the streets 
or lay on the crumpled bed in 
his room on a narrow side street, 
smoking endless cigarettes and 
reading endless tattered maga- 
zines, Barry was finding himself 
looking forward to certain nights 
of the week. Those were the 
nights when a demure voice 
would sound merrily, banishing 
the restlessness that perpetually 
rode him, 

I h-smili'il whenever he thought 
of Dennis — an odd but com- 
pletely respectful smile. It was 
men like that, within them some- 
where a fundamental call to serv- 
ice, who spent their lives pound- 
ing pavements and probing, 
none too brilliantly, into the 
seamy side of a city's character. 
Twenty six years on the force and 
still a sergeant. In any other 
field, certainly, those decades of 
single-hearted devotion would 
long ago have brought the little 
place with its bit of a garden — 
the home for Dennis and April. 
Was Barry Andrews beginning 
to be glad that it hadn't? He 
dismissed the thought as he dis- 
missed many others. It came to 
him at a time when April sat, 
flushed of cheek and radiant of 
glance, in the rushing motor. 
This particular afternoon and 
evening it was to be no thirty- 
cent movie house and dinner for 
three in some dingy chophouse. 

88 



A clean twenty miles showed on the gauge 
when Barry swung the car between stone gate- 
posts. The roadhouse sprawled its white 
Colonial bulk at the end of a long, graveled 
drive, in front of it a full dozen motors signal- 
izing its popularity. It was Sunday, but none 
the less the crashing of a jazz melody drifted 
out through the windows. They were far 
enough from the beaten track not to be both- 
ered overmuch by the law here. 

He read correctly the glow that mounted to 
her face. Her dancing eyes swept the lavish- 
ness of the room and he could hear a small foot 
tapping the floor to the music. 

Service," said Barry to the waiter. "And 
what we want we want quick — get me?" 

The waiter bowed, evidently quite used to 
being peremptorily ordered about by young 




The Rock-a-Bye Baby 
Blues 



THE very newest member of the younger set in Holly- 
wood makes her debut before the camera. Barbara 
Ann Blue steals the honors of this close-up from her 
dad, Monte Blue. At the time this photograph was 
taken, Barbara Ann was one month old and her father 
and mother had just made the astounding discovery 
that she was 100 per cent perfect and vastly prettier, 
healthier and cleverer than any other baby in the world. 
So they had her picture taken to prove it. Barbara 
Ann, called Bab for short, was born the same week as 
two other famous babies — Charlie Chaplin's son and 
Agnes Ayres' daughter. 



men who were escorting attractive young la- 
dies. Barry ordered rapidly, finding at the end 
that April was regarding him with surprise in 
her look. About them, even at this hour, when 
the last reddening flush of sunset was giving 
way before the stealth of dusk, the room was 
filled with chatter from many tables. 

In loose clothes of a half-sporting cut, his 
keen young face alive and his eyes mirthful, he 
seemed to her the most debonair of companions. 
His language slurred occasionally on the side of 
gram mar and a pungent slang for emphasis, but 
that was to be expected of a man who had 
fended always for himself. He was a little 
startling at times with his abruptness — twice 
he had broken an engagement with her on five 
minutes' notice, yet her curiosity was still un- 
dinimed by reproach. He, loo, had come from 
a small town, he clung in many 
ways to its directness and sim- 
plicity, untarnished by the cheap 
city veneer that she had seen 
creep like a shell over so many 
in similar circumstances. 

He smiled at her boyishh 
''This beats the dairy lunch, 
don't it?" The lightness of 
heart that appeared to her to 
be his most dominant trail 
threaded his voice. "I like a 
little bit of music and a little 
bit of life. They're sort of 
made for us, aren't they?" 

"Tell me what else you like," 
she said on an impulse. "You 
never talk about yourself. It's 
been a month now. And you 
know all about me. You've 
never even told Dennis or me 
who you work for." 

He leaned back in his chair, 
regarding her steadily although 
a trifle amusedly. 

"Mostly for new people you 
never heard of. There's a 
chance now and then for me to 
work out on a speed-car before 
it's put on the market. That 
was what I was doing the other 
day when you saw me on the 
concourse. Just a free lance 
with a bus — that's me." 

She recalled that sight — a 
chance glimpse that she had 
brought up at their next meet- 
ing. Barry at the wheel of a 
big car shooting the miles long 
stretch like an arrow. His face 
had been a mask of confident 
tenseness, lips a little parted, a 
furrow between the straight eye- 
brows. It was the face of a 
man in whose fibres speed 
lurked. The two men in the 
back of the car apparently were 
lucky to be wearing caps as 
anything else would have been 
blown off their heads. 

"You've never felt then that 
you wanted to settle down and 
have a regular job? Somethimj 
to do every day in the year?" 

This was, of course, the fenii 
nine in her speaking, seeking 
I he certain thing in life, unwill- 
ing to gamble on the fundamen- 
tals of food and rooftree. In 
that their ways lay far apart. 
The rubbed finger of one of her 
gloves, laid on the table, caught 
his eye — a small thing, but elo- 
quent. She was not having the 
besl time of it. Perhaps she 
[i ON nxri n ON PAGE i :o ] 



IDEALS of BEAUTY 



* 



Physical Perfection 





'That Schoolgirl 
Complexion 



If you wish to gain them, follow nature's laws — and, above all, this 
natural rule in skin care which has proved its effectiveness to the world 



PALMOLIVE is a beauty soap 
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RIGHT living, right diet and proper 
. exercise are the factors leading ex- 
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skin perfection these experts urge natu- 
ral ways in skin care. 

Thus, on expert advice, the artificial 
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Foremost beauty authorities have found 
beauty i nsurance starts with proper cleans- 
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Use Palmolive according to the simple 
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Start today with this simple care — 
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Wash your face gently with soothing 
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with cold. If your skin is inclined 
to be dry, apply a touch of good 



cold cream- that is all. Do this regularly, 
and particularly in the evening. Use 
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never leave them on over night. They 
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Avoid this mistake 

Do not use ordinary soaps in the treat- 
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THE PALMOLIVE COMPANY (Del. Corp.). CHICAGO. ILLINOIS 



HERE THEY COME 

Ladies and Gentlemen! 

A Parade of hits 

From the foremost of 

Motion picture producers— 

Metro- Gold wyn - Mayer 

Featuring 

More Stars than there are 

In Heaven 

Among them 

Lillian Qish, Marion Davies, 

Ramon Novarro, Mae Murray, 

John Gilbert, Norma Shearer, 

Buster Keaton, Lon Chaney. 

Starting next month 

Playing everywhere. 



His Last Fifty Cents 



Earned Jac\ Holt 
a Million Dollars 

'By Herbert Howe 



THIS is no argument against prohibition. 
But if we'd had prohibition twelve years ago we'd 
never have had Jack Holt. 
And yet Jack never drinks, today. 

The answer to the above conundrum you'll find as you 
read along — if you can. 

I know the romantic actors of Hollywood. 

But Jack Holt is one of the greatest I know in life. 

Born the son of an Episcopal clergyman, of a family with 
crests and culture, educated at Virginia Military, a soldier 
and civil engineer, he turned his life into adventure in the 
mountains of Alaska and in the wide open spaces of the 
cattle country — which, by the way, few screen westerners 
have ever seen. 

He went to Alaska as a civil engineer to realize on a boom 
that never came off. 

He drifted down the coast to Oregon and started a ranch — 
which, likewise, never came off. 

To San Francisco when it was 'Frisco and had 
a Barbary coast. 

A gentleman, broke but never 
friendless, for a gentleman who can 
rough it is a man who 
earns friends when 
can't earn dollars. 

Someone advised him 
to try motion pictures 
over at San Raphael. 

Beatriz Miche 
lena was the star 
whose name 
covered twenty- 
four sheets 
then. You have 
forgotten her. 
my children, for that was 
twelve years ago. 

Jack took the ferry boat 
across the bay. 

" Can you ride a horse? " 
the director asked him. 

"I'm prettv good," said 
Jack. 

"Pretty good won't do," 
snorted the director. "We gotta have experts." 

Jack wasn 't an actor then. He was merely a rider of the 
range where "pretty good" means a lot more than an actor's 
"marvelous. " 

He thanked the director, who was bewildered thereby, and 
took the boat back to 'Frisco. 

Fifty cents reposed in his pocket, and forlornness in his heart. 

A man at the rail struck up conversation. Companionship is 
the one thing you crave in a lonely hour — and, perhaps, a drink. 

Jack felt his fifty cents in his pocket, and genially invited the 
acquaintance to go below and have one. 

The drinks were served, and the fifty cents went. 

Then the man opposite him said: "I'm producing a picture 
over at San Raphael, and I'm going over to 'Frisco to look for 
a guy who can ride. " 

"No, you're not," said Jack, with the courage which only a 
drink can raise in a gentleman. "You've found him right here." 




Jack Holt, the kind of 
man girls don't for- 
get, a gentleman, an 
adventurer, a good 
actor. But, if hehadn't 
known how to ride a 
horse he might have 
starved to death 



And so Jack rode in "Salomy Jane," one of the first big 
features ever made. 

His principal duty, he found, was to pick up the expert 
riders as they fell off their horses. These experts, engaged by 
the hard-boiled director, were chorus men from a 'Frisco show. 

They could talk fast, but they couldn't ride that way. That, 
on the whole, is the difference between actors and experts. 

AS I say, Jack is a real romantic actor. And of course there 
. was a girl. A beautiful one with golden hair — the girl 
back East. 

And, true to romance, she was a lady in a bower, guarded 
by stern, Puritanical parents, who would have rather seen 
their daughter in her grave than married to an actor. 

She was forbidden to write to the reprobate, and his letters 
could not reach her. But, on afternoons when she was shopping, 
she stole off to a low, cheap movie theater in Boston and 
saw Jack on the screen. 

The silent drama is supposed to be silent, but Jack used to 
say, "I love you" to her in every [ continued on page 133 1 

91 



Wholesale Murder and Suicide 



CONTINUED FROM PAGE 33 



Katherine Grant is now in a coast sanitarium 
fighting to recover from the effects of reducing. 

All drastic, stubborn and unintelligent re- 
ducers resembled each other in one way, I 
learned, much to my surprise. They are not 
poor women, uneducated women. They come 
of the comfortable middle class with some 
money at their disposal and some leisure in 
which to brood over their adipose tissue. A 
doctor illustrated this to me by two cases. An 
old patient, whom he had known when first 
starting practice, the wife of a laundryman, 
came to see him. She was five feet, four inches 
tall and she weighed over 200 pounds. She 
could hardly afford his fee, but she had enough 
sense to see that weight and health are closely 
related and meant to get the best advice. 

Another woman, a well-known professional 
woman, came to him, too. She had felt that 
she knew enough to regulate such an unim- 
portant thing as her own weight. She had been 
taking thyroid, because a doctor had pre- 
scribed it for a friend. She is now in a sani- 
tarium. 

At the Neurological Institute I was told that 
though seventy per cent of their patients are 
free patients, it is not among these that doctors 
find the troubles due to drastic reducing 
methods. It is among the paying patients. 

A doctor in the clinic of this Institute in- 
formed me that he had no knowledge of any 
reducing among the poor people who come to 
theclinic, but that from fifty to sixty per cent of 
the women in his private practice were using 
some reduction method or other. His own 
wife, he said, though she would not take reduc- 
ing medicines, could not be restrained from ex- 
perimenting with breads, girdles and diet fads. 



In an interview with Dr. Copeland, he re- 
marked, that when he was experimenting with 
his reduction class in Xew York, he was 
amazed to find how little these women knew 
about what to eat, about the proper values of 
food. 

"And they were intelligent, well-educated 
women, too." he added. 

Women like that, who are fastidious about 
their clothes, their houses, their complexions, 
who will go tirelessly from store to store, 
searching for a dress that will best enhance 
their charms and give them most value — they 
are also the women who will do anything to 
lose weight, use anything they happen to hear 
of or see advertised, without bothering to 
investigate. 

The most dangerousmethod of reducing, and 
one that seems to be on a wave of popularity 
just now, is the thyroid treatment. .Patent 
medicine manufacturers who put thyroid ex- 
tract in their pills are not the only offenders. 

I learned with some astonishment that there 
are licensed practitioners who rush in where 
e\en the greatest men of their profession tread 
very cautiously indeed, that is. who hand out 
thyroid extract to fat people without even the 
most cursory examination. 

At the Xew York City Board of Health they 
told me of one licensed doctor who made this 
bow to science — he sent out questionnaires to 
people applying for treatment in which he 
asked them about their hearts and the condi- 
tion of their bodies — as if most people are at all 
competent to judge the condition of their 
bodies' IK- then prescribed various pills, some 
of which contained thyroid. This doctor ad- 
vertised. 



Some don't advertise. They "specialize in 
obesity." , I happened to be in the office of my 
own doctor, who is an instructor at the Poly- 
clinic and Montefiore Hospitals and a lecturer 
at Columbia, when an old patient, a man, 
came in to complain of nervous tremors and 
heart trouble. It developed that he had gone 
to one of these obesity specialists a few blocks 
away and had been taking doses of thyroid 
for three weeks. Now he was making a bee 
line for his family doctor. 

Then there is the classic case of the girl who 
went to a doctor she had chosen at random, 
got a thyroid prescription for her fatness and, 
when some weeks later she had fainted in her 
office, called up the physician. 

"Oh." he said. "I guess I must have forgot- 
ten to examine your heart." 

There is no way of regulating such physi- 
cians. The patient must learn to beware. 

Commercial thyroid, as I suppose most 
people know, is made from the thyroid glands of 
sheep, usually. It can be obtained by anyone, 
in spite of the fact that the thyroid gland is 
one of a group of ductless glands whose func- 
tions are si ill not fully known to scientists, 
the extract of the thyroid gland being handled 
by them with great care. 

This is what the American Medical Associa- 
tion has to say about thyroid gland and its 
relation to fatness: 

"That the prolonged administration of 
thyroid gland will sometimes bring about a 
marked reduction in weight is true, but its use, 
even under skilled medical supervision, is 
fraught with danger. It is little less than 
criminal that ignorant quacks should be 

[ CONTINUED ON PAGE 1 28 ] 



Reduceo' 

Sanity 



TN this, the first article of Photoplay's great series on Re- 
duceomania, you have read about the evils of quack nos- 
trums and get-slim-quick remedies. You have been authorita- 
tively informed of the dangers to which you are exposed when 
you defy the laws of health in an effort to obtain a boyish 



g$ 



figure. 

The August issue of Photoplay will have a second article by 
Catherine Brody on this vital subject. It will contain sound 
constructive advice to women who want to keep their figures 
and keep their health. Some famous doctors will give you the 
scientific definition of beauty of form. They will tell you how 
to diet and how to exercise without destroying your health. 

Every woman should read Photoplavs 
great articles on REDUCEOMANIA 




Neither too fat 
nor unhealth- 
i 1 y t h i n — 
Fay Lanphier 
possesses a 
perfect figure 



92 



Photoplay Magazine — Advertising Section 



93 



- 





"Umkisiowm Beauty 



fe : 



Qo tivosc w& 
aeuer nxeeL/ 

There are legions of lovely ladies in 
this land, hidden in tiny hamlets and 

great cities In fact, for every 

beauty found by fame, a thousand 
pass unseen. Is it any wonder that 
in this vast garden of Feminine 
Charm, Tre-Jur is acclaimed first 
aid to good looks? 

Tre-Jur Face Powder was created to 
prove that fine quality need not 




mean high price. In a beautiful box 
of generous size, you will find as ex- 
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Tace Powder 

JOLI-MEMOIR.E FRAGRANCE 



yon PnOTOrLAY magazine. 



Friendly 
Advice on 





iris |^ 
Problems 



from Carolyn Van Wyck 



DEAR CAROLYN VAN WYCK: 
Should I marry without love? I'm 
in such a quandary. I am engaged to be 
married to a fine young man who comes of an 
excellent family. He's honest, sober, indus- 
trious, in fact all the nice, virtuous things a 
husband should be. He earns a good salary 
now and his prospects for the future are very 
good indeed. My family wants me to marry 
him. His family wants him to marry me. 
Everything, you see, is serene, except myself. 
I don't love him. I'm quite sure of that. I 
respect him. I even admire him. But that 
emotion that every girl expects and longs for 
just isn't here, that's all. I believe he loves me 
very much. I have let myself be engaged to 
him because it does seem from every sensi- 
ble standard so very right and wise for 
me to marry him. But love! Oh Carolyn, 
should I marry without it? 

Nancy L. 



Do you mean romance, Nancy L., you and 
all your little sisters under the skin 
who write me letters, or do you mean 
love? 

And if you mean love are you pre- 
pared to meet the cost of it? Will 
you give up your nice, safe young man 
for some vagabond prince who may 
tear the heart out of you with emo- 
tion, who may keep you forever from 
the paths of peace and contentment 
and yet give you that high, fierce 
emotional knowledge that he and 
only he matters for you in the whole 
wide world, no matter what the price 
of him is? 

Love is one thing, Nancy L., and 
romance is another. And marriage is 
still a third. That wisecrack about 
love having very little to do with 
matrimony is true of the average 
alliance. That's why we have 
divorces. But, when you do love 
within marriage, all the divorces, all 
the hurts and even betrayals, can 
never separate you. But, such mar- 
riages are as rare as the people 



worthy of them. Il is only those- so pure in 
heart that they know nothing, and those so 
wise in heart that they know too much to 
whom such loves may come. 

Marriage, primarily, is a social partnership 
and good partnerships are founded on mutual 
trust, mutual respect and mutual working to- 
gether for a common good. Marriage is no 
blissful state of blah. But it seems to me 
that marriage today is more dangerous for 
any girl than ever before, because she 
doesn't have enough work within its confines 
to keep her mind entirely occupied. 

Our American great-grandmothers worked 
at their task of being wives with even' fibre 
of their being. They pioneered with their men. 
built homes and raised children, saved and 
conserved and created the institution of the 
American home. It was a nice theory that love 
was their whole existence. But it wasn't true. 
They were too busy to have love their whole 
existence. But their very activity saved the 
love that they did have. They didn't have 



Pamphlet on Reducing 

Following the announcement that I would send 
specific instructions on diet, skin troubles, or any 
other beauty problem, I have been so deluged with 
requests that as yet it has been absolutely impos- 
sible to comply with all of them. 

The majority of th? letters have asked for in- 
structions on diet and reducing. To comply with 
these I have had printed a new, eight-page pam- 
phlet, illustrated with exercises that help you reduce 
in a sane manner. The price of this booklet is ten 
cents. All other beauty advice will be sent on 
receipt of a stamped, self-addressed envelope. 

To those of you who have written me and not yet 
heard from me, I ask you to wait just a little longer. 
Not one of your letters has been lost and you will, 
every one of you, get a personal reply. 

CAROLYN VAN WYCK. 



sufficient leisure to tear it to bits trying to 
i lis cover whether it was more or less than it had 
been, or more or less than some other man 
could offer them. They were comfortably 
tired most of the time and weariness is the 
greatest moral force in the world. 

Our grandmothers had little choice about 
love and marriage. The modern girl has and 
it places a great responsibility upon her. 
Today's girl must decide what she wants of 
marriage and what she wants of love and what 
she will pay for each or both of them. With 
you, Nancy L., the price of your nice young 
man with his good name and excellent pros- 
pects, that seem to promise you the protection 
that every woman wants, and a superior posi- 
tion in your community — the price of such a 
husband may be that you will never know 
that quick moment of ecstasy when we find 
that other being so like ourselves in sym- 
pathies, outlook and ambitions that we are 
released completely from our worries and our 
fears. Yet in return, you may receive, certainly 
will receive if you work hard enough, 
the fair rewards of respect, content- 
ment and the love of your husband 
and your children. 

Should any girl mam' without love? 
Let your good, keen minds answer 
that question for you, dear girls. 
The mind learns so much more 
swiftly and surely than the heart 
ever does. 



A School Girl. 

I am not quite positive about this 
"confidence business." I suppose the 
real answer is that you shouldn't have 
anything to confide in anyone that 
you would be afraid to have known, if 
they were to betray your secret. But, 
on the other hand, it is better to get 
worries off one's chest. It is almost 
an irresistible impulse for two girls 
to confide in one another which, in 
a way, is very charming and sweet. 
The only advice is to have the courage 
of your own confidences. 

I CONTINUED ON" PAGE 1 25 ] 



9i 



Photoplay Magazine — Advertising Section 



95 




NEW • BEAUTIFUL, BUT SO FRAGILE WHEN WET 

Uaunaer it this one safe gentle way } 



YOU see it in Paris! Great French 
houses use rayon in their most 
stunning dress materials. Famous 
coutouriers take these and fashion 
frocks for all the smart world to wear! 

You see it in New York! In the 
inimitable Fifth Avenue stores rayon 
grows every day more and more popu- 
lar. New, lustrous, beautiful and such 
tempting prices! 

"But," women ask, "how should 
we launder our rayon clothes — frocks, 
undcrthings, hosiery?" 

Rayon is entirely different from silk 
— different from any other fabric ! It 
is a man-made textile fibre, that tem- 
porarily loses much of its strength 
when wet. You must always launder 



rayon garments with infinite care ! 

Your silks and laces, your delicate 
woolens you've always trusted to Lux. 
For years Lux has refreshed them 
without injury. Now wash rayon, 
too, in Lux ! But be sure to follow 
these washing directions carefully. 

The safest way to "wash rayon 

WHIP up a tablespoonful of Lux 
in hot water. Add cold water 
until lukewarm. Take off your rings 
— they might tear the wet fibres. A 
rough finger nail, too, may catch in 
the fabric and cause damage. 

Plunge your rayon garments into 
these fluffy, bubbling, pure Lux suds. 
Swirl them about, gently pressing the 



suds through the fabric. Never rub with 
a cake of soap ! Then squeeze out the 
suds — never wring — and rinse several 
times in lukewarm water. 

To dry, wrap the garment in a 
towel and squeeze out as much water 
as possible, do not twist. Then spread 
on a towel and pull into shape or 
hang the garment lengthwise over a 
clothesline or rack. Never use clothes- 
pins. Never dry in excessive heat. 
For rayon garments which require 
pressing, iron across the weave with a 
warm, not hot, iron. 

Cut out these directions — keep them 
where you can refer to them next time 
you wash rayon! Lever Bros. Co., 

Cambridge, Mass. 




)uch exquisite underthings this year! In so 
many new and lovely colors! Silk, crepe de 
chine, rayon. Don't ruin them by rubbing 
with cake soap! Launder them in Lux — 
directions on the package tell you how 



JYOW a big, convenient 




7rt many of the smart, new frocks rayon is 
combined with silk., flannel, linen. More 
important than ever to launder them the 
safest, gentlest way — in sparkling, bubbling 
Lux suds — so harmless, so mild! 



package, too ^> 



Wlien you write 



I.Iras. mrntii.u rilOTOI'LAY M Al I A /A NIC. 





Came 
Lava! 



HERE is probably the most remarkable snap shot ever taken of news camera- 
men in action, proving the desperate chances taken every day by the men 
who picture the current events. 
The cameramen departing hurriedly are on the staff of the International Newsreel 
and they were getting shots of Mauna Loa in eruption. When Mauna Loa first 
began to rumble. International Newsreel cabled its men in Honolulu to proceed to 
the Island of Hawaii, some 300 miles away. Here Mauna Loa is located. The 
cameramen reached there four days later but the eruption had not reached its peak. 
The cameramen pushed up the mountain side, down which the fiery lava was 
flowing. They had just filmed the burning of a native village when the lava stream, 
more than forty feet high, advanced suddenly upon them. Seizing their precious 
cameras, they fled, although one man received serious burns. 



Community Clothes 



[ CONTINUED FROM PACE 67 ' 



word in edgewise, she was telling about meeting 
Pedro De Valierio, the great South American 
star, who had just come to Hollywood and was 
trying to comb his hair more patent-leather 
than Valentino. Rita had met him at the 
Beach Club and he had just called her up and 
told her he wanted to try her out for a part in 
his picture. She was to go to see him about it 
that very afternoon. 

" 'It's only a small part, but there's a fine 
chance to be his leading lady, later on,' Rita 
told us. 'He just hates his present one. Her 
personality weighs on him. He's awfully 
sensitive, you know. He said the way I looked 
created a perfect mood for him for this new 
picture, so, of course, I 've got to wear exactly 
the same clothes I did the other night. I had 
on Marilyn's new chare colored hat and your 
coat. You're such a sweet old dear about 
lending it!' 

" Now, I hadn 't loaned it to Rita at all. She'd 
sneaked it out of my closet the one evening I 
wanted to use it myself, so I didn't lose any 
time in exclaiming, 'Well, Pedro will have to go 
without his mood this time. Violet's got an 
option on the pussy this afternoon. ' 

" 'Oh,' said Rita, with her most charming 
smile, ' I suppose dear little Vi has a part. Isn 't 
that lovely? What is it? I can't wait to hear. ' 

" 'It isn't apart. It's just a man,' admitted 
Vi, although I gave her a kick in the ankle that 
must have left a mark. 

" 'But Vi, dear—' Rita began working her 
personality up as if she were talking to a 
director, 'you do understand, don't you, how 
important this interview is this afternoon? 
You know what Pedro is and how important 
his moods are. Of course, though, a beau is 

96 



important — I'm so happy for you — it's won- 
derful, and of course you must have the coat — ' 

"I could see that Vi was rapidly beginning 
to feel she was the most sellish person in the 
world — just as Rita was intending she should. 

"And then in popped Fuzzy, who came to 
tell us that just after she finished sending Vi's 
telegram, the rain had stopped and her assis- 
tant director had called up with awful news. 

" 'Now that it's clearing, they want me for 
re-takes.' she said, 'and of course it's the scene 
where I wore the leopard coatee. I 'm awfully 
sorry — ' 

"That seemed to settle everything, because 
of course when a garment has been used in the 
first part of a moving picture sequence, it has 
to go through in the rest of it. Fuzzy couldn 't 
leave the drawing-room to go into the garden, 
wearing a leopard coatee and emerge on the 
other side of the door in a worn out seal cape, 
which was the next best thing in wraps the 
Club could raise. 

"Just as I was resigning myself to gloom, I 
suddenly remembered that Fuzzy had told me 
her scenes were exteriors. 'Fuzzy,' I cried, 
'they can't shoot outside after four o'clock, 
even with the rain over, and Cousin Charley 's 
train doesn't get in until five. The assistant 
director over there is a friend of mine. I'll 
'phone him to slip your shots in first, and Jo, 
the prop boy — he's another friend — can grab 
the coat as soon as you 're through and throw 
his Lizzie into high and — ' 

"Rita joined in the applause, just as if she 
had never wanted the coat for herself, and if I'd 
had any sense I would have suspected the 
sweet way she kidded Violet and danced off to 
her room. But I was so darned busy figuring 



how I'd dress a discouraged girl up to look like 
a successful star. 

"For the next couple of hours, after I'd 
phoned the assistant director and the prop boy, 
I worked on Vi, and. say,— what I didn't do to 
that girl! 

"And when I'd finished I made her lie down 
and relax the circles out from under her eyes, 
while I tackled May Ann's handbag. It went 
back to its toque state as if it had never led 
another kind of a life and the way it nestled up 
to the gold of Violet 's perfectly marcelled hair 
was a sight for KJieg eyes. I knew that with 
the addition of the leopard coatee she'd look 
like the true blue ribbon winner she really was. 

"Then I heard a noise down the street which 
I knew must be Jo's Lizzie. He hires it out for 
country scenes in slapstick comedies, so you 
can imagine what it sounds like. 

" 'I guess Rita's scraped up enough clothes 
to meet Pedro in.' said Violet. I joined her at 
the window and sure enough there was Rita 
trailing down the steps into a taxi. At the 
entrance of the driveway, her car suddenly 
blocked Jo's. I screamed, but it was no use. 
No voice could carry past the din of that 
motor. So I had to sit there and watch while 
Rita reached out and took the leopard coatee 
from Jo with a smile that left him dazed and 
smiling, like the poor innocent boob that he is. 
He told me afterward that Rita said she was 
the girl he was bringing the coat over for. 

"Violet collapsed on the couch, with a 
bucket full of tears rushing down over the 
complexion I'd worked so hard on. And I'll 
admit I was in the dumps myself, for a mo- 
ment, until I began to realize that Cousin 

[ CONTINUED ON PAGE 114 1 



Photoplay Magazine — Advertising Section 



97 




Stars 



of the 

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The Utopia of Machinery 




FAMOUS PLAYERS-LASKY is importing the much 
talked about UFA picture, "Metropolis." This is a 
fantasy of the future, directed by Fritz Lang, who made 
"Siegfried." In " Metropolis" capital controls the universe 
of machinery, the world masters operating life by means of 
a huge switchboard. Plodding humanity has been ground 
beneath the giant wheels. Inspired by a humble factory 
Joan of Arc, the serfs of tomorrow rise up and destroy thei'r 
masters, together with this massive machinery. 



Two scenes of "Metropolis" are here 
presented. Above, the master of the 
city of the future may be seen controlling 
life from his huge key board. Below, the 
ultimate destruction of the giant ma- 
chines by the serfs 



James Cruze, the director, saw a large 
part of "Metropolis" during his recent 
visit to Berlin. "It is incomparably the 
greatest picture that I have ever seen," 
he says. "It is inconceivable that any 
director could afford to make, in Amer- 
ica, a picture so tremendous and fine" 



Studio News and Gossip — East and West 



CONTTNDED FROM PAGE 5 1 ] 



THERE will be no listing of the Good Ship 
x Matrimony this month. It is perfectly bal- 
anced by two marriages, a reconciliation and 
three divorces. 

The first marriage was that of the fascinat- 
ingly husky-voiced Pauline Garon to Lowell 
Sherman. Pauline caught a train from Holly- 
wood to New York as soon as her picture was 
completed, where she met Sherman, who was 
appearing on the stage. They were married 
there and planned an extensive honeymoon, 
which was cut short by a summons to Sherman 
from Lasky's on the west coast. So their 
honeymoon was spent in Hollywood. 

""THERE followed the wedding of Stuart 
•*- Paton, at one time a prominent director, 
who, owing to blindness caused when a coin 
tossed into the ring at a prize fight rebounded, 
struck his glasses and sent a sliver into his eye. 
has not been directing recently. An operation 
a short time ago restored his vision and he is 
now engaged in the painting of marines, for 
which he has more than a local reputation. 
The bride is Ethel Patrick, an English actress, 
who nursed him to health. 

The reconciliation noted above is between 
Joseph Schildkraut and his actress-wife, Elise 
Bartlett, and it cost $675.00 in long distance 
telephone tolls to effect. Elise was in New 
York and Joseph was in Hollywood, where he is 
appearing in Metropolitan pictures. Perhaps 
it was the sadness of the moon sailing remotely 
through the California sky that brought melan- 
choly thoughts to Schildkraut and made him 
repent the hasty words he had spoken some 

9S 



months ago. At that time he maintained mar- 
riage was not for two artists. Divorce rumors 
rumbled. Then a reunion. Another separa- 
tion came when Elise declared that Joseph 
pinched her during their love scenes on the 
stage. 

And now a $675.00 reconciliation. 

\7ERA REYNOLDS celebrated her ascen 
Y sion to De Mille stardom by receiving a 
divorce from Earl T. Montgomery. The mar- 
riage was termed by Vera as "a childish mis- 
take." Hollywood is wondering whether she 
will marry Bob Ellis, who has been most atten- 
tive to her. 

Ora Carewe. at one time well-known on the 
screen, is the possessor of a brand new decree 
from John R. Howard, son of a wealthy Los 
Angeles manufacturer; and Sylvia Breamer, 
whose marriage a year and a half ago to Dr. 
Harry W. Martin brought word that she would 
retire from the screen, is being sued for divorce 
by her husband on the grounds of cruel and in- 
human treatment. 

CHE was a newspaper woman of 
VJ mature years. He was a young 
prizefighter, in Hollywood to make 
his first motion picture. 

"I'm so glad to know you," beamed 
the lady. Then, reminiscently, "I 
interviewed a prize-fighter once." 

"Was it John L. Sullivan?" the 
fistic gentleman asked. 

And an appalling silence fell. 



XT-ICTOR MacLAGLEN was very blue. As 
v a matter of fact, he was blue, black, red and 
green. And furious, too, if you must know the 
whole of it. 

Over at the Fox lot Raoul Walsh is directing 
"What Price Glory" and Yic is playing Cap- 
tain Flagg. Now Captain Flagg is a walking 
monument to the art of the tattooer and Yic 
had to submit to being decorated. But he did 
not know it was being done with indelible ink. 

At the end of the first day's shooting Mac- 
I.aglen walked over to the assistant director 
and said: 

"I suppose the tattooer will be on hand to- 
morrow morning to make up my arms and 
chest again?" 

"It won't be necessary. That tattooing is on 
for a long time," replied the assistant omi- 
nously. 

" What d'ya mean? I'm going in and wash it 
off now!" snorted MacLaglen, and he tried 
every soap on the Fox lot, including some 
pumice stone, and still he was blue and black 
and red and green. 

But mostly he's blue. Very blue. He does 
not aspire to side-show art. 

T3ELLE BENNETT was the sensation of the 
^evening at the Los Angeles premier of 
"Stella Dallas" at the Forum Theater. Both 
in person and on the screen. Her dress was of 
white crepe meteor, made with long lily-petal 
sleeves and a skirt whose panels drooped like a 
tired lily. It was a relief from the glitter of 
most first night frocks, and the flat wave of her 

[ CONTINUED ON PAGE 102 ] 



W/iew Fourth 

of July bands are playing — and 

the cannon are roaring out their 

celebration of another day of 

Independence and Freedom 

— have a Camel! 




Camels represent the utmost in cigarette quality. The choicest of 
Turkish and Domestic tobaccos are blended into Camels by master 
blenders and the finest of Trench cigarette paper is made especially 
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overwhelming choice of experienced smokers. 



WHEN the noisy shouts and 
songs of freedom burst 
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And bands and parades and 
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joyous celebration. When 
you think again that our 
country and the men in it 
must be free — haveaCamel! 

For no other cigarette 
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So this Independence 
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try's defenders march by in 
inspiring parade — know 
then the deepest goodness 
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smoking enjoyment. 

Have a Camel! 




©1926 




Our highest wish, if you 
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QUESTIONS 6? ANSWERS 



Read This Before 
Asking Qiiestions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, sucli as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address; only initials will be 
published if requested. 




Casts and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. As a 
further aid, a complete list of 
studio addresses is printed else- 
where in this Magazine every 
month. Address all inquiries 
to Questions and Answers, 
Photoplay Magazine, 221 W. 
57th St., New York City. 



J. McW., Forest Hills, N. Y. — I'm one of 
your neighbors, Jess. Now I bet I've got you 
guessing. Your favorite Colleen Moore was 
born in Port Huron, Mich., August 19, 1902. 
Her next picture will be "Delicatessen." I 
hardly think they will release it under that 
title — though it does sound appetizing. You 
may reach her at the United Studios, Holly- 
wood, Cal. Eugene O'Brien was born No- 
vember 14, 1888. Is that all? 

S. B., Miami Beach, Fla. — That's an easy 
one. Lon Chaney played the clown in "He 
Who Gets Slapped." 

F, II. & B. H., Steubenville, Ohio. — Far 
be it from me to blast your hopes, but don't you 
think a man over thirty is interesting? That's 
what all my girl friends tell me. Ronald is 
thirty-five. And I'm sixty-five. A man this 
age, my playmates tell me, is a bore, so I sup- 
pose I'll just have to make the best of it. Do 
you think I'm a bore? 

C. R., Chttla Vista, Cal.— Reginald Denny, 
Mary Philbin and Laura La Plante are working 
at the Universal Studio, Universal City, Cal.; 
Margaret Livingston can be reached at the 
Fox Studios, 1401 N. Western Ave., Holly- 
wood, Cal.; Norma Shearer and Ralph Graves 
receive their mail at the Metro-Goldwyn- 
Mayer Studios, Culver City, Cal. Remember 
to enclose two bits for a photograph. 

I'.. P. G., East Point, Ga. — Neil Hamilton 
hangs his hat at the Lasky Studio, Hollywood, 
Cal. Marion Davies is twenty-six, her right 



Blondy, Holley, N. Y. — Real or otherwise? 
The handsome George O'Brien has not married 
yet, but there have been recent whisperings of 
his courting Olive Borden — that's the little girl 
I'm in love with, too. Oh, yes, there's much 
rivalry between George and I. But he has the 
upperhand — he's out in Hollywood with Olive 
and I'm in N. Y., and it only stands to reason 
that a wooer in the flesh is better than a wooer by 
letter. I suppose I'll have to step aside and let 
the youngster win. Sure, I'm big hearted! 
George is twenty-six. He and Olive are work- 
ing at the Fox Studios, 1401 X Western Ave., 
Hollywood, Cal. 

L. L. H., Woodsville, N. H. — We do not 
send out photographs of the stars. You will 
have to write a personal letter to the star, en- 
dosing twenty-five cents for a photograph. A 
letter addressed to Miss Joyce, in care of 
Famous Players-Lasky Corp., 485 Fifth Ave., 
New York City, will be forwarded to her. 



G. E., Philadelphia, Pa. — Here's that fel- 
low Herb Howe popping up again. Well, I sup- 
pose you can't keep a good man down. Herb 
is the original "knock 'em dead kid" and how 
the winimen fall for him is nobody's business. 
You're right — Richard Dix and Leatrice Joy 
played in "The Poverty of Riches." That was 
made years ago. 

A Harrison Ford Fan, Rochester, X. Y. 
— Harrison Ford is divorced from Beatrice 
Prentice. Why doesn't Marion Davies and 
Harrison Ford play together? That's not a 
question for me to answer — ask the Casting 
Director of the Metro-Goldwyn-Mayer Stu- 
dios, Culver City, Cal. Harrison played with 
Norma in "Smilin' Through." Sally O'Neil,' 
formerly Virginia Noonan, was born in Bay- 
onne, N. J., October 23, 1908. She is five feet, 
one and one-half inches in height and weighs 
104 pounds. Her hair is black and her eyes, 
dark blue. Address her at the Metro-Goldwyn- 
Mayer Studios, Culver City, Cal. 



T. B., Roseville, Cal.— Is there any reason Bee, Newark, Del.— You're a little ladv 
why I should not grant your request? I feel after my own heart. As for Greta Garbo, now 
honored. Here are the addresses: Leatrice please don't get me talking on that subject. 
Joy, Cecil B. De Mille Studio, Culver City, Grand and gorgeous Greta is ... I must 
Cal.; Sally O'Neil, Metro-Goldwyn-Mayer stop — she's just the superlative of all the super- 
Studio, Culver City, Cal.; Richard Dix, Para- latives in the dictionaries. Say, what Elinor 



mount Studio, Pierce Ave. and Sixth St., Long 
Island City, N. Y.; Clara Bow, Lasky Studios. 
Hollywood, Cal.; Ronald Colman, United 
Studios, Hollywood, Cal. And mine — you 
know it. 

M. L., East Chicago, Ind. — Say, what's the 



name — sure — Marion Douras. The funny guy big idea of bawling me out for all the mistakes 

of the stars? It's not my fault if they are busy 
and haven't time to read their mail. I answer 
mine and that's all I have to worry about. 
Yes, Ben is very handsome off-screen — at least 
Marilyn Miller thinks so. Lillian Gish is 
twenty-eight, still free and over in England 
at this writing. Guess she'll be back soon, 



with the spectacles — Harold Lloyd — is thirty 
two. You're welcome! 

Bernice, Indianapolis. — Your letter was 
short and sweet, Bernice. That's the way I 
like 'em. Yes, I'm referring to my girl-friends, 
too. Here's the heights of your favorites 



Norma Talmadge, five feet, two inches; Norma though. Want her address?— Metro-Goldwyn- 

Shearer, five feet, three inches; Colleen Moore, Mayer Studio, Culver City, Cal. 

five feet, four inches; Corinne Griffith, 

five feet, three inches. And the age of 

Ben Lyon — just a minute till I do 

some mathematics — twenty-five. 

N. G. — I'm sorry I can not tell you 
\\ here Bob lives, but I will give you 
the address of the Studio where he 
makes his pictures — F. B. O. Studio, 
78oGowerSt, Hollywood, Cal. O.K.? 

R. G. K., Schofield Barracks. — 
Wally Reid died January 18, 1923. 

R. M., Canada. — You're no bother 
— at least when you're appreciative. 
Pauline Frederick — July 12, 1884; 
Edna Purviance — September 21, 1896. 
I'm sorry I cannot give you the age of 
Mai St. Clair — he just won't let me in 
on the secret. Call again! 



IN writing to the stars for pictures, 
Photoplay advises you all to be 
careful to enclose twenty-five cents. 
This covers the cost of the photo- 
graph and postage. The stars are 
all glad to mail you their pictures, 
but the cost of it is prohibitive un- 
less your quarters are remitted. 
The younger stars can not afford to 
keep up with these requests unless 
you help them. You do your share 
and they'll do theirs. 



said about me couldn't be printed. Greta is 
twenty. Huntley Gordon is about thirty-five — 
I'm just taking a guess at that. He's another 
who won't impart the bad news. Clive Brooke 
is thirty-five. That's the truth. Drop in 
again! 

M. B., N. Y. C. — You can reach Joseph 
Schildkraut at the Cecil B. De Mille Studio, 
Culver City, Cal. Bert Lytell was born in 
New York City. Mary Pickford was born in 
Toronto, Canada. I do not answer any ques- 
tions regarding the religion of the stars. 

Blue Eyes. — The birthplaces? You bet! 
Constance Talmadge, Brooklyn, N. Y.; Ben 
Lyon, Atlanta, Ga.; Gloria Swanson. Chicago; 
Dorothy Gish, Dayton, Ohio. 

H. B., Syracuse, N. Y. — You better 
not let Bert Lytell hear you ask that 
question. Why? Claire Windsor's 
married to him at present. Edna Mae 
Oliver was the Bible buyer in "Let's 
Get Married." Are matters straight- 
ened? 

L. B., X. Y. C— Aw, don't rub it in 
about my old age. Have a heart! The 
Man With a Thousand Faces was born 
in Colorado Springs, Colo., on April 1, 
1883. 

His first contribution to the Elm- 
world was in 191 2. At present he is 
working on "The Road to Man- 
dalay" for Metro. Let's hear from 
you again, Sonny. 

[ CONTINUED ON PAGE 143 ] 

101 



Studio News and Gossip — East and West 



[ CONTINUED FROM PAGE 98 ] 




It was a dog's life for the cameramen when they had to close-up 
this pup, Buddy. Director Joseph Henabery reclined beside him; 
his trainer, Henry East, got down on his knees, all for a split second 
shot in "Meet the Prince" 



hair, with its smooth knot, low on her neck, 
was an admirable novelty. 

Lois Moran's bouffant taffeta dress was 
quaint and quite in keeping with her person- 
ality. Douglas Fairbanks, jr., and his mother 
attended the opening, as did Jean Hersholt and 
his family. But Alice Joyce, who was in New 
York, and Ronald Colman, who was out of 
town on location, were not present to hear the 
splendid tributes paid them by Rupert Hughes, 
who was master of ceremonies. 

T SAW Phyllis Haver among the celebrities 
■*- who turned out for the affair and she looked 
very beautiful in some sort of heavy silver ma- 
terial made into an enveloping shawl, on which 
a spray of flowers had been painted in pastel 
colors. Eleanor Boardman came with King 
Vidor, and the heavy mulberry colored velvet 
of her cape swept the ground like the regal 
wrap of some medieval queen. A high fitch 
collar permitted only her eyes to show. 

I noticed particularly that ears are being 
bared and some of the most shell-like were 
those of Virginia Valli, Patsy Ruth Miller, 
Norma Shearer and Laura LaPlante. Even 
Julanne Johnston, whose hair usually swirls 
darkly about her face, had permitted' an ear 
outing. 

OOMEBODY asked Betty Reid, 
" five year old daughter of Mrs. 
Wallace Reid, what she wanted to be 
when she grew up. 

Betty looked very solemn for a 
minute. 

"Could I be anything I wanted?" 

"Yes," said the friend, "anything. 
What would you rather be than any- 
thing when you grow up?" 

"Well, if I could be anything, I'd 
rather be a queen bee," said Betty. 

"KTOW comes Venus' little son scattering ru- 
••- N mors of the engagement of Irene Rich to 
David Blankenhorn, reputed to be very 
wealthy, and known to be a realty operator of 
Los Angeles and Pasadena. 

102 



But Irene, exercising the prerogatives of an 
actress and a woman, shakes her head "No" 
and says, anyway he is not free to marry. 
Not until September 4th of this year could he 
take unto himself another wife. 

We will wait and see. 

pATSY RUTH was always driving to the 
- 1 - studio in the roadster. Mother was forever 
going to town in the limousine. And Dad. . 
well, just try and get the use of his pet car! So 
what was a guy to do but go out and buv a car 
of his own? That's what Patsy Ruth Miller's 
fifteen year old brother, Winston, reasoned 
when he tried on three successive occasions to 
use one of the cars belonging to the Miller 
menage. 

So one day with the pomp of a darky 
preacher officiating at his first funeral, a very 
shiny car of popular make drew up at the 
Miller door and Winston stepped out. 

"Pretty nifty, eh, dad?" and tooted the 
fancy horn that sounded like a blast from the 
Angel Gabriel's trumpet. "Bought it out of 
my own money, too. Earned it in pictures last 
summer. And it didn 't cost you a cent. " 

No, it didn't cost Dad Miller a cent — only 
seven hundred dollars to build an addition to 
the garage in which to house the fourth car of 
the family. 

-r\OROTHY SEBASTIAN landed in a flock 
-'-'of "Scandals" when she stepped off the 
train from New York recently. But they were 
George White's and Dorothy used to be one of 
the "Scandals" herself, so she did not even 
blush. There were forty of them at the station 
to meet her and congratulate her upon her new 
Metro-Gold wyn-Mayer contract. 

And then in the grand old custom of Metro- 
Goldwyn-Mayer, whether it be for a proposal 
of marriage or the acceptance of a contract, a 
jazz orchestra struck up a popular ditty and 
Dorothy led the exit of the chorus girls from 
the station just like she used to do. 

In case you don't remember, Dorothy's big 
role was in Henry King's "Sackcloth and 
Scarlet," at which time a brilliant success w^as 
foretold for her. 



COMEONE at the Universal Studios, who 
'-'didn't want to go away on location in the 
cattle country of Northern California, started 
another " hoof and mouth disease " rumor. 

Reg Denny, our athletic star, overheard and 
said: 

"Oh, forget it. You better get out of Holly- 
wood while you can — before they quarantine 
us for a 'hand to mouth' epidemic." 

"DIG Butter and Egg Men and Land and 
-^Swamp Men from Florida now have a 
serious rival. 

Had a wire from George Fitzmaurice the 
other day. Fitz is down on the Arizona desert, 
miles and miles from anywhere, making "Son 
of the Sheik" with Valentino. It read: 

"This is the life. Up every morning before 
you go to bed and start shooting at 3 .30 a. m. 
Through for the day by 10 o'clock in the 
morning. Have to be, for nothing but a 
horned toad could stand the daytime heat. " 

And it was signed: "Just a' Big Sand and 
Fly Man. " 

Immaculate Fitzmaurice, who loves his 
comforts as well as anyone in Hollywood, must 
be having an enjoyable time. And he tried to 
take me along on the location with him. 

Just a friend, I 'd say. 

YX7ELL, Lon Chaney has added another 
vv characterization to his bag of trick roles. 
But this is permanent and he cannot discard it 
along with the false hair, teeth and eyebrows of 
his usual make-up. He is a father-in-law now, 
by the marriage of his son, Creighton Hull 
Chancy, to Dorothy Musa Hinckley. 

They're really only kids — the young 
Chaneys. Both were recently graduated from 
the Hollywood High School, and Dad and 

[ CONTINUED ON PAGE 107 ] 




Richard Rosson, now a full fledged 
Paramount director, did the film- 
dom impossible. He rose from the 
ranks to prominence all in one 
studio. Starting as a camera man, 
he became an assistant director. 
Then after the Marquise Gloria had 
tired out two directors on "Fine 
Manners," Rosson was called. He 
got the job 



Photoplay Magazine — Advertising Section 103 



44 



Me and the boy friend " 



You know them, bless their hearts. A pair of youngsters, 
really, in spite of their self-reliant air and their fast- 
vanishing teens. The girl — slim, clear-eyed, merry; the 
boy — flippant, a bit arrogant, full of secret, earnest plans 
for success. 

They like each other. They go to the movies together, 
dance, quarrel a bit. They don't believe in early mar- 
riages. But her eyes shine when she speaks of him. "Me 
and the boy friend." 

One of these days, suddenly, they'll be grown up. Man 
and wife, those fearless youngsters. A home to plan, life 
to face. A budget, a savings account, economies. 

They'll make mistakes, but they'll learn quickly. She'll 
begin to be canny in the spending of money — to question 
prices and values. She'll begin to read about the things 
she plans to buy, to find out all she can about them. 
She'll become a regular reader of advertisements. 

They'll help her to become the capable, wise housewife 
she wants so much to be. They'll tell her what clothes 
are best and what prices to pay for them. They'll tell her 
about the foods to buy, the electric appliances, the lino- 
leums and draperies. They'll help her as the advertise- 
ments can help you. 

And she'll meet her responsibilities and fulfill her duties 
easily and well. She won't become a tired, flustered, ineffi- 
cient drudge. Because her home will be modern, attrac- 
tive, well-run, she'll keep young — through the speedy 
years she'll retain much of that shining-eyed, merry 
freshness. She and the "boy friend." 



Advertisements are wise counsellors for 
housewives — young and old 



rllllTOI'I .AY M \f. V/ASV,. 



What the Stars and Directors Are Doing J\(OW 



WEST COAST 



{Unless ot7icrwi.fi specified studios are at Hollywood) 

ASSOCIATED STUDIOS, 3800 Mission Road. 

L. W. Chaudet directing "Tardy Tolliver" with 

Creighton Hale. 

Win. Craft directing "The Arizona Whirlwind" 

with Wm. Cody. 

Noel Smith directing -'The Flying Mall" with 

AI Wilson. 

Lloyd Ingraham directing "Lord Hokum" with 

Edward E. Horton. 



BUSTER KEATON STUDIO, 1025 Lillian Way. 
Buster Keaton directing and starring in "The 



METRO-GOLDWYN-MAYER, Culver City, Cal. 



Sally O'Neill. 



George Hunter directing "The Dude Desperado" 
with Fred Oilman, 



Jacques Jaccard directing "The Fire Fighters" 



with Jack Daugherty 



WARNER BROTHERS, j;s32 sunset Boulevard. 



CIIADWICK STUDIOS', 6070 Sunset Boulevard. 
Nat Ross directing " Apiil Fool" with Mary Alden 



and Alexander ( ';i 



apletlng "The Bells" with T .Llonel 



CHARLES CHAPLIN. 1416 La Brea. 



CHRISTIE STUDIO. 6101 Sunset Boulevard. 

Wm. Watson completing "Papa's Pest" with Ne 1 

Burns. 

Earle Rodney directing " 'Till we Eat. Again" 

with Bobby Vernon and Frances Lee. 

Harold Beaudine completing " Hitchln' Up" with 

Walter Hlers. and Duane Thompson. 



Alan Halo completing "The Sporting Lover" with 

Barbara Bedford. 



MARSHALL X El LAX. 1845 Glendale Boulevard 

Marshall Neiian directing " Diplomacy" wii ti 
Blanche Sweet. 



WOLCOTT STUDIOS, 6050 Sunset Boulevard. 

Lou Carter directing "Silent Sleuth" with police 
dog " Fearless." 

Fr:ink MattlSOD directing "Desert Hero" with 

pi lice dog " Sandon." 



EAST COAST 



BloGRAPII STUDIOS. S07 Last 17.Mli Sir. 



PARAMOUNT STUDIOS, Pierce Av 



CECIL B.DEMILLE STUDIO. Culver City, G 1 

Paul Sloane directing "The Clinging Vine" 
" "trice Jc 

11 B. I 

- Cast. 

Alan Hale directing "Risky Business" with Vt 
Reynolds. 
Donald Crisp directing " Young April." j 



PARAMOUNT STUDIOS, 1520 Vine Street. 



William Wellman directing "Love's Magic" with 

Clive Brooks. 



COLUMBIA PICTURES. 143S Gower Street. 

Ralph Ince directing "The Lone Wolf Returns'* 
with Bert Lytell. 

Frank O'Connor directing "The False Alarm " 
All Star Cast. 



MACK SENNETT STUDIOS. 1712 Olendale 



Alice Day. Eddie Quillan, Danny OShca. Max 

It. v 1.1 -hi. Ma null Mr Don; j 1,1. \\\\[\ Bevan, Vcr- 

non Dent. Thelma Parr. Barney Helium. Ray- 
mond McKcc, Ruth Illatt. Johnnv Burke, Marv 



William Beaudine directing "The Quarterback" 

with EUchard Dix and Alyce Mills. 

Gregory La Cava directing "So's Your Old Man' 
with w. C. Fields. 



F. B. O. STUDIO. 7S0 Gower Street. 

Leo Meehan directing " Laddie" with John Bowers 

and Bess Flowers. 

Chet Withey directing " Her Honor the Governor" 

witVi Pauline Frederick. 

David Kirkland directing "The Two Gun Man" 

with Fred Thomson and Silver King, 

Harry G arson completing "Glenlster of the 

Mounted" with "Lefty" Fl.vnn and Bess Mowers 

Frank H. Crane directing "The Jade Cup" with 



Alberta Vaughun and Larry Kent. 

Bob DeLacey directing "Jerry Settles Down" 

with Tom Tyler. 

Jack Nelson directing "Heart of a Cowboy" with 



FINE ARTS, 4500 Sunset Boulevard. 

Harry J. Brown directing "The High Flyer" with 
Reed Howes. 

Spencer Bennett (Pathe) directing "The Fighting 
Marine" with Gene Tunney and Walter Miller. 
David Hartford directing "Dame Chance" with 
Julienne Johnston and Robert Frazer. 



WILLIAM FOX STUDIO. 1400 N. W( 



Al Austin directing '■Swimming Instruct, r 
Earle Fox and Florence Gilbert. 

Victor Schertzinger directing "The Lily' 
Belle Bennett. 



Lowe. 

Lou Seiler directing "Dead Man's Gold" 
Tom Mix and Eva Novak. 



Harry Beaumont directing "Woman Power." 
All Star Cast. 



(Preferred i Harry Knoles directing "Lew Tyler** 
Wives" with Frank Mayo. Ruth Clifford. 



Oils Meius directing "The Xewlvueds and Their 
Baby" with Jed Dooley. Ethlyne Clair and 
Sunny. 



Frank Capra directing "The Ye: 
Harry Langdon. 



UNIVERSAL STUDIO, Universal City. Cal. 



Lynn Reynolds directing " Prisoners of the Storm" 
with House Peters. 



Harrv Pollard directing " Uncle Tola's Cabin." All 
Star Cast. 

Clifford Smith directing "The Man in the Saddle" 
with Hoot Gibson. 

George Summervillc directing "Sweet Sixteen" 
with Arthur Lake. 

Willy Wylet directing "'Riding Honor" with Art 



BUSINESS OFFICES 

Associated Exhibitors. Inc., 35 West 45th St., New 
York City. 

Associated First National Pictures. 3S3 Madison Ave , 
New York City. Richard Barthelmess Prod . In- 
spiration Pictures. 565 Fifth Ave., New York (it; 

Educational Film Corporation, 370 Seventh Ave.. 
Xew York City. 

Famous Players- Lasky Corporation (Paramount^. 
485 Fifth Ave., New York City. 

Film Booking Offices. 1560 Broadway, New York 
City. 

Al Lichtman Corp.. 1650 Broadway. New York City. 

Fox Film Company. 10th Ave. & 55th St.. New 
York City. 

Metro-Goldwyn. 1540 Broadway. New York City. 

Palmer Photoplay Corporation, Palmer Bldg.. Holly- 
wood, Calif. 

Pathe Exchange, 35 West 45th St., New York City. 



Warner Brothers. lu()(l Broadway, New York City. 



10k 



Photoplay Magazine — Advertising Section 



Brickbats and Bouquets 



[ CONTINUED FROM PAGE 10 ] 



Gloria's Art 

Dover, Del. 

After seeing "Stage Struck" many people 
have wondered how Gloria Swanson could 
bring herself to impersonate so vulgar a char- 
acter as Jennie Hagcn. The real truth of the 
matter is that Jennie Hagen is not a vulgar 
person and Gloria knows it . 

Miss Swanson is one of the few actresses that 
can get close to an unusual character and in- 
terpret it. Jennie Hagen, as played by Miss 
Swanson, is a very real and lovable person. 
A great actress is like a great painter. She 
draws a picture of life. Every movement 
creates an artistic effect, and these effects, 
executed correctly, hold the audience spell- 
bound and transport them to a world of 
romance and beauty. This is what Gloria 
Swanson does in "Stage Struck." One sees in 
her performance a truth far bigger than a mere 
physical resemblance. Hers is a perfect pic- 
ture of a waitress as conceived by a romanticist. 

It is fortunate that Gloria is not too beauti- 
ful. For beauty detracts from significance of 
acting. It is by sheer genius that the Swanson 
triumphs. 

Delaware. 

Almost Half Way 

Marshall, Mich. 

Won't you please help me cry against the 
smart alecky subtitles that adorn our latest 
pictures? They are such irritating offenders, 
like the bee that buzzes and can't be located. 
"The Great Indoors where men are menaced." 

Every Cecil B. De Mille picture has a dev- 
astating collection of them. (As if that man 
didn't have enough on his guilty soul already.) 
I believe he secretly suspects he has a Lubitsch 
touch. If De Mille is a sophisticate so is the 
Unpardonable Glyn — and that's that. 

Oh, for another Emerson-Loos duo! Their 
quips and sallies made every subtitle a delight, 
instead of a thing to gnash one's teeth over. 
They danced as lightly over the silver sheet as 
white caps on busy waves. Here was no 
plodding humor that creaked anew with every 
obvious pun. 

Should these atrocities continue much longer, 
we're all for starting a back to "Came the 
Dawn" movement. Are you with us? 

V. Stuart Love. 

Here's a Good Idea 

Rochester, N. Y. 

Why do exhibitors, when they book a feature 
length comedy, book a two reel comedy on the 
same program? Don't they realize that their 
audiences crave variety in a program? 

It is quite a treat to witness a program com- 
prised of comedies, that is, when both the 
comedies are of such caliber that they elicit 
roars of laughter from the audience. But when 
a comedy is an exact rehash of a thousand 
others and then have the whole program made 
up of such stuff it is perfectly sickening. 

The ever increasing number of feature length 
comedies that are being produced should en- 
courage the producers to make two reel, human 
interest dramas that can be billed with a fea- 
ture length comedy. This would balance a 
program and satisfy an audience. There aren't 
two reel dramas being produced in the field 
(I don't mean Westerns). That is why ex- 
hibitors must feed the public with slapstick 
gags and foolishness by the programsful. 

Haven't the producers imagination enough 
to see how the exhibitors would grasp — gobble 
'em right up out of their hands — these two 
reelers? Let's hope that they acquire some! 
John E. Borelle. 

[ CONTINUED ON PAGE I jC ) 




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Photoplay Magazine — Advertising Section 




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The Girl on the Cover 

By Cal York 



WHEN the cry arises against foreign 
stars, no one ever snarls at Dorothy 
MackaiLl, despite her English birth. 
Dorothy belongs, somehow. 

Perhaps it's her blonde beauty, blondes being 
able to get away with almost anything; or 
perhaps it's her extraordinary acting ability, 
but probably Dorothy's been whole-heartedly 
accepted by the fans because she is such a peach 
of a girl that her personality shines straight 
through the screen. And now, of course, she's 
a genuine American, anyhow, having won her 
citizenship papers last December. 

Dorothy was born in Hull, England, and she 
started her career there at the age of ten when 
she began instructing youngsters at her 
father's dancing academy. But you can't hide 
a girl with hair like Dorothy's in Hull. At 
sixteen she was in London, one of the members 
of the Hippodrome beauty chorus, which is 
famous the world over. The revue was called 
"Joybells," and Dorothy traveled with it to 
Paris to become one of the French capital's 
favorite beauties. There Ned Wayburn, the 
dancing instructor, saw her. 

"America and Broadway are the places for 
you," he said. 

" Righto, " said Dorothy, and she began pack- 
ing immediately. She didn't know a soul in 

Every advertisement in nioTorLAY magazine is guaranteed 



this country, but that didn't daunt her in the 
least. 

Landed here, her entrance into the charmed 
ranks of the "Follies" was characteristic of 
her. Hundreds of pretty girls call on Ziegfeld 
daily, and most of them hang around for weeks 
hoping to get a chance to see him. But 
Dorothy did nothing of the sort. 

"Tell Mr. Ziegfeld that Miss Dorothy 
Mackaill. of London. is here, " she instructed the 
office boy. That got her in. As Ziegfeld looked 
her over, she confessed. "I know you don't 
know me, but don't you think I'll do to lead 
one of the numbers of your show?" 

"Yes, I think you can," Ziggy said. "If 
your feet work as fast as your brain does, 
you'll be a knockout. " 

Thus for more than six months Dorothy 
glorified the Follies until the night that 
Mickey Neilan came to the show. He was 
looking for a girl to play opposite John Barry- 
more in his production "The Lotus Eater." 
One glance and Dorothy got the job. 

She moved on from Barrymore to Johnny 
Hines to play in the Torchy comedies and 
those led to her contract with First National. 
That organization gave Dorothy her first big 
role in "Mighty Lak' a Rose." Ever since 
then her fame has been secure. 



Photoplay Magazine — Advertising Section 



107 



Studio News and Gossip 



[ CONTINUED FROM PAGE IOJ ] 

Mother Chaney have been entertaining con- 
siderably in their honor. 

I was out on the set where Chaney is playing 
Singapore Joe in "The Road to Mandalay" 
the other day and saw one of the sacrifices he 
makes to retain his title of Sovereign of Charac- 
terizations. By coating one of his eyeballs with 
a chemical film it gives the impression of a 
cataract or "moon eye". . . leering and ugly. 
Chaney can only stand it for two hours at a 
time. And that 's just two hours longer than I 
could wear it. 

WITH everybody building these attractive 
new homes, house showers have become 
quite the latest indoor sport in Hollywood. 

Mrs. Tom Mix had a lovely one the other 
evening for Kitty Clifford, who has just moved 
into her fascinating Spanish house in Beverly 
Hills. It was a complete surprise to Kitty, and 
for the first time in all her Hollywood residence, 
she was speechless and almost tearful before 
the flood of gorgeous gifts the other guests 
brought her. 

Among those present were Claire Windsor, 
Mrs. Edwin Carewe, Libyan Tashman, Mrs. 
Monte Blue, Mrs. Carey Wilson, Mrs. Clarence 
Brown and Helen Ferguson. 

SHE had been told by her daddy that women 
were not allowed above the main floor of the 
Hollywood Athletic Club, so when Daddy Dick 
Arlen took his five-year-old daughter to the 
third floor of the men's club to visit a fellow 
actor, she turned to the elevator operator and 
said with grave dignity: 

"Do you realize I am the first woman who 
has ever been up here?" 

MRS. ALASTAIR WILLIAM MACKIN- 
TOSH is making a strong bid for the 
social leadership of the Hollywood film colony. 
Mrs. Mackintosh, as you may remember, used 
to be Miss Constance Talmadge. 

After the wedding at Burlingame, a Del 
Monte honeymoon, rudely interrupted when 
the aristocratic English bridegroom had to go 
to Palm Beach on business, the beautiful screen 
star and her husband returned to Hollywood 
and are temporarily settled in Norma Tal- 
madge 's big house on Hollywood Boulevard. 
Norma is still in New York. 

The parties given by the beautiful young 
Mrs. Mackintosh have — to use a colloquial 
expression — literally knocked Hollywood's eye 
out. Exclusive and charmingly appointed little 
dinners, teas, and luncheons, attended by the 
most popular screen celebrities, have vied with 
more gorgeous and largely attended dances and 
one formal ball. 

Everybody is fond of " Ally, " who belongs to 
one of Scotland's oldest houses, has a large 
fortune and is an intimate friend of the Prince 
of Wales, as they were about Gloria's Marquis 
— Henri, better known as Hank. 

The question as to whether or not Constance 
will retire from the screen when her present 
contract is up hasn't been settled — at least for 
definite announcement. But things certainly 
look that way. 

BARBARA BENNETT, daughter of Richard 
Bennett and younger sister of Constance, 
who sprang into limelight when she was chosen 
by the great Maurice as his dancing partner a 
short time ago, says she didn't try to commit 
suicide. 

Miss Bennett denied and keeps on denying, 
that she took the poison on purpose, or that 
any man in her life had anything to do with the 
matter. She says she reached for some cough 
medicine and got the wrong bottle and she 
thinks everybody is very mean and very silly 
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Photoplay Magazine — Advertising Section 




-this lovely tinted lustre! 

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The four star O'Malleys. The genial Pat named his daughters Pa- 
tricia, Kathleen and Sheila so their names would look well in lights. 
Then he got them all bits to play in pictures to give them good pub- 
licity, he says, when they grow up. That's a thoughtful parent 
for you 




TSN'T that just like a hermit to rudel) tear 
■•-the illusion that we had woven about him? 
On the day that the story of Harrison Ford's 

self-inflicted seclusion made its appearand i mi 
the newsstands, Harrison decided to break his 
long retirement and appear at the Writers' 
Club at the preview of "The Old Soak." 

It's a shame that Harrison persists in basking 
in the remoteness of his hermitage, for Holly- 
wood loses the company of a charming and 
brilliantly read man by it. 

"TWADDLES" is what Mary' Hay Barthel- 

-*— 'mess, Dick's little daughter, calls her 
father and Daddies was made Mary's con 
fessor the other day. Dick had been away on a 
fishing trip and Daddies' daughter had been 
mistress of the house. 

"Have you been a good girl?" questioned 
Dick. 

"Yes — but twice I was naughty. The first 
time I ate the food from 'Wiggles' plate," con- 
fessed Mary. "Wiggles " being her canine com- 
panion. 

Dick delivered a long oration on the perils of 
purloining puppies' food. 

"And the second time I took off all of my 
clothes. Daddies, and went swimming in the 
goldfish pond. But it was very cold. And 
nurse was cross. " 

Daddies has decided to confine his fishing 
trips to fishing little Mary from the goldfish 
pond. 

A NNA Q. NILSSON has abandoned her 
-''-beloved little farm out in the San Fernando 
valley and is moving to a more fashionable 
neighborhood. She has just bought a charming 
home in Beverly Hills. 

There is no doubt that Anna Q. hated to give 
up her ranch, where she had a lot of fine White 
Leghorns, and a cow, and raised her own 
vegetables. But since her divorce from young 
Gunnerson some time ago, Anna Q. has been 
living there alone and she says it's altogether 
too lonesome. Besides, the trip back and forth 
to the studio is a pretty long one. 

"But when I retire," says AnnaQ., "back to 
the farm for me. That 's what I like best. " 

You'd hardly think it to look at her. but 
evervone who knows her knows it's true. 



y advertisement in rnoTOVI.AT MAGAZINE 



T ITTLF. ETHEL SHANNON has her 

-'-'divorce from Robert James Cary, Jr., who, 
she told the judge, deserted her without cause 
despite her petting, pampering, coaxing and 
loving. He must have had a heart of stone to 
resist the wiles of a girl like Ethel, who is as 
adorable looking as she is cunning. 

Hollywood, always on the lookout for 
romance, whispers that Ethel will wed Joseph 
Jackson as soon as her decree becomes final 
which takes a year in California, and, as no one 
denies it, it must be true. Joe, who was at one 
time Rudy's press representative — "director 
of public relations" would be more appropriate 
for that suave diplomat Joe — is devoting his 
time to being a playwright now. 

A/T RS. TOM MIX accompanied her husband 
" *on location up to Palm Springs on his last 
picture. They went for three days, and it 
poured rain in torrents, so they were gone 
three weeks. Mrs. Mix often goes on location 
with Tom. because she loves the outdoors and 
likes a chance to do a lot of riding. 

By the way, it's interesting to know that 
Tom considers Victoria one of the best horse- 
women in America. Being a bit of an expert 
about horses, his opinion is really worth having. 

A XD I was thinking the other day, that as a 
■*■ test of the moral and intellectual quality of 
the picture colony, I would be willing to put 
little Thomasina Mix, little Gloria Lloyd (the 
Harold Lloyds' daughter) and little Loris 
Niblo, who belongs to Fred and Enid Niblo, 
against any three little girls of the same age for 
beauty, intelligence and training. They are all 
three really quite remarkable youngsters, and 
I don't know how you can better judge a group 
of people than by the children they are giving 
to society and the future. 

r T , HIS happened while Adolphe Menjou was 
■*- making one of his numerous commuters' 
trips from New York to Hollywood. He made 
the acquaintance of a twelve-year-old boy and 
it was the youngster's first trip across the 
continent. 

While the train was passing through Colo- 
rado, Menjou pointed to a high, snow-capped 
mountain in the distance and said: 



Photoplay Magazine — Advertising Section 



"That's Pikes Peak. It was discovered by 
General Z. M. Pike in 1806. " 

After meditating for a few minutes, the lad 
said, " That 's funny. " 

"What 's funny? " asked Menjou. 

"Why General Pike discovering a mountain 
with the same name as his own. " 

ANNA Q. NILSSON suggested it be "Tramp, 
Tramp, Tramp, the Boys are Marching," 
but when Arthur Stone asked her if she ever 
saw a tramp march, she was silenced, even if 
she was the star of the picture. 

They were all sitting around in a circle — 
the cast of "Miss Nobody," and its director, 
Lambert Hillyer — trying to decide on the 
music the orchestra should adopt as the 
official piece for the making of the tramp 
picture. 

"Onward Christian Soldiers!" brightly sug- 
gested Clyde Cook. He goes to Sunday School, 
but that doesn't prevent him from playing a 
tramp in the picture on week days. 

"Too slow. The tempo isn't right." vetoed 
Mitchell Lewis, another one of Anna Q.'s com- 
panions of the road. 

" 'Show Me the Way to Go Home!' " offered 
Louise Fazenda. 

"Tramps haven't got homes!" retorted 
Arthur Stone, who put a damper on every sug- 
gestion. 

"I know!" yelled Walter Pidgeon, who had 
been silent during the debate. " 'Where Do We 
Go from Here, Boys!" It rambles along just 
like a tramp . . .lazy, indecisive, langorous. " 

" 'Where Do We Go from Here, Boys' is it!" 
decided Lambert Hillyer, jumping up. "Come 
on now, we gotta be on our way !" 

AS Mark Twain once said, "The report of 
my death is grossly exaggerated," so did 
Ramon Novarro answer me when I visited him 
at the M-G-M studios the other day, following 
a wire from New York informing me that a 
marriage license was taken out there by 
Ramon Novarro, 20, a motion picture actor 
of Hollywood, to wed Miss Katherine Wilson. 
Ramon, who was hard at work, admitted he 
was highly flattered — especially by the age 
given in the license. 

RUDY has been having more than his share 
of troubles lately. 
The other day his cook ran amuck, and, 
armed with a large butcher knife, cut up some 
half dozen suits of clothes before she was 
subdued. 

Some belonged to Rudy's little nephew, 
some to the chauffeur. But one of them was 
Rudy's. Fortunately, the thirty-two suits 
he brought back with him from Europe were 
under lock and key or Rudy might now be 
facing a serious shortage of wearing apparel. 

WHEN William Russell returned from New- 
York recently, he was greeted by the 
contractor, who had built the Russells' 
Beverly Hills mansion during the star's 
absence. 

Anxious to show Bill the result of his efforts, 
the contractor, a man of Yiddish persuasion, 
drove with all haste toward Beverly Hills. 

Starting off at the back of the house, the 
contractor said, "and dis is de kit-shun, and 
next is de leev-ing room." 

"That's nice," commented Russell, with a 
pleased smile, as he and his builder started into 
the next room. 

"And dis," said the contractor, rubbing his 
hands with glee, "dis is de dining room wot 
holds twenty guests, God forbid!" 

T'VE just discovered why Edward Everett 
-■-Horton has not married. He doesn't want to 
have the furnishings in his home — which is 
really a beautiful place — disturbed. And he's 
afraid if he did take a wife she would want to 
rearrange the living room furniture and 
change the hangings in the den. 

It's too bad. Eddie is such a personable 
chap. And they say his fan mail, bulging with 
requests for photographs, is enough to make 



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I 10 



Photoplay Magazine — Advertising Section 




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A Jack and a Joker. Messrs. Gilbert and Novarro take time to com- 
pare mustache notes. Ramon's misplaced eyebrow, neatly waxed, 
v ill be in "A Certain Young Man." Jack's silky lip fringe is part of 
his make-up for "Bardehs. the Magnificent" 



any postman stagger. But 1 know these 
chronic bachelors They're the ems who. until 
the very last minute, declare themselves im- 
mune to feminine cajoling. Then ta dum 
tie ilum and they are silent forever after. 

Look at Donald Ogden Stewart. Couldn't 
see matrimony — that clever pen-slinger. Kid- 
ded it in all of his books. He's to he married 
soon. But he's silent. 

T ILYAN TASHMAN doesn't consider poi- 
■ L -'son ivy a joke. It brines too painful a mem- 
ory, for poor Li] has been confined to her home 
recovering from the shock of meeting the toxic 
plant socially. 

A prop boy at one of the studios where 
I.ilyan was working, decorated a trellis with 
its glossy leaves and Lilyan occupied the 
bower. The prop boy was horror-stricken when 
he heard of the rash his act brought to I.il's 
arms and neck, but Lil forgave him and peace 
reigned. 

JACKIE COOGAN is becoming the astute 
J business man. At least it appears he knows 
all about contracts and agreements and clauses 
ami things, for when he signed his recent 
Metro-Goldwyn-Mayer contract. Louis B. 
Mayer is reported to have said: 

" Now. Jack, is there anything else you want 
incorporated in this contract before you 
sign it?" 

Jack wrinkled the brow beneath his long 
bangs and replied, in the tones of a Wall Street 
financier: 

"Yes, Mr. Mayer. I'd like you to allow- 
some of the carpenters on the set to play ball 
with me during noon hour. Last year there was 
an order that prevented them. " 

"But. Jack." argued Mayer, "artists don't 
play baseball. " 

" Baseball is an art when played by artists." 
maximed our Jackie, and an order went forth 
immediately for the forming of a baseball nine 
among the carpenters for Jackie's noonday 
diversion. 

(-~< FORGE FITZMAURTCE wondered where 
'- J the brown derby came from. It certainly 

was as antique as a mustache cup. One morn- 
ing it appeared on the head of Count Phillippe 
de Esco, esteemed master of properties; the 
next morning on the cranium of OUie Marsh. 
high priest of the camera. But it was never 
absent from the set. 



Then Fitzmaurice, who is directing Valentino 
in "The Son of the Sheik" — offspring of E. M. 
Hull's "Sheik" — stumbled over the tripod of 
one of the cameras ami nearly fell. 

"What a clumsy fool I am!" he growled 
audibly, if a gentleman of Fitzmaurice 's charm 
can growl. 

Up stepped one of the prop men and handed 
Fit/.maurice the derby. 

"\ on get the brow n derby. Air. Fitzmaurice. 
Every fellow whom you have bawled out has 
worn it. And now it's your turn. " 

Fitzmaurice is awaiting a chance to set it on 
Valentino's glistening locks. 

"""THIS happened over at the Pickford-Fair- 

-*- banks Studio where Valentino, all decked in 
Arabian trappings, is cavorting before the 
camera as "The Son of the Sheik." 

The deep-browed villain of the film is 
Montagu Love, and the other day Alonty was 
having a test made to determine the shade of 
grease paint he should use He was clad in the 
conventional Algerian attire, minus the enfold- 
ing burnoose. 

As he crossed the lot toward the stage where 
the test was to be made, he was accosted by 
two returning extras bared to the waist and 
stained. Said the first extra to Monty, not 
recognising the arch-villain of many a drama: 

"Say, brother, don't let 'em put anything 
over on you. They'll make you take off that 
coat and paint your body. But make 'em give 
you $10.00 a day. Nothing less'" 

TF Madge Bellamy carries out her threat to 
-Met her hair grow during her three-months 
tour of Europe with her mother, she deserves to 
be spanked. Madge is one of the few girls whose 
personality has been radically changed — for 
the better — by the barber docking her tresses. 
And I think without a doubt the splendid 
reception of her work in " Sandy" was partially 
due to her changed appearance. 

In Hollywood the Negris. Pringles and 
Naldis. priestesses of puzding personalities, 
get all the publicity, and girls like Madge are 
seldom seen or heard of. They say she is 
tremendously well read. Her universe is 
bounded by books. She is rather shy in the 
presence of outsiders and rarely seen at Holly- 
wood parties. Madge has a Sapper body and a 
mid-Victorian soul. Torment for anyone in 
this age. 



in rlloTori-AY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



i i i 



KATHERINE MacDONALD, one time 
called "The American Beauty." and 
certainly in her prime one of the most beautiful 
screen stars, has gone into business. She was 
always a good business woman, and since her 
marriage to a wealthy non-profes ional, she 
has been looking about foi some! bingtooci upj 
her time. She is manufacturing and marketing 
her own cold-creams and beauty aids. 

FAMOUS PLAYERS having purchased the 
him rights to I beodore Dreisei i novel. "An 
American Tragedy," are planning to 

just that. The story ends with its leading 
i barai tei dying in the electric chair at Sing 
Sing Prison. Just that way, says Famous 
Players, will the film end. 

Well, we shall see. If they do end it thai 
way, it will be entirely different from the con- 
sistent policy of happy endings. 

WHEN Paramount decided to let D. \V. 
Griffith fulfill his greatest ambition and 
film "Tin- Sorrow of Satan." they felt they 
Couldn't get an Amrri an siren wild enough to 
portray a female Satan So they imported 
Mi,, Lya de I'ulli of Vienna and Berlin. 

Lya looked the part and more. She is small. 
She has IT. Her skin is yellow, and her bobbed 
hair very black, and she wields a wicked lip- 
sti. k. Paramount, gazing upon her, was de- 
lighted. 

Came Lya's first love scene, so it is reported, 
played very Continentally, with Lya opposite 
Ricardo Cortez. Everything was going very 
well and very intensely until suddenly Ricardo 
sprang away from the luring Lya with a loud 
yelp and did not stop running until he was 
nearly out of the studio 







A famous sketch invades the 
movies. Remember during 
the World War Bruce Bairns- 
father's amusing drawings of 
a comic soldier "Old Bill"? 
"Bill" became a play, first, 
and now Syd Chaplin is mak- 
ing him into a flicker called 
"The Better "Ole" 





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PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 




™ Guard your skin 

from the violet rays of the sun" 

— says Helena Rubinstein 

UNDER a glass prism — you can see that 
the sun's rays are divided into many colors 
—blue— red— green— yellow — violet [Science, 
however, has discovered that it is only the 
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the skin. 

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Eliza crossing the snow, the first still from the new "Uncle Tom's 

Cabin" which Universal is making. It ought to be good, for Pauline 

Frederick plays the colored mammy, Charles Gilpin is Uncle 

Tom and all Hollywood is being combed for a Little Eva 



" Keep that woman away from me," Cortez 
said, gazing at Lya with anything but leive in 
his eyes. 

But, maybe Lya was innocent enough. 
After all, Mr. Griffith had told her to be a wild 
siren and all she had done was to take a large- 
bite out of Ricardo's manly chest. 

TF you've been "listening in" you have prob- 
-*-ably heard of "Ann Howe." 

Anyway, radio seems to be making a new 
screen star. A star of the ether, "Ann Howe" 
is expected to emerge soon and materialize on 
the s< reen. 

It was Don Meaney, well known in the pic- 
ture industry through several years of asso- 
ciation with the studios as a publicity man, 
who put "Ann" across. He promoted the girl 
as a mythical person seeking prominence in 
pictures. 

From station KFI, in Los Angeles, he told 
the radio fans that "Ann Howe "could become 
a star if they would support her. 

The radio fans answered, some thirty 
thousand of them. They declared they would 
boost "Ann Howe." An offer of a contract 
came to Meaney for his star from a comedy 
producer. But the publicity man wanted to 
try out the idea on the whole country before he 
signed her up. He got the Associated Press 
interested in news of her and has traveled from 
radio station to radio station, from New York 
to San Francisco, telling the world about the 
girl. 

Now Don reports "Ann" has had a screen 
test, shown herself a beauty and a personality 
and that she is soon to appear as star of a 
photoplay written by a prominent author. 

IF you've been wondering where Betty 
Blythe has been lately, here's news of her. 
Betty's been glorifying the London courts. 

That beautiful girl, who can wear less beads 
with better grace than any other star, has been 
having trouble with her career in art. 

Betty went abroad to work for G. B. Sam- 
uelson, a British film producer. According to 
her own story she worked hard for Mr. Sam- 
uelson. She went to Berlin, bought costumes 
and was all set to be filmed in a screen version 

i advertisement In rnOTOPLAY magazine is guaiantei 



of Sir Ki«ler Haggard's "She" And then, 
Betty claims. Mr. Samuelson didn't pay her. 
So she sued. She asked two thousand pounds, 
approximately ten thousand dollars, for salary 
and expenses. 

Mr. Samuelson didn't like it a bit. He 
entered a counter claim asking the same 
amount for alleged breach of contract, libel 
and slander. 

So it went on for two weeks, with most of 
the testimony at the trial revolving around 
Betty's insistence upon changes in the cos- 
tumes provided for her. 

Then, suddenly, the two made it all up The 
film star apologized for the things she. had 
said about Mr. Samuelson and the latter paid 
Betty many tributes as to her ability as an 
actress, and thus it was settled and neither 
one of them got any money from the other. 

""VT.S," volunteered Arthur Stone, "the 

■^ picture business is a tough grind. I've 
got a young friend — recently married — who 
worked seven nights in a row on a picture, and 
when he went home the janitor asked him 
what he wanted. 

"But, of course, we have a beautiful excuse 
for working overtime on 'Miss Nobody,' be- 
cause Anna Q. Nilsson is a Swedish star and 
you know when these Northern Lights come 
out." 

Arthur Stone is another recruit from vaude- 
ville who enlisted in pictures about the time 
Harry Langdon brought his doleful counte- 
nance from the boards. Stone did slapstick 
comedy of the obvious type and his success 
was doubtful. 

He went back to vaudeville and then when 
Lambert Hillyer needed a few comedians to 
become members of "Miss Nobody's" tramp 
gang, he returned to the screen. 

Stone's forte lies in the more legitimate 
laugh-getting field, rather than in the knock- 
'em-dead-drag-'em-out variety, and First Na- 
tional has signed him to a five year con- 
tract. 

DOROTHY DWAN is taking up golf 
Taking it up with a vengeance, too, for 
every spare minute finds her on the links. 



Photoplay Magazine — Advertising Section 



1 ! 3 



although her spare minutes are few and far 
between. Larry Semon, her actor husband, 
is using her as his leading lady in " Spuds " 

The other day Dorothy met a friend at the 
Montmartre. 

"I hear you are golfing, Dot," greeted the 
girl. 

"And I adore it! Do you play?' queried 
Dorothy. 

"Heavens, no! I wouldn't even know how 
to hold the caddy!" 

OF all the 1,600 horses eating Mr. Lasky's 
hay and grain at Camp Paramount, mar 
Yuma, Arizona, where Herbert Brenon v. as 
spinning thrills and drama into "Beau Geste," 
none of them bucked Bill Powell into space. 
It took a niggardly little Ford to put a cramp 
into the Powell leg upon his return to Holly- 
wood. 

And when Powell recovered he hobbled into 
the Lasky office, where he was met by George 
Bancroft. 

"What's the matter with the leg, Bill? 
Horse throw you?'' 

Replied the estimable Bill: 

"No, I'm not playing a prince in this pic- 
ture." 

ACCORDING to Noah Beery, the meanest 
man in Hollywood has been discovered. 
One of the legionaires in "Beau Geste" who, 
when out of his Foreign Legion uniform, is one 
of the legion of extras, discovered him. 

The extra told Beery that one day he was 
trudging the long road that leads north to 
Universal City when the whir of a machine 
sounded behind him. 

He glanced around. 

"Going north?" questioned the driver. 

"Yes, sir!" smiled the extra — sensing a ride. 

"Ah, that's fine! Bring me a polar bear." 

And the car was gone in a cloud of dust. 




Isn't it fine to see Dorothy Seastrom 
up on her toes again? With fame 
promised her from her very first 
movie, Dorothy fell ill. For six 
months she has gamely fought in- 
validism. Now she's back, bright- 
eyed and vigorous, under contract 
to First National 




Ronald Colman 

says— 

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of the Golden State Limited*' 



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L.M.Alle. 



Hollywood Ticket Office: Los Angeles Ticket Office: 

6768 Hollywood Blvd. 212 West Seventh 

Rock Island and Southern Pacific Travel Bureaus in all Principal Cities 



I'lIOTOl'I.AY MAGAZINE. 



ii4 



Photoplay Magazine — Advertising Section 



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[ CONTINUED FROM PAGE 



Charleys were rare in Hollywood and oughtn't 
to be allowed to escape, no matter what hap- 
pened. So I grabbed Vi by the shoulder. 

" 'Listen to me,' I cried. 'You've got to go 
down to the station and meet Charley even if 
you haven't got the leopard coatee. ' 

" ' But how will he know me? ' she wailed. 

" 'It doesn't make any difference whether he 
knows you or not. You \e got to know him if 
you have to speak to every man that gets off 
the Limited, except the porter and the con- 
ductor. ' 

" It took me some time to talk her into it and 
finally I had to take her down to the station 
myself in a taxi, which made meeting Cousin 
Charley an absolute necessity — because neither 
of us had money enough to pay for it. We 
talked the driver into waiting for us and dashed 
into the station just as the Limited drew in. 

" 'Now all we have to do to find Cousin 
Charley,' I said to Vi, 'is to pick out a nice 
young man, who hasn't anybody to meet him. 
That ought to be easy.' 

"CAV. I didn't realize how many poor 
'-'lonely young men had nobody to welcome 
them to sunny California. I never saw so many 
detached males in my life, as we stood there 
trying to find someone who looked a.^ if he were 
looking for a leopard coatee. Attempting to 
drop a clue, I kept speaking of leopards in a 
high pitched voice until I nearly stared an uld 
man out of his wits. It seems he had been 
reading the publicity notices of how the wild 
animals in the filming of serials were continu- 
ally getting loose and wandering around Los 
Angeles, and he thought I was looking for one. 

"Then suddenly Violet stopped me with a 
hysterical pinch and whispered, 'Look — over 
there by the newsstand — it's he — I feel it!' 

"Hooked and could have laughed aloud, for 
right across from us, with several expensive 
looking pieces of luggage, was the handsomest 
voting man yon ever saw. He had black hair 
and big, broad men's clothing advertisement 
shoulders and a sort of half old man and half 
little kid expression on his face that was 
entirely different from the studied sophistica- 
tion of our typical Hollywood sheik. He was 
staling at Violet and half smiling. We half 
smiled at him and finally he came up to us and 
took his hat off. 

" 'You're not my Cousin Charles?' Violet 
found courage enough to ask in a frightened 
voice. 

" 'If I'm not, I don't want to be anybody in 
the world,' he said, with a smile that mixed up 
admiration and respectfulness in a way that 
went right to my heart. 

" 'We were afraid you'd never know me 
without the leopard coatee. ' said Violet. 

" ' Yes,' I went on, ' Vi caught the pocket and 
tore it just as we were getting into the car. 
She would have worn her sables but they're at 
the furrier's. Poor Yi's in awful hard luck 
today, anyway. Her car broke down and her 
chauffeur had to take it to the shop, so we have 
a taxi waiting outside. I suppose if you want 
to see the sights of L. A., you insist on going 
to the Cocoanut Grove for tea. ' 

" T do insist,' said Cousin Charley with a 
look at Vi that made me feel justified for all my 
work. 

" ' But you simply must go with us, Cleo — 
you simply must!' implored Violet, as I started 
to leave them. And no matter what excuse I 
trumped up, she trumped it higher, as you 
might say, and finally whispered that if I 
didn't go along, she'd quit the whole thing 
flat. So as Cousin Charley was quite decent 
and chimed in on the invitation the prospect of 
a good meal was too much for me and I went. 

"All the way to the Cocoanut Grove, I had 
plenty of practice being a good listener. Why. 
the poor kids didn't know I was there, they 

Ever? advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



were so entranced at finding each other. Vi 
chattered up to him with that sweet glistening 
look in her eyes, which he kept gazing into, as 
if he were going to drown himself in them and 
then looking away again, for fear he'd been 
nervy in staring so hard. 

"And I must say, that once Vi got started, 
she played the game like the little thorough- 
bred that she was. 

" 'How lucky that I came on a day when 
you weren't taking pictures,' " he said with 
that awed expression that outsiders always get 
on their faces, when they are tactfully trying 
to draw out movie stars and make them talk 
of their work. 

"Having read millions of fan magazine 
interviews and imagined what she'd say to her 
public when she was a star, Vi had a fine line of 
answers for him. 

" 'Yes, it is a coincidence. You don't know 
how unusual it is for me to have a day off. 
Why, do you know, I haven't been to the 
Cocoanut Grove for months,' she murmered 
with a sly smile at me. Then she pulled all the 
old stuff about getting up at six o'clock in the 
morning to get her make-up on straight and 
shooting scenes 'til midnight even' night. 
Charley was looking at her as if she were a 
dream come true and when she stopped talking 
a minute, he said: 

" Don't you think old lady Luck sometimes 
kind of fixes things for people on purpose? I 
mean when she thinks that two people ought 
to meet because they'll like each other. I mean 
— like your getting your first day off in months 
just when I strike town?' 

" 'I don't know — luck is a queer thing. It's 
done queer things to me. Weren't you a little 
surprised to have me become a star so quickly? ' 
\ i asked, feeling her way. 

" 'You — why, of course not. Why, the 
minute I saw you on that station platform 
with crowds and crowds of people, I picked you 
out as the most beautiful — and with the most 
vivid personality — and the most marvelous 
and — ' 

" '"DL careful — you haven't seen me on the 

■'-'screen yet, you know. Oh, I can hardly 
wait for my first picture to be cut and titled to 
know really whether I 'm any good or not — 
because it's the public that is the judge, you 
know.' 

" 'Say — the public is going to get up a peti- 
tion saying that you are to play in every 
picture that's made — and they'd like you in 
every part, too, if it could be managed. ' 

" Violet glowed and sighed at this and spoke 
out of a long lost dream. 

" 'It is so nice to have one person in the* 
world see something good in you.' But before I 
could pinch her, his faith in her had kept her 
from pulling a bone. 

" 'You arc really great too, because you're 
so modest — that 's what I admire most in the 
really great people in the world — I mean the 
ones that stay successful — not the mushrooms. 
They never believe it themselves. ' 

" 'If you knew how far I really am from 
being great,' said Violet with a wry smile. 

"He ignored this further indication of her 
modesty and began to tell her all the things 
that a man tells a girl, when he's fallen for her 
the very first whack. The kind of music he 
likes and his favorite book, and how he was 
hoping to get just the right knack on his golf 
drive after a bit more practise, and the ambi- 
tions he had when he was a kid and hadn't 
quite given up yet, and how stupid it was for 
people with lots of money — like him — and 
Violet — just to spend it going out in society. 
Thej' discovered that their favorite outdoor 
and indoor sports were exactly the same — 
travel. He had been around a little — he was 
going to take a trip every year now and go 



Photoplay Magazine — Advertising Section 



somewhere different each time. Vi of course 
had once gone to Paris and the Riveria, as a 
salary-less companion to some rich school 
friend before her family died and so she could 
mention the names of streets and hotels in 
quite an easy manner, but he interrupted her. 

" ' The way I like to travel is just to gypsy — 
not see any of the sights that you ought to see. 
unless you feel like it, but wander around as it 
suits your fancy; stay maybe a month in a 
little French inn in the Loire valley — just to 
see the apple blossoms come out, or rent a 
Villa in Sicily with dozens of dago servants and 
leave maybe the next day for a bicycle trip 
through Italy — say, wouldn't you and I have 
the best times together, ' he exclaimed impul- 
sively at the eager light in her listening eyes 
and then checked himself respectfully and 
added, ' but I suppose when you ever get time 
to travel, you'll do it with a press agent and 
get mobbed every time you go out in public, 
like Mary and Doug and Tom Mix. ' 

" 'Yes, I suppose it's good business to do it 
that way,' said Violet, and sighed again, 
whether because there was so little chance of 
her ever being mobbed anywhere, or because 
she could never gypsy with Charles, I wasn't 
quite sure. By this time the taxi was at the 
Cocoanut Grove and the dear old Irish door- 
man was handing us out as if we had tea there 
daily. 

" \\/E went up, and say, I wish you could have 
*» seen what that Cousin Charley ordered 
for tea. He was to the manner born all right. 
Why, the minute he stepped into the Grove, he 
had two head waiters falling all over them- 
selves to lead us to the best table in the room. 
As luck would have it, a grand crowd of the 
big ones were there. But Cousin Charley 
didn't have to give points to any of the men, 
even John Roche. As for Vi, well she sort of 
radiated — I can't quite explain it, but it was 
the collie dog with its hair grown long and 
fluffy again and its tail waving proudly in the 
wind. And it 's the strangest thing how a little 
happiness will change a girl until you think a 
miracle's happened. 

"What with Vi's new-found personality and 
Cousin Charley's millionaire manner, every- 
body began looking at us. The stars seemed to 
sense that Vi wanted to show off and were 
especially nice to her that day. Claire Windsor 
and Bert Lytell nodded to us and Shirley 
Mason and Norma Shearer came over and 
shook hands. Cousin Charley watched proudly, 
thinking of course that the girl he was taking 
out must be a mighty big star to attract so 
much attention. But Vi had eyes for no one 
but him and I must say they danced together 
as if they'd been co-starring on Keiths for 
weeks. 

"Vi was too happy to eat, but I performed 
for both of us, and when I had filled up with 
enough nourishment to last through until 
breakfast the next morning, I left them with 
the old alibi that I had to telephone. 

"I stayed out in the lobby long enough to 
have made ten calls, even with the 'phone 
service as rotten as it is these days, but when I 
got back to the table, Cousin Charley looked 
up and said, 'Didn't take you long, did it?' 
Time was stepping on the gas for them, as the 
subtitle writers say. 

"I could see I was just 'padding,' as they say 
of useless scenes in a picture, so I told them my 
telephone conversation had called me over to 
Metro-Goldwyn's. Cousin Charley was po- 
litely sorrowful, and Vi followed me out to the 
lobby. 

" 'Oh, dear,' she cried, 'he's gotten tickets 
for the Mason and reserved a table at the 
Biltmore afterward, where they're having one 
of their "star nights." Do you think I ought 
to go? ' 

" 'And why not?' I asked, indignant that 
any girl should hesitate about such a glorious 
prospect. 

" 'Don't you think I ought to tell him the 
truth first?' Vi said. 

" ' If you do, you 're a bigger fool than you 
look,' I answered, but the best I could get out 



Two Beauty Crimes 

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i 16 



Photoplay Magazine — Advertising Section 



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of her was a promise not to tell him 'til the}' 
came home to the Studio Club that night, and 
even then she made me promise that I'd wait 
up so I might be able to assist with any fire- 
works that might go off. I watched her go 
back to him and saw the look on his face as she 
approached him.and prayed to the God, who 
excuses little white lies when they are in the 
name of Romance. 

"That night after everybody else had gone 
to bed and May Ann had even come in from 
Lasky's, where they'd been shooting night 
stuff, I still sat curled up on the big divan in 
front of the fireplace. I had turned all the 
lights off except a pretty rose one that was 
awfully becoming to Violet's complexion and 
then took a little snooze. And finally I was 
wakened up by the chug-chug of one of those 
big limousines they hire in L. A. garages, for 
about three times as much as an ordinary taxi 
costs. 

" Violet came in with her arms full of Kewpie 
dolls, and all the other souvenirs they sell at the 
dance palaces, but when she stopped under the 
light I could see that she was crying. Cousin 
Charley had a queer look on his face. 

" 'I don't know what she's driving at — she 
just cries,' he said to me. I tried to cover up 
things by the swellest lie ever told in Holly- 
wood, which is saying a lot in this city of two 
hundred press agents. But I couldn't get any 
cooperation from Violet. She just turned 
around to Cousin Charles with her eyes looking 
like big hot house violets that had somehow 
gotten out into the rain. 

" 'It's just this,' she blurted out, 'I'm not 
what you think I am. I 'm not a big star. I 'm 
just a failure out here.' 

" ' Not really? ' cried Cousin Charley. ' Now, 
isn't that nice! It makes it easier for me, 
because I've got a confession to make too. I've 
deceived you, and I'm afraid it'll make a 
difference.' 

'■'Another one of those married men,' I 
cried, and there was a choke in my throat 
because I really had liked Cousin Charley. He 
blushed as much as a grown man can blush and 
smiled a funny smile. 

" 'TT'S not quite as bad as that,' he said, 

-'-'but the truth is. I'm not Cousin Charles 
at all. ' He made this much of an explanation 
to me, but continued, looking into Vi's eyes, 
and it was easy to see that the rest of it was 
meant for her. 'I just saw you in the station.' 
he continued, 'and I — somehow I couldn't help 
coming over to you when you looked at me 
that way, and then when you took me for your 
Cousin Charles I couldn't tell you the truth 
for fear I'd lose you. I'm just on my way to 
my ranch in Imperial Valley. When I finished 
college I tried Wall Street, but it didn't appeal 
to me, nor me to it, so I came out here. I 
haven't made good yet — not by a long shot, 
but say, I love it and you ought to see the 
peach crop I had last year! ' 

"Violet was too staggered to speak. She 
could only stare — big-eyed — like a child that 's 
seen its first Christmas tree, so he went on: 

" 'We 've both been playing a game, but let 's 
fix it this way — you forgive me and I '11 forgive 
you. and we '11 win or lose together — how about 
it?' he finished. And by the way Vi smiled up 
at him, I knew it was time for me to say good- 
night and vanish. 

"That's a picture of their baby over the 
counter. They think it's beautiful and I 
suppose it is — in its parents' eyes. But, gosh, 
Vi's a star all right — as a rancher's wife. Isn't 
it wonderful how love bucks up even those 
helpless, weepy ones? And she's crazy about 
her job too — gets along with one hired girl so 
she can help her hubby stack up money. So 
that's all there is to the story." said Cleo, put- 
ting away her sewing. "Thank goodness, this 
leopard coatee is mended at last. I wonder if 
it'll do for another season or if these short furs 
will go out of style!" 

"But wait, "I persisted. "What happened to 
the real Cousin Charley? " 

"Oh, he turned up at the Club the next day, 
bald-headed and with more than his share of a 



nent in PHOTOI'I-AY MAGAZINE 



Photoplay Magazine — Advertising Section 



"7 



tummy. He seemed rather relieved to hear that 
Violet was out — she'd been gone with the 
young rancher since nine o'clock that morning. 
Cousin Charley had only looked her up out of a 
sense of duty, anyway. " And with these words 
Cleo rose and went to the rear of the tea-room. 

"But there's still Rita," I called after her. 
" Did she create her mood all right? " 

"Yes, Rita created her mood," Cleo flung 
back over her shoulder. "She got to be Pedro 
De Yalerio's leading lady too. but I'd rather 
not talk about that — it's a different kind of a 
story. " 



Yep — -It's The Same Gal 



[ CONTINUED FROM PAGE 46 ] 



She chortled, "Really, it is awful stuff. 
Have you ever drank it?" 

"We don't have to in our business." 

The telephone rang. As Pauline chatted 
gaily with him on the other end of the wire, we 
pondered the change that has taken place in 
her. For she has changed since her uncertain 
days in pictures. She has acquired confidence, 
a gay and sunny sangfroid. 

It was ten years ago, when she was fifteen, 
that she became the wage earner for her 
mother and herself, starting as an extra in 
D. W. Griffith's pictures, among them "In- 
tolerance." Pauline was born in Joplin, Michi- 
gan. She attended public school in her home 
town and later moved to Los Angeles, where 
she has lived ever since. 

She is a quiet youngster, a bit jerky in her 
moods. In repose, her face looks sullen, as 
though the disappointments and worries of 
those bleak girlhood days had stamped them- 
selves in droopy lips and icy blue eyes. Per- 
haps she doesn't feel any too kindly toward life 
and people. We have a lurking suspicion she 
distrusts people. Suffering is a gift. Few come 
through their Dark Days unshadowed. 

Pauline's was a lonely, rocky, uphill road to 
celluloid recognition. Seven years of slight 
cannot be easily forgotten. Another vital 
blow played its part in glooming youthful 
buoyancy. It was several years ago that she 
and Jack White, comedy producer, were en- 
gaged, and Pauline wore a coldly glittering 
diamond solitaire on the fourth finger of her 
left hand. Something happened. The en- 
gagement was broken shortly before the mar- 
riage date. 

CHE didn't recover a sane equilibrium for 
^ many weeks after. She lost a great deal of 
weight, weight she could ill afford to lose. Her 
cheeks hollowed. Her figure seemed to shrink. 
Yet icy blue eyes and sullen countenance gave 
the lie to physical pathos. 

It was then she was advised to drink two 
quarts of goat milk every day. Goat milk is 
rich and thick and has a peculiar taste. Paul- 
ine loathed it. She was prone to shudder while 
drinking it. But she carried on and smiled a 
twisted smile, with eyes unhappy, when folks 
teased her about the thermos bottle that went 
wherever she went. Even today, Pauline 
weighs only ioq pounds. She is five feet, three, 
but her rather broad shoulders still tend to 
emphasize her slenderness to the Doint of 
thinness. 

Though known in pictures long before Gloria 
Swanson soared to stellar heights, there is no 
doubt but Pauline's marked resemblance to 
Gloria proved of immensurate help to her in 
winning recognition. We were intrigued to 
learn that such a cruel deal from Fate in no- 
wise ruffled Pauline. As a matter of fact, she 
said she was flattered when fans wrote to her 
and commented upon her similarity to Miss 
Swanson. Perhaps Pauline had grown accus- 
tomed to cruel deals, and one that indirectly 
benefited her was better, in comparison, to 
those that injured. 



Watch This Column 

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JEAN VALJEAN of "LES MISERABLES" 

Everybody I have ever talked to loves the works 
of Victor Hugo. They are invariably intensely dramatic 
and full of absorbing interest. Universal's unprecedented success 
with "The Hunchback of Notre Dame" is a noted example of 
the great writer's popularity. 

And now comes that other Hugo classic, "Les 
Miserables," laid in France at the time the nation was 
waking from its nightmare of horror. The picture, which was pro- 
duced in France, I am pleased to entitle a Universal Film de France 
Triumph, because Universal will release it in this country and is 
now preparing it for an extraordinary showing. 

I am pleased to tell you that this is regarded 
as the most stupendous production Europe has ever seen. 
It is cast almost entirely with French players of renown headed by 
M. GABRIEL GABRIO who plays "Jean Valjean" and also the 
part of "M. Madeleine." The female lead is by MME. SANDRA 
MILOWANOFF who plays the dual role of Cosette and Fantine. 
The direction was by M. Louis Nalpas and the adaptation by Henri Fescourt. 

"The Midnight Sun," featuring LAURA 
LA PLANTE, PAT O'MALLEY, GEORGE SEIGMAN, 

and RAYMOND K.EANE, has developed into a remarkable box- 
office attraction. Judging by the theatres which have signed it, it is 
one of the finest pictures of the year. I am also anxious that you 
should see REGINALD DENNY in "What Happened to Jones," 
"Skinner's Dress Suit" and "Rolling Home." Likewise HOOT 
GIBSON in "Chip of the Flying U" ; and our other excellent pro- 
ductions "His People," "The Cohens and Kelly s," "The Still 
Alarm" and that great epic of the West, "The Flaming Frontier." 

Please write me your opinion of any Universal you see. 
It will help me amazingly. If you want me to do so I will let you 
know what theatres in your territory show Universal pictures. Anyway, write. 

Qarl JPaemm/e 

President 
(To be continued next month) 

Send 10c each for autographed photographs of Reginald Denny, 
Hoot Gibson and Laura La Plante 

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730 Fifth Ave New York City 



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Laura La Plante, Pat OMalley, in The 
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[ CONTINUED FROM PAGE 69 ] 



"After the screen test, I tried again to 
interest the company in Ramon. I even tried 
to persuade Mr. Goldwyn to cast him as the 
hero in 'Hungry Hearts.' I failed. 

"About a month later, Ramon got his 
first good break in 'Omar Khayyam,' which 
was released under another title. Then Rex 
Ingram gave him a chance in 'The Prisoner 
of Zenda.' Ramon changed his last name to 
Novarro. Now, who doesn't know him?" 

Some time later, Richard chanced to stroll 
over to Warner Brothers Studio on the Coast, 
where Jack Conway was directing a picture. 
He noticed a lovely girl playing a small part 



Just as in the case of Norma Shearer, here's 
another instance where Richard failed to 
"sell" a newcomer — unknown and unsung — 
to his company. He spotted this girl playing 
an extra in "The Unguarded Woman," which 
Bebe Daniels and he co-featured in at the 
Famous Players Long Island Studio. He de- 
cided that girl would be a knockout on the 
screen. Dick notices a person and that per- 
son either "clicks" or passes by. The scien- 
tist would call him psychic. Being a low- 
brow, we credit him with having "hunches." 

To get back to this unknown. No one 
being especially sym pathetic with his praise 



that of a maid. He lapsed enthusiastic over of her, Dick took it upon himself to have a 
her. She, too, in his opinion had the "mak- screen test made of the beautiful stranger. 
\gain, no one agreed with him and He ran the test for three different people at 
the studio. They saw nothing unusual in 
her. They said her facial angles were wrong 
and her eyes were not straight. Today she 
is a star. John Barrymore is credited with 
discovering her. Her name is Dolores Cos- 
tello! And it wasn't so long ago that Famous 
Players, who payed Dolores about Sio a 
day to extra and spurned her screen tests, 
had to fork over more than one hundred times 
that amount to borrow her from Warner 
Bros to play the heroine role in "Mannequin." 
"Why," Dick pointed out, "that girl has 
charm, beauty, youth. She makes every 
fellow in the audience want to protect her. 
She's got IT." 

Richard was responsible for Paul Sloan, a 
young scenario writer, being promoted frcm 
the pen ranks and assigned to directing him. 
Today, Mr. Sloan wields the megaphone on 



by the time they did it was too late. Today 
that girl is foremost among our popular stars. 
Her name is Norma Shearer! 

"Do you know one of the finest, cleanest, 
straightest young Americans in the world?" 
Dick asked. 

T\7E thought of "so's your old man" and "tell 
w it to the Marines, "but took nooccasion to 
subtitle, whereupon Richard answered him- 
self: 

"Ceorge O'Brien. I met George about a 
year or so before he got his big opportunity 
and scored in 'The Iron Horse. ' Betty Comp- 
son and I were on location in San Francisco, 
with Herbert Brenon, making 'The Woman 
with Four Faces.' We met Mr. O'Brien. 
Police Commissioner, and he invited us all 
to his home one evening. Here we met his 

wife, the sweetest little woman. She spoke the Cecil B. De Mille lot, after having [directed 
about George and was rather nice in what she Dick in three flickers. 



laid about me." Dick looked a bit sheepish 
at indirectly patting himself on the back. 

"When I got back to Hollywood. I looked 
George up. He was playing around as an 



"Paul is still going to knock 'em dead," 
Dick prophesies. "And he'll do it in drama. 
Watch him." 

After making "The Lucky Devil" (and 



extra and doing bits in pictures. George is a don't let the title deceive you). Richard was 
wonderfully built boy. God. he has muscles sent West to do right by "The Vanishing 
on him like that," illustrating with expanded American." Before leaving New York, he 
chest and arms ditto. 

"George kept in training. So did I. We 
worked out together at the Hollywood Y.M. 
C.A. — boxed, threw the medicine ball, skipped 
rope, and played basketball with two ex-pugs 
(prizefighters) about three nights a week. 
One of those ex-pugs, by the by, is George's 
chauffeur now — Leo Howk, one time light- 
weight champion of the Pacific Coast. 

"About this time, 'Ben Hur' came up. 
The company wanted a new face for the title 
rule. I called Charlie Brabin and his assist- 
ants to get George a screen test if possible. 
That was befrie they had come to a decision, 
you see. Well, the 'E;n Hur' hope collapsed. 

"In the meantime, George had tried to 



American.' 

asked his company to give him Gregory La- 
Caya as a director. LaCava had been doing 
scripts, acting as an assistant director, and 
had "gagged" three previous comedy-dramas 
starring Dix. 

TF you will pardon the digression, we'd like 
-Mo give you a rapid fire closeup of Mr. La- 
Cava. who, by merit of his work, ranks with 
the screen's foremost megaphoners. 

LaCava studied originally to be an artist. 
What is more to the point, he became an 
artist. He was successful, but his appetite 
demanded higher wages. So he did a cartoon 
strip for a newspaper. Then he met the girl 
of his dreams, married her, and, with the 
get the job Reginald Denny vacated in the happy-go-lucky insouciance of the newspaper 
"Leather Pushers" series when Denny was man, spent all his savings in travel. He re- 
made a star. He didn't get a look-in because turned to New York broke but optimistic 
he wasn't considered photographic material! and went to the Famous Players studio to 
"I was working in 'The Stranger.' on the see his friend William LeBaro'n. supervising 
Lasky lot, when George dropped around to chief of the plant. Mr. LeBaron gave him a 



the set and announced he figured he was a 
flop and was going to give up pictures. He 
was discouraged. ATter all, he had been an 
extra for three years and it looked as though 
that was as far as he would get. 

"I bet him one hundred dollars to ten — 
which ten George paid me when I was on the 
Coast five months ago! — that he'd make good 
if he stuck it out another year. He was un- 
certain. He had about made up his mind to 
go back to San Francisco and join his father's 
police force or work for his brother. But he 
finally said he'd risk my bet. He hit inside of 
seven months in 'The Iron Horse.' 

"I saw the opening in New York. The next 
day, I clipped the reviews and sent them to 
George. He wired me, among other things: 
'I owe you ten bucks.' " 



job. 

Subsequently, LaCava wrote the gags for 
"The Shock Punch," "Too Many Kisses," 
"The Lucky Devil." He is a young man in 
his thirties, very much alive, and blessed with 
the cartoonist's gift of evolving humor from 
serious situations. 

Richard succeeded, after many a verbal 
battle, in getting him as his director. 

"Greg directed me for the first time in 
'Womanhandled,' " Dick carried on. "He 
wTote. gagged, titled, and cut that picture. 
He did the same on 'Let's Get Married.' 
And now he has repeated with 'Say It Again.' 
Greg is a wonderful man and a wonderful 
director." 

Richard reached for a cigarette. He lit it 
hastily, inhaled deeply, held the smoke a 



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Photoplay Magazine — Advertising Section 



119 



hreathless moment, and then watched it 
< 'limney forth into the ozone. There was a 
velvety silence. Becoming aware of it, we 
gazed around and found the dining-room 
empty, except for us two. Our watch pointed 
to four o'clock. We smiled at Dick, who 
smiled back: 

"How's your mother?" 

"She's fine." 

"Give her my love, will you?" 

And so we said au revoir and returned home 
to write this lil' piece, arriving in time to hear 
the parrot across the way advise: "Hey, 
hey, make it snappy." 



Close-Ups and Long Shots 



[ CONTINUED FROM PAGE 45 ] 

HAROLD LLOYD and Von Stroheim are ex- 
amples. Von has to be bolstered through- 
out a picture, so sure is he that his stuff is 
terrible. Lloyd asks the opinion of everyone 
and hangs on the views with the tremulous- 
ness of an eager child. Others pretend to do 
the same thing, but, whereas Lloyd wants con- 
structive criticism, the majority want Yesses. 

I dropped in Lloyd's dressing room the 
other afternoon. He was reading reviews of 
" For Heaven's Sake. " (Most stars, you know, 
pretend they never see their reviews.) 

"They're certainly a lot better than I ex- 
pected," he said. 

Joe Redd)', his publicity chief, whose life I 
saved during the World War by preventing him 
from being shot as a slacker, then spoke up. 

"No thanks to you," he grunted at Harold. 
"A fine line you pulled in New York." 

"What did I say, Joe?" trembled Harold. 

"What did you say?" bellowed Joe. "You 
only said you didn't like our picture, that's all!" 

"Well I didn't like it as well as some of the 
others, Joe," pleaded Harold. 

"1 know," said Joe, as father to son. "Oh 
well, that was all right. It's getting over, so I 
guess nobody cared what you thought about 



AFTER all, somebody should 
■^^knock Harold Lloyd's pictures 
to stir up interest. The critics won't, 
so Harold has to. 

A thoroughly great and likeable 
fellow, Harold Lloyd, one whom you 
never tire of applauding. 

/"GREATNESS begets greatness about it. 
^*The Lloyd studio reflects the star. It is one 
of modesty, friendliness and harmony. The 
press agent, for example, though as punk a 
rookie as ever did bunk fatigue, is a great 
press champion. If anyone so much as ques- 
tions the genius of Lloyd, Joe lets out volleys 
that are as terrifying as those of Ireland on a 
rampage. But prove you are a Lloyd booster 
and Joe will dig down in his own pocket to 
appear at your back door with a case of Irish 
soothing syrup. (Incidentally he'll probably 
borrow twice the amount it cost him before he 
leaves you.) 

V\ 7E now have a star of subtitles — Ralph 
W Spence, who wrote the humorous cap- 
tions of "Classified" and "For Heaven's 
Sake." Here are a few lines from "Mile. 
Modiste," which he titled: 

" Half the girls of Paris are working girls and 
the other half working men." 

"I'm head over heels in love with you," says 
he. To which she replies, "Don't get acro- 
batic." 

"They come from the West where a bird in 
the hand is considered good table manners." 

r PHE influence of subtitles upon the adver- 
■*■ tisements of California. A sign at a 
barbecue: WE DON'T KNOW WHERE 
MA IS BUT WE HAVE POP ON ICE. 




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could not see the adventure of independence, 
the thrill that came with the knowledge that 
there was no one's bidding to do but one's own. 

" Listen, April," he said suddenly. "I'm not 
the kind you can tie down. I never have been 
and it'd take something pretty big to change me 
around. I just go my own way and I like it. 
So long as I make enough change to get by on 
what's the difference?" 

" None, I suppose," she said a tritle wistfully. 
"It's just something that Dennis said that 
brought it up, I think. He doesn't understand 
you — any more than I do." 

For a moment the intolerance of confident 
youth towards plodding middle age came to 
the surface. "He's been too long in one job. 
That's why Dennis can't figure out why any- 
one would want to take a chance. He's never 
had a show to put over anything big." 

He looked up to find her eyes shining. 
" Would you help him if he did have the chance 
to put over something big — something that 
might make him a lieutenant? It's what he's 
been working for all these years, you know." 

TT seemed incongruous that suddenly the 
-'■solid figure of Dennis, the officer of the law, had 
definitely entered the conversation. Barry 
let his eyes rove the room, counting the tables 
engaged in Haunting defiance to that same law 
with llask and high-pitched laughter. lie 
smiled a little amusedly, but the smile died 
away when lie saw the seriousness of her. 

"Of course," he returned quickly. "Just 
tell me what I can do. Does he want a I ban f 
feuror what?" 

Her wide gaze held him. "I can't tell you 
now — not here. It's something Dennis told 
me the other night. But it means everything 
to both of us. Barry — I do so want to see 
Dennis win out. You're out around the city 
at all kinds of hours, you go everywhere. I 
know you can help us both." 

She closed her lips — they were soft, but they 
were firm. Nothing further would pass them. 
With a careless gesture Barry paid their bill, 
hardly even glancing at its considerable figures. 
The lights of the roadhouse had long since 
vanished to the rear when he turned suddenly 
toher. 

"Want to see me let her out?" he inquired 
and wailed for no answer. Like a thing alive 
Ihe big car leaped forward into a rushing wind 
of its own creation. He could not for the life 
of him have held it down a moment longer. 
The sight of the girl so close, her face tranquil 
and trusting, was exhilaration such as he had 
not known could come to him. The night, the 
long white road, the steady roar of the motor, 
alike called to adventure. Ahead of them the 
road took a sweeping uphill curve for almost a 
mile. He juggled a moment and the motor 
Hew for the rise. 

"She'll climb." he tossed exultantly to her. 
"She'll climb and jump ditches and swim 
rivers." The road bent abruptly in front, on 
one side the sheer, rocky outcrop of the hill, on 
the other the pale shimmer of a fence in the 
dark. Below a ravine flashed by. Barry sent 
a blast of the siren hooting down the night. 

And then it came, rocketing around the 
hidden curve — the shape of a flying motor, 
plainly on the wrong side of the road. There 
was a blinding flash as the lights of the two 
cars met and, wilh the swoop of a swallow. 
Barry's car veered into the hill. Roaring down 
upon them not thirty yards away a second 
fleeting shape followed the first. What hap- 
pened was too quick for thought. The tar 
under Barry, without a halt in its mad speed, 
shot out at a vicious angle, scraped the railing 
above the ravine for a sickening second and 
arched away once more with a clear road 
ahead of it. Slowly he became conscious that 
a hand was fast on his arm. 



His laugh rang out, vibrant with the thrill c 
excitement. "Close, eh? But we made it 
They ought to rule those fools off the road." 

Her lips were white and her breath was com- 
ing in small, swift gasps. There was fear in 
her eyes — for an instant her soul had looked 
out of them and at the sight something leaped 
within Barry Andrews. That fear was not for 
herself. In the moment of their danger she had 
turned to him, had caught at him. The black 
motor ran smoothly now, out on the level, a 
tamed and evenly-functioning machine. The 
wild life that had blazed into it under Barry's 
hands had gone. He fastened his gaze on the 
road where, far off on the horizon, hung the 
dim glow of the city's lights. 

"Barry," said a low voice, "you might have 
been killed." 

He could have turned to her with a smile or 
a word of jest. But he had seen a thing that 
he believed incredible — had seen it written on 
her face. A feeling of fatigue, of sudden weari- 
ness crept through him. 

"We'll forget that," he said strainedly. "I 
don't count for a great deal." 

He spoke little for the remainder of the run, 
content to cast now and then a sidelong glance 
at the girl. She also seemed to be in the same 
mood as they bored steadily through the dusk. 
They found the burly figure of Sergeant Har- 
land placidly waiting on the steps for April to 
come home. Barry had just time for a single 
warning look and received the swiftest of small 
nods in answer. A word to Dennis of that 
breathless moment on the hill and there would 
be no more motorings with April — of that he 
was well aware. 

III. 

In April's small room within the week Barry 
found himself in the middle of a conference. 
For several minutes he had been under the 
scrutiny of Dennis's honest eyes, while the big 
man pondered over the suggestion that April 
had made to him. It was the same one — 
almost forgotten by now — that she had flashed 
to Barry across the table amid the din of the 
roadhouse. 

"April says ye want to help us," said Dennis 
heavily. "It's not a matter I can allow get 
abroad. With me it's duty. But if I can make 
it come over there'll be something in it for me 
and April here I'd give this right hand to get. 
Ye know what it is. If I don't make it — well, 
my name will be Detective Sergeant Dennis 
Harland still, but with a wrong mark against 
it. Do ye get me so far?" 

BARRY leaned back in the cheap rocker, 
throwing one leg easily over the other. His 
whole poise was one of confident nonchalance 
under the earnestness of Dennis's inspection. 

"Shoot the plot." he smiled. "I can keep 
my mouth closed, Dennis." 

"I think ye can. I know ye can." The 
sergeant's face, however, did not lighten as he 
went on. "Do ye know anything about the 
crooks in this city?" ' 

"Two or three months ago a pair of 'em 
hopped on my running board over on the West 
Side. They wanted my watch and change. 
So I kicked the bus into fifty and they didn't 
bother me any more. Maybe they fell off. 
Will that help you any?" 

A soft voice carried rebuke to him. "Barn*, 
this isn't a joke. Dennis means what he s 
saying to you." April was curled on a corner 
of the bed, her eyes aglow with excitement. 
The matter under discussion quite evidently 
was to her of vast importance. 

"I guess ye know there's been a bad run of 
hold-ups on the stores and payrolls. The 
papers have been full of it — that, and taking 
knocks at the force. The crooks have got us, 



Every aiKorlisemeiit 



PHOTOPLAY MAGAZINE 



Photoplay Magazine — Advertising Section 



121 



Barry lad, they've got us wondering. So — 
well, I've got the detail handed me of nailing 
just one of 'em He's been in every big job 
that's been pulled off in the last year, it's 
figured. He's a cool, hard customer." 

Through wisps of cigarette smoke Barry saw 
the sergeant's face go dull with anxiousness. 

"I haven't turned up much on him," he said 
stolidly. "I can tell ye one thing about him 
though. He works through some rat lawyer, 
gets the lay from him and never even sees the 
rest of the gang till the job is pulled off. He's 
too smart or stuck-up to have a pal. He plays 
it alone. That's the straight tip from a couple 
of our stools, but they don't know any more and 
neither does anyone else." 

"Sounds like chasing a moth in the dark," 
returned Barry slowly. "Who is this bird? 
And where do I come in on it?" 

"He's got a name they call him by — the 
Getaway Ace. He's the lad that waits in a 
handy place with the car for the gang to get 
away in. He ain't ever been caught sight of 
squarely to mark down, let alone headed off, 
since he took to working this town. There 
ain't a crook but knows if he can bring the Ace 
in on a job it's a cinch on the escape. He's so 
good he gets out-o'-town calls they tell me. 
There's nothing that's cheap about him — he 
lands his own price or he won't work." 

Detective Sergeant Harland was standing 
above Barry. One of his hands fell to the 
other's shoulder and closed on it. 

"T'M up against it, Barry. What I've just 
J-been tellin' ye is all I've got to show for a 
month's work. And three days ago the Get- 
away Ace pulled off another clean one — away 
from that express company office — pretty near 
under my nose. The inspector handed it to me 
straight that night. I'm wantin' all the help I 
can get on the job." 

The hand fell from Barry's shoulder. Big 
Dennis looked frankly tired and a little older. 

"I asked you before," said Barry sharply, 
" where do I come in on it?" 

"The crooks know me," said Dennis thought- 
fully. "When I go into the joints I don't get 
much out of 'em. But you're a young lad— 
they don't know you. And you're a lad who 
knows the men that drive the cars in town. 
If you wanted to go round a bit and keep your 
eyes open you might likely as not turn up 
something pretty good on the Ace. It's a slim 
chance, but I'm takin' any kind of chance now." 

Across from him April's eyes were softly 
pleading. The deep, dark sapphire of them 
had an unmistakable message. In a gay print 
gown in a garden she would, indeed, be a picture 
of loveliness. He stood up, sending a queer 
smile at her. 

" All right," he said. "I'll help." 

"I know you will," came trilling from her. 
"Oh, I know you will." Barry, however, was 
glancing, not at her but at the sergeant whose 
steadfast eyes met his with the look of one 
honest man to another. 

It was two weeks before they saw him again. 
During those weeks Barry Andrews had much 
to do and still more to think of. The room on 
the narrow sidestreet had become intolerable. 
He could not endure thecramping of its flyblown 
walls, the dingy oppressiveness of its gaslit 
gloom at night. More than once he had sent 
the big black motor whirring over the state 
road until dawn flooded the countryside. 
Always there was with him the look that had 
been in April's eyes that night on the hill. It 
was drawing him to her — steadily, inevitably. 
It was something that could not be fought 
against longer. 

This time she was all briskness. "Tell me," 
she said as soon as the park was reached. 
"You've been away so long. Have you been 
helping us — Dennis and me?" 

His face was turned from her. "Yes." he 
said. "The Getaway Ace is through. For 
good." 

He caught a little flutter of delight beside 
him. "You found him — you did? Oh, Barry, it's 
so wonderful. When does Dennis get him?" 




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"Not in this world, I think." His voice 
sounded suddenly hard. "Tell him I fixed it 
up and that's all. He's not to ask any reasons 
— I don't think he'll need any if he can report 
to the inspector that he's cleaned the case off 
the map. That ought to land him his lieuten- 
ant's papers." 

"And both of us what we want." Her eyes 
were ashine. "You'll come to see us out on 
the Line, won't you? It's really you that's 
done it for us." 

"It isn't much." His face was close to her. 
"April, what's the use of going on this way any 
longer? You know what I want to say to you." 

"Yes," she said softly. "But — oh, Bam — 
I — I can't." 

In the silence that fell he could hear her 
breathing softly. Presently she spoke in 
almost a murmur. 

"You've kept so much back from me, 
Barry. I like you terribly, I do, but still there's 
that between us. You're so — so different. I 
don't really know you, Barry." 

"T SUPPOSE you're right," he said slowly, as 
•*■ though some thought were maturing. His 
lips became a rigid line. "You don't know 
much about me. And, April, I'm not going to 
tell you. You'll have to judge me for yourself. 
You think I'm a rolling stone. I am — I'm 
built for all the excitement I can get. But you 
might as well hear from me that you're the first 
one — and the last one, too." 

"I've guessed that," she whispered. "I like 
that, Barry." 

"Listen," he shot at her. "This may not 
come through — what I'm going to tell you. 
Back where I used to live there's a bird who 
wants me to come into his garage with him. 
Fifty-fifty — his letter's in my pocket now. If 
I can raise twenty-five hundred I can do it. 
That would be a steady job. like you spoke of 
once, and no more cruising round a town for me. 
There'd be a good thing in it at the top that 
way. Would that kind of proposition make 
any difference?" 

"Oh, Barry — " her voice half broke — "That 
would be — would be all the difference in the 
world. Anything that will show you're not 
just at a loose end all the time. No, I shouldn't 
have said that much — not — not yet." Sud- 
denly her whole face glowed. "Yes, I should 
have, too. Will you do it — for me?" 

"Will I?" His smile had all the old reck- 
lessness in it. He knew what was in her mind. 
It should have been there. This girl wanted 
from a man the things he had never expected 
he would be called upon to give to anyone — 
steadiness, constancy and a definite purpose in 
living. She had traveled the hard road, gay 
despite it all, but it was no road for her. 

"If I knew — if I only knew all about you — " 
she began after a little pause, but he cut her 
short. 

"We've had that out, April. That's done 
and behind. Let's look ahead instead. I'll 
prove something to you yet." 

"I hope so," she whispered. 



IV 



The clock-face, set just over the door of the 
big brownstone bank across the street, had its 
hands at ten minutes to eleven. The street 
itself was a broad lane of activity, loud with 
the clanging of trolley gongs and the short, 
more blatant bursts of motor horns. Not 
thirty yards away, where four corners met in a 
crisscross of soaring buildings, a traffic officer 
stood with upraised hand, banking the flow 
of automobiles and surface cars, while small 
eddies of humanity drifted from curb to curb 
in the mellow clearness of the forenoon. The 
scene was brisk, bustling and full of color, but 
the young man in the driving seat of the motor 
drawn up next to the sidewalk opposite the 
clock-face and a little north of it apparently 
had time for leisure, although he was sweep- 
ing the street now and again with an alert 
glance. 

One hand rested on the wheel of the car, 
whose color was an indistinct gray, newly laid- 

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on and toned with such care that it gave no 
impression of a recent application. A latent 
power brooded in the long, graceful lines — 
beneath the hood, quiet now, but ready at the 
touch of the spark to roar into life, lay an en- 
gine that could send it flashing over the pave- 
ment like a thing possessed. Barry Andrews' 
fingers began to drum on the wheel — tensely, 
impatiently. The figure of a bull-necked rran 
in a flannel shirt was swaggering casually 
through the door of the bank. It disappeared 
inside the grille and Barry's eyes flashed to the 
clock-face in the facade. Five minutes to 
eleven. A dapper youth was passing nerv- 
ously into the bank now. Two minutes to 
eleven. As the first stroke of the hour came, 
mingling with the clatter of traffic, a third 
thin shape darted up the steps. 

The final note of the clock struck and to the 
chorus of the street was added one more small 
sound — the low, powerful humming of the 
motor of the gray car. Barry's glance was 
sweeping dead ahead, noting every eddy and 
swirl of the traffic as far as a certain corner a 
long seventy-five yards away. Ihotographi- 
cally his brain was recording what he saw in 
that instant — an avenue whose curbing was 
for blocks a solid mass of parked machines, 
but running down along those scores of cars 
a practically clear reach of asphalt beckoning 
to the tingling rush of speed. 

A touch fell on his arm and he swung in 
his seat with half a snarl. It was not the time 
to be approached by idle passersby. 

"April!" broke from him in utter amaze- 
ment. Then his voice sounded sharply. "W hat 
are you doing here? You're working in that 
shop of yours the other side of the Corners." 

He saw then the horrified wideness of her 
eyes, the fear that lay in them. 

"It's you — you — you!" she whispered. "The 
car — gray paint — on the west side in front of 
the drugstore. It's you — you — you!" 

He fixed her with a cool stare. "Why not? 
I can wait where I want to on a street. I can 
paint my car any color I like." His accents 
went suddenly strained as the meaning of her 
words drove into him. "What do you mean? 
How did you know I'd be around here? What 
do you mean 'It's you!' " 

"Dennis — last night." The words emerged 
brokenly. "The bank — there's a payroll 
coming out — it's to be a robbery inside the 
building. He got wind of it, the whole plan, 
lie overheard them in a backroom dive down- 
town. And I just couldn't help coming up to 
see — " 

" April, you've gone crazy! To see what?" 

"To see him — the man you said you'd help 
Dennis to hunt. The man who's to be here 
right at this spot with a car for the gang, the 
man who isn't through at all. To see the Get- 
away Ace — you — you — you!" 

"COR an instant both her hands went up to 
*■ hide her face. In Barry's ears the low hum- 
ming of the motor was like the beat and crash 
of thunder. 

"Get out — April — get out!" ripped from 
him. "For God's sake, get out! There may 
be shooting I tell you. They're bad men over 
there. I know who they are. They'll fire like 
madmen if they're checked." 

Her hands fell limply to her sides. When 
she looked up at him her face was strained but 
calm. 

"Tell me, Barry, is it true? Are you the 
Getaway Ace?" 

"Yes," he said fiercely. "Now you get out 
of here." 

The rasp of his voice seemed to strike her 
like a whiplash. He had spoken the truth. At 
any instant now the ripping play of bullets 
might come bursting from the door of the bank. 
He knew r his type of customers. They would 
shoot themselves into a getaway if the need 
arose and it might well have arisen. Five full 
minutes inside the bank and not a sound had 
drifted across to the waiting car. 

"You speak — you speak as though you 
hated me." 

"I tell you — get out! Get ana; from here 



Photoplay Magazine — Advertising Section 



123 



and make for cover. You've found me out, 
April. Will you do one last thing for me?" 

"No!" she said. He had never seen before 
the defiance that blazed in her face. She was 
another person — no longer the frail, trusting 
girl of the weeks that had been. With a swift 
gesture she flung open the door of the car and 
slipped in beside him. 

"There are two cars full of police around the 
corner," she said clearly. "The bank is full of 
police, too. They're catching your gang this 
minute and they'll catch you the instant the 
signal is given. If you wait here it means 
prison for you — and for me also. I'm with 
you now, you see." 

He turned a desperate face to her. "I can't 
quit. It's a trap, all right. I see that. But I 
stay here till the last one's caught. Do you get 
that? If there's a one of them breaks loose 
he'll head for me and the car. I've never laid 
down on a job yet. I don't intend to lay down 
on this one. If you won't go I'll put you out of 
this car with my own hands. You hear me? " 

"I hear you, Barry. Don't storm and blus- 
ter at me any more. I'm not afraid of any- 
thing." 

"If anything happens to you," he said in a 
low, hard voice, "you know what I will do. 
I'm no good, girl, I'm no good. Don't waste 
yourself — don't throw yourself away. You've 
still got time to get out of sight." 

"T\TOT any more." A cluster of figures was 
*■ ^swaying out from the door of the bank 
across the street. At the top of the steps the 
group stood plainly out — in its center a big 
man in a flannel shirt, a small man kicking and 
struggling agonizedly, a third figure passive 
and limp. The clothes of all three were torn 
and awry and a streak of red ran down the face 
of the big man whose eyes glared. It must 
have been a fight to the finish before the dozen 
plaindothesmen, who now shoved them toward 
the pavement, had brought them down. The 
glint of handcuffs caught the sunlight. The 
shrill blast of a whistle sounded. 

From around the corner shot a pair of motors. 
A mass of uniform blue crowded the tonneaus 
and figures in blue rode the running boards. 
Swift shapes picked themselves out of the 
cover of storefronts and ran forward from all 
directions. Revolvers were flashing out of 
pockets. The street was a nest of police. The 
first of the two oncoming cars braked to a halt 
a few feet ahead of the gray waiting motor and 
the second pulled up behind, boxing it to per- 
fection amid the row of empty machines. 

"Come out of that car," ordered curt tones. 
"We want a look at you." 

"They've got you, Barry," cried a strangled 
little voice. "Get away, Barry, get away!" 

Something blazed in a red mist before his 
eyes, passed, and left him cold and hard as 
steel. He darted one glance at the small face 
beside him and then as calmly as though ma- 
noeuvering for a better place in a traffic crush 
ran the gray motor forward until its nose was 
almost against the side of the nearest police 
car. Heavy faces looked down at him — some 
of them a little curious at the sight of the girl. 
He saw just above him the stunned gaze of 
Sergeant Dennis Harland. 

"Coming," said Barry tensely. Behind him 
lay the low curbing, ranked with its motors for 
blocks. Beyond that barrier ran the sidewalk 
reaching to the glistening fronts of the stores. 
He did not even cast a look rearwards as his 
hand hurled the big car into reverse. There was 
a sudden smash as the wheels backed into the 
curbing, a rise as they breasted it and with a 
wrench at the wheel the big car had cut a half- 
arc and stood on the sidewalk itself, facing 
south. 

They would not shoot. They dared not 
shoot with the sidewalk a mass of pedestrians 
leaping away from the roaring shape that had 
driven in among them. A single long, warning 
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124 



Photoplay Magazine — Advertising Section 




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blast stormed down the sidewalk ahead of the 
whirlwind rush of the gray car. The windows 
of stores reeled past like the sections of a pano- 
rama. It was the one chance in a thousand and 
he had taken it. The Getaway Ace was making 
his own road of escape. 

The voice of Barry rose almost in a shout. 
"Get away, April? I'll tell the world we do!" 
A bright flame glowed in his eyes. Ahead for 
blocks the lane of the sidewalk went bare. No 
one cared to adventure himself in the path of a 
gray thunderbolt, manned apparently by a 
maniac. They crashed across the first cross- 
street's curbing, came up on the other side and 
roared on, close to walls against which open- 
mouthed, dazed people pressed. Over the tops 
of the driverless machines resting along the 
curbing Barry caught one glimpse of the police 
cars, free now for an instant of traffic and 
given a tearing right-of-way down the street 
proper. 

BARRY shot out a warning and took the 
second corner on two wheels. Plunging 
into the cross-street the motor skidded for a 
wicked instant, picked itself up and arched off 
on the straightaway. Excitement ran through 
him like a living fire. April's one cry — and he 
had done the impossible. Blocks away lay 
another populous artery and even as he looked, 
with the blasts of the police whistles ringing in 
his ears, he saw the distant traffic officer raise 
his head, grasp the meaning of the racing car 
and the two pursuing blue-crowded motors, 
and stop a line of passing trucks squarely 
across the street. 

What lay ahead, to left and right, on the 
streets about him Barry knew only too well. 
Not for nothing for days before he took on a 
job did he scour the avenues of escape, noting 
down the lay of each to the last detail. There 
was one road left to him now around the next 
turn to the left and that was a street under 
construction. A frail barrier with a red flag 
blocked it — on either side ran the ditches made 
by the picks of workmen on the city's water 
lines. But in between was a reach of asphalt 
along which a car — his car — could pass on a 
margin of inches. The Getaway Ace could do 
anything now. There would be no moment of 
grace, however, in which to leap down and re- 
move the obstruction at the entrance. 

"Get down in the car," ordered Bam- crisply. 
"We're going to crash a barrier." 

His grip went to her shoulder. The girl bent 
low, and the motor whirled at the turn. Ahead, 

the plank barred the street, its ends on a pair of you've told me that yourself. All right, Dennis, 
barrels. There was a splintering crash, a lift I'll be Barry's wife any time he wants. Today 
and fling of red cloth, and before the gray in a cell if he asks me to. Now — try your law 
motor opened a block of ragged-edged road on him!" 

that ended in a boulevard, smooth as glass and "April!" said Barry unsteadily. For the 
running in a glorious line as far as the eye first time in his life his hands groped on a 
could reach. wheel. "You can't do it. You know me now 

Barry's hand went down to the brakes and — all about me. That ends everything." 
the big car came to a halt. In the middle of the 
street, gleefully scrawling with a scrap of 
chalk on the paving, sat a happy, dirty four- 
year-old. On either side of her lay the ditches, 
there was no way to pass her. no time to pick 
her up and put her safely aside. A frightened 



by so much as a hair's-breadth he swerved 
from the route the steel-jacketed bullet of a 
service automatic would go ripping through 
him. The girl said nothing — her gaze, unsee- 
ing, was riveted on something far .way. 

"You two will want to know a thing or so if 
nobody else does," said Barry slowly. "Well 
— here it is — the whole works. I've got a 
brother, or rather I had one once. He had 
to go to Arizona. Lungs. So I pulled the first 
job and shipped him down there with the 
cash. After that I had to do it some more. 
I guess the speed of it sort of got into my blood. 
I couldn't keep away from it until—" he sent 
one glance that took in a white face — "that 
doesn't matter now, either. The kid didn't last 
long down South, but I got him an extra year 
out of it." 

"And you said the Ace was through. The 
other night you said he was through." It was 
the first time that April had spoken since their 
ride had ended. 

"He was. And then he needed twenty-five 
hundred dollars." 

" Because — because — " 

"Call it a garage. That'll be near enough." 
His voice sank to a ragged whisper. "I was mad 
for you that night, April. I went plain crazy. 
I wasn't the kind that dared to take a job and 
work up. I had to have action. I only knew 
the one way to get you — it was to be the last 
fling. Won't you believe that?" 

He whirled suddenly on Dennis. "What 
have you got on me?" he demanded. "Not a 
thing. You can't hold me for waiting in a car 
on the street. Not one of those gunmen ever 
saw me before. You can't prove I was there 
for the getaway. Nobody can. You haven't 
got a witness you can put up against me." 

Dennis looked at him levelly out of stotid, 
impersonal eyes. 

"I've got a witness, Barry," he said heavily. 
"The girl. Ye've confessed in front of her. 
I'm sorry it turned out to be you, but it's no 
difference. She'll tell it all when she takes the 
stand." 

"No!" flamed a voice. Flushed and cour- 
ageous, April swerved in her seat to meet Den- 
nis's unmoved gaze. "No, I say! You can't 
put me on the stand to testify against him." 

" 'Tis the law, April. I wouldn't hurt ye, but 
we've all to stand aside if it's duty." 

"You're right." She drew a quick, sharp 
breath. " We'll play the game. We'll stick to 
your law to the very end. It says a man's wife 
can't be brought into court against him- 



"TT'S because I know all about you that I 
J-w ill, Barry. Why — why didn't you tell 



it all to me before? No matter what it was I 
could have forgiven you, I could have helped 
you to fight it out, to win clear against it. I 

_ry soundeof from the steps of a nearby house, should have gone to the bottom of it — I could 
"We lose. The luck's run out on me." said have stopped you, I know I could. It's all my 

Barry coolly as the first of the police cars came fault there. There was something bigger than 



storming around the corner. His lips gave a 
queer twist. "And ordinarily I like kids." 

From the lead car descended Detective 
Sergeant Harland. He spoke briefly to his 
men and the police machines backed away a 
few yards, ready, however, to leap forward on 
the instant. His solid figure lifted itself into 
the gray motor behind Barry and April. 

" Up to headquarters, ' ' he said briefly. ' ' No 
more tricks. I've a gun on your back." 

Silently Barry obeyed. The blocks went 
slowly, creepingly by. In front and behind 
rolled the police motors, blocking the road once 
more either way. But in Barry's mind there 
was no longer the flashing hope of escape. He 
knew Dennis Harland, the sergeant, just as he 
did Dennis Harland, the man. The one look 
that had passed between them when their eyes 
met in front of the bank had been enough. If 



speed and excitement back of your last get- 
away, Barry. I want that. So here I am — 
any time you'd like me." 

"You'll never get a jailbird," said Barry in 
words that came very slowly. "I'm a fool, 
April. I've always been a fool. I've wanted 
the fast, quick thing. I've never wanted the 
slow, sure job with success at the end of the 
long pull. I can do that, now that I know what 
I do. I can work up from the bottom. And it's 
,oo late." 

The gray motor rolled under an arch and 
into a grimy, flagged courtyard. The sides of 
the building surrounding it rose up until the 
place seemed a dank wall. -Along one side ran 
a row of windows with gratings. 

"Here we are," said Dennis. "Get out 
with ye." 

The motor stood silent and deserted in the 



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yard. Up a flight of steps and through a door 
they passed, down a corridor and out into a 
large room where a lieutenant in uniform sat 
behind a desk. A little group of patrolmen 
lounged about tables in an adjoining room, 
reading magazines and smoking peacefully. 
The headquarters squad, in its time off, took 
things with calm. 

The lieutenant threw a glance down on the 
sergeant, taking no immediate notice of the 
young man with the shadowed eyes and the 
slim girl who had been brought in with him. 

"You get it. Dennis," he pronounced. "The 
commissioner's down the hall with the in- 
spector giving those three bank birds the third 
degree. He dropped a remark that if you take 
a look at the bulletin board tomorrow you'll see 
something you like." A rugged fist reached 
over the desk. "Good man, Dennis. I guess 
we used to pound the pavements together in 
the old days." 

A TRACE of emotion appeared on Dennis's 
face before it went impassive again. There 
was a gasp from the girl who instinctively put a 
hand on his arm. Then the hand fell away and 
her lips quivered. The lieutenant was going on 
briskly, reaching for the blotter. 

" Got another one to book up? Seems to be 
your big day. All right, Sergeant, what's the 
charge?" 

The shoulders of Dennis straightened. His 
voice sounded heavily, monotonously. 

"Speeding, reckless driving and endangering 
life and property while in control of a motor 
car. Drove two blocks on the sidewalk at fifty 
miles an hour. Two hundred people saw him 
do it. That's all." 

"Ouch," said the lieutenant. "That's 
enough for one morning. Sounds like a wicked 
speech from the judge and a hundred bucks 
fine to me." 

"It'll be that, easy enough," said Dennis 
steadily. "And if he hasn't got it on him you 
can tell the judge I'm good for it. Joe, meet 
my little girl April, and her young lad. You'll 
see a good deal of 'em in a place I'm thinking of 
settin' up out on the Line for the three of us. 
They've just sprung a bit of a surprise on me." 



J 25 



Girls' Problems 



[ continued from page 94 ] 

Red, Georgia. 

Do not worry about your weight. You will 
get heavier as you grow a little older. You 
might eat more nourishing foods because you 
are growing. Don't worry about your height, 
either. It is always best to accept one's height 
and make an asset of it, rather than a lia- 
bility. 

Hands of the Clock, Denver. 

Please send me your home address. I am 
very anxious to write to you, but space forbids 
my replying to your letter as I desire in this 
column. 

E. B. Y., Chicago. 

Yes, indeed, I do think you should go out 
with other girls and with boys, too. You are 
twenty. That means you aren't a little girl any 
longer. One of the most important things in 
life is social contacts. By that I mean the 
ability to make and keep friends and to select 
the right persons for one's acquaintances. 
Rarely do I tell girls to go against their 
mother's advice, but in this case, I do. Isn't 
it possible, since your mother objects to your 
going out with girls, that she might agree to 
your bringing them to your home for a little 
party? I really feel you must take a firm stand 
in this matter. No girl can live her life through 
her mother any more than the mother can live 
her life through her daughter. Write me again 
if you want to. I am very glad to help you. 





VIMOUS 

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free from corns . . 



Ann Pennington's Famous Dancing Feet 



"I have always considered a 
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126 



Photoplay Magazine — Advertising Section 




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Eleanor M. 

The following is an excellent exercise for 
reducing the legs. Stand erect, with feet close 
together. Rest your hands on your hips. Rise 
to tiptoe. Then sit in a squatting position, 
bending the knees sharply outward. Be sure to 
keep your upper body erect. Return to stand- 
ing position. Repeat the exercise twelve times, 
gradually increasing it to twenty or thirty 
times a day. Any pedaling exercises, such as 
riding a real or imaginary bicycle, climbing 
stairs and walking are good. All of these will 
reduce your legs. But they won't do it in a few 
moments. The legs are difficult to reduce. 
You must keep up the exercises daily and do 
not look for results for about two months. 

Fern Grove. 

Your hair problem is directly connected with 
your health. The best thing you can do is 
build up your general health. Brush your hair 
a great deal and do not use curling irons if you 
want to keep your natural wave. Eat all the 
fresh, green vegetables and drink milk daily 
and a great deal of water. I am very glad you 
wrote to me. Write whenever you wish. 

Virginia. M. C. 

Your trouble is that you are self-conscious. 
Self-consciousness is really a form of conceit. 
Pose of any sort makes a person awkward and 
unhappy. The one thing that makes the flapper 
charming to me is the lack of pose. She's 
pretty much just a regular girl trying to have 
an amusing time. A little bit of this attitude 
would go a long way toward solving your 
problem. You admit in your letter that you do 
a lot of acting. Assuming a "proud, haughty 
look" and such airs when you are really shy 
and frightened. Don't do it, Virginia. A good 
thing for all of us to remember is that no one is 
really vers' important, and ourselves least of 
all. Therefore, if you go calmly along "being 
yourself" you'll be all right. I hope I haven't 
seemed cross to you in this reply. I haven't 
meant to be, but I think you should take your- 
self sternly in hand and forget about the bored 
expressions. 

Margaret Wierman. 

Your weight is very good for your height. 
The preparations you are using for your hair 
and skin are very beneficial. I, myself, feel that 
washing the skin with water and a good soap is 
never harmful. When massaging around the 
eyes, always massage outward instead of in- 
ward. You can wear white, relieved with some 
other color; golden brown; blue; darkest 
purple; no red; pale pink; soft rose; bronze. 
Yes, I always recommend simple clothes; in 
fact this year simplicity in clothes almost 
reaches a point of monotony. 

Yvonne, X". C. 

You don't need to worn- about your weight. 
It is all right. Why do you want to enlarge 
your ankles? Leave them alone. Slim ankles 
are very lovely. Light, rachel powder should be 
most becoming to you. I think you should 
experiment with a dull pink rouge — a sort of 
carnation shade — or a tint with a little more 
yellow in it, to see which is the most becoming. 
You can wear black, relieved with some other 
color; all shades of brown; electric and sapphire 
blues; orchid; burgundy and dark red; amber 
and canary yellows; all pinks, unless too 
highly colored. I see no harm in your writing to 
your boy friend. He may have thought you 
refused "to go to the party because you didn't 
want to see him. It would be a good idea to 
invite him to some social affair you may be 
planning to prove you really do feel friendly 
toward him. If he should ask you to go to a 
dance, you should accept by all means, if you 
really want to retain his friendship. 

Natacha Nicholson. 

If you want to reduce sanely, you must diet. 
And if you won't diet you won't reduce very 
much, no matter how much exercise you take. 
The two must be used in conjunction with each 
other. Walking is very beneficial, but you must 

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always be careful in taking a long walk that 
you don't come home with such an appetite 
that you eat enough to put the fat back on 
again. You can wear black, with white relief; 
cream and ivory whites; electric and sapphire 
blues; amber and canary yellows; all pinks. 
You didn't tell me your brother's age, but if he 
is between twenty and twenty-five he should 
weigh in the vicinity of 145 pounds. 

Fritz. 

Fritz, stop your fussing. It seems to me that 
any girl who has green eyes and black hair 
should be proud of that fact. Please do not 
start tinting your hair. It never looks quite 
right, it's expensive, and the most terrible 
nuisance. The Dorothy Gray preparations are 
all very excellent. I did read "Ariel — The life 
of Shell}'" and enjoyed it tremendously, only I 
might as well admit I read it in English, not in 
French. If you do much reading, incidentally, 
you will observe that all the really devastating 
heroines have green eyes. 

E. M. L. 

Don't you believe that old man. With vour 
height and weight tailored clothes would be 
very charming on you. I have a personal 
objection against little fluffy things on little 
girls. If you want to look tall that isn't the way 
to go about it. A little girl is more charming in 
a smart tailored frock and it does not give the 
appearance of a walking lamp shade. Again I 
repeat to you. don't listen to that old man. 
That 's all the advice you need on that problem . 

Helen D. McL. 

You say you're 12 in your letter, but your 
handwriting looks so grown up that I can 
hardly believe it. But if you are only 12 get all 
thoughts of powder and rouge out of your 
mind. (Jive your skin a chance to be natural 
for at least 4 years. I do like little girls to be 
little girls. 

Tommy. 

Your doctor is right. Since you like athletics 
and sports, wear sport clothes. Smart women 
wear them, and they ought to suit you both 
physically and from the standpoint of person- 
ality. You can wear white, relieved with some 
other color; blue; tan; blue gray; cream and 
ivory white; no red; darkest purple; pale green 
for evening; buff; soft rose; bronze. I think a 
rouge with a little more yellow in it would suit 
your coloring. If you will read the advice I 
have given to "Fancy" you will find a remedy 
for your blackheads. 

Peggy. 

Yes, all our advertisements are very care- 
fully investigated before accepted. The prep- 
aration you are using has nothing in it that is 
harmful, in so far as we know. 

Chrystal Darcodrt. 

My dear, do not worry about the effect your 
advice may have on other people. It is very 
charming that you are so sympathetic and 
sweet to people that they want to come and 
tell you their problems. Without wishing to 
seem too flippant about it, I would say that no 
one pays any attention to the advice others 
give them. Just listen to their talk and advise 
them as sanely as you can and hope to goodness 
they will have enough sense to pay attention to 
you. But they probably won't. Yes. it may be 
that your beauty inspires these confidences. I 
should imagine that any man would get a 
terrible kick out of telling a pretty girl about 
his broken heart. 

Wistful. 

Honey, you are worrying over things that 
really do not matter. You 're only 16 and your 
shyness undoubtedly makes boys shy of you. 
It is really a very good thing for even - girl to 
remember that most boys, no matter how much 
they may shout and jump around, are still shy 
at heart. If you are going to sit in a corner, 
they don't quite dare come and get you out of 
it. I certainly advise you to take some dancing 



Photoplay Magazine — Advertising Section 



127 



lessons or go places where you can do a lot of 
dancing. I warn you against dancing with 
your girl friend, even if it meansyou never get 
a dance. When boys see two girls dancing 
together they always jump to the conclusion 
that neither girl can get a boy to dance with 
her. And most men are sheep like. They 
like to go with a girl other fellows go with. 
Just why, I don't know. As for the Etiquette 
Club, it is very nice. Its only danger is that 
too much etiquette is apt to make you stiff and 
that will ruin the whole effect of your good 
manners. 

Fancy. 

You are a little under-weight, but you don't 
need to worry about it because a girl of your 
age jumps around in weight a good deal. If you 
read the colors I have given to Miss Wierman 
you will rind that these are your colors, too. 
To rid your skin of blackheads you must 
thoroughly cleanse your face at night with a 
good cleansing cream. Wash the face with a 
pure soap and hot water, followed by cold 
water. End up with an ice rub or spat the skin 
with witch hazel. If there are any blackheads 
that can be squeezed out, do so by gently 
pressing the parts between fingers protected by 
a small piece of cotton. Do but a couple at a 
time before using the cold water rinse. 

Miss Howcomeaxdwhyso. 

You are too heavy. You shouldn't weigh 
more than 125 pounds at the most. Your sister 
is also over-weight. She should lose at least 30 
pounds. About your love affair. You've just 
fallen out of love, that's all. It was probably 
one of Those childhood infatuations and when 
your friend went away and left you, you 
simply forgot him. My advice to you now is 
not to see too much of him again, otherwise 
you may delude yourself into thinking you're 
in love. Wait six months or so, at least until 
you are quite sure you know your mind on this 
matter, before you make any decided step in 
his direction. 

Archee Campbell. 

You ask for publishers' addresses, but I 
don't know whether you mean publishers who 
take novels or plays or simply magazine 
publishers who accept short stories. The 
amateur's chances of selling scenarios are very 
remote, but if you wish to send them to any 
studio, pick out a large organization in our 
studio director)' and mail your scripts to them. 
I say a large company simply because they 
have larger scenario departments which are 
more apt to read outside material. Continue 
writing your short stories, get them published 
and hope that some one of them will be pur- 
chased for screen rights. In that way you will 
become known to film people. 

Charline. 

I judge that the preparation to which you 
refer is "Zip." Not having experimented with 
reducing soaps, I cannot, personally, guarantee 
the results. But a reduction in weight that 
comes from diet and exercise is always superior 
to that which comes through any other method. 

Miss A. F., San Francisco. 

If you will write me a little more about your 
qualifications and tastes, I may bt able to 
advise you regarding your work. The tailored 
suit is always perfect. With it, for you, I ad- 
vise practical walking shoes and a simple 
tailored hat in felt. In your appearance, you 
should emphasize practicality, efficiency and 
poise. You will contrast most favorably then 
with the flappers. Dark blue, gray and the tan 
shades would be your best colors. If you feel 
the weather demands a coat, get that in a 
simple tailored model also. 

G. E. M., Philadelphia. 

I have heard both the courses you mention 
highly recommended. You can find Miss 
Kellerman's address in almost any large maga- 
zine by looking through the advertisements. I 
am sorry that I do not know it. 



Lemon Takes Soap 
Out of My Hair 

A Boon to Women Who Wear Bobs— by Vilma Banky 



"Do 3'ou ever feel your hair 
after an ordinary rinsing with 
plain water? It's sticky. But I've 
found a new way that removes 
the stickiness. I now rinse with 
the juice of two California lemons 
in an ordinary washbowl of water 
followed by a clear water rinse. 
The curd, which soap always leaves 
after a shampoo, is gone entirely 
when you use this method. 

"And see how much longer a 
curl or wave will stay, especially 
in a bob like mine. 



"Most beauty shops know what 
it does, and advocate it for the hair. 

"Practically all moving picture 
stars in Hollywood employ it. And 
now millions of women who wash 
their hair at home are using it, I 
understand. 

"You'll do it too, when you 
have tried it, for it will improve 
your hair as much as anyone's." 



1Mu*&I 




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How To Do It 



Add the juice of tw 
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rinse with this, followi 
plain water. 



California lemons to an 
ater (about 4 qts.) and 
g with thorough rinse in 



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[ CONTINUED FROM PAGE 92 



mitted to distribute indiscriminately drugs 
that have the potency for harm that is pos- 
sessed by the thyroid preparations." 

In spite of all the campaigns that the Asso- 
ciation has waged against the unsupervised 
use of thyroid for fatness, there are still pills 
and tablets on the market which contain 
thyroid, if to a lesser degree. 

I asked Dr. Kebler to tell me what reducing 
medicines were made of. 

""V'OU must remember," he said, "that these 

-*■ reducing drugs are not standardized. 
They change composition from time to time. 
One year a drug will contain thyroid, the next 
year it won't, and when we come to examine 
it again, on some complaint, we will find thy- 
roid. We can always prove the presence of 
thyroid, because it is animal tissue and can be 
seen under the microscope. There is no way, 
however, of proving the presence or absence of 
some vegetable matter. 

".All of these drugs are first of all laxative. 
Then, some may have from one-twentieth of a 
grain to a grain of thyroid to a pill or tablet. 
Others contain bladderwrack. Some have 
poke root, which will put your appetite 'on the 
bum' and which is a harmful drug. Some of 
them are laxatives entirely and won't do any 
harm, but they won't do any good either. 
Anybody ought to know that even a mild laxa- 
tive taken regularly several times a day is 
certainly inadvisable. 

"Then there are the bread schemes, which 
mostly consist of coarse bread, a laxative, 
bran, perhaps agar agar, a species of sea- 
weed, indigestible material. There have been 
breads with doses of thyroid, such a small dose 
to a loaf that it may do no harm to normal 
persons, but neither is it going to have any 
effect on their fatness. A twentieth of a grain 
of thyroid in a pill taken before each meal may 
have no effect on many people. To a person 
with a very active thyroid it will do distinct 
harm." 

The day will come, Dr. Kebler thinks, when 
drug stores will be held responsible for selling 
harmful reduction and other patent remedies, 
just as they are now held responsible for selling 
such drugs as veronal. I might add that drug 
stores may already feel some qualms. Inquir- 
ing at a number of large, well-known stores, the 
clerks greeted me with a smile and a meaning 
shrug: — "They say they're safe. We don't 
guarantee them, of course," was the standard 
answer. 

One way by which the Bureau of Collabora- 
tive Research checks up on dangerous reme- 
dies is through letters of complaint, and be- 
ause Dr. Kebler's activities are known in 
Washington, he is often called upon as a per- 
sonal adviser. 

"People have come to my house late at 
night to ask me whether I knew of anything 
to counteract the effects of thyroid," he told 
me. "Two cases came to my attention lately. 
One, a woman who joined a reduction class I 
ran for a community house, a woman who 
weighed 20S pounds, had been affected by a 
thyroid treatment. By diet and exercise, she 
lost 20 pounds in ten weeks and kept her 
lowered weight. The other woman died. 
Thyroid is a heart depressant and a large 
number of people can't stand it at all." 

Not all dangerous nostrums have thyroid 
necessarily. Dr. Kebler described one case in 
which his secretary had been the goat. I 
should explain that Dr. Kebler and his assist- 
ants sometimes try new drugs on themselves 
the better to observe their effects. The secre- 
tary agreed to use a box of these pills, guaran- 
teed "absolutely safe." In a few days, she re- 
ported that she felt as if she "could lift the side 
of a house." In fact, she was so over-full of pep 
and energy that she could not sleep of nights or 



control her nerves. Dr. Kebler then noticed 
that her eyes were protruding. The pills were 
analyzed. They contained strychnine and 
belladonna. 

Letters have been coming in too, charging 
that the heads of tapeworms in capsules have 
been prescribed and sold by quacks to reduce 
fatness. The use of tapeworms has been 
rumored for some time — in fact, I have heard 
that it was the favorite method of a famous 
prima donna, now retired. It seems impossible 
to actually prove the existence of this method, 
however, for the people who complain cannot 
or will not give details. 

Dr. Kebler has asked Photoplay to urge 
readers who have had or think they have had 
such an experience to write to him at once, 
and tell him how, when and where. 

Bladderwrack, mentioned by Dr. Kebler, 
as the basis of many obesity cures, is a species 
of seaweed. Iodine is derived from seaweed, 
and perhaps the idea that iodine absorbs 
fatty tissue accounts for the use of bladder- 
wrack. This, however, is what the American 
Medical Association reported of bladderwrack. 

"There seems to be no explanation of its 
popularity as a remedy for obesity. In fact, 
it is said that this weed is used in some locali- 
ties as a food for hogs in the belief that it 
makes the animals fat." 

As for poke root, the root of a common 
weed, the pokeberry, the Pharmacopeia at 
your own drug store will tell you very explic- 
itly about it. "Poke root is emetic, purga- 
tive, and somewhat narcotic. As an emetic 
it is very slow in its operation, then continuing 
to act for a long time upon both stomach and 
bowels. The vomiting produced by it is 
said not to be attended with spasms or pain, 
but narcotic effects have been observed by 
some physicians, such as drowsiness, vertigo 
and dimness of vision. In overdoses it pro- 
duces excessive vomiting and purging, attended 
with great prostration of strength and some- 
times with convulsions and has, in several 
instances, proved fatal. ... It is not 
fit for use as an emetic." 

Other bases of obesity cures, put up in 
various combinations, are citric acid, which 
may produce a condition of acidosis (acid 
intoxication) due to the accumulation of 
acid products in the body. Also boric acid, 
which doctors say so seriously impairs diges- 
tion that the patient loses weight from the 
resulting illness. The iodids, sodium iodid 
and potassium iodid, are popular. Epsom 
Salts, tartaric acid, baking soda, and even 
washing soda, are also ingredients of remedies. 

It is true that the doses are sometimes too 
small (for instance one-twentieth of a grain of 
thyroid to a pill) to do a stout person, who has 
no organic disorders any harm. If these small 
doses have no effect on the health, however, 
neither have they the least effect on the fat. 

I AM convinced, from my investigation, 
that the reason people are willing to try 
reducing medicines is because they refuse to 
believe the real cause of obesity. Perhaps 
they think it's too unromantic. They are 
eager to take the hints that all fat is a glandular 
disease. No fault of theirs, just their misfor- 
tune. All they have to do is to take a few pills 
to put the naughty gland in its place, and pres- 
to! in a few weeks there they'll be slim as a 
Lillian Gish. Unfortunately, this is what Dr. 
Arthur Cramp writes about the causes of fat: 
"It would be unfair to say that all fat per- 
sons eat too much and take too little exercise 
— but it is certainly true that most of them 
do. And it is the overfed, under-exercised 
individual who thinks that somewhere there 
must be a process that, without effort or self- 
denial, will transform stylish stouts into 
boyish forms." 



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Photoplay Magazine — Advertising Section 



As for glandular fat, at the clinic of the 
Neurological Institute, for the purpose of 
correcting glandular disorders, I got this 
information: 

"There are three different kinds of obesity 
(caused by defections of the glands). There 
is thyroid fatness, in which the patient is 
generally fat, puffy all over. There is pitui- 
tary fatness, which comes in bunches over the 
hips, stomach, back and thighs, not so much 
in the upper part of the body as in the lower 
part. This is hard fat. And there is ovarian 
fatness, a general distribution of fat after 
chil Ibirth. The different kinds of obesity 
must be treated in different ways. 

"Thyroid fatness yields to thyroid treat- 
ment. Thyroid will reduce fatness — but it 
will reduce it at the expense of the thryoid 
gland and may result in nervousness and 
other symptoms. Doses of thyroid must 
always be carefully regulated and watched over 
by competent physicians. And we have a 
great many patients who cannot take thyroid 
at all. 

"The cure for obesity is diet, exercise, and, 
when necessary, any glandular medicine which 
seems wise to a competent physician. There are 
some kinds of fatness which cannot be helped 
at all, short of actual starvation — and that, 
of course, won't help the body any." 

V\ THAT is meant by reducing fatness "at 
W the expense of the thyroid" was explained 
to me by a well-known neurologist, a pro- 
fessor at Columbia. 

"A condition of hyperthyroidism (over- 
activity of the thyroid) may result. This 
does bring on definite mental symptoms. 
There are forms of in sanity largely due to the 
influence of the thyroid drug. It may also 
affect the other glands, such as the genital 
glands. 

"There are other dangers in the unwise 
use of thyroid drug. It is likely to put the 
thyroid to sleep — the gland may cease to 
function, resulting in a lack of mental and 
physical energy. Or, after a person has brought 
him or herself down in weight at the expense 
of the thyroid and other glands, the patient 
may remain emaciated, thin, with resultant 
depression and anxiety and may begin to 
suffer anything to which he or she may be 
liable. 

"A grain of thyroid to a pill might very 
well be a harmful dose for many people. It 
is impossible to say just how small or how 
large a dose is dangerous. This depends on the 
susceptibility of the individual." 

Fad diets, over exercise are also responsible 
for serious illnesses, even deaths. The pine- 
apple and lamb chop diet, on everyone's 
lips recently, will cause colitis, according to 
doctors, if followed too rigorously or by a per- 
son who is in no condition for such a diet. 
The lemon juice diet, once very popular, 
might bring on acid intoxication. 

"Some diet books cause a lot of trouble," 
Dr. Fisk of the Life Extension Institute ex- 
plained to me, "by prescribing diets that are 
too narrow. There is one very popular book, 
in particular, the bad effects of which we have 
watched. Fat people don't have to cut out 
so many things. They must cut down, not 
out. They must look out for certain foods, 
but that doesn't mean they must dispense 
eitirely with some foods which are very valu- 
able to the body. For instance, there is the 
so-called thirst treatment, or abstinence from 
water. Now, there is no reason why a stout 
person should not take an average amount of 
water. Indeed, some water is required for 
purposes of elimination. 

"Many stout people are very unwilling to 
take advice. Because a middle-aged person, 
who has never taken much exercise, goes on 
some strenuous exercise system and cuts out 
many foods that are necessary, and therefore 
gets depressed and sick, he concludes that he 
can't stand any diet system. Even a person 
on a diet system, modified according to his or 
her needs, by a doctor, is likely to get depressed 
in the first stages of losing weight. There 



I 29 




... 

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Photoplay Magazine — Advertising Section 




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is the loss of flesh around the abdomen, a 
sense of gone-ness; sometimes the abdomen, 
lacking the rolls of flesh by which it has been 
supported, falls. The diet may have to be 
modified further. But in time and with a 
certain amount of exercise he will get over the 
depression, and he will certainly be in a health- 
ier condition. After thirty, the death rate 
among people below average weight, other 
things being equal, is far lower than among 
people above average weight. 

"I don't want to disparage exercise, but in 
stout people, this must be graded very care- 
fully, according to the type of individual and 
the physical condition. We have had a lot of 
trouble with ill-regulated physical culture 
systems. They may be sound theoretically, 
but people take them without an}' knowledge 
of underlying conditions, whether they have 
heart or kidney trouble or high blood pressure. 
We had a case here of the death of a stout 
woman, caused, in my opinion, directly by 
one of these exercise systems." 

If patent medicines, thyroid, and even 



unregulated diet and exercise cause such 
havoc, the woman who wishes to reduce 
may well cry, "Then how on earth does one 
reduce?" 

The sensible way to go about reducing is 
to find out first of all whether one should 
reduce. The criterion for one's figure should 
not be a mannikin or a motion picture actress, 
but, as Dr. Fisk puts it, "one's own type," 
and the court of final appeal should be one's 
own family doctor. He, considering your 
family history, the condition of your heart, 
lungs, and so on, can tell you whether or not 
you should weigh less than you do. 

However, some general tables have been 
drawn up of what women, at certain heights 
and certain ages, should weigh. They are 
used by doctors, subject, you must remember, 
always to individual modification. 

In my next article, I shall tell you what I 
have learned about these ideal figures from the 
people who should be the real authorities — 
not the theatrical and motion picture direc- 
tors — but the doctors. 



As We Go to Press 



[ CONTINUED FROM PACE 76 ] 



npHE idea of talking pictures has come to life 
-*• again. Warner Bros, have acquired the 
tenancy of the old Manhattan Opera House in 
New York City, and will remodel it as a studio 
for filming talking pictures. Warners have a 
new device called the Vitaphone, which is said 
to synchronize sound with action, and they will 
engage singers to take part in the making of 
pictures that will take the silence out of the 
silent drama. And so another old dream takes 
a new lease on life. 

" HTIIE Trail of Ninety Eight " has been post- 
*- poned until next winter, when there will 
be snow in abundance to form the backgrounds 
for this story of the Klondike. Clarence Brown 
also wants to wait until John Gilbert is avail- 
able for the leading role. Meanwhile, Gilbert 
will make a Russian story called "The 
Cossacks." A group of real Cossacks has been 
imported from Russia to take part in the film. 
Until production starts the Cossacks will tour 
I lie country in circus style, thereby building up 
some advance publicity for the picture. 

EVERY director in the business is announc- 
ing that he has been selected to direct 
Dieisers' novel, "An American Tragedy." 
However, in spite of the rumors, almost as 



thick as those that surrounded "Ben Hur," D. 
W. Griffith is still slated to produce it. 

r T" r HE work of glorifying the American girl in 
-*■ movies has begun. The long awaited 
Ziegfeld film has gone into production at the 
Paramount Studio on Long Island, with Louise 
Brooks and William Collier, Jr., in the leading 
roles. 

•"THESE movie actors have a fatal fascina- 
*■ lion. Ben Turpin, who has been a widower 
for a little less than a year, has found a lady to 
share his lonely home. 

It is said that he met her at the sanitarium 
during his late wife's illness, and her sympathy 
for Ben in his grief won the heart of the com- 
edy sheik. 

"D OMANCE in the younger set. They say 
■T^-that William Haines is anxiously urging 
Mary Brian to say "yes." 

/""•LARA BOW has been selected to play 
^—'opposite Eddie Cantor in his first film, 
" Kid Boots." And May Robson, an old stage 
favorite, has been engaged to play the lead in 
Irvin Cobb's original screen storv, "Turkish 
Delight." 



Brickbats and Bouquets 



[ CONTINUED FROM PAGE I05 ' 



Personality Popularity 

Louisville, Ky. 

Isn't it amusing to note how even- fan 
asserts that his own particular favorite is an 
artist of remarkable talents? 

As a matter of fact, there are very, very few 
really good actors on the screen and even 
fewer good actresses. A good actor is one 
whose work could not be equalled by the 
average fan in the audience, given the same 
opportunities. We don't admire that which 
our intellect tells us we should admire. For 
instance, I know that Richard Barthelmess is 
the screen's best actor, but he isn't even one 
of my favorites. As a historic artist, Douglas 
Fairbanks is a flop, but I watch him with 
breathless adoration. 

It's personality, fans, and you might as well 
admit it. Nearly all of the minor players are 
as good as the leading ones, but they are not, 



at the time, because they lack personality. 
If Richard Barthelmess had not possessed it, 
all his fine acting would not have lifted him 
out of the rank and file. Sometimes, of course, 
a player possesses beauty and nothing else, 
but that kind doesn't last long. Witness Hope 
Hampton and Man' Miles Minter. 

It's personality every time, and when a fan 
is under its magic spell he isn't competent to 
judge a player's talent. Jamie F. Hess. 

Clipped Joy 

Florence, S. C. 
It is, perhaps, a little out of the ordinary to 
criticise a picture one has not seen. However, 
after viewing the posters in the lobby of the 
theater, and observing that Leatrice Joy 
played the title role. I felt that, with her 
mannish hair cut, she could not possibly make 
it interesting. 



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Until "The Dressmaker from Paris" I was 
one of her most ardent admirers, but, in my 
opinion, Miss Joy will never again regain the 
high popularity which she enjoyed and- de- 
served, about the time of "Manslaughter" and 
"The Ten Commandments," until she allows 
her hair to grow long enough, at least for a 
feminine and becoming bob. 

What is the producer thinking of? 

We have all kinds of freak fashions and eras, 
but never yet has the masculine woman been 
popular. Miss Grady Rumph. 

For Simpler Serials 

Winchester. III. 
This is a plea for a different type of serial 
than we are getting. I enjoy a serial, but am 
tired of seeing the beautiful daughter of a 
devoted, deceased father being ruthlessly 
pursued by a hardened man of the world, who 
calls to his aid every deep dyed villain of the 
underworld in his efforts to capture the girl and 
her mysterious bundle of plans left by her dear 
father, while she, in turn, has at her disposal 
the entire "Royal Mounted" and all the 
Marines thrown in. You breathlessly follow 
her through a maze of a thousand impossible 
situations and each Monday night leaves her 
frantically swimming against a raging torrent, 
peering out an upstairs window of a burning 
house or perhaps suspended in mid-air from the 
top of a high cliff, there to remain until she is 
rescued a week later by the valiant "Mounted." 
And always the same inevitable ending, with 
her tightly held in the arms of the uniformed 
one. Give us. for a change, a restful drama, 
with a few thrills and a little clean comedy, 
which entertains us instead of keeping our 
nerves in a strain during the tedious drawn 
out weeks that the serial is being shown at our 
favorite theater. Marydell Langford. 

What About Madame Glyn? 

New Rochelle, N. Y. 

So often directors and stars ask that the 
public speak up and tell them what they like 
best in "silent drama." 

I have thought the question over seriously 
and I have reached this conclusion: The Amer- 
ican people, taken as a whole, want stories of 
heart appeal and not sex appeal. They want 
stories like "Stella Dallas," that bring tears 
to the eyes and a tugging at one's heart 
strings. "The Big Parade," "Ben-Hur" and 
"La Boheme" are also worthy of an evening's 
entertainment. 

They want clean cut, wholesome comedy. 
The kind of picture that presents clean-minded 
actors in a clean-minded, humorous plot. My 
idea of ideal entertainment in this line is 
"Irene," "Behind the Front" and "Blue- 
beard's Seven Wives." 

We moving picture fans are often hungry for 
the mythical, and simple charming stories like 
"Peter Pan," "Just Suppose" satisfy our 
appetites. 

If the directors kept in mind that a repro- 
duction such as was attempted in "The Reck- 
less Lady," from the Belle Bennett-Lois 
Moran scenes in "Stella Dallas," can never be 
successfully made their efforts would be more 
appreciated. With best wishes to every star 
and extra in Hollywood and to the finest of 
motion picture magazines — Photoplay, I am, 

ISABELLE L.ANGENHAGEN. 

A Comedy Lover 

Albany, Ga. 

Brief applause for that ludicrous, yet wholly 
delightful comedy, "Behind the Front." We 
sincerely hope it is a forerunner of a new era of 
pictures for Paramount. Although the play did 
border frequently on the farcical, there was a 
beautiful absence of pies and bathing beauties. 

Plays like "Stella Maris" are excellent; still, 
"The Great American Audience" really does 
not enjoy weeping night after night. Anyway, 
there is always keen pathos lying close to the 
comic, if one will just look for it. Let this 
suffice our craving for the tragic. 

Mrs. Ralph Brooks 




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" Chicago. 

In the April issue of Photoplay a reader 
suggested Bebe Daniels for the part of Iris 
March in Arlen's "The Green Hat." The idea 
may be all right, but I doubt very much if the 
story could be filmed as written and get by the 
censors. In fact, it is doubtful if any director 
would try to put in the scenes as written. I'm 
sure, too, that he would not let Jris kill herself 
in the end. It just isn't being done in movie 
circles. 

Look at what they did to "The Tattooed 
Countess." The heroine became .25 years of 
age instead of 50, her thin old maid sister 
became a stout matron, a young reforming fool 
was thrown in, and all of the boy's affair with 
his girl friend, the high school teacher, and his 
subsequent meeting and elopement with the 
Countess was left out. 

It may be that Miss Negri refused to play 
the part as written or Mr. Hays had something 
to say about it. Still, whatever the cause, the 
result was not worthy of being advertised as 
" from the novel by Carl Van Yechten. " 

The story of Chicago, "That RoyleGirl," is 
another instance of the above. The combina- 
tion of Balmer and Griffith should have made 
a great picture, whereas it turned out to be only 
a very fair program offering. 

Miss Suzanne Balash. 

From One Trouper to Others 

Haverhill, Mass. 

May an actor of the " Speakies " throw a few 
bouquets to the actors of the "Movies"? 

We of the speaking stage are great movie 
fans. We admire showmanship, wherever 
found — showmanship being that quality which 
not only makes an actor a success, but KEEPS 
him a success. Have you noticed how many 
stage actors are gaining recognition in the 
movies lately? 

Witness Louise Dresser in "The Goose 
Woman." I pity any one who never heard 
Miss Dresser sing "Back to Babyland" fifteen 
years ago. More power to you, Miss Dresser. 
You were a great performer then, and a great 
performer now. 

Edna Ma) - Oliver ran away with "Let's Get 
Married." Even Richard Dix didn't mean a 
thing when the old girl strutted her stuff. Paul 
Kelly did the same thing to the mighty 
Meighan in "The New Klondike." 

John Gilbert, in spite of his matinee idol 
appeal, is a fine actor. Adolphe Menjou, 
another. 

Valentino? Yes, in front of the camera, but 
never in person. 

Betty Bronson — be careful, little girl, many 
a more seasoned performer has been wrecked 
on the shoals of self-admiration. 

Lois Moran — I have my doubts. 

Anyway, here's to the movie actors. May 
the gods grant them three virtues, personality, 
modest}' and showmanship. 

An Old Timer. 

Jack Was Always Good 

Ashley, Mass. 

The suggestion of a recent contributor that 
"St. Elmo" would make a suitable vehicle for 
John Gilbert illustrates the obscurity of his 
Fox productions. He played the role three 
years ago, in the days when, according to his 
own description, he was the least known 
player who had ever been elevated to stardom. 

The writer saw "Monte Cristo" with the 
sensations of "some watcher of the skies 
when a new planet swims into his ken. " 

Whatever the shortcomings of the picture 
itself, Gilbert's performance flashed fine. 
Then followed a long series of program pic- 
tures, ignored by press and public; then sudden 
discovery and the focusing of the telescopes. 
The curious feature of the affair is not the 
pvrotechnic quality of Gilbert 's recent success, 
but the fact that recognition was so long 
deferred. E. M. Stone. 



Lexington, Mo. 

Here are my sentiments. 

Alice Joyce: I am glad you came back, Alice. 
Keep up your good work of "Dancing 
Mothers. " 

Anna Q. Nilsson: "The Splendid Road " was 
wonderful. I am very anxious to see "Miss 
Nobody." 

Mae Busch: You are the screen's most 
colorful actress. 

Pauline Starke: Why can't we see you more 
often? 

Colleen Moore: I never see enough of you, 
charming, peppy girl. 

Alyce Mills: Congratulations to the pro- 
ducer who discovered you. "My Lady's Lips" 
was a good picture due to your splendid acting. 

Mildred Harris: Where have you been? 

Kalhcrine MacDonald: I can hardly wait to 
see "The Desert Healer" because of you. 

Blanche Sweet: I hope the producers don't 
ruin your talent in such mediocre productions 
as "The Far Cry." 

Eileen Percy: I want to see you more often 
and in better pictures. 

Betty Compson: Why, oh, why, did you ever 
leave Paramount? 

Belly Blylhc: We haven't forgotten you, 
Betty, and we would like to see you once in a 
while at least. 

Estclle Taylor: The reason why I am going 
to see "Don Juan." 

Dolores Costello: You're wonderful! Words 
fail me ! 

Prisrilla Dean: Hurrah! a new flashing 
Priscilla ! 

Secna Owen: You are delightful! Give us 
more pictures, please. 

Carol Dempster: Since "That Royle Girl," I 
am mad about you. 

Wanda Hatvley: Your blond loveliness 
deserves better pictures. 

O. C. 

This Gilbert Guy 

Chicago. 
In March Photoplay you ask "Can Jack 
Gilbert get away with it? " I '11 say he can with 
any role he wants, as he is not only a great 
lover, but also a wonderful actor, with a 
capital A, and he is just chuck full of IT, as 
Elinor Glyn says. You can't describe IT, but 
it is there, and seems to draw you towards him. 
When you go to see Gilbert in a picture, you 
don't see Gilbert but the character he is 
playing, and that is a compliment to an actor. 
Mrs. M. Ski.iris. 

You Like Him, Don't You? 

Chicago. 

Poor, silly movie fans! You rave, you gush, 
you go into hysterics over Rudy, Ramon. 
Gilbert and the rest of them! But either your 
eyesights are failing or else you have not the 
gumption to appreciate truly fine, and splendid 
acting — acting that does not seem like acting 
it is so real. I say this because I so seldom see 
a word of praise or appreciation, for that 
greatest actor of them all — John Barrymore. 

Some people, some movie critics — because 
he has been acclaimed the greatest living actor 
— delight in nagging, picking and trying in 
their silly little way to let everyone within hear- 
ing distance know that they think him nothing 
of the kind! But then the world is full of such 
people — such critics. The greater a man is, no 
matter what his occupation in life, the more 
critics he has. 

.Suffice it to say that Barrymore has given to 
the screen some of the finest acting the public 
has had the good fortune to see. and that out- 
side of "Beau Brummel" I have never enjoyed 
a picture as much as I did "The Sea Beast" — 
movie critics to the contrary. 

Rudy may come back. Ramon may rise, but 
Barn-more shall go on forever! 

Pauline Lontz. 
[ continued on page 146 ] 



in PHOTOPLAY MAGAZINE is guarantee, I. 



Photoplay Magazine — Advertising Section 



His Last Fifty Cents 



CONTINUED FROM PAGE gl 



picture. They had established a code, and he 
said it by turning the signet ring on his finger. 

To condense the romance, which a Shakes- 
peare might weave into fame and box office 
receipts — Jack married the girl. 

And he's still twisting that ring on his finger. 

An extraordinary man and an extraordinary 
wife, in Hollywood. They have been married 
for years and love one another. 

I have wondered at the endurance of Holt as 
a favorite. 

He's a splendid actor, though not an Adonis. 
But excellent actors and handsomer men have 
passed out of the picture while his romance has 
carried steadily on. 



And it all comes back to the one thing worth 
while in life — Character. 

Jack Holt has had the good fortune of fine 
breeding, and he has had the integrity not to 
betray it. 

You see in him on the screen what I see in 
him in person — the sort of a man you would 
trust as a friend. And a friend who would 
spend his last fifty cents to treat you. 

I wonder if that isn't the definition of a 
gentleman? 

It happens, in this instance, to be also the 
definition of success. 

That last fifty cents earned Jack a million. 

May it earn him many millions more. 



The Foreign Legion in Hollywood 



[ CONTINUED FROM PAGE 29 ] 



time I suspected "Bucho" of "a heart of 
gold." 

But times have changed. Not long ago I 
was watching Lillian Gish making "The Scar- 
let Letter." What I saw brought the day on 
"Bucho's" set, long, long ago, back to me with 
vivid force. It started me to thinking. I 
wonder if it will have the same effect on you. 
Victor Seastrom. the great Swedish picture- 
maker, was directing that great American 
actress, Lillian Gish, in the great American 
classic, "The Scarlet Letter," for the well- 
known American firm of Metro-Goldwyn- 
Mayer. 

Supporting Miss Gish in the leading male 
role was Lars Hansen, the "Swedish John Bar- 
rymore," in his first American picture. Karl 
Dane, whose last name is his nationality, had 
an important role. General Lodijensky, a 
former Russian officer and protege of Bucho- 
wetzki, who is seen in almost every picture 
"Bucho" directs, was playing the village 
drunk. 

Even Sven Borg, Hansen's secretary, was 
playing a part. 

DO you get the similarity to the earlier scene 
on Buchowetzki's first picture? But how 
times have changed. What a difference in the 
importance of the roles? 

"The poor, hungry foreigners" rang through 
my memory and I began to wonder about that 
"heart of gold" stuff. 

Now I will chronicle some facts and fables 
about the Foreign Legion, which only a few 
years ago was a small part of the great Extra 
Army, eagerly grasping at a day's work, an 
extra ticket. 

We will take Paramount first, for it was 
Paramount who brought over the first famous 
European, Pola. 

It would seem that they have played no 
favorites as to the nationalities of their foreign 
talent. 

They brought Lubitsch, the German, over, 
but didn't sign him. 

Why, I do not know. 

Then to their studios came Buchowetzki 
with a two-picture contract. The little Rus- 
sian has since worked for several other pro- 
ducers, is at Metro-Goldwyn-Mayer now and 
is about to make the cycle back to Paramount 
again. 

For a long time there was a decided falling- 
off in their import business, but it came to life 
with the arrival of Arlette Marchal, a French 
screen star, who played in Gloria Swanson's 
European-made "Madame Sans Gene." 

Possibly stimulated by the great success 
scored by Vilma Banky, Sam Goldwyn's 
Budapest beauty, Paramount next turned its 



attention to Hungary and brought over Lya 
de Putti, a star of both stage and screen. 

Emil Jannings, the German who clicked in 
"The Last Laugh" and "Variety," comes to 
Paramount in October and with him Eric 
Pollmer, who for a number of years has been 
general manager of UFA. Pollmer will super- 
vise the Jannings and Negri units and Bucho- 
wetzki will probably direct one of the stars. 

OVER on another big lot, Metro-Goldwyn- 
Mayer, the Scandinavians seem to be hav- 
ing it all their own way. 

Four years ago or thereabouts, from Stock- 
holm, Sweden, came Victor Seastrom, a pio- 
neer actor and director of Swedish Biograph. 
In looking over his biography I noted that 
Mauritz Stiller directed Seastrom in his first 
Swedish picture. 

Stiller has been directing for Metro-Gold- 
wyn-Mayer. Also that firm brought over 
Director Benjamin Christianson from Viborg, 
Denmark, before him. This gives Metro- 
Goldwyn-Mayer three Scandinavian directors, 
so it isn't any wonder they have Lars Hansen, 
"The Swedish John Barrymore, " and Greta 
Garbo under contract. Also Karl Dane, who 
"imported" himself and tried his hand at 
almost everything in pictures, including car- 
pentering, until he finally got his chance in 
"The Big Parade." 

With Lars Hansen came his wife, Karin 
Nolander, leading woman in the Royal State 
Theater of Stockholm and billed as "Sweden's 
most beautiful woman." She hasn't appeared 
on the screen as yet, but it shouldn't be long, 
now, with so many good Scandinavian di- 
rectors over here. 

Also there came a handsome young lad, a 
discovery of Louis B. Mayer, by name lunar 
Hansen, but no relation to Lars they assure me. 
But Einargot into trouble, so Metro-Goldwyn- 
Mayer broke their contract with him before 
using him in a picture. Einar did a picture for 
Universal and has just finished a good part 
with Corinne Griffith in a picture directed by 
Svend Gade, a Dane who was brought out here 
by Universal and loaned to the Griffith com- 
pany. 

Even Sojin Kamiyama — you remember him 
as the menace in "The Thief of Bagdad"— 
that splendid Oriental actor now playing in 
Tod Browning's "Road to Mandalay," evi- 
dently feels the advisability of a little team 
work and the need of a director of his own color 
in the picture industry here. 

Anyway, as the yarn goes, he brought a 
little Jap to the Metro-Goldwyn-Mayer lot one 
day, introduced him as "Mr. Itchi Itchi" or 
something of the sort, said he had one hundred 
and three Japanese motion picture master- 




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= pieces to his credit, including the Japanese Mattoni, a German stage and screen actor; 

"Ben Hur" with no less than six horses, was Beregi, "Austrian John Barrymore" (my, 

known as the "D. W. GrifBth of Japan, " and haven't we a lot of John Barrymores? — soon be 

smilingly suggested that they might like to put almost as common as John Smiths) ; Albert 

this great little Jap director under contract. Conti, another Austrian who played with 

Even Joe Schenck is going in for foreigners. Valentino in "The Eagle" and is somewhat on 
Besides having Hans Kraly under contract, he 
signed Tullio Carminati, leading man with the 
late Eleanora Duse, for two years. Carminati, 
an Italian, was a noted stage and screen star in 



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the D'Arcy type; Svend Gade, Danish director; 
E. A. Dupont, former UFA director, who made 
"Variety" with Jannings, is Brooklyn-born, 
but went to Berlin with his German parents as 
Europe, appearing for a time under UFA's a child; Imrie Fazekas, a Hungarian play- 

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banner. His first American picture was "The 
Bat" and he is now Constance Talmadge's 
leading man in "Sybil," an original comedy 
by Kraly. 



wright; Hans Winter, a German expert on for- 
eign atmosphere; Edla Ullmer, a Viennese who 
uses his talents as set trimmer; Eduoard 
Regina, Russian and German actor. 

Einar Hansen, the young Swede juvenile be- 
have quite naturally saved the biggest fore mentioned, is also looked upon with favor 
cargo for the last. The very hot-bed of the by Kohner, who intimates that he may sign 



Foreign Legion — you might almost say the 
barracks — is out at Universal City where 
"Uncle Carl" Laemmle makes pictures. 

It started in a quiet and most unobtrusive 
way. Now it has reached almost gigantic pro- 
portions. Universal probably has more for- 
eigners under contract today than all of the 
other producers combined. And almost all of 
theirs are Germans or Hungarians. 

Unless you speak German you can't find out 
what's going on out at the U. these days. 

About five years ago "Uncle Carl" met a 
bright youngster named Paul Kohner, a 
Czecho-Slovakian born in Warsaw. Laemmle 



him. 

It is interesting to note that Mary Philbin's 
next picture, "Love Me and the World Is 
Mine," in which she will appear again with 
Norman Kerry, is an adaptation of a German 
book, "The .Affairs of Hannerl." Dupont and 
Kohner worked on the adaptation, Dupont will 
direct, and Regina was brought over from Ger- 
many to appear in the picture. 

They'll probably have the girl speaking 
German before the picture is ended. 

No story about the Foreign Legion would be 
complete without a few words on Erich von 
Stroheim and his German army, which played 
was touring in Germany at the time and Paul's such an important part in " The Merry Widow" 
father is the publisher of a leading German — an important part both off screen and on. 
motion picture trade paper. It might be suspected that Erich, too, has 

Paul wanted to learn the picture business "a heart of gold." Be that as it may, the fact 
from the inside so it was quite natural that remains that in "The Merry Widow" he gath- 
" Uncle Carl" should bring him to Hollywood ered an army of extras, practically all of them 
andgivehima job. Paul is now Universal cast- self-expatriated Germans like himself, drilled 



them and put them on the payroll for months. 
They were around all the time, whether there 
was work for them or not. 



ing director, a naive chap who freely admits 
"the foreign artists have more background 
than the Americans and besides will work 
much cheaper." 

First I want to tell you a little fable about ' I 'HE usual custom with extras is to hire them 
Paul Kohner and Buchowetzki — seems I al- ■*- when they are needed for the "mob" 

scenes, clean these scenes up quickly, thus get- 
ting rid of the "mob" overhead, and then go on 
and finish the close-ups with the principals. 

But this Erich did not do. Instead of a few 
days work now and then, his army had steady 
pay and little work during the life of the pic- 
ture. They were rolling in wealth. Erich was 
called "the steak director" in contrast to all 
the other directors, who were relegated to the 
"sandwich" class. They were eating regularly 
and well. They were all for von Stroheim. 

When Yon's troubles with the front office 
became acute and he was removed from the 
picture. Monta Bell was sent in to pinch-hit for 
him. Bell was received with hisses and threats. 
In the ranks of Von's Army there were rum- 
blings and mutterings. Finally they threat- 
ened to strike — walk off the set — unless their 
"steak director" was restored. 

This would have been fatal, as they were 
registered all through the picture, which was 
nearly completed. 

It was a case of open mutiny. In the French 
Foreign Legion it would have been death to 
the mutineers. 

But it wasn't the French Foreign Legion — 
just our own little domestic one we had fos- 
tered and encouraged. There couldn't be any 
shooting, unless it was on the part of the 
mutineers. 

There was a council of war and the producers 
capitulated in the face of the angry host. Von 
had won. He was returned to the picture. 

Among the Legionaires there are few who 
have really made an impression as yet. Leav- 
ing out the directors there is Pola. of course, a 
star in America even before she arrived; Vilma 
Banky, whose success has been tremendous, 
and Metro-Goldwyn-Mayer really seems to 
have star dust in Greta Garbo. But that's 
about all who have proven themselves to date. 

And there is one other, neither actor or di- 
rector, who had something to bring to us and 
who has made the screen better for his com- 
ing. I refer to Hans Kraly, the German sce- 
nario writer who accompanied Lubitsch to 
America. 



ways come back to the little Russian — he is 
forever racing across my typewriter — a tale of 
real friendship it would seem — and then I will 
get on with the list of Legionaires whom Paul 
claims personal and almost all credit for bring- 
ing to Universal City. 

Buchowetzki and Paul Kohner are said to be 
great friends. Paul admits it. 

Paul and Mary Philbin are rumored to be 
practically engaged. Paul didn't admit this, 
not exactly. They certainly are together a 
great deal. 

Buchowetzki is reported to have offered Carl 
Laemmle $6,000 per week for Man* Philbin's 
services. This at a time when Mary's salary 
was no where near that figure — miles and miles 
away, in fact. 

Paul admits "Bucho" made the offer. 

Paul also admits he and Mr. Laemmle talked 
it over and decided against letting anyone else 
use Miss Philbin. He also admits that there 
and then they tore up Miss Philbin's existing 
contract and gave her a new and much nicer 
one — one that gives her much more salary. 

Miss Philbin is happy and Paul seems to 
bear no resentment against his friend, 
"Bucho," for trying to hire Man,', thus raising 
her salary. 

And now for young Kohner's part in recruit- 
ing the Foreign Legion. In his company are 
Hungarian and German actors, directors, 
technical experts and writers. 

And there is also a story — the truth of which 
I will not vouch for — that Charles Puffy, the 
fat German comedian, whom Kohner claims 
credit for signing, first imported himself, but 
found that American dollars were not rolling 
in as he expected. Then he met his good friend 
Paul, whom he knew in Budapest. They 
talked it over and Puffy was sent out of town 
and brought back in with much blaring of 
trumpets as Universal's latest importation. 

Paul is a naive chap, yes, but I forgot to ask 
him about the truth of this. However, he did 
say he discovered Puffy. 

Among Kohner's other "finds," artists with 
"more background who will work cheaper, " are 

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Kraly is probably the only man who has ever 
been placed on the same pedestal in the sce- 
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[ CONTINUED FROM PAGE 43 ] 

especially on warm days, when the kindly 
California climate seems to bring them out in 
large numbers to bask and play in the sun 
along Hollywood boulevard. And after you 
have selected a nice ripe one you are almost 
ready to "shoot." 

SHOOTING," in film circles, does not 
mean what is understood by that word in 
ordinary life, and although a great deal of time 
and worry might in most cases be saved right 
at the start by employing a .44 calibre revolver 
on both the director and the "star," the words 
"to shoot" in these articles must unfortunately 
be understood to mean simply " to take moving 
pictures of." Perhaps, at this point, it might 
not be a bad idea to insert the meanings of 
several similar "movie" words which are 
probably an enigma to the beginner, but which 
are in common every day usage in Hollywood 
wherever "film folk" meet in friendly groups 
to discuss the various ins and outs of their 
craft. Some of these words are: 

"lousy" — a term of reproach. 

"God-awful" — not very good. 

"ham" — another actor. 

"heel" — another director. 

"gag" — to be violently ill at one's stomach. 

"gagman" — see "gag." 

"on the lot" — not on location. 

"on location" — not on the lot. 

In our next installment, in addition to listing 
some more of these words, we shall also en- 
deavor to instruct the reader in "story con- 
struction," as well as the various details in- 
cidental to the actual beginning of "shooting," 
itself, so that by the third or fourth article in 
this series the newcomer need no longer regard 
himself as a novice in film circles, but may even 
commence to consider himself more or less 
privately as a genius of the screen and possibly 
even as the logical successor to Shakespeare 
and D.W.Griffith. 



What Was the Best 
Picture of 1925? 

[ CONTINUED FROM PAGE 64 ] 

Attention is called to the fact that voting for 
the Medal of Honor begins six months after the 
close of each year. This is done so that voters 
in all parts of the country will be able to see all 
the films released during the year. Should 
there be a tie in the voting, equal awards will 
be made to each of the winning producers. 

The Photoplay Medal of Honor is of solid 
gold, weighing 1 23 J pennyweights and is two 
and one- half inches in diameter. Each medal 
is designed and made by Tiffany and Company 
of New York. 

Be sure to cast your vote for the best picture 
of 1925. Here is your opportunity to do your 
bittowardsadvancingmotion pictures. On page 
64, to refresh your memory, is a list of fifty im- 
portant pictures released during 1025. Your 
selection, naturally, is not limited to this list. 
You may vote for any picture released between 
January 1, 1925 and December 31, 1925. 

This announcement, together with a coupon, 
will appear in three successive issues of Photo- 
play, including this number. 




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Mrs. Coolidge Knew Him When 



CONTINUED FROM PAGE 35 



It was in Northampton that he went to 
school, supplied with money by his guardians. 

But Tony was proud with a Spanish pride, 
and he would earn his own spending money by 
reading gas meters. 

"It may sound conceited, " he tells me, " but 
I used to watch Mr. Coolidge as he walked to 
his office every day, erect and swinging, and I 
thought, ' That man is a great man. ' " 

So, after all, Tony may reply to the Cool- 
idges' kindly remembrance with 

"I also knew him when ..." 

TT is significant of Tony Moreno's character 
■Mhat no matter how many faces may intervene 
you never forget his. 

It is the face of a friend. 

I have never known greater loyalty or greater 
adherence to principle than in the case of Tony 
Moreno. 

He has confided in me often. And once he 
told me his ideal of a wife. A woman of brains, 
of fine intellect. " Because, " he added quickly, 
"I have :,o little." 

He married that woman — Daisy Canfield. 

It is a marriage based on deep, undying 
admiration. Tony is thoroughly convinced of 
his own unwortblness. If anything happened 
to their harmony, if she should ever grow tired 
of him. he would be convinced that it was 
because he was quite unworthy of his position 
in the castle. 

Mrs. Moreno once told me that Tony con- 
sidered Tommy Meighan and me his greatest 
friends. I have never been more delighted by a 
compliment. He's one of those characters who 
has the primitive ruggedness that is appreci- 
ated the more as you come to know the insin- 
cerity of Hollywood — of world artificiality. 



In this he resembles his friend, Tommy 
Meighan, whose popularity, as Mr. Joseph 
Schenck has pointed out. is based on the feeling 
that he is your friend, the great friend of 
people. 

Tony Moreno is the finest example of 
chivalry I know. 

He is a man of his word. 

The vow he made when he sailed from Spain 
has been kept. 

That little old mother over there is queen of 
the world. 

Indeed, the Queen of Spain cannot enjoy 
the pride that is Mrs. Moreno's in the little 
castle that Tony has built for her. 

When Tony revisited her some years ago she 
was so overcome that she fainted. 

When he returned with his bride last year he 
wrote to her in advance: "Dear Mother, please 
do not weep when I return. Try to act like an 
American woman. I will be so proud of 
you ..." 

VX THEN the train pulled into the station of 
»* the Spanish village everyone in town was 
there to meet it, each holding a funny little 
bouquet of flowers. 

There was the baker for whom Tony 
worked when a boy, and the carpenter, and 
the judge . . . and mother. 

"I wanted to run away, my heart was bea^ 
ing so," said Tony. "I felt so damned uiv 
worthy of it all. " 

Then his mother threw her arms about him. 
The tears flooded her eyes as she quavered: 
"See, Tony, I do not weep. You are proud of 
me . . . I act like an American woman." 

But Ton\ — the American man — burst into 
tears . . . 



Desert Stuff 



CONTINUED from PACE 41 



baths, through faucets outside of each one of 
the hundreds of tents and into the kitchens. 
Water for drinking purposes was transported 
from Yuma. 

And when I say transported you may think 
of an easy spin along macadamized roads. It 
is — for twenty miles — dotted on either side by 
squat houses of Yuma Indians. Then comes 
five miles of one-way corduroy road. And a 
corduroy road, should you not know, is made 
of logs, without benefit of plane, laid side by 
side. If this washboard roadbed does not jar 
your molars, there is still another roller-coaster 
thrill that only a trusty car can navigate. It is 
a plank road laid by Paramount that leads over 
sand dunes for nearly four miles and ends at the 
top of a wind and sand swept dune overlooking 
the camp in the hollow and the imposing set of 
the fort, standing like a mural crown, on the 
opposite side of the valley. 

But that is not all. There follows a joyous 
slide down a chute of five hundred feet, after 
which the cargo is loaded onto a mule, a dray 
or perhaps a tractor that has been fitted with 
broad knife-like paddles, especially constructed 
for use in the sandy valley bed and for scaling 
the shifting dunes. 

After the carpenters were finished, the tents 
went up. Many hundreds of little ones. Big 
tents, like those of carnival time, housed the 
main mess hall, the property department, the 
wardrobe, the hospital, the carpenter shop, the 
harness and blacksmith shop. 

In the two thousand people who came to the 
location, every type of individual was repre- 
sented. Eighteen nationalities were repre- 
sented. 



Cowboys came, too. Just droves of them. 
Tall, short, lean, sunburned, bow-legged, eager 
to don the awning-striped costume that was to 
disguise them as Arabs — the attacking hosts 
who would besiege the fort. Stars of the rodeo 
— champions of the ranges — broncho busters — 
"bull-doggers" — ropers — men from "Colo- 
ray-do, " las Tom Carter advised. Men who 
have scored at Pendelton rodeos. Men who 
have ridden the ranges of the old west, like 
Ashley Lebrier. who for six months did not see 
a human face. And men like Bill Hurley, who 
can handle a horse or a ukulele with equal 
facility. 

Daytime bristled with activity and the grim 
battlements of the fort on the distant dune, 
with its man-made oasis of palms and grasses, 
imported from the Hollywood prop room, were 
overrun with Hollywood Legionaires in their 
jaunty blue and tan uniforms, dealing mock- 
death to their deadly Arabian enemies. 

Ray Lissner and Bob Lee, assistants, rode 
the surrounding country in execution of Di- 
rector Brenon's commands to the hundreds of 
mounted men flung as far over the billowing 
dunes as the eye could see. Roy Hunt, the 
cameraman, yelled orders through the micro- 
phone of a broadcasting set. 

There was time for a laugh at the attacking 
Arabian hosts. 

"Every Arab who falls from his horse at the 
first volley from the fort gets an extra pay 
check!" Brenon called into the microphone. 

And at the first discharge from the Legion- 
aires' rifles every Arab in sight toppled from 
his horse to the ground. Dead! 

Then there were laughs furnished by the 



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industrious prop man whose duty it was to member . . . 'a good soldier always sticks 

supply bullets for the Legionaires' weapons. to his gun'!" 

"Whose cap pistol is this?" he bellowed, It is like cutting a battle canvas to locket- 
pointing at a deserted firearm propped against size trying to tell the story of this greatest 
an embrasure. movie location. One must necessarily omit so 

"Mine!" a valiant Legionaire called. many glowing details, so much absorbing in- 

"Then why don't you stand by it? Re- formation. 



Cleopatra's Kiss 



' CONTINUED FROM PAGE 82 ] 



"I'm not a Shakespearian actor," he told 
himself. 

THEY came to New York. The opening was 
on a Tuesday night . The house was crowded 
with a glittering knowing audience, one of the 
most terrific audiences the actor of any land 
has to face: the New York critics, the column 
conductors, the editors and writers and actors, 
the cream of the great city. It is an audience 
already beyond the saturation point; it has 
been first - nighting all season; it is steeped 
with everything. . . . 

Gerald had no fear, he was merely ashamed 
of himself. He knew that Gwyna would have 
to bear the burden, and he could merely set 
her off. . . . But as he sat in his dressing- 
room, adjusting the glittering helmet, to his 
surprise Gwyna, crowned, made-up, and gar- 
mented, but a shawl about her, came in. . . . 
He rose. He was ready. 
1 Gerald," she said, her eyes sharp as sparks. 
"Tonight's the night." 

"I know," he said, his forehead becoming 
a beetling brow over his large eyes, his jaw set 
with brutal grimness. 
" Are you going to act?" 
"I'll try." 
Her nostrils dilated. 

"I chose you, because I knew you had it in 
you. But look, I carry the whole burden. 
That's you, Gerald. The woman carries the 
burden. You've failed so far because you're no 
man." 

"What can I do?" 

"Gerald," she said, "I'm going to do some- 
thing for you I loathe, because I can't love you. 
I'll kiss you tonight as if I meant it. Will it 
help?" 

He shut his eyes a moment. 
" Yes," he said. . . . 

"Then let go and act. Be Antony. 'So 
shouldst thou ever be,' " she quoted; and was 
gone. . . . 

The thought of her kiss. . . . The serpent 
fire stole along his blood, the song of it was in 
his ears. Ah, he was Antony. This wasn't 
Gwyna, a woman who didn't love him; this 
was Cleopatra, the queen who abased herself 
to his desire, who lived on his lips, who dropped 
a kingdom to do his bidding. He knew it at 
their first kiss; he felt her melt in his arms, he 
felt the yielding of her lips which yet became 
a soft suffusing fire that invaded and lifted him 
like strong drink to that high intoxication, 
which carried a clear head and a heroic heart. 
He acted. He suddenly felt his power. He 
raged, bullied, grew tender, was in despair. . . . 
At the close of every act there were storms of 
applause; and when, at last, he was raised to 
the arms of Cleopatra, sighing out: 
"I am dying, Egypt, dying. . . ." 
and she stood alone, for he was dead, the house 
rocked with its vociferous approval. . . . 

She still had a scene. He went to his dress- 
ing-room, exhausted, but still strangely elated. 
It had been round after round of a glorious 
battle. . . . Now he felt weary, elated, but 
calm. . . . He knew his power. He had come 
through. . . . 

"I hope that pleases her," he thought. 
Later her maid came to his door. There was 
a note. 

"I can't see you tonight; too tired. But 
you did well. Call at breakfast time to- 
morrow." 



He was pleased. He hardly slept that night, 
though he lay calm and collected, more satis- 
fied than he had been ever before. 

"Why," he thought, "I guess she was right. 
I never could stop feeling restless till I had a 
big enough job . . . that's why I drank so. 
Restless. Restless. Caged. Now I'm out of 
the cage. I'm free." 

He opened the papers the next morning. 
He turned to the review of the play. In a daze, 
which was partly fear and horror, he read the 
accounts. The play had gone over, yes, in- 
deed; it was one of the memorable Antonies 
and Cleopatras. That was all very well. But 
finally: 

"The outstanding performance was that of 
Gerald Blackstone. We have seen nothing 
like it in this generation. He has every gift of 
the great actor: a sure authority, a natural 
eloquence, a tragic passion, and that intangible 
quality which makes everything go when he is 
on the stage. . . . We must confess that he 
quite put Miss Marsh in the shadow. She has 
an excellent talent; Gerald Blackstone is a 
genius of the theater." 

"The man's mad," cried Gerald. 

He seized up another paper. It was the 
same. 

He tried a third and fared no better. . . . 

He sat perfectly frozen, as if he were in- 
capable of thought or action. Then he was 
horrified and trembled with fear. 

"That ends me with Gwyna," he thought. 

But as he walked over to her apartment in 
the cool, fresh morning air he could not help a 
feeling of victory creeping in. He had more 
than made good. He was hailed as that 
Shakespearian actor he had longed to be in his 
youth. He had proved that he was no longer 
a ruined man, a mere vaudeville filler-in, but 
of the line of the stars of the theater, the great 
of his profession. . . . 

It gave him pride, he raised his head and 
walked on. . . . And then he remembered 
that Gwyna had been right from beginning to 
end. She had seen his power when no one else 
had. She had believed, when even he had dis- 
believed. And she had struck him with a lash 
and brought him to his feet. . . . 

SHE had done a little better perhaps than 
she had intended. The frozen snake she 
had warmed at her bosom had stung her. 

Yes, he thought, he wished the critics had 
not said these things; for he remembered 
Gwyna's kisses in the love-scenes, her melting 
tenderness, her furious passions, and he was 
shaken with the need of again holding her and 
taking her as his own. . . . 

The maid opened. Yes, Miss Marsh was in 
the drawing-room. 

He entered, his heart pounding, fear in his 
step. 

She was half-reclining on the couch, in soft 
lingerie, her face calm and clear. She looked up 
at him. 

He stood hesitant and awkward. 

"Gwyna," he said, apologetically, "did you 
notice the papers?" 

"Yes," she said, her face betraying nothing. 

"I'm awfully sorry — " he began, but 
stopped, for she had slowly risen and on her 
face was a radiant look he hadn't seen before. 

" Gerald," she said. 

" What?" he asked blankly. 

"It's the way I want it." 

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" You want it?" 
"I." 

" Your 

"Gerald," she began again, "why, why, 
why do you suppose I struck you, back there?" 

"To wake me up." 

She looked away. . . . 

"O Antony, Antony, Antony!" 

In his heart a balmy beating began as of a 
music unknown to him, wonderful and deep 
and pure. . . . 

"You loved me, Gwyna?" 

"Madly." 

"And said nothing?" 

"I had to make you be yourself." 

"Oh, why?" 



" So you could conquer me. ... I carried 
the burden, but you took it from me last night. 

"You outplayed me. 

"You became my man. 

"Now I can love you, oh, not just mother- 
fashion, or mad-fashion, but I can love you 
looking up." 

He was weeping unashamedly, for she was 
melting softly again in his arms, and her lips 
were near. . . . 

"Miracle-worker," he breathed. . . . 

"Oh, just love, Gerald." 

They were no longer Antony and Cleopatra. 

"Gwyna — Gwvna," he repeated. 

"Ge-ald— Gerald— " 

They ha J breakfast together. 



On With the Pants 



[ CONTINUED FROM PACE 63 ] 



Swanson, Colleen Moore, Bebe Daniels, Lea- 
trice Joy, Olive Borden, Vera Reynolds and 
Marion Davies, who trousered again in "Bev- 
erly of Graustark," Anna Q. is going to show 
them all how to impersonate a lady tramp. 

In "Miss Nobody," taken from a story that 
was born "Shebo," she is a female of the road. 
It's all about a penniless young lady, in gent's 
cast-offs, who becomes identified socially with 
a gang of tramps. One of the tramps is hand- 
some and through the Magic of Love discovers 
that she is the Only Woman. He's Walter 
I'idgeon, so it's all right, and Anna Q. recipro- 
cates the passion and marries him after the 
story reveals that he is an Author in search of 
Material. 

Thus saving our caste distinction. 

TTBE mystery- is how a woman as feminine 
-*- as Anna Q. can so skillfully submerge her 
femininity on the screen. The moment she 
removes her masculine makeup, combs her 
shingled bob into darting little tongues of hair 
clinging to the oval of her face, she becomes 
Anna, the Woman. 

Not as frail, perhaps, as Florence Vidor or 
Corinne Griffith, but splendidly and eternally 
feminine. 

She's rather a magnificent creature. She has 
the face of a sophisticated angel — the figure of 
a handmaiden of Thor — and the temper of 
seven lively imps escaped from purgatory. 
She has the adoration of every prop man and 
electrician on the lot. to say nothing of cast, 
director and everyone even remotely connected 
with the picture. 

Her publicity man not only chants her 
praises, but really believes them. What more 
could be said? 

But when Anna Q. gets angry it is like a 
thunderstorm in Valhalla. 

Lightning rips. 

Thunder rumbles. 

People flee. But not for long. 

Anna smiles. The world is righted. The 
camera commences grinding. 

It's funny about Anna Q. Practical jokes 
don't annoy her. Ill-fitting dresses do. She 
was working at the old Selig Studio recently 
and some of the scenes called for a snake. The 
snake was brought and Anna Q. made friends 
with it. After a while, thinking to get a snatch 
of rest and having no dressing room of her 
own at the antiquated studio, she went to an 
adjacent set, lay down on a lounge and dozed 
off to sleep. 

Some bright gift to picturedom — there's one 



on every lot — seized upon Anna's snooze as a 
good opportunity to give her a scare. He 
fetched the snake and laid it parallel to her 
body so that the snake's head lay on Anna's 
bosom and its glittering eyes looked into her 
face Presently Anna awoke and instead of 
screaming, she wrapped the snake about her 
arm and fondled it. I suppose the bright gift to 
picturedom walked away and shot himself. 
Anna O. didn't say. 

But a mouse in her room at a Lake Arrow- 
head hotel, kept her paralyzed in bed after she 
had bombarded it with books, slippers and 
pillows. 

"O PEAKING of snakes, "said Anna, wriggling 

'-'her toes in her satin mules and straight- 
ening the red and green brocade of her Chinese 
cut lounging costume, "we had more fun with 
Walter Pidgeon and a snake. Walter, you see, 
comes from Canada and he said he had never 
seen a rattlesnake. We decided to show him 
one. 

"Up near Chatsworth, where the outdoor 
scenes of 'Miss Nobody' were taken, there are 
quite a few harmless snakes. We caught one 
and when Walter wasn't looking one of the 
boys put it on a rafter in the box car so it 
would fall on him. It did, and instead of the 
how-Is we had hoped for. Walter just picked it 
up, looked at it and put it aside. So much for 
the snake! 

" Then later one of the scenes called for me to 
roll out of the box car and down a hill with 
Walter after me. I rolled. Walter rolled, and 
when we reached the bottom of the hill, one of 
the crew whipped out a revolver and killed a 
rattlesnake with twelve rattlers that was coiled 
to strike. We had barely missed it. That 
ended the snake fun." 

Anna's closest friends are Mice Joyce and 
Viola Dana. The friendship of Mice and Anna 
has lasted since they were both artists' models 
in New York and Mice introduced Anna, the 
young Swedish girl from Ystad, to motion pic- 
tures. 

Through Anna's unfortunate first marriage 
and her recently disrupted second marriage 
to John Gunnerson, Mice has remained her 
confidante. 

"Going to marry again?" we queried. 

"Not unless I'm a bigger fool than I think I 
am," replied Anna in a voice to which wisps of 
her native Scandinavian tongue still fascinat- 
ingly cling. 

Anna has other things to compensate, in- 
creasing beauty and enduring popularity. 



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'39 



He Who Got Slapped 
and Why 



[ CONTINUED FROM PAGE 76 | 

Pola, who had, of course, been invited to the 
party, took one look at this strange phenome- 
non, and turned the exclusive and delightful 
little evening into a Fourth of July celebration. 

Whether or not Pola actually slapped Rudy's 
face or boxed his ears in the very presence of 
his friend from over-seas, I don't know. I 
shouldn't like to pretend that I did. One never 
does know, in a case like that, even if one has 
seen it with one's own eyes. 

He that as it may, the Pola-and-Rudy affair 
was distinctly off-again from that time forth 
and until Lady Loughborogh, having seen 
a great deal more of Hollywood than most 
people ever see, went back to her home and her 
husband in England. 

The things Pola said about Rudy — Pola is so 
descriptive! 

It amounts almost to a gift. 

IT was rumored when Rudy went down to 
the Arizona desert for a location trip that a 
tent would be pitched for Pola too. That she 
would be his guest. 

Perhaps some level-headed friend convinced 
Pola that she didn't have any "oil interests" 
which needed looking after on the desert. 

Anyway, the tent was never pitched for 
Pola. 

But in no time at all it was on-again, and 
Pola took back everything, with her irresistible 
smile, and said that Rudy was the great love of 
her life, and she must love somebody and Rudy 
was quite the most satisfactory sweetheart she 
had found in America. And that is covering a 
lot of territory. 

When they are on-again, they really are 
quite entrancing, Pola and Rudy. When they 
do the tango together they give you chills up 
and down your spine, which is the correct place 
for them, as you can ascertain by reading Mme. 
Elinor Glyn's stories. 

You do not really know whether they are 
dancing it very well, or whether they are 
dancing it rather badly. 

You only know that they look quite mad 
about each other, and people ought to be quite 
mad about each other to dance the tango. 
That is, I would say, really the only excuse 
for dancing the tango at all. 

But still, though Pola forgave Rudy for his 
very polite attentions to Lady Loughborogh 
and consented to put back on the gorgeous 
solitaire that almost covers her entire hand, 
and though Rudy forgave Pola for boxing his 
ears — or was it slapping his face or what have 
you? — things do look a little precarious. 

For now when Pola goes to call upon Rudy, 
or to dine with him, or to attend a party, 
though she doesn't take any mad money or 
carry roller-skates under her arm, she does 
leave her limousine waiting very handily at the 
door. 

No longer does she send it away and tell the 
driver when to call for her. 

It is all most upsetting. A man cannot settle 
down to his work, never knowing how this 
thing is progressing. I am not given to exag- 
geration, but in a manner of speaking it is try- 
ing to the digestion not to know whether you 
are going to be scooped on Pola and Rudy's 
secret wedding in a bower of orchids, or 
whether somebody is going to find Rudy or 
Pola with a stiletto in his or her back, just 
after the magazine has gone to press. 

If no more ladies from England invade 
Hollywood, all may be well. And I hope they 
won't. 

And I do hope dear Pola and dear Rudy 
will stop this off-again, on-again stuff now 
that Lady Loughborogh is gone-again, and 
make it " fine-again " one way or the other. 




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"ALOMA OF THE SOUTH SEAS"— 
Paramount. — Story by John B. Hymer and 
Leroy Clemons. Scenarist, James A. Creel- 
man. Directed by Maurice Tourneur. Photog- 
raphy by Harry Fischbeck. The cast: 
Aloma, Gilda Gray; Bob Holdcn, Percy Mar- 
mont; Nuitanc, Warner Baxter; Van Temple- 
ton, William Powell ; Red Molloy, Harry Morey ; 
Sylvia, Julanne Johnston; Andrew Taylor, 
Joseph Smiley; Hongi, Frank Montgomery; 
Hina, Mme. Burani; Taula, Ernestine Gaines; 
Sailor, Aurelio Coccia. 

"WET PAINT"— Paramount.— Story by 
Reginald Morris. Directed by Arthur Rosson. 
Photography by William Marshall. The cast: 
He, Raymond Griffith; She, Helene Costello; 
Her Brother, Bryant Washburn; A Beautiful 
Woman, Natalie Kingston; A Husband, Henry 
Kolker. 

"A SOCIAL CELEBRITY"— Paramount. 
— Story by Monte M. Katterjohn. Scenario 
by Pierre Collings. Photography by Lee 
Garmes. Directed by Mai St. Clair. The 
cast: Max Haber (Count Havare dc Maxin), 
Adolphe Menjou; Kitty Laverne, Louise 
Brooks; April King, Elsie Lawson; Ten 
Eyck Sluyvesanl, Roger Davis; Forrest Abbott, 
Hugh Huntley, Johann Haber, Chester 
Conklin; Clifford Jours, Freeman Wood; Mrs. 
Jackson-Greer, Josephine Drake; Mrs. Winifred 
King, Ida Waterman. 

"BROWX OF HARVARD"— Metso- 

C.mim \\-Ma\i r- Story by Rida Johnston 
Young. Adapted by Donald OgdeD Stewart. 
Directed by Jack Conway. Photography by 
Ira Morgan. The cast: Jim Doolittle, Jack 
Pickford; Mary Abbott, Mary Brian; Bob 
MacAndrews, Francis X. Bushman, Jr.; Mrs. 
Brown, Man- Alden; Mr. Brown, David 
Torrence; Prof. Abbott, Edward Connelly; 
//.;/ II riiirs Guinn \\ llliam:-. A: ;'.-.' S.'.r..':/: 
Ernest Giilen; Tom Brown, William Haines. 

"BEVERLY OF GRAUSTARK"— 
Metro-Goldwyn-Mayer. — Based on the 
novel by George Barr McCutcheon. Adapted 
by Agnes Christine Johnston. Directed by 
Sidney Franklin. The cast: Beverly Calhoun, 
Marion Davies; Danton. Antonio Moreno; 
Prince Oscar, Creighton Hale ; General Marlanx, 
Roy D'Arcy; Duke Travina, Albert Gran; 
Caslotta, Paulette Duval; Saranof, Max 
Banvyn; Mr. Calhoun, Charles Clary. 

"MADEMOISELLE MODISTE "—First 
National. — Adapted from the operetta writ- 
ten by Henry Blossom and Victor Herbert. 
Directed by Robert Z. Leonard. The cast: 
Fifi, Corinne Griffith; Eticnnc. Norman Kerry; 
Hiram Bent, Willard Louis; Marianne, Doro- 
thy Cumming; Mme. Claire, Rose Dione. 

"THE OLD SOAK "—Universal.— Based 
on the stage play by Don Marquis. Directed 
by Edward Sloman. The cast: Clement Haw- 
lev, Sr., Jean Hersholt; Clemmy Hawlcy, 
George Lewis; Ina Heath, June Marlowe; 
Cousin Webster, William V. Mong; Sylvia 
DeCosta, Gertrude Astor; Annie, Louise 
Fazenda; Matilda Hawlcy, Lucy Beaumont; 
Lucy, Adda Gleason; Al, George Siegmann; 
Roile, Tom Ricketts; Shelly Hamley, Arnold 
Gregg. 

"OTHER WOMEN'S HUSBANDS"— 

Warner Brothers. — From the story by 
E. T. Lowe, Jr. Adapted by E. T. Lowe, Jr. 
and Jack Wagner. Directed by Erie C. 
Kenton. Photography by Charles Van 
Enger. The cast: Dick Lambert, Monte Blue; 
Kay, his wife, Marie Prevost; Jack Harding, 
Huntly Gordon; Roxana, Phyllis Haver; 



Roxana's friend, Marjorie Gay; Dick's chum, 
John Patrick. 

"OLD LOVES AND NEW"— First Na- 
tional. — Based on the novel by E. M. Hull. 
Adapted by Marion Fairfax. Directed by 
Maurice Tourneur. The cast: Gcrvas Carcw, 
Lewis Stone; Marny, Barbara Bedford; Lord 
Clyde Geradine, Walter Pidgeon; Lady Elinor 
Carcw, Katherine McDonald; Hoscin, Tully 
Marshall; Kitty, Ann Rork; Denny O'Mcara, 
Arthur Rankin; Dr. Chalmers, Albert Conti. 

' ' MONEY TALKS ' '— Metro-Goldwyn- 
Mayer. — Author, Rupert Hughes. Director, 
Archie Mayo. Adapted by Jessie Burns and 
Bernard Vorhaus. Photography by William 
Daniels. The cast: Phocbic Starling, Claire 
Windsor; Sam Sterling, Owen Moore; Oscar 
Waters, Bert Roach; Lucius Fenton, Ned 
Sparks; /. Bradford Perkins, Phillips Smalley; 
Mrs. Chatlcrlon, Dot Farley; Ah Foo, George 
Kuwa; Mile. Lucelle, Kathleen Key. 

"PARIS AT MIDNIGHT"— Producers 
Dist. Corp. — From the novel by Balzac. 
Adapted by Francis Marion. Directed by 
E. Mason Hopper. Photography by Norbit 
Brodine and Dewey Wrigley. The cast: 
Delpliine, Jetta Goudal; Yaulrin, Lionel 
Barrvmore; Viclorinc Taillefcr. Man' Brian; 
Eugene de Rastignac, Edmund Burns; "Papa" 
Goriol, Emile Chautard; Count Taillefcr, 
Brandon Hurst; Anastasic, Jocelyn Lee; 
Madam Vauquirr, Mathilde Comont; Made- 
moiselle Michc, Carrie Daumery; Julie, Fannie 
Yantis; Frederick Taillefcr, Jean de Briac; 
Maxine dc Trailers, Charles Requa. 

"THE SHAMROCK HANDICAP"— Fox. 
— Story by Peter B. Kyne. Directed by 
John Ford. The cast: Lady Shcla Gajfncy, 
Janet Gaynor; Neil Ross, Leslie Fenton; 
Dennis O'Shea, J. Farrell MacDonald; Sir 
Miles Gaffncy, Louis Payne; Molly O'Shea, 
Claire McDowell; Martin Finch. Willard 
Louis; Chesty Morgan, Andy Clark; Benny 
Ginsberg, Georgie Harris; Puss, Ely Reynolds; 
Michael, Thomas Delmar; The Solicitor, 
Brandon Hurst. 

"HELL-BENT FER HEAVEN"— War- 
ner Brothers. — From the stage play by 
Hatcher Hughes. Adapted by Marian Con- 
stance Blackton. Directed by J. Stuart 
Blackton. Photography by Nick Musuraca. 
The cast: Judc Lowric, Patsy Ruth Miller; 
Sid Hunt, John Harron; Andy Lowrie, Gayne 
YA'hitman; Rufe, Gardner James; Dave Hunt, 
James Marcus; Matt Hunt, Wilfred North; 
Meg Hunt, Evelyn Selbie. 

"THE WILDERNESS WOMAN"— 

First National. — Story by Arthur Stringer. 
Directed by Howard Higgin. The cast: 
Juneau MacLcan, Aileen Pringle; Alan 
Burkett, Lowell Sherman; Kadiak Mac Lean, 
Chester Conklin; The "Colonel," Henry 
Yibart; Bis Confederate, Hobart Cain; Squaw, 
Harriet Sterling; The "Judge, " Burr Mcintosh. 

" ROLLING HOME "— Universal.— Story 
by John Hunter Booth. Scenario by John 
McDermott and Rex Taylor. Directed by 
William Seiter. Photography by Arthur Todd. 
The cast: Nat Alden, Reginald Denny; Phyllis, 
Marion Nixon; Mr. Grubbell, E. J. Ratcliffe; 
Dan Mason, Ben Hendricks, Jr.: Mrs. Alden, 
Margaret Seddon; Col. Lowe, George Nichols; 
General Wade, Alfred Allen; Sheriff, C. E. 
Thurston; Select Man, George Marion; Select 
Man, Alfred Knott; Pombcrton, Anton Vaver- 
ka; Office Boy, Howard Enstedt; Aunt, Adele 
Watson. 



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"EVE'S LEAVES"— Producers Distrib- 
uting Corp. — Story by Elmer Harris. 
Adapted by Jack Jevne. Directed by Paul 
Sloane. Photography by Arthur Miller. 
The cast: Eve Macey, Leatrice Joy; Bob 
Rrilton, William Boyd; Capl. Macey, Robert 
Edeson; Chung Fang, Walter Long; Thomas 
Britlon, Richard Carle; Dr. Meeker, a mission- 
ary, Arthur Hoyt; Wee Wee, Sojin; Whang 
Wun Chop, Nambu. 

"EARLY TO WED"— William Fox — 
From the story by Evelyn Campbell. Scenario 
by Kenneth B. Clarke. Directed by Frank 
Borzage. The cast: Tommy Carter, Matt 
Moore; Daphne Carter, Albert Green; Mrs. 
llaydcn, Julia Swayne Gordon; Mike Dugan, 
Rodney Hildebrand; Mrs. Dugan, Za Su Pitts; 
Bill Dugan, Ross McCutcheon; Art Nevcrs, 
Arthur Housman; Mrs. Nevcrs, Belva McKay; 
Mr. Pclton Jones, Harry Bailey. 

"THE PALM BEACH GIRL"— Para- 
mount. — Story by Byron Morgan. Scenarist 
Forrest Halsey. Director Erie Kenton. 
Photographer Lee Garmes. The cast: Emily 
Bennett, Bebe Daniels; Jack Trotter, Law- 
rence Gray; Aunt Jerry, Josephine Drake; 
Julia, Marguerite Clayton; Herbert Moxon, 
John Patrick; Tug Wilson, Armand Cortes; 
Sheriff, Roy Byron; Aunt Beatrice, Maude 
Turner Gordon. 

"HER SECOND CHANCE"— First 

National. — From the novel by Mrs. Wilson 
Woodrow. Continuity by Eve Unsell. 
Directed by Lambert Hillyer. The cast: 
Mrs. Constance Lee, Caroline Logan, Anna Q. 
Nflsson; Judge Jeffries, Huntly Gordon; Bell, 



Charlie Murray; Bcachcy, Sam de Grasse; 
Gabriel, William J. Kelly; De Vries, Mike 
Donlin; Delia, Dale Fuller; A darky stable 
boy, Jed Prouty; Nancy, Corliss Palmer. 

"SILKEN SHACKLES"— Warner — 
Story by Walter Morosco and Phil Klein. 
Directed by Walter Morosco. Photography 
John Mescall. The cast: Denise Lake, Irene 
Rich; Howard Lake, Huntly Gordon; Lord 
Fairchild, Bert Marburgh; Tade Adrian, Victor 
Varconi; Tade Adrian's mother, Evelyn Selbie; 
Frederic Stanhope. Robert Sellable; Tade 
Adrian's father, Kalla Pasha. 

"THE EXQUISITE SINNER"— Metro- 
Goldwyn-Mayer. — Based on the novel by 
Alden Brooks. Adapted by Josef Von Stern- 
berg and Alice D. G. Miller. Directed by 
Josef Von Sternberg. Photography by 
Maxmillian Fabian. The cast: Dominique 
Prad, Conrad Nagel; The Gypsy Maid, Renee 
Adoree; Yvonne, Paulette Duval; Colonel, 
Frank Currier; Colonel's Orderly, George K. 
Arthur; The Gypsy Chief, Mathew ISetz; 
Dominique's Sisters, Helena D'Algy, Claire 
Dubrey. 

"THE GALLOPING COWBOY"— Asso- 
ciated Exhibitors. — Directed by William J. 
Craft. The cast: Bill Crane, Bill Cody; 
Pete Perry, Alex Hart; Jack Perry, Edmund 
Cobb; Prof. Pinkleby, Harney Gilmore; Mary, 
Florence Ulrich; Sheriff, Richard Cummings; 
Pedro, David Dunbar. 

"A MAN FOUR SQUARE"— William 
Fox. — Story by Maxine Alton and Adele 
Duffington. Scenario by Charles Darnton. 





Just proving the change stardom brings. Conway Tearle wears his other 

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Directed by R. William Neill. The cast: 
Craig Norton, Buck Jones; Polly Roubidcaux, 
Marion Harlan; Ben Taylor, Harry Wood; 
Jim Clanlon, William Lawrence; John Roubi- 
dcaux, Jay Hunt; Homer Webb, Sidney 
Bracey; Bertie, Florence Gilbert; Wallace 
Roberts, Frank Beal. 

"OUTSIDE THE LAW"— Universal.— 
Story by Tod Browning. Adaptation by 
Lucien Hubbard. Directed bv Tod Browning. 
The cast: Molly Madden (Silky Moll), Priscilla 
Dean; "Silent" Madden, Ralph Lewis; "Black 
Mike" Sylva, Lon Chaney; "Dapper Bill" 
Ballard, Wheeler Oakman; Chang Lo, E. A. 
Warren; Ah Wing, Lon Chaney; "That 
Kid," Stanley Goethels. Morgan Spencer, 
Melbourne MacDowell; Inspector, Wilton 
Taylor. 



"THE IMPOSTOR"— F. B. O.— Story by 
Clifford Howard. Adapted by Edward Adam- 
son. Directed bv Chet Withey. Photography' 
by Roy Klaffki'. The cast: Judith Gilbert, 

Evelyn Brent; Dick Gilbert, Carrol Nye; j or ; r Felton, Eugenie Gilbert; 
Gordon, Jim Morrison; De Mornoff, Frank "by himself. 
Leigh; Lefty, Jimmy Quinn; Morris, Carlton 
Griffin; Ann Penn, Edna Griffin. 



lanem Sr., John T. Prince; Short Texan, 
John "Pewee" Holmes; Dolores, Rosemary 
Cooper; Tall Texan, Robert Milash. 

"TONY RUNS WILD"— William Fox.— 
Story by Henry K. Knibbs. Scenario by 
Edfrid Bingham and Robert Lord. Directed 
by Thomas Buckingham. The cast: Tom 
Trent, Tom Mix; Grace Percival, Jacqueline 
Logan; Slade, Lawford Davidson; Bender, 
Duke Lee; Mrs. Johnston, Vivian Oakland; 
Mr. Johnston, Edward Martindale; Ethel 
Johnston, Marion Harlan; Sheriff, Raymond 
Wells; Ranch Foreman, Richard Carter; Auto 
Stage Driver, Arthur Morrison; Red, Lucien 
Littlefield; Deputy Sheriff, Jack Pad Jan. 

"WILD TO GO"— F. B. O.— Story by 
F. A. E Pine. Adapted by F. A. E. Pine. 
Directed by Robert de Lacey. Photography 
by John Leezor. The cast: Tom Blake, Tom 
Tyler; Frankic Blake, Frankie Darrow; Simon 
Purdy. Fred Burns; Jake Trumbull, Ethan 
I.aidlaw; (An^Accompliec), Earl Haley; Mar- 
Sitting Bull," 



"HELL'S FOUR HUNDRED"— William 
Fox. — From the novel by Vaughan Kester. 
Scenario by Bradley King. Directed by John 
Griffith Wray. The cast: Evelyn Vance, Mar- 
garet Livingston; John North. Harrison Ford; 
John Gilmorc, Henry Kolker; Marshall 
Langham, Wallace McDonald; Barbara Lang- 
ham, Marceline Day; Bill Montgomery, 
Rodney Hildebrand; Vivian, Amber Norman. 

" RAWHIDE " — Associated Exhibitors. 
— Story by Ralph Cummins. Continuity by- 
Frank L. Inghram. Directed by Richard 
Thorpe. The cast: "Rawhide" Rawlins, 
Buffalo Bill, Jr.; Jim Reep, Al Taylor; Nan, 
Molly Malone; Strain I, Joe Rickson; "Blackie" 
Croont, Charles Whitaker; "Two Gun," Harry 
Todd, "Quccnic," Ruth Royce; The Law, 
Lafe McKee. 

"THE PHANTOM BULLET "—Univer- 
sal. — Story by Oscar Friend. Scenario by 
Curtis Brenton. Directed by Clifford Smith. 
Photography by Harry Xewmann. The cast: 
Tom Farlanc. Hoot Gibson; Jane Terill, Eileen 
Percy; Don Barton, Allan Forrest; Bill Hayncs. 
Pat Harmon; Zack Peters, Nelson McDowell; 
Judge Terill, William II. Turner; Tom Far- 



"THE BIG SHOW"— Associated Exhib- 
itors. — Story by L. Case Russell. Directed 
by George Terwilliger. Photography by David 
Gobbett. The cast: Bill, John Lowell; Ruth 
Gordon, Evangeline Russell; Norman Bracket, 
F. Serrano Keating; Marian Kearney, Jane 
Thomas; Col. Jim Kearney. Col. Joseph Miller; 
Pedro, Dan Dix; Fifi, Alice Lecacheur; Dolly, 
Madi Blatherwick. 

"THE ISLE OF RETRIBUTION"— 
F. B. O.— From the novel by Edeson Marshall. 
Adapted by Fred Kennedy Myton. Directed 
by James Hogan. Photography by Julos 
Cronjager. The cast : Bess Gilbert, Lillian 
Rich; Ned Cornet, Robert Frazer; Doomsdorf, 
Victor McLaglen; Lenore Hardenworth, Mildred 
Harris; Mrs. Haadenworth, Kathleen Kirkham; 
Godfrey Cornet, David Torrence; Sindy (squaw), 
Inez Gomez. 

"THE BROADWAY GALLANT"— F. B. 
O. — Story and continuity by Frank Howard 
Clark. Directed by Mason Noel. The cast: 
Monty Barnes, Richard Talmadge; Helen 
Sluarl, Clara Horton; Jake Peasley, Joe 
Harrington; Red Sweeney, Jack Richardson; 
Rita Delroy, Cecil Cameron; Hiram Weathcrby, 
Ford West. 



The Shadow Stage 



CONTINUED FROM PAGE 57 



THE PALM BEACH GIRL— Paramount 

HPHE old familiar saying declared that noth- 
*■ ing is so bad that it couldn't be worse. 
This may be true, yet it is certainly difficult 
to see how this latest offering of Bebe Daniels 
could possibly be made any worse than it is. 
There isn't any story and the whole picture 
just hangs on some supposedly funny incidents 
that are so silly that the finished product re- 
sults in being abysmally dull. 



HER SECOND CHANCE— First 
National 

ANOTHER story like this and it will be 
Anna Q. Nilsson's last chance as far as 
movie-fans are concerned. It's about a 
mountain girl who swears revenge on a judge 
who jails her. Now the judge happened to 
be good-looking and love came, etc., etc. 
Charlie Murray gives a good account of him- 
self as an amateur detective. In fact, the 
comedy is much superior to the drama. Not 
so good. 

advertisement in PHOTOPLAY MAGAZINE is giinrantes 



THE EXQUISITE SINNER— Metro- 
Goldivyn-Mayer 

TF TAKEN seriously — then this will be a 
-'•total loss — but if you accept it in the spirit it 
is offered you will enjoy it. This is the pro- 
duction, directed by Joseph Von Sternberg 
for Metro, that has been shelved for many 
months. And we cannot understand why! 
For this is equally as good as some of the pic- 
tures Metro has been tooting about all over 
town. The cast is good — Conrad Nagel, 
Renee Adoree and George K. Arthur. 

THE GALLOPING COWBOY— 
Associated Exhibitors 

TF YOU'RE in the mood for a good Western— 
-1-see this. It is filled with pulse-quickening 
situations, there is suspense of the most intri- 
guing sort, and through it all runs a delightful 
romance. This is the first time we have seen 
Bill Cody and we're here to say, he went over 
big. He's a good-looking chap and the way 
he rides a horse is nobody's business. Treat 
the children. 



Photoplay Magazine — Advertising Section 

SILKEN SHACKLES— Warner Bros. THE PHANTOM BULLET— Universal 



'43 



HERE is a splendid cast gone to the four 
winds because of a poorly developed plot. 
One is left in doubt as to the story and as you 
leave the theater, many whys and wherefores 
will be on your mind. Irene Rich plays, in a 
convincing manner, a flirtatious wife, who has 
many romances, but finally returns to her hus- 
band iHunlly Gordon i. Xot so good. 

A MAN FOUR SQUARE— Fox 

THE usual Buck Jones Western, which 
means it's a good one. Buck is the kind of 
a fellow who fights to the very end to protect 
his buddy from being accused of cattle rustling. 
Some home-made hootch puts funny ideas into 
the buddy's head and he accuses Buck of 
stealing his girl. But matters are straightened 
out — squarely. O. K. for the children. 

OUTSIDE THE LAW— Universal 

ARE-ISSUE of a crook drama that was 
released many years ago. It really has 
a splendid plot and cast — Lon Chaney, Pris- 
cilla Dean and Ralph Lewis — but in these 
days of beautiful sets, gorgeous costumes and 
perfert lighting, one can't feel as enthusiastic 
about it as if it were a modern picture. If 
you can overlook the old-fashioned dress, sets, 
etc., you will find this an engrossing picture. 

THE IMPOSTOR— F. B. O. 

IF IT'S an Evelyn Brent picture it will even- 
tually turn crooked. Even though we always 
enjoy her pictures, we are of the opinion that 
Evelyn should quit harping on this crook idea 
continually. Evelyn starts out as a wealthy 
society girl who associates with a gang of 
crooks in order to protect her brother. Oh, 
grandma, what big-hearted sisters we have in 
the movies! Fair. 

HELL'S 400— Fox 

WHY this was ever produced is still a 
mystery. It's a preachment against 
gold-digging and the heavy dramatic moments 
are very amusing — unintentionally. Margaret 
Livingston plays the role of the gold-digging 
chorus girl in a carefree manner. Harrison 
Ford and Wallace MacDonald are the support- 
ing players. Grownups may see this if they 
promise not to laugh too loud. 

RAWHIDE— Associated Exhibitors 

HERE'S another new cowboy star that the 
youngster will like — Buffalo Bill. Jr. The 
picture contains all the elements that go to 
make a rip-roaring Western — fast a:tion, a 
love story and the smiling personality and 
dare-devil courage of the star. Could you 
ask for more? 



JTOOT GIBSON in a Western that has a 
-*• ■'■sure-fire appeal for grown-ups and chil 
dren. Hoot disguises himself as a city-slicker 
to locate the murderer of his father. In a 
square-shooting way he obtains the evidence 
and the girl. Hoot's a funny guy and provides 
lots of laughs for the audience. 

TONY RUNS WILD— Fox 

pVERYOXE realizes Tom Mix is an ex- 
■*— 'cellent horseman and here Tom displays 
his riding skill rather than his acting abilities. 
To avoid repetition — you know the ingredients 
of a Mix picture and they are all here. Xow, 
Tom, please do us a favor — stick to your horse 
and no more of these kittenish fandangoes and 
silken blouses. The boys will enjoy this. 

WILD TO GO—F. B. O. 

TT SEEMS that Tom Tyler and little Frankie 
-'-Darro are an established combination. In 
fact, Tyler's pictures would not be completed 
without Frankie. for he adds a lot of humor 
because of his desire to be a real cowboy. And 
here Frankie shows he's learning a whole lot — 
for it is he who saves the hero and heroine 
and incidentally plenty of mon-y. Good stuff. 

THE BIG SHOW— Associated 
Exhibitors 

CPEAKJXG about a circus — yes — but not 
'-'about this picture. We'd advise you to go 
see a circus any time but thumbs down oi 
this. The story is a false-alarm and the cast — 
well they have a lot to learn. You can sleep 
very well through this and you won t De dis- 
turbed. 

THE ISLE OF RETRIBUTION— F. B. O. 

THERE must be a way for the wealthy 
fathers to make men out of their sons so 
the hero and dad's secretary are shoved up 
north to inspect the mining districts that pop 
owns. Then the wicked villain appears and 
before you know it Sonny is as tough as the 
next one. He kills the villain and returns to 
poppa and everybody's happy. Oh, what 
wonders the great open spaces work. Passable. 

THE BROADWAY GALLANT— F. B. O. 

A RICHARD TALMADGE program pic- 
ture in which his fans will find him at 
his best. Dick is a wealthy boy who goes in 
search of bonds for his Dad. He's mixed up 
in a number of complications, but everything 
results with honors for the hero. Dick intro- 
duces some new stunts that we bet the young- 
ster will try. 



Questions and Answers 



counxrjED from page ioi ] 



R. D., Hoboken, N. J.— Dorothy Mackaill 
is one of old John Bull's daughters. She was 
born in Hull, England, on March 4, 1904. 
Dorothy has hazel eyes and very pretty ones, 
too. 

Elise and Edith, New York City. — So 
you think more of me than you do of Lawrence 
Gray. Is that true or are you trying to flatter 
an old man? Mr. Gray — I don't know him 
well enough to call him Lawrence — was born 
in San Francisco, Calif., on July 27, 1898. He 
is five feet, ten inches tall and weighs one 
hundred and fifty-five pounds. Xot married, 
tra, la! 



E. H., Reading, Pa. — Lillian Rich was 
born in London, England, on January 1, 1902. 
Chicago was the birthplace of Blanche Sweet. 
She was born on June 18, 1896. 

To Another Dempster. — Carol Dempster 
was born in Santa Maria, Calif., on January 
16, 1902. She toured the country with the 
Denishawn dancers before starting in pic- 
tures. Carol is five feet, five inches tall and 
weighs one hundred and fourteen pounds. 
She has chestnut hair and hazel eyes. Any rela- 
tion? Yictor McLaglen played in "Winds of 
Chance." Yictor is an Englishman — about 
thirty-five vears old and married. 



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mention PHOTOPLAY MAGAZINE). 



144 



Photoplay Magazine — Advertising Section 




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M. P., Aixston, Mass. — My sleuths re- 
port that Frank Mayo has been playing in 
vaudeville for a season. But, dear lady, he 
isn't lost to you and the screen because he is 
appearing in "Lew Tyler's Wives," produced 
at the Tec-Art Studio, 332 West 44th Street, 
New York, N. Y. 

"Kiddie," New Haven, Conn. — Young 
and inquisitive! Norman Kerry was born in 
New York City about thirty-two years ago. 
Married. Rosemary Theby is married to 
Harry Myers. It was quite a romance. Didn't 
you hear about it? Rosemary — and that's 
her real name — was born in St. Louis in 1892. 
Elinor Fair is not blonde, in spite of her name. 
She has reddish brown hair. It photographs 
dark. Laura La Plante is another St. Louis 
girl. Not married but they do say she is en- 
gaged to William Seiter. 

K. A. R., South Orange, N. J. — George 
O'Brien and Olive Borden are coy about ad- 
mitting any engagement. Still, there's no 
great harm drawing conclusions, is there? 
William Haines isn't married. Write to him 
at the Metro-Goldwyn Studio, Culver City, 
Calif. He was born on January 1, iqoo. 
Sally O'Neil was born on October 23, 1908. 
Irving Cummings directed "The Johnstown 
Flood." George O'Brien's next picture is 
"Fig Leaves." And Laura La Plante has 
just about decided to marry William Seiter. 

Nan C, San Antonio, Texas. — Don't ask 
me why "Desert Gold" was so different from 
the book. That seems to be an old custom in 
the movies — changing the plots of books when 
they are screened. "Kiki" is pronounced 
" Kee-Kee " — that's the French of it. Mary 
Pickford has no children but she has adopted 
her sister's daughter. Harriet Hammond 
played opposite Ramon Novarro in "The 
Midshipman." 

H. H., West Duluth, Minn.— "The Top- 
of the World" was filmed with James Kirk- 
wood and Anna Q. Nilsson in the leading roles. 
Released under the same title — for a change. 
Richard Dix is not married. Just the opposite 
for Wallace MacDonald. Marion Nixon was 
born in Superior, Wis. A very Superior 
girl from the start. She's an American. 

Ariel, Eugene, Ore. — If you're plump, 
call yourself Gretchen. If you are slim, then 
Ariel is the name for you. And if you are 
neither plump nor slim, then you ought to be 
Suzanne. Now that I have settled that 
problem for you, I'll go on with the answers to 
your questions. Write to Mae Murray — 
and send a quarter — at the Metro-Goldwyn 
Studio, Culver City, Calif. Mae is five feet, 
three inches and was born on May 10, 1893. 
Her latest is "Altars of Desire." Wuff-WufI! 

I. D., Los Angeles, Calif. — You'll see Clara 
next in "Mantrap." Miss Bow has brown 
hair and brown eyes and she was born in 
Brooklyn on July 29, 1905. 

V. A., Tacoma, Wash. — Address Mr. 
Lawrence Gray at the Lasky Studios, Holly- 
wood, Calif. Did you send a quarter with 
your request for a photograph? That might 
get results. 

O. S., Havana, Cuba. — If you're going to 
write this poor old Answer Man, you had 
better stick to the English language. Now 
what would happen to me if I began getting 
letters in all the foreign languages? Write to 
Paramount Pictures, Paramount Studios, 
Astoria, L. I., for information about the Para- 
mount School of Acting. It's a long and ex- 
pensive trip to Hollywood and you might be 
terribly disappointed when you got there. 
May McAvoy is twenty-five years old and 
she is said to be engaged to Robert Agnew. 
Laura La Plante is twenty-one years old and 
engaged to William Seiter. 



A. D., Hudson, Mass. — Why not a sham- 
rock on the letter paper to match the ink? 
Allene Ray was born on January 2, 1901. 
Her real name is Mrs. Larry Wheeler. Allene 
is five feet, three inches tall and weighs one 
hundred and twenty pounds. She has blonde 
hair and hazel eyes. 

P. N. S., Baltimore, Md. — Write to the 
Photoplay Publishing Company, 750 N. 
Michigan Avenue, Chicago, 111. The article 
you refer to appeared in the issue of January, 
1925. It was called "An Impression of Marion 
Davies," by Adela Rogers St. Johns. Thank 
you for your interest. 

WlLHELMTNA, PROVIDENCE, R. I. — Your 

English is so charming. Wilhelmina, that even 
your mistakes are fascinating. Edmund Burns 
is six feet tall and weighs one hundred and 
sixty pounds. He was born on September 27, 
1892. He has black hair and grey eyes and was 
born in these United States. Now that you've 
come to live here, call again. 

H. L., Calgary, Canada. — The article en- 
titled "At Last the Blonde Vampire" appeared 
in Photoplay's March issue. 1925. The re- 
view of " Inez from Hollywood " was published 
in February, 1925. Ivan St. Johns' article, 
"Major Lew Stone" appeared in May, 1925. 
Write to the Photoplay Publishing Company, 
750 N. Michigan Avenue, Chicago, 111., for 
back copies of the magazine. 

"Curly" from Ohio. — That's what I am 
here for — to spread wisdom. Mary Pickford 
was born on April 8, 1893. She's just five feet 
tall. Kenneth Harlan is married to Marie 
Prevost — the lucky fellow. Kenneth was born 
on July 29, 1895. 

K. W., Orland, III. — Norma Talmadge 
hasn't yet found a title for her new picture. 
But in the near future she will star in "The 
Darling of the Gods." Norma was born on 
May 2. 1S97 and married in November, 1916, 
to Joseph Schenck. Esther Ralston is now 
Mrs. George W. Frey. Lillian Gish married? 
Goodness no! 

"For Barrymore," Tyler, Texas. — I'll 
not say "no." In fact, my dear Texan, I am 
a "yes man." Here is your little life story of 
Mr. Barrymore. The gifted John was born 
on February 15, 18S2. His wife was Blanche 
Oelrichs Leonard, a society woman. She 
writes under the pen name of Michael Strange. 
The Barrymores have one daughter, born 
March 3, 192 1. John has just completed "Don 
Juan" and is going to make "ManonLescaut." 
Dolores Costello will be his leading woman. 

Red Head of Chicago. — So your dad and 
Dolores Costello's dad used to work together. 
I hope you re not proud! Jack Mulhall was 
born on October 7, 1891, and he honored 
Wappinger Falls. N. Y., by being born there. 
As for whether he likes red-headed girls, that's 
something that is beyond my ken. 

J. A. K., Brooklyn, N. Y. — "Brown of 
Harvard" is Jack Pickford's latest film. Jack 
was born on August 18, 1896. I cannot give 
out any information about "Hollywood" as it 
is included in the Movie Lovers Contest. 
Sorry, but it's forbidden. 

"Al," Danbliry, Conn. — "That darling 
young man" is William Haines. Yes, he 
played in "Little Annie Rooney." Single? I 
should say so! Six feet tall, no less, with black 
hair and brown eyes. William was born at the 
dawn of the new century. January 1, 1900. A 
real Twentieth Century kid. 

Elsie, Ely, Minn. — Address Douglas Fair- 
banks, Jr., at the Lasky Studios, Hollywood, 
Calif. Ask him yourself, Elsie, and send a 
quarter with your request. 



Every advertisement In PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



H5 



Rose M., Tacoma, Wash. — Not a proposal, 
heh? Just "the beginning of a wonderful 
friendship." I think we have a great many 
tastes in common. Yes, Marion Davies is 
adorable. Marion and Bill Haines have the 
same birthdate, January i, igoo. Her next 
picture is "The Red Mill" and after that will 
come "The Miracle." Not married. 

The Rover, Cleveland, O. — Am I ever too 
busy to draw my wages? Am I ever too busy 
to draw my breath? Don't be silly! You are 
the kind of fellow that makes me work over- 
time. Betty Bronson was born on November 
17, 1906, in Trenton, N. J. Brown hair, blue 
eyes, five feet, three and one-half inches high 
and weighs one hundred pounds. Constance 
Bennett is a New Yorker by birth. She has 
light hair and blue eyes and weighs one hundred 
and eight and one-half pounds. Five feet, four 
inches and born on October 22, 1905. Eleanor 
Boardman was born on August 19, 1898, in 
Philadelphia. She has brown hair and grey 
eyes. Five feet, eight inches tall and weighs 
one hundred and twenty pounds. Mae Busch 
is about twenty-seven years old. She is an 
Australian — born in Melbourne. Mae is a 
long way from home. She has black hair and 
grey eyes and her weight is the same as 
Eleanor's. She is five feet, four inches tall. 
Mary Brian made her debut in Corsicana, 
Texas, in 1908. She has brown hair and blue 
eyes and weighs one hundred pounds. She is 
five feet tall. And that's all about the busy Bs. 

Lona, Seattle, Wash. — You 're an inquisi- 
tive little person — asking me all about Ramon's 
love affairs. That's Ramon's personal business 
and I would never question him about them. 
Do you mean to tell me you would tell a 
stranger all about your loves? You can bet 
your sweet life you wouldn't and neither will 
Ramon. I don't blame him a bit. I am the only 
one that broadcasts about my flames — and well 
I might — for most of the time I 'm just showing 
myself a good time. Now that the love ques- 
tion is settled, let's talk about heroes. J. 
Warren Kerrigan was the hero in "Captain 
Blood." Cleve Moore is Colleen's brother. And 
now would you like to know the color of the 
socks that Bull Montana favors? 

W. Robb, Mobile, Ala. — Bessie Barriscale 
is a very busy person these days. She is touring 
as a vaudeville headliner from the Atlantic to 
the Pacific and from Canada to the Gulf. 
Bryant Washburn and Florence Yidor played 
the leading roles in "Till I Come Back To 
You." Anything else? 

Frenthie, El Paso, Texas. — Oo la la! 
Just a minute, lady 'till I open the sweeper and 
let you have all the dirt on Reginald Denny. 
Reggy was born in Richmond Surrey. England, 
November 20, 1891. He came to America at 
the age of 17 to play with Ina Claire in "The 
Quaker Girl. " He is the son of William Henry 
Denny, prominent British actor, and through 
these theatrical associations he began his stage 
career at the age of 6. After his engagement in 
"The Quaker Girl" he returned to England 
and then toured India, Australia and the 
Orient. It was at this time that he became 
interested in amateur boxing, and his ability in 
this respect attracted attention. He then 
returned to New York and played in "Twin 
Beds" and other popular stage plays. During 
the war he was a lieutenant in the Overseas 
Royal Flying Corps. After the war he played in 
several productions and supported John 
Barrymore in " Richard III. " His first screen 
work was with Evelyn Greeley in "Bringing 
Up Betty. " He quickly mounted the ladder of 
success, for his pictures contain good, clean 
comedy which the movie-going public enjoy. 
Denny is six feet tall and weighs 176 pounds. 
He has light brown hair and blue eyes. He is 
married to Irene Haisman, an English actress 
and is the proud daddy of a daughter, Barbara, 
age 10. He is an expert swimmer and boxer. 
Guess I covered everything? 



E. C. A., Attleboro, Mass. — Well, I am 
delighted to hoar from you again. And you 
liked my letter. Thanx. Percy Marmont and 
Mary Brian are not married. ZaSu Pitts has a 
daughter, ZaSu Ann. Eugene O'Brien is now 
playing opposite Gloria Swanson at the Para- 
mount Studios, Pierce Ave. and Sixth St., Long 
Island City, N. Y. Cecil B. De Mille parks his 
megaphone at the Cecil B. De Mille Studios, 
Culver City, Cal. Don't believe all people tell 
you ! Take advice from one who knows. Write 
again. 

IIelexe, Chicago. — You want to know how 
it all came about? My life is an open book to 
all those who care to read it. List! 'Twas 
many years ago, when I was young and charm- 
ing and incidentally farming, I chanced to see 
an advertisement of a correspondence school. 
I always longed to be in the public eye — the ad 
said Opportunity was knocking. Come in, I 
cried, as I sent my twenty-five cents and, loand 
behold, would you believe it, after years and 
years of studying from the booklets the school 
sent, I was the only one that ever received a 

scholarship. And then but let us drift 

along the moonlit lake to John Gilbert. That 
at least is more romantic and interesting. At 
present he is working on "Bardelys the Magni- 
ficent" with Eleanor Boardman. After this he 
is going to appear in a production with Greta 
Garbo. Can you imagine. Methinks they will 
have to use asbestos film for this. John can be 
reached at the Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. 

R. M., Detroit. — Address your letter to 
Irving Thalberg at the Metro-Goldwyn-Mayer 
Studios, Culver City, Cal. June Mathis is at 
the United Studios, Hollywood, Cal. 

Lea H. — Tom Moore was formerly married 
to Alice Joyce. Anything else? 

D. W. J., Canaseraga, N. Y.— Oh, no, 
Betty Compson has not retired. In fact, she 
just flits from one picture to another. However, 
her contract with Paramount is completed and 
she is now free-lancing. All movie-fans will be 
delighted to hear that Jackie Coogan is going 
to make another picture. The story finally 
selected for Jackie is one written especially for 
the screen by Gerald Beaumont, famous 
writer of race track novels. Jackie will lose his 
golden locks in a sequence of the film. He is 
eleven years of age. 

N. C, San Diego, Cal. — Snap right out of 
it! Don't fall in love with Neil Hamilton — 
he's married. Only fall for those who have no 
attachments. I'm walking around loose — ■ 
how's chances! Neil was born Sept. 9, 1899. 
His wife is a non-professional. 

D. T., Cal. — William Haines was born in 
Staunton, Va., Jan. 1, igoo. Bill's a big fellow 
— six feet; weighs 172 pounds. Betty Bronson 
was born Nov. 17, igo6. She is five feet, 
three and one-half inches in height and weighs 
100 pounds. No trouble at all. Glad to help 
you. 

O. C, Providence, R. I. — Will you deliver 
that in person, if you please? Writing that on 
paper doesn't do me any good. Ronald Col- 
man is working at the United Studios, Holly- 
wood, Cal. 

Y. D., Miami, Fla. — You may obtain back 
issues of Photoplay by writing to the Photo- 
play Publishing Company, 750 North Michi- 
gan Ave., Chicago, 111. How much? Twenty- 
five cents a copy. 

Herbert J., Chicago. — Say, Herbie, can't 
you take a joke? I can readily see that May 
McAvoy is the forerunner in your opinion. 
May refuses to tell me her birth date. Now 
what's a fella going to do in a case like that? 
Neil Hamilton — September 9, 1899; Antonio 
Moreno — September 26, 1888. Something else 
comes in small bottles— I fooled you— near beer. 

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Brickbats and Bouquets 



[ CONTINUED FROM PAGE 132 ] 

Go See Louise's "Blind Goddess" 

Green Bay, Wis. 

I had the opportunity today of witnessing 
two of the greatest characterizations I have 
ever seen on the screen. I refer to Norma 
Shearer in "His Secretary," and Louise 
Dresser in "The Goose Woman." Surely no 
one can say that the movies are not getting 
bigger and better, when such performances as 
these are enacted. 

Norma 's acting in the first part of "His 
Serretary" was wonderful. I could not believe 
that the plain, homely looking woman before 
me was the lovely Norma Shearer. And her 
transformation was great. 

Louise Dresser's performance was much 
greater, considering the part she had to play. 
She is undoubtedly the greatest character 
actress on the screen. I hope to be able to 
witness some more such acting as this in the 
near future. Me. Hern York. 

To the Scales, Boys 

Hampton. Va. 

The masculine stars who essay heroic or 
romantic roles should be warned that the com- 
mandment, "Thou shalt not grow fat," is not 
for "Women only." Can avoirdupois and 
"IT" abide together? Page Madame Glyn, 
please. 

In "The Vanishing American" Richard Dix 
appears to have cut out potatoes again, and 
Malcolm McGregor looks his best since Fritz 
in "A Prisoner of Zenda. " 

John Gilbert and Lloyd Hughes should both 
start counting their calories. Bert Lytell might 
eat less and fence more. Kenneth Harlan, in 
losing his waist line, has lost the lure of his 
"Virginian" success. Barrymore, Colman, 
Nagel, Novarro and Valentino can't supply 
enough pictures to go around; we need these 
others, too, but not so much of them. There is 
no romance about a thick waist or a heavy 
jowl. Business women who associate all day 
with wheezy "captains of industry," wives 
with stodgy husbands crave their bit of vica- 
rious romance; must it be denied them because 
their favorite hero fails to diet? 

The "sheiks" of the American screen must 
retain their keen cut features and slender lines 
if they would keep their place in our hearts. 
Mrs. C. C. Branch. 

How to Create Art 

Saltillo Coahuila, Mexico. 
A suggestion for the budding scenario 
writer who may be blessed with original ideas. 
FORGET THEM. Here's how to become a 
successful scenarist. 

(1) Take equal parts of 
"The Singer of Seville" 
"The Spanish Dancer" 
"Her Majesty" 
"Forbidden Paradise" 

Mix thoroughly and set to simmer slowly in the 
brain of a continuity writer. 

(2) Obtain an animated clothes prop — 
divorced by preference; a deaf, dumb and blind 
director — graduate of Coney Island preferred; 
a fickle Queen, assisted by a subtle Minister 
who must, by clever scheming, rescue the 
animated clothes prop (in a Peter Pan shirt 
and tight fitting pants) from a horrid firing 
party and return him to the arms of the simple 
country maiden in the dark dungeon a few 
minutes later. 

Mix one and two together, plaster on an 
icing of hokum and with a blare of publicity 
serve hot to the public. Jam it down their 
throats. 

Success will then be yours. 

W. Rowechapple. 



Every advertisement ih PHOTOPLAY MAGAZINE is guaranteed. 



A Bow Bouquet 



Photoplay Magazine — Advertising Section 
More Praise for Pollv 



Kansas City, Mo. 

Here's to the most promising of the younger 
actresses, Clara Bow. 

Since I first saw her in "Down to the Sea in 
Ships," I have watched her progress up the 
ladder to fame. And now that her contract has 
reverted to Paramount, I feel sure that she will 
come into her own. 

She is always referred to as the "precocious 
baby vamp" and I think that term ideally 
suited her. As a rule, the vampish actresses 
have little appeal, but Miss Bow is very 
refreshing. 

She has been treated badly in the way of 
screen material, having appeared in few good 
pictures. Yet to prove she is one of the most 
promising of the younger actresses, witness her 
portrayal of Kittens, the flapper daughter, in 
" Dancing Mothers," her first picture under her 
new contract. The acting of the entire cast was 
excellent, but Miss Bow easily overshadowed 
them all. 

Irene Aide. 

Colleen and Irene 

Tyler, Texas. 

"A rag, a bone, a hank of hair." 

That 's Colleen Moore, and the rags that she 
hangs on her bones in "Irene" are alluring 
and enticing. One could hardly call a face like 
hers beautiful, or even pretty. But a beautiful 
face doesn't fill all the requirements of a suc- 
cessful actress, or a successful anything else. 

Colleen portrays to a nicety the "Sallys" 
and "Irenes" and flappers. She flaps better 
than any other artist. 

"Irene" is worth your while. It doesn't 
make you think deeply. Nor cause argument 
in your mind, nor bring tears to the eyes or a 
lump to the throat. It doesn't make you resolve 
to be a better man or woman. But it is enter- 
taining. And people go to the movies to be 
entertained. Not to be instructed or saddened 
or moralized. They go for amusement and 
entertainment. They go to laugh, and not 
to cry. 

The majority of us fans don't know where 
and when the directing is bad; just why the 
production is that or that; when the plot has 
just the exact background and atmosphere; 
but we do know when we see a good show. And 
"Irene" is one of them. 

It's a rest from the picture with so much 
suspense and fighting it wears you out. So 
much sadness you feel lumpy inside. So much 
moral you 're not entertained. 

Give us something to laugh about. 

M. J. J. 

How- Many Agree? 

Oklahoma City, Okla. 
I read, every once in a while, in your paper, 
of the great charity of motion picture folks and 
I wonder if it's only a part of the lives of the 
players and never a part of the lives of the 
producers. Charity does not always mean 
giving, does it? Isn't it about time that they 
let Fatty Arbuckle and Mabel Normand stage 
a comeback? Are these two great fun pro- 
ducers, always clean in their work, to be held 
off from the screen because some hypocrite, 
who has never happened to be caught, says 
they are taboo? There are nine other com- 
mandments beside the seventh, and the Bible 
says nothing about it being worse to break the 
seventh than any of the others. "Thou Shalt 
Not Utter False Witness," broken, is just as 
bad as breaking the seventh. Anyone who has 
broken any commandment from one to ten has 
no more right to be connected with pictures 
than Arbuckle has, if the standard is one of 
morality — based on the law of Moses. I think 
never in the history of the world has a greater 
injustice been done than the taking away of the 
right of Arbuckle to please his public as he used 
to do. 

D. G. Clarke. 



Los Angeles, Cal. 

No other screen actress has surpassed 
Pauline Frederick's acting in "Madame X" 
or "Smouldering Fires" or "Bella Donna," 
or "The Road to Destiny." Never will I for- 
get her in " The Lure of Jade." 

Two artists can paint the same landscape. 
But on the canvas one will see some intangible 
beauty not on the other. 

"Madame X" was a very difficult role. She 
became a dope fiend. The mind was un- 
balanced, the body only a shell, a mist over her 
vision, the heart broken, struggling against 
great odds. Regardless of such blinding suffer- 
ings, the mother heart never swerved. 

Out of the material into the spiritual she 
lifted you even before the death scene. But 
then Pauline is an actress of great power. She 
needs no superfluous praise. 

The delicate finished music of the Harp, 
never did appeal to some people. 

Many a thoroughbred has lost a race to a 
lesser stock. 

Miss Agnes Thompson. 

Steel Not Preferred 

Red Lodge, Mont. 

"Steel Preferred" was one of the most 
loosely constructed plays I have seen in many 
a day. The whole thing was decidedly a sur- 
face affair and each character seemed to say in 
every pose, "Now take my picture. " 

Nicker and Dicker, the two old soaks, were 
of no use in the play whatever. The heroine 
neither looked nor acted the part. She would 
look much better out feeding the chickens than 
undertaking to play a fine lady. The hero him- 
self was not so bad, but the villain was much 
the most convincing looking character in the 
whole plot, and he fell down after shooting the 
hero after the hero had saved his life. In the 
mob scene, where he had a chance tocome in and 
make things right, he simply showed himself 
yellow clear through. I suppose the author 
thought it would not be a smashing climax, 
unless he made the man absolutely inhuman. 
Most people have just a little streak of decency 
in them. The hero was a little too green even 
for the screen, and his aide, the maniac, 
looked like an afterthought and a fill-in. 
Altogether it was " the bunk. " 

Emily E. Sloan. 

We Praised It, Too 

Cincinnati, O. 

Recently, I saw "The Blind Goddess." Its 
plot is the old time story of the erring mother 
wanting to come back to her child. Through 
careful planning and deft handling this story 
is taken from the mediocre class and placed in 
the first class. 

The story races along at a light, froth}- pace. 
Then there is the murder of the father. The 
guilt falls upon the erring wife and mother. 
The daughter's sweetheart resigns from the 
office of prosecuting attorney and defends the 
mother. 

Here is the old situation, "Duty or Love" 
and the director comes out with thing honors. 
The directing does not alone make the picture. 
It has a quartet of fine actors who do their 
respective roles justice. 

Louise Dresser raises her highly melodra- 
matic role to the quiet, serene standard. 
Ernest Torrence, for the first time since "The 
Covered Wagon, "has a role that gives him a 
chance to act. 

Esther Ralston shows that she deserves the 
starring honors placed on her pretty head. 
Jack Holt, as the attorney, smiles without 
cracking his face. This, alone, is a tribute to 
the director. 

Fans, this is the kind of pictures we are 
promised, but do not always see. May the 
other directors benefit by this picture and 
give us worthwhile pictures. 

W. F. B. 



mention PHOTOPLAY MAGAZINE. 




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Photoplay Magazine — Advertising Section 




Mellin's Food- 

A Milk Modifier 

A nursing mother takes Mellin's Food and milk between 
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Another nursing mother, whose breast milk is insufficient, uses 
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Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



PEKFUMES 



O F 



YOUTH 





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Creams, created by Cher- 
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Vanishing Cream — 60c. 



rdtr of urtanrus^ 
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1IKE a persistent little love-song, the fragrance of 
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CHERAMY 




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Choose Cashmere Bouquet as the Wet the face with warm water. 

soap for your face and hands. It Cashmere Bouquet is the right Work up a thick Cashmere Bou- 

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The TSldtional Cjuide to ^Motion Pictures 




AUGUST 25 CENTS 



J^ nfkat is lmmoratitq 
in pictures 9 

American Girls 

sacrificing Health 

for Beauty 

$5,000 in 
Cask prizes 

^ Great 

Stories 





GISH 



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LA BOHEME. 



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Brilliant Supporting Cast Includes 

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as well as George Hassell and Edward 
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Screen story by Fred De Gresac based 
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METRO-GOLDWYN-MAYER'S 

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"More stars than there are in Heaven' 



Photoplay Magazine — Advertising Section 




e)c 



'oft summery food •-*.--.-• - - 
is dainty and delicious 

— but it is very harmful to our teeth and gums 

"7"HILE summer is here, most of us first thing to do is to restore the stimulation Your dentist knows what Ipana can do, what 
I wisely turn to lighter food— an excel- to the gingival tissues. He will, no doubt benefits it will bring. After he has spoken the 
lent idea, as every doctor and dietitian recommend massage — a light frictionizing of good word for it, get a tube from your drug- 
ell vou. the pums. And he will Drobablv advise that store. M,i«app vnnr ffnmc rponlarl,) o(fpr p<irl, 



WHILE summer is here, most of us 
wisely turn to lighter food— an excel 
lent idea, as every doctor and dietitian 
will tell you. 

But as every dentist will confirm, these 
dainty tidbits, these soft and ctustless sand- 
wiches, these sherbets, vegetables and pud- 
dings—so luscious and so tempting— are just 
as damaging to the health of our gums and 
teeth as our heavier menu. 

For as the dentists point out, all our food 
is too soft — too deficient in its fibrous con- 
tent. Little of our food, summer or winter, 
gives our gums the stimulation so badly 
needed. And so the tissues grow weak, the 
gums become tender, and they bleed. They 
are exposed to that long list of gum diseases 
today so prevalent. 

How soft food breaks down the 
health of the gums 

When the gums are robbed of exercise by 
our modern food and our hasty eating, the 
circulation within the gum structure slows 
down. The capillaries become congested. 
The gums lose their tonicity and health. 

At times they may bleed — and a "pink 
tooth brush" warns you to seek your dentist 
and to take steps quickly to ward off more 
serious troubles. 



first thing to do is to restore the stimulation 
to the gingival tissues. He will, no doubt 
recommend massage— a light frictionizing of 
the gums. And he will probably advise that 
the massage be accomplished with Ipana 
Tooth Paste, after the regular cleaning with 
Ipana and the brush. 

How massage and Ipana keep the 
gums firm and healthy 

Simply brush the gums gently, every square 
inch of them: This will quicken the circula- 
tion within the gum walls, spreading a lively 
flow of fresh blood to these stagnant tissues. 

And use Ipana when you brush them. Ipana 
will improve the massage, for it contains zira- 
tol, a hemostatic and antiseptic, used by many 
dentists in their treatment of undernourished 
gums. Our professional men have demon- 
strated the virtues of Ipana to over 50,000 
dentists; in fact, it was professional recom- 
mendation that first gave Ipana its start. 

I FAN A 

TOOTH PASTE 



Your dentist knows what Ipana can do, what 
benefits it will bring. After he has spoken the 
good word for it, get a tube from your drug- 
store. Massage your gums regularly after each 
cleaning with Ipana and the brush. If they are 
too tender at first, begin by rubbing with the 
finger. Soon you will notice the improvement. 
Your gums will grow firmer, and more resist- 
ant to disease. Your mouth will feel cleaner. 
Your teeth will become more brilliant. 

Switch to Ipana for one month! 

If you care to mail the coupon, we will, of 
course, gladly send you the trial tube. But ten 
days is barely long enough to sample Ipana's 
cleaning power and delicious taste. Certainly 
the full-size tube will demonstrate clearly all 
that Ipana can do in bringing your gums to 
health and your teeth to brilliant beauty. 



C VEN if your gums 
never seem tender — 
even if your tooth brush 
never ''shows pink" — 
begin today with 
Ipana. For the best 
time to fight gum 
troubles is before they 
start. 



Your dentist will probably tell you that the — made by the makers of Sal Hepatica 




BRISTOL-MYERS CO. 
Dept. 1-86, 73 West St., N. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 




Bristol-Myers Co., 1926 



PHOTOPLAY MAGAZINE. 



il«i»° u ° of the V*« er , „ lf it's« Par „ 
P Choose f-^tf-*^ * W T*e 

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""jy\ALCOL.M ST. CLAIR'S 

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Produced by FAMOUS PLAYERS" LASKY CORP.. Adolph Zukor, Pres., New York City. 



i PHOTOPLAY MAGAZINE is guaranteed. 



J. 



The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



JAMES R. QUIRK, Editor 



Vol. XXX 



No. 3 



Contents 

August, 1926 



Cover Design: Doris Kenyon 

From a Painting by Carl Van Buskirk 

Brief Reviews of Current Pictures 8 

In Tabloid Form for Ready Reference 
As We Go to Press 10 

Last Minute News from East and West 

Brickbats and Bouquets 12 

Frank Letters from Readers 

Rotogravure: New Pictures 19 

Mr. and Mrs. Lefty Flynn (Viola Dana), Buster 
Collier, Warner Baxter, Laura La Plante, Pauline 
Frederick, Mary McAllister, Thomas Meighan 

Speaking of Pictures (Editorials) James R. Quirk 27 

What Is Immorality in Pictures? Frederick James Smith 28 
An Interview with the Reformers' Mouthpiece 

The Cinderella Girl Dorothy Spensley 30 

The Story of Colleen Moore 

Frank Currier (Photograph) 32 

The Daddy of Them All Ivan St. Johns 33 

He Has Played Father to More Stars Than Any Man in the Films 
A Cruze for the Constitution (Photographs) 34 

Depicting the Early Glory of the United States Navy 
Wholesale Murder and Suicide Catherine Brody 36 

The Second of a Series of Great Articles on Reduceomania 
Ben Hurry (Fiction Story) Octavus Roy Cohen 39 

Delightfully Amusing Story of a Darktown Motion Picture Com- 
pany Illustrated by J. J. Gould 

(Contents continued on next page) 



Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, 111. 

Editorial Offices, 221 W. 57th St., New York City 

The International News Company, Ltd., Distributes Agents, 5 Breams Building. London. England 

James R. Quirk, President Robert M. Eastman. Vice-President and Treasurer 

Kathryn Dougherty. Secretary and Assistant Treasurer 

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24. 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879. 

Copyright. 1926, bySthe Photoplay PUBLISHING COMPANY 



Photoplays Reviewed in the 
Shadow Stage This Issue 

Save this magazine — refer to 
the criticisms before you pick out 
your evening's entertainment. 
Make this your reference list. 

Page 54 

Say It Again Paramount 

The Devil Horse Pathc 

Padlocked Paramount 

Page 55 

Silence Producers Dist. Corp. 

Sparrows United Artists 

The Marriage Clause Universal 

Page 56 

Ella Cinders First National 

Paris Metro-Gold wyn-Mayer 

The Brown Derby First National 

Good and Naughty . , .Paramount 

The Wise Guy First National 

The Flame of the Yukon 

Producers Dist. Corp. 
Page 57 
Up in Mabel's Room 

Producers Dist. Corp. 

Ranson's Folly First National 

The Love Thief Universal 

I.ovey Mary . . Metro-Goldwyn-Mayer 
The Unknown Soldier 

Producers Dist. Corp. 
Miss Nobody First National 

Page [22 

A Trip to Chinatown Fox 

Three Weeks in Paris. . . .Warner Bros. 

Page 123 

Shipwrecked. . . .Producers Dist. Corp. 

Glenister of the Mounted F. B. O. 

Chasing Trouble Universal 

Hands Across the Border F. B. O. 

Rustler's Ranch Universal 

The Frontier Trail Pathe 

Bucking the Truth Universal 

The Gentle Cyclone Fox 

The Social Highwayman. .Warner Bros. 



Contents — Continued 

Close-Ups and Long Shots Herbert Howe 42 

Witty Comment on Screen Personalities 
What Price Tonsilitis? 43 

The Story of a Girl Who Told a Big Fib About Being a Princess 

and "Captured" Hollywood 
Donald Ogden Stewart's Guide to Perfect Behavior in 

Hollywood 44 

The Lark of the Month 46 

Patsy Ruth Miller Learns She*s "Hot Stuff" 

Illustrated by Frank Godwin 
Bold but Not Brazen Dorothy Spensley 47 

Bill Powell — good bad man, cheerful villain, an agreeable friend 
Studio News and Gossip — East and West Cal York 48 

What the Screen Folk Are Doing 
Splashes of Color (Photographs) 52 

The Show Girls of the Movies 

The Shadow Stage 54 

The Department of Practical Screen Criticism 
$5,000 in Fifty Cash Prizes 58 

Rules for Photoplay's Great Cut Puzzle Picture Contest 
Rotogravure : 59 

Virginia Valli, Cut Picture Puzzles, Buck Jones 
Miscast (Fiction Story) Rita Weiman 63 

Part I of a Gripping Novelette — the Drama of a Woman Who 

Tried to Fight Off Time 

Illustrated by Harlcy Ennis Stivers 

Going, Going, Gone! (Photographs) 66 

Showing What the Hollywood Barbers Do with Their Shears 
What Was the Best Picture of 1925? C£> 

Vote Early for Your Best Picture of 1925 
They Called Her Melisande (Fiction Storv) Mav Stanley 69 

She Was a Small Town Girl Who Battled to Make the Man She 

Loved Prove His Mettle 

Illustrated by Ray Van Bitren 

Mildred Gloria Gives a Party (Photographs) 72 

Meet the Children of the Film Folk 
According to Freud John S. Cohen, Jr. 73 

A Movie Gives Us the Stuff Dreams Are Made Of 

Buy on Fifth Avenue Through Photoplay's Shopping 

Service 74 

This Service Will Help You Complete or Change Your Wardrobe 

Second Sight Ivan St. Johns 76 

The Girl with the Wonderful Gift of Predicting Success for 

Pictures 
Pola Negri (Photograph) 77 

Turbans: Why Not Roll Your Own? 78 

Picture Lessons How to Make the New Head-dress 

Leatrice Joy (Photograph) 80 

Gardner James (Photograph) 82 

The Crossroads of the World 84 

That's Where the First Great Monumental Structure Erected by 

the Motion Picture Industry Is Going Up 
Just to Be Different (Photographs) 86 

Gloria Swanson Goes Back to Long Tresses and Dresses 
Harry Langdon (Photograph) 88 

Down to the Sea in Surf Boards (Photographs) 90 

The Flugrath Sisters, Better Known as Viola Dana and Shirley 

Mason 
Questions and Answers The Answer Man 94 

Search for Film Teddy Ends (Photograph) 97 

The Famous Smile, Eyes, Glasses and All 
Girls' Problems Carolyn Van Wyck 100 

The Department of Personal Service 
The Girl on the Cover— Doris Kenyon Cal York 108 

Casts of Current Photoplays 139 

Complete for Every Picture Reviewed in This Issue 

Addresses and working programs of the leading picture studios 
will be found on page 104 



TGfcj- 



-xjrd?. 



The 

Real 
Sirens 

of the 

Screen 

They are not the 
ladies of the beaded 
eyelashes— the trail- 
ing gowns — the dan- 
gling ear-rings. In real 
life men do not risk 
happiness, honor and 
their fortunes for the 
PolaNegris, the Xita 
Naldis or the Lya de 
Puttis. All their 
home-wrecking is 
done on the screen. 
Off the screen, the 
real sirens are the 
fatal ingenues — -the 
frail darlings — the 
demure girls and the 
spotless heroines. 

In the September 
issue oj 

Photoplay 

you will find an a- 
mazing story of some 
of these guileless girls 
who have played 
havoc with the des- 
tinies of men. 



KG?-*.. 



jc^a 



Photoplay Magazine — Advertising Section 



Miss Anderson's Statement 

When I arrived at the Kaufmann & Fabry 
Studio my hair was straight. ;is you may see 
in the picture at the left. I had very little 
faith in any of the so-called liair-u avers and ex- 
pected I would have to visit my hairdresser 
before keeping my other posing appointments 
in the afternoon. To my delight, as you will 
Bee from the center photograph, it was not 
necessarv. My hair was perfectly waved- I 
proved that Maison Marcellers will save time 
and money. (Signed) Evelyn Anderson. 





i actual photo- 



KAUFMANN & FABRY CO. 

Commercial Photographers 
CHICAGO 

Maison de Beaute. Chicago. Illinois. 

I. Edward J. Cook, hereby certify that these ; 
graphs taken by me while Miss Evelyn Anderson's hair < 
celled with Maison Marcellers. The one at the left shows Miss 
Anderson's hair as she entered my studio That at the right shows 
the Maison Marcellers in place. The ceiiler photograph shows Miss 
Anderson's hair as it. appeared ;;o minutes later. 

•Signed Edward J. Cook. 

Subscribed and sworn 
to before me this 24th 
day of March. 1926. 



NOTICE TO 
READERS 

A Chicago representa- 
tive of this magazine 
and representatives of 
over 100 other pub- 
lications witnessed a 
successful and satisfac- 
tory demonstration of 
these wavers. 



Marvelous New Method 

makes any hair naturally wavy 



No more "appointments" . 
No more "wave" expense , 



No more tiresome treatments. . . 
No hot irons to dry out your hair 



Now you may have as lovely a marcel as the finest beauty 
parlor possibly can give — in your own home — -when you 
want it, and at a trifling cost. 



A 



Before putting this 



fullv 

Mi 

had 

that it wa 
ribly dry 

hair, it is 
old lustre 

Mrs.' 
that is 
ling 01 



A. K.. Memphii 



lisappolnted 
i Marcellers c 
sily keep m 



WHERE isthe 
woman, in this 
busy day, who can 
afford from her little lei- 
sure all the time it takes 
to make appointments, 
arrange her convenience 
to suit someone else's 
schedule, go through the 
usual experience of wait- 
ing many minutes, and 
then submit to a long 
drawn-out process? 

Women will do that, to 
have their hair marcelled, 
so insistent is the real need 
for loveliness. 

But that exasperating 
method is no longer neces- 
sary. It is rapidly becom- 
ing obsolete — wherever 
this amazing new inven- 
tion called the Maison 
Marcellers makes its way. 
Just 30 minutes with the ' 

Maison Marcellers, once a week — in your own 
home — and your hair is always at its wavy 
loveliest and best. 

A $1.50 marcel any time, 
for a few cents 

Moreover, how many women really can 
spare the money, $1.00, $1.50 or more, for 
waving done the ordinary way? Isn't it a 
fact that even on a liberal allowance, these 
inroads are too heavy, with the usual result 
that you forego many a marcel that you 
know you ought to have? 

Here again, the Maison Marcellers are 
literally one of the greatest boons ever con- 
ferred on womankind. 

The woman who owns a set of Maison 
Marcellers may keep her hair at all times in 
the full glory of its beauty, at a cost of a few 
cents for each complete marcel. 

And the menace of hot irons 
eliminated forever 

Finally, this invention is the most protective 
of hair quality, texture and lustre ever intro- 



Marcelling > 
" "TncTgive 



us their opinion. Without 
ception, they were most enthu- 
siastic about it. Here are part 
of someof the letters we received. 
Miss M.S.. Chicago: I recently 
had a permanent wave put in my 



I no longer have 
ih water combs a 

died. 

W.. Chicago: I ha 



get tcr- 



duced into modern hair 
culture. 

It does away with the 
old-fashioned curlers and 
so-called "wavers" — with 
dangerous curling irons 
that sear the hair and dry 
the scalp — with all the 
muss and fuss of the old- 
fashioned water-waving 
combs. 

In eliminating the hot 
iron peril alone, the Maison 
Marcellers are worth their 
weight in gold to any 
woman who prizes the nat- 
ural health and beauty of 
her hair. 



Your mirror will tell 
you this is true 

Nothing that we could say 
e "" < " 1 - f about the results which 

thousands of women today- 
are obtaining with the Maison Marcellers 
would tell so complete a story of their value 
as the photographs above. Note them well. 
Then read carefully the sworn affidavit of 
one of Chicago's most reputable photog- 
raphers, as to the circumstances under 
which those photographs were taken. They 
could be duplicated anywhere — and are 
being duplicated everywhere the Maison 
Marcellers are in use. 

Maison Marcellers will give you any kind 
of marcel you want — shingle bob, Ina Claire, 
horseshoe wave or pompadour, center or 
side part. They will do this whether your 
hair is soft and fluffy, coarse and straight, 
long or short. Regardless of the kind of hair 
you have, they will give you the most beau- 
tiful marcel imaginable. We guarantee this 
absolutely, and you are the sole judge of your 
own satisfaction with them. 

Our most liberal, limited-time 
offer to you 

In order to establish this revolutionary in- 
vention in the favor of women all over 
America, we offer the first 10,000 sets of 



Maison Marcellers at a price which hardly 
covers the cost of making, packing and 
advertising — only §2.98, plus a few cents' 
postage ! 

This includes a new and authentic marcel 
fashion chart, and a complete set of 
Maison Marcellers. Nothing more to buy. 
Just dampen the hair with water and place 
the Marcellers in your hair according to 
directions. 

Take advantage of this special offer right 
away, because it may be withdrawn at any 
time. 

Send no money — 
just mail the coupon 

Even at this special price you need not 
riska penny. Just sign and mail the coupon. 
In a few days, when the postman brings 
your outfit, just deposit S2.98 with him 
(plus a few cents' postage). And when you 
put in your first marcel, you'll say it was 
the best purchase you ever made in your 
life, for your hair waving troubles are 
ended. Every time you use this outfit, 
you'll get better and better results and 
you'll never have to spend your good time 
and money for marcels again. 

After you have tried this marvelous new 
marcelling outfit for 5 days, if you are not 
delighted with results — if it doesn't give 
you the most beautiful marcel you ever 
had and improve your hair in every way — 
simply return the outfit to us and your 
money will be refunded quickly and cheer- 
fully. But don't put it off. Be among the 
first to take advantage of this special in- 
troductory offer. Fill in and mail the 
coupon today! 

Maison de Beaute 

711 Quincy Street, Chicago, Illinois 

COUPON 

■ Maison de Beaute, 



Plea? 

.tut, 



, Dept. 33, Chicago. III. 

; send me your newly invented 
including Maison Marcellers, 



Man-el style < 'hurt, and eoinpleie direeti<ms. whieh 
I agree to follow. I agree to depn-.it su -is (plus post- 
age) with the postman when lie makes delivery. If I 
am not delighted with results I will return the out. it. 
within 5 days and you are to refund the purchase 
price without argument or delay. 

Name 



When you write to advertisi 



PHOTOPLAT MAGAZINE. 



Brief Reviews of Current Pictures 



ALOMA OF THE SOUTH SEAS— Paramount.— 
The startling beauty of the South Seas coupled with 
the personality of Gilda Gray and her famous wiggle 
make this a glorious experience. (July.) 

AMERICAN VENUS, THE— Paramount.— We 
think this is great entertainment. Esther Ralston 
and Lawrence Gray are romantic figures against a 
background of the Atlantic City Beauty Pageant — in 
color. {March.) 

ARIZONA SWEEPSTAKES, THE— Universal.— 
A snappy Hoot Gibson western with some novelty 
and good comedy situations. (February.) 

AUCTION BLOCK, THE— Metro-Goldwyn.— 
Charles Ray is the man about town in this picture. 
There are a lot of laughs throughout, and vou'll enjoy 
this. (April.) 

BACHELORS BRIDES— Producers Dist.— The 
title has nothing to do with the picture; the story has 
nothing to do with either comedy or melodrama: in 
other words it's much ado about nothing. (JuJte.) 

BARRIER, THE— Metro-Goldwyn.— The story of 
a half-caste told in an interesting manner by a splen- 
did cast — Norman Kerry, Marceline Day, Henry 
Walthall and Lionel Barrymore. (June.) 

BAT, THE— United Artists.— It's thrilling and it's 
chilling. Your spine will quiver and your hair will 
stiffen every moment. See it! (May.) 

BEAUTIFUL CHEAT, THE— Universal.— Very 
amusing at times, but nothing to get real excited 
about. (April.) 

BEHIND THE FRONT— Paramount.— A satire 
on tiie lives of the buddies "over there." Slapstick 
comedy with enough kick in it to make one realize 
that Sherman spoke the truth. (April.) 

BEN-HUR— M etro-Gold wyn.— The undying drama 
of Christ interwoven with the story of Ben-Hur, the 
young Jew who aimed to serve him. Ramon Novarro 
is at his finest. A picture everyone should see. 
(March.) 

BEST BAD MAN, THE— Fox.— Unsuitable for 

Tom Mix. A flimsy plot, but Clara Bow makes it en- 
durable. (February.) 

BEVERLY OF GRAUSTARK— Metro-Goldwyn- 
Mayer. — A light, frothy, romantic piece of 
this, spiced with the presence of Marion Da 
Antonio Moreno. See it. (July.) 



BLACK PIRATE, THE— United Artists— This 
will prove to be a real treat for the youngster, and 
grownups will find themselves youthful again while 
enjoying this story of the adventures of the wicked 
pirates. (May.) 

BLACKBIRD, THE — Metro-Goldwyn. — Lon 
Chaney is at his best in this picture. He wears no 
make-up. Don't pass it up. (April.) 

BLIND GODDESS, THE— Paramount.— An ex- 
cellent murder story by Arthur Train plus Louise 
Dresser's splendid performance makes this one of the 
finest pictures of the season. (June.) 

BLUE BLAZES— Universal.— A fair Western with 
Pete Morrison as the star. The usual riding, shoot- 
ing, conflict and love. (March.) 

BLUEBEARD'S SEVEN WIVES— First National. 
— Let the gas go out and use the quarter to see this. 
You'd never believe Ben Lyon could be so funny, 
with Lois Wilson in the role of a flapjack flipper at 
Childs. (Feb.) 

BORDER SHERIFF, THE— Universal— A West- 
ern and nothing to brag about. Jack Hoxie is the 
star. (May.) 

BRAVEHEART— Producers Dist.— Rod La 

Rocque's first starring picture, and a good one. The ro- 
mantic tale of an Indian in love with a white girl, 
played by Lillian Rich. {March.) 



BRIDE OF THE STORM— Warner Bros.— A 
gripping melodrama against the background of the 
sea. Gruesome at times. (June.) 

BRIGHT LIGHTS— M-G-M.— Charlie Ray as 

the country bumpkin again, and Pauline Starke a 
smart chorus gel. Good entertainment. (February.) 

BROADWAY BOOB, THE — Associated Ex- 
hibitors. — Glenn Hunter is back with us again in 
another of his famous country roles. Fair. (May.) 

BROADWAY GALLANT, THE— F. B. O.— A 

Richard Talmadge program picture in which his fans 
will find him at his best. (July.) 

BROADWAY LADY. THE— F. B. O— Pretty 

good story with Evelyn Brent as a chorus girl with a 
heart of gold who marries into society and is inno- 
cently involved in a murder. (March.) 

BROKEN HEARTS— Jaffe.— A series of realistic 
east side scenes strung together by a slender plot. 
Lila Lee is the only familiar player in the cast. (May.) 

BROWN OF HARVARD — Metro-Goldwyn- 

Mayer. — College life, flip and lively, against the real 
background of Harvard College. Fine entertainment. 
(July.) 



AS a special service to its readers, 
Photoplay Magazine inaugu- 
rated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this— and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



CAT'S PAJAMAS, THE— Paramount.— Betty 
Bronson has advanced from a Barry heroine into a 
bedroom comedy heroine. The result — see it and be 
convinced. (June.) 

CAVE MAN, THE— Warner Bros.— Another silly 
vehicle featuring Matt Moore and Marie Prevost. 
Not the fault of members of the cast, but in the 
ridiculous story. (April.) 

CLOTHES MAKE THE PIRATE— First Nation- 
al. — Leon Errol of the collapsible knees, and Dorothy 
Gish as his shrewish wife make this a fairly amusing 
comedy-drama. (February.) 



COBRA — Paramount. — Disappointing to Valen- 
tino fans. Rudy is not rightly cast in this and Nita 
Naldi is entirely unbelievable. (February.) 

COHENS 'AND THE KELLYS, THE— Universal. 
— New York went wild over this and so will every 
other town. See it and howl! (May.) 

COMBAT— Universal.— He who likes a lively 
romping tale crammed witli action will like this. The 
youngsters will enjoy it. (April.) 

COUNSEL FOR THE DEFENSE— Asso. Ex.— 

Good acting of Betty Compson as a modern Portia 
make this a passable movie. (March.) 

COUNT OF LUXEMBURG, THE— Chadwick.— 
George Walsh, as a penniless count in the artists* col- 
ony of Paris, marries a beautiful actress without see- 
ing her. Fairly entertaining. (February.) 

COWBOY AND THE COUNTESS, THE— Fox. 

— One finds no amusing tricks of style to divert this 
from the commonplace. And such an absurd story. 
(April.) 

COWBOY MUSKETEER, THE— F. B. O.— Tom 

Tyler looks fine and rides well in this Western, which 
is presented with snap and clearness. (February.) 

CROWN OF LIES, THE— Paramount.— Another 
impossible Pola Negri vehicle. If you have nothing 
else to do — sec this and suffer with Pola. (June.) 

DANCE MADNESS— Metro-Goldwyn.— Nothing 

new in the plot, but it establishes Conrad Nagel as a 
splendid comedian. It's too sexy for the children. 
(Aprtl.) 

DANCER OF PARIS, THE— First National- 
Written by Michael Arlen and as you might have 
suspected there is plenty of jazz, bachelor apartment 
parties, love scenes and nudity. Not the least bic 
impressive. (May. ) 

DANCING MOTHERS— Paramount.— Story of a 
gentle wife who would a-fiappering go. Result, a lot 
of complications. Clara Bow's performance is beauti- 
fully handled. Alice Joyce and Conway Tearle are in 
it. (April.) 

DANGER GIRL, THE— Producers Dist. Corp 
— Priscilla Dean as a clever secret service lady in a 
good mystery yarn. She has able support from John 
Bowers, Cissy Fitzgerald and Arthur Hoyt. (April.) 

DESERT GOLD— Paramount.— A melodrama of 
the great open spaces adapted from a Zane Grey 
novel. Fair. (June.) 

DESERT'S PRICE, THE— Fox.— Buck Jones is 
always interesting, although this film play has not 
much originality. Plenty of good fights. (February.) 

DESPERATE GAME, THE— Universal.— A mild- 
ly amusing Western of a college cowboy. (Feb.) 

DEVIL'S CIRCUS, THE— Metro-Goldwyn— An 
interesting vehicle with lots of good circus stuff. 
Hokum reigns throughout. Norma Shearer and Charles 
Mack head the cast. (May.) 

DON'T— Metro- Gold wyn-Mayer.— The title tells 
you. Don't. It's a silly picture with the story wan- 
dering all over. (April.) 

EARLY TO WED — Fox.— A light comedy of a 
young married couple which has been food for thought 
for many recent comedies. O. K. for the kiddies. 
(July.) 

EAST LYNNE— Fox.— This decayed old melo- 
drama is almost interesting with such a fine cast and 
beautiful backgrounds. Alma Rubens. Edmund 
Lowe and Lou Tellegen play the principals. (March.) 

ENCHANTED HILL, THE— Paramount.— The 
shop-worn Western plot, brightened up by the pres- 
ence of Florence Vidor and Jack Holt, and capable 
direction. (March.) 

ESCAPE, THE— Universal— Filled with plenty of 
pep and humor that the children will be crazy about. 
Pete Morrison shows us what he can do. (May.) 
[ CONTINUED ON PAGE 13 1 



Photoplay Magazine — Advertising Section 




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Well remembered and loved for his per- 
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other Fox pictures. Here George scores in a new 
type of role. "Fig Leaves" is a gorgeously dressed 
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all made from renowned stage successes 

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staged by John Ford, who directed "The Iron Horse 

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author of "If Winter Comes" 



ToxTil 




ration PHOTOPLAY MAGAZINE. 



Last Minute J^evus from East and West 




ALL change partners for the next dance. 
Rudolph Valentino is said to be inter- 
ested in Greta Garbo and Maurice 
Stiller, the director who introduced Greta to 
this country, will direct Pola Negri's next 
picture. 

THE jury failed to come to an agreement in 
the suit against Charles Duell, former presi- 
dent of Inspiration Pictures. Lillian Gish was 
not called as a witness in the perjury trial and 
immediately after the jury was discharged she 
left for the coast to begin work 
on "Annie Laurie." 



LEWIS J. SELZNICK may 
return to the motion picture 
business as the head of Asso- 
ciated Exhibitors. Since the 
failure of the old Selznick com- 
pany the producer has been in- 
terested in Florida real estate. 

LOIS WEBER, woman direc- 
tor, was recently married to 
Captain Harry Gantz, retired 
army officer and California 
ranchman. The ceremony took 
place at the home of Frances 
Marion. Miss Weber was di- 
vorced from Phillips Smallcy. 

LARRY SEMON will quit 
as a comedy star. He has 
signed a contract with Mack 
Sennett to direct comedies. 

BEATRICE LILLIE, the 
comedienne of Chariot's 
Revue, has been signed by 
Metro-Goldwyn. Marc Con- 
nelly will write an original 
script for her use. 

SAM GOLDWYN tore up 
Ronald Colman's contract 
and gave him a brand new one, 
with a liberal increase in it. 
Colman was getting $2,000 
under the old arrangement. 

"HTIP-TOES," the New York 
*■ musical show, has been 
purchased for Dorothy Gish's 
screen use. Production will be 
made in London. 

CONSTANCE TAL- 
MADGE and her husband, 
Captain Alastair Mackintosh, 
sail for European honeymoon. 

CONSTANCE HOWARD, 
sister of Frances Howard, 
otherwise Mrs. Sam Goldwyn, 
is to be Douglas MacLean's 
leading woman. 

10 



RAMON NOVARRO'S next screen vehicle 
is likely to be "The Great Galeoto," the 
Spanish drama once played behind the foot- 
lights by William Faversham as "The World 
and His Wife." 

AS a result of the success of "Aloma of the 
South Seas," Famous Players sign Gilda 
Gray under a long term contract. A loma was 
her first important role on the silver screen. 



■ B J»U 




Wes Barry's married! Honest. He's only eighteen, 
but his bachelor days are gone forever. This is the 
first picture of Wesley and his bride, the former Julia 
Wood. She's four years his senior. Wesley and she 
met when they played on the same vaudeville bill. 
The wedding took place at Newark, New Jersey, 
June 14 



to iress 



TJILLIE DOVE signed for lead in "The 
■'-'Savage in Silks," which Lois Weber will 
direct at Universal, from Ernst Pascal's novel, 

"Egypt." 

\7ILMA BANKY— and not Dolores Cos- 
» tello — will be leading woman for John 
Barrymore in "Francois Villon." 

pETER THE GREAT, police dog star, was 
■*- killed in a duel between his master, Ed. 
Faust, and F. R. Cyriacks of Lankershim. In 
an argument, Cyriacks drew 
a gun and fired at the tires of 
Faust's automobile. The dog 
was struck by a bullet and died 
a few days later in the hospital. 



HTOM MIX'S daughter Ruth 
*■ has gone in vaudeville, ap- 
pearing in a playlet written by 
her uncle, Raymond Hitch- 
cock. 

NORMA TALMADGE'S 
next will be " Sun of Mont- 
martre," written for her by 
Hans Kraely. And following 
that will come "The Dove," 
adapted from the Belasco stage 
success. 

AFTER completing his con- 
tract with Paramount, D. 
W. Griffith will return to 

United Artists, probably to film 
nothing but special produc- 
tions. 

THEWAROFTHE 
WORLDS," by H. G. 
Wells, will be filmed by Para- 
mount. Charles Farrell has 
been engaged for a leading role. 

WILL H. HAYS has con- 
sented to extend his term 
as president of the Motion 
Picture Producers and Distrib- 
utors of America, Inc., for ten 
years, at the request of the 
directors. Hays became head 
of the organization in March, 
1022, after leaving President 
Harding's cabinet, where he 
served as postmaster general. 

LOIS MORAN has wandered 
about since "Stella Dallas" 
in various studios, but now she 
has signed a long-term contract 
with Paramount. Her first 
assignment is "God Gave Me 
Twenty Cents." 

GEORGE READ, a colored 
actor, says he played eight 
parts in one film. 



Photoplay Magazine — Advertising Section 




(A ^[etrq^/o/d 'wi/n picture 

"More Stars than there are in Heaven" 




mention rilOTurLAY MAGAZINE. 



The Real Critics, the Fans, Give Their Views 




Brickbats and Bouquets 




First Prize 

Pierce L. 

Brothers, Jr. 



letters from 

PHOTOPLAY READERS 



$25.00 Letter 

New Orleans, La. 
Lately some of these 
so-styled reconstruc- 
tionists have directed 
their misguided activ- 
ities against the motion 
picture. They bemoan 
its- picturization of- 
life as it really is. But 
is there anything more 
beautiful than life? 
Why decry its por- 
trayal? The mission of 
the screen is that it 
separates the dross to 
reveal the beautiful. 
Profit by its example, 
and we are better men 
and women. Without 
the motion picture, we 
would slip back cen- 
turies. Yet it is in its infancy. The rich, the 
poor alike would be deprived of the world's 
paramount amusement. After a hard day 
what can compare to a skillfully directed mo- 
tion picture to waft us from our mediocre sur- 
roundings to a sudden land of dreams, and in- 
spiration? We return home mentally and 
spiritually refreshed, spurred on to greater 
achievements. Let us extol the producers of 
good pictures and their contemporaries, and in 
our acclaim let them know America is march- 
ing with them. 

Pierce L. Brothers, Jr. 
1207 Constantinople St. 

New Orleans, La. 

$10.00 Letter 

Tetotum, Va. 

I haven't seen a movie for years! 

Time was, when there was no more ardent 
fan than I. Then suddenly I had to renounce 
everything and begin spending my days on a 
quiet porch, winning back lost health. Often 
there come terrific longings for the throb and 
thrill of a big, tense, heart-reaching picture. 
Then opportunely comes Photoplay unlock- 
ing an otherwise closed door, that I may look 
in on the vivid world of screendom — alluring 
little intimate glimpses into the appealing lives 
of the strangely fascinating player folk, whom I 
like and admire, for what they give to the 

12 



Three prizes are given every month 
for the best letters— $25, $ioand$5 



The readers of Photoplay are in- 
vited to write this department — to 
register complaints or compliments — 
to tell just what they think of pictures 
and players. We suggest that you 
' express your ideas as briefly as pos- 
sible and refrain from severe per- 
sonal criticism, remembering that the 
object of these columns is to exchange 
thoughts that may bring about better 
pictures and better acting. Be con- 
structive. We may not agree with the 
sentiments expressed, but we'll pub- 
lish them just the same! Letters must 
not exceed 200 words and should 
bear the writer's full name and ad- 
dress. Anonymous letters go to the 
waste basket immediately. 




world. If they have their weaknesses, 
well, so much is forgivable in genius! 

Some glad, gay day, I hope to 
watch again, rapt and thrilly, one of 
my favorites, and whether glittering 
Gloria, bewitching Bebe, or coy Col- 
leen, I know I shall feel the spell! 

Meantime, with Photoplay to 
guide, I'll be keeping my wagon hitched 
to a star. 

There's such inspiration in the 
stories of hard won fights for fame — 
it gives me added impetus in my fight 
for health. 

Florence G. Britton, 
"Spy Hill" 
Tetotum, Va. 

$5.00 Letter 



Buffalo, N. Y. 
The attitude of the majority of teachers to- 
ward the movies is ridiculous, bigoted and 
harmful to the children over whom they pre- 
side. In the academic atmosphere the movies 
are thrust into as murky a limbo as dry Mar- 
tinis, the eighth commandment and "The 
Sheik." 



If approached on the 
subject, what opinion 
does the average 
teacher offer? That 
the movies are im- 
moral and suggestive, 
inciting the child to 
perverted curiosity on 
forbidden subjects and 
to active wrong-doing. 
Asked if this shat- 
tering denunciation 
applies to all films the 
answer is a hesitating, 
"well . . . no." 

But has any teacher 
been known to keep 
track of the distribu- 
tion of "good" pic- 
tures in her town, has 

she advertised their showing? The children 
will go to the "show" anyway. Why not help 
them in the intelligent choice of their evening's 
entertainment? Build up their critical ability 
by oral English talks on "Why the 
Vanishing American is a Worthwhile 
Picture," instead of antiquated de- 
scriptions of "How I Spent My Vaca- 
tion." 

Educate the potential movie 
fans and exhibitors to a higher 
level, teach them taste in the 
selection of their entertain- 
ment and the producers can no 
longer blame their inferior pic- 
tures on the public's insensate 
palate. 

Ethel M. Hoffman, 
129 Herkimer St. 

Buffalo, N. Y. 

tiel M. So Do We 

ffman Atlanta, Ca. 

As each society drama reaches 
the public, there are groans and sighs of agony 
from the "younger set" of this part of the 
country. They who don't know — and who, 
seeing one of these unpardonable slams on the 
younger generation, believe these to be facts — ■ 
must have a nice idea of us. 

Girls here, at least, do not prance on tables at 
a minute's notice — [ continued on page 142 ] 



m 



Photoplay Magazine — Advertising Section 



l 3 



Brief Reviews of 
Current Pictures 



[ CONTINUED FROM PAGE 8 ] 



EVE'S LEAVES — Producers Dist. Corp. —Ter- 
rible! Everyone in the cast makes a desperate attempt 
to rescue this bad comedy and hectic melodrama. A 
set of un-funny, wise-cracking sub-titles make mat- 
ters worse. {July.) 

EXQUISITE SINNER, THE— Metro-Goldwyn.— 
A nice little comedy if taken in the spirit it is offered 
to you. {July.) 

FAR CRY, THE— First National.— Nothing much 
to recommend. A good cast. Blanche Sweet, Jack 
Mulhall and Myrtle Stedman. {May.) 

FASCINATING YOUTH— Paramount.— The six- 
teen graduates of Paramount's school of acting show- 
ing how well they've studied their lessons. Good 
entertainment. {May.) 

FIFTH AVENUE— Producers Dist. Corp. — A 
storv of New York. There's a certain sophisticated 
twist to the plot that makes it inadvisable for children 
to see". {April.) 

•F. B. O. — A boring 
if it doesn't please. 



FIGHTING BUCKAROO, THE— Fox.— Buck 

Jones still does all the necessaries to keep one amused. 
It's good stuff. {June.) 

FIGHTING EDGE, THE — Warner Bros. — A 
melodrama with no pretentions, but with scores of 
thrills. This is not art, but it's exciting entertain- 
ment. The children can go. {April.) 

FIRST YEAR, THE— Fox.— A highly amusing 
comedy of the vicissitudes of married life during the 
first twelve months. Many of the incidents will 
strike home. Matt Moore is funny and pathetic. 
{March.) 

FLAMING FRONTIER, THE — Universal.— An- 
other absorbing tale of the Old West which carries out 
the spirit of pioneer America. Good stuff for the 
children. {June.) 



FLAMING WATERS— F. 

though F. B. O. went through 
picked out the thrill scenes fr< 



B. O. — It looks as 
their old pictures and 
m each one. (April.) 



FOR HEAVEN'S SAKE— Paramount.— For your 
own sake go see this Harold Lloyd production. Sure, 
take the kiddies! (June.) 

FREE TO LOVE— Schulberg.— Clara Bow as a 
reformed crook does her best with an impossible role. 
(March.) 

GALLOPING COWBOY, THE— Associated Ex- 
hibitors. — If you're in the mood for a good Western — 
see this. (July.) 

GILDED BUTTERFLY, THE— Fox— Alma Ru- 
bens bluffing her way through society and Europe 
without any money. If you're fussy about your film 
fare you won't care for this. (March.) 

GIRL FROM MONTMARTRE, THE— First Na- 
tional. — See this, if it is only to gaze on the fair 
loveliness of the gorgeous Barbara La Marr once 
again. (May.) 

GOLDEN COCOON, THE— Warner Bros.— An 
unconvincing story about politics, with Helene Chad- 
wick crying through reel after reel. (February.) 

GOLDEN STRAIN. THE— Fox.— A worthwhile 
photoplay of Peter B. Kyne's story of the boy with 
the yellow streak. (February.) 

GRAND DUCHESS AND THE WAITER, THE 

— Paramount. — Sophistication and sex at their 
merriest are here. Yet so beautifully is it all handled 
it is safe for evervone from grandma to the baby. 
(April.) 

GREATER GLORY, THE— First National.— An 
excellent picture featuring an Austrian family before 
and after the war. One of those rare pictures that 
you can stand seeing twice. (May.) 

GREEN ARCHER, THE— Pathe.— A stirring 
Chapter play with more thrills than Sherlock Holmes. 
Worth following. (March.) 

HANDS UP — Paramount. — Raymond Griffith as a 
Confederate spy in the civil war. Right funny. 
Marion Nixon and Virginia Lee Corbin make ador- 
able heroines. (March.) 

HELL BENT FER HEAVEN— Warner Bros.— 
Another disappointment, especially after the success 
of the stage play. Gardner James gives an inspired 
performance. {July.) 

HELL'S 400 — Fox. — It's funm — unintentionally. 
Grownups may see this if they promise not to laugh 
too loud. (July.) 

I CONTINUED ON PAGE 1 4 ] 



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I CONTINUED FROM PAGE 1 3 



HER SECOND CHANCE— First National.— Not 
worth seeing. {July.) 

HIGHBINDERS, THE— Associated Exhibitors. 
■ — William Tilden stepping out as an actor, but he 
better stick to tennis it" he wishes to become a success 
in life. Terrible. (June.) 

HIS SECRETARY— M-G-M.— The story of the 
ugly duckling better done than ever before. Norma 
Shearer unbelievably homely for a few feet, then her 
own ravishing self. (February.) 

HOGAN'S ALLEY— Warners.— We hate to say 
it — but don't go. A hash of every Bowerv story ever 
made with Patsy Ruth Miller mimicking Annie 
Rooney all the way through. (February.) 

IMPOSTOR, THE— F. B. O— A carbon copy of 
the former Evelyn Brent productions. Fair. {July.) 

INFATUATION— First National.— Dull and un- 
interesting. But Corinne Griffith fans will go anyhow 
because it's worth anybody's quarter just to look at 
her. (March.) 

IRENE — First National. — Colleen Moore pleases 
again. George K. Arthur's work is one of the out- 
standing points of the picture. {April.) 

IRISH LUCK— Paramount.— Tom Meighan in a 
good old Irish yarn with some gorgeous shots of the 
Emerald Isle itself — and Lois Wilson. {February.) 

ISLE OF RETRIBUTION, THE— F. B. O — 

Lillian Rich and Robert Frazer are in the cast— if 
that means anything. Entertainment value? Fair. 
{July.) 

JOANNA— First National— Well, Dorothy Mack- 
ail] is always good, but she almost gets snowed under 
in this impossible story. (February.) 

JOHNSTOWN FLOOD, THE— Fox— A thrilling 
melodrama centered around the flood of 1889. George 
O'Brien, Florence Gilbert and Janet Gaynor are in the 
cast. (May.) 

JUST SUPPOSE— First National.— Richard Bar- 
thelmess is a prince of Europe who falls in love with 
an American girl, played by Lois Moran. Very mild 
entertainment. (March.) 

KIKI— First National.— Here's Norma Talmadge 
as a comedienne and she's a WOW. Ronald Colman 
is the male attraction. Be sure to see itl (June.) 

KING OF THE TURF, THE— F. B. O.— A dash 

of racing stuff, some crooks thrown in, love sequences 
and presto! A picture that is pleasing and enter- 
taining. (.Way.) 

KISS FOR CINDERELLA, A— Paramount.— 
Barrie, Betty and Brenon, the incomparable trio. A 
beautiful fantasy of the little slavey's dream of 
marrying a prince. (February.) 

LA BOHEME— Metro-Goldwyn — A simple love 
storv wonderfully directed bv King Yidor and acted 
with much skill by John Gilbert. Lillian Gish is also 
in the cast. (May.) 

LADY WINDERMERE'S FAN— Warner Bros,— 
A very smart film version of Oscar Wilde's sophisti- 
cated play. (February.) 

LAWFUL CHEATER, THE— Schulberg— Clara 
Bow, masquerading as a boy, makes her personality 
count in spite of a far-fetched story. (February.) 

LET'S GET MARRIED— Paramount.— Richard 
Dix at his best. Plenty of laughs that come fast and 
furious. Don't miss it! (May.) 

LITTLE IRISH GIRL, THE— Warner Bros.— 
Good entertainment. More crooks in a logical story. 
Dolores Costello and Johnny Harron head the cast. 
{May.) 

MADAME MYSTERY— Pathe— The first Theda 
Bara comedy and it's a riot! Be sure to see it. 
{May.) 

MADE FOR LOVE— P. D. C— Arabs, a wicked 
prince, an indifferent fiance, and some mummy ex- 
cavating make this interesting. (February.) 



MAN FROM RED GULCH, THE— P. D. C— 

Harry Carey makes a pretty good Bret Harte hero, 
playing the good Samaritan in the desert. (February.) 

MANNEQUIN — Paramount. — Somewhat disap- 
pointing as a Fannie Hurst prize story directed by 
James Cruze. (February.) 

MARE NOSTRUM— Metro-Goldwyn.— A not so 
satisfactory film from the man who directed "The 
Four Horsemen." (April.) 

MASKED BRIDE, THE— M-G-M— Mae Mur- 
ray as an Apache dancer and the toast of the Paris 
cafes. Mae can dance, nobody will deny that; but 
rather disappointing after "The Merry Widow." (Feb.) 



MIDNIGHT LIMITED, THE— Rayart— Gaston 

Glass and Wanda Hawley make a good team in this 
railroad melodrama. Above the average. (February.) 

MIDNIGHT SUN, THE— Universal.— The story 
of an American ballerina in Russia, grand dukes and 
moneyed power behind the throne. (February.) 

MIKE— Metro-Goldwyn.— A Marshall Neilan bag 
o' tricks. Fairly amusing through the efforts of 
Charlie Murray and Ford Sterling. (March.) 

MILLION DOLLAR HANDICAP, THE— Pro- 
ducers Dist. Corp. — A thrilling story of the race 
track. Splendid entertainment. {April.) 

MIRACLE OF LIFE, THE— Associated Exhibit- 
ors. — It will be a miracle if you are able to sit through 
this. Neither for the children nor grownups. (June.) 

MISS BREWSTER'S MILLIONS— Paramount. 

— Bebe Daniels attempts to be funny but falls down. 
Filled with all the old-gags used in two-reelers. The 
children like this sort of thing. (May.) 

MLLE. MODISTE— First National.— Some wise- 
cracking sub-titles and the excellent work of Corinne 
Griffith and Willard Louis make this one of the most 
entertaining pictures of the month. (July.) 

MOANA OF THE SOUTH SEAS— Paramount.— 
The plot consists chiefly of the daily tasks of the 
natives in the isles. (April.) 

MONEY TALKS — Metro-Gold wyn-Mayer. — 

Slapstick at its best— a la Svd Chaplin style. It's 
fluffy, but lots of fun. (July.) 

MY LADY OF WHIMS— Arrow.— Clara Bow 

again as the carefree flapper who defies Papa and goes 
to live in Greenwich Village. Pleasing. (March.) 

MY OLD DUTCH— Universal.— This could have 
been a knockout, but at present it is missing on all 
sixes. (June.) 

MY OWN PAL— Fox.— Tom Mix and Tony with 
two additions — cute little Virginia Marshall and a 
clever little white dog. The children will love this, 
{May.) 

NELL GWYN— Paramount.— The first of the 
English productions that will meet with approval in 
America. Dorothy Gish gives a remarkable per- 
formance. (April.) 

NEW KLONDIKE, THE— Paramount— One of 
the finest of Meighan's vehicles. An excellent story 
bv Ring Lardner enhances the comedy value of this 
picture. Fine for the children. (May.) 

NIGHT CRY, THE— Warner Bros.— Rin-Tin- 
Tin is just the doggiest dog you've ever seen. This is 
by far his best picture and will prove a real treat for 
grown-ups and kiddies. (June.) 

NUTCRACKER, THE— Associated Exhibitors.— 
An attempt to make this a rip-roaring comedy proved 
that there are few comedians of whom we can be 
justly proud. Passable. (June.) 

OH! WHAT A NURSE— Warner Bros.— We think 
it's time for Syd Chaplin to "be himself." Syd in 
petticoats again gets to be an old story, even though it 
affords splendid entertainment. (May.) 



OLD LOVES FOR NEW— First National— Fair 
entertainment, if you like desert stuff, but nothing to 
cause a rush of adjectives to the typewriter. (July.) 

ONLY THING, THE— M-G-M.— Conrad Nagel 
with sex appeal! And a mustache. Eleanor Board- 
man in a blonde wig. An Elinor Glyn story of a prin- 
cess forced to marry an old king. See it. (February.) 

OTHER WOMEN'S HUSBANDS — Warner 
Bros. — A thoroughly amusing and clever domestic 
comedy well directed and well acted. (July.) 

OUTLAW'S DAUGHTER. THE— Universal.— A 
whale of a climax in this melodrama with hero and 
villain fighting to the death in an aerial bucket. (Feb.) 

OUTSIDE THE LAW— Universal.— A reissue of a 
crook drama released many years ago. Splendid plot 
and cast. Good entertainment. (July.) 

OUTSIDER, THE— Fox.— An intriguing story of 
a mysterious healer who puzzles London medical cir- 
cles. The crippled daughter of a physician is restored 
to health, and love enters. Jacqueline Logan is ex- 
cellent. (March.) 

PALACE OF PLEASURE, THE— Fox.— Ed- 
mund Lowe kidnaps Betty Compson, a gay senorita 
of vamping tendencies. Nothing to get excited over. 
(March.) 

PARIS AT MIDNIGHT— Producers Distributing 
Corp. — An unusual theme, some nice acting and 
gorgeous sets, but the plot suffers from a loose and 
jerky continuity. Not for the children. (July.) 



Every advertisement in PIIOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



15 



PARTNERS AGAIN— United Artists.— Another 
Potash and Perlmutter. Delightful, as usual. (.April.) 

PERFECT CLOWN, THE— Chadwick — A very 
bad comedy with Larry Semon. Might have been 
funny in two reels. (February.) 

PHANTOM BULLET, THE — Universal.— A 
Western that has a sure fire appeal for grownups and 
children. (July.) 

PRINCE OF BROADWAY, THE— Chadwick — 
A wow with the boys and prize ring enthusiasts. A 
defeated fighter stages successful come-back. Many 
famous fighters introduced. (March.) 

PRINCE OF PEP, THE— F. B. O.— Richard Tal- 
madge ;is a young doctor who loses his memory and 
becomes a modern Robin Hood. Some good stunts. 
(March.) 

PRINCE OF PILSF.N, THE— Producers Dist.— 
This is supposed to be a comedy, but if you can laugh 
you're a better man than I. (June.) 

QUEEN O' DIAMONDS— F. B. O — There's not 
much to recommend in this picture, but we think 
you'll live through it. (April.) 

RADIO DETECTIVE, THE— Universal— An ex- 
cellent serial for the boys. The Boy Scout Movement 
co-operated in the production of this picture, so the 
youngsters will find this thoroughly enjoyable. (June.) 

RAINMAKER, THE — Paramount.— A Gerald 
neaumont storv picturized into splendid entertain- 
ment. William Collier, Jr.. and George Hale give a 
splendid performance. (July.) 

RAWHIDE— Associated Exhibitors.— All the in- 
gredients of a rip-roaring Western — fast action, a love 
story and a likeable star — Buffalo Bill, Jr. (July.) 

RECKLESS LADY, THE— First National.— 
Another mother love theme, with Belle Bennett and 
Lois Moran. Good entertainment. (April.) 

RED DICE — Producers Dist. — A twisted melo- 
drama of crooks, bootleggers and a desperate soldier, 
tint is swift moving and frequently amusing. (June.) 

RED KIMONO, THE— Vital.— Avoid this picture. 
It is a very stupid version of a good story by Adela 
Rogers St. Johns, and not worth anybody's time. 
(March.) 

ROCKING MOON— Producers Dist. Corp.— A 
good story with a new and interesting background — 
an island in Alaskan waters. Laska Winter is the 
outstanding member of the cast. (April.) 

ROLLING HOME— Universal.— Reginald Denny 
always manages to make an otherwise dull evening 
amusing. Lots of fun for the whole family. (July.) 

RUNAWAY, THE— Paramount. — Love, suspense 
and hate, plus a good cast— Clara Bow. Edythe Chap- 
man and Warner Baxter — form this recipe for an 
evening's entertainment. (June.) 

RUSTLING FOR CUPID— Fox— Cow thieves 
double for Cupid giving us a new slant on the love 
question. Good entertainment. (June.) 

SALLY, IRENE AND MARY— M-G-M— An ex- 
tremely interesting story of chorus girl life, with a 
splendid cast and a goodlv sprinkling of laughs and 
tears. Sally O'Neil is a knockout! (February.) 

SANDY — Fox. — A splendid flaming youth story 
that will appeal to everyone in an audience. Madge 
Bellamy's performance is excellent. (June.) 

SAP, THE — Warner Bros. — And a very sappy 
picture. Don't waste your time. (June.) 



SEA BEAST, THE— Warner Brothers.— The ex- 
quisite Dolores Costello overshadows John Barry- 
more and the thrilling tale of Moby Dick, the white 
whale. Almost unbelievable, we know. See for 
yourself. (March.) 

SEA HORSES— Paramount. — Fair stuff because 
of the presence of Florence Vidor in the cast. Not as 
snappy as the usual Allan Dwan production. (May.) 

SEA WOLF. THE— Ralph Ince Prod.— A well- 
made picture of Jack London's famous novel. (Feb.) 

SECRET ORDERS— F. B. O.— The war spy sys- 
tem is again served for your entertainment. You 
won't object because Evelyn Brent is a treat for the 



SET UP, THE— Universal.— Art Acord does some 
hard riding and shooting. And that's about all except 
that he marries the girl in the end. (May.) 

SEVEN SINNERS— Warner Bros.— A hilarious 
crook story with Marie Prevost and Clive Brook 
heading a good cast. (February.) 

[ CONTINUED ON PAGE 141 ] 




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i6 



Photoplay Magazine— Advertising Section 



the Greatest of Stars in QreatStar "Parts/ ^ ♦ 




NDER her husband's very eyes 
they planned their elopement .... 
For handsome, hot-blooded Nicki 
iaas deaf from shell-shock — and the 
Man was — HIS OWN BROTHER ! 

Here's a situation unmatched in 
motion pictures .... And the climax 
is even more amazing — when ven- 
geance hangs on a knife-thrust, and 
a coward guides the blade! 

See "Puppets" for its powerful plot, 
for its picturesque setting — and for 
Milton Sills' brilliant performance 
in the most dramatic role of his 
career. 



A littt national Mure 



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Jionth after Jionth First National Brings %u 






f 



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_ _[£R imperial head had known 
a crown; her imperial 'word had 
sent an army into the field; her 
imperial hand had felt the servility 
of great men as they kissed her 
finger tips. 

'But she gave — and gave gladly — 
all the pomp, all the regal magnifi- 
cence, to walk out of her royal 
kingdom into the realm of love....to 
hold a baby— her baby- in her arms. 

qA fascinating romantic drama that 
poses the orchid loveliness of Corinne 
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Jdapted to the Jctten by CAREY WILSON 
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Photoplay Magazine— Advertising Section 



IN WASHINGTON D.C. 



At thejlj ay flower 

135 w omen Guests 

tell why they 

prefer this soap 

for their skin 



c/T IS ONE of the thrilling sights of Wash- 
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Foreign diplomats, with discreetly worn 
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the sudden splash of color from some Con- 
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And everywhere the beautiful women: 
women in dazzling full dress, such as one 
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ti OW DO THE women guests of The Mayflower 
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pure enough and fine enough to trust their com- 
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We asked 188 women stopping at The May- 
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Copyright, 1926, by The Andrew Jergena Co. 



Every advertisement in THOTOPLAY MAGAZINE is guaranteed. 




^Pictures 



THEY have both been married once before 
but never again for either, say Lefty Flynn 
and Viola Dana. Their first year as Mr. and 
Mrs. just finished, they refuse to let even 
their art separate them. Hence they work 
together and star individually for F. B. O. 




Muray 



SERIOUS, but with a frivolous name, Buster Collier, after his fine work as "The Rain- 
maker" will play the male relief in "Glorifying the American Girl." Paramount glorified 
the Babylonian girl in "The Wanderer" and Buster remained valiant though vamped. 




WARNER BAXTER is about to get his greatest opportunity playing a love-sick million- 
aire, the Great Gatsby, in the film version of F. Scott Fitzgerald's book. A far cry 
from the native boy he played with such muscles and art in "Aloma of the South Seas." 




LAURA La PLANTE, the golden, with youth and talent blessed, should fight for 
better and milder titles. Universal after putting the girl in "The Midnight Sun" tag her 
with "Butterflies in the Rain!" Nevertheless, Laura proves box-offices prefer blondes, too. 







FREDERICK, the great, is to appear as "Her Honor, the Governor." No matter what 
role she assumes, Pauline, the poised and beautiful, gives a performance of rare distinction. 
Photoplay, next month, meeting the demand of her loyal fans, publishes her story. 



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INTRODUCING Mary McAllister, one of the youngest old-timers in movies. When she 
was very young, just six, exactly, Mary was a star for Essanay. Now she's back playing 
leads with all the charm of sweet sixteen plus the technique of a seasoned trouper 




HURRAH! Tommy Meighan's gone back to acting. Gone his bucolic comedies. Gone 
his pale pink film romances. Tommy's playing a hot dating, fast hitter in "Tin 
Gods." Making love to Renee Adoree and Aileen Pringle. Girls, we're telling you! 



'They told her in Philadelphia: 



This is the safest way to cleanse fine silks and woolens' 





'ERE in Philadelphia, where 
city life is fringed with smart 
country life, society gathers — at 
horse show or steeplechase or tennis 
match — in appropriate rainhow silks 
and woolens. 

So shops overflow with sports 
wear — costly, perhaps, but delightful. Serviceable, 
too, you are told, given the proper care. 

What is proper care? To most of the salespeople 
in Philadelphia's department stores and women's 
shops — and salespeople are very close to this prob- 
lem always — proper care includes Ivory Soap. This 
fact was discovered by a young woman who talked 
to them recently about laundering fine garments. 
Just as in New York and Chicago, salespeople 
in the finest stores said: "For safest cleansing, use 
Ivory." 

In their own words 

"Use Ivory or Ivory Flakes and you won't have 
any trouble. You can be sure that Ivory is pure." 
"I believe that every bit of silk or crepe that can 
stand water should be washed with Ivory." "/ 
never heard a complaint about Ivory." 

Other soaps were mentioned now and then, but 
when the young woman asked about laundering 
certain costly or delicate garments — a gay French 
frock, some expensive English sport stockings, a 
pair of lounging pajamas of smart striped 
flannel — in every one of these cases, the sales- 
woman said, "Use Ivory to be safe." 

Why should Ivory be recommended so highly 
by the salespeople in the country's largest depart- 
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Probably your best test of a soap for your 
precious silks and woolens is this question: 
"Should I use this soap on my face?" Ivory, of 
course, has protected lovely complexions for 
nearly fifty years. So you know that your favor- 
ite scarf or fluffy sweater is safe in its gentle care. 

Ivory Flakes — delicate, feathery flakes of pure 
Ivory — is sometimes more convenient for quick 




tubbing than the cake form. Hot water turned upon 
a spoonful of flakes gives you at once a basinful of 
gentle, cleansing Ivory suds. Procter & gamble 

FREE: A charming booklet, "The Care of Lovely 
Garments," gives many tested suggestions on how to 
protect your fine silks and woolens. It iifree. Send a 
postcard to Section 45-HF, Dept. of Home Economics, 
Procter & Gamble, Cincinnati, O. 



Tlahgs 

IVORY SOAP 

qq*Vioo% Pure T It Floats 



) IMS. Th«P. a 0. Co. 



Volume XXX 



The f{ational Quide to {Motion Pictures 



Number Three 



PHOTOPLAY 



August, 1926 



Speaking of Pictures 



By James R. Quirk 



SLIGHTLY more than $520,000,000 passed through 
box office windows of the motion picture theaters 
of America during 1925. This isn't a guess. It 
is the official figure of the Hays organization. 
Yet every now and then we hear the comment made 
that pictures are growing less popular. Nothing could 
be further from the truth. Here is definite proof of the 
popularity of the photoplay. 

If we want to delve further into statistics, we may say 
that an average of slightly less than five dollars was 
spent by each man, woman and child in the country, in- 
cluding Canon Chase, during the last year. 

T\ 7E are being disillusioned continually. One of the 
"^ superstitions of the silver sheet is that the Euro- 
pean motion picture public is sophisticated and ultra 
broadminded. On the other hand, we have often been 
told that American screen followers are — well — the 
opposite. It was said that Americans demanded the 
saccharine, the happy ending, the gilded hokum. 

This legend seems about to be exploded. "The Big 
Parade" goes to London and arouses a storm of opposi- 
tion. Englishmen in all seriousness declare that it 
glorifies the American doughboy and points the moral 
that "America won the war." 

The fine qualities of the Vidor film are completely 
overlooked and the whole fabric of a splendid picture is 
lost in a maze of provincial narrowness. "The Big 
Parade" was just a cross section of a small portion of 
the World War. And it certainly didn't glorify any 
part of the great conflict. 

HpHEN "Greed" went to Berlin and was hissed from 
■*- the screen. Yet we had been told that this Von 
Stroheim production hadn't been appreciated by un- 
sophisticated America, although the Continent would 
greet it for its full worth. Cable reports say Berliners 
didn't like "the stark realism" of "Greed." 

Can it be that Americans haven't such a dwarfed in- 
telligence and such a juvenile appreciation, after all? 

A LL the big companies are making contracts with 
■*■ ^-European countries to distribute foreign-made pro- 
ductions here in part payment for the privilege of sell- 
ing American films abroad. Already they've contracted 
for over fifty of the made-in-Europe variety. 

After pre-viewing half a dozen of them it seems to me 



that the only way they can make good with the most of 
them will be to pay us for going to the theater. 

"DHOTOPLAY'S article in the July issue, calling atten- 
-*- tion to the fatal effects of violent methods of weight 
reduction created a sensation in the studios. What a 
price some of our stars pay for their slim figures! The 
camera adds ten pounds to their real weight. That's 
just one of its queer tricks. 

I recently overheard a leading woman, sitting in the 
Ritz hotel dining room in New York, say to the waiter: 
"Give me some orange juice and some sliced tomatoes, 
but I would sell my soul for a good boiled dinner." 

T\ THEN a movie actress is seen eating a boiled potato, 
* v she is immediately reported to the Hays office. 
The offense is equal to a breach of the morality clause 
of her contract. She is a fallen woman. 

But, as in all other forms of repression, there is bound 
to be a reaction and one of these days I expect to see 
a scandal break out when Marion Davies, Norma Tal- 
madge, Colleen Moore and Anna Q. Nilsson are raided 
while conducting a pork and beans orgy. 

TT requires ten times as much strength of character to 
■'■be a star now as in the days of Lillian Russell. To 
keep her camera weight a girl must have more will 
power than Queen Victoria. She's got to take her 
choice — eat or act — she cannot do both. 



HpHE battle against fat is one of the greatest hardships 
-*- of a picture career. Think of making five thousand 
dollars a week and watching your maid eat a big 
platter of corned beef and cabbage, while you nibble at 
a stalk of celery and a dry olive and curse the day 
Edison invented the motion picture camera. 

fv JITA NALDI started the pineapple and lamb chop 
■'-Mad. Then she went mad and ate two dishes of 
fried potatoes. That was six months ago, and she has 
not recovered from her food jag yet. 

T> ICHARD BARTHELMESS says he will not have 
J -*'music on his set. It disturbs him. After seeing 
"Ranson's Folly" I would suggest the use of a full 
symphony orchestra. 

2 27 




hat 



is 



Do you agree with 

the spokesman of 

the reformers? 



By Frederick James Smith 



Canon Chase says "The Thief of Bagdad" did not 

meet his entire approval because it glorified a 

thief, at least to an extent 




Canon Chase 
did not object 
to the brevity 
of attire in 
"The Queen of 
Sheba" but to 
the spoiling of 
a Biblical 
character 
without his- 
torical author- 
ity 



WHAT is immorality in pictures? 
Just where does the photoplay cross the line be- 
tween the moral and the immoral, according to the 
charges made by censors and reformers? Is there 
an undue emphasis upon sex, is the modern feminine garb in 
films suggestive, are celluloid kisses and embraces too long, are 
the basic stories themselves evil? 

Just at present the speaking stage in New York has reached 
the lowest point in its history. There is little doubt but that 
nudity was never so rampant behind the metropolitan foot- 
lights as now and that the spoken word never went so far as in 
plays now current in Manhattan. Girls appear minus all clothes 
in half a dozen revues. One of the biggest box office hits, "The 
Shanghai Gesture." concerns itself with " the biggest brothel in 
the world," as the shocker's modest publicity intimates. An- 
other hit. "Lulu Belle." follows the career of a negro cabaret 
dancer from the black belt of Harlem to a Paris boudoir main- 
tained by a white man-about-town. 

Photoplay believes that the screen is inherently clean. It 
believes that the screen was never in higher estate than now. It 
believes that motion picture producers are conscientiously try- 
ing their best to give the public sane and wholesome entertain- 
ment. 

What then are the anti-screen folks complaining about? 
What do they want? Have they grounds for their attacks? 
Actuated by a desire to run down these questions once and for 
all, Photoplay went to Canon William Sheafe Chase, who may 
be looked upon as the mouthpiece of the reformers. At least, he 
is the most active of America's reformers. For years he has 
struggled against gambling, prize fighting and horse racing. 
He has led crusade alter crusade for blue Sundays. But, most 
of all, he has been active in lighting for screen censorship. 

The canon is president of the Xew York Civic League. He is 
general secretary of the Federal Motion Picture Council in 
America, Inc. " Mobilizing .All Forces for Wholesome Motion 
Pictures'' is the slogan of the council and Canon Chase 



" 'The Covered Wagon' was injured," says Canon 

Chase, "by the drinking scene between the two 

scouts. I don't believe it psychologically true" 

28 



"Stella Dallas" has wrong sex emphasis, believes 
Canon Chase, because it "wasn't true to life to have 
the wife run away with the tout" 



Immorality 

Rin 
:tures? 



is its spokesman. At this moment he is leading a 
national fight for federal censorship — the canon calls it 
"necessary regulation" — and Congress will be called 
upon to act upon the question this Fall. 

Canon Chase not only speaks of himself as the leader 
in the fight for film regulation, but he declares that he 
voices the hopes of what he terms " the vast portion of 
our public not now attending motion picture theaters." 

Canon Chase frankly says that the charge 
against the motion picture is not sex. It is not 
over-emphasis upon sex. It is not suggestive 
clothes. Canon Chase says it is distortion of life. 
He says it is pandering to the sensational. In 
brief, he declares it is plain bad taste. 

After listening to the canon's charge. Photoplay is 
still puzzled. The canon declares that an honest, 
wholesome presentation of life is what he wants filmed. 
He wants the screen to preach, although I doubt if he 
would admit a suggestion of this. He wants the films 
to avoid everything he enumerates as evil. To film 
this is distortion of life, he maintains. In other words, 
he wants photoplay sermons. 

The screen represents entertainment. Canon Chase, 
if he had his own way, would transform the screen into 
a pulpit. 

Is there a vast audience waiting to attend the film 
theaters if they become as Canon Chase would have 
them? 

Why are so many churches deserted now, if this vast 
audience exists? 

Why doesn't the canon's mighty multitude go to 
church? 

Still, we will let the canon speak for himself. First, 
however, let me tell a little story of the canon. 

One of his chief hobbies is a motion picture score 
card, by which the veriest layman can check up his 
evening's entertainment and find out definitely 
whether or not it was immoral. The canon was speak- 
ing of his score cards before a con- 
vention of co-workers. He sells 
these cards to his followers at forty 
cents a hundred. One of these 
cards is reproduced on Page 102. 

" You must have these cards," he 
is reported to have said. "Why I 
went to see a motion picture the 
other night and I enjoyed it. Then 
I stopped to think. I got out my 
score card — and I found that I had 
been watching an immoral picture. 
That's how subtle these producers 
have become." 

Of course, that may be just a 
story. I am not presenting it as a 
fact. Still, I had heard it before I 
went to interview Canon Chase and 
it colored my advance impression. 
The canon has been painted as a 
fanatic, a zealot, an old man with an 
obsession against the screen. 

In reality, I found an interesting 
man obviously believing in the 
worth of his labors for censorship. 
His view of life itself isn't narrow. 




Canon Chase is the most active of America's reformers. 
He has long fought for federal screen censorship 



The first thing that impressed me 
about Canon Chase was the boyish 
quality of his voice. Canon Chase 
is 86 years old. His enthusiasm, 
too, whether or not you look upon 
it as misdirected, is tremendous. 

"Some time not far in the 
future people will come to con- 
sider me a saint because of my 
labors for clean motion pic- 
tures," he told me with a fine 
naivete, and he obviously 
meant it. 

I talked to Canon Chase in a lit- 
tle room over the pulpit of his 
church in Brooklyn. A dingy, 
dusty little room. It was sparsely 

[ CONTINUED ON PAGE 102 ] 

"Harold Lloyd is almost invariably 

clean," says Canon Chase. Still he 

takes exception to this drunken 

scene in "For Heaven's Sake" 

29 




The Cinderella 




9 irl 

How 
Colleen Moore's 

191 5 dream 

of success came 

true in 1926 



By 

Dorothy Spensley 



Nine years ago Colleen Moore 
came to the old Fine Arts 
Studio — a shy, gangling girl 
with dreams. There she 
joined the Griffith forces, 
then numbering the Gishes, 
Bessie Love, Pauline Starke, 
Constance Talmadge and 
Mildred Harris — embryonic 
stars, all of them 



THIS is a real Cinderella story. It glitters and gleams 
with the sheer stuff of which dreams are made. 
It is a dream of yesterday that crystallized into a bril- 
liant today. A today more brilliant than the most dar- 
ing of yesterday's fancies. 

Nine years ago a little girl occupied a dressing room at the 
Fine Arts Studio. Occupied it with glowing expectations of 
becoming a star. Wove dreams of untold beauty through 
which she moved with stellar grace. 

She left the Fine Arts Studio and the little dressing room, but 
she did not leave her dreams. Through nine years of hard 
work she kept them before her. And they came true, as dreams 
rarely do, with a vividness that far exceeded her most lavish 
fancies. 

But the amazing part of it, and about which I write, is that 
in her day of triumph she returns, with the pomp and glory of a 
conqueror of old, to the same little dressing room at the Fine 
Arts Studio that was cradle to her early hopes. 

This is the story of Colleen Moore who painted a dream on a 
vision colored with the age-old legends of her kin, whose hearts 
were forever open to the little people of the Irish hills — the 
banshees and the leprecauns, too. 

She dreamed of the success that would come if she should be a 

30 



star. Of the glamour and the glory of it all. The plush-lined 
limousines — of the chauffeurs — of the footmen. Of the frocks — 
the jewels. Of the homage — the joy — the happiness that was to 
mount stardom to the zenith of human perfection. 

And her dreaming was a half-prayed hope that just the 
smallest bit of the glory might fall to her lot. 

That was in those dear beginning days nine years ago at the 
Fine Arts Studio. Colleen was such a child then. A slight im- 
mature girl playing grown-up roles with an intensity that, if it 
had been a magic potion, would have transformed those dreams 
into glory-bedecked reality. 

Nine years ago, with Griffith the guiding genius of the Fine 
Arts Studio, and Colleen a newcomer. Griffith had promised 
the little Port Huron girl an opportunity to become an actress 
and the little girl had come with her grandmother to claim it. 

There had been that first amazing and confusing day on the 
lot. There had been the girls to meet — Lillian and Dorothy 
Gish, Pauline Starke, Constance Talmadge, Bessie Love, Car- 
mel Myers. There had been Mildred Harris with whom she 
was to share a dressing room. And there had been the dressing 
room! 

Such a dim grey little cubicle with a cold north light. But 
such a harbor for the brightest dreams. They covered the floor 



with a warm cheery carpet — those dreams — and covered the 
bleak walls with rosiest tapestry. They were happy, those 
two girls who shared that dingy cradle of hope. 

Proud — oh, very proud — of their grey-painted cupboard 
where inexpensive frock nudged equally cheap frock and 
four pairs of shoes kept constant vigil. 

"I think we should decorate our dressing room," suggested 
Mildred Harris, whose golden hair was a close competitor to 
the flaxen curls of Lillian Gish. 

"Oh, certainly," cried Colleen, willing that the room in 
which she spun her dreams and her hopes be gay. " Orchid 
is such a lovely color!" 

So there were curtains of orchid and perhaps a scarf to 
cover the plank over which two round young faces patted on 
greasepaint and powder. And there was an orchid blotter 
which Colleen bought and some orchid writing paper which 
Mildred contributed. 

And the dreams flourished. 

Bobby Harron — Bobby who is gone now — was a t Fine Arts. 
Colleen's first picture was with him. Thev called it "The 
Bad Boy." 

Colleen was the city vampire. 
Mildred Harris the country girl. The 
next picture they reversed roles and 
Colleen was the country girl. She 
was called upon to wear high- 
heeled shoes. Colleen had never 
worn them before. She swayed 
back and forth on the heels 
with the teeter-totter motion 
of a lady of Pekin with bound 
feet. The distance shots of 
wavering Colleen were elimi- 
nated. Only her close-ups 
when she had stood 
firmly on two stockinged 
feet were used. 

And the dressing room 
heard the story, too. 

Such a joy — that little 
dressing room. Such a 



As a star Colleen has 
had all sorts of roles, 
ranging from the giddy 
flapper of "Flaming 
Youth' ' to Selina of the 
hungry heart in "So 
Big." Now she's the 
comic strip heroine, 
Ella Cinders 






Colleen Moore played a little city vampire in 
her very first picture. It was "The Bad Boy" 
and ill-fated Bobbie Harron was featured. 
Colleen very proudly wore high heel slippers 
for the first time 



shrine for hopes and sorrows. But poor little dressing 
room and poor little Colleen! The Fine Arts Studio had 
a financial reverse. Blue letters — stacks of them — 
were passed out. Colleen received one, too, telling her 
that her services were no longer required, but ending in 
a line that sent Colleen into a rhapsody of delight. At 
last her talent had been recognized. 

Hadn't she a letter to prove it? The line in the letter 
read "... although fully appreciating the artistic 
ability you have displayed in your work in our 
companies." 

"... artistic ability!" She was an actress. 
She had artistic ability. It said so. Glory be for 
those dauntless Celtic spirits! 

"Silly! You're fired! , Fired! Don't you know 
what that means? " laughed a woman. 

Yes, but discharged with "artistic ability" — 
that's different, thought Colleen. And the little 
dressing room was left to its bleak greyness. The 
dreams that had hung it in glory were removed 
with the orchid blotter. Only ghostly wisps of 
hopes remained, as they do in rooms that have 
been lived in. 

But the dreams that Colleen had woven were 
not to be laid away with the blotter. Or thrown 
out when it became too inky for future use. They 
were forever before her like an inspiring vision. 
Like a mirage that stretched ahead of her. Only 
unlike a mirage, the nearer she walked to them, 
the more permanent they grew. And the more 
beautiful. 

Nine years it took. Nine years to have those 
dreams come true. And they came true, too. 
Not in the spectacular way she had visualized 
them, perhaps, but in a finer way. 

Stardom. Fame. [ continued on page 134 ] 



Colleen has returned to her old dressing 
room at the Fine Arts Studio. Then it was 
homely and barren. Now it has been redone, 
as befits a popular star. It has become even 
more than Colleen wished for in those 
lean days of nine years ago 

31 




"pRANK CURRIER, the greatest film father, caught napping, dreaming of his children among 
■*- the stars. For fifty years he's been fathering on stage and screen, from Julia Marlowe and 
Maude Adams of the theater to the newest film darling of Hollywood. Sweetness for daughters 
he says, sincerity for sons, these are the great requirements. He loves them all, but deep in his heart 
Norma Talmadge and May Allison lead all the rest 



The Daddy of 



By Ivan St Johns 



Them All 



FRANK CURRIER has played father to more stars than 
any other man in the motion picture industry. 
His favorite screen children are Norma Talmadge and 
May Allison, John Gilbert and Richard Dix. 

He has just celebrated his fiftieth anniversary as a character 
actor and he is drawing more salary today then he ever even 
dreamed of when he was a successful Broadway stage actor in 
his prime. In fact, his salary is now much greater than was that 
of any star he supported in his best days on the stage. 

He coached Julia Marlowe for her first appearance behind 
the footlights. 

And at the risk of seeming sentimental, I must say that he is 
exactly the kind of a genial, humorous, and wise old gentleman 
you'd select for a father yourself. 

I found him occupying a chair on Hollywood Boulevard — 
one story up, 'tis true, in the big living room that runs across 
the front of his flat — watching all Hollywood drift by. 

And there was a philosophical twinkle in his clear eye. 

"H — mm, yes," he said, "I'm a well- 
seasoned father. I played Maurice Cos- 
tello's father when he was the highest 
paid and most popular actor on the 
screen, and I've just finished playing 
Ramon Novarro's foster father in 'Ben 
Hur.' Quite a stretch between the two. 
Both nice boys, they are, and the kind of 
actors it's a pleasure to work with." 

He paused, and his mind went back, 
searching among his memories, for this 
and that. Fifty years is quite a while 
to remember, and every now and then 
he had to call into the kitchen, " Mother, 
what was the name of that picture I was 
in with Harold Lockwood?" or, "Who 
was that cute little girl I played with in 
1913 — with the dimples — was it Lillian 
Walker?" 

And Mother would call back the in- 
formation in an indulgent voice. 

'A/fY favorite screen daughters are 

1 VI Norma Talmadge and May Alli- 
son," he said, when I had asked him that 
question, but he said it after deep med- 
itation, and some hesitancy. 

"It's hard to choose," he said, with a 
smile. "You've no idea how nice they 
all are — nice girls, in the pictures. 
Thoughtful, mostly. And so gay and 
pleasant. When you get as old as I am, 
you'll find that a pleasant disposition in 
a woman is very important." 

He paused and consideied a minute, 
puffing meditative clouds from his pipe. 

"Of course, I love Norma Talmadge 
for herself. But I think the reason she 
is one of my two favorite daughters is 
because she is such a great actress — a 



Frank Currier bridging a genera- 
tion, his right arm about Maurice 
Costello's shoulders, his left 
about Maurice's little girl, Dolores. 
Currier has playedMaurice'sf ather. 
Now his greatest ambition is to 
play father to Dolores 



truly great actress. Being an old stage actor myself, born and 
brought up with the stage and having studied it always and 
taken pride in my own work and anybody else's that I thought 
put their heart into it, that means a lot to me. 

"Norma Talmadge is the Bernhardt of the screen. Why, you 
can't help but act with Norma. It's always give and take. 
Most actresses are a lot more interested in the take than the 
give, but not Norma Talmadge. You just can't help but act 
your best, she gives so much. Her work is so real, so inspired, 
that it makes an old-timer like me buck right up and do his 
darnedest. I've played on the stage with some of the great ones, 
like Margaret Anglin, Julia Marlowe and Emily Stevens, but 
I've never played with anyone that gave as much as Norma. 
And I've been being a father to that girl since she was getting 
five dollars a day back in the old Vitagraph." 

Well, all that made me feel warm toward Frank Currier. He 
was so earnest, and generous, and enthusiastic about it. He 
literally lived the character he plays. [ continued on page 134 ] 









Here's the accurate reproduction of the Tripolitan 

fort which guarded the entrance to the Bay of 

Tripoli in 1804. Cruze had real guns embedded in 

the cement of this huge set 




A Grille 

for the 

Constitution 



Having shown the land 
history of our country 
in "The Covered Wagon," 
James Cruz,e is now busy 
recreating the early glory 
of the United States 
on the seas 



IT took more than two months of Herculean work to be 
ready to film the preliminary scenes of "Old Ironsides." 
On Catalina Island a 60 foot sea wall, 300 feet long, and a 
huge fort were erected. 

"Old Ironsides," an exact rep'.ica of the U. S.S. Constitution, 
that heroic frigate that sired the American Navy and in 1804 
swept the pirates of Tripoli from the seas, was brought to the 
location. 

Aboard her were 500 actors, as midshipmen, marines, gun- 
ners, powder monkeys. High in her rigging half a hundred 
sailors worked the canvas. From four concealed points on the 
ship, the cameras ground on the scenes. Canvas was hastily 
shaken out, gun ports opened, sea walls and forts became 
black with men, and suddenly on bits of celluloid a picture of 
early America came to life. 




In the foreground is the "Old Ironsides" camera 
barge. You see it close-up in the picture at the 
right. The frigate Constitution is in the center and 
behind it is the Tripolitan fort 

3h 




1 1 i l m\iii\iiiili\^v\ 



The replica of "Old Ironsides" herself, 
the U. S. Constitution, that sired our 
navy and drove the pirates of Tripoli 
from the seas. The ship here passes 
through Los Angeles harbor 



This is no piano, but it played a tune of death — 

movie death. This keyboard controlled the firing 

of seventy cannon. Electrically operated, it could 

fire a gun from any part of the ship 




, u v ^ 








1 




< 


ig 


* 












Above you see the strong arm squad that kept a 
watchful eye on Camp Cruze. At left, the big bosses. 
In the center is Lt. Commander T. G. Barrien, tech- 
nical advisor on the battle scenes. At the right, 
Cruze, himself 

35 




holesale 

By 
Catherine Brody 



THE first article on "Wholesale Murder and 
Suicide," published in the July issue of 
Photoplay, created a sensation. Thousands of 
readers commented on Photoplays fearlessness 
in exposing, scientifically and thoroughly, the 
dangers to feminine health attendant on reck- 
less reducing methods. To describe this new 
fad, Photoplay coined the word reduceomania. 
To back up its fight to protect the health of the 
womanhood of the nation, Photoplay refuses to 
admit to its advertising columns any internal 
reducing preparations or questionable methods 
of removing fat. 



T AST month I told you of the dangerous drugs and se- 
■L^rums that lurk in the seores of "get-slim-quick" nos- 
trums that now flood the market. I explained to you how 
women are courting tuberculosis, grave stomach disorders, 
Bright's disease, glandular ailments, disastrous nervous 
troubles and even death when, like Alice in Wonderland, 
they are gullible enough to swallow anything marked "Eat 
Me" in the hopes of getting thin. 

Murder and Suicide are strong words. Nevertheless, 
some of the anti-fat remedies containing thyroid extract 
are murderous in their consequences. And any woman, 
knowing the fatal consequences of heedless reducing, is 
killing herself slowly and surely when slw takes thyroid 
preparations or capsules containing tape-worms in an 
effort to get thin. And I might add Highway Robbery to 
Murder and Suicide, because the remedies that are not 
harmful are absolutely worthless and the ingredients they 
contain, costing only a few cents, are marketed at a high 
price. 

Why do women do it? Why, by starving and drugging, 
do they endanger their health and their lives? 

And the answer is, to satisfy their vanity. In other 
words, they are sacrificing their health for beauty. And 
this beauty of form, this so-called perfect flapper figure, is 
only a passing fad, only a fashion of the moment. 

NO one except a doctor can tell a woman 
how much to reduce. No one, doctor or 
artist or physical culturist, can tell a 
woman what the ideal feminine figure is. 
No one knows accurately how much a woman 
of twenty or thirty or forty should weigh in pro- 
portion to her height. No one knows how much 
she should lose. No one knows how much she 
should gain. 

These statements are truth and all others are quackery. 
The answers to questions on weight all depend upon the 
individual, just as the ideal of perfect feminine form depends 
upon the individual's idea of beauty. 

They sound very pretty, the statements that claim that by 
swallowing a few pills, abstaining from sweets and fiddling 




The figure they 
laced and padded 
to achieve. Paul- 
ine Markham, of 
' 'The Black Crook' ' 



The figure they diet, exercise and drug to 

obtain — the girlish and charming slim- 

ness of Esther Ralston 



around with a bit of exercise, any woman, particularly the one 
who hopefully calls herself a stylish stout, mav gain an ideal 
figure. 

The truth is that there is no ideal figure. There are onlv 
stylish figures, the human body attempting every few years to 
follow new fashions. 

Thus the tragedy of reduceomania that is sweeping this 



■BBHBBBBBHBHSHHI 



Murder and Suicide 

Reduceomania seeks the ideal figure 
at the expense of Health and even 

of Life itself 





T TERE are the wise rules for women's weight. 

*• *• Before thirty, be overweight rather than underweight. 

After thirty, be underweight rather than overweight. 

Before thirty, thinness means susceptibility to tuberculo- 
sis and diseases of the lungs. Therefore, keep your weight up. 

After thirty, obesity means a tendency toward diseases of 
the heart and kidneys. Therefore, keep your weight down. 

After thirty, slenderness means a longer life. 

Remember, people do not naturally get heavier as they 
grow older. It is the easier, more sedentary life they live, 
not nature, that produces this result. 

Finally, remember also, that no woman should start vig- 
orous reducing except with her physician's consent. 



The perfect flapper figure — no curves, no 

contours. Dorothy Mackaill's contract 

forbids her to weigh over 130 pounds 



The ideal chorus 
girl of a generation 
ago — Gracie Wil- 
son, popular 
"hour-glass" shape 



country. Thus the tragedy that Photoplay is trying to stop 
and for which it assembled its great survey of the evil of 
reduceomania last month. 

But there is reduceosanity. There are honest methods by 
which the too fat women may cure obesity. Dr. Kebler, head of 
the Bureau of Collaborative Research of the Department of 
Agriculture, estimates that one out of every five persons in this 



country is overweight. In women's gowns SO, 52 
and 54 inch bust measurements are not uncom- 
mon today. 

This is overweight and such overweight should 
be eliminated, but it may not be wisely done away 
with by listening to a lot of blather about the 
"ideal" figure and consuming thyroid mean- 
while. 

At the largest Y.W.C.A. in New York City 
there is a class in weight reduction. A trained 
physician and physical instructor is at the head of 
it. Every woman entered into the class has been 
carefully examined. She has been weighed, 
charted, her heart listened to, in many cases her 
rate of basal metabolism recorded. No woman 
not in sound physical condition, except for her 
fat, may enter. 

In this class a few weeks ago the instructor 
offered a prize for the woman losing the most 
weight in two weeks' time. A leading employee 
of the organization sought out the instructor. " I 
want to come into that class and compete for that 
prize," she said. "I'd like to lose about ten 
pounds right away." 

"But I won't let you," said the instructor. 
"At your age, you have no right to lose weight 
rapidly." 

Here is honesty as contrasted to the suave 
quack who deals out reducing formulas. He 
glibly tells women they should lose ten to twenty 
pounds; that the ideal figure demands they have 
a twenty-five inch waist. Women, tired of being 
overweight or with a foolish desire to look sixteen 
once more, accept such bunk for scientific reason- 
ing. Too frequently the drugs work. The woman loses weight 
far beyond what she can afford, considering her age and her 
bony structure. 

First, the way your skeleton is put together; second, your 
age; third, your muscular structure; finally, your racial hered- 
ity — all these govern what you should weigh and what you 
should eat. When diet dupes talk of the ideal feminine 

37 



f3 € 




' I 'HE figure of today is not the figure of yesterday and 
■*■ probably not the figure of tomorrow. Health you should 
have with you always, and good health is more important to 
any woman than the way she wears the latest model of the 
dressmaker. 

Therefore, don't reduce blindly, trying to make yourself 
into a "boyish" form. There are three general physical types, 
and you may take your weight off to the point of death and 
yet not be able to change the general lines of your basic 
skeleton. Find out which type you are before you begin 
madly taking poisonous nostrums. You will find your type 
in this article. 



The ideal movie figure is 
Norma Shearer's. Norma 
does not have to diet par- 
ticularly, as she keeps 
herself in trim by swim- 
ming, tennis, golf and 
hard work 



measurements, they haven't, any more than you have, any true idea 
of what they're talking about. 

There is, actually, no real standard of the ideal feminine figure, no 
set of weights and measures that all women should strive toward^ no 
one figure except Venus de Milo, to whom we shall come presently, 
that stands out beyond all others. 

There is no chart existent that tells exactly what a woman should 
weigh at sixteen or fifty. There can never be statistics on these sub- 
jects, for the reason that every human being differs from every other 
human being. 

That is all there is to it. Someone might just as well start a 
beauty parlor specializing in designs for finger prints as gymnasiums 
for standardized figures. 

But styles in figures! That's something 
else again. At the moment, any woman 
may pick out one of four types and be in 
perfect form. 

Now, for that ancient and honorable 
stand-by, Venus de Milo. You must have 
had the measurements of Venus quoted to 
you hundreds of times. The armless lady 
of Melos has looked down at children from 
the classrooms of this country for decades 
and become, for [ continued on page 105 ] 



Dorothy Knapp's meas- 
urements are in almost 
as perfect proportion as 
those of the Venus de 
Milo. Yet this beautiful 
girl is too big and heavy 
to be a movie star 



Pauline Hall's 
legs were consid- 
ered beautiful, 
but look at her 
chest ! 



3S 



This is the first of SIX. Don't miss ANY of them 





Illustrated by 

J. J. Gould 



urry 

By 
Octavus Roy Cohen 

Professional jealousy stal\s 

dar\ly through the Midnight 

Pictures Corporation 



"Now I asts you," demanded Welford Potts, "why couldn't 

Opus of been given the part where he gits th'owed in the 

lake?" 



MR. WELFORD POTTS stared through the window 
of his dressing room. His day's work had just been 
completed and the habiliments of slapstick comedy 
still decorated his slender form — but there was noth- 
ing of humor on the countenance which he turned toward his 
friend, Florian Slappey. 

"C'mere! - ' he ordered. 

Florian sighed as he disengaged himself from an easy chair 
and joined his actor friend at the window. Mr. Potts desig- 
nated the great outdoors with a sweeping and disgusted 
gesture. 

"Look!" said he. 

Mr. Slappey looked. His gaze embraced a scene of feverish 
but ordered activity: Directors J. Caesar Clump and Edwin 
Boscoe Fizz supervising last minute shots; carpenters and 
mechanics scurrying hither and thither; a few actors in costume 
lounging on the tiny plot of grass in the center of the lot . . . 
it was, to Mr. Slappey 's way of thinking, a very humdrum 
scene, identical in almost every detail with the view one might 
obtain from this same window any evening. It indicated that 
the Midnight Pictures Corporation, Inc. was doing business 
without any diminution of enthusiasm or efficiency and in all 
the hustle and bustle Florian failed to discover a valid reason 
for the gloom which was plainly reflected on the face of his 
friend. 



"Lawsey" snapped Opus, 
"I caint drive no mules 
in no chariot race" 

"Caint don't mean 
nothin to me" replied 
the director. "Tomorrow 
you does so" 



"You see?" questioned Welford 
Potts irritably. 

"Guess so," retorted Florian 
vaguely. "It suttinly is a good- 
lookin' sight." 

"Pff! Ree-kon you aint lookin' at 
what lis." 

" Guess not. Judgin' fum yo' 
face, I'd say you was gazin' right 
square into the eyes of misery." 

"That's the one thing I aint doin' 
nothin' else but. Look yonder." 

"Where?" 

"Over by President Latimer's 
office. " 

Florian's eyes quested in the desig- 
nated direction, and they came to 
rest upon a pair of gentlemen of colos- 
sal displacement. They were leaning 
shoulder to shoulder against the door 
frame and both were puffing con- 
tentedly upon large, black invin- 
cibles. 

One of them was Orifice R. Lati- 
mer, president of Midnight. The 
other was Opus Randall, who, with 
Welford Potts, shared male stellar 
honors on the Midnight program. It 
was obvious, even to the casual ob- 
server, that they were on terms of 
excessive intimacy — even, perhaps, 
of affection. Each smiled when the 
other spoke; they were in obvious 
and somewhat cloying harmony. 

"An' only a month ago," grated 
Welford Potts bitterly, "they was 
ready to kill each other." 

Mr. Slappey grinned. "Boy! you 
surely said it. But now that they has 
settled everything, they is bofe 
happy thinkin' each one put somethin' over on the other." 

" Uh-huh. An' tha's what's gittin' me sore. Because neither 
one put nothin' over on the other an' bofe two of 'em put some- 
thing over on me." 

"On you?" Florian's eyebrows went up. "I didn't know 
you was mixed up in their li'l qua'l." 

"I wasn't. But I am now." 

"Shuh! Foolishment what you utters with yo' mouf!" 

" 'Taint no foolishment. It's good hahd common sense. 
'Cause why? Ast me that." 

" All right — you is ast." 

"It's this way — " Welford walked to his dressing table and 
took a perfumed cigarette. " — -Them two fellers is the wust kind 
of buddies. Ever since they settled their li'l fight, there aint 
nothin' too good fo' Latimer to do fo' Opus. An' what's the 
result: I request you, Florian — what is the result?" 

Mr. Slappey shook his head vaguely. "You win, Welford. 
What is it?" 

"I'se gittin' it in the neck, tha's what. Cullud boy! I is 
becomin' completely bumfuzzled. Fust of all there was that 
swell pitcher they is just finishin' up; I guess I should of been 
the star in that, shoul'n't I? Shuah I should. But was I? I 
was not! Opus Randall stars in it. But that aint the wust of 
it. Today they went an' cast that chariot race pitcher we is 

Ifi 




gwine make — an' Orifice Latimer goes an' gives Opus the best 
part." 

"Aw no?" 

" Aw yes. Two chariots is gwine race, an' one of 'em is gwine 
win. Opus Randall gits the winnin' part. Fum the time that 
he comes in wictorious, I drops right plumb out of that pitcher 
eseptin' where somebody takes a crack at me an' th'ows me into 
the lake. Now I asts you, Florian — why coul'n't Opus of been 
givem the part where he gits th'owed in the lake?" 

Mr. Slappey agreed that this indicated a decidedly inequit- 
able distribution of presidential favors. "It's tough, Welford." 

"Man! it's impossible. An' not on'y that, but Orifice Lati- 
mer is gwine play that pitcher his ownse'f." 

"Orifice? Act?" 

"Uh-huh. They got to have a big fat Roman emp'rer an' 
he's gwine be it. Got to give a wreath to the winnin' jockey in 
the chariot race — an' I guess he coul'n't Stan' the idea of 
somebody else doin' such a sweet thing fo' Opus. Dawggone 
his hide! An' me? Where does I come in at? Right out in the 
lake fo' mine! Now I ast you, aint that somethin' fierce?" 

" Terrible," agreed Florian. "But what can you do about it? " 

"Nothin'!" snapped the irate actor. "Not a toot-blamed 
thing. Th's what gits me sore. With them two fellers lovin' 
each other like they is ... it makes me plumb seasick." 




Florian was exquisitely sympathetic. He could understand 
the righteous anger of little Welford Potts; after all the name 
of Potts was worth as many dollars to Midnight as the cogno- 
men of Opus Randall. And there wasn't a doubt that in recent 
weeks Latimer had passed on to the larger actor more than a 
moiety of the good things. 

Mr. Potts was excessively bitter and Florian could not blame 
him. Of course Welford's name would be featured equally with 
Randall's — but that was small help when the picture was de- 
signed to exploit the noble misadventures of the larger man at 
the expense of the little one. It was a situation which was cal- 
culated to injure the popularity of Mr. Potts and add consider- 
ably to Opus's glories. 

Welford gloomed around the lot for several days, then carried 
his troubles to J. Caesar Clump, who was to direct the great 
comedy spectacle, "The Roman Umpire." J. Caesar made it 
quite plain that he had no intention of involving himself in any 
internal political war. " My job is to direct pitchers, Welford, 
an' 'The Roman Umpire' is gwine be a wow." 

" Aint it the truth? But I'se the feller which gits wowed." 

There was one fact which impressed itself upon the agitated 
brain of Mr. Potts: he was convinced that the amity existing 
between Opus Randall and the president was almost too great 
to be entirely sincere. A month ago the pendulum had started 



swinging, causing a near-disruption of Midnight with Opus and 
Orifice pitted against one another. Now the return trip found 
them unduly affectionate. And Welford thought bitterly that 
if only something or somebody could promise that the pendulum 
would continue to swing — "Oh boy! If them folks was only 
to get sore at each other!" 

He consulted with his friend, Florian. Mr. Slappey was 
furious with Opus. 

"How uppity that cullud man is gittin'. Down at the dance 
of The Sons & Daughters of I Will Arise las' night he ritzed me 
all over the place." 

"Shuh! You caint trust nobody like Opus. Nor neither 
Orifice Latimer." Welford eyed the other speculatively. "You 
reckon they really is good friends?" 

"No! 'Taint noways nachel that two fellers which was 
fightin' so recent could be as happy as they is." 

" Then how come them to show so much intimacy?" demanded 
Welford. 

"Politics!" hissed Florian. "All two bofeof 'em is playin'it." 

"Hmm!" Mr. Potts was in the process of having an idea. 
"An' s'pose they wasn't so frien'lv? " 

"Huh?" 

"S'pose they should change aroun' an' get to be unlovin' 
again?" [ continued on page 92] 



CLOSE-UPS and B y Herb « tH ™ 

Long-Shots 



Satire, Humor and 
Some Sense 



Herb says all Hollywood has 
been rushing royalty lately 



NoU ilSJEN. 6AGY — you GoT 

rJo call To get temp'a mental. 

A Pr?/NCE AN' P(?//SCeSS I? A- 
BETTEf? HAND THAN TWR.EE 

DOOK5 /*VK 
DAY' 




Beverly Hills. Calif. 

EVER since Doug and Mary lowered the drawbridge of 
Pickfair to the Duke d'Alba and Lord and Lady Mont- 
batten all Hollywood has been rushing royalty. The 
social columns teem with notices of entertainments for 
such guests as " Beatrice Lillie (Lady Peel) and Peggy Joyce 
(Countess Morner)." It's not what you are that counts in 
Hollywood, but what you are in parenthesis. 

Recently the Princess Beatriz y Braganza arrived in our 
midst. At least she said she was a princess. And she looked 
like one — she had projecting teeth. 

Imagine our discomfiture, then, when we learned that she was 
Miss Otero from O'Farrell street, San Francisco, and a darned 
good little stenographer. 

She wanted to break into pictures and thought a title was 
necessary in view of the royal competition set up by Countess 
Dombska, Countess Morner, the Marquise de la Falaise, and 
the Queen of Roumania who writes scenarios for M-G-M. 

TJAVING closed my fashionable town house for the sea- 
son and sent the kiddies off to the mountains to play 
with wild boar I decided to spend the summer on Marion 
Davies' set, that being the most popular California resort. 

Marion has just opened her new dressing bungalow on the 
Metro-Goldwyn-Mayer lot. It's a cozy Spanish cottage 
about the size of the Alhambra (multiply your town hall by 
six and you'll get an idea of the size). There's a high wall 
around it which must be designed to keep people in rather 
than out since Marion has invited everybody to make it 
headquarters. There's a huge living room and, what is more 
important, a very fine dining room where you meet all the 
best people, such as writers. 

THE day I moved in Marion was starting work on "The Red 
Mill," and we were all there to give the little girl a hand and 

h2 



wish her bon voyage. In 
honor of the occasion Lew 
Cody appeared in a red 
necktie which he had been 
saving up for his fire brigade 
picture. Elinor Glvn came 
for lunch and did very well 
in competition with Harry 
D'Arrast and me. Bill 
Haines paid his respects. 
Jack Gilbert, pantalooned 
as Bardelys the Magnifi- 
cent, kissed Marion's hand, 
and Ramon Novarro ar- 
rived to see her do her first 
scene. 

Just by way of showing 
me she was in form Marion 
laughed and cried simul- 
taneously in the first scene 
and a rainbow came out, 
which I suggested they 
photograph in technicolor. 
This being a good sugges- 
tion they did not follow it. 

AFTER Marion had 
cried for about twenty 
minutes she looked at her 
director, Roscoe Arbuckle 
(it takes great acting to 
look at Roscoe and weep, 
and Marion was weeping), 
and remarked rather point- 
edly that she thought he was a comedy director. 

All Marion has to do to cry is to put her hand to her eyes for 
three seconds. The rest is deluge. Being a skeptic by experi- 
ence I edged around to see if she was palming an onion. Mais 
Hon, she wept just as heartily as though she were getting Lillian 
Gish's salary, and she says she doesn't by any means, which 
may be the reason she cries. 

f"\NE of Marion's retinue told me that the best way to up- 
^*^set her is to talk of capital punishment. 

"Why, is she afraid of being hanged?" I asked. 

"No," said the friend. "But her hobby is the abolition of 
capital punishment." 

And that's a fact, as Norma Talmadge may testify. Norma 
played a mean one on Marion by inviting her to lunch at the 
Colony Club in New York, announcing she had a hundred 
dollars to squander on viands. Marion came hungry and 
happy. Norma then began to relate the details of a lovely 
hanging she had read about. When she had finished she said, 
"What will you have for lunch, Marion dear?" 

"A cup of tea, you darling," snapped Marion. 

MARION states her case against capital punishment in 
succinct Irish, "You can't save people by hanging them." 

Novarro says she is an idealist, but this she hotly denies, ask- 
ing how could she be an idealist and have freckles. 

Freckles or no, a California realtor tells me he just sold her 
five acres for an orphanage building which she is erecting for 
the children of world war veterans. 

I could tell a lot more but I've said it all when I announce that 
s-he has invited me to spend the summer at her studio hospice, 
thus proving fresh air and free food for one hopeless little shut-in. 

HAVING started "The Red Mill" grinding I rushed off to 
New York to see a few shows. [ continued on page 129 ] 




hat Price Tonsillitis? 



Story of a Naughty 
Cinderella who told 
a great big fib about 
being a Princess 



SHE had forty-five dollars in savings and a two weeks' 
vacation. She was all dressed up and no place to go. And 
she loved the movies, not wisely, but too well. 
Out of her fifteen dollar a week salary, Beatrice Otero 
had saved the fatal forty-five big silver boys to have her tonsils 
removed. But on the eve of the long-awaited vacation, Bea- 
trice had more glamorous plans than spending her precious time 
in a hospital with ice bags on her throat. 

San Francisco, where Beatrice works as a typist, is not so far 
from Hollywood. Anything can happen in Hollywood. And 
almost everything does. As witness the unprecedented ad- 
ventures of Beatrice. 

Although only a fifteen dollar a week typist, Beatrice was 
endowed with a million dollar imagination. Moreover, un- 
doubtedly the girl had been reading the newspapers to excess. 
And she had noticed, in her study of social conditions in the 
movie world, that almost anyone with a title or a connection 
with the nobility can ease into the very loftiest ranks of film 
society. 

If you have a title, you don't need money, you don't need 
brains, you don't need good looks. And it isn't really necessary 
for you to have good manners. 

So reasoned Beatrice, as she considered the list of titled 
" dead heads " who have visited the movie stars and enjoyed the 
hospitality of their magnificent homes without even so much as 
paying room rent, helping with the dishes or offering to cut the 
grass. 



As a Princess, 
the Morenos 
feted Beatrice. 
As a friendless 
pretender, they 
helped her 





Let us fade out on Beatrice as she puts the cover over her 
typewriter and cut quickly to the Princess Beatriz de Ortega y 
Braganza of Alhambre Grande, Spain, as she sits in her suite at 
the Biltmore Hotel and reluctantly admits that she is a cousin 
of King Alphonso of Spain out to pay a call on the dear, quaint 
movie people. 

Did they fall? They did. Nine studio press agents were 
trampled in the rush to get to the suite of the Princess. Beatrice 
Otero, the working girl, might have waited at studio gates until 



Beatrice Otero, San Francisco stenog- 
rapher, saved up forty-five dollars to 
have her tonsils removed. Instead she 
went to Hollywood and posed as King 
Alphonso's cousin 



the Pacific Ocean turned into beer 
before being allowed to enter. The 
Princess Beatriz de Ortega y Bra- 
ganza was implored to grace the 
plebeian shooting galleries with her 
royal presence. 

Ramon Novarro received a rush 
call to go to the studio and meet the 
Princess. He did, but he wasn't im- 
pressed. However, he said he thought 
she was a real Princess because she 
had homely teeth. When overtures 
were made to Ramon to date up the 
Princess for a luncheon, Ramon de- 
murred. Ramon either likes 'em or 
he doesn't like 'em, regardless of rank 
or other trimmings. 

However, for the honor of Spain, 
and for the sake of that dear King Alphonso, Mr. and Mrs. 
Antonio Moreno decided to dust off the gold dinner service and 
do the thing up right. After all, Antonio is Spanish and blood is 
thicker than water or what have you? And Hollywood hadn't 
had a real good, long look at nobility since the departure of the 
adorable Princess Bibesco, who virtually made Pickfair her 
ancestral mansion. 

Surest thing you know, the Princess would gladly come to 
dinner and meet a group of the [ continued on page 130] 

;-; 




Donald Ogden 
Stewart's GUIDE to 



D 




Synopsis of preceding chapter: 

OHN GILBERT, a plumber's assistant, wants to go to Holly- 
wood to become a moving picture actor, but can't go because he 
only has $61.33, and the fare is $73.45. So he robs the First National 
Bank (formerly the Second National Bank) and meets several interesting 
people who later on turn out to be Lon Chaney. On the train to Holly- 
wood he falls in love with Dodo (" Fifi ") KIrick, the engineer's daughter 
and a personal friend of Will Hays, and they plan to elope and attend 
the next Paramount Picture School, but the train is wrecked and John 
and Dodo are killed, so we have to start another story. 

Lew Cody, a good enough looking fellow, wants to go to Hollywood 
to become a moving picture actor, but at that time there were no mov- 
ing pictures and people got most of their amusement out of stereopti- 
cons and old copies of "Puck." The "Maine" is suddenly blown up in 
Santiago Harbor and war is declared. Lew enlists, becomes a Rough 
Rider and adopts the name of "Theodore Roosevelt." Lincoln is shot 
and the war comes to an unexpected end. 

So far so good: 

On the way home Lew (now a full colonel) meets Gladys and marries 
her and they live happily ever after. 

Ten years elapse. Lew and Gladys are now divorced and Lew re- 



erfect 



The second installment of 
this blood' curdling serial 



members his old ambition to be a moving picture actor. He runs into 
Norman Kerry, who is still in uniform, and they decide to have a drink. 
Over the walnuts and wine it comes out that Kerry has in his left hand 
pocket a flask and a copy of the New York Times of August 11, 1902, 
in which it says that moving pictures have just been invented by a man 
named Cecil B. De Mille, so the two young men decide to come to Holly- 
wood and try " Pot luck." They match and Norman gets the lower and 
Lew sleeps in the upper, although he is three years Norman's "Senior," 
and a member of the Authors' League of America. 

As the train is pulling into Kansas City, the engineer gets sore at 
something he had read about Congress the night before and he puts on 
the brakes so suddenly that the passengers are all shaken up and some 
don't know who is who until they get to Albuquerque and the Grand 
Canyon. Lew is awakened and can't get to sleep again, so he starts to 
read a copy of Photoplay, in which is an article by Donald Ogden 
Stewart entitled "Perfect Behavior in Hollywood." Lew reads the 
opening sentence of Chapter Two, entitled "How to Write Stories for 
Screen Production." and is soon fast asleep. 




Beh 



avior 



"Now," says Coolidge, after they have had 

another drink, "can you read the fourth line 

from the bottom?" 



in Hollywood 



CHAPTER TWO 
"How to Write Stories for Screen Production' 

STORIES for screen production are divided into " Orig- 
inals" and "Adaptations," the chief difference being that 
"Originals" are "Original" stories, whereas "Adapta- 
tions" are "Adapted." This nomenclature, however, is 
purely a Hollywood figure of speech and it will be found in 
reality that practically all "originals" are"adapted," — a sub- 
ject, however, which will be taken up later under the head of 
"Legal Advice." 

Originals are written on yellow paper with blue ink and the 
pages are numbered 1, 2, 3, 4, 5, 6, etc., depending on the num- 
ber of pages; that is, if there are twenty-four pages in your 
"Original" story, the last page would be numbered "24." This 



may be a little difficult for the novice to grasp at first, but with 
a little practice any bright young man or woman can soon learn 
to number pages very correctly and he then becomes what is 
known in Hollywood as a " Free Lance Screen Writer." 

Another requisite in writing an "Original," after getting the 
right colored ink and paper, is the selection of a name for your 
leading character. The name must be one which an audience 
can easily understand, such as "John" or "Arthur" (unless, 
of course, the leading character is a " lady ") and then after you 
have decided on a name, it will be necessary for you to get a 
"plot." Good plots can be secured at any of the leading book 
stores or theaters, but for the beginner it would perhaps be 
better at first if he made sure to completely change the plot 
which he wishes to employ. Thus, should you decide (as so 
many have) to use the plot of a [ continued on page 128] 

45 




The Lark of the Month 



PATSY RUTH MILLER went on location to Long Beach, 
California, recently, and while sunning herself on the beach— 
her identity concealed by smoked glasses and small hat — two 
"beach lizards" annoyed her with persistent attentions. 

A boy of the ultra-collegiate type— Oxford bags, striped sports 
coat, sleek pompadour — came to her rescue and offered to erase 
them from the map for her. Pat thanked him and declined. The 
annoyers disappeared, but not the collegiate youth, who sat 
nearby awaiting a chance to talk. 

Finally Pat and he engaged in conversation and he immediately 
talked of Hollywood and pictures. And Pat, in the security of 
glasses and hat, let him tell about how he "knew" Matt Moore, 
had lunched at an adjoining table at the Montmartre on the same 

46 



Saturday. He asked Pat if she were interested in motion pictures. 
She said, "Yes." Asked her if she wouldn't like to attend the local 
theater that night and see "The Hunchback of Notre Dame," in 
which she had the feminine lead. Said he knew Patsy Rufh Miller 
and that she was "hot stuff." 

Pat must have blushed at that, for the youth peered closer at 
her and said: 

"Say! You aren't with that troupe of motion picture people 
down here, are you?" 

And when she said, "Yes," and removed her glasses, the col- 
legiate kid, recognizing her, did a comic strip fall over the back of 
the bench. 

He attended "The Hunchback of Notre Dame" alone that night. 




1 J but 
*-^-*- not 

Brazen 



A good bad man, a 

cheerful villain, an 

agreeable friend — 

Bill Powell 

By Dorothy Spensley 



BILL POWELL is really not the 
kind of man to be written about. 
He is rather to be chatted about, 
informally, over the small cof- 
fees, with gray wisps of cigarette 
smoke hazing a low ceiling. Chatted 
about, understand — not talked about 
or gossiped over like the latest bit of 
scandal. 

To write about Bill would dispel 
all the debonair charm which is his. 
He would appear like a ready-made 
Oppenheim clubman, and his wit, 
which is fast becoming recognized in 
Hollywood as it was in New York, 
would be as flat as seltzer uncorked 
all night. 

The woman who had called herself 
ugly during the salad course, but 
whose strange gleaming red hair be- 
lied her statement, would probably 
remark during a lull in the conversa- 
tion: 




William Powell 
has a difficult role 
in "Beau Geste." 
It is that of Bal- 
d i n i , an oily, 
suave scoundrel. 
"A cheap fellow," 
says Bill 









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■ /4^P__aj|; 


s ■ 


Fffl 


r »*■ 










m M 


1 


^H^r ^p 


* 1 


mm «u £ j^k 




Wf - 




i Jk 









William Powell looks like a 
ready made Oppenheim club- 
man, but he was born in Pitts- 
burgh and educated in Kan- 
sas City. Such is the power 
of environment. His family 
wanted him to be a lawyer 
but he borrowed $700 from 
an aunt and came to New 
York to study for the stage 



"Oh. bv the way, do vou 
know William Powell?" That 
being his given name, with an 
"H" impaled between the 
William and the Powell. 

" Yes. And no end of a nice 
fellow," the tall, grey-haired 
man with the aquiline nose 
would volunteer. 

At which the host would say: 
"Intended to have him here 
tonight, but he left yesterday 
for New York. Going to make 
a picture." 

And the girl sitting silent in 
the shadow of the great fireplace would probably smile, 
slowly, and blow a perfect smoke ring to join those in the 
tobacco-clouded ceiling. 

But the ugly woman with shimmering flame hair will not 
allow the conversation to drift, as conversations do, and she 
would say: "Won't you please tell me about this William 
Powell? I'm interested." [ continued on page i:S I 



Bill can do a sodden 
scoundrel just as well as a 
polished seducer. Witness 
his work as the derelict in 
"Sea Horses" 



William Powell and Clara Bow in "The Runaway." 

Remember Bill in "Aloma of the South Seas," 

"Romola" and "When Knighthood was in Flower"? 

He is always a pleasant villain 



STUDIO NEWS 6? GOSSIP 




Reunited after five years — the original Sheik and his 
girl friend, Agnes Ayres. Agnes returned to the screen 
to enact again her original role of the kidnapped 
English gal for a brief flashback in Valentino's "The 
Son of the Sheik" 



Those clever Germans! They engaged Virginia Valli for 
a picture, but Virginia was too slim. So in the exploita- 
tion "stills" they retouched the photographs, with the 
result that the arms and shoulders you see here are not 
Virginia's at all! 



IS Joan Crawford really Mrs. Michael Cudahy? 
All Hollywood is speculating about this romance — the old, 
but always new, romance of a stage beaut)' and a millionaire's 
son. 

Young Cudahy is the grandson of Edward Cudahy, Chicago 
millionaire meat packer, and son of the late Jack Cudahy, 
famous spender and sportsman. He lives in Hollywood with 
his mother, Mrs. Jack Cudahy. And he is quite good-looking 
enough to turn any girl's head, even if he weren't heir to the 
Cudahy millions. 

JOAN CRAWFORD was a chorus girl queen when Harry Rapf 
saw her and brought her to Hollywood under a Metro- 
Goldwyn-Mayer contract. She and young Michael Cudahy 
are inseparable companions. They are champion Charleston 
dancers and win cups without any difficulty. 

When asked about the much rumored secret marriage, which 
is supposed to have taken place some time ago, Joan refused to 
admit it, but she said she loved young Cudahy, and that they 
intended some day to be married, in spite of any opposition. 
Cudahy is not yet of age. His mother denied all knowledge 
of either a marriage or an engagement, declaring that her son 
was still in school, where he had promised her to remain. 

'"VTOW that I've got a butler and my wife plays bridge," 
■*■ said Tom Mix the other evening, "I reckon I ought to 
have a family crest. And I'm going to have me one just as 
soon as I can find out the Latin for my motto — 'BE YOUR- 
SELF.' " 

GUESS where our wandering Nita Naldi is tonight? She is 
in Munich, Germany, where she has leased a house and 
where she makes pictures when she feels like it. Nita likes it in 
Germany where a girl can eat potatoes and still work in pic- 



lures. She say; 
readv. 



she won't come back until she gets good and 



IS there any hope of reconciliation?" asked the Judge. 
The courtroom was so silent that you could have heard an 
anvil fall. 

"No," answered Leatrice Joy, looking the Judge straight in 
the eye, "I don't love him any more." 

And with those terrible words, the romance of Jack Gilbert 
and Leatrice Joy ended in a divorce. 



HEN Frank Wilstach, the press agent, was on the 
Coast recently he dropped in to call upon Marie Pre- 



w 

vost. 

Marie asked Frank whaf had impressed him most about 
Los Angeles on his trip and Wilstach remarked upon the 
vast army of automobiles jamming the streets. 

"A whole lot of girls must be walking home every night," 
commented the press agent. 

"You don't know California girls," said Miss Prevost. 
"They all carry mad money with them." 

I. E. — Mad Money is coin to be expended when angry. 

ANOTHER tragedy of Success. Karl Dane was snatched 
out of the Nowhere into the Here for an important role 
in "The Big Parade." When Karl was a Nobody, the law 
courts of California heard none of his domestic troubles, if any. 

Karl made a hit, his salary went up and his troubles began. 
Mrs. Dane has brought the usual suit with the usual publicity 
that attends such ructions in film households. 

And when the limelight was turned on the obscure Mrs. 
Dane, Hollywood discovered that she was employed in a menial 
capacity in the home of Kathleen Clifford. 

How is that for a scenario? 



EAST AND WEST «rc/y«* 




Mrs. A. H. Van Buren and her daughter, Marjorie. Do 
you remember her as Dorothy Bernard, the popular 
movie beauty? Mrs. Van Buren is now the assistant 
editor of a large magazine and, as you can see, quite as 
charming as ever 



Not an eye bandage but spectacles. The glasses are 
made of bone, held in place by rawhide, with a narrow 
slit to see through. Invented by the Eskimos to pre- 
vent snow blindness, but used by Marceline Day to ward 
off Kleig eyes 



I SPENT a pleasant half-hour chatting with Mary Fuller, who 
is having a gorgeous time on her first visit to Hollywood. Of 
course you remember "Who Will Mary Marry?" and "What 
Happened to Mary?" and those other querying serials made 
ten years or so ago, with Mary Fuller as the heroine in question. 

And remember the "Mary Fuller" stamps and the " Mary 
Fuller" spoons and the advertisements of "Mary Fuller" cold 
tream, with the upper half of Mary's torso emerging from the 
cold cream bottle, and, of course, Mary's curl-framed face, 
smiling. The face is still smiling and the curls still frame it, 
only they are drawn into a dignified coil nowadays. 

Mary tells me she is having the time of her life basking in the 
sunshine of leisure and toying lazily with music and art. I rather 
imagine she will be back in pictures again if she listens to the 
siren voice of some of the producers. 

T"\EAR Pola and Rudy ! 

*** Between Pola and Rudy, and Connie Talmadge and 
her new husband, Hollywood is blooming with a new spring 
of romance. 

Pola and Rudy are really too cute about it. They insist 
on being put next to each other at dinner parties, and then 
they calmly ignore everybody else, and if my eyes don't de- 
ceive me, they hold hands under the tablecloth. At any rate 
Rudy is becoming really expert at eating with his left hand. 
And after dinner they retire to some secluded nook, or gar- 
den, or window seat, as though they were alone upon a 
desert isle. 

As a youth of my acquaintance put it, in the vernacular, 
"they sure have it bad." 

IT is only a shabby old barn but a gang of movers have been 
instructed to handle it carefully on its journey from the old 
Paramount Studio, on Vine Street, Hollywood, to the new plant 



of the company. While the rest of the old studio was demol- 
ished, the old barn was left untouched. And then, by special 
orders from Jesse Lasky, it was gently carted away to new sur- 
roundings. 

The old barn was the first home of the Lasky organization. 
Here, fourteen years ago, Lasky, Cecil B. De Mille, William de 
Mille and a few other pioneers had their offices. Here they first 
dreamed of great things; here they made the first plans to revo- 
lutionize the lowly movies. No wonder Lasky is a little super- 
stitious about the old barn! 

MAYBE New York has her all wrong, but anyway Renee 
Adoree's visit in the East merely left the studio with the 
impression that the French girl is inclined to don the high hat 
upon slight provocation. Upon departing for the Coast, Renee 
announced her engagement to Rudolph Friml, the composer, 
but even that doesn't account for her strange reluctance to be 
herself in New York. 

The only satisfactory explanation was offered by another 
star who said: "Maybe Renee didn't know how big 'The Big 
Parade' really was until she got to New York." 

Renee, you may remember, was divorced from Tom Moore. 
And Friml has walked to the altar three times, unless my 
memory fails. 

IT looks as though Hollywood might lose Ruth Roland in one 
of two ways. The first would be if she decides to accept an 
offer that has been proffered by an eastern legitimate stage 
producer, and the second — and infinitely more interesting to us, 
of course — is the rumor that she may marry Ben Bard, who has 
been doing some splendid screen work since leaving "Artists and 
Models," the stage show in which he starred, 

They both deny an engagement. "A marriage — yes!" said 
Ben, "but no engagement. We are moderns and don't believe 

i9 



^feg^ 

qB 



y 



• 




Just as clever as Tom Mix. See what the great open 
spaces did to Ronald Colman! Ronald threatens to go 
in for "westerns" with "Bozo, the King of Wild 
Donkeys," as his faithful little pardner, providing Bozo 
does not become temperamental 



in lengthy engagements." I suppose they will run away to 
Riverside one of these days and be married. 

ALICE CALHOUN must be a "modern," too. Anyway 
there was no announcement of her engagement to Mendel 
B. Silverberg, who is a Los Angeles attorney. Instead. Alice 
was married at her home before a few friends and the papers 
got the story next morning, after .Alice had become Mrs. 
Mendel B. 

ANOTHER quiet wedding of the month was that of Larry 
Wheat and Mary Carlisle. They were married at the 
Congregational Church in Hollywood, with Victor Heerman. the 
director, as best man, and Mr. Wheat's sister, Mrs. Robert 
Dillon, as matron of honor. 

IT may be that Lya de Putti is not destined to set fire to the 
Hudson River. The German "vamp," who became famous 
by jumping out of windows and creating a stir among suscep- 
tible males of Berlin, has completed her work in "The Sorrows 
of Satan," and very little is being said about rushing Lya into 
immediate stardom. 

All the boys who make it a point to rush the "vamps," 
courted Lya for a few weeks, looking for sophisticated and Con- 

50 








This is the way they travelled in France several cen- 
turies ago. The old coach is being drawn by motor 
with King Vidor, John Gilbert and Roy D'Arcy as its 
passengers. Watch for this one in "Bardelys the Mag- 
nificent" 



tinental atmosphere to put into their pictures. Then the 
furore died down and now they say that Lya may go home. 

■\X7HICH reminds me of a little comedy staged at a party 
in a star's New York apartment. Lya was the guest 
of honor and she was, as the saying goes, "doing her stuff." 
In fact, Lya was being as vampish as the law allows. 

An American actress — and nobody's fool — was watching 
the goings-on with interest and amusement. Lya noticed 
the strange look in her fellow worker's eye and conveyed 
this message by an interpreter: "I hope that the American 
lady, does not think I am behaving badly." 

To which the American lady replied: "Not at all. Tell 
Madame that I realize she must live down to her reputation." 

MRS. LIONEL BARRYMORE, who was that enchanting 
and clever stage actress, Irene Fenwick, says that she 
doesn't blame actors who forsake the speaking stage for the 
silver sheet, because the modern stage has become so disgust- 
ing and panders so to the vulgar tastes of the public. 

Mrs. Barrymore just returned from New York, to Holly- 
wood, where she and he r husband now have a beautiful home. 

"We love the theater," said Mrs. Barrymore, "but I can't 
see how anyone can blame actors or actresses who stick to the 
films when the stage demands that they lower themselves and 
do and say such coarse and common things. There is nothing 
like that in motion pictures. The present trend of the stage — 
and I say this after seeing the New York plays and in spite of 
the fact that I love the theater — is coarse in the extreme. That 
is not true of pictures. The trend is in exactly the opposite 
direction." 

IT took more than a new husband to keep Frank Borzage from 
having Alma Rubens in the cast of "The Pelican," which 
Frank is making for Fox, even if the husband was Ricardo 
Cortez. 

Alma and Ric had been married a very little time when 
Laskys sent Ric to New York to play in "The Sorrows of 
Satan," which left Alma quite alone and very disconsolate in 
their new house. Her mother was half-way around the globe on 
a tour of the world, you see, so Alma was very much alone. 

Alma, with total disregard of studio schedules, packed her 
traveling bag and hurried to keep Ric from getting homesick. 
Frank Borzage, in Hollywood, was ready to commence "The 
Pelican." Instead of singing "Alma, Where Do You Live?" 
Frank yodeled "Oh, Alma. Where Art Thou?" and getting a dis- 
tant response — "In New York" — he and Mrs. Borzage took a 




This is the way they travel in England today and this is 
how J. Stuart Blackton films a railway carriage scene 
for "The Passionate Quest." Willard Louis is the gen- 
tleman being photographed. The scene will fool you 
on the screen 



train to Gotham and brought Alma back to Hollywood and 
"The Pelican." 

The only people who are profiting by the separation are the 
telegraph and telephone companies. 

"DRIZE Press Agent Yarn of the Month: 
*■ "Heartbroken over the sudden death of a beloved pet 
dog, Rose Dione has closed her Hollywood home for the 
present and taken apartments at the Hollywood Plaza Hotel. 
At present, Rose Dione is playing in two picture productions 
at once. She is a member of the cast of the John Barrymore 
picture as well as the Constance Talmadge production." 

NOW I know why Ray McKee and his wife were so anxious 
to buy property and build in Westwood. And why they 
pestered the architect to make sure that the large room on the 
southwest corner be planned with exact care. Although per- 
haps the architect suspected it when he drew the plans. Archi- 
tects are pretty wise birds. 

Anyway, the room is to be used as a nursery, for Ray and his 
wife, who used to be Marguerite Courtot, are expecting a 
young McKee. As I told Ray, he is to be domesticated both at 
home and at the studio, for he is doing a series of comedies for 
Sennett called "The Smith Family." The series has nothing to 
do with cough drops, however. 

UPON his return to Hollywood after a prolonged Eastern 
trip. Jack Pickford confirmed the rumors of the separation 
between him and his wife, Marilyn Miller, the musical comedy 
star. And no one was greatly surprised because Mary's little 
brother has been living in California and Marilyn has been 
working in New York. 

It's a friendly separation, of course, but — . Well, for one 
thing, Marilyn sees a great deal of Ben Lyon. They are regular 
patrons of the night clubs of Broadway. 

Ben has been getting his name in the newspapers as the most 
expensive member of the Actors' Equity. It seems Ben owes 
the Equity S500 in dues and while less fortunate members of 
the profession pay up regularly and gladly, Ben drew the line at 
coughing up for his obligations. 

All of which didn't do him a bit of good as Ben earns a big 
salary and should know better. 

NOBODY can tell how or why or when fashions start. When 
Irene Castle cut her hair, the snip of the scissors was heard 
around the world. But if Eleanor Boardman is trying to start 




Just a couple of flappers. Blanche Sweet tried to put 
over something on Grandma Alexander by taking up 
ice-skating. Grandma bought herself a pair of skates, 
too, and now she's showing Blanche how they skated 
before indoor rinks 



a new fashion in dressing, I'm afraid she is fore-doomed to failure. 

A pretty girl, Miss Boardman has suddenly taken it into her 
head to see how plain she can make herself, rather after the 
custom of the Chinese women who shave their eyebrows and 
blacken their teeth at times. 

She wears her hair long and dresses it in a small knot at the 
back of her neck, in the manner long associated with school 
teachers and foreign missionaries. And she wears gowns so 
startlingly unbecoming that a whole dinner party will comment 
upon them in startled whispers — plain, tight bodices and very 
long skirts touching the floor, not with the charming bouffant 
effects, but just plain, long skirts. 

The colors are always drab, black or dull gray, or white, 
which a girl of Miss Boardman's medium coloring should never 
attempt at night. 

Certainly she attracts attention, and if that is the object of 
her very unusual style creations she is successful. But I, for 
one, have never liked to see a pretty woman make a freak of 
herself just to be different. 

T^LAINE HAMMERSTEIN was married recently to Wal- 
-*-"'ter Hays, a business man of Los Angeles. Mr. Hays 
fell in love with Elaine when he saw her in pictures and 
never quit until he persuaded Elaine to say "yes." 

[ CONTINUED ON PAGE IO9 ] 

51 




ashes 



Introducing one of the show girls of the movies — Gwen 
Lee — whose business it is to be beautiful. Like the other 

girls on these pages, 
Miss Lee makes her 
living playing roles 
that demand color, 
charm and person- 
ality. She may have 
nothing important 
to contribute to the 
Drama, but oh, what 
a gift to the eye! 




They are the 

show girls of 

the movies 



Hollywood's specialty dancer — 
Margaret Loomis. Her small 
dancing "bits" led to more im- 
portant roles. A pupil of Ruth 
St. Denis, she has a feeling for 
pantomime and a sense for cos- 
tumes. Casting directors im- 
mediately think of Margaret 
when they want to give sharp 
accent to a subordinate role. 
Margaret may be depended upon 
to "do her stuff" 




East is East — the Oriental 
Anna May Wong. She is the 
very embodiment of the 
grace, delicacy and lure of 
the Orient. This enterpris- 
ing daughter of a Chinese 
laundryman has made a 
real place for herself in the 
studios of Hollywood 



She started as a show girl; 
she may emerge as a star. 
Under her own name of 
Lucille Le Suer, Joan Craw- 
ford went to Hollywood 
from New York's Winter 
Garden. And how she could 
dance! Joan is gradually 
being promoted to a place 
among the featured favorites 



52 







f Color 





The Lure of the South Seas — the Enchantment of the 
Tropics! If the movies ever abandon these hectic themes, 
Laska Winters will 
have to go back to 
her original career as 
a stage dancer. For 
Laska is the girl who 
makes the blue-eyed 
White Man forget 
the good little blonde 
girl who waits for 
him in England 



And they ma\e 

small roles loo\ 

li\e big ones 




West is West — the Nordic 
Dorothy Seastrom. She was 
making a hit in small parts 
when illness forced her to 
retire from the screen. She 
made a game recovery and 
now is claiming her right- 
ful place in the ranks of 
the Fatal Blondes 



First known to fame as "the 
most beautiful girl in Iowa." 
Later, the International 
Photographic Fair in Lon- 
don pronounced her its best 
photographic subject. With 
these recommendations, 
Hazel Keener went to Holly- 
wood where jobs await girls 
with camera-proof faces 





Another one of the Preferred — 
Sally Rand. Not Just Another 
Blonde — but a girl who looks 
like Gloria Swanson and wears 
clothes like Irene Castle. Just 
the girl to play a high-class 
home-wrecker or a Grade A 
Vamp. If she ever cuts loose as 
an actress, here is a new star. 
Wouldn't that be nice for Sally? 



53 



THE NATIONAL GUIDE TO MOTION PICTURES 




SAY IT AGAIN— Paramount 

THE old mythical kingdom yarn again, with new and pleas- 
ant variations by Director Gregory La Cava and Richard 
Dix. A doughboy and a princess. The soldier doesn't un- 
derstand the lingo of the strange little kingdom and, without 
realizing it, he is married to the princess. You sec. they 
think he's the newly discovered heir apparent from Detroit. 
Not an over-strong comedy idea, but given excellent first 
aid by Dix, by Chester Conklin as the real heir, an ex-sau- 
sage magnate, and by one Gunboat Smith. This Smith, an 
ex-prize fighter, does a juicy bit as the doughboy's tough pal. 
Alyce Mills plays the princess. Her performance is so-so. 
Watch for the gorgeous slow-motion regiment of king's 
guards. You will love them. Perhaps we have overlooked 
Dix in our comments. He was never better. 




THE DEVIL HORSE— Pathe 

HERE is a picture that is worth your money. Another 
classic, featuring the King of Horses, Rex; his sweet- 
heart, Lady; and the villain, The Killer. To those who have 
been anxiously awaiting the release of this production — let it 
be known that this is the finest of Rex's efforts. A human 
story is woven into the life of the wild horse — he is shown in 
the first days of babyhood, his cruel treatment by the In- 
dians and his love for the whites. 

The entire picture is thrilling. The human characters are 
perfect in their roles, but the laurel wreath rests easily on the 
tousled head of Rex. The expressions in his eyes and the 
shake of his head can mirror every shade of emotion — can 
make hard-boiled audiences (yes, there are such things) 
choke up one moment and chuckle the next. 

A perfect family film — one that we recommend. 

54 



The 

Shadow 
Sta 




A Review of the J\[ew Pictures 




PADLOCKED— Paramount 

TO every critic of the movies, to every person who claims 
the cimena knows neither art nor intelligence, we recom- 
mend "Padlocked" as a cure. 

" Padlocked" is a superior entertainment, honest, mature 
drama, in its presentation of a young girl's life nearly ruined 
by the severity of hypocritical morality. 

"Silence" and "Padlocked" coming forth in the same 
month, pictures made, not to be road-shown, but presented 
simply as program pictures, seem almost too good to be true. 
In each, the acting of the entire cast is uniformly excellent. 
In both one performance reaches the heights. In this case, 
it is Lois Moran's. 

If the enforced sweetness of little Miss Moran, due to her 
initial publicity campaign, has slightly annoyed you, there is 
good news now. For the treacle is gone from her here and 
she looks like real stellar [material. No one plays a refined 
girl more charmingly, but here she is, also, a girl who is a 
little bitter, baffled and lost in her search for values. 

Edith Gilbert is the daughter of a narrow-minded, severe 
bigot. Her mother understands her but the girl says that 
her heart is padlocked from her father. 

When her mother dies, her father remarries, this time a 
social worker of oily, specious purity. She railroads Edith 
into a reformatory. The highly dramatic, swift moving plot 
concerns the girl's efforts to win her personal and mental 
freedom. 

To Noah Beery, Louise Dresser, Helen Jerome Eddy, 
Florence Turner, Douglas Fairbanks, Jr., Allan Simpson and 
Charles Lane, go the highest praise. Allan Dwan's direction 
is flawless. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 
PADLOCKED SAY IT AGAIN 



SILENCE 
THE DEVIL HORSE 



SPARROWS 
THE MARRIAGE CLAUSE 



The Best Performances of the Month 

H. B. Warner in "Silence" 

Lois Moran in "Padlocked" 

Ford Sterling in "Good and Naughty" 

Billie Dove in "The Marriage Clause" 

Gunboat Smith in "Say It Again" 

Casts of all pictures reviewed will be found on page 139 




SILENCE— Producers Dist. Corp. 

" OILENCE" is the finest melodrama that the screen has 
Oshown for years. 

It is the familiar story of a man's self-sacrifice, but never 
for a moment has it anything commonplace or trite about it. 
Instead, it is filled with true emotion and tears, and blessed 
with one of the greatest performances on record, that of 
H. B. Warner as Jim Warren, a crook, who marries the wrong 
woman that the girl he loves may go free. 

The girl is about to have a baby, his daughter. Rather 
than disgrace the child, Jim lives in the shadows, only per- 
mitting himself to steal back once every few years to watch, 
through the window, her growing to womanhood. 

On her wedding night, he comes back to prevent his pal, 
Silvers, from blackmailing her foster-father. The girl over- 
hears and shoots Silvers. Jim Warren picks up the revolver, 
stamps his finger prints upon it and lets himself be arrested. 
So he goes to prison, silent and alone, prepared for death on 
the gallows. 

No one can force from him the confession that would accuse 
his daughter but save his life. 

Rupert Julian has directed the production with power and 
imagination. The opening scenes of the condemned man 
facing death are haunting in their intensity. 

As for the cast, it is seldom that one appears so perfectly 
balanced. 

Vera Reynolds, Raymond Hatton, Rockliffe Fellowes, Vir- 
ginia Pearson and Jack Mulhall all give performances 
worthy of high praise. 

"Silence" is too heavy for children, but for adults it will 
wring their heartstrings and delight their minds. 




SPARROWS— United Artists 

MARY PICKFORD and a bunch of other kids who risk 
their precious necks to flee a slimy baby farm. That's 
"Sparrows." There are quicksands, alligators and, worse 
than any reptiles, Gustav Yon Seyjferlilz, the keeper, as real- 
istic a vile scoundrel as ever breathed. It's not conducive to 
pretty dreams, but Mary is sweet and wistful and kiddish 
and has some appealing scenes. Ten kids are imprisoned in a 
swampy baby farm and when dimpled Mary Louise Miller is 
kidnapped and deposited with them, Mary Pickford pulls an 
Eliza-crossing-the-ice and takes her band by swamp and tree 
to safety. 

In the cast next to Mary that cunning Miller baby wins 
the gurgles. This may not be another "Pollyanna" but you 
will enjoy it. 




THE MARRIAGE CLAUSE— Universal 

AN excellent story of life across the footlights. And all 
because of the directorial abilities of Lois Weber, the 
only woman director. She has presented the story with fine 
taste and discretion — especially at the climax. 

The technique of the picture bespeaks perfection — direc- 
tion, acting and photography. The cast couldn't be im- 
proved upon — Billie Dove gives an inspired performance, so 
also does Francis X. Bushman and Warner Oland. Of the 
three it is difficult to say which is the best — though we feel 
ourselves awarding the acting honors to Miss Dove. 

As for the story — a young girl becomes a successful star 
through her director. They fall in love. Petty jealousies 
arise and they separate, which is disastrous for the girl. But 
they are reunited — how? Go see it — you'll find it one of the 
most enjoyable pictures you've ever seen. 

55 



ELLA 
CINDERS— 

First 
National 




PARIS— 
Metro- 
Goldwyn- 
Mayer 



PROBABLY you know Ella Cinders of the comic strips. 
Ella is a great-great-great-granddaughter of Cinderella. 
Note that her name is Cinderella, in reverse. The 1926 
heroine goes to Hollywood instead of Prince Charming's 
grand ball. Does the plain little Ella make good. Does she? 
Well. Colleen Moore is Ella. This isn't one of Miss Moore's 
best comedies, by any means. It is slow in spots. But it 
has another inside glimpse of Hollywood. 



IF you leave before the final reel, you will find this an ab- 
sorbing tale of love. Edmund Goulding, who wrote and 
directed it, slipped badly when he refused the happy ending. 
The girl, exquisitely played by Joan Crawford, should have 
married the young man about Paris night life, whom Charles 
Ray makes amusing and believable. Instead, she remains 
faithful to her sadistic Apache, Douglas Gilmore. Good 
but not to the last shot. 



THE 

BROWN 

DERBY— 

First 

National 







GOOD AND 
NAUGHTY— 
Paramount 



THE theme of this one — the cure of an inferiority complex 
— is something like the central idea of " Grandma's 
Boy." But strain of carrying a psychological subject 
through a slapstick comedy proved too great — and no won- 
der! — so Johnny Hines just filled in the thing with gags, 
which is, after all, what his public wants. It is good light 
entertainment for those who prefer the sudden loud laugh to 
the slow smile. 



PROVING that it is dangerous business to work in a film 
with a comic. Ford Sterling steals all the laughs, in spite 
of the fact that Pola Negri is more attractive and more inter- 
esting — even when she is supposed to be homeh — than she 
has been in months. 

A flippant farce comedy, the whole picture falls into Mr. 
Sterling's error of trying to be witty and funny, be the cost 
what it mav. 



THE WISE 
GUY— 
First 
National 




THE FLAME 
OF THE 
YUKON— 
Producers 
Dist. Corp. 



IT all depends on the old Censor Birds in your town whether 
you will see this. This started out to be another " Miracle 
Man, " but falls short in story and dramatic value. However, 
it is splendid entertainment and can boast of a popular and 
capable cast — James Kirkwood, Betty Compson, Mary 
Astor, George Marion and Mary Carr. The theme centers 
around a gang of crooks who preach religion in order to cover 
their shady connections. Just for grownups. 

56 



A MAGNETIC story of the adventures of the goldseekers 
in the far North. ' The Flame is a dance hall gal— but 
we'll have you understand — pure of heart. She stakes a 
poor unfortunate that he may — aprospecting go. On his re- 
turn the orchestra plays "Mama Loves Papa" — and so it 
ends. Seena Owen is fine as the good bad girl and if anyone 
ever resembled Wallace Reid, it is the hero of this picture- 
Arnold Gray. Don't take the children. 



UP IN 
MABEL'S 
ROOM— 
Producers 
Dist. Corp. 




RANSON'S 
FOLLY— 
First 
National 



THE story drags slightly — taken as it is from a play that 
depends upon clever lines for applause. Still, E. Mason 
Hopper has handled it with a deft touch and has made the 
most of the laughable situations arising from the hero carry- 
ing a piece of feminine finery. Marie Prevost is good as the 
divorcee who sets out to win back her husband, Harrison 
Ford, who makes an acceptable hero. 
Laughter for all. 



RICHARD BARTHELMESS needed a good one to fol- 
low "Just Suppose," but this is not the one. The story, 
an old yarn of Richard Harding Davis', shows its age. Dick 
plays a young lieutenant who gets into trouble trying to liven 
up fort life back in the dread dead '80's. Dorothy Mackaill 
plays the girl, but despite her presence, Sidney Olcotl's di- 
rection and Dick's fair performance, it's just another movie, 
that's all. 



THE LOVE 

THIEF— 

Universal 




LOVEY 
MARY— 

Metro- 

Goldxvyn- 

Mayer 



THE old yarn of marriage for convenience dressed up in 
royal garments. A gay young prince is banished from 
his country for refusing to marry a princess he has never 
seen. Unknowingly, the royal couple become acquainted 
and realize ideal bliss in being ordinary folks. Of course it all 
comes out well in the end after an exciting time for all, es- 
pecially the audience. 
It will pass. 



ALICE HEGAN RICE'S popular novel does not provide 
good screen material. Though the screen adaptation has 
been given thoughtful interpretation by the director, Bessie 
Love and the other members of the cast, you'll grow rest- 
less during its tearful unfoldment. Remember the story — 
the one about the orphan and Mrs. Wiggs of the Cabbage 
Patch? It's harmless and we'll guarantee it won't overtax 
the mentality of The Tired Business Fan. 



THE 

UNKNOWN 
SOLDIER— 
Producers 
Dist. Corp. 




MISS 

NOBODY- 

First 

National 



IT looks as though we will have to fight another war in 
order to supply our scenario writers with new ideas for 
movies. Again the war is depicted in this weepy and draggy 
affair that makes a sad attempt at being another "Big 
Parade." To make matters worse the director injected an 
impossible ending that seemed to amuse the audience con- 
siderably. But who can tell — perhaps that scene was an 
example of the director's sense of humor. 



SIMPLY another example of a good story gone wrong. 
Originally published as "Shebo," the adventures of its girl 
hobo heroine were exciting. In the movie version they are 
merely sappy and the panhandling knights of the road are 
made to act as sweet as though they were a convention of 
white-haired grandmothers. Even Anna Q. Nilsson seems 
anemic. If you can think of anything else to do, pass 

this Up. ! CONTINUED ON PACE 122 ] 

57 



$5,000 in Fifty Cash Prizes! 



RULES OF CONTEST: 



1. Fifty cash prizes will be paid by Photoplay Magazine, as follows: 

First Prize $1,500.00 

Second Prize 1,000.00 

Third Prize 500.00 

Fourth Prize 250.00 

Fifth Prize 125.00 

Twenty Prizes of $50 each 1,000.00 

Twenty-five prizes of $25 each 625.00 



2. In four issues (the June, July, August and 
September numbers) Photoplay Magazine is publish- 
ing cut puzzle pictures of the well-known motion 
picture actors and actresses. Eight complete cut 
puzzle pictures appear in each issue. Each cut puzzle 
picture will consist of the lower face and shoulders 
of one player, the nose and eyes of another, and the 
upper face of a third. When cut apart and properly 
assembled, eight complete portraits may be produced. 
$5,000.00 in prizes, as specified in rule No. 1, will be 
paid to the persons sending in the nearest correctly 
named and most neatly arranged set of thirty-two 
portraits. 

3. Do not submit any solutions or answers until after 
the fourth set of cut puzzle pictures has appeared in the 
September issue. Assembled puzzle pictures must be 
submitted in sets of thirty-two only. Identifying 
names should be written or typewritten below each 
assembled portrait. At the conclusion of the contest 
all pictures should be sent to CUT PICTURE PUZZLE 
EDITORS, Photoplay Magazine, 221 West 57th 
Street, New York City. Be sure that your full name 
and complete address is attached. 

4. Contestants can obtain help in solving the cut 
puzzle pictures by carefully studying the poems appear- 
ing below the pictures in each issue. Each eight-line 
verse refers to the two sets of cut puzzle pictures appear- 
ing directly above it. The six-line verse applies generally 
to the four sets on that page. Bear in mind that it costs 
absolutely nothing to enter this contest. Indeed, the 
contest is purely an amusement. You do not need to be 



a subscriber or reader of Photoplay Magazine to com- 
pete. You do not have to buy a single issue. You may 
copy or trace the pictures from the originals in Photo- 
play Magazine and assemble the pictures from the 
copies. Copies of Photoplay Magazine may lie 
examined at the New York and Chicago offices of the 
publication, or at public libraries, free of charge. 

5. Aside from accuracy in assembling and identifying 
cut puzzle pictures, neatness in contestants' methods of 
submitting solutions will be considered in awarding 
prizes. The thirty-two cut puzzle pictures or their 
drawn duplicates, must be cut apart, assembled and 
pasted or pinned together, with the name of the player 
written or typewritten below. 

6. The judges will be a committee of members of 
Photoplay Magazine's staff. Their decision will be 
final. No relatives or members of the household of 
any one connected with this publication can submit 
solutions. Otherwise, the contest is open to everyone 
everywhere.. 

7. In the case of ties for any of the first five prizes, the 
full award will be given to each tying contestant. 

8. The contest will close at midnight on September 
20th. All solutions received from the time the fourth 
set of pictures appears to the moment of midnight on 
September 20th will be considered by the judges. No 
responsibility in the matter of mail delays or losses will 
rest with Photoplay Magazine. Send your answers as 
soon as possible after the last set of cut puzzle pictures 
appears in the September issue, which will appear on 
the newsstands on or about August 15th. 



Cut Puzzle Pictures Are on Second Page Following This Announcement 



SUGGESTIONS 



Contestants should study the poems appearing in connection 
with the cut puzzle pictures. These are the indicators for 
identifying the contest puzzle pictures and winning prizes. 

Contestants will note that identifying numbers appear at 
the margin of the cut puzzle pictures. These numbers may- 
be copied upon the cut portraits, with pencil or pen, so that, 
in pasting or pinning the completed portrait, it will be possible 
to show the way the cut pieces originally appeared. 
58 



As no solutions may be entered before the fourth set of 
puzzle pictures appears, it is suggested that contestants merely 
pin their solutions together until the conclusion. This will 
permit the shifting and changing about of pictures as the con- 
test progresses — and will give time for lengthy consideration 
and study. 

Each cut puzzle picture is a portrait of a well-known motion 
picture actor or actress. 




A 



COOL and lovely Valli is Virginia in her new boyish bob. She's one of the nicest 
girls in movies, which may be just the trouble. Nice girls get such dumb roles. 
But she signed a new contract recently. Better luck this time, Virginia. 







The hair was a dancer — in vaudeville, too — 

The eyes bring us mirth and delight. 

The mouth played a tempted young man (pdge E. Glyn) 

And he put up a terrible fight! 

The hair for five years did nis bit on the stage, 

The eyes have a daughter, quite small; 

The mouth has brown hair and roma 

And he's five feet and ten inches tall 



i eyes, 



The hair was in stock (where the good actors lei 
The eyes came to us from the south; 
The mouth with Maude Adams has played on tl 
And that's pretty good for a mouth! 
The hair In the city of Quakers was bom. 
The eyes made his screen name his own. 
The mouth wore a beard in a late photoplay — 
But it's as a young hero he's known! 
RESUME 

tali, and alt very well built, 
n went to college — 
..„, won a certain degree 
Because of his scholarly knowledge. 
Two of them are married, two never were — 
And one lately carried the great name of Hurt 



They 
Altfi 
And 



oft 





« 



^ I5> 



i 





The hair played in London before the footlights 

The eyes came from Texas to fame; 

The mouth rose so quickly to stardom that folk 

Scarce knew her by feature or name! 

The hair was an author's wise choice for a part. 

The eyes take a vampire place — 

The mouth was once known for a brief bathing 

Which she filled with great beauty and grace. 



RESUME 

Oh, three have been married — and one never wa 

Just one, from the south, has dark eyes. 

And one looks from orbs that are green as the s 

And two borrowed blue from the skies. 

Three first saw the light in our own U. S. A., 

And one came from Canada, over the way! 



The hair is a mother — but. sadly, divorced. 

The eyes learned, from Lubitsch, their art; 

The mouth went to school in great cities, abroad 

E'er she made, in the drama, a start. 

The hair is twice married (quite happily, now), 

The eyes can make magic seem real; 

The mouth played a Ferguson role on the screen 

With both beauty and — yes, sex appeal I 




ON foot or on horseback, Buck Jones is a real star and a regular guy. Despite his fine 
acting in "Lazybones" the fans wanted him supported by his horse. So Buck's gone 
back to the four-footed drama once more in "White Eagle." 



The drama of a 
woman who tried to 
fight off Time — 
and how she 
found happiness 




Illustrated by 

Harley Ennis 

Stivers 



This young raiment empha- 
sized a face not so young. Not 
that she was grotesque. As 
she sped on, regardless of 
staring curiosity and unsee- 
ing callousness, she might 
have been judged somewhat 
over twenty 



UP Broadway, head high, eyes blazing she went. Be- 
hind the blaze smouldered fear. The height of head 
held defiant, hurt. 
Some of them turned, those so-called denizens of the 
street of many sighs, staring after her. Others shrugged past 
the cyclonic onrush, amusedly indifferent to another's pain or 
pleasure. 

In 1908, which starts this forgotten page in the thumb- 
marked volume of Broadway, two signs that pass unnoticed 
today stamped Edna Ridgeway an actress. She rouged her lips 
when moist mouths, except among theatrical folk, were looked 
upon as sure signs of lost souls. And her skirt went shockingly 
short, when other women had to make an effort to display their 
ankles. A glance made evident that she was not of the lost 
sisterhood — she was too completely self-absorbed, too abso- 
lutely indifferent to the elbowing male. Ergo — the theater. It 
was indisputable. 

Small, swift, virile, with hat pulled over hair that was short 
when the only shingle known on Broadway had to do with roof- 
ing, and of a natural red when that hue was less fashionable 
than today, there seemed about her a studied childishness. 
Not the abbreviated skirt of Scotch plaid, nor yet the green 



iscast 



PART I of a gripping 

two'part novelette 

By Rita Weiman 



velveteen jacket that showed broad white collar and cuffs, nor 
again the loose tie knotted under her chin. But rather the fact 
that this young raiment emphasized a face not so young. Not 
that she was grotesque. As she sped on, regardless alike of 
staring curiosity and unseeing callousness, she might have been 
judged somewhat over twenty. That is from the swiftly casual 
viewpoint of the passerby. On closer inspection, there had 
been traced by the pencil of Time those little shadings under 
eyes and about the mouth which transform features into char- 
acter. But, for years, Edna Ridgeway had given herself 
twenty-three so uniformly that it became conviction. In any 
court of law she wouJd have sworn to it without a quiver of 
conscience or eyelash. 

She whisked into a side street, past the irregular line of 
hotels that seemed to turn their eves toward Broadway to 
observe what queer customer would be the next, and between 
Fifth and Sixth Avenues entered one boasting more of the 
family aspect. 

" Mr. Ridgeway and your brother are upstairs," the clerk 
told her when she asked for the key. 

Her frown cut deeper. 

"When did they arrive?" 

"About half an hour ago." 

She made no attempt to conjure away the frown or conquer 
the glare of her fury. The man who opened the door of their 
two-room suite felt both, long before he peered into the outside 
corridor. Her moods were as tangible as the hair whose gleam 

63 



"JsJOTHmG today". . . 
>- was a dirge so in- 
cessant she mentally cov- 
ered her ears that the \nell 
of it might not penetrate 



proclaimed her. Yet he gave no intimation of the 
sixth and seventh senses which the husband who 
loves cultivates, but never names. The ability to 
recognize a temper; the tact to ignore it. 

"Well, honey," he stooped to kiss her as she 
passed him in the little hall. "I've got a surprise 
for you." 

"Yes — so the clerk informed me," Edna spoke 
in per dashes. "What made you bring Jimsy 
home at this ungodly season?" 

_"Sh!" He glanced apprehensively in the 
direction of the living room. "One of the boys 
had a fever that looked ugly, so I thought I'd get 
him away from school till they find out what's 
wrong." 

" Why will you fidget so? You'll make a sissy 
of him before you get through! " 

"Not likely." The man's rather fine, mild eyes 
roved to the boy who bent over the intricate feat 
of constructing a miniature bridge from assorted 
bits of iron and steel. 

A gorgeous boy — twelve or thereabouts — with 
a head modeled as if with loving hands. That 
height of brow flowing into the rounded skull and 
long curve of neck; the firm mouth; the sturdy, 
steady hands; the stocky shoulders — they we're 
compelling in their sense of strength. He looked 
up as they entered the room and the furrow of 
concentration smoothed into a smile. 

"Lo, mummy!" He came toward her with a 
strange, half-questioning shyness, as if uncertain 
whether she wanted to be kissed or not. " Glad 
to see me?" 

She closed her arms about him. "Of course, 
darling." 

"Dad said you wouldn't mind. Christmas'll be 
here soon and I'd be home for the holidays, any- 
way." 

She winced a bit. In the child's words was an 
unmistakable note of apology. 

"Well, don't act as if your own mother didn't 
want you, " — her voice held a nervous pitch, like 
the key of a piano out of tune. "Only I hate to have my boy 
in a beastly, cramped hotel any more than I have to." She ran 
her fingers through his thick hair, curling it over them. All her 
movements matched the queer shrill quality of a voice identified 
in the theater with gayety. "Now run along downstairs while 
I have a cot up in this room, or we'll have to put you on a bench 
in Bryant Park tonight." 

He gazed regretfully at his bridge, half-erected, then de- 
molished it and gathered together the pieces. 

"And don't hold any conversation with the clerk and bell- 
boys," she called after him as he went toward the hall. "Play 
in the writing-room." 

When the door had closed, she tugged off her hat, sweeping 
swift fingers through her hair with a gesture very different from 
that of a few moments gone. Fatigue, petulance, something of 
despair — all were in it. The very way she let her hat go wher- 
ever it happened to fall spoke before her lips formed the words. 

"Well, what do you think Cleeburg wanted me for?" She 
dropped into a Morris-chair, leaning her head against the 
reclining back, her lids closing. 




"Wasn't it the lead?" His eyes told that the query was 
merely perfunctory — they had read the answer out there in the 
shadowed corridor. 

"H'm!" She tried to laugh. "Madge Chatham has that. 
We corral our heroines from the chorus these days. No, my 
dear, he does me the honor to offer me the second part. Salves 
it by- saying the lead isn't good enough — nothing but sugar 
plums." 

"Did he give you the play to read?" 

"Offered it — but I said, 'No, thank you!' Does he — or any 
other manager — or do you — " her eyes flamed into his — "im- 
agine for a minute that I'm going to support a chit of a girl — ? " 
She choked, stopped breathlessly. 

"Now, Ted dear," — the pet name was like a gentle caress, but 
he did not approach her — "how do you know that part isn't as 
important as hers? Cleeburg's an artist — he wouldn't risk a 
failure by miscasting. He knows what he's doing." 

"Oh, does he? Does he? I suppose, then, all I'm fit for is 
seconds, like an old shoe. I suppose you'll agree with him that 
I look old enough to play the mother of a grown boy." 




"You are." he put in softly, and it was a benediction. 

"What's that got to do with the theater? I was married 
out of the cradle, anyway.'' 

"Of course, of course, dear — we know that." He turned 
away to hide the demands of a smile. " But you've refused 
several parts this year that turned out to be excellent. Don't 
you think you might have read this, at least?" 

"I don't have to. I've played ingenue long enough to know 
I can get away with it." 

"Maybe that's the very reason Cleeburg wants to give you 
something with more weight." 

"H'm — " Her fretful eyes ran the length of her figure 
stretched in the chair. " I hope you're not trying to be funny." 

"Honey." — Jim Ridgeway went to her then, took the tense 
hand — "I'll love you when there's not a line to your shape or a 
tooth in your head. You'll always be my little kid. But we've 
got to look facts in the face. The young 'uns grow up and 
crowd out the old — er — " he tacked on the syllable as a hurried 
afterthought — "ones. And the greatest mistake a man or 
woman can make in life is to miscast himself. Know where you 



belong and take your place. Fill the part well and nobody on 
earth can snitch your job." 

The flame subsided into a chill, tolerant smile. 

"That's all very well for you. Your job is to hold the book 
and prompt other people — to stage-manage first and take any 
little bit they chuck at you, after that." 

"Yet there was a time when I wanted to play Romeo." Said 
with a wry grin and a shade of the wistful, it held the ghost of 
longing never expressed. "So you see, dear, I had to find out 
I was a bad actor before I discovered I was a good stage- 
manager." 

She whisked to her feet and stood before the mirror over a 
green-tiled fireplace supported by cherry-wood pillars. The 
defiant reflection glared back. 

"If another manager tells me I don't look a day older than I 
did fifteen years ago, I'll brain him! Cleeburg asked today how 
I do it— as if I ought to be a hag. Why, fifteen years ago, what 
was I? A baby, that's all!" 

"That's all you are today, honey," his arm slipped round her 
consolingly. 1 continued on page 118 ] 

65 




oin 




omg 



Bobs are ruled by shear 
beauty. The scissors 
menace the last few hairs 



Irene Castle started it. Her feet made her famous. 
Came the "Castle Clip" and fame arose to her head 




Enter "Passion." Enter Pola. Enter 
also a new, provocative and pleas- 
ing bob. And a new idol ! 



Then the Sweet blonde aureole. Blanche's 
blonde bob brought many damsels to irons 




Advent of the Gloria shingle sent 
flappers to the bobber shops to 
have their hair "Manhandled" 



The Uncurled Bob was intro- 
duced by Colleen Moore. It 
was made for "Flaming Youth' ' 



. . . . GONE/ 

• 

Side whiskers are the new 
est peril from Paris. Watch 
for the bald-head rage! 















^«2PP* "*; V 






V 


<*> m 






In 


^^W 






Came Aileen and her Pringle Shingle. Came ears. 
Came "beau-catchers." Came fame to Aileen 



Followed the Beverly Bob presented 
by Marion Davies. Hairer shorter 
than short. More daring than Dad's 





The crowning glory goes the way of other 
crowns. How could you, Billie Dove? 




Virginia Valli's bob is one of 

the newest revenges on the 

Seven Sutherland Sisters 



Paris orders hair on the cheeks. 

Look what side- whiskers 

would do to Leatrice Joy ! 



67 



hat was the 

Best Picture 
0/1925? 




Adolph Zukpr Commends Medal 

THE Photoplay Gold Medal is out- of the institutions of 
the motion picture business, and as such is a significant 
example of the position which Photoplay and its editor, Mr. 
Quirk, hold in the esteem of the men and women who supply 
the screen entertainment of the world. Because Photoplay, 
in its treatment of screen personalities and in its reviews of 
motion pictures, is just, candid and constructive, the award of 
the Photoplay Gold Medal each year carries with it the weight 
of an authority which can come only from a tradition of fair- 
dealing, impartiality and fearlessness. 

Photoplay is really one of the great forces in the life of the 
motion picture. By its sympathetic, yet sturdily honest reviews 
and editorial comments it has helped to guide the picture busi- 
ness along the path of its true destiny, and at the same time has 
veloped the taste of a large section of the American public 
to an appreciation of the best in screen entertainment. The 
annual award of the Gold Medal is a national outgrowth of this 
policy; and to win the Medal is an honor that can be achieved 
only by great merit Adolph Zukor 



HAVE you contributed your bit toward awarding the 
Photoplay Magazine Medal of Honor for the best 
motion picture of 1925? The announcement of the 
opening of voting for the sixth annual award, appear- 
ing in the July issue of Photoplay, has brought an avalanche 
of votes. If you haven't sent in your vote, do so at once. 

Each year Photoplay awards its gold medal to the producer 
who, in the minds of its readers, has come nearest the ideal in 
story, direction, continuity and acting and photography. The 
conferring of the award rests entirely with the readers. 

The first Medal of Honor, for 1920, was awarded to "Humor- 
esque." The medal of 1921 went to "Tol'able David." " Robin 
Hood" won the medal of 1922. "The Covered Wagon" was 
adjudged the best picture of 1923. "Abraham Lincoln" was 
given the award of 1924. What was the best picture of 1925? 
That is the question now being asked readers of Photoplay. 
Many unusual and highly commendable pictures appeared dur- 



Photoplay Medal of Honor Ballot 

Editor Photoplay Magazine 

221 W. 57th Street, New York City 

In my opinion the picture named below is the 
best motion picture production released in 1925. 




ing the twelve months of 1925 and the award will be of high 
interest to fans as well as the entire film industry itself. 

Fill out the coupon on this page and mail it to Photoplay's 
editorial offices, No. 221 West 57th Street, New Vork City, 
before October 1st, 1926. Photoplay will be glad to receive 
short letters from readers, explaining the reasons of their choice. 
Some of these letters will be published in future issues of 
Photoplay. 

The Photoplay Medal of Honor is of solid gold, weighing 
123 1 2 pennyweights and is two and one-half inches in diameter. 
Each medal is designed and made by Tiffany and Company of 
New York. 

Be sure to cast your vote for the best picture of 1925. On 
this page, to refresh your memory, is a list of fifty important 
pictures released during 1925. Your selection, naturally, is not 
limited to this list. You may vote for any picture released 
between January 1, 1925 and December 31. 1925. 



Fifty Pictures Released in 1925 



Arc Parents People' 

Beggar on Horseback 

Big Parade 

Charley's Aunt 

Chickie 

Coast of Folly 

Dark Angel 

DonQ 

Drusilla With a Million 

Freshman 

Gold Rush 

Goose Woman 

Grauslark 

Her Sister From Paris 

Introduce Me 

Isn't Life Wonderful.' 

King on Main Street 



Kiss For Cinderella 

Kiss Me Again 

Lady 

Lady Windermere's Fan 

Last Laugh 

Little Annie Roonie 

Lord Jim 

Lost World 

Mannequin 

Merry Widow 

Midshipman 

Mmc. Sans-Genc 

Never Say Die 

Never the Twain Shall 

Meet 
Paths to Paradise 
Phantom of the Opera 



Pony Express 

Road to Yesterday 

Sally 

Sally of the Sawdust 

Siege 

Shore Leave 

Sky Rocket 

Stage Struck 

Stella Dallas 

That Rovlc Girl 

Trouble With Wives 

Thundering Herd 

Unholy Three 

Vanishing American 

Wanderer 

Womanhandlcd 

Zander the Great 



68 



They called 
her 

rTelisande 

The story of a small town 

girl and how she battled 

to make the man she loved 

prove his mettle 



By May Stanley 



Illustrated by 

Ray Van Buren 



WHEN Florence Bishop graduated from High School 
— in the prettiest white dress of them all, and with 
the nicest bouquet that Ted Merrill could find at 
the Rockford greenhouse — everyone supposed she 
would go to work. That was what Rockford girls did. 

Amy Wilson, Florence's dearest friend, found a job in the 
telephone exchange. Clare Beatty was taken on in the ready- 
to-wear department of the Rockford Dry Goods Emporium. 
The other girls of the class were gently absorbed in the business 
and professional world of the little town, 
pending the time when their beaus should 
be able to meet the financial problems 
which engagement rings, wedding trips to 

Boston and the first payments on a home ""^». 

involve. 

Only Florence, refusing all offers of 
work, remained at home — a square peg in 
the round hole of Rockford tradition. 

Everyone wondered, of course. Every- 
one knew that Ted couldn't afford to 
marry her just yet. As reporter on the 
Rockford News, daily and weekly, and 
correspondent for a couple of big 
city papers Ted was making around 
twenty-five dollars a week but, even 
in Rockford, you can't start house- 
keeping on that sum. 

Why on earth couldn't Florence 
act like other girls? She ought to be 
at work, earning a salary and putting 
by money toward the time when she 
would begin looking about for bar- 
gains in household linens. 

When folks spoke about it to Mrs. 
Bishop she shook her head and 
sighed. 

Florence laughed and said she had 
no intention of going to work — in 
Rockford. 

"I intend to have something better 
out of life," she announced serenely, 
"than a dinky job in a dinky, little 
town." 



\ 




ft. v'ah p l 



Ted!" How wonderful Ted 
was! Florence sighed 

69 



"Ah, that one! TS/lelisande! Eet ez so Monsieur 



"Why, the very idea!" Amy Wilson gasped. "What you 
going to do?" 

"I don't know — yet." 

"How about Ted?" Amy demanded curiously. "If you and 
Ted get married you'll have to stay in Rockford, won't you?" 

Florence regarded her friend with level eyes. 

"I am not going to stay in Rockford," she declared. "I 
didn't say that I am going to marry Ted and I didn't say that 
I am not going to marry him. That's up to Ted." 

"How do you mean, up to Ted?" 

But Florence would not explain. 

She did, however, tell Ted Merrill. It was that very evening 
and they were snuggled in the porch hammock with Ted's latest 
offering of chocolates between them. 

Ted, innocently enough, began it. 

"I heard some news today, Florence." 

"What about?" 

"Mr. Boardman told me that the Weston Leader's going 
to be for sale almost any day now. Fellow running it doesn't 
know a thing about small town newspapers. 'Mother of those 
folks who come out of New York to lead the simple life 
and then find out it ain't so darned simple as they 
thought. Anyway, he says the Leader will be in the 
market soon." Florence took another chocolate, 
turned it around in her slim fingers, regarding it 
thoughtfully. Presently she said: 

"Not thinking of buying it, are you?" 

"Me? I couldn't do it, alone. Haven't got the 
money. But Mr. Boardman thinks it's a good buy 
and wants to take it over. If he does he'll need 
a partner, he tells me. Some young fellow to 
take charge and a half interest. What do you 
think?" He leaned toward her eagerly. "He 
wants me to go in on it with him! " 

There was silence for a few moments. A 
little breeze, passing, shivered the leaves of the 
big lilac bush. From the next house drifted 
voices, a girl's laugh. Then silence. Peace 
hung over Rockford, the peace of old white 
houses dreaming among ancient elms. Flor- 
ence stirred restlessly. 

"What did you tell him?" she asked. 

"Said I would, of course. Nothing I'd like 
better than a chance at the Leader. Near as I 
can figure out the plant's worth around twelve 
thousand, and — " 

"Ted," Florence interrupted, "what does 
Mr. Boardman make out of the News? What 
does he clear for himself, I mean, each year?" 

"Why ... let me see . . . not such a 
great deal. Perhaps four thousand a year — 
when he has the county printing contract." 

"And he's owned the paper for the last 
twenty years, hasn't he? " 

"Yes, and he's made a mighty fine news- 
paper of it," Ted said warmly. "My golly! 
If I can do as well — " 

"You think he's done well?" There was an odd 
note in Florence's voice. 

"Why, yes, I know he has." Something of his 
former confidence had gone out of Ted's voice, but he 
went doggedly on. "He's done a lot of things for this 
town. We wouldn't have the city park, nor the street 
improvements, nor the new lighting system if Boardman hadn't 
fought for them tooth and nail." 

"What has the town done for him.'" 

"Well . . . it's supported the paper. Not so well as it 
might have done, of course. Still — " 

"That's just it! Rockford has the park and all the other 
ih: lgs, but Mr. Boardman and his wife live in the worst looking 
house on this street. They can't live in the park, can they? 
I've an idea Mrs. Boardman would be willing to trade the new 
lighting system for one good-looking bridge lamp. And street 
improvements aren't so good when you haven't a car to drive." 

"Boardman's got a car." 

"Yes, and he's had it so long it's a landmark. If I was his 
wife I wouldn't be found dead in it." 



Florence swayed a 
step toward them, 
mysterious, aloof. 
The hard young eyes 
of Stuyvesant Cut- 
ting, 3rd, came alive. 
Little points of flame 
leaped up in them 



\ 







"I guess she hasn't minded the old car," Ted said dejectedly. 
"Mrs. Boardman's a mighty nice woman, Florence. Look at 
the help she's been — " 

"Yes," Florence retorted, "look! Do you know, Ted, I've an 
idea that most editors' wives have to do just about as Mrs. 
Boardman has done. They have to give up everything a 
woman wants and needs while their husbands work for the good 
of the town. Everything which has to be done and which is too 
much work for other women is turned over to the editor's wife. 



10 



Boulanger have named her — Melisande, the beau' 

tiful, the hapless one! 17 



x 




She's got to stand for it. If she didn't her husband would lose 
advertising— at least, that's the way I figure it out from things 
you've told me. I've been thinking about it a lot, Ted, ever 
since — since you and I — " 

"You mean you won't marry me if I go in on the Weston 
paper with Boardman?" Ted asked in a low voice. 

"I mean I want you to do better things," Florence cut in 
swiftly, "much better things than running the Weston news- 
paper. Tell me this: If you went to buy a Rolls-Royce 



— r-y would you expect to get it for the 

price of a Ford?" 

"Why . . . no. No, of course 
not. But what's that got to do — " 
"Everything. If you wanted to 
buy the old LaMoine place for a home 
would you expect to get it for the price of one of those five- 
room, jerry-built affairs out in the Westermann project? " 

" Certainly not. But I don't see what you're getting at with 
all this." 

"Then I'll tell you, Ted. I'm expensive. I'm like the 
Rolls-Royce and the old LaMoine place — not cheap. I want the 
best things in the world, or nothing." There was finality in 
her tone. "You say you want to keep on doing newspaper 
work. Then why not plan for [ continued on page 106 ] 

77 




Mildred Gloria Lloyd had these guests for 
her second birthday party. Standing: Bill 
Newmeyer, Henry King, Jr., Joan Williams, 
Joy Brauch, Edna Rosenthal, Gaylord Lloyd 
(with hand to face), Mary Hay Barthelmess 
(on tricycle), Margaret Roach, James Kirk- 
wood, Jr., Loria Von Elt2. Seated: Leatricc 
Joy, Mildred Kornman, Mildred Gloria, her- 
self, Elaine St. Johns (kneeling) 

Mildred Gloria 

Party 



gives 
a 





;M>L£ 



A meeting of two leaders of our F. F. F.'s — first film families. 

In other words, just two lucky babies, Mildred Gloria Lloyd 

and Jimmie Kirkwood, son of Lila Lee and James Kirkwood. 

At the left, Miss Lloyd on her favorite mount 

A STUNNING reception was tendered to the members of Hollywood's 
-**• very youngest set upon Mildred Gloria Lloyd's second birthday. 

The Harold Lloyd mansion was turned over to them for the afternoon 
and the back yard was decorated appropriately for a garden party where the 
guests were anywhere from five weeks up. A beautiful table was laid under 
the trees and sandpiles, teeters, slides, toy automobiles and tricycles of every 
model were there in profusion. 

Little Miss Lloyd wore a delicately embroidered frock of white organdy, 
and a shoulder corsage of pink rosebuds and lilies of the valley. 

All the guests voted that they had the time of their lives and after the 
reception milk bottles simply covered the place. 




ccordin 



to 



Freud 




By 



John S. 
Cohen, Jr. 




A dream scene from 
"Secrets of the Soul." 
According to psycho- 
analytic interpreta- 
tion this dream ex- 
presses the longing of 
the husband for a 
child. The plant at 
which the couple are 
gazing is the Freudian 
symbol of young life 



A movie of psycho- 
analysis shows us 
the stuff dreams 
are made of 



OUT of the eerie stuff of dreams, the 
fantastic and ofttimes meaningless 
images that float, night and day, 
through our subconscious minds, the 
clever Germans have woven a drama. It is 
called "Secrets of the Soul" and it was fash- 
ioned in the UFA studios under the direct 
supervision of two psycho-analysts from the 
office of Dr. Freud, the founder of psycho- 
analysis and the best known living psychol- 
ogist. 

In it, a psycho-analytic case is unwound — 
that of a man with a fixed day dream, namely, 
a fear of knives. The part is played by Werner 
Kraus who is familiar to those who saw "The 
Cabinet of Dr. Caligari," "The Golem," 
"Othello," "The Three Waxworks," and 
"Shattered," all UFA productions. The film will, in all prob- 
ability, be shown in this country in the late Fall. 

The screen is the ideal place for the depiction of dreams. 
A closeup of a character's face, a slow fadeout flashing to a 
picturization of what is going on in his mind and the idea of a 
dream is projected admirably. Now that Dr. Freud, and numer- 
ous contemporaries, have begun delving into the meanings of 
dreams, and, by analysis, of man's dreams, curing mental 
aberrations, what is more natural than that a dramatic film 
should be made of the stuff of dreams and their meanings? 

"Secrets of the Soul" is the leader in its field — the first com- 
bination of drama and mental science, the first direct utilization 
for the screen of psycho-analysis which is, perhaps, the most 




Our dreams are the confessions of our yearnings. Upon 

this theme is built a weird drama, enacted by Werner 

Kraus. You can see by this photograph how the camera 

has captured the unreal quality of a dream 



important contribution to psychology that has yet been made. 
The story of "Secrets of the Soul" is a dramatic one. A 
husband is living happily with his wife, but they are without 
children. A murder is committed in the house next door. It 
causes various mental disturbances in the husband's mind, and 
on the night after the murder he has a weird and fantastic 
dream. After waking from the dream he has two fixations, or 
insistent "day dreams"; he cannot [ continued on page 08 ] 

7.1 




Cn>uy on FIFTH AVENUE 
i_J through PHOTOPLAYS 

^hopping Jervice 



This Shopping Service is for your benefit and we urge you to use 
it— its facilities are at the disposal of every PHOTOPLAY reader— 
and whether or not you are a subscriber, we will take care of 
your orders. Send certified check or money order — no stamps — 
together with size and color desired. No articles sent C. O. D. 
If you are not pleased with any purchase return it within three 
days after receipt to Photoplay Shopping Service, 221 West 57th 
Street, N. Y., and your money will be promptly refunded. 




Li I your ankh s '» ru w /■ so slendt r, your 
feet deservt (he smartest shoes. These 
may be had 1 itlu r in patent leather or tan 
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If you prefer to tread Fashion's path in 
the all paU nl Ii ntlii r or all satin cut-out 
iimi/i I, sun pi,/ triniHH il with self applique, 
we recommi ml these shuts Unit will grace 
almost any occasion. Sizes 3-9. AAA-D. 
$18.50 



For working around the 
house, or office duties, there 
is nothing more practical to 
protect your clothes linn 
this smock, shown mi May 
Me \\ civ — and tn ing full 
dress length il may he also 
worn as a frock. It has far 
more style than most smoclcs 
mill is smartly fashioned of 
chambray, in pink, i 
rose or orchid with colorful 
hand embroidery in pictur- 
esque designs. Sizes 36-44- 
Price SI. 95 



You will go far before you 
find n hot weather frock of 
printed chiffon as lovely as 
this on Gbeta Garbo. 
The graceful jabot and 
fro nt- pleated skirt are ex- 
tremely smart. The prints 
Come in various designs urn! 
colors — on a white, tan, 
navy or black background. 
Although we cannot guar- 
antee the same print as 
shown here, this dress is 
well made and of excellent 
qual ity — rcprescn ting mi 
exceptionally fine value 
through our Service. Sizes 
32-44. Price $12.75 



This pose of Greta Garbo 
shows a beautifully made 
frock of heavy crepe de 
chine that is ideal for street 
or sports tin or. It comes in 
s.. * * ml lovely color combi- 
nations — in edl white; or in 
coral, with a white collar 
and jabot lined in white. 
Also in navy, with n red col- 
lar and jabot lined with red. 
Chost ii in navy it will gire 
you an ideal dress for oil 
year round general wear. 
Sizes 14-20, and the modest 
price is $19.75 



74 



Like Eleanor Boahdman 
you can greet hot weather 
cheerfully, coolly and in the 
latest thing if you possess 
this charming two piece 
frock of polka-dot gcorgi tte. 
The front of the skirt is 
side-pleated and the blouse 
has wide box pleats which 
give a most graceful effect. 
The collar and bindings 
match the polka-dots. Sizes 
31-44. Pnce but $15.75 



If none in your circle of 
friends has as yet a peasant 
frock to boast about, and if 
you are inclined to be slim, 
here is a chance to steal a 
lead and order this one of 
lovely georgette crepe, with 
smocking in u» interesting 
pattern at the neck and 
waist line. This excep- 
tional value comes in ex- 
quisite shades of June rose, 
Lanvin green, French blue 
and Isabella gray. Sizes 
82-88. Price only $15.75 





Pajamas of fine quality plisse crepe, with 
colorful touches of hand embroidery on, 
the jacket, arc cool and attractive. Pink, 
peach or white. Sizes from. 86 to 44- 
Priced at S2.95 

Tin's adorable crepe de chine chemise is 
copied from a French model, with its 
footing of wide net, ami its triangular 
ruffles. The pastel shades. 36-43. Price 
$8.95 

.1 <■<«)/ little dance set of step-ins and 
brassiere is made of crepe de chine, and 
trim mill with dainty luce. The pastel 
shades. The sizes are 34-40 an d the set 
complete costs $8.95 

For house parties, weekends, traveling or 
lounging this smartly tailored robe of 
lustrous rayon is indispensable. The 
design is a combination strijie with blue, 
green, lavender or tan predominating. 
This material washes very well and is a 
garment that belongs in every woman's 
wardrobe. Sizes 34-40. Price $4.95 




DRESS LIKE A STAR OK AN EXTRA'S IKCOME 



75 




One of the few women producers in the business. Miss Fairfax 
has a rare combination of intelligence, judgment and charm. 
And her "picture sense" is so accurate that even the wisest men 
in the business, are willing to bank good money on her decisions 



THERE is an old saying that a man wise in the ways of 
women will always tell a beautiful woman that she is 
clever and a clever woman that she is beautiful. 
This may possibly explain the phenomenon of Marion 
Fairfax. 

For certainly that woman hides her light under a bushel. 
And all, I believe, because she hates to acknowledge that she 
has one of the most logical minds in the 
motion picture industry. 

Probably you didn't know that Marion 
Fairfax's opinion on a picture is con- 
sidered the most valuable in Hollywood. 

You may have heard it said that if 
New York theatrical producers could 
find a man who could tell them before- 
hand what plays would be a hit with the 
public, they could afford to pay him a 
million dollars a year. 

I don't know how much picture pro- 
ducers pay Marion Fairfax. The gov- 
ernment probably does. But I might 
suggest from the data I have recently 
gathered that they should club together 
like they did on the case of Will Hays 
and pay Marion Fairfax more than a 




econd 
Sight 



Marion Fairfax has 
the gift of predicting 
success. No won- 
der she's popular! 

By Ivan St. Johns 



TT seems there were two Swedes. . . 
Victor Seastrom and Mauritz Stil 



ler, the two Swedish directors, were 
talking. 

"I know of two chaps who always 
have a circus when they get together," 
said Seastrom. 

"I'd jolly well like to know," 
answered Stiller. 

"Barnum and Bailey," chuckled Sea- 
strom. 

They carried Stiller back to the Los 
Angeles Swedish colony. 



cabinet officer's salary to tell them before- 
hand what pictures are what, if you know 
what I mean. She might not do so much foi 
the morals, but she'd do a lot more for artistic 
merit and wholesome entertainment of the 
public. 

It's a gift, this uncanny, unerring judg- 
ment that Marion Fairfax seems to possess. 
She is a good scenario writer. She is now a 
producer herself, and I hope she makes a suc- 
cess of that. But her real genius, and her 
real niche in motion pictures, lies in her criti- 
cal and editorial powers on the other fellow's 
I i< lures. There are editors who possess 
that gift about authors, who can't write a 
lick themselves. 

I've been told many times that most of the 
directors in pictures would rather have 
Marion Fairfax's judgment on a picture than 
that of anyone or any dozen others. 

As an example. One day I met John 
McCormick on the United lot. John is a 
bright young Irishman himself, western head 
of First National and half of the matrimonial 
team of McCormick and Moore. Also hon- 
orary president of "Only the Husbands" Club, of which I hap- 
pen to be a member. 

He was beaming like a headlight. 

Said I: "John, what's the idea? Has Colleen given you 
another new St. Bernard pup?" 

Said John: "No. No. But Colleen's new picture 'Irene' 
is a great hit. Great hit ! Going to be the biggest hit she's ever 
made." 

Said I: "Why. you poor prune, it 
hasn't been released yet. How can you 
tell?" 

Said John: "Marion Fairfax just 
saw it in the projection room and she 
says so." 

And that made it so for John, who is 
business from the word go. 

She will walk into a projection room, 
look at a picture, and somehow tabulate 
it — faults, virtues, chances of popular- 
ity, artistic value and box office earnings. 
Trying to dope out why, after watch- 
ing her and listening to her a few times, 
I decided that it was because she had 
the most logical mind I had ever en- 
countered. [ CONTINUED ON PAGE 127 ] 



76 




AUL LENI, the German director who made "The Three Wax 
Works," has just arrived in America. He has known Pola Negri 
since her earliest days at the UFA studio. And he defined, better 
than anyone else, what is disturbing her work lately. "Pola 
knows too much now," he said. "In the beginning she could do 
the things she felt. Now she does only the things she knows. 
She knows emotions too well. She needs to feel them once more." 




77 




TURBANS: 



THE movie stars are all doing it, so 
PHOTOPLAY got directions for making 
this charming and inexpensive headdress 
for your own use. 

First, take a piece of soft, pliable silk 36 
inches wide, a yard and an eighth long. 
On the length of the silk, measure the 
depth of your head from forehead to neck. 
Leaving this length untouched, cut the 
remaining entire length in half. 

Shirr the edge of the uncut piece to hold 
the turban across the top of your forehead. 
This done, follow the directions as illus- 
trated below. 



The second step is to 
cross the two pieces 
of silk in the back, 
one over the other 
toward the front 



Doris Kenyon illustrates the tur- 
ban's twists. Above: the shirred 
edge fronting the camera, the rest 
of the silk draped toward the back 




Position three gives 
you the chance for a 
coquettish pose, and 
also time to drape 
the left hand piece 
across the front of 
your head 



When you've made 
your turban perhaps 
you'll look like Ai- 
leen Pringle in hers 

Or maybe you'll look 
like Peggy Hopkins 
Joyce and grab your- 
self a multimillion- 
aire husband 




78 



Why not ROLL YOUR OWN? 



Sixth, you'll look as Miss 
Kenyon does here — that is 
you will if nature was good 
to you and gave you such 
features 




Position five: Now do a little 
work behind your own back. Pull 
the turban tight to prevent a 
slightly groggy look. Tuck the 
ends neatly under the edge 

Position four: Drape right piece 
over left and so finish the front 




Below : The young lady who started the 
vogue, Natacha Rambova, erstwhile 
Mrs. Valentino. The attractive Nata- 
cha always wears a turban, and you'll 
agree she wears it beautifully 




70 





HIS is the bob to which Cecil B. De Mille objected. It seems that 
Leatrice Joy went out and got herself a boyish cut. De Mille took one 

ook and muttered things about feminine appeal and womanly beauty 
and suchlike. Whereupon Leatrice answered that her hair is her own 
and that, anyway, the boyish cut is new, smart and chic. Leatrice won 



SO 



Photoplay Magazine — Advertising Section 



81 







» 






The Lady Diana Manners 
at the Polo matches at Meadow- 
brook Country Club, ll'estbury, L.I. 
"I know" she says, "that every 
Woman can have afresh, undimmed 
Complexion if she'll keep it supple 
and protected by the Pond's method." 





The Princesse Matchabelli 
on the beach at Southampton, Long 
Island. She says: "American women 
do not allow the effects of exposure to 
mar their complexions. II omen 
everywhere can acquire the same per- 
fection with Pond's Two Creams." 



The Two Cseams which keep the most delicate skin 
exquisitely supple and fresh the summer through. 



What kind of Skin will you have 
at the end of summer? 



JjURNED, COARSENED, ROUGH? Or fair, 

smooth and soft? 

You wouldn't deliberately choose the 
first if you could have the second, would 
you? Yet, by neglect through the long hot 
summer, that's exactly what it comes to. 

Sunburn has a certain charm — if kept 
within bounds. But blush-rose, before you 
know it, turns beet-red. A golden tan is a 
stunning accompaniment to the sports 
costume. But it quickly thickens your 
skin, makes it dry and leathery. 

1 here is a wav, however — pursued by 
the smart women of the social world — to 
keep that look of a young healthy skin, 
just the becoming partofsunburn and tan, 
without the coarsening and deep burning. 

Pond's two fragrant, fluffy Creams, 
whose fine oils refresh, soothe, cool your 
skin, keep it supple, smooth, protected, 
are all you need — if you use them faith- 
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the summer through. 

After a morning on the beach, an afternoon of 
golf or in your car, and always at night, cover 
your face, neck and arms with Pond's Cold 
Cream. Let its pure oils soothe the irritated 

When you v 




Miss Elinor Patterson 
of a distinguished Chicago family , has 
been riding and relaxing in Virginia 
after a successful season as " The Nun, 
Megildis" in " The Miracle." She says, 
"For the skin which is doubly taxed by 
society and professional life, Pond's 

Two Creams are perfect." 



tissues and gently lift from them all dust, per- 
spiration and powder. Leave it on a few mo- 
ments to sink deep into the pores. A soft cloth 
or tissue will remove both cream and dirt and 
leave your skin fresh and soft. Repeat, to get 
out every trace of dust. At night pat on more 
Pond's Cold Cream and let it remain, further to 
restore the suppleness of your sun-parched skin 
as you sleep. A dash of cold water or a rub with 
ice after each daytime cleansing will close the 
pores relaxed by heat and perspiration. 

A protection of Pond's Vanishing Cream fol- 
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you give your skin at night. Especially before 
going out into the hot sun, fluff a little of this 
Cream, light as thistle-down, over your face, 
neck, arms and hands. It gives you a lovely 
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holds it long, and— of greatest importance to 
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Free Offer: "'"'/■!i ""/"" an i *>*"' 

•U Ponds Two famous Creams. 

The Pond's Extract Company, Dept. H, 
147 Hudson Street, New York City 
Please send me free tubes of Pond's Two Creams. 

Name . 

Street __ 

City. State 



rite to advertist 



pie 



PLTOTOrLAY MAGAZINE. 





ELL-BENT-FER-STARDOM! Gardner James was once 
a child actor on the stage, a sailor, an adventurer and a 
young fellow looking for his chance in the movies. In 
"Hell-Bent-Fer-Heaven," he found his big opportunity— 
the sort of role he had been hoping for since he first made 
his appearance on the screen in "Snow White," with Mar- 
guerite Clark. As soon as he made his hit, Mr. James made known his en- 
gagement to Marion Constance Blackton, daughter of J. Stuart Blackton. 



Photoplay Magazine — Advertising Section 



83 




" I AM A DANCER. Three years 
ago I had so much indigestion and 
constipation that I got terribly run 
down. I was very skinny and was 
too tired and nervous to take my 
sons. A lady recommended 
yeast. In about three weeks I 
could tell a difference. The con- 
stipation was relieved and I had 
much less trouble with gas. In 
about four months I began my 
lessons again. Now I am strong in 
every way." 

Idabelle Barlow, 
Fort Lauderdale, Florida. 



Living a Vigorous Life 



Constipation banished — skin and 

stomach disorders corrected — new 

health and happiness — with the aid 

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NOT a "cure-all," not a medicine in any 
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the poisons of constipation. Where cathartics 
give only temporary relief, yeast strengthens 
the intestinal muscles and makes them 
healthy and active. And day by day it re- 



leases new stores of energy. 

Eat two or three cakes regularly every day 
before meals: on crackers — in truit juices, 
water or milk — or just plain, nibbled from 
the cake. For constipation especially, dissolve 
one cake in hot water {not scalding) before 
breakfast and at bedtime. Buy several cakes at 
a time — they will keep fresh in a cool dry 
place for two or three days. All grocers 
have Fleischmann's Yeast. Start eating it 
today! 

And let us send you a free copy of our lat- 
est booklet on Yeast for Health. Health Re- 
search Dept. 20, The Fleischmann Com- 
pany, 701 Washington Street, New York. 




"WHILE 


IN TRAINING 


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I suddenly 


broke 


■>ut with 


boils. I 


tried Fleisc 


hmann's 


Yeast. In 


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id disappeared co 


mpletely. 


Like many 


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I am gr 


iteful for 


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Charle 


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), New York City. 




'*I WAS in a run-down condi- 
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also had pimples on my face 
and suffered from insomnia. 
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I found that the pimples had 
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I look forward to meal time 
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AIrs. Truman T. Smith, 

BaltimorejMd. 

please mention PHOTOPLAY MAGAZINE. 




THIS FAMOUS FOOD tones up the 
entire system — aids digestion — clears 
the skin — banishes constipation. 



s-+ The 

( rossroads 

of the 

World 



TOWERING thirty-five stories above Broad- 
way at Times Square, the new Paramount 
Theater, now in course of construction, will 
be the biggest theater in the world. The 
observation tower and great clock look down upon 
the theater center of the world. 

Thirty-three stories of the building will be given 
over to offices, the Famous Players-Lasky Corpora- 
tion occupying the entire space from the fourth to the 
twelfth floors inclusive. 

The Paramount Theater building is costing S10.700,- 
000, the structure occupying the entire block fronting 
on Broadway between 43rd and 44th streets. The 
space was formerly occupied by the Putnam Building, 
part of which was held by the old Shanley Restaurant. 
The theater itself will have its main entrances on 
Broadway although it will lay behind the office struc- 
ture, rising to a height of eleven stories. The theater 
is being lavishly furnished, being finished in French 
Renaissance style with a richly ornamented dome 
ceiling. It will be one of the most magnificent amuse- 
ment places in the world. 




Adolph Zukor, head of the Famous Players- 
Lasky, and his wife at the laying of the corner 
stone of the new theater building. In the 
background is a model of the structure 



Thirty-two nations have sent 
stones to be placed in the 
"Hall of Nations" lobby of 
the theater. These include 
stones from the ancient thea- 
ter of Dionysus in Greece, as 
well as fragments from an- 
cient Carthage, from the Col- 
iseum in Rome, and from 
Hamlet's Castle of Elsinore 
in Denmark 




Famous Players' new theater building is destined to be- 
come a landmark of New York. It is now being con- 
structed in Times Square, "the crossroads of the world." 
The base of its thirty-five stories of steel columns rests 
upon solid rock fifty-two feet below the street level. It 
will be 450 feet high and is the first great monumental 
structure erected by the motion picture industry 




8i 



Photoplay Magazine — Advertising Section 




Would 
You? 

"V7"OU know how broth- 
-*- ers and sisters argue 
about things. 

Well, here was a case 
where the boy was much 
put out because his sis- 
ter would not accept the 
attentions of his best 
friend, or go out with 
him. 

She simply refused 
flatly and he could nev r er 
find out why. 

"You wouldn't ei- 
ther," she said, "if you 
knew what I know." 




write to advertisers pie 



nioTllI'I.AY MAGAZINE. 



Just to be Different 




Here's a blow to the barbers. Gloria Swanson, 
whose every style whim affects a million girls, 
is letting her hair grow. It's at the fierce stage 
now, half curled, half straight, neither long 
nor short 



And girls, corsets! 
You just know she 
wears them when 
you observe this 
photograph. Shades 
of the Jersey Lily, is 
the straight line 
front coming back? 
Gloria wears these 
outfits in ' 'Fine 
Manners" 



Gloria goes back 

to an Old Fashion 



Blow of blows, 
Gloria's letting her 
dresses grow, too, 
right down to the 
c arpet . Th is , of 
course, is Swanson 
versus Paris. Yet 
what dressmaker 
important enough 
to demur when 
Gloria sets her hem 
down ? 




S6 



Photoplay Magazine — Advertising Section 



8 7 



"The Djer-Kiss" 

INTERPRETED BY 
R. F. SCHABELITZ 

Here you behold the charm 
one gains by the use of my 
beauty-aids, Madame! Made- 
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each in his own manner. 
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KERKOFF, Paris 





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Talc Djer-Kiss— created and packaged in France— to make shoulders 
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Face Powder Djer-Kiss — made and boxed in France. See the dif- 
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CyjCERKOFF - PARIS 8 



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418 West 25th Street, New York City 

photoplai magazine. 




C H 



comics, 
moron, 
he's the 



ARRY LANGDON is the favorite comedian of the 
movie colony. Ask Harold Lloyd who gives him the 
biggest celluloid laugh. Ask any star. They will all 
say Langdon. In a year Langdon has taken up his 
comedy post right behind Chaplin and Lloyd. Lang- 
don has "gone younger" than any of the other film 
He plays the comedy infant. In brief, he is the eternal 

Langdon was once a newspaper cartoonist in Omaha. Now 

comic idol of Hollvwood ! 



Photoplay Magazine — Advertising Section 



8 9 



You Live Every Day— Meet Every Day 

— Unhandicapped 




In this A[£W way which solves women's 
oldest hygienic problem so amazingly by 
banishing the insecurity of old ways, and 
adding the convenience of disposability. 



® 



Bj ELLEN J. BUCKLAND 

Registered NuTse 



OTHER women have told you about Kotex; 
about the great difference it is making in 
their lives. 

Now from the standpoint, both of practicing 
nurse in charge of more than 500 women and 
girls . . . and as a woman myself ... I urge you 
to try it. 

It converts most trying situations of yester- 
day into the mere incidents of today. You can 
wear your most exquisite things, your sheerest 
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Once you try it. you will never again use a 
makeshift sanitary pad. 

Eight in every ten of the representative 
women of America have adopted it. Highest 
hygienic authorities advise it. Virtually every 
great hospital in America employs it. 

These new advantages 

Kotex, the scientific sanitary pad, is made of 
the super-absorbent Cellucotton. Nurses in 
war-time France first discovered it. 

It absorbs and holds instantly sixteen times 
its own weight in moisture. It is five times as 
absorbent as ordinary cotton pads. 



No laundry, 
easy to dispose 
as a piece of t 
sue — thus endi 
the trying prob- 
lem of disposal 



Kotex also deodorizes by a new secret disin- 
fectant. And thus solves another trying problem. 

Kotex will make a great difference in your 
viewpoint, in your peace of mind — and in your 
health. 60% of many ills, according to many 
medical authorities, are traced to the use of 
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Simply discard Kotex as you would waste 
paper — without embarrassment. 

Thus today, on eminent medical advice, mil- 
lions are turning to this new way. Obtain a 
package today. 

Only Kotex is "like" Kotex 

See that you get the genuine Kotex. It is 
the only sanitary napkin embodying the super- 
absorbent Cellucotton. It is the only napkin 
made by this company. Only Kotex itself is 
"like" Kotex. 

You can obtain Kotex at better drug and 
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tary sealed packages of 12 in two sizes, the 
Regular and Kotex-Super. Cellucotton Prod- 
ucts Co., 166 W. Jackson Blvd., Chicago. 



Easy 
Disposal 

and 2 other 

important 

factors 




Utter protection — Kotex 
absorbs 16 times its own 
weight in moisture; 5 
times that of the ordinary 
cotton pad, and it de- 



tin 



double protection. 



- 




fi 


Siel? ^ 


HM 


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'Supplied also in personal service 
West Disinfecting Co. 



"Ask for them by name" 

KOTGX 



PROTECTS — DEODORIZES 




Kotex Regular! 
65c per dozen 
Kotex-Super: 
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Easy to buy anywhere.* 
| Many stores keep them 
ready wrapped in plain 
paper — simply help your- 
self, pay the clerk, that 
Is alt. 



No laundry — discard as 
easily as a piece of tissue 



When yc 



■ id- 



entical rilOTOPLAY MAGAZINE. 



Down to the Sea in Surf Boards 





There's no Mack Sennett background in these girls' 
pasts, but oh, how they can swim! Viola Dana and Shir- 
ley Mason are the most devoted sisters in Hollywood, and 
being absolutely sure of their box-office following, there's 
nothing they like so much as to be all wet. So, whenever 
the tide comes in,Vi and Shirley go out in slick, silk suits. 



90 



Photoplay Magazine — Advertising Section 



9 1 





Are you a slave 
to a whisk-broom? 

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important note 

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PHOTOPLAY MAGAZINE. 



Grange Bucks Hollywood Line 




"Red" Grange, 
the iceman- 
foot ball 
star, is in 
pictures at 
last. "Red," 
or Harold E., as 
his fond parents 
named him, was a 
newspaper headliner 
all last fall. He's mak 
ing his celluloid debut in 
"The Halfback," written by 
Byron Morgan. Here Direc- 
tor Sam Wood is telling him 
how to make up 



Ben Hurry 



CONTINUED FROM PAGE 41 



"Then," postulated Mr. Slappey, "I'd say- 
that Mistuh Welford Potts would be sittin' on 
top of the world." 

The idea was not without its appeal. The 
disgruntled little actor nourished his justifiable 
grouch and planned carefully a coup which 
would restore to him that luminosity which was 
rightfully his. And finally the details of the 
plan took shape in his mind and lie created an 
opportunity to talk privately a couple of days 
later with the chief executive of the Midnight 
Pictures Corporation, Inc. 

"You suttinly is ridin' to a fall, Brother 
Latimer." 

The president frowned. "I?" 

"An' not nobody else." 

"What kind of silliment is that which you 
speaks?" 

"Nothin'. But — " and Welford dropped his 
voice discreetly " — you is gittin' laughed at all 
over the lot!" 

Orifice R. Latimer rose abruptly. His two 
hundred and fifty pounds towered over the 
diminutive figure of the little actor. 

"Says which?" he roared. 

"I say folks on the lot is laughin' at you." 

The president was excessively irate and 
rather disbelieving. "I aint sawn nobody 
laughin' at me — nor neither heard 'em." 

" Course not. You reckon they would do it 
right to yo' face? But they is laughin' just the 
same on account you is such a sucker." 

Latimer leaned forward and pounded the 
desk with a large and fleshy fist. "What is 
they laughin' at me about?" 

"Oh, nothin' 'special . . . that is. it aint 
nothin' I has got anything to do with." 

"I craves to know." 

92 



"Well." righteously, "I aint carrvin' no 
tales. But I guess they has got something on 
you all right." 

And now Mr. Latimer was thoroughly ex- 
cited. He stormed and raged and ranted. He 
demanded information. Welford Potts watched 
him calculatingly, and when he figured that 
Mr. Latimer had lashed himself into a mood 
where he would be receptive to almost any in- 
sinuation, the little actor allowed himself to be 
persuaded. 

"It's Opus Randall," he murmured. 

Latimer stopped his pacing. His lower jaw 
dropped and he collapsed into a chair rather in 
the manner of a balloon which had been pricked 
by a lone, sharp needle. 

"What's Opus Randall?" he probed. 

"Which has got them laughin' at you." 

"How come?" 

"Well, ever sence you an' Opus settled that 
fuss you was bavin' a month ago. Brother Ran- 
dall has been tellin' everybody he's got you 
eatin' off his hand. Also, that you is president 
of Midnight in name only, an' that he's the 
feller which is runnin' same — an' that you only- 
does what he lets you do!" 

"'Taint so!" sputtered the president. "It 
posolutely aint the truth." 

"Co'se it aint, Brother Latimer. You know- 
that an' I know it. But the others don't. They 
hear what Opus says an' they see how much 
you is doin' fo' him — so I guess they has got 
justifyment in their 'pinions." 

"It caint be true . . Opus an' me is 
friends with each other." 

"Yeh, ... I guess you is friends with 
Opus, but most likely he aint so much friends 
with you." 



Welford Potts retired. He went gleefully 
in search of Florian Slappey and found that 
personage on the set where Eddie Fizz was 
directing little Excelsior Nix in a kid comedy. 
Into Florian's ears Welford poured the story of 
his recent interview. Mr. Slappey banged his 
thigh enthusiastically. 

"Hot ziggity dam!" he ejaculated. "You 
suttinly is some diploma!" 

"Aint I just? An' the best paht of it is that 
ev thing I told Orifice is true as gospel." 

"You is tootin'. It's a gosh-honest fack that 
Opus has been boastin' he's got Latimer where 
he wants him . . . I'se hearn him my 
ownse'f many's the time. Well, by golly! 
Whatever happens. Opus deserves it; gittin' 
high hat with all his ol' friends, an' boastin' 
aroun' that he's the big feller with Midnight. 
Hmm! I wonder what Orifice will do now?" 

Orifice was doing something. He was storm- 
ing around the office of the chill visaged di- 
rector-in-chief. 

"Those is orders." roared the president. 
"I demands that Opus Randall be tooken out 
of the star part in 'The Roman Umpire' an' 
Welford Potts made it." 

Caesar shook his head coldly. "Nothin' 
stirrin'." 

"I commands." 

"'Taint noways possible, Orifice. Us has 
a'ready cast an' coschumed that pitcher an' a 
heap of the shots has a'ready been took. If us 
changes aroun' we has got to go back to the be- 
ginnin' an' shoot all over again. An' that 
causes us to miss delivery date. Also, it pro- 
motes friction in the comp'ny an' I aint gwine 
stan' fo' it." 

[ CONTINUED ON PAGE I30 ] 



Photoplay Magazine — Advertising Section 



93 



HE NEW SPORTS WGDLENS 



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urishmnken 

after repeated 
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V'ORTS WOOLENS — gay -colored, smart — stay like new 
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HOW THE BIG, HEW PACKAGE, TOO 



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please mention TOOTHI'LAY MAGAZINE. 



QUESTIONS & ANSWERS 



Redd Tin's Before 
Asking Questions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address; only initials will be 
published if requested. 




Costs and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. As a 
further aid, a complete list of 
studio addresses is printed else- 
where in this Magazine every 
month. Address all inquiries 
to Questions and Answers, 
Photoplay Magazine, 221 W. 
57th St., New York City. 



Ed. B., Cushing, Okla. — " Sheik of by-gone 
days," heh? How do you know that my sheik- 
ing days are "by-gone"? Laura La Plante be- 
gan her career in Christie comedies. She is five 
feet, two inches and weighs 112 pounds. Born 
November 1, 1904. 

L. E. T., Wichita, Kan. — Lon Chancy 
parks his make-up box at the Metro-Goldwyn- 
Mayer Studios, Culver City, Calif. 

D. E. N., Pittsburgh, Pa. — So you say in 
defense of Lillian Gish: "I read in one of the 
movie magazines that she flaps her hands, rubs 
inanimate objects against her face, runs about 
in circles, twists her feet and shows her molars 
to express emotion. Well, what if she does? 
I'll venture to say that is exactly the way 
seventy per cent of all women do act, or would 
act, if placed in the same or similar dramatic 
situations in real life." Since you ask me no 
questions, I'll put your defense of Miss dish on 
record in these valuable columns. 

Mrs. G. A.. Antico, Wis. — Yes, grandchild, 
Richard Barthelmess is now making pictures in 
Hollywood. It is your privilege to invent a 
little romance for your favorite comedian, but I 
have me douts. And so Ronald Colman "is 
another genius, but so sober!" And Jack Gil- 
bert is "out of place" for you. Call again. 

Miss. A. W., Dun-more, Pa. — Here's a faith- 
ful fan who remembers Pearl White. Pearl was 
born in Missouri and has reddish hair and 
brown eyes. Corinne Griffith's hair is light 
brown and her eyes are blue. She is five feet, 
three inches tall and was born in Texarkana, 
Texas. Pola Negri was born in Yanowa, Po- 
land, and has dark grey eyes. 

M. M., London, Ont. — Yes, William 
Haines has a good chance of becoming one of 
your best stars, if he gets a good chance. His 
next film is "The Road to Mandalay." I'm 
sorry to disappoint you, but I don't think there 
is much hope of his visiting London, Ontario. 

Kay. Seattle, Wash. — More fun is 
right! You wouldn't flirt with an old 
Answer Man. would you? But I know 
you. You're just one of these girls that 
doesn't know her own mind. George 
Lewis was born in Mexico City, Mexico. 
He works at LTniversal City. Raymond 
Keane does his stuff at the same place. 
William Boyd, born in Cambridge, Ohio, 
may be reached at the De Mille Studios, 
Culver City, Calif. Happy? 

H. V. L., West New York, N. J. — 
Where have you been all these months? 
It is safest to send the quarter. Law- 
rence Gray was born in San Francisco, 
Calif., July 27, 1898. He started in pic- 
tures in 1924, first appearing in "The 
Dressmaker from Paris." Lawrence is 
five feet, ten inches and weighs 155 
pounds. Brown hair and green eyes. 



D. R. S., Baldwin, L. I. — So you sat near 
Richard Dix at a movie and you found him 
better looking in person than he is on the 
screen? That is saying a lot — a whole lot, I 
must admit. Write to Mr. Dix at the Famous 
Players l.uskv Sludio, Astoria, L. I. His new- 
est picture — the one you saw at the pre-view — 
is "Say It Again." Alyce Mills is his leading 
woman. 

N. C, San I u.if. — Constant 

woman! you just ask about one man. Here 

goes: Robert Fra/cr is married; his wife is a 
non-professional. He is six feel tall and was 
born in Worcester, Mass. Dark brown hair, 
brown eyes. He played a leading role with 
Mae Murray in "Jazz mania." 

R. A. L .. \i w l;i r\. X. C. — Lawrence Gray 
is not married. Write to him at Famous Play- 
ers-Lasky, Astoria, 1. I. Marion Nixon was 
born in Superior, Wis You may no) see her 
anymore in Western pictures as she is going to 
Germany for film appearances. Reginald 
Denny is married. Horn in Richmond, Surrey. 
England. 

A Novarro Fan. Louisiana. — My dear. 

you certainly have a wild crush on Ramon. 
And I really don't blame you a bit, for he is one 
of the finest boys in pictures. The exact 
date of Ramon's birth — sure — February 6, 
1899. You have a treat in store for you, that is 
if you haven't already seen "Ben-Hur." His 
next picture will be "A Certain Young Man.'' 
Little Sally O'Neil, the recent Marshall Neilan 
discover.-, is playing opposite him. Vilma 
Banky is five feet, six inches in height and 
weighs 120 pounds. Thanx for your kind 
woids. 

Mary E. Hale, Cedar Key. Fi.a. — Please 
excuse. I'm sorry. Dorothy Mackaill can be 
reached at the Biograph Studio. 807 Fast 1 75th 
St.. New York City; Gloria Swanson, 522 
Fifth Ave., Xew York City. I'm here always, 
call again! And as often as you want. 



IN writing to the stars for pictures, 
Photoplay advises you all to be 
careful to enclose twenty-five cents. 
This covers the cost of the photo- 
graph and postage. The stars are 
all glad to mail you their pictures, 
but the cost of it is prohibitive un- 
less your quarters are remitted. 
The younger stars can not afford to 
keep up with these requests unless 
you help them. You do your share 
and they'll do theirs. 



J. Lee. Newton, Maps. — Yep, my hair will 
soon be all white, but that doesn't worry me. 
And you think I'm handsome — well I'm as 
handsome as a hackman's hat — if you know 
what I mean. Here goes for all your questions: 
Jack Pickford is thirty; Lois Wilson was born 
in Pittsburgh, Pa., June 28, r8o6; Alice Joyce 
was born in Kansas City, October 1. 1800; 
Esther Ralston was born in Bar Harbor, 
.Maine. September 17, 1002; Thomas Meighan 
is six feet in height and has brown hair. Evi- 
dently you don't think much of the photo- 
graphs the star sent you if you are willing to 
give them away. I don't think that's nice. 
You should at least appreciate their efforts to 
please their fan public. 

F.dythe Yuii.i., New Zealand. — Well, you 
certainly did travel a long way to receive ad- 
vice from your Treasure Man. I hold the lil tie 
key to the chest that contains all the secrets of 
moviedom. You girls are getting all excited 
over the reports of kii hard Dix's engagement. 
Iiut in vain! For Richard told me. only the 
other night, that he knew nothing about the 
engagements that were being rumored about 
him. He still has the advantage of going when 
and where he pleases, without the advice of a 
wife. If you are anxious to obtain a photo- 
graph of him write him at the Paramount 
Studio, Pierce Ave. and Sixth St., Long Island 
City. X. Y. Of course you won't forget to 
enclose the two-bits for the photo. 

T11. L. Lim. Semarang, Java. — I am de- ■ 

lighted to hear from fans in foreign countries. 
I had no idea that they were so interested in 
movies. But I can readily see that you have 
been taking an interest for many years for 
your question concerns an actress who was 
popular many years ago — Mary Macl aren. 
Mary's last appearance in pictures was the 
Warner Bros, production, "The Dark Swan." 
Then she said goodbye to films and married 
Colonel George II. Young, of England, on 
active service with the British army in India. 
Shortly after the marriage they sailed for Pun- 
jab, India, where Colonel Young was 
posted. And so another of our beauties 
passed out of our lives and we wonder if 
she will ever return. X'ita Xaldi. for- 
merly Anita Dooley, was born in Xew 
York City, April 1, 1899. She is five 
feet, eight inches in height and weighs 
123 pounds. Xita is in Europe at pres- 
ent making pictures. Drop in again! 

Sandy, Hollywood, Calif. — Don't 
fool yourself, "Maytime" was released 
December 2, 1923. Why should they 
put that on the shelf? 

H. P., Lakeland. Fla. — William S. 
Hart has made no pictures since "Tum- 
bleweeds." I'll pass on the compliment 
you pay him. "He knows more about 
the West than any other actor or direc- 
tor in the film world.'' 

[ CONTINUED ON PAGE 120 ] 




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world's priceless beauty secrets. 



THE PALMOLIVE COMPANY (Del. Corp.), CHICAGO, ILLINOIS 



Search for Film Teddy Ends 




T. R. 



is 
Found ! 



WHEN the Famous Players started to make "The Rough Riders," a 
country-wide search was instituted for a man who looked like 
Theodore Roosevelt — and who could act the role. Mrs. Dorothy 
Dodd, a Los Angeles woman, read of the search. As she was leaving a film 
theater one night she noticed a man who looked like the famous " T. R." of 
Spanish-American War days. She hurried to his side and suggested that 
he apply for the role. 

The man, Frank Hopper, went around to the Hollywood studio the next 
day and got the job. Curiously, he had been an actor for eighteen years 
but he had given up, unable to get a job. He had been working for two 
months as a book agent. 



97 



Good Fishing in Her Own Backyard 



You are really not any- 
body at all in Holly- 
wood unless you have a 
pool of some sort on 
the premises. This is 
Lois Wilson in the gar- 
den of her Hollywood 
home, considering the 
lilies, etc. 




LOIS WILSON is one of the leaders in the Big Commuting 
Contest between Los Angeles and New York. She has a 
charming "little grey .home in the West," but she spends half 
of her time in a suite of a New York hotel. Lois loves her 
Hollywood home, but she has begged Mr. Lasky to cast her in 
no more Westerns. " It's getting so that as soon as I appear on 
the screen, the audience begins to look for the covered wagon," 
wails Lois. " And I am tired of being the pioneer heroine!" 



According to Freud 



[CONTINUED TKiiM PAGE 7.1 



bear to have a knife within his reach and he is 
possessed by a desire — which he is at a loss to 
understand — to kill his wife. 

These incessant desires are heightened by 
the arrival from abroad of his wife's cousin (a 
man) — despite the fact that the cousin, the 
husband and the wife have been intimate 
friends since childhood. At their first meal 
together after the reunion the husband finds 
he is unable to touch his dining knife; and 
filled with a sudden mental fear of the knife, he 
rushes from the house. 

He wanders through various situations and 
winds up at the office of a psycho-analyst who 
begins a treatment to cure him of his strange 
mental twists. 

AND as the treatment is carried on, the 
husband (as is the case in everyday psy- 
cho-analytic treatments) tells his physician of 
his dreams, beginning with the dream he had 
on the night after the murder was committed. 
Here the film technic for portraying dreams 
comes in admirably. 

As the man recites his weird dream we are 
transported into his subconscious by the film; 
we are shown in pictures exactly what went 
through his mind. 

Psycho-analysis, you know, teaches the 
theory that all dreams are wish fulfillments. 
A hungry man dreams of food. A poor man 
dreams of riches. But in many cases our 
dreams are so peculiar that we are unable to 
ascertain what desires are at the bottom of 
them. A mental mechanism often distorts 
them into strange pictures and figures which 
cleverly hide what they mean. 

98 



However, according to Dr. Freud, the dream 
images and pictures — no matter how strange 
— are symbolic and may be unravelled for us. 

"Secrets of the Soul" first shows us the 
dream and then explains what its various 
aspects mean. 

From the husband's dream, then, the 
psycho-analyst discovers that he had had an 
intense desire to be a father, but that just pre- 
vious to the murder next door he had resigned 
himself to the cruel fact that he would be for- 
ever childless. 

The mental shock of the murder and the 
arrival of the wife's cousin — of whom the hus- 
band had, without realizing it, been jealous 
as far as his own wife was concerned — had 
twisted his mind out of gear. 

For deep in his subconscious, the husband 
retained a picture of an incident that had 
happened when he, his wife, and the cousin 
were very young. His wife had been mothering 
a little doll. Suddenly she walked over to her 
cousin and gave it to him. This action had 
stung the husband greatly as, even in child- 
hood, he had been attached to the girl who was 
later to be his wife. The arrival of the cousin 
at the husband's home after the shock of the 
murder next door and the additional mental 
disturbance caused by his realization that he 
would be forever childless had given him the 
"knife complex," the desire to kill. 

As in most psycho-analytic cases, the expla- 
nation of how the complex comes about clears 
up the complex. And, as the treatment 
progresses in the film the husband uncon- 
sciously picks up from the physician's table 
a sharp letter opener. To his great surprise, 



and ck-light, he finds he has no objection to it, 
no fear of it. He also realizes that he loves his 
wife and has no desire to kill her. The psycho- 
analyst's treatment has been successful. In an 
epilogue, the husband's greatest w-ish has been 
fulfilled — his wife informs him that he will have 
a child. 

There is deep and abiding drama in the un- 
ravelling and curing of a complex — which may 
be of any kind, such as a complex for divorce, 
a fear of cats, a liking to tell lies, a feeling that 
one is inferior. And inasmuch as dreams are 
of the utmost importance in the treatment and 
curing of a complex, the screen — which can 
picturize a dream with remarkable realism, — 
is by far the greatest medium for the portrayal 
of psycho-analytic drama. Dreams are full 
of symbols — a ship, in a dream, for instance, 
personifies a woman — and the movies, as their 
followers know, rather dote on symbols of this 
and that. Indeed, "Caligari" was built of 
them. 

CONSIDER the photograph on page 73, 
which is one of the image pictures, so 
called, in the husband's dream. The husband 
and wife are kneeling and gazing at one another 
over a young plant. 

Knowing that dreams are wishes come true — 
albeit disguised a bit — and knowing that the 
husband's greatest wish is for a child, it is not 
difficult to decipher what the picture, or rather 
the dream, means. 

Of such stuff are psycho-analytic dream-films 
made. 

"Secrets of the Soul" may start a flood of 
them. 



Photoplay Magazine — Advertising Section 



99 



What makes the pictures you like? 

good stories — perfect settings — brilliant acting 
— superb direction — You will find them all in 

DEMILLE- METROPOLITAN PICTURES 



V3: 



=tV 




The genius of Cecil B. DeMille 

guarantees unrivalled 

entertainment 

THERE is magic 
in the very name 
of Cecil B. De.Mille. 
Yesterday's stupen- 
dous production, 
"T he Ten Com- 
mandments" — to- 
day's masterpiece, 
"The Volga Boat- 
man" — are pictures 
that will never be 
forgotten. 

The vision of De- 
Mille makes him rec- 
ognize the material 
of which great pictures can be made; his execu- 
tive ability and master showmanship enable 
him to develop that material to its fullest pos- 
sibilities. The result is entertainment that holds 
millions of people spellbound. 

DeMille knows the stuff of which stars are 
made, too. Gloria Swanson, Thomas Meighan, 
\\ ally Reid and Leatrice Joy were developed 
by him. Now, he presents to you a new group 
of fascinating personalities. 

It's personality as well as looks 

that counts with these 

new DeMille stars 

THE Master-Director who discovered Leat- 
rice Joy for you has added two new fem- 
inine names to his shining galaxy of stars — 
Vera Reynolds and Jetta Goudal. Strikingly 
different in type, these two actresses are both 
public favorites. 

Vera Reynolds — 
vivid and dain- 
ty — is the per- 
sonification of 
sunshine, of gai- 
ety, of happy 
American girl- 
hood. To see her 
is to love her — 
and to want to 
keeponseeingher! 

Jetta Goudal is the 
woman of mystery. Mar- 
velously — daringly 
gowned, she moves 
through her roles with 
irresistible grace. And 




#yi 



Vera Reynolds 



baffling, half-ironic look which hints of the 
emotional heights she achieves so brilliantly. 
Not the ice-cold sparkle of a diamond — not the 
sullen passion of a ruby — but the distinction, 
the half-hidden fire of a priceless emerald — 
that is Jetta Goudal! 

Another new star of yet a third type is Marie 
Prevost of Metropolitan 
Pictures. Marie Prevost 
is that adorable combi- 
nation — the vivacious 
brunette. Pouting and 
mischievous, her eyes 
dance with fun and ex- 
citement as she plans 
breathless escapades. ■ 
See her in "Up in ^"■•"■"■■"■■i^" 
Mabel's Room" and you Marie Praiosl 

will never miss another one of her pictures. 
Other highly diverting films in which Marie 
Prevost will star are : "Man Bait," "Getting 
Gertie's Garter," and "Almost a Lady." 

Popular Men 

WHAT type hero arouses your enthusiasm ? 
Three of the splendid actors who are in 
DeMille-Metropolitan Pictures are shown here: 
Rod La Rocque (top), Joseph Schildkraut 
(center), William Boyd (bottom). 

The magnetic personality of Rod LaRocque 
endears him to vast audiences. Whether in 
Indian dress in " Brave- 
heart," or in the sophis- 
ticated clothes of So- 
ciety — there is no one 
like him. In his new pic- 
ture, "Gigolo," he is at 
his best. 

There is no handsomer 
man on the screen than 
Joseph Schildkraut, but 
he has far more than 
good looks. He is an 
actor of singular power 
and tremendous emo- 
tional appeal. Among 
his big pictures for the 
coming year is "Meet 
the Prince" — a triumph! 

William Boyd is the 
typical American boy 
that everybody loves. 
There's an out-of-door 
freshness about him you 
can't resist. He stands 
for clean, alert man- 
hood. And my, but he's 
a regular fellow when it 
comes to fights! See him 
in "The Volga Boatmai 





Peter S. Kyne 

Edna Ferber 

Jeanxe Macpherso 



Rod La Rocque 

Joseph ScluMra 

William Boyd 



, then see him again 
always in her eyes is that in "Eve's Leaves" with lovely Leatrice Joy. 



Leading writers plan big stories 
for DeMille-Metropolitan Pictures 

FAMOUS authors - 
are realizing that the 
screen furnishes an 
ideal medium for their 
finest efforts. 

Edna Ferber's faith- 
ful pictures of life are 
as popular in the 
movies as in book form. 
''So Big" and "Classi- 
fied" took the country 
by storm and now 
comes "Gigolo" to 
take its place beside 
these other master- 
pieces. 

Peter B. Kyne is the 
apostle of the "great 
out-doors." His writ- 
ings are filled with ac- 
tion and color. One of 
his latest successes, 
"Pals in Paradise," is 
being made into a 
splendid film by Met- 
ropolitan Pictures. 
Watch for it! 

Jeanie Macpherson 
is noted in Motion Picture Circles as a creator 
of outstanding stories. Her work on "The Ten 
Commandments" made her fame secure. She 
will contribute regularly to DeMille produc- 
tions. 

When it comes to comedy 
you can't beat Al Christie 

AL CHRISTIE is, 
. without question, 
the King of Feature 
Comedies. His hand- 
ling of Syd Chaplin in 
"Charley's Aunt" will 
never be forgotten. 
Audiences laughed 
themselves into hys- 
terics and clamored for 
more. His current suc- 
cess "Up in Mabel's 
Room" with Marie 
Prevost and Harrison Ford is fast becoming a 
rival of the earlier feature. In response to the 
demand for another mirth-riot, he is now mak- 
ing "The Nervous Wreck," based on the stage 
play which created a furore on Broadway. The 
cast will include Phyllis Haver and Harrison 
Ford. If you want to enjoy yourself as you 
never have before, ask your theatre man when 
these great Christie features are coming to 
your town. 




RELEASED BY 



PRODUCERS DISTRIBUTING CORPORATION 



F. C. MUNROE. Pmidcr 



RAYMOND PAWLEV. V, t P.-iJn.i and Tiuiuot JOHN a FUNN. Vict P.m. 

mi write to advertisers pletuse mention PHOTOPLAY MAGAZINE. 



Friendly 
Advice 



on 





Problems 



from 



Carolyn Van Wyck 



D 



to forget myself at parties or any place where I when you realize, deep in your subconscious 
meet people socially. In fact. I am getting so ness. that you are only a very small cog in the 
shy that I even avoid people I know well. My giganti wheel of existence 



friends ask me out. I want to go and yet I re- 
fuse, knowing I'll be awkwar and tongue-tied. 
Boys think I'm proud and affected. I'm not. 
I'm just scared of doing or saying the wrong 
thing. All my girl friends seem able to just talk 
and have a good time with boys, but something 
holds me back. Could you tell me how I can 
forget myself and really amount to something? 

Evelyn M. 



\ little more quiet humor, a little more sim- 
plicity and sincerity, will show any girl that 
unless she i- being entertaining, charming and 
amusing, she will not be the center of attention. 
It is nonsense to think you will be sharply 
observed if you sit alone in a corner. You wiil 
merely be forgotten. 

I had among my acquaintances agirl who was 



EAR CAROLYN" VAX WYCK: «ill rind it impossible to sit solemn ami un- That terrified her worse than ever. The very 

What can I do to overcome self-con- happy at a party believing every eye is hostile idea of her prancing about a large room, very 
sdousness? It seems impossible for me and every whisper is detailing your defects scantily clad, before a class of other girls, 

seemed almost impossible to her. But she was 
desperate and finally joined. 

For the first few lessons self-consciousness 

rooted her to the floor. Then she essayed a 

step or two. She was excessively awkward. 

Like all self-conscious people, her attention was 

so directed upon herself. she saw every one of 

her faults. Frightened, she looked around her. 

F.very other pupil was dancing. Even' other 

pupil was just about as bad as she was. Xo one 

had noticed her trembling start. She tried 

again and again. X'ever did an eye 

turn her way. Then she realized the 

truth. Xo one saw the mistakes she 

made, because each individual was too 

interested in herself, too occupied with 

her own mistakes. And with that, the 

girl gained the door to freedom from a 

bad mental habit. 

She told me later that even today 
when she enters a room and some- 
times feels the old terror stealing upon 
lur she says to herself. "They can't 
really see me. They are all too busy 
watching themselves.'' X'ow people 
speak of her as a girl of unusual charm 
and poise. 

So to you girls I recommend that you 
master a few little social graces. Try 
to be a game sport. Play some game 
well, if it's only bridge. Be able to 
dance and to carry a tune. Look to 
your personal appearance. Make your 
eyes and your hair have lustre and 
your skin be clear. Be neat and tidy 
in vour dress and positive always that 
nothing is gaping, no buttons or laces 
are tumbling loose, no threads hanging. 
The discovery of such things about 
your costume will make you self-conscious in 
an instant. Get a hobby that is really interest- 
ing, so that your friends will have something to 
talk to you about, something to learn from you. 
Finally, remember, most people are self- 
conscious, too. Most people are shy. Few 
know just how to act and almost everyone is 
pretty bored. 

Silence in public may have landed a few men 
in the White House but it never got any 
woman as far as the church supper. 

[ CONTINUED OX PACE 121 ] 



Are vou reallv willing to forget vour- 
self, Evelyn M.? That's all there is to 
curing self-consciousness, the forget- 
ting of self for the while in the joy of 
being happy. 

Self-consciousness left to itself can 
master even the finest mind. It can 
tear down the most charming person- 
ality. It is, as Bertrand Russell points 
out. a deliberate choosing to be miser- 
able rather than risk being unusual. 
And it is. for all its business of masking 
itself in the robes of humility, a major 
form of conceit. Yet. I recognize from 
the letters you girls write me. that it is 
a problem troubling many of you. 

Well, my dears, one of its causes is 
your youth. You haven't had time, 
most of you, to gain social poise. 
You've not had years enough for ac- 
complishments that might bring you. 
automatically, a position of respect 
and admiration. .And so, you're let- 
ting self-consciousness tie you into 
bowknots. 

You don't need to have that happen. 
It isn't half so arduous getting over self-con- 
sciousness as it is getting over being too fat. 
You don't need diet and you don't need exer- 
cise. You simply need a change of mental 
attitude. 

The quickest and easiest cure is to develop 
your sense of humor. This humor is not neces- 
sarily of the wise-cracking, life-of-the-party 
sort. That's excellent, too. but what you need 
here is the ability to see the world and life as an 
amusing phenomena. Look at life that way 
and you will look at yourself similarly. You 

100 



Pamphlet on Reducing 

Following the announcement that I would send 
specific instructions on diet, skin troubles, or any 
other beauty problem, I have been so deluged with 
requests that as yet it has been absolutely impos- 
sible to comply with all of them. 

The majority of the letters have asked for in- 
structions on diet and reducing. To comply with 
these I have had printed a new, eight-page pam- 
phlet, illustrated with exercises that help you reduce 
in a sane manner. The price of this booklet is ten 
cents. All other beauty advice will be sent on 
receipt of a stamped, self-addressed envelope. 

To those of you who have written me and not yet 
heard from me, I ask you to wait just a little longer. 
Not one of your letters has been lost and you will, 
every one of you, get a personal reply. 

CAROLYN VAN WYCK. 



so self-conscious she suffered intensely at even- 
social contact. She could never talk to boys of 
her own age. Once in a while when she got with 
a man old enough to be her grandfather, and 
who accordingly couldn't interest her in the 
least, she became natural and talked fluently. 
But bring her into a room full of young people 
of her own years and type and her eyes would 
dilate and her muscles stiffen with fear. She 
got so desperate, finally, that she went to a 
psychologist. He told' her to study (.reck 
dancing. 



Photoplay Magazine — Advertising Section 




greater £Movie Season 
Wrings a Jeast of 
Entertainment in Warner Productions 

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

An ERNST LUBITSCH 

Production 

SO THIS IS PARIS 



the name implies. A sample of Parisian 

hose who have been there and those who 

The splendid cast includes MONTE 

PATSY RUTH MILLER and other 



Footloose Widows 

with LOUISE FAZENDA 
and JAJ^UELINE LOGAN 

Life and laughtVJr?ftew York to Palm Beach and 
back again. A r.ipid-hre comedy-drama that takes 
its place as one of the season's most delightfully 
entertaining pictures. 



A Hero o/v/ieBiGSNOws 

with RIN-TIN-TIN 

with the wonder dog of 



A story of the fa 
the 

th 



yho ha 



other great pictures. Every lover of dogs will 
thrill to this. 




JOHN 

BARRYMORE 



i the great adventure- 
that is thrilling the i 



The SEA BEAST 

ivith Dolores Costello 

Directed by Millard Webb 



BROKEN HEARTS of 
HOLLYWOOD 

with PATSY RUTH MILLER 



lollywood— that magic word. What it conjures 
ip in the mind of every aspirant to screen fame. 
Vith one of the season's greatest cast of stars in- 
luding Louise Dresser, Douglas Fairbanks, Jr., 
ituart Holmes and others. 



The 



•5* 



Honeymoon Express 

with IRENE RICH 



From the play that swept the whole 
in pictures with a great cast of favoi 
Willard L 



, n , Helene Costello, J 
Jane Winton, Vir; 



iuntry. Now 

nn Patrick, 
Lee Corbin. Harold Good- 



T/ie 






PASSIONATE QUEST 

with LOUISE FAZENDA 
May McAvoy and Willard Louis 

London and Paris— the world's centers of fashion 
and revelry. Here is a story of surprising love in 
the midst of it all. From the popular novel by 
E. Phillips Oppenheim. 



WARNER BROS. PRODUCTIONS 



mention PHOTOPLAY MAGAZ1NK. 



What Is Immorality in Pictures? 



CONTINUED FROM PACE 2Q 



MOTION PICTURE SCORE CARD 

Report on what movie 

In city or town of 

at Theater St. 

Day and hour of visit Representing 

council or club. Name of producing 

corporation If it reproduces 

book or spoken drama, give name 

Was the poster advertising harmful, sensational or mislead- 
ing? Was the trailer (the film announcing 

coming attractions) objectionable? 

SPECIFICATION OF DETAILS. 
If film contained any of the following, mark with a cross : 

1. Gun play or hold ups 2. Overemphasizing 

underworld 3. Murders, how many? 

4. Prizefighting or bull-fighting 5. Gambling, 

stealing or other criminal acts 6. Methods of 

committing crimes depicted 7. Suicide in detail 

8. Offensive orgy scenes 9. Exhibit 

criminals as heroic 10. Cruelty to animals 

11. Tense nerve-racking scenes 

12. Vulgar display of figure, indecent dress 

13. Exploits sex appeal 14. White slavery or 

prostitution IS. Realistic struggle of girl to 

defend her honor 16. Sacrifice of woman's honor 

excused 17. Seduction and attempts thereat 

18. Realistic physical passion 19- 

Sensual leering looks, suggestive bed or bathroom scenes 
20. Suggestive dancing 21. Mar- 
riage infidelity or divorce condoned 22. Illicit 

love made attractive 23. Marriage disparaged, 

free love advocated 24. Ridicule of clergy 

25. Ridicule of police or officers of the law . - 

26. Disrespect of Prohibition of liquor or drugs. . . 

27. Disrespect for law in general 

28. Race prejudice, against what race?. 

29. Religious prejudice, against what religion? . 
-lb-titles 

ibers above which you thi 



30. Objectionable title 

State by giving n 
moralize youth or i 
Why do you think 1 



-ild de- 



to 1 



Does the evil depicted receive any punishment? 

Does the punishment meted out appear natural, adequate and 

inevitable? Does the punishment seem 

improbable and easily evaded? Is the picture 

wholesome, innocent entertainment? Does the 

picture not only entertain but teach important moral truths 
and inspire noble ideals? Theme of the 



1'ilr 



IS IT PROPAGANDA? 



Does the picture depict scenes which will tend to promote 
the business interests of the following: 

1. Organized social evil 2. Organized gam- 
bling 3. Bootlegging 4. Prizefighting 

5 Bull-fighting 6. Commercial attempt to break 

the American holy day, the Sabbath 7. The 

securing of divorces 8. The promotion of 

war 9. Immoral books or magazines 

How? 
Remarks: 



VALUATION OF THE FILM. 



Excelle 



(Mark ' 
Good 



ith 1 



Fair Very little value 

Of no value Slightly injurious Seri- 
ously injurious Bad Exceedingly bad 

Was it suitable for children under 17? How 

many children present? 

Signature and P. O. Address of the Investigator: 



Return this report to your soeietv headquarters or to the FEDERAL 
MOTION PICTURE COUNCIL IX AMERICA, at 481 Bedford 
Avenue, Brooklyn, N. V. If possible write a letter to the Producer, if 
tlie picture is very fiood or if it is very bad. Do not blame the Exhibitor 
chiefly. The producer is mostly responsible for the character of the 

film. Have you written such a letter? The Council, upon 

request, will furnish any one a list of the names and addresses Of the 
principal movie producers. 

Copies of this motion picture score card can be secured from the 
Council at 40 cents per 100 or S3 per 1.000. 



Here is one of Canon Chase's motion picture score 
cards, by which the canon's followers are able to 
make up their minds about the morality or im- 
morality of a photoplay. The canon sells the 
cards at forty cents a hundred 



age of the public — the jaded theater- 
goers. It's plain bad business." 

I brought the canon back to sug- 
gesting a remedy for pictures as he 
sees them. 

"The screen should reflect life, the 
best in life rather than the worst. Evil is a 
small part of life. Of course, I know what pro- 
ducers say. Evil is dramatic and exaggeration 
is necessary to getting things over in the films. 
But these pictures aren't true and they aren't 



furnished with cast-off benches. This 
room was the center of American re- 
form. The canon's vestments were 
spotted and shiny. When I found 
my way up the shadowy church 
aisle, the canon was talking with a 

scrubwoman. His boyish laugh surprised me. "We object to the producers' attitude," he 
A few moments later he left me, to talk with continued. "They say in substance: The pub- 
the collector of a furniture installment com- lie will take just what we've got to give them. 
pany. The conversation drifted in from the They tell us that the theatergoers do not want 
narrow stairway. clean, meritorious entertainment. Yet I notice 

"Yes, she works for my wife," I could hear that last year such pictures as ' The Ten Com- scientific. They accent crime and overlook 
the canon saying. "She's honest, but I don't mandments,' 'Charley's Aunt,' 'The Fresh- nine-tenths of life. The people on the screen 
recommend you selling her anything but a man' and 'The Pony Express' led the list of aren't real. 

small amount. It isn't fair. You get the peo- so-called box office hits. "There is nothing so thrilling, so entrancing, 

"You see, I know all about the box office re- as a real hero," mused the canon. "It's all a 
ports," chuckled the canon. "I read all the mistaken point of view on the part of produc- 
trade papers, all the magazines of the screen, ers. That's why we must have regulation. 
I read them line for line and I know just what is Why. the whole world is protesting against 
happening." American pictures right now. Even the League 

The canon lapses into oratory when he be- of Nations is to consider what to do about 
comes interested. He paced up and down the them in Paris in September. Parts of Canada 
little church room. I might well have been an are threatening to bar out pictures, 
entire congregation, as he repeated the familiar "No, no, not censorship," exclaimed the 
have regulation. I cannot understand why phrases he uses in his attacks upon films. canon. "We want regulation. Just regula- 

producers go on making pictures for the theater- I asked Canon Chase to be specific in his tion. The real censors are Zukor, Loew, I.asky 
going public and why they overlook the far charges against pictures. and the others. They could do wonders if they 

greater public now ignoring films. They have "The producers are bad business men. There wanted. We don't want personal censorship at 
the so-called theatergoers, just a fraction of the is a great untouched public waiting to be won all. We want the screen regulated." 
population, and they pass up the great mass to pictures and these producers go on trying to I asked Canon Chase why he passed the 
outside. whip up waning interest of that small percent- speaking stage ( continued on pace 125] 

102 



pie head over heels in debt and then you take 
back your goods. You can't lose, but you can 
bring a lot of unhappiness." 

The canon came back. "I wish I had time to 
go after those credit sharks," he sighed. "But 
life's so short and there's so much to do. Still, 
America is living wholly on the credit plan. 
It's dangerous. 

'Pictures," he mused. "Yes, they must 



Photoplay Magazine — Advertising Section 



T °3 



A 

New 
Novel 



Done with humor 
as well as beauty, 
a dramatic story 
of the newer so- 
phistication in 
new New York. 




q Cynara, about 
whom was an 

as^i^dividual 

as the flavor 
of a tangerine. 



>//&10WN 



B v LYNN and LOIS SEYSTER MONTROSS 



STANDING so still the amber 
balls were almost quiet against 
her narrow cheeks, she was doing 
a slashing battle in her heart 
against the formidable, gaunt 
pain that was striving to enter 
there. It seemed to her she 
hated this man because he could 
make a gesture 
of humility and 
defeat, feeling 



G>Ue)eHumor 



neither. 'But maybe," she 
thought, ' it is only the rain outside 
I hate, or the black-eyed doll on 
the mantelpiece; or perhaps it is 
myself I hate because I have mis- 
judged a man for so long a time.' " 
This new novel is so genuine, 
finely emotional, that we 
have called it the 
feature of the 
coming season. 



so 



On Sale at all newsstands August First 



rilllTOl'I.AY MAGAZINE. 



What the Stars and Directors Are Doing 7v(0W 



WEST COAST 



(Unless otherwise specified studios are at Hollywood) 
ASSOCIATED STUDIOS. 3800 Mission Road. 



WILLIAM FOX STUDIO. 1400 X. Western A v 



Victor SrhiTtziUL'er directing "The Return of 
Peter Grimm" with Alec B. Francis and John 



UNITED STUDIOS. 5341 Melrose Ave. 

Alan Crosland directing "Francois Villon" with 

John Barrymore and Mima Banky. 

Clarence Brown directing "The Dove" with 

Norma Talmadge. 

Henry King completing "The Winning of Barbara 



Lloyd Engrabam directing "Come on Charlie" 

with Edward Everett Horton. 

William Beaudine completing Douglas MacLean's 

picture as yet untitled. 

Wm. Craft directing "Flashing Heels" with Wm. 

Cody. 

Mason Noel directing "The Sky Peril" with Al. 

Wilson. 

John Gorman directing "Home Sweet Home" with 

Vola Vale. 



CALIFORNIA STUDIOS, 1424 Beachwood Dr. 

Ben Wilson directing and starring in "The Baited 
Trap." 

Bert Bracken directing "Thundering Speed" with 
Crelghton Hale. 

Leo Maloney directing "The Collector," and play- 
ing the lead. 



and Joan Renee. 

John Ford directing "The Devil's Master" with 
George O'Brien. Janet Gaynor, William Russell. 
Margaret Livingston, Robert Edeson, David But- 
ler, Ralph Slpperly and Joseph Mm. re. 

R. William NeiH directing "The Arizona Wildcat" 
with Tom Mix. Dorothy Sebastian. < issy Fitz- 
gerald. Sammy Blum. Ben Bard, Gordon Elliott, 
Monte Collins. Jr.. and Doris Dawson. 

Irving Cummlnge directing "The Country Be- 
yond" with Olive Borden. 



Bunny Dull directing "Dark Roseleen" wild Burt, 



Gilbert and Earle Fo 



HAL ROACH STUDIO, Culver City. Cal. 



UNIVERSAL STUDIO, Universal City. Cal. 

Emory Johnson directing "The Fourth Command- 
ment " with Belle Bennett. 

Lynn Reynolds directing "The Texas Streak" 
with Hoot Gibson. 

W. Wyler directing "Smiling Sam" with Fred 
Humes. 

Dick Smith directing "What's the Use" with 
Charles Puffy. 

Lois Weber directing "A Savage in Silks." All 
star cast. 

Geo. Summervllle directing "Ball and Chain" 
with Arthur Lake. 



WARNER bros, 5841 Melrose Avenue. 

Millard Webb directing "The Heart of Maryland" 

with Dolores Costello. 

James Flood completing "The Doormat " with 

Irene Rich. Wlllard Louis and Virginia Lee Corbln. 

Del Ruth directing " Across the Pacific" with 

Monte Blue 

A. G. Stein directing "My Official Wife" with Irene 



CHRISTIE STUDIOS. 6101 Sunset Boulevard. 

Scott Sidney directing "The Nervous Wreck " with 
Harrison Lord, Phyllis Haver. Hobart Bosworth, 
Chester Coiiklin. Mark Swain, Charles Gerrard. 
Vera Steadman and Paul Nicholson 

Jlmmle Adams, all 



LAskv BTUDIO, &350 Melrose Ave 

Erie Kenton directing "Confessh 

Negri. 

Frank Lloyd directing "Captain Sazarae" with 
Florence \ Idorand Rlcardo Cortes. 

John Waters directing "Forlorn River" with Jack 



EAST COAST 



CECIL B. DE MILLE STUDIOS. Culver City. Cal. 

Leatrlce Joy working mi "Mile. From Armen- 

tiers." 

Cecil B. De Mllle Is now preparing "The King ol 

Kings." 



Frank Till lie directing Mil Hunts" with Eddie 
Cantor. Clara Bow. .Natalie Kingston and l^irry 
Gray. 



FOX STl" 1 HO, .-,5th Street and 10th Ave. N. Y. 



Columbia PICTURES, l43SGowerSt. 



F. B. O. STUDIO. 7S0 Gower St. 

James Home directing " Kosher Kilty Kelly" with 

Viola Dana. Tom Forinan. tieorge Sidney Vera 

Gordon. Stanley Taj lor and Carroll Nye. 

Sam Wood directing "The Halfback" with Red 

Grange and Mary McAllister. 

Ralph Cedar directing Bill Grimm's Progress" 

with Margaret Morris. .lack Llldeti. A! Cooke. 

Kit Guard. Grant Withers and Yvonne Howell. 

Harry Garson directing "Mulhull's Great Catch" 

with Lefty Flyim 

Reeves Bason directing "The American Scout" 

with Fred Thomson. 

Dell Andrews directing "Collegiate" with Alberta 

Vaughan. 

Ralph Ince directing and starring iu "Breed of the 



Dan Makarenkoand Evelyn Selvle. 



FIXE ARTS. -!.-> 



Boulevard. 



H. J. Brown directing "Moran of the Mounted" 
with Reed Howes. 

Charles Rogers directing "The Unknown Cava- 
lier" with Ken Maynard. 

David Hartford directing "The Man In the 
Shadow" with Myrtle stedtuan and David Tor- 
John Ince directing "Conscience" with Grace 
Darmond and Herbert Rawllnson. 
Spencer Bennett directing "The Fighting Marine" 
with Gene Tunney. 



Reginald Barker directing "The Flaming Forest" 
with Renee adoree. 



George lllll directing "Tell It to the Marines;' with 



Edward Sedgwick directing Tin Hals" with Con- 
rad N'agcl. lialre Windsor. Eddie Grlbbons and 
Bert Roach. 

Maurice Tourneur directing "The Mysterious 
Island wltli Pauline Starke. Lionel Barrymore. 
Karl Dane and Warner oland. 



Lewis Milestone directing "The Mountain Boy" 
with Harold Lloyd. A Harold Lloyd Production 

[Paramount). 

Victor Herman directing "For Wives Only" with 
Marie Prevost. 

Geo 11 Seltz directing "The Last Frontier" with 
William Hovd. Marguerite de la Motte. J. Farrell 
McDonald and Jack Iloxic. 
Robert Thornby directing "West of Broadway" 



PARAMOUNT STUDIO. Pierce Avenue and 6th 
Street. L. L. N. V. 

Mil -i i ilalr directing "The Ace of Cads" with 

Adoiphe Menlon 

Herbert Brenon directing "The Greal Gatnby" 



Edward Sutherland directing "Glorifying the 
American Girl" with Esther Ralston. Buster Col- 
lier. Jr . and Louise Brooks. 

Production will soon start on "The Quarterback" 
with Richard Dlx and Alyce Mills. 



BUSINESS OFFICES 

Associated Exhibitors. Inc.. -io West 45th St.. New 
York City. 

Associated First National Pictures. 383 Madison Ave.. 
New York City. Richard Barthelmess Prod.. In- 
spiration Pictures. 565 Filth Ave.. New York City 

Educational Film Corporation, 370 Seventh Ave . 
New York City. 

Famous Players-Lasky Corporation (Paramount). 
485 Fifth Ave.. Xew York City 

Film Booking Offices, 1560 Broadway. New York 
City. 

Fox Film Company. 10th Ave. * 55th St., New 
York City. 

Metro-Goldwyn. 1540 Broadway. New York City. 

Palmer Photoplay Corporation. Palmer Bldg.. Holly- 
wood. Calif. 

Pathe Exchange. 35 West 45th St.. New York City 



FIRST NATIONAL PRODUCTIONS. Burbank. 

Cal 

Frank Capri directing The Yes Man" with Harry 

Langdon and Gertrude Aslor. 

John Francis Dillon directing "Men of the Night" 

with Milton Sills and Natalie Kingston 

Al Green directing "Desperate Women" with 

Lloyd Hughes. Dons Kciiyon and Charlie Murray. 

Production will soon start on "It Might Have 
Happened" with Colleen Moore. 



MACK SEN.NETT STUDIOS. 1712 Glendale Blvd. 



TEC ART STUDIO, 5360 Melrose Ave. 

Sldue! OlCOtt directing "Four Feathers" with 



Richard Barthelmess. 



Parkway. Chicago. 



Warner Brothers. 1600 Broadway. Xew York City 



10', 



Wholesale Murder and Suicide 



[ CONTINUED FROM PACE 38 ] 



all of her classic origin, as well known as Gloria 
Swanson. 

Yet you hear her measurements quoted as 
almost anything except the correct ones. An 
antiquarian will tell you that the actual Venus 
de Milo is six feet, eight and one-half inches tall 
and she a standard for ideal feminine beauty! 
Now she wouldn't get along with that height 
before a movie camera! 

The thing that has made the Venus de Milo 
the most famous figure of all time, however, is 
that with all of her six feet eight and a half, she 
is in proportion. Her legs are in correct pro- 
portion to her torso, her torso to her shoulders, 
her arms, broken though they may be, to her 
neck, the lines of her face in comparison to the 
size of her head. No one has ever figured what 
Venus weighs; probably, because she is so cor- 
rectly modeled, her weight isn't important. 

The average American woman — the average, 
understand, and not the ideal — is five feet five 
and one-half inches tall. Venus de Milo, scaled 
as though she were five feet six, has these meas- 
urements: 

Neck — Fifteen inches. 

Waist — Thirty-one and five-tenths inches. 

Hips — Forty-one and eight-tenths inches 

Size around upper arm — Thirteen and five- 
tenths inches. 

Width of breast — Eight and six-tenths 
inches. 

Size around shoulders — Forty-two and two- 
tenths inches. 

So much for the goddess of beauty and love 
of the ancients. The ideal American type, as 
exemplified by the girl chosen Miss America 
last year, Fay Lamphier, is lighter in structure 
but equal in height, {'we feet six. Miss Lam- 



phier varies from Venus to this extent — her 
neck is two inches smaller, her waist is four and 
a half inches less, her hips are nine inches nar- 
rower, thirty-two inches. Her face, however, is 
longer in outline than Venus' and her head, 
while less in circumference, is longer. She is 
four inches narrower around the shoulders and 
her breast is two and six-tenths inches smaller. 

She was called ideal at the Atlantic City 
pageant. She is nearest the measurements of 
Venus, the ideal of the ancients. And yet Fay 
Lamphier is too big to become a movie star. 
Jesse Lasky states that she has great dramatic 
talent. There is no doubting her beauty. But 
before the camera, with its tendency to heighten 
and broaden everything, she becomes posi- 
tively husky, she appears too fat, though actu- 
ally she hasn't an ounce of superfluous weight 
in proportion to her height and body structure. 

Therefore, don't hitch your scales to a movie 
star in your hope for an ideal figure. Almost 
every star has to diet herself nearly ill to retain 
a good movie figure. 

Yet the figure of the movie star and the fig- 
ure of the clothes mannikin are actually the 
figures sought after by the mass of women 
attacked by reduceomania. 

The average movie star is five feet three in 
height. Many are less. Mary Pickford, Bessie 
Love, Viola Dana, Shirley Mason are all very 
little girls, less than five feet tall. They are all 
light in weight and Mary, in particular, is 
blessed with a pair of very thin, childish legs. 

The clothes mannikin of the smart fashion 
house, the type of establishment that here and 
in Paris sets the styles that every woman tries 
to wear, is rarely less than six feet tall, ex- 
tremely thin, extremely tlat breasted and nar- 



row hipped. Peggy Hopkins Joyce is this type 
and she wears clothes beautifully. But it is 
simply cuckoo for the average woman to strive 
after such a figure. 

There you have them, then, Venus, the bath- 
ing girl figure, the little girl and flapper figure, 
the clothes horse. They are all ideals before 
the American woman today. 

Actually, women's figures follow three gen- 
eral classifications. Dr. Charles R. Stockard 
divides us into linear types and lateral types, 
and persons who do not fall into either class 
must therefore be called medium types. 

The linear type is the fast-growing, high 
metabolizing, thin but not necessarily tall type. 
Metabolism is the process by which body waste 
is used up and body repairs made. 

The lateral type is slow in maturing, is stocky 
and round in form. The linear type is narrow- 
backed. The lateral type is broad-backed, and 
not only do these types vary in their outward 
physical characteristics, but also in the size and 
shape of the abdomen, the heart and the vari- 
ous organs. 

For instance, the torso of the normal person 
is of moderate length and of moderate breadth. 
The stomach is pear-shaped. But in the nar- 
row-backed individual, the whole figure is 
lighter, the skeleton is lighter and more slender, 
the skin soft and delicate and the hair abun- 
dant. The individual is either tall and slender, 
or small and delicate. The stomach is long and 
tubular, instead of the more normal pear shape. 
The appendix is usually well developed, which 
may in part explain the common occurrence of 
appendicitis in thin, slender individuals. 

In contrast, the broad-backed type with its 
[ CONTINUED ON PAGE 124 1 




There is no Royal Road 
to an Ideal Figure 

"V/'OU cannot achieve a healthy slenderness by freak diets, by drug* 
ging y° ur stomach or by sudden bursts of exercise. These are 
the dangerous methods pursued by the victims of Reduceomania. 

But you can have a welbproportioned figure and a strong body 
by following a sane diet, keeping regular hours and taking specially 
recommended exercises. 

In the September issue of Photoplay, you will find exercises 
prepared for you by experts and diets provided by 

Betty Comhson knows _i • ■ _ ti . r i i . , 

that exercise physicians — all to help you keep your proper weight 

in the open J^^^^, without sacrificing your health. 

Watch for the third article in this great series. 

Every woman should read 
Photoplats great articles 
on REDUCEOMANIA 




105 



They Called Her Melisande 



CONTINUED FROM PAGE 71 



something beyond Weston, something big- 
ger?" 

"I don't know that I want anything beyond 
Weston, Florence. If I could do for a town 
what Boardman has for this one — " 

" But, Ted, can't you see ? Here we are, you 
and I, young, we've the whole world to pick 
and choose from. Think of it! And yet you 
want to settle down in Weston!" 

"There are worse places than Weston," Ted 
said shortly, not exactly liking the imputation 
she implied. "Maybe you'll find that out," 
he added, a bit defiantly. 



ened. You trembled and went hot and cold at 
the thought of what you must do. 

You couldn't do it for yourself, of course, no 
girl could. But for Ted you could do any- 
thing. For Ted's sake the big chance had to be 
taken . . . Women had done such things be- 
fore, but they were women, wise and under- 
standing. You were only a girl, a girl in love, a 
girl whose heart would break quite terribly un- 
less your pride in Ted could equal your love 
for him. . . . 

Suppose you gave it up? Suppose you 
stopped annoying Ted, making him angry, 
instead fell in with his plan, married him and 



"Yes, and better places," the girl retorted 
"so why waste time thinking of the others? went to Weston to live? Then what 
Oh, Ted, after all it 
isn't the place so much 
as it is . . . well, in 
being contented with 
half portions. Do you 
see what I mean? You've 
got brains. Why do you 
want to waste them?" 

"I don't see that it 
would be waste." 

"Yes, it would. It 
would be wasting you, 
Ted. Weston is just 
about half your size. 
The way I see it, it's 
wicked to waste your- 
self on the little job 
when there's a big one 
you can do. Anyway, 
that's how I feel about 
things. If I can't live in 
a wonderful town I 
don't want to live at all. 
If I can't have the most 
beautiful clothes in the 
world I don't want any. 
If I can't marry a man 
who's aching to do big 
things I ... I won't 
marry anv one!" 

Ted Merrill got to his 
feet and stood looking 
down at her, his young 
mouth set in a grim line. 
Finally he said: 

SUPPOSE I can't get 
the best things in the 
world for you? Suppose 
I .haven't the ability to 
get them? Suppose I try 
and fail? Then what?" 

"Then . . . why, 
then ..." she hadn't 
dreamed it could hurt so 
horribly to say such 
things to Ted, hadn't 
dreamed that the world 
could hold such pain, 
"I'll have to get the best 
things . . . myself." 

A little breeze lifted 
the white curtain at 

Florence's window, played with it gently, then 
dropped the white folds and passed on. Aban- 
doning her vain attempts to sleep Florence slid 
quietly out of bed and went over to the 
window. 

Outside, the night was soft and black. Noth- 
ing in the world so beautiful as velvet darkness, 
she thought vaguely, nothing except light. 
And light was only the other side of darkness. 

Ted! How wonderful Ted was! Florence 
sighed, nestling down in her small rocking 
chair by the window. If she could onlv make 
him see . . . Suppose he didn't. Staring out 
into the dew-washed night, she seemed to feel 
a cold hand closing about her heart. No use 
saying you weren't frightened, no use in the 
world. You were frightened, horribly fright- 

106 




in his horse, reached for the fluttering bit of 
color and bound it on his arm. Her man . . . 
going to the wars . . . for her! 

Of course! It didn't matter where the wars 
were fought. It didn't matter that today men 
no longer used swords in the great battle. To- 
day the field of honor was to be found in the 
roaring streets of cities. From all over the 
country men came riding . . . young men 
. . . going to the wars . . . Ted must go 
with them, wearing her colors, fighting the big 
fight . . . 

Mrs. Bishop told all her friends, over many 
cups of tea, that she was sure Florence would 
M5i it have gone off to New York if she hadn't 
quarreled with Ted Mer- 
rill. It was perfectly 
silly, of course, but 
young folks were young 
folks and you couldn't 
seem to do a thing with 
them. The dear knows 
she, Mrs. Bishop, had 
done her level best. She 
had talked to the both 
of them, said everything 
she could think of to 
bring them to their 
senses, but they just sat 
and looked at her. Stub- 
born, that's what they 
were. Like a pair of 
young mules. Even at 
that Florence couldn't 
have gone away if Aunt 
Florence Thomaslon 
hadn't chosen that par- 
ticular time to send her 
namesake the gift of one 
hundred dollars. 



"V\7HEN she appeared 



The miracle had not happened. Ted was letting her go, letting 
her go right out of his life without protest 



No, she couldn't do it! Something deep 
down in the core of her being, something which 
was there when the first woman fought side by 
side with her man to protect the cave, some- 
thing wise and very womanly, cried out against 
it. Such a course would be bad for Ted. She 
must never let him take the easy road. . . . 

Suddenly she was sitting high in a narrow 
window, watching a procession of men in 
armor come winding down a street which ran 
between strange-looking houses. A voice from 
somewhere nearby said they were bound for 
the wars. At the head rode a man with Ted 
Merrill's face; he looked up, smiled. Florence 
unwound the long, bright scarf from about her 
shoulders, leaned out and tossed it down. It 
fluttered in the wind, rose . . . Ted reined 



the doorway of 
the show room of Mose 
Kaminsky, wholesale 
dealer in ladies' cloaks 
and suits, Kaminsky 
looked Florence over 
with an appraising eye 
and then beckoned to 
his wife. 

"Say," he appealed, 
"she comes by a letter 
from Schuster, the Rock- 
ford Dry Goods Empo- 
rium, this one. She could 
model, Schuster says 
maybe. That one has 
gone who has modeled 
for misses' wraps, six- 
teen size, yes?" 

"Yes, a blessing from 
heaven she has gone! 
H'm," Mrs. Kaminsky 
regarded Florence du- 
biously. "Let her go 
down the show room 
once till I see how she 
walks. God forbid I should be blind like you, 
Moe, and hire us such models that walk like 
they are going out to feed the pigs. Go on 
now." this to Florence, "walk down the room 
like a good girl till I see, yes? " 

When Florence returned from her stroll 
down the length of the taupe-velvet-draped 
show room Mr. and Mrs. Kaminsky exchanged 
approving glances. 

" She should be sent from heaven ! " the latter 
pronounced devoutly. "Stylish she looks, but 
not fresh. Like maybe she is coming from one 
of these here boarding girls' teacher where they 
learn. 

"Maybe shedon't so much as smokecigarettes. 
yes?" 

"Nor .Irink nothing," Kaminsky added 



Photoplay Magazine — Advertising Section 



hopefully. "If she should be so good like she 
looks I give that Nathan Schuster sixty days' 
time on his next order." 

"Schuster don't need no sixty days' time," 
Mrs. Kaminsky retorted. "You should be 
giving away time like thirty days ain't enough 
for anybody! Come on now," to Florence, 
"and see if I have maybe the right slip for you 
to wear." 

Before the week was over Florence had mas- 
tered the fundamental mysteries of modeling 
for wraps. She learned the correct walk — right 
foot out, crossing the left, toe well extended, 
left foot out, repeat as with right — shoulders 
back, chin well up, wrap held lightly about her 
to show to the best advantage its graceful 
lines, the beauty of the deep fur collar. She 
loved sauntering down the length of the show 
room, pausing for just the right number of 
seconds before each little stall which held a 
buyer, murmuring the number of the wrap, 
revolving slowly to show it from all sides, 
holding it from her with slim arms to display 
the lining. 

" A BORX model, that one," Mrs. Kamin- 
■*»■ sky told her favorite buyer, Miss Schuss, 
from Pittsburgh. "Not once does she fuss 
about showing heavy wraps in the heat like 
some, but what I sa} r is if they will dance all 
night and drink at these here roof gardens they 
must expect to feel the heat, ain't I right?" 

"You're right, Mrs. Kaminsky, and what I 
always say is too much drink and business they 
don't mix for nobody. What are you going to 
charge me for that," Miss Schuss consulted her 
notes, "Number 792, green and silver with the 
white fox collar?" 

"Number 792 to you I make it seventy-three 
dollars. Miss Schuss, abcr I take off the white 
fox and give you mink." 

"No," Miss Schuss said firmly, "for that 
evening wrap I gotta have fox. It's the fox, 
Mrs. Kaminsky, gives that wrap the look like 
it is just from Paris they bought it." 

"But fox they don't get no good from it," 
Mrs. Kaminsky protested. "Once wear it for 
an evening and it goes to pieces like it should be 
smoke. I am telling you, Miss Schuss." 

Miss Schuss shook her head decisively. 

"No, Mrs. Kaminsky, when you sell to girls 
that wear sixteen size it is no use talking mink. 
Why should they care how quick the fox wears 
out for them? I am telling you, true as I have 
been buying for the last eighteen years, I can 
sell Number 702 with the white fox collar 
twenty times while I am talking my head off to 
sell one mink." 

Thereafter Florence Bishop looked with re- 
spectful eyes on fox-trimmed wraps. She 
learned to recognize at a glance fabrics from 
the master hand of Rodier, how to distinguish a 
Molyncaux creation from a Jean Patou master- 
piece, and how to wear copies of them in just 
the way the makers had hoped they might be 
worn. She studied appraisingly the buyers 
who came to the Kaminsky show rooms — fat, 
oily little men smoking huge cigars, beautifully 
dressed women with tired eyes and make-up 
laid cunningly in the wrinkles — she listened to 
gossip of the show rooms, learning of how the 
best designers are snatched at fabulous salaries 
from one work room to another, of the famous 
black list on which are the names of buyers who 
have transgressed against the laws, written and 
unwritten, of the clan. A strange world this in 
which Florence Bishop found herself, a world in 
which there is little talk of love, but much of 
credits; where the hope in a girl's eyes does not 
count for much, but where her ability to de- 
sign better, buy more closely, show off a wrap 
or gown more cleverly than others, is a jewel 
almost beyond price. 

Dave Ellinger met Florence shortly after 
she went to work at Kaminsky 's. A clever 
chap, Dave, who had risen with surprising 
swiftness to the post of assistant to the adver- 
tising manager of a great ready-to-wear news- 
paper. 

"Believe me, girlie, you got even-thing!" 
Dave told her fervently. 

[continued on page 130 ] 



IO7 



Here's new dental 
way to Gums 
like Coral 



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teeth remarkably 

Accept, please, full 10-day tube of 
this scientifically-proved, film-re- 
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GLORIOUSLY clear teeth, gums 
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Modern dental science now proves 
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A way scores of motion pictures' 
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going on a scene. A way leading den- 
tists of the world now are widely urging. 

Just a film dulling them and 
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Dental science now traces scores of 
tooth and gum troubles to a germ-laden 
film that forms on teeth. Run your 
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That film absorbs discolorations from 
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your teeth look "off color," dingy and 
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It clings to teeth, gets into crevices 
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Old ways won't clear it off 

Mere brushing is not enough. And even 
ordinary dentifrices won't fight film 



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ing method is failing in its duty. 

Now new methods are being used. A 
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Largely on dental advice, the world 
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It accomplishes two important things 
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A few days' use will prove its power 
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See what a difference 10 days will 
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Photoplay Magazine — Advertising Section 



AMAGICTOUCH 
TO YOUR SKIN 

A touch of exquisite 
loveliness awaits your 
command. Just as 
easily as Aladdin ful- 
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the "touch of his lamp" 
so may you bring the 
joy of a new Beauty 
to your skin and com- 
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a moment for 

GOURAUD'S 

PIENT A 1 
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giving excellent results in treating 
Wrinkles, Tan, Freckles, Undue 
Redness, Flabbiness, Muddy 
Skins an 1 Excessive Oiliness. 





Doris Kenyon, the blonde, the beautiful and the brainy 



The Girl on the Cover 

By Cal York 



NOT so long ago Doris Kenvon plaved a 
film called "The Half Way Girl/' which, 
while it may have been proof of her 
artistry, was rather unfair to her real person- 
ality. For there's no more all around girl in 
pictures than this beautiful First National 
star. 

Beauty of face, beauty of form, beauty of 
mind. Doris has all of them. She is an ac- 
complished actress, a skilled poet, an acknowl- 
edged prima donna, and a very regular human 
being. And the amazing part of it all is that 
she was born in an humble little parsonage in 
Syracuse. New York, the daughter of a 
Methodist minister. 

Stellar material is seldom found in par- 
sonages, all the romantic fiction to the con- 
trary, but rarer still is a religious father who 
understands his daughter's desire to go on the 
stage. 

The bond between Doris and the Rev. James 
B. Kenyon, however, is very strong. They are 
friends as well as father and child. Now the 
two write poetry together — they have pub- 
lished a book "Spring Flowers and Rowen," 
which they wrote in collaboration — and in the 
earlier days Doris, singing in the church choir, 
would look respectfully and happily across at 
her father in the pulpit. 

Being so beautiful, she was rather automat- 
ically headed for recognition, but Dr. Kenyon 



had a theory that a well trained mind might 
help, too. So Doris went to Packer Institute 
and then to Barnard College and it wasn't 
until she had completed her education that 
she was permitted to go on with her chosen 
career from the vantage point of an important 
part in Victor Herbert's musical comedy, 
"Princess Pat." 

Movies, at that time, were at the stage 
where any girl gifted, both with youth and 
beauty, had only to stick her head into a studio 
and get a part. 

Doris went visiting the old Essanay studio 
one day and immediately the films made her 
their own. Her first opportunity came in a 
George Beban film, "The Pawn of Fate,'' but 
such a lucky break didn't impress Doris 
particularly. 

The stage was her real love. She plaved in 
"The White Villa," "The Love Chef" and 
other pieces on Broadway and only in between 
seasons did she go back to the movies, working 
where her fancy took her, at Famous Players, 
Yitagraph, the Old World organization and 
Pathe, being leading woman for numerous 
stars from Tommy Meighan to Valentino. 

Her last speaking stage venture was "The 
Girl in the Limousine," a farce made delightful 
by her presence. 

Now Doris is under a long term contract to 
First National. 



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Photoplay Magazine — Advertising Section 



109 



Studio News and Gossip 



[ CONTINUED FROM PAGE 5 1 | 

THOMASINA Mix. aged four, has a posi- 
tive genius for asking questions. 

The other day she heard her mother talking 
on the telephone. When the conversation had 
ended, Thomasina said: "Mother, who were 
you talking to on the telephone?" 

"I was talking to a friend of mine, dear." 

"I knew that," said Tommy, "but what was 
her name?" 

"Her name was Kathleen Clifford." 

"What does she do, Mother?" 

" She's an actress, darling." 

"Does she act in pictures or on the stage?" 

"Well, dear, she used to be on the stage, but 
now she's in pictures." 

"What does she do in pictures, Mother?" 

"She acts, Tommy." 

"Well, but what does she act?" 

"Well, dear, I don't know exactly— just 
acts." 

"Well, Mother, if you don't know can't you 
please make up something?" 

LITTLE Loris Niblo, daughter of 
Fred and Enid Niblo, was starting 
out with her aunt, Catherine Ben- 
nett, for a day at the beach. Her 
mother came out on the porch to tell 
them good-by, and Aunty Cath said 
to Loris, in a well-timed aside: 
"Ducky, shall we ask Mummy to go 
along, too?" Loris hesitated a 
moment, then whispered back : "Not 
today, Aunty. You know how it is 
with mothers. They have to say 
'don't' all the time." 

THE hectic romance of Robert Savage, ex- 
Yale man. and Clara Bow wound up in a 
burst of publicity when Robert tried to kill 
himself for love of the beautiful Clara. Savage 
has had an eventful career that includes such 
soul-stirring events as eloping with Geneva 
Mitchell, a Follies girl, and winning a prize 
for his poem in the Eastern Mothers' Day Con- 
test. 

Savage lost his head over Clara, begged her 
to marry him and motored her to the license 
bureau for a permit to marry. There Clara 
argued so long that a traffic cop told the couple 
to move on. 

One of the poems penned by Savage to Clara 
goes as follows: 

"I know of the rules, and I'll gamble 

No matter the score in the end. 

I know of the prize and it's worth it, 

I'll pray for good luck as my friend. 

So on with the game, I am ready; 

Clara, you'd better beware. 

Muster your wiles for protection, 

This warns you, young lady — prepare!" 

THWARTED in his desire to film the story 
of the flood, Cecil B. De Mille will soon 
start production on "The King of Kings," a 
film narrative of the Life of Christ. The 
humanity of Christ as well as his divinity will 
be stressed, according to Mr. De Mille, who 
is going into this production with all the 
enthusiasm he mustered up for " The Ten Com- 
mandments." 



"DILL BOYD, the Big, Blond Volga 
*-* Boatman, has signed a two year 
contract with Cecil B. De Mille and 
is reading the Bible in search of good 
material for stories. 

SOON after completing "Say It Again," 
Richard Dix hastened back to Hollywood to 
visit his mother who was seriously ill. Mrs. 




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Brimmer. Dix's mother, contracted a cold last 
fall and has been in delicate health all winter. 

CONSTANCE TALMADGE is doing her 
best to acquire the screen rights to 
"Gentlemen Prefer Blondes" and we cannot 
think of anyone who would be better in the 
role of Lorelei Lee. Not only has Constance 
the necessary amount of good looks, but she 
has the shrewd humor and the expert comedy 
technique to make Anita Loos' masterpiece the 
success it should be on the screen. 

T THINK one of the most delightful occupa- 
■*■ tions in the world must be that of telegraph 
operator who relays messages from Hollywood 
to New York. For instance, there's the wire 
that Bill Setter, the director, sent to Laura 
La Plante when she was in New York. It said 
"Will you be mine?'' And the answer came 
right back — "Uh-huh!" But it was a waste 
of money — that wire — because I understood 
it had all been settled before Laura left with 
Hedda Hopper to see the bold bad metropoli- 
tan sights. They say the wedding is to take 
place very soon. Just when, has not been 
divulged. 

THE motion picture business takes many 
odd twists. 

Consider the case of B. A. Rolfe. 
Some years ago Rolfe was a partner of Jesse 
Lasky in producing vaudeville sketches. Both 
had been musicians in the west. That was 
before the days of motion pictures. 

The photoplay came along and Lasky be- 
came a producer. You know the result. Rolfe 



see Marie in one of her comedies. 
He immediately asked to make a 
test of her. 

"What!" exclaimed Marie. "Me, 
a star, make a test for that funny 
little Dutchman !" Nevertheless, her 
managers coaxed her into it. 

During the test Marie refused to 
take the "funny little Dutchman" 
seriously. She laughed at his queer 
English, his mannerisms, his extrav- 
agant ways. 

Finally Lubitsch impatiently asked 
her who she was laughing at. 

"I am laughing at you," answered 
Marie, "you funny little person!" 

"There!" exclaimed Lubitsch. "I 
knew it. You're the greatest actress 
in America." 

And that was the beginning of a 
beautiful friendship. 

I HAVE often heard of tears that were turned 
off and on at will, like a faucet of water, but 
it remained for Bodil Rosing, Monte Blue's 
mother-in-law, to give me my first display 
of that tear-duct technique. It would have 
been funny to the onlooker if it had not been 
lachrymose. 

The two women sat about ten feet apart on 
the "Delicatessen" set. Their eyes were 
closed. The set musicians sobbed forth a 
melancholy wail, the arc lights were dimmed 



JUST by way of a tip to the cut picture puzzle fans : 
the awards of the prizes — $5,000 worth of them — 
will be announced in the January issue of Photo- 
play. Of course you have been working on the cut 
faces and of course you will want to know the 
results, so don't say I didn't tell you in advance. 
Watch for the January issue ! 



followed in his footsteps, but he didn't have 
l.asky'sluck. 

Today Rolfe is conducting his own orchestra 
at the smart Palais d'Or restaurant in New- 
York. His motion picture ventures are for- 
gotten and Rolfe now has won quite a bit of 
fame as an orchestra leader. Maybe you've 
noticed his phonograph records. He makes a 
number of them every month. 

NORMA SHEARER might be said to be 
"pulling a Mae Murray," in the liquid 
language of the sporting page. Anyway, 
Norma is taking a short rest at a milk sani- 
tarium, which is Mae's famous way of 
recuperating, following a strenuous month 
which necessitated a trip to Montreal to her 
mother's bedside, after she had finished a pic- 
ture in which she was on social terms with 
some exceedingly frisky lions. 

However, despite her weariness. Norma looks 
very lovely these days. 

SOME stars get along by "yessing" 
directors. And others — don't; but 
they get along just the same. There 
is, for instance, Marie Prevost. A 
few years ago Marie was just a 
pretty girl starring in unimportant 
pictures. 

Then a little German director — 
one Ernst Lubitsch — came to this 
country in search of a new star. He 
looked 'em all over and happened to 



and the prop men sat listlessly wailing for 
the deluge to descend. It took but a 
minute and Bodil Rosing's cheeks wen- 
soaked by a crystal cascade. The tears oozed 
from beneath her lashes and flooded her cheeks. 

Colleen Moore was the other woman who 
waited for tears. Hers did not come pro- 
fusely at first and her slim body was shaken 
with sobs. Presently one shy tear rolled 
down her cheek and soon a storm was falling. 

"Tell me when you're ready," said Al ( Ireen, 
the director. 

And they silently nodded. In a moment the 
camera was recording real tears. None of jour 
glycerine make-believes. 

JEAN" HERSHOLT, behind a barrage of 
J peroxided mustache and steel-rimmed glasses, 
winked at me: 

"I have a better way of crying. And they 
all think I am really weeping. Just before the 
scene I wipe a little onion beneath each eye and 
then the tears come." 

Iran is playing a pudgy German liverwurst 
dispenser in "Delicatessen" and Bodil Rosing 
is Mom to Jean's Pop. Colleen is their daughter. 

"Twenty years ago Bodil Rosing and I were 
playing together on the stage in Copenhagen," 
said Jean. "Now, in America, we again play 
together." 

T SUPPOSE we are in for a deluge 
■*■ of war jokes now that "The Big 
Parade" has marched to success and 
"What Price Glory" is tramping to 



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Photoplay Magazine — Advertising Section 



screen completion. And as long as 
they are in order, I'll repeat one that 
Roy Stewart told about the colored 
private from the south who regarded 
his captain's word as law. No-man's- 
land was a flaming death. Bullets 
whined. Shrapnel burst and one 
particular machine gun in the hands 
of the enemy was playing havoc with 
the American forces. 

"Zeb," ordered his captain. "You 
go over and get that gun !" 

"Yes, sah!" 

Zeb was gone for three hours and 
still the machine gun played on the 
trench. They gave the colored lad up 
for lost. Then he returned, whole, 
but empty-handed. 

"Where's that gun, Zeb?" the cap- 
tain thundered. 

"Ah couldn't borrow it, sah! Dey 
was using it." 

GERTRUDE OLMSTED and Robert 
Leonard, ex-husband of Mae Murray, were 
married quietly at Santa Barbara. Only a short 
time ago, Bob and Mae parted under one of 
those "friendly separation'" agreements. Mac 
went to Europe and Bob met Gertrude. 
Whereupon Mae, like a little lady, got a 
divorce. 

All of which reminds me what Mae is alleged 
to have said when she heard of Bob's engage- 
ment to the young actress. Mae took the 
news calmly and her only comment was: 
"They needn't have given it so much 
publicity." 

TXSPIRED by a desire for a garden larger 
-Mlian a window box in a New York apart- 
ment, Carol Dempster has purchased an old- 
fashioned farmhouse near Brewster, N. Y. 
Two hundred acres, an orchard and a brook are 
included in Carol's farm. 

Carol also has a ranch in California. Re- 
cently she was notified that there were a 
large number of sacks of barley stored away, 
awaiting her disposal. Carol pictured herself 
as a big Barley Millionairess and planned to 
retire from pictures on the strength of 
the sale. 

Some weeks later, Carol received a letter an- 
nouncing that the barley had been sold at a 
large price. And enclosed was a cheque 
for $217. Now she is going to try her luck 
with apples. 

TT shouldn't have gone any farther 
■^than the restaurant. And it might 
sound catty to repeat it. But it's 
funny, so here goes. 

The girl used to work in a beanery 
herself. But in the flush of stardom, 
I suppose she had forgotten. She's 
really quite a big star now. And cer- 
tainly doomed to be bigger if she 
doesn't curtail the pastry. 

She flounced into the only restau- 
rant the lot possessed — a screened 
place with a long plank seat where 
one fraternally digs one's elbows 
into his neighbor's ribs. It was sag- 
ging with sandwich chewers. Only 
the high counter remained. The 
star surveyed the crowd: 

"You certainly don't expect me to 
eat at the counter, do you?" she 
queried. 

There was a dead silence. Then 
an unknown feminine voice cheeped 
up: 

"Sa-ay! Don't forget you were a 
hash-slinger yourself once! What's 
the matter with doing a little stand- 
ing today?" 



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Photoplay Magazine — Advertising Section 





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■p\ICK BARTHELMESS has taken a house 
-'-'at the beach for the summer, not a very 
long drive from his work at the studio, and he 
has with him his small daughter, Mary Hay 
Barthelmess. 

It looks to me like the beginning of one of 
those father-and-daughter devotions that you 
sometimes see. 

Dick has lovely week-end parties, too, and 
a lot of horses, and, as he says, a very" nice 
ocean. 

Incidentally, he and Ronald Colman and 
Jack Gilbert have formed a sort of "Three 
Musketeers" friendship. They foregather 
evenings and have long discussions over their 
pipes and are constantly seen in each other's 
company. 

Dick told me the other night that he would 
simply love to have been free to go in and play 
the younger brother of "Beau Geste" in the 
picture of that name, in which Ronald Colman 
plays Beau. 

AN amusing sidelight on the Gilbert- 
Barthelmess friendship is the fact that, 
when he visited in New York, Jack gave Mary 
Hay, now separated from Barthelmess. a great 
rush. Mary was pleased over it and Jack 
evidently was having a fine time. There was 
even talk of Mary's ending the "friendly 
separation" from Dick by a Paris divorce. 
Then Dick and Jack met. There is nothing 
like the presence of a husband for cooling 
off a romance. 

NOBODY was at all surprised the other day 
when Virginia Holmes Lamson tiled suit 
for divorce in the Los Angeles courts against 
Demarest Lamson. 

For everybody knew that Virginia Yalli and 
her husband, better known as Demmy Lam- 
son. have been separated for several years. 

Virginia Yalli, who had not then achieved 
screen success, married young Lamson in 
Greenwich, Connecticut, in 1021. Rumor had 
it that he was the son of millionaire parents and 
that Virginia might give up her screen career. 
However, they both returned to Hollywood, 
where Miss Yalli 's beauty and talents soon 
carried her to the top of her profession. Her 
husband has also worked in hlms as an as- 
sistant director and is now a personal 
manager. 

The divorce papers state that he deserted 
her in December, 1024. but as a matter of fact 
they have not lived together since 19^3. 



OF course I understand that it is 
necessary for the players to have 
their names printed on the backs of 
their canvas chairs, but will someone 
please apologize to Scott Sidney, the 
director, for painting the word "Per- 
sonal" on the canvas seat of his camp 
chair? 

"/^\UR GANG" is going to Europe to make 
^— 'a picture in London. The Gang wants 
genuine settings for its story of London Bridge 
and anyway, the Prince of Wales is said to be 
just crazy to meet Farina. In fact, he just 
doesn't see how he is going to be able to rule 
England unless he has a little talk with Farina. 

Speaking of royal tastes in movie stars, the 
Crown Prince of Sweden and the Princess 
Louise met Gloria Swanson at a luncheon given 
at West Point by Brigadier General Mcrch 
Stewart. Gloria is of Swedish and Polish 
descent. The name of Swanson must have had 
a homelike sound to the Prince's ears. 

So there you have an idea of what royalty 
craves. The Swedish Prince likes Gloria. The 
English Prince likes Farina. And it is no 
secret that, on at least one occasion, the Span- 
ish King inquired solicitously about " Fatty" 
Arbuckle. 

•"THAT bright young fellow, Luther Reed, 
*■ who has been assisting directors in their 
troubles for many years, will now be given a 
chance to make pictures himself. Sinclair 
Lewis' story, "New York," will mark his 
debut as a director. Lois Wilson and Ricardo 
Cortcz will play the leads. Allan Dwan was 
originally signed to direct this Story, but Dwan 
got an enormous offer from William Fox and 
gave up the assignment. 

Luther Reed directed Marion Davies in 
some scenes from "Janice Meredith" which 
were most successful, although Reed at the 
time was only supposed to be a scenario writer. 

"T A BOHEME" opened at the Forum 
•'-'Theater in Los Angeles with the usual 
amount of pageantry deemed necessary on such 
occasions and the fair dames of Hollywood 
dazzled the throngs. 

Skirting the edge of the throng with overcoat 
collar upturned and directorial hat brim down- 
turned, John Miljan and I met Henry King, 
whose picture. ■'Stella Dallas." had closed at 
the theater the night before. 




Shake hands with the boss ! A handclasp between two of the great- 
est men in pictures — D. W. Griffith and Adolph Zukor. The entre- 
preneur — if you'll pardon our French — is William De Baron, super- 
vising editor at Paramount's Eastern studio, and a pretty smart 
boy, too 



PHOTOPLAY MAGAZINE is guarimtw.l. 



Photoplay Magazine — Advertising Section 



"3 



"What's the matter and hello?" hissed John 
as is his custom — he plays villains so often. 

"Just got in lrom location, I'm not dressed 
for the spotlight and I want to see 'La Bo- 
heme,"' answered King. 

So we bundled him between us and scurried 
through the gaping phalanx. Inside, an infor- 
mal reception was in progress, as is customary 
at premieres and I noticed the usual Goldwyn 
two-somes. However, I didn't discover the 
identity of the rather inconspicuous Miss that 
John Gilbert had with him. His party in- 
cluded Eleanor Boardman, in her severe hair- 
dress and ground-sweeping skirt, with King 
Vidor. 

Donald Ogden Stewart, with a solemnity not 
in keeping with his customary self, introduced 
Fred Niblo, who is Hollywood's favorite master 
of ceremonies, and Fred brought the spotlight 
upon various celebrities in the audience. 

FOLLOWING the "La Boheme" opening 
came two other pretentious premieres, jos- 
tling each other for front page prominence. At 
the Egyptian Theater Sid Grauman introduced 
an innovation in picture-showing. He put 
Doug's "Black Pirate" and Mary's "Sparrows" 
on the same bill and sprinkled the twenty reels 
or so with preludes and prologues. 

The throng that came to witness the latest in 
Graumanism was one of the most brilliant in 
the history of that unique theater. There was 
Claire Windsor, wearing a most becoming new 
straight bob. She had on a sheer pink frock 
and a wrap of turquoise blue which had trac- 
eries of silver all over it, and a white fox collar. 
White seemed to be the favorite color for 
gowns, as I noticed Marion Davies wearing a 
chiffon dress of unrelieved white and a wrap 
that almost matched the blue of Claire's. 

Joby Ralston wore the tulle dress of a hue 
that reflects the blush of a thousand wild roses, 
and a tiny ermine jacquet that is the newest 
breath of the furriers. It is short and reminds 
me of nothing else but a pillow slip opened up 
the front, only, of course, it envelops her with 
far more grace. 

THEN four nights later came the opening of 
"The Volga Boatman " and the first glimpse 
the public has had of Los Angeles' newest 
theater out in the exclusive Carthay Center 
district. It is called the "Carthay Circle" and 
the colorful Spanish influence of Old California 
is seen on every hand. On the night of the 
opening, the missions gave way to the muzhiks 
and the decorations carried out the Russian 
motif as befitted the first picture shown in the 
house. 

Never have I seen such a crowd as gathered 
to see the stars enter. The)' might have been 
expecting the King or Queen or — judging from 
the flappers — the Prince of Wales. As it was, 
they saw William Boyd and Victor Varconi and 
several dozen other handsome leading men. 

A LONG the road leading to the theater, 
■**-which is south of the boulevard leading from 
city to sea, two bands were placed at intervals. 
And they say the crowd commenced forming at 
five o'clock in the afternoon waiting for the 
eight o'clock arrivals. 

Again white was the favorite shade among 
the gowns and I saw Anna Q. Nilsson, Dorothy 
Phillips, Ethel Shannon, all wearing white that 
ranged in texture from chiffon to the heavier 
crepe of Anna Q.'s stunning frock with the 
wide circular skirt. Viola Dana and "Lefty" 
Flynn were there, with Viola in a frock of 
chiffon and ostrich in flesh tones.' Mrs. Irving 
Hellman, the banker's wife, also chose a chiffon 
in a darker shade of pink than Viola's, spar- 
kling with rhinestone embroidery, over which 
she wore an ermine wrap. 

The C. B. DeMilles were present, of course; 
Mrs. DeMille looiring particularly distin- 
guished in a black crepe embroidered in pearls. 
She wore a cloth of gold coat with sable fur. 

•"THERE is a certain suave idol of the screen 
■*- who talks not wisely but too well. In fact 
the gentleman, in spite of his irreproachable 




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SHE used to dread daylight because it exposed so mercilessly 
the fact that her hair was turning gray. She always sought the 
shelter of shaded lamplight. 

She would not color her hair because she knew of no way to do 
so and still hold the beauty of its lustre and the soft charm of her 
face. 

Women who colored their hair always looked it. The effect 
was hard, flat, unreal. Even more than daylight, that was to be 
avoided; 

But now her hair is no longer gray — and she courts its in- 
spection. 

What changed her mind about coloring her hair was Notox— 
and an understanding of its unique principle — canitic coloration. 

This is a scientific replication of the plan nature uses in color- 
ing hair. 

A single hair is like a very, very fine colored silken thread, 
with a half-transparent, polished coating. This lustrous covering 
itself is colorless. And so the color in nature-colored hair is that 
of the inner thread of fibres, seen through the outside covering. 

Gray hair is hair in which the inner thread has lost color, due 
to an affection called canities. 

Until Notox was invented there was no means of removing 
the blight of canities in the only proper way — recoloring the 
inner thread of fibres inside the hair. 

Restorers, crude dyes did not. They merely painted over the 
outside of the hair, leaving the gray inside still gray, blanketing 
the lustrous surface of the hair, and coarsening its appearance. 

How different from theirs and how identical with nature's 
coloring plan is Notox! 

Notox is a truly scientific coloring. It seeps rapidly through 
the outer lustrous covering of the hair, recolors the inner thread. 
With it all the beauty of the hair is retained and its lost beauty 
of color is replaced — exactly where it used to be. 

That is why Notox is so natural in appearance that even the 
shrewdest inspection fails to detect it. That is why so many 
hundreds of thousands of women are using Notox. 

The precision of its shades, its ease of application, its safety, 
its permission of all sorts of hairdressing — these are other ad- 
vantages of Notox which have made it virtually a beauty ne- 
cessity to every well groomed woman. 

IMPORTANT NOTICE: Notox is tke coloring that banishes gray hair 
in the safe and natural "say. Its basic ingredient is an entirely new sub- 
ttance. The principle of its manufacture and use do not exist in any other 
product. They are furthermore fully protected by patent. 

Notox is sold only in packages bearing the Notox trade-mark, as shown 
here. To be sure you get Notox, look for the Notox trade-mark. In beauty 
shops, see the seal of the Notox package broken before you permit application. 
This protects you. Notox is made by Inecto, Inc., New York; ana by Notox, 
Ltd., Toronto. 



The Notox Principle of 
Canitic Coloration 




Crose-section of a red hair. 

oistributes the color through 
the layers of fibres beneath 

A Bray hair. Notice that tlie 



Eight Advantages of Notox 

1. Notox is safe for both the hai 
and scalp. 

2. Notox cannot be detected. 

3. Notox reproduces any natura 
shade of hair. 

4. Notox is permanent. It combine 
with the hair. Friction, heat, or sun 
light will not change its color. 

5. Notox requires only a singl 
application. It takes from 20 to 3< 
minutes for color to develop. As th 



ry five 



6. No 
ing, 



pen 



pet 



7. Notox is unaffected by shampoo- 
ing, fresh or salt-water bathing, 
Turkish baths, or perspiration. 

8. Notox can be applied by your- 
self or by your hairdresser. 




Send for Trial Simple 

If you are discontented with the ap- 
pearance of your hair, send in the 
coupon with 10 cents in stamps and a 
trial sample will be sent you, in a plain 
'.cropper, by return mad. Pin a few 
strands of your hair to the coupon to 
enable us to provide you with the right 
shade of Notox. 



MOTO 

Colors //air Inside, as Nature Does 



[NECTO, INC.. De t, 



' York City 



PHOTOPLAY MAGAZINE. 



1 1 4 



Photoplay Magazine — Advertising Section 



, ( / /resistible . 
isthtcharmqf 
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T^O other elemenl of beau- 
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A proud owner and a prouder parent. Reading left to right, Robert 
Anthony Coogan, ten hungry puppies and Lady Otgn, their mother, 
n pedigreed police dog. Lady Olga belongs to Robert Anthonj's 
well known brother. Jackie Coogan. But the puppies belong to 
Bobbie, himself. Hence, the grin 



appearance, is somewhat akin to the neighbor 

who dons her Mother Hubbard ami comfort- 
able shoes ami spends hours at the back fence. 

Anyway, (his idol said too much to an inter- 
viewer ami the interviewer quoted him at 
length, with derogatory comments. 

•till." wailed the gentleman to his press 

agent when the thing came out in print, 
"something must he done ahout this. 1 feel 

that I am getting too dose to My Public." 

T ARRV SEMON has solved the mother in- 

- Lj law question. Before he married Dorothy 
Dwan his comedies always maligned mothers- 

in law. \nil in his new spaper days, no cartoon 
was complete without a sly dig at the most 
persecuted of parents. 

"Now comes your retribution, Larry!" his 
friends said when (fancy Smith, who is a 
surprisingly young and attractive mother in- 
law, joined the Semon menage by the marriage 
other daughter to Larry. Larry might have 
been pu led, hut not for long He made her 

f'ress agent for the Semons Larry and 
lorothy "Then the more she talks ahout me, 
the better 1 like it!" 

DOUGLAS MACLEAN has been elected 
president of the Masquers Club, which is a 
very exclusive Hollywood organisation made 

up of actors, writers and directors of unusual 
talent ami ability. It has been called the 
•■lambs of Hollywood" and is noted for its 
clever entertainments. I long follows Robert 
Edeson into the presiilenti.il chair. 

MISS \L> \ DOW, who coached Julia Mar- 
lowe for live years and was well know n as a 
coach and as an'actress. died recently in New- 
York. Miss How was at one time the wife of 
Frank Currier, fatuous screen actor. 

THE newest high-priced and much lauded 
scenario writer is again a woman. Lor 
some reason, that seems to he a woman's de- 
partment. I suppose it is because the thing 
that makes men good scenario writers, usually 
turns them into directors— as in the case M 

Paul Bern and Luther Reed. 

Dorothy Farnum is being hailed by a lot of 
people as ready to join the great feminine 
screen writers Frances Marion, June Matins, 
etc. They — the M. ('.. M. corporation sent 
her to Spain to get atmosphere for the I bane.-. 
story, "The Temptress," and she is still on the 
job of seeing it through, though they've 
changed directors a couple of times. At ia-t, 
Fred Niblo — who is becoming a sort of trouble- 



shooter among directors has the good old 
megaphone, so there won't be any more 

trouble. Fred stepped in and pulled "Ben- 
Hut" out of the tire, if you remember. 

Dorothy, who is a little bit of a blonde and 
extremel} pretty, tirst attracted attention 

when she did a perfect script \>n " Beau Brum- 

nnl." lately, she has made new fame for her- 
self with "The Torrent" and "Bardelys, the 
Magnificent." 

OOIDA BERGERE, scenario writer ami 
wife of Basil Ratbbone, tiled a voluntary 
petition of bankruptcy in New York recently. 
Since her divorce from George Lit. maurice. the 
dire, tor, Miss Bergere has written no scenarios. 

in fait, in her bankruptcy suit. Miss Bergere 
describes herself as "Ouida Rathbone, for 

merle Lit.-maurii c, also known as Ouida Ker- 
gere. housewife " \nd. as everyone knows, 
there is little money in being a housewife. 

Mi— Bergere's liabilities were listed as 
$9,339 to. mostly in debts owed to shopkeepers 
in London. Laris and New York. And her 
a-sets were set down as" Si 50 wort hot" clothes." 

■fAlNt; GEORGE has been so busy since the 

*^-War, especially lately with this strike ami 
all. that his correspondence has fallen way be- 
hind, So it was only the other day that he 
found time to sit down and write to Yictor 
McLaglen, the big actor who made such a hit 

in "The Unholy Three" ami "Winds of 

Chance." The letter, in official language and 
much ornamented with red tape and impressive 
seals, informed McLaglen that, while serving as 
a captain in the British Army under General 
Maude in Mesopotamia, he has been mentioned 
for distinguished services in dispatches to the 

War Office. 

\b 1 aglen is now working as Captain Flaeg, 

of (he United States Marines, in the l'o\ pic- 
ture "What Trice Glory." 

PRETTY Kitty Clifford, who contests 
with Marion Davies the title of the wit- 
tiest woman in Hollywood, has put one over on 
everybody. She has been Mrs Mio Dlitch for 
months and months ami nobody knew any- 
thing ahout it, and Kitty still refuses to say 
where or when the wedding took place. 

"I'm incurably romantic." says Kitty, with 
h.r irresistible sraifc 1 ak.1 k. pirn, things 
like that to myself." 

Mi-- Clifford has just completed the most 
charming new home in Beverly Hills. And she 
and Mr. [Uitch are planning to spend the sum- 
mer in Europe. 



iij tdrcnlnmaul in PHOTOPLAY M vcvzink is luanuttaod. 



Photoplay Magazine — Advertising Section 



POOR Ferdinand Earle! Troubles continue 
to tumble upon his artistic head with the 
fury of hailstones. Now his fourth wife is 
about to divorce him, charging cruelty and 
asking for partial custody of their ten-year- 
old son, Eyzind. 

He is really clever — that Ferdinand Earle. 
He is an artist, writer, poet and excellent tennis 
player, although the latter could not be classed 
as a fine art, I suppose. Recently he had a 
very beautiful canvas of his wife — the one 
who is now suing — on display at the Biltmore 
salon and I think his poem, "Pilgrims of Eter- 
nity, " is a joy. But he cannot seem to keep his 
wives. They have ranged from Julia Kuttner 
Earle to the present Mrs. Charlotte Kristine 
Earle, with several affinities involved, for Earle 
was purported to be the inventor of the "soul 
kiss" and the gentleman who gave such a run 
on the word "affinity." Although the latter 
charge he hotly denies. 

He is something of an iconoclast and a very 
interesting chap, as most iconoclasts are. 

WELL, I guess Mae Murray has decided 
not to jilt us entirely. The other day she 
purchased Jack Donovan's exotic Spanish resi- 
dence near the beach on San Vicente Boule- 
vard, which must mean that she has abandoned 
her idea of going to Germany. Jack designed 
the house himself and built it when he wasn't 
acting in pictures. 



1 '5 




He's the first New York guy in "Our 
Gang." His name is "Scooter" 
Lowry, and he's a "reg'lar feller." 
He reported for work to Director 
Robert McGowan the other day 
and Mac said he didn't need to 
worry about dieting since he's got 
his weight up to all of thirty-five 
pounds 



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on rmiTiiI'LAY MAGAZINE. 



1 1 6 



Photoplay Magazine — Advertising Section 




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Looks suspiciously like "The Miracle" to us. And it looks as though 
somebody were stealing a little thunder from the long-expected 
filming of the Reinhardt spectacle. It is a scene from "The Show 
World," with Billie Dove doing a Lady Diana Manners. Well, after 
all, it's anybody's legend 



They say it contains some very lovely an- 
tique French furniture, picked up by Jack on 
his meanderings. which went with the house, as 
did a pipe organ. 

OX her tour through Europe. Man- Pickford 
is discovering that she is a girl of many 
names. In Hollywood, her friends call her 
Mrs. Fairbanks. In France, she is known as 
I.a Belle Pickford. Germany simply calls her 
Mary Pickford. but her film, "Little Annie 
Rooney," is called "Die Kleine Anncmaric." 
Sweden calls her Marie Pickford. The Italian 
newspapers referred to her as Madame Fair- 
banks, but Mussolini called her Mary Pickford. 
But at the opening of "Little Annie Rooney" 
in Berlin, Doug told the audience: "Tonight I 
am not Douglas Fairbanks. I am Herr Pick- 
ford." 

WHEN" Rudolph Valentino saw "The Fire- 
brand" in New York, he made up his 
mind he was going to have the story for his very 
own. But Will Hays decided that the play 
was too naughty and said "No." But Valen- 
tino has discovered a way around the difficulty. 
He has engaged Edwin Justus Mayer, author 
of "The Firebrand," to write an original story 
on the life of Benvenuto Cellini, so Rudy gets 
the "great lover" role, after all. 

AND John Barrymore, craving to play 
Francois Villon, is having an original 
scenario written for himself about the adven- 
tures of the French poet. The story will have 
nothing in common with "If I Were King" nor 
vet with "The Vagabond King." the musical 
success now running on Broadway. However, 
the title of the Barrymore picture wall be "The 
Vagabond Lover," which has what you might 
call a familiar ring. 

FROM tales you've heard, champagne would 
appear to "be the least thing Hollywood 
would employ for christening purposes. _ 
But at the ceremony of ground-breaking for 



Carter de Haven's Hollywood Music Box 
which took place recently. Mae Murray busted 
a perfectly good bottle of grape juice over the 
handle of the spade. 

The new theater, which is to produce nothing 
but musical comedies, will be erected on Holly- 
wood Boulevard and will be under the personal 
supervision of Carter de Haven. The film 
comedian acted as master of ceremonies and 
John Barrymore turned the first dirt. 

THE social season in Hollywood seems to last 
all the year round. When the warm weather 
sets in, everybody moves to the beach, which is 
only a short drive, and the parties and festivi- 
ties go on just the same. 

Constance Talmadge had a delightful house- 
warming the other day when she opened her 
sister Xorma's charming beach cottage for the 
summer during Xorma's absence in New York 
with her husband. Joe Schenck, but Constance 
made a perfect substitute 

MRS. FRED NTBLO does have the nicest 
parties. Of course the fact that Fred 
Xiblo is her husband may have something to do 
with that. Fred does understand being a host 
so beautifully. 

They had a wonderful dinner dance the 
other evening, dancing in the open air patio, 
under the real moonlight, with a real California 
garden just beyond to stroll in between dances. 
Florence Yidor was there, looking divine in a 
frock of white chiffon with orchids at the waist. 
Mr. and Mrs. Charles Ray, with Mrs. Ray in a 
startling affair of bright geranium red sequins, 
her head wrapped in a scarf to match. Mr. and 
Mrs. Antonio Moreno, and Mrs. Moreno wore 
black satin of the most distinguished cut. and 
set off by a diamond necklace. George Fitz- 
maurice, John Considine. Dick Barthelmess. 
Mr. and Mrs. C. Gardner Sullivan — Mrs. Sul- 
livan is Ann May, and she had on a frock of 
black georgette, trimmed with rhinestones. the 
outer skirt very long and full, with a tiny, 



rnoTOPl.AY MAGAZINE 



Photoplay Magazine — Advertising Section 



short underskirt — Vilma TSanky, in orchid 
chiffon, Mr. and Mrs. Conrad Nagel, Mr. and 
Mrs. Sidney Franklin, Catherine Bennett, in 
sky-blue chiffon, that set off her wonderful 
hair; Charles Christie and Ivy Shilling — Ivy in 
one of the hundreds of frocks she just brought 
back from Paris, apple green, with metal cloth 
underneath. 

Afterwards, when everybody got tired of 
dancing, they played charades. Charades have 
become quite the fashion in Hollywood now. 
You play them after almost any dinner party. 
Gloria Swanson started it when she was home 
last year. 

THE glory of battle and warfare — skirmishes 
with hostile tribes of Arabs — silent night 
marches with death lurking beyond each sand 
dune is nothing compared with the glory of 
acrobatic accomplishment. At least in the 
eyes of Leonard Sleeman, who was one of the 
legionaires handling a rifle under Director 
Brenon's command during the filming of 
" Beau Geste." 

Incidentally, Sleeman was one of the two 
men in all the two thousand on the desert for 
the filming of the South African war story who 
had seen actual service in Morocco with the 
real French Legion. The other was one Van 
den Akker who was technical advisor. 

SLEEMAN spent seven hazardous years 
dodging Arabian bullets in Morocco, during 
which time he served in thirteen campaigns 
with names that sound like influenza germs on 
a rampage . . . de Souk el Had des Ghze- 
naia — de Sidi Belcacem — and an atlas more. 
A fleeting Arabian bullet knocked his third 
finger from its accustomed anchorage on his 
right hand one night as he stood smoking an 
after-dinner cigarette at the door of the fort. 
That and myriad other experiences made life 
a colorful whirl of adventure. 

Then Sleeman came to America and the 
comparative safety of an aerial act with the 
"Flying Wards" of vaudeville fame, following 
in the footsteps of his Haarlem, Holland, par- 
ents, who were also acrobats. 

He was telling about his African experiences. 
"There are enough thrills in your life to make a 
great war story!" we breathed excitedly. 

"Oh. yes ..." deprecated the stalwart 
Mr. Sleeman, " but if you write it, don't forget 
to mention that I am now an aerial artiste and 
acrobatic comedian." 

Thus do the glories of valor fade in compari- 
son with the glamour of greasepaint. 

NEVER was there such a desolate place as 
"The Red Mill" set the morning that 
"Buddy," Marion Davies' pugnacious bull 
pup, decided to go adventuring. Everybody 
joined in the search for the delinquent doggie 
with Marion, clogging along in the wooden 
shoes of her Dutch costume, leading the search. 
Ads in the papers having been duly inserted, 
"Buddy" was found the next day in a remote 
part of town calmly digesting an old shoe. 

GOMES now the "Thalian Club" to take its 
place with "Our Club" and the "Regulars." 
It's made up of the younger set of players and 
was born, I rather imagine, in the comfortable 
living room presided over by that transplanted 
southern belle, Jobyna Ralston. 

It's purely a social organization and its 
membership is made up of younger brothers 
and sisters of stars. For instance, there is 
Cleve Moore, brother of Colleen; George Stew- 
art, brother of Anita; Lincoln Stedman, son of 
Myrtle; Eric St. Clair, brother of Mai St. Clair, 
the director. The Costello girls — Dolores and 
Helene — have just been initiated, and John 
Roche, William Haines, Blanche Mehaffaty, 
June Marlowe, Alice and Marceline Day, 
Priscilla and Marjorie Bonner, Shannon Day, 
Carroll Nye, Rex Lease, Rita Carewe — daugh- 
ter of'Edwin Carewe the director — and a flock 
of other nice young people are among the group 
who meet weekly for an evening of fun and 
dancing. Kavmond Keane is the president. 




Sometimes * * * 

remembering 
is dangerous 



Sorry that he met a beautiful girl ? 
Howcan a man ever regret such a pleas- 
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It can happen! And perhaps there is 
no keener disappointment to a man 
than this very thing. 

To admire a girl's beauty, to want 
to know her. Then to meet her — and 
have nearness bring disillusionment! 

And always, afterward, when he 
thinks of her, he remembers only this 
one thing. He forgets her beauty— 
but he can't forget that she failed to 
live up to his ideal of her! 

The smart woman never neglects 
one fundamental personal appeal. She 
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n8 



Photoplay Magazine — Advertising Section 




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"Only you can't expect them to take count of of traffic at a signal. That signal was in her 




that. Their measure of you is the number of 
years they've been acquainted with that wild 
hair and those eyes. If you weren't such a con- 
spicuous personality, they wouldn't remember 
so far back. Now take the advice of a fellow 
who knows the game — and get that 'script 
from Cleeburg." 

She shoved his arm away, wheeled on him. 
The gentle, kind features in the lean face, older 
than his forty years, had the troubled look of a 
father for an unmanageable child. 

"You're willing to humiliate me, too! You 
want me to go back, 
after he's insulted me 
this way, and grovel 
on my knees. Not if 
I never work! Not if I 
starve to death — " 

"Now — now," he in- 
terrupted. "I don't 
care, honey, if you 
never set foot on a 
stage again. I'd like- 
nothing better than to 
quit bum joints like 
this and settle down in 
a nice little place in the 
country — you and I 
and I be boy. " lie 
gazed dreamily out of 
the window, visioning 
his El Dorado beyond 
the uneven, smoky sky 
line that dulled the 
violet of city twilight. 
"But I know that'll 
kill you sure enough. 
You're part of the the- 
ater, justlikeme. ( )nh , 
you're wrong in the 
way you've been han- 
dling things for the 
past year. And I've 
got to tell you, whether 
you like it or not." 

Edna Ridgeway's 

ttle square jaw 
dropped amazedly, 
then showed a flash of 
sharp teeth like an 
angry terrier's before 
it clamped tight. 

"Are you taking 
sides against me?" 
came through them. 

" No, dear. But for 
a long time you've been telling me that the re 
iment is out of step with you. And it's not so 




"Is this Miss Ridgeway? 
can you come right over . 



eyes, her lips, the thin nostrils. It was like a . 
searing yellow fire. A sudden sweep of hatred. 
Under it, she looked a hundred. 

They had been through similar scenes, any 
number of them, in the last year. Scenes that 
had begun when a manager sent for her and 
assumed the prerogative of engaging her out- 
right for a part instead of submitting it for ap- 
proval. A spoiled darling of the theater, trav- 
eling for years on charm of personality and 
tangled red hair, rather than any startling abil- 
ity, she had flounced out of his office. Jim 
Ridgeway disapproved 
of the high-handed 
procedure, but said 
nothing. Neither had 
he spoken when on the 
occasions that followed 
other managers fa- 
vored younger inge- 
nues and hinted 
Edna Ridgeway might 
be letter suited with 
something more ma- 
ture. 

I m her, those past 
months were a slow 
seething process of re- 
bellion. I low dared 
I hej ! What insolence! 
Who was the hidden 
enemy undermining 
her position in tile I he 
a I it? She struck out 
with her two hands 
against a force unseen. 
She, whose standing 
had always been so se- 
cure as to be unques- 
tioned, began to grope 
for t he revelat ion 
which, when written 
on the wall, she re- 
fused lo read. She 
dressed for extreme 
youth, hid away her 
son, and mopped her 
hair with more studied 
carelessness in the 
hope that she might 
make them see the 
folly of their own 
mistake. 

But months went by 
and with them oppor- 
tunities to flounce out 
of managerial offices became fewer. Also do- 
mestic scenes of fury more frequent. Had she 



You're lopsided in your point of view. You're put into some of the parts proffered her a frac 



humiliating yourself — nobody else is doin 
"In what way, may I ask?" It came like a 

snarl bitten off. 

"Well, for instance, passing the boy off as 

your brother, just because you want to be a kid. 

Is that giving him a square deal — or yourself?" 



lion of the fervor concentrated in those stormy 
hours with Jim Ridgeway, she might have been 
counted among the truly great. 

He bore it all with a gentle tenderness. When 
the strain became too demanding, he would 
steal a week-end visit with his boy, renewing in 



"Do you think I could convince anybody of their woodland walks his even fine balance of 

mv age with a twelve-year old boy tagging manhood. A sea-wall of patience it was, 

alone? " against which pounded the torrent of his wife's 

"What age, honey? The one you want to rage. With all the tact at his command — and 

be? Don't you see, you only make them think contact with actors had given him a full quota 
you're older than you are by not admitting 
you're as old as you are. Nature's doing he 
job the way she always does, with wisdom and 



beautifully, and you're doing everything in 
your power to make a fool of her." 

She stared at him, unbelieving, too aston- 
ished for the flood of fury to find vent. 

"Take a real look at yourself, won't you, 
dear? " He pursued determinedly, though with 
something of a scare in his mild eyes, as if 
abashed at his daring. "The girl I see when 
she wakes up in the morning. She's darned 
pretty, I can tell you — with the paint off." 

He hesitated, the words halting like the jerk 

v advertisement in TTTOTOrLAY MAGAZINE is un.-u.int. 



he had tried to turn the tide. But advice and 
warning alike she defied, and in that one year 
her face hardened ten. 

Perfectly aware of the change, he still 
handled the situation subtly. 

Not until tonight had he taken a definite 
stand. 

And hearing him, Edna Ridgeway's hands 
clenched on the back of the Morris-chair until 
her lingers penetrated the faded velvet, ripping 
into it like angry, worrying claws. 

"So now we understand each other. You 
agree that I'm a has-been — good enough for 
any rotten role they throw at me." 



Photoplay Magazine — Advertising Section 



119 



"I agree only that your best work's ahead of 
you, if you'll accept the fact that you don't be- 
long where you were ten years ago. If Clee- 
burg wants you to play a woman of thirty-five, 
it's because he realizes you are — well, thirty- 
three — and knows the part'll fit you like a 
glove. 

"It's late in the season, too, and there may 
not be another chance. ' 

"That settles it!" Her jaws snapped on the 
words like a trap closing. 

"I've been bearing this humiliation as long 
as I'm going to. 

"T'.M through, do you hear — finished with the 
-'■whole lot of you. I'll show you who's right 
— I'll show you!" 

She picked up her hat, tugged it over her 
hair, and jabbed the hat-pin through it. 

"Ted," — he stepped in her path as she made 
for the door — "honey, don't do anything fool- 
ish. I'm only trying to help you. I've seen 
you miserable so long — " 

"Well, I won't be miserable anymore." She 
pushed past him without a glance. " Better get 
some dinner or you'll be late at the theater and 
lose your job." 

He caught her wrist as she reached for the 
door knob. 

"Where are you going?" he demanded, his 
voice hoarse with fear. 

"Don't you worry about me. I'm going to 
take care of that future you're so upset over. 
I'm going to see a man who wanted to star me 
months ago." 

"Who is he?" 

"What difference does that make?" 

"If he's anybody worth talking about, I 
ought to know him.'' 

"Well, you don't. He's new at the game." 

"Then he's a shoe-string — wants to star you 
and you foot the bills!" 

He leaped at the conclusion, obvious to a long 
experience. 

"What's that to you? It's my own money." 

"Ted," he pleaded, "don't be an idiot. 
Don't let yourself be buncoed at this stage of 
the game. 

"You're too old a hand for that. Listen to 
me, won't you?" 

"No! I've listened long enough — to even- 
body. 

''I'm sick of it! 

"If I haven't enough faith in my own talents 
to risk an investment in them, then I don't 
deserve what I've got." 

"H'm, that's just about his line of talk, who- 
ever he is. Well, he has me to reckon with — I 
won't let him get away with it." 

"You'll kindly keep out of the whole affair. 
I can take care of myself." 

"No, you can't!" he plunged recklessly. 
"You've proved that." 

Her eyes, through the shadows of the little 
hall, gleamed like an enraged animal's. 

"Well, then, it's my responsibility! Wash 
your hands of me — and let it go at that." She 
dragged off his restraining clutch. 

"Ted!" 

"Just let me alone — that's all I want." 

"But think it over, girl." 

"That's what I've been doing for a month. 
The details of the deal are practically settled. 
All I have to do now is sign." 

Astonishment, anger, anxiety, appeal sub- 
merged one another in the depths of his gaze. 

"And you never said a word to me," he 
brought out. 

"Why should I? You see what your answer 
would have been." 

Nothing but appeal was left in his gaze. 

"But wait till tomorrow. When you're 
calmer — " 

"I won't be calm until I'm working." Her 
voice snapped in two, was hurriedly caught up, 
held taut. "Don't try to interfere with me. 
If I have to go through again what I've suffered 
this past year, I'll go crazy." 

She opened the door and stood in the light of 
the outer corridor, her back to him. 

"And take Jimsy in to sleep with you," she 
said without turning her head. 




LAURA LA PLANTE in "POKER FACES" 



Watch This Column 

If you want to be on our mailing list send in your name and address 

The fact that 

you can't see all that 
is best in pictures unless 
you see UNIVERSAL 
is accentuated by the 
GREATER MOVIE LIST 
which UNIVERSAL has 
created for 1926-2 7. The 
stories are chosen from 
the work of brilliant 
writers and the players 
from among the best the 
screen-world affords. 

Here is a partial list 
which I commend warmly 
to your consideration. In succeeding advertisements, I will 
give you the others. If you will preserve this list, it will prove a 
guide to your best entertainment for months to come. 

"Poker Faces ' '-starring EDWARD EVERETT 

HORTON, one of the funniest men on the New York stage, 
and LAURA LA PLANTE. Adapted from the popular novel by 
Edgar Franklin. Directed by Harry Pollard. 

"The Old Soak"- starring JEAN HER- 
SHOLT with JUNE MARLOWE and GEORGE LEWIS. 

From the play by the well-known humorist, Don Marquis. Directed 
by Edward Sloman. 

' ' The Marriage Clause ' '—featuring FRANCIS 
X. BUSHMAN, BILLY DOVE and WARNER OLAND. 

From The Saturday Evening Post story "Technic," by Dana Burnett. 
A Lois Weber production. 

"The Runaway Express" — featuring JACK 
DAUGHERTY and BLANCHE MEHAFFEY. From 
the internationally famous stories, "The Nerve of Foley," by Frank 
H. Spearman. 

"Her Big Night"- starring LAURA LA 
PLANTE, assisted by EINAR HANSON, a newcomer in 
the world of stars. Picture adapted from Peggy Gaddis' magazine 
story, "Doubling for Lora." Directed by Melville Brown. 

HOUSE PETERS in "Prisoners of the Storm ' ' 

— a tale of the snow country. Directed by Lynn Reynolds. 

Please remember that I am always sincerely 
glad to receive your comments, criticisms and suggestions. 
Write me. 



(To be continued next I 



Carl ^a 



emmh 

President 



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"Ted — my God — you're not 
words held the hush of horror. 

"I'm going to take a room somewhere else. 
Don't try to stop me. I've just got to be 
alone." 

CHAPTER II 

UP Broadway, the defeated hum of a song on 
her lips, her ankles twisting on run-down 
heels, she went. The song was never completed. 
The heels had always been too high. 

Some of them turned, those so-called deni- 
zens of the street of many sighs, and stared 
amusedly after her. Others shrugged past the 
incongruously gay figure, henna bob lost under 
a cloche hat, its pain concealed by paint. Not 
one recognized her. Just another hag turned 
flapper. To the Broadway of 1925 they are 
legion. 

But Edna Ridgeway stole out of the crowd 
self-consciously, and west in the Forties, like 
a pick-pocket sidling away from detection. 
She would never get used to the oblivion that 
was completely hers. 

Vet uncertainty had passed. Anxiety had 
passed. Anguish had passed. She had reached 
that state of wondering resignation which 
looks back on years that are gone, as if they 
had been lived by another person. A dull, 
pondering question. A monotonous, inescap- 
able unequivocating answer: — 

Done for? Yes — finished! ! Long ago! As 
finally as if her name had never been inscribed 
on the scroll of the theater. As absolutely as if 
her brimming personality had never filled the 
cup of an audience's pleasure. As ignomin- 
iously as if that scroll were nothing but blotting 
paper sucking in the signatures across its sur- 
face until they vanished. 

She had not seen it coming — this oblivion. 
So subtle, like the gradual collapse of a bridge 
through enemies unknown. Even now she did 
not recognize it as the result of vanity. All she 
knew was that she, who had arrogated to her- 
self the right to slam the door of a manager's 
office because a part did not suit her. now sat 
hour after hour in the office of a theatrical 
agent waiting for someone, anyone, to send 
for her. 

"Nothing today," in that mechanical, ex- 



pressionless tone of disinterest was a dirge so 
incessant, she mentally covered her ears that 
the knell of it might not penetrate. 

Her name was on the lists. Freddie Lane, 
the agent, had showed it to her. Yet no one 
seemed to notice it. 

How often had she, from the top peak of pop- 
ularity, asked with casual indifference: — 
"What's become of So-and-So? Never hear of 
her any more." Probably no one even asked it 
about her. She was sucked into the blotter of 
nothingness. 

She stumbled up a brownstone high stoop 
and three flights of stairs, the worn-down heels 
tapping their bare wood like a crutch, her 
ankles twisting uncertainly. At the top, she 
let herself into a rear room that looked out on 
what had once been a garden. The window 
was open, its cracked shade flapping inward. 
She did not lift it to the warm early September 
breeze. 

Those wisps of grass and weeds lying under 
thick layers of summer dust sickened her. 

There had been not the slightest attempt to 
camouflage the narrow room into something 
habitable. It was so useless. Nothing could 
transform the warped bureau that lopped to 
one side, crippled by its surroundings; the 
washstand, oil-cloth covered; the pitcher and 
basin whose pattern had disappeared long 
since. Besides, she had grown past cheap 
effort to hide cheapness. In the first throttling 
stages of rooming-house existence, she had tried 
to make the walls that were so much the same a 
little different, a bit her own. But like the de- 
feated hum of song, no gayety came from 
them. And now she was so desperately tired in 
every way. 

SHE had left Freddie Lane's office at five, 
after sitting there all day. only because 
it was dosing. Her back ached. Her feet 
ached. The dull ache of inactivity to which 
she had become accustomed. She pulled off the 
cloche hat and ran her fingers through her hair. 
Against its brilliant henna dye. the blue-veined 
hands were pale. She looked round the room, 
wondering what to do until it was time to go 
to bed. 

There was no one to see. not a soul to talk to. 
Her arrival in New York two months ago 




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Song cue: "At Peace With the World and You." James Cruze and 
his wife, Betty Compson, in their new home, "The Hacienda." It 
is hidden away in the mountains near Hollywood and maybe James 
isn't glad to get there after directing 1,500 hard-boiled extras and 
his new production, "Old Ironsides" 



rnoTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



marked the end of a circle of the globe, lapping 
over on its beginning. The ludicrous failure of 
Edna Ridgeway's starring venture had long 
ago been forgotten on Broadway. But there 
had followed for her, years of hectic strain to 
escape the lash of memory, to run away from 
herself. Touring in the sticks; barnstorming 
through the Middle West; stock on the Coast; 
then the traveling American and English com- 
panies that went from city to city in the 
Orient, — China, Japan, India. After that, 
Australia, endless ages of it. Anything to keep 
away from old companions. But chiefly, to 
avoid the man and boy she had deliberately put 
out of her life. 

The break with Jim Ridgeway had been the 
outcome of her own will. She had determined 
that he should not dominate her. At least, 
that was her excuse to herself for leaving him. 
They got on each other's nerves, she explained 
to Jim, and it was better to live apart. Follow- 
ing the collapse of her theatrical venture, he 
had tried persistently to see her. But her 
flight was from him as well as from the rest of 
what to her seemed a leering world. 

Wherever the English tongue, in one guise or 
another, was spoken, Edna Ridgeway had 
played. Yet inevitably she drifted back to the 
one city where the theater holds sway, the one 
street where a jargon all its own feeds the 
starved lon'ging of any who have ever been 
bubbles in its endless stream. Once there, she 
lacked the courage to look up former associates, 
as she lacked the price of a decent dress to do it 
in or the desire to risk the reflection in their 
eyes of the changes in herself. Not that she 
realized the full extent of those changes. Her 
sole acknowledgment was that the distance 
from icpo to 102^ counted sixteen milestones. 

She dropped on the bed and shut her eyes — 
tight. But without any thought of sleep. To 
be so near those clustering, brilliant, thrilling 
lights that flashed their signs against the heav- 
ens, yet her name no part. 

To mingle in the throng surging under them, 
yet with no destination. To be so shut off, so 
alone, — it was unbelievable. She — Edna 
Ridgeway! She brushed a hand across her 
lashes, and brought it away streaked with mas- 
cara. Self-pity, look here, that had to stop! 
Pull herself together — get out in it all — feel 
herself a part of it even if she wasn't — give her- 
self a role and act up to it ! 

The trill of the pay-station telephone at the 
foot of the stairs failed to register until she 
heard her name called from below. She pat- 
tered down, wobbling on the uncertain heels, 
and took up the receiver, her breath literally 
stopping. It was a woman's voice. For a 
blind instant, she could not make out the words: 

"Is this Miss Ridgeway? . . . Can you come 
right over to Mr. Cleeburg's office?" 

[ CONCLUDED NEXT MONTH ] 



Girls' 1 Problems 



[ CONTINUED FROM PAGE loo J 

Janice and V. Ott. 

Since you two girls want to be stage dancers 
it is quite imperative that you go to New 
York. The field for chorus girls is of course 
very crowded, nevertheless good looking young 
girls who have had training in stage dancing 
have a better chance today than they ever had 
at any other time. The whole status of the 
chorus girl is changing. She isn't any more 
just a pretty picture, but a hard working girl, 
who selects dancing for her work instead of 
stenography or something of that sort. I think 
it is very nice that your mother is coming with 
you. There are many moderate places where 
you three can live. The west Forties, which 
form the theatrical center, have many rooming 
houses that I think might be suitable to your 
purpose. They are quite inexpensive and you 
will probably need to economize as it may be a 




24 

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There are many hours of entertainment ahead for Columbia 
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Pictures or you'll miss some of the best features of the year. 

COLUMBIA PICTURES CORPORATION 

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long time before you get the right opportunity. 
Regarding the Follies. You will get an oppor- 
tunity if you have the goods to deliver. It is 
nonsense about theatrical people necessarily 
having a bad reputation. You don't have to 
have a bad reputation in the theatrical business 
any more than in any other business. The 
salary of chorus girls ranges from $25 to SSo a 
week, depending upon the management of the 
company and the girl's own ability. The one 
thing you must be prepared to face is the fact 
that even' good chorus girl in New York today 
is an experienced, well-trained dancer. 

Hopeful. 

Those unsightly lumps on the calf of the leg, 
as you call them . are caused by the muscles, and 
in some people they are more prominent than 
in others. One cannot be quite sure in taking 
exercise whether or not the muscles will be 
affected to an extent that will make them stand 
out too prominently. But a reasonable amount 
of exercise rarely affects them in that manner. 
Try the following exercise. 1 think it will help 
you. Stand with feet together; hands on hips. 
With left foot firmly planted on ground, swing 
right foot forward and backward five times, 
then sideward and back, five times. Repeat 
with other foot. You are so young. I wouldn't 
worry about the shape of my lips, if I were you. 
The rest of your features will probably grow up 
to match and from a point of view of character 
a thick lipped person has much more charm 
than the thin lipped type. Brushing your eye- 
lashes back from your eyes will help them get 
into shape. You are lucky they are so long. 

Toots. 

I think you can hardly be very serious about 
this boy. You have seen him a lot in crowds, 
but since you haven't talked to him very much, 
I don't know how you know that you even 
want to be friends with him. You should wait 
until he makes some step in your direction. 

H. E. M. D. 

About all your talents! I think you should 
settle on one and try to develop it. It is pretty 
difficult unless you are extremely talented to do 
all and do them well. Cleanse your face every 
night with a good cream. Then wash your face 
with a pure soap and warm water. Scrub well 
around the nose, chin and forehead where 
blackheads usually come. Rinse with cold 
water. If there are any blackheads that may 
be squeezed out do so by gently pressing the 
part between fingers protected by a small piece 
of cotton. Do but a couple at a time before 
using the cold water rinse. End up with a 
quick rub with a small piece of ice. 

Lillian. 

There's no reason why you can't wear high 
heels. They ought to be very becoming to you. 
With your thin face you should wear your hair 
fluffed out. You must build up your general 
health because the hair more than anything 
else reflects your physical condition. Keep it 
brushed, of course, and very clean. You can 
wear white, relieved with some other color; 
golden brown; blue; blue gray; darkest purple; 
no red; pale pink and soft rose. 

Lois Lee, New Jersey. 

You should weigh about 125 pounds. A few 



pounds one way or the other doesn't matter 
since you are only 16. Y r es, you are quite tall 
for your age, but don't worn' about it. A tall 
girl can always wear clothes better than a short 
girl and a tall girl is as popular as a shorter girl. 
Look at some of our famous screen stars or a 
matrimonial wonder like Peggy Hopkins Joyce 
if you don't believe it. You may grow taller, I 
cannot tell. The average girl keeps on growing 
until she's about 19. Y'our coloring sounds 
very attractive. You can wear black, with 
white relief; cream and ivory white; all shades 
of brown; electric and sapphire blues; orchid; 
burgundy and dark red; amber and canary 
yi Hows; pale pinks. I would try to keep slim if 
I were you, at least until the present fashions 
change. 

S. A. Mc. 

No, I don't think you're foolish at all. Your 
letter sounds extremely intelligent. Your 
problem of becoming a better mixer is certainly 
an important one with any girl. After all 
you're only a freshman. That gives you an 
opportunity to meet more men. Have you 
tried all the easy methods of meeting men — 
your girl friends' brothers, your male relatives' 
pals, and such? 

If you find yourself in a room of loud voiced 
people, don't worry about your soft voice. 
There may be someone present who is not par- 
ticularly enjoying being rendered half deaf 
either. Your height is so average that you can 
wear almost any type of clothes. Of course, I 
always favor tailored and sport things because 
if a girl hasn't a great deal of money to spend 
on her clothes she always looks smartly 
groomed in these frocks. A rouge with a dark 
tint, I should judge, would be most becoming 
to you. In New York there are shops where 
one may try out different rouge tints. If that 
is possible in your city do so. Don't worry 
about your skin ageing prematurely. Good 
skin is simply a matter of proper diet, proper 
cleanliness and general good health. In the 
evening if you wish to change your type, you 
may wear more fluffy clothes. Perhaps this 
will put you over with the other type of boy; 
the one who likes to pet. 

Nora. 

You are mistaken. Xora. in the idea that 
evening frocks must be fussy. The smartest 
women today are wearing almost as strictly 
tailored clothes for the evening as they are 
during the day. Even the "period" frock, a 
sort of picture dress, which is in vogue, is closely 
fitted and its lines are simple, even though the 
skirt in most cases comes to the floor. Since 
tailored suits and sports clothes are most be- 
coming to you. get the tailored type of thing 
for evening wear except in lighter shades than 
your daytime frocks, and rest assured you will 
"be as smartly dressed as any girl present. Why 
do you want to look your age? If you look 
three or four years younger, you're just a lucky 
girl. If you are tired of blue, why don't you 
change to blue-gray; pale pink; rose or bronze 
for evening, and for daytime golden brown, 
gray, and even darkest purple. They will all 
be becoming to a girl of your coloring. Be 
careful in using depilatories on your face. I 
don't recommend them. 



The Shadow Stage 



[ CONTINUED FROM PAGE 



Y 



A TRIP TO CHINATOWN— Fox 

OU won't miss much if you miss this. It is 
one of those flimflammy tales with much ado 
about nothing. Had it been produced in two 
reels it would have been funny, but as it stands 
now it is just an excuse for making some players 
earn their salaries. Another one of those hypo- 
chondriac affairs and if you can get a laugh out 
of them you're the canary's eyebrows. 



THREE WEEKS IN PARIS— 
Warner Bros. 

THEY just won't let Matt Moore stop being 
a sap. with the result that again you must 
sit through a sappy picture. There are a few 
funny moments, but on the whole it is a com- 
plete frost. Oswald is no sooner married than 
he is rushed to Paris by his business associates. 
He is reported dead and his wife collects his in- 



Etcry advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



123 



surance. He returns — but maybe you'd better 
go see it — you may like it. 

SHIPWRECKED— Producers Dist. Corp. 

IF you haven't been sleeping lately, try this on 
your insomnia. The story is all about two of 
those pieces of human driftwood, who meet on 
a water front but can't believe they mean right 
by each other. Comes the storm. Comes a 
tropical island and the end in which they settle 
down to bliss among the bananas. Joseph 
Schildkraut is terrible in the leading role. 

GLENISTER OF THE MOUNTED— 
F. B. O. 

OUR old pal the Mounty is back with us 
again struggling between love and duty. 
Lefty Flynn is the big brave man of the north 
who succeeds in saving his loved one from the 
arms of the law. Just for the children. 

CHASING TROUBLE— Universal 

JUST western hokum dealing with one hero, 
one heroine and a gang of crooks, marshalled 
in a melodramatic way before the camera. The 
hero, even though a stranger, is the kind of a 
guy who manages to ward off the villains from 
the girl's father. He loved the gal and wanted 
to make her happy, and if you can stand this 
hokum you must be ditto. 

HANDS ACROSS THE BORDER— 
F. B. O. 

FRED THOMSON and his well trained horse, 
Silver King, make this an interestingpicturc. 
Fred performs a series of hair-raising stunts 
and thrilling escapades that the youngsters 
will enjoy. It'sall about a young American in 
the U. S. secret service who captures a band of 
counterfeiters on the Mexican border. 

RUSTLER'S RANCH— Universal 

ART ACORD stares dreamily throughout 
this picture and at times one wishes the 
villain would give him a good sock and make 
him snap out of it. He's a kind-hearted 
roamer who protects a lovely old lady from her 
scheming son. Naturally there was a method 
in his madness — a pretty young lady — which 
explains the other half of the story. Passable. 

THE FRONTIER TRAIL— Pathe 

A RED-BLOODED Western— a tale of 
years ago when white men went into a 
primitive land, ruled by Indians, and built a 
new empire. Harry Carey will please his fans, 
in this role of a kindly, gallant, heroic Army 
scout. If you like swift melodrama you are 
sure to like this one. 

BUCKING THE TRUTH— Universal 

A STORY of the great West. With quite 
-''•some riding and excitement. Incidentally, 
the lovely heroine does some of the riding — 
trying to protect the hero. He is the innocent 
victim of a murder plot and there's-the dickens 
to pay until his innocence is proved. Fete 
Morrison, as usual, has something real to offer. 

THE GENTLE CYCLONE— Fox 

pLAT. The plot is developed in the most 
-*- obvious manner possible and without suffi- 
cient material for a feature length photoplay. 
Buck Jones is his usual self. Nothing is out- 
standing throughout the picture except Buck 
has three charming young ladies supporting 
him (cinematically speaking) — Marion Harlan, 
Rose Blossom, Kathleen Myers. 

THE SOCIAL HIGHWAYMAN— 
Warner Bros. 

TF you like sensibl